I'm a little perplexed by this discussion. Is the assertion being made that
lutenists who played 10c lutes at the inception of these instruments only
played music specifically written for 10c and ceased playing music that
appeared before unless they also had a 6c, 7c or 8c instrument?
In the 10c
This slow you down aspect is one that I am finally able to address
personally after over 35 years of lute playing. I finally got my
first 7 course lute last year; an Andreas Holst, 62 cm. SL. All my
previous R lutes- 57 to 72 cm- had all been 8 course. (I'm not
counting the 10 course and
On Wednesday 28 November 2007 18:32, Omer katzir rattled on the keyboard:
And for three days (27-29.12) i'm going to be alone in brussels.
Any one knows about good lute concerts there in those dates?
damn... I'm going to miss my precious Francesca.
And if i mentioned her name... any one
Luca Manassero écrit:
I made the same question to the French-speaking lute list about 18 months
ago.
Where is this French lute-list?
Dennis
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Luca
dc on 29-11-2007 10:29 wrote:
Luca Manassero écrit:
I made the same question to the French-speaking lute list about 18
months ago.
Where is this French lute-list?
Dennis
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So really it is more a head issue than a tactile one? Interesting but
understandable. I have always had problems playing something on someone
else's instruments right out of the gate. One has to get acquainted with
the Lute to play it, it seems to me.
vw
- Original Message -
From:
Dear Martin and All
I go regularly to an amateur music salon, once a month, where I have
the good fortune of hearing a lutist who can choose between 33 lutes
(including 3 Baroque Malers, and 4 Baroque Freis) according to the
repertoire he is playing. He usually does make judicious choices,
Yep, I've followed this baby too. And thought it finally almost settled
down till these paragraphs, Vance.
So if you or anyone else could explain to me how an eight course
instrument can slow you down I would be most appreciative. It seems
to me that a six course instrument would have
I can't argue with the experience and ears of others, but I have to
admit I'm a bit surprised by many of the statements being made about
the huge differences between 6, 7 and 8 course instruments in terms
of playability and inherent sound. My first real lute was an old 10
course that Pat
Dear all,
I know this subject has been discussed before, and I have recently followed
the interesting discussions on the d minor continuo lute
the last week. However, regarding the choice of rider vs. swan necked
instruments for solo work, I have checked the archives, but I still
have some doubts
Sean: I understand, a six course instrument is the appropriate instrument
for the music you choose to play. But let us assume you also wished to play
Molinaro---not good fair for the six course instrument. I know one size
fits all is an awful choice given all of the subtleties of period
The Cambridge Manuscript seems to indicate that the latest Dowland of the
time was grouped together with F. DaMilano in the same book.
VW
- Original Message -
From: Wayne Cripps [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Thursday, November 29, 2007 10:00 AM
Subject: [LUTE] Re:
On Nov 29, 2007, at 7:00 AM, Wayne Cripps wrote:
I would think that in the old times, a lutenist would mostly play
music from his or her time. They obviously would not play
anything from their future, but I am sure they were mostly
not too interested in music of the past, except perhaps for
Wayne,
Yes and no. Certainly, lutenists of the past were
not into early music the way we are now, but many of
the greatest hits of past eras remained popular well
into periods in which the mainstream style - or the
lute itself - was quite different.
Just look at the Augsberg manuscript
On Nov 29, 2007, at 2:16 PM, [EMAIL PROTECTED] wrote:
I also believe this road of super-specialization
(i.e. _must_ use a 7-course for this piece, _only_ a
9-course for this..., etc.) is an _extremely_
dangerous road to go down for the entire field.
** *
How can you
Chris, Danny, Dan, et al,
Very well stated!! Ditto!! I am surprised at some of the remarks,
although very friendly civil, of disdain for 8 course lutes, as only
Molinaro or Terzi used them. For example, labeling it inappropriate to
play Dowland on an 8 course lute, in that 7 course lutes
On Nov 29, 2007, at 6:55 PM, howard posner wrote:
Lots of blues or country guitarists are more picky about
their instruments than lute players are.
No pun intended, I hope...
DR
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On Nov 29, 2007, at 5:16 PM, [EMAIL PROTECTED]
[EMAIL PROTECTED] wrote:
...How can you program a whole concert that
features, for example, Italian Music, 1538-42 or
German Music, 1712-20 and have it interest anyone
but diehard specialists? I personally love music from
both of these
One can have a lovely program that is a stitch in time that is not
just lute solos.
I think most entertainments would have had songs and consorts.
The lute preludes ricercars might just be the ideal glue, but not
the whole horse.
dt
At 07:59 PM 11/29/2007, you wrote:
On Nov 29, 2007, at 5:16
Howard,
--- howard posner [EMAIL PROTECTED] wrote:
Really, really bad example. Lots of ensembles do
German Music,
1712-1720. They title it Complete Brandenburgs
and sell lots of
tickets.
But this isn't quite fair - Bach and Brandenburg
Concerto are names people recognize. Beatles
On Nov 29, 2007, at 8:58 PM, [EMAIL PROTECTED] wrote:
Really, really bad example. Lots of ensembles do
German Music,
1712-1720. They title it Complete Brandenburgs
and sell lots of tickets.
But this isn't quite fair - Bach and Brandenburg
Concerto are names people recognize.
You
David,
--- David Rastall [EMAIL PROTECTED] wrote:
On Nov 29, 2007, at 5:16 PM, [EMAIL PROTECTED]
Once again, point taken. But it's not all that way.
Consider
Piazzolla: he's a cultural force. Listening to
L'Histoire du Tango
is for me like strolling through a gallery of
In this somewhat nihilistically arcane vein I recall Dmitri
Shostakovich's instructions on playing his 15th string quartet: I
want you to play it so that flies drop dead in midair, and that by
the end of the first movement the entire audience has gotten up and
left the building. -as best as I
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