On Wed, Oct 21, 2009 at 5:50 AM, David Tayler vidan...@sbcglobal.net wrote:
I found it really interesting to view three versions of the same
Nigra Sum from the 1610 Vespers. I deliberately did not look at any
If I had to do it over again I would borrow mucho! (with permission, of
course)
If all us lutenetters gave him lessons at once, maybe his head would
explode. The remnants could be used for phish bait. :-)
On Oct 19, 2009, at 12:11 PM, Benjamin Morgan wrote:
My name is Benjamin Morgan. I am writing this on behalf of my friends.
We would be in the country for a
David,
Thanks for this. Very interesting. You've certainly borrowed a lot from
that last guy. But keep practicing: you'll eventually get the hang of playing
properly left-handed ;-).
I'm curious about the cello, though. My understanding of the present
consensus of scholarly
Yes: the practice for most of the 17th century was indeed generally to
eschew a bowed bass both in such secular works (including operas eg
Orfeo) and in sacred music. The bowed mass only became ubiquitous
towards the end of the 17th century. As you say, an organ (chamber
type)
We all recognize David and David in the first and third videos, but
who is the theorbist in the 2nd one? As it is a British production,
could it be Elizabeth Kinney? All are very well done!
ed
At 10:50 PM 10/20/2009, David Tayler wrote:
I found it really interesting to view three versions of
Dear friends,
I am in dire need of two articles by David pinto that appeared in the Lute
Society Journal:
Dowland's Tears: aspects of Lachrimae (LSJ 37, 1997), and
Dowland's True Tears (LSJ 42, 2002)
I would be most grateful if some one of you has them in digital format and
could graciously
Hi Chris--
Very interesting question! I hope this very question will be
revisited in Monteverdi's anniversary year. I'm sure there is a lot
to be discovered, when I started playing 40 years ago (41 I guess)
there was no lirone and now it has become a big part of continuo.
One scholarly opinion
http://www.lewon.de/inhalt/projekte/ensembles_dulce.php?navbat=03
Ont this page, under 'Tonbeispiele' there are three pieces, including
one by Obrecht, 'Nec mihi nec tibi'. Jon Banks claims that this
Obrecht untexted chanson was actually conceived and composed for three
plucked instruments
I think if there are primary, extant sources for this it would be
interesting to make a list of them and post them on the internet.
They would still have to be reconciled with pieces which have both a
continuo part and a solo cello part that plays a slightly varied
version of the bass line.
That is Liz Kenny, showing a sparkling technique and keen ensemble skills.
dt
At 06:58 AM 10/21/2009, you wrote:
We all recognize David and David in the first and third videos, but
who is the theorbist in the 2nd one? As it is a British production,
could it be Elizabeth Kinney? All are very
There are several cases of untexted chansons in
the musicological literarure described as must
be instrumental, but usually the text turns up.
Not to mention the fact that they sang these
pieces on hexachord syllables, oddly enough.
You are correct that the lastest round of
historical
Hi Stuart,
Margit actually flew out to the LSA seminar in Ohio a few years ago to
play duos with Crawford. Yes, it's in the hammered dulcimer family,
yep, sure sounds great and believable in that context and, oh yeah, is
she ever in control!
It looks like a pretty versatile instrument
http://www.youtube.com/watch?v=CcsSPzr7ays
Daniel
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There are some people who play the plucky version
http://www.youtube.com/watch?v=W9APMU2jXJE
But that is a later style.
Still, it is an original :)
d
At 05:52 PM 10/21/2009, you wrote:
Hi Stuart,
Margit actually flew out to the LSA seminar in Ohio a few years ago to
play duos with Crawford.
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