Another nice one :
[1]http://www.youtube.com/watch?v=7baAu8SZJgM
Val
--
References
1. http://www.youtube.com/watch?v=7baAu8SZJgM
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Would anyone like to post a translation of the following paragraphs 20 and 21
which talk
about
the unknown inventor of the theorbo, and about Kapsberger?
With pleasure, that is really interesting :-)))
:
20. At this time the famous instrument the TIORBA was invented, in fact by a
market
Thanks again; wonderful!
-Ned
On Jul 12, 2011, at 2:49 AM, Valery Sauvage wrote:
Another nice one :
[1]http://www.youtube.com/watch?v=7baAu8SZJgM
Val
--
References
1. http://www.youtube.com/watch?v=7baAu8SZJgM
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G.'s post brings to mind my experience playing string quartets with friends
(cello is my main instrument). As amateurs, we successfully, though hardly
perfectly, convey the music of Haydn, Mozart, Beethoven, Brahms, etc. But when
we play Boccherini, we utterly fail to convey this music. Why?
This whole discussion begins to approach the (almost ZEN) question of:
What is
the pure lute sound?
Seems a religious approach, indeed. And answers given from this perspective
will always smell of the _religion_ of Music.
Look at how a lute will sound in different environments. Out in the
On 12 July 2011 04:15, t...@heartistrymusic.com wrote:
I think that, if the old masters had possessed effects, they would have used
them.
.. and would have written different music which would have utilised
these effects. Which is the whole point about HIP: using the means the
old had at their
We would need to go
back to school to learn this baroque language. So too, I believe, with
the lute.
If one simply wants to play the renaissance or baroque literature, fine.
How so? When you just like to play the renaissance or baroque literature,
you'll always do it within the scope of what
The idea that, to take one composer at random, JS Bach would have
preferred a modern Bechstein grand is, of course, not new and this
sort of case was used from the earliest days of the revival of
interest in his music in the mid 19th century...
True. Obviously, Bach, and all
Ned and All:
This thread has elicited some very thoughtful commentary. While we
wholeheartedly appreciate your kind mention, Ned, we are certainly
still seeking out information - historical source material and
recording technology - to more effectively inform our interpretations.
Hey Tom,
its so strange that you should mention that particular Sarabande. Just the
other day I watched a movie where it was the main musical theme, and I've
been playing that one (in Segovia's arrangement) for as long as I can
remember on the guitar. Its a highly evocative piece.
I've been
Carl Jung called it synchronicity...
http://en.wikipedia.org/wiki/Synchronicity
m.
On 7/12/2011 5:58 PM, G. Crona wrote:
I've been searching my mind the whole day for the correct name for
such an ocurrence, (where something you have just experienced or said
or thought about pops up
EXACTLY! That was quick! Thanks Mark. What an exciting concept that is. (And
Jung is another one of my personal .(fill in desired word)!
G.
- Original Message -
From: Mark Warren mwar...@xplornet.com
To: G. Crona kalei...@gmail.com
Cc: Lutelist lute@cs.dartmouth.edu
Sent:
Thanks! Yes, I've been a Renbourn fan since I was in high school
(37 years ago!!). I've had the opportunity to watch him play in very
small venues. His technique is impeccable. Trotto / Saltarello from
his Lady and the Unicorn LP was the first thing I ever heard from him.
I had been
Yes, surely so. And in this case, not an extreme one, but qualifiable as
synchronicity nonetheless, (I wish to believe ;) . If we were more open and
had better antennæ, there would perhaps be more occurrences of this kind?
Thanks Mark!
G.
- Original Message -
From: Mark Warren
- Original Message -
From: t...@heartistrymusic.com
To: Lutelist lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com
Sent: Wednesday, July 13, 2011 12:35 AM
Subject: [LUTE] Re: What's the point to 'historical sound'
I'm still trying to play
like that - trying ...
He often uses
C.G. Jung was a … Nazi!
(cf.: »Die tatsächlich bestehenden und einsichtigen Leuten schon längst
bekannten Verschiedenheiten der germanischen und der jüdischen Psychologie
sollen nicht mehr verwischt werden, was der Wissenschaft nur förderlich sein
kann« C.G. Jung, Zentralblatt für
In English please?
G.
- Original Message -
From: corvo di bassetto r...@recout.de
To: G. Crona kalei...@gmail.com
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Wednesday, July 13, 2011 1:55 AM
Subject: Re: [LUTE] Re: What's the point to 'historical sound'
C.G. Jung was a … Nazi!
(cf.:
Jung presents another of his 'fascinating' concepts, i.e. that Germanic and
Jewish psychology were fundamentally different and should be kept apart (in
order to get rid of the latter). He wrote that as the new head of the German
psychiatrists association in 1933, as a sort of motto for the
Something like: The differences of Germanic and Jewish psychology, which
exist in fact and have long been known to insightful people, should not be
confused, which can only be conducive to science.
-Original Message-
From: G. Crona
Sent: Tuesday, July 12, 2011 7:07 PM
To: Lutelist
Hey Danyel,
as I recall: you combine both of these psychologies, apparently in a rather
conflicting gestalt.
RT (quite perpexed at just how lutenistically relevant Jung is.)
- Original Message -
From: corvo di bassetto r...@recout.de
To: G. Crona kalei...@gmail.com
Cc: Lutelist
Hi Nancy,
Thanks for the email. I'd love a copy of the interview.
I should also talk with you about formally joining LSA : )
Tom
I am also a big Renbourn fan and agree that he has great
technique.Those early records of his were a big inspiration years ago.
We published a nice interview
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