Apollo's lore--lore here means teachings, or things that are taught,
hence learnt--is simply poetry in this case, plus the usual layered
meanings of Apollo and the Apollonian dichotomy.
There is one variant in the text, which is Apollo's love but I
believe that is a typo, and that
Porca Vacca! I can't believe it!!!
Oink!
dt
__
From: Sean Smith lutesm...@mac.com
To: Daniel F Heiman heiman.dan...@juno.com; lute
lute@cs.dartmouth.edu
Sent: Tue, November 8, 2011 6:22:19 AM
Subject:
A new Purcell video from The Purcell Project, Strike the viol,
arranged for Tenor, two violins and continuo.
Just lovely, David. Excellent work!
. mark
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Hi Martin,
I agree with what you say about the change to thumb outside. I've been
meaning to write an article about octave stringing for Lute News for a
long time, with some more choice examples from the English repertoire.
Thanks to selective quotation of Dowland from VLL, and long-held
Not relevant to the period of lute playing you're discussing, but you
may be interested to know that the double strung gallichon/mandora
(late 17th/18thC) generally had octaves on the 5th and 6th courses
(sometimes on the 4th too) - even though they employed overwound
strings!
Thank you, Martin (Eastwell), for this; indeed, in a previous mail I
suggested something not unsimilar to what you are saying below (albeit
your analysis is more complete). However, I imagined that both changes
TI to TO and Bass + Octave to unisson (on certain bass courses) might
Thank you Alan and Martin. Martin, I have been, and am still a bit confused by
what you have written regarding Dowland and his stringing advice. If, as you
quote, he stated in 1610 that one should use unison tuning on the 6th course,
why would octave tuning on that course be recommended for
Pity that there does not appear to be a photo of the instrument on the website
of the Kunsthistorisches Museum where it resides.
Daniel
-- Original Message --
From: howard posner howardpos...@ca.rr.com
To: LUTELIST List lute@cs.dartmouth.edu
Subject: [LUTE] Re: Weird early
On Nov 26, 2011, at 6:51 AM, heiman.dan...@juno.com wrote:
Pity that there does not appear to be a photo of the instrument on the
website of the Kunsthistorisches Museum where it resides.
Maybe they think it's an embarrassment.
--
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While recommending a unison 6th course, Dowland says that it had been
the usual practice (especially in England) to use octaves, but says this
practice is now (in 1610) left. This, together with the internal
musical evidence (my examples from Cutting and Holborne) and Barley's
1596
I just find it amazing that we can actually connect a particular
historical instrument with a text - in this case Piccinini tells us that
he commissioned it, and when, and who made it. I think that alone makes
it unique for us (and perhaps should make us a bit more accepting of
other things
Dear Collective Wisdom,
Up until now I've mostly used nylon for my lute strings and it seems to
be the case that nylon can't be used below the third course because
fretted notes will not be true due to the material being too stiff.
I have successfully used ordinary gut for a 4th
Hi Bill, on my lute I have KF (Savarez) strings from 2 to 7 courses (and
octave of the 8th), including basses, the only wounded I'm using is the bass
of 8th. For the first I'm using nylon, as KF is really too thin.
The KF for basses are harp strings I think (KFG ?), and the result is much
better
Hello Bill-
Here is an assessment of the new Nylgut I gave to a friend of mine off-list. I
thing it is appropriate to your queries. For my friend, the comparison was to
real gut, which he prefers.
Oh yes- the strings. (new Nylgut) I am giving them a trial on a few
instruments right now. They
Carbon on 4 - no problems.
RT
- Original Message -
From: William Samson willsam...@yahoo.co.uk
To: lute@cs.dartmouth.edu
Sent: Saturday, November 26, 2011 11:41 AM
Subject: [LUTE] String material and inharmonicity
Dear Collective Wisdom,
Up until now I've mostly used nylon for
William, all things being equal better harmonicity can either be
achieved by a denser thinner string, or by a more flexible one. Carbon
is relatively dense, and that is why many are using a Savarez 4th and
5th. On the other hand, as I said in a recent message, Aquilla is
working on
Paumann's 'Ich beger nit mer' from the Buxheimer Orgerlbuch. Paumann
played the lute (and perhaps, fingerstyle) as well as the organ and -
maybe - he played it in a similar way on both instruments. It fits a G
lute well and only need five courses.
Online German translators don't recognise
My guess, and it is only a guess, is that it would be ich begehre nicht(s)
mehr in modern German, meaning I desire no(thing) more, I desire nothing
else, or I have no further desires, or something of that sort. Matthias
would probably be the most qualified person on our list to translate it.
On Sat, 26 Nov 2011 22:26:34 +, Stuart Walsh wrote
Paumann's 'Ich beger nit mer' from the Buxheimer Orgerlbuch.
Paumann played the lute (and perhaps, fingerstyle) as well as the
organ and - maybe - he played it in a similar way on both
instruments. It fits a G lute well and only need
Thank you for that explanation, Martin.
Best, Ned
On Nov 26, 2011, at 10:03 AM, Martin Shepherd wrote:
While recommending a unison 6th course, Dowland says that it had been the
usual practice (especially in England) to use octaves, but says this practice
is now (in 1610) left. This,
Lovely - thanks, Stuart.
On Nov 26, 2011, at 5:26 PM, Stuart Walsh wrote:
Paumann's 'Ich beger nit mer' from the Buxheimer Orgerlbuch. Paumann played
the lute (and perhaps, fingerstyle) as well as the organ and - maybe - he
played it in a similar way on both instruments. It fits a G lute
Dear Stuart,
I think Ich beger nit mer would be Ich begiere nicht mehr in modern
German, meaning I long no more.
Best wishes,
Stewart McCoy.
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Stuart Walsh
Sent: 26 November 2011 22:27
To:
On Sat, 26 Nov 2011 23:07:13 -, Stewart McCoy wrote
Dear Stuart,
I think Ich beger nit mer would be Ich begiere nicht mehr in modern
German, meaning I long no more.
Just for the records: there's no such word as begieren - modern german
verb is begehren (#8599; mhd. 'gêren').
Cheers,
Dear Ralf,
Thanks for correcting my mistake. I was mixing up the verb with the
noun, die Begier (desire, longing).
Best wishes,
Stewart.
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of R. Mattes
Sent: 27 November 2011 00:12
To: Stewart
Dear Stewart,
German knows all sorts of exceptions. Yet the regular noun is Begierde.
I would translate Ich beger nit mer: I crave no more, as begehren is
stronger than longing, which would be equivalent to Ich ersehne nicht mehr.
Best wishes,
danyel
Am 27.11.2011 um 02:28 schrieb Stewart
I am wondering if anyone has any words of guidance concerning inlay on
the veneer for the back of the lute neck. My hunch is that it wouldn't
work well to do the inlay while the veneer is still flat. But I'm also
not too sure of how you'd go about inlay on a curved surface. Anyone
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