Sadly, I suspect that 'sidewalk lutenists' wouldn't attract the same
queues as sidewalk astronomers. Even I, as a lutenist, have a much
clearer recollection of my first view of Saturn's rings through a
telescope than I have of first hearing a lute.
Bill
P.S. You made a 12
On 12/08/13 2:46 AM, William Samson wrote:
Sadly, I suspect that 'sidewalk lutenists' wouldn't attract the same
queues as sidewalk astronomers. Even I, as a lutenist, have a much
clearer recollection of my first view of Saturn's rings through a
telescope than I have of first
I'll bet some large fraction (at least in the U.S.) of lute players,
professional or avocational, got turned on by the 1960's Julian Bream album
An Evening of Elizabethan Music. Even though he was playing a
heavily-constructed, inauthentic LSO (Lute-Shaped Object) the artistry and
the musical
[Stephen]
There is an interesting book by Phyllis Tickle entitled The Great
Emergence. It deals with modern Christianity and how it is evolving.
I think her main theme applies to the lute world as well. The
'traditionalist' or 'fundamentalist' lute group will decline, and a
rise of a 'hybrid'
For me it was JB's Lute music from the Royal Courts of Europe which I got in
1975. Still a great record. r
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
A.J. Padilla MD
Sent: Monday, August 12, 2013 9:13 AM
To: 'Geoff Gaherty';
Tom,
I am by no means opposed to the idea of reaching out to other groups, but I
have to say I am very skeptical about the SCA. By including the word
anachronism in the title of the organization, they say quite openly that they
are all about intentional historical inaccuracy. Meanwhile, we
On 12/08/13 9:12 AM, A.J. Padilla MD wrote:
I'll bet some large fraction (at least in the U.S.) of lute players,
professional or avocational, got turned on by the 1960's Julian Bream album
An Evening of Elizabethan Music. Even though he was playing a
heavily-constructed, inauthentic LSO
Stephen,
I think you are correct. This is essentially what I was getting at about
the concert fee for less-than-established artists. Paul O'Dette, Hoppy Smith,
Nigel North and Bob Barto are all about the same age. When they were my age,
they were already well regarded. Looking around,
If we want more audience we need to be inclusive and not exclusive. A number of
comments on this thread appear exclusive; almost a parody of the attitude that
has been attributed to main stream classical musicians.
Stephen, I heartily agree with your comments. The lute community is and will
Chris,
It seems that the lute world revolve exclusively around these figures.
Any performer below these names are simply non-existent, very unfair I
believe.
2013/8/12 Christopher Wilke [1]chriswi...@yahoo.com
Stephen,
I think you are correct. This is essentially
For me, the lute started with the Segovia selection of Six Lute
Pieces of the Renaissance that he pilfered from the Oscar Chilesotti
transcription- curiously enough already put into octave treble clef
guitar notation- and for an E instrument. Then individual movements,
some from lute suites,
Hi Chris,
With all due respect to Messrs North, O'Dette, Barto and
Smith ('NOBS' for short- sounds rude but better than 'SNOB' I think) ,
there are a LOT of younger lutenists who are every bit as good as they
were at that age. What the younger ones lack is the immense experience
I would add Richard Savino to the list. He is very active and, in my view ,
quite successful.
Sent from my iPhone
On Aug 12, 2013, at 10:45 AM, William Samson willsam...@yahoo.co.uk wrote:
Hi Chris,
With all due respect to Messrs North, O'Dette, Barto and
Smith ('NOBS' for short-
Forty years ago the continuo section of an early music performance hardly ever
featured a finger-plucked instrument.
The theorbo and archlute have since then become 'standard', providing bread and
butter work for competent continuo players.
Miles
On 2013-08-12, at 10:45 AM, William Samson
Is it just me, or do there seem to be fewer small broken consorts
around these days. Back in the 60s and 70s we had the Julian Bream
Consort, The Early Music Consort of London, the Consort of Musicke,
London Pro Musica, The Ely Consort, the Broadside Band, the City
Waites, the
On 12/08/13 10:45 AM, William Samson wrote:
Nowadays, of course, there are very many more great quality lutenists
than there were forty years ago, but there's not nearly enough work to
go round to keep them all busy as concert performers.
Interestingly enough, exactly the same
Fortunately, because tromba marina is played entirely in natural harmonics,
correctly tuning its one string should get you within 2 cents of any note it
can muster. By the way, can you use any reentrant tuning schemes on tromba
marina, or does that depend upon its scale length?
Eugene
At least an aspect of this issue - regarding audiences for the lute and early
music - must deal with the lute as a solo instrument, and its appeal to
audiences in that capacity. To begin with, how many solo instrumentalists of
any instrument, can expect to play to a large audience? Certainly
There are a lot of good up and coming bands around. Take a listen to
this week's Early Music Show on the BBC web site. They have a bit of
music from a lot of the entries, only one of which has lute featured.
The City Waites are still around and performing, especially at Christmas
time in the
Please don't forget to mention Millennium of Music, the longest-running
syndicated radio program featuring a broad and diverse selection of
early music.
The Harmonia program has a direct connection with that American early
music organization, and you don't receive airplay on the
On Aug 12, 2013, at 11:49 AM, Nancy Carlin wrote: What we don't have
now is the record companies being the gate keepers for publicity.
The flipside of this was that x is a name on a major label or any
label one may have heard of --or even recorded could be the selling
point for an
Interesting that you should mention the Early Music Show. What struck me
was that none of the groups featured a singer, most of the groups were
primarily wind bands and the repertoire was 18th century or a bit later.
Increasingly I find in England Early Music seems to mean Vivaldi, Handel
and
On 12/08/13 3:16 PM, Sean Smith wrote:
In other words it's hard to build up trust and the label created an easy
proxy for it.
Back in the '50s the recording industry was dominated by three companies
(Victor, Columbia, and Decca in the US), and they basically dictated
what people heard:99%
Nothing specific regarding The Renaissance Gilde. However, in general,
features that make for less playable musical instruments or that are just plain
weird without any demonstrable benefits rarely (i.e., almost never) enhance
value. Any exceptions tend to be among large commercial entities
Bream's Dances of Dowland worked for me. And introduced me to JD as
well!
Leonard Williams
On 8/12/13 9:12 AM, A.J. Padilla MD gla...@optonline.net wrote:
I'll bet some large fraction (at least in the U.S.) of lute players,
professional or avocational, got turned on by the 1960's Julian Bream
I've been advised that their mission is to recreate the good ol' days
of the Renaissance and Middle Ages; i.e., forget the plague, lack of
hygiene (or toilets), etc. What remains is music (sometimes
inappropriate), colorful clothes, manly fighting and beer. Of course
there are the poorly
For what it's worth, those Westminster recordings (both guitar and lute) were
later bundled up and reissued as a 2-CD set.
Best,
Eugene
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Geoff Gaherty
Sent: Monday, August 12, 2013 4:33 PM
I had heard some of the Bream records throughout the early 70's and
they impressed me but didn't make it look at all attainable. If I
might be so bold, too much flash --which, of course, sold records and
filled large halls-- but didn't seem to suit the instrument.
What sealed the deal
Julian Bream hands down
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Bream for me and others that followed - but he was the first.
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Allan Alexander
Sent: Monday, August 12, 2013 5:36 PM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Re: general public Lute
On 12/08/13 6:04 PM, Lindberg, Richard wrote:
Bream for me and others that followed - but he was the first.
Bream also did a lot of touring on both sides of the Atlantic in those
days. I can remember attending a concert in which he played guitar in
one half and lute in the other. He was
Konrad Ragosnig 6 lp set for Archiv and even more a double lp with Eugen
Dombois playing Weiss and Bach and Michael Schaeffer playing French baroque.
Absolutely beautiful. It was the l#39;Infidele sonata (the wonderful Musette)
and the Tombeau pour M. de Logis that convinced me that I wanted to
http://www.youtube.com/watch?v=t4f8fej9Sqo
Eugene
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Konrad Ragosnig 6 lp set for Archiv
Yes, After Bream he did so much. I have that set on CD now. They are wonderful
recordings for lute.
and even more a double lp with Eugen Dombois playing Weiss and Bach and Michael
Schaeffer playing French baroque. Absolutely beautiful. It was the
On Aug 12, 2013, at 10:50 AM, Braig, Eugene brai...@osu.edu wrote:
By the way, can you use any reentrant tuning schemes on tromba marina, or
does that depend upon its scale length?
It depends on how willing you are to tolerate a toy tromba marina.
--
To get on or off this list see list
The first half of the Bream concert with lute was one of the most beautiful
things I had heard at that time. When he brought out the guitar for the second
half, it was almost a letdown.
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
The lute world needs to reach out to the non-traditional audience.
Thanks Stephen. I agree.
Tom
[Stephen]
There is an interesting book by Phyllis Tickle entitled The Great
Emergence. It deals with modern Christianity and how it is evolving.
I think her main theme applies to the lute
Thanks for these insights Chris.
Well said, and I understand where these
ideas come from.
I'm just saying that pie makers aren't picky
about who buys and eats their wares. They
are probably happy for anybody to buy and
consume their pies. And a lot of those pie
consumers may not have
I agree to the out-reach being needed.
Would someone organize the thread-suggested strategies?
The thread has put forth:
Playing in town outskirts to raise attendance for a central concert.
Doing house concerts with CD sales.
Using internet and e-mail tools such as fanbridge.
Joining
If we want more audience we need to be inclusive and not exclusive...
Very well said David.
I too remember Julian Bream as an early introduction ...
For me it was walking into a record store just before my
senior year in college and finding Musik fur 2 3 Lauten.
JOSEPH IADONE!
Can't believe I forgot this fine musician the first time around. Of
course, he was an impeccable ensemble musician- not a noted soloist like
Julian Bream. He started as a bass player with Hindemith, who I believe
encouraged his lute studies. I first heard him on ancient Archiv
Must be a generation gap thing then…
I'm 35 and my first cd of lute music was the album of English Lute Duets played
by Jakob Lindberg and Paul O'Dette, acquired in 1991. That sound was a
revelation to me, and I ended up acquiring a pre-loved 7-course Harwood lute on
a holiday to London in
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