When I bought my archlute, Lynda Sayce told that the archlute was first
and foremost used in Rome, or by musicians trained in Rome.
Are
Dear Gary ,
Here are the links to the first editions, on IMSLP. Both are published
in Roma, and mention arcileuto. The publications you cited are
Dear Ralf:
Perhaps one is a bit hasty to pass judgement from afar on the sharpness
of another person's tools without seeing the larger context of the
work. I observe here and on other comment forums that it is easy to
throw a good idea off-track by distracting with humorous
Dear Jean Michel,
Yes; interesting! We are only talking about Corelli's Op. 1 (Opp. 2-4
all call for archlute according to surviving editions--no mention of
theorbo there). I suppose this could either reflect common practice in a
city (Rome vs. Bologna/Venice) or publisher preference. Or just
great, Gary!Thank you for this sum up. I searched some weeks ago on
RISM with the key arciliuto and so on. Apart for its use in Roma
(and +?), it's outstanding that you find arciliuto obligato in Dresden
's opera (Hasse's Cleofide for instance) at the time of Weiss (and not
On 24/01/14 9:19 AM, Gary R. Boye wrote:
Yes; interesting! We are only talking about Corelli's Op. 1 (Opp. 2-4
all call for archlute according to surviving editions--no mention of
theorbo there). I suppose this could either reflect common practice in a
city (Rome vs. Bologna/Venice) or publisher
Yes, and some of those archiliuto opera orchestral parts from Dresden have
notations that have been identified as being in S.L. Weiss's handwriting!
Some were displayed at the Freiburg Weiss Conference in 1984(??). Andre
Bourget (liuto forte guy) gathered all kinds of interesting things for that
The terms arciliuto and tiorba are high-degree interchangeable.
That is, they are not low or medium, and they are also not completely
interchangeable (since they are sometimes used together). One could
argue that they are medium instead of high, but it would be
difficult to show
Hello dear Arthur,
1984 I was living in Karlsruhe and working on my PhD-Thesis in
Chemistry.
Ah, those pre-Internet times, FORTRAN computer programming with punch
cards, text only monitors, etc.
My contact with the lute-world was through the Gitarre Laute magazin
and the only
Dear Ron,
The reactions to my email about a possible connection between Dowland's Say
love and Queen Elizabeth's Galliard has drawn some predictable responses,
including a welcome and encouraging Fascinating. Bravo! from Arthur. I
can understand the reticence of Ralf and Howard in accepting
Dear Stewart and all,
I also think your points are fascinating, to say the least.
On the case of the Susanna allusion in Unquiet Thoughts, it seems to refer to
the most catchy phrase in the madrigal, which is the reason why it caught my ear also. I
recall to have heard it elsewhere in lute
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