At 09:05 AM 8/24/2006, David Rastall wrote:
Lutes On A Plane? Pretty scary: Sammy L. starts taking his 10-
course out of the case...aargh! a lute! we're dead for sure!!!
I'm saving my movie-going dollars for Lethal Weapon XIII: Theorboed!
Eugene
To get on or off this list see list
At 10:38 AM 8/24/2006, Rob Dorsey wrote:
I'm going to take a chance and cut to the chase. All arcane and archaic
solutions aside, a good and wide guitar strap hanging from proper strap
buttons at the end cap and under the extreme forward end of the body is a
most secure and comfortable solution.
Absolutely...or at least nylon is authentic to the 20th c. The Treatyse
of Fyshynge wyth an Angle (anon. 1496, in The Book of St. Albans, attr.
Dame Juliana Berners) and Isaak Walton (1654, The Compleat Angler), amongst
others, would have me dye and plait strands of horse tail. No thank
you!
At 02:53 AM 6/12/2006, [EMAIL PROTECTED] wrote:
Wasn't some of his lute music composed in Prague? Someone on this list
pointed out
that it could even be intended for mandora in this case.
Indeed. I think this is the correct citation for the published argument:
Liefeld, E. 2002/2003. Pondering
At 12:56 PM 6/2/2006, Howard Posner wrote:
There are probably some on the list who don't know that Reinhard Goebel
was, before his left hand went dead, one of the pre-eminent baroque
violinists, and is the founder-director of Musica Antiqua Koln, a
string-oriented early music with a reputation for
At 02:38 AM 5/27/2006, Ed Durbrow wrote:
Speaking of lute fusion, let's not forget the lute tracks by another
rocker, Jan Akkerman, member of the 70s Dutch rock band Focus.
During the Focus-years, Jan released two solo albums. In 1972,
'Profile' was released, which featured one side of heavy
I think Al Bowly is pretty well known, is he not? Thus the funnierness of
the typo. Of course, in context, this is a misinterpretation of Tomaso
Albinoni.
Eugene
At 05:51 PM 5/22/2006, bill kilpatrick wrote:
is there anyone alive - other than ... - who even
knows who al bowlly was?
At 10:58 AM 3/28/2006, Arto Wikla wrote:
And perhaps the same ear of the period was less tolerant to every tonality
sounding the same and no tonality sounding pure, all the major thirds
sounding ugly... ;-)
Obviously...but you still can't truly fret any instrument to any
temperament scheme
At 06:05 AM 3/21/2006, Mathias Rösel wrote:
IMHO Bruger, and Kirsch, have shown that the modern guitar of the
Habsgurgian countries owed much of its design to the mandora, and not
vice versa...
Given the whole of the uses of both these things, I agree they had to have
influenced each other, but
At 06:31 PM 3/20/2006, Thomas Schall wrote:
That's exactly my point. It's a matter of imagination: If I imagine the
lute of Weiss or Dowland I would be far off if I would call a
Wandervogellute the appropriate instrument (and similar would be the
mandolin, Liuto Forte, Charango or what else).
On
At 01:37 AM 3/18/2006, Stephen Fryer wrote:
Well I've seen a lautengitarre but this is my first for a
theorbengitarre! Basically it is a guitar trying to be a theorbo.
Not as common as the 6-string Wandervogel-era lauten, but they still aren't
uncommon. Of course, they are more functionally
At 01:48 PM 3/20/2006, you wrote:
The so-called wandervogel lute is an heir to the mandora which is a 6c
lute that flourished during Rococo era until, say, mid-18th century.
Mandoras were single-strung _before_ the guitar was (von Fauner,
Vienna). The early 19th century guitar took its 6th string
At 10:31 AM 3/15/2006, Paul Pleijsier wrote:
The Early Romantic Guitar
enthusiasts have my vote: they seem to be trying to bring a more
natural (less manufactured...?) approach to their realizations of the
19th-century repertoire.
?? I find that these players are mostly modern players,
At 06:53 PM 3/12/2006, Leonard Williams wrote:
Regarding Economy Picking--
I find that in six-eight time economy picking works nicely on
adjacent strings. That's a case where up-down-up-etc can get a little funny
with beat emphasis. It can be tricky, but it can also make things a little
At 01:46 PM 3/7/2006, bill kilpatrick wrote:
some years ago my wife bought me an absolute dud of an
oud for xmas. i've done disfiguring and not
altogether regrettable things to it in the interim but
the warped neck finally drove me to my local liutaio -
who will, he says, fix the buzz and make it
At 05:50 PM 2/21/2006, Grant Campbell wrote:
Cono S: Nancy Carlins Number is
925-686-5800. Grant [EMAIL PROTECTED]
It's probably better to keep info like this confined to a private reply.
Just a suggestion,
Eugene
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At 06:47 PM 1/26/2006, you wrote:
This site might be of interest. It tells of a harpsichord built out
of Lego. One wonders when they will attempt a lute. The address is
http://www.henrylim.org/Harpsichord.html
This made the rounds some years ago. It still sounds bad.
Eugene
To get on or
At 10:52 PM 1/24/2006, Rebecca Banks wrote:
January 24th, 2006
Dear Lutenists:
Has anyone ordered a Lute from Luciano Faria or is currently
talking to
him? I ordered a Lute from him and sent him a downpayment in June
2005 (it
looks like he does good work from his
At 08:45 PM 1/5/2006, [EMAIL PROTECTED] wrote:
Spare pegs will
be harder to come by.
Here's one source:
http://www.brucebrook.clara.net/pegs.htm
I also know a luthier in Columbus, Ohio who was doing pegs for hire.
Best,
Eugene
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At 09:21 AM 1/6/2006, Donatella Galletti wrote:
Well, I don't care much whether it has been demonstrated or not, it works
for me and it's ok...
That's very important, as I tried to allude in my last note.
About the experiment below, did they care to check whether the people who
looked after
Date: Fri, 06 Jan 2006 11:05:04 -0500
To: David Rastall [EMAIL PROTECTED]
From: Eugene C. Braig IV [EMAIL PROTECTED]
Subject: Re: [LUTE] Re: Music Therapy
At 10:59 AM 1/6/2006, you wrote:
I ask myself this one question about the Mozart Effect: why Mozart?
Why not the Bach Effect? or the Brahms
At 05:36 PM 1/6/2006, Stuart LeBlanc wrote:
Actually there a contraposition Mozart effect, involving the dispersal of
loitering teenagers, criminals, etc:
http://www.schneier.com/blog/archives/2005/08/low-tech_loiter.html
I would guess the reason for this effectiveness is that, for these people,
At 01:06 PM 1/5/2006, [EMAIL PROTECTED] wrote:
Another potentially interesting use of music is reflected in research
from a music teacher in this country (UK) which purported to show
that playing Mozart to school pupils increased their capacity to
learn.
The so called Mozart effect
In case any of you easterly N. Amer. types are up for indulging in a little
semi-speculative and appealing punteado medieval luting this holiday season:
Date: Tue, 20 Dec 2005 13:05:38 -0500 (EST)
From: Eric Redlinger/Sylvia Rhyne [EMAIL PROTECTED]
Subject: We are performing at The Cloisters on
is at least
semi-speculative.
RT
From: Eugene C. Braig IV [EMAIL PROTECTED]
In case any of you easterly N. Amer. types are up for indulging in a little
semi-speculative and appealing punteado medieval luting this holiday season:
Date: Tue, 20 Dec 2005 13:05:38 -0500 (EST)
From: Eric Redlinger/Sylvia
At 07:30 AM 12/18/2005, [EMAIL PROTECTED] wrote:
But modern or period still does matter, I enjoy listening to Bruckner, Mahler
etc. But I don't want to hear it played on a clavichord !
An inaudible lute showing it's extended pegbox is just not good enough for
me, I expect a so high a level of
At 09:26 AM 12/18/2005, Daniel Shoskes wrote:
On Dec 18, 2005, at 8:49 AM, Rob MacKillop wrote:
.
Why am I getting back to the lute? I need one for my new post. I
have just
become Musician In Residence to a University for 3,500 nurses!!!
Hmm. Shades of Antonio Vivaldi?
Oops. Please
At 04:41 PM 12/18/2005, [EMAIL PROTECTED] wrote:
Here is the real test of authenticity, Spielberg is not faithful to H.G.Wells
book and produces an empty piece of Hollywood candyfloss. Jackson goes back
to the original and even a step further, he discovers the essence of the
original and produces
At 11:13 AM 12/19/2005, [EMAIL PROTECTED] wrote:
Are Il Giardino Armonico hip ?
I don't know about hip, but I do find them rather groovy.
Best,
Eugene
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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
At 06:12 PM 12/6/2005, Roger E. Blumberg wrote:
I wasn't aware of all the other early references to viheula, nor that the
word lira was ever used to refer to guitar-like instruments. I'd like to
know more about that later item in particular, if you or someone would.
I don't know if you've
Indeed, although vihuela is a rather antiquated equivalent to viola; no
modern orchestras refer to their bowed altos as vihuela. I don't know
that there are substantial gaps in the application of the term vihuela or
its equivalents to various things. Regarding plucked things, it seems to
me
At 08:28 AM 11/29/2005, Herbert Ward wrote:
What were historical cases like? Surely they had cases
(as opposed to bags or nothing at all) for their lutes.
You can see the case that came with the 1680 Cutler-Challen mandolino by
Stradivari here:
At 05:25 AM 11/21/2005, Garry Bryan wrote:
I'm also wondering why the tater bug they sell is going for 5159.89
USD. I don't care how fancy a tater bug is, it's still a tater bug and
will most likely be worth 10 USD with in 10 years since someone in the
owner's household is bound to step on it or
At 12:09 PM 11/18/2005, LGS-Europe wrote:
I always understood that the lute song from Gloriana, the second lute song
of the Earl of Essex, was intended for Peter Pears and Julian Bream,
accompanying on lute. But Bream refused to play the lute, so it was
rewritten for guitar. I have done it on lute
At 01:39 PM 11/18/2005, Gregory C Brown wrote:
Julian Bream on the RCA Red Seal LP 20th Century Guitar
As it happens, I have an extra copy of this LP that I might consider
parting with. Interested
parties can contact me off list..
Bream re-recorded the Nocturnal for EMI for a CD entitled, of
At 09:20 AM 11/10/2005, Garry Bryan wrote:
The nails need to go, though.
lose the nails
nails delenda est
no nails are good nails.
Research all you can on the lute. Play the lute. Find a teacher. Ask
questions. Trim your nails.
On nails: it depends.
At 11:25 AM 11/2/2005, Roman Turovsky wrote:
It is signed: Porcheria di F.Marchetti and probably is for some mandolin
type of abomination.
They're my favorite...right after wild salmonids.
Eugene
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At 03:51 PM 11/2/2005, Roman Turovsky wrote:
Arctic char blows salmonids out of the water. And mandolins too.
(Pssst...chars, of the genus Salvelinus, are salmonids...and I agree; my
mandolins would do mighty poorly in the water.)
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At 12:09 PM 10/29/2005, EUGENE BRAIG IV wrote:
I think the whole of the argument can be distilled to two camps:
1) Prescriptive: My approach to musical anachronism is truer than your
approach, so your approach is flawed and/or wrong; you should do what I do
or your music making will be
Greetings Gary
At 05:39 PM 10/31/2005, gary digman wrote:
I think your summary contains at least one red herring. Since I am
the only person who used the word elitist, I'm assuming 1b was aimed at
me.
Not even remotely. I'm sorry if I gave that impression. I was only using
elitist as
At 05:46 PM 10/31/2005, Howard Posner wrote:
Eugene C. Braig IV wrote:
I wholeheartedly agree. That was the exact point of my reply.
I had no doubts about your perspective on the matter. But the
occasional posting of an unyielding absolutist position on this list
tends to make newcomers
At 04:38 PM 10/27/2005, Vance Wood wrote:
So it could be argued that if being a purist is the
essence of good Lute practice could it not also be said that playing a
modern reproduction Lute using modern wood working tools from computer
generated plans under unnatural lighting conditions is also as
At 11:30 AM 10/28/2005, Herbert Ward wrote:
I've tried fishing line before. Very bad as a lute string:
thuddy tone and untrue. If you use it in an emergency, don't
expect much.
I have used it in an emergency too, and it strikes me as akin to any other
nylon. I think, as in nylon
At 05:57 AM 10/27/2005, Paul Pleijsier wrote:
In my eternal naivité, after a solo-lute concert (in a historic music room
of a historic castle, which had a historic painting hanging on the wall
which depicted this very room some four hundred years ago, with musicians
playing lute), with lighting
At 10:08 PM 10/23/2005, Roman Turovsky wrote:
Does Wright ignore the most logical reason for the waist on an instrument,
that is bow accomodation???
Evidently, given that he only discusses plucked things in isolation.
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At 12:33 PM 10/11/2005, jim abraham wrote:
I've been looking at the work of Luciano Faria (http://lucianofaria.com).
His prices seem very reasonable, especially since I'm a student looking for
a first lute, but my teacher, Chris Henriksen, doesn't know him. Can any
experienced players and/or
At 12:04 PM 10/5/2005, Greg M. Silverman wrote:
So, back to the OP. He may wish to ask himself what repertoire he would
be playing.
In thinking on repertoire, our new boy should also be made aware that the
things called lute in the baroque era, the 11- and 13-course instruments,
are quite
At 11:01 AM 9/22/2005, Herbert Ward wrote:
Larry Brown (on his website) says that many of his tools are
antique, and superior to their modern counterparts.
The man's woodworking expertise is obvious (and probably
also not obvious).
So I wonder how it is that Craftsman, Black Decker, and
At 10:22 AM 9/20/2005, Roman Turovsky wrote:
I do like Hedges' stuff, but that's a hard claim to make given that Arcas
or Aguado (I don't recall which Spanish A name off the top of my head,
but it's well-known enough to be in one of those little Noad books) were
tapping a la Hedges in the 19th c.
At 02:30 PM 9/14/2005, Stewart McCoy wrote:
Dear Eric,
Let's not split hairs. You need to listen at least halfway through
the MIDI file, to appreciate fully that someone lacks a certain
musicological nous. Dowland must be turning in his grave.
I use Mutopia scores for weird, old mandolin music
I suppose it depends upon what one counts as lute: vihuela, mandolino,
early Neapolitan mandolins, etc?
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At 09:51 AM 9/1/2005, Roman Turovsky wrote:
Still, I believe baroque music for guitar can be made to work as well on
6-string guitar as any baroque music if loosely
approached, again, as transcription.
'Fraid not. Inasmush as you cannot play Froberger on a Steinway.
It really depends. As
First, I agree; the should be to play it like you mean it. However, in
dramatizing phrasing and dynamics in a way that is not necessarily implied
in period sources, how HIP is it?
Eugene
At 07:17 AM 8/30/2005, lapis bleu wrote:
keeping alive any piece of ancient music is something weird,
At 07:34 AM 8/30/2005, Ed Durbrow wrote:
Maybe if Corbetta were alive today. I think I saw him use a down
and up stroke with the thumb on the first string. Didillo?
Naw, dedillo.
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At 02:30 AM 8/28/2005, [EMAIL PROTECTED] wrote:
Okay, I get it; everyone(?) hates Mr. MO. It's still censorship.
I actually like Matanya and am truly appreciative of his work, which, in
spite of his demonization here, is a labor of love (nobody gets rich
specializing in the publishing of
At 11:33 AM 8/28/2005, [EMAIL PROTECTED] wrote:
Matanya's field of expertise is 19th-century guitar music. Whether this is
the proper forum for discussing such matters, I will leave for others to
judge.
Perhaps not, but it would certainly seem to fit well here:
vihuela@cs.dartmouth.edu.
Eugene
At 02:23 AM 8/29/2005, Alain Veylit [EMAIL PROTECTED] wrote:
This is a fundamental point for lutenists: our music is not guitar
music. S.L. Weiss was not a Baroque guitar composer. That point was made
and proved more than a few decades ago...
The relationship betweeen classical guitar and the lute
At 12:02 PM 8/29/2005, Mathias Rösel wrote:
Has this been the experience of other lutenists?
Not for me. I like HIP efforts at old music as well as modern
transcription/performance of old music on currently active
instruments. HIP simply offers one more facet of music for me to enjoy,
At 01:39 PM 8/25/2005, Martyn Hodgson wrote:
Get Bone's book - it is eminently readable and, I believe, was republished
in comparatively recent times - of course, it's not infallible...
Indeed. It was first published in 1914, revised in (I believe) the 1950s,
and reprinted in (I
Here's another interesting bit of cyber scholarship of which I'm rather
fond to which Werner Icking contributed:
http://www.folias.nl/
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At 09:13 AM 8/23/2005, Stephen Arndt wrote:
Hello, Arto and all!
Here are some other links that have free editions of early music. The first,
the Choral Public Domain Library, is also quite large but is presently
undergoing reconstruction. The others are not so large, but many still have
very
At 09:26 AM 8/19/2005, Wayne Cripps wrote:
From: Alain Veylit [EMAIL PROTECTED]
I think that unfortunately the author's English gets in the way
sometimes, for instance when the 17th century lute neck is described as
decorated with mother of toilet sit. Would that be mother of pearl?
All this mandora/gallichon talk has me a little worked up. There is a
marvelous matched ca. 1790 mandolino/mandola pair by Presbler in storage at
the Met. Their decor is almost identical and they appear to have been
built as a set. The mandolino is in six courses and I would assume
intended
At 08:15 AM 8/12/2005, you wrote:
Arto, not everyone shares your enthusiasm about Brescianello's mandora
music, which was even (mis)committed to recording at least once, by Terrel
Stone..
..And even more (mis)committed on modern guitar to the Dorian Discovery
label by Anthony Glise. I don't
At 09:40 AM 8/12/2005, [EMAIL PROTECTED] wrote:
Just how different IS the Gallichon
structurally from our beloved six-coursers?
Much more proto-Wandervogel-like. A couple luthiers' takes:
http://www.vanedwards.co.uk/two.htm#mandoras
http://www.lutesandguitars.co.uk/htm/cat08.htm
To get on
At 10:41 AM 8/12/2005, Roman Turovsky wrote:
I suspect Stephen is mistaken in identification of the Schorn axe as
colascione, as it bears dangerously close resemblance to 2 pictures here
midpage http://www.polyhymnion.org/torban/mamai4.html
Interesting.
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At 02:59 PM 8/3/2005, [EMAIL PROTECTED] wrote:
Not pining, but I think Mozart was a much better composer than the ones
mentioned above; it would've been interesting. Any guitar that Mozart
might've heard at that time would probably have been the five course type
anyway...
It was a
At 03:48 PM 8/3/2005, Roman Turovsky wrote:
Are you joking? Eugene, this is like saying tuna was whitebait.
Are you not familiar with Mass in c-minor, Requiem, sonatas in a and c,
fantasias in d and c, 25th symphony, concerti ##20, 24 26???
Not joking at all. But you've removed my assertion
At 04:45 PM 8/3/2005, Roman Turovsky wrote:
would have offered the guitar anything different.
I might sound disrespectful of an entire instrument, but it would be
impossible to make a small rodent roar like a large feline. The most
profound lines given to squeaky voice would lose all impact.
At 04:59 PM 8/3/2005, Roman Turovsky wrote:
I think guitar habitually makes unrealistic claims..
Like lutes, mandolins, serpents, mandoras, etc., guitars are only inanimate
tools. Guitars can't be blamed for what passionate, sometimes overzealous
guitarists do in their name.
Eugene
At 12:01 PM 7/8/2005, Arthur Ness wrote:
What has confused many is
that in treble clef, the lute sounds an octave lower. I
think these days this is accepted, whereas earlier
O'Dette and others proposed a small lute to play an
octave higher than the usual instrument. I think Paul
now agrees that
At 04:09 PM 7/8/2005, Howard Posner wrote:
For Mr. O'Dettes old Hyperion recording of the Vivaldi works, he played all
with the mandolino but RV 540. The works that specified leuto, he played
with the fingers, and those that specified mandolino he played with a
plectrum. I asked him
At 06:37 PM 7/5/2005, Thomas Schall wrote:
the c-minor prelude is in staff notation NOT in tablature!
Vivaldi's lute conceros are written in staff notation, too. It was common to
write the lute part in staff notation for that kind of music. You'll find it
also in Fasch and others. I don't know
At 06:01 AM 7/6/2005, Arthur Ness wrote:
Those early 6 course guitars were also double (and sometimes triple-)
strung. I don't know when the single strung guitar became common. But
that shouldn't be too difficult to determine. There's a fine new book out
on the early history of the C.F.Martin
At 11:51 AM 7/6/2005, Eugene C. Braig IV wrote:
Staff notation being new...
This, of course, should have read ...new to guitar... Sorry for my
ambiguity.
Eugene
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At 12:23 PM 7/6/2005, you wrote:
In fact older than 6 course/string guitars: we musn't forget that the
later 5 course guitar in France in the 2nd half of the 18thC used the
octave transposing treble clef (ie as modern guitar music).
Good point, Martyn. Thus my use of the adverb roughly.
At 12:23 PM 7/6/2005, Markus Lutz wrote:
I would even assume, that the lute in the vivaldi concerts should play
also the bass parts.
I agree. I believe Vivaldi was only sketching a solo line in violinist's
shorthand and expected competent lutenists to do the rest.
P.S.: BTW - some of the
At 01:01 PM 7/6/2005, Thomas Schall wrote:
have you ever tried to play them?
I don't think the lute should play the bass part. If so, Vivaldi wrote
something (for example in the slow movement of the concerto for Viola
d'Amore, Lute and B.C.). But it doesn't disturb to add a bass here and there
to
At 01:05 PM 7/6/2005, Thomas Schall wrote:
for an overview of the early romantic guitar visit
http://www.earlyromanticguitar.com/
I like Len and his site, but in reading there be certain to recognize where
his opinion is opinion and not necessarily fact: for example, I think his
effort to
At 01:11 PM 7/6/2005, Mathias Rösel wrote:
As for Vivaldi's lute concerti, I seem to remember that someone found
out (one of the more recent issues of LSA quarterly) they were composed
in Prague and were conceived for the then and there flourishing
mandora.
They were certainly dedicated to Wrtby
At 08:57 AM 7/2/2005, Arthur Ness wrote:
...There is a transcrption of the 1680 edition. But it is for keyboard
(ed.Erdas for Ut Orpheus),and ALL THE SPECIAL FINGERINGS FOR LUTE ARE LEFT
OUT This is a resujlt of that disease guitar players seem to have,
when they claim that when lute music
At 12:18 PM 7/5/2005, Nelson, Jocelyn wrote:
I recommend, however, that you find the tablatures of le Roy, Gorlier,
Brayssing, and Morlaye. James Tyler may have an edition of some of these,
and Monkmeyer has an edition of Le Roy's 1st book, pub. by Moeck Verlag
Celle, 1995. Otherwise you'll
At 10:10 AM 6/20/2005, Mathias Rösel wrote:
just found this
http://cgi.ebay.de/ws/eBayISAPI.dll?ViewItemitem=7331352015
whatever the neck and sound board may be, the belly once upon a time was
of a baroque lute.
How are you so certain, Mathias? Do you know this piece itself? At first
look,
Thank you, Thomas. I'll watch for these. John will also be performing in
Columbus, OH,November 2005, this time on Russian 7-string guitar in duo as
The Czar's Guitars:
http://www.johnschneiderman.com/czarsguitars.htm. I'm looking forward to
it...and to buying stacks of his CDs at the ticket
At 11:56 AM 5/27/2005, Ed Durbrow wrote:
Turn your guitar hole into a lute rose.
http://www.soundonsound.com/news?NewsID=7585
These guys have been around for a great long time. I once called to probe
on their capabilities to reproduce historic, inset roses. They can't; what
you see is about
At 03:41 AM 5/24/2005, [EMAIL PROTECTED] wrote:
Copies of this book can be ordered at
http://www.hd01.com/cremonaviolins/english/ContactNav.asp for 12 , plus
delivery fees.
I have called them and the book is available
Thank you, Marcello.
Eugene
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At 02:24 PM 5/24/2005, Dr. Marion Ceruti wrote:
++Yes, you are right when applied to the lute body which can have
a plane of symmetry, this part can in theory be completely symmetrical
with respect to that plane. It is the nut and peg box that break the
symmetrical
pattern...
..and bridges
At 03:01 PM 5/24/2005, Dr. Marion Ceruti wrote:
...But what if
you apply the symmetry question to only the body and the top without
taking into
account the internal structure and bridge? Then is there a reason for
asymmetry?
I think so, and the only reason for that single plane of symmetry
At 08:20 AM 5/23/2005, Alexander Batov wrote:
I think there is one more Strad guitar in private collection in Italy, with
some late alterations (shortened neck etc); can find out more if desired ...
I have a decent French article on Strad's guitars at home. (Writing from
the office I can't
At 04:42 PM 5/23/2005, Alexander Batov wrote:
My information on the third (in our thread) Strad guitar is entirely based
on this book: Gianpaolo Gregori, La Chitarra Giustiniani Antonio
Stradivari 1681, Cremona 1998. It is a fairly thorough study with lots of
photographs and x-rays and the guitar
At 08:18 AM 5/19/2005, Arto Wikla wrote:
I doubt that! The Finnish word viha is hate (noun) in English. ;-)
At least vihuela would be a very small hate.
Eugene
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At 04:58 PM 5/16/2005, Leonard Williams wrote:
Last night's season finale of The Simpson's featured a lute solo by
Otto, the school bus driver, at the Medieval Festival. He finished his set
by bashing and burning his lute. The instrument appeared to be a very early
four-course model.
At 08:59 AM 5/6/2005, The Other wrote:
Robert Heinlein.
What do you think about his premise in Starship Troopers?
(I'll need to reread the book again to be certain.)
That the right to vote is only given to those who have served in the
military.
I don't think anything at all about it...in
At 09:45 AM 5/6/2005, Herbert Ward wrote:
I think being rigidly on-topic is bad.
I think that art which is isolated from the real world is not viable.
Of course, but topics that are thoroughly isolated from lute on this list
should not be viable. It's too bad they seem to be the most viable.
I am intensely skeptical of the Mozart effect. Not so formal as peer
reviewed article abstracts, but this little online entry sums things up nicely:
http://skepdic.com/mozart.html
Eugene
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At 10:21 AM 5/6/2005, Roman Turovsky wrote:
Is the Right to bear Lutes inalienable?
Without doubt!
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At 10:34 AM 5/6/2005, [EMAIL PROTECTED] wrote:
Eugene C. Braig IV scripsit:
At 10:21 AM 5/6/2005, Roman Turovsky wrote:
Is the Right to bear Lutes inalienable?
Without doubt!
Make it audible in Washington.
Oddly enough, part of my day job is to pound the pavement and be audible
Whatever I think of this topic is irrelevant on this list. I get enough of
this type of banter from conversation, radio, print media, television,
etc. Unfortunately, I get precious little talk of lute kin from most
conversation, radio, print media, television, etc. I wish I could get some
Here is the last bit of anything I have to offer on Gorzanis and the
mandolin orchestra at the moment, this from the liner notes of the
previously cited CD:
Gorzanis, a native of the southern Italian province of Puglia, was blind by
birth [EB: if he was blind by birth, thank God he enjoyed his
At 08:15 AM 4/28/2005, [EMAIL PROTECTED] wrote:
I was asked to play some Villanella by G.Gorzanis to our local mandolin
orchestra who want to play an arrangement of them (by D.Kreidler) - does
anyone know if there are online editions of these pieces are available?
I don't know, but I doubt it.
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