I checked http://www.trekel.de/ on a whim. It is in their catalogue, no.
002034, but I suspect your orchestra may already have this edition
on hand.
Best,
Eugene
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At 10:13 AM 4/28/2005, [EMAIL PROTECTED] wrote:
sorry - it seems I used the wrong words. Actually I was asked to play to
them the original renaissance lute settings on my lute. I don't like those
arrangements for mandolin orchestra - when I was a child they played things
like La Traviata. In my
Hmmm...Cumpiano http://www.cumpiano.com/, in whose shop this work was
executed, is a rather famous luthier, having generated a staple text on the
guitar maker's shelf (coauthored with Natelson), Guitarmaking (I have a
copy you'd be welcome to peruse, Chad). It's a decent book, but they
At 10:29 AM 4/20/2005, Roman Turovsky wrote:
The differences between slender lutes's shells like Schelle, Tielke, Frei
are so visually insignificant, that luthiers do as they please with their
nomenclatures. And the best ones' designs are original rather than slavish
copies.
This topic is
At 11:05 AM 4/20/2005, Roman Turovsky wrote:
When will big, flat-backed lutes built for renaissance
tuning and incorporating Kasha/Schneider bracing systems and bridge designs
sweep the lute world? Why not use geared tuners? Etc?
Has been exhaustively discussed. Let's not whip this beached
At 12:00 PM 4/20/2005, Roman Turovsky wrote:
I know it has, and I am not remotely interested in a Kasha lute with geared
tuners, but how is changing the profile or air volume of a soundbox without
precedent, even if slight, different than any of the more radical
absurdities I've listed?
At 12:12 PM 4/20/2005, Roman Turovsky wrote:
Liuto Forte is definitely too much. MixingMatching several Baroque styles
is acceptable, because it was a sufficiently common practice.
Mixing and matching is related, but slightly different to my inquiry. How
about only a slight but definite
At 12:29 PM 4/20/2005, Roman Turovsky wrote:
As to ergonomics: a slight variation won't matter much. But if you'd
compared a Hoffmann against an Edlinger you wouldn't be asking this
question.
Once again, I'm not talking about any modification with precedent in
baroque-era pieces. I'm sorry,
At 02:27 PM 4/20/2005, Eric Liefeld wrote:
For what its worth, as you know Dan has also made
some rather direct copies of the Cutler-Challen Strad
mandolino (as it now exists)... very successfully, IMHO.
Yes, the one with which I tweedled was very nice: remarkably loud and
bass-rich.
Also,
At 04:43 PM 4/20/2005, Roman Turovsky wrote:
I'm sorry, but the best examples I can call to mind
are the baroque mandolini of Dan Larson and the barockmandolinen of
various current German luthiers (Dietrich, e.g.): nice lute-related
instruments with nice sound, but of
Thank you for the review, Thomas. I know the Dietrich shop was producing
big, pseudo-anachronistic barockmandolinen that were highly idealized and
weren't really patterned after any extant instruments, but they since have
been building more faithful reproductions of later 18th-c. pieces from
Since this has ventured into the realm of early guitar, I'm attaching the
relevant address as well:
At 03:03 AM 4/6/2005, you wrote:
Didn't JW also record on a period guitar? I think I have a record when he
plays concerts for guitar and orchestra on a period guitar (and also saw
this performance
At 08:12 AM 4/5/2005, Roman Turovsky wrote:
In fact, in general people who understand music find JW unlistenable.
While he isn't my favorite guitarist, I occasionally do enjoy hearing John
Williams. I would rather hear him play guitar music than lute music, and
his propensity to edit out
At 10:05 AM 4/5/2005, Roman Turovsky wrote:
[Williams] arrives at each coordinates on time with both hands, but just
doesn't get
the blues.
I certainly can't argue that. That's why I enjoy Williams on Koshkin or
Domeniconi--i.e., newish music suited to technical interpretations--but
favor
At 10:26 AM 4/5/2005, Roman Turovsky wrote:
I suppose you haven't heard Eduardo Egüez on dV..
I have, although my exposure is limited to a singular suite once heard on
the radio. It's not on my personal shelves yet...but soon. I like it
too. It struck me as being tastefully executed
At 05:36 PM 4/4/2005, Roman Turovsky wrote:
I catch JW on the radio once in a while. To this day I cannot figure out
what's the big deal about this dude...
I don't know that this is quite the appropriate forum for this topic, but I
think Williams' recordings can come off a little dry, too
I've written quite a bit on my thoughts of this in correspondence with
various characters on and off list, so I'll try to focus here as much as
I'm able.
At 07:47 PM 3/16/2005, Dr. Marion Ceruti wrote:
In biology (and Eugene will correct me if I am wrong) if something is
sufficiently difficult
A minor clarification: Prunus is the generic name of cherries and plums,
e.g., Prunus serotina (the only North American species of importance as a
timber producer) is the wild black cherry, Prunus being the genus and
serotina the specific epithet. I believe a number of European Prunus spp.
At 03:38 PM 2/26/2005, Michael Thames wrote:
...1765, the same time when first classical guitar, with single strings
(Wound metal on silk) started to appear.
Actually, such guitars didn't come until a couple decades later...but the
first Neapolitan mandolins did appear around this time and did
At 08:27 AM 2/27/2005, Howard Posner wrote:
This actually happens rather a lot in barbershop quartet singing.
Barbershoppers adjust intervals on the fly to get chords to ring. Since
they're constantly flattening thirds, this tends to make the overall pitch
drift downwards. They don't care.
single-course variants like
the arch-guitar, lyre-guitar with 7-10 or more strings apparently preceded
it in the 18th century.
a.. More info. http://home.houston.rr.com/verrett/erg/erg/evolution.htm
Michael Thames
www.ThamesClassicalGuitars.com
- Original Message -
From: Eugene C. Braig IV
At 04:40 PM 2/22/2005, Alain Veylit wrote:
I have many friends in the sciences and I have always loved the titles
of scientific articles for their sheer poetic impact. As a matter of
fact, I have just been invited to a conference entitled: The Evolution
of Exclusive Paternal care in Arthropods.
At 05:19 AM 2/12/2005, Martin Shepherd wrote:
The modern 12-string guitar is tuned in octaves on the lowest three courses.
More often, the lowest four, only b and e' being in unison.
Best,
Eugene
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At 01:18 PM 2/8/2005, [EMAIL PROTECTED] wrote:
Is there any iconography showing use of the ubiquitous bird house book
stand as a music stand?
Here is an odd, folding stand in a 1746 painting by P. Longhi. Maybe a
little late for the discussion at hand, but does this count? (I just like
this
The following arrived from Michel Cardin a couple weeks ago. I thought it
may interest some of you.
Best.
Eugene
Dear all, Chers amis,
This is to let you know that the CD Weiss-Vol.12, last of my London
Manuscript series, is now available from myself, by email order. I decided
to manage
At 04:01 PM 1/27/2005, Gernot Hilger wrote:
What Caroline means is that the recent outburst of absolutely-non-lute
messages sucks.
I second that opinion.
g
Here's a third.
E
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Oops, sorry for my sequential e-mail reading/replying redundancy.
Eugene
At 08:00 AM 12/27/2004, Roman Turovsky wrote:
Actually not. Not is this particular form.
MANDOLONCELLO would be an appropriate term.
mandocello makes little sense.
RT
__
Roman M. Turovsky
At 07:30 AM 12/27/2004, Edward Martin wrote:
And, in terms of mandolins, mandocello.
Or, more properly, mandoloncello, which was later Americanized to mando-cello.
Eugene
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At 11:33 AM 12/27/2004, Howard Posner wrote:
MANDOLONCELLO would be an appropriate term.
mandocello makes little sense.
True only if you assume it's a real Italian word. I believe it's actually
an American term formed by analogy.
Mandoloncello is a proper Italian word and the original,
At 12:32 PM 12/27/2004, Howard Posner wrote:
Is there such an instrument as a mandolone? And if there is, can the
mandoloncello/mandocello be said to be a small one?
There is and of sorts respectively. Like the violoncello to violin,
the mandoloncello is more like a big mandolin than a small
At 08:24 PM 12/16/2004, Carl Donsbach wrote:
After a time I also found a source for gut guitar strings. I found that
their rougher texture made it much easier to control the attack.
Aquila is now assembling gut sets for 6-string guitar: their Gut Silk
set has gut trebles and wound silk
At 03:10 AM 12/15/2004, [EMAIL PROTECTED] wrote:
This is nothing new. The domination of nails in guitar technique is
relatively
recent and was still debated well after 6-string guitars became the standard.
Fernando Sor himself advocated nail-less technique.
Right... Sor advocated a no nails
A statement that flamenco's roots are ancient certainly is defensible, but
the concept of flamenco as a form--as a defined conceptual nugget--is
decidedly post-baroque. I-IV-V progressions are as old as music itself,
but you'd be hard-pressed to convince me that blues or rockabilly is
At 01:07 PM 12/13/2004, bill kilpatrick wrote:
as the heart beat is the basis of all rhythm and as
folk's hearts beat the same everywhere, i can't see
why one rhythm and the natural progression that
springs from it need be cut off from its medieval, or
earlier roots - blues and rockabilly
At 04:06 PM 12/13/2004, Roman Turovsky wrote:
..And I think the driving ostinato of O Death, Rock me Asleepe is a
clear precursor to the gloom-and-doom death metal of the early 1970s as
pioneered by Black Sabbath.
E
http://www.sabbatum.com/sound?sess=f4b25a12a907666261a78bfae1b60920
RT
At 03:24 AM 12/9/2004, Ed Durbrow wrote:
New to the list here...
I'm a classical guitarist in love with lute music, and am transcribing
a song by MacFarlane. I recorded it, raised it an octave, and then am
playing it back at 50% speed to help in getting an accurate
transcription
My
- Original Message -
From: Eugene C. Braig IV [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Wednesday, November 24, 2004 12:20 PM
Subject: Re: early recordings
I know Neil Gladd http://www.neilgladd.com/ is preparing a couple such
projects from early mandolin recordings (i.e
At 10:06 AM 11/28/2004, Roman Turovsky wrote:
All this DOES NOT PRECLUDE GUT-WIRE COMBINATION rather early, as weaving
textile grade wire into gut is absolutely conceivable, and this is probably
what Gerardus Cambrensis saw in Ireland in the 12th century.
..Or (and not really knowing much of
I know Neil Gladd http://www.neilgladd.com/ is preparing a couple such
projects from early mandolin recordings (i.e., not recordings of early
mandolin) for Belmando Records http://www.belmando.com/. He's done such
stuff before and shared images of the work in progress. I can't recall if
he'd
At 05:22 PM 11/11/2004, Howard Posner wrote:
Sure. Does anyone have an opinion about whether spotted owl feathers make
good plectra?
Don't know...but they sure are tasty when slowly smoked over chips of
freshly harvested Dalbergia nigra.
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At 02:42 AM 11/10/2004, Jon Murphy wrote:
...But eagles do shed feathers now and then.
I take no issue with the legal harvest of game for food or even for
trophies. I also take no issue with ownership of antique pieces of craft
legally made of endangered species (I own a fair deal of antique,
This is a peripheral realm near to my day job. I have a great many friends
within the agencies charged with enforcement (esp. the US Fish Wildlife
Service). You're right about the cause of eagle endangerment, Vance, but
protected animals are still often taken as trophies, which doesn't help
At 05:19 PM 11/5/2004, [EMAIL PROTECTED] wrote:
Eugene--
Speaking of classical banjo, have you heard Béla Flek's
album Perpetual Motion? He does a remarkable performance on banjo of
Bach, Scarlatti, Debussy, Beethoven and more.
I do. As a certified subscriber of this list, I tend to
At 09:50 AM 11/8/2004, Patrick H wrote:
I have been listening to a CD of works by Giuseppe Antonio Brescianello by
guitarist Anthony Glise (which is great, by the way), but I am intersted
in the instrument that Brescianello wrote for, the colascione. The pieces
I have found work really well on
At 09:50 AM 11/8/2004, Patrick H wrote:
I have been listening to a CD of works by Giuseppe Antonio Brescianello by
guitarist Anthony Glise (which is great, by the way), but I am intersted
in the instrument that Brescianello wrote for, the colascione. The pieces
I have found work really well
This, of course, has much less to do with the staff lawyers of the Lacota
Sioux than it has to do with the endangered species act. I make due with
goose, vulture, or non-avian celluloid on early Neapolitan mandolin and
don't feel inferior for it.
E
At 01:25 PM 11/8/2004, bill kilpatrick
I love this weird stuff. There was a thriving ca. 1900 classical camp of
banjo playing, especially in the US, UK, and to some extent, Italy. If the
gut-strung but recently-fretted banjo and its repertoire intrigue, I'd
recommend Douglas Back's _The_Banjo_Goes_Highbrow_ and
At 08:08 PM 10/14/2004, Vance Wood wrote:
Don't misunderstand, I still believe more is better but I
have found it is not enough to just play a lot, you have to play smart.
Drat! I'm doomed to mediocrity.
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At 01:49 PM 9/28/2004, bill kilpatrick wrote:
my italian is ok for olives but not much else -
certainly not anatomy ...
How about portatif?
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I don't think the guitar really did flourish. At about the time the lute
was busying itself with entering obscurity, the guitar was doing the
same. Certainly, there were occasional efforts at keeping each instrument
active. However, between the time of great 5-course composers of the high
At 09:03 AM 9/24/2004, you wrote:
Only one (in Jacquemart-Andre) has
gained universal acceptance; there are still unresolved issues around the
others...
..and, as is often mentioned in this discussion, the Jacquemart-Andre
piece doesn't appear to have been built with the intent for it to serve
At 09:40 AM 9/24/2004, ariel abramovich wrote:
Hi there,
I'm afraid that Chambure's vihuela has gained as well universal
acceptance, at least within vihuela experts' circle.
On the other hand Jacquemart-Andre's vihuela was, as Eugene suggests, built
for different purposes than playing music on
At 05:16 PM 9/22/2004, Stewart McCoy wrote:
Although it is true that an introductory passage may be separated
from what follows by a comma, it would be incorrect to use a comma
after passage, as you suggest for a sentence in my last e-mail,
since Throughout that passage is not an introductory
Fluting allows one to make the joints between ribs thicker for a broader
gluing surface. The luthier can start with a slightly deeper, heavier rib
and then remove the excess mass by carving out excess wood along the span
of the rib while leaving the glued joints broad. Another possible
At 12:55 PM 9/23/2004, Stewart McCoy wrote:
Dear Eugene,
Many thanks for another bit o' fun. I'm pleased we won't be having
pistols at dawn over a comma. :-)
All the best,
Stewart.
Indeed, I'd rather enjoy a cordial pint o' stout over commas use!
E
To get on or off this list see list
At 03:58 AM 9/22/2004, Stewart McCoy wrote:
If we corrected each other's mistakes in English, we'd be here all
day.
Indeed.
1) One should not normally begin a sentence with But, since but
is a word used to co-ordinate two parts of a sentence.
..i.e. a conjunction.
3) Throughout that
At 05:05 PM 9/18/2004, bill kilpatrick wrote:
how do you make a distinction between
two similar instruments - sitting side by side in a
museum display cabinet, say - based on a supposed
method of tuning and struming?
- bill
I'm not entirely certain of the kind of reply this is seeking. In more
Indeed. It's only unfortunate in trying to define relationships between
chimeras long after the original inspiration is forgotten.
At 11:23 AM 9/22/2004, Roman Turovsky wrote:
I personally don't see this as unfortunate. All the lutenistic chimeras make
our life diverse and interesting.
RT
Sorry, I'm not a luthier. Still, I'd wager the eBay piece is an oddly
shaped, early 20th-c. German wandervogel guitar-lute. The decor and tuning
machines coincide perfectly with such things.
While uncommon, English guitars with a multi-ribbed, bowl-shaped back did
occur. The Met in NYC has
Last I knew, the English guitar in question was not on the floor, but in
the archived collection. Did you go behind the scenes while at the Met
or is the piece now on the display floor?
The piece to which I was referring has a tortoise fingerboard edged in
engraved mother of pearl with a
At 08:14 AM 9/17/2004, [EMAIL PROTECTED] wrote:
Monica,
Is the mandora/mandola the same instrument also called
mandore/mandolino...a tiny lute-like instrument tuned in fourths and
fifths? (the instrument of the Skene MS etc)
I seem to remember - maybe Donald Gill or maybe James Tyler - saying
Tyler Sparks (2002) conclusively state that the guitar and vihuela were
considered as two distinct instruments in 16th-c. Spain. The evolution of
vihuela in Spain and Viola in Italy is usually placed as a subset of proper
lutes. The topic is still touchy and I believe the distinction blurred
Greetings bill,
At 03:17 PM 8/30/2004, bill wrote:
first off, i'd have to say that you are 100 times the musician i am.
You are far too generous, bill. I get this with some frequency...until my
accuser actually hears me _play_ music. All such illusions are immediately
shattered.
so,
You make a good point here, Stewart, one I feel I'd like to elaborate
upon. One reason a performance of early music can never be authentic is
that all performances will lack an authentic audience. When Bakfark's or
Piccinini's music was new and exciting, nothing like it had been heard by
Mr. MacKillop used to have images of his wee mandore, front and back,
online. Did they persist anywhere after his retirement? I have used them
in a Powerpoint presentation on mandolin history that I give to
grade-school kids.
Eugene
At 07:51 PM 8/23/2004, Stewart McCoy wrote:
Dear Bill,
It's not uncommon to see destitute early-music bands using inexpensive ouds
as medieval lutes. I tend to think you should not bother with any
conversion whatsoever (you might even leave it at 5 courses) or keep
conversion to minor things to make it slightly more similar to what the
current
In the US, some folks will use big shops like Luthiers Mercantile:
http://www.lmii.com/. Not specifically lute, but a very knowledgeable
tonewood supplier of some repute in the US is Bruce Harvie of Orcas Island
Tonewoods: http://www.rockisland.com/~tonewoods/; he seems quite open to
At 03:01 PM 8/24/2004, bill wrote:
On Martedì, ago 24, 2004, at 20:56 Europe/Rome, Eugene C. Braig IV wrote:
destitute early-music bands using inexpensive ouds
...ouch!...
Really, no offense intended. I was only trying to legitimize your intention.
luciano faria made your beautiful
I have usually encountered that term as a variant of renaissance mandore,
a soprano lute of the late renaissance popular in France and similar to
mandolino (i.e. NOT the tenor-baritone mandora of the rococo
era). Praetorius labeled it mandoraen. The Skene manuscript of Scotland
is an early
All you've written is, of course, true (well, to the extent of my
knowledge; I am not familiar with the Andean balalaika). Still, however
similar a thing is to its ancestor, most cladistic branches are branches
because they show sufficiently different construction, tuning, string
Voila! That's Frank Ford too, one of the best repair luthiers in the US.
At 11:59 AM 8/10/2004, Herbert Ward wrote:
not prone to creep over time like the aliphatic resins, but may be a
little more susceptible to weakening at high temperature.
Here's a guy who tested hide glue and aliphatic
This is, of course, largely a group of earl music enthusiasts. The earlier
charangos tended to favor a more vertebrate-based bowl construction. I
have no idea at what temperature armadillo hide begins to break down...I
don't think I want to find out.
Eeew,
Eugene
At 04:32 AM 8/11/2004, bill
, is entirely up to them.
chow... - bill
On Mercoledì, ago 11, 2004, at 14:18 Europe/Rome, Eugene C. Braig IV wrote:
This is, of course, largely a group of earl music enthusiasts. The earlier
charangos tended to favor a more vertebrate-based bowl construction. I
have no idea at what temperature
To some degree, different glues will go into different joints, but most
modern mass-produced instruments are largely built with aliphatic
resin-based glues (e.g., Elmers and yellow wood glues). Martin was rather
conservative in the date they converted, but even they use such stuff
now. The
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