My wife and I were reading this very song a day ago. Lovely
performance.
Thanks,
jeff
Sent from [1]Mail for Windows 10
From: [2]Diego Cantalupi
Sent: Monday, March 23, 2020 8:41 AM
To: [3]lute@cs.dartmouth.edu
Subject: [LUTE] Re: Things to play in quarantine
Hi, folks--
I just received an email from a friend (concert guitarist) who has a
colleague (conductor) who is in need of an archlute for a performance
of a piece by Takemitsu. The performance appears to be taking place in
the Atlanta area. I have no other information than that--no
Hi, folks--
A friend of a friend needs a lute player for a performance in central
New Jersey. Described to me as an easy gig and easy $$.
That's all the info I have, so I cannot help with details about date or
rep.
If anyone in that neck of the woods is interested, he/she can
A friend contacted me yesterday looking for the Kapsperger song Ai
conviti, alle nozze. I've checked my few Kapsperger songs as well as
those in the local music library--no luck.
Any chance that someone on this list has or has access to this song?
I'm sorry but I do not even have
Any chance that anyone on the list has or has access to this article?
I'd love to get my hands on a copy.
aEUR~Sinner's Sighs'aEUR The Devotional Lute Songs of John Dowland
and Thomas Campion. In: Nicole Schwindt, Hg. Gesang zur Laute.
Trossinger Jahrbuch fA 1/4r Alte Musik. Bd.
Seem to have lost some clarity in the title in my previous email. Here
it is again--maybe clearer:
Any chance that anyone on the list has or has access to this article?
I'd love to get my hands on a copy.
'A Sinner's Sighs' The Devotional Lute Songs of John Dowland
and
I would suggest that you read faint as a version of feint--to pretend--
So--it would be shameful to pretend to be thankful--especially since
any debt (gratitude) to power must be paid honestly (duly)--and (the
poem continues) this is important because a noble (upright, honest)
mind
A vocal student here at the university just asked for help locating a
couple airs de cour he wants to put on a recital. I'm swamped with
performance and class preparation and my time for doing this sort of
digging is limited right now. I can eventually get to it, but the
sooner we
I recently played a very nice 4 movement sonata for baroque flute
attributed to Vivaldi. In the key of e minor. This is a continuo part,
not a tabbed accompaniment. I played it on theorbo and it works fine.
I have no specific information about the source--I had to do a cut and
paste
The Bickford Concerto seems to have been conceived as a gtr/pno duo
from the start, principally as a vehicle for the composer and his wife,
Vahdah Olcott-Bickford. She made much of the piece in her columns in
Cadenza, Crescendo and The Serenader, touting it as the first and only
Presenting contemporary works as historical is a long tradition in the music
biz--
See Charles Cudworth, Ye Olde Spuriosity Shoppe, or Put in the Anhang in
Notes 12 (1954-55).
The program notes to a recent Naxos recording of Ponce's solo guitar music
recounts this episode. Segovia was
Broude Brothers Performer's Facsimile Series--lute song books by Dowland and
others as well as Robert Dowland's Varietie of Lute Lessons. They used to be
priced around $18-25 per book.
Broude does have the occasional sale where you can save 10-20% if you spend
enough $$, but OMI should
Hi, David--
I was asked to play the piece with a student ensemble a couple years ago.
They all played modern instruments at 440. I played a gut-strung theorbo in A
that was generally tuned at 415. I ended up rewriting the part just so I had
something to play--if I'd had my way, I would
] wrote:
On Sep 11, 2007, at 8:40 PM, Jeffrey Noonan wrote:
A question--I've recently run across references to a lutenist identified
variously as
Francisco Weiber
Francisco Weber
Francisco Waber
He was active in London in the 1720s and performed with the
composer
Hi to all--
A question--I've recently run across references to a lutenist identified
variously as
Francisco Weiber
Francisco Weber
Francisco Waber
He was active in London in the 1720s and performed with the composer/cellist
Giovanni Bononcini as well as the castrato
My first lute was an Aria and I got it in 1977. For a factory-made instrument,
it was probably not too bad, but as a lute it left a lot to be desired. The
construction was primarily plywood (good quality, but plywood nonetheless) with
a stamped-out rosette. As a result, it was pretty heavy
I've recently begun a very productive collaboration with Jay Carter, a
countertenor from the Kansas City area. He and I have a series of recitals in
the next couple months and I'd like invite folks who might be interested to
come out for the performances. Jay is a wonderful young singer and I
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