Sorry to bother you with something off-topic.
I'm looking for biographical info on John (William) Horton, English
musicologist, born in 1905 in Nottingham. He worked for the BBC between 1937
and 1947 and wrote studies on Scandinvian 19th century music, Mendelssohn
and Brahms. He is in the New
I'll have to play the Vivaldi D-major lute concerto next month. I thought a
small a'-lute would be the best choice (fastest, best projection), but I
have a cd with very funky performance by Il Giardino Armonico where the part
is played on an archlute. Strong, but a little woolly. Sounds like it
Thanks to all who send very helpful advice, on and off-list, concerning the
correct instrument for the Vivaldi lute concerto in D-major. I've had a very
enjoyable day playing through the concert on a'-lute (Yes, I'll do it on my
little sportscar a'-lute!) and archlute (No, the bigger archlute
enough that it takes a degree of force to bring it to its proper
position,
where it just might stay. Here is where you swell the end and trim it.
Good instructions and pretty much as I do but this is a question on the
order of events.
I've generally cut and swelled the end (w/ a hot
Dear Chris
off my right hand guitar nails to concentrate on the
..
months, I'm afraid I will still have to perform some
casual gigs on the modern classical guitar from time
to time (I actually play a lot of contemporary music)
..
on my very serious classical guitar teacher hat and
nails
I suffered a long time playing modern guitars without nails - on my guitar
this was not possible.
That's why I am selling my Hopf Portentosa. Anyone knows a left handed
player looking for a great guitar? See www.davidvanooijen.nl for details.
Enough guitar talk for this list.
David
To
But Goebel has a point. Once a year I am asked to play in one particular St.
Matthew, bring my archlute and do all the 'appropriate' continuo, but the
conductor asks especially for me because I can be so noisy in the 'Unde die
erde bebete, unde die Felsen zerrissen, c on baroque guitar. Very
consulting Music Index or RILM. There are some ensemble
works that include a contuinuo part for guitar in
alfabeto. Even more name guitar on the title page as
an apprpriate continuo instrument,
I'm sure there are, but perhaps Reinhard Goebel's point was that Bach's
cantatas were not among
David, do you play the obbligato in the St. Matthew, or is it still given
over to gamba? It is so ugly and awkward on the latter instrument, imho.
Once I was so lucky - the big hall in the Concertgebouw Amsterdam on Good
Friday: how lucky can one get? - to be allowed to play the obliato. On
Thanks to all who helped when my HDD broke, I was able to rescue at least
the article I wrote on the speculative connections between Narvaez' Mille
Regrets and Charles V. It's available on my homepage, section 'Writings'.
Also availbale a short soundclip of Sumi Jo's singing, for those interested.
Sacra, real majestad,
la vieia que echó al cornado
tuuo tal fe y claridad
que más dio en la voluntad
que quien más oro avía dado.
Otro tanto en mí se muestra,
aunqu' es poco lo que ofrezco,
por la voluntad merezco.
qu' es tan grande por ser vuestra
que casi m' ensoberuezco.
(old
We sympathize with you and your theorbo. I cannot offer a replacement, but
may we know what happened to your instrument, and how it happened? In view
of the recent discussion on how to bring your (large) lute on an airplane,
it might be educational for all of us. Perhaps another trap to avoid
I was looking for the violin part and score of BWV 1025, which uses
Weiss´ Sounata A major No 22 from the Dresden MS. However it seems to
be very rare and not available in all the libraries around, as it is
not included in the Bach-Gesamtausgabe.
It is. In the old edition Volume 9, page
I like those little romantic guitar replicas.
Me too, but you can leave out the 'little', they are gerat guitars! I have a
Fabricatore (ca. 1811) by Gary Southwell from Nottingham. But as some
already said, originals are not that hard to come by, either. I played on a
1829 (or was it '47?)
as an example. If we set our frets to a meantone temperament (putting
aside tastini for the moment - as a single keyboard would have to
have just one note per key), it happens to work out that all the
notes at every fret are in that temperament.
Ed
No, many, but not all. Enough to play
On the issue of basses I think the jury is still out. The study of
history
is full of examples of ancient technology that we cannot duplicate even
with
all of our science and data bases. Personally I think it unlikely that
period Lute players would have been happy with what we call period
These days unequally tempered lutes, theorbos and guitars play
with
unequally tempered harpsichords and organs all the time.
Of course. I enjoy hearing and wouldn't want to imply otherwise. They
still aren't quite in tune with each other, especially in remote keys.
Again, you seem to be
Thanks for the info on the translation, and the book! I will order, looks
good.
David
- Original Message -
From: Rob MacKillop [EMAIL PROTECTED]
To: 'lute list' lute@cs.dartmouth.edu
Sent: Wednesday, March 29, 2006 8:19 AM
Subject: [LUTE] Re: Griffiths and Bermudo
The links for
which can be studied at http://www.larips.com ...
I like Mr. Lehman's work, however it (or any talk of keyboard
temperaments)
has little direct relevance to fretted strings. Bradley can tune every
Of course, but we have to play together with keyboards, and think of
something not to be
Yes - right. But I would rather consider the Regias Pietas as solo music
because the melody line indicated by the asterix often does not match the
melody of the geneve psalter (if I recall right).
I thought they were (it says so in the introduction of the facsimile,
anyway). Fitting the
From the top of my head (and my book shelves) in the lute song repertoire
alone:
Vallet - 21 psalmes
Vallet - whole pasleter, (twice!)
Dowland - a number of songs
Campion - a book full (Divine and Morall Songs) and more
Allision - whole psalter
Valerius - a number of songs
French air de cour
As a not-so newby, and a perfoming luteplayer, I'm not interested in a
modern version of a period instrument. I find I can hold my own in terms of
volume in any group, especially if the rest plays on period instruments like
I do. But even in a modern, and large!, orchestra I know what to do to
Beste Teun
Take your lutes to someone who can tell you a bit more. Where do you live?
If you go to Sebastian Nunez in Utrecht he will not only give you good
advice, but strings as well.
David
David van Ooijen
Email: [EMAIL PROTECTED]
haven't seen very many current photos of lutenists with their right
hands held in that position shown in the paintings.
Like David, I am curious to hear an explanation of the close hand.
Paul Pleijsier
Hoi Paul
Talk to Toyohiko, he is doing that these days. Gradually, to be fair, but
step
¥ªí×~öÛôuõçÎ kSÞ.º.Ö«È*'µéíO*^sémS-«·ö¥µêçjدyº.Ö«
This is what my playing sounds like w/ nails.
On carbon, that is.
David
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Dear Rob
Welcome to the club, I thinks you'll enjoy it here, and I'm sure we can all
learn something from your lute making experience.
David
David van Ooijen
Email: [EMAIL PROTECTED]
Http://www.davidvanooijen.nl
-
your clean shop reference brought this to mind:
http://www.mikeouds.com/messageboard/viewthread.php?tid=3497
:-) I especially love the smile on the man's face. One happy guy!
Brings to mind a certain workshop in London. Great lutes, great mess. Some
makers I know have very _very_ 'clean
Just a general questioning concerning the different tonal
characteristics of lutes/theorbos. Does the following create a
different sound?
A thought everyone would jump at this question, so I left it aside. Besides,
where to start? Read Robert Lundberg's book on historical lute construction,
Multi rib vs broad rib
The shape of the body makes a difference and with more ribs you have
more control over the shape.
I might have read somewhere that fewer ribs give u a darker sound opposed
to multi rib. Do you think there is any truth in that?
I never heard of that. All I can
Now of course if you are from Tokyo, Ohio (not just Ohayo Gozaimashita),
ROTFLOL!
Thank you, very funny.:-
David
David van Ooijen
Email: [EMAIL PROTECTED]
Http://www.davidvanooijen.nl
To get on or off this
LGS-Europe
Email: [EMAIL PROTECTED]
Http://www.davidvanooijen.nl
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
delivers gut-like tone
Not bad advertising, they know what it's all about. But at a string
tension
of over 7kg! No wonder they hurt my fingers since I cut my nails.
Aren't these guitar-strings?
In the old days of gut, tensions like 7kg were not strange, especially for
a top string. In
See my dDIY-paper on ligatures in 16th century music. It's on my website:
www.davidvanooijen.nl (find the section called 'writings'.
Or downloadable as convenient pdf:
http://home.planet.nl/~d.v.ooijen/lgs/ligatures_bestanden/Ligatures.pdf
End of self-advertisement. ;-)
David
There was some discussion a little while ago about using the left hand thumb
to finger notes on course 6. Apparently it was done? A narrow neck is an
advantage in this case. Similar story with 19th century guitars.
David - proud owner of a narrow neck 6-course, but never tempted to use the
Dear Daniel
Good question. As many different answers as there are theorbo players,
probably.
For Italian continuo: large. Everything: body, stopped strings, extended
basses. Read Linday Sacey's article, it recently circulated on this list, it
explains why you should have a big as possible
I was going to tell about my new archlute.
61 / 105cm; 7x2 / 7x1
in g' at a' = 440Hz
all gut
15 ribs of yew
Based upon Stephen Barber's no.25 in his continuo section.
It's a good looking instrument, snake wood fingerboard and all. Stephen took
some pictures he will put on his website, all in due
Dear Gary
My experience with Terzi is largely based upon playing his duets, all of
them. The accompanying parts are faithfull intabulations of vocal pieces,
and an effort has been made by Terzi to get in every note of the vocal
original, against all lute-practicalities like having only four
Never you mind. I enjoyed it. Brought back some memories form days gone by.
:-)
David
- Original Message -
From: Rob MacKillop [EMAIL PROTECTED]
To: 'lute list' lute@cs.dartmouth.edu
Sent: Saturday, February 11, 2006 6:49 PM
Subject: [LUTE] Re: Best lute video ever
Erm...The song
For years now Minkoff is promising a reprint. I'm waiting, too, making do
with fotocopies.
David
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had Nigel North playing Bach for 3 euro,
Hopefully on an all gut-strung lute??
;-) No. It was the 1985 recording (young NN on the cover!) on a huge Van der
Waals Hoffmann.
New (?) in the shop: Harmonia Mundi cheap series: POD playing Kapsberger on
theorbo and 10-course lute for 5 euro.
Thanks everyone who helped me whith Carlos - Mille Regretz. I have the text
now and have used it.
I'd like to use this opportunity to thank the list in general for always
helping with quick responses and specialised knowledge. Even if I do not
always get a direct answer, usually I do get at
Could I be so bold as to ask someone with the Carlos V - Mille Regretz cd by
Jordi Savall and the Chapel Reial de Catalunya to be so kind and scan the
booklet text and send that to me off-list? I'm writing something on Charles
V and Mille Regretz and Morales c, and the library didn't have the
A short vertical line is often used to visually connect wide-spaced
elements of a chord (forestalling misreading) -
c-
--
|-
--
--
c-
Or a most definitive plaquée (together) as opposed to séparée (broken chord)
in some French baroque sources.
David
To get
Is it true that Mozart added a short cadenza for solo lute in his version
of the Caecilia ode?
I don't know what is Händel and what is Mozart in the lute part (aria no 5:
Der Flöte Klageton, b-minor), but there is some sort of cadenza for lute and
flute at the end. Most of the lute part is
Händel's St. Caecilia ode, reworked by Mozart, has an aria for flute and
lute. (Done that.) The littel mandolin ethingy from Don Giovanni works well
on a lute. (Been there.) Toyohiko will have an interesting article 'Did
Mozart play lute?' for next Nostalgia. Just because many of his songs fit
Actually a friend of mine's wife was in the hospital and he played
Dowland songs for here everyday.
Yes: Die not before thy day.
(Sorry, couldn't resist.)
David
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David, please tell us how it works out for you - I think we may be
missing something if we don't at least try it.
I think so. I was walking in the Cité de la Musique among all those
Sellasses with double firsts, when my new archlute began to take shape in my
head. At least I should give it a
I know this piece very well, play it often in concert especially when
Dutch people are in the audience, because it's their national hymn
How nice of you. Don't be too sensitive to our Dutch feeling of rythm,
however, as the Wilhelmus has changed considerably since Adriaenssen. Just
as a
They look cool!
My Kingham glass-fibre reinforced case is being made as we speak. It's GBP
377 for a smallish archlute. Weight I don't know yet, but it's supposed to
be much stronger than a usual Kingham case.
David
- Original Message -
From: Benjamin Narvey [EMAIL PROTECTED]
To:
Like you, David, I feel myself moving more towards the archlute, but it
must
be awkward reading tablature with your special tuning.
Not al all. As all (?) renaissance lute players on more than one lute, I
read everything below the 6th course as notes. Depending on the instrument
at hand I
most stressing gig I have ever been: The orientation in the Spanish
type of rondo form, Chorus-Coplas-jungle
I know, and you can even get lost long before that: those rhythms!
Glad you enjoyed yourself
David - straigthforward Maria Vespers tonight: heaven is just around the
corner
Dear Rob
But now I find myself in an awkward position...
3500 Nurses to take care of, and still not happy. ;-)
I'm all for the right tool for the job, too, and although less nurses, have
more lutes than you do, mainly aimed at accompanying: 6-course in a',
8-course in g', 10-course in g',
Wish I could be there (winter in Finland...brrr), it looks like a nice
continuo band. Enjoy your concert!
David
If you happen to be around, next tuesday there will be a concert
of Spanish and Mexican baroque music in Helsinki:
Chamber Choir Utopia
dir. and baroque harp Andrew Lawrence-King
Interesting, David, but why bother? There are many depictions of lutes
playing alongside citterns and keyboards, - there is no way to get them
all
..
intellectualise oneself into a black hole with this subject. In the world
of
practicalities, one just gets on with playing.
Dear Rob
I
An inaudible lute showing it's extended pegbox is just not good enough for
me, I expect a so high a level of musicianship that the musicians are
interested
in the music that they are playing. Not just doing their job.
There are enough good authentic orchestras out there that modern
And what is the current practice when playing with a meantone keyboard?
Mean-tone, in all its different shades, is no problem (with or without a
tastini or two), but unequal temperaments like Werckmeister (Jägermeister)
can be a bit of a head ache. If it is really critical (recording or very
From my collection of 'historic' Christmas music for voice and lute:
Th. Campion - Now winter nights enlarge the number of their hours (lute
song)
H. Lawes - A glee at Christmas (1699)
G.P. Cima - Nativitas tua Dei genetrix (1610)
Marini - Nativita di Christo (1622)
A. Schlick - Maria Zart
PROTECTED]
Http://home.planet.nl/~d.v.ooijen/
*
- Original Message -
From: [EMAIL PROTECTED]
To: LGS-Europe [EMAIL PROTECTED]
Sent: Tuesday, December 06, 2005 7:29 PM
Subject: Re: [LUTE] Re: Pittoni, was: Theorbo and continuo
David, et al
do you really consider Pittoni playable, useful? Can you really play
his music?
Sure! And as I said, audiences love it, for whatever that's worth.
David
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You will find a very similar piece of entertaining fiction in Érik Orsenna's
'Histoire du monde en 9 guitares'. Here the Spanish soldier is called José
Fernandez, he also plays the vihuela. The charango features in this story as
well. Bill's text reminded me strongly of this book.
David
I
Does anybody know of Bach aria's for tenor that can be accompanied on lute
alone? No bowed bass, no obligato instrument, just the two of us. It's for a
concert in January, and the organisation insists on it.
David
*
David van Ooijen
Email: [EMAIL
Well, next time use raw eel for you Palinck Brodje, and see what
happens...
RT
There is a kind of eel one can eat raw. I did, it was very good. It was
still alive when the chef took it out of the aquarium in front of me, so you
can imagine the wriggly sensation on sushi and in mouth (or
I recall years ago, Toyohiko Satoh telling me that the guitar piece
composed by Benjamin Britten, based on the Dowland theme of Come Heavy
Sleep [wasn't it the Nocturnal?] was intended to be played at first on a
lute.
I always understood that the lute song from Gloriana, the second lute song
Tastes differ, and I prefer 'living' material above artificial. But hé,
we
make our own bread and I prefer my fish raw, so it's no wonder. ;-)
Raw fish became a habit in Japan only about 200 years ago, and previously
was served similarly but pickled.
So I see no reason not to use processed
Sorry if I wasn't clear. I was speaking of the historicity of using
non-metal wound (gimped in period) for the lower octaves on a six course
vs. thicker gut. In my case I'm using Nylgut because I haven't developed
my playing skills to the point that I'm willing to put the money and time
David seems to be fanatical about his gut strings
True.
and in turn not quite open to the qualities of nylgut.
Not true. My experiences with nylgut on a romantic guitar were not very
good. The sound was not to bad, ask Benjamin as he heard the cd, but the
tuning was a problem. More so than
Dear Craig
That's very interesting that you consider the sound dead
Tastes differ, and I prefer 'living' material above artificial. But hé, we
make our own bread and I prefer my fish raw, so it's no wonder. ;-)
and have problems with Nylgut going out of tune.
Unstable for me, and untrue in
with any metal until the 10th course. For my 8 course lute, I used Pistoy
5th 6th courses, as I try to avoid any of the gimped for the 6th, as
sometimes it is too stiff has some intonation problems, in relation to
its octave. So, for me, no metal on the 6th.
I have one lute with gimped
playing late 16th c. vs. Medieval music) perspective. I'm curious about the
difference in sound quality as well as the historicity of
Since when is nylgut historical?
David
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I'm going all the way with my new continuo theorbo: I'm having the full
19-
courses. As far as I am aware, this is the maximum number of courses that
Good luck! Are you planning chromatic setup or all the 'black keys' at the
bottom?
David
To get on or off this list see list
This week's installment of my g'-string saga.
The string that started fraying two weeks ago, was shortened and lasted
another three concerts and a radio performance in the week after, saw me
through three more recitals-with-singer this weekend. But coming week the
instrument has to go to 440
Northern Renaissance Instruments makes some open-wound strings for
violoncello, pardessus de viole, quinton etc.
http://www.nrinstruments.demon.co.uk/Guide.html
As well as Kürschner and Larson...
No, I think we (?) are talking aout the demi-filé (thank you, Greet) strings
Mimmo is making.
I saw a picture of an experiment Mimmo made: gut (I suppose) core with very
open metal windings on top of that. He copied something from a painting.
Looks like a thumb-and-fret file, by the way.
David
A few weeks ago there was a brief discussion about open wound strings.
Does anyone know if
Not in an attempt to be authentic, more to be practical.
I have a 14-course archlute in g', with 7/7 division of strings, so F still
on the fingerboard and lowest course F1.
I often need E and Eb in one piece / recital.
I wanted to lower the string tension of the diapassons anyway.
So I made the
turns out, I still don't know what the future holds for us luters with
regards
to the safe transportation of our instruments!
For my upcoming archlute I ordered a glass-fibre reinforced case from
Kingham. They are supposed to be heavier (bad) but stronger (good).
David
To get on or off
string length of the stopped courses (assuming 6/8 stringing) need to
be so that the 6th course can sound decent on plain gut? Also, what
You'll no doubt get the links to the article by Linda Sacey on the HIP need
for _long_ theorbos, Benjamin posted it last week in this list and in the
Actually, I'll fly with Air Berlin to Bilbao in two weeks, but I have to
bring theorbo and baroque guitar, so I'll have an extra seat.
David
- Original Message -
From: Manolo Laguillo [EMAIL PROTECTED]
To: LUTELIST lute@cs.dartmouth.edu; VIHUELA vihuela@cs.dartmouth.edu
Sent: Monday,
Gusta Goldschmidt, mother of all luteplayers in Holland, has died at the age
of 92 behind her piano-forte, so I am told.
David
*
David van Ooijen
Email: [EMAIL PROTECTED]
Http://home.planet.nl/~d.v.ooijen/
*
I do not understand why critics of lutes using modern string
technology focus on the carbon/nylon/gut material question.
Overspun strings (the wound bass strings), with their bright
tone and long sustain, seem much more anachronistic than a
nylon chanterelle.
Hear, hear.
As I said in a
can tell you is not much more than an informed assumption that with the
arrival of the seventh course the music changed.
I should think it is more a matter of string material and size of
instrument. A third course of gut works fine, a fourth course on a short
string length might get a little
Last week I left you all with my g'-string woes and a 0.40mm Kathedrale on
my archlute that had seriously started fraying in the second movement of the
Bach cantata. I'm happy to say I could reuse the string (it was still long
enough) and it has performed flawlessly in three more Trauerodes and a
Note: David posted this to the vihuela list, but he is
not a member of the list, so the message was blocked.
I am reposting it to the lute list, as David is a
member of the lute list.
Ola
Hoppy Smith writes in the Grove that Narvaez called his Mille Regretz
Cancion
del Emperador because it was
Note: David posted this to the vihuela list, but he is
not a member of the list, so the message was blocked.
Sorry, I thought I joined the vihuela list, I do get some stray [VIHUELA]
postings. Did I do something wrong? So, once more: how do I join the list?
David
To get on or off this
actual song. As far as I know / remember this piece is quite modern
forgery, but now when I heard the piece, I must say, it is not very well
made forgery! It has nothing to do with the style of early baroque, still
Dear Arto
It's an absolute fake. I recorded it last years with counter-tenor
Dear Stewart
Thank you for taking the trouble to answer my mail.
Yes, there are intabulations of music by Victoria. All I would ask
is, why do you want to see the Paston intabulations? There are some
interesting aspects to the Paston books,
[...]
There are not many mistakes, but occasionally
Ed wrote:
Franceso is absolutely correct. Going from a .40 to a .38 will not
improve
string life. The smaller diameter does not have enough fibers to support
a
In my experience, it does. Take my archlute, 64cm. It has to be in 415 as
well as 440. At 415 a 0.40mm first string will have to
Taco wrote:
the spirit of early music however the choice of instrumentation was not so
important as we think now.
But like with string choice: we should not forget we are making modern
compromises. If we really want to get closer to a historically informed
performance practice, we should get
-
From: LGS-Europe
To: Lute net
Sent: Friday, October 28, 2005 7:09 AM
Subject: [LUTE] Victoria in BL Add 29246 / 29247 / 31992
Does anybody have copies to share of these manuscripts? I'm
interested in the pages with music by Victoria arranged for voice
and lute
For all those that need to be confirmed in their biased opinion that gut
equals trouble and want to stay too affraid to try it out for themselves,
I'll relate to you my gutsy adventures of this weekend.
Friday afternoon I took out my 10-course (62cm 415Hz in g') to replace a
false first string.
made of gut , nevertheless Dalla Casa played with long nails, as it can be
seen in the picture. Doesn't a gut string get worn out in two days, when
No, the strings get a bit rough, but when you take care to keep your nails
smooth it's not a big problem. You might want to use a varnished, or
crazy. Besides, the audience will not hear it anyway. It is mostly the bad
players, worrying about correct theorboes.
;-)
PP
:-)
Dank je Paul, heel goed!
And thank you to Benjamoin for a very worthwhile article. Food for thoughts!
David - enjoying his small theorbo (74cm?) in concerts,
Matthew Wadsworth makes very beautiful lute cds on all-gut lutes. Listen to
his Robert Johnson CD 'Away Delights' on www.magnatunes.com. Isn't Jacob
Herringman also on gut? Great player with great sound, anyway. Also on
magnatunes.
David
*
David van
The *Modern Gut* is ground to make it regular, round
and smooth and the same diameter all along its length.
Some string makers do that, yes. Others don't. Dan Larson for example has a
long cutting table and cuts the raw material by hand, following the fibers
of the gut. So his trebles don't
1) gut strings, played not so well
2) synthetic strings, played not so well
3) gut strings, played beautifully
4) synthetic strings, played beautifully
I choose 3 and 4! :-)
Agreed.
Each to his own, and all motivations to choose one type of string above
another are graciously accepted,
cosmetic perfection with a whopping price tag, you can always go after a
beautiful http://www.lutesandguitars.co.uk/ instrument
Stephen Sandi also make excellent and very modestly priced student lutes.
One of my students has an 8-course student lute by them, and indeed it is so
much better
Dear Ed
Yes, the Chambure works great for polyphony, in my opinion. But, with a
soprano in C, and an alto in Bb, we found the octave stringing too bright
[...]
unisons worked better. But for solo, octaves work perfectly well, and, as
you suspect, may be better than unisons for polyphony.
You could start by playing yourself there say once a month. It might create
an audience of 'regulars', however few. Then with a foreigner coming into
town he migh be just enough added attraction to fill more seats. We have a
weekly lunch concert series in the church next to the music school
'
or whatever you want to call it. An F and especially F# below the low G is
very usefull. But so is a D. Ah, eternal doubts!
Anyway, thanks again. I'll fret some more.
David
- Original Message -
From: Edward Martin [EMAIL PROTECTED]
To: LGS-Europe [EMAIL PROTECTED]; Lute net lute
Does it mean, David taught a flamingo to play Mertz?
No, it's on a cd with a very pink cover. ;-) If you want to know, it's on my
website. Section My cd's.
David
*
David van Ooijen
Email: [EMAIL PROTECTED]
Http://home.planet.nl/~d.v.ooijen/
For a renaissance lute maple would be a historical correct choice. And a
musically good one, too. A have two very nice maple lutes, an 8-course and a
10-course. A little later (late renaissance onwards) yew was used a lot. But
take care to have a multi-ribbed yew bowl. Yew is flexible
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