[BAROQUE-LUTE] Re: Ms 5038 in Norway, ca 1830?

__ From: G. C. <kalei...@gmail.com> To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk> Cc: AJN <arthurjn...@verizon.net>; "chriswi...@yahoo.com" <chriswi...@yahoo.com>; "theoj89...@aol.com&

[BAROQUE-LUTE] Re: Ms 5038 in Norway, ca 1830?

The book first belonged to Johanne Christine Hertzberg (1708 - 1801) and in my view was mostly compiled around 1740/50 but contains some works from late seventeenth century French sources. The music is also very similar to that by Nathanael Diesel in the large MS compilation held in

[BAROQUE-LUTE] Re: Ms 5038 in Norway, ca 1830?

Henning has written about this book - I've no reason to doubt it. [1]http://folk.uio.no/henninho/Gitar.html MH __ From: AJN To: kalei...@gmail.com; chriswi...@yahoo.com Cc:

[LUTE] Re: Performing lute in ensemble

Dear Daniel, In my view the heart of the matter is ensuring that you're playing with period instruments: they are much less strident than their modern counterparts and also the players are generally used to hearing gentler tones and working with them. It's not that period

[LUTE] Re: Another lute picture?

Very interesting David. It may be simply a fashionable couple wanting to be portrayed performing but in fact unable to play a note! Perhaps the painter who, as you point out, might be thought to have known better was laughing up his sleeve... Or perhaps, and maybe more likely

[LUTE] Re: Another lute picture?

boy...@appstate.edu> To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk> Cc: David Van Edwards <da...@vanedwards.co.uk>; "lute@cs.dartmouth.edu" <lute@cs.dartmouth.edu> Sent: Tuesday, 24 November 2015, 13:19 Subject: Re: [LUTE] Re: Another lute picture? Martyn,

[LUTE] Re: Theorboes and their stringing

Dear Luca, You're generally right: leaving aside 'French' large theorbos and modern fashionable affectations, very few extant large instruments (ie those actually requiring a double re-entrant arrangement) have other than the usual configuration of 6 stopped courses (more often

[LUTE] Re: New Facsimile

Dear Joachim, Might I congratulate you for producing a facsimile of this largely unkown source. In fact Bob, knowing my particular interest in the mandora, was kind enough to let me have a photocopy of this MS many years ago. Just a few comments: - whilst the initials GAK

[LUTE] Re: Single-strung lutes

, at 11:19 PM, Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk wrote: Dear Howard, I think you mean unlikely rather than inconceivable. Of course, you know what I mean better than I do myself, so thanks for clarifying. Tho' even this is questionable: from the historical

[LUTE] Re: Tiorba

The discussion was about archlutes (and lutes) not theorbos. No one doubts that some theorbos had single strings (and not just French instruments either). MH __ From: Jean-Marie Poirier jmpoiri...@wanadoo.fr

[LUTE] Re: Tiorba

Dear Howard, I think you mean unlikely rather than inconceivable. Tho' even this is questionable: from the historical evidence it seems quite likely that 'NO historical players ever used single-strung archlutes''. Much in the same way that players at the time would not have employed

[LUTE] Re: Tiorba

This seems to suggest that theorbos were generally single strung on the fingered courses which was clearly not the case historically - some were; some weren't. Or perhaps I have misunderstood what was meant by the words 'Looks more like an archlute to me, including double courses on

[LUTE] Re: S.L.Weiss, Prelude WeissSW 33.1

Indeed. And, as an aid to finding your own interpretation, try and identify the harmonic changes (often, but not always, concurrent with a low bass) and shape your arpeggios and scalic passages around these phrases. Bear in mind that in these unmeasured works flags are only the

[LUTE] Re: Vihuela Stringing

Do we know whether the 'split-course technique' as it is sometimes termed nowadays was a notation to indicate that only one particular string of an octave course was actually to be employed, or whether it was pedantic intabulation to indicate in which octave the composer/arranger

[LUTE] Re: Vihuela Stringing

: Monica Hall mjlh...@tiscali.co.uk To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: Lutelist lute@cs.dartmouth.edu Sent: Wednesday, 13 May 2015, 16:40 Subject: [LUTE] Re: Vihuela Stringing As far as I know there are only two sources which actually indicate in the music/tablature

[LUTE] Re: Polyphonic Intabulations

All good stuff explaining the paucity of many such intabulations at the time. But, in fact, there are some late sixteenth century MS sources which do preserve such latin intabulations - even outside Spain and even of English composers (eg Phillips). In particular, the largest single

[LUTE] Re: green lute like instrument

skill; the posture in the second picture seems like it would be really hard to achieve with a dead lizard. But what do I know? The leaf-lute shot looks like a curious basking behavior. Maybe the lizard likes to warm its leaves. Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk wrote

[LUTE] Re: green lute like instrument

not unaware of set-ups these days - often for the 'entertainment' industry. Personally I think the my presumption is by far the most likely. MH __ From: r.turov...@gmail.com r.turov...@gmail.com To: Martyn Hodgson hodgsonmar

[EARLY-GUIT] Re: Two alfabeto prints (Pesaro Abbatessa) New UR Research Publications for dates: 01/21/2015 - 01/22/2015

your meetings (I know the feeling). Martyn __ From: Gary Boye boy...@appstate.edu To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; Monica Hall mjlh...@tiscali.co.uk Cc: Lutelist lute@cs.dartmouth.edu; Early

[EARLY-GUIT] Re: Two alfabeto prints (Pesaro Abbatessa) New UR Research Publications for dates: 01/21/2015 - 01/22/2015

I'm sure you're right Monica: many pieces may well need a bit of 'revision' to reach what Pesori was perhaps really trying to put across in his Toccate. Also interesting in the Pesori are the homilies, dedications, responses and the like and also the list of subscribers - I haven't

[LUTE] Re: Two alfabeto prints (Pesaro Abbatessa) New UR Research Publications for dates: 01/21/2015 - 01/22/2015

- From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: Monica Hall mjlh...@tiscali.co.uk; Gary R. Boye boy...@appstate.edu Cc: Lutelist lute@cs.dartmouth.edu; Early Guitar Dmth early-gui...@cs.dartmouth.edu Sent: Wednesday, 4 March 2015, 10:00 Subject: Re: [LUTE] Re: Two

[LUTE] Making a living: was Re: Lute in the Future again

Putting my own head above the parapet: this is an entertaining discussion but, as has already been pointed out, a bit light on actual facts. Simple assertion, however personally heartfelt, is really not the same as proof. Cultivating good contacts is clearly important in obtaining

[LUTE] Re: Is high-gloss quieter?

Use Stand Oil - see previous communications on it in the archives of this forum MH __ From: Herbert Ward wa...@physics.utexas.edu To: lute@cs.dartmouth.edu Sent: Saturday, 17 January 2015, 19:47 Subject:

[LUTE] Re: 16th century tuning and stringing

Dear Martin, Not strictly relevant to your discussion, but the eighteenth century six course mandora/gallichon could have octaves up to and including the fourth course ie c with a c' if a nominal d' (top course) instrument. How widespread this arrangement was I have been unable, as

[LUTE] Re: Matthew Locke

It has been remarked before that Locke's various instrumental setts (including his 'Broken Consort' pieces) seem a concious attempt to continue the previous forms started by Coperario and developed by Wm Lawes (in his 'old' and 'new' sets of the 'Royal' consorts with theorbos) and

[LUTE] Galliards was Re: those sarabands

Matthew Locke wrote a few Galliards. And he also wrote Pavans ( a lot for his 'Little Consort' sets where they are usually the first of each set) and surely these too were no longer danced at the time. He disliked foreign music so would have probably not have been much taken with a

[LUTE] Re: those sarabands

Mace and English composers like Locke would still be thinking about the earlier faster type of the dance even into the 1670s. Martyn __ From: David Rastall d_lu...@comcast.net To: Martyn Hodgson hodgsonmar

[LUTE] Re: those sarabands

that the player is perfectly free to choose whatever tempo he wishes.' (see earlier messages...) Martyn __ From: David Rastall d_lu...@comcast.net To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: Lute List lute

[LUTE] Re: those sarabands

of a dance and the tempo at which was danced. Martyn __ From: David Rastall d_lu...@comcast.net To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: Lute List lute@cs.dartmouth.edu Sent: Thursday, 18 December 2014, 13:48

[LUTE] Re: those sarabands

Do you really mean to say that the tempo of a dance played on, say, the lute has no relationship whatsoever to the tempo at which contemporaries actually danced it? MH __ From: Ron Andrico praelu...@hotmail.com

[LUTE] Re: those sarabands

at the same time; Locke always indicate brisk for his sarabands for instance. Best wishes to all Jean-Marie -- Original Message -- From: Martyn Hodgson Date: 17/12/2014 9:53 To: Ron Andrico;Thomas Walker;lute@cs.dartmouth.edu; Subject: [LUTE] Re: those sarabands Do you

[LUTE] Re: those sarabands

What does this mean? __ From: jmpoirier2 jmpoiri...@wanadoo.fr To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; Ron Andrico praelu...@hotmail.com; Thomas Walker twlute...@hotmail.com; lute@cs.dartmouth.edu lute

[LUTE] Re: Single versus triple roses

, then purchase a tuba. d __ From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk To: David Tayler [2]vidan...@sbcglobal.net Cc: [3]lute@cs.dartmouth.edu [4]lute@cs.dartmouth.edu Sent: Sunday, November 30, 2014

[LUTE] Re: Single versus triple roses

In his interesting response, I had understood Martin was asking for a measured scientific explanation rather than a list of anecdotal (and necessarily subjective) observations:I invite all you proper physicists out there to explain why!. I'd be interested to read anything you

[LUTE] Re: Single versus triple roses

A start - if a bit short on the actual experimental results.. __ From: Dan Winheld dwinh...@lmi.net To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; David Tayler vidan...@sbcglobal.net Cc: lute

[LUTE] Re: Single versus triple roses

Very interesting Martin. Another aspect is the 'boundary condition' of the vibrating plate (belly) ie how rigid or inflexible. In short the boundary can be rigid but the plate still flerxible. Simple theoretical considerations (your 'intuitive physics' - a phrase I like) might

[LUTE] Re: Ren lute as sub for theorbo

If you believe the lute 'works well' and is 'quite audible' for continuo in ensemble, such as that required for a Bach harpsichord concerto, why do you think the theorbo was ever invented? __ From: Geoff Gaherty

[LUTE] Re: Lord Hayes Masque

the scene for the songs) do look at this below and David's other works - they are a treasure house of material for the early seventeenth century English masque. Martyn - Forwarded Message - From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: Ed Durbrow edurb...@gmail.com; LuteNet

[LUTE] Re: Lord Hayes Masque

Not a facsimile I think - but have a look at the works of David Lindley (Prof of Remaissance English at Leeds University and the foremost Campion scholar). Various works. For example this which contains masque texts and commentaries Court Maques. Jacobean and Caroline

[LUTE] Re: Italian Theorbo: 6/8, 7/8, 8/8....

Indeed. Somehow a modern fallacy is in danger of becoming established: ie that French theorbos were single strung (and with some other particular features too). The historical evidence does not support this modern identification/fad. No doubt some French played single strung

[LUTE] Re: Bernardo or Lugretia Gianoncelli?

The title page identifies Bernardo. Lugretia was his wife. She assembled the collection and arranged for its printing after his death MH __ From: Ed Durbrow edurb...@gmail.com To: LuteNet list

[LUTE] Re: Bare spot on soundboard.

Wilke chriswi...@cs.dartmouth.edu To: Martin Shepherd mar...@luteshop.co.uk; lute@cs.dartmouth.edu lute@cs.dartmouth.edu; Martyn Hodgson hodgsonmar...@yahoo.co.uk Sent: Tuesday, 5 August 2014, 17:08 Subject: Re: [LUTE] Re: Bare spot on soundboard. Martyn

[LUTE] Re: Bare spot on soundboard.

: Tobiah t...@tobiah.org To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; Martin Shepherd mar...@luteshop.co.uk; lute@cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Monday, 4 August 2014, 16:37 Subject: Re: [LUTE] Re: Bare spot on soundboard. If we aim to recapture the sound

[LUTE] Re: Bare spot on soundboard.

Dear Martin, I think you're quite right: With lute bridges (ie with low compared to modern guitar string take-off height) there really is no difficulty in placing the little finger on the belly (Kapsberger - not exactly a novice - placed his third finger on the belly too!). If we

[LUTE] Re: Lute Bridge vs Guitar Bridge Functioning

message: From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk Subject: [LUTE] Re: Lute Bridge vs Guitar Bridge Functioning Date: August 1, 2014 at 2:29:35 AM EDT To: lute-cs.dartmouth.edu [2]lute@cs.dartmouth.edu, Bruno Correia [3]bruno.l...@gmail.com Reply-To: Martyn Hodgson [4

[LUTE] Re: Lute Bridge vs Guitar Bridge Functioning

In fact both lute and guitar bridges function in the same way. In short, a horizontal force (imposed by the string) is momentarily increased when the string is displaced (plucked); this in turn increases the turning moment of the bridge (ie force x height of string above belly at

[LUTE] Re: Lute Bridge vs Guitar Bridge Functioning

From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: Martin Shepherd mar...@luteshop.co.uk Sent: Friday, 1 August 2014, 10:40 Subject: Re: [LUTE] Re: Lute Bridge vs Guitar Bridge Functioning Dear Martin, Thanks for this. I mentioned string slide in the context of modern guitar

[LUTE] Re: Bare spot on soundboard.

finishes. MH __ From: Geoff Gaherty ge...@gaherty.ca To: lute@cs.dartmouth.edu lute@cs.dartmouth.edu Sent: Monday, 28 July 2014, 13:03 Subject: [LUTE] Re: Bare spot on soundboard. On 2014-07-28, 2:52 AM, Martyn

[LUTE] Re: fuzzy lute

Strip off the varnish and leave plain - or finish with Stand oil MH __ From: wayne cripps w...@cs.dartmouth.edu To: lute@cs.dartmouth.edu Sent: Monday, 28 July 2014, 14:39 Subject: [LUTE] fuzzy lute Hi

[LUTE] Re: Vivaldi solo lute

with you in this case, Martyn (as we hashed out here in the past). However, Eric's article is published, is thus something I can cite, and seems relevant to Konstantin's original inquiry. It would be nice to see more published on this specific field. Best, Eugene From: Martyn

[LUTE] Re: Vivaldi solo lute

as a distinctive identifier. Martyn __ From: Braig, Eugene brai...@osu.edu To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; lute list lute@cs.dartmouth.edu Sent: Thursday, 5 June 2014, 13:04 Subject: RE: [LUTE] Re

[LUTE] Re: Vivaldi solo lute

Dear Eugene, Without wanting to re-open a debate of over 10 years ago, despite Count Wrtby's origins I'm a bit sceptical that the German/Bohemian mandora in D (the E mandora didn't really surface until later in the century) made any significant inroads into Italy in the early 18th

[LUTE] Re: Besard's Novus Partus

Dear Jean-Marie, I don't have a copy of Novus Partus, but is it possible that a G tuning is merely nominal and that he might have expected the actual pitch of the instrument to be higher, say with first course at around c or d? Otherwise, if the instrument was indeed around the size

[LUTE] Re: The golden rose

It's almost 12 months since I sent this mail- is this a record delay on Wayne's list! Martyn __ From: Mathias RAP:sel mathias.roe...@t-online.de To: Lute List lute@cs.dartmouth.edu Sent: Sunday, 4 May 2014,

[LUTE] Re: Lute sonatas of Antonino Reggio

before, even new instruments were being made with just 7 or 8 courses during this period. Keep up the good work! regards, Martyn. __ From: Anthony Hart anthony.hart1...@gmail.com To: Martyn Hodgson hodgsonmar

[LUTE] Re: Lute sonatas of Antonino Reggio

There's already been discussion with Anthony about the likely instrument. I doubt a mandora since it was hardly, if at all, known in Italy at this time. However I agree with you about the use of sharp keys in this source and I suggested an instrument in the old tuning but with the

[LUTE] Re: Lute sonatas of Antonino Reggio

jeanmichel.catheri...@yahoo.com To: Stephan Olbertz stephan.olbe...@web.de; lute@cs.dartmouth.edu lute@cs.dartmouth.edu; Martyn Hodgson hodgsonmar...@yahoo.co.uk Sent: Monday, 14 April 2014, 13:49 Subject: Re : [LUTE] Re: Lute sonatas of Antonino Reggio as an example for archlute part [1]http

[LUTE] Re: Lute publications

Dear Anthony, We've corresponded about the sonatas by Reggio before. In my view it all depends whether you are intending to produce a facsimile of the original sonatas - if so, a parallel modern transcription would be redundant since they are already in staff notation. Personally I

[LUTE] Re: Bartolotti's continuo treatise

 Perhaps you missed what Monica Hall wrote after quoting Satoh: “This is all my imagination and conjecture?  She added Satoh's more misleading comment  based on the few documents concerning De Visee's life  In short, Satoh misleads by suggesting that his spurious conjectures, especially

[LUTE-BUILDER] Re: Notational query in NB Wien MS 17.706

SAorry - following Wayne's advice I ought to have sent this in plain text... Here it is  M. - Forwarded Message - From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: Ralf Bachmann ralfbachm...@hotmail.com; Christopher Wilke chriswi...@yahoo.com; Lute Dmth lute@cs.dartmouth.edu Sent

[LUTE] Re: Notational query in NB Wien MS 17.706

To: Christopher Wilke chriswi...@yahoo.com; Lute Dmth lute@cs.dartmouth.edu; Martyn Hodgson hodgsonmar...@yahoo.co.uk Sent: Wednesday, 26 February 2014, 17:21 Subject: RE: [LUTE] Re: Notational query in NB Wien MS 17.706 Hello Christopher, in the manuscript PL-WRu 60019 (former call number Mf

[LUTE] Re: Notational query in NB Wien MS 17.706

Lute Builder!.. - Forwarded Message - From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: ralfbachm...@hotmail.com ralfbachm...@hotmail.com; chriswi...@yahoo.com chriswi...@yahoo.com; Lute builder Dmth lute-buil...@cs.dartmouth.edu Sent: Thursday, 27 February 2014, 8:18 Subject

[LUTE] Re: Bartolotti's continuo treatise

Indeed very telling. But we need to be careful that 'batterie' is not generally interpreted in practice always as a fully strummed chord - it might equally mean a broken (arpeggiated) chord depending on the context. MH From: Shaun Ng shaunk...@gmail.com To:

[LUTE] Notational query in NB Wien MS 17.706

In a recent message I added the following postscript. Has anyone any views on the matter?  PS On another possible Bartolotti matter altogether. Quite a few years ago I posted a message about one of the theorbo pieces found at the end of NB Wien 17.706 - possibly by Bartolotti since the MS

[LUTE] Re: Bartolotti's continuo treatise

-freiburg.de To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; Monica Hall mjlh...@tiscali.co.uk; Lutelist lute@cs.dartmouth.edu Sent: Monday, 24 February 2014, 17:23 Subject: Re: [LUTE] Re: Bartolotti's continuo treatise On Mon, 24 Feb 2014 08:29:00 + (GMT), Martyn Hodgson wrote I don't

[LUTE] Re: Bartolotti's continuo treatise

@cs.dartmouth.edu; Martyn Hodgson hodgsonmar...@yahoo.co.uk Sent: Tuesday, 25 February 2014, 13:28 Subject: Re: [LUTE] Re: Bartolotti's continuo treatise Martyn, I agree that seicento pluckers often played harmony below the bass. This is another way of saying that they recognized

[LUTE] Re: Bartolotti's continuo treatise

@cs.dartmouth.edu; Martyn Hodgson hodgsonmar...@yahoo.co.uk; Monica Hall mjlh...@tiscali.co.uk Sent: Subject: Re: [LUTE] Re: Bartolotti's continuo treatise On Tue, 25 Feb 2014 09:52:18 + (GMT), Martyn Hodgson wrote Thank's for this. I can't actually see that inverted 7

[LUTE] Re: Bartolotti's continuo treatise

I don't have this work either - I think... And I'm not quite sure what you mean in the page 6-7 example. But doesn't the use of higher positions suggest a re-entrant (single or double) tuning rather than the reverse, since it still allows for some harmony to be played above the

[LUTE] Re: archlute/theorbo in Corelli's Op. 1

@cs.dartmouth.edu; Martyn Hodgson [4]hodgsonmar...@yahoo.co.uk Sent: Wednesday, January 29, 2014 2:14 AM Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1 Yes: Zamboni in tablature., but indeed you know that!. I consider that most of the arciliuto music is written

[LUTE] Re: archlute/theorbo in Corelli's Op. 1

with the nails and produce in close proximity a coarse, harsh sound. Le Samedi 25 janvier 2014 10h45, Martyn Hodgson [1][5]hodgsonmar...@yahoo.co.uk a A(c)crit : You write that 'The terms arciliuto and tiorba are high-degree interchangeable

[LUTE] Re: archlute/theorbo in Corelli's Op. 1

__ From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk To: David Tayler [2]vidan...@sbcglobal.net; lute [3]lute@cs.dartmouth.edu Sent: Tuesday, January 28, 2014 1:59 AM Subject: Re: [LUTE] Re: archlute

[LUTE] Re: archlute/theorbo in Corelli's Op. 1

: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk To: David Tayler [2]vidan...@sbcglobal.net; lute [3]lute@cs.dartmouth.edu Sent: Saturday, January 25, 2014 1:39 AM Subject: Re: [LUTE] Re: archlute/theorbo in Corelli's Op. 1 You write that 'The terms arciliuto and tiorba

[LUTE] Re: archlute/theorbo in Corelli's Op. 1

latter instruments are ordinarily played with the nails and produce in close proximity a coarse, harsh sound. Le Samedi 25 janvier 2014 10h45, Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk a A(c)crit : You write that 'The terms arciliuto and tiorba are high-degree

[LUTE] Re: archlute/theorbo in Corelli's Op. 1

__ From: R. Mattes r...@mh-freiburg.de To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; David Tayler vidan...@sbcglobal.net; lute lute@cs.dartmouth.edu Sent: Tuesday, 28 January 2014, 11:22 Subject: Re: [LUTE] Re: archlute/theorbo in Corelli's Op. 1 On Tue, 28 Jan

[LUTE] Re: archlute/theorbo in Corelli's Op. 1

composers expected archlute or theorbo to the exclusion of the other, the historical evidence is inconclusive. Chris[1] Sent from Yahoo Mail for iPad __ From: Martyn Hodgson hodgsonmar...@yahoo.co.uk; To: R. Mattes r

[LUTE] Re: archlute/theorbo in Corelli's Op. 1

require, for example, a re-entrant tuning for an archlute (or various cognates). Do you? MH __ From: R. Mattes r...@mh-freiburg.de To: David Tayler vidan...@sbcglobal.net; lute lute@cs.dartmouth.edu; Martyn Hodgson

[LUTE] Re: archlute/theorbo in Corelli's Op. 1

__ From: Gary R. Boye [1]boy...@appstate.edu To: jean-michel Catherinot [2]jeanmichel.catheri...@yahoo.com; Martyn Hodgson [3]hodgsonmar...@yahoo.co.uk; R. Mattes [4]r...@mh-freiburg.de; Ed Durbrow [5]edurb...@gmail.com; LuteNet list [6]lute@cs.dartmouth.edu

[LUTE] Re: Corelli sonata for violin and lute

Dear Gary, Indeed, and often overlooked (tho' I suspect not by you) is that theorbo is an alternative to the bass violin and not the principal figured bass continuo instrument so a stratospheric higher register is not required. rgds Martyn

[LUTE] Re: body fret re-glue

Simply use traditional glue - apply a smear to the fret, quickly put into position, hold for a few seconds (until the glue gels), wait for a few minutes and then clean excess glue with a damp cloth... MH __

[LUTE] Re: Robert Barto's article on Baroque Lute technique

You can no doubt obtain a copy from the Lute Society. [1]http://www.lutesociety.org/ MH __ From: Davide Rebuffa davide.rebu...@fastwebnet.it To: Lutelist lute@cs.dartmouth.edu Sent: Thursday, 2 January 2014,

[LUTE] Re: Tablature for publication

Could you not simply publish a facsimile edition of the original source and so avoid subjective input and if anyone wishes they could then make their own tablature transcription to suit personal preferences. MH On Tue, 11/19/13, Anthony Hart [1]anthony.hart1...@gmail.com wrote:

[LUTE] Re: Recording the lute, Part 2A, lutes noise, what is possible, what isn't

. __ From: Martyn Hodgson [1]hodgsonmar...@yahoo.co.uk To: lute-cs.dartmouth.edu [2]lute@cs.dartmouth.edu Sent: Friday, November 8, 2013 12:31 AM Subject: [LUTE] Re: Recording the lute, Part 2A, lutes noise, what is possible, what isn't Of course, it all

[LUTE] Re: Recording the lute, Part 2A, lutes noise, what is possible, what isn't

Of course, it all depends if one wishes to record as close as possible to the actual sound heard by auditors in a concert space - or whether one wishes to record something as you might wish it sounded. The two are often not the same (as many live performances compared with CD

[LUTE] Re: youtube copyright conundrum! Any advice?

Dear Stuart and Stephen, You may recall some years ago Hyperion got into trouble with recording a piece by Charpentier (or someone similar I recall). The point wasn't that the work itself was still in copyright (clearly the composer was long dead) but that even though the band

[LUTE] Re: Thigh support for theorbo

Dear Bill, Most early representations show theorboes being held quite high up and resting on the right thigh rather than between the legs as a modern 'classical' guitarist. Further, many early extant instruments have fixing points for a cord/strap/ribbon: a button (or similar) at

[LUTE] Re: Capo use on early instruments

Eighteenth century 'English' guittars had this sort of thing as did, I believe, some similar French instruments from this period. Wire strung of course. MH __ From: Stephen Kenyon s...@jacaranda-music.com To:

[LUTE] Re: chord fingering

Dear Bill, This is also what the early sources indicate. A reasonably thick first fret helps too. regards Martyn __ From: William Samson willsam...@yahoo.co.uk To: Lute List lute@cs.dartmouth.edu; Edward C.

[LUTE] Re: A tambourin from the 1770s for 'cistre ou guitare allemande'

Nice and, seemingly, very idiomatic - almost makes me want to take up the instrument! Martyn __ From: WALSH STUART s.wa...@ntlworld.com To: lutelist Net Lute@cs.dartmouth.edu Sent: Friday, 23 August 2013, 21:06

[LUTE] Re: general public Lute awareness (but re guitar exams)

From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: Stephen Kenyon s...@jacaranda-music.com Sent: Monday, 5 August 2013, 7:12 Subject: Re: [LUTE] Re: general public Lute awareness (but re guitar exams) Dear Stephen Kenyon, Whilst I can see, and agree, with much of your

[LUTE] Re: Portrait of William Lawes holding a lute

Dear David, I too heartily concur about lack of standardisation in 'olden times'. Another area worth mentioning is theorbos: the modern fashion seems to be generally for double re-entrant instruments (even where not necessary because of the small size!) whereas in the 17th century,

[LUTE] Re: Markus Passion by Bach

__ From: howard posner howardpos...@ca.rr.com To: Lute Dmth lute@cs.dartmouth.edu; lute List lute@cs.dartmouth.edu Sent: Monday, 22 July 2013, 1:47 Subject: [LUTE] Re: Markus Passion by Bach 2 On Jul 21, 2013, at 8:52 AM, Martyn Hodgson [1]hodgsonmar

[LUTE] Re: Markus Passion by Bach

) asked for the instrument they clearly weren't as common in his church as you suppose. regards Martyn __ From: howard posner howardpos...@ca.rr.com To: Martyn Hodgson hodgsonmar...@yahoo.co.uk Cc: Lute Dmth lute

[LUTE] Re: Markus Passion by Bach 2

to the sound. regards Martyn __ From: Christopher Wilke chriswi...@yahoo.com To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; Lute Dmth lute@cs.dartmouth.edu Sent: Monday, 22 July 2013, 15:05 Subject: Re: [LUTE] Re: Markus

[LUTE] Re: Markus Passion by Bach 2

AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote: Indeed Kuhnau did press (unsuccessfully!) the church authorities for one or two instruments to play continuo which he called gallichons Is anyone aware of some piece of evidence as to what the town council actually did about

[LUTE] Re: Markus Passion by Bach 2

To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; howard posner howardpos...@ca.rr.com; Lute Dmth lute@cs.dartmouth.edu Sent: Sunday, 21 July 2013, 15:58 Subject: Re: [LUTE] Re: Markus Passion by Bach 2 Martyn, In light of the fact that the gallichon/mandora was certainly employed

[LUTE] Re: Markus Passion by Bach

- Forwarded Message - From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: howard posner howardpos...@ca.rr.com Sent: Friday, 19 July 2013, 10:04 Subject: Re: [LUTE] Re: Markus Passion by Bach Dear Howard, Thank you for a constructive response. Indeed Kuhnau did

[LUTE] Re: Markus Passion by Bach

- Forwarded Message - From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: Stephan Olbertz stephan.olbe...@web.de Sent: Thursday, 18 July 2013, 9:02 Subject: Re: [LUTE] Re: Markus Passion by Bach There is no evidence that Bach had the gallichon/mandora in mind

[BAROQUE-LUTE] Re: Big Edlingers

which might have been used historically on a particular sized instrument. Martyn __ From: sterling price spiffys84...@yahoo.com To: Martyn Hodgson hodgsonmar...@yahoo.co.uk; baroque lute list baroque-lute

[BAROQUE-LUTE] Re: Big Edlingers

Dear Sterling, Further to your note about the very largest of German Dm lutes, we might also recognise that they may have had the so-called German theorbo tuning ie with the first course at a nominal d' which could thus bear the increased stress of such a string length. Instruments

[LUTE] Re: The golden rose

as I can see) easier to read; it appeared in the 1958 Galpin Soc journal. regards Martyn __ From: Martyn Hodgson hodgsonmar...@yahoo.co.uk To: Lute Dmth lute@cs.dartmouth.edu Sent: Friday, 21 June 2013, 16:37

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