Wayne,
Yes and no. Certainly, lutenists of the past were
not into early music the way we are now, but many of
the greatest hits of past eras remained popular well
into periods in which the mainstream style - or the
lute itself - was quite different.
Just look at the Augsberg manuscript
Howard,
--- howard posner [EMAIL PROTECTED] wrote:
Really, really bad example. Lots of ensembles do
German Music,
1712-1720. They title it Complete Brandenburgs
and sell lots of
tickets.
But this isn't quite fair - Bach and Brandenburg
Concerto are names people recognize. Beatles
David,
--- David Rastall [EMAIL PROTECTED] wrote:
On Nov 29, 2007, at 5:16 PM, [EMAIL PROTECTED]
Once again, point taken. But it's not all that way.
Consider
Piazzolla: he's a cultural force. Listening to
L'Histoire du Tango
is for me like strolling through a gallery of
Dear David,
Your reasoning is historically correct, but this
puts us in something of a quandry from a practical
performance view. Just take Dowland, for example.
His Lachrimae lute solo exists in a version for
six-course lute, (its 7-course in Board and Folger)
Flow my teares is for
--- David Tayler [EMAIL PROTECTED] wrote:
The Galliard is a later composition, and probably
designed for the
amateur market--it is a fine piece, just not that
difficult.
Amateur, really? Lightening-quick divisions over a
moving bass easy amateur material?
The combination of the faster
I wonder how big of a difference the 8 courses really
make in the long run. Sure there are minute tonal
differences, but...
Let's say, in a sadistic experiment, someone plays a
piece by, say, Francesco behind a screen four times -
twice on six-course lutes and twice on eight-coursers
in no
G.,
I actually believe this is quite cool. I've thought
for a while that it would be great to have a
solid-body electric theorbo or baroque lute with
detachable sides like the SoloEtte travel classical
guitar (http://www.soloette.com/nylonspecs.htm). With
headphones, this would be great for
Why? A mechanical 97-course lute could play a nice
little duet with the automated sousaphone.
CW
--- Roman Turovsky [EMAIL PROTECTED] wrote:
Shoot him if ever does.
RT
- Original Message -
From: H.L. Pakker [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu;
[EMAIL PROTECTED]
Sent:
Dear all,
Wow, the scope of this list astounds me... When we're
not spending days talking about how great gut strings
are, we're spending days talking about how to talk
about how great gut strings are in lingua mortua.
Now let's see how many correct or incorrect ways we
can all think up to say
Daniel,
I compared your new vids with some of your older
ones. There was some sound improvement with these
(the bouree is the least successful). However, the
difference was qualitative rather than quantitative.
I could listen to your older videos just as easily as
these new ones.
--- Tony Chalkley [EMAIL PROTECTED] wrote:
As I have never been to a church
for its intended purpose,
it makes me wonder about the sermons and readings -
perhaps that is why
pulpits are where they are.
Yes, that's why the pulpit is where it is. More
importantly, audibility was why
Lutenists,
About 20 mintues of music from my theorbo CD will
be featured on the Sunday Baroque program this Sunday,
Oct. 14th. My segment will be broadcast right around
the beginning of the last hour (That's 11:06 where I
live.) The program gets distribution throughout the
US and US
Gary,
--- gary digman [EMAIL PROTECTED] wrote:
I know some are going to reply that with proper
technique, touch etc. you should be able to play
loud enough. But my experience is it just ain't so.
The lute absolutely can project. When I was in school
for classical guitar, it was drilled
--- Anthony Hind [EMAIL PROTECTED] wrote:
Not even my highly tweaked
system could cope
with the micro-dynamics and low-level detail of the
lute on my large
collection of Astrée and Reflexe LPs, and CDs faired
even worse.
I've found that the only solution to the problem of
Dear all,
We seem to be concentrating on just the softness
of playing. What about Bruno's other comment that it
was also painful to hear or to understand what
[Rooley] was doing? (Bruno even went so far as to
call him a poor chap.) All the painstaking academic
research in the world doesn't
--- Anthony Hind [EMAIL PROTECTED] wrote:
Because of this penury of data, I suppose we do tend
to grab at the
few existing lutes and the occasional passing
allusion to reinforce
the ideas we have about the instruments of a period.
Quite right. As I've said before, surviving
David,
--- David Rastall [EMAIL PROTECTED] wrote:
We
have to keep in mind, though, that most of the solo
music lutenists
play in large concert halls was not originally
intended to be heard
that way.
Yes, but what about all the descriptions and paintings
of lutes being played
Stewart, et al,
Of course, rather than worrying so much about open
basses, one could just as easily play troublesome
notes up an octave. From looking at the solo
repertoire for baroque lute alone, it seems this was
very standard practice. In these pieces in which the
composer had freedom
--- Mathias Rösel [EMAIL PROTECTED]
wrote:
I was under the impression that
playing the bass line
_down_ an octave, where possible, was standard
practice (cf continuo
realizations in Fundamenta der Lauten Musique), but
not vice versa.
Perhaps, however, the key phrase here is where
Anthony,
--- Anthony Hind [EMAIL PROTECTED] wrote:
It just
shows how heroic Jakob
Lindberg's gut strung Rauwolf project and his Bis
recordings must
have been, the mind boggles!
I have this CD. Its an absolutely beautiful recording
and - wow, what an amazing sound! (I bought it, by
Jim,
You also may want to play much closer to the
bridge than you would on guitar. It will take some
getting used to to find the spot between too brittle
and too syrupy-sweet. Playing closer to the bridge,
however, A)makes it easier to play, B)gives more
control over tone colors,
Anthony,
--- Anthony Hind [EMAIL PROTECTED] wrote:
That is a fair point. However, at least some
of Weiss, I
believe, was composed on 11c lute, and some of it I
think was later
transposed for 13c lute.
Yes, this is definately true. Lindberg makes this
point with L'infidele,
Hera,
I don't know... I do wonder why someone like POD
chose to focus his attention on these works, which, as
has been mentioned, have been recorded many, many
times? There's SO much music out there that hasn't
been recorded that needs attention! O'Dette has taken
many chances with
David,
--- LGS-Europe [EMAIL PROTECTED] wrote:
There's no danger in knowledge, it will only
increase our understanding and
appreciation of art.
I agree completely, however we can't remove the
variable of the student him/herself from the equation.
Any student - and this applies to all of us
David,
--- LGS-Europe [EMAIL PROTECTED] wrote:
I see more and more historical awareness in the
non-early music players
around me, so HIP is becoming part of main stream
classical music. And I see
a more liberal attitude towards HIP-ness in the
early music players around
me, so they
--- Alfonso Marin [EMAIL PROTECTED] wrote:
I am tempted to say that I can figure a charlatan
healer saying the
same thing about real medicine.
What does annoy you?
How can knowledge annoy you?
Maybe you are just scared to go through all that
information and
making an efford to
Alfonso,
Yes, but who was it that said something like
Learning continuo 'rules' is like learning to swim on
dry land.? Certainly one should take the time to
learn the rules and look at treatises, but ultimatly
figured bass has to be something intuitive gained by
forcing yourself to go
--- David Tayler [EMAIL PROTECTED] wrote:
That is an interesting picture.
No nails on the thumb and first finger, but nails on
the other ones.
The dark spot under first finger is the shadow, in
contrast to the light nails.
Clearly looks like nails on the thumb and index
finger. The engraver
David,
Interesting. We had a discussion on this list
about a year ago and I remember several folks saying
that the mandora/gallichon was actually in D (like
your bass lute) with the third string raised a
half-step when compared to a lute in old tuning.
Before that, I'd always heard that it
Daniel,
Also interesting was the link below this story to
another one: Perseverance Pays Off for 10-year-old
Guitarist. (The title gave me a chuckle, since it
shows the media's complete incomprehension of what
classical musicians must do. Just how much real
perseverance can this kid
Stephen,
--- Stephen Arndt [EMAIL PROTECTED] wrote:
Chris Wilke wrote:
Don't get me wrong: I'm putting down violinists, or
saying that they have
an easy task!
A Freudian slip?
Now, that's not fair! I think it is perfectly
clear exactly what I meant - violinists play an
David,
--- LGS-Europe [EMAIL PROTECTED] wrote:
Lutes and guitars _are_ difficult instruments.
Guitar pupil of mine of about
12, doing well after three years of lessons,
enjoying it and studying
regulary at home (!), performed his piece on this
year's pupils' night.
Congratulations!
--- David Tayler [EMAIL PROTECTED] wrote:
Just as a point of reference, the average number of
edits on a 60
minute classical CD is about 800.
The maximum I have seen on a lute CD (lute CDs run
higher than
average) is 1800.
I've heard similar numbers before. My jaw dropped the
first
David,
Thanks for this. Lots of good info here! Looking
forward to the longer article.
Chris
--- David Tayler [EMAIL PROTECTED] wrote:
A number of people have requested info on
recordings; I am preparing
a longer article for the web but the material below
is sufficient to
get
--- LGS-Europe [EMAIL PROTECTED] wrote:
I have a
feeling that the power
of the producer, the technical possibilities, the
skills of the sound
engineer and the flawless standard set by cds
already out there, have pushed
cd recording in this direction.
Its a broader cultural thing.
Ed,
Oh, brave warrior, I kneel at your feet! No edits
is certainly the hard way to go!
On my CD, I tried to get as natural a sound as
possible - fairly close, dry and with few edits.
There are a fair number of tracks on there that are
done in one uninterrupted take. (Strange thing:
Neil,
Yes, and on Hoppy's Vieux Gaultier CD, you can
hear breathing, buzzes, cracked notes, and even a
storm outside. I think there's a recording by Diego
Cantalupi where you can hear birds singing in the
background. (I don't even think the piece was by
Respighi ;-))
Chris
--- Narada
Diego and all,
--- [EMAIL PROTECTED] wrote:
Anyway, most of the survived instruments (and also
my theorbo) can mount
double strings.
From this I can assume that we all play
unhistorically single mounted
theorbos...
Actually, there's quite clear iconographic evidence to
support single
Hello all,
I remember hearing a long time ago that there was
a piece for baroque lute that called for the snap
pizzicato (AKA Bartok pizzicato - I assume it would
be one of his earlier lute works ;-) . Am I crazy or
does the snap-pizz piece really exist? If so, by whom
and what title?
Stephan,
--- Stephan Olbertz [EMAIL PROTECTED] wrote:
Am 16 Jun 2007 um 8:31 hat [EMAIL PROTECTED]
geschrieben:
I just met the
other day with a highly competent classical
guitarist
who could not remember for the life of her how to
finger a B minor chord.
Excuse me, but isn't
Denys and all,
I've thought about this a bit and don't find it
so strange that the lute typically doesn't have
stock block chord shapes.
How many contemporary, modern, 21st-century, just
published, classical guitar methods include a chord
chart? I don't know of many now nor in the
Whoa, let's all cool it for a moment...
I don't know that anyone was trying to be snobby
here, but I suppose I can see where the disconnect
was. A lot of the Europeans on the list assume a
certain level of basic general music theory knowledge.
They are in the right to do so. Sadly,
At 06:22 PM 6/8/2007, bill kilpatrick wrote:
toe tapping stuff from this blind sudanese oud
player
- interesting way of holding a risha:
http://www.youtube.com/watch?v=OjgozomLcLs
(from mike's ouds)
Good stuff. There's a lot of Western influence there,
though. Chords aren't a
--- Bernd Haegemann [EMAIL PROTECTED] wrote:
Francesca Torelli
www.francescatorelli.com
Luciano Contini
http://www.continiconsort.com
Are either of these players using nails on this
recording a la Piccinini's suggestion? Contini used a
wire-strung, single-strung lute for his
Arthur,
There's a Chaconne des Harlequins in D Major for
theorbo by de Visèe in Saizenay. p.340
Chris
--- Arthur Ness [EMAIL PROTECTED] wrote:
Does anyone know the source for a piece titled (in
English??) Chaconne for Harlequin. Is that clear?
does
anyone know of such a piece,
David,
Its rare, but he does use it. Seems to show up
mostly in ascending arpeggios within preludes. This
happens very prominently in the E Minor Prelude on
p.308 of Saizenay after the first chord and bass note,
the is a 5-note arpeggio marked
thumb-thumb-index-middle-ring (| | . .. ...).
Ed,
Wow, thanks! I'm glad you enjoyed it. And wha
timing - I need to mention one important thing in
conjunction with this album, however.
Charles Hurel: Works for Theorbo; Christopher
Wilke, theorbo, formerly a self-release with a
different title, is now available with Centaur
Nigel,
I'm going to leave the virtually the same
instrument part out of the question for the moment.
The whole debate over double vs. single string as well
as Italian vs. French performance practice could get
ugly.
I use the essentially the same technique for
Castaldi, Pittoni,
--- Joseph Mayes [EMAIL PROTECTED] wrote:
The false impressions I need to correct in
Chris' e-mail are:1.
Classical guitar technique is counter-intuitive.
I too am a classical guitarist. I continue to play,
teach, and compose for classical guitar alongside the
lute, and I think I do a
--- John Scott [EMAIL PROTECTED] wrote:
I feel like I'm having to unlearn all my 'good'
guitar habits!
Yes, its a different approach. Ironically, though,
throughout the guitar's history, much right hand
technique shared a lot in common with the lute
technique you're learning now. It was
Mathias,
I thought both Lislevand's and Bonavitas'
performances were nice.
Chris
--- Mathias Rösel [EMAIL PROTECTED]
wrote:
Davide Bioccoli [EMAIL PROTECTED] schrieb:
Hi to all...
Here's a nice (but short) link to Lislevand
playing De Visée:
--- Mathias Rösel [EMAIL PROTECTED]
Notwithstanding everybody's personal preferences, I
especially disliked
Lislevand's stopping of basses so as to stress the
notes.
Not my preference, either. Hoppy Smith does this sort
of thing all over his de Visee album and it seems like
lots of folks
--- Martyn Hodgson [EMAIL PROTECTED] wrote:
In practice I find that the vast majority of
players are very happy with a plain black and white
print produced by less high quality reproduction
techniques such as those available from SPES (at a
fraction of BP prices).
It seems there
--- steve gottlieb [EMAIL PROTECTED] wrote:
even if a library is state-funded, it isn't
necessarily
completelystate-funded. and further, not all
state-funded services are
free.
True, we pay for many state-run services. However,
the question remains: what services are libraries
actually
--- steve gottlieb [EMAIL PROTECTED] wrote:
i disagree with your statement chris about
maintaining a state of stasis for
these items. just to maintain old manscripts is
highly cost intensive, as
gordon elaborated.
You're actually agreeing with me here. My point was
that holding even
Gordon,
I think your message makes it clear that there
_must_ be a concerted effort to digitize as much
materials as soon as possible. Knowing this, who
could care about global warming!? Those books will be
gone long before Nebraska is under water if this keeps
up. Sad, really.
Chris
Ron,
Total scam. Knew it already from the name - the
con-artists seem to _love_ using two first names. (I
happen to know TWO real guys named Bob George. I hope
they never go into internet marketing.) I get about
four or five emails like this a day. You know what
they say...if its too
Dear all,
I heard a report last week that classical music
was the genre with the single largest increase in
sales over all styles last year: up 22%. This was
largely due to two performers: the ever-popular Andrea
Bocelli and Sting.
Chris
--- gary digman [EMAIL PROTECTED] wrote:
--- David Rastall [EMAIL PROTECTED] wrote:
If you were a Catholic in the England of
1600, probably you
would be left alone as long as you didn't get
political.
--- David Rastall [EMAIL PROTECTED] wrote:
If you were a Catholic in the England of
1600, probably you
would be left
Andrew,
I know Nigel North had nylgut and Savarez
synthetics on his ten-course last time I saw him.
baroque lute I don't remember.
Chris
--- Andrew Gibbs [EMAIL PROTECTED]
wrote:
Do any serious players use nylgut synthetic strings?
perhaps more for
renaissance than baroque
Denys,
--- Denys Stephens [EMAIL PROTECTED]
wrote:
I use Nylgut too, and love the sound it makes on my
lutes, but I would hate to be taken too seriously.
..But how are you ever going to get EM street cred if
you don't take yourself too seriously? :)
CW
Andreas and Mark,
I was just thinking on this. Is there any music
that is clearly written specifically for this type of
12 (not 11 or 13) course lute?
Chris
--- Andreas Schlegel [EMAIL PROTECTED] wrote:
Dear all
By the way, the whole problem of basses ringing
too long was
--- Edward Martin [EMAIL PROTECTED] wrote:
Terzi duets by David van Ooijen (a
great guy and frequent
contributor to this list. Now, I can easily obtain
this CD - I hear it is
great!).
I can attest to it! A fantastic CD. Great technical
mastery and musicianship worth having in any
--- [EMAIL PROTECTED] wrote:
We do have pictures of single strung theorbos, but
as you say they were
probably played more often with double strings than
we think.
How do we know that those single strung instruments
are not in fact archlutes? The size of the lute
within the context of the
Thomas,
Ronn told me about two years ago that he was
possibly going to publish those pieces with Mel Bay.
They wanted guitar arrangements in tab included,
though, and he wasn't sure whether this would even
work. Does anyone know if this is still in the works?
Chris
--- [EMAIL PROTECTED]
--- [EMAIL PROTECTED] wrote:
It is in Bb minor - five flats in the key signature
and so the same as Db Major. Db minor would, of
course, be the same as C minor, only a lot harder to
read.
OK, now I made a silly mistake... make that Db
minor=C# minor.
Chris
--- Sean Smith [EMAIL PROTECTED] wrote:
It was easy to transcribe, both by hand and in
print. It allowed the
individual to transmit his own fingerings and
provided a diagram that
was easily absorbed by the brain at speed for those
weak of harmonic
education. I don't know which of these
--- Stuart Walsh [EMAIL PROTECTED] wrote:
Assuming you've got the top six courses in tune
(just like a guitar with
the third string down a semitone - and capoed at the
third fret) then
tune the seventh course to the fourth course. And
the eighth course to
the fifth course at the second
Hello all,
This is not, strictly speaking, a lute question,
but I know a number of list members are into this, so
I thought I'd toss it out to the general population.
Ignore if you hate guitars.
I'm toying around with the possibility of getting
a 19th century guitar. I've researched a
Bernd,
Yes, I think we're speaking of the same thing, just
thinking about it differently. Basically, I mean that
the duration of the measure remains the same, its just
a matter of whether there are two beats or three beats
within it.
In modern terms, we could say that it is like the
Gary,
--- gary digman [EMAIL PROTECTED] wrote:
Of course we make distinctions. Which is what we do
when we say we prefer
one piece of music over another.
This is the type of circular argument that gets kids
Fs on their gradeschool book reports: I liked it
because it was good. Preference
--- [EMAIL PROTECTED] wrote:
I was simply saying that Bach is not better music
than Led Zeppelin, because
it is more complex. In the end I would not say that
any music style is better
than another.
Mark,
But to not make distinctions - decisions about which
of things has more merit - is
--- [EMAIL PROTECTED] wrote:
The ability to play fast or cleaner at at least
possible somewhat to judge.
Yes, so is faster or cleaner, better? According to
you, no.
I was not talking about musicians playing abilities.
For instance ALK, told me that he rarely listen to
classical CD's because
--- Bernd Haegemann [EMAIL PROTECTED] wrote:
This is very practical in Tanz/Hupfauff
combinations, where a slower
binary dance is followed by a quicker one in triple
time.
Bernd,
I'm sure you know this, but just to clarify a
little...
Quicker, yes, but only in the rhythmic values
--- [EMAIL PROTECTED] wrote:
Sorry, way of judging music by it's ethnic
background and complexity is
absurd.
Let's follow your reasoning...
Great! Then I'm just as good a player as Paul
O'Dette! Who cares if he plays cleaner, has a finer
touch, etc? I'm after different goals (largely I
A couple more players:
Paolo Cherici, Luciano Contini (accent on the first
sylLAble).
Chris
--- Andreas Schlegel [EMAIL PROTECTED] wrote:
Dear all
Thanks a lot for all names. Some points:
- I like to take only the modern players (without
our fathers
Bream, Ragonssnig, Dombois,
Ron,
You could consider a ten-course lute or an
archlute. The ten-course would allow you to play the
entire renaissance literature up to the very early
baroque in Italy (i.e. Kapsperger) and some crazy
tunings in France. The archlute could be
theoretically used for the whole of the
--- gary digman [EMAIL PROTECTED] wrote:
I resolved
never to attend another
lute concert sponsored by Sfems because the lute
simply could not be heard
from more the 6 or 7 rows back where all the lute
players (who cannot afford
season tickets) were forced to sit. I refuse to pay
$40 for a
--- [EMAIL PROTECTED] wrote:
My view is that the claims Sting makes for his CD
are false and misleading
especially to an audience new to this repertoire.
Has anyone ever considered that for Sting to perform
the music as many of us think he should - i.e. the
same way we want to do it
--- [EMAIL PROTECTED] wrote:
I think in the end the big Lute Boom will not come
about through this CD,
because in the end the lute doesn't sound anything
like a lute on the CD.
Most non-musicians can not distinguish, or even care
to distinguish, the difference between the sound of a
modern
--- Mathias Rösel [EMAIL PROTECTED]
As for this initial question, we've now reached the
point where the
_tessiture_ are compared: e'-C (angelique) vs. d'-C
(lesser, or French,
theorbo).
No, as I mentioned in my last message, the range of
the open strings is _exactly_ the same. Not just
--- Stewart McCoy [EMAIL PROTECTED]
wrote:
I can't think of any words which rhyme with
Karamazov.
How 'bout get your rocks off?...knock your socks
off?
Chris
__
Do You Yahoo!?
Tired of spam? Yahoo! Mail has the best spam protection around
--- Mathias Rösel [EMAIL PROTECTED]
wrote:
You mean, where are they being kept?
No.
To think, however, that
the angelique must
have been developed, rather than invented, is an
unnessecary premise,
IMHO.
It is extremely rare to find instruments that are
simply invented, especially one
Joe,
As someone else pointed out, Nigel does both of the
first two. I don't know about a true first course,
but he did actually record with a NINE-course lute, as
Dowland called for. I think it _may_ have had a
double chanterelle.
But he has no qualms using nylgut.
Chris
--- Joseph
--- Mathias Rösel [EMAIL PROTECTED]
wrote:
Surviving
angeliques are small
(string lengths of 54 to 71 cm), single strung,
swan-necked
instruments.
I'm interested in existing instruments, so much as the
organology of this class. So where did the angelique
come from?
Is it not reasonable to
--- Roman Turovsky [EMAIL PROTECTED] wrote:
Swan-necks on angeliques predate the
purported/alleged invention by some
50 years.
RT
The angelique is essentially a converted _theorbo_,
not a lute. In this case, the theorboed extension was
already there and the swan-necking was merely a
Lucas,
What about the dm lute in ensemble music, period?
We know that there is actually a significant amount of
music for baroque lute with other instruments.
Supposedly, Weiss worked to invent the swan neck lute
especially so that it could be heard in instrumental
groups. And, although we
Robin,
I'd say go with an individual lute maker. The
lute market isn't big enough to allow for enough
quality control from factories/brands right now.
One could buy a perfectly playable student classical
guitar from, say, Yamaha for a quite reasonable price.
If one is looking for a
--- [EMAIL PROTECTED] wrote:
In
fact, if I am not mistaken,
doesn't Praetoriuos also suggest a theorbo in G with
no re-entrant tuning?
Uh-huh. He also mentions stringing with wire and
brass. (Nylgut having not been yet invented...)
Chris
David,
Could be... We have reports of both Palestrina and
Gesualdo accompanying themselves singing with an
instrument playing the other parts (Mass movements and
madrigals, respectively). I would guess it would be
fairly difficult and somewhat self-defeating to
reproduce their brand of thick
Daniel,
I don't know... It is interesting at least. The
biggest annoyance for me were the problems with
intonation. Sting's been belting out rockers in
stadiums for years, presumably without much vocal
coaching. As such, it doesn't seem that his voice has
held up entirely - very
--- [EMAIL PROTECTED] wrote:
Also playing Kohaut with the modern orchestra
Orchestra della Svizzera
Italiana is not exactly an impressive gig. It seems
he has cornered all the jobs
that authentic lutenists would probably turn down.
Bravo !!!
Mark
I the summer where I live in
--- [EMAIL PROTECTED] wrote:
I don't think it is important that you wrote the
music yourself, but a
renaissance musician would only have played the
music he believed in.
Were did this idea ever come from? Renaissance
musicians played whatever their patrons believed in.
For instance, there
--- LGS-Europe [EMAIL PROTECTED] wrote:
Accompanying Dowland is to move with the text.
Forward, hold a litltle,
emphasis here, crunching chords on crunching words,
purely instrumental
melodic interest in the middle voices to slow things
down or speed things
up, hanging dissonant bass
Dear Luters,
Would anyone have a copy of the English
translation to Giovanni Felice Sances' song Usurpator
tiranno that they could send me? The translation is
available in several CD booklets, but I don't have
immediate access to them and I need it ASAP (my rough
Italian abilities won't
--- Howard Posner [EMAIL PROTECTED] wrote:
Of course not, because they'll have looked at all
the other photographs
from our era and will know that we all spent our
time standing still,
looking straight ahead with forced smiles.
No. People in the future will use musician promo
photos to
David,
Oops - boy is my face red! In my rush to make a -
what I thought would have been fairly clever in other
circumstances - point, I didn't even really look at
the name of the competition or where it was being
held. I saw Anthony Rooley's name and assumed that he
was there to add the
David,
I have to disagree with the prevailing opinion
somewhat: bigger is not always better. I speak from
some experience, owning both a gigantic theorbo (99cm
on the board(!), diapasons around 6 1/2 feet long) and
a smaller one (76cm fingerboard/119 diapasons).
Nowadays I use the small one
--- Herbert Ward [EMAIL PROTECTED] wrote:
At some places, I've even learned to hold back
when I
use the small guy so that the sound doesn't get
too
annoying.
Once I saw a Steinway baby grand that had a nicer
bass than a larger Steinway a few feet away. Not
louder, but clearer and
Taco,
My first response is usually an awkward silence.
I'm not SURE if the person is joking and so I stand
there with a dumb smile on my face for a moment. Then
I think to myself Oh God, should I correct him/her?
Is this person going to take it as an insult? Then I
usually say something
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