On Apr 30, 2012, at 7:57 AM, Mayes, Joseph wrote:
Then why is it possible to state categorically that Bach never wrote for
lute?
I wouldn't know; I've never said it.
How can we assume what Back must have expected?
We don't have to assume--when you send music to someone who plays the
On Apr 30, 2012, at 9:25 AM, David van Ooijen wrote:
Did you ever have the doubtful pleasure of attending a concert of the
B-minor mass with _real_ Baroque trumpets (without holes instead of
the 1960s 'Bach' trumpets which are the generally accepted standard in
today's early music
On Apr 30, 2012, at 12:02 PM, Alain wrote:
Hi everyone,
When stringing a lute, some people like to cut the strings a little above the
nut and tie them with a knot to some non-elastic material like rope or
synthetic fiber of some kind that is wound to the peg. What are the
advantages of
On Apr 30, 2012, at 11:34 AM, Roman Turovsky wrote:
JSB didn't play gamba either as evidenced by his reassignment of nicely
playable lute part in the MatthäusPassion to an impossible one for gamba in
the 2nd version.
Any gambist would tell you that that gamba part is pure hell.
And anyone
Some of the responses to the Harmoniis video might indicate that there was
some problem with the balance. The continuo balance is good and I could hear
the theorbo just fine.
On Apr 10, 2012, at 4:26 AM, hera caius wrote:
All instruments very authentic copies.
Gamba and violin on gut,
Micing is normally means using mice. Naturally, the word is normally used
by micers.
On Apr 6, 2012, at 8:57 AM, Toby wrote:
(And, yes. I say mics, so why not
micing?).
dictionary.com has 'miking', but not 'micing'.
The former's root is the word 'mike'. 'micing'
looks like 'icing'
On Apr 3, 2012, at 5:41 PM, Tobiah wrote:
How are the timelines of these instruments
related, and what pieces include both instruments?
Are you asking what music was originally specified by the composer for an
instrumentation that included lute and recorder?
Or what music can be done with a
Diana Poulton and Suzanne Bloch knew each other in the 1930's, when they were
both in the Dolmetsch fold, and chafing a bit. Bloch wrote about those times
in LSA Journal in 1969. There are excerpts on the web:
http://www.dolmetsch.com/Dolworks.htm
On Mar 25, 2012, at 9:09 AM, William Samson wrote:
Even subtly inauthentic technique (like
thumb-inside for baroque lute, or pinky too far from the bridge) can
cause the more sensitive souls among us to take to a darkened room and
suck our thumbs.
Unless you can show some proof that
At an LSA seminar, Isabelle, whose last name I don't quite remember and could
never spell, remarked that Attaignant was the Mel Bay of the 16th century.
On Mar 21, 2012, at 2:06 PM, Sean Smith wrote:
Ach, dear old Pierre Phalese. We'll always wonder about the back story. As
anthologies go,
On Mar 15, 2012, at 12:01 PM, Ron Andrico wrote:
By the way, just to demonstrate my negligible writing skills, I
deliberately omitted a possessive and began sentences with 'and' and
'but' just to annoy Howard. How did I do?
Epic fail, as my twelve-year-old would say. You can't fool
On Mar 14, 2012, at 10:21 AM, Monica Hall wrote:
There is a paradox at the heart of the Early Music Movement - we like the
music but we don't like the way the people who created it lived their lives.
But you can't separate the two. You have to try and understand the world in
which they
On Mar 14, 2012, at 3:58 PM, Edward Mast wrote:
A very sad state of affairs, Chris. I never understood the church's -
catholic, protestant, or otherwise - desire to revise its music programs to
reflect what is going on musically in society; to appear to be more
relevant.
On Mar 14,
On Mar 13, 2012, at 4:01 PM, Tony wrote:
The Church's doctrine on liturgical music can be summarized in seven
points
Doubtless there are listers who know more about this than I do, but this list
seems like a compilation of things that have been said on the subject over the
On Feb 17, 2012, at 7:40 PM, Bruno Correia wrote:
300 Euros. Btw, is it broken??
Well, it's dropped against the dollar and the pound because of the Eurozone
crisis, but I wouldn't call it broken.
--
To get on or off this list see list information at
On Feb 15, 2012, at 9:20 AM, David R wrote:
I was talking to someone the other day about viol fretting, specifically:
using old strings as fret gut. Along with some information on that, he sent
me this quote from Dowland. He didn't specify John or Robert:
therefore doe this; let the
On Feb 5, 2012, at 8:29 AM, Ron Andrico wrote:
While I am also a great admirer of Page's work, I am a little incensed
that a reviewer admits to deliberately panning commercial recordings
with the intent to advance one point of view. Ethics?
Would you be incensed by a reviewer who panned
On Feb 1, 2012, at 2:28 PM, Stuart Walsh wrote:
So: is it in any way reasonable for a composer to ask/insist that I put my
name on youtube videos? The whole thing sounds so utterly ridiculous and
implausible that there must be some other explanation. The only obvious
thing I can think of
On Feb 1, 2012, at 3:19 PM, Stuart Walsh wrote:
Unless we're talking at totally cross purposes (which I suspect we are) a
composer has no de facto rights (he's going to come and beat me up?)
I think he can get your video removed from Youtube. I see videos get removed
all the time, but I'm
On Feb 1, 2012, at 7:07 PM, Roman Turovsky wrote:
Consider that EGBaron, a journeyman lute personality, considered himself
nothing less that an Orpheus. And you can only imagine SLW's opinion of
himself.
And that is the mindset of the whole lutenism, an entirely apollinian culture.
Even if
On Jan 29, 2012, at 1:26 PM, David van Ooijen wrote:
YouTube asks me to prove it's Public Domain. I told them it's 18th
cenury music, come to us in manuscripts and old prints. And I asked
them what kind of prove they want for this.
And they haven't responded yet, I take it. They may not.
On Jan 10, 2012, at 4:21 AM, Christopher Wilke wrote:
OK, I used the Second Viennese School composers as an example due to the
particular concern they had with timbre at a minute level. The issue could
just as easily been voiced by Strauss, Mahler, Debussy, Ravel or others.
Around the
On Jan 10, 2012, at 12:21 PM, Christopher Wilke wrote:
I've read portions of it,
More than I have, then.
but it's quite a large document to browse through. Relevant to the topic of
this discussion: What does he have to say about the relative merits and
defects of gut vs. steel strings
On Jan 10, 2012, at 12:52 PM, Christopher Wilke wrote:
I thought it seemed a bit early for Rimsky-Korsakov to be discussing steel
strings in much depth. Does he discuss the tone of metal strings anywhere,
perhaps even a remark noting them as a new novelty?
Metal and steel are mentioned
On Jan 10, 2012, at 12:49 PM, Roman Turovsky wrote of Rimsky-Korsakov's
Principles of Orchestration:
Did his ghost finish it for him
RT.
Of course. Rimsky-Korsakov was like most musicians. On the whole, they don't
write well, so they make much use of ghost writers.
The name you're
On Jan 10, 2012, at 1:09 PM, Roman Turovsky wrote:
Hmmm, what about those musicians who write rather well, in many languages,
including dead ones?
You have to have a ghost writer if you're going to write in a dead language.
--
To get on or off this list see list information at
On Jan 8, 2012, at 7:59 AM, Jeff wrote:
Research I did a number of years ago points to WWI as a significant
contributor to the early 20th-c switch from gut to steel. Within the context
of the debate about gut vs. steel strings for American guitars from those
years, at least one commentator
On Jan 8, 2012, at 5:17 AM, Christopher Wilke wrote:
I find the area of performance practice in the early 20th century to be
extremely fascinating. There were a lot of changes that effected the quality
of instrumental timbre, but they seem to have happened with little complaint
or
On Jan 8, 2012, at 11:56 AM, Christopher Wilke wrote:
Barrios apparently did use steel on all three top strings, at least at
some time. He placed little bits of rubber close to the bridge on his steel
strings, presumably to damp them a bit and make them sound more gut-like.
The
On Jan 7, 2012, at 2:09 AM, Martyn Hodgson wrote:
Incorrect again Howard - he does not say those who use tastini are
'prominent' players as you do (from where do you get this), but that
they are foolish.
You must have missed Jean-Marie's post yesterday, quoting Galilei's Fronimo:
On Jan 7, 2012, at 2:03 AM, Martyn Hodgson wrote:
Read Lindley's book on lute temperaments if you don't believe me.
I have read it, and it's a major reason I don't believe you.
Lindley ignores or dismisses nearly all the evidence that contradicts his
thesis, often comically. My personal
On Jan 6, 2012, at 1:57 AM, Martyn Hodgson wrote:
Equal temperament was used on lutes from the 16th century onwards
Except by Gerle (1532)
And the Dowlands (1610)
And Ganassi (1543)
And Mersenne (1636)
And anyone who read their books and followed their instructions
And anyone who played with
On Jan 6, 2012, at 9:51 AM, Jean-Marie Poirier wrote:
Mersenne insists that the best way to play in tune with fretted instruments
in particular, is to use some sort of equal temperament.
And yet the fret placement he gives in Harmonie Universelle is decidedly
unequal.
--
To get on or off
On Jan 6, 2012, at 12:36 PM, Jean-Marie Poirier wrote:
Although Denis does not recommend openly a sort of equal temperament, he
acknowledges the fact that fretted instruments are not naturally and
technically apt for unequal temperaments. I think his ivory frets, which
could be adjusted
On Jan 6, 2012, at 3:43 PM, Edward Martin wrote:
I
recall in rehearsals stopping, and inquiring why they did that. They
responded that many of the individual violinists tuned sharp, so I
can hear myself, and they found that it was easier for them to play that way.
The usual answer is
On Jan 6, 2012, at 4:17 PM, Edward Martin wrote:
The usual answer is better sharp than out of tune.
How silly is that? Playing sharp _is_ out of tune!
Well, it's a joke, but like much humor, it's based in experience. If the
orchestra is playing at 441 and the flute player comes in at 442
On Jan 1, 2012, at 10:49 PM, Herbert Ward wrote:
Stretching of strings between the nut and the peg is causing
me severe difficulty in tuning -- I can turn the peg
90 or 120 degrees with no response in the pitch.
Lubricating the nut is of course a possibility.
A necessity, if you can
John Dryden (or perhaps Nathaniel Lee, since Oedipus was a collaboration and it
isn't clear who wrote which part) wrote:
3. Till Alecto free the dead
From their eternal Bands;
Till the Snakes drop from her Head,
And whip from out her Hands.
On Dec 13, 2011, at 2:23 PM, David Tayler
I've reproduced below the part of Oedipus we're talking about, because nobody
could make sense out of this discussion without it. It's a scene where
Tiresias and his daughter Manto are trying to raise the ghost of king Laius.
The parts in italics are sung (I don't know if the italics will
On Dec 5, 2011, at 1:42 PM, William Samson wrote:
There were at least two DuButs and possibly three.
..fear, surprise, and ruthless efficiency...and an almost fanatical devotion to
the Pope
--
To get on or off this list see list information at
For those who didn't get my highly erudite reference, try this:
http://www.funnyordie.com/videos/d58d400423/spanish-inquisition-by-monty-python-from-greatest-comedy-sketches
On Dec 5, 2011, at 2:50 PM, wikla wrote:
What is that? Tell us more what you know of the Dubuts, Howard!
Fear,
On Dec 4, 2011, at 11:08 AM, David van Ooijen wrote:
I've noticed some lute songs become easier down a tone. Particularly
Morley songs. I always wondered about his songs - were they written a
tone lower but publisehd a tone up?
Remember that Morley did not play the lute. He said he had
On Dec 3, 2011, at 1:57 AM, Martyn Hodgson wrote:
Thank you for this Howard and for your time.
And thank you for restating what you'd already written. Since I've already
responded to it, I'll spare the list further comment.
--
To get on or off this list see list information at
On Dec 3, 2011, at 4:10 AM, Konstantin Shchenikov wrote:
My friends and me have played a concert.
Here is songs by John Dowland:
http://www.youtube.com/watch?v=hcleEbnXqCM
http://www.youtube.com/watch?v=ycL4JaKHY6s
http://www.youtube.com/watch?v=1AB54nH3Zac
What do you think about it?
On Dec 2, 2011, at 7:29 AM, Roman Turovsky wrote:
Howard, think a little -
transposition is precluded by temperament.
I'll let David know.
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Dec 2, 2011, at 7:58 AM, Martyn Hodgson wrote:
As David Hill points out (have you bothered
to read his paper?) the voice generally expected when the songs were
composed was soprano/tenor. As he says, the male alto, to take David
Van Oijan's personal preference, was certainly
On Dec 2, 2011, at 10:48 AM, Nancy Carlin wrote:
A while back on the lute list there was a link to Hector Sequera's
dissertation about Paston - very interesting. It's 100 years earlier,
Actually, Paston, being Elizabethan, is the period we're talking about. You
were led astray by my
On Dec 2, 2011, at 11:14 AM, Roman Turovsky wrote:
The idea of instant transposition on an instrument PRECLUDES meantone
temperaments, for starters.
It would only possible in EqualT. in a hypothetical situation that a given
transposition causes no hideously hard fingerings.
Say, your singer
On Dec 2, 2011, at 12:29 AM, Martyn Hodgson wrote:
Have you anything constructive to add to the exchange?
No; once you've told us that transposition is unnecessary because almost half
the singers who'd want to sing the music can do it without transposition,
you've said it all.
--
To get on
On Dec 2, 2011, at 11:19 AM, Roman Turovsky wrote:
And speaking of such truly accomplished singers as Karamazov:
He tends to have 4-6 archlutes on hand, for various minute instant
adjustments of performance.
I guess that works if you have a large car and are very generous in tipping
On Dec 2, 2011, at 1:44 PM, Roman Turovsky wrote:
you know of the community's unease of accepting ET.
We're more accepting of it than Dowland was.
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Dec 1, 2011, at 8:30 AM, Martyn Hodgson wrote:
We've already discussed this: the range of these songs is well within
that of the generality of sopranos and tenors (see David Hill's recent
paper which also discusses this matter) so there is really no need to
transpose except, of
On Dec 1, 2011, at 2:08 AM, Martyn Hodgson wrote:
why would you wish to transpose the lute part at all?
I can claim no particular great expertise on the subject of transposition
motivation, but could it be in any way possible (and I know this sounds crazy)
that the idea of transposition comes
On Nov 30, 2011, at 7:39 AM, David van Ooijen wrote:
Ask your colleagues if they can
transpose a lute song.
What evidence do you have that he has colleagues?
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Nov 30, 2011, at 12:35 AM, William Samson wrote:
I sometimes wonder why I haven't come across much in the way of
contemporary agonisings about pitch standards and compatibility of
lutes with their wide range of scale lengths for a given nominal
pitch. Presumably this would have been
On Nov 30, 2011, at 9:27 AM, David van Ooijen wrote:
Oh dear, English again - and from the other side of the pond at that!
Perhaps I'm guilty of the Carly Simon song here: You're so vain, you
probably think this song is about you. My humble apologies to all
involved if that is the case.
Not
On Nov 28, 2011, at 5:15 PM, sterling price wrote:
My question is: should I
just tune the same 415 strings down or get a new set of strings for
392?
Yes. Those are pretty much the only two options.
Right now it is at 392 but I'm wondering if it might sound better
with new strings.
On Nov 26, 2011, at 6:51 AM, heiman.dan...@juno.com wrote:
Pity that there does not appear to be a photo of the instrument on the
website of the Kunsthistorisches Museum where it resides.
Maybe they think it's an embarrassment.
--
To get on or off this list see list information at
On Nov 25, 2011, at 5:04 AM, Anthony Hind wrote:
Mathias
I have unissons on the 5th course of my 7c lute, but octaves on my
fourth, but perhaps I have missed something.
Only that your stringing is very unusual, if not unique.
--
To get on or off this list see list information at
I'm looking for a picture of an early chitarrone which, instead of an extended
neck, had an extended body with two bridges (by one of the Tieffenbruckers, I
think). Can anyone direct me to one?
To get on or off this list see list information at
On Nov 25, 2011, at 10:37 PM, Diego Cantalupi wrote:
you can find a picture here, in my dissertation about chitarrone:
Thank you, Diego. I downloaded your dissertation months ago, but with my
limited Italian, it might have taken the rest of my life to get to page 38.
The instrument is even
On Nov 23, 2011, at 12:22 PM, Monica Hall wrote:
Sad indeed. she can't have been that old.
She was 69
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Nov 23, 2011, at 4:30 PM, ml wrote:
May I correct: she was born in 1948, so she was 63, not 69
15 March 1942, according to everything I've seen. See:
http://www.gramophone.co.uk/classical-music-news/montserrat-figueras-has-died
The Savall/Figueras website home page says In Memoriam
On Nov 20, 2011, at 7:07 AM, Monica Hall wrote:
. I prefer the simplicity of a 13 course Baroque
lute; and I tell no one that I string my 6th course in unisons- direct
violation of Canon Law.)
A good many players seem to be unaware of such a law. At an LSA some years
ago, when loaded
On Nov 17, 2011, at 12:04 PM, Monica Hall wrote:
Light the end of one with a match. It will be obvious pretty quickly
if they are gut or synthetic.
My guitar didn't go up in smoke when I tried it so presumably they are
genuine. Sigh of relief.
I'm pretty sure that when he wrote,
You could try the sound of one hand clapping exercise: thrust the fingers out
to full extension and and then clap them into your palm. It's actually an
excercise to strengthen an speed up the extensor muscles, but it helps
circulation. So do jumping jacks, and drumming bongo-style on some
Christopher Stetson wrote:
It also has been declared by someone to be Nigel Tufnel Day, after the
member of Spinal Tap with the special amplifier which has eleven.
For the few who might not know the bit:
Nigel Tufnel: The numbers all go to eleven. Look, right across the board,
eleven,
If anyone's being obscure, it's not Purcell. The poem is the 20th stanza of a
French poem, La Solitude A Alcidon
translated by the 17th-century English writer Katherine Philips, who published
under the name Orinda. You might want to look over the first 19 stanzas.
You can find the French and
On Nov 8, 2011, at 12:34 PM, jsl...@verizon.net wrote:
But isn't it really just a pun by Purcell on Apollo's lyre?
Yes (and now that you mention it, I wonder if lyre and lore would have
sounded more alike to Londoners in 1685 than they do to us), but a pun needs
two expressions that each
On Nov 4, 2011, at 2:29 PM, William Samson wrote:
Wasn't it Pascal who wrote Sorry this letter
is so long - I didn't have time to make it shorter.
Reverend fathers, my letters were not wont either to be so prolix,
or to follow so closely on one another. Want of time must plead my
excuse
On Nov 4, 2011, at 2:58 PM, Ron Andrico wrote:
Not Pascal but good old George Bernard Shaw, who also reviewed concerts with
a certain measure of wit.
I've seen it attributed to Shaw, Mark Twain and Oliver Wendell Holmes, not very
specifically or reliably.
The Provincial Letters were a
If your paper doesn't have 9 Chickweed Lane you can catch the October 21
strip here:
http://www.gocomics.com/9chickweedlane/2011/10/22
It isn't the first time the lute family has appeared in it.
To get on or off this list see list information at
I meant October 22, obviously.
On Oct 22, 2011, at 5:09 PM, howard posner wrote:
If your paper doesn't have 9 Chickweed Lane you can catch the October 21
strip here:
http://www.gocomics.com/9chickweedlane/2011/10/22
It isn't the first time the lute family has appeared
On Oct 19, 2011, at 2:09 AM, William Samson wrote:
I have heard that 'luth o cembal' was perhaps a keyboard instrument
that sounded like a lute - I've even heard it suggested that it was a
harpsichord strung in gut, but I very much doubt the feasibility of
such an instrument - It
On Oct 11, 2011, at 7:36 PM, JOSEPH CALABRESE wrote:
My first attempt at a youtube recording: the prelude and fugue from Bach BWV
995.
Recorded with a cheap stereo microphone plugged into a video cam (sorry).
Piece still needs a lot of work but I thought I would share my initial
This discussion would make a lot more sense if posters explained what gut is
being compared to. In some cases, it's overwound strings, and in others, it's
plain nylon.
On Aug 30, 2011, at 5:00 AM, andy butler wrote:
Are there any players who reckon that damping is essential?
Tympanists,
On Aug 30, 2011, at 1:45 AM, Rob MacKillop wrote:
However, from the dimmest corner of my memory bank,
I think Mersenne (or someone else!) indicated the bass strings should
have a sustain of 20 or so heartbeats [forgive me if I am getting this
all wrong!]. How long that might be depends
On Aug 28, 2011, at 2:29 PM, Garry Warber wrote:
I'm thinking theorbo purchase... Where does one get a nylon theorbo
14-course string set?
Never mind the strings; where did you find a nylon theorbo?
I measured my 8-course lute strings, which went
from 100cm to 110cm; obliviously too
On Aug 27, 2011, at 7:12 AM, Stephen Stubbs wrote:
Just another example of the Social Justice experiment still going on in USA.
Basically,
Corporations are Bad.
Social Justice is Good.
The last major Social Justice experiment made it all the way into the USA
Constitution as the 18th
On Aug 18, 2011, at 2:47 AM, William Samson wrote:
We all know what happened to
Robert Schumann's right hand when he tried to use some sort of device
to pull his fingers apart.
We don't, and he didn't. It's a myth caused by adding two and two and getting
nine.
Cordially yours,
Howard
On Aug 18, 2011, at 10:52 AM, William Samson wrote:
Incidentally I think I prefer the myth and it's much more memorable than the
truth.
Really? Would you still think so if I told you the truth was that an aardvark
bit Schumann's right index finger?
--
To get on or off this list see list
On Aug 18, 2011, at 11:03 AM, William Samson wrote:
PS What was he doing to the aardvark? That could be interesting too.
He was biting the aardvark, obviously. Aardvarks never bite pianists except in
self defense.
--
To get on or off this list see list information at
On Aug 16, 2011, at 8:37 AM, Ron Andrico wrote:
I share your puzzlement at how Besard could have been so careless,
especially in his ensemble writing.
It's puzzling only if you assume he had control of the finished product. He
may never have seen a proof.
In any case, the early days
On Aug 11, 2011, at 6:04 AM, Martyn Hodgson wrote:
this
matter of theorbo sizes still seems to be an area of misunderstanding.
True, but we like you anyway.
BTW, I recently saw Toy Story 3 with my family, and heartily recommend it.
--
To get on or off this list see list information at
On Aug 10, 2011, at 1:42 PM, theoj89...@aol.com wrote:
Take great care with stretching exercises of the hand!! I deal fairly often
with musicians' injuries, and musicians are nearly as bad as competitive
athletes as far as abusing their bodies to try to get better performance.
Remember
On Aug 6, 2011, at 12:15 PM, Edward Mast wrote:
The only current maker whose instruments I have played and can absolutely
recommend is Dan Larson, but I think his wait time is rather long right now.
Others listed in the Lute Quarterly are Richard Fletcher, David Fitzpatrick
and Ken
On Jul 17, 2011, at 8:30 AM, Roman Turovsky wrote:
no, baroque lute requires a lot less physical labor: fewer notes, more space
between them.
Roman will correct me if I'm wrong, but I believe it's still the case that he's
never played renaissance lute.
To get on or off this list see list
On Jul 17, 2011, at 2:24 PM, sterling price wrote:
Just because the baroque lute has more
strings doesn't automaticly make it harder to play. If that were true the
piano
would be the most difficult of all.
If you try playing the piano using nothing but your right thumb on the bottom
44
On Jul 4, 2011, at 11:08 AM, David van Ooijen wrote:
I have a smallish archlute to my
own specs, tailored for 440 jobs and easy transport. Very convenient.
You mean to say you have a largish archlute, too big to play at 465, where you
ought to be doing Monteverdi and other Venetian and
On Jul 3, 2011, at 4:51 AM, Monica Hall wrote:
Or American? Do you refer to Gynocology in the States?
I rarely refer to gynecology, regardless of what state I'm in, and I would
definitely avoid the word in Utah, especially on a Sunday. I sometimes refer
to my wife's OB guy.
You might be
- From: howard posner howardpos...@ca.rr.com
TOn Jul 2, 2011, at 7:01 PM, Roman Turovsky wrote:
In fact a public expression of feelings through the choice of c-minor for
his Great Mass did cost Mozart his job in Salzburg.
What cost Mozart his job in Salzburg was that he didn't want
On Jul 3, 2011, at 8:13 AM, Monica Hall wrote:
Which is American. I checked the Complete Oxford Dictionary on-line and all
the sources it quotes seem to be American
You seem to imply that if they're American, they don't count...
Well - we all know Americans spell things in a funny
On Jul 3, 2011, at 8:18 AM, Roman Turovsky wrote:
That may very well be so, but a Mass does not have to complete to be a
full-blown slap in the face of the ecclesiastical taste. And eccessive
melancholy has always been viewed with suspicion by the authorities. Still is.
I no longer know
On Jul 3, 2011, at 12:09 PM, Karen Hore wrote:
In mild defence of the inhabitants of that collection of islands with toes in
the North and Irish Seas, the Atlantic Ocean, and that much quarrelled over
stretch of water La Manche/The English Channel. Their venerable
lexicographical
On Jul 2, 2011, at 6:27 AM, be...@interlog.com wrote:
Do it! My guess is Bakfark would have liked to have his music played with a
few notes missing, or on open courses, than not played at all. And I
guarantee you that no audience member will know or care, ever. Unless they
have taken part
On Jul 2, 2011, at 12:22 PM, Monica Hall wrote:
If there is such a word it should be gynAEcentric.
cf. gynaecology, gynaeceum etc
Ms. Cusick knowledge of Greek is evidently somewhat lacking.
Perhaps she was writing in English.
To get on or off this list see list
On Jul 2, 2011, at 7:01 PM, Roman Turovsky wrote:
In fact a public expression of feelings through the choice of c-minor for his
Great Mass did cost Mozart his job in Salzburg.
What cost Mozart his job in Salzburg was that he didn't want it. He insisted
that he be released, and it took
On Jul 1, 2011, at 12:32 PM, wikla wrote:
30 year old Pyramids on the 3 lowest basses - worn out enough not to be too
loud and ringing.
Don't you love those? If Pyramid starts selling pre-aged strings they could
recapture the HIP market.
To get on or off this list see list information
On Jun 25, 2011, at 2:44 PM, David Tayler wrote:
For the Trauerode, if memory serves, you need some chromatic notes.
When I recorded it I tuned my D to C and tuned a few chromatic notes
in the long strings.
Gorgeous music!
Of course it could be for two lautenwerken.
Bach had several,
On Jun 27, 2011, at 4:34 PM, Leonard Williams wrote:
This discussion of breaking pitch has me wondering: Knowing the breaking
pitch of gut, can we use the rule of tuning a treble to just below breaking
pitch to determine at about what pitch lutes were tuned historically?
Not really.
You'd
401 - 500 of 1376 matches
Mail list logo
