On Dec 21, 2009, at 7:00 AM,
wrote:
> (Note that one puny bongo drum, played lightly by an inexpert
> player, can easily cover up the sound of 50+ classical guitars.)
As the tympani, bass drum, cymbals, tam-tam, or gong (and, I'm sure,
other percussion instruments that don't come to mind at th
On Dec 21, 2009, at 8:28 AM, Eugene C. Braig IV wrote:
> That often played out in publication, but I don't know how big a
> role it
> played in novelty pieces in manuscript, especially given Bach's
> ties to any
> actual lute (rather than lautenwerk or via transcription by
> contemporary
> lutenis
Sorry, left out a sentence, rendering the message rather obscure.
On Dec 20, 2009, at 11:32 AM, howard posner wrote:
> Christian practice derives in large part from post-Temple Jewish
> practice, in which, traditionally, instruments are forbidden in
> services. Alexander points out t
On Dec 20, 2009, at 3:00 AM, Stuart Walsh wrote:
> How about the proposition that "there was no church in Italy in the
> first half of the17th century in which the singers all performed in
> the nude?" Well.. who knows? But how likely is it?
Neither likely nor apt as an analogy, since it doe
I've heard the guitar part in Mahler's Seventh Symphony done with a
steel-string instrument.
On Dec 20, 2009, at 7:54 AM,
wrote:
> Already with Webern we may ask ourselves what exactly the
> appropriate instrument really is. The Stauffer-style type of
> guitar construction remained current in
On Dec 19, 2009, at 3:44 AM, Monica Hall wrote:
> we should be cautiousl about claiming that what we do is historically
> accurate.
And equally cautious about calling it historically inaccurate, or
"wholly inappropriate," "nonsense" or "corny."
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On Dec 18, 2009, at 3:43 AM, Monica Hall wrote:
> to which I would respond - is there any authority for David's
> proposition other than his own whim?
I'm not sure what David's proposition is, but yours seems to be
something like, "there was no church in Italy in the first half of
the 17th centur
I think David's question was whether there was some authority for
this proposition other than yourself.
On Dec 17, 2009, at 1:05 PM, Monica Hall wrote:
> I can't believe this - it is all nonsense. There is a difference
> between sacred songs which may be dance like and intended to be
> performed
On Dec 17, 2009, at 2:54 PM, Suzanne and Wayne wrote:
>But a
>theorbo among a string orchestra of even 3/3/2/1 on a part will
> simply
>not be heard in my listening experience.
You mean you don't hear much of it as a discrete, identifiable
sound. What you don't know is how different
On Dec 17, 2009, at 6:32 AM, Monica Hall wrote:
> May I ask what evidence there is that Monteverdi intended a baroque
> guitar to be included in the continuo group in the Vespers?!!
That would be the least interesting of the performance practice
questions you could ask. You might also ask about
On Dec 15, 2009, at 10:33 AM, vance wood wrote:
> Howard: With all due respects I sent your post along with my
> response to it; see below. However; that in itself is not
> important. The opinions are my own you only made a remark that
> spawned my remarks.
>
> Your words: It is better to kn
ommit fraud.
Just like you do not have to be a serial murderer to commit murder,
or a thief to steal.
- Original Message - From: "howard posner"
To: "lute@cs.dartmouth.edu"
Sent: Tuesday, December 15, 2009 10:34 AM
Subject: [LUTE] Re: Luciano Faria
On Dec
On Dec 15, 2009, at 1:45 AM, Ron Fletcher wrote:
> It is better to know the truth than to ruin this man's reputation
> as a good
> luthier by speculation and hearsay.
The truth, according to several list members who say they have
personal knowledge, is that Faria is long overdue in making
instrum
I think you already knew the answer when you asked the question. If
you like the other instrument and can afford to spend the money, buy
it. If Faria ever delivers --don't hold your breath -- you can sell
one archlute or the other; the market for continuo instrument is
likely to stay reas
On Dec 11, 2009, at 7:46 AM, Guy Smith wrote:
He's currently building me a theorbo, which should be ready soon.
Let me
know if you do end up in this corner of the country. No scotch at the
moment, but I do have a bottle of excellent micro-distillery pear
brandy
I just want to remind everyo
Rob was talking about a "complete" recording of Bach's lute works
(never mind what that actually means). Yepes stomped where angels
feared to tread.
On Dec 8, 2009, at 10:29 AM, Lex van Sante wrote:
> Eugen Muller Dombois did. (on a 14 course baroque lute).
> Gerwig did (on a ten course lute how
On Dec 8, 2009, at 1:05 AM, Rob MacKillop wrote:
> Has anyone got this recording?
I've heard the whole thing, and probably have a faded second-
generation cassette of bits of it somewhere. It's not surprising
that it's not available now; it's pretty choppy and stiff.
Scuttlebutt in the 1980s wa
On Dec 3, 2009, at 7:34 AM, wrote:
> The poem is not quite up to the eloquent heights of desperation
> evinced in a line like "cigarettes and ice cream," but "Darkness"
> is still a pretty decent tune.
>
> The poem's definitely about depression. Not truly debilitating
> clinical depression
On Dec 2, 2009, at 8:58 PM, Tom Draughon wrote:
> it seems
> obvious to me that "The ground, the ground shall sorrow
> be..." has multiple connotations - physically ground as in
> the foundation of a building, and musically ground as in
> variations on a ground. "The roof despair..." and "...wall
On Nov 25, 2009, at 9:00 AM, Daniel Shoskes wrote:
> String will stick to my finger and sometimes "restrike" as I lift off.
You might want to try polished gut if you're not already using it.
Or if you're using polished gut, the polish would be what's getting
sticky, so try unpolished.
You could
On Nov 25, 2009, at 8:39 AM, Daniel Shoskes wrote:
>A question for the "no gut, no glory" crowd. I have noticed that
> gut
>strings are stickier on my left hand fingers and sometimes when
> I lift
>off the string the stickiness can cause extraneous sounds. Have
> others
>noticed t
On Nov 21, 2009, at 6:49 PM, Roman Turovsky wrote:
> As to the lack of central authority: the uniformity of ideology
> makes that unnecessary.
I'm not sure what you mean by "uniformity of ideology", but Islam has
all sorts of conflicting views about everyday life, some of which
(for example: how
On Nov 22, 2009, at 6:43 AM, wrote:
Howard,
--- On Sat, 11/21/09, howard posner wrote:
Various lutes were played for millenia in the
Mediterranean basin
So Chris Wilkes still has a long way to go.
? I haven't been a part of this particular discussion. What
exactl
On Nov 21, 2009, at 10:08 AM, Roman Turovsky wrote:
> One explanation is that in Early Islam music was strictly proscribed,
Do you mean to say that all music was banned? I don't think this
would be correct, or indeed even possible given the lack of central
authority over Islamic religious questi
On Nov 1, 2009, at 4:42 PM, David Tayler wrote:
> Didn't know Usper wrote big stuff
Nor I; it was speculation on my part that it was someone connected
with San Salvador who wrote something that requires seven organs. Du
Val's account, like Thomas Coryat's very similar one, is very
tantalizing.
On Nov 1, 2009, at 2:30 PM, Daniel Winheld wrote:
> And just how old are your Pyramids? (Pharonic strings, which dynasty?)
I don't know about David, but I have some Pyramid wound strings that
have been on my instruments for nearly that long. After ten or
fifteen years, they stop being too brig
On Nov 1, 2009, at 2:01 PM, David Tayler wrote:
> I came
> across this quote from the book Venetian instrumental music from
> Gabrieli to Vivaldi
> by Eleanor Selfridge-Field dated 1607
Wow... you must have the first edition. Mine is the third, revised,
1994.
>
> There was a concert of the be
On Nov 1, 2009, at 12:23 PM, David van Ooijen wrote:
> Don't mix your strings. Different kinds on one instrument tend to
> create inbalance in sound and a lute harder to keep in tune.
Not such a big problem for amateurs.
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On Nov 1, 2009, at 6:48 AM, morgan cornwall wrote:
>Are Nylgut (made by Aquila) more 'gut-like' than other synthetic
>strings, or is this just a name?
>
>
>
>What are carbon strings and how do they differ?
Ordinary nylon is less dense than gut, which means, all other things
being equ
On Oct 25, 2009, at 9:02 PM, Bruno Correia wrote:
> Unfortunately I received a full
>score of the opera, which is very hard to acompany in this
> format. Is
>there a version for bass and the top line? That would save paper
> and
>make everything much easier (no page turns...).
It mig
On Oct 24, 2009, at 5:27 PM, Ed Durbrow wrote:
>What I want to know is who had Stravinsky heard play the lute
> before
>that. ??? Bream said "I read that you find the lute very
> beautiful and
>an expressive instrument."
He'd probably heard Bream.
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On Oct 10, 2009, at 3:31 PM, Guy Smith wrote:
> The feather he recommended using - the thin end of an ostrich feather,
> stripped down to just the spine - isn't all that different from a
> guitar
> string, just more fragile. He did have a well-developed
> historically-based
> rationale for using
Great performance; my compliments to La Stewart.
The lower voice parts seem to lie very well on the lute. Did you
drop it a (nominal) minor third?
On Oct 10, 2009, at 5:03 AM, Ron Andrico wrote:
Philip van Wilder and have arranged
several of his part-songs for voice and lute. Here i
On Oct 7, 2009, at 7:08 AM, nedma...@aol.com wrote:
> The Smithson String Quartet (of the Smithsonian Institution) has
>recorded Op. 18 on original instruments. Very fine playing and
> very
>nicely recorded.
There are also recordings of opus 18 by Quatuor Mosaiques. There's
some of i
On Oct 5, 2009, at 5:41 AM, Christopher Stetson wrote:
> Have we noticed that almost all of the world finds both lutes and
>polyfoam musically boring and irrelevant, and therefore ignores
> both?
"Almost all the world" does not know what a lute is, and therefore
could not be bored by it. I
On Oct 5, 2009, at 10:59 AM, Stuart Walsh wrote:
> I'm not a plectrum player - but dabbling with plectrum play - and
> with a floppy feather which is possibly a bit mad.
I wouldn't blame it for being very mad; I know how angry I'd get if
someone kept bashing my head against a string.
--
To get
On Oct 5, 2009, at 6:07 AM, theoj89...@aol.com wrote:
> Are paintings an accurate representation of its use?
Of course not. They represent what an artist thought someone would
pay to have. The artists painted for patrons, not future musicologists.
> Was it primarily a woman's instrument (such
On Oct 1, 2009, at 1:01 PM, Eugene C. Braig IV wrote:
> Merrill managed to pull off aluminum-backed instruments in the late
> 19th c:
> http://www.mugwumps.com/aluminum.htm
>
> Of course, they did have a wooden strip at the edge of shell for
> joining
> soundboard. I've handled guitars and Neapo
On Sep 30, 2009, at 8:06 PM, Christopher Stetson wrote:
> By the way, Howard; I'm still formulating my well-thought-out response
> to your "pseudo-science" remark.
Better hurry. It expires after 48 hours.
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On Sep 30, 2009, at 10:37 AM, nedma...@aol.com wrote:
>But for me - returning to this instrument from the cello - I
> consider
>lutes cheap. The two local violin makers that build cellos were
>asking $12,000 to $15,000 for one of their cellos ten years
> ago. The
>luthier who mad
Inventories of the Tieffenbrucker's shop on Moise Tieffenbrucker's
death in 1581 included 160 lutes ("ordinary" and "precious"),
unfinished lutes, necks, lute bodies and bellies, sawn ribs and lots
of other parts and accessories, including "800 dozen thin lute
strings" and 24 dozen violin strings.
On Sep 29, 2009, at 4:29 PM, luther maynard wrote:
>My name is Luther... I have the same questions, why isn't there
> a ready
>to buy lute for under $1000 for the
>
>beginner that doesn't need work right out of the box,
because building a lute takes a lot of labor by a highly skilled
However, and I confess I don't remember the details, some
researchers
seem to think that there is an absolute pitch independent of
memory.
The problem with that, as we both realize, is that it presupposes
something like a Platonic Ideal of A at 440 imbedded in our
synapses.
On Sep 28, 2009, at 9:01 PM, Christopher Stetson wrote:
> My question (not answered in the book): In which traditional scale
>does someone from, for example, Java have AP (or PP); slendro (5
>unequally "spaced" tones to the octave), pelog (seven equally
> spaced
>tones), or both? I
On Sep 25, 2009, at 6:14 PM, David Rastall wrote:
> Or maybe GP would have preferred "Hey Jude" sung as though it were
> Nessun dorma!
Or Pavarotti singing Queen?
http://www.youtube.com/watch?vÇFGPIRJx6I
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On Sep 25, 2009, at 5:20 PM, David Rastall wrote:
> would have necessitated transpositions of as much as a minor third.
> Where does the color-coding idea fit into that scheme? You don't
> get a combination of colors; you get everybody playing out of tune.
Probably not; see below.
> And what a
On Sep 25, 2009, at 4:54 PM, Roman Turovsky wrote:
Them Egyptians had no tools to build pyramids either.
Etruscans had no tools to build the city wall of Amelia.
However we have those walls, and some early music playable only in ET.
Your analogy is rather less solid than the pyramids. The noti
On Sep 25, 2009, at 10:47 AM, howard posner wrote:
> And did we notice that the second movement is a riff on the best-
> known of Besard's entrees?
I meant Ballard, of course.
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On Sep 25, 2009, at 10:35 AM, Suzanne and Wayne wrote:
he piece
"RunStenand Varin said", by Michael Atherton, was set into tablature
by the composer, because the composer PLAYs the lute.
And did we notice that the second movement is a riff on the best-
known of Besard's entrees?
--
To get on
On Sep 15, 2009, at 2:33 PM, Antonio Corona wrote:
Dear Howard,
What is the source for the theory that in Spain and its areas of
influence thumb-out was the norm?
I suppose, since I already wrote
I've long since forgotten the evidence for the
south-to-north migration theory, BTW.
you'
On Sep 15, 2009, at 11:43 AM, nedma...@aol.com wrote:
> But, I am making a basic assumption (based upon a limited amount of
> reading) that a style of thumb-under technique was in general use
> before a style of thumb-over technique evolved and became also
> generally used. Also, that this later
On Sep 15, 2009, at 7:43 AM, nedma...@aol.com wrote:
>I think of thumb-over as allowing use of m-i whenever desired.
> So, I
>think of the person useing thumb over technique as using m-i
> more than
>the person using thumb under - at least whenever bass notes are
> present
>along w
Check the back issues of the Q; somewhere I recall a story by Suzanne
herself about the days when she and Poulton were both, ostensibly,
students of Arnold Dolmetsch. As she tells it, they both had rather
more on the ball than Dolmetsch did, which I can certainly believe,
and sometimes his instruc
On Sep 11, 2009, at 6:26 AM, Roland Hayes wrote:
> Funny. An orchestra in Buffalo must must not be able to play
> decently?
He who laughs last doesn't get the joke...
You might check out Sean Smith's post about the horn section.
> BTW I loved your
> intabulation of the polka and fugue from Schw
On Sep 11, 2009, at 7:26 AM, Edward Martin wrote:
> I actually have an aluminum case, which was built for me by a friend
> of Donna Curry. it works extremely well for air travel, but that was
> years ago.
Building one of those things now might cost more than replacing the
instrument.
--
To get
On Sep 10, 2009, at 7:35 PM, EUGENE BRAIG IV wrote:
> The performer, Falletta, is now pretty famous as a guitarist and
> conductor; She now has a concerto competition named in her honor
She's the music director of the Buffalo Philharmonic. How she gets
the buffalos to play decently is a mystery.
For newcomers who look at the wikipedia article, Camilla de Rossi's
"Il Sacrifizio di Abramo" is not a "four-movement sinfonia" but an
oratorio with a four-movement sinfonia for strings and continuo
(between the first and second parts) that has a prominent lute
obbligato, which occasionally sounds
On Sep 10, 2009, at 1:45 PM, Laura Maschi wrote:
> Even if I can't play too well, I try to put my soul in it,
You and Voldemort...
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On Sep 11, 2009, at 11:52 AM, Ron Fletcher wrote:
> It has been mentioned that the flute and harp are considered as having
> female bias. So what is preventing females learning to play the lute?
Geez Louise, guys. Someone wrote that 95 of the most recent 100
posts were from men. That highly un
On Sep 10, 2009, at 10:16 AM, Mayes wrote:
> Do we care how many of our
> lute-playing colleagues are left-handed, Black, gay, moustachioed?
Yes, no, no and yes, respectively, judging from recent posts.
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On Sep 10, 2009, at 9:38 AM, Suzanne and Wayne wrote:
> Once you've been lurking on this list for awhile, you learn
> that it has a male geek bias.
I've never expressed an opinion in favor of male geeks on this list.
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Thanks for the information.
On Aug 31, 2009, at 2:24 PM, Stewart McCoy wrote:
Dear Howard,
Some time ago you were asking about tablature sources where the
tablature is like Luis Milan's, i.e. Italian tablature upside down. I
notice that there is some music added to one of Denss's books,
whic
On Aug 27, 2009, at 9:29 PM, Antonio Corona wrote:
> You are quite right, but that was not the point I was trying to
> make. Rather than questioning how to manipulate the piece, I was
> trying to show the inconsistency of forcing a historic category
> into a context that contradicts it explicitly.
On Aug 27, 2009, at 12:21 PM, Antonio Corona wrote:
> "They must be played with a somewhat fast air [so much for the slow
> pavan] and it is required that they be played twice or
> thrice" (Debense tañer con el compas algo apresurado, y requierense
> tañer dos o tres veces). Milan does not
On Aug 26, 2009, at 6:17 AM, Christopher Witmer wrote:
> s improvisational ability something that you either have or you
> don't? Or is it something that can be learned? Are there any tips
> concerning how my daughter could most effectively approach this?
I'm assuming the skills we're talking abo
Nice line near the end: "In this noisy world, I think of the lute as
the still, small voice of truth." . I suppose Emma knows a "still,
small voice" is how God appears to Elijah in 1 Kings 19: 12.
On Aug 22, 2009, at 6:44 AM, Karen Hore wrote:
Just saw this programme scheduled to be on
On Aug 15, 2009, at 9:16 AM, Martin Shepherd wrote:
> Er - you need to take the gloves off when you play the lute.
Is this true? Why didn't anyone tell me about this before?
Somewhere between "don't shift before a weak note" and "don't leave
an empty case open when there's a cat around" you'd th
Some time ago -- I can't remember when -- there was a post or two
about some government official endorsing the views of some other
repressive somebodyorother to the effect that jazz was evil or
subversive of authority because players didn't stick to what was
written. There may have been
On Jul 31, 2009, at 9:35 AM, Daniel Winheld wrote:
> "The mind
>is all! Can make a heaven out of hell and a hell out of heaven."
The mind is its own place, and in it self
Can make a Heav'n of Hell, a Hell of Heav'n.
--Satan in Paradise Lost, Book I
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On Jul 23, 2009, at 11:52 AM, Roland Hayes wrote:
> What do we think of the ms. with "continuo" written above a part for
>13c. lute in normal d minor tuning for certain arias?
Is it a written-out accompaniment in tablature, clearly in d minor
tuning, with "Continuo" written above it?
> Are t
On Jul 19, 2009, at 1:57 PM, Ron Andrico wrote:
>To clarify, Bob Lundberg did indeed think of the circa 60 cm
> lute as an
>'alto' lute. You are right in pointing out that his book was
> not quite
>left fully edited as far as consistent terminology, etc. But I
> think
>he would s
On Jul 19, 2009, at 2:56 PM, Thomas Schall wrote:
> Which would lead to a standard pitch of a92-415 for the germany
> of the baroque.
That's far too limited a range, a mere half tone. In Leipzig alone
in Bach's day, there was a standard chorton (probably about 440) and
a standard kammerton a who
On Jul 19, 2009, at 2:30 PM, Martin Shepherd wrote:
> Whether a lute is called an "alto", a "tenor", or whatever, is
> entirely a matter of taste,
Terminology is entirely a matter of taste only when you're talking to
yourself, or you're the first to use a term. Otherwise, it's a
matter of conven
On Jul 19, 2009, at 9:29 AM, nedma...@aol.com wrote:
>In Robert Lundberg's book "Historical Lute Construction" there is a
>photograph of 5 lutes (pp.8&9); small-octave, descant, alto,
> tenor and
>bass. He lists the tunings for them as being d", a', g', e' & d'
>respectively.
>
On Jul 18, 2009, at 3:26 PM, Andrew Arconti wrote:
> I have been using the following tuning which I was told is what the
>instrument was made for: A, E, C
You mean B? Or do you have it in guitar tuning?
> , G, D, A; but am curious if there are
>other tunings appropriate for a lute of t
On Jul 16, 2009, at 9:42 AM, Ron Andrico wrote:
>You California types are just going to have to work out what
>constitutes humor.
We are eminently qualified for the task, having given the world Marx
Brothers movies, "I Love Lucy," Richard Nixon and Ronald Reagan.
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On Jul 15, 2009, at 1:34 PM, Orphenica wrote:
My idea, as Ukuleles are quite small an robust, to me they seem to
be a perfect
instrument for travelling.
About a thousand years ago when I went on the obligatory American
student summer tour of Europe with backpack and Eurailpass, before
I
On Jul 15, 2009, at 12:35 AM, Lex van Sante wrote:
> Also Mr. Falkenhagen seems to have had a very big head in
> proportion to the rest of his body.
> If the artist/engraver didn't care about this would he be engraving
> the lute exactly as it was I wonder.
The left hand also strikes me as dispro
On Jul 14, 2009, at 12:16 PM, David Tayler wrote:
I'm assuming you are referring to the concertos and the trios, which
form the majority of his output, in particular Op 3. Are these all
for Angelique?
I wasn't referring to anything at all, just asking a very basic
question: is there any known con
You did get a bit lost. Roman suggested that an engraving shows
Falkenhagen with an angelique. I wanted to know if there was any
evidence connecting Falkenhagen to the angelique, because Falkenhagen
would not have posed for an engraving with the angelique if he didn't
play it. He would have pose
On Jul 14, 2009, at 6:11 AM, Roman Turovsky wrote:
>> Pardon my ignorance again, but is there any reason to connect
>> Falkenhagen with the angelique? Did he write any music for it? Does
>> any source mention him and the angelique?
> Why would that matter?
Because he would not have sat for an e
On Jul 13, 2009, at 4:51 PM, Roman Turovsky wrote:
> I've put together a page with the Falkenhagen engraving and a
> detail from an
> angelique that is VERY similar to the one he is playing -
> http://polyhymnion.org/swv/music/falkenhagen
Interesting. Thanks for putting this up.
I wonder if the
On Jul 11, 2009, at 5:43 PM, nedma...@aol.com wrote:
> Thanks, Chris and Howard - I like your answers. I must admit that my
>curiosity will not be sufficient to motivate me to learn the dance
You can get a basic sense of the scissoring kick-kick-kick-pause or
jump from these:
http://www.
On Jul 11, 2009, at 12:33 PM, nedma...@aol.com wrote:
>Do we know approximately what the tempo of the Galliard was when
>danced?
Not really. We can only guess, based on what we know of the dance.
The best way to judge is to try the dance yourself, which, in the
case of the galliard, will
On Jul 10, 2009, at 5:01 AM, Jerzy Zak wrote:
> Single strings or double courses? Of course, we know the man, his
> opus, obviously a swan neck lute, French tuning, bla bla bla, etc.,
> etc. But stop automatic thinking, click again. Wishful thinking, a
> florish of knowledge or chaos of evidence?
On Jun 30, 2009, at 3:08 PM, David van Ooijen wrote:
> So, pointing at the bird I tell the
> audience I will play a duet with it. Miraculaously, it's tweeting an
> a' at 415, in a steady puls I can play Canarios to! Between phrases I
> stop to let it tweet a little solo. Best duet partner I ever
Tant que vivray seems to be exactly what you're looking for, and it
makes a good processional.
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On Jun 16, 2009, at 5:42 AM, theoj89...@aol.com wrote:
> Given the popularity of renaissance compositions for lute and
> voice, I am surprised that I have not seen a single baroque lute
> song (of course, i'm not a musicologist and may not be looking in
> the right places)
You're not lookin
On Jun 15, 2009, at 11:49 AM, Mayes, Joseph wrote:
> I have never heard of a luthier being asked to accommodate a
> different style of play in the string spacing at the bridge.
Buyers often specify string spacing when they order a lute. I doubt
they think about whether their style of play is dif
On Jun 15, 2009, at 4:51 PM, Michael wrote:
> I've played
> the guitar for 30 years and the thumb-under technique looks to me to
> be a tortured anachronism,
I don't think it's tortured, though I don't play that way myself.
"Anachronism" in this context is a pretty strange word choice.
> But Do
On Jun 12, 2009, at 3:13 PM, Bruno Correia wrote:
> So, you say they are different "animals", interesting... but
> soundwise,
>how would you describe both? More or less ressonant, brighter or
> darker
>tone, more powerful? Why Piccinini would prefer an archlute and
>Michelangelo Gali
On Jun 12, 2009, at 11:20 AM, wayne cripps wrote:
> whatever lute you get, you will
> probably change your mind in a few years and want something
> different. So get a good lute that you can sell again. I
> run a 'lutes for sale' web page, and Larry Brown student lutes
> always sell well, and s
On Jun 12, 2009, at 10:56 AM, morgan cornwall wrote:
> I have a question regarding Howard Posner's comment that a 7 course
>lute with the 7th course tuned to D is a different instrument
> than the
>7 course lute tuned to F. Is it actually a different
> instrument, or
>was that a matt
On Jun 11, 2009, at 6:53 AM, morgan cornwall wrote:
>Of the 6, 7, and 8 course lutes, it would seem that a 7 course lute
>would be most practical. It would allow me to play the earlier
>repertoire as well as most of the Dowland pieces. It doesn't
> seem like
>there is a whole lot
Your plug or my review?
On Jun 1, 2009, at 10:08 AM, Roman Turovsky wrote:
> Actually I found it rather sociopathic.
> RT
>
> On Jun 1, 2009, at 4:54 AM, Roman Turovsky wrote:
>> Your LSAQ TJohnson-TBurris review was just plain odd.
>
>> Thanks for the plug.
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On Jun 1, 2009, at 2:04 PM, Roman Turovsky wrote:
These are HOWARD POSNER'S OWN words about Reger:
Nice to see my name in bigger type than Reger's.
"Nonetheless, this is the only famous thing Reger ever wrote, far
outstripping any of his music. It even conveyed a bit of immortality
on Rudol
On Jun 1, 2009, at 9:49 AM, Roman Turovsky wrote:
> before you really set out to position yourself as a shallow critic:
> you should at least try to acquaint yourself with Reger's music (a
> lot of it is rather grand, FYI...).
If I set out to position myself as any kind of critic, I'll do it by
w
On Jun 1, 2009, at 9:15 AM, wrote:
> Composer/organist Max Reger had the best response to a bad review when
>he wrote to his reviewer: "I am sitting in the smallest room of my
>house. I have your review before me. In a moment it will be
> behind me."
Reger was actually paraphrasing Vol
On Jun 1, 2009, at 4:54 AM, Roman Turovsky wrote:
> Your LSAQ TJohnson-TBurris review was just plain odd.
Thanks for the plug.
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On Jun 1, 2009, at 5:31 AM, Rob MacKillop wrote:
> The guy is a native-English speaker, so has no excuse, and, no, I have
>no idea what he is talking about. Still, a review's a review!
It has the virtue of being obviously obscure; you're not deluded by
apparently clear writing into thinking
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