Hi Ed
I do whatever is needed and possible.
This weekend I had rehearsals with a viol and a cembalo. I brought a
10-course in g and theorbo in a. Yesterday the cembalo was in Valotti,
of which I am no fan and we ran into some problems (combined
Renaissance Baroque programme,
on birth place, are somehow based on historical sources.
MH
From: howard posner howardpos...@ca.rr.com
To: Lutelist lute@cs.dartmouth.edu
Sent: Friday, 28 February 2014, 23:32
Subject: [LUTE] Re: Bartolotti's continuo treatise
On Feb 28, 2014, at 2
Monica wrote:
In the liner notes to his recent CD Toyohiko Satoh claimed that De
Visee was Portuguese and came from a small town called Viseu near
Coimbra. This is pure fiction - there is no evidence at all that this
was so.
Utterly, completely and absolutely OT. But as
as deliberately misleading.
Monica
- Original Message -
From: David van Ooijen davidvanooi...@gmail.com
Cc: Lute List lute@cs.dartmouth.edu
Sent: Friday, February 28, 2014 4:03 PM
Subject: [LUTE] Re: Bartolotti's continuo treatise
Monica wrote:
In the liner notes to his recent CD
His own words leave no doubt and are far from misleading:
This is all my imagination and conjecture [...] it was this
imagination that drove me to perform the pieces ...
In other words, the story in the CD-booklet is about motivation, not
about historical facts.
'nough said
Sent: Friday, February 28, 2014 8:35 PM
Subject: [LUTE] Re: Bartolotti's continuo treatise
His own words leave no doubt and are far from misleading:
This is all my imagination and conjecture [...] it was this
imagination that drove me to perform the pieces ...
In other words, the story
On Feb 28, 2014, at 2:17 PM, Monica Hall mjlh...@tiscali.co.uk wrote:
I think you are being disingenious. What Satoh actually says is
This is all my imagination and conjecture, based on the few documents
concerning De Visee's life.
How is the reader supposed to know what is based on
- Original Message - From: R. Mattes r...@mh-freiburg.de
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Wednesday, February 26, 2014 9:18 PM
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
On Wed, 26 Feb 2014 20:10:03 -, Monica Hall wrote
Monica
To: Monica Hall mjlh...@tiscali.co.uk
Cc: R. Mattes r...@mh-freiburg.de; Lutelist lute@cs.dartmouth.edu
Sent: Thursday, 27 February 2014, 8:28
Subject: [LUTE] Re: Bartolotti's continuo treatise
Campion actually says that he reccommends his pupils to take a few lessons
on the guitar before
!
__
From: Shaun Ng shaunk...@gmail.com
To: Monica Hall mjlh...@tiscali.co.uk
Cc: R. Mattes r...@mh-freiburg.de; Lutelist lute@cs.dartmouth.edu
Sent: Thursday, 27 February 2014, 8:28
Subject: [LUTE] Re: Bartolotti's continuo treatise
Campion actually says that he
On 26/02/14 2:44 PM, Monica Hall wrote:
It seems a strange thing to do to stick bits of black taffeta or velvet
or whatever on ones face - but I think they all had very bad skin (not
to mention rotten teeth) due to their unhealthy life style.
No stranger than the things that young people
No stranger than the things that young people today stick through their
ears, noses, belly buttons and other body parts!
Geoff
Very true!
Monica
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On 27/02/14 3:43 AM, William Samson wrote:
Not that I know anything about it, but the name 'chittarone' seems to
give the game away. The very idea has me salivating! Mighty
rasgueados on the theorbo, anyone?
I attended a concert by the Venice Baroque Orchestra in Santa Barbara
[6]r...@mh-freiburg.de
To: Monica Hall [7]mjlh...@tiscali.co.uk
Cc: Lutelist [8]lute@cs.dartmouth.edu
Sent: Wednesday, February 26, 2014 9:18 PM
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
On Wed, 26 Feb 2014 20:10:03 -, Monica Hall wrote
Monica - are you
I saw that orchestra in Connecticut last Sunday. The lutenist strummed
quite bit, on a swan - neck Baroque lute. It looked to have a pick
guard installed. He was a fine player.
Eric
On Feb 27, 2014 8:31 AM, Geoff Gaherty [1]ge...@gaherty.ca wrote:
On 27/02/14 3:43 AM, William
On 27/02/14 9:07 AM, Eric Hansen wrote:
I saw that orchestra in Connecticut last Sunday. The lutenist strummed
quite bit, on a swan - neck Baroque lute. It looked to have a pick guard
installed. He was a fine player.
I was interested to see how both lute and harpsichord played most of the
When I play (arch)lute or theorbo with harpsichord I'd like to think we
help eachother: the lute will make the sound of the harpsichord more
mellow whilst the harpsichord will give volume to the sound of the
lute. But one has to take care not to constantly double eachother. With
is the saying which springs
to mind (last in this sense being a shoemaker's model according to my
dictionary).
Monica
- Original Message -
From: Geoff Gaherty ge...@gaherty.ca
To: Lutelist lute@cs.dartmouth.edu
Sent: Thursday, February 27, 2014 1:28 PM
Subject: [LUTE] Re: Bartolotti's continuo
the guitar!!!
Monica
- Original Message -
From: [1]Shaun Ng
To: [2]Monica Hall
Cc: [3]R. Mattes ; [4]Lutelist
Sent: Thursday, February 27, 2014 8:28 AM
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
Campion actually says that he
: R. Mattes ; Lutelist
Sent: Thursday, February 27, 2014 8:28 AM
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
Campion actually says that he reccommends his pupils to take a few lessons
on the guitar before starting with the lute.
What I have found interesting is how Campionwho
Cc: R. Mattes ; Lutelist
Sent: Thursday, February 27, 2014 8:28 AM
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
Campion actually says that he reccommends his pupils to take a few lessons
on the guitar before starting with the lute.
What I have found interesting is how Campion
...@tiscali.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Thursday, February 27, 2014 4:18 PM
Subject: [LUTE] Re: Bartolotti's continuo treatise
Monica,
I am not knocking the guitar. Campion's 'lack of embarrassment' shows that
it was perfectly fine to be known as both theorbo and guitar player
On Feb 27, 2014, at 8:41 AM, Jean-Marie Poirier jmpoiri...@wanadoo.fr wrote:
Robert de Visée was obviously one of the best on the guitar, theorbo and lute
of his time, but his French grammar was not really spotless... ;-)
He was a Spaniard, and he used Google Translate.
--
To get on or off
Good point Howard ! :-) Another good reason to forget Google Translate ;-)
--
On Feb 27, 2014, at 8:41 AM, Jean-Marie Poirier jmpoiri...@wanadoo.fr wrote:
Robert de Visée was obviously one of the best on the guitar, theorbo and
lute of his time, but his French grammar was not
the
ear.
Monica
- Original Message -
From: Jean-Marie Poirier jmpoiri...@wanadoo.fr
To: Shaun Ng shaunk...@gmail.com; Monica Hall mjlh...@tiscali.co.uk
Cc: 'Lute List' lute@cs.dartmouth.edu
Sent: Thursday, February 27, 2014 4:41 PM
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
jmpoiri...@wanadoo.fr
To: Shaun Ng shaunk...@gmail.com; Monica Hall mjlh...@tiscali.co.uk
Cc: 'Lute List' lute@cs.dartmouth.edu
Sent: Thursday, February 27, 2014 4:41 PM
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
Et je prie ceux qui sçaurons bien la composition et qui ne
- Original Message -
From: Jean-Marie Poirier jmpoiri...@wanadoo.fr
To: Shaun Ng shaunk...@gmail.com; Monica Hall mjlh...@tiscali.co.uk
Cc: 'Lute List' lute@cs.dartmouth.edu
Sent: Thursday, February 27, 2014 4:41 PM
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
Et je prie ceux
True we do not know exactly where de Visée was from, but he was probably born
in the Paris area and was active at court as early as 1680. In 1692 du Pradel
(aka de Blégny), in his list of masters for the guitar, mentions de Vizé (a
very common spelling of his name at the time), à Luxembourg,
translated things.
As ever
Monica
- Original Message -
From: Jean-Marie Poirier jmpoiri...@wanadoo.fr
To: Monica Hall mjlh...@tiscali.co.uk
Cc: 'Lute List' lute@cs.dartmouth.edu
Sent: Thursday, February 27, 2014 5:58 PM
Subject: [LUTE] Re: Bartolotti's continuo treatise
Exactly Monica
7:05 PM
Subject: [LUTE] Re: Bartolotti's continuo treatise
I am going off topic here, but do we really know where Robert de Visée is
from? I recall finding an entry in a modern edition of Nicolas Blégny's Le
livre commode (1692) about a certain Visée (spelt differently). He is said
to be from
Thanks for the clarification. Also thanks to Monica for mentioning the doubtful
Portuguese connection.
On 28 Feb 2014, at 6:49 am, Jean-Marie Poirier jmpoiri...@wanadoo.fr wrote:
True we do not know exactly where de Visée was from, but he was probably born
in the Paris area and was active
of the passage in due
course
Monica.
- Original Message -
From: Jean-Marie Poirier jmpoiri...@wanadoo.fr
To: 'Lute List' lute@cs.dartmouth.edu
Sent: Tuesday, February 25, 2014 5:44 PM
Subject: [LUTE] Re: Bartolotti's continuo treatise
Thank you Howard but Google is not completely up
, February 26, 2014 6:01 PM
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
Quite right Monica. Exactly what I corrected in a later post... mouche =
artificial beauty spots
Best,
Jean-Marie
--
This translation is a bit nearer the mark but the phrase
que d'y trouver du
First, as I've said before: a guitar accompaniment is not a vaild source
for continuo realizations! Guitar players where actually known for there
inability to play sophisticated music (and that's why everyone and their
grandmother sneered at them).
This is an outrageous remark. Certainly
Whether the music they played is sophisticated enough for anyone's taste
is irrelevant: as a resource, it reflects some 17th century musicians'
ability to recognize that identical groups of notes resulted in
functionally identical vertical sonorities independent of octave placement
or voice
On Wed, 26 Feb 2014 20:10:03 -, Monica Hall wrote
Monica - are you still reading up? It's really hard to answer without
knowing which of my posts you have read so far.
First, as I've said before: a guitar accompaniment is not a vaild source
for continuo realizations! Guitar players where
...@tiscali.co.uk
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Wednesday, February 26, 2014 9:18 PM
Subject: Re: [LUTE] Re: Bartolotti's continuo treatise
On Wed, 26 Feb 2014 20:10:03 -, Monica Hall wrote
Monica - are you still reading up? It's really hard to answer without
knowing which of my posts you
-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
Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
www.christopherwilke.com
On Tue, 2/25/14, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
Subject: [LUTE] Re: Bartolotti's continuo treatise
To: R. Mattes r...@mh-freiburg.de, Monica Hall
@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
On Tue, 25 Feb 2014 09:52:18 + (GMT), Martyn Hodgson wrote
Thank's for this.
I can't actually see that inverted 7 6 sequences dictate a non
re-entrant tuning - the low tessitura one sometimes has is just part
and parcel of the instrument. And I agree with the anonymous author of
the
On Tue, 25 Feb 2014 05:28:26 -0800 (PST), Christopher Wilke wrote
I agree that seicento pluckers often played harmony below the
bass.
How would you know.
This is another way of saying that they recognized and used
chord inversion
Now what? This definition is _disagrees_ with the example
Ralf,
On Tue, 2/25/14, R. Mattes r...@mh-freiburg.de wrote:
There is no such thing as harmony below bass. Please, get
all out of your Berkeley Jazz shoes, now.
No, everyone keep your shoes on, please! In fact, 17th century players
frequently utilized the option to play harmony below the bass
Ralf,
On Tue, 2/25/14, R. Mattes r...@mh-freiburg.de wrote:
First, as I've said before: a guitar accompaniment is not a
vaild source
for continuo realizations! Guitar players where actually
known for there
inability to play sophisticated music...
Whether the music they played is
@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
Wow ! Ralf, How can you be so blunt an unfair towards guitar music and guitar
players. When the Chevalier de Grammont in his Mémoires, speaks of Corbetta he
uses very laudatory terms, and of course, after praising Corbetta's talent, he
sneers at the universal fashion to play the guitar just
Wow ! Ralf, How can you be so blunt an unfair towards guitar music and guitar
players. When the Chevalier de Grammont in his Mémoires, speaks of Corbetta he
uses very laudatory terms, and of course, after praising Corbetta's talent, he
sneers at the universal fashion to play the guitar just
On Tue, 25 Feb 2014 07:41:43 -0800 (PST), Christopher Wilke wrote
Ralf,
On Tue, 2/25/14, R. Mattes r...@mh-freiburg.de wrote:
There is no such thing as harmony below bass. Please, get
all out of your Berkeley Jazz shoes, now.
No, everyone keep your shoes on, please! In fact, 17th century
On Feb 25, 2014, at 8:44 AM, Jean-Marie Poirier jmpoiri...@wanadoo.fr wrote:
Here is the passage in question (I am confident that you can read French) :
For those who canât, I will helpfully offer a translation from Google
Language Tools. I think it speaks for itself.
He had some Italian
Thank you Howard but Google is not completely up to point. Here is my
translation, not very far from Google's but...
There was at court (of Charles II of England) a certain Italianwho was famous
for the guitar. He had genius for music, and he wa the only one who could do
something with the
Its getting a bit OT, but I think in the context 'mouche' on the ladies'
dressing tables refers to something other than 'flies'. I've found another
possible meaning: patch or ornament related to taffeta.
Miles Dempster
On Feb 25, 2014, at 12:44 PM, Jean-Marie Poirier jmpoiri...@wanadoo.fr
Here is what you get from the Dictionary of the French Academy, 1694 :
Mouche : Certain petit morceau de taffetas noir que les Dames se mettent sur le
visage, ou pour cacher quelques eleveures, ou pour faire paroistre leur teint
plus blanc.
a mouche was a tiny spot of black taffeta that Ladies
a mouche was an artificial beauty spot actually !
Jean-Marie
--
Its getting a bit OT, but I think in the context 'mouche' on the ladies'
dressing tables refers to something other than 'flies'. I've found another
possible meaning: patch or ornament related to taffeta.
Miles
On Feb 25, 2014, at 9:44 AM, Jean-Marie Poirier jmpoiri...@wanadoo.fr wrote:
Thank you Howard but Google is not completely up to point.
Im shocked SHOCKED -- to hear it.
At first sight but a bit more accurate than Google I hope ;-) !
Sorry, but theres simply no way to improve on the
Agreed Howard ! Google translations made my day a couple of times and I always
advised my students to resort to it when they felt depressed and needed a bit
of fun to brighten up !
Speaking of the great Bill, his monologue in Hamlet sifted through Google
translator into French is a pure
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
On Mon, 24 Feb 2014 08:29:00 + (GMT), Martyn Hodgson wrote
I don't have this work either - I think...
@Monica: are you by any chance refering to
https://www.facebook.com/media/set/?set=a.441553512620558.1073741827.253474818095096type=1
(Bartolotti continuo and solo similarities - from
On Mon, 24 Feb 2014 18:23:03 +0100, R. Mattes wrote
I hate to follow up my own posts.
(f bflat) [1]. To be followed by a chain of 2nd chords ... Yes, we
all know that a 7-6 chain can be inverted (double counterpoint) into
a 2-3 chain but we also know this doesn't work with a third voice
hodgsonmar...@yahoo.co.uk; Monica Hall mjlh...@tiscali.co.uk;
Lutelist lute@cs.dartmouth.edu
Sent: Monday, February 24, 2014 5:41 PM
Subject: [LUTE] Re: Bartolotti's continuo treatise
On Mon, 24 Feb 2014 18:23:03 +0100, R. Mattes wrote
I hate to follow up my own posts.
(f bflat) [1
On Sun, 23 Feb 2014 16:00:22 -, Monica Hall wrote
Does anyone have a copy of Bartolotti's continuo treatise - Table
pour apprendre a toucher le theorbe sur la basse continuo (1669). I
haven't been able to trace one online.
I don't think that treaties is online - not everything is ;-) But
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