If you ever see, say, Guido Morini doing live continuo you'd realize that
there are no generally acceptable limits for
keyboard continuo practice.
RT
- Original Message -
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
To: Christopher Wilke chriswi...@yahoo.com
Cc: Lutelist
r.turov...@verizon.net wrote:
From: Roman Turovsky r.turov...@verizon.net
Subject: Re: [LUTE] Continuo and the Foscarini Experience
To: Martyn Hodgson hodgsonmar...@yahoo.co.uk, Christopher
Wilke chriswi...@yahoo.com
Cc: Lutelist lute@cs.dartmouth.edu
Date: Friday, 1
; Roman Turovsky
r.turov...@verizon.net
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Friday, April 01, 2011 10:22 AM
Subject: Re: [LUTE] Continuo and the Foscarini Experience
Well by generally accepted I mean by the generality (ie for the most part)
of keyboard players not necessarily all of them
I think there may be a little confusion amongst the few recordings
referenced here. Compared to Echo de Paris or Ensemble Kapsberger, The
Foscarini Experience is downright tame in their interpretive approach to
Foscarini. Where they've wandered is asserting a particular painting is
known to
I think there may be a little confusion amongst the few recordings
referenced here. Compared to Echo de Paris or Ensemble Kapsberger, The
Foscarini Experience is downright tame in their interpretive approach to
Foscarini. Where they've wandered is asserting a particular painting is
known to
On a broader front - it troubles me that so many people - not just
musicians - seem unable to make a clear distinction between fact and
fiction. Both intellectually and morally I see this as a problem! --
Monica
As a victim of unfortunate news concerning a concert mate [Three
Subject: Re: [LUTE] Continuo and the Foscarini Experience
Well by generally accepted I mean by the generality (ie for the most
part)
of keyboard players not necessarily all of them - and to be fair I did
put
in the rider that all was not perfect even in the harpsichord continuo
world
