But Goebel has a point. Once a year I am asked to play in one particular St.
Matthew, bring my archlute and do all the 'appropriate' continuo, but the
conductor asks especially for me because I can be so noisy in the 'Unde die
erde bebete, unde die Felsen zerrissen, c on baroque guitar. Very
] Re: Reinahard Goebel and the Lute
But Goebel has a point. Once a year I am asked to play
in one particular St.
Matthew, bring my archlute and do all the
'appropriate' continuo, but the
conductor asks especially for me because I can be so
noisy in the 'Unde die
erde bebete, unde die Felsen
consulting Music Index or RILM. There are some ensemble
works that include a contuinuo part for guitar in
alfabeto. Even more name guitar on the title page as
an apprpriate continuo instrument,
I'm sure there are, but perhaps Reinhard Goebel's point was that Bach's
cantatas were not among
to me this opens up a larger question concerning the
value of beauty - is it ever objective? the lute's
plinking and plonking - or however it was that
goebel described the lute - sounds glib and off-hand
.. the sort of subjective peevishness which says: if
i don't like it, it's not good ... it's
--
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: Arthur Ness [EMAIL PROTECTED]; [LUTE]
lute@cs.dartmouth.edu
Sent: Saturday, June 03, 2006 4:46 AM
Subject: [LUTE] Re: Reinahard Goebel and the Lute
consulting Music Index
David, do you play the obbligato in the St. Matthew, or is it still given
over to gamba? It is so ugly and awkward on the latter instrument, imho.
Once I was so lucky - the big hall in the Concertgebouw Amsterdam on Good
Friday: how lucky can one get? - to be allowed to play the obliato. On
-
- Original Message -
From: LGS-Europe [EMAIL PROTECTED]
To: Arthur Ness [EMAIL PROTECTED]; [LUTE]
lute@cs.dartmouth.edu
Sent: Saturday, June 03, 2006 8:09 AM
Subject: [LUTE] Re: Reinahard Goebel and the Lute
David
Sent: Saturday, June 03, 2006 2:33 PM
Subject: [LUTE] Re: Reinahard Goebel and the Lute
Yes, it is the melodic line in the obbligato for Komm
sueses Kreuz (No. 66). All of those leaps require the
gambist to alternate playing on a high string, then
leaping over intermediary strings to get a low
Sent: Saturday, June 03, 2006 12:00 PM
Subject: [LUTE] Re: Reinahard Goebel and the Lute
A quick survey of the Naxos Music Library reveals that
on the very recently
released Naxos recording of the Matthew Passion
(8.557617-19) the Komm
suesses Kreuz is performed with lute obbligato
alongside
The lutenist is Soeren Leupold.
RT
A quick survey of the Naxos Music Library reveals that on the very recently
released Naxos recording of the Matthew Passion (8.557617-19) the Komm
suesses Kreuz is performed with lute obbligato alongside bass Hann
Mueller-Brachmann. I'm not sure who the
My question is, who is overrating the lute?? Are we still not at about
0.1% of the population who knows or cares what it is?
Perhaps the small grain of truth that he is getting at: when a modern continuo
player on theorbo has to make themselves heard, there is by necessity a greater
re: reinhard goebel - sounds like the sort of comment
one would make simply to annoy someone - someone in
particular. if ever there was an instrument that
provides a genuine early voice, it's the lute. for
better or worse, there's no conflicting, overlapping
references for it (with the possible
AM
Subject: [BAROQUE-LUTE] Re: Reinahard Goebel and the Lute
Hey at least we are 'grotesquely overrated'. Thats
nice to know.
Sterling
--- Roman Turovsky [EMAIL PROTECTED] wrote:
I agree with him on guitar use in Bach cantatas,
but the
rest.
RT
Koelner
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