.
- Original Message - From: Nancy Carlin
na...@nancycarlinassociates.com
To: t...@heartistrymusic.com; Lutelist lute@cs.dartmouth.edu;
G. Crona kalei...@gmail.com
Sent: Wednesday, July 13, 2011 1:45 AM
Subject: [LUTE] Re: What's the point to 'historical sound
: [LUTE] Re: What's the point to 'historical sound'
I am also a big Renbourn fan and agree that he has great technique.
Those early records of his were a big inspiration years ago. We
published a nice interview with him in the LSA Quarterly a while back.
I anyone does not have it email me
Schall
Doerflistrasse 2
CH-6078 Lungern
+41 41 678 00 79
thomas.sch...@bluewin.ch
-
-- Weitergeleitete Nachricht --
Betreff: Re: [LUTE] Re: What's the point to 'historical sound'
Datum
I do love the trotto and saltarello too (many of us were invited to early
music by Renbourn, even if he was far from HIP ;-
My own NON hip version :
http://www.youtube.com/watch?v=mMvx8Szq2HY
http://www.youtube.com/watch?v=UT20LWwV0N4
Ukeval ;-)
-Message d'origine-
De :
Tres bon!!
Very cool! Those pieces lie well on the uke.
And are those your paintings in the background?
Thanks Valérie!
Tom
P.S. I can easily envision those tunes being played on a medieval
great pipe or a musette, or even scottish pipes. 6 notes and dorian
melody - perfectly suited to
PM
Subject: [LUTE] Re: What's the point to 'historical sound'
Good points, Tom. I recently listened to (on FM radio) a Spanish lute piece
played by Hopkinson Smith. Had I not been familiar with the instrument, I
would have guessed that it was about the size of a grand piano. I can
This whole discussion begins to approach the (almost ZEN) question of:
What is
the pure lute sound?
Seems a religious approach, indeed. And answers given from this perspective
will always smell of the _religion_ of Music.
Look at how a lute will sound in different environments. Out in the
On 12 July 2011 04:15, t...@heartistrymusic.com wrote:
I think that, if the old masters had possessed effects, they would have used
them.
.. and would have written different music which would have utilised
these effects. Which is the whole point about HIP: using the means the
old had at their
We would need to go
back to school to learn this baroque language. So too, I believe, with
the lute.
If one simply wants to play the renaissance or baroque literature, fine.
How so? When you just like to play the renaissance or baroque literature,
you'll always do it within the scope of what
wrote:
From: David van Ooijen davidvanooi...@gmail.com
Subject: [LUTE] Re: What's the point to 'historical sound'
To: lute@cs.dartmouth.edu
Date: Tuesday, 12 July, 2011, 15:13
On 12 July 2011 04:15, [1]t...@heartistrymusic.com wrote:
I think that, if the old
the music justice.
Best wishes,
Ron Donna
Date: Tue, 12 Jul 2011 09:36:00 -0400
To: kalei...@gmail.com
CC: lute@cs.dartmouth.edu
From: nedma...@aol.com
Subject: [LUTE] Re: What's the point to 'historical sound'
G.'s post brings to mind my experience playing string
: What's the point to 'historical sound'
This makes me think of a wonderful recording by John Renbourn of
the famous Sarabande by J.S. Bach from Partita No.1 BWV 1002 for
Unaccompanied Violin. He played it on an Epiphone Casino hollowbody
electric guitar with tremelo and reverb.
http
Carl Jung called it synchronicity...
http://en.wikipedia.org/wiki/Synchronicity
m.
On 7/12/2011 5:58 PM, G. Crona wrote:
I've been searching my mind the whole day for the correct name for
such an ocurrence, (where something you have just experienced or said
or thought about pops up
: Wednesday, July 13, 2011 12:05 AM
Subject: Re: [LUTE] Re: What's the point to 'historical sound'
Carl Jung called it synchronicity...
http://en.wikipedia.org/wiki/Synchronicity
m.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
. Who of us players just couldn't just
love his trotto suite and the dump?
G.
- Original Message -
From: t...@heartistrymusic.com
To: lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com
Sent: Tuesday, July 12, 2011 4:15 AM
Subject: Re: [LUTE] Re: What's the point to 'historical
...@xplornet.com
To: G. Crona kalei...@gmail.com
Cc: Lute List lute@cs.dartmouth.edu
Sent: Wednesday, July 13, 2011 12:36 AM
Subject: [LUTE] Re: What's the point to 'historical sound'
It's a fascinating theory, and I'd guess that most people have likely had
at least one such experience
- Original Message -
From: t...@heartistrymusic.com
To: Lutelist lute@cs.dartmouth.edu; G. Crona kalei...@gmail.com
Sent: Wednesday, July 13, 2011 12:35 AM
Subject: [LUTE] Re: What's the point to 'historical sound'
I'm still trying to play
like that - trying ...
He often uses
kalei...@gmail.com
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Wednesday, July 13, 2011 12:05 AM
Subject: Re: [LUTE] Re: What's the point to 'historical sound'
Carl Jung called it synchronicity...
http://en.wikipedia.org/wiki/Synchronicity
m.
To get on or off this list see list
In English please?
G.
- Original Message -
From: corvo di bassetto r...@recout.de
To: G. Crona kalei...@gmail.com
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Wednesday, July 13, 2011 1:55 AM
Subject: Re: [LUTE] Re: What's the point to 'historical sound'
C.G. Jung was a … Nazi!
(cf
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Wednesday, July 13, 2011 1:55 AM
Subject: Re: [LUTE] Re: What's the point to 'historical sound'
C.G. Jung was a … Nazi!
(cf.: »Die tatsächlich bestehenden und einsichtigen Leuten schon längst
bekannten Verschiedenheiten der germanischen und der
Subject: [LUTE] Re: What's the point to 'historical sound'
In English please?
G.
- Original Message -
From: corvo di bassetto r...@recout.de
To: G. Crona kalei...@gmail.com
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Wednesday, July 13, 2011 1:55 AM
Subject: Re: [LUTE] Re: What's the point
lute@cs.dartmouth.edu
Sent: Tuesday, July 12, 2011 8:39 PM
Subject: [LUTE] Re: What's the point to 'historical sound'
Jung presents another of his 'fascinating' concepts, i.e. that Germanic
and Jewish psychology were fundamentally different and should be kept
apart (in order to get rid
love his trotto suite and the
dump? G. - Original Message - From:
t...@heartistrymusic.com To: lute@cs.dartmouth.edu; G.
Cronakalei...@gmail.com Sent: Tuesday, July 12, 2011 4:15 AM
Subject: Re: [LUTE] Re: What's the point to 'historical sound
Playing in churches or stone-built castles is fine, and I can see
why people like the reverberative acoustics. Lots of different kinds
of music sound very good in these spaces.
BUT - are we talking about HIP Renaissance lute, Baroque lute, or
Medeival music? Stone-built castles were
Good points, Tom. I recently listened to (on FM radio) a Spanish lute piece
played by Hopkinson Smith. Had I not been familiar with the instrument, I
would have guessed that it was about the size of a grand piano. I can
understand recording engineers wanting to 'enhance' a sound that to
and Best
G.
- Original Message -
From: Edward Mast nedma...@aol.com
To: t...@heartistrymusic.com
Cc: lute@cs.dartmouth.edu
Sent: Monday, July 11, 2011 10:22 PM
Subject: [LUTE] Re: What's the point to 'historical sound'
Good points, Tom. I recently listened to (on FM radio) a Spanish
...@heartistrymusic.com
Cc: lute@cs.dartmouth.edu
Sent: Monday, July 11, 2011 10:22 PM
Subject: [LUTE] Re: What's the point to 'historical sound'
Good points, Tom. I recently listened to (on FM radio) a Spanish
lute piece played by Hopkinson Smith. Had I not been familiar with
the instrument, I
Sent: Tuesday, July 05, 2011 3:16 PM
To: lute-cs.dartmouth.edu
Subject: [LUTE] Re: What's the point to 'historical sound'
Since I brought up the reverse engineering thingy, I would simply say
that the process can be historical or non historical, just like any
other aspect of early music
There sure are. Ron Andrico was a well-respected Old Time banjo player before
the lute took over his musical world, and he still plays it today. Ray Nurse
played the banjo. Tom Berghan is another outstanding banjo player. And I've
done a thing or two: www.ClassicBanjoRM.com
Nice to add
Since I brought up the reverse engineering thingy, I would simply say
that the process can be historical or non historical, just like any
other aspect of early music performance. It isn't just a series of
specs to solve a musical problem
My instrument was based on research into the music as
Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Mathias Roesel
Sent: 02 July 2011 22:38
To: 'lutelist Net'
Subject: [LUTE] Re: What's the point to 'historical sound'
Would you consider Lachrimae as a personal artistic expression of
Dowland
From: Christopher Wilke chriswi...@yahoo.com
Mathias,
--- On Sat, 7/2/11, Mathias Roesel mathias.roe...@t-online.de wrote:
Audiences expected to be pleased.
I beg to differ.
What do you call a person who doesn't believe that people come to concerts
to enjoy themselves? A musician.
Chris
I'm trying to imagine the throngs of fans that swarm in Huddersfield
for the occasion..
RT
From: Alan Hoyle adr...@gmail.com
That made me laugh in agreement; I live in Huddersfield, England - home of
a
major 'Contemporary Music festival'. In fairness, it's not all bad, but...
Alan
On
Local hoteliers must be elated
RT
From: Alan Hoyle adr...@gmail.com
And they do... From all over the world... Dozens of them.
On 4 July 2011 12:08, Roman Turovsky r.turov...@gmail.com wrote:
I'm trying to imagine the throngs of fans that swarm in Huddersfield
for the occasion..
RT
--- On Mon, 7/4/11, Roman Turovsky r.turov...@gmail.com wrote:
From: Roman Turovsky r.turov...@gmail.com
Subject: [LUTE] Re: What's the point to 'historical sound'
To: lute@cs.dartmouth.edu, Christopher Wilke chriswi...@yahoo.com
Date: Monday, July 4, 2011, 6:19 AM
From: Christopher Wilke
On Jul 4, 2011, at 5:13 AM, corvo di bassetto wrote:
why would he (or she) not rather focus on the music? Especially
playing a repertoire which was primarily chamber music and not
meant to have an effect on people, ignorant ones in particular.
That's a bit harsh, isn't it Danyel? Do you
What do you call a person who doesn't believe that
people come to concerts to enjoy themselves?
A critic?
Tom
--- On Mon, 7/4/11, Roman Turovsky r.turov...@gmail.com wrote:
From: Roman Turovsky r.turov...@gmail.com
Subject: [LUTE] Re: What's the point to 'historical sound'
To: lute
This from a review, in the July/August issue of American Record Guide, of a
Savall/Tembembe concert. The review is by Susan Brodie:
Savall and his musicians, as well as Tembembe, have moved beyond the
scrupulous observance of some perceived rules of authenticity; they are simply
crackerjack
Tom,
--- On Mon, 7/4/11, t...@heartistrymusic.com t...@heartistrymusic.com wrote:
What do you call a
person who doesn't believe that
people come to concerts to enjoy themselves?
A critic?
Tom
Also an acceptable answer. Musicologist too.
Chris
Christopher Wilke
Lutenist,
David wrote:
Ron's question, made relevant for the listers, freely translates to
what's the point of playing lute. There is no point, of course, which
is exactly the point.
Just a minute, buddy. This kind of 'freely translated' interpretation
of someone else's words has led
On 4 July 2011 16:35, Ron Andrico praelu...@hotmail.com wrote:
David wrote:
Ron's question, made relevant for the listers, freely translates to
..
Just a minute, buddy. This kind of 'freely translated' interpretation
of someone else's words has led to such disasters as the search for
I draw the attention of the list (again, I believe) to this quote:
'Inigo Jones first brought the theorbo in England c. ann. 1605. At
Dover it was thought some engine brought from Popish countries to
destroy the King, and he and it sent up to Council Table.' -- David
Munrow
Lutes of mass distraction. Hah! I like that.
I think Ron was objecting to the use of lutespeak, which is a
particular form of double-talk peculiar to the lute community, where
such phraseology as reverse engineering has to be abstracted in
order to be understood. And thereby
: lute@cs.dartmouth.edu
From: d_lu...@comcast.net
Subject: [LUTE] Re: What's the point to 'historical sound'
Lutes of mass distraction. Hah! I like that.
I think Ron was objecting to the use of lutespeak, which is a
particular form of double-talk peculiar to the lute
Hi All,
I agree with Ron that you can invent new instruments if you like, but
it's not going to get you any closer to anything the old guys might have
used. It goes without saying that we cannot recreate historical
instruments, or sounds, or audiences (why would we want to?), but what
we
Why would you tell lies to children? Why would you confuse their budding
sense
of history?
Why would I? I wouldn't, and I don't think I lied to the kids. Children of
about six or seven years usually can't tell a month from thousand months.
So, kings and knights and dragons implied something
Dear lute friends,
this has been very entertaining and also very useful discussion. This is
one example, why the list is so important to us! Thanks Wayne, thanks again
and again, for giving us this list.
One thought I would like add, just to empower this enjoyable confusion: In
case blaming
On 4 July 2011 19:49, wikla wi...@cs.helsinki.fi wrote:
reverse engineering
Reverse engineering an instrument, that is creating a lute with specs
that you think will solve your problems, might give the answers you
were looking for. How convenient. It will most likely not give any
answers about
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 4 July 2011 20:16, howard posner howardpos...@ca.rr.com wrote:
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,
, 4 Jul 2011 12:47:50 -0400 To:
davidvanooi...@gmail.com CC: lute@cs.dartmouth.edu From:
d_lu...@comcast.net Subject: [LUTE] Re: What's the point to
'historical sound' Lutes of mass distraction. Hah! I like
that. I think Ron was objecting to the use of lutespeak,
which
On 7/4/2011 7:16 PM, t...@heartistrymusic.com wrote
Well, I come from Stratford-Avon with a lute upon my knee ...
in response to this:
Actually, if we 'reverse
engineer' a lute sufficiently, we'll probably end up with a banjo.
Hey, don't knock it -- the banjo is how I got to
Begin forwarded message:
From: Catherine Arnott Smith casmit...@wisc.edu
Subject: [LUTE] Re: What's the point to 'historical sound'
On 7/4/2011 7:16 PM, t...@heartistrymusic.com wrote
Well, I come from Stratford-Avon with a lute upon my knee ...
in response to this:
Actually
I suppose our ancient colleagues would not mind in
putting also higher octave strings in their 2nd and 1st string in
their single strung instruments, if string length and available string
material makes it possible, and if they found the setting useful. Also
without doubt there were players,
James Tyler also was quite a banjo player. The next LSA Quarterly,
which is just about finished, will include a lot of peopl'e fond
memories of him.
Nancy
On 7/4/2011 7:16 PM, t...@heartistrymusic.com wrote
Well, I come from Stratford-Avon with a lute upon my knee ...
It seems to me that historical research is useful to modern performance
practice on early instruments, but does not exercise a tyranny over it
unless one is concerned with reproducing a particular performance
exactly. It seems fairly obvious to me that the lutenists/composers of
the
You are mistaken if you think this applies generally MH
--- On Sat, 2/7/11, Christopher Wilke chriswi...@yahoo.com wrote:
From: Christopher Wilke chriswi...@yahoo.com
Subject: [LUTE] Re: What's the point to 'historical sound'
To: lute@cs.dartmouth.edu, Ron Andrico praelu
.
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Mathias Roesel
Sent: 02 July 2011 22:38
To: 'lutelist Net'
Subject: [LUTE] Re: What's the point to 'historical sound'
Would you consider Lachrimae as a personal artistic expression of
Dowland
On 7/3/2011 6:13 AM, Roman Turovsky wrote:
That's very true,
but -
There are instances of decidedly unpowerful and inconsequential music
having
a power effect on a lot of listeners.
RT
Once again I refer everyone to:
On Music- In Three Books
by Aristides Quintilianus
Translation , with
[mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Mathias Roesel
Sent: 02 July 2011 22:38
To: 'lutelist Net'
Subject: [LUTE] Re: What's the point to 'historical sound'
Would you consider Lachrimae as a personal artistic expression of
Dowland
or
as an example of more general craftsmanship
Roesel
Sent: Sunday, July 03, 2011 2:24 PM
To: 'Lute Net'
Subject: [LUTE] Re: What's the point to 'historical sound'
Dear Stewart,
Whoever performs on the lute, will necessarily focus on their audience.
Tonight I introduced the lute to very young students of a music school.
Since children under
Mathias,
--- On Sat, 7/2/11, Mathias Roesel mathias.roe...@t-online.de wrote:
Audiences expected to be pleased.
I beg to differ.
What do you call a person who doesn't believe that people come to concerts to
enjoy themselves? A musician.
Chris
Christopher Wilke
Lutenist, Guitarist
On 4 July 2011 05:39, Christopher Wilke chriswi...@yahoo.com wrote:
What do you call a person who doesn't believe that people come to concerts to
enjoy themselves? A musician.
I thought it was the musicians that go to concerts not to enjoy themselves.
David
--
I agree with what David says, below, it's very good. I simply have to
experiment, reverse engineering the lute from the music. Then I'll
try something else. The experiments, ongoing, are a necessary part of
the process.
However, I do think there is a point to playing the lute, or I
wouldn't do
To Martyn All:
My point is, while we may try to recreate sounds of the past, we are
constrained by the parameters of the present. Echoing Arto's idea, the
'truth' of what we hear is here and now. I would prefer to immerse
myself in the contextual evidence and damn the realities
All this is no excuse to ignore what evidence there actually is about
what early composers, and their audiences, expected.
--- On Sat, 2/7/11, Ron Andrico praelu...@hotmail.com wrote:
From: Ron Andrico praelu...@hotmail.com
Subject: [LUTE] Re: What's the point to 'historical
I generally support Martyn's opinion.
I think there are two approaches around at the moment. The one with a
relaxed
feeling towards historical evidence playing Liuto forte or Dowland on
an
archlute which seems to be quite popular at the moment. This one
accepts the
fact
Hodgson hodgsonmar...@yahoo.co.uk wrote:
From: Martyn Hodgson hodgsonmar...@yahoo.co.uk
Subject: [LUTE] Re: What's the point to 'historical sound'
To: lute@cs.dartmouth.edu, Ron Andrico praelu...@hotmail.com
Date: Saturday, July 2, 2011, 7:10 AM
All this is no excuse to ignore what
evidence
Ron's question, made relevant for the listers, freely translates to
what's the point of playing lute. There is no point, of course, which
is exactly the point. Accepting the fact that we follow such a
pointless pursuit, I fail to see why we should stop at holding an
instrument that looks like a
Very simple answers. Composers expected money/food/lodging in exchange
for whatever music his (almost always his) patron desired.
Just kidding, right? Not even Charly Marx would have said so, I suppose.
Audiences expected to be pleased.
I beg to differ.
Mathias
To get on or off this
...@hotmail.com wrote:
From: Ron Andrico praelu...@hotmail.com
Subject: RE: [LUTE] Re: What's the point to 'historical sound'
To: hodgsonmar...@yahoo.co.uk, lute@cs.dartmouth.edu
Date: Saturday, 2 July, 2011, 12:27
Martyn:
Apparently, you mistake me for someone who
:
From: Christopher Wilke chriswi...@yahoo.com
Subject: Re: [LUTE] Re: What's the point to 'historical sound'
To: lute@cs.dartmouth.edu, Ron Andrico praelu...@hotmail.com,
Martyn Hodgson hodgsonmar...@yahoo.co.uk
Date: Saturday, 2 July, 2011, 13:12
Martyn,
Very simple
On Jul 2, 2011, at 8:36 AM, David van Ooijen wrote:
...I fail to see why we should stop at holding an
instrument that looks like a lute, and not care about how it sounds.
Art is a personal expression of universal value, but Western art music
is rather coded. I believe that for a player it
On 2 July 2011 15:49, Mathias Roesel mathias.roe...@t-online.de wrote:
I'm not so sure, however, that there's no point in
playing the lute
The beauty of doing a pointless thing is, that it being without point,
you can pursue it without any reason outside your own desire to do so.
That is the
Art is a personal expression of universal value,
That concept of the arts has developed in Western Europe in the wake
of political emancipation during the 18th-19th centuries. Before that
era, artists would usually not consider themselves autonomous so as to
make use of their art in
On Jul 2, 2011, at 12:50 PM, Mathias Roesel wrote:
...Music as a way of personal expression is a notion that didn't
develop until
the 19th century. Music to _raise_ fear, joy, anger, sadness,
tranquility
etc. has been composed since the invention of monody. But not music
that
expresses
Something that has had me perplexed for some time:
Historical sound on recordings.
It seems to me that most available recordings of lute music,
historical or not, are very heavy on reverberation. It has been
an old ploy in the recording industry for decades - take any recording,
add reverb
: David R d_lu...@comcast.net
To: Mathias Roesel mathias.roe...@t-online.de
Cc: lute@cs.dartmouth.edu
Sent: Saturday, July 02, 2011 1:18 PM
Subject: [LUTE] Re: What's the point to 'historical sound'
On Jul 2, 2011, at 12:50 PM, Mathias Roesel wrote:
...Music as a way of personal expression
Right on, Tom! I've made this same point myself in earlier posts.
Ned
On Jul 2, 2011, at 1:32 PM, t...@heartistrymusic.com wrote:
Something that has had me perplexed for some time:
Historical sound on recordings.
It seems to me that most available recordings of lute music,
historical or
Just my small inexperienced opinion. The group that I do historical
reenactment with has a basic premise of learn history by doing which
you do at whatever level you can presently achieve. For me as a
player/performer it is like peeling an onion. I'm going to start where
I can,
Martyn,
--- On Sat, 7/2/11, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
The whole effort of historical musicology
for at least the past 50
years has been to determine, in so far as
the evidence exists and to
the best of our ability, what the earlier
composers (and thus
On Jul 2, 2011, at 1:40 PM, Roman Turovsky wrote:
What Mathias meant is that self-expression did not become the
standard goal for all music
intil the 19th century.
Self expression certainly has existed ever since Froberger. Some,
like Zelenka, tried to control it, but it was coming out
On 2 July 2011 20:29, Christopher Wilke chriswi...@yahoo.com wrote:
I'm thinking of something like Susan McClary's hypothesis that Schubert's
instrumental music is really a thinly veiled homosexual manifesto because he
often used girly chords related by thirds.
Hahaha. I've just read Susan
This is not a problem that only affects one aspect of performance. We
have musicology in the lute world, but we don't really have
peer-reviewed musicology for performance practice. That's because the
circle is too small.
One could review an article or a recording by one's colleague,
- Original Message -
From: David van Ooijen davidvanooi...@gmail.com
To: lute@cs.dartmouth.edu
Sent: Saturday, July 02, 2011 8:08 PM
Subject: [LUTE] Re: What's the point to 'historical sound'
On 2 July 2011 20:29, Christopher Wilke chriswi...@yahoo.com wrote:
I'm thinking
On 2 July 2011 21:22, Monica Hall mjlh...@tiscali.co.uk wrote:
If there is such a word it should be gynAEcentric.
Ms. Cusick knowledge of Greek is evidently somewhat lacking.
Well, perhaps, but there's the world's view of what words mean to
consider as well:
On Jul 2, 2011, at 3:12 PM, David Tayler wrote:
2. I have never heard a recording of Dowland's Lachrimae consort
music
on instruments (violins, viols, lute) from 1603 (maybe there is
one,
would love to hear it)
Of these, the first is of course the most intriguing, but it is the
On 2 July 2011 18:50, Mathias Roesel mathias.roe...@t-online.de wrote:
But I'd have difficulties in taking these
features as personal.
Would you consider Lachrimae as a personal artistic expression of
Dowland or as an example of more general craftsmanship? Renaissance
polyphony is another
- Original Message -
From: Mathias Roesel mathias.roe...@t-online.de
The sound is part of the coding. Francesco had
another sound in his head when composing his pieces, than Dowland, Weiss
Still an unanswered question, isn't it? Viola da mano, lute, artificial
nails (forgot the
Right on, Tom! I've made this same point myself in earlier posts.
Ned
Thanks Ned!
Tom
On Jul 2, 2011, at 1:32 PM, t...@heartistrymusic.com wrote:
Something that has had me perplexed for some time:
Historical sound on recordings.
It seems to me that most available recordings of
-Ursprüngliche Nachricht-
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im
Auftrag von David R
Gesendet: Samstag, 2. Juli 2011 20:52
An: Roman Turovsky
Cc: Mathias Roesel; lute@cs.dartmouth.edu
Betreff: [LUTE] Re: What's the point to 'historical sound'
On Jul 2, 2011, at 1:40
- Original Message -
From: David van Ooijen davidvanooi...@gmail.com
To: Lutelist lute@cs.dartmouth.edu
Sent: Saturday, July 02, 2011 8:26 PM
Subject: [LUTE] Re: What's the point to 'historical sound'
On 2 July 2011 21:22, Monica Hall mjlh...@tiscali.co.uk wrote
Would you consider Lachrimae as a personal artistic expression of Dowland
or
as an example of more general craftsmanship?
An expression of his sublime art, certainly. I do resist the notion,
however, that Dowland had personally fallen in love with queen Elizabeth. On
the other hand, I had the
Weekends are often very quiet. Nice to see the list buzzing along.
On 02/07/2011 22:37, Mathias Roesel wrote:
Would you consider Lachrimae as a personal artistic expression of Dowland
or
as an example of more general craftsmanship?
An expression of his sublime art, certainly. I do resist
On Jul 2, 2011, at 4:27 PM, Mathias Roesel wrote:
We'll never know for sure, of course. But my guess is, as Roman
rightly put
it, that self-expression didn't become a standard goal until the 19th
century.
I disagree. I'm sure I can cite impassioned performances and
impassioned audiences
People didn't suddenly
change from neoclassical robots into emotional beings in 1800.
Well, if we diminish the exaggeration just a bit ... I do think that
enlightenment and the French revolution brought about quite a turnabout. In
feudal societies, people would publicly express their feelings.
To: Roman Turovsky r.turov...@verizon.net
Cc: Mathias Roesel mathias.roe...@t-online.de; lute@cs.dartmouth.edu
Sent: Saturday, July 02, 2011 2:52 PM
Subject: [LUTE] Re: What's the point to 'historical sound'
On Jul 2, 2011, at 1:40 PM, Roman Turovsky wrote:
What Mathias meant is that self-expression
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