Hello friends!
This is what Grove music online says about Pifaro. One of my students
is playing his music for lute. Does someone know some more about
Pifaro?
Best
Per Kjetil
Grove Music Online:
Pifaro, Marc'Antonio [del]
(b ?Bologna, c1500). Italian composer. Although a native of Bologna,
Has anyone in the group played or tried to intabulate the chaconne
from Bach's BWV 992 (Capriccio on the departure of a brother)? It has
a simplicity that should suit playability on a lute and it's really a
beautiful piece. I tried intabulating a few bars myself, but I've
never done this
Am I expected to do all the work myself???
I've actually looked at it recently, but the pending visual projects have a
higher priority sometimes
Nonetheless it would work well in g or a on an 11c, and you should
definitely try to intabulate it.
RT
- Original Message
http://polyhymnion.org/swv/ostinato2.html
Done.
Note that the original title read FRATRO rather than FRATELLO, i.e. a
brother in spirit, and in all likelihood referred to Erdmann, Bach's
childhood friend who went into Russian diplomatic corps.
RT
ps
Some new sundry and diverse material at
Christoph Wolff is of the opinion that fraTRO was intended by JSB for
Erdmann.
RT
Note that the original title read FRATRO rather than FRATELLO, i.e. a
brother in spirit, and in all likelihood referred to Erdmann, Bach's
childhood friend who went into Russian diplomatic corps.
Fantastic job Roman, thanks very much. If anyone wants to hear a superb version
on the piano, it is included in Leon Fleisher's new album:
http://phobos.apple.com/WebObjects/MZStore.woa/wa/viewAlbum?id=184734259s=143441
DS
On Thursday, October 05, 2006, at 02:18PM, Roman Turovsky [EMAIL
Dear Luters,
Yet another theorbo question. It seems to me that a moderately-sized
solo theorbo in D minor tuning would be a good all-purpose Baroque
lute upon which one could play the modern late 17th/early 18th-
century continuo, as well as all the German (and maybe even some of
the
The Lute Society of America just published a nice article on this subject
written by Benjamin Narvey. Some of you who are not members might not have
seen it. Anyone who thinks they might want to join the LSA can email me off
the list and will send them a copy of this issue.
Nancy Carlin
LSA
David and All,
The article by Narvey is excellent, scholarly and, given that it is factual
and not opinion, definitive. After 1680 the tuning nuveau in Dm spread with
the Enlightenment movement to include lutes and theorbos played in
northern Europe. Only the Italians and those under their
I have been wondering what B. Narvey and other players who do continuo in
dmi tuning do about temperament. Normally I use some sort of 1/6 comma
meantone arrangement in this repertoire in order to match the
harpsichord/organ (at least on the notes of the natural scale). However, in
dmi the
and not opinion, definitive. After 1680 the tuning nuveau in Dm spread
with
the Enlightenment movement to include lutes and theorbos played in
northern Europe.
Don't forget the mandora, very nortern Europe, too, that stayed in old
tuning.
David
To get on or off this list see list
On Thursday, Oct 5, 2006, at 22:21 America/Los_Angeles, LGS-Europe
wrote:
After 1680 the tuning nuveau in Dm spread
with
the Enlightenment movement to include lutes and theorbos played in
northern Europe.
Don't forget the mandora, very nortern Europe, too, that stayed in old
tuning.
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