Re Rooley/Unrooley
When I first starting recording in the 70s, there was a realism
movement (Direct Metal Mastering, and so on--yikes)
People wanted the real sound. Now, no one wants the real sound. All
recordings are processed by limiters, spectral enhancers, convolvers,
acoustic modeling,
In this current discussion, you (Bruno) were the only one to have been
at the concert so you have every right to your perceptions. Your
perception of the experience is yours and yours alone. Right or Wrong.
Tuning your ears to a lute recital is something that gets better with
experience.
I think
Dear David
I have problems with analyses that take apart the
playing of a person on one occasion. Especially, in the case of a
lutist who began playing in a completely different context from ours,
I prefer to try to see how his technique may show the way playing has
tended to
Even recordings that are unprocessed are processed (unbeknownst by
the original engineer) by goofballs at the pressing plant who don't
know how the machines work.
This is the big problem... people are used to listen to edited recording and
are not aware of this. So when they attend a concert
David
Could I also add that I began playing the lute in the mid 70s. At
the same time I began reading all the discussions in the Early music
magazine, at a moment when basically two groups of lutists could be
found discussing their opposing views. The first were in favour of
Dear All,
Just a few comments:
Anthony Rooley was a great inspiration to me when I went to one of his
lecture-recitals in 1973. His enthusiasm was infectious and he was
friendly and encouraging. I have seen him only occasionally since, but
have always had the same impression.
At the Lute
I agree - quietness should be thought of as one of the lute's key
qualities - not an issue to be overcome - as with another famously
quiet instrument, the clavichord...
Andrew
On 25 Sep 2007, at 10:11, Francesco Tribioli wrote:
Even recordings that are unprocessed are processed
My wife and I heard Anthony Rooley give a recital entitled 'Orpheus
Stories' at Waterperry House in Oxfordshire, UK on a gloomy wet
afternoon in July (so wet, in fact, the organisers provided us with
overshoes to wear into the ballroom where the event was taking
place). He alternated
Dear All,
Just a few comments:
I think it is probably wrong to assume that Julian Bream or Wanda
Landowska were louder than their modern counterparts - in fact it
seems
to me that with both lutes and harpsichords, as modern makers have got
closer to historical models and methods (and
I agree - quietness should be thought of as one of the lute's key
qualities - not an issue to be overcome - as with another famously
quiet instrument, the clavichord...
Andrew
I seem to remember Willy Apel once commenting on hearing a clavichord in
concert that at first he could not
- Original Message -
From: Anthony Hind [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Tuesday, September 25, 2007 3:03 AM
Subject: [LUTE] Re: Lute concert
Martin
I had never actually heard either Bream or Landowska in concert,
but loudness, particularly in the case of
Was it Stan Beutens who recorded that piece of PDQ Bach?
ed
At 03:18 AM 9/25/2007 -0700, gary digman wrote:
This discussion also reminds me of Peter Schickele's (sic) performance notes
to his Duet for Bagpipe and Lute:
When the bagpipe plays, you will not be able to hear the lute, but the lute
You can use built in features in Acrobat to shrink all the images, I
have gotten some good results. I think it is done through save as
(don't have it installed on this computer... check the help)=20
-Arthur=20
-Original Message-
From: G. Crona [mailto:[EMAIL PROTECTED]
Sent: Sunday,
Hi friends,
I was fortunate to hear Emma Kirkby and Anthony Rooley at a recital here in
Loughborough. (The centre of the universe ;)-.
I name Emma first because I suspect that most of the audience had gone to
hear her singing. Anthony's lute was there to provide accompaniment to her
singing.
Dear Anthony,
Please don't be put off by my remarks. They're harmless, believe
me. Behind the flippant tone really was a serious question and your
replies, and those of the others who have commented on the current
state of lute playing, have been very enlightening.
I came to the lute in
When the bagpipe plays, you will not be able to hear the lute, but
the lute
is pleasant to look at. So, when the bagpipe plays, enjoy the lute.
Gary
For a lute that is pretty to look at but drowned out, see
http://youtube.com/watch?v=hQywhloSBlE
To get on or off this list see list
Daniel,
Look at it this way: I didn't hear the lutenist make a single mistake.
Stephen
- Original Message -
From: Daniel Shoskes [EMAIL PROTECTED]
To: gary digman [EMAIL PROTECTED]
Cc: lutelist lute@cs.dartmouth.edu
Sent: Tuesday, September 25, 2007 10:25 AM
Subject: [LUTE] Re: Lute
Dear David
Perhaps, your experience shows that my view has been too strongly
coloured by the lutists who have most effected my sensitivity to the
lute at key moments. Julian Bream (who first interested me in the
lute), then my teacher and Hoppy, who I saw and heard a number of
Dear Craig,
If you've looked at/listened to David van Ooijen's exhaustive experiments, I
think it comes down to recording the noise in the room - in other words,
it's more to do with the end result on the recorder than with the origin of
the sound. For live performance, an SM57 will perform
Daniel Shoskes [EMAIL PROTECTED] schrieb:
When the bagpipe plays, you will not be able to hear the lute, but
the lute
is pleasant to look at. So, when the bagpipe plays, enjoy the lute.
Gary
For a lute that is pretty to look at but drowned out, see
For a lute that is pretty to look at but drowned out, see
http://youtube.com/watch?v=hQywhloSBlE
Nice playing. A cembalo player once taught me that a lute helps to make the
cembalo sound milder. That's a good way of thinking of the combination.
Don't try to be louder by playing sharper, but
For more on lutes and bagpipes, see Samuel Pepys' diary for 28 July 1666.
But strange to hear my Lord Lauderdale say himself that he had rather hear
a cat mew, than the best musique in the world; and the better the musique,
the more sicke it makes him; and that of all instruments, he hates the
I agree, but my new arclute is still sitting in the builder's studio with =
a Kingham case on the way.
On Tuesday, September 25, 2007, at 04:48PM, Mathias R=F6sel Mathias.Roes=
[EMAIL PROTECTED] wrote:
Daniel Shoskes [EMAIL PROTECTED] schrieb:
=20
When the bagpipe plays, you will not be able
Dear David,
His precise word was passion - which I took to mean the pains you took and
are probably still taking to explore the possibilities available to you. I
think he was impressed by the fact that your tipof the iceberg probably
goes far beyond what he as a professional does himself
Nigel North recorded a few of the theorbo pieces of John Wilson on his CD,
The Rags of Time, with vocalist, Paul Hillier. Harmonia Mundi, HMU
907257. Among those solos are Prelude in a minor, F, and Bb.
ed
At 05:20 PM 9/25/2007 -0700, Nancy Carlin wrote:
I don't think all of those pieces
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