Dear All,
There is some problem with the auto first page which I will sort out.
Thanks to Roman for alerting me.
However meanwhile this direct address DOES work!
http://www.vanedwards.co.uk./index.htm
David
Dear All,
I do intend shortly to add to the irregular series of lute
iconography
At 1:21 AM +0300 24/9/03, Arto Wikla wrote:
Three lutenists(!), but who is the painter? And when?
http://www.cs.helsinki.fi/u/wikla/mus/LutePics/uusia/kukalie.jpg
Dear Arto and Roman,
The painting is anonymous, hangs in the Louvre, Paris and shows a
ball at the Court of Henri III, in
At 1:21 AM +0300 24/9/03, Arto Wikla wrote:
Three lutenists(!), but who is the painter? And when?
http://www.cs.helsinki.fi/u/wikla/mus/LutePics/uusia/kukalie.jpg
Dear Arto and Roman and Stewart,
I forgot to add the text for the Maximilian engraving of three
lutenists which Stewart
Dear Sean,
Part at least of my thesis is unravelling faster than a gut top
string! Gernot has just forwarded me your enlarged picture of the
Ambassadors painting and I agree they are as double as can be! I'll
take that picture down.
I stand by most of my pictures but clearly such
At 10:17 PM +0200 21/10/03, Gernot Hilger wrote:
Wolfgang Wiehe has sent pics of another Holbein from Berlin including a
lute, including double frets. Same place:
http://www.jsbach.mynetcologne.de/ambassadors.html
g
Dear Gernot,
Ah yes that very nice picture in the Gemaeldegalerie. I went to
Dear All,
I've now put up the small essay on the picture which Germnot provided
on my lute of the month section.
http://www.vanedwards.co.uk/month.htm
Best wishes,
David
At 9:50 AM +0100 23/10/03, Martin Shepherd wrote:
snip
I have heard it suggested that the painting was originally hung on a
staircase, so that someone standing at the bottom of the stairs (if
it was hung on the left) would see the skull normally and little
else - another aspect of the
At 10:47 PM +0100 23/10/03, Martin Shepherd wrote:
snip
Yes, I was thinking of that intarsia, too, but I can't remember
which one it is - any suggestions? I'm going to try this stringing
and see what happens...
The one I was thinking of is in the Met and is an intarsia from
Bologna, not
At 8:14 PM -0600 2/11/03, Annett Richter wrote:
Dear all,
does anyone happen to own a copy of Matthew Spring's book The Lute in
Britain: A History of the Instrument and its Music (Oxford University
Press, 2001) and have handy access to it?
Our library copy of this book is checked out. I am under
Dear Roman,
Do you mean this picture which I've just copied from your page?:
http://www.vanedwards.co.uk/Ud.htm
As you see I also have a much bigger version which is among the
earliest images I collected. Alas in those days I didn't take much
care over keeping notes on the source. But if
At 9:03 PM +0100 19/11/03, G.R. Crona wrote:
I was captivated by Bartolomeo Passarotti's 1576 painting. (Pic. 29 in the
collection) It says anno iubilei bon 1576. There is also some music there in
the background, and the lute looks like an ~60 cm. mensur instrument.
There's some unreadable text
Dear Taco,
The picture is an anonymous French School painting in Hamburg
Kunsthalle and was featured on the front cover of Early Music
magazine in October 1982. The whole picture makes it clear that it's
mostly a perspective problem, since the bridge also is on at an
impossible [and opposite]
At 8:45 PM -0500 5/11/05, Roman Turovsky wrote:
albrecht durer used a lute to demonstrate a drawing
devise he made from a frame bisected with equally
spaced, horizontal and lateral wires. by looking
through the wire grid the artist could accurately
gauge the lute's difficult
Dear Herbert,
A number of historical cases survive, at least 14 by my reckoning.
For instance one in Fuessen, one in Munich, one in Edinburgh, one in
Blair Atholl castle, one in Berlin, one in the Bachhaus in Eisenach
etc. etc.
Mostly made like lutes out of thin strips of bent wood then
At 9:15 AM + 10/1/06, Christopher Challen wrote:
Hello all aficionados of the lute, this is my first posting and so
hope it reaches you ok.
Could anybody tell me Magnus Tieffenbrucker's dates please, or any
other details about him. I know he worked in Venice and I've seen
instruments by
Dear Greg,
I think the problem is in the original construction, they were
normally dovetailed into the side of the pegbox and therefore
scarcely relied on the glue joint at all. Given where you are now
though, I'd go with the dowel idea which will give you a much greater
gluing area plus some
Best wishes,
David
At 9:50 AM +0100 30/1/06, LGS-Europe wrote:
Is the painting of (supposedly) Haydn with a lute still on the net
somewhere? It used to be one of david van Edwards lutes of the months, but I
cannot seem to find it anymore. Suggestions (or private emailing to me)
anyone?
David
Dear Arthur,
Thanks very much for that info about the picture. I thought Mozart
looked rather podgy and round nosed compared with other portraits!!
I'll add your information to the page.
Best wishes,
David
At 10:30 AM -0500 30/1/06, Arthur Ness wrote:
Dear David,
Thanks for posting the
And a 13 or 14 fret neck on a coversion by Widhalm of a lute by Cocho
now in Germanisches Nationalmuseum, Nuernberg, MI 55.
David
At 11:30 -0400 1/4/07, Roman Turovsky wrote:
There is a 14 fret Schelle in Budapest.
RT
- Original Message -
From: Dale Young [EMAIL PROTECTED]
To: baroque
I think Dale's right, it IS a prop, but still interesting as an
instrument, that is it probably is not a fake in the Franciolini
sense. Though I do now agree that, given the fret spacings, we
probably can't be certain the the bridge spacings show a double top
course and 12 courses rather than
Dear Juan,
I will address the bridge spacing issue with some more data from
historic lutes when I've been through my drawings later this
afternoon, but meanwhile on the subject of pianists' hand sizes you
might like this wonderful take on it!
http://www.youtube.com/watch?v=ifKKlhYF53w
Best
Dear Robert,
Most makers are led by players so maybe asking us
is a bit circular! Certainly I make
string-spacings to fit what each player prefers
and these are very varying sizes.
However I thought the best way to point the way
forward is to give as many measurements of
historic
Indeed the carbon music strings are just fishing line, as has been
revealed by the withdrawal of 0.7 size [the one I find most useful
for the 4th course] from the string-makers list at the same time as
it has vanished from the fishing line range. I went looking around
fishing sites and shops
At 14:16 +0200 19/6/07, [EMAIL PROTECTED] wrote:
My theorbo (copy of an original by Matteo Sellas) is 80/161. The size is
quite usual in historical instruments.
snip
Diego Cantalupi
Dear Diego,
Which Sellas original is it copied from? I can't find any of that
size. There's the small one of
At 14:41 -0400 19/6/07, Eugene C. Braig IV wrote:
snip
When you start trawling [sorry!] round, it's whole different world
out there underwater, where they are interested in the refractive
index being close to that of seawater so the lines are invisible (the
big attraction of carbon apparently) and
At 09:43 -0400 20/6/07, Roman Turovsky wrote:
BTW, carbon line fit for lutes is mainly freshwater gauges.
RT
Dear Roman,
That may be the root of the problem since 0.7mm, the size I'm after,
implies a fish bigger than most freshwater fish.
David
--
The Smokehouse,
6 Whitwell Road,
Norwich,
Dear Jason,
That's very kind and helpful. I did search about online but couldn't
find anything a few months ago, I'll look on the site you recommend.
BTW I'm not trying to go behind the string suppliers, Kuerschner had
discontinued 0.70mm carbon because he said that it is no longer
available
Dear All,
I apologise for the blatant advertising but some of you may be
interested in seeing the folding theorbo I have recently made for
Lynda Sayce, which is designed to pack up small enough to fit into a
standard airline seat.
http://www.vanedwards.co.uk/40a.htm
This has been a long time
hairlines exactly at fifth and
seventh 'fret' positions, a very convenient visual aid, as a shamisen
doesn't have frets. Just likes David van Edwards' foldable theorbo, the
strings are kept at bridge and pegs for greater convenience and longevity.
David
--
The Smokehouse,
6 Whitwell Road,
Norwich
Dear Michael,
Alas it's not as simple as the shrinkage of parchment tapes, in fact
if you draw out a cross-section of the joint complete with tape at
hugely large scale, you'll immediately see why it doesn't work like
that. If there is any effect, it is to produce a slight bulge down
each
Dear Martyn,
I don't know the picture Kenneth was talking about (I wasn't on the
list at that stage) but there's a Watteau painting of a woman playing
a French theorbo with a strap arrangement which looks more like
bondage! I've put it up for general consumption at
At 12:02 +0100 24/7/07, Karen Hore wrote:
I would be very glad to know of any concerts around the eastern
region (I live near Ely), and I do go very occasionally to concerts
at the West Road hall in Cambridge.
Dear Karen,
Well you did ask!
The Swansong of the Lute
.
The nails are so detailed that they are textured, in stark and
detailed contrast to the presumed shadow under the first finger,
which is just a dark patch, and the thumb where I see nothing.
I wonder if our iconologist David van Edwards could have a look?
May have to go to the library, darn. Parking
At 10:44 -0400 28/7/07, David Rastall wrote:
Another question is: Do you think that 83cm at the bass rider is
long enough to use single bass stringing?
Only with modern overwound strings!
David
--
The Smokehouse,
6 Whitwell Road,
Norwich, NR1 4HB
England.
Telephone: + 44 (0)1603
Try snakewood, it has very similar dark markings, not quite as red or
of course as translucent but a lovely wood perfect for fingerboards.
Best wishes,
David
At 20:21 -0800 15/11/07, Solaris Solarium wrote:
I am trying to make a faithful reproduction of my 18th c. english
guittar, and want
Dear Dan, Din, Jon, Rob etc,
I have nothing against solid moulds as this shows
http://www.vanedwards.co.uk/moulds.htm
In practice I use skeleton moulds for lutes with fewer than 19 ribs
and solid moulds for those with more. I find the skeleton better for
aligning ribs while building and they
In some cases, yes. Certainly theorbos have better projection when
they have flattened cross-sections. And baroque lutes are noticeably
non-circular in section. I think it's geometrically impossible to
make these kind of shapes without twisting some of the ribs.
David
At 23:12 +0200 5/12/07,
Dear Duncan,
There are several different systems.
I believe I was the first to realise this could be done and that it
was probably the basis of historical lute design in my (very) brief
article in The Lute Society Journal number 15 in 1973. (available via
their website
Dear Julien,
There you go! http://www.vanedwards.co.uk/bridges.htm
David
At 18:34 +0200 23/6/08, Julien Stryjak wrote:
Hi everybody,
I'm currently making a 6 course lute based on the Gerle model.
I'm now making the top, and have been planning to make the bridge.
I want to make this flower
Dear All,
The Paris musical instrument museum now sells its drawings through a
subsidiary, Les Amis du Musee de la musique, this is almost impossible
to find out from the museum site itself but here is a direct link to
the page where they list the drawings available, including the
Dear Julien,
Have you poked about in the rather badly laid out symposium site
http://www.trombamarina.com/Citole_Symposium_Nov_2010.html
particularly the literature page
http://www.trombamarina.com/Citole_Symposium_Literature.html
and the linked PDF report on the instrument
Dear Martyn et al,
Just in answer to your surmise, this is Barley's instruction for the
Orpharion. In his instruction for the Bandora he just says that the
same considerations apply as for the Orpharion.
TO THE READER COURTEOUS AND FRIENDLY READER, as thou hast seene
before
Dear Paul,
As it happens you can see stages in the process in the lute I'm
building at the moment.
https://picasaweb.google.com/113751643198470818818/WhatIAmBuildingAtTheMoment?authuser=0feat=embedwebsite
I do work the inlay flat and then bend it.
The full instructions on how to bend veneer
Dear Philip,
There is a very good page of advice about travelling by air with lute
written by Lynda Sayce on her website at:
http://www.theorbo.com/Writings/Flying.htm
She has a lot of experience and her advice is detailed, practical and sensible.
Good luck with your trip.
David
At 19:50
This seems a good moment to wheel out the piece from several years ago
that still alas applies!
Best wishes,
David
From the LS newsletter, November 1993:
Buying a lute, 1551 ===
Good morrow, Master Laux; I wish to buy a lute.
Good morrow, kind Sir; here
Dear Andreas,
A wonderful resource! Thank you. And thank you Zürich!
It is of course an illustration of a concept
rather than a plausible device. Consider the
palaver involved in actually taking the
successive measurements. But a very nice lute.
Also have a look at page 100 with its
Dear Richard,
Last year I put a small hook on Lynda Sayce's theorbo case to take
these wheels and it has been a great success.
http://www.kcstrings.com/bass-buggie It is much better than using
skateboard wheels and deals with rough ground easily. Can be taken on
and off as needed and is light
,
David
At 23:07 +0200 18/6/12, David van Ooijen wrote:
I saw those wheels in action on double basses. Love them and indeed
they are better than my skate board wheels. A hook on the theorbo case
would be enough? Great idea!
David
On 18 June 2012 17:55, David Van Edwards da...@vanedwards.co.uk
Dear Jaroslaw,
That's fascinating, I'd never looked for a high res image and had never
noticed.
I'm sure you're right that the coloured strings imply octave stringing,
rare up as far as the 3rd course though it is.
The empty nut grooves for 2 top strings are a bit more of a
Sorry, correction, I miscounted the diapasons it's 12 course
instrument, even odder.
Though, if she was given to wholesale restringing, it could imply a
restrung theorbo (or more likely archlute given the apparent size) with
the normal 8 single diapasons becoming here four octave
Dear All,
I have just re-worked one of my old lute of the month essays to
include some corrections and some new information from a nice
exhibition about the life of Prince Henry at the National Portrait
Gallery as well as some new scans of the main pictures.
Dear Martin,
One of the best is Klassiskgitar at:
http://www.klassiskgitar.net/imagesmain.html
Also Alfonso Marin's
http://www.lutevoice.com/luteiconography/Page%201.html
Best wishes,
David
At 17:29 +0100 31/1/13, Martin Shepherd wrote:
Hi All,
Can someone remind me of the best sources
Dear Julien,
The best I have is now up on the website at
http://www.vanedwards.co.uk/bridge255.jpg
The treble side is clearly a bit damaged but the
bass end shows it to be a sort of arrow head on
the end of standard curly arm. A bit like the end
of the Devil's tail?
Best wishes,
David
appears to me to be unison stringing from the 6th course down-
octaves only on 7 8. Anybody else notice this?
-Dan
On 1/31/2013 9:24 AM, David Van Edwards wrote:
Dear Martin,
One of the best is Klassiskgitar at:
http://www.klassiskgitar.net/imagesmain.html
Also Alfonso Marin's
http
and David,
Here's a pdf scan of three not very good and now
discoloured photographs I took at the time I
made the drawing of M255 in 1983.
Maybe they can help a little bit.
Best wishes,
Paul
www.paulrans.com
On 31 Jan 2013, at 17:35, David Van Edwards wrote:
Dear Julien,
The best I have
photographs I took at the time I made the drawing of M255 in 1983.
Maybe they can help a little bit.
Best wishes,
Paul
www.paulrans.com
On 31 Jan 2013, at 17:35, David Van Edwards wrote:
Dear Julien,
The best I have is now up on the website at
http
Dear Bill,
I assume one of these.
http://www.vanedwards.co.uk/93.tif
Sixtus Rauwolf Augsburg 1599 now in Copenhagen No. 93
This is the sole survivor of this type that Molenaer made famous. But
your painting has the lower strings offset in in a strange, rather
excessive, manner. Maybe a case
Dear Stephen,
No, rare as hens teeth! A little while ago I put together a page
about their apparent lack of use here:
http://www.vanedwards.co.uk/straps.htm
I must add this new picture to the collection.
Best wishes,
DAvid
At 07:32 -0800 4/2/13, Stephen Fryer wrote:
On 04/02/2013 5:54 AM,
, hitherto unknown
lute type.
Best regards,
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: William Samson willsam...@yahoo.co.uk
Cc: Lute List lute@cs.dartmouth.edu
Sent: Monday, 4 February 2013, 15:07
Subject: Re: [LUTE] Lute painting
Dear
to the painting by J.G. Platzer; an apparently non-offset
theorbo neck extension.
-Original Message-
From: William Samson willsam...@yahoo.co.uk
To: David Van Edwards da...@vanedwards.co.uk
Cc: Lute List lute@cs.dartmouth.edu
Sent: Mon, Feb 4, 2013 1:53 pm
Subject: [LUTE] Re: Lute painting
Hi
Yes, as far as I have observed no lutes were made using support
blocks, however obvious it would be to give strength. In fact one of
the commonest problems with amateur made instruments is the tendency
to make things too strong. It is a maxim to bear in mind that lutes
sound best when right on
I jest of course, but in some ways it IS nerve-wracking for just that reason!
David
Yikes! How do professional lute makers manage to sleep at night, with
their products ready to go 'pop' at any moment?
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: William Samson
Dear Mthias,
Well clapping as a way of showing appreciation at the end of a play is
thought to be referred to in the closing speech of Prospero in The
Tempest. In bold here, and presumably some sort of cheering is meant by
the following couplet.
EPILOGUE
SPOKEN BY PROSPERO
into it, as in
'bowing
and scraping'. Both words also apply to what people do to
members
of the violin family.
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: Mathias Roesel mathias.roe...@t-online.de
Cc: lute@cs.dartmouth.edu
Sent
Dear Alan,
Therefore he collected music for the whole gamut of renaissance lutes!
the six course lute is rather a different instrument from the 10 course
and different again from the 12 course. See this brief history of the
lute http://www.vanedwards.co.uk/history1.htm for some
Dear Bill,
Casein glue was certainly used extensively in the middle ages by
painters to join the boards of their painting panels before preparing
with gesso etc. In fact quite a common recorded item in the invoices
they submitted to their commissioning patrons was for the cheese
needed to
Dear Bill,
Margaret beat me to it with the detailed quotes from Cennini and
Thompson but while I was looking at the Cennini I noticed that his
recipe for fish glue says that it was used for lute mending, It sounds
from the word leaf as if it is isinglass:
HOW FISH
If so, it was restored by Nico van de Waals and
there are nice photos of it inside and out(!) in
Andreas Schlegel's book Die Laute in Europa 2 on
page 97
Best wishes,
David
At 14:15 + 12/4/13, Braig, Eugene wrote:
I'm guessing this is the Laurentius Greiff
(1610) lute that appears on
Dear Luca,
Yes there are 8 surviving lutes that I know of with gilded roses.
1. The 16th century lute by Wolfgang Wolf
currently in Füssen Museum has a gilded rose.
Impossible to say if it is original as it has
certainly been roughly gilded since then.
2.Lute by Jakob Langenwalder [Füssen
Dear Bill,
Thanks very much for alerting us to that. No, I don't know the
picture at all and I notice that the first question in the comments
section is asking where it is. No answer as yet, maybe he will
respond later.
There is also the conjecture which Lynda Sayce put forward that his
luthiers, and
so we get this wonderful variety in the iconography.
Kind regards,
Bill
From: David Van Edwards da...@vanedwards.co.uk
To: William Samson willsam...@yahoo.co.uk
Cc: lute@cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Sunday, 28 July 2013, 12:26
Subject
Dear All,
Just a small shameless plug on behalf of Thea Abbott who has just
published her biography of the lute pioneer, Diana Poulton, who
founded the Lute Society and taught most of the major players of
today.
Diana Poulton is best known as one of the 20th century's pioneers of
early
Dear All,
Some of you might be interested in the Summer/Fall lutemaking
workshop being run in Duluth next year. A couple of lutes will be
made in nine days, one renaissance and one baroque, to be donated to
the Lute Society of America for use as hire instruments to introduce
people to the
Dear Andreas,
On your Hidalgo question, as people have been pointing out it is a
treatise on perspective not on fretting. So he even has the division
of the stringlength wrong for fretting purposes. He says divide the
stringlength into 16 parts whereas the the nearest whole number
Dear Martin and Sterling,
I happened to have a copy of Barley to hand and have checked and his
two woodcuts of lutes don't show octaves on any of the six courses.
Also a quick glance through his version of Le Roy's rules doesn't
show any reference to octaves at all, though I may have missed
Van Edwards wrote:
However I think the painting I discussed was simply copying the prop[s]
from Eglon van der Neer's works! The physical impossibility of holding
such a lute in such a position without grossly disturbing the diapason
strings makes me think that the painting has
Dear All,
My Lute of the Month series has dwindled to lute of the Year these
days! It's because I've mainly been writng them for the Lute Society's
newsletter, Lute News, now it has a nice full colour cover.
But here is the latest, as it were more public, example up on the web
You might also like the original painting on which the engraving was based:
http://artuk.org/discover/artworks/mrs-arabella-hunt-16621705-playing-a-lute-28603
Best wishes,
David
At 16:02 -0400 10/6/16, theoj89...@new-old-mail.cs.dartmouth.edu wrote:
I have recently become fascinated by
Indeed what a resource, thank you!
I originally bought the CD from the Lute Society but had to send it
back because it didn't work on a Mac, so it had more problems than
were quite justifiable right from the start.
BTW have you noticed the heretical drawing of a *lute* player on the
Dear Christian,
"Affordable" and "carbon" don't go together!
If you or a friend have the time and inclination, this is certainly
both very affordable and very lightweight.
http://www.lutesociety.org/pages/catalogue#m (The second item in the list.)
Any questions, do ask me.
Best wishes,
Dear All,
This year I might again be doing an international summer workshop in
Norwich, as the Lute Society has need of another theorbo for hire to
members. If we do, it is likely to be in late July or early August. To
get a flavour of what is involved have a look at this webpage:
Dear Rainer,
Just to check, this is using the normal Mac
keystrokes for diacriticals, I wonder if it will
be mangled by the Lute Net software?
Ü Ä Ö ä ö ü é â è
Best wishes,
David
At 14:20 +0200 29/7/17, Rainer wrote:
I have sent this mail with utf-8 encoding and everything looks OK.
There's an interesting painting showing the back and part of the
lower pegbox of a French theorbo with its distinctive pierced
fretwoork pegbox and chanterelle slot. It is coming up for auction in
Vienna on 17/10/17 and can be seen here:
Dear Markus,
I'm glad the differences weren't greater!
I've taken mine from either my own measurements
or the various paper plans issued. Michael
Fleming did an interesting comparison of
different measurements from different
professional makers of the same viols and found
significant
It was shown and played at a recent Lute Society meeting
https://www.facebook.com/events/386004838221612
Antonio Dattis http://www.antoniodattis.it/lutherie/ has produced a
working drawing of the instrument.
Best wishes,
David
At 06:40 + 3/9/17, Anthony Hart wrote:
--
the nut and
the first fret. A double fret for mean tone perhaps; or maybe just a
blob of paint! The ribs seem to be quite deeply scalloped don't you
think?
Best,
Matthew
On 04/10/2017 14:19, David Van Edwards wrote:
There's an interesting painting showing the back and part of the
lower pegbox
Dear Ron,
Well it would be nice to be sure about the playing technique but to
be honest I can't see a plectrum in either hand. There is just the
faintest shadow that might be a remnant of plectrum over the first
finger of the left hand lutenist but I wouldn't swear to it. Though
of course
Yes this one is well known and it does indeed look as if they have
sunken roses like those of Gerard David but the painting has been
"cleaned" to within an inch of its life, certainly the strings did
not survive!
Your earlier one by circle of Caporali was unknown to me so thank you
very much
The Paston Treasure: Microcosm of the Known World
The Paston Treasure, a huge painting from Norwich Castle, England,
showing part of the collection of Robert Paston the Earl of Yarmouth
c.1665 features a prominent life-size image of a 12 course lute and
less prominently
the German words - but I
cannot judge, if it is good English.
Probably it would be better to exchange the order of the words:
Against stupidity Gods themselves fight in vain - or (another try):
Against stupidity even Gods fight in vain
Best regards
Markus
Am 16.02.2018 um 22:18 schrieb David V
Dear Rainer,
Interestingly Google translate offers the following for your subject
line. In some ways it's a more subtle concept than the proper
translation!
"Against stupidity Gods fight themselves in vain"
Best wishes,
David
At 19:11 +0100 16/2/18, Rainer wrote:
Dear lute netters,
A
Well yes I fear so!
Out of my searchable database of (now) 2060 images which I've been
collecting for years there are just 49 with a lute strap in use! And
most of those are archlutes or theorbos. I think this is indeed a
serious question.
An initial part of this database has been uploaded
Dear Rainer,
Now all is revealed, I've long loved this reading
of the Mark Twain essay of the same name and now
I see that it is read by one Rainer! Could it be
you?
https://librivox.org/the-awful-german-language-by-mark-twain/
Best wishes,
David
At 15:05 +0200 9/9/18, Rainer wrote:
I should have said, since images don't get transmitted, that it was a
9 course 1x1, 8x2 and that any treble rider was out of sight in that
photo, but I have another which shows that there was no treble rider
and shows the correct number of pegs for the 9 course as above.
Weirdly Dolmetsch
Well here it is before the surgery!!
Best wishes,
David
At 19:50 +0200 21/10/18, Martin Shepherd wrote:
>Dear All,
>
>Does anyone have any information/drawings etc of the Harton lute
>(dated 1598) in the Folger Shakespeare Library?
>
>The photos I have suggest the original was an 8c lute, with
Dear Martin,
Ah yes, Jakob Lindberg has a very clever, light but complex, stand
made of [I think] foam boards covered with a black cloth which takes
quite a bit of setting up. He was giving a recital here in a small
medieval room in Norwich and at the last minute, just as Jakob was
advancing
Dear Ed and Arthur and Rainer,
Here is a link to a page I've put together
showing the Randle Holme description and sketch
of the Poliphant. His Academy of Armory is an
unbelievably confusing but comprehensive
descriptive list of objects from seventeenth
century English life. Just above the
It's just occurred to me that the arrangement of
strings on the Poliphant seems remarkably like
that on a torban.
David
Dear Ed and Arthur and Rainer,
Here is a link to a page I've put together
showing the Randle Holme description and sketch
of the Poliphant. His Academy of Armory is an
on and how
many were sympathetic?
Nancy
Better still, the Bandura old style with a similar curved bridge and all.
Cheers,
Lex
Op 27 dec. 2018, om 21:35 heeft David Van
Edwards het volgende
geschreven:
It's just occurred to me that the arrangement
of strings on the Poliphant seems
:
Looks like the polyphant on this page:
https://earlymusicmuse.com/bandora-orpharion/
Rainer
On 27.12.2018 21:19, David Van Edwards wrote:
Dear Ed and Arthur and Rainer,
Here is a link to a page I've put together
showing the Randle Holme description and sketch
of the Poliphant. His Academy
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