Dear Jon,
Tied frets, especially double strand gut frets, provided they are tied and
positioned correctly rarely need adjusting. They do need replacing once
in a while - I tend to replace the lower ones on my instruments about once
in a year or 18 months. They give you the flexibility to make
: Timothy Motz [EMAIL PROTECTED]
To: guy_and_liz Smith [EMAIL PROTECTED]
Cc: lute net [EMAIL PROTECTED]; Denys Stephens
[EMAIL PROTECTED]
Sent: Sunday, October 05, 2003 5:08 PM
Subject: Re: Pain ...
I'm in my early 50s, with about 30 years of desk-bound work behind me,
and I've been taking lute
Dear All,
Recent mailings to the list have set me thinking about the cost of lute =
music.
In my experience it's always been expensive - my copy of Diana Poulton's
Dowland edition cost the equivalent of my two weeks wages when it was
published. I didn't resent it at the time - it was incredible to
Dear Sean,
I used gut double frets on my lutes for years - they do buzz a bit for the
first few days but that stops when they are bedded down and after that
they wear a lot longer and stay in position better than single strand frets.
I find the double strand knot easier to tie and have less
Dear Vance,
I am glad too to see this high resolution image of the Holbein lute.
As lots of people on the list will know, this is a detail from the
much larger painting known as the The Ambassadors which is a double
portrait of Georges de Selve (bishop of Lavaur) and Jean de Dinteville
(French
Dear Craig,
CNRS have published Oeuvres D'Adrian Le Roy - Les Instructions Pour Le Luth
(1574)
in two volumes. The first contains a modern edition (with some facsimilies
from the original)
of the 1574 English edition of A briefe and plaine Instruction to set all
musicke of eight
divers tunes in
Dear Vance Marcus,
I kept an e mail of Stephen Barber's concerning the Hever Castle
lutes - three of them were authentic ivory bodied historical instruments -
the Magno Dieffopruchar 6 course now in the Beare collection in London,
a Joachim Tielke of 1696 now in the GNM Nurnberg and an Andreas
Dear Martin,
It's good to hear that you are working on your article on Dalza - I'll look
forward to reading it! When I was looking at the same territory I made a
note
of the entry against Calata by Daniel Heartz in the New Grove which reads
as follows:
Calata - the name may be derived from the
Dear Pietro,
The only edtion of Dalza in staff notation that I know of was published
in a series of books edited by Helmut Monkemeyer (Friedrich Hofmeister
Hofheim Am Taunus) in 1967. They may still be obtainable.
I have not heard of an online digital edition. I am sure that you must be
aware
of
Dear Vance,
It seems very plausible that ivory lutes were built for wealthy
players, but surely those that survive don't suggest that
they were inferior instruments? The only two six course lutes
with their original necks and pegboxes, the Beare collection
Magno Dieffopruchar and the Vienna Georg
Dear Michael,
I don't think there is any kind of conspiracy to prevent those of us with
an interest in original sources of music to obtain copies. I don't have a
vast experience of this, but I have not failed so far to obtain either a
microfilm or print of unpublished sources that I have been
Dear Michael,
I'm sure your heart is in the right place with this, but I suspect
that you have not really thought it through. Setting aside the
legalities for a moment, which I am sure others on the list will
tell you about, why not try going through the motions of being
a publisher yourself?
Dear Rainer,
From your comments re: Spanish sources you are clearly aware
of the references to thumb out in the vihuela literature but
other readers of the list may not know this so well.
The best source of information on right hand technique that I know of
is Paul Beier's Right Hand Position in
Dear Roman Edward,
That must surely be a copy each of both the Bossinensis volumes
bound together. HM Brown lists only one other copy of the 1511
volume so this seems to bring the known surviving copies up to
two, unless anyone knows of any others that Brown missed.
If there are unrecorded copies
Dear Peter,
You wrote:
If we have a look on 16th century lute tablatures, it is also
obvious, that some musicians published only 'serious/highbrow' music.
Look at for example the editions of Francesco da Milano or Bakfark:
Only 'serious/highbrow' music like fantasies and
Dear Stewart all,
It's always been my understanding that cifra is very much a standard
form of notation for flamenco players. A relative of mine was for many
years a close friend of Pepe Martinez who was one of the great flamenco
guitarists of the last century. I have seen examples of his cifras,
Dear Tim,
You wrote:
Personally, I've wondered whether the increasing number of ribs on
lutes as you move into the 17th century is a sign that luthiers were
running out of easy-to-obtain yew in large slabs. If not, it would
have been a tremendous waste of wood to cut such narrow ribs to get
Dear Jon all,
This is way off topic, but in view of the potential danger to anyone
who gets the wrong idea I thought it worth responding to your mailing.
In my line of business (architectural technology) we have to keep up to
speed
with dangerous materials found in buildings. Asbestosis is the
Dear Sean,
I used double strand frets on my lutes for years - they do buzz a bit when
they are new and in my experience there is no trick in the tying to stop
that.
After playing for a while the double strands bed in - get flattened slightly
at the points where the strings touch - and then they
Dear Stephen,
I have been using Nylgut strings on both of my 6 course lutes for
about 2 years (still the first set on both so far!). I have plain nylgut
down to the fourth course and octaves on the 5th 6th with
Pyramid basses. Both instruments are played very regularly
(most days). I find the
Dear Stewart,
I'm sure that you are right about this. Just a couple of ideas that
occurred
to me from my own study of Dalza Petrucci:
We can't be sure of what Dalza's manuscript looked like, so what
we see in the book is Petrucci's setting of the music, following
conventions already established
Dear All,
Re: music and astronomy:
How sweet the moonlight sleeps upon this bank!
Here will we sit and let the sounds of music
Creep in our ears; soft stillness and the night
Become the touches of sweet harmony.
Sit, Jessica. Look how the floor of heaven
Is thick inlaid with patines of bright
Dear Goran,
The best known story about a lyre in the shape of a horse's
head is the one made by Leonardo da Vinci which is
recorded in his Life by Vasari. I have never heard
of anything similar connected with Galileo and suspect
this is a mis-attribution.
Best wishes,
Denys
- Original
Dear Thomas, Elias all,
I think Thomas is right that the emergence of continuo
accompanied lute song in the later 16c is much better
documented than what happened earlier. But that is
not to say that there was no singing to the lute in
the early 16th century! My belief is that the extant
examples
Dear Herbert, Howard all,
My own recollection is that popular music was rather less
compartmentalised in England in the late 60's and 70's than it is now.
The guitarists John Renbourn and Bert Jansch both knew and
recorded lute pieces on the guitar, and they were both well
known in the pop arena
Dear Tadeusz,
I don't know of any transcriptions from the Pesaro ms
that are downloadable from the net. There is a complete
modern edition of the manuscript edited by Vladimir Ivanoff
(Edition der Handschrift Pesaro, Biblioteca Oliveriana, Ms. 1144,
Munchner Editionen zur Musikgeschichte 7,
- Original Message -
From: Alain Veylit [EMAIL PROTECTED]
To: Denys Stephens [EMAIL PROTECTED]; lute net
[EMAIL PROTECTED]
Sent: Monday, July 19, 2004 8:52 PM
Subject: Re: Thibault MS
Hector Sequera at the University of North Texas is writing his thesis on
this MS and working on transcriptions
Dear Jon Tim,
I too would be daunted at the prospect of trying to build
a lute back, but I have built the RWC cittern and found
the pre-shaping of parts and general content of the kit
much easier than trying to gather together the necessary
materials myself. I understand that they will build any
,
Stewart McCoy.
- Original Message -
From: Timothy Motz [EMAIL PROTECTED]
To: Denys Stephens [EMAIL PROTECTED]
Cc: lute net [EMAIL PROTECTED]
Sent: Wednesday, July 21, 2004 11:26 PM
Subject: Re: Sorry, help mewhat to buy
Denys,
I would agree that a stage somewhere
Dear Tom,
The thing to do, as you have already noticed,
is to use your ears - in learning a new piece you
need to explore the way the voices work for you
and bring it out in your performance. We don't have
Francesco's works in mensural notation except in modern
editions - which are an editor's
Dear Craig,
In his famous edition of Capirola Otto Gombosi writes:
The writer of a ricercar wants to look up again something he had before.
This something obviously is the beginning of some musical piece played
before.
The recercar is played after a composition - also before a composition, in
Dear All,
Tom's question touches on an issue that I have been wondering about for
some time:
when I play the guitar, one of the great joys is finding fingering to =
fit the piece
I'm studying. That's something I really miss, experimenting around till=20
just the right sound emerges, and a
Dear All,
Alain wrote:
This is the paradox: we love HIP and the lute in part because they are =
new=20
and therefore exciting. The big question is: how will we keep it =
exciting,=20
for ourselves and those who will come after us?
I very much share Alain's interest in this question. It's easy
Dear All,
I think Roman's suggestion does make sense - Stephen Barber, who
has detailed first hand knowledge of the Dias instrument has
shown that its present soundboard dates from the early 18th century
which is unequivocal proof of significant work being carried out to the
instrument long
Dear Arto,
The book is a print entitled Tabulaturen etlicher Lobgesang by Arnolt
Schlick,
published in 1512 and containing German keyboard tablature
and lute songs set in mensural notation with German lute tablature.
(Brown 1512 / 1). There is a nice facsimile published by Tree Edition
which was
Dear Stewart,
Daniel Heart includes a quite lengthy discussion of this piece in his
edition of Attaignant where he compares it with Francesco da Milano's
fantasia on f. 62 of the Casteliono Lute book (Ness 24), not suggesting that
it's
the same composition, but noting similarities and speculating
Dear Chris All,
It's a slightly different use of the computer to Stephen's,
but I often use the midi output from Stringwalker or Fronimo
to play along with to practice duets and song accompaniments.
The sound is of course mechanically precise, much like using
a metronome except with music
Dear All,
For years I have thought of a hinge bar as the use
of the top joint of the index finger (or sometimes
second finger) to stop two or more inner courses (e.g. 2nd 3rd)
whilst leaving the first string open - the finger is bent,
hence the term hinge. Also, sometimes one has occasion
to lift
Dear Ariel,
I am visiting London at the weekend and plan to be at
your recital. I read that you will be playing one
of the new Stephen Barber / Sandi Harris evolution
versions of the Chambure instrument in a' - I saw the first
of these nearing completion back in August and played
one of their
that's how it works! I will go
back and read Ronn's notes again
Thanks best wishes,
Denys
- Original Message -
From: James A Stimson [EMAIL PROTECTED]
To: Denys Stephens [EMAIL PROTECTED]
Sent: Sunday, December 19, 2004 11:04 PM
Subject: Re: Instrument Sounding
Dear Denys
Dear All,
I did some research on this several years ago and
subsequently wrote an article for the Lute Society
which goes into the issue in too much length to reproduce here.
However, the first paragraph might help to support the
view that the left thumb was used to stop basses on
6 course lutes:
Dear Vance,
Forgive me for challenging you on this, but it's my understanding
that the lute typically in use for the greater part of the 16th century
was a 6 course instrument, and that the few surviving original necks
are narrow (e.g. Gerle Magno Dieffopruchar). Using left hand thumb
stopping of
Dear David,
As far as I am aware, the only painting showing fret knots
in the middle of a neck is not of a lute but a mandora - nonetheless
it is an interesting bit of evidence. What seems more significant
to me is that on the famous Holbein Ambassadors lute the
fret knots (in the normal position)
Dear Mathias,
I find the craft of printing fascinating too. I became interested whilst
researching on Petrucci Dalza - the result of that is to be published
by the Lute Society sometime. There is a small but very useful
book published by the British Library called Four Hundred years
of Music
Dear Charles,
Years ago I used to buy music manuscript paper, hand rule an extra line
on each stave and bind the pages into a hard covered manuscript book.
I then copied each piece by hand into it as I learned it - I liked the sense
of connection
it gave me with our historical predecessors. I
their music and uninspiring ones from guitarists playing from memory.
And vice-versa in equal measure!
Best wishes,
Denys
- Original Message -
From: Joseph Mayes [EMAIL PROTECTED]
To: Denys Stephens [EMAIL PROTECTED]; lute net
lute@cs.dartmouth.edu
Sent: Thursday, March 31, 2005
that you are too much of a gentleman to do that :-)
Best wishes,
Denys
- Original Message -
From: Joseph Mayes [EMAIL PROTECTED]
To: Denys Stephens [EMAIL PROTECTED]; lute net
lute@cs.dartmouth.edu
Sent: Thursday, March 31, 2005 10:09 PM
Subject: Re: memorization
Dear Denys
Thank
Dear Michael,
You wrote:
I wonder if lute concerts will ever be on the level of guitar concerts
where lutenist's have the proper professional stage presence to not be
staring at their music all the time. This might give them more appeal to
the general concert going public, and more acceptance
Dear Gary,
I too have heard performances with two verses of this
song but only have the words to one:
Amy, souffres que je vous ayme
Et ne me tenes la rigueur
De me dire que vostre cueur
Porte pour moy douleur extreme.
This is from the Daniel Heartz edition of the Attaignant
Preludes, Chansons
Dear Vance,
I can see that you are looking for what might have been an interesting
analogy
here, but the situation with Greek columns is not quite the same as the
issue
with lutes. As I understand it classical columns do have bilateral symetery
but
their shape from top to bottom is slightly
lute@cs.dartmouth.edu; Denys Stephens
[EMAIL PROTECTED]
Sent: Sunday, May 29, 2005 10:24 PM
Subject: Re: Mudarra's bordon
Dear Michael,
Dalza uses a tuning where both the fifth and sixth
courses are tuned a tone lower than normal - see
folio 27v of his book where the instructions
are included
, Denys Stephens [EMAIL PROTECTED] wrote:
Denys and Michael--
Miles Dempster's complete edition of Capirola successfully notates
the split third course. Interesting effect. It's possible to rewrite the
tablature to play all the necessary notes without splitting, but the
acoustic
wishes,
Denys
- Original Message -
From: Michael Thames [EMAIL PROTECTED]
To: lute net lute@cs.dartmouth.edu; Denys Stephens
[EMAIL PROTECTED]
Sent: Tuesday, May 31, 2005 4:58 AM
Subject: Re: Mudarra's bordon
Dear Michael,
I understand why you are confused now!
You are not looking
Dear All,
I am sure Arthur will remember this, but it may be of interest to
others that that this inaccuracy in the tuning instructions for the
Judentanz
led to one of the great faux pas of lute musicology. Many years ago the
eminent musicologist Willi Apel took the instructions at face value and
it should be perhaps with greater trepidation.
I am delighted to think that at least someone made a fortune from
writing about music!
Best wishes,
Denys
- Original Message -
From: Arthur Ness [EMAIL PROTECTED]
To: Denys Stephens [EMAIL PROTECTED]; lute net
lute@cs.dartmouth.edu
Sent
Dear Michael,
You can find a good summary of the rules for those who can't sing
online at:
http://www.library.appstate.edu/music/lute/spi1507a.html
You will see that this refers to the first of Petrucci's lute books
by Francesco Spinacino, but the content of the rules is the same in Dalza.
In
Dear Herbert,
I think there is a lot more to the set up of the action
on a fine instrument than just the distance between
the frets and the strings - like the angle of the neck,
the height of the nut bridge, string type, string tension
and so on. On a good instrument all you should ever
need to
Dear Wayne,
Stewart is away in Austria at the moment, so
I guess his mailbox must be full.
Best wishes,
Denys
- Original Message -
From: Wayne Cripps [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Friday, July 15, 2005 5:13 PM
Subject: anyone contact Stewart McCoy?
Hi
Dear Wolfgang,
I have been working with John Robinson, and with some
extremely helpful input from Stewart McCoy, on British Library
Additional Manuscript 31389 for several years. We are preparing
a modern edition of the manuscript for publication by the
Lute Society - we have an advanced full
Dear James,
I understand and sympathise with your views on
this, but I agree with Wayne and Alain. The sad thing
about this is that Matanya is a long standing and
intelligent member of the guitar community. In an
ideal world it should be quite possible for people
with diametrically opposed views
the integrity of what is
such a useful resource for all of us.
Best wishes,
Denys
- Original Message -
From: gary digman [EMAIL PROTECTED]
To: Denys Stephens [EMAIL PROTECTED]
Sent: Saturday, August 27, 2005 12:19 PM
Subject: Re: [LUTE] Re: to Matanya Ophee
Dear Denys;
In the US freedom
throughout
the book - a very civilised arrangement. It would have been
a great loss to the English speaking lute fraternity if the
scholarship contained in it had not been readily accessible.
Best wishes,
Denys
- Original Message -
From: Stuart Walsh [EMAIL PROTECTED]
To: Denys Stephens
a major
role in bringing the existence of this lute music to the attention
of the lute world and its availability now is very much due to his efforts.
Best wishes,
Denys
Denys Stephens
General Editor, Music Editions, The Lute Society.
- Original Message -
From: Arto Wikla [EMAIL
Dear Craig,
This sounds like the sort of problem that would
be helped by the Alexander Technique - a method
which you can learn that re-introduces a natural
state of balance into use of the body and so can
eliminate the excess muscle tension that can cause
the kind of pain you describe. Although
Dear Monica All,
I'm not sure if this is really a mailing from the
vihuela list that's escaped the net and thus off
topic here, but for anyone that's interested there
is very compelling evidence that the Dias guitar was not
and is not a 6 course vihuela on Stephen Barber
Sandi Harris' website
Dear Vance,
What you are saying would be good advice for
someone with good kinaesthetic awareness, so
it's not wrong and I'm sure it worked for you.
But one of FM Alexander's discoveries was that the
kinaesthetic sense that tells us what's going on in
our body can be numbed by excess tension.
about
it
in other areas to be critical. I would recomend it to anyone who has the
opportunity to access a good teacher.
Vance Wood.
- Original Message -
From: Denys Stephens [EMAIL PROTECTED]
To: lute net lute@cs.dartmouth.edu
Sent: Saturday, November 05, 2005 11:45 AM
Subject
Dear Eric,
That's in interesting question! I am very interested in the
early 16c repertoire and am also a great fan of Claudin - in
general terms I would second Sean's opinion: you don't
find that kind of music in the very early lute manuscripts - principally
Pesaro, Thibault Capirola. In British
Dear Eric,
There is another factor in this discussion that might
make your hypothesis difficult to explore, and that is
the developing popularity of music making by amateurs
in the early 16c. Castiglione in his Il libro del Cortegiano
makes it clear in the discussion of music it contains that
it
Dear Herbert,
The idea that the lighter you could make a lute, the
better it would be was quite common in the late 1970's.
I remember seeing very fragile lutes that were built with very thin
soundboards - they often had either a slight S bend in the table
around the bridge or had very stiff
Dear Herbert,
That's a good question! I think the key point here is
that we are talking about small thicknesses and a
long period of time. The maximum loss of thickness
we could be thinking of here would perhaps be
around 1mm. Lute bellies are not heavily varnished
and so attract grime. It would
that they mature after that is an added bonus.
It's intriguing to imagine what the best lutes of our time
will sound like in a hundred years or so
Best wishes,
Denys
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: Denys Stephens [EMAIL PROTECTED
Dear Wayne,
I too have been thinking along the same lines
recently - sometimes it's too risky to take a
lute on holiday, but I hate to arrive somewhere
to relax and not have an instrument to play.
In the absence of a cheap commercial travel
lute there seems no alternative to a travel guitar.
I
Dear Arne,
Most of the points you have asked about relate
to the Pesaro Manuscript (Biblioteca Oliveriana, Pesaro, Ms. 1144)
There is a rather fine facsimile with a study by Crawford Young
in Frühe Lautentabulaturen im Faksimile / Early Lute Tablatures in
Facsimile,
published by Amadeus Verlag,
Dear Leonard, Sean all,
Concerning detuning the 5th course on a 5 course lute -
this made me think of Dalza's pieces which require
lowering both the fifth and sixth courses by a tone
(the Pavana alla Ferrarese group starting on f.27v).
It has never occured to me to think of it this way
before,
Dear All,
I think it's necessary to look at the song as a whole -
the conceit is that music is personified here as my lady
and Dowland is exploring the paradox of sadness being
made beautiful in musical art. The song is almost sonnet
like in its structure and negotiates a very difficult about turn
Dear Rob,
If you are new to the list you will have missed an
interesting discussion on soundboard thicknesses
on the list a few months ago - you should be able
to find it in the archives. I feel that heretical thinking
is a good thing! It keeps us thinking and challenging
received opinions, which
,
Denys
- Original Message -
From: Rob Dorsey [EMAIL PROTECTED]
To: 'Denys Stephens' [EMAIL PROTECTED]
Sent: Sunday, March 26, 2006 3:11 PM
Subject: RE: [LUTE] Re: Heretical Thinking vis a vis Lutes
Denys,
Actually some of the rant is moot as I am not performing now and may
Dear All,
I too watched the Helen Mirren / Jeremy Irons rendition of
the latter years of Elizabeth's reign (entitled 'Elizabeth 1' )
when it was screened in the UK last year and found much to
enjoy in it, although it's always a disappointment that in
present day productions it is considered
It looks identical to the instruments offered
by the UK Early Music Shop - available ready
made or as a kit. Particularly the rose design and
the striped back. The current price in the UK is
£ 497.45 - one of the least expensive instruments
currently available. I have never played one, so I
can't
Dear All,
Long term readers of the list will have seen my
past mailings on lute playing and the Alexander Technique
so I will make this one short.
For many of us engaging in physical activities like playing
the lute can inadvertently involve excess muscle tension
and poor posture - both of these
Dear Martin,
Thanks for two very interesting mailings - I very much
agree with what you say in both of them. There is plenty of
evidence from the sixteenth century to lend further support to
your point of view.
Dinko Fabris writes in relation to the rules from the Capirola Lute book:
Another
Dear Sandy,
For the full story on this you need to read
Michael Morrow's article 'Ayre on the F sharp string'
in the Lute Society Journal of 1960. The piece requires
re-tuning the lute (5 courses) to give a tuning suitable
for a drone accompaniment of a melody. Newsidler
gives precise instructions
? Or music generally?
It's rather sad that such a small error in the original might have
led to quite another interpretation in the 20th century.
Best wishes,
Denys
- Original Message -
From: Arthur Ness [EMAIL PROTECTED]
To: Denys Stephens [EMAIL PROTECTED]; lute net
lute
Dear Bruno,
I think what's being described in that passage is no more than the
natural movement of closing the hand. If you close your
hand to make a fist, the tip joints start to bend inwards
towards the end of the movement, but they stay relaxed
within the earlier stages of the closing movement
Dear Arthur,
Many thanks for this posting - it's really useful information
that I will keep and refer to in future.
Concerning the pieces you think are by Giovan Maria, is that
an intuitive guess, or is there evidence that suggests his
authorship? I would be most interested to know.
Best wishes,
Dear David,
I have read everything I could find over the years on
Renaissance lute music, and I don't recollect having seen
a study of the sort you describe, although I imagine there
is much that I have missed. I think it would be a very
interesting area to investigate, regardless of what's been
Dear All,
Concerning the famous passage from The Book of the Courtier :-
I have pasted a copy of the English translation by Sir Thomas Hoby
of 1561 below. Hoby spent a number of years living in Italy, and
presumably brought some understanding of contemporary Italian
to his translation of
Dear Roman,
Three that immediately spring to mind:
Giorgione was a fine lute player according to Vasari,
and Vasari also writes about Leonardo playing the lyre.
In the 20th century the painter Robert Bouchet both
played and built guitars.
Best wishes,
Denys
- Original Message -
From:
Dear All,
I have on my desk at the moment the final draft
of a forthcoming Lute Society edition of
19 English Folk Songs, arranged for voice and
renaissance lute by Chris Goodwin, which contains
a nice setting of 'Scarborough Fair.' It will be available
from the Lute Society very soon.
Best
Dear Mark,
Re your comment:
2. Sorry but how ever quaint, Dowlands songs were not designed for singers
sitting around a table. This was a way to publish Dowlands songs, as we
now have
songbooks for Metallica. But it does not mean that metallica sit playing
their songs from music stands on
Dear Kay,
If you are looking for beautiful lutes try
Stephen Barber and Sandi Harris at
www.lutesandguitars.co.uk .
Best wishes,
Denys
- Original Message -
From: Kay [EMAIL PROTECTED]
To: lute@cs.dartmouth.edu
Sent: Friday, October 20, 2006 3:09 PM
Subject: [LUTE] Re: [LUTE]
I don't
Dear Peter All,
Questions like this send me off to my shelf in
search of my copy of Dowland's translation of the
'Micrologus' of Andreas Ornithoparchus, a compendium
of music theory originally published in Leipzig in 1517
which Dowland translated and published in 1609.
In chapter 5, under the
in
facsimile since 1980, and Dalza being perhaps the most popular lute
composer of his era, the book is still full of unsolved mysteries.
Best wishes,
Denys
- Original Message -
From: Bernd Haegemann [EMAIL PROTECTED]
To: lute net lute@cs.dartmouth.edu; Denys Stephens
[EMAIL PROTECTED
Barcelona,
Manolo Laguillo
Denys Stephens wrote:
Dear Bernd,
Thanks! I think your explanation is very probably
the correct one. As you say, much depends on which
interpretation of the rules one chooses. Your version,
I think, corresponds to what Ornithoparchus / Dowland
would have thought
Dear Herbert,
There is a bit more to be said about Capirola's 'Balleto.'
The entry in the index to the manuscript actually reads
'Ti (erased letters) baleto da balar bello.' On folio 19v above
the piece itself is the heading 'Ti' also followed by partially erased
letters. The reason for the
Dear Jim,
The incontestable reason for the survival of lute tablature
is that it was the medium used by historical lutenists to
preserve their music. Even today, despite the efforts of
editors of lute music throughout the last century, the
greater part of the lute repertoire has not been
Dear All,
Judging from the talks given by Michael Lowe, Stephen Gottlieb
and David Munro given at the Lute Society meeting in November
about the restoration of Jacob Linberg's Sixtus Rauwolf lute, the
restoration costs alone must have been quite high. There was no mention
of cost, but there was
- Original Message -
From: Anthony Hind [EMAIL PROTECTED]
To: Craig Robert Pierpont [EMAIL PROTECTED]; Denys Stephens
[EMAIL PROTECTED]; Sean Smith [EMAIL PROTECTED];
Arthur Ness [EMAIL PROTECTED]
Cc: Jean-Marie Poirier [EMAIL PROTECTED]; Lute Net
lute@cs.dartmouth.edu
Sent: Saturday
Dear Andrew,
Take a look at Ed Durbrow's interview with Paul O'Dette
in the September 2004 LSA Quarterly where he confirms
he uses Nylgut for performing.
I use Nylgut too, and love the sound it makes on my
lutes, but I would hate to be taken too seriously.
Best wishes,
Denys
- Original
1 - 100 of 171 matches
Mail list logo
