Does anybody have an email contact to Janice Parkinson-Tucker? She was
advertising her lute straps in the Lute Society of America magazine some
time ago. Personally I don't like leather guitar straps for lutes and would
be grateful if somebody gives me some details on where to get a nice lute
Yes, very nice indeed. This is what I was looking for.
Thank you Anthony!
Jaroslaw
-Original Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED]
Sent: Sunday, June 10, 2007 1:20 PM
To: Lute Net
Subject: [LUTE] lute-straps
Dear All
In a previous message I mentioned that here in
Hi Anton,
Yes, I've tried them but they are not much different from wound nylon.
Your question however gave me an impulse to write couple of thoughts about
stringing.
In general when choosing strings for any lute I consider three things:
1/ do I want to be historically correct? ( and then the
Yeah, it loads quite a long time, but is worth of it. Very nice recording. I
wander what was the mics configuration and spacing? Actually it's very
difficult not to record all of these reflexes from the walls especially when
you seat so close to them in a room not suited especially for recording.
Anthony,
When we think about authenticity we have to ask ourselves what is the reason
we want to be authentic. I can not say for anybody else, but for me the
reason is quite simple. If one day I decide to study piano after hearing
fantastic performance on this instrument I will probably trust
Anthony,
No, no, obviously this is not a disagreement. I never said I like
plastic or that it doesn't matter what strings we use. It's just that I have
a little bit an adventurous spirit and I take nothing for granted. I have to
be convinced by experience. So in this case the only thing I
Charles,
Yes, I play while standing very often. The size of a lute doesn't matter
(maybe except a big theorbo). This is quite a comfortable position except
you tend to move much more which is not often seen as appropriate by the
audience. Besides I am not sure what is the influence of this
Actually Bream is not old fashioned. This is rather modern attitude - a
need for steady rhythm and sharp accents. In baroque period breaking chords
was absolutely common practice and thought of as embellishment.
G.Frescobaldi, Toccate 1615 :
The openings of the toccatas are to be taken adagio and
On Frescobaldi's advice, are we sure it is to be applied broadly and not
just to the openings of his toccatas?
Breaking, or spreading chords was developed on instruments which don't have
enough sustain by nature like harpsichord, lute etc for the sake of
enriching the texture and
should suggest a dance rhythm,
however slow that may be. To quote Donington (p. 383):
A slow movement may gain more poignancy from being kept well in motion than
from being dragged under the illusion of making the most of it.
Best wishes,
Stewart McCoy.
- Original Message -
From: Jarosław
Dear Steward,
Thank you for your comments. Yes, I love Mace's way of saying things, his
great imaginative spirit and type of humor. In spite of what some people may
say about his oddity, he remains one of the best sources of information on
music making and lute playing in XVIIc (particularly his
Peter
Obviously I meant tempo - four time-units in one bar of the Pavan is
similar to the three time-units in one bar of the Galliard. This gives an
impression that the pulse keeps almost unchanged in triple time. However the
steps of the Galliard are much more vigorous. It depends on the
Jurek,
It got complicated a little bit, but in fact is very simple. If you start
taping your foot (I don't advice taping foot at all, but one can do it
virtually) when playing Pavan, don't stop it when the Galliard comes, and
everything will be fine :)
I played with the dancers several times and
-02-05, at 20:33, Jarosław Lipski wrote:
Jurek,
It got complicated a little bit, but in fact is very simple. If you
start
taping your foot (I don't advice taping foot at all, but one can do it
virtually) when playing Pavan, don't stop it when the Galliard
comes, and
everything will be fine
Peter,
I am afraid this is not correct. I've just took the first manuscript from my
shelf with Italian renaissance music without any particular digging for
something special and what I can see? This is a facsimile edition of
Intabolatura de lauto by Antonio Rotta edited in Venetia 1546. If we turn
1/It depends what you mean by pulse, but in this case I count one in a
measure for practical reasons (not theoretical).
2/No, I am afraid there is no proportio sign at the beginning of the
galliarda.
3/Word modus was also used for the time-signature
4/If you think that suddenly in 1550 al
Jean-Marie,
Actually I haven't said I don't agree with what you wrote. I just reacted to
Peter's email in which he said:
we seem to have arrived at one bar of galliard = half a bar of pavan
Which in my opinion is not correct because it depends what you mean by bar.
If you use modern notation and
Thank you Mathias - this is the word I was looking for :-)
All the best
Jaroslaw
-Original Message-
From: Mathias Rösel [mailto:[EMAIL PROTECTED]
Sent: Wednesday, February 06, 2008 10:10 PM
To: David Rastall
Cc: lute
Subject: [LUTE] Re: Playing in time
Was Proportio sesquialtera
and expensive.
Jaroslaw
-Original Message-
From: Anthony Hind [mailto:[EMAIL PROTECTED]
Sent: Friday, February 08, 2008 6:21 PM
To: David Van Edwards; David Tayler; LGS-Europe; Edward Martin; Jarosław
Lipski
Cc: lute@cs.dartmouth.edu Net
Subject: [LUTE] Re: Edlinger Lutes in South Dakota
Anthony,
Many years ago when I was at the stage of transformation from guitar to lute
playing I tried playing my lute with normal (medium length) finger nails
(influenced by Picinnini's remarks). The result showed up very quickly - the
fingerboard was covered with small marks in the place where
Well, I use firefox too, but can't read this book either. Are you sure it's
free?
JL
-Original Message-
From: David Tayler [mailto:[EMAIL PROTECTED]
Sent: Sunday, February 10, 2008 6:08 AM
To: lute-cs.dartmouth.edu
Subject: [LUTE] Re: Signor Tiorba
Hmmm
I just use firefox to read
Mozilla on board, no blocking content scripts, Java working perfectly and
still not being able to see or download anything from that address (google
error - not found):-((.
JL
-Original Message-
From: Ray Brohinsky [mailto:[EMAIL PROTECTED]
Sent: Tuesday, February 12, 2008 3:42 PM
To:
]
Sent: Tuesday, February 12, 2008 3:24 PM
To: Jarosław Lipski
Cc: baroque lute mailing list
Subject: [BAROQUE-LUTE] Re: Tombeau de du But
Hi Jaroslaw,
I have a cheap microphone, a stereo condenser by Sony, the *Sony ECM-MS907*.
You can get them for around 50 UKpounds. It's the same as Martin
Hi David,
I thought that one benefits in high resolution recording because there is
some room left for mastering like reverb etc...so that we don't loose
quality in the end. Obviously this is more important when we deal with rock
or pop music where we have lots of effects involved, but still
Thanks a lot! That's really helpful. This obviously means one has to have
top quality gear and a big experience in positioning mics and setting all
the thing in order to sound just natural, which explains quite a lot why
it's so expensive to record in a professional studio. However thinking in a
Very nice technique providing that one changes chords from time to time.
Anyway the life of the lute player was even more difficult that time than it
is nowadays.
jl
-Original Message-
From: Bernd Haegemann [mailto:[EMAIL PROTECTED]
Sent: Monday, April 21, 2008 10:14 PM
To: Lute Net
Dear Chris, Damian, Martin and Anthony,
Unfortunately we are still missing some very important information. Finding
the truth about 16/17 c. strings can be a very difficult matter because we
lack proof due to its character. In terms of archeology we have only one
excavation till now - the Mest
the other possibility is that the guts produced than were of
different quality - much more flexible.
Best
Jaroslaw
-Original Message-
From: Martyn Hodgson [mailto:[EMAIL PROTECTED]
Sent: Friday, June 06, 2008 10:13 AM
To: Jarosław Lipski
Subject: Re: [LUTE] Re: [LUTE] Re: Double headed 12c
: Friday, June 06, 2008 12:45 PM
To: 'Lute'; Jarosław Lipski
Subject: [LUTE] Re: [LUTE] Re: [LUTE] Re: [LUTE] Re: Double headed
12c/loaded/Demi-filé
I don't know where Mimmo gets the tension of 0.9 - 1.0Kg from, but as an
example: take a Dm tuned lute at 68cm (with top course f' tuned as
reasonably
Anthony,
I am afraid you over interpreted my statement. Actually I wasn't really 100%
serious writing it - maybe half serious.or so. But obviously there is
some truth in every joke. How can we say things for 100% if we lack
convincing evidence? As I said we have variety of strings at our
PROTECTED]
Sent: Saturday, June 07, 2008 9:02 PM
To: Jarosław Lipski
Cc: 'Lute'
Subject: Re: [LUTE] Re: dyeing/loading
Dear Jaroslaw,
I agree with everything you say - but my problem has always been that
(a) I wanted to know how the old guys really did it and (b) I didn't
like any of the options
Hodgson [mailto:[EMAIL PROTECTED]
Sent: Friday, June 06, 2008 12:45 PM
To: 'Lute'; Jarosław Lipski
Subject: Re: [LUTE] Re: [LUTE] Re: [LUTE] Re: Double headed
12c/loaded/Demi-filé
I don't know where Mimmo gets the tension of 0.9 - 1.0Kg from, but as an
example: take a Dm tuned lute at 68cm (with top
Bravo, at last someone said it. Absolutely agree! The problem is that so
many people want to play like a metronome
JL
-Original Message-
From: Nck Gravestock [mailto:[EMAIL PROTECTED]
Sent: Wednesday, June 18, 2008 12:12 AM
To: Andrew Gibbs; Narada
Cc: Lute Mailing list
Subject: [LUTE]
Anthony,
My congratulations! Very beautiful instrument. I understand that your first
string is a gut too, so if the lute is 70cm you probably keep it pretty low,
don't you? Anyway it will mature in time.
I wish you experience wonderful moments playing her!
Best wishes
Jaroslaw
-Original
It looks like the painter didn't care to show double strings, or the player
used single strings omitting every second peg.
Best
JL
-Original Message-
From: David Tayler [mailto:[EMAIL PROTECTED]
Sent: Monday, July 07, 2008 11:05 AM
To: lute-cs.dartmouth.edu
Subject: [LUTE] El Gordo
This
Gordo
There was more detail if you look at the left hand.
G.
- Original Message -
From: Jarosław Lipski [EMAIL PROTECTED]
To: 'Lute' lute@cs.dartmouth.edu
Sent: Wednesday, July 09, 2008 8:35 PM
Subject: [LUTE] Re: El Gordo
It looks like the painter didn't care to show double strings
The toy theorbo discussion reminded me the painting by Laurent de La
Hyre I saw in Metropolitan museum (last month after my NY concert).
It's called Allegory of music (1649) and shows the lady tuning rather
not so big (at least in proportion to her body), single strung theorbo
Oh, I've forgot 2 other interesting details.
The frets are double (except last 2), made of a thin gut with knots on
the treble side.
Both theorbo and the lute on the table has a folded double piece of gut
going in the middle of the back (longside). It starts from the end pin
-painting so it would be
rather strange if he made an exception and didn't pay any attention to the
details this time.
So my guess is, it could be some kind of a temporary substitute.
Regards
Jaroslaw
- Original Message -
From: Anthony Hind anthony.h...@noos.fr
To: Jarosław Lipski
Dear Alexander,
In general it is possible, however as a musician I have to say I wouldn't
use a plain gut in between two strings of a different type. As I explained
Anthony, this is not a smooth transition like in the case of Venice string.
We are talking about a bass register, not a
Dear Stewart,
I hope they had better clothes than us and well stiched buttons to withstand
the theorbo weight.
No, but seriously.Thanks a lot for a good tip! Now I remember reading it
some time ago, however the loop seems to be too big for just one button.
Best wishes
Jaroslaw
-
BTW, am I right that the gut is fixed with some glue near the neck (white
spot)?
JL
- Original Message -
From: Stewart McCoy lu...@tiscali.co.uk
To: Lute Net lute@cs.dartmouth.edu
Sent: Saturday, February 21, 2009 10:14 PM
Subject: [LUTE] Laurent de La Hyre
Dear Jaroslav,
You
Dear Dana,
The reproduction doesn't show that detail particularly well because that
area is very dark, but as far as I can remember it from the museum, the book
stands on the table covered with some black fabric, and leaning against the
basoon with the top end.
Best wishes
Jaroslaw
-
@cs.dartmouth.edu; Jarosław Lipski jaroslawlip...@wp.pl
Sent: Sunday, February 22, 2009 9:21 AM
Subject: [LUTE] Re: Laurent de La Hyre
The 'white spot' will be a small ivory button round which the holding
gut or tape is looped. Incidentally, there's some doubt that the gut
(or tape) fastened round
this color?
Regards
Jaroslaw
- Original Message -
From: Anthony Hind anthony.h...@noos.fr
To: Jarosław Lipski jaroslawlip...@wp.pl; lute List
lute@cs.dartmouth.edu; alexander voka...@verizon.net
Sent: Saturday, February 21, 2009 10:06 PM
Subject: [LUTE] Re: Laurent de La Hyre
Dear
+
dem...@suffolk.lib.ny.us wrote:
On Sun, Feb 22, 2009, Jarosław Lipski jaroslawlip...@wp.pl said:
Dear Anthony,
I thought that lead is poisness, isn't it? Didn't they know about it?
No, well, some had clues, but noone knew as we do today.
This is an era when mercury amalgams were used
, Jarosław Lipski jaroslawlip...@wp.pl said:
Dear Dana,
The reproduction doesn't show that detail particularly well because that
area is very dark, but as far as I can remember it from the museum, the
book
stands on the table covered with some black fabric, and leaning against
the
basoon
Perhaps
because as Mimmo seems to think,
plain gut would possibly not have been white.
Thank you, Jaroslaw, for this very interesting example.
Regards
Anthony
Regards
Jaroslaw
- Original Message - From: Anthony Hind
anthony.h...@noos.fr
To: Jarosław Lipski jaroslawlip...@wp.pl; lute List
lute
Dear David,
Sorry for writing without giving any numbers, but I thought all this toy
theorbo discussion is pointless. There are just instruments of different
sizes. Comparing to the flute familly, I wouldn't call piccolo flute a toy
flute. Even the smallest instrument can be a concert
It really seems that the crook ends with the reed. I know that you exclued
the basoon, but can we be sure if the rest of the instrument is not visible?
Please have a look at Andrew Watts's early basoon:
http://www.earlymusica.permutation.com/about_Andrew_Watts.htm .Here the
crook looks
Dear Anthony,
I think we had this conversation some time ago, but nothing can be said with
certainty in the face of deficient evidence.
However, I wonder whether mild loading could not also have been used
on other strings than basses, just to help conservation.
Mace tells us about rotten
What do you base your assumption on?
JL
- Original Message -
From: David Tayler vidan...@sbcglobal.net
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Friday, February 27, 2009 6:01 AM
Subject: [LUTE] Re: Laurent de La Hyre [loaded?]
Mace is not a reliable source, sadly.
dt
Do you suggest he was so potty that he wasn't able to discern red from
yellow, blue or green color of the strings he used to buy (because this is
what we are talking about, not the whole book as such)? Besides we are not
discussing the scientific matters, but rather looking for some evidence
Dear Anthony,
I really didn't want to rehash the old discussion (just wanted to share an
interesting picture), but in a way I am beeing forced to reply, by your
claims that finaly we found the satisfactory and historicaly correct answer
for lute stringing. Not that I am doing it reluctantly -
Mimmo told me that he actually checked 70 lutes from which only 50% had
original bridges. On the total, 13 were 13 course -lutes (not important
here); 13 were 11 course lutes (d minor, of course) ; 3 with 10 course, 1
with 12 courses and short extended neck (like the Gaultier English engraving
Dear Edward,
The answer is that we are really not certain if strings were loaded, and
there is evidence showing they were, as well as evidence to the contrary.
Until we have definitive answers, we do not know what was used.
I agree with you absolutely. As the lute players we choose the type
Anthony,
I know these articles very well, but they don't answer some very difficult
questions. As I repeatedly say, I am not against this theory. What I am only
asking for is to call this hypothesis a hypothesis, taking into account the
present state of research. That's all! I don't think it's
13c. angelique? The most popular were 15-17 c.
JL
- Original Message -
From: Anthony Hind anthony.h...@noos.fr
To: lute List lute@cs.dartmouth.edu
Sent: Thursday, March 05, 2009 10:11 AM
Subject: [LUTE] Re: Laurent de La Hyre painting an angelique?
Ed
I forgot to send this to the
Well, it may be possible that some people will buy such a lute, but we have
to ask what is the reason for doing so. The lute is not only a device. I can
only quote Ernst Gottlieb Baron (1727) who says in his Study of the lute:
I once saw at Herr Hoffman's in Leipzig an old lute of solid copper,
Hello everybody,
I've just checked the programm of Greenwich early music festival. It
seems to be packed with lots of events - concerts, masterclasses,
makers demonstration recitals, etc ( [1]http://tinyurl.com/ya5p4mh ).
All early instruments are represented, however during the
Dear Andrew,
Yes, I know about it, but I am talking about the scheduled concerts and
demonstrations. It shows something (at least for me).
Anyway, thanks for replying
Best
Jaroslaw
- Original Message -
From: Andrew Gibbs and...@publicworksoffice.co.uk
To: Lute list
David,
Speaking from the point of view of someone who has on occasion
organized one of these things, noise is a big problem that the
presenters choose to ignore.
The softies have to form a group, ask for a separate room, and have
breakout rooms.
This is true , however on this occasion it
Dear Dana and Peter,
1/ Not all performers were from TCM. Most of them probably was paid (maybe
apart from the students).
2/ There are some players around who I am sure would be very keen on
playing. It could be just an instrument presentation.
3/ I am not criticizing organizers (no matter how
Probably it's similar to the lute seen on Hendrik Martensz Sorgh
(1611 -1670) The lute player in Rijksmuseum, Amsterdam. You can see it on
David van Edwards site too http://www.vanedwards.co.uk/history3.htm fig.10.
Best
Jaroslaw
- Original Message -
From: Mathias Rösel
is similar except the double pegboxes because the player
on the painting by Vermeer is shown from the behind. As for lutes with
double pegboxes, quite a few contemporary paintings have survived.
Mathias
Jarosław Lipski jaroslawlip...@wp.pl schrieb:
Probably it's similar to the lute seen on Hendrik
I am not talking about the technique itself, but the name asociated with
technique. i.e. Perrine described how to brake chords, but never used the
term style brise. And in general we were discussing wheteher one can call
the term style brise modern or not. I am not saying we can't use the name,
but you are right, this brushing connotation can be very misleading :)
JL
- Original Message -
From: Mathias Rösel mathias.roe...@t-online.de
To: lute@cs.dartmouth.edu
Sent: Monday, November 30, 2009 2:02 PM
Subject: [LUTE] Re: Terminology: brise
Jaroslaw Lipski
Whether your string is made of gut or syntetic it has nothing to do with
tempo one can play. Each material demands different attitude when playing
(and our contemporary big stars of the lute world are the real proof of
this). Bach won't sound better or be played faster on gut because Bach
I'll second that!
JL
- Original Message -
From: chriswi...@yahoo.com
To: Lute@cs.dartmouth.edu; Daniel Winheld dwinh...@comcast.net
Sent: Friday, January 29, 2010 6:21 PM
Subject: [LUTE] Re: Objet : Re: Switching between gut strings and
synthetics?
Dan,
--- On Fri, 1/29/10,
Hello Anthony,
It's so nice to hear you again! Unfortunately I have computer related
problems as well. Instead of certain fonts the small box with letters inside
appears on some sites. Do I lack some fonts in my laptop?
Anyway, back to Oud players. I think their world is in close relation to
on beeing 100% HIP I prefer
to concentrate on music. I use gut but for different reasons.
Anyway,thank you for interesting thoughts. It was nice to talk to you again
Anthony.
Best wishes
Jaroslaw
- Original Message -
From: Anthony Hind agno3ph...@yahoo.com
To: Jarosław Lipski jaroslawlip
Yes, absolutely, the only difference being that they didn't care so much for
being HIP. Chitarrone is the best example. It was to resemble ancient
Chitarra but it was so far from the originalProbably old Chitarra
didn't suit the new music, however they liked the idea of playing an ancient
have our own ears
to asses if the string is good or not.
Best
Jaroslaw
- Original Message -
From: alexander voka...@verizon.net
To: Jarosław Lipski jaroslawlip...@wp.pl; lute-cs.dartmouth.edu
lute@cs.dartmouth.edu
Sent: Thursday, February 04, 2010 3:24 AM
Subject: [LUTE] Re: Switching
Anthony,
How strange...it looks like we were both the same place and the same
time not knowing about each other. It's a pity I didn't know you would
be there too.
Anyway, I have a strong impression from what you are writing, that
during our string talk you were very much relating to the
Anthony,
As far as sustain is concerned I was rather talking about the bass
strings. Obviously sustain is related to the instrument construction,
but this is another topic.
PARA
I would not argue against that, but I would suggest that it was not
always bass sustain they were
Anthony,
Jaroslaw
Just one question, first, did you receive my message from the lute
list, or was it quite empty.
I have been told that some people received a blank message (probably
with some relief).
Yes, I received your message. Sorry for not replying straight
So do I. Generally there are 2 schools of recording: 1/with lots of mics
to catch various plans of the room acoustics which gives later bigger
choices in mixing 2/purist - just pair of stereo mics to sound as
natural as possible. I prefer the latter. Please have a look at the
spacing of mics
Arto,
No problems with nylgut at all. Recently I was playing in Caccini's
opera. No time to tune - playing all the time. At least not for the
theorbist, only strings tuning their guts frequently, harpsichord during
the interval (I had 2 minutes when he finished), but everything in tune.
You
about the overtones behaving
stranglely in nylgut. Any other player found anything like that? Any
laboratory measurements?
Just interesting, not important... Nylgut sounds nice to me - as any
synthetics - actually feel better to the fingers... ;)
Arto
On Mon, 07 Jun 2010 22:14:22 +0100, Jarosław
It doesn't rule out a possibility, that this term could be borrowed
from fiddlers world thou.
As I said there is no bibliography given, so it's difficult to check
that data out, but I cited it as one of possible hypothesis.
JL
W dniu 2010-12-27 17:29, howard posner pisze:
On Dec 27, 2010,
Martin,
Thank you for this correction. I was influenced by Alexander, but you
are right that citation is from Mary Burwell - chapter IV (Of the
strings of the lute, and stringing thereof;and of the frets and tuning
of the lute). She writes: The strings are made of sheep's and cat's
guts, and
It must be NNG. Besides, the thin octave on F makes me think about his
HIPness :)
all best
JL
W dniu 2011-02-05 03:32, Ed Durbrow pisze:
I missed the beginning of this thread. Luckily I checked the link. Wow!
I'm so happy to have this link. What detail! I use this picture in my
I wonder to what extent we can rely on painter's accuracy...e.g.. big
bridge holes. As far as I can remember it was said that the evidence
suggests narrow BH which was to support the loaded strings theory. On
Holbein's painting we have enormous holes in comparison to the string
gauges on the
Here you are:
[1]http://www.googleartproject.com/museums/nationalgallery/the-ambasado
rs
All the best
JL
W dniu 2011-02-09 13:51, Karen Hore pisze:
Can anyone tell me which gallery the Holbein is in? I've been
looking on GoogleArt but haven't seen it yet?
Is was
Anthony,
I agree, it is possible that Holbein painted the ambassador's lute.
However, there is some inconsistency in the way he treated details. Some
of them are very accurate (like the music), some are not (the globe). On
the other hand we don't know who was wrong Holbein or the drawing on
lute makers probably should check a palm size before deciding on fingerboard
and other things, like on this movie (have a look at around 12,20 min)
http://www.youtube.com/watch?v=EHV3ODfFcgE
Obviously not very often we live close to our lute maker. Pitty
JL
To get on or off this list see
Hear, hear! Absolutely, manuscripts should be in the public domain and easily
available (at least in future).
jl
Wiadomość napisana przez David Tayler w dniu 26 kwi 2012, o godz. 02:38:
Since I'm a hippie and believe all music should be free, some good must
come from this.
However,
Discussion is always a good thing, the problem begins when someone makes very
definite statements like- the evidence would be that Bach did not write any
music specifically intended for solo lute
- or -You know what I am going to say nextperhaps you should sit down
I understand that it was
It was a reply to David's post (below). Notice that he mentions sharing costs
which is definately reasonable. Photocopying is a work which has to be paid,
however I have a feeling that sooner or later probably most of interesting
manuscripts will be digitalised. We only discuss how it could be
of presenting evidence with relative objectivity.
Eugene
From: lute-...@cs.dartmouth.edu [lute-...@cs.dartmouth.edu] on behalf of
Jarosław Lipski [jaroslawlip...@wp.pl]
Sent: Thursday, April 26, 2012 3:06 PM
To: lute@cs.dartmouth.edu
Subject: [LUTE
but in this case a spade is not a spade :)
JL
Wiadomość napisana przez Roman Turovsky w dniu 29 kwi 2012, o godz. 22:32:
Yes,
but -
sometimes we have to give up the musicological mumbo-jumbo,
and just call a spade a spade.
RT
- Original Message - From: Jarosław Lipski
kwi 2012, o godz. 23:01:
a geetar then.
Phrases like there is some likelihood that item X might very well could have
been item Y
may work in some musicological situations, but not in the case of our Lute
Suites.
RT
- Original Message - From: Jarosław Lipski jaroslawlip...@wp.pl
no technical difficulties).
The Lute Suites are simply not performable by an average professional
player (unlike the rest of JSB's works), and that is the ultimate giveaway
(besides being out of lutenistic character).
RT
From: Jarosław Lipski jaroslawlip...@wp.pl
Roman,
I do not share your
Exactly!
Wiadomość napisana przez David Tayler w dniu 1 maj 2012, o godz. 18:02:
I have to say for me I think the available evidence points nowhere.
People can't even agree on whether the pieces are playable on the lute,
and not only that, playability is not an indicator of authorship
So do I. In most music written between 16-18 century one can find some kind of
schemata that was popularly used, but Bach was incredibly creative in using it.
Besides, as someone told me long time ago: there are no bad compositions,
there are only poor performances :)
As for BWV 997 and 998 you
There are some alternatives though. Has anyone encountered similar problems
with Vimeo?
Regards
Jaroslaw
Wiadomość napisana przez David Smith w dniu 7 lip 2012, o godz. 10:19:
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The quotation doesn't seem to be very precise on the way a wire was used. It
could be a plain wire (rather unlikely), gimped gut (more likely), or gut on a
plain wire (quite possible). The last option could make the most satisfactory
solution to bass strings problem. On the other hand gimped
A contemporary metallurgist probably knows mainly modern techniques.
This is the quotation from The Early English Copper and Brass Industries to
1800 by H. Hamilton:
Up to the Elizabethan period, copper or brass wire was drawn by hand in Britain
by a very primitive process. One method
correctly the musical wire has to be brass, bronze is too
soft and doesn't work.
RT
On 7/10/2012 5:25 PM, Jarosław Lipski wrote:
A contemporary metallurgist probably knows mainly modern techniques.
This is the quotation from The Early English Copper and Brass Industries to
1800 by H
I am afraid I agree with Ron. Tinctoris tells us about the German invention of
brass strings which were added to enhance the sonority. He doesn't give precise
instructions on how it was done, so it can be interpreted in 3 ways (as I wrote
before). BTW, Ore is not equal to brass. Ore means
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