By the way, does anyone know why some baroque lute
pieces/sonatas are marked as being in Dis-Dur (D
sharp major, 9 (!) sharps) rather than Es-Dur (E flat
major, 3 flats)? I remember to have seen this in the
works of J.B. Hagen and elsewhere (Breitkopf-Incipt?).
Regards,
Stephan
Am 25 Sep
2003 um 14:46 hat Arthur Ness (boston) geschrieben:
I am a bit busy this morning, so I'll have to confine my remakrs to
Dis Dur.
FROM: Stephan Olbertz, INTERNET:[EMAIL PROTECTED]
By the way, does anyone know why some baroque lute
pieces/sonatas are marked as being in Dis-Dur (D sharp
Dear list,
yesterday I came across a page advertising a book called All
the words on stage, which deals with the pronunciation of
Shakespeare's English:
http://makeashorterlink.com/?X23912A06
It would be nice to hear if anyone knows the book and could
comment on its usefulness for our lute
And which one do you recommend?
Stephan
Am 29 Sep 2003 um 17:22 hat Mathias Rösel geschrieben:
Stephan Olbertz [EMAIL PROTECTED] schrieb:
Dear list,
yesterday I came across a page advertising a book called All
the words on stage, which deals with the pronunciation of
Shakespeare's
which books on the topic you prefer and why.
Regards,
Stephan
Am 29 Sep 2003 um 13:52 hat Stephan Olbertz
geschrieben:
Dear list,
yesterday I came across a page advertising a book called All
the words on stage, which deals with the pronunciation of
Shakespeare's English:
http
Dear John,
thank you for your kind advice. What I learned about English
is that its written form didn't follow the changing
pronunciation over the centuries, and that around 1500 the
sound of the vowels for example was quite the same as they
were written. I understand that spelling in German
Am 30 Sep 2003 um 14:08 hat David Rastall geschrieben:
On Monday, September 29, 2003, at 09:54 PM, Jon Murphy wrote:
Forget pronounciation...
I agree. Putting on an accent is one thing, but reproducing someone
else's speech perfectly is very difficult.
Maybe as difficult as playing
Hi,
some lessons with a knowledgable physiotherapist,
alexandertechnique practitioners or the likes (and your
lute!) will probably solve the problem.
Regards,
Stephan
Am 2 Oct 2003 um 19:47 hat [EMAIL PROTECTED]
geschrieben:
Tim wrote:
I spend on average a couple hours a day practicing
Am 28 Oct 2003 um 9:28 hat Manolo Laguillo geschrieben:
snip
In regard to the right hand, I do not care too much if my thumb is in
or out. If asked, I must say it is most of the time mostly in. This is
a question that burdens the approach to the lute when the player comes
from the classical
Has anyone mentioned Pascal Montheilhet so far? His
Dufaut and Gallot recording on Virgin is really good.
It should still be available through amazon.fr, but I
think I got my copy through ebay. It's a shame that
wonderful recordings disappear today after just some
years. You should however
-Original Message-
From: Stephan Olbertz [SMTP:[EMAIL PROTECTED]
Sent: 18 November 2003 22:33
To: [EMAIL PROTECTED]
Subject: Unquiet thoughts, was Re: Fine Nacks for Ladies
Dear Stewart and all,
the last bars of Unquiet thoughts clearly cite the last bars
of Orlando's famous chanson
Dear all,
I would like to know if there is a reliable edition or
facsimile of the 1620's (?) version of Monteverdi's sixth book
of madrigals. This should (according to the liner notes of a
CD by the Concerto Italiano) include a figured bass line,
which is not included in the earlier edition.
Am 4 Dec 2003 um 0:55 hat Michael Thames geschrieben:
As far as name calling goes, As soon as MO rises into the upper =
realm of human beings, and starts showing respect for others, and some
= civility, I will confer on him the title of Human. Michael Thames
Dear Michael,
it should
Dear Timothy,
now that I come to think of it, I had quite a difficult
week... But usually I don't bother too much about those
things, makes life more complicated than it is :-)
Stephan
Am 7 Dec 2003 um 12:27 hat Timothy Motz geschrieben:
Vance,
I've been on the lute list serve for only a
Am 8 Dec 2003 um 16:15 hat Bernd Haegemann geschrieben:
A visitor from Karkow told me that Mr Gasienica doesn't build lutes
any more : no customers on the horizon.
Really? I seem to remember that last time I asked him
about his instruments he had a waiting list of some
length. But I may be
Dear Stewart,
thanks for your detailed posting. However I'd like to add that
playing fast single line divisions by for example John Johnson
bears (at least for me) a specific kind of difficulty: beyond
a certain speed it is quite hard to get an impression of the
melody movement in the
Me again, this makes more sense:
(snip) So I think this rhythmically quite simple single line music is not necessarily
written best in tab, just like your example of 15th century music with
complex rhythm. But then - the time needed to rewrite it in
staff notation is better spent on
movement is (at least for me)
rather good supported by the tabulature ...
Thomas
Am Die, 2003-12-09 um 22.38 schrieb Stephan Olbertz:
Dear Stewart,
thanks for your detailed posting. However I'd like to add that
playing fast single line divisions by for example John Johnson bears
Hello Antonio, Stewart and all,
personally I don't like the term Spanish tablature we use out
of convenience too much, but I think the problem is hard to
solve.
In the sixteenth century the French used mainly what we today
call French tablature, the Italians usually wrote what we call
Italian
Am 15 Dec 2003 um 14:36 hat BobClair or EkkoJennings
geschrieben:
As to the origins - the Moors were extremely advanced practitioners of
the art of ornamental symmetry. Perhaps, bored with the sight of an
open hole, they covered it with an ornamental grill work. This just
became a visual
Dear Kenneth,
of course you are right, but I was commenting on guitars,
where there is a tradition (maybe pre-Torres) to block
unwanted vibrations around the soundhole by reinforcing the
wood inside. (Actually my Ramirez has a thin broad wooden ring
glued under the soundboard around the hole,
Am 19 Dec 2003 um 18:45 hat Thomas Schall geschrieben:
By the way: I like modern music - but cum grano salis - I try to
detect form and content in any piece. If I cannot find it it's either
above my understanding or bad. Best wishes Thomas
Dear Thomas, all,
as John Cage was inspired by
Most people would consider it a colascione, though. ;-)
Stephan
Am 21 Dec 2003 um 20:54 hat Roman Turovsky geschrieben:
A Ukrainian (!?!?!?) Cobza has been spotted in The Concert by
Alessandro Mangasco (private collection, Bergamo, Italy). Magnasco, a
Genoese, lived from 1667 to 1749. The
Am 22 Dec 2003 um 8:36 hat Roman Turovsky geschrieben:
Most people would consider it a colascione, though. ;-)
Stephan
Except for a feature that has not been previously seen in colascioni:
psaltery set-up above the strings. RT
Ah, I see what you mean...
Stephan
A Ukrainian
Am 18 Dec 2003 um 7:22 hat [EMAIL PROTECTED] geschrieben:
Lute Society publications, and some Dutch, American lute society
editions will be on sale, and we hope to have on sale the new
facsimile of the Welde lute book, and the new CD ROM with all 7
vihuela books in facsimile;
Great! Will
Dear Thomas,
I'm very sorry about what you wrote and that the German lute
society lost an active member. However, I cannot see any
personal attack in the mail you quoted. I don't know either if
it is good to post such personal things to the list. Personal
feuds in public are always a bit
Happy new year and all the best to all of you! May our
lifes be meaningful!
Stephan
Am 31 Dec 2003 um 17:54 hat James A Stimson
geschrieben:
I'd like to wish a happy and peace-filled New Year to all luteniks.
Hi Kenneth,
one of Michelangelo Galilei's Tocchatas is in a minor. I just
tried it on my 8c, it's a bit tricky but it can work,
presumably with some basses in the higher octave.
Best regards,
Stephan
Am 2 Jan 2004 um 11:50 hat Kenneth Be geschrieben:
Can anybody quickly recommend a lute
Dear Arto,
a Ukulele (and double bass!) player told me that it's
played with a thumb down stroke and index up stroke,
not the other way round as one might expect. It's a bit
like renaissance technique, isn't it?
Regards,
Stephan
Am 5 Jan 2004 um 12:17 hat Arto Wikla geschrieben:
Hi all
Dear Thomas and all,
it is entirely possible that the dedicatee Schouster was the
proud owner of an italian 14-c archlute, whether he tuned it
the Italian way or in d minor. But another solution would be
that he played a 9 course Mandora in d, a typical amateur
instrument as we know today.
It's number 868 from Schemelli's Musicalisches Gesang-
Buch. My Bärenreiter Urtext (here no. 59) only gives
verse 1, 2 and 5.
2.
Komm süßer Tod, komm selge Ruh! Im Himmel ist es
besser, da alle Lust viel größer. Drum bin ich
jederzeit schon zum Valet bereit, ich schließ die Augen
zu. Komm
Considering his life time it must be a guitar lute
(Wandervogel style).
Regards,
Stephan
Am 12 Jan 2004 um 10:14 hat Charles Browne geschrieben:
Is there any signficance in Erik Korngold's use of the lute in his
operas? I was lstening to 'Die tote Stadt' and I noticed that Maria's
portrait
Am 12 Jan 2004 um 12:52 hat [EMAIL PROTECTED]
geschrieben:
By the way, can one add the bass in
lute tablature to the music, thus making it in two voices?
I made easy solo settings of one of the La Spagnas and
Recercada 1 and 2 some time ago in Finale and just transported
them into
BTW, in a concert of early baroque music I heard last
year Lee Santana switched at the end of a piece from
theorbo (which he plays excellent IMHO) to a small A
lute (I think it was 12 course Dutch/French/English
style), just when the text was about something
heavenly, eternally. The effect
Erm, is there anyone on this list who tunes by ear? :-)
Stephan
Dear Arto, thanks for this description!
When not tuning after a keyboard (which would already have to
be in tune!), is there anyone who tries to tune with the beat
counting method like a harpsichordist would do? (I don't.)
When I mutated into a lutenist I had quite a hard time to hear
and tune
Dear James,
in my experience it is (or should be) possible for a trained
baritone or even a bass to give his voice a lighter tenor like
sound and sing most of the songs with a G lute, an octave down
of course, as a tenor would do. If you tune in a=415 hz it
works all the more fine. But
Interesting topic, indeed, so here are my two Euro cents
worth:
The crucial point for some of us seems to be how to avoid
disturbing thoughts while performing, which from my point of
view is not a solution if you want to strengthen your
concentration. As soon as you think Oh I'm thinking again
Dear Sean,
I found:
Tant vous allés doux guillemette tant vous allés doux,
Pour vn baiser doux guillemette m'escondirez vous.
Et guillemette aués vous d'esjuné,
Nennin dit elle car je n'ay point mangé,
Prenez cinq soubz en ma jolie boursette,
Tant vous allés ...
Et
Dear all,
am I right to assume that Jacob van de Geest is (was)
one of the big names in lute building? What do you
think about his instruments?
Regards,
Stephan
Wow! The question is whether this is a blessing or a
curse...
Stephan
Am 12 Feb 2004 um 11:41 hat Gordon J. Callon
geschrieben:
And Gordon, with no insult to your intelligence intended, I think
your professor at McGill (my father's alma mater) had perfect
relative pitch rather than
Indeed. I always enjoyed his CD-booklets, which give a
lot of interesting thoughts, too!
Stephan
Am 5 Apr 2004 um 15:10 hat LGS-Europe geschrieben:
I'm just finishing the book by N. Harnoncourt Musik als Klangrede
(Music as speech in english, or something like that). I find it
very
Dear David,
thanks for keeping us informed about your gut feelings :-)
I always wanted to try out gut strings, but I think some work
on the bridge, nut and pegs of my 8-course would be necessary.
However, I don't want to do that myself and there's no lute
builder next door... How much is the
Am 10 May 2004 um 17:45 hat Stewart McCoy geschrieben:
The sound is utterly incredible, and
in all seriousness this kind of singing needs a health warning, such
is the effort required to do it.
Dear Stewart and all,
if one doesn't try to copy an exotic throat technique but just
Am 30 Apr 2004 um 9:19 hat Mathias Rösel geschrieben:
(snip)
If you wanted to say, indeed, that the tenor can be found in the
division you would have to ignore 1) frequent changes of octave, 2)
frequent change of position of the tenor notes within a measure, 3)
measure lacking the line
Am 26 Apr 2004 um 11:29 hat LGS-Europe geschrieben:
I have a capo made for my renaissance lute. Normally I use it at 415
=
Yes, I have capos for all my renaissance lutes (good for on the spot
lute song transposing), but with the new thick gut basses and their
thin octave strings they
Am 28 Apr 2004 um 12:39 hat Spring, aus dem, Rainer
geschrieben:
Dear lute netters,
not exactly lute related: I have recently re-discovered Beethoven -
the 6th symphony is unbelievable.
Dear Rainer,
considering that baroque music is Neue Musik to you I really
wonder :-)
Now I wonder
Am 29 Apr 2004 um 4:20 hat Arto Wikla geschrieben:
Dear Stephan,
just a couple of tiny comments :)
I really love Claudio Arrau's recordings of the late 70's
..
false romanticism but nevertheless very emotional.
False? Can the romanticism really ever be too emotional?
Dear Arto,
Dear Matthias,
arranging the piece into a solo is worth the effort, too. Just
the bass of the second lute (not the tenor as it is already in
the melody as you noticed) and the melody (you have to
transpose a few basses, though). I played it some years ago
with great fun on the guitar, and
,
= Stephan
Stephan Olbertz [EMAIL PROTECTED] schrieb:
arranging the piece into a solo is worth the effort, too. Just the
bass of the second lute (not the tenor as it is already in the
melody as you noticed) and the melody (you have to transpose a
few= /div
basses, though
Sorry for the formatting crap, I try again:
Dear Matthias,
thanks for your reply. You wrote:
I'm sorry to say you misunderstood
my point, though. The melody, as you say, i.e. the contrapunto /
counterpoint (division) does _not_ include the cantus firmus of La
Spagna.
All but one
Am 26 May 2004 um 21:19 hat Stewart McCoy geschrieben:
I don't know what evidence there is for this sort of thing, but many
modern players roll chords like that.
Dear Stewart and all,
concerning rolled chords Hans Michael Koch told me once that
the earliest evidence he knows of is to be
Hi all,
isn't sometimes a stem with a very short flag in the
opposite direction used for the longa?
Regards,
Stephan
Am 9 Jun 2004 um 0:11 hat Stewart McCoy geschrieben:
Dear Rainer,
You're quite right, of course. Milan uses a long for the final note of
his pieces. Whether he means the
Dear Stewart and all,
in Django, Stringwalker's successor, you have an option
for the right relation in each file.
Regards,
Stephan
Am 8 Jun 2004 um 13:03 hat Stewart McCoy geschrieben:
Dear All,
While examining the Scolar Press facsimile of Campion's My sweetest
Lesbia to be able to
Am 17 Jun 2004 um 20:44 hat Vance Wood geschrieben:
If it is your obligation to speak to the performer you must realize
that they also know they did not play that well.
I'm not so sure about that ;-)
Stephan
Dear all,
the article series by Joseph Baldassare, the La Spagna
composition contest in the lute news and the Intabulations
CD by Crawford Young inspired me to play around with a
plectrum on my renaissance lute again. I just want to share
some thoughts to fill the summer gap :-)
There are
Am 8 Aug 2004 um 19:16 hat Markus Lutz geschrieben:
On Sun, 8 Aug 2004 18:08:01 +0200, bh wrote:
b
b Dear lutenetters,
b
b perhaps you can answer 2 questions:
b
b I'm just reading A biography of S.L. Weiss by Douglas Alton
Smith. b There are some quotations from Quantz (as printed in
Am 22 Aug 2004 um 16:28 hat [EMAIL PROTECTED] geschrieben:
Perhaps not unrelatedly, I
get the impression that trumpet players, or violinsts,
or (especially) pianists are a little bit bemused as
to why anyone would want to be spending time playing
the _lute_.
After a bit of lute duet
:
Stephan Olbertz
Hat großen Schmerz.
Ihm gefällt leider nicht
Romans Limerick-Dicht.
Best wishes,
Stewart McCoy.
- Original Message -
From: Roman Turovsky [EMAIL PROTECTED]
To: Stephan Olbertz [EMAIL PROTECTED];
[EMAIL PROTECTED]
Sent: Tuesday, August 24, 2004 8:00 PM
Subject
Am 30 Sep 2004 um 12:10 hat Ed Durbrow geschrieben:
By the way, the left-hand fingerings in _Varietie_ do not involve
fancy barrés with fingers other than the 1st finger. For example,
_Varietie_ gives
__1b_2d___
__3c_4f___
__2c_3f___
__
Dear Thomas,
of course Roman was the first to answer :-)
I already have the Rosani and enjoy myself with Partita
II right now. Nice and easy galant music!
Best wishes,
Stephan
Am 23 Oct 2004 um 0:29 hat Thomas Schall geschrieben:
Take a look at the Sautschek site.
The Rosani book is also
Maybe a flat-back mandolin. You find them a lot on
German ebay...
Stephan
Am 16 Nov 2004 um 23:35 hat Stewart McCoy geschrieben:
Dear Garry,
Did you come to any conclusions about the possibility of luthiers
using Spelk-like planes to run off lute ribs quickly and cheaply? The
thread
Dear all,
this thread led me to re-read Segerman's article on his
website at
http://www.nrinstruments.demon.co.uk/LuSt.html
Apparently he is postulating low tension stringing and
close to the bridge playing for years.
However, lowering the pitch with nylon stringing to my
ears and fingers
Dear all,
it has been argumented that playing close to the bridge
produces better (brighter) basses. However, it occurs to me
that the extreme thumb-out positions we see on old paintings
result in darker basses and brighten the sound of the upper
register. If the aim had been to brighten the
Dear Francesco (and all),
just a few further thoughts, sorry for answering lately.
Francesco wrote:
Perhaps they decided to change to thumb out for other technical
reasons. I guess it's simpler to play thumb out with many courses, due
to the much wider distance the thumb must reach, and
Am 5 Dec 2004 um 6:27 hat Daniel Shoskes geschrieben:
No, you are right. That is a site I only visit on my Mac using Safari
with pop up blocking on and Pith Helmet revved up. It is clearly
malicious to PC's
To IE's, I would say. No problems with Opera...
Stephn
Dear lute netters,
Normally people like you give away free bibles. How
about a free viol? :-)
Stephan
Am 7 Dec 2004 um 22:16 hat Roger E. Blumberg
geschrieben:
- Original Message -
From: rosinfiorini [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Tuesday, December 07, 2004 5:20 PM
Subject: oldest
If shaving only every two weeks counts for a beard, I have one
too...
Regards,
Stephan
Am 12 Dec 2004 um 23:23 hat Stewart McCoy geschrieben:
Dear Roman,
I am aghast at the thought of a beard tax, which you mention in
connection with Peter the Great. A great many lutenists today have
It is so funny, but to me reading Luys Milan tabulature is nearly
impossible! When I see number tabulature, I can read it only in the
Italian way... ;-)
Dear Arto,
same with me. I'm always confused when some students come up
with guitar/folk/Valencian tablature. :-)
Regards,
Stephan
Additionally, it helps to keep the last finger joint flexible,
at least with low and normal tension strings. According to
Pujoll, who played without nails too, the index should stand
upright on the string. For comparison: Segovia's technique
(nails) would be to play over the left side of the
Tinctoris' De Inventione et Usu Musicae of 1487, that refers to
older and current wire strung instruments is an obvious forgery.
Says who?
Stephan
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Am 16 Dec 2004 um 11:10 hat Alain Veylit geschrieben:
By the
way, how many lutenists does it take to change a light bulb?
Two! One who changes the bulb and one who explains it to the
charango player.
Stephan
To get on or off this list see list information at
Today I discovered another very detailed article by Segerman
on lute sizes, string tension and what it's all about, it's
at:
http://www.nrinstruments.demon.co.uk/prepub.html
Nothing for a quick read-through, though...
Regards,
Stephan
To get on or off this list see list information at
Am 19 Dec 2004 um 17:26 hat Mathias Rösel geschrieben:
well, there certainly is a pun in the naming. I had to look up German
spitzbart, which is that very beard I was referring to, in my
dictionary and there it was: goatee. I suppose there wasn't much
difference in pronounciation of goatee
own
hands would look the same in every detail if we attained that level of
mastery ourselves. In fact, trying to copy them could be the very
thing that stops us getting there.
Best wishes,
Denys
No beard, incidentally! :-)
- Original Message -
From: Stephan Olbertz
remarkable.
Best,
Eric
Stephan Olbertz wrote:
Oh yes, thank you! Apparently he leaves the end joint fixed,
that is to say: it's not bent passively in the opposite
direction of the stroke.
Regards,
Stephan
Am 18 Dec 2004 um 9:37 hat Daniel F Heiman geschrieben:
Stephan
Dear all,
I'm in the process of calculating different options for a set
of gut strings. It seems clear that people favour quite a
diversity of set-ups like equal tension, slowly decreasing
tension, general high or low tension, higher tension for long
stringlength etc. What I cannot understand
:
Stephan, et al.,
The end joint is usually bent slightly inward - into the stroke - which
gives strength, but at the same time makes it easier to do a good free
stroke.
-Carl
--On Friday, December 17, 2004 6:36 PM +0100 Stephan Olbertz
[EMAIL PROTECTED] wrote:
Dear Carl,
this is quite
starting position. An excess of tension
sometimes interferes with this rapid relaxation/return, so that's also
something to watch for. Cheers and happy holidays, Jim
Stephan Olbertz
Stephan.Olbertz
- Original Message -
From: Stephan Olbertz [EMAIL PROTECTED]
To: [EMAIL PROTECTED]
Sent: Saturday, December 20, 2003 10:17 PM
Subject: lutistic mathematics
Dear all,
I'm in the process of calculating different options for a set
of gut strings. It seems clear that people favour
I'd say: space slightly!
Regards,
Stephan
Am Mon, 7 Feb 2005 23:54:59 - schrieb [EMAIL PROTECTED]:
I may have posed this question to the list in the past, but perhaps it is
time to
do so again.
My admitedly limited survey of historical printed sources shows a diferent
approach to
Dear all,
I have some questions concerning temperaments:
1. Do most meantone players set up their lute in 1/6 syntonic or pythagorean
comma (Silbermann)? (For clarification: The latter is the same as 2/11 syntonic
comma but sadly often refered to as 1/6 comma meantone, which implies a
Dear David,
thanks for your answer. You wrote:
Jägermeister III. I have to play irregular temperaments occasionlly.
Werckmeister-variants, 'Bach' temperament (...?); things harpsichordist
invent. I can do this a little when playing continuo, because I can choose
which notes to use and which
Am Tue, 15 Feb 2005 12:57:11 -0500 schrieb Vance Wood [EMAIL PROTECTED]:
I also wonder why FDM didn't just play it the
logical way (to me anyway):
1 1.2 0
David: Because it clouds the voice leading. Understanding that it is
probable that Milano use Octive strings on
Doc, David,
what keeps me from actually buying Finale is the fact that they want to get
paid every year for an update with features noone needs (Create scale execises
with one click! etc.). Concerning the difficulty of the programme: I once
heard that the reason for this was that Finale came
Am Mon, 14 Feb 2005 07:53:39 +0100 schrieb LGS-Europe [EMAIL PROTECTED]:
1. Do most meantone players set up their lute in 1/6 syntonic or
pythagorean comma (Silbermann)? (For clarification: The latter is the same
as 2/11 syntonic comma but sadly often refered to as 1/6 comma meantone,
which
Hello Thomas,
you wrote:
Dear Stephan,
the term A-Lute seems to be misleading this time because it suggests a
absolute pitch.
Right.
Actually my position is that the common lutes were smaller in the first
half of the 16th century than they were at the end of the 16th century.
This may be
Dear all,
I just returned from my first real continuo gig ever (in an all Monteverdi
programme and still on my 8-course) and I must say, I began to feel what people
like about playing continuo. It was such a great joy and it gave me the creeps
for the first time in a concert I was involved
Am Sun, 20 Feb 2005 19:28:29 -0500 schrieb Roman Turovsky [EMAIL PROTECTED]:
Roman, you and I have not always seen eye to eye, but yesterday I viewed
your website devoted to your own paintings. What a talented artist you are
(of, course, you don't need me to tell you that)!
I second this!
--- Weitergeleitete Nachricht ---
Von: Stephan Olbertz [EMAIL PROTECTED]
An: Dr. Marion Ceruti [EMAIL PROTECTED]
Betreff: Re: The 'perfect' instrument?
Datum: Sun, 27 Feb 2005 00:28:45 +0100
Dear Marion,
have a look at
http://www.hermode.de/
Regards,
Stephan
Am Sat, 26 Feb 2005 06
Dear all,
anyone s*bscribing Early Music will already know about a fascinating new
solution of an old problem: Bach's well-tempered tuning is supposed to have
been revealed from hints in his own hand. See the author's webpage at
http://www.larips.com/
I had no problems downloading from there a
Am Wed, 2 Mar 2005 22:47:03 - schrieb Denys Stephens [EMAIL PROTECTED]:
It would be great to find a box full of
Petrucci's type in a forgotten store room of a museum,
It's right beside the box with a certain lost Petrucci print...
Stephan
--
Erstellt mit Operas revolutionärem
Am Wed, 9 Mar 2005 00:35:32 +0100 schrieb Thomas Schall [EMAIL PROTECTED]:
We know that Weiss played continuo. The tuning is not certain.
Baron's remark on page 131 of his Untersuchung suggests that the theoboes
of his time would have been tuned similar to a baroque lute to avoid
relearning
his baroque lute
unequally, and how. I recently asked something like this and got just one
answer in favor of ET.
Please feel free to educate me...
Best regards,
Stephan
Best wishes,
Martin
Stephan Olbertz wrote:
Dear all,
from a temperaments view it would be much likelier
Am Wed, 9 Mar 2005 12:07:59 + (GMT) schrieb Benjamin Narvey
[EMAIL PROTECTED]:
It is absolutely clear that the German therobo was in d-minor tuning.
Baron
makes this clear in the Untersuchung. He says it is tuned in the neue
Lauten-
Stimmung, i.e., the accords nouveaux: d-minor.
Am Wed, 09 Mar 2005 11:04:14 +0100 schrieb Stephan Olbertz
[EMAIL PROTECTED]:
I always thought that the problems are:
1. to get the minor third between the first and second/fourth and fifth
courses into the tuning system and
2. doubling A-d-f in the high octave means doubling the trouble
Am Thu, 10 Mar 2005 07:35:19 -0500 schrieb Roman Turovsky
[EMAIL PROTECTED]:
I always thought that the problems are:
1. to get the minor third between the first and second/fourth and fifth
courses into the tuning system and
2. doubling A-d-f in the high octave means doubling the trouble
Am Thu, 10 Mar 2005 18:05:00 -0500 schrieb Roman Turovsky
[EMAIL PROTECTED]:
The meantone was likelier in a church setting, because the organ might
have
stilll be tuned that way. The opera had no organ, therefore no meantone.
By
1700 opera would modulate sufficiently to forget about
Dear all,
this came back with a strange formating, so I send it again. My apologies!
Am Thu, 10 Mar 2005 18:05:00 -0500 schrieb Roman Turovsky
[EMAIL PROTECTED]:
The meantone was likelier in a church setting, because the organ might
have
stilll be tuned that way. The opera had no organ,
Am 28 Mar 2005 um 19:50 hat Michael Thames geschrieben:
DAS used Lundberg as his main source of info. Lundberg stops short
of the goal, concentrating only on Edlinger, and his conversion lutes,
dismissing Heir Hoffman as building inferior lutes, the whole time
ignoring, the late
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