John Dryden (or perhaps Nathaniel Lee, since Oedipus was a collaboration and it
isn't clear who wrote which part) wrote:
3. Till Alecto free the dead
From their eternal Bands;
Till the Snakes drop from her Head,
And whip from out her Hands.
On Dec 13, 2011, at 2:23 PM, David Tayler
I've reproduced below the part of Oedipus we're talking about, because nobody
could make sense out of this discussion without it. It's a scene where
Tiresias and his daughter Manto are trying to raise the ghost of king Laius.
The parts in italics are sung (I don't know if the italics will
On Jan 1, 2012, at 10:49 PM, Herbert Ward wrote:
Stretching of strings between the nut and the peg is causing
me severe difficulty in tuning -- I can turn the peg
90 or 120 degrees with no response in the pitch.
Lubricating the nut is of course a possibility.
A necessity, if you can
On Jan 6, 2012, at 3:43 PM, Edward Martin wrote:
I
recall in rehearsals stopping, and inquiring why they did that. They
responded that many of the individual violinists tuned sharp, so I
can hear myself, and they found that it was easier for them to play that way.
The usual answer is
On Jan 6, 2012, at 4:17 PM, Edward Martin wrote:
The usual answer is better sharp than out of tune.
How silly is that? Playing sharp _is_ out of tune!
Well, it's a joke, but like much humor, it's based in experience. If the
orchestra is playing at 441 and the flute player comes in at 442
On Jan 8, 2012, at 7:59 AM, Jeff wrote:
Research I did a number of years ago points to WWI as a significant
contributor to the early 20th-c switch from gut to steel. Within the context
of the debate about gut vs. steel strings for American guitars from those
years, at least one commentator
On Jan 8, 2012, at 5:17 AM, Christopher Wilke wrote:
I find the area of performance practice in the early 20th century to be
extremely fascinating. There were a lot of changes that effected the quality
of instrumental timbre, but they seem to have happened with little complaint
or
On Jan 8, 2012, at 11:56 AM, Christopher Wilke wrote:
Barrios apparently did use steel on all three top strings, at least at
some time. He placed little bits of rubber close to the bridge on his steel
strings, presumably to damp them a bit and make them sound more gut-like.
The
On Jan 10, 2012, at 4:21 AM, Christopher Wilke wrote:
OK, I used the Second Viennese School composers as an example due to the
particular concern they had with timbre at a minute level. The issue could
just as easily been voiced by Strauss, Mahler, Debussy, Ravel or others.
Around the
On Jan 10, 2012, at 12:21 PM, Christopher Wilke wrote:
I've read portions of it,
More than I have, then.
but it's quite a large document to browse through. Relevant to the topic of
this discussion: What does he have to say about the relative merits and
defects of gut vs. steel strings
On Jan 10, 2012, at 12:52 PM, Christopher Wilke wrote:
I thought it seemed a bit early for Rimsky-Korsakov to be discussing steel
strings in much depth. Does he discuss the tone of metal strings anywhere,
perhaps even a remark noting them as a new novelty?
Metal and steel are mentioned
On Jan 10, 2012, at 12:49 PM, Roman Turovsky wrote of Rimsky-Korsakov's
Principles of Orchestration:
Did his ghost finish it for him
RT.
Of course. Rimsky-Korsakov was like most musicians. On the whole, they don't
write well, so they make much use of ghost writers.
The name you're
On Jan 10, 2012, at 1:09 PM, Roman Turovsky wrote:
Hmmm, what about those musicians who write rather well, in many languages,
including dead ones?
You have to have a ghost writer if you're going to write in a dead language.
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On Jan 29, 2012, at 1:26 PM, David van Ooijen wrote:
YouTube asks me to prove it's Public Domain. I told them it's 18th
cenury music, come to us in manuscripts and old prints. And I asked
them what kind of prove they want for this.
And they haven't responded yet, I take it. They may not.
On Feb 1, 2012, at 2:28 PM, Stuart Walsh wrote:
So: is it in any way reasonable for a composer to ask/insist that I put my
name on youtube videos? The whole thing sounds so utterly ridiculous and
implausible that there must be some other explanation. The only obvious
thing I can think of
On Feb 1, 2012, at 3:19 PM, Stuart Walsh wrote:
Unless we're talking at totally cross purposes (which I suspect we are) a
composer has no de facto rights (he's going to come and beat me up?)
I think he can get your video removed from Youtube. I see videos get removed
all the time, but I'm
On Feb 1, 2012, at 7:07 PM, Roman Turovsky wrote:
Consider that EGBaron, a journeyman lute personality, considered himself
nothing less that an Orpheus. And you can only imagine SLW's opinion of
himself.
And that is the mindset of the whole lutenism, an entirely apollinian culture.
Even if
On Feb 5, 2012, at 8:29 AM, Ron Andrico wrote:
While I am also a great admirer of Page's work, I am a little incensed
that a reviewer admits to deliberately panning commercial recordings
with the intent to advance one point of view. Ethics?
Would you be incensed by a reviewer who panned
On Feb 15, 2012, at 9:20 AM, David R wrote:
I was talking to someone the other day about viol fretting, specifically:
using old strings as fret gut. Along with some information on that, he sent
me this quote from Dowland. He didn't specify John or Robert:
therefore doe this; let the
On Feb 17, 2012, at 7:40 PM, Bruno Correia wrote:
300 Euros. Btw, is it broken??
Well, it's dropped against the dollar and the pound because of the Eurozone
crisis, but I wouldn't call it broken.
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On Mar 13, 2012, at 4:01 PM, Tony wrote:
The Church's doctrine on liturgical music can be summarized in seven
points
Doubtless there are listers who know more about this than I do, but this list
seems like a compilation of things that have been said on the subject over the
On Mar 14, 2012, at 10:21 AM, Monica Hall wrote:
There is a paradox at the heart of the Early Music Movement - we like the
music but we don't like the way the people who created it lived their lives.
But you can't separate the two. You have to try and understand the world in
which they
On Mar 14, 2012, at 3:58 PM, Edward Mast wrote:
A very sad state of affairs, Chris. I never understood the church's -
catholic, protestant, or otherwise - desire to revise its music programs to
reflect what is going on musically in society; to appear to be more
relevant.
On Mar 14,
On Mar 15, 2012, at 12:01 PM, Ron Andrico wrote:
By the way, just to demonstrate my negligible writing skills, I
deliberately omitted a possessive and began sentences with 'and' and
'but' just to annoy Howard. How did I do?
Epic fail, as my twelve-year-old would say. You can't fool
At an LSA seminar, Isabelle, whose last name I don't quite remember and could
never spell, remarked that Attaignant was the Mel Bay of the 16th century.
On Mar 21, 2012, at 2:06 PM, Sean Smith wrote:
Ach, dear old Pierre Phalese. We'll always wonder about the back story. As
anthologies go,
On Mar 25, 2012, at 9:09 AM, William Samson wrote:
Even subtly inauthentic technique (like
thumb-inside for baroque lute, or pinky too far from the bridge) can
cause the more sensitive souls among us to take to a darkened room and
suck our thumbs.
Unless you can show some proof that
Diana Poulton and Suzanne Bloch knew each other in the 1930's, when they were
both in the Dolmetsch fold, and chafing a bit. Bloch wrote about those times
in LSA Journal in 1969. There are excerpts on the web:
http://www.dolmetsch.com/Dolworks.htm
On Apr 3, 2012, at 5:41 PM, Tobiah wrote:
How are the timelines of these instruments
related, and what pieces include both instruments?
Are you asking what music was originally specified by the composer for an
instrumentation that included lute and recorder?
Or what music can be done with a
Micing is normally means using mice. Naturally, the word is normally used
by micers.
On Apr 6, 2012, at 8:57 AM, Toby wrote:
(And, yes. I say mics, so why not
micing?).
dictionary.com has 'miking', but not 'micing'.
The former's root is the word 'mike'. 'micing'
looks like 'icing'
Some of the responses to the Harmoniis video might indicate that there was
some problem with the balance. The continuo balance is good and I could hear
the theorbo just fine.
On Apr 10, 2012, at 4:26 AM, hera caius wrote:
All instruments very authentic copies.
Gamba and violin on gut,
On Apr 30, 2012, at 6:31 AM, David van Ooijen wrote:
There is a general consensus among musicians that Bach never
really understood their instrument, because however good his music for
other instruments, it's always unplayable on their own instrument.
From Letter from an able Musikant
On Apr 30, 2012, at 7:32 AM, Roman Turovsky wrote:
His low opinion of hammerklaviers he saw in Berlin is documented.
Inaccurate, I think.
Johann Friedrich Agricola related in a 1768 treatise on keyboard
instruments that Bach once tried a Silbermann pianoforte (didn't say when or
where), and
On Apr 30, 2012, at 7:57 AM, Mayes, Joseph wrote:
Then why is it possible to state categorically that Bach never wrote for
lute?
I wouldn't know; I've never said it.
How can we assume what Back must have expected?
We don't have to assume--when you send music to someone who plays the
On Apr 30, 2012, at 9:25 AM, David van Ooijen wrote:
Did you ever have the doubtful pleasure of attending a concert of the
B-minor mass with _real_ Baroque trumpets (without holes instead of
the 1960s 'Bach' trumpets which are the generally accepted standard in
today's early music
On Apr 30, 2012, at 12:02 PM, Alain wrote:
Hi everyone,
When stringing a lute, some people like to cut the strings a little above the
nut and tie them with a knot to some non-elastic material like rope or
synthetic fiber of some kind that is wound to the peg. What are the
advantages of
On Apr 30, 2012, at 11:34 AM, Roman Turovsky wrote:
JSB didn't play gamba either as evidenced by his reassignment of nicely
playable lute part in the MatthäusPassion to an impossible one for gamba in
the 2nd version.
Any gambist would tell you that that gamba part is pure hell.
And anyone
On Jun 26, 2012, at 9:26 AM, Marvin Reiss wrote:
there is no viable market place for physical CDs.
Our CD inventory which was in excess of 1 million units 18 months ago is
now non-existent.
So what happened to them all?
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On Jul 1, 2012, at 1:25 PM, Ron Andrico wrote:
Thanks, Arto. I'm glad to know there are other happy existentialists
out there, riffing on the absurdity of it all.
Well, one person's absurdity is another's physical science. When I do stroll
gigs, I've found that if I stroll too fast the
On Jul 1, 2012, at 1:55 PM, Ron Andrico wrote:
Is the Doppler effect what happens when you pitch a theorbo end over
end?
Pitching a theorbo end over end is an ahistorical practice because it's
possible only with a toy theorbo. Maybe Randy Johnson could pitch a theorbo
that way...
Is
The magic words are public domain.
On Jul 5, 2012, at 6:10 AM, David van Ooijen wrote:
have answered YouTube with this:
I made my own arrangement from the original source, which is a
manuscript from ca 1580 (Trinity College, Dublin, MS D.1 21 9 'Ballet
Lute Book', page 104). I can provide a
On Jul 13, 2012, at 5:18 AM, Ed Durbrow wrote:
the Broadway musical Lute Song, which starred Yul Brynner
and Mary Martin.
Also the only Broadway appearance of Nancy Davis, later Mrs. Ronald Reagan.
I'm curious as to what it was about and if there are any lutes in it.
Lutes wouldn't work
Is there a standard name for this sort of early 20th-century
lute-guitar-attiorbato whatever?
http://www.gazettenet.com/2010/07/24/betty-viereck-formerly-south-hadley
And did anybody here know Betty Viereck?
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On Jul 31, 2012, at 5:33 AM, David van Ooijen wrote:
I found my looking glass, sorely needed for the 'compact' edition of
the OED
If you're really using a looking glass, you're really doing it the hard way.
Looking glass is a synonym for mirror, not magnifying glass.
(nothing compact
On Aug 1, 2012, at 10:01 AM, co...@medievalist.org wrote:
I took a look on eBay just on spec to see what was out there based on your
email on this subject. I know nothing of the quality but at first blush, the
Roosebeck 7 course seen here
On Aug 17, 2012, at 5:30 AM, Louis Aull wrote:
If you fear a peg slipping, something is not right with your
peg/pegbox. Keep the lute in the case
This prevents not only slipping, but a lot of tedious playing and practicing,
so it's a time-saver all around.
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On Aug 16, 2012, at 10:23 PM, Edward Martin wrote:
The hall filled with people, and
the heat and humidity went up. The gut strings were so stable with
pegheds, that we had NO TUNING for the entire concert, with exception
of tuning diapasons to a different key!! That in itself is
On Sep 2, 2012, at 9:44 AM, Edward Mast wrote:
But I am indeed surprised if the theorbo has its peg box and neck extension
glued to the main neck where they join and yet supports the tension .
Some theorbos, at least, are built this way, and the string tension actually
helps hold the
On Sep 3, 2012, at 7:58 PM, t...@heartistrymusic.com wrote:
I mentioned this to a friend who is not a musician, but a brilliant scientist.
His immediate reaction was that the sharp angle of the string going over
the nut to a right angle pegbox would have the same effect as a pulley in
On Sep 2, 2012, at 9:41 PM, Ed Durbrow wrote:
I have no answers for you, but I always wondered what the meaning of that
edged tools line was. Is it just a general kind of saying that was popular
then, don't play with sharp things as you can cut yourself, or is there
another meaning or pun
On Sep 9, 2012, at 2:52 PM, A.J. Padilla MD wrote:
There's a saying somewhere that if there's a bagpipe in the same room with a
lute, you can't hear the lute being played, even if the bagpipe is not.
Same thing probably applies to the krumhorn!
Not quite. The world hardly has need of
-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of howard posner
Sent: Sunday, September 09, 2012 8:27 PM
To: LuteNet list
Subject: [LUTE] Re: Consort Suggestions Please
On Sep 9, 2012, at 2:52 PM, A.J. Padilla MD wrote:
There's a saying somewhere that if there's a bagpipe
Keep in mind that nothing lasts forever.
But you may be able to rotate your fret, as it were: push the fret toward the
nut enough to loosen it, push the knot about course's width away from the
fingerboard, then slide the fret into position again, and (as we string players
say) viola! the
On Oct 1, 2012, at 9:06 AM, Toby t...@tobiah.org wrote:
Often, mundane thoughts,
Tend to appear meaningful
When read in Haiku
Mundane though they be,
Thoughts, when expressed in haiku
Are concise, at least
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On Oct 1, 2012, at 9:23 AM, Toby t...@tobiah.org wrote:
Then it would be best
That all communication
Be done in Haiku
Better for reader
But for the one who's writing
It would take too long
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On Oct 1, 2012, at 9:35 AM, Toby t...@tobiah.org wrote:
A side benefit
Would be that unworthy thoughts
Would remain suppressed
Some listers will find
This whole exchange unworthy
So I will stop now
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I bought my first lute from Kelischek 30 years ago. It was a decent, playable
entry-level instrument. I can't speak for what they're selling now, but it's
hard to imagine they're peddling junk.
On Oct 2, 2012, at 5:35 AM, Ron Fletcher ron.fletc...@ntlworld.com wrote:
I have just come
On Oct 6, 2012, at 12:45 PM, Jaros³aw Lipski jaroslawlip...@wp.pl wrote:
Maybe, but then how will you explain a quote from Mace p.66:
I have sometimes seen strings of a yellowish color very good; yet but
seldom; for that color is a general sign of rottenness, or of the decay of
the string.
On Oct 7, 2012, at 4:23 AM, Jaros³aw Lipski jaroslawlip...@wp.pl wrote:
There is also quite a lot of speculation in your answer,
So I said at the beginning.
however I doubt very much if Mace could be so poetic and enigmatic in the
book which was to simplify things. He was defending lute's
On Oct 7, 2012, at 12:14 PM, Jaros³aw Lipski jaroslawlip...@wp.pl wrote:
So you see Mace as an oddball, inaccurate observer, someone quick to jump
to odd conclusions, old deaf man who had lost touch with reality, an idiot
who constructed an instrument impossible to play etc
What I said
On Oct 7, 2012, at 3:52 PM, JarosÅaw Lipski jaroslawlip...@wp.pl wrote:
No offence I hope? I really wouldn't like to take part in an exchange of
arguments that go far from the subjects most of the lute-listers are
interested in.
The listers should be interested in the problems of
Before I depart this subject, I should remind everyone what it is. It isn't
about whether you should discredit everything Mace writes, which is not what
I've suggested. The question was how to interpret Mace's statement that red
strings were commonly rotten. Here are three possibilities:
1.
Try again: I meant to say the word case does NOT appear in MM.
On Oct 8, 2012, at 11:16 AM, howard posner howardpos...@ca.rr.com wrote:
What jumps out is that he does not compare the advantages of a bed with those
of keeping the lute in its case. But the word case does appear in Musick's
My very dear Jaroslaw; how good to hear from you.
On Oct 8, 2012, at 12:41 PM, JarosÅaw Lipski jaroslawlip...@wp.pl wrote:
Then, lets examine your own words without any additions.
But with lots of subtractions; i.e. if you're going to parse, you should parse
completely, starting with the
Sounds like a toy stylophone.
On Oct 12, 2012, at 2:58 PM, WALSH STUART s.wa...@ntlworld.com wrote:
The cittern list seems to be defunct. So:
[1]http://www.youtube.com/watch?v=vNdO5va4CQI
Stuart
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On Oct 17, 2012, at 4:17 AM, Monica Hall mjlh...@tiscali.co.uk wrote:
There is also the article by John Hill in Early Music, Vol. 11, no. 2, April
1983, p. 194-208 which does mention the possible influence of the guitar on
the lute -
Realized continuo accompaniments from Florence
On Nov 27, 2012, at 10:35 AM, jaroslawlip...@wp.pl wrote:
The word decay reappears several times in the technical part of Music's
Monument, always in conjunction with the word rottenness. This can't be
coincidental.
You may be right about Mace using rottenness in the modern sense of
IMSLP has the manuscript in both color (72 MB) and black white (14 MB):
http://imslp.org/wiki/6_Violin_Sonatas_and_Partitas,_BWV_1001-1006_(Bach,_Johann_Sebastian)
On Dec 18, 2012, at 12:14 AM, Dan Winheld dwinh...@lmi.net wrote:
Dear Collective Ocean of lute wisdom- Can anyone direct me to
On Dec 20, 2012, at 4:22 PM, WALSH STUART s.wa...@ntlworld.com wrote:
I think this could work as a lute piece... as a sort of prelude.
And if you want a sort of Cage suite, I've found that 2'33 works as well on
the lute as it does on piano/
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On Dec 20, 2012, at 5:45 PM, adS rainer.aus-dem-spr...@gmx.de wrote:
4'33 -
You're absolutely right, but when I do it, it's two minutes shorter because I
skip the first movement--I've never liked it, unlike the other two.
BTW, there's video of the full orchestral version at:
On Jan 2, 2013, at 8:49 AM, Monica Hall mjlh...@tiscali.co.uk wrote:
Thank you. 1525 seems more likely for his date of birth but 1605 would
still make him 80 when he died!
It's been known to happen.
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On Jan 3, 2013, at 3:48 PM, Dan Winheld dwinh...@lmi.net wrote:
But always with the ever present danger of death by hardware or incorrect
opinions.
Unlike today...
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On Jan 25, 2013, at 9:41 AM, Monica Hall mjlh...@tiscali.co.uk wrote:
Meucci gives a whole series of references which support his contention that
in Italian sources the terms chitarra or chitarrino refer to a small lute
whatever they may refer to in any other language. Amongst the latest
On 29/01/2013 14:39, Monica Hall wrote:
How do you know that this instrument is a 4-course guitar. There is no way
of telling as far as I can see that is intended to be plucked rather than
played with a bow.
We know for three reasons:
1. The instrument has a flat fingerboard and a
On Jan 30, 2013, at 1:05 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
I'm sorry you feel so defensive - but what is there to complain about
in what I wrote to you?
I'm just guessing here, but could it possibly be that you were the only one on
the list who didn't understand it was
On Jan 31, 2013, at 5:24 AM, G. D. Rossi ceth...@gmail.com wrote:
I've published articles on this topic - it was indeed called English
at the time, and several other things as well.
I play the JCB in concert regularly and have recorded it, too - it's a
delight to play - both parts
On Jan 31, 2013, at 7:17 AM, G. D. Rossi ceth...@gmail.com wrote:
thanks, howard.
Don't mention it.
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On Feb 1, 2013, at 12:39 PM, Arto Wikla wi...@cs.helsinki.fi wrote:
What makes me prefer my choice is that many, many years ago I happened to
sang Elslein in a small group, and the not repeating way resembles so
much better to the sound of the that Lied than the other alternative.
and
On Feb 2, 2013, at 12:03 PM, Arto Wikla wi...@cs.helsinki.fi wrote:
Just in case someone doesn't have the Elslein tabulatures, here you'll find
the facsimile of my 1980's handwriting in French(!) tabulature by three
Hanses: Judenkunig, Newsidler and also Gerle:
I hadn't seen the Gerle
I enjoyed the contrast between the strummed parts and the punteado parts. As
it went on, I found myself wanting more dynamic contrast within the strummed
parts.
Your thoughts are most welcome.
The link is:
http://www.youtube.com/watch?v=g3v56-03ajU
Chris
Well I very much
On Feb 14, 2013, at 12:33 PM, Monica Hall mjlh...@tiscali.co.uk wrote:
I listened to it twice with the music in front
of me and I know the piece quite well.
As far as the stringing was concerned it was impossible to tell what you had
chosen to do, but a high octave string does create this
On Feb 14, 2013, at 11:44 AM, Christopher Wilke chriswi...@yahoo.com wrote:
There were one or two places where (dare I say it) some of the lower
notes
sounded twangy...
Yes, that is a actually special type of ornament that I have mastered
it to perfection. I call it a mistake. ;-)
On Feb 17, 2013, at 6:04 PM, Christopher Stetson
christophertstet...@gmail.com wrote:
I think it's all very primate behavior, and fairly deep in our
evolutionary psyches, if one can speak of such.
That would depend on where one is. I wouldn't bring up evolution at a
Republican
In the 18th century, of course, the best players didn't have to worry much
about string damping because when master lutenists played, their apprentices
did all the necessary damping.
On Feb 21, 2013, at 10:40 AM, Christopher Wilke chriswi...@yahoo.com wrote:
Dan,
Don't you have to play
On Feb 21, 2013, at 10:49 AM, Sam Chapman manchap...@gmail.com wrote:
There is far more evidence for a legato
way of playing. One of the first rules we learn on the lute is to hold
down the left hand fingers until they are needed for another note -
doesn't this indicate a desire for
On Feb 21, 2013, at 2:51 PM, Sam Chapman manchap...@gmail.com wrote:
Isn't cutting a note short articulating by definition, regardless of what
one does with all the other notes?
No.
Articulation means lots of things, but none of those things is cutting a note
short for no particular
On Mar 15, 2013, at 11:30 AM, Bernd Haegemann b...@symbol4.de wrote:
There is a constant learning process during the tying of the first 3 frets
which leads to a triumphant sailoresque mastery of knothood.
I'm living proof that it leads to no such mastery.
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On Apr 9, 2013, at 1:16 PM, Bruno Correia bruno.l...@gmail.com wrote:
Absolute strict time was certainly unknown to them (musicians), we take
this idea for granted nowadays because of the mechanical age we live
in. Absolute precision is our game not theirs
*Absolute* precision is no
On Apr 10, 2013, at 1:37 PM, howard posner howardpos...@ca.rr.com wrote:
What they did with that approach was likely as variable as what we do.
By which I meant that one person's approach would differ from another's just as
we have different approaches today.
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On May 8, 2013, at 11:33 AM, r.turov...@gmail.com wrote:
The purported Ellis Island name manglings is a myth.
Every immigrant's name had to be and was matched to the ship's manifest, and
any deviation was massively illegal.
As was selling alcoholic beverages in the United States between 1920
On Jun 2, 2013, at 10:48 PM, Sterling spiffys84...@yahoo.com wrote:
You will have to be way more specific.
By which he means that Bach more than one prelude in C major.
Do you mean the one from Book 1 of the Well-tempered Keyboard?
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On Jun 19, 2013, at 4:27 PM, Braig, Eugene brai...@osu.edu wrote:
Total irrelevancy alert: Lake Superior only the largest lake in the world by
surface area, not by volume. It is a part of a large system, the Laurentian
Great Lakes, that do constitute the largest freshwater system in the
This is fascinating stuff. He talks about his dealings with Benjamin Britten
and Peter Pears, the origin of Nocturnal, his commissioning of other music, and
even a bit about the lute, which got exposure in the U.S. from his appearances
on chat shows of the sort that did not yet exist in the
On Jul 18, 2013, at 1:03 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
There is no evidence that Bach had the gallichon/mandora in mind for
this.
There's rather stronger evidence than usual for gallichon in German church
music and particularly in Leipzig, if not specifically in any
On Jul 20, 2013, at 1:11 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
Indeed Kuhnau did press (unsuccessfully!) the church authorities for
one or two instruments to play continuo which he called gallichons
Is anyone aware of some piece of evidence as to what the town council
On Jul 21, 2013, at 8:52 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
Well, I suppose it all depends on whether we try to identify and employ
the instrument the composer is most likely to have expected to be
heard.
The question is not whether we try to identify the instrument the
On Jul 22, 2013, at 2:51 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
I note that you now have the reference I sent you about Kuhnau's
request for gallichon being refused by the authorities: would you
kindly pass the information onto the other people you consulted who
also were
Try looking up Castor and Pollux.
On Jul 25, 2013, at 12:12 PM, Sam Chapman manchap...@gmail.com wrote:
Hi all,
I've been asked by a singer to explain the meaning of a couple of lines
from Fine Knacks for Ladies. Frankly I've never understood them either,
have any of you? She writes:
On Aug 4, 2013, at 5:11 AM, Mark Seifert seifertm...@att.net wrote:
Why the piano chauvinism in modern music? I don't like piano (except
maybe Debussy, Rachmaninoff, Chopin, Hummel, Schumann, Tim Story)
You might want to check out this dude named Beethoven.
Bach firmly rejected the
On Aug 3, 2013, at 3:15 PM, Dan Winheld dwinh...@lmi.net wrote:
The longer this thread continues, the more I feel like I've gone back 45
years in a time machine.
Severe jet lag?
This is EXACTLY the situation I encountered as a young Classical guitar
student at university all those years
On Aug 5, 2013, at 5:51 PM, Edward Mast nedma...@aol.com wrote:
Disdain for either early or later music is foolish. Duke Ellington is
reputed to have said: There are only two kinds of music; good music and bad
music.
And since no two persons will ever agree on which is which in every
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