Thanks Stuart - like it! Do you know: did Margriet Verbeek write this
specifically for lute - or for guitar?
Best
Andrew
On 8 May 2011, at 10:20, Stuart Walsh wrote:
On 08/05/2011 07:22, Gilbert Isbin wrote:
A very nice happy composition, well played and the video fits
wonderfully with
In Britain, the correct answer is:
'Because they can't get the wrappers off.'
(Because McVitie's 'Penguin' chocolate bars are a popular snack - this was one
of my favourite jokes when I was a kid.)
Andrew
On 4 Feb 2011, at 20:55, wikla wrote:
Congrats Lex! You were the first in the public
- From: Andrew Gibbs
and...@publicworksoffice.co.uk
To: Lute Net lute@cs.dartmouth.edu
Sent: Tuesday, January 25, 2011 2:45 PM
Subject: [LUTE] Mark Smeaton
Hello List
I've been reading Hilary Mantel's 'Wolf Hall'. Mark Smeaton
(lutenist/ virginalist who was executed on a probably trumped-up
Hello List
I've been reading Hilary Mantel's 'Wolf Hall'. Mark Smeaton (lutenist/
virginalist who was executed on a probably trumped-up charge of
adultery with Anne Boleyn) makes several appearances in the novel.
An optimistic question: does anyone know of any music associated with
or
Thank you Stuart - very much enjoyed the music and your performances.
Christian Vasseur has two CDs available on the lovely 'Humming Conch'
label:
http://www.hummingconch.net/artists/christian-vasseur
Best
Andrew
On 15 Jan 2011, at 22:28, Stuart Walsh wrote:
Christian Vasseur wrote some
Blimey that was quick!
10/4 and 4/4 alternating is lovely - nice work Stuart - and Roman too, of
course.
Best
Andrew
On 5 Jan 2011, at 21:36, Stuart Walsh wrote:
On 05/01/2011 05:17, Roman Turovsky wrote:
I have started a new series of Ukrocentric pieces in the renaissance tuning.
It is
I can second that - James made me a lovely (plain in nice way) 'Hans
Frei' 7-course. Nice clear sound, very playable. I think it sounds
even better now it's four years old.
(another) Andrew
On 23 Nov 2010, at 14:52, Stewart McCoy wrote:
Dear Andrew,
If you are looking for a reasonably
It certainly was impressive and entertaining - really difficult music
(Terzi duets) played fast and accurate - I was a bit dazed afterwards...
Andrew
On 18 May 2010, at 08:50, Monica Hall wrote:
And thanks for the brilliant recital - one of the best we have had
in recent years.
Monica
--
Thanks again Anton - this would be an ideal candidate for the online
collection of Cabezón's complete works I posted about recently:
http://www.fimte.org/Cabezon500eng.htm
Deadline is May 15.
Andrew
(also we need a good candidate for the job of Prime Minister of the
United Kingdom - the
Hello Anton - my excuse: I've been so busy recently, I haven't had a
chance to play through any of the tempting pieces that you've
generously been sharing - but I'm looking forward to tackling a duet
as soon as I can. Please don't delete! and please accept my
appreciation in advance...
To celebrate the 500th anniversary of Antonio de Cabezón's birth,
FIMTE (Festival Internacional de Música de Tecla Española) are
organising an online collection of Cabezón's complete works. They're
calling for performances (on any instrument, solo or ensemble) to be
submitted as mp3s.
Pythagoras would say Music of the spheres?
On 29 Mar 2010, at 21:23, Eugene C. Braig IV wrote:
Since we seem to have drifted a fair distance from string tensions,
you've
omitted what I find to be the most irritating genre designation:
World - I challenge any musicologist or casual fan to
Thanks Wolfgang - this is beautiful. I've always liked the
illustration on page 3 - does anyone know if the lute player is a
portrait of Hans Judenkünig? Really like the hand diagrams as well.
Andrew
On 22 Mar 2010, at 13:20, wolfgang wiehe wrote:
and here a next digitalisat:
Away with these self-loving synthetics,
Whom Cupid's arrow never... err hmmm... wears cosmetics... needs
local anaesthetics?...bad poetics!
On 28 Jan 2010, at 13:13, Monica Hall wrote:
I wholeheartedly agree. The same is true for the baroque
guitar. Away with all these synthetics.
To add to the confusion: 17th c. harpsichord makers added another
feature called a buff stop that had the opposite effect - it pressed
leather pads against the strings to mute them. French and German
makers called this respectively a 'registre de luth' or 'Lautenzug'.
I have no idea why this would
Agricola wrote:
... heard a 'Lautenclavicymbel' in Leipzig in about 1740, designed
by Mr. Johann Sebastian Bach and made by Mr. Zacharias Hildebrand,
which was smaller in size than a normal harpsichord but in all other
respects similar. It had two choirs of gut strings, and a so-called
little
As Professor Goldthwait Higginson Dorr, Ph.D. said:
'Madam, we are not musicians of the late Renaissance.'
Andrew
On 18 Dec 2009, at 12:41, Rob MacKillop wrote:
Period performance is ultimately
doomed, of course - our ears have heard Schoenberg, Hendrix,
Madonna.
We can never hear
to the OED' page with a 'New Etymological and
Dating Evidence' section:
http://www.oed.com/readers/research.html
Does someone want to update the OED lute-wise?
Andrew
On 10 Dec 2009, at 15:02, Stephen Fryer wrote:
Andrew Gibbs wrote:
Thank you Dennis - and Joseph - the 1295 date tallies with Janin
An idle question for the List:
According to this online etymological dictionary, the earliest
surviving written record of the word 'lute' in English dates from 1295.
http://www.etymonline.com/index.php?search=lutesearchmode=none
Does anyone know the what this 1295 source is?
Andrew
To
Perhaps my reading is keyboard-centric - I often see 'style luthe'
referring to a specific keyboard composition technique. JSB used it -
holding a note so that the impression of two parts is created. I mean
he used the technique - no idea if he used the term. I think its also
called complimentary
On 30 Nov 2009, at 13:44, Jaroslaw Lipski wrote:
snip
Harpsichord players wanted to imitate lute playing
snip
Yes - my amateur understanding is that style luthe is different from
brise - in that style luthe was a keyboard composition/perfomance
style, in which elements of lute technique were
, Mathias Rösel wrote:
Are we? There are recordings with mid-19th century carols on the
baroque
lute... All's well that ends well, don't they say. Or All's well that
pleases (Torquato Tasso, Act 2).
Mathias
Andrew Gibbs and...@publicworksoffice.co.uk schrieb:
We are experiencing some severe
Thank you Eugene! this is ace - but now I want a glass harmonica. Uh oh.
And respect to Benjamin Franklin.
Andrew
On 20 Nov 2009, at 14:35, Eugene C. Braig IV wrote:
If speaking of the old ways, doesn't this seem even more
appropriate in
this context (track 3)?
Hello Chris - I certainly know what you mean about back pains. I'm
guessing from the range of devices - straps, cords, hooks and loops,
etc - that lute players in the past have tried - that our aches and
pain, at least, have plenty of historical precedence.
I believe Jacob Heringman gives
We are experiencing some severe historical disorientation.
On 20 Nov 2009, at 07:39, Valery Sauvage wrote:
New way to tune, to hold, and Mozart played on renaissance lute
by a
Japanese player...
[1]http://www.youtube.com/watch?v=q2RgP9MtM8c
Interesting isn't it
V.
The Greenwich EM festival was evacuated yesterday due to a 'security
incident' - I hope this wasn't a preemptive strike by disgruntled
lute partisans.
Andrew
On 16 Nov 2009, at 02:25, Caroline S. Chamberlain wrote:
Dear Stuart
Thank you for sharing these photos. Alas, Greenwich is too
There's usually several lute luthiers exhibiting - and the Lute
Society have a stand. The year before last Jacob Heringman gave a
great recital - solo and duet with recorder. A lute masterclass would
be good idea - perhaps someone influential could make some
suggestions to the
When I started playing a 7 course, I wasted 6 months being unhappy
with the sound and feel of various nylon/nylgut set-ups. Then I got a
set of Larson gut strings and it was like a revelation - everything
started making sense...
Gamut / Larson Workshop website:
http://gamutmusic.com/gamut/strings
I can vouch for James Marriage's work - I bought one of his Hans Frei-
type lutes three years ago - a really lovely instrument for the cost.
He should put his prices up :-)
Andrew
On 30 Sep 2009, at 12:44, Sauvage Valéry wrote:
I can add some names to the list of makers making students
Recently, the harpsichord list has been castigating itself for its
excessive 'macho-ness' and lack of female participants.
Also - I've been thinking how early music email lists take on the
characteristics of the instrument they discuss - like dogs and their
owners resembling each other.
lovely! thanks
On 24 Aug 2009, at 00:04, Matteo Turri wrote:
The Bavarian State Library provides a number of digitizations of
sheet music
from its music department. I still didn't have the time to browse
them, but I
noticed this:
Neusidler, Hans: Ein Newgeordent Kuenstlich Lautenbuch
On 16 Aug 2009, at 13:05, Ed Durbrow wrote:
Or imagine you are looking in a mirror.
while reading Italian tablature...
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Let's be discouraged:
'Although aviation is a relatively small industry, it has a
disproportionately large impact on the climate system. It presently
accounts for 4-9% of the total climate change impact of human activity.'
suzuki.org/Climate_Change/What_You_Can_Do/air_travel.asp
On 11
Has anyone tried this iPhone app?
http://niklas.saers.com/Well_Tempered.html
No custom temperaments yet - but apparently planned for a future update.
I could do without the ye olde scroll.
Andrew
--
To get on or off this list see list information at
Hello Nancy - the Susanne van Soldt manuscript is a collection of
late renaissance keyboard music - hence it's often called the Susanne
van Soldt Virginal book. I think the story is that Susanne van Soldt
was the daughter of a Dutch merchant living in London in the late
16th century. I've never
It would be better to list it as an 8 course lute (7 double courses
and a single course).
Andrew
On 3 Jun 2009, at 14:18, Alan Barnosky wrote:
Hello Everyone,
After much hesitation, I am finally selling my Renaissance lute.
It was
a custom build by a very good local luthier, there
I think it's unlikely that William Croft wrote for the lute. Croft
did publish (composed with 'An Italian Gentleman' - who I think was
in fact the non-Italian Gottfried Finger) a set of sonatas for flute
and continuo. A modern edition of these was published a few years ago
(can't remember
I received the latest two issues last week (in London). Which makes
me feel guilty as I'm sure I'm not up-to-date with my dues - I must
contact the LSA...
Andrew
On 5 May 2009, at 10:12, Luca Manassero wrote:
Nop!
I grew kind of tired to always wait months (literally) to finally
Yet another theory - this one involving Welsh Troubadours (eh?) -
from Babolat - a French company that still makes gut-strung tennis
racquets:
'...in the Middle Ages Welsh Troubadours played an instrument that
sounded like a cat meowing. The English called this instrument a cat
and its string was
wikipedia says this about the origin of the term cat gut:
Etymology
The word catgut may have originated from the word kitgut, or
kitstring, the word kit meaning fiddle. It is thought to have been
confused at some point with the word kitty for little cat.
I've heard other theories.
On 1 Apr
Thanks - lovely - and thanks for the introduction to the ArsAntigua
website.
Andrew
On 23 Mar 2009, at 22:42, Jeff wrote:
I recently recorded one of Ortiz's pieces for a podcast--violone
soloist, virginal and bass lute accompany (not theorbo, as the
intro says.) Simple chords, occasional
And he was into house music. Respect.
'...In courses and lectures he also gave suggestions for a sustained
renewal of house music.'
On 16 Mar 2009, at 11:20, Roman Turovsky wrote:
Here a photo of him with a Dutch-type:
http://www.bach-cantatas.com/Bio/Gerwig-Walter.htm
So the 10c myth
On the subject of lutenists accommodating (or not) singers:
Is there any evidence of what temperament the lutenist and singer -
I'm thinking mainly of late 16th c lute songs - would have agreed on?
Would the lutenist tune to get close to the temperament the singer
had trained to sing in
Anthony - what does this mean? Are CDs priced by the note now?
Andrew
On 23 Jan 2009, at 11:53, Anthony Hind wrote:
I wonder whether the cheap Brilliant version is up to the original
Bis standard. I suppose they will have cut the cost, by reducing
notes, etc.
--
To get on or off this
lovely resource - thanks for posting
On 16 Jan 2009, at 11:27, Bernd Haegemann wrote:
http://emblems.let.uu.nl/browse.html?idHCC7323
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
or facetiously if you're from the sometimes Y shool of thought? or is
Y a semi-vowel? Some people regard W as sometimes representing a semi-
vowel...
On 12 Jan 2009, at 13:51, Sean Smith wrote:
Ok, facetious again. [which is the only word in English where all
the vowells are in alphabetical
Doh!
I think Whisper of the Heart was released in 1998, I got around to
watching the DVD last night. I should have guessed that in the
intervening decade someone on this list would have beaten me to the
spotting. All prize monies to Peter Hoar.
On 7 Dec 2008, at 10:29, G. Crona wrote:
Thanks Steve - I guess the curve was another clue I should have noticed.
On my crappy TV I can't really hear if the instruments on the
soundtrack are the ones shown in the animation - I'd like to think so...
On 7 Dec 2008, at 02:54, Steve Ramey wrote:
...the instrument that follows the
..in 'Whisper of the heart' - an animated film by the wonderful
Studio Ghibli (directed by Hayao Miyazaki's protege Yoshifumi Kondo).
(Plot summary: teenage girl who dreams of becoming a writer meets
teenage boy who dreams of becoming a luthier - they fall in love!)
A 6 course lute appears -
Nice - very much enjoyed that.
On 18 Nov 2008, at 02:17, Daniel Winheld wrote:
Speaking of Online luters-- I couldn't help it, recorded posted
another one- [1]http://vimeo.com/2271297
Wonderful synchronicity, these threads and the recent video
postings.
Improved lighting on
, Martyn Hodgson wrote:
From: Martyn Hodgson [EMAIL PROTECTED]
Subject: Re: [LUTE] Re: Temperaments, the second night
To: Andrew Gibbs [EMAIL PROTECTED]
Date: Saturday, 8 November, 2008, 9:44 AM
It only very roughly looks like 1/6 comma if you take a
single string in isolation. If you carry out
He doesn't, of course - the terminology - and the mathematical
analysis - weren't worked out until much later. But his instructions
for tuning/fret placement result in 1/6 comma meantone tuning. More
or less...
In his day, was he out-numbered by ET tuning lutenists? My basic
Hans Gerle was in denial? Perhaps this explains the feelings of
frustration and inner sadness found in some of his music (that he
played quite happily in 1/6 comma meantone).
On 7 Nov 2008, at 09:09, Martyn Hodgson wrote:
...
Catch also, and amusingly, points out the denial in the face of
On 20 Oct 2008, at 15:05, David van Ooijen wrote:
- the transcription made by Koichi Arakawa in his 'the Collected Lute
Music of Santino Garsi da Parma (The Lute Society of Nagoya, 1981)
Hello David - do you know if it's possible to buy this anywhere
(Collected Lute Music of Santino Garsi da
You're right - it's not a circular process if the fretting system has
been worked out properly. As I said, I've been using David van
Ooijen's instructions for tuning in 1/6 comma and it's a straight-
forward process.
But I was referring to the historical instructions found on the LSA
Fret
The LSA file works on my mac - but I found those historical
instructions for placing frets weren't really that useful - I think
some are inaccurate (Dowland's doesn't seem to make much sense). And
there's no instructions on how to tune the open strings - so if you
don't know what temperament
That does sound sensible - and ingenious - but from recollection, the
measurements given by the LSA chart for Dowland's lute gave a narrow
distance between the second and third frets, which didn't sound much
like ET to me - and generally didn't seem to produce a pattern of
proportionally reduced
Hello Omer
I've been tackling this issue myself recently. I started by trying
some historical instructions for fret placement (found on the The
Lute Society of America Fret Placement Spreadsheet):
http://www.cs.dartmouth.edu/~lsa/download/index.html
I found, after a lot of trial and error, that
The original lute tutors consistently recommend playing close to the
bridge - with the pinkie very close to the bridge - or even on or
behind the bridge. Taking into account the possible differences
between modern and historical strings, this still seems to indicate
16th c taste (early 16th c at
Yes you're right, sharp and pungent is overstating it - brightness is
a good way of putting it. Or perhaps pluckier? as in the old lute-
stop-on-harpsichords argument.
But to argue against myself there's lots of iconographical evidence
for lutenists not playing close to the bridge...
On 25 Sep
Hello Valery
Thomas Mace for sure. I'm fairly sure Marin Mersenne and Mary
Burwell. Now I was sure Gerle said something like 'plant the 4th and
the 5th finger on the soundboard close to the bridge' - but on
checking I find he actually says 'place the little finger and the
ringfinger on
On the advice of several people on this list, I recently bought the
Sonic Research ST-122 Strobe Tuner. It works a treat - amazingly
accurate - you can use it to set your frets. And you can program
custom temperaments. It even picks up very clearly the bass notes on
a clavichord - which is
Hans Neusiedler published a piece called Judentanz in his Ein new
künstlich Lautten Buch. The original tablature included some
instructions for an unusual tuning, which were ignored when it was
transcribed in modern times resulting in some very strange dissonant
music. I think this
Many thanks Arthur - and everyone elso who helped
I've just bought a copy of Issam El-Mallah's edition...
Best
Andrew
On 4 Aug 2008, at 15:58, Arthur Ness wrote:
To respond to David's comment, I can add a bit.
...
There is a modern edition that most good music libraries will have
due
A while ago I came across a reference to a suite of pieces for lute
written in the mid 16th c by Giacomo Gorzanis, which I think is a
musical circle (in that it progresses through all 24 keys).
Does anyone know the title of this suite - and if there is a
recording anywhere - or a publisher
Yes - in the advance settings you can enter a reference pitch, choose
from a range of historical temperaments, select gut or nylon, and
give a virtual mensur. It also tunes your lute and pre-stretches any
new strings in your cupboard. :-)
On 17 Jun 2008, at 14:17, Rob MacKillop wrote:
No news is good news?
Anyway, I for one, have been enjoying your song intabulations. (I
don't suppose you know of an English translation of the Begli occhi
words?)
And the Kircher Tarantelle intabulations are particularly appreciated
- these are strangely addictive...
Ta
Andrew
On 7
Thanks Daniel - this is really interesting because It's something I'm
struggling with. I've noticed when attempting Gerle's fret positions
that using an electronic tuner to tune the open strings doesn't work
- basically because I don't know what temperament I'm trying to tune
to. The box
to be
applicable to the baroque lute whatsoever. I hope this helps in
some small way.
Sean
On May 13, 2008, at 8:13 AM, Andrew Gibbs wrote:
The whole idea of moveable frets allowed relatively easy shifts
between temperaments? e.g. mid-concert between a suite of pieces
in one key
The whole idea of moveable frets allowed relatively easy shifts
between temperaments? e.g. mid-concert between a suite of pieces in
one key and the next suite in another?
Andrew
On 13 May 2008, at 15:52, guy_and_liz Smith wrote:
Not necessarily. When I changed my alto from equal
Lutenists might be familiar with a woodcut that appeared in the first
collection of keyboard music printed in staff notation (Andrea
Antico, Rome 1517). It's a fairly insulting image - to lutenists
anyway. The illustration shows a woman (probably meant to represent
Music) making a
:
I believe there is some discussion of this in Carla Zecher
Sounding Objects: Musical Instruments, Poetry, and Art in
Renaissance France, University of Toronto Press 2007.
Anthony
Le 11 avr. 08 =E0 12:23, Andrew Gibbs a ecrit :
Lutenists might be familiar with a woodcut that appeared
Yes - I didn't realise that BBC iplayer radio is available worldwide
but BBC iplayer TV is UK only.
Andrew
On 09.04.2008, at 15:11, Gernot Hilger wrote:
This programme is UK only...
On 09.04.2008, at 11:26, Andrew Gibbs wrote:
Congratulations indeed - a very impressive performance
Congratulations indeed - a very impressive performance - they done us
proud...
http://tinyurl.com/5laro9
(or if that doesn't work
http://www.bbc.co.uk/iplayer/
then choose A to Z / U / University Challenge Episode 4)
Andrew
On 9 Apr 2008, at 08:54, Tony Chalkley wrote:
This is perhaps the
http://tinyurl.com/5sksk
(choose Radio 3, then Listen Again, The Early Music Show, Saturday)
Inspiring Lutenists: Lucie Skeaping talks to lutenist Elizabeth Kenny
about two performers who inspired her - Robert Spencer and Nigel
North. With music by Dowland and Bach.
Not sure how long it's
Last time I bought a cd from E lucevan le stelle the download didn't
work first time - I sent them an email and they emailed back straight
away with a new link which did work...
Andrew
On 28 Mar 2008, at 07:23, Rob MacKillop wrote:
I wrote to the company saying that the download failed,
Yes, I would like to.
I've just checked - The Lute Society are still selling this issue -
I'll buy a copy...
Andrew
On 4 Mar 2008, at 16:43, Charles Browne wrote:
It is worth reading his article.
-Original Message-
From: Andrew Gibbs [mailto:[EMAIL PROTECTED]
Sent: 04 March
: Andrew Gibbs
[EMAIL PROTECTED]
To: Charles Browne [EMAIL PROTECTED]
Cc: Lute Net Lute@cs.dartmouth.edu
Sent: Tuesday, March 04, 2008 2:25 PM
Subject: [LUTE] Re: Etymology
I haven't heard that distinction applied to any other musical
instrument...
Andrew
On 4 Mar 2008, at 13:08, Charles Browne
I've been thinking about getting a Zoom H2 - does anyone know how
they work with Macs?
Thanks
Andrew
On 29 Feb 2008, at 09:19, wolfgang wiehe wrote:
moin valery,
very good playing and recording!
it seems to me, that we have now a little zoom H2 group here.
the quality of the recorded lute
I like these quotes.
..but do you think the occasional (and tasteful) spreading of chords
is a bad or non-HIP thing?
Andrew
On 30 Jan 2008, at 17:17, Stewart McCoy wrote:
In the last few years, Julian Bream has given master classes at
Lute Society
meetings in London. He stressed two
-
From: Andrew Gibbs [mailto:[EMAIL PROTECTED]
Sent: 04 January 2008 13:48
To: Roman Turovsky
Cc: Lutelist
Subject: [LUTE] Re: [delian] Re: as dark as it gets
Lovely - can tell us more about the song?
Also - what is the defintion of a contrepartie?
Andrew
On 4 Jan 2008, at 13:32, Roman Turovsky
Lovely - can tell us more about the song?
Also - what is the defintion of a contrepartie?
Andrew
On 4 Jan 2008, at 13:32, Roman Turovsky wrote:
Lest we fall into emotional/intellectual complacency,
A 6-course intabulation of a song of
SeductionAbandonmentInfanticide-
He's going to perform his one man show _Finery and Filth_ at the next
Lute Society (UK) meeting on the 19th. Apparently it _contains lyrics
not suitable for those of a Puritan disposition_. Sounds like my kind
of thing.
Andrew
On 4 Jan 2008, at 13:37, Ron Fletcher wrote:
I was watching
A helpful description of the lute found on the Wikipedia Renaissance
music page:
Lute: The lute is simply any plucked instrument without a neck. In
the medieval ages it had 4 or 5 Strings and was considered a much
more dignified instrument that the guitar. It is similar in its
I think I'll be buying that one. E lucevan le stelle Records is a
brilliant label - I want to buy everything they've released. And
their CD artwork and booklets are the best - have a look at the cover
for La Musique Dangereuse:
http://www.elucevanlestelle.com/la-musique-dangereuse/
Andrew
Open strings in 1/6 comma and wiggly frets (Paul Guy chording on Die
Wohltemperirte Gitarre):
http://truetemperament.com/main.php?go=5lan=1
Andrew
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
I love the photograph of the labels inside the lute - apparently one
label is part of the title page of a Hans Newsidler tablature book -
not sure which one.
Andrew
On 15 Nov 2007, at 13:56, Anthony Hind wrote:
Dear Lutists
For those who read the Lute News N° 83 and saw that David Munro
From the Harpsichord list (of all places):
Gibson is producing a 'robot guitar' - see their site
http://www.gibson.com/robotguitar
Pull out the Robot Guitar's Master Control Knob (MCK) and watch the
Powerhead Tuners spring into action. It takes only a few seconds for the
Powerhead Tuners to
[EMAIL PROTECTED]
To: G. Crona [EMAIL PROTECTED]
Cc: Anthony Hind [EMAIL PROTECTED]; Andrew Gibbs
[EMAIL PROTECTED]; lute@cs.dartmouth.edu
Sent: Thursday, November 15, 2007 5:12 PM
Subject: [LUTE] Re: Rauwolf/Munro
G. Crona [EMAIL PROTECTED] schrieb:
It says: Hans Neusidler Lutenhift zu
From the Guardian (UK) 13 October:
..if you want a good laugh at the expense of the early-music
movement, there is on YouTube an excellent early film of Arnold
Dolmetsch playing the clavichord while Mabel Dolmetsch dances in an
early style...
The YouTube clip this refers to actually shows
Sarge Gerbode's site was a useful resource - does anyone know why
it's disappeared?
Andrew
On 5 Nov 2007, at 08:25, LGS-Europe wrote:
for some songs (campion, dowland etc.)
but they the site is not working for the past few days i need to
download tab+lyrics to a new project.
i really
Lute players are admirably high-tech. I know early keyboard fanatics
who won't use a tuning fork because it wasn't invented until the
early 18th century...
Incidentally, the invention of the tuning fork is attributed to John
Shore who was a lutenist in the Chapel Royal. He called his
42 is the answer to Life, the Universe, and Everything (according to
the supercomputer in Douglas Adams' The Hitchhiker's Guide to the
Galaxy) - but what's the question...
Andrew
On 10 Oct 2007, at 19:12, Ron Fletcher wrote:
P-p-p-panic?
And what is 42? ...
1) The number of previous
..going off on a tangent as usual:
I've been told that Dance of the Washer Women is a popular
mistranslation - Welscher Tantz Wascha mesa translates as something
like Dance of women from other lands or Dance of foreign women.
Not a very good German speaker myself - does anyone know a more
Thanks Mathias - I thought _Dance of women from other lands_ seemed =20
odd...
On 8 Oct 2007, at 11:40, Mathias R=F6sel wrote:
Andrew Gibbs [EMAIL PROTECTED] schrieb:
..going off on a tangent as usual:
I've been told that Dance of the Washer Women is a popular
mistranslation - Welscher
Is Wallachia where the Romani people originate from? So Welscher
Tantz could mean something like Gypsy Dance? It's more romantic than
washerwomen anyway...
On 8 Oct 2007, at 12:23, Roman Turovsky wrote:
Andrew Gibbs [EMAIL PROTECTED] schrieb:
..going off on a tangent as usual:
I've been
have come to us via a medium.
Tony
- Original Message -
From: Andrew Gibbs [EMAIL PROTECTED]
To: Jim Abraham [EMAIL PROTECTED]
Cc: LUTE-LIST lute@cs.dartmouth.edu
Sent: Thursday, September 27, 2007 7:36 PM
Subject: [LUTE] Re: Josquin goes fretless?
I'm being pointlessly pedantic
other spellings as well, (especially) during his own =20
lifetime, and
probably by the man himself.
Jim
On 9/27/07, Andrew Gibbs [EMAIL PROTECTED] wrote:
Pres not Prez - one letter makes a huge difference...
On 27 Sep 2007, at 17:11, David van Ooijen wrote:
Look what the cat brought home
I agree - quietness should be thought of as one of the lute's key
qualities - not an issue to be overcome - as with another famously
quiet instrument, the clavichord...
Andrew
On 25 Sep 2007, at 10:11, Francesco Tribioli wrote:
Even recordings that are unprocessed are processed
Just got around to playing some pieces from Stewart McCoy's Osborn
fb7 facsimile - which is lovely - a great facsimile edition. There's
a lot of indicated ornamentation - can anyone tell me - is a backfall
the same thing as a half fall - or if not what is it?
Any advice from the lute list
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