[LUTE] My new website

Dear All, I have the pleasure of inviting you to my new website at: http://jaroslawlipski.com Also see my new CD featuring Weiss lute partitas from the Krzeszow (Grussau) manuscript. It is available directly from my website, and will ship worldwide. You can also watch me playing Weiss d-minor

[LUTE] Re: Cherbury lute book

Thanks Ron, Yes, I agree in this matter. We can’t be sure about Burwell’s intentions. In general she seems to contradict herself from time to time. For example once she writes: „Gaultier of England is excellent, for the goodnes of his hands the most swift the neatest and most even that

[LUTE] Re: Cherbury lute book

Jean-Marie, This is a vast subject for a long debate. To judge a man’s behaviour from 17th century and predict probability of its consequences is not a trivial matter. As historian Miles Fairborn says that: „impossible, strange and bizarre are less so when placed in their proper context. This

[LUTE] Re: Cherbury lute book

This is a very interesting topic for a long discussion, and I am afraid not necessarily suitable for such a forum due to its natural constraints, but I will try to highlight just a few issues that may need some attention. In my explanations I will not try to undermine any one of existing

[LUTE] Re: Cherbury lute book - Gautier Son adieu

> You are quoting what Thurston Dart wrote in 1957. But Jean-Marie has > convincingly mentioned the letter which proved that lord Herbert was > involved in trying to get Jacques extradited back to France and > therefore "would not likely collect music by him". Of course, this is a > bit

[LUTE] Re: Cherbury lute book - Gautier Son adieu

Most probably Gauthier refers to Jacques Gaultier d’Angleterre. After killing his opponent in a duel Gaultier came to England in 1617. He was a member of King’s Musick beginning with 1619 until 1648. Although Lord Herbert traveled both to France and Rome he returned to London in 1617, so he had

[BAROQUE-LUTE] Re: Baroque Lute Stringing

Hello Anthony, I am fine, thank you. I haven’t heard from you for a while, but it’s nice to see you on our lute list again :) Actually I meant KF strings. String ends have to be split (whittled if you like), otherwise they are so stiff that tying them would be very difficult. Also they

[BAROQUE-LUTE] Re: Baroque Lute Stringing

he bridge. If > you don't do this, the sound will be dull and you will probably get problems > with the strings buzzing against the top of the bridge. > Yes, mine have split ends at the bridge. Best Jaroslaw > Martin > > On 03/02/2017 11:39, Jarosław Lipski wrote: >>

[BAROQUE-LUTE] Re: Baroque Lute Stringing

Mimmo, > You experience is that a roped string is duller than a plain gut? I have the > contrary. Maybe it is necessary to know how the roped string was done. Mine > is a roped string made with two fresh 'brins' twisted like as rope and then > polished. In practice our Venices. Yes, I use

[BAROQUE-LUTE] Re: Baroque Lute Stringing

in aim to cover the Archlutes Sellas models, whose > string-dipasons has the octaves paired. Octaves are always a good indicator > that it is time to have a denser material than gut or similars > > -----Messaggio originale- From: Jarosław Lipski > Sent: Thursday, February 02

[BAROQUE-LUTE] Re: Baroque Lute Stringing

No problem at all, they could be darker (even better!). Anyway it’s quite a good idea IMHO. If some like overwounds they can always use just…ocerwounds;) I really can’t see any point in imitating overwounds. Please let us know if you make a new stiffer batch. JL > On 02 Feb 2017, at 10:53,

[BAROQUE-LUTE] Re: Baroque Lute Stringing

Dear Mimmo, Firstly I’d like to congratulate you for inventing a new type of bass strings, as those of us who would like to use plastic equivalent of gut had very little choice until now. Your CD strings sound nice with quite solid fundamental. The only problem that I found disturbing is their

[LUTE] Re: Vivaldi lute concerto

> On 12 Oct 2016, at 01:00, Ron Andrico wrote: > > Yes, where will it end? I'll end my commentary by clearing up a few points. > I don't believe I even mentioned the term historically-informed performance > in my discussion. HIP is not necessarily a hard and fast

[LUTE] Re: Vivaldi lute concerto

My, my…were will it all end? ;) The discussion diverged from a simple question to a very complicated topic, and I won’t go into details as this is not the best place for this kind of discussion, and so many books were written about it, however I just would like to point out some problems in

[LUTE] Re: Vivaldi lute concerto

Very nicely played Diego, with taste. I like your version. My congratulations ;) JL > On 11 Oct 2016, at 09:10, Diego Cantalupi wrote: > > Here's my version: > > https://youtu.be/dkPp4pDWGQI > > I used an 'ordinary' archlute. In my opinion there are no problems about >

[LUTE] Re: Vivaldi lute concerto

that are required by the > standards of 21st century HIP orchestral playing. > RT > > > On 10/11/2016 4:48 AM, Jarosław Lipski wrote: >> Sure, I am not criticising anyone. On the contrary, I said Luca’s >> performance was very successful. On the other hand one may ask questi

[LUTE] Re: Vivaldi lute concerto

O, and someone who has no experience in early music may feel a little bit confused. Best JL > On 10/10/2016 5:33 PM, Jarosław Lipski wrote: >> Name it as you like, for me it’s a Liuto forte. There is another version >> of RV93 played by Luca here https://www.youtube.com/watch

[LUTE] Re: Vivaldi lute concerto

Name it as you like, for me it’s a Liuto forte. There is another version of RV93 played by Luca here https://www.youtube.com/watch?v=JB101T_sVog The whole instrument is single strung again, and the evidence for this type of archlute stringing is

[LUTE] Re: Vivaldi lute concerto

Really? Is there any evidence to support this theory? JL > On 10 Oct 2016, at 22:15, Roman Turovsky <r.turov...@gmail.com> wrote: > > It is certainly NOT a liuto-forte, but a single-strung archlute by Luc Breton. > RT > > On 10/10/2016 2:06 PM, Jarosław Lipski

[LUTE] Re: Vivaldi lute concerto

The instrument in question is not an archlute or liuto attiorbato, but a liuto forte. Some lute players like Luca Pianca, Luciano Contini, Eric Bellocq and many others use it, however I would be far from saying that this is a historical instrument - see here

[LUTE] Re: string tension

+1! Another factor is old strings elasticity. It was discussed many times before, but non of the arguments seem to be conclusive. Were old strings so elastic that tying them in bundles did not affect gut structure? I don’t know. Anyway this is what Aquilla site says: n 16th and 17th Century

[LUTE] Re: green lute like instrument

and perfect Baroque RH position (could be slightly closer to the bridge though) ;) JL Wiadomość napisana przez Edward Chrysogonus Yong edward.y...@gmail.com w dniu 4 mar 2015, o godz. 03:58: And clearly of monoxyle construction! τούτο ηλεκτρονικόν ταχυδρομείον εκ είΦωνου

[LUTE] Re: Written by Mrs. Bach

exactly 13 children in 19 years 1723 -1742. As for mistakes, they can be found in many old manuscripts and this fact doesn’t prove anything at all. JL Wiadomość napisana przez John Mardinly john.mardi...@asu.edu w dniu 1 mar 2015, o godz. 22:24: I thought she had 13 sons... Sent

[LUTE] Re: preface Piccinini in English?

Hi David, I have a French version in pdf. Do let me know if you'd like a copy. All the best Jaroslaw Wiadomość napisana przez David van Ooijen w dniu 16 gru 2014, o godz. 08:52: Dear collected wisdom Can someone point me to an English (or German, French or, why not?, Dutch)

[LUTE] Re: preface Piccinini in English?

Le 16/12/2014 09:30, Jarosław Lipski écrit : Hi David, I have a French version in pdf. Do let me know if you'd like a copy. All the best Jaroslaw Wiadomość napisana przez David van Ooijen w dniu 16 gru 2014, o godz. 08:52: Dear collected wisdom Can someone point me

[LUTE] Re: Cantio Sarmatoruthenica 140

and now, it's beautiful……….and well played :-) Thanks Roman! Vs'oho khoroshoho JL Wiadomość napisana przez Roman Turovsky w dniu 31 mar 2014, o godz. 15:53: http://torban.org/radio/stuart/stuart444jck.mp3 RT On 3/29/2014 5:26 PM, Jarosław Lipski wrote: Beautifull! My best wishes Roman

[LUTE] Re: Cantio Sarmatoruthenica 140

Beautifull! My best wishes Roman Jaroslaw Wiadomość napisana przez Roman Turovsky w dniu 29 mar 2014, o godz. 21:32: [1]http://torban.org/sarmatoruthenicae/audio/444.mp3 [2]http://torban.org/sarmatoruthenicae/images/444.pdf an Ukro-Canadian immigrant tune which completes the

[LUTE] Re: Bream Collection... I just noticed

Segovia could have been polite and gentle providing that a student followed his remarks, fingerings etc. This is nothing extraordinary in music, and there are similar reported cases from the past centuries . Some big Maestros were known for bullying un-subjugated pupils. (Bach was known for

[LUTE] Re: Bream Collection... I just noticed we got so far away from the [LUTE]-forum

to defend Segovia (I'm wholeheartedly with Michael), but I'm rather trying to find a reasons (context) of Segovia's reactions. I've seen this kind of attitude before, so probably this is why I'm not surprised so much. Regards Jaroslaw Em 18.12.2013, às 14:00, Jarosław Lipski jaroslawlip

[LUTE] Re: Bream Collection... I just noticed

wouldn't be recognized as not appropriate then. For example physical punishment was often accepted in past. On Dec 18, 2013, at 8:00 AM, Jarosław Lipski jaroslawlip...@wp.pl wrote: Bach was known for bullying kids from his choir Really? Do you have a source for this? -- To get

[LUTE] Re: Bream Collection... I just noticed we got so far away from the [LUTE]-forum

of musicality for another. Segovia is not in my liking either, but many people appreciate his romantic, singing tone quality which is very unique nowadays. Best Jaroslaw On 12/18/2013 2:10 PM, Jarosław Lipski wrote: Hi, The Segovia film is nice in its own way, it was probably interesting

[LUTE] Re: Bream Collection... I just noticed

to physical punishment rather than bullying. RT On 12/18/2013 2:24 PM, Jarosław Lipski wrote: It's scattered among several documents (letters etc). I don't have enough time to dig in all of them now, but if you are really interested I could send it to you in my spare time. Another

[LUTE] Re: Segovia and HIP (was: Segovia, Segovia, Segovia)

Hi Bill and David, Good points. And yes, it reminds us of our own mortality, but I wouldn't say there's anything wrong in it. I was fortunate to attend his last recital in London 1987 (South Bank - QEH as far as I can remember). It was a very unusual concert. Segovia could hardly walk

[LUTE] Re: Bream Collection... I just noticed we got so far away from the [LUTE]-forum

Wiadomość napisana przez howard posner w dniu 18 gru 2013, o godz. 23:10: On Dec 18, 2013, at 1:47 PM, Dan Winheld dwinh...@lmi.net wrote: Is it just me, or is there not something ironic about a serious minded 21st century LUTE-list member finding a great 20th century musical icon (think

[LUTE] How it's made channel - gut strings

Dear all, I would like to draw your attention to video made by Mimmo Peruffo for Canadian TV channel How it's made. As Mimmo told me, he shows the old technology that was passed to him by some elderly string makers. http://www.youtube.com/watch?feature=player_embeddedv=wRQq_0VM110 Concise,

[LUTE] Re: the point of synthetics - eccentric Mace

Here is the link http://www.flickr.com/photos/wfiupublicradio/4422058905/ I don't think it's to be played lefty Best regards JL Wiadomość napisana przez A.J. Padilla MD w dniu 8 paź 2012, o godz. 17:52: The musica viva website describes the dyphone as having two necks, 180 degrees apart.

[LUTE] Re: eccentric Mace

Dear Howard, This sort of hyperbolic generalization is very common --Jaroslaw has done it repeatedly with my comments about Mace, turning them into a statement that I don't believe anything Mace said because he was eccentric. I do the same thing all the time (though I try to avoid doing

[LUTE] Re: eccentric Mace

Howard, I'll try to forget your irony, but it is definitely better than nothing :) My very dear Jaroslaw; how good to hear from you. On Oct 8, 2012, at 12:41 PM, Jarosław Lipski jaroslawlip...@wp.pl wrote: Then, lets examine your own words without any additions. But with lots

[LUTE] Re: the point of synthetics - Rather the movement of the whole lute

Dear Howard There is also quite a lot of speculation in your answer, 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 position amongst instruments so he tried to make explanations as easy as possible. For us

[LUTE] Re: the point of synthetics - Rather the movement of the whole lute

Wiadomość napisana przez howard posner w dniu 7 paź 2012, o godz. 20:52: On Oct 7, 2012, at 11:22 AM, Jarosław 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

[LUTE] Re: the point of synthetics - Rather the movement of the whole lute

Howard, 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. However I am forced to answer some of your arguments. Firstly, most of the expressions I used were exact quotations of your post.

[LUTE] Re: What is the point of synthetics?

No, it isn't a new problem. This is what Mattheson writes (1727) answering Baron in his book Ephorus, naming disadvantages of the lute: Because of the many strings, and special strings (gut-strings) which depend more on stable temperature and humidity than other instruments (to stay in tune).

[LUTE] Re: What is the point of synthetics?

Yes, varnishing helps, but doesn't totally stop a string absorbing humidity. It rather protects from wear and tear.I tried them. They sound duller, inferior to normal gut and are not historical strings. This is what MP writes about them on his website: Gut strings are varnished in order to

[LUTE] Re: the point of synthetics - Rather the movement of the whole lute

Sorry for splitting my message in 2. Almond oil was and is used during production of gut strings. Normally you get oiled strings unless you order otherwise. Oil slightly prevents from moisture, meaning that your string will live longer, however it won't stop your lute from going out of tune (at

[LUTE] Re: the point of synthetics - Rather the movement of the whole lute

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. There are several sorts of colored strings, very good; but the best was always

[LUTE] Re: the point of synthetics

Dear Anthony, I understood from MP's website that one of the strong arguments for loaded basses is iconography which quite consistently shows red or brown-red bass strings, which are supposed to had been loaded using oxides of lead, copper, iron etc. We know from pictures that mainly basses

[LUTE] Re: Eleonore von Schlieben-Sanditten

Dear Martyn, Obviously everything is possible. We could invent lots of scenarios on the spot. What I am trying to do however, is to simplify things. I can sense your reluctance in accepting that this particular instrument could have been the real thing and I can understand this as there are

[LUTE] Re: Eleonore von Schlieben-Sanditten

Martyn, Just another scenario. I've carefully checked where all the lines go, and it began to dawn on me that it was a painting procedure which went wrong. So lets try to reconstruct the process of painting this picture. Pesne knows very well that he can't ask Eleonore to sit for a very long

[LUTE] Re: Eleonore von Schlieben-Sanditten

Dear Martyn, It may look very incorrect however we have to keep in mind that a painting is not a photograph. A painter has other goals to achieve. We can examine some interesting details of paintings, but coming into direct conclusions is another matter. First of all, Antoine Pesne who was the

[LUTE] Re: Eleonore von Schlieben-Sanditten

Yes, I agree more or less. The only thing that I am not sure of is whether 2 first grooves on the nut are far apart because this is how they were in reality, or Pesne didn't bother to depict a proper spacing. So it could be either swan neck 13c (14c?) modified for continuo, or a German d-minor

[LUTE] Re: Eleonore von Schlieben-Sanditten

I understand that you would always have 8+4 setting. The only thing is that one would have to rearrange couple of courses when changing from continuo to solo and back. However after some time of examining very closely the pegbox I am more inclined to say that there is something on the treble

[LUTE] Re: Eleonore von Schlieben-Sanditten

Hello Martyn, It is just a painting, so we can't judge its credibility by making measurements . In a praxis of painting sometimes it's just a matter of adding a little bit more of a dark paint beneath the string (and there is already a dark background there so he might have thought it

[LUTE] Re: Eleonore von Schlieben-Sanditten

Thank you Martyn, No, I am sorry, unfortunately it is not known to me. Jaroslaw Wiadomo¶æ napisana przez Martyn Hodgson w dniu 20 lip 2012, o godz. 18:46: Thank you Jaroslaw, You write 'There is a strong evidence that Eleonore very often accompanied Elisabeth and two Ladies made music

[LUTE] Re: Eleonore von Schlieben-Sanditten

Thank you Martyn, Sorry, I've pushed the button too early by mistake. No, I am sorry, unfortunately it is not known to me, but I can't see the reason for which she would take for a portrait an instrument that she didn't play instead of an instrument that she did. Jaroslaw Wiadomo¶æ napisana

[LUTE] Re: Eleonore von Schlieben-Sanditten

: From: Jarosław Lipski jaroslawlip...@wp.pl Subject: [LUTE] Re: Eleonore von Schlieben-Sanditten Date: July 20, 2012 1:04:43 PM EDT To: lute@cs.dartmouth.edu Thank you Martyn, Sorry, I've pushed the button too early by mistake. No, I am sorry, unfortunately it is not known to me, but I

[LUTE] Re: Eleonore von Schlieben-Sanditten

Luis, We live in very different times. In past people were accustomed to things that we wouldn't tolerate. As far as I know many people were portrait with real instruments, otherwise we could say that all iconography is rubbish. Is portrait of Moutton just a rubbish? Was he holding a prop? A

[LUTE] Eleonore von Schlieben-Sanditten

The portrait of Eleonore von Schlieben-Sanditten is quite well known, I wonder however if anyone examined some details of her lute. There are two interesting details that are easily visible in closer magnification. 1/ There are 2 free grooves of the nut on the treble side 2/ Beginning from the

[LUTE] Re: Eleonore von Schlieben-Sanditten

Dear David, Indeed it looks like 8+4 setting. The 1st string runs almost to the edge of the bridge, but when examined on a big screen it's difficult to say if there is any hole left on the bridge (treble side). As for a ribbon stripe attached to the neck block button it could be that this

[LUTE] Re: Eleonore von Schlieben-Sanditten

Bill, This portrait was painted by Antoine Pesne (1683-1757) http://en.wikipedia.org/wiki/Antoine_Pesne Symbolism in art was used since ancient times. Baroque period is no exception, however if a painter intended some kind of an allegory it would be more pronaunced and it wouldn't concern just

[LUTE] Re: brass strings on 15th century lutes

Dear Mathias, They add ... a kind of a different string of ore (quandam aliam [chordam] .. adjiciunt aeneam) clearly says, the added string is made of ore (which might imply bronze). No other material is involved. The word Ore doesn't point to either bronze or brass. We can only guess what

[LUTE] Re: brass strings on 15th century lutes

Yes, they are, however they weren't available at the time I was looking for them (the reason as mentioned before). I have no knowledge if Kurschner resumed a production of LK and LS. JL Wiadomość napisana przez Martyn Hodgson w dniu 12 lip 2012, o godz. 08:34: Well, Luxlines are still

[LUTE] Re: brass strings on 15th century lutes

I wasn't questioning that. Obviously most of us know when octave stringing was introduced and what was the cause of this invention. In spite some people complained it was finally accepted. However we are talking here of another obstacle in attaining smooth transition between treble and bass

[LUTE] Re: brass strings on 15th century lutes

Ron, I have to stress that I am not saying that proper voice leading precludes use of octave stringing. Some of my lutes are strung in octaves and it is not a big problem providing that the proper type of strings is selected. I dislike bland, insipide music too. However there are some

[LUTE] Re: brass strings on 15th century lutes

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

[LUTE] Re: brass strings on 15th century lutes

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

[LUTE] Re: brass strings on 15th century lutes

Mathias, Add is clear enough a word IMO. Add is clear but we don't know what exactly to add and what way. It could be either upper or lower octave. If lower, it would be a very strange setting having plain brass string fundamental and gut octave. If upper, it could be quite difficult

[LUTE] Re: brass strings on 15th century lutes

Oh yes, that's another type of strings with a wire embedded. Thanks for reminding me. I haven't tried them though, so wouldn't like to comment how it's different from gimped gut. The only thing is that Kurschner stopped making Demifille, Tigerlines and Luxlines as far as I know, because they

[LUTE] Re: brass strings on 15th century lutes

One other interpretation is that it could be a set of sympathetic strings, that are tuned in higher octaves to the 5th, 4th and 3rd and lower octaves to the 2nd and 1st main courses. It is not very clear for me what you mean. Some more explanation, please? Well, it's not really that

[LUTE] Re: brass strings on 15th century lutes

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

[LUTE] Re: brass strings on 15th century lutes

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

[LUTE] Re: YouTube going too far?

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: It will end with the death of the internet or ... Definition: The internet is a semi-autonomous intelligence with

[LUTE] Re: Re: Bach’s Lute Suites: This Myth is Busted

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

[LUTE] Re: Bach’s Lute Suites: This Myth is Busted

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

[LUTE] Re: Bach’s Lute Suites: This Myth is Busted

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

[LUTE] Re: 4060

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

[LUTE] Re: Re: Bach’s Lute Suites: This Myth is Busted

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

[LUTE] Re: Re: Re: Bach’s Lute Suites: This Myth is Busted

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

[LUTE] Re: Re: Re: Re: Bach’s Lute Suites: This Myth is Busted

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

[LUTE] Re: 4060

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,

[LUTE] Re: Bach’s Lute Suites: This Myth is Busted

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 next–perhaps you should sit down I understand that it was

[LUTE] Re: Lute size and set-up was Re: What makes a good lute?

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

[LUTE] Re: Holbein painting - precision and accuracy

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

[LUTE] Re: Holbein painting - precision and accuracy

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

[LUTE] Re: Holbein painting - precision and accuracy

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] Re: Google Art project

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

[LUTE] Re: catgut

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

[LUTE] Re: catgut

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,

[LUTE] Re: And another question about nylguts (was: Carbon strings?)

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

[LUTE] Re: And another question about nylguts (was: Carbon strings?)

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

[LUTE] Re: Marco dall'Aquila / O'Dette

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

[LUTE] Re: Switching between gut and synthetics [Wirewound/Loaded] London?

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

[LUTE] Re: Switching between gut and synthetics [Wirewound/Loaded] London?

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

[LUTE] Re: Switching between gut and synthetics [Wirewound/Loaded]?

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

[LUTE] Re: Switching between gut strings and synthetics?

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

[LUTE] Re: Switching between gut strings and synthetics?

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

[LUTE] Re: Switching between gut strings and synthetics?

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

[LUTE] Re: Tr :Re: Switching between gut strings and synthetics?

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

[LUTE] Re: Switching between gut strings and synthetics?

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

[LUTE] Re: Objet : Re: Switching between gut strings and synthetics?

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,

[LUTE] Re: Terminology: brise

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,

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