[LUTE] Re: [Lutelist] Purcell on the lute

[magnus andersson]

   Also noteworthy are the arrangements of the (Daniel) Purcell pieces in
   the Poznan 7033 ms.

   Best,

   Magnus
   [1]Skickat från Yahoo Mail för iPhone

   Den söndag, september 27, 2020, 2:26 em, skrev Rainer
   :

   Very nice. The Rondeau is also from Abdelazer.

   Which reminds me of the film "Pride and Prhudice".

   Of course, nobody would have played music by Purcell as dance music in
   1813 (or 1797).

   Anyway many people praised the film music by Marianelli - pseudo
   romantic piano music which did not yet exists in 18213 (or 1797)

   The only really great music in the film is by Purcell. HAve I missed
   something?

   By the way, I really like the film. Films like this one will probably
   soon be forbidden by PC idiots...

   Rainer

   Am 27.09.2020 um 13:50 schrieb [2]heiman.dan...@juno.com:

   > Rainer, Nigel North did a set of intabulations of Henry Purcell
   pieces at the beginning of his concert on 11-course d-minor
   lute.https://bit.ly/NorthConcert Daniel

   >

   > -- Original Message --

   > From: Rainer <[3]rads.bera_g...@t-online.de>

   > To: Lute net <[4]lute@cs.dartmouth.edu>, lutelist
   <[5]lutel...@groundsanddivisions.info>

   > Subject: [Lutelist] Purcell on the lute

   > Date: Sun, 27 Sep 2020 09:34:51 +0200

   >

   > Dear lute netters,

   >

   > I wonder if anybody has intabulated this for two Renaissance lutes
   (or one).

   >

   > [6]https://youtu.be/UfwO_RRgRXE

   >

   > Rainer

   >

   To get on or off this list see list information at

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References

   1. https://overview.mail.yahoo.com/?.src=iOS
   2. mailto:heiman.dan...@juno.com
   3. mailto:rads.bera_g...@t-online.de
   4. mailto:lute@cs.dartmouth.edu
   5. mailto:lutel...@groundsanddivisions.info
   6. https://youtu.be/UfwO_RRgRXE
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: ring finger

[magnus andersson]

   Dear Robert,
   if you look at the Paladin print from 1553, he uses a dot underneath 3
   voices which I ´d interpret to be played by three fingers
   and not the thumb. For example the fifth bar in the Pavana chiamata la
   Paladina. Thumb plays the bass voice, the fingers the rest.
   Best,
   Magnus

   On Monday, August 31, 2020, 11:25:57 AM GMT+2, Robert Barto
wrote:
   Thanks Martin.
   From: A briefe and plaine instruction 1574 Le Roy
   [1]https://gallica.bnf.fr/ark:/12148/bpt6k1176218k/f138.image
   The sixtene Rule
   For to plaie fower partes, it is easely to be understande, that the
   thombe and the three fingers together, serve easely to strike the fower
   strynges or partes, eche doying his parte, strikyng upward and
   dounewarde.
   I assume the 1568 edition says the same.  Brown says this is an English
   translation of a sightly earlier now lost edition. (1557 or 1567)
   And do we have permission to use the ring finger earlier in the 16th
   century?
   To get on or off this list see list information at
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References

   1. https://gallica.bnf.fr/ark:/12148/bpt6k1176218k/f138.image
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: A trivia question

[magnus andersson]

   Two very long pieces - of excellent quality - are Hans Newsidler ´s
   version of "Alexander" in his second book of 1536,
   as well as the first set of passamezzo antico variations by Melchior
   Newsidler in Philip Agricola ´s lute book.
   Der Alexander takes me at least 20 minutes to play through and the 16
   pages of the Passamezzi as well if I remember correctly.
   Best,
   Magnus

   On Saturday, August 29, 2020, 3:46:18 PM GMT+2, G. C.
wrote:
   There is a very long passamezzo by V. Galilei in manuscript
 --
   To get on or off this list see list information at
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References

   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Red notes in Eysert

[magnus andersson]

   Dear all,
   As one can see, none of the dance pieces are written with two different
   types of ink.
   I initially thought that they indicate a different tuned instrument, as
   in
   Hassler ´s "Omnes Gentes", 9v.
   Bar 8.
   2nd Choir sings alone, ink goes red.
   This is for a lute tuned a whole tone lower than the lute in "normal"
   ink.
   But, looking at the piece "Lieto Godea" by Gabrieli, on 80v. the ink
   just indicates a different
   choir and not a different tuned instrument. Perhaps Michael Eysertt
   played this music
   with a student friend, reading from the same page? As the duets later
   in the book show,
   where the second parts are written upside down, it is clear that the
   book was used by two lutenists to some extent.
   Best,
   Magnus

   On Monday, August 24, 2020, 9:39:46 AM GMT+2, Rainer
wrote:
   In Eysert or the Linzer Lautenbuch in some pieces whole bars or groups
   of bars are in red - very strange.
   Perhaps we can find something in:
   Josef Klima, Das Lautenbuch des Michael Eysert, Norimbergensis (vor
   1600): das "Linzer Lautenbuch" : Original im Oberösterreichischen
   Landesarchiv : Themenverzeichnis
   Wiener Lautenarchiv
   Publisher J. Klima, 1977
   Unfortunately this is not available here at the university library nor
   at JSTOR:
   Rainer
   Am 24.08.2020 um 01:50 schrieb Leonard Williams:
   >In Mudarra's third book of Tres Libros there are a couple of
   pieces
   >where he picks out the vocal line with apostrophes in the
   tablature.
   >Could the Eysert red notes be similar in intent?  (Would the
   player be
   >singing, or might the singer be a tab reader?)
   >Leonard Williams
   >-Original Message-
   >From: Jussi-Pekka Lajunen <[1]jlaju...@gmail.com>
   >To: [2]lute@cs.dartmouth.edu
   >Sent: Sun, Aug 23, 2020 6:04 pm
   >Subject: [LUTE] Re: Red notes in Eysert
   >Maybe they are used to show where the intabulation does not follow
   the
   >original vocal model? The chords in those parts seem to differ
   from the
   >harmony of the original pieces.
   >Sarge Gerbode kirjoitti 23.8.2020 klo 20.22:
   >> After putting out the first 50 pages of the Eysert Lute Book, I
   >> realize that I have ignored the red notes, figuring that they
   were
   >> faded ink or a meaningless idiosyncrasy of the scribe.  But now
   I am
   >> wondering if they do, in fact, actually mean something. fronimo
   can
   >do
   >> red notes, so... Anybody have any thoughts about this?
   >>
   >> --Sarge
   >To get on or off this list see list information at
   >[1][3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   >--
   >
   > References
   >
   >1. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >

   --

References

   1. mailto:jlaju...@gmail.com
   2. mailto:lute@cs.dartmouth.edu
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Eysert MS

[magnus andersson]

   I ´m glad to see that Eysertt ´s book gains more recognition. John
   Robinson made me aware of this manuscript.
   In my opinion it is one of the finest collections of lute music around
   1600.
   I recorded two of the Hassler canzonas from this book for my
   forthcoming cd dedicated to Nuremberg lutenists. However,
   I am not the first to record music from this book, Paul O ´Dette
   recorded the wonderful fantasia by Melchior Newsidler found on
   69v and onwards on his fantastic cd. This piece is also found in Cosens
   lute book. The Eysertt versions calls for 8 courses, Cosens for 7.
   What I haven ´t been able to figure out is what the different kinds of
   ink indicate in the book. Clearly, playing 8-part music on one
   instrument
   isn ´t very practical, so I have sometimes wondered if this book has a
   twin duo part somewhere. Take the 8-part Andrea Gabrieli song
   "Quem vidistis pastores" on fol. 3v. for example. In the facsimile, we
   see that the piece begin in g minor ( if we consider an instrument
   tuned in "a" ).
   When the 2nd choir sings in bar 8, the ink is red, and this must be a B
   flat Major. This calls for an instrument tuned in "g".
   I now Stevie Ray Vaughn could change instruments very fast, but I dare
   to say that even he would have problems changing between two different
   tuned instruments in a moment like this.
   Any ideas?
   Best,
   Magnus

   On Monday, August 17, 2020, 4:11:02 PM GMT+2, Arthur Ness
wrote:
 You cite Sarge's transcription.  He also has the manuscript in
 Facsimile. First item in the list of facsimiles.  AJN.
 -Original Message-
 From: Tristan von Neumann <[1]tristanvonneum...@gmx.de>
 To: [2]lute@cs.dartmouth.edu <[3]lute@cs.dartmouth.edu>
 Sent: Mon, Aug 17, 2020 9:39 am
 Subject: [LUTE] Re: Eysert MS
 Yeah, I noticed...
 That's Terzi level stuff...
 On 17.08.20 13:32, Christopher Stetson wrote:
 >Thanks for pointing this out, Tristan.  I took a quick look.
   Not
 for
 >the faint of heart!
 >Chris.
 >
 >On Mon, Aug 17, 2020 at 6:34 AM Tristan von Neumann
 ><[1][1][4]tristanvonneum...@gmx.de> wrote:
 >
 >  The first 50 pieces of a manuscript of which I had never heard
 >  before.
 >  Rare Gabrieli intabulations and some English pieces!
 >  Thank you, Sarge!
 >

   [2][2][5]http://gerbode.net/sources/A-LIa_oberosterreichisches_landesar
   chi
 >  v/HS._475_Eysert_Lute_Book_c1600/pdf/
 >  To get on or off this list see list information at
 >
   [3][3][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 >--
 >
 > References
 >
 >1. mailto:[4][7]tristanvonneum...@gmx.de
 >2.

   [5][8]http://gerbode.net/sources/A-LIa_oberosterreichisches_landesarchi
   v/H
 S._475_Eysert_Lute_Book_c1600/pdf/
 >3. [6][9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 --
   References
 1. mailto:[10]tristanvonneum...@gmx.de
 2.
   [11]http://gerbode.net/sources/A-LIa_oberosterreichisches_landesarchi
 3. [12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 4. mailto:[13]tristanvonneum...@gmx.de
 5.
   [14]http://gerbode.net/sources/A-LIa_oberosterreichisches_landesarchiv/
   HS._475_Eysert_Lute_Book_c1600/pdf/
 6. [15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:tristanvonneum...@gmx.de
   2. mailto:lute@cs.dartmouth.edu
   3. mailto:lute@cs.dartmouth.edu
   4. mailto:tristanvonneum...@gmx.de
   5. http://gerbode.net/sources/A-LIa_oberosterreichisches_landesarchi
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. mailto:tristanvonneum...@gmx.de
   8. http://gerbode.net/sources/A-LIa_oberosterreichisches_landesarchiv/H
   9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  10. mailto:tristanvonneum...@gmx.de
  11. http://gerbode.net/sources/A-LIa_oberosterreichisches_landesarchi
  12. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  13. mailto:tristanvonneum...@gmx.de
  14. 
http://gerbode.net/sources/A-LIa_oberosterreichisches_landesarchiv/HS._475_Eysert_Lute_Book_c1600/pdf/
  15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: historically accurate concerts

[magnus andersson]

   It ´s interesting to read through the years and the sources that the
   lute is indeed an instrument
   that has been played for a selected few- as George points out with the
   Burwell quote-
   or for more persons as Hans Newsidler described it in 1544:
 "... wo die Musica und zuvor die Lauten/ so ein kunstreich Instrument
   ist/ in Collationen bey versamlungen viler personen gepraucht wird/
   verendert sich aller menschen gemuet beladen mit schwemuetigkeit/ in
   freyd/ wollust und ergetzlichkeyt..."
   Best,
   Magnus

   On Monday, November 18, 2019, 7:42:46 PM GMT+1, George Torres
wrote:
 Eight hours?  That's a heck of a party!  Nevertheless,
   congratulations
 Tristan!
 Peripherally related, and just for kicks and gigglesâ¦the following
 quotes are from the Burwell lute tutor:
 "The lute is a noble instrument, not made for debaucheries, ranting
   or
 playing in the streets to give serenades to Signora Isabella.  âTis a
 grave and serious music for modest and sober persons, and for the
 cabinet rather than for a public placeâ¦this instrument requireth
 silence and a serious attention."
 "The lute is a closet instrument that will suffer the company of but
   a
 few hearers, and such as have a delicate ear, for the pearls are not
   to
 be cast before the swine."
 "To play in taverns, that never happened but to a man in Paris (who
   was
 paid for his abuse by some learned of the lute, that made cinnamon
 beaten in breaking the lute upon his head) "
 Cheers,
 Jorge
 On Nov 18, 2019, at 8:48 AM, Tristan von Neumann
 <[1][1]tristanvonneum...@gmx.de> wrote:
 Here's one thought:
 Lute concerts are often given in large halls or churches, though they
 are not really attracting a huge crowd.
 Huge crowds are also not really the setting in which lutenists
 florished
 back then.
 Recently, I had been invited to play the lute at a 30something
   birthday
 party on saturday night, a crowd of about 40 people max. Not one of
   the
 guests had probably ever heard Renaissance music.
 The host assured me that he wanted this and would deny any requests
   for
 other music from the stereo.
 It was a two bedroom late 1800s apartment with 11.5 ft./3.50m
   ceilings
 and all doors were open, I played in a 215 sqft/20 m � room where I
   sat
 on a chair in the corner at a table lit with a lamp.
 So I played straight from my 500+ p. book (message me if you are
 interested in my selection), for about 8 hours (it actually felt more
 like two).
 There was no programme, I just selected pieces on the fly according
   to
 "room temperature". There were sight-reading glitches, but no one
 noticed or cared.
 The reactions were very positive and no one complained about the
   music
 though most of the people normally listened to house, electro and
   other
 non-early musical styles.
 The music was described as:
 * never annoying
 * with a huge range of emotions
 * very pleasant for conversation
 * very interesting to listen to if you care to come close
 * filling the whole apartment (!)
 This was probably a setting more historically accurate than listening
 to
 French chanson intabulations in a church.
 The acoustics were perfect for a full and clear sound.
 I found this house concert situation very pleasing. You need to say
 goodbye to silence though. But having conversations to lute music is
   a
 whole other experience, as is playing lute for people not consciously
 listening most of the time.
 You end up with two or three people sitting closer and listening, the
 rest enjoying the atmosphere.
 I would highly recommend this experience.
 What are your experiences with house concerts? Has anyone ever played
 in
 the background?
 To get on or off this list see list information at
 [2][2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
   References
 1. mailto:[3]tristanvonneum...@gmx.de
 2. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:tristanvonneum...@gmx.de
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   3. mailto:tristanvonneum...@gmx.de
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Picture(s) of a Theorbo originally built by Pietro Raillich

[magnus andersson]

   Dear Luca,

   Yes, I forgot to write, I also own a copy of Schelleâs 1728 instrument,
   made by Ivo Magherini. Tuned in d minor, as you mention, without the
   high f course, it's an extremely effective instrument which works
   fantastic for the German late baroque repertoire. Highly recommend
   model for anyone interested in playing this music.

   Best,

   Magnus

   [1]Skickat från Yahoo Mail för iPhone

   Den söndag, augusti 18, 2019, 6:00 em, skrev Luca Manassero
   :

 Dear Magnus,

   thank you for all these interesting points. Personally, I fully

 agree (as you may have noticed from my remark about all these
   theorbos

 showing 8 fretted single courses...)

 I think I saw the seven course Koch theorbo in Berlin, being now
   nearly

 ein Berliner, I went more than a couple of times to that small, but

 interesting museum. On the other side the Schelle theorbo has been

 built in 1728, most probably then tuned in D therefore with the first

 course tuned in d. Focused on a completely different repertoire I can

 more easily understand it would have seven fretted courses: then
   you'll

 a fretted G and a fretted F, nicely offering you a G# and an F# on
   the

 first fret...

 It's also a foldeable theorbo, which makes it a really noticeable

 instrument, by the way.

 I think I remember another seven course theorbo in Paris at the Cité
   de

 la Musique, but I do not have the catalogue with me, so couldn't
   check

 whether and why I remember it.

 If the 8 course "vague" started with Franciolini, that's a really
   nice

 hint, David!

 All the best,

 Luca

  Attivato dom, 18 ago 2019 08:59:25 +0200 magnus andersson

 <[2]maan7...@mail.cs.dartmouth.edu> ha scritto 

 Dear Luca, dear David, dear Howard,

 thanks for the infos!

 It is indeed interesting- checking the lautenweltadressbuch database,

 entering "G" as type and looking for instruments with more than, say,

 80 cm long petit jeu, I could only find the Berlin instrument by Koch

 and the Schelle in Nuremberg to have more than 6 courses on the

 fingerboard.

 To my knowledge:

 there is zero extant solo (French/Italian) music written for a
   theorbo

 with more than 6 courses on the fingerboard- ranging from Kapsperger
   to

 Robert de Visà �à �e.

 All extant theorbo continuo (Italian and French) tutors- with the

 noteable exception of Francois Campion- use instruments with 6
   courses

 on the fingerboard.

 The iconographic surviving material of plausible theorboes shows a

 dominance of 6 single fretboard stringed instruments in the 17th

 century.

 On a personal note- as a modern player- I find it much more important

 that I have an instrument which works well for the main bulk of the

 repertoire, i.e. the 17th century, than having a short F and G to fit

 those low chromatic F sharps / G sharps in.

 For the 18th century, as it is much more accompanied with addition of
   a

 bowed instrument (at least it, imo, ought to be more than the music
   of

 the early 17th century ), I feel happy to leave those few notes out
   or

 play them at a higher octave.

 It is not to be taken lightly, the feeling of playing Monteverdi in
   big

 spaces on a big theorbo with the long strings commencing from the 7th

 and downwards. The instrument tends to do most of the work itself
   then!

 Best,

 Magnus

 On Saturday, August 17, 2019, 10:25:28 PM GMT+2, David Van Edwards

 <[1][3]da...@vanedwards.co.uk> wrote:

 Dear Luca,

 I have the original string lengths down as 823

 and 1677. Indeed it is odd how many theorbos

 there are with 8 courses on the fingerboard, it

 seems to have been a fashion started by that

 well-known authority Leopoldo Franciolini.

 Best wishes,

 David

 At 20:29 +0200 17/8/19, Luca Manassero wrote:

 > Dear David,

 > thank you!!

 > The two pictures are finally big enough to be understandable.

 > I was also curious about the original string lengths, if you

 happen to

 > know them.

 > By the way, if all chitarroni I see in museums had 6 single or

 double

 > courses (I think I remember one with seven fretted courses at the

 Cità � à �

 > del la Musique in Paris, but I'm not sure thou), WHY ON EARTH do I

 see

 > almost all chitarroni with 8x1 fretted strings??

 > All the best,

 > Luca (who really doesn't want to start ANY flame on this

 subject...)

 >  Attivato sab, 17 ago 2019 20:21:21 +0200 David Van Edwards

 > <[1][2][4]da...@vanedwards.co.uk> ha scritto 

 >

 > Dear Luca,

 > I forgot to add: is ther

[LUTE] Re: Picture(s) of a Theorbo originally built by Pietro Raillich

[magnus andersson]

   Dear Luca, dear David, dear Howard,
   thanks for the infos!
   It is indeed interesting- checking the lautenweltadressbuch database,
   entering "G" as type and looking for instruments with more than, say,
   80 cm long petit jeu, I could only find the Berlin instrument by Koch
   and the Schelle in Nuremberg to have more than 6 courses on the
   fingerboard.
   To my knowledge:
   there is zero extant solo (French/Italian) music written for a theorbo
   with more than 6 courses on the fingerboard- ranging from Kapsperger to
   Robert de Visée.
   All extant theorbo continuo (Italian and French) tutors- with the
   noteable exception of Francois Campion- use instruments with 6 courses
   on the fingerboard.
   The iconographic surviving material of plausible theorboes shows a
   dominance of 6 single fretboard stringed instruments in the 17th
   century.
   On a personal note- as a modern player- I find it much more important
   that I have an instrument which works well for the main bulk of the
   repertoire, i.e. the 17th century, than having a short F and G to fit
   those low chromatic F sharps / G sharps in.
   For the 18th century, as it is much more accompanied with addition of a
   bowed instrument (at least it, imo, ought to be more than the music of
   the early 17th century ), I feel happy to leave those few notes out or
   play them at a higher octave.
   It is not to be taken lightly, the feeling of playing Monteverdi in big
   spaces on a big theorbo  with the long strings commencing from the 7th
   and downwards. The instrument tends to do most of the work itself then!
   Best,
   Magnus

   On Saturday, August 17, 2019, 10:25:28 PM GMT+2, David Van Edwards
wrote:
   Dear Luca,
   I have the original string lengths down as 823
   and 1677. Indeed it is odd how many theorbos
   there are with 8 courses on the fingerboard, it
   seems to have been a fashion started by that
   well-known authority Leopoldo Franciolini.
   Best wishes,
   David
   At 20:29 +0200 17/8/19, Luca Manassero wrote:
   >Dear David,
   >  thank you!!
   >The two pictures are finally big enough to be understandable.
   >I was also curious about the original string lengths, if you
   happen to
   >know them.
   >By the way, if all chitarroni I see in museums had 6 single or
   double
   >courses (I think I remember one with seven fretted courses at the
   CitË ©
   >del la Musique in Paris, but I'm not sure thou), WHY ON EARTH do I
   see
   >almost all chitarroni with 8x1 fretted strings??
   >All the best,
   >Luca (who really doesn't want to start ANY flame on this
   subject...)
   > Attivato sab, 17 ago 2019 20:21:21 +0200 David Van Edwards
   ><[1]da...@vanedwards.co.uk> ha scritto 
   >
   >Dear Luca,
   >I forgot to add: is there any other info you'd like? I have a few
   >more photos. It is indeed on display in Rome at the Museo
   Nazionale
   >degli Strumenti Musicali, and the catalogue number is 976. Luisa
   >Cervelli: La Galleria Armonica, Catalogo del Museo degli strumenti
   >musicali di Roma, Roma 1994, pp. 297-299 from where I got my
   photos.
   >Best wishes,
   >David
   >At 18:34 +0200 17/8/19, Luca Manassero wrote:
   >> Dear common wisdom,
   >> seven years ago I had the opportunity to buy a theorbo from a
   German
   >> friend: it had been built by Hendrik Hasenfuss in 1993 and has a
   very
   >> nice bowl made of 35 ribs of yew.
   >> Looking for the model, I think I came to a theorbo built by
   Pietro
   >> Raillich in Padova, possibly around 1655 (strung as 6x1, 8x2).
   The
   >> original seems to be on display in Rome at the Museo Nazionale
   degli
   >> Strumenti Musicali, where it is (erroneously?) indicated as
   being
   >built
   >> in 1702, which sounds odd to me, as of the nearly 47 years
   Pietro
   >> Raillich spent in Padova, that is the year of his death...
   >> The only picture displayed on Museum's site is so small to be
   almost
   >> unreadable.
   >> Does anybody have readable pictures of the 1655 instrument
   and/or
   >some
   >> more infos? Mine measures 82.5cm and 167cm, which would match
   the
   >> Raillich's model.
   >> Thank you in advance,
   >> Luca
   >>
   >> --
   >>
   >>
   >>To get on or off this list see list information at
   >>[1][2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >--
   >The Smokehouse,
   >6 Whitwell Road,
   >Norwich, NR1 4HB
   >England.
   >Telephone: + 44 (0)1603 629899
   >Website: [2][3]http://www.vanedwards.co.uk
   >
   >--
   >
   >References
   >
   >1. [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >2. [5]http://www.vanedwards.co.uk/
   --
   The Smokehouse,
   6 Whitwell Road,
   Norwich,  NR1 4HB
   England.
   Telephone: + 44 (0)1603 629899
   

[LUTE] Re: Lute Temperaments

[magnus andersson]

   Dear all,

   I hope I haven't missed anyone's mention of Bardi, but he apparently
   witnessed the problem discussed here

   âand more than once Iâve felt like laughing when I saw musicians
   struggling to put a lute or a viol into proper tune with a keyboard..."

   My own personal experience is that it can however work very well with
   mean tone tuning without tastini, but it requires some rethinking.
   Having different semitones on the on the first and forth frets can imo
   be very useful when playing basso continuo on the theorbo.

   Best,

   Magnus

   [1]Skickat från Yahoo Mail för iPhone

   Den måndag, juli 22, 2019, 10:30 em, skrev Leonard Williams
   :

 I'm coming late to the discussion; perhaps an interesting read for
   some

 of us would be Adam Wead's dissertation titled "Lute Tuning and

 Temperament in the Sixteenth and Seventeenth Centuries".  Here, I

 believe, is the link:


   [2]https://scholarworks.iu.edu/dspace/bitstream/handle/2022/18424/Wead%
   2C%

 20Adam%20%28DM%20EMI%29.pdf?sequence=1=y

 He compares several period methods of fret-setting, including Dowland

 (mistakes noted) and Gerle.

 Leonard Williams

 --

   To get on or off this list see list information at

   [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. https://overview.mail.yahoo.com/?.src=iOS
   2. https://scholarworks.iu.edu/dspace/bitstream/handle/2022/18424/Wead,%
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: You obviously haven't heard...

[magnus andersson]

   Dear all,
   a nice additional book aimed for musicians, covering the English OP
   (with examples from Dowland) between 1500-1800, is Klaus Miehling ´s 2
   volumes
   "Handbuch der frühneuenglischen Aussprache für Musiker (1500-1800)"
   Best,
   Magnus

   On Saturday, June 8, 2019, 9:04:31 AM GMT+2, Martyn Hodgson
wrote:
 Hmmm. -  " .doth protest too much, methinks".
 Crystal may, indeed, be 'a very respected scholar',  but surely this
 shouldn't bar others from addressing the matter.  What's your own
 perspective on the issue?
 Incidentally, here's his website:
 [1][1]http://www.davidcrystal.com/?id=-1613
 MH
 On Saturday, 8 June 2019, 02:10:18 BST, Timothy Swain
 <[2]timothy745w...@gmail.com> wrote:
   You obviously have NOT heard of David Crystal's OXFORD DICTIONARY
   OF
   ORIGINAL SHAKESPEAREAN PRONUNCIATION published by Oxford in 2016
   (the
   400th anniversary of Shakespeare's death). A very respected
   scholar,
   his son has become an expert on Shakespeare. David has authored
   many
   texts, including ones in his own fields of study. As David says,
 "This
   dictionary has been over ten years in the making. I downloaded an
   electronic edition of the First Folio in December 2004, once it
 became
   apparent that the initiative of Shakespeare's Globe to present
   plays
 in
   original pronunciation (OP) was going (forward)..."
   You can see his son, Ben Crystal, wax eloquent on Shakespeare
   through
   several entries on YouTube. Ben Crystal is quite an accomplished
   scholar & a visiting scholar the world around, including our own
   USA.
   And the book is the first OP production, Original Pronunciation
 (which
   is NOT the never-achievement it has for so long presumed to be!).
 David
   Crystal is remarkable!
   I am tired of the incessant deluge of emails from some people that
   should know better. They reveal their ignorance of a vital subject.
   (May it be said that is does NOT apply only to Shakespeare!) More
   restraint is urged!
   From an old man (who hereby betrays his own considered silence).
   Timothy Swain
   --
 To get on or off this list see list information at
 [2][3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
   References
 1. [4]http://www.davidcrystal.com/?id=-1613
 2. [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. http://www.davidcrystal.com/?id=-1613
   2. mailto:timothy745w...@gmail.com
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   4. http://www.davidcrystal.com/?id=-1613
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: De Visee

[magnus andersson]

   Do we have any evidence of any historical guitar or theorbo player who
   explicitly played without fingernails?

   [1]Skickat från Yahoo Mail för iPhone

   Den onsdag, maj 8, 2019, 3:20 em, skrev Martyn Hodgson
   :

 Hear! hear!.

 And just because some theorbo players used nails by no means that De

 Visee did. This is, of course, how modern myths start

 Martyn

 On Wednesday, 8 May 2019, 11:09:58 BST, Monica Hall

 <[2]mjlh...@cs.dartmouth.edu> wrote:

 Corbetta didn't have to pay his musicians out of his own pocket -

 that's just another myth. The relevant source states that

 Every foreign musician who performed at court in Turin was given 500

 Thlr. and Madame Royale wished to show her generosity by not

 withholding anything [from Signor Corbetta].

 Madame Royale was the mother of Victor Amadeus, the ruler of Savoy at

 the time when Corbetta visited the town to perform.

 We don't actually know whether De Visee played with his nails.

 Monica

 > On 07 May 2019 at 22:20 magnus andersson

 <[1][3]maan7...@cs.dartmouth.edu> wrote:

 >

 >

 >Dear collective wisdom,

 >From what I have understood, it seems like manicure has been

 around

 >since  at least 3200 BC, so I assume players like Piccinini,

 Corbetta

 >(who we know had

 >to cancel one of his concerts due to a broken nail- and still
   pay

 his

 >fellow musicians from his own pocket!) and perhaps de Visà ©e
   had

 found

 >a way for them to get it to work without shredding and tearing

 their

 >strings apart constantly, and - to quote Piccinini:

 >

 >"the one, and very important [thing] is to play neatly, and

 cleanly; In

 >the manner that all small touches of the string may be schietto,

 like

 >pearl[s]"

 >/Magnus

 >

 >On Tuesday, May 7, 2019, 10:45:44 PM GMT+2, John Mardinly

 ><[2][4]john.mardi...@asu.edu> wrote:

 >  Pure speculation. Where are the facts? Can anyone document
   good

 nail

 >  polishing techniques that may have been used centuries ago? I

 would

 >  love to see it. Techniques used to polish things from
   telescope

 >lenses

 >  and mirrors to razors would not work well on fingernails. The

 chamois

 >  stropping technique used by Segovia because there was not much

 better

 >  in the mid 20th Century would be deemed laughable today among

 those

 >who

 >  play with nails.

 >  A. John Mardinly, Ph.D., P.E.

 >  On May 7, 2019, at 4:48 AM, Yuval Dvoran

 ><[1][1][3][5]yuval.dvo...@posteo.de>

 >  wrote:

 >  Hahahaha good point!

 >  To add something substantial to the discussion, I'd like to

 remember

 >  you that also plants exist which were used for thousands of

 years to

 >  polish wood (and maybe also fingernails), e.g. Equisetum

 >  ("Schachtelhalm" in German).Am 07.05.2019 13:31 schrieb jslute

 >  <[2][2][4][6]jsl...@cs.dartmouth.edu>:

 >Dear All:

 >Might I suggest that a culture sophisticated enough to

 build

 >lutes and

 >craft overwound strings could have figured out a way to

 file

 >and

 >polish

 >their nails.

 >Jim Stimson

 >Sent from my Verizon, Samsung Galaxy smartphone

 > Original message 

 >From: John Mardinly <[3][3][5][7]john.mardi...@asu.edu>

 >Date: 5/6/19 6:51 PM (GMT-05:00)

 >To: Roland Hayes
   <[4][4][6][8]rha...@legalaidbuffalo.org>

 >Cc: Lute List <[5][5][7][9]lute@cs.dartmouth.edu>

 >Subject: [LUTE] Re: De Visee

 >More lacking than glue-on-nails might have been some of

 the

 >modern

 >files and abrasives used to polish the nails. Badly

 prepared

 >nails give

 >a terrible result for both sound and playability. My

 teacher

 >back

 >in

 >1965 had studied with Segovia, and showed me how Segovia

 >prepared

 >his

 >nails: after some filing, he used a wooden block with a

 saw-cut

 >slot in

 >it and a piece of chamois wrapped around the wooden
   block.

 The

 >nail was

 >

[LUTE] Re: De Visee

[magnus andersson]

   Dear Monica, you ´re right-
   Francesco seems to have been the scheduled star musician of the
   evening. At
   the banquet, an ensemble consisting of lutes, theorboes, angeliques and
   guitars was
   heard, and Francesco was probably thought of as the icing on the
   cake...
   Here is the original description written by Adam Ebert, in his travel
   diary:
   [1]https://play.google.com/books/reader?id=6PpWcAAJ=de=GBS.PA
   251
   Best, Magnus

   On Wednesday, May 8, 2019, 10:00:09 AM GMT+2, Monica Hall
wrote:
   Corbetta didn't have to pay his musicians out of his own pocket -
   that's just another myth. The relevant source states that
   Every foreign musician who performed at court in Turin was given 500
   Thlr. and Madame Royale wished to show her generosity by not
   withholding anything [from Signor Corbetta].
   Madame Royale was the mother of Victor Amadeus, the ruler of Savoy at
   the time when Corbetta visited the town to perform.
   We don't actually know whether De Visee played with his nails.
   Monica
   > On 07 May 2019 at 22:20 magnus andersson
   <[2]maan7...@cs.dartmouth.edu> wrote:
   >
   >
   >Dear collective wisdom,
   >From what I have understood, it seems like manicure has been
   around
   >since  at least 3200 BC, so I assume players like Piccinini,
   Corbetta
   >(who we know had
   >to cancel one of his concerts due to a broken nail- and still pay
   his
   >fellow musicians from his own pocket!) and perhaps de Visà ©e had
   found
   >a way for them to get it to work without shredding and tearing
   their
   >strings apart constantly, and - to quote Piccinini:
   >
   >"the one, and very important [thing] is to play neatly, and
   cleanly; In
   >the manner that all small touches of the string may be schietto,
   like
   >pearl[s]"
   >/Magnus
   >
   >On Tuesday, May 7, 2019, 10:45:44 PM GMT+2, John Mardinly
   ><[3]john.mardi...@asu.edu> wrote:
   >  Pure speculation. Where are the facts? Can anyone document good
   nail
   >  polishing techniques that may have been used centuries ago? I
   would
   >  love to see it. Techniques used to polish things from telescope
   >lenses
   >  and mirrors to razors would not work well on fingernails. The
   chamois
   >  stropping technique used by Segovia because there was not much
   better
   >  in the mid 20th Century would be deemed laughable today among
   those
   >who
   >  play with nails.
   >  A. John Mardinly, Ph.D., P.E.
   >  On May 7, 2019, at 4:48 AM, Yuval Dvoran
   ><[1][1][4]yuval.dvo...@posteo.de>
   >  wrote:
   >  Hahahaha good point!
   >  To add something substantial to the discussion, I'd like to
   remember
   >  you that also plants exist which were used for thousands of
   years to
   >  polish wood (and maybe also fingernails), e.g. Equisetum
   >  ("Schachtelhalm" in German).Am 07.05.2019 13:31 schrieb jslute
   >  <[2][2][5]jsl...@cs.dartmouth.edu>:
   >Dear All:
   >Might I suggest that a culture sophisticated enough to
   build
   >lutes and
   >craft overwound strings could have figured out a way to
   file
   >and
   >polish
   >their nails.
   >Jim Stimson
   >Sent from my Verizon, Samsung Galaxy smartphone
   > Original message 
   >From: John Mardinly <[3][3][6]john.mardi...@asu.edu>
   >Date: 5/6/19 6:51 PM (GMT-05:00)
   >To: Roland Hayes <[4][4][7]rha...@legalaidbuffalo.org>
   >Cc: Lute List <[5][5][8]lute@cs.dartmouth.edu>
   >Subject: [LUTE] Re: De Visee
   >More lacking than glue-on-nails might have been some of
   the
   >modern
   >files and abrasives used to polish the nails. Badly
   prepared
   >nails give
   >a terrible result for both sound and playability. My
   teacher
   >back
   >in
   >1965 had studied with Segovia, and showed me how Segovia
   >prepared
   >his
   >nails: after some filing, he used a wooden block with a
   saw-cut
   >slot in
   >it and a piece of chamois wrapped around the wooden block.
   The
   >nail was
   >then rubbed back and forth on the chamois over the slot,
   which
   >acted as
   >a track to guide the nail. When I began to study
   metallurgy and
   >the art
   >of cross-sectioning and polishing metals to view their
   >microstructure,
   >I expe

[LUTE] Re: De Visee

[magnus andersson]

   Dear collective wisdom,
   From what I have understood, it seems like manicure has been around
   since  at least 3200 BC, so I assume players like Piccinini, Corbetta
   (who we know had
   to cancel one of his concerts due to a broken nail- and still pay his
   fellow musicians from his own pocket!) and perhaps de Visée had found
   a way for them to get it to work without shredding and tearing their
   strings apart constantly, and - to quote Piccinini:

   "the one, and very important [thing] is to play neatly, and cleanly; In
   the manner that all small touches of the string may be schietto, like
   pearl[s]"
   /Magnus

   On Tuesday, May 7, 2019, 10:45:44 PM GMT+2, John Mardinly
wrote:
 Pure speculation. Where are the facts? Can anyone document good nail
 polishing techniques that may have been used centuries ago? I would
 love to see it. Techniques used to polish things from telescope
   lenses
 and mirrors to razors would not work well on fingernails. The chamois
 stropping technique used by Segovia because there was not much better
 in the mid 20th Century would be deemed laughable today among those
   who
 play with nails.
 A. John Mardinly, Ph.D., P.E.
 On May 7, 2019, at 4:48 AM, Yuval Dvoran
   <[1][1]yuval.dvo...@posteo.de>
 wrote:
 Hahahaha good point!
 To add something substantial to the discussion, I'd like to remember
 you that also plants exist which were used for thousands of years to
 polish wood (and maybe also fingernails), e.g. Equisetum
 ("Schachtelhalm" in German).Am 07.05.2019 13:31 schrieb jslute
 <[2][2]jsl...@cs.dartmouth.edu>:
   Dear All:
   Might I suggest that a culture sophisticated enough to build
   lutes and
   craft overwound strings could have figured out a way to file
   and
   polish
   their nails.
   Jim Stimson
   Sent from my Verizon, Samsung Galaxy smartphone
    Original message 
   From: John Mardinly <[3][3]john.mardi...@asu.edu>
   Date: 5/6/19 6:51 PM (GMT-05:00)
   To: Roland Hayes <[4][4]rha...@legalaidbuffalo.org>
   Cc: Lute List <[5][5]lute@cs.dartmouth.edu>
   Subject: [LUTE] Re: De Visee
   More lacking than glue-on-nails might have been some of the
   modern
   files and abrasives used to polish the nails. Badly prepared
   nails give
   a terrible result for both sound and playability. My teacher
   back
   in
   1965 had studied with Segovia, and showed me how Segovia
   prepared
   his
   nails: after some filing, he used a wooden block with a saw-cut
   slot in
   it and a piece of chamois wrapped around the wooden block. The
   nail was
   then rubbed back and forth on the chamois over the slot, which
   acted as
   a track to guide the nail. When I began to study metallurgy and
   the art
   of cross-sectioning and polishing metals to view their
   microstructure,
   I experienced a revolution in materials to polish the nails
   that
   were
   quickly adopted by many people playing with nails.
   A. John Mardinly, Ph.D., P.E.
   > On May 6, 2019, at 3:34 PM, Roland Hayes
   <[6][6]rha...@legalaidbuffalo.org>
   wrote:
   >
   >  Do we think he played with nails? Lutenists did not as I
   understand,
   >  but
   >
   >  I have always thought his lute pieces were merely
   arrangements of
   >  guitar/theorbo pieces. For those instruments we can
   establish
   the
   use
   >  of nails.
   >
   >  And if deVisee played guitar with nails, then he most likely
   played
   >  theorbo with nails as well. Yes? Glue on nails had yet to
   arrive on
   the
   >  scene.
   >
   >  Get [1]Outlook for Android
   >
   >  This message is intended only for the use of the individual
   or
   entity
   >  to which it is addressed, and may contain information that
   is
   >  privileged, confidential and exempt from disclosure under
   applicable
   >  law. If the reader of this message is not the intended
   recipient,
   or
   >  the employee or agent responsible for delivering the message
   to the
   >  intended recipient, you are hereby notified that any
   dissemination,
   >  distribution, or copying of this communication is strictly
   prohibited.
   >  If you have received this communication in error, please
   notify us
   >  immediately by telephone and return the original message to
   us at
   >  [7][7]i...@legalaidbuffalo.org --
   >
   > References
   >
   >  1.

   

[LUTE] Re: Reymann

[magnus andersson]

   Dear Tristan,

   I have played some Reymann in concert. His Noctes collection is indeed
   one of the finest collections of lute music that's come down to us.

   His galliardas are among the the most virtuouso pieces in the whole
   repertoire.

   He must have been a very accomplished musician!

   I hope to record some of his music in the future. His Cythara sacra is
   a great pendant to Noctes. Much more meditative and less technically
   demanding.

   Best,

   Magnus
   [1]Skickat från Yahoo Mail för iPhone

   Den fredag, april 26, 2019, 10:29 em, skrev Tristan von Neumann
   :

   Just got my hands on Noctes Musicae 1598 by Matthaeus Reymann.

   Has anyone played it?

   I am amazed that there is absolutely no recording of this amazing very

   original music.

   The collection has huge choral and other fantasies with lots of great

   ideas, and especially pavans that rival the fantastic treatment of

   Daniel Batchelar's - these aren't dances anymore, but fantasies ordered

   by the pavan model.

   The best thing: the difficulty is not that high compared to the effect:

   the fingering is very logical and doesn't distract from the beauty of

   the pieces.

   Huge recommendation.

   To get on or off this list see list information at

   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. https://overview.mail.yahoo.com/?.src=iOS
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: theorbo repertoire

[magnus andersson]

   Dear Roman,

   Not true :)
   On the top of my head:
   Bartolotti in A- Wn 17706 ( e minor)
   De Visée in Saizenay ( b minor and e minor)
   [1]Skickat från Yahoo Mail för iPhone

   Den fredag, april 19, 2019, 10:12 em, skrev Roman Turovsky
   :

   A question to the collective wisdom:

   Someone mentioned to me that there are practically no surviving solo

   theorbo pieces in e-minor or b-minor.

   Is that true?

   RT

   To get on or off this list see list information at

   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. https://overview.mail.yahoo.com/?.src=iOS
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: right hand technique -- bending the pinky

[magnus andersson]

   Dear all,
   Just a short note on my experience of the German theorbo.
   Weiss states in his letters to Mattheson that the instrument has the
   same size as the Italian theorbo,
   and that it ´s unsuitable for galanterie (solo) pieces. Andreas
   Schlegel has listed four surviving instruments
   which are suitable candidates. Three of them have a string length over
   85 cm for the petit jeu, and three of them
   a diapason length over 160 cm. Thus I render the possibility to have
   them double strung throughout rather impossible.
   This goes - as Danny has already pointed out- hand in hand with the
   description of this instrument from Baron- double fretboard strings (as
   opposed to the old ones who were usually single, according to Baron)
   and single basses.
   My instrument (after Schelle, Nuremberg) is 85/170, and I can assure
   you that trying to play solo music on this ( which would have to be
   modern arrangements, since no solo music was ever written for this
   theorbo ) is indeed nonsense.
   It is 100% a continuo instrument.
   The only solo stuff one could play would be the obligato orchestral
   parts written by Hasse, Heinichen and Gebel, but these are all very
   different from lute solo repertoire from this time. The size, but also
   the sound (which Weiss states as harsh and rude since often played with
   nails) is apt and works wonderful in big halls, but for the chamber,
   the klangfarbe isn ´t exactly sweet...
   To give you an impression, here is a clip when a German theorbo is
   played, with nails, in a big concert hall with orchestra (Akademie für
   alte Musik, Berlin).
   [1]Akademie für Alte Musik Berlin na festivalu Pražské jaro

[youtube.png]

  Akademie für Alte Musik Berlin na festivalu Pražské jaro

 Koncert nÄmeckého komornÃho orchestru Akademie für Alte Musik Berlin
  svou dramaturgii stavà na hudbÄ pÅedstavite...

   And a visit to Andi Schlegel ´s website (in German) is always also
   highly recommendable:
   [2]http://www.accordsnouveaux.ch/de/Instrumente/DtTheorbe/DtTheorbe.htm
   l
   Best,
   Magnus

   On Tuesday, March 12, 2019, 11:15:04 PM GMT+1, 
   wrote:
 Maciej Konczak plays one,
 as heard here -
 [1][3]https://youtu.be/H7KrfGtV1jg
 RT
 
 [2][4]http://turovsky.org
 Feci quod potui. Faciant meliora potentes.
 On Mar 12, 2019, at 1:09 PM, Daniel Shoskes
   <[3][5]kidneykut...@gmail.com>
 wrote:
 It's a d minor tuned "German theorbo" so the double courses in the
 treble feel comfortable and familiar as any Jauck lute. I've tried
   the
 basses single strung (as mentioned by Baron) and with the octaves and
 do like the double strung octaves better. Played near the bridge I
 don't feel a loss of volume with the octaves. Again, a very niche
 instrument played by only a few enthusiasts around the world (Hoppy,
 Benjamin Narvey and Magnus Andersson I believe).
 Danny
   On Mar 12, 2019, at 11:58 AM, Martin Shepherd
   <[4][6]mar...@luteshop.co.uk> wrote:
   Hi Danny,
   I'd forgotten about that awful bent wrist many guitarists have  -
   it
   makes mine hurt just to think about it!
   How do you find the double strung theorbo?  I made one a couple of
   years ago (88cm on the petit jeu) and was surprised by the sound
   and
   feel.  It was more lutelike of course, but the sound was
   surprisingly metallic, especially when played with the thumb out
   and
   near the bridge.  Historically, even the biggest instruments were
   usually double strung - I wonder what a 99cm one would be like?
   All the best,
   Martin
   On 12/03/2019 14:15, Daniel Shoskes wrote:
   Martin: I see no contradiction between being genuinely interested
   in
   what historical lutes sounded like and how they were played and my
   comments below which agree with Besard that if your hand canââ¬â¢t
   physically achieve the ideal position, you can make adjustments.
   The
   classical guitar comment referred to how I played CG in my youth
   with the thumb out and the wrist internally rotated, a position
   that
   I can no longer sustain on the CG and which I agree is not
   synonymous with thumb out lute technique. I do agree that as more
   players experiment with thumb out while also trying to replicate
   what we know or suspect about distance from the bridge and gut
   string tension that it may change how we hear and interpret the
   music.
   You might be pleased to know however that my theorbo is double
   strung in gut!
   Danny
   On Mar 12, 2019, at 8:44 AM, Martin Shepherd
   <[5][7]mar...@luteshop.co.uk> wrote:
   I'm genuinely interested in what historical lutes sounded like and
   how they were played, so I'm not so interested in a &q

[LUTE] Re: right hand technique -- bending the pinky

[magnus andersson]

   "Besard's treatise is a bit puzzling because he first instructs his
   readers to use a thumb-out technique (except when one has a short
   thumb, as Martin has already written), but later describes thumb-index
   alteration for diminutions, except when the bass is too active."
   I don ´t see any reason for enpuzzlement here, thumb-index alteration
   can work great with the thumb stretched out.
   A question out of curiosity: I recall having looked through quite a few
   of the iconographic sources a while ago, and
   to my surprise I can ´t remember seeing that the thumb-inside technique
   was being used on any instruments with 7 or more courses. Anyone out
   there who can provide any paintings that proves that assumption wrong?
   Is it true that thumb-out on 6 courses seem to have been more common
   than thumb-in on 7c (or more courses), if we only look at the
   iconographic material?
   Best wishes,
   Magnus

   On Monday, March 11, 2019, 10:12:41 PM GMT+1, Joachim Lüdtke
wrote:
   Well, Vallet states that if one finds a single dot beneath a
   â(tablature) letter, it is to be plucked with the first finger. Two
   small lines mean the second finger, and if there is none of these, the
   thumb plays the course. There is a lot of music in in Paradisus Musicus
   Testudinis which is without the signs for the second finger, but I do
   not think that this means it is to be played thumb under, and only
   those pieces which have the sign for the second finger are to be played
   thumb out. ;)
   Besard's treatise is a bit puzzling because he first instructs his
   readers to use a thumb-out technique (except when one has a short
   thumb, as Martin has already written), but later describes thumb-index
   alteration for diminutions, except when the bass is too active.
   In the englished version in Varietie of Lute Lessons, the passages are
   C verso and C2 recto.
   Dear Ron,
   I will look this up in the sources when I am back home on Sunday, but I
   think Martin is right.
   Best
   Joachim
   P.S. You are right too, concerning historical playing technique vs what
   a lot of us do today, but I would not insist on 1600 as the point from
   whence they didn't underthumb their scales anymore
   Gesendet von meinem BlackBerry 10-Smartphone.
 Originalnachricht
   Von: Ron Andrico
   Gesendet: Mittwoch, 6. März 2019 13:59
   An: Martin Shepherd; Lute List
   Antwort an: [1]lute-...@cs.dartmouth.edu
   Betreff: [LUTE] Re: right hand technique -- bending the pinky
 Perhaps the mis-remembered quotation is a conflation of Besard and
 Vallet, who recommended thumb-index for fast passages.  Nevertheless,
 music from around 1600 forward in time should be played with the
   thumb
 out if we are to follow the written advice and the iconography.  I
 still see far too may baroque lute and theorbo players using
 thumb-under, which is patently absurd given both the historical
 precedent and the physical layout of extended bass instruments.
   Isn't
 it about time lute players moved forward from the guitarist versus
 lutenist nonsense from the 1970s and played according to actual
 historical examples?
   __
 From: [2]lute-...@cs.dartmouth.edu <[3]lute-...@cs.dartmouth.edu> on
   behalf
 of Martin Shepherd <[4]mar...@luteshop.co.uk>
 Sent: Wednesday, March 6, 2019 8:23 AM
 To: Lute List
 Subject: [LUTE] Re: right hand technique -- bending the pinky
 Dear All,
 Just from memory - Besard insists on thumb-out technique as being the
 best, but allows that people with short thumbs may find thumb-inside
 easier.  I find it inconceivable that he would change hand position
 during a piece, and see no reason why you should not use thumb-index
 alternation in fast runs with thumb out - flamenco guitarists do it
   all
 the time.
 The fingering dots in the ML lute book (c.1640) give an interesting
 indication of this.  In Dowland's fantasia (Poulton 1, ML ff.14v-15r)
 all runs are marked to be played middle-index, except where a running
 passage has infrequent bass notes (f.15, second system) which have no
 double dots (meaning middle), so presumably to be be played
 thumb-index.  Once the bass notes become more frequent (and the speed
 of the treble movement stays the same, 3rd and 4th systems) the
 middle-index alternation returns.  Then a fast cadential formula (end
 of
 system 5) lacks any double dots and is therefore thumb-index.
 I'm sure there are many other examples like this.  Nigel North's
   recent
 talk at the Lute Society gave many interesting examples of RH
 fingerings.
 Martin
 On 06/03/2019 08:06, [5]jo.lued...@t-online.de wrote:
 > Sorry: 'original', naturally!
 >
 > Gesendet von meinem BlackBerry 10-Smartphone.
 >Originalnachricht
 > Von: 

[LUTE] Sv: Re: right hand technique -- bending the pinky

[magnus andersson]

   I think we have plenty of evidence to support the use of fingernails at
   least for archlutes and theorboes...

   Piccinini, Silvius Weiss and Mace are three figures that give testimony
   to this practice, the latter two although not necessarily in favour of
   it.
   [1]Skickat från Yahoo Mail för iPhone

   Den onsdag, mars 6, 2019, 9:16 em, skrev Lex Eisenhardt
   :

 Almost no nails?

 L

 Van: Roland Hayes [[1]mailto:[2]rha...@legalaidbuffalo.org]

 Verzonden: woensdag 6 maart 2019 21:02

 Aan: lex.eisenhardt <[2][3]lex.eisenha...@gmail.com>

 Onderwerp: Re: [LUTE] Re: right hand technique -- bending the pinky

 I would add "almost"

 Get [3]Outlook for Android


   _

 From: [4][4]lute-...@cs.dartmouth.edu
   <[5][5]lute-...@cs.dartmouth.edu> on

 behalf of lex.eisenhardt <[6][6]lex.eisenha...@gmail.com>

 Sent: Wednesday, March 6, 2019 2:37:05 PM

 To: Ron Andrico; Lute List

 Subject: [LUTE] Re: right hand technique -- bending the pinky

 No nails? On the theorbo?

 Lex

 Verzonden vanaf mijn Samsung Galaxy-smartphone.

  Oorspronkelijk bericht 

 Van: Ron Andrico <[7][7]praelu...@hotmail.com>

 Datum: 06-03-19 20:30 (GMT+01:00)

 Aan: Lute List <[8][8]lute@cs.dartmouth.edu>

 Onderwerp: [LUTE] Re: right hand technique -- bending the pinky

   Thank you Martyn.  It's about time we all sorted out this
   popular

   misconception.  I have encountered several classical guitarists

 who

   still think their right hand position must be completely
   altered

 to

   play lute, and it's a surprise to them when I say that their
   hand

   position is probably optimal for baroque lute and theorbo -

 perhaps

   minus the nails.

   RA

 __

   From: [9][9]lute-...@cs.dartmouth.edu

 <[10][10]lute-...@cs.dartmouth.edu> on

 behalf

   of Martyn Hodgson <[11][11]hodgsonmar...@cs.dartmouth.edu>

   Sent: Wednesday, March 6, 2019 3:55 PM

   To: Lute List; Ron Andrico

   Subject: [LUTE] Re: right hand technique -- bending the pinky

   Indeed.  I well recall Eph Segerman remarking several years

 ago

 that

   the obsession with thumb-under was, and for many remains,
   an

 attempt

   by

   some modern lutenists to distance themselves from the hated

   classical

   guitar which, ironically, many had started out on!

   As you say Ron, the evidence is very clear

   MH

   On Wednesday, 6 March 2019, 13:08:10 GMT, Ron Andrico

   <[12][12]praelu...@hotmail.com> wrote:

 Perhaps the mis-remembered quotation is a conflation of

 Besard

 and

 Vallet, who recommended thumb-index for fast passages.

   Nevertheless,

 music from around 1600 forward in time should be played
   with

 the

   thumb

 out if we are to follow the written advice and the

 iconography.  I

 still see far too may baroque lute and theorbo players
   using

 thumb-under, which is patently absurd given both the

 historical

 precedent and the physical layout of extended bass

 instruments.

   Isn't

 it about time lute players moved forward from the
   guitarist

 versus

 lutenist nonsense from the 1970s and played according to

 actual

 historical examples?

 __

 From: [1][13][13]lute-...@cs.dartmouth.edu

 <[2][14][14]lute-...@cs.dartmouth.edu>

   on

   behalf

 of Martin Shepherd <[3][15][15]mar...@luteshop.co.uk>

 Sent: Wednesday, March 6, 2019 8:23 AM

 To: Lute List

 Subject: [LUTE] Re: right hand technique -- bending the

 pinky

 Dear All,

 Just from memory - Besard insists on thumb-out technique
   as

 being

   the

 best, but allows that people with short thumbs may find

   thumb-inside

 easier.  I find it inconceivable that he would change
   hand

   position

 during a piece, and see no reason why you should not use

   thumb-index

 alternation in fast runs with thumb out - flamenco

 guitarists

 do

   it

   all

 the time.

 The fingering dots in the ML lute book 

[LUTE] Re: The awful German language

[magnus andersson]

   Dear Greet,
   I can only agree. It ´s a great read and imho a must for anyone
   interested in Gregory Huwet and his
   doings in Germany. A highly recommendable book!
   Best,
   Magnus
   On Monday, September 10, 2018, 6:44:49 PM GMT+2, Greet Schamp
wrote:
 Dear all,
 Anyhow the book is quite interesting IMHO, especially for the links
 between the Wolfenbuttel court and the Netherlands  as Sigrid Wirth
 explained it in English during her lecture at the Utrecht Lute
 Festival.
 Greet
 Op zo 9 sep. 2018 om 16:44 schreef David Van Edwards
 <[1][1]da...@vanedwards.co.uk>:
   Dear Rainer,
   Now all is revealed, I've long loved this reading
   of the Mark Twain essay of the same name and now
   I see that it is read by one Rainer! Could it be
   you?
   [2][2]https://librivox.org/the-awful-german-language-by-mark-twain/
   Best wishes,
   David
   At 15:05 +0200 9/9/18, Rainer wrote:
   >From the description of a new book about lute music at the
   Wolfenbà ¼ttel court:
   >
   >Im Sinne des sog. spatial turn werden Bedeutungszumessungen an
   soziale,
   >physische und virtuelle RÃ ¤ume erschlossen und die mit der
   rà ¤umlichen
   >Differenzierung einhergehende à ¤sthetische Schichtung der am Hof
   geschehenden
   >musikalischen Handlungen untersucht. Der Resonanzraum der Laute
   bezeichnet
   >hierbei den vom Hof ausgehenden und auf ihn zurà ¼ckwirkenden
   lautenbezogenen
   >interaktiven Beziehungs-, Handlungs- und Bedeutungsraum. Erstmals
   werden hier
   >Vermittlung und Einsatz von Musik und Lauteninstrumenten in
   Schulen
   und der
   >Università ¤t Helmstedt, innerhalb der herzoglichen Familie und im
   Spiegel der
   >literarischen Werke des Herzogs Heinrich Julius untersucht sowie
   John
   >Dowlands Besuch in Wolfenbà ¼ttel im regionalen Kontext
   dargestellt.
   Die Hof-
   >und Hofkapell-Lautenisten werden in ihrer Rolle als
   kulturell-musikalisch
   >Handelnde sowohl in der Hofkapelle als auch innerhalb des exklusiv
   durch sie
   >besetzten Raumes in unmittelbarer Herrschernà ¤he betrachtet.
   Darà ¼ber hinaus
   >verdeutlicht die Analyse musikalischer Ausgestaltung bedeutender
   >Wolfenbà ¼tteler Hoffeste der betrachteten Zeitspanne die
   wirkungsvolle Nutzung
   >einer Fà ¼lle akustisch-musikalischer Elemente und trà ¤gt
   vielfà ¤ltige neue
   >Erkenntnisse bei.
   >
   >Note: It really does not matter if you speak
   >German or not - you won't understand a single
   >word.
   >Almost as clear as Hegel...
   >
   >Rainer
   >
   >
   >
   >To get on or off this list see list information at
   >[3][3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --
   The Smokehouse,
   6 Whitwell Road,
   Norwich,  NR1 4HB
   England.
   Telephone: + 44 (0)1603 629899
   Website: [4][4]http://www.vanedwards.co.uk
 --
   References
 1. mailto:[5]da...@vanedwards.co.uk
 2. [6]https://librivox.org/the-awful-german-language-by-mark-twain/
 3. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 4. [8]http://www.vanedwards.co.uk/

   --

References

   1. mailto:da...@vanedwards.co.uk
   2. https://librivox.org/the-awful-german-language-by-mark-twain/
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   4. http://www.vanedwards.co.uk/
   5. mailto:da...@vanedwards.co.uk
   6. https://librivox.org/the-awful-german-language-by-mark-twain/
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   8. http://www.vanedwards.co.uk/

[LUTE] Re: original sound with original pitch

[magnus andersson]

   I think an even lower pitch was used in Rome in Corelli ´s time,
   382-386 hz.
   I have that box with you David on the archlute, it ´s a wonderful
   recording, and your lute (playing) sounds great.
   Just a shame that the director of the ensemble went for cello AND
   lute/theorbo
   on so many pieces (which pretty much seems to be standard since the
   1980 ´s, but not in the 1680 ´s),
   I ´d rather have had one of you at a time...
   M
   On Monday, July 9, 2018, 8:58:56 AM GMT+2, Martin Shepherd
wrote:
   The surviving Roman archlutes of Corelli's day have string lengths
   typically in the 70s - impossible to tune to our "standard" of 415.
   Even smaller Italian continuo archlutes have string lengths in the
   region of 67cm, also impossible (with gut strings) to tune to 415.
   If we had to settle on a standard pitch, it should have been 392.
   Best to all,
   Martin
   On 08/07/2018 23:12, Dieter Schmidt wrote:
   >I just heard a concert with Corelli Sonatas. I was surprised that
   in
   >the continuo group there was a lute player with a (swanneck)
   baroque
   >lute. When the concert was finished I went to ask him. That ist
   what he
   >told me:
   >He takes the baroque lute because of the pitch (415 Hz ) they are
   >playing. With this high pitch he doesn't like the sound of an
   archlute.
   >For that reason he plays his part on a baroque lute.The original
   >Corelli musicians were using a pitch 2 halftones lower.
   >
   >Now I am wondering if it wasn't better to play the sonatas in the
   >original pitch to hear the intended sound.
   >
   >Many thanks for helping in my considerations
   >Dieter
   >
   >
   > To get on or off this list see list information at
   > [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   ---
   This email has been checked for viruses by Avast antivirus software.
   [2]https://www.avast.com/antivirus

   --

References

   1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   2. https://www.avast.com/antivirus

[LUTE] Experiences with double strung theorbo

[magnus andersson]

   Dear Lute netters,
   as some of you might recall I recently decided to get a new instrument.
   My first idea was to have a copy made of the Sellas E 545 theorbo in
   Paris,
   but since my principal aim with this instrument was to use it for Basso
   Continuo,
   I discussed with my lute maker Lars Jönsson to use a bigger body than
   the Sellas original,
   with less frets (8 tied gut frets + 2 body frets) but hopefully more
   sound. We went for one of the biggest bodies
   out there, a Buechenberg model, but we kept the exact dimensions and
   string setups
   from the E 545, i.e. 6x2 @ 890mm for the fingerboard, and 8x2 @1300mm
   for the diapasons.
   I ´ve only had it for a month, but already have had the opportunity to
   use it in concert a couple of times.
   My experiences so far (these are all of course personal, and in
   comparison with my previous theorbo, which was a Tiffenbrucker 870/1650
   by the same maker), in these first steps in trying to learn to play
   this new therbo, can be summarized:
   It takes longer to tune it than a single strung instrument, but when
   tuned it is just as stable
   It is not quieter because of the double courses
   It has a very penetrating sound quality
   One must be much more careful in hitting the strings vertically with
   the left hand to avoid inconsistencies in intonation
   The ability to intonate a plucked note with alteration of the left hand
   pressure and l.h. horizontal movement is improved
   Playing long slurred tirades is more tiring than on a single strung
   theorbo
   890 mm feels big with double courses, but even with my relatively small
   hands, is no problem.
   The right hand thumb needs more than 4 weeks to find its way around in
   the basses...
   To illustrate this, the Bavarian Cultural radio funnily enough recorded
   a concert 10 days ago, which can be viewed
   here: [1]Die lange Nacht der Alten Musik: Ensemble CONTINUUM |
   BR-Klassik
   two examples (if you want to spare yourself Käptn Peng, David Foster
   Wallace and Kate Tempest arrangements)
   at 2:10 there is the second toccata from Kapsperger ´s first chitarrone
   print
   at 29.15 the Crucifixion sonata by H I F Biber

  Die lange Nacht der Alten Musik: Ensemble CONTINUUM | BR-Klassik

Bayerischer Rundfunk

   Best wishes,
   Magnus Andersson

   --

References

   Visible links
   1. https://www.br-klassik.de/concert/ausstrahlung-1418078.html

   Hidden links:
   3. https://www.br-klassik.de/concert/ausstrahlung-1418078.html


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[LUTE] Re: [Le_luth] Baroque Lute Ms Lublin Ms 1985

[magnus andersson]

   Thanks very much Richard, this is great news!
   The pieces (Prelude et Gigue?) look very much as for theorbo.
   At the end of the book it ´s written that the owner? of the book, on
   the 7th of February has rented? a lute, and
   then is to pay Mr. Gallot for 4 months and for the setup of the lute
   and strings. Perhaps a French native can
   help us with a proper translation of the complete passage?
   Best,
   Magnus
   On Thursday, April 12, 2018, 10:21:16 PM GMT+2, Richard Corran
   richard.cor...@btinternet.com [Le_luth] 
   wrote:

   A digital version of this manuscript has been put online by the
   Library:-
   http://bc.wbp.lublin.pl/dlibra/docmetadata?id=25820==1_
   id==1=
   If the link doesn't work, then follow the trail:-
   bc.wpb.liblin.pl - Bibliotheka Cyfrowa ( a button on the home page) -
   and look for the title "Zbiór taÅców salonowych". You can either view
   on-line or download the whole ms. I think it's nearly all for 11 course
   d minor tuned lute, but there are two pieces on f.. 43v and 44r which
   look like theorbo to me.
   Many thanks to the library!
   Richard Corran
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References

   1. 
https://fr.groups.yahoo.com/neo/groups/Le_luth/conversations/messages/19170;_ylc=X3oDMTJybWFzcTd2BF9TAzk3NDkwNDY4BGdycElkAzE2MTg5MzE0BGdycHNwSWQDMjEyMzgwMTYxNARtc2dJZAMxOTE3MARzZWMDZnRyBHNsawNycGx5BHN0aW1lAzE1MjM1NjQ0Mzc-?act=reply=19170
   2. mailto:richard.cor...@btinternet.com?subject=Re : Baroque Lute Ms Lublin 
Ms 1985
   3. mailto:le_l...@yahoogroupes.fr?subject=Re : Baroque Lute Ms Lublin Ms 1985
   4. 
https://fr.groups.yahoo.com/neo/groups/Le_luth/conversations/newtopic;_ylc=X3oDMTJmNzYzazJyBF9TAzk3NDkwNDY4BGdycElkAzE2MTg5MzE0BGdycHNwSWQDMjEyMzgwMTYxNARzZWMDZnRyBHNsawNudHBjBHN0aW1lAzE1MjM1NjQ0Mzc-
   5. 
https://fr.groups.yahoo.com/neo/groups/Le_luth/conversations/topics/19170;_ylc=X3oDMTM3bHA0bHVpBF9TAzk3NDkwNDY4BGdycElkAzE2MTg5MzE0BGdycHNwSWQDMjEyMzgwMTYxNARtc2dJZAMxOTE3MARzZWMDZnRyBHNsawN2dHBjBHN0aW1lAzE1MjM1NjQ0MzcEdHBjSWQDMTkxNzA-
   6. 
https://fr.groups.yahoo.com/neo/groups/Le_luth/info;_ylc=X3oDMTJmamp2b2tzBF9TAzk3NDkwNDY4BGdycElkAzE2MTg5MzE0BGdycHNwSWQDMjEyMzgwMTYxNARzZWMDdnRsBHNsawN2Z2hwBHN0aW1lAzE1MjM1NjQ0Mzc-
   7. 
https://fr.groups.yahoo.com/neo;_ylc=X3oDMTJlMGFwNGoxBF9TAzk3NDkwNDY4BGdycElkAzE2MTg5MzE0BGdycHNwSWQDMjEyMzgwMTYxNARzZWMDZnRyBHNsawNnZnAEc3RpbWUDMTUyMzU2NDQzNw--
   8. https://info.yahoo.com/privacy/fr/yahoo/groups/details.html
   9. mailto:le_luth-desabonnem...@yahoogroupes.fr?subject=Désinscription
  10. https://info.yahoo.com/legal/fr/yahoo/utos/terms/


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[LUTE] Re: Betrachte meine Seel

[magnus andersson]

   Dear David, dear lute list,
   I completely agree that the passions seem to be for (baroque) lutes. I
   always play the passions with "liuto".
   I find the low E or E flat work smoother in the higher octave so I
   usually put it up an octave. And when playing it on
   a swan neck lute, the possibility to play the low E/E flat is no more a
   possibility :)
   The theorbo was used in Saxony - at least in Dresden- throughout the
   18th century. To say that it went out with Hasse
   would be implying that Weiss was out of continuo work in the opera upon
   Hasse ´s arrival, which isn ´t true.
   Timothy Burris has shown that surviving theorbo part books in Hasse ´s
   operas are extant between 1731 and 1749.
   After Weiss ´ death, his son continued to play the theorbo in Dresden.
   And Kropfgans was part of the orchestra in Leipzig, listed as lutenist.
   Whether he played the lute, or the theorbo, I dare not say.
   Best,
   Magnus
   On Monday, March 19, 2018, 9:43:59 PM GMT+1, David van Ooijen
    wrote:
 I always understood bwv198 to be for two
 mandora/collascione/gallicon/whateverthename/seeTelemann scores for a
 good name and comparable use, but the obligato parts in Matthew and
 John to be for b-lute. Makes sense when you look at the parts.
 David
 On Mon, 19 Mar 2018 at 21:22, Stephan Olbertz
 <[1][1]stephan.olbe...@web.de> wrote:
   Yes, so it should read
   "the part was [very probable] not conceived for archlute but rather
   [the baroque lute, or possibly even] the mandora [although we have
   no evidence for the mandora to be used as an obbligato instrument
   in
   Saxony]"
   Regards
   Stephan
   -Ursprà ¼ngliche Nachricht-
   Von: [2][2]lute-...@cs.dartmouth.edu
   [mailto:[3][3]lute-...@cs.dartmouth.edu] Im Auftrag von Howard
   Posner
   Gesendet: Montag, 19. MÃ ¤rz 2018 20:39
   Cc: [4][4]lute@cs.dartmouth.edu
   Betreff: [LUTE] Re: Betrachte meine Seel
   The only evidence available about Leipzig in the early 1700s is
   that
   the mandora/gallichon was the commonly used lute continuo
   instrument.  Bach's predecessor as thomaschule cantor, johann
   kuhnau, asked the town council for money to buy a couple of them so
   he wouldn't have to keep borrowing them.  Somebody, probably mr.
   Hodgson, has pointed out secondary sources that say the request was
   granted, though the sources on which they rely aren't clear on the
   point.
   Is anyone aware of evidence for archlutes in 18th-century Saxony?
   Sent from my iPhone
   > On Mar 19, 2018, at 12:07, Stephan Olbertz
   <[5][5]stephan.olbe...@web.de> wrote:
   >
   > Ron,
   >
   > " the part was not conceived for
   >archlute but rather the mandora or one of its namesakes"
   >
   > Do you have any evidence for this?  (As I am sure Martyn would
   ask...)
   >
   > Regards
   > Stephan
   >
   >
   >
   > -Ursprà ¼ngliche Nachricht-
   > Von: [6][6]lute-...@cs.dartmouth.edu
   [mailto:[7][7]lute-...@cs.dartmouth.edu] Im
   > Auftrag von Ron Andrico
   > Gesendet: Montag, 19. MÃ ¤rz 2018 19:15
   > An: Eloy Cruz; [8][8]Lute@cs.dartmouth.edu
   > Betreff: [LUTE] Re: Betrachte meine Seel
   >
   >Playing the bass along with Bach's figuration is a minor
   challenge but
   >it's entirely possible with a fingered F-sharp and E-natural.
   As I am
   >sure Martyn Hodgson will point out, the part was not conceived
   for
   >archlute but rather the mandora or one of its namesakes.  I
   understand
   >that the Italian archlute as we know it was not likely to be
   present in
   >Bach's Germany.
   >
   >RA
   >
   __
   >
   >
   >
   >
   >
   To get on or off this list see list information at
   [9][9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 --
 ***
 David van Ooijen
 [10][10]davidvanooi...@gmail.com
 [11]www.davidvanooijen.nl
 ***
 --
   References
 1. mailto:[11]stephan.olbe...@web.de
 2. mailto:[12]lute-...@cs.dartmouth.edu
 3. mailto:[13]lute-...@cs.dartmouth.edu
 4. mailto:[14]lute@cs.dartmouth.edu
 5. mailto:[15]stephan.olbe...@web.de
 6. mailto:[16]lute-...@cs.dartmouth.edu
 7. mailto:[17]lute-...@cs.dartmouth.edu
 8. mailto:[18]Lute@cs.dartmouth.edu
 9. [19]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 10. mailto:[20]davidvanooi...@gmail.com
 11. [21]http://www.davidvanooijen.nl/

   --

References

   1. mailto:stephan.olbe...@web.de
   2. mailto:lute-...@cs.dartmouth.edu
   3. mailto:lute-...@cs.dartmouth.edu
   4. 

[LUTE] Re: German song questions

[magnus andersson]

   This book is digitized. "Unser Magd..." can be found on page 265.
   [1]Altdeutsches Liederbuch: Volkslieder der Deutschen nach Wort und
   Weise aus dem 12. bis zum 17. Jahrhundert - Books on Google Play

[google.png]

 Altdeutsches Liederbuch: Volkslieder der Deutschen nach Wort und Weise a...

null

   On Thursday, February 8, 2018, 9:56:42 AM GMT+1, Rainer
    wrote:
   Dear Robert,
   I understand that "Unser Magdt kan aussdermassen" is the same tune as
   "Unsere Köchin...".
   According to Brown it should be discussed in Böhme: "Altdeutsches
   Liederbuch : Volkslieder der Deutschen nach Wort und Weise aus dem 12.
   bis zum 17. Jahrhundert"
   Best wishes,
   Rainer aus dem Spring
   PS
   If you can't access this book I might go to the University library in
   Duesseldorf - they have two copies.
   On 08.02.2018 00:03, Robert Barto wrote:
   >Hi all,
   >
   >Some of the easiest pieces in early German tab books are:
   >
   >Hast du mich genommen (Madonna Katerina) and  Unsere Koechin kann
   aus
   >der massen kochen
   >
   >Does anyone have the texts or know more about  these songs? (I
   have the
   >first two volumes of Forster and have
   >
   >looked in a few other collections on IMSLP , but haven't found
   them.)
   >
   >Thanks, Robert
   >
   >Virenfrei. [1]www.avast.com
   >
   >--
   >
   > References
   >
   >Visible links
   >1.
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   >
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References

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[LUTE] Re: Cherbury lute book

[Magnus Andersson]

   On a personal note,
   I don ´t think I ´d   have been able to see the Dresden mss of Weiss
   last year hadn ´t it been for
   a personal connection at the SLUB. It was so interesting to see letters
   in the tablature that have
   gone missing in the scanning process.
   I had the same luck when a friend of mine knew the staff at the library
   in Florence and
   I was able to study the lute mss in the Magliabechiana collections.
   What a treasure.
   And- I would also get the Herbert book if it were to be published. I
   find it much easier
   to get an overview of the actual ms when I have it as a book in front
   of me.
   Magnus

   On Wed, Jan 31, 2018 at 11:20 PM, Peter Danner
   <[1]peter...@new-old-mail.cs.dartmouth.edu> wrote:

 Arthur's comment on the answer Bob Spencer got from the FWM
 librarian about the Cherbury manuscript reminds me of my own
 experience at the Fitzwilliam when my wife, daughter and I visited
 Cambridge in 1978. I had casually popped into the Fitzwilliam
 (around the corner from our hotel) one afternoon while the family
 was elsewhere. I may have gone in there simply to get out of the
 rain.
 I found the Cherbury to be on display as part of a special exhibit
 the museum was holding, and the director must have noticed me eying
 it keenly when he happened to pass through the room. He asked why it
 so drew my interest, and I must have given the right answers,
 because he drew a set of keys from his pocket and withdrew it for me
 to examine more closely at a nearby table. I was only asked to put
 on gloves. I probably did nothing more than look for variations in
 the handwriting. It was only a quick look, but a thrill none the
 same.
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:peter...@new-old-mail.cs.dartmouth.edu
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: A stringing question for Sellas E. 545

[Magnus Andersson]

   Thanks Martyn,
   the problem that arised was to find strings long enough at this
   thinness. But a few string makers that I ´ve contacted can supply them
   in 1,5, 2,4 or 3 meters even though it ´s not part of their
   "regular" catalogue. But yes- I also believe that the Puget painting
   shows that double stringed diapasons on longer necked lutes did exist-
   he ´s so detailed
   in his work that we can see the different colours of the long strings.
   The first 7 courses are all in unison, and beginning wit the first long
   course (the 8th), the bass courses all have different colored strings.
   Best,
   Magnus

   On Tue, Dec 12, 2017 at 12:25 PM, Martyn Hodgson
   <[1]hodgsonmar...@yahoo.co.uk> wrote:

   Dear Magnus,
   I really don't see what the problem is: for a theorbo with doubled
   octave strung basses, if your highest pitched open 7th course bass
   octave is g (assuming a theorbo in nominal A), then for, say, a tension
   around 3.2KG (obviously less than if single strung) the diameter of a
   plain gut string of length 130cm is about 0.34mm.
   This size is readily available in gut and is, indeed, the sort of
   diameter required for the first course of a common renaissance lute (at
   nominal G). In short, the gut size available then, as now, for lute
   first course would have been equally available for the 7th course
   octave of the first bass of a short second necked theorbo.
   However, as Martin Shepherd points out, the present day state of this
   instrument may not be as it first left the maker's workshop.
   Longer basses may have been present originally.
   The famous Puget painting of Louis XIV's musicians (1687), sadly cuts
   off most of the theorbo upper peghead but one can do a bit of geometry
   and extend the strings upwards to a position where a reasonable
   seperation double course nut may be placed - on this basis   I roughly
   estimate a bass extension string length of the of 155 +/- 10, but this
   is, of course assuming Puget got it about right!
   MH
 __

   From: Magnus Andersson <[2]magnusl...@gmail.com>
   To: "[3]lute@cs.dartmouth.edu" <[4]lute@cs.dartmouth.edu>
   Sent: Monday, 11 December 2017, 16:26
   Subject: [LUTE] A stringing question for Sellas E. 545
 Dear collective wisdom,
 I wonder if you might be able to help me with finding
 proper strings for a theorbo I ´ve commissioned.
 The instrument is a theorbo by Sellas, 1640,
 today housed in Paris with the label E. 545.
 [1][5]http://collectionsdumusee.philharmoniedeparis.fr/doc/
   MUSEE/0161799
 It ´s quite a spectacular instrument with
 six double strings on the fretboard, at 890 mm,
 and then 8 double strings for the diapasons, at 1300 mm.
 It was probably shortened sometime from its original length
 into this present condition.
 The problem that arises is when one wants to string the upper courses
 of the diapasons. Here one needs very thin strings beginning with
 0.40-0.42
 for the high string of the 7th course Gg, at the string length of ca.
 1500 mm...
 Any ideas would be highly appreciated.
 Best wishes,
 Magnus Andersson
 --
   References
 1. [6]http://collectionsdumusee.philharmoniedeparis.fr/doc/
   MUSEE/0161799
   To get on or off this list see list information at
   [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:hodgsonmar...@yahoo.co.uk
   2. mailto:magnusl...@gmail.com
   3. mailto:lute@cs.dartmouth.edu
   4. mailto:lute@cs.dartmouth.edu
   5. http://collectionsdumusee.philharmoniedeparis.fr/doc/MUSEE/0161799
   6. http://collectionsdumusee.philharmoniedeparis.fr/doc/MUSEE/0161799
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: A stringing question for Sellas E. 545

[Magnus Andersson]

   Dear Miles-
   thanks, I don ´t know why I didn ´t think of that! It is a good idea.
   It ´ll sure be a lot of experimenting in the beginning to find
   the "perfect" setup for this instrument, but I ´m so eager to try it
   out!
   Magnus

   On Tue, Dec 12, 2017 at 6:34 PM, Miles Dempster
   <[1]miles.demps...@gmail.com> wrote:

 If I were to string-up Magnus' double-strung diapasons, I wouldn't
 bother with octaves on the 7th (and probably 8th) course. At that
 length (130cm) and pitch they will sound bright enough. - just
 string them in unisons.
 Miles

   > On Dec 12, 2017, at 8:21 AM, Martin Shepherd
   <[2]mar...@luteshop.co.uk> wrote:
   >
   > Sorry I didn't make myself clear.
   >
   > When thinking about English theorbo, I was thinking about the
   viability of the lowest basses (at say 130cm).   On a typical swan-neck
   lute, the lowest course would be tuned to AA at a likely pitch of
   around a'=392 and be perhaps 99cm long, so this might be a better
   comparison.   This comparison suggests that the 130cm bass on the
   theorbo would be fine.
   >
   > The other issue is whether the 7th course octave is too thin to be
   viable (I can imagine a diameter of about .70mm for the low octave, but
   that implies .35mm for the high octave).   I've temporarily lost my
   string calculator, but Martyn Hodgson's estimate of .34mm seems
   reasonable.   But .34mm is at least 20% thinner than the smallest
   diameter that we think the Old Ones could have made (we could be wrong
   about this, but even if such a string could be made it is hard to
   imagine it being any use for anything, as Matthew says).
   >
   > So it seems to me that Magnus' potential problem is how to string the
   upper octaves of the 7th (and also probably 8th) course.
   >
   > Martin
   >
   > ---
   > This email has been checked for viruses by Avast antivirus software.
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   >
   >
   >
   > To get on or off this list see list information at
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   --

References

   1. mailto:miles.demps...@gmail.com
   2. mailto:mar...@luteshop.co.uk
   3. https://www.avast.com/antivirus
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: A stringing question for Sellas E. 545

[Magnus Andersson]

   Dear Howard, Matthew, Martin and Mimmo,
   thanks very much for your insightful comments.
   As we all know, lutes and theorboes were rebuilt- I ´d not use the word
   mangle here- throughout the history.
   Samuel Pepys gives us an example on the 25th of October 1661:
   [1]"Home on foot very discontented, in my way I calling at the
   Instrument maker, Hunt ´s, and there saw my lute, which is now almost
   done, it being to have a new neck to it and to be made to double
   strings."
   To me- what we here with Sellas, is a theorbo that was rebuilt, into
   what Howard is implying, an instrument that ought
   to be played. If the original neck was broken and thus remade, or
   remade for musical reasons, we may not know.
   I think we can exclude the thought of it being a German theorbo. All
   surviving instruments that could ´ve
   been used as German theorboes have single bass strings throughout. Also
   Baron tells us that the fingerboard strings are double,
   but the long basses single. So even though the bridge is German, the
   tuning could very well have been the old "standard" tuning in G or A.
   1,3 m long basses would in my opinion not cut it with single strings
   (if we think of plain gut as the original string of choice) in terms of
   power- thus the necessity of octaves.
   If the theorbo would be tuned in 415hz, and in A, the first long string
   would give us a breaking index of 1.3 m x 185 hz = 240,5 m.hz.
   If tuned in 392 hz, 227,5 m.hz. How would this sound? I think (and
   hope!), majestic. Perhaps like the theorbo that the musician of Louis
   XIV holds
   in his hands, in the painting of François Puget...
   Best,
   Magnus
   â

   --

References

   1. http://www.pepysdiary.com/encyclopedia/1023/


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[LUTE] Re: A stringing question for Sellas E. 545

[Magnus Andersson]

   Hi all,
   sorry for the confusion!
   The diapasons are 1300 mm long,
   but I ´d need a bit more than that to be able to knot them properly.
   Best,
   Magnus

   On Mon, Dec 11, 2017 at 5:41 PM, howard posner
   <[1]howardpos...@ca.rr.com> wrote:

 > On Dec 11, 2017, at 8:23 AM, Magnus Andersson
 <[2]magnusl...@gmail.com> wrote:
 >
 > 8 double strings for the diapasons, at 1300 mm.
 >It was probably shortened sometime from its original length
 >into this present condition.
 >The problem that arises is when one wants to string the upper
 courses
 >of the diapasons. Here one needs very thin strings beginning
 with
 >0.40-0.42
 >for the high string of the 7th course Gg, at the string length
 of ca.
 >1500 mm...
 Are the diapasons 1300 or 1500?

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References

   1. mailto:howardpos...@ca.rr.com
   2. mailto:magnusl...@gmail.com
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] A stringing question for Sellas E. 545

[Magnus Andersson]

   Dear collective wisdom,
   I wonder if you might be able to help me with finding
   proper strings for a theorbo I ´ve commissioned.
   The instrument is a theorbo by Sellas, 1640,
   today housed in Paris with the label E. 545.
   [1]http://collectionsdumusee.philharmoniedeparis.fr/doc/MUSEE/0161799
   It ´s quite a spectacular instrument with
   six double strings on the fretboard, at 890 mm,
   and then 8 double strings for the diapasons, at 1300 mm.
   It was probably shortened sometime from its original length
   into this present condition.
   The problem that arises is when one wants to string the upper courses
   of the diapasons. Here one needs very thin strings beginning with
   0.40-0.42
   for the high string of the 7th course Gg, at the string length of ca.
   1500 mm...
   Any ideas would be highly appreciated.
   Best wishes,
   Magnus Andersson

   --

References

   1. http://collectionsdumusee.philharmoniedeparis.fr/doc/MUSEE/0161799


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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Vatican Library

[Magnus Andersson]

   Dear Lute friends,
   I don ´t know whether this is common knowledge already,
   but I was very happy to see that the Vatican has digitized many
   manuscripts-
   among them Barberini lat. 4145, 4177.
   [1]https://digi.vatlib.it/view/MSS_Barb.lat.4145
   [2]https://digi.vatlib.it/view/MSS_Barb.lat.4177
   Happy plucking and strumming,
   Magnus

   --

References

   1. https://digi.vatlib.it/view/MSS_Barb.lat.4145
   2. https://digi.vatlib.it/view/MSS_Barb.lat.4177


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[LUTE] Mr Otoman

[Magnus Andersson]

   Dear Lute-list
   Has anyone seen the theorbo Ms. in the Musashino college of Music
   library?
   According to Rism B VII (1978) it should contain 36 fol, of which 28
   folios are solo music for theorbo,
   some of which by Hotman.
   Anyone able to shed more light on this?
   Many thanks,
   Magnus Andersson

   --


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[LUTE] Re: German lute tablature

[Magnus Andersson]

   Göran:
   Mathias Lundberg, music prof. in Uppsala, who wrote the inventory of
   the whole music collection back in 2009, has promised me to look
   at the original next time he ´s in Stockholm.
   Best,
   Magnus

   On Tue, Nov 14, 2017 at 11:45 PM, Magnus Andersson
   <[1]magnusl...@gmail.com> wrote:

And the book in "Sacks collection" in Stockholm is a wonderful
collection, spanning
music from the whole 16th century.
Really technically demanding arrangements for (as far as I can
 see) 6
course lute.
Bavarian provenance? Compiled in second half of the 16th century,
 at
least 4 pieces attributed to
A S N, anyone has an idea whose initials that might be?
On Tue, Nov 14, 2017 at 11:30 PM, Magnus Andersson
<[1][2]magnusl...@gmail.com> wrote:
 The ms S 226 was apparently complete when it came to Sweden,
  according
 to Rudà ©n.
 The order of the pieces are not identical. Copying must have
 been
 cheaper than buying the actual
 book...
 There are 6 extra pieces in this ms that are not included in
 the
  1536
 original edition of Newsidler ´s first book.
 These are written in a different hand and from what I can
 gather,
  much
 later in style.
 34v-36 Tantz- Nachtantz
 36v /No title/
 36v-37 Pauana
 37v-38 Galliarda
 38v-40 /Fantasia?/
 109v /No title/
 --
  To get on or off this list see list information at
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--
 References
1. mailto:[4]magnusl...@gmail.com
2. [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:magnusl...@gmail.com
   2. mailto:magnusl...@gmail.com
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   4. mailto:magnusl...@gmail.com
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: German lute tablature

[Magnus Andersson]

   And the book in "Sacks collection" in Stockholm is a wonderful
   collection, spanning
   music from the whole 16th century.
   Really technically demanding arrangements for (as far as I can see) 6
   course lute.
   Bavarian provenance? Compiled in second half of the 16th century, at
   least 4 pieces attributed to
   A S N, anyone has an idea whose initials that might be?

   On Tue, Nov 14, 2017 at 11:30 PM, Magnus Andersson
   <[1]magnusl...@gmail.com> wrote:

The ms S 226 was apparently complete when it came to Sweden,
 according
to Rudà ©n.
The order of the pieces are not identical. Copying must have been
cheaper than buying the actual
book...
There are 6 extra pieces in this ms that are not included in the
 1536
original edition of Newsidler ´s first book.
These are written in a different hand and from what I can gather,
 much
later in style.
34v-36 Tantz- Nachtantz
36v /No title/
36v-37 Pauana
37v-38 Galliarda
38v-40 /Fantasia?/
109v /No title/
--
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:magnusl...@gmail.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: German lute tablature

[Magnus Andersson]

   The ms S 226 was apparently complete when it came to Sweden, according
   to Rudén.
   The order of the pieces are not identical. Copying must have been
   cheaper than buying the actual
   book...
   There are 6 extra pieces in this ms that are not included in the 1536
   original edition of Newsidler ´s first book.
   These are written in a different hand and from what I can gather, much
   later in style.
   34v-36 Tantz- Nachtantz
   36v /No title/
   36v-37 Pauana
   37v-38 Galliarda
   38v-40 /Fantasia?/
   109v /No title/

   --


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[LUTE] Re: Bachelar still known in 1690

[magnus andersson]

Thanks Rainer.

Would anyone like to post a translation of the following paragraphs 20 and 21 
which talk about
the unknown inventor of the theorbo, and about Kapsberger?


Best wishes,

Magnus

--- On Mon, 7/11/11, adS rainer.aus-dem-spr...@gmx.de wrote:

 From: adS rainer.aus-dem-spr...@gmx.de
 Subject: [LUTE] Re: Bachelar still known in 1690
 To: Lute net lute@cs.dartmouth.edu
 Cc: praelu...@hotmail.com
 Date: Monday, July 11, 2011, 10:56 AM
 
 On 11.07.2011 19:53, adS wrote:
  On 09.07.2011 19:33, Bernd Haegemann wrote:
  Historische Beschreibung der Edelen Sing- und
 Klingkunst ... by Wofgang
  CasparPrintz.
 
 
  which you can find here:
 
  http://diglib.hab.de/drucke/xb-1894/start.htm
 
 Excellent.
 
 See page 135 (picture 157).
 
 Rainer
 
 Posted again - something went wrong (I think)
 
 
 
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 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

[LUTE] Re: Bachelar still known in 1690

[magnus andersson]

Yes, please!

I'm doing a recital with his music in 3 weeks and would love to to know
if any new information about his life or music has been found recently!


Many thanks,

Magnus

--- On Sat, 7/9/11, Rainer rads.bera_g...@t-online.de wrote:

 From: Rainer rads.bera_g...@t-online.de
 Subject: [LUTE] Bachelar still known in 1690
 To: Lute net lute@cs.dartmouth.edu
 Date: Saturday, July 9, 2011, 9:28 AM
 Dear lute netters,
 
 to my great surprise Daniel Bachelar is ,mentioned in a
 German book printed in 1690:
 
 Historische Beschreibung der Edelen Sing- und Klingkunst
 ... by Wofgang CasparPrintz.
 
 
 IF anybody would like to know details...
 
 Rainer adS
 
 
 
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 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 

[LUTE] Bach cantatas with the lute?

[magnus andersson]

Dear collective wisdom,


Are there any articles/sites about Bach and his use of the lute in his cantatas?

Which cantatas do we know that he used the lute in? BWV 198, anything else?



Best wishes,

Magnus Andersson



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[LUTE] Re: Italian word

[magnus andersson]

Dear Bruno,


from the dictionary il Sabatini Coletti, accessible through 
dizionari.corriere.it

String - Corda:

Filo di minugia, di nylon o di metallo, teso sopra la cassa armonica di uno 
strumento musicale (detto appunto a corda), che, toccato, produce un suono.

Which will be corde in plural.


Chord - Accordo: 

Emissione simultanea di più suoni secondo i principi dell'armonia.


(Accordi in plural).


best wishes,

Magnus



--- On Tue, 4/26/11, Bruno Correia bruno.l...@gmail.com wrote:

 From: Bruno Correia bruno.l...@gmail.com
 Subject: [LUTE] Italian word
 To: List LUTELIST lute@cs.dartmouth.edu
 Date: Tuesday, April 26, 2011, 8:48 PM
    Could anybody help
 me with the Italian word corde or cordi. Does it
    mean string/s or chord/s?
 
 
 
 
 
 
 
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[LUTE] Fasch Concerto for Lute

[magnus andersson]

1. Allegro

http://www.youtube.com/watch?v=2ZrcR4zMKOgfeature=channel_video_title



With the International Baroque Players and Magnus Andersson, Baroque lute.


  



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[LUTE] Fasch in the UK

[magnus andersson]

Dear lute friends,


Small tour of baroque concertos (including the Fasch d minor concerto for lute) 
in the UK this week. The International Baroque Players, with Magnus Andersson 
on the baroque lute.


22nd February 2011, 19.30

St John's, Smith Square, London SW1P 3HA

Tickets cost £15 or £10 (£12.00 or £8.00 for concessions) and are now available 
from www.sjss.org.uk or on 020 7222 1061. 

23rd February 2011, 19.30 

St George's Bristol, Great George Street (Off Park Street), Bristol BS1

Tickets cost £21/£16/£13 and £9 (concessionary rates are £2 cheaper per price 
band). Booking is available through www.stgeorgesbristol.co.uk and on 0845 
4024001. 

24th February 2011, 19.30 

Oxford University Church, High Street, Oxford, OX1

Tickets cost £12 (£8 for concessions). Ticket booking is available through 
Tickets Oxford, We Got Tickets and 01865 305305. 


  



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[LUTE] Re: Unique L'Amant?

[magnus andersson]

Dear Chris,

the one piece that comes to mind immediately is the final piece of
Esaias Reusner's Erfreuliche Lautenlust. In this piece, he omits the first, the 
second AND the third course!!! 

It's on page 40.

Couranta sine quinta, quartia e tertia de ER

Reusner seems to have a penchant for interesting ways of approaching the 
instrument. In one of the F Major Courantes (on p. 6) in the same book, he only 
uses 
the open string - letter a 
the fifth fret -  letter f
the seventh fret -letter h

Couranta a 3 literis. 

Does anyone know if this technique was ever used by other lute composers?


Best wishes,

Magnus



  



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[LUTE] Re: Unique L'Amant?

[magnus andersson]

Dear Bernd,


I found the Harmonie des Anges en 3 lettres  on 

http://www.tabulatura.de/Pdffiles/Raigern_Harmonie.pdf


Interesting with a ( almost ) whole suite which employs this compositional
technique.

Thanks for the heads up!

all the best, 

Magnus

--- On Sat, 1/22/11, Bernd Haegemann b...@symbol4.de wrote:

 From: Bernd Haegemann b...@symbol4.de
 Subject: [LUTE] Re: Unique L'Amant?
 To: magnus andersson maan7...@yahoo.com
 Cc: lute list lute@cs.dartmouth.edu
 Date: Saturday, January 22, 2011, 4:10 PM
 Dear Magnus,
 
 Major Courantes (on p. 6) in the same book, he only uses 
  the open string - letter a the fifth fret - 
 letter f
  the seventh fret -letter h
  
  Couranta a 3 literis. 
  Does anyone know if this technique was ever used by
 other lute composers?
 
 Yes, there is some Canto angelorum (or so) in the Ms Brno
 372:
 I'll send it to you soon. 
 
 
 Aha, have a look here, piece 38
 
 http://mss.slweiss.de/index.php?ms=CZ-Bm372id=2type=ms〈=deust=0
 
 
 That is wonderful music. Though not the whole suite is
 using only 3 tablature letters-
 
 If you don't have it, I can send you the pieces.
 
 B
 
 
 
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[LUTE] Re: Heinichen for theorbo

[magnus andersson]

there's also a recording with
musica antiqua Köln, featuring Michael Ducker on an
instrument which sounds like a d-minor lute.

can be found on itunes, Heinichen Dresden Concerti.


/
Magnus
--- Are Vidar Boye Hansen
[EMAIL PROTECTED] wrote:

  I'm to play the Heinichen concerto in D for flute,
 oboe, violins, cello, 
  theorbo and bc (Seibel 226) next month. Anybody
 ever did this before and 
  remember what instrument he/she used? It says
 tiorba in the autograph. The 
  range is A1 till a'. C and C# are both needed, as
 are E and E-flat, F and F#, 
  and G and G#. Looks more like gallichon than
 theorbo as we know it, I'd say?
 
 I have heard that they have been recorded by Timothy
 Burris on a German 
 theorbo in d-minor tuning.
 
 
 Are
 
 
 
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[LUTE] Re: Dowland portrait

[magnus andersson]

A double-strung colascione perhaps?=0A=0ABest wishes/=0AMagnus=0A=0A=0A- 
Original Message =0AFrom: [EMAIL PROTECTED] [EMAIL PROTECTED]=0ATo: 
[EMAIL PROTECTED]; [EMAIL PROTECTED]: Sunday, February 4, 2007 4:00:35 
PM=0ASubject: [LUTE] Re: Dowland portrait=0A=0A=0AWhat do you think the string 
instrument is that the player on the right is =0Aplaying with his back to 
us?=0AAll the best=0AMark=0A=0A=0AIn einer eMail vom 04.02.2007 14:42:43 
Westeurop=E4ische Normalzeit schreibt [EMAIL PROTECTED]: =0A=0A Dear 
Vance,=0A =0A The web address is=0A =0A 
http://www.musikhistorie.dk/sider/temaer/komponister/giardino_novo_s=0A 
tor.html=0A =0A It was kindly supplied by Arne Keller.=0A =0A Best 
wishes,=0A =0A Stewart McCoy.=0A=0A=0A--=0A=0ATo get on or off this list see 
list information 
at=0Ahttp://www.cs.dartmouth.edu/~wbc/lute-admin/index.html=0A=0A=0A 
=0A_!
 ___=0ANeed a quick answer? Get one in minutes from people who know.=0AAsk 
your question on www.Answers.yahoo.com
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[LUTE] jan dismas zelenka and the tiorba

[magnus andersson]

Dear lute-netters,=0A=0AI'm going to perform Jan Dismas Zelenka's trio sonata 
no.5 this spring, and I do wonder about=0Athe continuo part. It says Violone ( 
presumably played by the violone virtuoso Zelenka himself)  Tiorba. I've tried 
to figure out which instrument would be most appropriate for this music.=0AThe 
sonata is written sometime between 1714-1723 in Dresden where Zelenka was 
employed. The sheer thought that Weiss would have played=0Athe b.c. part is 
flattering, although he wasn't appointed there until 1718. If it was written 
1718-1723, and if Weiss did play, what instrument did he use? A large theorbo 
tuned in d minor? Are there many other sources from Germany stating Tiorba as 
an instrument? Has Weiss ever being mentioned using a Tiorba? Was there a 
difference between Tiorba and Theorbo ( or was it the same instrument?) at this 
time in Dresden?=0A=0Abest wishes/=0AMagnus=0A=0A=0Aps. It's great music 
anyway! I also found a site where you can listen to the sonat!
 as at : http://www.hoboy.net/zelenka/  ds.=0A=0A=0A 
=0A=0AFood
 fight? Enjoy some healthy debate =0Ain the Yahoo! Answers Food  Drink 
QA.=0Ahttp://answers.yahoo.com/dir/?link=listsid=396545367
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[LUTE] lute videos

[magnus andersson]

Dear lute-netters around the globe, I just stumbled upon this amazing site=0Aat 
http://itc.uci.edu/~rgarfias/kiosk/media.html =0Awhere many different lutes can 
be seen played by various prominent performers. =0A=0A=0Aall the best/=0A 
=0Amagnus=0A=0A=0A 
=0A=0AGet
 your own web address.  =0AHave a HUGE year through Yahoo! Small 
Business.=0Ahttp://smallbusiness.yahoo.com/domains/?p=BESTDEAL
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[LUTE] Re: The last word goes to Sting

[magnus andersson]

Sting appeared on Swedish television today. 
=0A=0Ahttp://www.tv4.se/player/categories.aspx?progId=0itemId=%20treeId=1003displayTreeId=10031=0A=0Afor
 a complete translation of the introduction, please drop me a note and I'll 
translate it for you.=0A=0AI must say I found it quite amusing listening to 
Edin's showing of the lute during the interview set.=0A=0A=0Abest 
wishes/=0Amagnus=0A=0A=0A- Original Message =0AFrom: [EMAIL 
PROTECTED] [EMAIL PROTECTED]=0ATo: [EMAIL PROTECTED]; [EMAIL PROTECTED]: 
[EMAIL PROTECTED]: Saturday, October 7, 2006 3:52:15 PM=0ASubject: [LUTE] Re: 
The last word goes to Sting=0A=0A=0AI have if on good authority that the 
Labyrinth sales in Germany have already =0Aexceeded 30.=0ART =0A=0AGreat 
news, more people now know who Dowland is and the stage is set to do something 
a bit more daring with his music=0A=0AMark=0A=0A=0A=0A=0A=0ATo get on or 
off this list see list information at=0Ahttp://www.cs.dartmouth.edu/~wbc/lu!
 te-admin/index.html=0A=0A--=0A=0A
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[LUTE] need a place to stay in cleveland 22-24th of June

[magnus andersson]

Dear lute-netters, 

I'll be visiting cleveland in two weeks, and I'll arrive on the 22nd of june. 
If anyone has a spare bed (or couch) which I could crash on for two nights ( 
prior to the festival, i.e. 22-24th) I'd be most grateful. 


best wishes/

Magnus Andersson

Lute student at the royal college of stockholm, Sweden.

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