Dear LUTENISTS,
Can anybody explain the kinde of notation as below - is it a new, 21st
C lute tablature? - or point to some handbook or a web page.
With thanks in advance.
Jerzy
-t
-f
{1574_no_30_Fuggerin_Danz__Folget_der_Hupffauff/MN}
b
0cdda
1cdd
x a
b
Today, a good lute runs, say, from 0.5 - 1.0 months' salary
(depending, of
course, on both salary level and lute cost).
.. and a country, Herbert !!!
In some European countries it runs from 4 months ('student lute') to 2
years' salary, ...but it's getting better.
Jerzy
On Wednesday, Dec 3, 2003, at 23:04 Europe/Warsaw, Matanya Ophee wrote:
But should new material come to light,
there is no chance it will enter into general circulation any time
soon.
Viz. the availability to the Francesco Castelfranco new discoveries.
And
this is only one of the more
On Thursday, Dec 4, 2003, at 18:15 Europe/Warsaw, Roman Turovsky wrote:
...
Well, there are some potential linguistic pitfalls, stemming from the
differences between American and British versions of English, as well
as considerable differences in thinking patterns: people tend to be A
BIT
Dear Matanya,
Thank you for your answer.
On Thursday, Dec 4, 2003, at 19:43 Europe/Warsaw, Matanya Ophee wrote:
At 06:14 PM 12/4/2003 +0100, Jerzy ZAK [EMAIL PROTECTED] wrote:
Dear Matanya,
... But time showed that some people prefer wasting time - ours,
mine, on
personal quarrels
Well, I see it is not a lute discussion list. Does anybody know some
other?
Jerzy
On Friday, Dec 12, 2003, at 03:33 Europe/Warsaw, Michael Thames wrote:
Vance,
You seem to be obsessed with this Nazi thing. I never mentioned
race, =
or Jews, or Germans etc. I actually
Thanks for joinin, Peter,
On Friday, Dec 12, 2003, at 12:31 Europe/Warsaw, [EMAIL PROTECTED]
wrote:
Dear Jurek (Jerzy),
... There were real stars among both groups, whose names became known
to the history, and thousands of others forgotten.'
..
Look at for example the editions of
I am sorry I use the List address for private communication but some of
my emails (not only to Roman) are comming back for reasons I don't
understand. Do you, Roman, have some idea why this happens with your
server??? If you have some other address, please let me know.
Jurek
Dear Thomas,
I passed your news of the Cologne musicologist Sebnem Yavuz about the
Gregorian chant to my wife who is a theologian. Here I summerise what
she told me - rather surprised by the ''discovery'' of facts that are
well known ''in the profession'' since long.
''The Gregorian chant is
Dear Thomas and Mathias,
Unfortunately massmedia prey on topics like 'Jesus, Qumran und der
Vatican' or 'Verschlußsache Jesus' - the books, however not easy to
read, were bestsellers in Germany for years in early 90's, you may
remember that. There is a market for stories like 'good Boethius
Dear Alain,
I appreciate you work much, but I would do much more... if you had a
mac version some time, too ;-)
After having a look at your PDF with Siena_155, let me ask you one
thing. Having a piece of 51 bars isn't it possible in Django to fit it
on three pages, and not on three plus one
On Friday, January 30, 2004, at 04:01 PM, Roman Turovsky wrote:
The WTC then becomes an interesting exercise in *composing* in
different keys
(because each key has its own character), rather than an exercise in
*playing*
in any key (which is trivial).
I'm sorry - writing for writing. Try
Roman,
You are completly unreachable to me at both your known addresses. Will
you please ask both the @verizon.net and @att.net if one can ever
communicate with you from @poczta.wp.pl. I wouldn't like to bother this
forum with such problems any more, so lets find answer on both sides...
To
On Tuesday, Mar 23, 2004, at 14:40 Europe/Warsaw, Roman Turovsky wrote:
..
IMO: Baroque Lute is ill-suited to any group endeavor, excepted
accompanying
a single voice singing maximum at mezza voce. It is destined to be a
PRIVATE
instrument, like clavichord, as I said elsewhere.
What is
On Tuesday, Mar 23, 2004, at 19:40 Europe/Warsaw, Roman Turovsky wrote:
... someone else's execrable music (like Hasse's for example).
RT
... I fail to recall any of his music
RT
... Sugar as an anti-depressant??? Not for me.
RT
I perfectly understand your point. How you can like
On Friday, Mar 26, 2004, at 08:11 Europe/Warsaw, Howard Posner wrote:
... in the latest Grove
if memory serves, that Castaldi's pieces are among the few for
tiorbino,
which is either a statement that that there are others, or typical
academic
mealy-mouthed caution.
Besard 1617 comes to
Dear All,
Does anybody know what is the present publishing/editorial situation of
the Robert Ballard, Deuxiesme Livre de Luth, Paris, 1614. The old
Pohlmann says the original print is ONLY in St Petersburg (formerly
Leningrad). For the next few days I'll have no occasion to check it up
in
...Dowland must be turning in his grave.
Best wishes,
Stewart McCoy
Well, for the first time Dowland must have moaned when he got his First
Book of Songes from the printer and saw all the errors. Now he must
keep turning in his grave very often seeing all those modern
''e-editions'' done
Dear List,
I have a question if there is any listing of a new /modern
/contemporary music for 'lute instruments', both renaissance and
baroque, solo and ensemble, published, in manuscript or just performed?
Some time ago I had a small catalogue-like publication (ed. by T.
Satoh?), if I
On 2006-01-24, at 10:57, LGS-Europe wrote:
... from different countries, and frightfully former Eastern
Europe-like 'classical' music.
Dear David,
I beg your pardon, please, but you mean by ''Eastern Europe-like
'classical' music''?
Jurek
_
To get on or off this list see
On 2006-01-25, at 10:29, LGS-Europe wrote:
Dear David,
I beg your pardon, please, but you mean by ''Eastern Europe-like
'classical' music''?
I had no idea I had to be politically correct on this forum.
You gave only a partial quote, as I wrote _former_ Eastern
Europe-like 'classical'
On 2006-02-23, at 12:08, Benjamin Narvey wrote:
My 19c theorbo ...
Jurek
__
--
Zdjêcia 10x15 tylko 38gr!
Zamawiaj odbitki cyfrowe przez Internet. Pobierz swój kod promocyjny tutaj.
http://gazeta.empikfoto.pl
To get on or off this list see list information at
Dear All,
I know this is not a musical question, but nither entirely OT.
What system/elements would you suggest for a fairly good amplification
system for a lute (or any historical instrument). In another words,
what's reasonably best to mic, transfer (wire/transmitter), amplify,
c. without
Dear Arthur,
Nice to get so quick responce from you. I'm teaching in Krakow since
1993 and am there every week, since I live in Warsaw for quite a long
time now. My personal sentiments, as a player, were always closer to
Reusner, Le Sage, Bronikowski or Rust which I located at the
May be the other contrepartie has been ''(re)constructed'' ;-)) ?
Jurek
On 2007-11-26, at 18:08, Arthur Ness wrote:
Only two Visee contreparties are in Paris sources.
There is the wonderful finding tool that Christian Meyer
and his associates are making for our use. It is
'Edlinger' and must say all
the discussion on temperament not long ago on the Lute-Liste in this
case would have to be put into fairy-tales.
Jurek
___
- Original Message
From: Jerzy Zak [EMAIL PROTECTED]
To: Barocklautenliste Lutelist' [EMAIL PROTECTED]
Sent: Friday, November
For me the simple answer is:
-- three quick note / one long / three quick note / one long / etc...
Unless sombody knows another source with a more precise notation of the
piece, there is no authoritative solution to the question. To my
knowledge that generation of lutenists had no way to notate
Dear List,
No browser can open an address beginning with: ed2k://
like in this:
ed2k://|file|hurel.zip|32417611|382
This is taken from page:
http://luthlibrairie.free.fr/?Baroque:Fran%26ccedil%3Baise
somewhere under:
Fac simile disponible en P2P
Jurek
To get on or
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
Jurek
___
On 2008-01-31, at 17:25, LGS-Europe wrote:
I've already very clearly explained how small theorboes (ie up to
low 80s) were tuned (and even given sources for tablature) and
On 2008-01-31, at 18:20, LGS-Europe wrote:
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
I don't. I keep mine (76cm) in a, first two courses down. All gut,
415 to 466 tested. I don't see the point why not. I haven't seen
valid and or historical
On 2008-01-31, at 20:42, Are Vidar Boye Hansen wrote:
A small price to pay for being able to play a three-note chord over
middle C in first position?
That's the point and the most promising bit. However the price
seems to me not small, indeed, and therefore my quest for someone
maybe
On 2008-01-31, at 20:15, Bernd Haegemann wrote:
Are these markings in historical tabulatures too? I do not
remember i
saw one.
I was thinking of the French ornamentation markings: offhand the
only one I can think of without searching through the music is a
slanted line separating vertical
Dear Howard,
On 2008-01-31, at 18:59, howard posner wrote:
On Jan 31, 2008, at 8:56 AM, Jerzy Zak wrote:
Hm..., how many of you are playing continuo on a theorbo in 'd', if
it's so obvoius?
I'm not sure what the it in your question is.
Martyn Hodgson in his recent reply stated quite
Strange,
I'm not receiving messages I am sending to the Liste - Am I doing
something wrog?
Jurek
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On 2008-02-01, at 11:26, Ron Fletcher wrote:
Hi Jerzy,
Your message has arrived on the list, so it should work in reverse.
Check your Junk-Mail folder. List messages to you could be treated
as spam.
You may need to re-set your spam-filter to allow these messages to
reach
your Inbox.
Ron
Dear Stewart and Jaroslaw,
In a way you are both right advocating legitimate interpretations,
theoretically opposite. But they overlap and that common region is in
much degree subjective, depending on context, historicall or personal
styles, even some national propensities (compare the
Martyn,
All this is very persuasive, but what about the story of a double re-
entrant instrument with double strings and the second course in
octaves, in G or A?
From my sketchy calculations it appeares it must be an instrument of
about 74 cm (stopped), considering on one side the
the next phrase at the
lower octave - in short double reentrant.
Personally, I rather like the octave leap at the end of the
bar
MH
Jerzy Zak [EMAIL PROTECTED] wrote:
Martyn,
All this is very persuasive, but what about the story of a double re-
entrant instrument
In fact my first performance of Castaldi's Capricci (in the same
programma with Pittoni) was with the tiorbino part played on
harpsichord - as it now appeares not to far from historical practice.
Very interesting, thanks, Rob.
Jurek
___
On 2008-02-05, at 10:55, Rob Lute wrote:
I
On 2008-02-05, at 15:15, Arthur Ness wrote:
http://memory.loc.gov/ammem/dihtml/divideos.html
Thank you, Arthur,
Then it is 1 galliard measure = 1/4 of a pavan measure.
In mensural notation (not modern, often changing values) it might be:
3 half notes of a galliard (one measure) = 1 half
On 2008-02-05, at 17:33, LGS-Europe wrote:
Recorder and viol players are often shocked at the slowness of
speeds requested by lutenists for broken consort music (Morley 1599
et al), and a compromise has to be reached.
One of the top lute players once confessed to me why he is no longer
Thank you Jean-Marie,
After reading you and looking again to the Arthur's exemples, I
should have written:
1 galliard measure (one beat) = 1/2 of a pavan measure (one beat)
and in an original mensural notation would be:
3 half notes of a galliard (one beat to a measure) = 1 whole note of
a
On 2008-02-05, at 14:21, tiorba wrote:
In fact my first performance of Castaldi's Capricci (in the same
programma with Pittoni) was with the tiorbino part played on
harpsichord - as it now appeares not to far from historical
practice. Very interesting, thanks, Rob.
Jurek
It's indeed
-
From: Jerzy Zak [mailto:[EMAIL PROTECTED]
Sent: Tuesday, February 05, 2008 6:31 PM
To: lute
Subject: [LUTE] Re: Playing in time
Thank you Jean-Marie,
After reading you and looking again to the Arthur's exemples, I
should have written:
1 galliard measure (one beat) = 1/2 of a pavan measure (one
I couldn't quickly find a fitting example of a XVIth c. pair pavan-
galliard, but I have at hand Terzi's 1st book of tab. and their on p.
115-117: Ballo Tedesco… / Il Saltarello del prescrito ballo. They are
closly related thematically and it immadiately appeares that one bar/
measure of
Tremendous thanks for this, Diego. Transcibing such in an old and
foreign language text from an original would be a nightmare for me.
Jurek
_
On 2008-02-05, at 21:56, Diego Cantalupi wrote:
That's the (difficult) text.
I'll try to upload he page later
ALLA NOBILE, SPLENDIDA E
Dear Diego,
On 2008-02-05, at 21:51, Diego Cantalupi wrote:
Changing instrumentation in music of the time is as natural as
breathing.
Almost all title pages of printed music testify to it.
Not so easy... it's very difficult, if not impossible, to find any
music for
theorbo
in mensural
from ca. 1760’s, as probably the latest.
Here follow extracted fragments, but you are invited to see the
original web page given above.
Jurek (Jerzy Zak)
Ladies and Gentlemen,
Summer Music Academy will celebrate its first jubilee. It is with
pleasure
Roman,
Aren't there some problems with your email account?
jz
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
But he is a regular guitarist, with all its goods and bads… Probably
thinks we are silly fools ;-))
But the video is OK, if you like anything played efficiently.
J
___
On 2008-09-29, at 14:35, Stephan Olbertz wrote:
Does anyone know what this exactly is?
Weiss and Logy on archlute! Well, of course, everything is
explanable, I can understand any individual approach. In the end
music as an art or entertainment is 'free'. Also history is a very
plastic phenomenon, what endless discussions at least on this list
only testify. But why there is
On 2008-10-24, at 03:49, Roman Turovsky wrote:
From: Jerzy Zak [EMAIL PROTECTED]
doesn't happen to often, I'm afraid). But why the real baroque
lute is such a black sheep, why such a distaste, reluctance or
even aversion? Why the few maniacs only use baroque lute tuning
for a continuo
Mathias,
My post was only techincally glued to your reply, I know you are into
the baroque lute.
On 2008-10-24, at 12:12, [EMAIL PROTECTED] wrote:
One can buy Weiss or Logi on an archlute if it's for fun or pleasure.
Equally well one can try Pulenc on theorbo or Kapsperger on modern
harp,
Matthias,
On 2008-10-24, at 12:17, [EMAIL PROTECTED] wrote:
I do like accompanying a singer though.
RT
Here you are, though you don't like it: H Albert, G Voigtländer,
J.H.
Schein, H. Schütz, Ch Bernhard, A. Krieger, J. Rist, T Selle, A
Hammerschmidt, J Nauwach, C Ch Dedekind, J
is almost inaudible in such setting, and discussions about
poliphony of it's part or consecutive fifths is aimless. Very often
even without gamba.
J
__
RT
- Original Message - From: Jerzy Zak [EMAIL PROTECTED]
To: Lutelist Net lute@cs.dartmouth.edu
Sent: Friday, October 24, 2008 7
But I havn't heared any complains when a trio of a singer, lute and
gamba are glorifying the Dowland's name. To be honest, to my ears the
lute is almost inaudible in such setting, and discussions about
poliphony of it's part or consecutive fifths is aimless. Very often
even without gamba.
In
Obviously, it's good to know about the two or three Losy's pieces and
a couple of Reusner's one transfered to theorbo. But I hope you are
not going to say the d-m lute, after this discovery, is practically
useless and everything can be reintabulated to an archlute now - ?
If I remember
Of course, Jean-Marie, my to obvious omission, but still, the period
coinsiding with the 11/13-c lute repertoire is extremely unfavorable
for the archlute as the solo instrument. Perhaps Italians were still
playing it, but mostly in Italy - vide Arigoni dynasty (no single
piece of music I
That's something! A bit more detailes, Roman, please.
J
__
On 2008-10-24, at 20:23, Roman Turovsky wrote:
And in the 18th century-
Antonio Scotti, Melchiorre Chiesa, Antonio Tinazzoli, Giuseppe
Vaccari and Lodovico Fontanelli.
RT
- Original Message - From: Jean-Marie Poirier
Of course, Orlando Christoforetti in his preface to Dalla Casa
_Sonate_ gives even more names. Presumably in this respect you could
cite half of the address books from all Italian cities and viliges.
It is as usefull for us as news from the moon, until you'll point out
to the hard copy of
the Chilesotti debacle...
RT
- Original Message - From: Jerzy Zak [EMAIL PROTECTED]
To: Lutelist Net lute@cs.dartmouth.edu
Sent: Friday, October 24, 2008 3:20 PM
Subject: [LUTE] Re: Reusner and archlute/theorbo
Of course, Orlando Christoforetti in his preface to Dalla Casa
_Sonate_
wouldn't let anyone see them, a bit like the Chilesotti debacle...
RT
- Original Message - From: Jerzy Zak [EMAIL PROTECTED]
To: Lutelist Net lute@cs.dartmouth.edu
Sent: Friday, October 24, 2008 3:20 PM
Subject: [LUTE] Re: Reusner and archlute/theorbo
Of course, Orlando Christoforetti in his
On 2008-10-24, at 23:14, Are Vidar Boye Hansen wrote:
If I remember well, beside of one Pignatelli MS (PL-Kj),
I have never heard about this manuscript. Please, tell me more
about it!
PL-Kj Mus. Ms. 40591
V.A. Coelho, Authority, Autonomy, and Interpretation in Seventeenth-
Century
On 2008-10-25, at 13:57, G. Crona wrote:
- Original Message - From: Jerzy Zak [EMAIL PROTECTED]
V.A. Coelho, Authority, Autonomy, and Interpretation in Seventeenth-
Century Italian Music, in: _Performance on the Lute, Guitar and
Vihuela_, ed. by V.A. Coelho, Cambridge University
Timo,
But in case you are looking rather for the J.G. Muffat's beautiful
Passacaglia in A major, the only copy I know of is in A-KR L 83, p.
(or f.) 89.
Best,
Jurek
-
On 2008-11-18, at 18:53, Peedu Timo wrote:
No, it isn't, but thanks for everybody for leading me to very
David,
Can you give the TWV numbers for Telemann, like there are BWV for Bach?
J
___
On 2009-01-24, at 09:33, David Tayler wrote:
My new CD is up on Magnatune--as always, free to listen!
dt
http://magnatune.com/artists/albums/voicesofmusic-bachtelemann/
To get on or off this list
Dear David and All,
Strange discussion or rather no dscussion...
It's good point about today preference for a short appogiatura among
lutenists playing baroque music. Very often it sounds as if a
luteplayer were playing those small notes in Giuliani or Carulli ;-))
I don't know if it's
Mathias,
As you asked David, I'll refrain from answering that particular
questio. But something not so far removed comes to my mind. Some of
you may know the famous French work by Jean-Féry Rebel, namely Les
elemens and its first part, Le Cahos. Here you can clik and listen
to the first
well-ordered French universe.
On Jan 29, 2009, at 2:39 PM, Jerzy Zak wrote:
Some of you may know the famous French work by Jean-Féry Rebel,
namely Les elemens and its first part, Le Cahos. Here you can
clik and listen to the first chord of it:
http://www.classicsonline.com/catalogue
Dear Mathias,
So lets to the point and your Allemande.
I don't pretend my method is right but if I'd have such a problem for
the first time I'd first chack the source as I do not always trust
the CNRS editions wich I just catched.The volume was published in
1972, the 'Tableau des signes
Dear Mathias,
On 2009-02-01, at 00:23, Mathias Rösel wrote:
Dear Jerzy,
checking the source would be great, but unfortunately I share your
plight, not owning a copy or facsimile of Vm7 6214. I have to rely on
the CNRS edition.
I wasn't familiar with the dating by Rave. The sisters Bocquet
The problem is, it is a long note and a simple ''shake/trill''
concisting of three notes (as one can surmise from Mersenne twisting
description) biginning from the main note, is not enough. It is a
long note and long notes invite something extra, something special.
The well known Lacrimae
called historical music.
J
___
Andreas
Am 01.02.2009 um 17:52 schrieb Jerzy Zak:
The problem is, it is a long note and a simple ''shake/trill''
concisting of three notes (as one can surmise from Mersenne
twisting description) biginning from the main note, is not enough.
It is a long note
Of course, the paradox concernes us, creators and consumers of music
and our vision of the modern phenomenon called ''historical music''.
It is a fancy interplay between science and art, it's a modern thing
in music history -- isn't it?, and in a way quite logically it's
''modern music''
OK, then live music is always (?) fresh and ''currant'' (instead of
''modern''), whatever you'd say about its origin or background.
Now, concerning the ''replication of the past'' versus ''continuation
of the school'', don't you think that since long -- perhaps 20 or 30
years -- lutemakers
Becouse people quite often don't hear while listening. But if you'll
tell them you are playing on gut, then it is entirely different story.
J
___
On 2009-02-02, at 19:28, howard posner wrote:
How do gut strings mask incompetence?
However gut has been used lately to mask various
If it's still about ''French trill'', I'd insist -- it's ''ours
trill'', however long would be someone's explanations and
justifications.
Therefore the HIP performance is always ''modern'' or ''currant'' or
''today'' (without going into the present day entangled terminology).
In a way
David T, David R,
On 2009-02-03, at 17:30, David Rastall wrote:
On Feb 3, 2009, at 1:19 AM, David Tayler wrote:
I'm old fashioned, I guess; I think the old ways are better.
You mean your father and grandfather's or the Bocquet and Mouton way?
As I'd objectively appreciate and trust the
I hope so.
Regards
J
_
On 2009-02-03, at 23:24, Markus Lutz wrote:
Hello Bernd and Jurek,
I only understand: Weiss, Grodkow, Jerzy Zak ...
So Grodkow now finally celebrates Weiss as son of the town, isn't it?
Best regards
Markus
Bernd Haegemann schrieb:
Wow, while we are talking
No
J
_
On 2009-02-04, at 00:18, Edward Martin wrote:
Is there an English translation?
ed
At 11:05 PM 2/3/2009 +0100, Jerzy Zak wrote:
--===AVGMAIL-4988C134===
Content-Type: text/plain; charset=US-ASCII; delsp=yes; format=flowed
Content-Transfer-Encoding: 7bit
It is absolutely mad and crazy text, I have never said such
stupidities as the author relates. I see one has to be extremaly
carefull about those gazetteers of popular local papers. But all in
all they generated a positive movement arround Weiss and the lute. Of
course this is the
Michal,
Welcome to the list!
J
__
On 2009-02-04, at 17:27, Michał Jasionowski wrote:
2009/2/3 [1]chriswi...@yahoo.com
Unfortunately for human society, the strongest, best,
most sensible evolutionary advances in any field are
hopelessly pitted against an even more
On 2009-02-04, at 21:30, David Tayler wrote:
BTW, the tremolo is more interesting than the vibrato in early
recordings. People stopped using it. And it sure sounds better
without it. I'd trade vibrato for tremolo any day. Nobody talks
about that, but it is the biggest single change in
Excuse me, but are we talking about some rare forgotten curiosity of
someones articulation or a term on par with vibrato, considering
modern termonology. Until now I thought 'tremolo' is a fast
repetition of one or two notes, as in scoring (orchestration/
instrumentation) for bowed strings,
David, you prevailed me, you are a true visionary.
J
__
On 2009-02-05, at 11:30, David Tayler wrote:
as strong as the rattle of dice in a box was the way it was
described :)
dt
At 12:23 AM 2/5/2009, you wrote:
On 2009-02-04, at 21:30, David Tayler wrote:
BTW, the tremolo is more
Quite funny -- Karamazov (by accident of course!) in context of
dilettantism on the list now...
;-))
J
On 2009-02-07, at 09:55, Jean-Marie Poirier wrote:
;-) Honest, Roman ?
JM
=== 07-02-2009 01:48:26 ===
Musicality.
RT
- Original Message -
From: Mark Wheeler
Anthony,
I'm really fascinted by your detailed analyzis of all technicall
matters concerning lute construction, stringing and playing. I wish I
had such an eye on all this things. But in my experience, after some
40 years of observations of teaching music playing (including my own
Karamazov and Dilettantism! Really fascinating. Is anybody brave
enough to throw an exegesis on the combination? Is Karamazov a
perversely hidden dilettante dressed up in attributes of great
virtuoso or is he an evangelist of true and clean expression, just
the instrument (a bit moded but
Anthony,
On 2009-02-08, at 19:16, Anthony Hind wrote:
Indeed, there are signs that there were disagreements, between
lutenists of past times.
About the practice of using Bologna lutes...
Some lutenists like Mace and Jacques Gautier, who seem to...
The description by Mace of J.
I like your comment very much. I might only add that if the sound
idea is ''before'' the instrument, then in between is the hand. So,
to put it a bit facetiously, if one has a 'heavy hand'', the tension
of strings, and therefore a hand position, is no problem... ;-))
There is of course no
Dear Luca,
Wouldn't it be more usefull to get hold of a younger publication?:
Dieter Kursch, Lenz Meierott (ed.) - Berliner Lautentabulaturen in
Krakau, Schott 1992.
Leaving aside all the old legends from the pre-1980's, you'll get from
the book detailed descriptions with incipits of all
Dear Luca,
A short list of them you can see here:
http://www-bnus.u-strasbg.fr/Smt/pl.htm
Jurek
--
Dear Luca,
Wouldn't it be more usefull to get hold of a younger publication?:
Dieter Kursch, Lenz Meierott (ed.) - Berliner Lautentabulaturen in
Krakau, Schott 1992.
What is an Erzlaute?
The other instruments pecified on the page are organ, harpsichord,
violins, cello, guitar, theorbE.
jz
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, Roman Turovsky wrote:
I think it is a contraption that inserts a metal platelet between
hammers and strings, and creates a sort of a whorehouse harpsichord.
It was much loved by both Dessau and Eisler.
RT (fan of both)
- Original Message - From: Jerzy Zak jurek...@gmail.com
To: lute
-10, at 00:03, Roman Turovsky wrote:
I think it is a contraption that inserts a metal platelet between
hammers and strings, and creates a sort of a whorehouse
harpsichord.
It was much loved by both Dessau and Eisler.
RT (fan of both)
- Original Message - From: Jerzy Zak jurek
On 2009-07-10, at 12:11, David Tayler wrote:
The problem here is that single stringing is historical,
..
Yeee...
There are men who loves chaos, they need it to breath, to florish,
in the best possible terms.
Others cannot live without order, alwaye seeking knowledge and
establishing
On 2009-07-10, at 14:09, David van Ooijen wrote:
On Fri, Jul 10, 2009 at 2:01 PM, Jerzy Zakjurek...@gmail.com wrote:
http://tinyurl.com/muyoco
Single stringing is historical ;-)))
As is playing from empty scores. ;-)
David
That's right! I know one wired gamba player and composer(!)
Try to contact Dr Pawel Gancarczyk
pawel.gancarc...@ispan.pl
from IS PAN (The Institute of Art - Polish Academy of Science)
http://www.ispan.pl/eng/instituteofart.htm
In his choice of publications (Wybor publikacji) you can find in
English e.g.:
. It is possible.
Thanks for the observation,
Jurek
On 2009-07-10, at 16:27, Karl-L. Eggert wrote:
J,
if you count the pegs on Adamo´s Lute there will be some more than
13 or 14.
Karl
- Original Message - From: Jerzy Zak jurek...@gmail.com
To: lute-cs.dartmouth.edu lute
:54, Roman Turovsky wrote:
The englaving is unusually precise. Look for the strange slots cut
in the walls of the pegbox. especially the bass side.
It sure looks like an angelique to me.
RT
- Original Message - From: Jerzy Zak jurek...@gmail.com
To: Karl-L. Eggert karl.l.egg...@t
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