Dear everybody,
it has become clear now by Roman's kind assistence that the courante in question is
indeed by Nicolas Lebegue (2nd book of harpsicord pieces, 1687, 1st suite). I am going
to intabulate the whole suite so that it will soon be available at the related places.
--
Best wishes,
LGS-Europe [EMAIL PROTECTED] schrieb:
I believe you can find a facsimile at
http://www.silvius.pwp.blueyonder.co.uk/willow.jpg
that link is not found there. What a pity.
--
Cheers,
Mathias
Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/ Germany, Tel +49 -
421 - 165 49 97,
Stephan Olbertz [EMAIL PROTECTED] schrieb:
Dear list,
yesterday I came across a page advertising a book called All
the words on stage, which deals with the pronunciation of
Shakespeare's English:
http://makeashorterlink.com/?X23912A06
It would be nice to hear if anyone knows the book and
Jon Murphy [EMAIL PROTECTED] schrieb:
Much of our knowledge of Shakespeare's text comes from later folios.
I usually take it from the latest pages :) of today's critical editions, and I assume
others do as well.
My guess is that the actor found a simple melody to fit the song, and if it was
I should certainly refrain from recommending technical literature.
As for me, any pronunciation dictionary is as good as the other, depending on the
price. I appreciate the basics but do not want to go into details too much. E.g. I got
my basic information about this subject from a general
Dear Rob,
I am thunderstruck by your announcement. Wish I could be there, and I hope you'll
return to these grounds one day.
--
Best wishes,
Mathias
Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/ Germany, Tel +49 -
421 - 165 49 97, Fax +49 1805 060 334 480 67, e-mail:
[EMAIL PROTECTED] schrieb:
I'm not sure if swan neck lute is the best name for this lute, because it is, as far
as I know (but maybe someone knows more) no historical name.
does anybody know who brought up that name?
Luise Gottsched refers to it as theorbierte Laute (theorbofied lute),
Hi, Markus,
thank you for looking up swan neck. I would not be surprised if someone came up with
the discovery that the name was invented during 20th century for the sake of
convenience, like stile brisee was named in the beginning of that century (but not in
17th).
And how do you interpret
Markus Lutz [EMAIL PROTECTED] schrieb:
how do you interpret the sentence he can be called the Father of the lute?
He changed the lute from 11 to 13 courses and he theorbified it - what else
should this mean, that he was responsible for this changes.
I take her statement the way I take St
Dear collected wisdom,
does somebody happen to know the tuning of the lute-trios required in
Besard's Isagoge?
--
Best wishes,
Mathias
Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/
Germany, T/F +49 - 421 - 165 49 97, Fax +49 1805 060 334 480 67,
e-mail: [EMAIL PROTECTED],
Hi Bernd,
A mi la bmol is another designation of A minor, as you will have guessed. Bmol
is added to make sure the scale with minor 3rd is used.
As to hexachord, the tone A is Mi (3rd tone of the scale) of the hexachordum
molle (F-D) and at the same time La (6th tone of the scale) of the
Thomas Schall [EMAIL PROTECTED] schrieb:
Just a question: What about Jiddish? I've learnt it would be exactly the same than
the
Mittelhochdeutsch and would be nearly unchanged for about 800 years?
it is a branch which has, in fact, retained many a form of medieval German.
Yiddish, however,
To my most illustrious and venerable lord, the lord Christophorus Madrucius,
Cardinal and Prince of Trient and adminstrator of Brescia, my most dear lord
It was an old farmers' custom, most illustrious Prince, to spend the first
fruits to those Deities who would take care for them, as was
WIWO [EMAIL PROTECTED] schrieb:
hi,
i need translation-help for the beautiful song from chilesotti #55:
a caso un giorno mi guido la sorte
in un bosco di quercie ombroso e spesso
ove giacea un pastor ferito a morte
zufaellig fuehrte mich eines Tages das Schicksal
in einen schattigen
Dear Michael,
thank you for those suggestions! You are right, the letter waw is not to be
linked to the following letter (which, btw, excludes such readings like dhufoor,
pl. of dhafr, girdle, belt). I was well aware of that. Like you, I was pondering
about possible readings and sensible
Jon Murphy [EMAIL PROTECTED] schrieb:
But I think that may be the limit, so far as I know there are no musical
transcriptions available in Cuneiform.
well, there are :)
BTW, has the Arabic retained its form and vocabulary since the times of those
pictures?
yes, is has retained them.
Thomas Mace preferred so-called flat tuning for his 12c lute: f' - d' - b-flat -
g - d - A - G - F - E - D - C - B-flat/A. Pitch is nominal, of course.
In his Musick's Monument, he also included one suite for D minor tuning,
though.
Ed Durbrow [EMAIL PROTECTED] schrieb:
What was the tuning of
It occurred to me that Hans Judenkunig might have been a converted Jew (my
somewhat elderly 'Grove' has nothing to say about his origins).
Hans Bahlow, Deutsches Namenlexikon, 1992 (15,000 entries), p. 265, explains that Jud
may
have been Jewish or non-Jewish. As for non-Jewish, Jud as well
Stewart McCoy [EMAIL PROTECTED] schrieb:
2) Chromatic fingering. Guitarists are taught to have one finger per
fret - to use the 1st finger for the 1st fret, the 2nd finger for
the 2nd fret,
I'm generalising, of course, but my experience is that lute players
tend to use their little finger
Leonard Williams [EMAIL PROTECTED] schrieb:
Is there any nutritional value at all in gut strings or frets? I
know pets are interested in them. Any harmful chemicals introducued in the
manufacture of the strings?
That is not only for fun. I was seriously told to thoroughly clean my
Arthur Ness (boston) [EMAIL PROTECTED] schrieb:
(I think colieren [kolorieren] means ornamented, here.
colieren in German means to take special care of, cherish (hegen, pflegen). Nothing to
do
with colour (but with cult).
--
Regards,
Mathias
Mathias Roesel, Grosze Annenstrasze 5, 28199
Arthur Ness (boston) [EMAIL PROTECTED] schrieb:
(I think colieren [kolorieren] means ornamented, here.
colieren in German means to take special care of, cherish (hegen, pflegen). Nothing
to do
with colour (but with cult).
spelled with K, kolieren means to strain a liquid through a thin
Jon,
read it again and, if you got one, compare it with what your textbook has to say. It's
a
storm in a teapot, blended with some misinfomation. Seems like a x-mas joke.
Jon Murphy [EMAIL PROTECTED] schrieb:
A serious question, the matter of the attribution of the Gregorian chant. And I
Thomas Schall [EMAIL PROTECTED] schrieb:
http://www.zdf.de/ZDFde/inhalt/1/0,1872,2084833,00.html
http://www.gregorianik-forschung.de/downloads/ksta-030625-b.pdf
http://www.gregorianik-forschung.de/institut.htm
founding a new institute in order to spread
LGS-Europe [EMAIL PROTECTED] schrieb:
Can somebody point me to the source of Respighi's lute arrangements? I'm
specifically looking for the charming piece called 'Italiana':
r r a | |
___
d d r | d arda|
___
d d d | a |
___
a a r | a |
Hi Charles,
La Princesse by Mouton clearly is in A minor and is thus designated in
Barbe ms. Also, on Lislevand's CD it is in the A minor section; so, his
designation as A major obviously is a typo.
As for ms. Barbe, you will perhaps have guessed already that the endings
3b or 3#, respectively,
Jon,
there are three different names that are often mixed up:
modes
Greek names of modes
keys
Mode in strict sense refers to melodic patterns of medieval music and is
also called tone. Modes or tones, respectively, were usually numbered.
First and second tones refer to Re, third and fourth to
Ed Durbrow [EMAIL PROTECTED] schrieb:
I use Korg AT1. It permits some calibration, but my 13c sounds best at 440.
I was just wondering if people tune their Baroque lutes at 440. How
many other people do? How many at a lower pitch?
415 because, first, I do not it play in ensemble (not loud
Jon Murphy [EMAIL PROTECTED] schrieb:
There I am out of my area, I don't know what you are speaking of in
diminutions (I would have thought of that as a matter of volume or speed).
Diminuitions, or divisions, is a kind of ornamenting a melodic line by
splitting or dividing it into rows of
Bernd Haegemann [EMAIL PROTECTED] schrieb:
(baroque lute, French mid 17th cent.)
Is there a standard way to play a chord like
_c_
_a_
_b_
_c_
___
___
a
e.g. in Gallot 1670, or Mouton 1698, you'll find this with 2nd through
4th courses played by a raking forefinger, and the 1st
Vance Wood [EMAIL PROTECTED] schrieb:
The index finger will usually come down after the ring finer has played the
last note in the four note sequence
Gaultier 1669 and Gallot 1670 as well as Mouton 1698 both teach sth.
else, i.e. playing from
lowest to highest note. According to them, you would
Jon Murphy [EMAIL PROTECTED] schrieb:
course and rake 4 to 1 backhand, probably with ring, middle and index in the
Spanish move that I can't spell (rasquillado?).
rasguado, I suppose.
Mathias, is that raking forefinger going down from 2 to 4, or backhanded up from 4
to 2?
the way I'm used
May I add that on the mandora with its hey-days in Bohemia around
1700-1780, octave strings were required on 4th through 6th courses. That
way, also baroque guitar music can be played on the mandora. The
guitar's re-entrant tuning is, so to say, half-way achieved by the
mandora's octave stringing.
David Rastall [EMAIL PROTECTED] schrieb:
In a minor key, I'm not entirely sure what to do with the V chord.
so am I because unless there is a 5 sign for the 5th above the tonic
you
cannot even be sure it is a fundamental chord or an inversion. There
might be required a 6th instead of a 5th,
Jon Murphy [EMAIL PROTECTED] schrieb:
The simplistic solution is to look to the family of C major (and I have an
advantage as a lever harpist as as I am fixed in a diatonic scale once I set
the levers for the key signature - unless I flip during the piece). The
relative minor of C is A (as you
So why do we allow ourselves to be beguiled by ideas of a golden
past?
I don't. I just like the music.
well, many lutenist amateurs of my wider acquaintance do. Sporting
tablatures they cannot actually play from, owning lutes they prefer to
look at instead of sounding them, arguing about
David Rastall [EMAIL PROTECTED] schrieb:
Ah, yes, what are the things that give us versimilitude?
that was the word, thank you very much. There is actually nothing wrong
with (to repeat my points so offensive) owning tabs you cannot properly
play from, looking at, rather than playing, a lute or
Tim Mills [EMAIL PROTECTED] schrieb:
I was wondering if the Baroque Lute D minor tuning is/was ever used for Bass
Continuo playing?
see Fundamenta der Lautenmusique, available from the German Lute
Society.
http://www.lautengesellschaft.de
It is an earl 18th century continuo playing tutor for
Markus Lutz [EMAIL PROTECTED] schrieb:
As listener I have made the - to me surprising - experience that a baroque lute in a
not too small church was heard quite well in a chamber ensemble.
what did they play (music)?
Exspectingly in the duo with the cembalo the lute could be heard even
The only intabulated continuo I know of is a collection of lute parts
for arias by Hasse, called *14 Stueck Hassische Opern Arien* (from
Cleofide), preserved in Leipzig (Mus. ms. III.11.46a). It has been
written for 13c D minor lute. The 1st course is used, so, it is probably
not intended for the
Dear Peter ans Stewart,
thank you for tipping on this topic. Harmonic thinking certainly is a
way to explain things, but just as certainly not the only one. If you
say, Stewart, the composer chose or avoided this or that tone because of
possible resulting harmonies, you would have to assume the
Dear Manolo,
in Germany, that collection of compositions by Harnoncourt was
published, I think, as lately as 1985. Then, I was 21 and still tried to
save money for my first baroque lute (got it ten years later). To me, it
was the great time of research and discoveries when you could
immediately
Stravinski or Stravinsky, that is the question ;)
Herbert Ward [EMAIL PROTECTED] schrieb:
0.04 Stravinsky XXX
0.04 Sibelius XXX
0.04Satie XXX
0.04 Regondi XXX
0.04Ravel XXX
0.04 Moussorsky XXX
0.04
Roman Turovsky [EMAIL PROTECTED] schrieb:
David, you haven't given is sufficient thought, we are talking different
things. Relationships between composers and hired musicians are not the same
thing as a relationship within a cooperative, such as RR band.
apparently, what it's all about is the
Paolo Declich [EMAIL PROTECTED] schrieb:
I got a copy of his Musik als Klangrede only some three years
ago. Boy, what an exciting book.
Ever translated in English?
see
http://perso.wanadoo.fr/mandarine/bibliographie.htm
--
Best wishes,
Mathias
Mathias Roesel, Grosze Annenstrasze 5,
Dear collected wisdom,
sEASonal greeTing to evERybody whom it concerns! May your days be
bright!
--
Best wishes,
Mathias
Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/
Germany, T/F +49 - 421 - 165 49 97, Fax +49 1805 060 334 480 67, E-Mail:
[EMAIL PROTECTED], [EMAIL
Hi everybody,
I thought it would be easy to find a file of Francesco's Spagna duet in
Fronimo or in TAB. However, I couldn't find one available. Could
somebody please help?
--
Best,
Mathias
Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/
Germany, T/F +49 - 421 - 165 49 97,
Aabrandt [EMAIL PROTECTED] schrieb:
The summary of it all is:
It's from the late 1800's.
Made in Markneukirchen or Mittenwald. It is a Wanderlaute, Waldelaute, =
or
Guitarrlaute (luteguitar and no makers label).
i.e. wandervogellaute (young folks, roaming though the woods, called
thermselves
Aabrandt [EMAIL PROTECTED] schrieb:
.. I may be misled in this case, but I have never seen anything like =
this in such an instrument. The upper pegheads of theorboed Guitars =
were sometimes equipped with supporting bars, but lutes?
it was quite commen, nevertheless. Many pictures in
would you please announce it before you're going to be kidding so that
others (me, that is) can get it ;)
MR
Tony Chalkley [EMAIL PROTECTED] schrieb:
Don't know how it is lute-related.
Because, fortunately, we don't always think in straight lines. As Craig
said, we call this overtone
Hi Chris,
sorry I put it equivocal. What I meant to say is that I go to a store
every three months or so and buy an especially non-skid, or non-slip,
cloth actually made for window cleaning. The fabric, however, is a kind
of rubber, not chamoix or another sort of leather. So, squeegee (Jon)
comes
Hi Stephan,
by what you wrote I am a little puzzled, I must confess. Okay, let's
have another attempt. Contrapunto (could also be called treble or
division) is the single line with a lot of fast notes. Tenor is the
steady-going three-part accompaniment for another lute.
The tenor line called La
Four years ago this time, Andrew Hartig, Dana Emery, Gail Gillespie and
others talked about this topic on the list. It is, I hope with their
permission that I re-post their postings. Thanks a lot to Goeran who
remembered!
From: Andrew Hartig [EMAIL PROTECTED] To: [EMAIL PROTECTED]
Subject:
bruno [EMAIL PROTECTED] schrieb:
I am about re-convert this 11 course into a small theorbized lute with single basses.
which purpose do you pursue? Will it be a tuorbe after Mersenne's
description? Or what do you intend to do with it?
No one in this thread has discussed the evolution of
Every now and then I go and get myself a new rubber for window cleaning
as the old one has become to dry, dusty, and slippery. I put it between
my belly and the lute's belly so that we both have rest :)
--
Best wishes,
Mathias
Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/
---Ursprüngliche Nachricht---
From: G.R. Crona [EMAIL PROTECTED]
Subject: Re: Spagna / Francesco
Dear Mathias,
my memory wasn't too far off :) The tune must have been a very well
known cantus firmus.
a search on my antiquated PC gave the following:
1. Cavalcanti=similar to Francesco
2. Siena:
Hi Stephan,
thanks for that additional point. I'm sorry to say you misunderstood my
point, though. The melody, as you say, i.e. the contrapunto /
counterpoint (division) does _not_ include the cantus firmus of La
Spagna. The cantus firmus of La Spagna has been embedded into the tenor
which is,
Try also the Belgian Museum of Musical Instruments
Villa Hermosastraat 1
Phone +32 2 545 01 46
http://mim.fgov.be
Roman Turovsky [EMAIL PROTECTED] schrieb:
Mus. des Beaux Arts, look in particular for Constant Permeke, and a very
unique piece by Adolphe Monticelli, aside from usual Flemish
sorry, correct url is
http://www.mim.fgov.be
Belgian Museum of Musical Instruments
Villa Hermosastraat 1
Phone +32 2 545 01 46
I would appreciate your recommendations for a stay in Bruxelles
(Brussels) , whether lutistical (on the list) or not
(private).
Thank you!
Bernd Haegemann
oh, there we are, again. I use my delete key for threads that turn out
to be SOAP (Sore Opinions About Politics).
--
Best, though
Mathias
Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/
Germany, T/F +49 - 421 - 165 49 97, Fax +49 1805 060 334 480 67, E-Mail:
[EMAIL
bill [EMAIL PROTECTED] schrieb:
i've found that slower is better. a question of individual taste i suppose but
stately
play without forcing the volume sounds right.
my experience, too. OTOH, this way forces you to precisely keep up with
the beat, i.e. more precisely than with more speed.
bill [EMAIL PROTECTED] schrieb:
what does otoh and voice leading mean?
sorry, abreviations are a disease, too. I've come to learn that OTOH
means On The Other Hand.
Voice-leading is the way parts or voices of a piece are led (going up or
down, or repeating a tone). It is conditioned by the
Thomas Schall [EMAIL PROTECTED] schrieb:
could give a hint to those of us who don't have much experience with continuo
playing.
When playing continuo, I for one prefer to keep LH close to the nut,
i.e. 1st or 2nd position, instead of going up as far as 4th or 5th
position. Otherwise, I'm
David Cassetti [EMAIL PROTECTED] schrieb:
I have posted a sound sample (amateur, cheap mikes) and picture of this
lute.
http://www.users.qwest.net/~leocassetti/lute.jpg
(You can actually see the copper wire to the left of the nut).
nice picture, thank you (I shall add it to my
Once, I happened to be in Heidelberg on Nov 10 when famous Klezmer
musician Giora Feidman attended the memorial service. He stood up and
took his clarinet. I think I expected him to play some mournful Klezmer
niggun, however, he sounded it three times like a shofar, and that was
it. That was all
Can somebody, please, help me get access to Jakob Kremberg's
Musicalische Gemuethsergoetzung (Dresde 1689)?
--
Best,
Mathias
Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/
Germany, T/F +49 - 421 - 165 49 97, Fax +49 1805 060 334 480 67, E-Mail:
[EMAIL PROTECTED], [EMAIL
Anthony Glass [EMAIL PROTECTED] schrieb:
This raises an interesting point--why do we so often refer to certain
Renaissance artists (and others I'm sure) by their forenames? After all,
who ever heard of Buonarroti's David? Sure, you read about the da Vinci
Code, but his artworks are at least
Roman Turovsky [EMAIL PROTECTED] schrieb:
while i take baroque lute music to mean anything played during the
baroque period on anything from the lute related family,
You really shouldn't. Imagine: you are on a Bentley list. What response
would you get on a Ford Pinto question (both are cars,
May I ask what this discussion aims at? When you'll have found out the charango has,
or has not, developed from the vihuela, what will you do with it?
Does the charango need noble ;) ancestors? If I were in your place and had comprable
love for the charango, I think I wouldn't hesitate to play
Dear netters,
since in my Fronimo MIDI rendition doesn't work, I've found that my PC (running under
Win98) is missing special drivers, which are named
ALS 100 Logical Device 1 Internal MIDI (OPL3) Device,
ALS 100 Logical Device 3 External MIDI (MPU 401) Device,
Both were produced by Avance
Dear Francesco, Mark, Roman, Tony,
thank you very much for everything! I downloaded the drivers and unzipped them but,
alas, it didn't work. Don't know exactly why. I'm looking forward to getting rid of
this old mill of mine. Only had to get it going last week because of an emergency of
my
Thomas Schall [EMAIL PROTECTED] schrieb:
very charming. But funny that la li Lu, a setting I made for Wayne's site
years ago - found it's way into this collection. It's a lullaby and actually
taken from a german movie of the 30s - dangerous ground in this context ...
La li lu, nur der Mann
Haven't heard this of Bakfark, but on a famous post-mortem-engraving of Weiss the
inscription reads Es soll nur Sylvius die Laute spielen (Sylvius alone shall play the
lute), a quote from a poem.
Also, I've somewhere read a description of Count Logy's final hour, when Logy ordered
all of his
Herbert Ward [EMAIL PROTECTED] schrieb:
Given that lutenists' musical literature was contemporary with these paintings,
perhaps one
may ask here how a modern person can understand the esthetics which produced these
paintings.
I shall make a cautious attempt. Please, note: not a sermon, but
Herbert Ward [EMAIL PROTECTED] schrieb:
But, no modern depiction of Jesus emphasizes Him as a nude man-baby. For
example, I doubt that modern Baptists have a nude in any of their
churches.
..
address this difference in style and taste between 2004 and 1570, an
understanding of which might, I
Tadeusz Czechak [EMAIL PROTECTED] schrieb:
1.It is still a proverb in Poland , but not commonly used , as now only a
few poeple know who was Bakfark . You may hear it rather from the poeple
involved with literature , poetry, culture etc.
Yes, indeed. I asked a Polish friend of mine. She is a
Bernd Haegemann [EMAIL PROTECTED] schrieb:
the Gigue (No.81) [taken from Schwerin 641]
is called an Allemande in all of the 6 concordances.
Hm. What could have been the reason for the editors to
accept the minority vote?
don't know about the editors' mindset, but one thing is certain: There
Spring, aus dem, Rainer [EMAIL PROTECTED] schrieb:
I think it's u-declination. Therefore the plural is Jesus with a long
u.
It isn't. In Hebrew / Aramaic, it is Yeshu, with both long and closed e
and u (like in French nee and in English zoo). It is not certain which
syllable was stressed
Ed Durbrow mailto:[EMAIL PROTECTED] schrieb:
Also, if you can find the Geisbert (sp?) book progresses from
beginner on to a Weiss suite.
sadly enough, there is no Weiss in Giesbert's method. The last chapter
has Bach's suite in G minor BWV 995, intabulated by Giesbert.
Nevertheless that
Thomas Schall mailto:[EMAIL PROTECTED] schrieb:
Martin also has sent some music by S.L.Weiss set for 10-course
renaissance lute.
brilliant idea, I'd say. Make it accessible for the majority, finally.
--
Best,
Mathias
Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/
Stewart McCoy mailto:[EMAIL PROTECTED] schrieb:
My other thought concerns the mode. Why should the player need to
know the mode, if all the notes are there in front of him? Is it
because there is a mood associated with each mode? Knowing the mode
would then give the player information on the
Patrick H mailto:[EMAIL PROTECTED] schrieb:
I have been listening to a CD of works by Giuseppe Antonio Brescianello by
guitarist Anthony Glise (which is great, by the way), but I am intersted in
the instrument that Brescianello wrote for, the colascione. The pieces I
have found work
Patrick H mailto:[EMAIL PROTECTED] schrieb:
I have been listening to a CD of works by Giuseppe Antonio Brescianello by
guitarist Anthony Glise (which is great, by the way), but I am intersted in
the instrument that Brescianello wrote for, the colascione. The pieces I
have found work really
Patrick H mailto:[EMAIL PROTECTED] schrieb:
I have been listening to a CD of works by Giuseppe Antonio Brescianello by
guitarist Anthony Glise (which is great, by the way), but I am intersted in
the instrument that Brescianello wrote for, the colascione. The pieces I
have found work really
Edward Martin mailto:[EMAIL PROTECTED] schrieb:
usual practice at the time. If one tries to do this on a baroque lute
strung conventionally as we string them in our modern times, the results
are a harsh, brittle sound, because playing way back on the bridge, gives
us entirely too much
Bonnie Shaljean mailto:[EMAIL PROTECTED] schrieb:
I do not feel like joining the legions of people who seem to fight with you.
come on, please.
Wire harps WERE in existence in early Ireland and Scotland, whether you like
it or not.
The 14th century does qualify was early.
they had
Roman Turovsky mailto:[EMAIL PROTECTED] schrieb:
..And I think the driving ostinato of O Death, Rock me Asleepe is a
clear precursor to the gloom-and-doom death metal of the early 1970s as
pioneered by Black Sabbath.
E
http://www.sabbatum.com/sound?sess=f4b25a12a907666261a78bfae1b60920
Until some three years ago I tried to look like Denis Gaultier (on that
sole fab pic by what's-his-name) in terms of hair-dressing. Then, a girl
friend of mine said, Mathias du sieht scheisze aus so (no translation
available). Which changed my mind. No long hair any longer, and no beard
nor
YES! INDEED!
Mathias
Arto Wikla mailto:[EMAIL PROTECTED] schrieb:
Dear lutenists,
yesterday I got my copy of the LSA Quarterly XXXIX, No. 4. It was a very
nice surprise: about 70 lute arrangemants of Christmas and winter
holiday pieces! It will be very useful!
Many thanks to LSA,
Roman Turovsky mailto:[EMAIL PROTECTED] am 15.12.2004 15:25:27
Lets not waste time on cheese. And instead lets possibly prepare a similar
Easter issue (even electronic). I don't care if we offend a Muslim or 2 in
the process.
there should be nothing wrong with Easter (resurrection) for
Jon Murphy mailto:[EMAIL PROTECTED] schrieb:
I commend you to the film Master and Commander. It is drawn from the novels
of the late Patrick O'Brian which I've enjoyed over the years. The film,
..snip
a horrible would-be, and no lutes in it. So what?
--
Mathias
--
To get on or off this
Dear Stewart,
may I add that I did say. Until two years ago, I had a Gaultier-beard
and matching long hair. Then came along a girl friend of mine who
radically changed my modes. So, for now you should count me as
clean-shaven :^)
Stewart McCoy mailto:[EMAIL PROTECTED] schrieb:
Dear All,
The
Dear everybody,
does somebody here happen to know about _access_ (microfilm, paper
copies, Fronimo files) to the volume of duets by Weiss in Dresden that
was not published in facsimile (GDR-Zentralantiquariat)? A friend of
mine asked me to forward his question. He is planning to play a recital
Roger E. Blumberg mailto:[EMAIL PROTECTED] schrieb:
here's a page on saz. Notice these all have butt-ports complete with
rosette -- like those 9th century Carolingian Psalter cytharas seem to have
(rear ports, trumpeted or not).
http://www.rainbowcrystal.com/music/music7.html
I guess that
Jon Murphy mailto:[EMAIL PROTECTED] schrieb:
The mandocello is larger mandolin. The sequence in size is mandolin,
mandora, mandocello, mandobass.
mandolino, mandola, mandolone, rather. mandoloncello would then be a
small mandolone. mandora is something else.
My new charango (which Bill tells
mailto:[EMAIL PROTECTED] schrieb:
while lurking on ebay I found this instrument - don't know if it's worth
the money (and don't profit from forwarding this offer) but maybe someone
is interested
http://cgi.ebay.de/ws/eBayISAPI.dll?ViewItemitem=3773134797#ebayphotohosting
that lute has been
yes, indeed, I entirely agree.
Denys Stephens mailto:[EMAIL PROTECTED] schrieb:
Dear Mimmo, Just a note to say that I have been using Nylgut on my lutes for
two years and I love the sound it brings out of the instruments. For me it
gives everything I want from a lute string. So thank you
Dear Andrea,
martellement is what I had in mind, indeed. What I was trying to say was
that French ornaments don't necessarily start from auxiliary notes.
Although using differing signs, Gallot and Mouton agree that the
martellement starts from the main note. (Harpsicordists like Francois
Couperin
Thomas Schall mailto:[EMAIL PROTECTED] schrieb:
Actually Zamboni is flat and very simple music (often not much more than
simple I-IV-V). Very entertaining but not comparable in any kind to the music
of Weiss
okay, let's leave it there. I don't feel like discussing religion here.
--
Markus Lutz mailto:[EMAIL PROTECTED] schrieb:
As far as I can see in the booklet of the recording of Zamboni suites by
Luciano Contini, the biographical dates of Zamboni seem to be very unsure.
The only thing that is known is that He was from 1707 to 1713 contra bass
player in Rome after
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