DOCSLIB.ORG

Pasqualini Demarzi Six Sonatas for Cetra Or Kitara

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Pasqualini Demarzi Six Sonatas for Cetra Or Kitara Pasqualini Demarzi Six Sonatas for Cetra or Kitara Doc Rossi, 18th-century Cittern Andrea Damiani, Archlute and Baroque Guitar Doc Rossi & Andrea Damiani The Instruments The cittern seems to have started life as a conscious attempt at refashioning the Classical Greek “kithara” Sonata I: Sostenuto, Aria, Minuet to Italian Renaissance taste. The Renaissance cittern had a very shallow body, tapering from the neck (4.5-6cm) to the base (2-2.5cm) and, for the most part, used a re-entrant tuning that was well-suited to The Musical Priest (trad. arr. Rossi) playing with a plectrum, and to chording. Instruments typically had from 4 to 6 courses, double- and/or triple strung, sometimes with octaves, sometimes all unisons. Arch-citterns with up to 8 extra basses also Sonata II: Moderato, Largo, Allegro, Minuet existed. Typical fingerboard string lengths were from 44cm to 60cm, although several scholars believe that a much shorter instrument also existed, more suitable for the small but demanding solo repertoire. The Rights of Man (trad. arr. Rossi) String length has a distinctive though subtle effect on sound that is easier to hear than to describe – given the same pitch, similar string tension and double-strung courses, a longer string length is somewhat Sonata III: Moderato, Largo, Grazioso softer, with a characteristic “whoosh” during position changes that can be heard on today’s Appalachian dulcimer. The re-entrant tuning necessitates almost constant position changing when playing melodies of The Fairy Hornpipe - Whisky You're the Devil (trad. arr. Rossi) any range. The combination of shallow body and longer string length gives the Renaissance cittern a bright, jangling sound, which is further emphasized when it is played with a plectrum. Sonata IV: Siciliana, Grazioso, Minuet By the middle of the 18th century there were several sizes and types of cittern, most somewhat different from the typical Renaissance instrument. As the cittern evolved, the body became deeper, The Orange Rogue (trad. arr. Rossi) eventually tapering from about 5cm at the neck to about 7cm at the base – the opposite direction from the Renaissance cittern. The instrument of the type used on this recording typically had 6 courses (4 double, Sonata V: Largo, Allegro, Minuet tuned in unisons, and 2 single basses) tuned to a major chord. The most common size had a string length of about 42cm and was pitched at C. Larger instruments had string lengths of from 46cm to 53cm and Rodney's Glory (trad. arr. Rossi) would have been pitched at A or G. There were also smaller instruments with string lengths of about 33cm, suggesting they could have been pitched higher. Again, arch-citterns, most often with 5 extra Sonata VI: Largo, Allegro, Minuet basses, were built, especially in France, as were both 5- and 7-course instruments, with various combinations of single and double courses. Instruction books specify playing with the fingers rather than Miss Hamilton (Cornelius Lyons, 1706, arr. Rossi), a plectrum. The cittern with a string length of 42cm, tuned to a C-major chord and played with the Dedicated to Mìcheàl O’Sùilleabhàin. fingers has a darker, more sonorous tone than the Renaissance cittern, with an emphasis on mid-range frequencies. It has a buzzing rather than jangling sound, without the “whoosh” typical of some other citterns. Another difference is the variety of shapes used in the 18th century; whereas the Renaissance Produced by Richard Gibson and Doc Rossi th cittern was more or less fig-shaped, a form that persisted and dominated into the 18 century and beyond, Recording engineered by Andrea Damiani many examples of 18th-century cittern can be found in the shape of a pear, a figure-eight (like the guitar), an almond (sometimes with a bowled back, like the lute and mandolin), with pointed “shoulders”, and Post-production engineering by Kevin Herring even undulating shapes resembling a cloud or shell, reminiscent of the Renaissance Orpharion and CetraCD001 © 2003 Cetra Publishing Bandora. French makers produced a number of elegant, asymmetrical instruments with extra basses, and For more information: [email protected] others with two necks – one long and one short – for tuning at two different pitches. The 18th-century cittern is also known as the “English guitar”. Why guitar and not cittern? This is not as arbitrary or confusing as it seems because the words “guitar” and “cittern” and their various spellings in other languages and dialects stem from the common root “kithara”. At the time, and often in the same publication, this instrument was called guitar, guittar, cittern, cetra, cistre, and many other The Performers spellings: in the introductory comments to his last work (1760), The Art of Playing the Guitar or Cittra (sic), Francesco Geminani referred to the cittern as “the lesser Guitar or Citera” (sic); G. B. Marella wrote for “Cetra or Guittar”; Giacomo Merchi’s op. XV is for “Chitarra”; he seems to have used this word for Doc Rossi has performed as a soloist and with various groups across North America and Europe and has the cittern and “guitarre” for the guitar proper; G. B. Noferi uses “Guittar” for op. 3, Cetre for op. 4 recorded in a variety of contexts, playing Early Music, Hawaiian Slack-key guitar and Celtic, Mexican th (duets), and “Guitar” for op. 12; David Rutherfoord’s (sic) instructions are for “Cittern or Guittar”; and of and American dance music. One of only a handful of players who specialize in the 18 -century cittern, course Demarzi’s title page reads “Six Sonatas for the Cetra or Kitara”. he is involved in recording projects and performances dedicated to 18th-century composers for plucked The adjective “English” seems to have been used in the 18th-century to distinguish the cittern- string instruments. During the 1980s Doc Rossi was resident at London's acclaimed Islington Folk Club type instrument from other types of guitar when that became necessary. The earliest occurrence that I and The Last Straw, a London club that featured less traditionally oriented acoustic music. He has have been able to find comes from colonial America: on 12 November 1764, and again on 3 August 1767, appeared at the Hudson River Revival, the Philadelphia Folk Festival, and the National Folk Festival ex-patriot German Jacob Trippell announced in the New York Gazette that he made and repaired “all (UK). Also a scholar, Dr. Rossi has published a modern edition of Thomas Robinson’s New Citharen sorts of [...] English and Spanish Guittars”. Others speak of Italian, French and German guitars as well, Lessons (1609), plus articles dealing with guitar and cittern history, and with Shakespeare, Brecht, and not to mention the “Italian pocket guitar”. The term “English guitar” is used today by some scholars to the Beat Generation. distinguish the 18th-century cittern from the Renaissance variety. The cittern I play on this recording was built by John Preston, who worked in London in the Andrea Damiani has performed and recorded extensively across Europe and the USA, both as soloist and second half of the 18th century. It is a typical instrument of the period, fitted with a watch-key tuning continuo player on archlute and theorbo. His passion for research on lute history and literature has led mechanism. It was restored in 1999 by Roberto Gabrielli of Rome. The top was caved in due to broken him to discover and record some previously unknown sources: J’ay pris amour, devoted to the heart- braces, and the replacement bridge was large, heavy and clumsily made. Roberto replaced the top braces shaped manuscript preserved in Pesaro, Biblioteca Oliveriana, the main early lute source before Ottaviano th and made a new, more suitable ebony bridge fitted with a bone saddle. Small openings between top and Petrucci’s prints; and Folias, containing music from 17 -century central Italian sources for archlute, sides were re-glued. An earlier and again rather clumsy repair to the top – a crack that goes with the theorbo and guitar, among them a recently found manuscript containing unknown guitar pieces by grain, about 3cm from the edge – was left as is. However, another similar crack in the top, nearer to the Giovanni Paolo Foscarini. He has also recorded a CD dedicated to Il Fronimo of Vincenzo Galilei. Mr. center, was closed. There is no rose, and instead the sound hole has been bound. Damiani has been invited to teach at several international early music courses, such as those held in Andrea plays a five-course guitar made by Parizot à Nantes in 1777, which is tuned with Chiusi della Verna, Erice, Lanciano, and by the Cini Foundation of Venice. He regularly teaches at the bordone. The archlute was made by Roman liutaio Renzo Zenobi in 2001, and is a copy of an instrument International Summer Course held in Urbino. He is Lute Instructor at the Conservatorio S. Cecilia in by Matteo Sellas. Rome, and the author of Method for Renaissance Lute, published by Ut-Orpheus. The Music Another difference between Renaissance and 18th-century citterns lies in their music. Historical questions of style aside, there is also the question of a consistently growing amateur market for whom a large amount of music was published. What the instruments have in common is that most of the pieces that have come down to us are very simple settings of popular tunes and dances of the day, often no more than the melody transposed to the most convenient key. More ambitious music for solo Renaissance cittern was and master, something that must have taken place almost daily. I had the pleasure of studying with written by Paolo Virchi, Anthony Holborne and Thomas Robinson; there is a small body of ensemble Andrea for several years – his guidance and encouragement have been invaluable, as is his artistic music in which the cittern plays an accompanying role, and there are also some duets.
Load more

Recommended publications
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Ron Block Hogan's House of Music Liner Notes Smartville (Ron Block
    Ron Block Hogan’s House of Music Liner Notes Smartville (Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Tim Crouch - fiddle Jerry Douglas - Dobro Stuart Duncan – fiddle Clay Hess - rhythm guitar Adam Steffey – mandolin Hogan’s House of Boogie (Ron Block, Moonlight Canyon Publishing, BMI) Ron Block – banjo, rhythm and lead guitar Sam Bush - mandolin Jerry Douglas – Dobro Byron House - bass Dan Tyminski – rhythm guitar Lynn Williams – snare Wolves A-Howling (Traditional) Barry Bales - bass Ron Block - banjo Stuart Duncan - fiddle Adam Steffey - mandolin Dan Tyminski - rhythm guitar The Spotted Pony (Traditional, arr. Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Sierra Hull – octave mandolin Alison Krauss - fiddle Adam Steffey – mandolin Dan Tyminski - rhythm guitar Lynn Williams – snare Clinch Mountain Backstep (Ralph Stanley) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Clay Hess - rhythm guitar Adam Steffey – mandolin Gentle Annie (Stephen Foster) Ron Block – banjo, guitar Tim Crouch – fiddles, cello, bowed bass Mark Fain - bass Sierra Hull – octave mandolins Mooney Flat Road (Ron Block, Moonlight Canyon Publishing, BMI) Barry Bales - bass Ron Block - banjo, rhythm and lead guitar Stuart Duncan – fiddle Sierra Hull – octave mandolin Alison Krauss - fiddle Adam Steffey – mandolin Jeff Taylor - accordion Dan Tyminski - rhythm guitar Lynn Williams – snare Mollie
    [Show full text]
  • Shin Akimoto Alan Bibey Sharon Gilchrist
    Class list is preliminary- subject to change Shin Akimoto Monroe Style (I) Rhythm Playing (AB) Bluegrass in Japan (All) Alan Bibey No, you backup (AB-I) Playing fills and how to play behind a vocalist Classic Bluegrass Mandolin breaks (I-A) Road to improv (I-A) Classic Monroe licks (AB-I) Spice Up your playing with triplets (I-A) Sharon Gilchrist Closed Position Fingering for Playing Melodies in All 12-Keys: (AB-I) Learn a couple of easy patterns on the fretboard that allow you to play melodies in all 12 keys easily. This is what a lot of mandolin players are using all the time and it's easy! Closed Position means using no open strings. Basic Double Stop Series: (AB-I) Double stops are one of the mandolin's signature sounds. In this class, we will learn a basic double stop series that moves up and down the neck for both major and minor chords. Freeing Up the Right Hand (B-I) This class is geared towards folks who have learned a number of fiddle tunes and have gotten pretty comfortable playing those melodies but are wondering how to speed them up a bit or breathe a little more life into them now. It is also for folks who might have been playing for a while but still struggle with speed and flow in performance of their tunes. Backing Up a Singer: (I-A) Using double stops and licks to create back up that allows the lead vocal to remain front and center while enhancing the story of the song.
    [Show full text]
  • In Seclusion After Defeat
    Hie Weadw f^*1ltt<Wll City o f rwogm Charm ▼OL. Lxzzvni, MO. m (TWENTT P A 6E S-T W 0 SECnONB-TABU)ID) MANCHESTER, CONN, MONDAY, APRIL 28, 1H9 « n g » I t ) PRICE TEN CENTS in Seclusion After Defeat ' -^1 Fails To Carry Party with Him Poher Takes Post O Weill Quits Post Pending Election PABE3 (AP)—Oharies de GauHe Sbeiiiied out of tbo Prenfeh preaidfnicy today and retired once more to U s home in eastern France, endfngr ntoie tfoan 10 tariio- lent years o f po>wer that profoundty altered the nsttioa's As Ulster ^s Chief political ouilook, eooookny anld foreign iMUcy. --- ---------------------- Da OauUa’s r a ‘ BEIiFAST, Northern Iie- ootna prime mtoistar unleac the cadoeatorOaik, on the otoar came affocMva at ‘^5? 1A0P)-Jctapt Terence UMcnlst party didntogratoa hand, has come out In total op- President Alain O^NeOl irenfgiMd today as O'NoUl fougtat a prolonged poattlon.to reform. ed him aa Interim t o w in e ndniater o f rlotJboni rearguard aotloo to preserve Any new Nortoam Ireland Foe Tackles aerve until . '-N'orthertj Ireland and said Unionist support for his leader prime mtatoter win have to take are held. Ihere he had quH to serve “ the ship and oo^ a week ago he into aooount toe parent Britlah ny of traswfar, aaS Da cause of refonn.’* muetered a frail eix-vote mar- Covemmant'a total commitment f/.S. Armor wsw in sactaakm a t hto , Oir«ni*s dapartnitt cam* aft­ fin eMhin toe party for the prin- to • reform system Inooiporat- Ootombay-toa-DancMBHa otple of ona«nan-«n»-voto in lo­ er waafes of poUtlaal tneulaBo* ing (he onn-man-ona-vote prtnol- I’kwnoe'w TS-yaaw«M that «niptad Into TrtilM|aiiai1 cal govammant elaotiona.
    [Show full text]
  • A Brief Survey of Plucked Wire-Strung Instruments, 15Th-18Th Centuries - Part Two
    The Wire Connection By Andrew Hartig A Brief Survey of Plucked Wire-Strung Instruments, 15th-18th Centuries - Part Two Wire-Strung Instruments in the 16th Century ment and was used in a multitude of countries and regions. Al- Most of the wire-strung instruments from the 15th century though most players today think of the cittern as a single type of discussed in part one — such as the harpsichord, psaltery, and instrument, there were in fact many different types, each signifi- Irish harp — continued to be used on a regular basis throughout cantly different enough from the others so as to constitute separate the 16th century (and they would continue to be used into the 18th). instruments. However, almost all citterns have in common a tuning The major exception to this was the Italian cetra, which disap- characterized by the intervals of a 5th between the third and second peared at the end of the 15th century only to evolve into many dif- courses and a major 2nd between the second and first courses, and ferent forms of citterns. one or more re-entrantly tuned strings. Historically, the 16th century heralds the beginning of ma- jor shifts in thinking that led to experimentation and innovation Diatonic 6- and 7-Course Cittern in many aspects of life. Times were changing: from the discovery This was the earliest form of cittern used, possibly devel- of the “New World” that had begun at the end of the 15th century, oped from the cetra late in the 15th or early in the 16th century, and to the shifts in politics, power, religion, and gender roles that oc- it was definitely still in use into the 17th century.
    [Show full text]
  • Common and Noteworthy Instruments from 1750S-1800S' Eastern
    Common and Noteworthy Instruments from 1750s-1800s’ Eastern USA Emory Jacobs Faculty Sponsor: Dr. Scott Marosek Department of Music During the 1700s and 1800s, residents of the eastern seaboard of North America enjoyed a wide variety of instruments, many of them built for “contrast and variety.”1 Availability, on the other hand, was a different story. While few accounts of the musical scene in that time period exist for more rural settings, records of the area and the events of the period from 1750 through the 1800s paint an interesting picture of how specific social classes and needs determined an instrument’s popularity. At the time, instruments were highly controversial, especially among specific religious groups.2 The religious restrictions on music occurred in relatively isolated sub- cultures in America, whereas notable sources from Germany would spend a novel’s worth of pages praising how perfect the organ was and would carefully list the detail of instruments’ tuning, mechanisms, and origins.3 When comparing these European instrument lists or collections with confirmed colonial instruments, one finds that very few of the elaborate, most prized instruments were exported to North America. Even outside America’s religious institutions, instruments were sometimes considered profane.4 While some instruments and some musical styles escaped such stigma, other instruments and styles had more ominous ties or were considered inelegant; the violin and fiddle offer one illustration.5 The phenomenon suggests that American society’s acceptance of music may have been a sensitive or subtle affair, as the difference between the violin and fiddle is often described as the fiddle being a poorly crafted violin or, in some cases, as a different musical style performed on the violin.
    [Show full text]
  • Soundboardindexnames.Txt
    SoundboardIndexNames.txt Soundboard Index - List of names 03-20-2018 15:59:13 Version v3.0.45 Provided by Jan de Kloe - For details see www.dekloe.be Occurrences Name 3 A & R (pub) 3 A-R Editions (pub) 2 A.B.C. TV 1 A.G.I.F.C. 3 Aamer, Meysam 7 Aandahl, Vaughan 2 Aarestrup, Emil 2 Aaron Shearer Foundation 1 Aaron, Bernard A. 2 Aaron, Wylie 1 Abaca String Band 1 Abadía, Conchita 1 Abarca Sanchis, Juan 2 Abarca, Atilio 1 Abarca, Fernando 1 Abat, Joan 1 Abate, Sylvie 1 ABBA 1 Abbado, Claudio 1 Abbado, Marcello 3 Abbatessa, Giovanni Battista 1 Abbey Gate College (edu) 1 Abbey, Henry 2 Abbonizio, Isabella 1 Abbott & Costello 1 Abbott, Katy 5 ABC (mag) 1 Abd ar-Rahman II 3 Abdalla, Thiago 5 Abdihodzic, Armin 1 Abdu-r-rahman 1 Abdul Al-Khabyyr, Sayyd 1 Abdula, Konstantin 3 Abe, Yasuo 2 Abe, Yasushi 1 Abel, Carl Friedrich 1 Abelard 1 Abelardo, Nicanor 1 Aber, A. L. 4 Abercrombie, John 1 Aberle, Dennis 1 Abernathy, Mark 1 Abisheganaden, Alex 11 Abiton, Gérard 1 Åbjörnsson, Johan 1 Abken, Peter 1 Ablan, Matthew 1 Ablan, Rosilia 1 Ablinger, Peter 44 Ablóniz, Miguel 1 Abondance, Florence & Pierre 2 Abondance, Pierre 1 Abraham Goodman Auditorium 7 Abraham Goodman House 1 Abraham, Daniel 1 Abraham, Jim 1 Abrahamsen, Hans Page 1 SoundboardIndexNames.txt 1 Abrams (pub) 1 Abrams, M. H. 1 Abrams, Richard 1 Abrams, Roy 2 Abramson, Robert 3 Abreu 19 Abreu brothers 3 Abreu, Antonio 3 Abreu, Eduardo 1 Abreu, Gabriel 1 Abreu, J.
    [Show full text]
  • EASTMAN SCHOOL of MUSIC String Department Handbook
    EASTMAN SCHOOL OF MUSIC String Department Handbook Fourth Edition 2016 REVISED AND EDITED BY ASST. PROF. OF VIOLONCELLO, ROSEMARY ELLIOTT EASTMAN SCHOOL OF MUSIC UNIVERSITY OF ROCHESTER © 2016 by Eastman School of Music Eastman School of Music String Department Handbook, Page 2 EDITOR’S PREFACE TO THE THIRD EDITION The String Department is the largest department at Eastman. The materials central to this department are presented in this handbook for the use of ESM faculty, students, administration and staff. When necessary reference should also be made to the Registrar’s Office online publications: • The Academic Policy Handbook at http://www.esm.rochester.edu/registrar/policy/ and, • The Forms and Advising worksheets at http://www.esm.rochester.edu/registrar/forms/ Further information is available in the Student Recital Handbook, available online at http://www.esm.rochester.edu/concerts/office/forms/); and the Collaborative Partnerships page found on the Accompanying Department’s Accompanying Services web page at http://www.esm.rochester.edu/accompanying/services/ or by following the link under “Current Students” in the navigation bar at the top of the ESM home page. Additional communication about immediate string department issues will be posted regularly on the string department website at http://www.esm.rochester.edu/strings/ or contact the department’s Administrative Assistant by e-mail. Eastman School of Music String Department Handbook, Page 3 EASTMAN SCHOOL OF MUSIC String Department Handbook Fourth Edition 2016 T A B L E O F C O N T E N T S EDITOR’S PREFACE Page 2 JURY GUIDELINES FOR STRING MAJORS 5 Jury Requirements by level and major Performers Juries Master of Music in Performance and Literature/Doctor of Musical Arts Juries Senior and Graduate Degree Recital Guidelines Concerto Competition REQUIRED COURSES IN GUITAR STUDIES.
    [Show full text]
  • Fomrhi-110.Pdf
    v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009.
    [Show full text]
  • The Lute Society Microfilm Catalogue Version 2 12/13 the List Is Divided by Instrument. Works for Renaissance Lute with Voice A
    The Lute Society Microfilm Catalogue Version 2 12/13 The list is divided by instrument. Works for Renaissance lute with voice and in ensemble are separated because of the size of the main list. The categories are: Renaissance lute Renaissance lute with voice Renaissance lute in ensemble (with other instruments) Lute in transitional tunings (accords nouveaux) Vihuela Baroque lute Renaissance guitar Baroque guitar Bandora Cittern Mandore Orpharion Theorbo Musical scores without plucked instrument tablature Theoretical works without music The 'Other instruments' column shows where there is music in the work for other listed instruments. The work also appears in the other list(s) for ease of reference. The list is sorted by composer or compiler, where known. Anonymous manuscripts are listed at the end of each section, sorted by shelf mark. Date references are to HM Brown Instrumental Music printed before 1600. Where the date is asterisked the work is not in Brown. Tablature style is shown as French (F), German (G), Italian (I), Inverted Italian (II) or Keyboard (K) The Collection and MCN fields identify each reel and the collection to which it belongs. Renaissance Lute Other Composer/ Compiler Title Shelf Mark or HMB Tab Format Coll MCN Duplicates Notes Instrument(s) Intabolatura di Julio Abondante Sopra el Julio Abondante 1546 I Print MP 59 Lauto Libro Primo 1 Julio Abondante Intabolatura di Lauto Libro Secondo 15481 I Print MP 60 GC 195 Intabolatura di liuto . , novamente Julio Abondante ristampati, Libro primo 15631 I Print MP 62 GC 194,
    [Show full text]
  • Krab-Guide-220-1971-11.Pdf
    Th® ij ffiffi ~d n©J t~ [f(Q]mD SA"DALS -BAGS-BELTS -V€5T5 ~LL OR\GI(lAL OtSI60S III LEATH£R ~A()D CRAFT~D 00 THE PRElYl'515 ~Ll STYLeS [L~ ~ U~ CC [R< AnD COLORS LW(PJf\Yf~ ~OQ M£() t WOM~1l uWCQ) -4334 U. WAY [S @~~uD(Q)(R)~ - PIE,Q 70 PROGRAM GUIDE NUMBER TWO HUNDRED TWENTY - STAPH Containing all you need to know , as well as alot Station Manager Gregory Palmer you probably don't, about: Program Director Michael Wiater Music Director Bob Friede KRAB Classical Music Director Phil Munger 9029 Roosevelt Way N.E. Chief Engineer Steve Menasian Seattle , Washington 98115 Engineering Director Benjamin F. Dawson LA 2-5111 Secretary Nila File 107 . 7 megacycles Assistant Program Director Jim Duncan 20 k.w. News Alister Conway ************************************************ Marcus Kunian George Green A BRIEF MARATHON REPORT, BECAUSE, IF YOU ' RE LIKE Advertising Phil Bannon US, YOU ARE SICK UNTO DEATH OF HEARING ABOUT THE Bookkeeping Cathy Palmer MARATHO N, AND HEARI NG THE MARATHO N, AND THE PHONE Subscriptions Trudi Friede NUMBER, AND KRAB 'S PRAISES, AND ALL THAT STUFF- Guide Layout Lorna Dawson Seriously, though, the Marathon has just ended, Pub li c Affai rs Jack Boyes as this is being written, and due to the lateness Production Assistants Steve Putnam of the guide this month (may we parenthetically Ken Sher say that if your guide was l ate , we apologize. Legal Re lief Byron Coney It is signifigant that the largest number of sub­ H. Bader and Potts scribers to ever receive the KRAB guide at one time probably got them late.
    [Show full text]
  • Two Common Errors About the Proportions of the ‛Ūd
    ICONEA 2011 On the other hand, the‛ūd as we know it in its current form since the eleventh century, due to various, principally ideological considerations, has been the catalyst of most of the organological er- rors and arbitrary postulations3. In the present paper, we shall explore mainly two obvious errors about the instrument. The first one being Farmer’s description of a-ţ-ŢaĦĦān’s TWO COMMON ERRORS 'archlute', of great importance because it reveals the ABOUT careless attitude of Orientalist musicology towards scientific truth. The second is Poché’s so-called THE PROPORTIONS hemispherical body of al-Kindī’s‛ūd. Both errors are extremely misleading especially because of their OF THE ‛ŪD: wide repute in the literature4. Ibn a-ţ-ŢaĦĦān Ibn a-ţ-ŢaĦĦān’s’5 archlute according to Farmer 1 and al-Kindī In 1939, Henry George Farmer’6 described an archlute which would have been 180 cm tall. It would have been designed by Abū-l-Ģassan ibn a-ţ- Amine Beyhom ŢaĦĦān, a musician from Fatimid Egypt. In 1979, Curtis Bouterse7 corrected Farmer’s assumption on Introduction the basis of logic. A-ţ-ŢaĦĦān’s lute was brought back to a more reasonable size, closer to modern The ‛ūd and the ţunbūr are generically called proportions. However, the misinterpretation per- 'lutes' in archaeomusicology. This leads to persistent sisted for forty years during which musicologists misunderstandings about the origins of both were amazed at the size of this instrument, without instruments. They are, as far as we know, distinct disputing Farmer’s description. In the first part of in their origins as well as in their organology.
    [Show full text]