Thanks for the lesson. Do you agree as concerned for authentic luteplay gut strings and frets bring us the closest to how Weiss and Bach experienced the lute's sound and tone quality and can bring us to the most authentic lute technique possible as practiced in the seventeenth and eighteenth century?
I am not very much concerned about authentic lute playing. I am more for trying to make the lute playing accessible and getting more people play the lute on the higher level so that people hear our best repertoire and therefore want to have more lute concerts:) As for the gut strings I am sure the treble strings and the octave strings in plain gut sound absolutely terrific. But some troubles which come along - tunning, unstable quality in some cases may make the lute really difficult for the beginner. Therefore I am not promoting any of the stringing solutions. It is a matter of taste. Important is that as any other musicians lute player should be able to open a case and play an advanced piece of Weiss or Bach on a baroque lute or a great piece of Dowland on the renaissance lute to motivate the young people to pick up the lute. For me this should be a standard as on any other instrument. For this we need the lute which allows to do so, to play clean and to play in real tempi. Thus for me it is really of secondary importance what strings it would be done on. The research should go on but it should not hinder the above mentioned aims:) This is my humble opinion.
@@LUTEDUO Thank you so much for your elaborate answer. You are quite right easy access and playability should be a priority so more young people start playing the lute. I had the privilege to hear Michael Schafer and Eugen Dombois play in the early seventies at Queekhoven in the Netherlands. I like your and Anna's style very much because I recognize their influence in your luteplaying. Thanks again for all the wonderfull work that you do for the lute and historic guitar as well. Dankjewel!
Your assertion that most historical lute players could not imagine that there could be a single-strung instrument is demonstrably false: the chitarra italiana of the 16th century and most theorbos of the 17th and 18th century were single-strung. Additionally, your description of gut strings as stiff and not flexible is only a description of modern gut strings. Since the industrial revolution of the 19th century, we have lost some of the old gut string making knowledge. Old illustrations and paintings of gut strings showed it to be very fine and flexible, whether wrapped in skeins (see Thomas Mace's illustration) or hanging loosely from a pegbox. One must also consider that the wide variety of scordaturae explored in the 17th century on the lute and viol were evidence of strings more flexible than our own. I believe Mimmo Peruffo is the the most qualified person to consult on this subject.
This is exacly What I mean, order the Gut strings from Mimo and compare them to the sintetic strings. Any Gut strings are very much stiffer and less stratchable which makes them really nice to play. I judge it by comparing real strings available on the market, not the paintings or books. As for single strings , maybe they happened somewhere but not where Weiss was playing and we have double strings and octaves to have overtones on the instrument with lower tension than guitar. This is not fantasy - it is pure physics in the times with no Pyramid:)
@@LUTEDUO today's gut strings are not yesterday's. They are less flexible than old iconography suggests. Single-strung instruments were known in Europe, including the 16th century chitarra italiana, the 17-18th century theorbo, the diapasons on long archlutes, and some varieties of mandolin, but small solo lutes like yours universally used double courses, except on the first and often second courses. Weiss played a theorbo with double courses on the fingerboard, but he knew and wrote of old Italian-style single-strung theorbos by Matthias Buechenberg. There is nothing wrong with playing baroque lutes with single strings, in the manner of modern classical guitars, but you should speak honestly about historical trends to the best of modern knowledge, lest you give people the wrong impressions about the historical instruments you are representing.
That was incredibly helpful, thank you!
Great, thanks.
Adoro vocês dois já o sigo há um bom tempo obrigado
Perfect!
Thanks for the lesson. Do you agree as concerned for authentic luteplay gut strings and frets bring us the closest to how Weiss and Bach experienced the lute's sound and tone quality and can bring us to the most authentic lute technique possible as practiced in the seventeenth and eighteenth century?
I am not very much concerned about authentic lute playing. I am more for trying to make the lute playing accessible and getting more people play the lute on the higher level so that people hear our best repertoire and therefore want to have more lute concerts:) As for the gut strings I am sure the treble strings and the octave strings in plain gut sound absolutely terrific. But some troubles which come along - tunning, unstable quality in some cases may make the lute really difficult for the beginner. Therefore I am not promoting any of the stringing solutions. It is a matter of taste. Important is that as any other musicians lute player should be able to open a case and play an advanced piece of Weiss or Bach on a baroque lute or a great piece of Dowland on the renaissance lute to motivate the young people to pick up the lute.
For me this should be a standard as on any other instrument. For this we need the lute which allows to do so, to play clean and to play in real tempi. Thus for me it is really of secondary importance what strings it would be done on.
The research should go on but it should not hinder the above mentioned aims:)
This is my humble opinion.
@@LUTEDUO Thank you so much for your elaborate answer. You are quite right easy access and playability should be a priority so more young people start playing the lute. I had the privilege to hear Michael Schafer and Eugen Dombois play in the early seventies at Queekhoven in the Netherlands. I like your and Anna's style very much because I recognize their influence in your luteplaying. Thanks again for all the wonderfull work that you do for the lute and historic guitar as well. Dankjewel!
@@baldwin9180 Heel erg bedankt voor je mooie woorden... Zelfs om genoemd te worden langs deze namen is een eer voor een luitspeler:)
Your assertion that most historical lute players could not imagine that there could be a single-strung instrument is demonstrably false: the chitarra italiana of the 16th century and most theorbos of the 17th and 18th century were single-strung.
Additionally, your description of gut strings as stiff and not flexible is only a description of modern gut strings. Since the industrial revolution of the 19th century, we have lost some of the old gut string making knowledge. Old illustrations and paintings of gut strings showed it to be very fine and flexible, whether wrapped in skeins (see Thomas Mace's illustration) or hanging loosely from a pegbox. One must also consider that the wide variety of scordaturae explored in the 17th century on the lute and viol were evidence of strings more flexible than our own. I believe Mimmo Peruffo is the the most qualified person to consult on this subject.
This is exacly What I mean, order the Gut strings from Mimo and compare them to the sintetic strings. Any Gut strings are very much stiffer and less stratchable which makes them really nice to play. I judge it by comparing real strings available on the market, not the paintings or books.
As for single strings , maybe they happened somewhere but not where Weiss was playing and we have double strings and octaves to have overtones on the instrument with lower tension than guitar. This is not fantasy - it is pure physics in the times with no Pyramid:)
@@LUTEDUO today's gut strings are not yesterday's. They are less flexible than old iconography suggests.
Single-strung instruments were known in Europe, including the 16th century chitarra italiana, the 17-18th century theorbo, the diapasons on long archlutes, and some varieties of mandolin, but small solo lutes like yours universally used double courses, except on the first and often second courses. Weiss played a theorbo with double courses on the fingerboard, but he knew and wrote of old Italian-style single-strung theorbos by Matthias Buechenberg.
There is nothing wrong with playing baroque lutes with single strings, in the manner of modern classical guitars, but you should speak honestly about historical trends to the best of modern knowledge, lest you give people the wrong impressions about the historical instruments you are representing.