Very fine lutes. The original version flows more naturally, but your version has appealing and interesting tonal colors. A worthwhile experiment. Thanks for posting.
Have been reading your articles and using your Bach Books on your website for comparing and studying . It’s very interesting material, has been a great help for me. So it helped me to make my own arrangements Thank you so much for sharing this all. Nürnberg museum is very nice to visit indeed, visited it more times. Also very remarkable that you build as wel play! Thumbs up for that! Greetings from Holland, but lately living in Mediterranean area.
Thank you very much for this comment, and I'm glad the transcriptions are of use to you. We visited Holland many years ago, when Susan had lessons with Leonhardt. We greatly enjoyed the instrument museum in the Hague...and we ate very well there too, ha ha. All the best from Canada.
@@EarlyMusicStudio1 Indeed the great Gustav with Aner Bijlsma and Frans Brúggen! Den Haag has a nice collections of instruments as well. I studied Amsterdam conservatorium classical guitar and was a teacher my working life but as often the lute caught my attention and now im addicted to my lutes. Thank you again Clive.
Thanks for this, Clive--the contrast between instruments and interpretations is very stimulating. I much prefer your second version, both the timbre of that particular lute, and still more your exploitation of the the higher positions. This adds considerably to the expressive possibilities of both the instrument and the piece itself. That Gaultier didn't publish it like this doesn't mean he didn't play it that way! Published lute music always hews to lower positions and open strings--what we might think of as the lowest common denominator of fingerings, the ones that would come easiest for the amateurs who were the principal customers for the books. But when a professional lutenist was performing, he might do many things that never showed up in print--never mind that he may have rarely played from the page, but rather improvised and re-composed extempore, as was expected of all musicians.
So true. I've always been experimenting with the pieces of the literature, producing what I call "edited for performance editions". This is because very few lute pieces are actually edited in the modern sense. Some are obvious, the printed French books of G, Mouton, Gallot, clearly the summation of their work, produced under their watchful eyes. Another the Dowland pieces in Varietie, or the books of Vallet, Francisque. Most of Dowland's work requires copious arrangement. But for those I mentioned, Bittner, Reusner, you don't have to change a note. Weiss is somewhere in the middle, as he himself changed many things in various versions, BM vs Dresden. But music by almost any other--it's fair game. Thanks for your kind attention! c
Well thanks for you comment and good wishes. My experiment was not easy to do, there were many takes and making the piece play well in both ways took a long time. I'm glad you appreciate my work! C
Thank you for your question. I discuss the book "La Rhetorique des Dieux" which means "The Arguments of the Gods". In the dedication it states that Gaultier is dedicating himself and his works to their glorification, and he thanks them for the blessing of his talent. All of this reflects a renewed interest in the classic works of the Greek and Roman writers at the beginning of the Enlightenment.
I had a problem listening to this, I suspect it's because the walls are reflecting too much sound. I wonder if it would sound better if you put some thick fabric on some of the walls to absorb some of the reflections.
Very fine lutes. The original version flows more naturally, but your version has appealing and interesting tonal colors. A worthwhile experiment. Thanks for posting.
Thank you for the kind words!
Hi, Clive and Susan. Thank you for your video. Have a good week.🎉.
Glad you like it! Thank you!
Have been reading your articles and using your Bach Books on your website for comparing and studying .
It’s very interesting material, has been a great help for me.
So it helped me to make my own arrangements
Thank you so much for sharing this all.
Nürnberg museum is very nice to visit indeed, visited it more times.
Also very remarkable that you build as wel play!
Thumbs up for that!
Greetings from Holland, but lately living in Mediterranean area.
Thank you very much for this comment, and I'm glad the transcriptions are of use to you. We visited Holland many years ago, when Susan had lessons with Leonhardt. We greatly enjoyed the instrument museum in the Hague...and we ate very well there too, ha ha. All the best from Canada.
@@EarlyMusicStudio1
Indeed the great Gustav with Aner Bijlsma and Frans Brúggen!
Den Haag has a nice collections of instruments as well.
I studied Amsterdam conservatorium classical guitar and was a teacher
my working life but as often the lute caught my attention and now im addicted to my lutes.
Thank you again Clive.
Brilliant. I’ve been an admirer since that GAL journal article long ago. 🦬
That is really a long time ago! I'm still hackin'...thanks very much for your comment.
Thanks for this, Clive--the contrast between instruments and interpretations is very stimulating. I much prefer your second version, both the timbre of that particular lute, and still more your exploitation of the the higher positions. This adds considerably to the expressive possibilities of both the instrument and the piece itself. That Gaultier didn't publish it like this doesn't mean he didn't play it that way! Published lute music always hews to lower positions and open strings--what we might think of as the lowest common denominator of fingerings, the ones that would come easiest for the amateurs who were the principal customers for the books. But when a professional lutenist was performing, he might do many things that never showed up in print--never mind that he may have rarely played from the page, but rather improvised and re-composed extempore, as was expected of all musicians.
So true. I've always been experimenting with the pieces of the literature, producing what I call "edited for performance editions". This is because very few lute pieces are actually edited in the modern sense. Some are obvious, the printed French books of G, Mouton, Gallot, clearly the summation of their work, produced under their watchful eyes. Another the Dowland pieces in Varietie, or the books of Vallet, Francisque. Most of Dowland's work requires copious arrangement. But for those I mentioned, Bittner, Reusner, you don't have to change a note. Weiss is somewhere in the middle, as he himself changed many things in various versions, BM vs Dresden. But music by almost any other--it's fair game. Thanks for your kind attention!
c
This is marvelous, I wish I knew more and that I could do what you are doing
Well thanks for you comment and good wishes. My experiment was not easy to do, there were many takes and making the piece play well in both ways took a long time. I'm glad you appreciate my work! C
thank you very much for the wonderful playing ! :))
Thanks for your comment...very glad you like the video!
I love the tone of both lutes but prefer the darker sound of the 2nd instrument. Thank you for posting your successful experiment ‼️🎼🎶
Thanks very much!
Jesse we need to lute!
It's a good thing to do!
Why exactly does the thumbnail image say "Music of the GODS"?
Thank you for your question. I discuss the book "La Rhetorique des Dieux" which means "The Arguments of the Gods". In the dedication it states that Gaultier is dedicating himself and his works to their glorification, and he thanks them for the blessing of his talent. All of this reflects a renewed interest in the classic works of the Greek and Roman writers at the beginning of the Enlightenment.
Music starts at 6:45
Good to know!
I had a problem listening to this, I suspect it's because the walls are reflecting too much sound. I wonder if it would sound better if you put some thick fabric on some of the walls to absorb some of the reflections.
I use my H2 recorder, not expensive mics. Also we add a bit of reverb. Everything is done in one take. Thanks, C