"Fantasia Seconda" by Giovanni Antonio Terzi
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- Опубликовано: 2 июл 2024
- This is Giovanni Antonio Terzi's second fantasy from his "Intavolatura di liutto, libro primo" (1593). This is a single-take home recording done with an iPhone and an external microphone.
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Miqbri
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Wonderful!
Beautiful performance, Laudon!
Thank you so much, Paul!
AMAZING, beautiful Laudon!!
@@dtrumpster thank you so much! : )
Magnifique
Thank you so much!
That is such a soothing sound.
@@user-tv1ey1uc3r thank you : )
That's a really fine piece, Laudon. I must look into Terzi more deeply--thanks!
@@jameslouder it’s great music : )
Beautifully played :)
You really are one with the instrument. Have you ever talked about when or how have you decided on focusing on the 6c lute in particular in any of your videos?
@@miqbri thank you so much! Honestly, the primary reason I have focused on 6 course is because of money. I come from a poor background and I just haven’t been able to save up for more instruments. I had a theorbo once that I had to sell for medical insurance. Luckily, things are getting better and I am hoping to get a nice 8 course next! : )
@@laudonschuett3019 I was expecting something along the line of it historically aligning with your favorite repertoire or the 'purity of it' but that sounds like as good of a practical reason as any. Quality lutes sure look expensive. I look forward to you comparing the two in the future!
@@miqbri I will definitely do that! Yes, I am a firm believer in being practical. I love the idea of owning lots of instruments, but you do what you can with what you have : ) I do make some small changes to the instrument when playing different repertoires. For example, if I am playing early repertoire (Dalza, Spinacino, etc.), I tune the lute up to A=440 and then I put an octave on my 4th course. Most of the repertoire in the early part of the 16th century was written for A lute and had octave stringing, so that gets it a little closer to the sound world : ) Cheers!
In addition to being a great man, a talented musician, an indomitable polemicist, ours shows off his universalistic knowledge of ancient and contemporary idioms, a brilliant example of a cultural uniqueness story is the use of the lemma PAVAI (why not PAVAY?), instead of obsolete and unsightly PAVANA. We will immediately change the dictionaries, vocabularies and musical manuals of the peninsula in favor of the incomparable intuitions of our musical genius, of the incomparable Albionic philologist.
@@hansekin there is my little piglet! I was getting worried about you. You mentioned you were so much older than me and I feared that you went and got lost in the woods or maybe a big bad wolf got you, but no, here you are safe and sound. I ruminated on your advice and have decided that you are right. I will quit music and choose a new profession. I have decided to become a truffle hunter and you can be my little truffle sniffer, my piglet. I can already see you marching in front of me with your little snout and whiskers pushed into the dirt, searching for those delicious morsels! What do you think, my dearest?! I think we would make quite the team
Wow Terzi wrote this when he was 13 and he died when he was 40. I better scrape the gum off my shoes and get this lute learned!
😂😂😂oh typos! I will fix it. I don’t think we really know his dates. Thanks for catching : )
@@laudonschuett3019ha! I seriously thought those were the correct dates and then began to get that horrible sense of lack of accomplishments and anguish in general lol
@@vanessagreen3986 LOL I'm sure he was excellent at a young age but it would surprise me if he was under 20 when that first book was published. It is considered some of the most difficult Renaissance lute music to play so he must have been a monster, though!
@@laudonschuett3019yes! This in and of itself is INTENSE! I am curious about the type of training these types of composers underwent. I imagine some musician priests training them and learning to sing polyphony in the Catholic Church
@@vanessagreen3986 Certainly the great madrigal, motet, and mass composers cut their teeth in the churches (Catholic, Anglican, etc.), which had an excellent history of training vocal composers going back Guido and beyond. For lutenists, we don't know a ton about the average apprenticeship in the 16th century, but if they were like other instrumentalists it would be a 7-9 year apprenticeship with a master (usually starting at a young age), then a jouneymanship of 2-3 years training with a bunch of different masters. Finally, you would presumably write and perform your "masterwork" and then be a master yourself. Often the career was familial like with John Johnson and his son, Robert so not only were there trade secrets but secrets held between family members. It's quite interesting!