Lovely presentation, the sound and camera work were exceptional, especially when paired with the incredible musician performing. Thank you very much I love it
Amazing! You have a very precise and emotional way of playing. I’d love to hear you play “Laudatio dio” from “Intabulatura de lauto” by Dalza. A wonderful piece!
You mean: he would use 11-course lute, not the 13-course? That's right. (The lute by Jacek Łozak I use has a very light construction). About his hand position - the only thing we can be sure about is that he kept it somwhere between the bridge and the beginning of the rose. Iconography, where the lute player poses, can't be the final instance, I'm sure you know that. And as we don't have Gautier with his lute, with the strings (tension) he used any more, there is no certainty. Unfortunately :).
@@swobodalute Dear Anna, You are a very good player. I am a "dilettante de la musique pour le luth" - thus for me it is easy to make comments to your excellent performance. WHAT I MEAN: You are a very young player. I am sure your studied the lute at university level. But Now: you (as a young lady) should try (perhaps in contrast to your teachers and competitors) to play the lute as authentic as possible. As amateur, I try (at least I try) understanding (by reading historic sources) and playing (by 100% following the instructions give in the original tablature and/or comments by the historic lute master) the music as authentic as possible. I do have many many limitations, technically ( I am 65 years old), but I changed all my lutes to 100% gut strings for both 11 and 13 course lutes, use low tension, (try) plaing as close as possible to the bridge (indeed, historic instruments in museums show that the littel finger was placed very close before and even behind the bridge / not only on lute paintings), using only the first two fingers and the thumb, strokes are played mainly with the forefinger, applying a historic speed, etc. I do not know, no-one actually knows how the lute sounded in the 17th century. Formally, lutenist played only in a small chambre, the company was limited to 2 or 3 visitors. But we do know that lute music tried imitating birds and angels and human singing, however majority of young studied lutenist play "according to todays tast, todays speed, todays volume, etc." and when coming from the guitar play with a non-historic understanding of this deficile instruments. As before: For me it is very easy to make commens, I am a biochemist, fighting the stupig virus this year. So if you want becoming an outstanding master of the lute, please try to play the lute as historic as possible. I do know, I am asking for too much. Sorry, one day we will have a coffee together in Vienna. Bernhard (de.scribd.com/user/59482355/Viennalute).
@@Viennalute I love your comment and your approch to baroque lute music! And I agree totally. If you ask anybody from my teachers or colleagues I've met in Poland or Germany, they would tell you that I'm seriously HIP (Historically Informed Performance) booster, concidering reading sourcess, playing with the right technique, instrument and strings. But, as a musican from present-day, playing in our circumstances, I had to do some compromises, because some things just didn't work. Playing close to the bridge needs gut strings with low tension, you know. My strings here are: 1-6 NewNylGut, 7-13 gut. Of course I tried whole gut, but then I "kill" the upper strings in about 2 days... For financial and practical reason (tuning...) it's impossible to keep it for live performance or a fast recording like this one. And I don't own 11-course baroque lute, only 13-course :). Take a look please at Weiss' "Presto" in 12:58 here th-cam.com/video/2WKG0A9iZhA/w-d-xo.html - much closer to the bridge! (Say yes! ;) After all this great discussion, I think it means so little comparing to the great job you as a biochemist do for all of us! Coffee in Vienna together is a must! (Or in Krakow, if you drop in first).
@@swobodalute I want to reinforce your nicely-stated sentiment. Serious professional musicians do not have the same luxuries as wealthy amateurs and cannot always afford to have an expensive instrument made to order for each and every piece of historical music. The point is the musicianship, and your interpretation and technique are every bit as advanced as is your skill in deflecting and redirecting criticism that is more or less based upon an ideal that only exists in speculative research papers.
Prachtige muziek door een mooie vrouw!
Lovely presentation, the sound and camera work were exceptional, especially when paired with the incredible musician performing. Thank you very much I love it
C'est très beau Madame, merci.
superB
Absolutely beautiful performance
Stupendously beautiful!
Amazing! You have a very precise and emotional way of playing. I’d love to hear you play “Laudatio dio” from “Intabulatura de lauto” by Dalza. A wonderful piece!
Thank you very much! Interesting trace - I will definitely try with this piece!
👏👏
Beautifully done. Thank you for sharing. Out of curiosity, what is the width of your bridge spacing?
On the bridge from the 1. string to the last one 14,4 cm.
@@swobodalute thank you! I have a baroque lute being built and am debating between 14 to 15 cm.
Very enjoyable Anna! You have a fantastic talent!! Have you heard about Sessions? You have such talent to show! 😍🎼
Nice recording, however the old Gaultier would not have used such a heavy lute and would have played with the right hand more closer to the bridge.
You mean: he would use 11-course lute, not the 13-course? That's right. (The lute by Jacek Łozak I use has a very light construction). About his hand position - the only thing we can be sure about is that he kept it somwhere between the bridge and the beginning of the rose. Iconography, where the lute player poses, can't be the final instance, I'm sure you know that. And as we don't have Gautier with his lute, with the strings (tension) he used any more, there is no certainty. Unfortunately :).
@@swobodalute Dear Anna, You are a very good player. I am a "dilettante de la musique pour le luth" - thus for me it is easy to make comments to your excellent performance. WHAT I MEAN: You are a very young player. I am sure your studied the lute at university level. But Now: you (as a young lady) should try (perhaps in contrast to your teachers and competitors) to play the lute as authentic as possible. As amateur, I try (at least I try) understanding (by reading historic sources) and playing (by 100% following the instructions give in the original tablature and/or comments by the historic lute master) the music as authentic as possible. I do have many many limitations, technically ( I am 65 years old), but I changed all my lutes to 100% gut strings for both 11 and 13 course lutes, use low tension, (try) plaing as close as possible to the bridge (indeed, historic instruments in museums show that the littel finger was placed very close before and even behind the bridge / not only on lute paintings), using only the first two fingers and the thumb, strokes are played mainly with the forefinger, applying a historic speed, etc. I do not know, no-one actually knows how the lute sounded in the 17th century. Formally, lutenist played only in a small chambre, the company was limited to 2 or 3 visitors. But we do know that lute music tried imitating birds and angels and human singing, however majority of young studied lutenist play "according to todays tast, todays speed, todays volume, etc." and when coming from the guitar play with a non-historic understanding of this deficile instruments.
As before: For me it is very easy to make commens, I am a biochemist, fighting the stupig virus this year.
So if you want becoming an outstanding master of the lute, please try to play the lute as historic as possible. I do know, I am asking for too much.
Sorry, one day we will have a coffee together in Vienna. Bernhard (de.scribd.com/user/59482355/Viennalute).
@@Viennalute I love your comment and your approch to baroque lute music! And I agree totally. If you ask anybody from my teachers or colleagues I've met in Poland or Germany, they would tell you that I'm seriously HIP (Historically Informed Performance) booster, concidering reading sourcess, playing with the right technique, instrument and strings. But, as a musican from present-day, playing in our circumstances, I had to do some compromises, because some things just didn't work. Playing close to the bridge needs gut strings with low tension, you know. My strings here are: 1-6 NewNylGut, 7-13 gut. Of course I tried whole gut, but then I "kill" the upper strings in about 2 days... For financial and practical reason (tuning...) it's impossible to keep it for live performance or a fast recording like this one. And I don't own 11-course baroque lute, only 13-course :). Take a look please at Weiss' "Presto" in 12:58 here th-cam.com/video/2WKG0A9iZhA/w-d-xo.html - much closer to the bridge! (Say yes! ;)
After all this great discussion, I think it means so little comparing to the great job you as a biochemist do for all of us!
Coffee in Vienna together is a must! (Or in Krakow, if you drop in first).
@@swobodalute I want to reinforce your nicely-stated sentiment. Serious professional musicians do not have the same luxuries as wealthy amateurs and cannot always afford to have an expensive instrument made to order for each and every piece of historical music. The point is the musicianship, and your interpretation and technique are every bit as advanced as is your skill in deflecting and redirecting criticism that is more or less based upon an ideal that only exists in speculative research papers.
@@Mignarda Thank you very much for your words! Clearly you are a person who knows what we are here talking about :)