A network for historic guitars and vihuelas
Ok, here goes. I've been playing the ren lute for a decade and a half, and baroque archlute continuo for about a decade now, and have been itching to try out baroque guitar for ages. I tried to use a ukulele once as a sort of baroque guitar substitute once, but alas it didn't quite go down well with the other ensemble players even though they were on modern instruments...
Monica, i notice your article on the use of the BG in BC doesn't really mention Italy much. is there not much evidence of BG use in BC there? i suppose that means the archlute and theorbo reigned unchallenged...
Scot, i like to think my BG playing may be only *slightly* better than the worst beginner at the girls' school. on the other hand, Vivaldi wrote for tromba marina, so i wonder what he would have done had he seen such things as the ukulele, harmonica, theremin and various Eastern instruments.
You are very correct Jelma, "girls" doe not equate with "amateurs". I apologize for that implication, it certainly was not intended.
I merely wanted to point out that Vivaldi appeared not to have had a prejudice against very many, if any, instruments and to look to the "girls school" (actually an orphanage, the Pio Ospedale della Pieta) at which he taught for proof. His output from the repertoire he created for them (and even later) occassionally featured instruments not commonly found in the Baroque orchestra. Including mandoline and Tromba marina.
With that in mind I suspect a "jangling" Baroque guitar would have been a pleasure to him and not out of place. And considering the popularity of the instrument during his era it's likely many of the orphans played guitar and it made it's way into the continuo section of the orchestra...on occassion.
understand that our amateur baroque trio have to go to Spain to play Telemann correct with our instrumentation..... Sounds like a nice idea if the weather is fine.
Monica, you doubt that Telemann intended his music to be accompanied with the baroque guitar, and I share your doubt – To be honest, doubt is not the right word, I'm almost certain he did not.
Then why do I try to do this? The flute player came with the sonata and wanted to play this music. She was very enthusiastic just having bought an new traverso that sounded very good. “There are some numbers over the bass notes, you can play this, can't you?”
I had to choose between the instruments I play: Renaissance lute, baroque guitar, and classical guitar. I chose baroque guitar because of the sound color and that it is on guitar I am used to think chords. (If Telemann thought of any plucked strings I think maybe the gallichon would have been a possible instrument).
So what this is about, is compromises. We have to use the instruments we play, and baroque guitar sounds more baroque than classical guitar.
Monica, since you had the pleasure of trowing a spanner, you could not throw in some good ideas on music that is appropriate for traverso, baroque guitar and cello? Then I could come to the others in the trio and say, we just have to play this music, it is so wonderful...
I didn't find the books of Grenerin and Carre using Google, I found something from these composers, but it was solo pieces. Therefore I have to ask you: Where do I find these books?
I found something else that looked OK: Suites pour dessus et basse from Robert De Visée. I have not looked closer at this music, but the range of the melody voice seemed to suit the traverso well.
I had a more general question concerning continuo on baroque guitar that I hoped someone could answer: Some times a bass line is so high voiced that the ordinary chord shapes for the first positions will place some of the tones on the BG below the bass line. (I use diapason on the 4th course) Should I be careful not to come below the bass lines or is this not so important?