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  1. #1

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    It is the other side of my activities. I just decided to share it here too as this forum also became a kind of friendly enviroment where I feel like not only jazz could be the topic.

    I do not make records and here is one that I made just with a phone at home and it seems to me more or less acceptable.

    this is my arrangement for an archlute of the 1st part of Benedetto Marcello's Sonata for recorder and basso continuo.

    I made complete sonata - just hope eventually I will record it all in better quality.

    Hope you enjoy.
    (and I am not lefty! It's the phone)


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  3. #2

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    Very nice, Jonah. Good arrangement and playing. Have you played the Zamboni sonatas for archlute? Nice pieces too. And who made your lute?

  4. #3

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    Quote Originally Posted by Rob MacKillop View Post
    Very nice, Jonah. Good arrangement and playing. Have you played the Zamboni sonatas for archlute? Nice pieces too. And who made your lute?
    Thank you, Rob!

    Surely I played all Zamboni sonatas and try to keep 2-3 of them in the repertory.

    This archlute was made ny Anatoli Gundilovich (Belarus).
    In concern of lutes we are very lucky I should say. In post-USSR territory there are at least 3 very competent lute -makers - Anantoli Gundilovich, Mikhail Fedchenko (St.Peterburg) and Vadim Ginkovski (Moscow)
    I owned or played a few instruments of each of them. They have their own specialities each but the quality is very high.
    And for the internal market their prices are very moderate (Luth Doree conception makes no sence here).

    Mostly I collaborate with Anantoli, he works quickly, very accurately and in time.
    And what is important fr me his instruments are very light and have very good geometry (especially baroque lutes), I believe that is partly becasue he co-worked a lot with Anton Birula from luteduo.

  5. #4

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    Good to know. I spent some time exploring the Russian 7-string guitar, and even created a website for it: Sarenko And Co – Exploring the 19th-century Russian 7-string guitar

    I've finished with lutes now, as there just doesn't seem to be enough hours in the day to keep up everything I want to do. Contemplating selling my final lute instrument, a small theorbo (70cms string length) by the Czech maker, Jiri Cepelak. Let me know if interested :-)

  6. #5

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    Quote Originally Posted by Rob MacKillop View Post
    Good to know. I spent some time exploring the Russian 7-string guitar, and even created a website for it: Sarenko And Co – Exploring the 19th-century Russian 7-string guitar

    I've finished with lutes now, as there just doesn't seem to be enough hours in the day to keep up everything I want to do. Contemplating selling my final lute instrument, a small theorbo (70cms string length) by the Czech maker, Jiri Cepelak. Let me know if interested :-)
    thank you! Not for the moment)
    But I know quite a few people who might be interested. Are you a member of LSA and other lute groups on FB? they are very active and there is a good chance you would sell it there quickly.
    Jiri is very good master with stable quality and good reputation (I would say he is 'European version' of Anatoli).
    And small theorbos are quite in demand.

    I know your interest in various plucked instruments and 7-string guitar (and I guess even saw on FB your picture with Oleg Timofeev when he was visiting Scotland) .

    Tbh I have the same problem in general - I am being thrown from one thing to another and cannot truly reject any.
    But still I keep the lute so far. I just sold baroque lute, baroque guitar and try to stick to Italian early baroque and high baroque repertory on archlute and attiorbato.
    (I also own amazing viola da mano by Vadim Ginkovski for renaissance repertory).

  7. #6

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    I'm not on FaceBook anymore - not for a few years, and don't miss it. I'll advertise it with the Lute Society, and on Wayne Cripps's for sale site.

    Ah, I love the vihuela repertoire too. So much music, so little time!

  8. #7

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    Take someone’s eye out with that.

  9. #8

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    Are you into Kapsberger Jonah?

  10. #9

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    Quote Originally Posted by christianm77 View Post
    Are you into Kapsberger Jonah?
    Yes, very very much)
    Actually his Libro primo 1611 has been my companion for almost two years, I did transcribed his fantatsies in standard notation even .... I have some ideas about his music. Maybe one day I'll manage to summarize it somehow.

    Also Michelangel Galilei from that period is very interesting (younger brither of Galileo)

    Unfortunately I do not play in public often and when I do I get so extremely nervous that can't play adequately - at least it concerns classical

    I am now waiting for a liuto attiorbato to be ready in March which will an improved (more solo style) version of this archlute.. and I have ideas about making more transcritions from high baroque... something paralell to baroque lute repertory only in Italian tuning (there is almost nothing original for an archlute in high baroque).

  11. #10

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    ...because it was mainly an accompanying instrument to singers or a small ensemble. Do you have much opportunity to play with others? And how's you figured bass reading? :-) I used to really enjoy it.

  12. #11

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    Quote Originally Posted by Rob MacKillop View Post
    ...because it was mainly an accompanying instrument to singers or a small ensemble. .
    I know that)
    And it especially concerns bigger archlutes that could more or less compete with theorbos even (having trebles at the same time).
    Nevertheless there was attiorbato which is more like a solo instrument and it was still around during high baroque too.
    And there is not repertoire for it. (At teh same time there was barique lute in Germany that was mostly a solo instrument).
    And there is Zamboni cycle (which is good but hardly comparable with violine or cello masterpieces of the period). But where does it come from? And it stads almost alone in 1700s.

    I am convinced that they played a lot of instrumental music solo too - like those recorder sonatas, I pplayed it directly from original score. So I am almost sure it was still common practice, but why no originals...

    Do you have much opportunity to play with others? And how's you figured bass reading? :-) I used to really enjoy it
    I played occasionally with local ensembles here....
    I can read figured bass of course.
    Though to do it better requires real and regular practice.

    And I enjy it only in very small groups and with good musicians which is not always the case((