Word: lutes
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Dates: during 1950-1959
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...block, he does a few sketches on paper and then works primarily on the wood. As a result of greater honesty to the medium, he seems to gain in mastery of space and texture, as well as in freedom. Swinging lines and the very alive look of the "Lute Player" are characteristic qualities of his work...
...EDITH SITWELL (Columbia Literary Series; Caedmon,$5.95). In a voice like a medieval lute from which she plucks dainty abstractions, the English poetess reads, in the first record, excerpts from A Poet's Notebook and An Old Woman; in the second, to be released in May, excerpts from The Canticle of the Rose and Facade...
...Choir was assisted by contralto Claire Smith, baritone Robert Simon, and six instrumentalists playing recorders, viols, lute and harp. The performance of one of Isaak's beautiful settings of the popular Innsbruck, ich muss dich lassen showed three ways in which such pieces were executed in the Renaissance: the first verse by chorus alone, the second by Simon and three instruments, the third by chorus and instruments combined. (The Durer water colors of Inns bruck in the exhibition made clear why so many people hated to leave the little town.) With Simon and a lutanist at hand, I wonder...
...language of the texts are relatively unfamiliar (the singers wisely read an English translation of the texts before each vocal piece). The instruments used are now obsolete and belong to what wee called "low instruments"--the lowness referring not to pitch but to decibels--in this case, the recorder, lute, viol and clavichord, all of which had minute expressive range. The music, furthermore is mainly of an intimate sort designed to be heard at close range, not from the rear of a long hall. Nevertheless, the evening was a great success form the standpoint of both performers and audience...
...realize that all medieval dances, save a handful, exist only as a single line of notes with no further indications. The group chosen was played, as intended, by whatever instrumentalists happened to be available, in this case Gillian Adams and Chester Pearlman, recorders; Mary Davidoff, viol; and John Hollander, lute. The added improvised percussion parts for hand drum, tamborine and triangle were totally authentic. The players also performed two of the earliest polyphonic instrumental pieces...