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The main differences between the archlute and the "baroque" lute of northern Europe are that the baroque lute has 11 to 13 courses, while the archlute typically has 14, [2] and the tuning of the first six courses of the baroque lute outlines a d-minor chord, while the archlute preserves the tuning of the Renaissance lute, [3] with perfect fourths surrounding a third in the middle for the first ...
In later Baroque lutes, two upper courses are single. The courses are numbered sequentially, counting from the highest pitched, so that the chanterelle is the first course, the next pair of strings is the second course, etc. Thus an 8-course Renaissance lute usually has 15 strings, and a 13-course Baroque lute has 24.
In the 18th century, mandora was the name of a six-course lute instrument of about 70 cm string length, tuned high-to-low d' - a - f - c - G - F or e' - b - g - d - A - E (rarely with two or three additional bass courses). With the former tuning, the instrument was called Calichon or Galichon in Bohemia.
His 1987 book, "Method for the Baroque Lute" (Munich: Tree Editions) is widely used. [3] He has been actively composing, and performing and recording his compositions since 1981, including two CDs for Channel Classics. In 2000 he became the president of LGS-Japan (Lute & Early Guitar Society of Japan) and LGS-Europe.
Archlute by Matteo Sellas Baroque guitar by Matteo Sellas. Matteo Sellas (sometimes also written Mateo Sellas or in original German Matthäus Seelos) was a German luthier born in 1580 in Füssen who worked in Venice from 1620–1650 [1] and is best known for building lutes, archlutes and baroque guitars.
"De Temporum Fine Postludia" (Roman Turovsky: Works for Baroque lute) Polyhymnion 001, 2016 [11] "Desperate Doors" (Works for lute by J.S.Bach, Adam Falckenhagen, Sylvius Leopold Weiss 2015) [12] "Graceful Degradation" (works by Johann Adolph Hasse, Paul Charles Durant, Franz Joseph Haydn and Jakob Friedrich Kleinknecht 2013) [13]
His primary work, Le Secret des Muses, contains compositions and instruction for the 10-course Renaissance lute. It was published in two parts in 1615 and 1616. It was among the last compositions to appear for this instrument, before it was supplanted by the Baroque lute. He also wrote a Psalms of David (in 1615) and Regia Pietas (in 1622).
Lutes made by Laux Maler were highly prized by musicians in the seventeenth century. In April 1645 Constantijn Huygens tried to obtain a nine rib Laux Maler lute from Jacques Gaultier, a lutenist at the court of Charles I of England. Gaultier said there were only fifty extant, six in London, of medium size and not suitable to accompany a singer.