[LUTE] E-Mail Address

[Stephen Arndt]

   Does anyone happen to have a current e-mail address for Anthony Hind.
   The one I had ([1]anthony.h...@noos.fr) through the kind offices of a
   list member doesn't seem to be valid anymore. If you can forward it to
   me, please do so privately. Thank you.


   Sent from [2]Mail for Windows 10


   --

References

   1. mailto:anthony.h...@noos.fr
   2. https://go.microsoft.com/fwlink/?LinkId=550986


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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: All music (was Siena Manuscript No. 17 - Ricercar)

[stephen arndt]

I forgot how diacritical marks get garbled on this list. The sense was:
"passamezzo (or passemezzo), masculine noun, [an alteration of pass'e mezzo,
that is a step [passo] and a half [e mezzo]."

-Original Message- 
From: Alain Veylit

Sent: Monday, July 15, 2019 7:41 PM
To: Lute List
Subject: [LUTE] Re: All music (was Siena Manuscript No. 17 - Ricercar)

Don't anyone dare calling a 500 bar passomezzo "filler" music ... It was
more properly called "staircase" music (passomezzo in Italian means:
"mind your step"). It took a long time to go down from upstairs to the
ballroom with all the heavy dresses and hats and swords and so forth,
hence the (very) long music variations. And they did not have elevators
in those days to pop out of.

Alain


On 7/15/19 4:35 PM, howard posner wrote:
On Jul 15, 2019, at 8:44 AM, theoj89...@new-old-mail.cs.dartmouth.edu 
wrote:


I would posit that the father has a much higher probability
  of being more accurate, in that 'all pop music sounds the same', or
  certainly -much- pop music sounds the same, no?
I couldn???t tell you.  First, you haven???t defined ???pop music??? by either 
genre or time; second, whatever the definition is, I haven???t listened to 
enough of it to form a judgment; and third, if I listened to enough of it 
to form a judgment, I would be an aficionado attuned to its differences, 
and would therefore not think it all sounded the same.


BTW, if your point is that there's a lot formula and fill-in-the-blanks in 
pop music, the same is true of, say, Mozart??? symphonies (Mozart scholars 
talk about ???filler passages??? that are interchangeable from one to another) 
and Handel???s operas.  It doesn???t they aren???t good.




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[LUTE] Re: All music (was Siena Manuscript No. 17 - Ricercar)

[stephen arndt]

From Trecani:


passam??o (o passem??o) s. m. [alterazione di pass???e mezzo, cio?? ??un passo 
e mezzo passo??].


-Original Message- 
From: Alain Veylit

Sent: Monday, July 15, 2019 7:41 PM
To: Lute List
Subject: [LUTE] Re: All music (was Siena Manuscript No. 17 - Ricercar)

Don't anyone dare calling a 500 bar passomezzo "filler" music ... It was
more properly called "staircase" music (passomezzo in Italian means:
"mind your step"). It took a long time to go down from upstairs to the
ballroom with all the heavy dresses and hats and swords and so forth,
hence the (very) long music variations. And they did not have elevators
in those days to pop out of.

Alain


On 7/15/19 4:35 PM, howard posner wrote:
On Jul 15, 2019, at 8:44 AM, theoj89...@new-old-mail.cs.dartmouth.edu 
wrote:


I would posit that the father has a much higher probability
  of being more accurate, in that 'all pop music sounds the same', or
  certainly -much- pop music sounds the same, no?
I couldn???t tell you.  First, you haven???t defined ???pop music??? by either 
genre or time; second, whatever the definition is, I haven???t listened to 
enough of it to form a judgment; and third, if I listened to enough of it 
to form a judgment, I would be an aficionado attuned to its differences, 
and would therefore not think it all sounded the same.


BTW, if your point is that there's a lot formula and fill-in-the-blanks in 
pop music, the same is true of, say, Mozart??? symphonies (Mozart scholars 
talk about ???filler passages??? that are interchangeable from one to another) 
and Handel???s operas.  It doesn???t they aren???t good.




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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Reymann

[stephen arndt]

I found a djvu file that I converted to a pdf. If anyone would like a copy, 
just e-mail me privately, and I'll send it to you.


-Original Message- 
From: Tristan von Neumann

Sent: Thursday, May 02, 2019 1:47 AM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Re: Reymann

I have looked everywhere and never found one...

I noticed some scans disappeared during the last years, I don't know why.

Maybe you were lucky. Many lute sites have been discontinued.



On 02.05.19 08:25, Mathias R??sel wrote:

Not easy to read, c and e almost undiscernible at many places.
Digitalised copies would be great help.
There must be facsimile files of Reymann online somewhere, though,
because I've g got one.
Mathias
  __

Gesendet mit der [1]Telekom Mail App
--- Original-Nachricht ---
Von: Susan Price
Betreff: [LUTE] Re: Reymann
Datum: 02.05.2019, 4:23 Uhr
An: lute@cs.dartmouth.edu

I see that OMI has a nice facsimile of Reymann for $111.00. Should I
purchase?
Susan
 Original message 
From: Dan Winheld <[2]dwinh...@lmi.net>
Date: 5/1/19 7:27 PM (GMT-07:00)
To: magnus andersson <[3]maan7...@yahoo.com>, Tristan von Neumann
<[4]tristanvonneum...@gmx.de>, [5]lute@cs.dartmouth.edu
Subject: [LUTE] Re: Reymann
Congratulations Tristan and Magnus- you have gotten me interested in
getting Reymann's "Noctes"; unfortunately my eyesight has degraded to
the point where I can no longer read facsimiles. Are there any modern
typeset editions? (Any tab system or pitch notation- just has to be
legible to ancient eyes)
Thanks for any leads-
Dan
On 4/26/2019 10:19 PM, magnus andersson wrote:
> Dear Tristan,
>
> I have played some Reymann in concert. His Noctes collection is
indeed
> one of the finest collections of lute music that's come down to
us.
>
> His galliardas are among the the most virtuouso pieces in the
whole
> repertoire.
>
> He must have been a very accomplished musician!
>
> I hope to record some of his music in the future. His Cythara
sacra is
> a great pendant to Noctes. Much more meditative and less
technically
> demanding.
>
> Best,
>
> Magnus
> [1]Skickat frn Yahoo 
Mail


fr
 iPhone
>
> Den fredag, april 26, 2019, 10:29 em, skrev Tristan von Neumann
> <[6]tristanvonneum...@gmx.de>:
>
> Just got my hands on Noctes Musicae 1598 by Matthaeus Reymann.
>
> Has anyone played it?
>
> I am amazed that there is absolutely no recording of this amazing
very
>
> original music.
>
> The collection has huge choral and other fantasies with lots of
great
>
> ideas, and especially pavans that rival the fantastic treatment
of
>
> Daniel Batchelar's - these aren't dances anymore, but fantasies
ordered
>
> by the pavan model.
>
> The best thing: the difficulty is not that high compared to the
effect:
>
> the fingering is very logical and doesn't distract from the
beauty of
>
> the pieces.
>
> Huge recommendation.
>
> To get on or off this list see list information at
>
> [2][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
> --
>
> References
>
> 1. [8]https://overview.mail.yahoo.com/?.src=iOS
> 2. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
--

References

1. 
https://kommunikationsdienste.t-online.de/redirects/email_app_android_sendmail_footer

2. mailto:dwinh...@lmi.net
3. mailto:maan7...@yahoo.com
4. mailto:tristanvonneum...@gmx.de
5. mailto:lute@cs.dartmouth.edu
6. mailto:tristanvonneum...@gmx.de
7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
8. https://overview.mail.yahoo.com/?.src=iOS
9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Meaning of title "Silva de Sirenas"

[stephen arndt]

I just consulted Lewis and Short, and even in classical Latin "silva" had 
the tropological sense of "a crowded mass, abundance, or quantity." Plautus 
speaks of a " silva rerum, sententiarumque" and Cicero of a "silva virtutum 
et vitiorum." Strangely, however, the "Gloassarium mediae et infimae 
latinitatis" does not list any but the literal sense of "silva" or, rather, 
"sylva." --For what it's worth.


-Original Message- 
From: d.p.medve...@gmail.com

Sent: Wednesday, April 11, 2018 4:40 PM
To: 'Lute List'
Subject: [LUTE] Re: Meaning of title "Silva de Sirenas"

I understand that the title is poetic. I only suggested that "forest" is 
actually a metaphor for "collection".

Another example (which combines both meanings):
"Silva de varia lección" by Pero Mexía was translated into English in the 
16th century as "The foreste or Collection of histories..."


Dmitry

-Original Message-
From: lute-...@cs.dartmouth.edu  On Behalf Of 
Roman Turovsky

Sent: Wednesday, April 11, 2018 6:38 PM
To: d.p.medve...@gmail.com; 'Lute List' 
Subject: [LUTE] Re: Meaning of title "Silva de Sirenas"

Definitely not.
Stephen Fryer is correct -
A Forest of Sirens, a poetic title.
RT


On 4/11/2018 5:10 PM, d.p.medve...@gmail.com wrote:

I am not an expert in Spanish but, as far as I understand, "silva"
means simply "collection" (primarily of poetry, but in this case of 
music).

It probably derives from the Latin word for "forest" (as a
"collection" of trees), but I would not translate it literally.
There are a number of similar titles from about the same period:
"Silva de varios romances"
"Silva de poesía"
etc.
So, I would translate the title as "A collection [of songs] of the 
sirens".


Dmitry


-Original Message-
From: lute-...@cs.dartmouth.edu  On Behalf
Of Jurgen Frenz
Sent: Wednesday, April 11, 2018 4:36 PM
To: Lute List 
Subject: [LUTE] Meaning of title "Silva de Sirenas"

Hello there,

another thread on this list motivated me to ask - the title of
Valderrabano's publication "Silva de Sirenas" renders if latin was the
source language "Arctic Forest" which I would find hard to believe and
_nothing_ when setting Google translate to Spanish as source.

artic google.png

Hence my suspicion that 500 year old Spanish was using words
differently. But what does the title mean in English (German/French)
today? Would anybody know?

Thanks for helping, best wishes

Jurgen

--
"There is a voice that doesn't use words. Listen."

JalÄl ad-DÄ«n Muhammad Rumi


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[LUTE] Utterly Off Topic

[stephen arndt]

   I know a number of you play guitar, and most of you probably have
   friends or acquaintances who do. If you or they like acoustic
   fingerstyle blues, I invite you to listen to a little collection I have
   put together and to pass it on to anyone who might be
   interested:[1]https://www.youtube.com/watch?v=P2lfhhr8GVs=youtu
   .be. If you would like to respond, please do so privately (no need to
   bother the list with this). I welcome your comments.

   Best regards,

   Stephen Arndt

   --

References

   1. https://www.youtube.com/watch?v=P2lfhhr8GVs=youtu.be


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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Francesco da Milano

[stephen arndt]

   Dear Lute Friends,

   A number of years ago, I checked out Arthur Ness's edition of Francesco
   da Milano from a local university music library and made myself a
   French tab version of the fantasies and ricercars (Ness 1a91) since,
   like many people, I find French tab easier to read than Italian tab.
   (Dick Hoban kindly proofread my work and made corrections. If any
   errors remain, they are entirely mine.) I have played through these
   pieces every so often and finally decided some five months ago to try
   to record them. Today I finished that project and invite you to listen
   here:
   [1]http://www.verseandsong.com/song/renaissance-lute/francesco-da-milan
   o-fantasie-e-ricercari/ (to hear an individual piece, click on its
   title; to listen to the entire collection, use the playlist at the very
   bottom of the page).

   It was my intention to record the easier and shorter pieces first and
   then to proceed according to the level of difficulty and length.
   Although I did not fulfill that intention as well as I would have
   liked, and though the two categories overlap (some shorter pieces are
   rather difficult, and some longer ones are fairly easy), that approach
   still served as a kind of lute tutor, and I feel that my overall skill
   level improved as I made my way through the collection. It is a method
   I would recommend to anyone.

   After years of subscribing to this list, I recognize the names of most
   of those who post here and assume that most people recognize mine, even
   though I do not post very frequently. Nevertheless, if anyone is new to
   the list, I feel obligated to add that these are the home recordings of
   an amateur, self-taught musician. Please do not expect professional
   quality of either the recordings or the playing. Bearing that in mind,
   please feel free to leave a comment on my website or to e-mail me with
   your feedback. I would love to hear from anyone who is kind enough to
   listen. It might make nice background music while you are reading or
   going through e-mails.

   Best regards,

   Stephen Arndt

   --

References

   1. 
http://www.verseandsong.com/song/renaissance-lute/francesco-da-milano-fantasie-e-ricercari/


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[LUTE] Re: Saturday morning quotes - Pitch

[stephen arndt]

For what it's worth, some recorder makers are no longer making recorders 
pitched at 440. They have bumped the pitch up to 442. At the Von Huene 
Workshop, they told me that 442 is becoming the standard concert pitch in 
Europe.


-Original Message- 
From: Edward Martin

Sent: Saturday, December 12, 2015 11:21 AM
To: Ron Andrico
Cc: Lute List
Subject: [LUTE] Re: Saturday morning quotes - Pitch

  Nice article, Ron.
  I agree, in that there is no definitive pitch.   We seem to have
  settled on 440 vs. 415 as standards of modern vs baroque, but what
  about 460, or 392?   With the lute, a few sources state to tune the
  treble to just before it breaks, and that is where one starts.
  I am wondering, has anybody on the list read some of the arguments
  about changing the modern pitch standard as a + 432?
  ed

  On Sat, Dec 12, 2015 at 7:27 AM, Ron Andrico <[1]praelu...@hotmail.com>
  wrote:

 We have posted our Saturday morning quotations, this week on pitch
 standards.
 [1][2]http://wp.me/p15OyV-1qB
 Ron & Donna
 --
  References
 1. [3]http://wp.me/p15OyV-1qB
  To get on or off this list see list information at
  [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

  --

References

  1. mailto:praelu...@hotmail.com
  2. http://wp.me/p15OyV-1qB
  3. http://wp.me/p15OyV-1qB
  4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 

[LUTE] Re: As Coeli Nuptias

[stephen arndt]

As it stands, the text is a mess. Two things strike me on a first, quick 
reading:


1. The first word in line 6 may be "ignota" ("unknown"). I don't believe 
that "ignata" is a Latin word.


2. Line 7 should read "Inter multos praelecta" ("Chosen from among many"). 
If the reference is only to women, it would be "Inter multas."


3. The first line of the second stanza should be "Fuge mundi blandimenta" 
("Flee the blandishments/flattery of the world").


4. In the following line "vana oblectamenta" ("vain pleasures") is correct.

5. Lines 4 and 6 of the second stanza are probably "ad amoris thalamum" ("to 
the chamber of love"). In medieval Latin "th" could be written as a "t."


6. In the second and third lines of the fourth stanza, the phrase should be 
"stringe ad pectus" ("draw to your breast").


I know that's not much, but maybe it will help a little.

-Original Message- 
From: David van Ooijen

Sent: Wednesday, December 02, 2015 4:41 PM
To: lutelist Net
Subject: [LUTE] As Coeli Nuptias

  Long shot to the collected wisdom, classicists included.

  I'm trying to typeset Isabella Leonarda's Ad Coeli Nuptias. All I have
  is a handwritten score, copied by someone from the original in the
  library in Bologna. The notes are fine, sort of, but the lyrics are
  hard to read (it's the modern handwriting that's hard). Find below a
  tentative transcript. Google is surprisingly unforthcoming with
  possible complete, and hopefully correct, versions, so is there someone
  on this list with a bright idea, or a classicist's eye and corrector's
  pen?

  Purpurei Flores, the second cantata, is also on the list, but a little
  less urgent.

  Thanks in advance.

  David

  AD COELI NUPTIAS

  Ad coeli nuptias

  a mundo perfido

  veni o filia

  dinimi, numini (?)

  cum sorte prospera

  ingnata es

  Inter multos pre elacta

  veni filia dilecta

  2.Fuge mundi (?) blardimenta (?)

  Manta (?) ligne (?) vana (?) oblectamenta (?)

  Veni sposa fortunata

  Ed amoris tala (?) sum (?) ve(?)

  Misposa veni

  Ad amoris ta lanum (?)

  3. O anima curre ad meo

  Sponsus exdanot (?)

  Jesus invitat

  anima Domini

  corda(?1 woord?) mihi cordum (?)

  amo(?) te   ..(onleesbaar)

  anima de mihi corda (? 1 woord?)

  4. In mundo sunt fel a(?) lancie (?)

  Omnes gratiae stringe ad pictus (?) (putus?)

  Adorantes stringo/e (?) ad pictus adorantes.

  Ipse ferit ipse voi/noi at ego Deo (?)

  Vitam do   (?) ego feovi (?) tanto/tando (?)

  Ipse..

  5. ..ferit ipse mecot (?) ego beo(?) ovitam do ego beo (?)

  ego beo vitam do ego beo(?) vitam do (??)

  6..si terras fugis fidelis anima tu mihi grata es

  si cor tuum in mata

  da filia ego sum tua spes ego ego sum tu a spes

  si terras fidelis anima tu mihi tu mihi grata es

  fides cor tuum a mata (amata?) filia

  fides cor tuum amata filia ego sum tua spes

  Si terras fugis fidelis anima tu mihi grata es.

  fidas cora|

  7. tuum amata filia ego sum tua spes

  fides cor tuum amata filia ego sum tua spes.

  Si terras anima fidas cor tuum amata filia ego sum tua spes ego sum tua
  spes.

  8.Alleluia

  PURPUREI FLORES

  1.Purperei flores vos ferta   formate (?) Mariam ornate vos /ros (?) de
  corus.

  2.recitatief:   Lilia con(?) dorem (?) sporgite

  Rosae donate purpuras (?) ammenis (?) virgo floribus ornetur in terra
  si stellis et radiis

  In coelis decorete refulget

  Arietta: flore te ergo flores mom(?) virgo beata corona stella tu se ..

  3. inguent (?) de coelis de corgent/ sorcorgent (??) in coelis

  a terra non in ter (?) nec flores nec roseas nec in pur amor respuems
  (?) dona quae prebuit (?)

  recitatief: flore tu ergo florete florete florete sed quia dico quid
  dico florete preparat anima mea ferta (?)ferta pus (?) fulgida
  quetit/fecit (??) sed nostros amores et cordis affectu et cordis
  affectu ormori/ornari (?) desideret et cordis affectu et cordis affectu
  ornari (?) desiderat.

  Sinfonia

  (aria?) Nostrum cor nostrem amorem

  sonumm (??) a| )(??) sonum/donum (?) quaerit isto mihi

  llerit (??) flos et stelle et

  4. quia quid est flos et stelle et quia quid

flos plub (??) carus (?) nos ti mati

  sola es anima mea.eris tua ingrate et rea

  tuic/luic   (?) si negabis cor.
  ***
  David van Ooijen
  [1]davidvanooi...@gmail.com
  [2]www.davidvanooijen.nl
  ***

  --

References

  1. mailto:davidvanooi...@gmail.com
  2. http://www.davidvanooijen.nl/


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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 

[LUTE] Re: As Coeli Nuptias

[stephen arndt]

"Two things"--ha! I started responding before I read to the end and then 
didn't change it. I should have said "a few things." Sorry.


-Original Message- 
From: stephen arndt

Sent: Wednesday, December 02, 2015 5:27 PM
To: David van Ooijen ; lutelist Net
Subject: [LUTE] Re: As Coeli Nuptias

As it stands, the text is a mess. Two things strike me on a first, quick
reading:

1. The first word in line 6 may be "ignota" ("unknown"). I don't believe
that "ignata" is a Latin word.

2. Line 7 should read "Inter multos praelecta" ("Chosen from among many").
If the reference is only to women, it would be "Inter multas."

3. The first line of the second stanza should be "Fuge mundi blandimenta"
("Flee the blandishments/flattery of the world").

4. In the following line "vana oblectamenta" ("vain pleasures") is correct.

5. Lines 4 and 6 of the second stanza are probably "ad amoris thalamum" ("to
the chamber of love"). In medieval Latin "th" could be written as a "t."

6. In the second and third lines of the fourth stanza, the phrase should be
"stringe ad pectus" ("draw to your breast").

I know that's not much, but maybe it will help a little.

-Original Message- 
From: David van Ooijen

Sent: Wednesday, December 02, 2015 4:41 PM
To: lutelist Net
Subject: [LUTE] As Coeli Nuptias

  Long shot to the collected wisdom, classicists included.

  I'm trying to typeset Isabella Leonarda's Ad Coeli Nuptias. All I have
  is a handwritten score, copied by someone from the original in the
  library in Bologna. The notes are fine, sort of, but the lyrics are
  hard to read (it's the modern handwriting that's hard). Find below a
  tentative transcript. Google is surprisingly unforthcoming with
  possible complete, and hopefully correct, versions, so is there someone
  on this list with a bright idea, or a classicist's eye and corrector's
  pen?

  Purpurei Flores, the second cantata, is also on the list, but a little
  less urgent.

  Thanks in advance.

  David

  AD COELI NUPTIAS

  Ad coeli nuptias

  a mundo perfido

  veni o filia

  dinimi, numini (?)

  cum sorte prospera

  ingnata es

  Inter multos pre elacta

  veni filia dilecta

  2.Fuge mundi (?) blardimenta (?)

  Manta (?) ligne (?) vana (?) oblectamenta (?)

  Veni sposa fortunata

  Ed amoris tala (?) sum (?) ve(?)

  Misposa veni

  Ad amoris ta lanum (?)

  3. O anima curre ad meo

  Sponsus exdanot (?)

  Jesus invitat

  anima Domini

  corda(?1 woord?) mihi cordum (?)

  amo(?) te   ..(onleesbaar)

  anima de mihi corda (? 1 woord?)

  4. In mundo sunt fel a(?) lancie (?)

  Omnes gratiae stringe ad pictus (?) (putus?)

  Adorantes stringo/e (?) ad pictus adorantes.

  Ipse ferit ipse voi/noi at ego Deo (?)

  Vitam do   (?) ego feovi (?) tanto/tando (?)

  Ipse..

  5. ..ferit ipse mecot (?) ego beo(?) ovitam do ego beo (?)

  ego beo vitam do ego beo(?) vitam do (??)

  6..si terras fugis fidelis anima tu mihi grata es

  si cor tuum in mata

  da filia ego sum tua spes ego ego sum tu a spes

  si terras fidelis anima tu mihi tu mihi grata es

  fides cor tuum a mata (amata?) filia

  fides cor tuum amata filia ego sum tua spes

  Si terras fugis fidelis anima tu mihi grata es.

  fidas cora|

  7. tuum amata filia ego sum tua spes

  fides cor tuum amata filia ego sum tua spes.

  Si terras anima fidas cor tuum amata filia ego sum tua spes ego sum tua
  spes.

  8.Alleluia

  PURPUREI FLORES

  1.Purperei flores vos ferta   formate (?) Mariam ornate vos /ros (?) de
  corus.

  2.recitatief:   Lilia con(?) dorem (?) sporgite

  Rosae donate purpuras (?) ammenis (?) virgo floribus ornetur in terra
  si stellis et radiis

  In coelis decorete refulget

  Arietta: flore te ergo flores mom(?) virgo beata corona stella tu se ..

  3. inguent (?) de coelis de corgent/ sorcorgent (??) in coelis

  a terra non in ter (?) nec flores nec roseas nec in pur amor respuems
  (?) dona quae prebuit (?)

  recitatief: flore tu ergo florete florete florete sed quia dico quid
  dico florete preparat anima mea ferta (?)ferta pus (?) fulgida
  quetit/fecit (??) sed nostros amores et cordis affectu et cordis
  affectu ormori/ornari (?) desideret et cordis affectu et cordis affectu
  ornari (?) desiderat.

  Sinfonia

  (aria?) Nostrum cor nostrem amorem

  sonumm (??) a| )(??) sonum/donum (?) quaerit isto mihi

  llerit (??) flos et stelle et

  4. quia quid est flos et stelle et quia quid

flos plub (??) carus (?) nos ti mati

  sola es anima mea.eris tua ingrate et rea

  tuic/luic   (?) si negabis cor.
  ***
  David van Ooijen
  [1]davidvanooi...@gmail.com
  [2]www.davidvanooijen.nl
  ***

  --

References

  1. mailto:davidvanooi...@gmail.com
  2. http://www.davidvanooijen.nl/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Saturday morning quotes - continuum

[stephen arndt]

   Thank you, Gary! I certainly could not have hoped for a more precise
   answer to my question. What a wonderful resource this page is. The
   entire lute community is in your debt.

   From: [1]Gary Boye
   Sent: Saturday, October 10, 2015 1:07 PM
   To: [2]stephen arndt
   Cc: [3]Ron Andrico ; [4]lute@cs.dartmouth.edu
   Subject: Re: [LUTE] Re: Saturday morning quotes - continuum

   Stephen,

   My page on the 16th-century sources is at least a partial answer to
   your question:

   [5]http://applications.library.appstate.edu/music/lute/C16/contentlst.h
   tml

   I didn't go beyond 1600, but I think we'd all agree that the heyday of
   the vocal intabulation was about over for the lute by then.

   Gary

   On Sat, Oct 10, 2015 at 1:59 PM, stephen arndt
   <[6]stephenwar...@verizon.net> wrote:

 Ron writes: ". . .  the bulk of published lute music was vocal
 polyphony reworked and arranged for the instrument."
 I have recently been wondering and have been on the verge of asking
 what percentage of the total lute repertoire intabulations of vocal
 works make up . Does anyone happen to know?
 -Original Message- From: Ron Andrico
 Sent: Saturday, October 10, 2015 12:31 AM
 To: [7]lute@cs.dartmouth.edu
 Subject: [LUTE] Saturday morning quotes - continuum
   We have posted our Saturday morning quotes, this week - lutes and
 a
   historical continuum.
   [1][8]http://wp.me/p15OyV-1i0
   Ron & Donna
   --
 References
   1. [9]http://wp.me/p15OyV-1i0
 To get on or off this list see list information at
 [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


   --
   Gary R. Boye, M.S.L.S., Ph.D.
   Erneston Music Library
   Appalachian State University

   --

References

   1. mailto:boy...@appstate.edu
   2. mailto:stephenwar...@verizon.net
   3. mailto:praelu...@hotmail.com
   4. mailto:lute@cs.dartmouth.edu
   5. http://applications.library.appstate.edu/music/lute/C16/contentlst.html
   6. mailto:stephenwar...@verizon.net
   7. mailto:lute@cs.dartmouth.edu
   8. http://wp.me/p15OyV-1i0
   9. http://wp.me/p15OyV-1i0
  10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Saturday morning quotes - continuum

[stephen arndt]

Ron writes: ". . .  the bulk of published lute music was vocal polyphony 
reworked and arranged for the instrument."


I have recently been wondering and have been on the verge of asking what 
percentage of the total lute repertoire intabulations of vocal works make up 
. Does anyone happen to know?


-Original Message- 
From: Ron Andrico

Sent: Saturday, October 10, 2015 12:31 AM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Saturday morning quotes - continuum

  We have posted our Saturday morning quotes, this week - lutes and a
  historical continuum.
  [1]http://wp.me/p15OyV-1i0
  Ron & Donna

  --

References

  1. http://wp.me/p15OyV-1i0


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 

[LUTE] Re: Playing both Lute and Harp

[stephen arndt]

I'm not sure what you mean exactly by "early" harp. I play both Celtic harp 
and and various instruments in the lute family, all without nails. You would 
need nails for the harp only if it is wire strung, like the clairseach 
(spelled various ways). If it is strung in synthetics or gut, there would be 
no reason to play with nails. But I confess that I know very little about 
how the harp is played in South America. Someone on the list from that part 
of the world may be able to advise you better.


-Original Message- 
From: Edward Chrysogonus Yong

Sent: Tuesday, September 22, 2015 10:43 PM
To: Lute List
Subject: [LUTE] Playing both Lute and Harp

Hello collective wisdom!

Question: does anyone play early harp and lute? Someone's given me a South 
American folk harp that I'm thinking of stringing and using as a single-rank 
(manual?) generic 'early harp'.


My concern is that as a lute player, I can't grow nails. If anyone here 
plays early harps as well as lute, advice would be much appreciated. I 
recall someone with a gothic harp at a UK Lute Society meeting once over a 
decade ago.


Thanks all!

Edward Yong



τούτο ηλεκτρονικόν ταχυδρομείον εκ είΦωνου εμεύ επέμφθη.
Hæ litteræ electronicæ ab iPhono missæ sunt.
此電子郵件發送于自吾iPhone。
This e-mail was sent from my iPhone.



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 

[LUTE] Re: OT: Italian grammar question

[stephen arndt]

Treccani lists three meanings for "incantarsi":

Come intr. pron., incantarsi, interrompere a un tratto ciò che si sta 
facendo perché attratti dalla vista di qualcosa o perché sorpresi da qualche 
pensiero, fantasticheria, e sim.: "tornando in nave ... si incantò davanti 
alle isole abbandonate, tessere di un mosaico sommerso dove la vegetazione 
restituiva armonia alle macerie" (Clara Sereni); rimanere come intontito: 
"che stai guardando? ti sei incantato?; sbrigatevi, non v’incantate!" Con 
riferimento a meccanismi e congegni, fermarsi nel movimento: "il disco si è 
incantato." ◆ Part. pass. incantato, anche come agg. (v.).


In English, perhaps simply "to stop" for the first meaning, "to daydream, be 
in a daze, be spellbound" for the second, and "to jam, get stuck" for the 
third.


-Original Message- 
From: David van Ooijen

Sent: Monday, August 31, 2015 5:23 AM
To: lutelist Net
Subject: [LUTE] OT: Italian grammar question

  Sorry to be so OT, but I know there are some native Italian speakers
  and linguists on the list.
  Incantare means to enchant.
  Incantarsi, can someone enlighten me on the conjugation or whatever
  it's called?
  grazie mille
  David
  ***
  David van Ooijen
  [1]davidvanooi...@gmail.com
  [2]www.davidvanooijen.nl
  ***

  --

References

  1. mailto:davidvanooi...@gmail.com
  2. http://www.davidvanooijen.nl/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 

[LUTE] Orlando di Lasso

[stephen arndt]

   Dear Lute Friends,

   Not too long ago I arranged Orlando di Lasso's Bicinia cum textu for
   alto and tenor recorders to play with my duet partner. Since I have
   recently become interested in the subject of intabulation, I decided to
   try intabulating these twelve two-voiced pieces for the lute as well,
   ornamenting them where the texture seemed a bit thin because of the
   lute's inability to sustain longer note values or where I thought it
   stylistically appropriate. I invite you to listen to both the recorder
   and the lute versions here:
   [1]http://www.verseandsong.com/song/recorder/orlando-di-lasso-bicinia-c
   um-textu/ . (Please click on Recorder or Lute' under each title to
   listen to just one piece, or use the playlist at the bottom of the page
   to listen to all the pieces successively.) The recorder scores and the
   lute tablature are also available on the same page, if any of the list
   members or their recorder-playing friends would like to try them.

   As always, I would appreciate any feedback or suggestions on my amateur
   efforts. Please feel free to leave a comment on my website or to send
   me a private e-mail. I would also like to thank the list members who
   either sent me articles on intabulation or references to works dealing
   with that topic and also to David van Ooijen the for excellent articles
   on his website.

   Best regards to all,

   Stephen Arndt

   --

References

   1. 
http://www.verseandsong.com/song/recorder/orlando-di-lasso-bicinia-cum-textu/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Latin translation

[stephen arndt]

How about the following for a literal, if not very elegant, translation?

By his strings that illustrious Italian Corbetto (and) by her voice the so 
famous Bolognese maiden Margharitha Salicola defeated the muses in the 
Venetian theaters.


I'm not exactly sure what defeated the muses refers to, apart from 
excellence in performance. Perhaps it is a reference to the daughters of 
Pierus, who challenged the muses in a contest of song and were turned into 
magpies when defeated. (Similar stories are the challenge of Marsyas to 
Apollo in flute playing or that of Arachne to Athena in weaving. There are 
others, but I can't think of them right now.)




-Original Message- 
From: Monica Hall

Sent: Wednesday, April 08, 2015 10:02 AM
To: Lutelist
Subject: [LUTE] Latin translation

I wonder if there is any Latin scholar on this list who could translate the
following brief reference to Corbetta...

Fidibus illustris ille Corbetto Italus
Voce Margharitha Salicola virgo Boniensis
Venetis tam famosa theatris vicere musas.

Monica



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 

[LUTE] Re: Latin translation

[stephen arndt]

Another thought: If vicere means viceroy or substitute, it doesn't 
seem to refer to Corbetto and Salicola because their names are in the 
nominative case and the two together are plural, whereas vicere is, on 
this hypothesis, ablative and singular. The only possible construction I can 
think of would be the ablative absolute, but it would require the two names 
and their modifying adjectives to be in ablative as well. If it means the 
embodiment of, you would expect musas to be in the genitive case, not the 
accusative. If vicere is a verb, however, then the sentence makes a 
statement, which it does not really do otherwise, and you have a reason both 
for the two names to be in the nominative case as the subject of the 
sentence and for musas to be in the accusative case as the direct object 
of the verb.


-Original Message- 
From: stephen arndt

Sent: Wednesday, April 08, 2015 11:51 AM
To: Monica Hall ; Alan Hoyle
Cc: Lutelist
Subject: [LUTE] Re: Latin translation

If vicere is a noun in the ablative case, the sentence is left without a
verb, and then you have to explain why musas is in the accusative case. If
vicerex were a Latin word (it is not in Lewis and Short), the ablative
would be vicerege, not vicere. The latter is listed as a poetic form of
vincere by Lewis and Short. Morever, vincere musas was a set phrase in
Latin.

-Original Message- 
From: Monica Hall

Sent: Wednesday, April 08, 2015 11:06 AM
To: Alan Hoyle
Cc: Lutelist
Subject: [LUTE] Re: Latin translation

  Maybe in the context it means deputized for or replaced the muses
  in the theatre in Venice,

  Monica

  - Original Message -

  From: [1]Alan Hoyle

  To: [2]Monica Hall

  Sent: Wednesday, April 08, 2015 5:00 PM

  Subject: Re: [LUTE] Re: Latin translation

  'Vicere' - I am not 100% positive, but I am pretty sure that this word
  derives from 'vicerex' ('viceroy', 'substitute', 'vicar', 'embodiment
  of'..) and is its ablative form, and has nothing to do with the
  verb 'Vincere'
  N.B. it is over 50 years since I made any serious study of Latin, and
  although it may not have changed in that time, I most certainly have...
  Alan

  On 8 April 2015 at 16:42, Monica Hall [3]mjlh...@tiscali.co.uk wrote:

Thanks to Wikipedia   . apparently
Margarita Salicola (floruit 1682 - 1706) was a famous opera singer
of her time. She came from a family of musicians at the court of the
Ferdinando Carlo Gonzaga, Duke of Mantua and became a staple of
casts at San Giovanni Grisostomo, Venice's newest and most famous
theater, in the 1680s. etc...
Corbetta was employed at the Mantuan Court - so presumably they
appeared together there at some point...
Monica
- Original Message - From: Monica Hall
[4]mjlh...@tiscali.co.uk
To: stephen arndt [5]stephenwar...@verizon.net
Cc: Lutelist [6]lute@cs.dartmouth.edu
Sent: Wednesday, April 08, 2015 4:33 PM
Subject: [LUTE] Re: Latin translation

Brilliant.   Has anyone heard of a singer called Margarita Salicola?
Monica
- Original Message - From: stephen arndt
[7]stephenwar...@verizon.net
To: Monica Hall [8]mjlh...@tiscali.co.uk; Lutelist
[9]lute@cs.dartmouth.edu
Sent: Wednesday, April 08, 2015 4:27 PM
Subject: Re: [LUTE] Latin translation

How about the following for a literal, if not very elegant,
translation?
By his strings that illustrious Italian Corbetto (and) by her voice
the so
famous Bolognese maiden Margharitha Salicola defeated the muses in
the
Venetian theaters.
I'm not exactly sure what defeated the muses refers to, apart from
excellence in performance. Perhaps it is a reference to the
daughters of
Pierus, who challenged the muses in a contest of song and were
turned into
magpies when defeated. (Similar stories are the challenge of Marsyas
to
Apollo in flute playing or that of Arachne to Athena in weaving.
There are
others, but I can't think of them right now.)
-Original Message- From: Monica Hall
Sent: Wednesday, April 08, 2015 10:02 AM
To: Lutelist
Subject: [LUTE] Latin translation
I wonder if there is any Latin scholar on this list who could
translate
the
following brief reference to Corbetta...
Fidibus illustris ille Corbetto Italus
Voce Margharitha Salicola virgo Boniensis
Venetis tam famosa theatris vicere musas.
Monica
To get on or off this list see list information at
[10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

  --

References

  1. mailto:adr...@gmail.com
  2. mailto:mjlh...@tiscali.co.uk
  3. mailto:mjlh...@tiscali.co.uk
  4. mailto:mjlh...@tiscali.co.uk
  5. mailto:stephenwar...@verizon.net
  6. mailto:lute@cs.dartmouth.edu
  7. mailto:stephenwar...@verizon.net
  8. mailto:mjlh...@tiscali.co.uk
  9. mailto:lute@cs.dartmouth.edu
 10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Latin translation

[stephen arndt]

Well, yes. If they defeated the muses (in an imaginary contest), it was 
because they played better.


-Original Message- 
From: Gary Boye

Sent: Wednesday, April 08, 2015 12:08 PM
To: stephen arndt ; Monica Hall ; Alan Hoyle
Cc: Lutelist
Subject: [LUTE] Re: Latin translation

Could it mean, in effect, that they played even better than the muses?
A bit of classical hyperbole typical of the times . . .

Gary

Dr. Gary R. Boye
Professor and Music Librarian
Appalachian State University

On 4/8/2015 12:51 PM, stephen arndt wrote:
If vicere is a noun in the ablative case, the sentence is left without a 
verb, and then you have to explain why musas is in the accusative case. 
If vicerex were a Latin word (it is not in Lewis and Short), the 
ablative would be vicerege, not vicere. The latter is listed as a 
poetic form of vincere by Lewis and Short. Morever, vincere musas was 
a set phrase in Latin.


-Original Message- From: Monica Hall
Sent: Wednesday, April 08, 2015 11:06 AM
To: Alan Hoyle
Cc: Lutelist
Subject: [LUTE] Re: Latin translation

  Maybe in the context it means deputized for or replaced the muses
  in the theatre in Venice,

  Monica

  - Original Message -

  From: [1]Alan Hoyle

  To: [2]Monica Hall

  Sent: Wednesday, April 08, 2015 5:00 PM

  Subject: Re: [LUTE] Re: Latin translation

  'Vicere' - I am not 100% positive, but I am pretty sure that this word
  derives from 'vicerex' ('viceroy', 'substitute', 'vicar', 'embodiment
  of'..) and is its ablative form, and has nothing to do with the
  verb 'Vincere'
  N.B. it is over 50 years since I made any serious study of Latin, and
  although it may not have changed in that time, I most certainly have...
  Alan

  On 8 April 2015 at 16:42, Monica Hall [3]mjlh...@tiscali.co.uk wrote:

Thanks to Wikipedia   . apparently
Margarita Salicola (floruit 1682 - 1706) was a famous opera singer
of her time. She came from a family of musicians at the court of the
Ferdinando Carlo Gonzaga, Duke of Mantua and became a staple of
casts at San Giovanni Grisostomo, Venice's newest and most famous
theater, in the 1680s. etc...
Corbetta was employed at the Mantuan Court - so presumably they
appeared together there at some point...
Monica
- Original Message - From: Monica Hall
[4]mjlh...@tiscali.co.uk
To: stephen arndt [5]stephenwar...@verizon.net
Cc: Lutelist [6]lute@cs.dartmouth.edu
Sent: Wednesday, April 08, 2015 4:33 PM
Subject: [LUTE] Re: Latin translation

Brilliant.   Has anyone heard of a singer called Margarita Salicola?
Monica
- Original Message - From: stephen arndt
[7]stephenwar...@verizon.net
To: Monica Hall [8]mjlh...@tiscali.co.uk; Lutelist
[9]lute@cs.dartmouth.edu
Sent: Wednesday, April 08, 2015 4:27 PM
Subject: Re: [LUTE] Latin translation

How about the following for a literal, if not very elegant,
translation?
By his strings that illustrious Italian Corbetto (and) by her voice
the so
famous Bolognese maiden Margharitha Salicola defeated the muses in
the
Venetian theaters.
I'm not exactly sure what defeated the muses refers to, apart from
excellence in performance. Perhaps it is a reference to the
daughters of
Pierus, who challenged the muses in a contest of song and were
turned into
magpies when defeated. (Similar stories are the challenge of Marsyas
to
Apollo in flute playing or that of Arachne to Athena in weaving.
There are
others, but I can't think of them right now.)
-Original Message- From: Monica Hall
Sent: Wednesday, April 08, 2015 10:02 AM
To: Lutelist
Subject: [LUTE] Latin translation
I wonder if there is any Latin scholar on this list who could
translate
the
following brief reference to Corbetta...
Fidibus illustris ille Corbetto Italus
Voce Margharitha Salicola virgo Boniensis
Venetis tam famosa theatris vicere musas.
Monica
To get on or off this list see list information at
[10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

  --

References

  1. mailto:adr...@gmail.com
  2. mailto:mjlh...@tiscali.co.uk
  3. mailto:mjlh...@tiscali.co.uk
  4. mailto:mjlh...@tiscali.co.uk
  5. mailto:stephenwar...@verizon.net
  6. mailto:lute@cs.dartmouth.edu
  7. mailto:stephenwar...@verizon.net
  8. mailto:mjlh...@tiscali.co.uk
  9. mailto:lute@cs.dartmouth.edu
 10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Latin translation

[stephen arndt]

If vicere is a noun in the ablative case, the sentence is left without a 
verb, and then you have to explain why musas is in the accusative case. If 
vicerex were a Latin word (it is not in Lewis and Short), the ablative 
would be vicerege, not vicere. The latter is listed as a poetic form of 
vincere by Lewis and Short. Morever, vincere musas was a set phrase in 
Latin.


-Original Message- 
From: Monica Hall

Sent: Wednesday, April 08, 2015 11:06 AM
To: Alan Hoyle
Cc: Lutelist
Subject: [LUTE] Re: Latin translation

  Maybe in the context it means deputized for or replaced the muses
  in the theatre in Venice,

  Monica

  - Original Message -

  From: [1]Alan Hoyle

  To: [2]Monica Hall

  Sent: Wednesday, April 08, 2015 5:00 PM

  Subject: Re: [LUTE] Re: Latin translation

  'Vicere' - I am not 100% positive, but I am pretty sure that this word
  derives from 'vicerex' ('viceroy', 'substitute', 'vicar', 'embodiment
  of'..) and is its ablative form, and has nothing to do with the
  verb 'Vincere'
  N.B. it is over 50 years since I made any serious study of Latin, and
  although it may not have changed in that time, I most certainly have...
  Alan

  On 8 April 2015 at 16:42, Monica Hall [3]mjlh...@tiscali.co.uk wrote:

Thanks to Wikipedia   . apparently
Margarita Salicola (floruit 1682 - 1706) was a famous opera singer
of her time. She came from a family of musicians at the court of the
Ferdinando Carlo Gonzaga, Duke of Mantua and became a staple of
casts at San Giovanni Grisostomo, Venice's newest and most famous
theater, in the 1680s. etc...
Corbetta was employed at the Mantuan Court - so presumably they
appeared together there at some point...
Monica
- Original Message - From: Monica Hall
[4]mjlh...@tiscali.co.uk
To: stephen arndt [5]stephenwar...@verizon.net
Cc: Lutelist [6]lute@cs.dartmouth.edu
Sent: Wednesday, April 08, 2015 4:33 PM
Subject: [LUTE] Re: Latin translation

Brilliant.   Has anyone heard of a singer called Margarita Salicola?
Monica
- Original Message - From: stephen arndt
[7]stephenwar...@verizon.net
To: Monica Hall [8]mjlh...@tiscali.co.uk; Lutelist
[9]lute@cs.dartmouth.edu
Sent: Wednesday, April 08, 2015 4:27 PM
Subject: Re: [LUTE] Latin translation

How about the following for a literal, if not very elegant,
translation?
By his strings that illustrious Italian Corbetto (and) by her voice
the so
famous Bolognese maiden Margharitha Salicola defeated the muses in
the
Venetian theaters.
I'm not exactly sure what defeated the muses refers to, apart from
excellence in performance. Perhaps it is a reference to the
daughters of
Pierus, who challenged the muses in a contest of song and were
turned into
magpies when defeated. (Similar stories are the challenge of Marsyas
to
Apollo in flute playing or that of Arachne to Athena in weaving.
There are
others, but I can't think of them right now.)
-Original Message- From: Monica Hall
Sent: Wednesday, April 08, 2015 10:02 AM
To: Lutelist
Subject: [LUTE] Latin translation
I wonder if there is any Latin scholar on this list who could
translate
the
following brief reference to Corbetta...
Fidibus illustris ille Corbetto Italus
Voce Margharitha Salicola virgo Boniensis
Venetis tam famosa theatris vicere musas.
Monica
To get on or off this list see list information at
[10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

  --

References

  1. mailto:adr...@gmail.com
  2. mailto:mjlh...@tiscali.co.uk
  3. mailto:mjlh...@tiscali.co.uk
  4. mailto:mjlh...@tiscali.co.uk
  5. mailto:stephenwar...@verizon.net
  6. mailto:lute@cs.dartmouth.edu
  7. mailto:stephenwar...@verizon.net
  8. mailto:mjlh...@tiscali.co.uk
  9. mailto:lute@cs.dartmouth.edu
 10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 

[LUTE] Arrangements of Church Hymns

[stephen arndt]

   Dear Lute Friends,

   The following may be of interest to one or two of you, if you ever have
   occasion to play for a church service.

   For the last year and a half I have played lute (or recorder) at my
   wife's church. I began playing 16th-century repertoire during the
   offertory and communion but then thought that it would be nice to play
   something recognizably liturgical. After performing a number of pieces
   by Elias Reusner, I decided to attempt my own arrangements of some
   well-known hymns. Each arrangement includes a transcription of the
   organ part given in the hymnal at some point and a number of variations
   of my own composition.

   The choir director, who holds a doctorate in early music, has been
   pleased with these arrangements, and they have been very well received
   by the congregation (who were perhaps just practicing the virtue of
   charity). Sometimes the choir sings the hymn right after I have played
   the instrumental version, which works quite well, I think.

   You can find the complete tablature for the collection and the
   tablature for each individual piece as well as an mp3 recording of each
   arrangement at this link:
   [1]http://www.verseandsong.com/song/renaissance-lute/arrangements-of-ch
   urch-hymns-5/ . I wish I could say that I am happy with my recordings
   of these pieces, but they will at least give you enough of an idea of
   how they are supposed to sound to let you decide if you would like to
   give them a try. Click on an individual title to hear an mp3 of that
   piece, or use the playlist at the bottom of the page to listen to the
   entire collection without interruption.

   The collection consists mostly of Renaissance hymns, though one is much
   older and one more recent. Included are the following titles:

   Lobe den Herren
   (Praise to the Lord, the Almighty)

   Grosser Gott
   (Praise to the Lord, the Almighty)

   Nun danket alle Gott
   (Now Thank We All Our God)

   Hyfrydal
   (Love Divine, All Loves Excelling)

   Nun komm, der Heiden Heiland
   (Savior of the Nations, Come)

   Es ist ein Ros
   (Lo, How a Rose E'er Blooming)

   Wachet auf
   (Sleepers Wake)

   O Welt, ich muss dich lassen
   (O Food to Pilgrims Given)

   Herzliebster Jesu
   (Ah, Holy Jesus)

   Herzlich tut mich verlangen
   (O Sacred Head, Sore Wounded)

   Christ lag in Todesbanden
   (Christ Jesus Lay in Death's Strong Bands)

   Slane
   (Be Thou My Vision)

   Martyrdom
   (As Longs the Deer for Cooling Streams)

   I hope a few of you will find this music useful. If you do try any of
   these arrangements and notice something unmusical or have a better
   suggestion for a particular passage, please be so kind as to let me
   know.

   Best regards,

   Stephen Arndt

   --

References

   1. 
http://www.verseandsong.com/song/renaissance-lute/arrangements-of-church-hymns-5/


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[LUTE] Intabulation

[stephen arndt]

   Dear Lute Friends,

   I recently had occasion to compare several lute intabulations with the
   vocal original and became very interested in the process of
   intabulating. While doing a bit of Google searching, I came across this
   article: Marie Louise GAP:llner, On the Process of Lute Intabulation
   in the Sixteenth Century, in Ars Iocundissima: Festschrift fA 1/4r
   Kurt DorfmA 1/4ller zum 60. Geburtstag, ed. Horst Leuchtmann and Robert
   MA 1/4nster (Tutzing, 1984), 83 a 96.

   I have actually found the volume for sale at a not too expensive price
   but, since I am interested in just the one article, I was wondering
   whether anyone on the list has read it and, if so, could tell me what
   it is about. In particular, does it contain any rules or guidelines
   to help someone learn the art of intabulation? If so, I may well
   purchase the volume. (On the other hand, if anyone owns the volume, I
   would be happy to compensate him or her for the trouble of scanning and
   sending me the relevant pages.)

   More generally, can anyone recommend an article or a book that would
   give helpful suggestions for adapting Renaissance vocal works for the
   lute. If someone somewhere has summarized whatever is to be found in
   historical sources, that would be wonderful.

   Just out of curiosity, I tried intabulating a little two-voiced duet by
   Orlando di Lasso, first transcribing it note-for-note and then adding
   some runs to lengthen the longer notes that cannot be sustained for
   their full value on the lute, and I wasn't too displeased with the
   results. I would like to try my hand at some further intabulations,
   but, rather than learning through trial and error, it would be nice to
   profit from whatever instruction already exists.

   Thank you.

   Best regards,

   Stephen Arndt

   --


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[LUTE] Re: Intabulation

[stephen arndt]

The Umlauts in my message seem to have gotten garbled, so I'll write the 
volume name like this: Ars Iocundissima: Festschrift fuer Kurt Dorfmueller 
zum 60. Geburtstag., ed. Horst Leuchtmann and Robert Muenster.


-Original Message- 
From: stephen arndt

Sent: Friday, February 27, 2015 11:25 PM
To: lute mailing list list
Subject: [LUTE] Intabulation

  Dear Lute Friends,

  I recently had occasion to compare several lute intabulations with the
  vocal original and became very interested in the process of
  intabulating. While doing a bit of Google searching, I came across this
  article: Marie Louise GAP:llner, On the Process of Lute Intabulation
  in the Sixteenth Century, in Ars Iocundissima: Festschrift fA 1/4r
  Kurt DorfmA 1/4ller zum 60. Geburtstag, ed. Horst Leuchtmann and Robert
  MA 1/4nster (Tutzing, 1984), 83 a 96.

  I have actually found the volume for sale at a not too expensive price
  but, since I am interested in just the one article, I was wondering
  whether anyone on the list has read it and, if so, could tell me what
  it is about. In particular, does it contain any rules or guidelines
  to help someone learn the art of intabulation? If so, I may well
  purchase the volume. (On the other hand, if anyone owns the volume, I
  would be happy to compensate him or her for the trouble of scanning and
  sending me the relevant pages.)

  More generally, can anyone recommend an article or a book that would
  give helpful suggestions for adapting Renaissance vocal works for the
  lute. If someone somewhere has summarized whatever is to be found in
  historical sources, that would be wonderful.

  Just out of curiosity, I tried intabulating a little two-voiced duet by
  Orlando di Lasso, first transcribing it note-for-note and then adding
  some runs to lengthen the longer notes that cannot be sustained for
  their full value on the lute, and I wasn't too displeased with the
  results. I would like to try my hand at some further intabulations,
  but, rather than learning through trial and error, it would be nice to
  profit from whatever instruction already exists.

  Thank you.

  Best regards,

  Stephen Arndt

  --


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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 

[LUTE] Re: Cambridge goes on-line.

[stephen arndt]

Try this: http://cudl.lib.cam.ac.uk/collections/music . As far as I can 
tell, though, for any given manuscript you have to download one page at a 
time. After an intense 120 seconds of looking, I didn't find a way to 
download an entire manuscript. Perhaps someone else can enlighten us.


-Original Message- 
From: Stephen Fryer

Sent: Wednesday, January 21, 2015 8:02 PM
To: Lute List
Subject: [LUTE] Re: Cambridge goes on-line.

On 21/01/2015 4:42 PM, Robert Clair wrote:
http://www.cam.ac.uk/research/news/crown-jewels-of-english-lute-music-go-online?utm_medium=emailutm_source=alumnewsletter 
http://www.cam.ac.uk/research/news/crown-jewels-of-english-lute-music-go-online?utm_medium=emailutm_source=alumnewsletter


Apologies if someone already posted this.

…Bob

Is there a URL somewhere to access the collection?

Stephen Fryer




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[LUTE] Re: Avoiding cracks and lute parts getting unglued - dry weather

[stephen arndt]

I am trying the D'Addario Two-Way Humidification System on my various 
instruments this winter. Since this is my first time using them, it is too 
early for me to say how well they work. I bought mine at the local Guitar 
Center, which probably doesn't exist where you live. You can order them at 
various places online, though. Here is one link, where you can read numerous 
customer reviews, which may help you to decide if you want to try it:


http://www.amazon.com/Planet-Waves-Humidipak-Automatic-Humidity/dp/B000OMG0KI/ref=cm_cr_pr_pb_t

Good luck!

Stephen

-Original Message- 
From: Susanne Herre

Sent: Sunday, January 11, 2015 8:52 AM
To: LuteNet
Subject: [LUTE] Avoiding cracks and lute parts getting unglued - dry weather


Dear lute friends,

It's winter time, so e.g. in Central Europe here it can be quite dry
outside. As a result of a train trip on one of those dry days the table
of my baroque mandolin loosened from the body although I avoided to put
my instrument next to heatings and put some water inside the case.

What might be the reasons of those things happening? Is it about the
changing from the train to the outside e.g.? Is it the dryness inside
the (often too strongly) heated train? Can it happen in a few
seconds/minutes having laid the instrument next to a hidden heating?

What are you doing to avoid those miseries?
Is it better to loosen the strings?
How much water and in which way do you put it into the case?

Many thanks for helpful hints!

Susanne



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[LUTE] Re: Tombeau for Patrick O'Brien

[stephen arndt]

Very moving. Heartfelt thanks to you both, Roman and Danny.

-Original Message- 
From: Daniel Shoskes

Sent: Sunday, January 04, 2015 3:10 PM
To: Lute List
Subject: [LUTE] Tombeau for Patrick O'Brien

Dear Lute friends: Roman Turovsky has written a beautiful Tombeau in honor 
of Pat O'Brien. Here is my initial attempt at a video performance.


https://www.youtube.com/watch?v=8xqGNJc33p0

If the tab isn't on Roman's site yet I'm sure it will be soon.

Danny



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[BAROQUE-LUTE] New Recording

[stephen arndt]

   Dear Friends,

   I invite you to listen to my recording of Denis Gaultier's La
   rhA(c)torique des dieux on an Andreas von Holst 11-course lute strung
   entirely in pure gut (i.e., the basses are not gimped). Quite some time
   ago I recorded the first forty-three pieces and then put the project
   aside for well over a year owing to various reasons. Towards the end of
   last year I resumed it and recorded pieces forty-four to sixty-one but
   was very dissatisfied with my earlier recordings in terms of tempo and
   sound quality, so I redid them. I used the tablature available for free
   on Richard Civiol's site and took the Louis Pernot recordings as a
   model, arpeggiating chords where he did and attempting to imitate his
   ornaments.


   If you care to, you can listen to an individual piece by clicking on
   its title or to all pieces successively by using the playlist at the
   bottom of the page here:
   [1]http://www.verseandsong.com/song/baroque-lute-2/la-rhetorique-des-di
   eux/.  For those of you who do not know me, be forewarned: I am not a
   professional musician, and this is strictly an amateur endeavor.
   Nevertheless, I hope you will find it pleasant enough listening. Please
   feel free to explore my website by using the expandable menu on the
   left side of the page.


   I hope you will forgive my including off-topic information on another
   recent project of mine. I have revised my translation of Dante's Divine
   Comedy in iambic pentameter and terza rima and now offer it as a Kindle
   e-book. It is written in modern diction and normal syntax and strives
   to remain highly faithful to the sense of the original. Moreover, it is
   the only translation in the 400-year history of Dante translations into
   English to employ perfect rhyme throughout. If you are interested, you
   can find generous samples by clicking on the cover image at the
   following Amazon pages:


   The Inferno: [2]http://www.amazon.com/dp/B00JQWNUXC

   The Purgatorio: [3]http://www.amazon.com/dp/B00JRD2MPW

   The Paradsiso: [4]http://www.amazon.com/dp/B00JS3B414

   The whole Divine Comedy: [5]http://www.amazon.com/dp/B00JST98MK

   Best regards to all,

   Stephen Arndt



   --

References

   1. http://www.verseandsong.com/song/baroque-lute-2/la-rhetorique-des-dieux/
   2. http://www.amazon.com/dp/B00JQWNUXC
   3. http://www.amazon.com/dp/B00JRD2MPW
   4. http://www.amazon.com/dp/B00JS3B414
   5. http://www.amazon.com/dp/B00JST98MK


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Re: New Recording

[stephen arndt]

Thank you, Rob, for your kind words about my Dante work. I have revised it 
extensively since the version I sent you a number of years ago and made 
numerous improvements.


I see that the title of the work got garbled because of the acute accent on 
the e. I'm sure everyone figured out it is La rhetorique des dieux.


The string length on my Andreas von Holst 11-course is 67.5 centimeters; the 
strings are made by Damian Dlugolecki and tuned to A = 392. Andreas von 
Holst thought that the pure gut basses sounded terrible. I think they needed 
a little time to settle in, and now I think they sound good, but I shall let 
you all judge for yourselves. Some of you may not like them. I use a .46 on 
the top course, and it usually lasts three or four months. I haven't found 
any other stringmaker whose strings last that long.


As for pros and cons, the main advantage is simply the sound of gut. I think 
that even with my amateur technique the sound is both warm and clear for the 
most part. I find it difficult to maintain those qualities when the melody 
dips down into a lower register, which it does often enough in La 
rhetorique, but that is probably more a consequence of my playing than of 
the strings themselves. The main disadvantage is the instability of tuning. 
I record on a Fostex and get 7 minutes and 13 seconds worth at 48 Hz. If I 
don't get a good take in that time period (and I usually don't the first few 
times), the instrument will probably have gone out of tune, and I shall have 
to retune before the next take. I know that some people on the list perform 
in public on gut strings. I play at my wife's church once a month and use 
the New Nylgut strings for that. I can't imagine what a tuning nightmare 
playing on gut would be. That's about all I can say on that topic. Thanks 
for listening.


-Original Message- 
From: Rob MacKillop

Sent: Monday, May 05, 2014 11:21 AM
To: stephen arndt
Cc: baroque-lute mailing-list ; lute mailing list list
Subject: Re: [BAROQUE-LUTE] New Recording

I can highly recommend Stephen's translation of the Divine Comedy, as I've 
enjoyed a private copy for a number of years. I'm really pleased to see it 
available as an eBook, and will get a copy of that for my iPad.


Stephen, it is great to listen to your performances with pure gut strings. 
Can you tell us about your experience with them, pros and cons? And who made 
them? What string length and pitch? Etc ;-)


And thanks for recording the entire publication! Hearty congratulations for 
getting through it!


Rob

www.robmackillop.net

On 5 May 2014, at 15:33, stephen arndt stephenwar...@verizon.net 
wrote:


  Dear Friends,

  I invite you to listen to my recording of Denis Gaultier's La
  rhA(c)torique des dieux on an Andreas von Holst 11-course lute strung
  entirely in pure gut (i.e., the basses are not gimped). Quite some time
  ago I recorded the first forty-three pieces and then put the project
  aside for well over a year owing to various reasons. Towards the end of
  last year I resumed it and recorded pieces forty-four to sixty-one but
  was very dissatisfied with my earlier recordings in terms of tempo and
  sound quality, so I redid them. I used the tablature available for free
  on Richard Civiol's site and took the Louis Pernot recordings as a
  model, arpeggiating chords where he did and attempting to imitate his
  ornaments.


  If you care to, you can listen to an individual piece by clicking on
  its title or to all pieces successively by using the playlist at the
  bottom of the page here:
  [1]http://www.verseandsong.com/song/baroque-lute-2/la-rhetorique-des-di
  eux/.  For those of you who do not know me, be forewarned: I am not a
  professional musician, and this is strictly an amateur endeavor.
  Nevertheless, I hope you will find it pleasant enough listening. Please
  feel free to explore my website by using the expandable menu on the
  left side of the page.


  I hope you will forgive my including off-topic information on another
  recent project of mine. I have revised my translation of Dante's Divine
  Comedy in iambic pentameter and terza rima and now offer it as a Kindle
  e-book. It is written in modern diction and normal syntax and strives
  to remain highly faithful to the sense of the original. Moreover, it is
  the only translation in the 400-year history of Dante translations into
  English to employ perfect rhyme throughout. If you are interested, you
  can find generous samples by clicking on the cover image at the
  following Amazon pages:


  The Inferno: [2]http://www.amazon.com/dp/B00JQWNUXC

  The Purgatorio: [3]http://www.amazon.com/dp/B00JRD2MPW

  The Paradsiso: [4]http://www.amazon.com/dp/B00JS3B414

  The whole Divine Comedy: [5]http://www.amazon.com/dp/B00JST98MK

  Best regards to all,

  Stephen Arndt



  --

References

  1. 
http://www.verseandsong.com/song/baroque-lute-2/la-rhetorique-des-dieux/

  2. http://www.amazon.com/dp/B00JQWNUXC
  3. http

[LUTE] Re: Cold hands.

[stephen arndt]

My wife got me this hand warmer: 
http://www.mybodycomfort.com/Pocket_Pack_Lavender-_2nd_Generation/ . I have 
found it very helpful to hold it a couple of minutes before I have to play 
in a cold church. It warms the fingers right up.


-Original Message- 
From: Herbert Ward

Sent: Thursday, April 03, 2014 11:50 AM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Cold hands.


A few weeks ago I posted a question
asking whether getting the hands cold
and stiff repeatedly causes irreversible
damage.

No one answered.

I've since had an opportunity to present
the question to a university professor
of physiology.

He seemed quite competent in answering, and I
have had trouble finding information with Google,
so I thought I'd pass his answer on.

The stiffness that we perceive in cold hands
is mostly from two sources.  The first is that the
deep blood vessels expand to increase the supply
of blood.  The second is that the muscles are
contracting in an effort to generate heat (this
is somewhat like shivering).

He said that the tissues are just fine after
rewarming (assuming, of course, that the
temperature stays well above frostbite level).



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[LUTE] Re: Cantio Sarmatoruthenica 97

[stephen arndt]

Very nice. It leaves me wishing that you would record the complete works of 
Roman Turovsky.


-Original Message- 
From: Roman Turovsky

Sent: Tuesday, February 11, 2014 8:49 AM
To: lute@cs.dartmouth.edu ; Le_luth
Subject: [LUTE] Cantio Sarmatoruthenica 97

http://youtu.be/UcTeHQu-Ml0
Self-performed, warts and all...
Enjoy!
Amities,
RT



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[LUTE] Re: Cantio Sarmatoruthenica 97

[stephen arndt]

Two down. Now how many more to go?

-Original Message- 
From: Roman Turovsky 
Sent: Tuesday, February 11, 2014 10:29 AM 
To: stephen arndt ; lute@cs.dartmouth.edu ; Le_luth 
Subject: [LUTE] Re: Cantio Sarmatoruthenica 97 


Here's another-

CSR51
http://youtu.be/JfBIgAu5__A

RT



On 2/11/2014 10:26 AM, stephen arndt wrote:
Very nice. It leaves me wishing that you would record the complete 
works of Roman Turovsky.


-Original Message- From: Roman Turovsky
Sent: Tuesday, February 11, 2014 8:49 AM
To: lute@cs.dartmouth.edu ; Le_luth
Subject: [LUTE] Cantio Sarmatoruthenica 97

http://youtu.be/UcTeHQu-Ml0
Self-performed, warts and all...
Enjoy!
Amities,
RT



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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Recording the lute, Part 1, sample rate

[stephen arndt]

David wrote:

I will be writing a guide in installments for my website on how to
record the lute.

This is very welcome news indeed! Many thanks for the first installment. I 
can't wait to read the next following ones.


Stephen Arndt 




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[LUTE] Re: Early ornamentation

[stephen arndt]

L'Art de diminuer by Philippe Matharel, sort of a compendium of 
Renaissance treatises on the subject, is quite helpful also. You can 
download it here: http://www.scribd.com/doc/35549954/l-Art-de-Diminuer-Opt , 
or I can send you a pdf if you like.


-Original Message- 
From: William Samson

Sent: Monday, September 23, 2013 11:16 AM
To: Arthur Ness ; Dan Winheld
Cc: Lute List
Subject: [LUTE] Re: Early ornamentation

  Thank you Arthur.  I had forgotten all about Ganassi.  I attended
  evening classes in ensemble playing run by Tony Rooley in the early
  '70s and he used examples of divisions from Ganassi to encourage us to
  improvise around ground basses.

  That's very helpful!

  Bill
  From: Arthur Ness arthurjn...@verizon.net
  To: Dan Winheld dwinh...@lmi.net; William Samson
  willsam...@yahoo.co.uk
  Cc: Lute List lute@cs.dartmouth.edu
  Sent: Monday, 23 September 2013, 13:27
  Subject: Re: [LUTE] Re: Early ornamentation
  This might provide assistance, although for recorder.   It deals with
  diminutions and ornamentation.  Link to a dighital copy:

  [1]http://erato.uvt.nl/files/imglnks/usimg/7/76/IMSLP261644-PMLP46423-g
  anassi_fontegara_bolonha.pdf

  Arthur


  - Original Message -
  From: Dan Winheld [2]dwinh...@lmi.net
  To: William Samson [3]willsam...@yahoo.co.uk
  Cc: [4]lute@cs.dartmouth.edu
  Sent: Saturday, September 21, 2013 11:05 AM
  Subject: [LUTE] Re: Early ornamentation
   Capirola himself is the source of Capirola's ornaments. Two dots
  ABOVE
   the tab cipher (not the finger dots below) means a simple mordent-
  quick
   pull off to note below  hammer back on. A ghost cipher made up of
   dots indicates the opposite- hammer on to the dot-cipher from the
  main
   note followed by a pull-off back to the main note. Can't recall if
   Capirola has any other ornament signs. Typical written out fully
   articulated trill stuff. I always throw in some of my own ornaments,
  but
   with Capirola he often gives you enough.
  
Judenkunig I'm not familiar with. Other more learned streams of the
   Lute Fountain of Holy Wisdom will no doubt supply you with more
   secondary material.
  
   Dan
  
   On 9/21/2013 7:42 AM, William Samson wrote:
   Dear Fount of All Knowledge,
  
   I am working on some early C16 lute music (Capirola, Judenkunig
  . . .)
   and wonder what ornaments, if any, might be used when playing
  it.
  
   Can anybody point me at a source that might help?
  
   Thanks,
  
   Bill
  
   --
  
  
   To get on or off this list see list information at
   [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  
  
  

  --

References

  1. 
http://erato.uvt.nl/files/imglnks/usimg/7/76/IMSLP261644-PMLP46423-ganassi_fontegara_bolonha.pdf

  2. mailto:dwinh...@lmi.net
  3. mailto:willsam...@yahoo.co.uk
  4. mailto:lute@cs.dartmouth.edu
  5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 

[LUTE] Re: Antoine Francisque

[stephen arndt]

I just noticed that none of the French diacritical marks display correctly 
nor do the en-dashes between numbers. I hope that you can still decipher the 
message.


-Original Message- 
From: stephen arndt

Sent: Thursday, September 19, 2013 11:14 AM
To: lute mailing list list
Subject: [LUTE] Antoine Francisque

  Dear Friends,

  I wanted to let you know that I have now finished recording all 71
  pieces of Antoine Francisque's Le trA(c)sor d'OrphA(c)e, which is
  available for you to listen to here, if you would like:
  [1]http://www.verseandsong.com/song/renaissance-lute/1293-2/ . You have
  the option of clicking on a particular piece and listening to it
  individually or of scrolling down to the bottom of the page and using
  the playlist to listen to the pieces successively. Please feel free to
  leave a comment and to visit the other pages of my website.

  One problem (among many!) that I have had in playing the lute has been
  to strike a good balance between the treble and the bass. To my ears at
  least it seemed that I tended to play the bass too loudly and the
  treble too softly. When I tried to increase the volume of the treble,
  it seemed that I involuntarily increased the volume of the bass as
  well.

  As I was working through this manuscript I was asked to begin playing
  lute at my wife's church, which I have now been doing once a month. The
  space is a little too large for the instrument, which was difficult to
  hear, so the choir director asked me to play more loudly. Although I
  did not like the request because I found it difficult to maintain a
  good tone at a greater volume, I began practicing playing more loudly.
  Somehowahow exactly I don't knowaI think I learned to bring out the
  treble more with respect to the bass and achieve a better balance
  between the two.

  I did not record this manuscript straight through from beginning to
  end. Instead I started with the pieces most familiar to me and recorded
  numbers 17 through 34. On those pieces I think that you can hear that
  the treble is a bit weak. Then I went back to number 16 and recorded
  the pieces in reverse order until I reached the first, and then finally
  picked up with number 35 and recorded to the end. On pieces 1a16 and
  35a71 I think that the treble comes out much more clearly.

  It was often not clear to me what was a section marker and what was a
  repeat sign. So, I consulted with Sarge Gerbode, who told me that the
  same sign could indicate both depending on context and urged me to use
  my good judgment. I followed at leas half of his advice and used my
  judgment, though it may not always have been good.

  I found the piAces A  cordes avalA(c)es (numbers 59a71) particularly
  interesting. If anyone knows of other collections in that tuning, I
  would appreciate a reference.

  Those of you who know me know that I am just an amateur. Those who do
  not should not expect professional quality either in playing or
  recording quality. Nevertheless, I hope that if you listen, you will
  find something to enjoy.

  Best regards,

  Stephen Arndt


  --

References

  1. http://www.verseandsong.com/song/renaissance-lute/1293-2/


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[LUTE] Antoine Francisque

[stephen arndt]

   Dear Friends,

   I wanted to let you know that I have now finished recording all 71
   pieces of Antoine Francisque's Le trA(c)sor d'OrphA(c)e, which is
   available for you to listen to here, if you would like:
   [1]http://www.verseandsong.com/song/renaissance-lute/1293-2/ . You have
   the option of clicking on a particular piece and listening to it
   individually or of scrolling down to the bottom of the page and using
   the playlist to listen to the pieces successively. Please feel free to
   leave a comment and to visit the other pages of my website.

   One problem (among many!) that I have had in playing the lute has been
   to strike a good balance between the treble and the bass. To my ears at
   least it seemed that I tended to play the bass too loudly and the
   treble too softly. When I tried to increase the volume of the treble,
   it seemed that I involuntarily increased the volume of the bass as
   well.

   As I was working through this manuscript I was asked to begin playing
   lute at my wife's church, which I have now been doing once a month. The
   space is a little too large for the instrument, which was difficult to
   hear, so the choir director asked me to play more loudly. Although I
   did not like the request because I found it difficult to maintain a
   good tone at a greater volume, I began practicing playing more loudly.
   Somehowahow exactly I don't knowaI think I learned to bring out the
   treble more with respect to the bass and achieve a better balance
   between the two.

   I did not record this manuscript straight through from beginning to
   end. Instead I started with the pieces most familiar to me and recorded
   numbers 17 through 34. On those pieces I think that you can hear that
   the treble is a bit weak. Then I went back to number 16 and recorded
   the pieces in reverse order until I reached the first, and then finally
   picked up with number 35 and recorded to the end. On pieces 1a16 and
   35a71 I think that the treble comes out much more clearly.

   It was often not clear to me what was a section marker and what was a
   repeat sign. So, I consulted with Sarge Gerbode, who told me that the
   same sign could indicate both depending on context and urged me to use
   my good judgment. I followed at leas half of his advice and used my
   judgment, though it may not always have been good.

   I found the piAces A  cordes avalA(c)es (numbers 59a71) particularly
   interesting. If anyone knows of other collections in that tuning, I
   would appreciate a reference.

   Those of you who know me know that I am just an amateur. Those who do
   not should not expect professional quality either in playing or
   recording quality. Nevertheless, I hope that if you listen, you will
   find something to enjoy.

   Best regards,

   Stephen Arndt


   --

References

   1. http://www.verseandsong.com/song/renaissance-lute/1293-2/


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[LUTE] Re: Reusner and Reymann

[stephen arndt]

My sincere thanks to all who responded. I now have several options to 
consider.


-Original Message- 
From: stephen arndt

Sent: Monday, June 17, 2013 12:33 PM
To: lute mailing list list
Subject: [LUTE] Reusner and Reymann

  I have Catherine Lidell's Sacred Music for the Lute. Among the sources
  for her anthology she lists Esaias Reusner's Musikalischer Lustgarten
  and Mattheus Reymann's Cythara Sacra. I have not succeeded in locating
  a copy of either work in any form. Does anyone know whether they are
  available somewhere?

  --


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[LUTE] Reusner and Reymann

[stephen arndt]

   I have Catherine Lidell's Sacred Music for the Lute. Among the sources
   for her anthology she lists Esaias Reusner's Musikalischer Lustgarten
   and Mattheus Reymann's Cythara Sacra. I have not succeeded in locating
   a copy of either work in any form. Does anyone know whether they are
   available somewhere?

   --


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[LUTE] Utterly Off Topic

[stephen arndt]

   Perhaps some of you play acoustic guitar and/or like blues . If so, I
   wanted to let you know that I have written and recorded fifty
   fingerstyle acoustic blues solos, the standard notation and tablature
   for which I have gathered into a collection called Fifty Shades of
   Blue, which you can download at
   [1]http://www.verseandsong.com/song/acoustic-guitar/. You can also
   listen to the selections individually by clicking on their titles or
   successively by using the playlist at the bottom of the page. If this
   is your first time to visit my website, please feel free to click
   around and/or to leave a comment.

   Best regards,

   Stephen Arndt

   P.S. I have recently received a new 8-course by Cezar Mateus and have
   started working on pieces by Antoine Francisque. You can listen to what
   I have done so far at
   [2]http://www.verseandsong.com/song/renaissance-lute/1293-2/.

   --

References

   1. http://www.verseandsong.com/song/acoustic-guitar/
   2. http://www.verseandsong.com/song/renaissance-lute/1293-2/


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[LUTE] Re: Brush up your French! Interview with Hopkinson S.

[stephen arndt]

I just got around to listening to this today and rather enjoyed it, but it 
ended abruptly in mid-sentence. Is there a second part?


-Original Message- 
From: Bernd Haegemann

Sent: Tuesday, May 21, 2013 12:05 PM
Cc: Lute net
Subject: [LUTE] Brush up your French! Interview with Hopkinson S.

https://www.youtube.com/watch?feature=player_embeddedv=x77UANPyT1M#





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[LUTE] Re: Harp-Lute

[stephen arndt]

Delightful!

-Original Message- 
From: Rob MacKillop 
Sent: Saturday, April 06, 2013 2:13 PM 
To: Lute 
Subject: [LUTE] Harp-Lute 


  Some of you might have a passing interest in the so-called harp-lute.
  Somebody gave a loan of one yesterday, by Edward Light, and also a
  tutor by him. I managed to knock out three tunes today.
  Video and more info here: [1]http://19th-centuryguitar.com/harp-lute/
  Rob

  --

References

  1. http://19th-centuryguitar.com/harp-lute/


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[LUTE] Re: Tragedy with Alexei Zimakov an outstanding guitarist.

[stephen arndt]

I have just passed the sad news on to the Acoustic Guitar Forum, which has 
74,000 members, though I assume that not all of them are active. Perhaps 
some of them would be willing to help also.


-Original Message- 
From: Anton Birula

Sent: Wednesday, March 06, 2013 6:39 AM
To: Lutenet
Subject: [LUTE] Tragedy with Alexei Zimakov an outstanding guitarist.

Dear Friends,

we are writing to you to seek help for our friend Alexei Zimakov, an 
outstanding guitarist who has recently lost eight of his fingers. His art 
was exceptional, his influence as a musician on the development of guitar 
music and motivation of the young musicians was enormous


Herewith we include information about it. We thought it is important to 
write about this because we know him personally and many of you know who we 
are.


The help action is provided partly by Guitar Foundation of America

http://www.guitarfoundation.org/news/116861/GFA-Accepting-Donations-for-Alexey-Zimakov-Benefit-Fund.htm

on the Russian Side it is led by Olga Anohina, his long time colleague and 
the person who literally raised him since he lost his parents early.


Here are some links that show the level of this musician, just to give an 
idea:


http://www.youtube.com/watch?v=N4sK2ZANID4
http://www.youtube.com/watch?v=cYPOR-kn-c8


you will easilly find more stuff on the net.

It looks like besides financial help the logistic Ideas how to help this 
musician are also needed.



There is so much abuse on the net in the field of charity etc, that it feels 
important to personaly certify the situation is REAL.


We have spoken to Mrs. Anohina personally 10 min ago. We know her and we 
know Alex, it is so tragic that there are no words to discribe this in full.


Yours Truly, LUTEDUO.
Anna Kowalska  Anton Birula
www.luteduo.com




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[LUTE] Re: Cantigas De Santa Maria website

[stephen arndt]

  This is an astonishingly good website for the Cantigas De Santa Maria
  [1]http://www.cantigasdesantamaria.com/index.html
  Aimed mainly at singers, but of interest to anyone performing these
  interesting works.
  Rob


Here is another site: 
http://brassy.perso.neuf.fr/PartMed/Cantigas/CSMIDI.html. It has mp3 files, 
which might be useful to listen to while looking at (and trying to decipher) 
the medieval notation.


Stephen 




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[LUTE] New Web Site

[stephen arndt]

   Dear Friends,

   I would like to invite you to visit my recently established web site,
   [1]verseandsong.com, where I have available the products of a number of
   my leisure time activities. Possibly of interest to this group are my
   home music recordings, which include thus far 329 pieces for
   Renaissance lute, 247 for baroque lute, 32 for vihuela, 41 for
   Renaissance guitar, 52 for acoustic guitar, 81 for alto or tenor
   recorder, and 156 for snare drum. On the left hand side of the page is
   a menu (expandable by clicking on the small crosses before the
   entries), and at the bottom of each music page is a playlist that will
   allow you to listen to the selections consecutively. All recordings of
   original compositions and arrangements also include tablature.

   In addition to music, and perhaps of interest to a few members of this
   list, is the revised version of my published poetic translation of
   Dante's Divine Comedy, other poetry translations, and a fair amount
   of original poetry, mostly religious in theme, as well as some 31 pen
   and ink drawings.

   Please feel free to visit the site, browse around, and leave a comment.
   I hope that in spite of the amateur nature of the offerings you will
   find something that you enjoy.

   Best regards for the new year,

   Stephen Arndt

   --

References

   1. http://www.verseandsong.com/


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[LUTE] Re: Where's day in di mille mort il di sarei contento?

[stephen arndt]

See here: http://www.classicitaliani.it/glossari/glossario_medioevo_01.htm. 
Just scroll down to the relevant entry.


-Original Message- 
From: Peter Nightingale

Sent: Tuesday, November 20, 2012 8:37 PM
To: lute list
Subject: [LUTE] Where's day in di mille mort il di sarei contento?

Dear All,

Il bianco e dolce cigno (Alfonso d'Avalos/Archadelt/Miguel de Fuenllana
ends with:

Se nel morir, altro dolor non sento,
di mille mort il di sarei contento.

Internet wisdom translates this as If I feel no other pain than this in
dying, I should be content to die a thousand deaths a day.  I'm not sure
that I know where to find a day.  If it's really there, I'd put my money
on il di, which would make sense if di were an elided form of the
Latin dies.  However, I have not been able to find anything like that in
a modern Italian dictionary, which always has di as the prepositions
of.

Thanks,
Peter.

The next auto-quote (sent from my commercial-free computer) is:

The good life is one inspired by love and guided by knowledge.
(Bertrand Russell)
/\/\
Peter Nightingale  Telephone (401) 874-5882
Department of Physics, East Hall   Fax (401) 874-2380
University of Rhode Island Kingston, RI 02881



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[LUTE] Re: Reconstructing Dowland; deconstructing Dowland

[stephen arndt]

  Well, isn't anyone other than Dan going to reply to this? I was
  expecting a huge response!
  Stuart

David Tayler locuto, causa est.



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[LUTE] Re: 8-ch lute strings spacing

[stephen arndt]

Ninety percent of lutes have the wrong spacing, so it is worth getting it 
right when it is built.   dt


I am currently having an 8-course instrument built. Do you think it would 
help to send the builder a tracing of my hands, or would I have to go visit 
him in person, which is not very feasible, and have him take measurements? 
Any advice would be appreciated, whether coming from David or others.


Many thanks,

Stephen Arndt



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[LUTE] Re: Mechanical Pegs

[stephen arndt]

Ed wrote: I would put them on all my instruments, if I could afford to do 
so.


So, what do they cost? I took a quick look at the Peghead website, but 
didn't see any price information. Perhaps it is there somewhere, and I just 
didn't look long enough or hard enough. I am interested because I am having 
a new instrument built (which has already passed five due dates! When, oh 
when, will it be ready?) and would be willing to consider them based on your 
testimony, Ed.


-Original Message- 
From: Edward Martin

Sent: Friday, August 17, 2012 12:23 AM
To: Ken Brodkey ; Lute List
Subject: [LUTE] Re: Mechanical Pegs

OK, Nancy asked me to jump in, so I will.

The first experience with these pegheds was on Dan Winheld's 8-course
lute.  I really liked them, a lot.

Then, about a year ago, I took my first plunge with these gears
(pegheds).  I had them installed on my 6-course vihuela, and they
immediately solved many, many problems.  First off, baroque guitars
and vihuelas (probably renaissance guitars)  have problems, in that
the traditional peg goes through only one hole, as opposed to two
holes for a lute.  Therefore, the vihuela has a greater tendency to
slip.  The pegheds remedied this problem, and I later decided, last
early spring, to have them installed on my 11-course lute.  My
11-course baroque lute partner, Tom Walker, also has a lute that is
an exact match to mine, and he also has pegheds.  So, I have
experience with 4 instruments in pegheds, (very limited with Dan
Winheld's 8-course, however).  It improved my 11-course instrument
dramatically, with better tuning.  This is especially important when
using gut, and all these instruments are entirely strung in gut.

By the way, Tom'sa lute was just 5 days old (!!) when he received it,
and we had a concert that night.  The hall filled with people, and
the heat and humidity went up.  The gut strings were so stable with
pegheds, that we had NO TUNING for the entire concert, with exception
of tuning diapasons to a different key!!  That in itself is remarkable.

Plainly put, I love them.  They are unbelievably smooth, as in a very
expensive guitar machine.  They are adjustable in tension - as with a
traditional peg, push them in and they will be tighter, pull them
out, and looser.   Whether in a tight or loose setting, they are
smooth.  They never slip, never stick.  This summer, with all the
humidity, I had no problems with stuck or slipping pegs they
stay, it pitch, where you put them.  Speaking of tuning, they are
geared at 25% as compared to a peg.  For example, if one wanted to
tune a half step sharp, one turns the gear 4 times further than when
using a traditional  peg.  That makes for much more accurate tuning,
as they will not skip too sharp, as compared to a traditional peg.  I
find myself tuning more, but very much faster than before, and yes, I
tune sometimes while playing.  Tuning with pegheds is actually a joy
now, as I can tune more accurately, and much faster.  No more sore
fingers trying to turn stick pegs!!

We all know what it is like to adjust to a certain pitch... we play
around, get it where we want, let go, and it slips with traditional
pegs!  Now, I have trust, so I can quickly adjust, without fear of
slipping;  yes, I can no adjust tuning on the fly while playing.

As for weight, Dan Larson has on his web site, comparisons of the
weights of pegs vs. pegheds.  Different types of wood make different
weights in pegs.  Pegheds are , if my memory serves me correctly,
just 2 grams more, or so.  I cannot distinguish any difference in the
weight of the neck or instrument, and the pegheds made, in my
opinion, no difference whatsoever in sound, other than sounding
better because I can now tune more accurately, therefore sounding
better.   No, the 11-course lute does have any perception to added weight.

There are 2 drawbacks:

1. When changing a string, because the pegheds do not slip, one has
to un-wind the peghed to get the old string out.   This is not a
problem, as the added time (perhaps 7-8 seconds) lost is nothing,
compared to the time saved in fast and accurate tuning.
2.  For those that only want authenticity, pegheds were not used in
old times.  Neither was nylgut, nylon, carbon, or perhaps wound
strings for that matter!  Many people who saw them on my lute this
summer were fooled, into thinking they were ebony (they are not).

Thanks for asking..I would put them on all my
instruments, if I could afford to do so.




At 12:45 PM 8/16/2012, Ken Brodkey wrote:

Has anyone tried the mechanical pegs made by Pegheds? I have a
customer who is interested in replacing his traditional pegs with
these. Any comments are much appreciated.

Thanks.

Ken



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Edward Martin
2817 East 2nd Street
Duluth, Minnesota  55812
e-mail:  e...@gamutstrings.com
voice:  (218) 728-1202

[LUTE] Re: Lute Ensemble

[stephen arndt]

I greatly appreciate both the quality and the quantity of Anton's work. With 
exquisite taste he selects period pieces and creates beautiful lute 
arrangements of beautiful vocal and instrumental compositions, and his 
rapidly expanding output greatly increases the repertoire of our instrument.


But the question is not about the value of Anton's work--how could anyone 
deny it?--but, rather, about the advisability of notifying the list of each 
new arrangement. I, for one, like to keep abreast of what Anton is doing and 
appreciate the notifications (though perhaps several e-mails could be 
consolidated into one). When a midi file accompanies the score, I always 
find great pleasure in listening to it immediately, and when he provides a 
guitar transcription as well, it facilitates the study of the counterpoint. 
Most of all, however, I am inspired by Anton's high standards of excellence, 
his unrelenting work ethic, and the great service he renders to the lute 
community worldwide by both. Every time I receive one of his notifications, 
it helps give me the strength to forge ahead myself. If I could be so 
impudent as to make a request, it would not be that he decrease the number 
of e-mails but that he increase the number of midi files and perhaps 
organize them into a continuous playlist. I would love to put on the 
headphones and listen to his arrangements one after the other while I am 
reading. 




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[LUTE] Mertel

[stephen arndt]

Dear Friends,

Yesterday I recorded the Mertel Prelude # 235, finishing a recording project 
that I have been working on for three years now. I shall be posting the 
remaining pieces during the next month on the Ning site. I wish to thank 
Gøran Crona for producing a beautifully legible version of a manuscript that 
is very difficult to read (how many hours must he have spent with a 
magnifying glass in hand to decipher those miniscule characters?), for 
correcting a number of misprints in the original, which proved very helpful, 
and for his skillful reconstruction of Prelude # 230, which now makes much 
more musical sense. I believe that the entire lute community owes him a 
great debt of gratitude.


I also wish to thank those who repeatedly expressed their support and 
encouragement along the way and who always found something nice to say about 
my amateur recordings and even more amateur playing. It is a pleasure to me 
to have made friends in several different countries.


Best regards to all,

Stephen Arndt 




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[BAROQUE-LUTE] Re: Zingy strings

[stephen arndt]

I have heard that some people put a small piece of masking tape around the 
string near the bridge.


-Original Message- 
From: William Samson

Sent: Wednesday, May 23, 2012 9:31 AM
To: baroque-lute mailing-list
Subject: [BAROQUE-LUTE] Zingy strings

  Hi,

  Just wondering if anybody had found a good way to take the worst of the
  boom and everlasting sustain out of overwound basses?  Loaded gut is
  'way beyond my budget, so anything that would make, say, Kuerschner or
  Pyramid basses a bit tamer would be helpful.

  I have heard about people who put a blob of Blu-tack on each string
  where it emerges from the bridge, but that sounds messy and unsightly.
  Hopefully there's a less cringe-making solution.

  Thanks!

  Bill

  --


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[BAROQUE-LUTE] Re: Zingy strings

[stephen arndt]

Another alternative: I recently strung one of my 10-courses in synthetics, 
using the New Nylgut as far as it would go and Savarez KF's for the basses. 
I think the two makes of strings blend very nicely together, and I am much 
more pleased than I expected to be with the sound, having used gut 
exclusively on all my instruments for a number of years now.


-Original Message- 
From: Arto Wikla

Sent: Wednesday, May 23, 2012 3:21 PM
To: William Samson
Cc: baroque-lute mailing-list
Subject: [BAROQUE-LUTE] Re: Zingy strings

Dear Bill and the List,

I recommend Mimmo's Aquila's D's to the basses, for which there still
are no NNG's/NGE's. Wound on NNG, I guess. But much, very much better
than the old Pyramid type wound strings. And if I  have understood it
right, Mimmo is developing a better solution: loaded NNG's/NGE's!

Best,

Arto

On 23/05/12 17:31, William Samson wrote:

Hi,

Just wondering if anybody had found a good way to take the worst of 
the

boom and everlasting sustain out of overwound basses?  Loaded gut is
'way beyond my budget, so anything that would make, say, Kuerschner or
Pyramid basses a bit tamer would be helpful.

I have heard about people who put a blob of Blu-tack on each string
where it emerges from the bridge, but that sounds messy and unsightly.
Hopefully there's a less cringe-making solution.

Thanks!

Bill

--


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[LUTE] Re: What makes a good lute?

[stephen arndt]

I agree with David that string span and spacing are extremely important, 
and, as one about to have a lute built, I am wondering whether it would help 
to send the luthier a tracing of my right and left hands to help him 
calculate span and spacing correctly. I also agree with Ned that instrument 
size is very important. I have a 13-course that has a wonderfully warm tone 
when tuned to A=392, but it is too large for me, and the neck is too heavy, 
and I can't play it very long without developing neck, shoulder, and back 
problems. The shoe analogy is an excellent one. Perhaps when there was a 
luthier in every town, it was much easier to get a good fit, but I live in 
Texas, and the luthier who will build my next lute (Cezar Mateus) lives in 
New Jersey.


-Original Message- 
From: David Tayler

Sent: Monday, April 09, 2012 4:27 PM
To: lute
Subject: [LUTE] Re: What makes a good lute?

  Ninety percent of the lutes I see are set up wrong and are also the
  wrong size for the person playing. I doubt that this will change
  anytime soon: once someone buys the wrong size instrument, they either
  keep it or trade it in for another one that is the wrong size.
  So I would rate size and setup as the number one issue, based on my
  experience that the player will have to go through a very long
  retraining period
  after learning on a lute that is the wrong size. Why pedal backwards?
  Of the setup issues, the number one issue is the span and spacing.
  Without the right span and spacing, which reconciles two numbers, the
  size of the hand (and fingers) and the rules which govern the span and
  spacing of strings. Without these two numbers in balance, it is
  impossible, or very difficult to make a good sound.
  When these numbers are in balance, it is easy to make a good sound; in
  fact, it is difficult to make a bad sound. No one would wear size 4 or
  size 11 shoes if they are a size 9, and yet, that is precisely what
  happens. Sadly, people are rarely fitted to the lute, even though the
  lute is from the age of custom made. Equally sadly, most people do
  not understand the basic physics of twang, thwack and pluck, which
  involves some simple experiments with a special bridge and nut that are
  universally adjustable. Generally speaking, and I mean VERY generally,
  the plucking-point spacing is wrong, that is, the place where you
  actually pluck the string, and it is almost always too narrow. However,
  it is the ratio of the bridge to nut, factoring the string length, and
  figured at YOUR plucking point that gives numbers for the thou shalt
  not buzz dimensions. Empirically, anyone can see that the spacing is
  different at any point on the string.
  A player with years of experience can give you some advice, after
  watching you play, about the setup. You may have to compromise somewhat
  on the overall span, or use a sliding scale so that the treble has more
  room.
  After these two biggies, there is a seemingly endless list of features,
  all of which are important. And here you will need some experience to
  guide you.
  However, I would add that most lutes made nowadays are not copies of
  originals. They are rescaled, resized, rebarred, rebridged, reglued,
  revarnished.
  Available is everything: everything-except-original.
  Now, you may want that. Personally, I think everyone needs a reality
  check instrument that is a copy of an original. Otherwise, it is just a
  guitar, basically, with wonky pegs.
  Since you asked about sound in your list, it is no fun playing a
  monochromatic instrument of any kind, but that is just a personal
  preference. I would say most lutes made today lean towards
  monochromatic.
  Main thing is to make a good sound. If you aren't making a beautiful
  sound, it isn't you: your lute is set up wrong, is the wrong size, or
  both.
  Lute players may think that their feet are the wrong size, but when you
  think about it, this cannot be the case. Everyone is different, and the
  instrument must fit.
  My teacher told me that you don't choose a lute, it chooses you. Maybe
  that is true.
  dt
__

  From: William Samson willsam...@yahoo.co.uk
  To: Lute List lute@cs.dartmouth.edu
  Sent: Sat, April 7, 2012 6:25:47 AM
  Subject: [LUTE] What makes a good lute?
I haven't really got much to add to the subject line.  I've been
chatting with Rob about this and various points have emerged  I'd be
interested in hearing what priorities you might put on the various
characteristics of a lute in deciding if it's 'good' or otherwise.
The kinds of things that have come up are (in no particular order):
  * playability (action, string spacing etc)
  * sound (which I can't easily define)
  * authenticity of design/construction
  * materials used
  * quality of craftsmanship
  * reputation of maker
Of course these are rather broad headings and might easily be

[BAROQUE-LUTE] Irish Tunes

[stephen arndt]

   Dear Friends,

   I have just posted an arrangement of O'Neill-0466 (Mary, My Bright
   Pet) at [1]http://lutegroup.ning.com/forum/topics/irish-tunes . The
   usual rough recording can be found on my member page:
   [2]http://lutegroup.ning.com/profile/StephenArndt .

   Best regards,

   Stephen Arndt

   --

References

   1. http://lutegroup.ning.com/forum/topics/irish-tunes
   2. http://lutegroup.ning.com/profile/StephenArndt


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[BAROQUE-LUTE] Irish Tune

[stephen arndt]

   Dear Friends,

   After not being able to record for almost three weeks (note to self:
   next time slice the onion, not your finger), I have posted another
   arrangement of an Irish tune, O'Neill-0396, entitled Curse the Laws
   that Gave Me Cause. The author is apparently unknown, and I was unable
   to find the lyrics to the song. Consequently, I have no information
   about the piece. In any event, a PDF of the tablature can be found at
   [1]http://lutegroup.ning.com/forum/topics/irish-tunes?xg_source=activit
   y and a rough recording of the arrangement at
   [2]http://lutegroup.ning.com/profile/StephenArndt .

   Best regards,

   Stephen

   --

References

   1. http://lutegroup.ning.com/forum/topics/irish-tunes?xg_source=activity
   2. http://lutegroup.ning.com/profile/StephenArndt


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[BAROQUE-LUTE] Irish Tune

[stephen arndt]

   Dear Friends,

   I have posted an arrangement of O'Neill-0378 (There's An End To My
   Sorrows) on the Ning site:
   [1]http://lutegroup.ning.com/forum/topics/irish-tunes?xg_source=activit
   y . And a rough recording can be found on my member page:
   [2]http://lutegroup.ning.com/profile/StephenArndt . This one, by the
   way, is the twentieth in the growing collection.

   Best regards,

   Stephen Arndt

   --

References

   1. http://lutegroup.ning.com/forum/topics/irish-tunes?xg_source=activity
   2. http://lutegroup.ning.com/profile/StephenArndt


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[BAROQUE-LUTE] Irish Tunes

[stephen arndt]

   Dear Friends,

   If anyone is interested, I have posted the pdf of my arrangement of
   O'Neill-0369 (Charles Mac Hugh) on the Ning page
   ([1]http://lutegroup.ning.com/forum/topics/irish-tunes?commentId=210672
   7%3AComment%3A72496), and the usual rough recording can be found on my
   member page ([2]http://lutegroup.ning.com/profile/StephenArndt).

   Best wishes to all for the new year,

   Stephen Arndt

   --

References

   1. 
http://lutegroup.ning.com/forum/topics/irish-tunes?commentId=2106727%3AComment%3A72496
   2. http://lutegroup.ning.com/profile/StephenArndt


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[LUTE] Re: Witch hazel.

[stephen arndt]

Do we really want dry, hard fingertips when we play the lute? I always soak 
mine in soapy water to soften them and put a little shea butter on them to 
moisten them before I play in order to get a warmer sound.


-Original Message- 
From: Gordon Gregory

Sent: Tuesday, January 03, 2012 11:28 AM
To: Lute List
Subject: [LUTE] Re: Witch hazel.

I used to use methylated spirits or surgical spirits (externally!) to harden
my feet for hiking. I imagine it would work the same on finger tips.

Gordon

-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of theoj89...@aol.com
Sent: 03 January 2012 17:05
To: wa...@physics.utexas.edu; lute@cs.dartmouth.edu
Subject: [LUTE] Re: Witch hazel.

As a physician, I doubt it would do anything for the fingertips because
players fingertips are calloused, and astringents (such as witch Hazel) work
to constrict softer and less keratinized tissues, such as the face, or
especially mucous membranes.  trj



-Original Message-
From: Herbert Ward wa...@physics.utexas.edu
To: lute lute@cs.dartmouth.edu
Sent: Mon, Jan 2, 2012 3:47 pm
Subject: [LUTE] Witch hazel.



I have a bottle of witch-hazel, a topical medicine
available in any drug store.  The label says that it
is an astringent.

The Wikipedia ariticle on astringents says that they
dry, harden, and protect the skin.

This makes me wonder whether there are circumstances
under which witch-hazel might be beneficial to our
fingertips.  Does anyone know enough dermatology to
give us an opinion?



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--

[BAROQUE-LUTE] Re: Some D. Gaultier...

[stephen arndt]

Really beautiful music and beautiful played. A wonderful Christmas gift. 
Thank you.


-Original Message- 
From: wikla

Sent: Sunday, December 25, 2011 12:43 PM
To: baroque-lute@cs.dartmouth.edu
Subject: [BAROQUE-LUTE] Some D. Gaultier...

Dear baroque lutenists,

lots of free time in these Xmas-days. Wanted to practise some really HC
French stuff. Well then who, if not D. Gaultier...;-)

Played Prelude, Allemande Phaeton foudroy and Courante Minerve in
D-major. Also this seems to be a nice key to the d-minor lute; didn't
expect that, btw.

Link to the printed music
http://www.cs.helsinki.fi/u/wikla/mus/11_courseLute/D_Gaultier_3_pieces_in_D/

Links to the single vid's

Prelude:
http://www.youtube.com/watch?v=ACWo-oYzsaw
http://vimeo.com/34165324

Allemande Phaeton foudroy:
http://www.youtube.com/watch?v=KGisnIoB73g
http://vimeo.com/34165383

Courante Minerve:
http://www.youtube.com/watch?v=aflV1OIM_J8
http://vimeo.com/34190571

And all combined to one piece:
http://www.youtube.com/watch?v=E7kW-hNWE5k
http://vimeo.com/34191981

Happy ending of Xmas!

Arto



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[BAROQUE-LUTE] Irish Tunes

[stephen arndt]

   Dear Friends,

   I have just posted a pdf file of my arrangement of O'Neill-0333 (Lough
   Sheeling) at
   [1]http://lutegroup.ning.com/forum/topics/irish-tunes?xg_source=activit
   y on the Ning page and the usual recording on my member page at
   [2]http://lutegroup.ning.com/profile/StephenArndt , if anyone would
   like to have a look or a listen.

   Best regards,

   Stephen Arndt

   --

References

   1. http://lutegroup.ning.com/forum/topics/irish-tunes?xg_source=activity
   2. http://lutegroup.ning.com/profile/StephenArndt


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[BAROQUE-LUTE] Two More Irish Tunes

[stephen arndt]

   Dear Friends,

   I have posted two more arrangements of Irish Tunes on the Ning page:
   O'Neill-0319 (One Wife Is Enough for MeaEURI realize that some of
   you may disagree) and O'Neill-0330 (Blow the Candle Out). PDF files
   of the tablature can be found in the usual place
   ([1]http://lutegroup.ning.com/forum/topics/irish-tunes?xg_source=activi
   ty) as can rough recordings
   ([2]http://lutegroup.ning.com/profile/StephenArndt). As always critical
   comments and suggestions for improvement are most welcome. Please
   e-mail me privately if you have any.

   Best regards,

   Stephen Arndt

   --

References

   1. http://lutegroup.ning.com/forum/topics/irish-tunes?xg_source=activity
   2. http://lutegroup.ning.com/profile/StephenArndt


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[BAROQUE-LUTE] Try Number Two

[stephen arndt]

   Forgive me if you have already received this. It did not come to my own
   inbox, so I am resending it.

   Dear Friends,

   I have posted two more arrangements of Irish Tunes on the Ning page:
   O'Neill-0319 (One Wife Is Enough for MeaEURI realize that some of
   you may disagree) and O'Neill-0330 (Blow the Candle Out). PDF files
   of the tablature can be found in the usual place
   ([1]http://lutegroup.ning.com/forum/topics/irish-tunes?xg_source=activi
   ty) as can rough recordings
   ([2]http://lutegroup.ning.com/profile/StephenArndt). As always critical
   comments and suggestions for improvement are most welcome. Please
   e-mail me privately if you have any.

   Best regards,

   Stephen Arndt

   --

References

   1. http://lutegroup.ning.com/forum/topics/irish-tunes?xg_source=activity
   2. http://lutegroup.ning.com/profile/StephenArndt


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[LUTE] Re: Transposing lute tablature on sight

[stephen arndt]

David, I'm thinking that you must suffer from chronic migraines. 

-Original Message- 
From: David Tayler 
Sent: Tuesday, December 13, 2011 3:30 PM 
To: lute 
Cc: vidan...@sbcglobal.net 
Subject: [LUTE] Re: Transposing lute tablature on sight 


  Quote
  It's just A4. David, when you tune your archlute according to
  what the harpsichord player gives you, I suppose, you won't discuss the
  exact frequency with her but take an A as an A.
  Quote
  In a modern baroque orchestra, that is for sure true! I don't ask, what
  note was that?
  But in our own group,  because our keyboard player plays the recorder
  as well, and are are both transposers, we actually discuss this quite
  often. What is the best key for this piece, we say.
  And it happens in mixed transposing rehearsals, where I get an A and
  the Cello gets a G, or if I give the pitch, the other way round
  And it also happens all the time with recorders, where we transpose
  more often than not.
  So for example the Virginals at key 6 (counting up from one below
  double black)=465 normally reads down a tone to play at 415, or I read
  the high pitch theorbo in G to play with the Virginals and high pitch
  recorders, and so on. Why key 6? because keyboard players did not
  assign strict pitches to keyboards until later, and you can see this in
  the Bermudo diagram.
  So I can answer this question in two ways, one drawn from a piece I
  play all the time, and the other from my day to day experience.
  One is that when playing the Vespers I often am in the situation where
  I am using my high pitch theorbo which is first course=220, the violins
  are at 415 and the brass at 440.
  And I read the 220 theorbo in G for the Vespers, the strings either
  transpose or play a part  written out a tone higher (so they trend
  sharpy, notation wise) and the sackbuts (or trombones as they were
  called back then) play in actual first position as opposed to modern
  first position which is a difference of one half step. So everyone is
  happy. FINALLY.
  The other way is to describe what is in the music room, which is three
  theorbos (excluding the other instruments for the moment), top strings
  pitched at 196, 208 and 220 Hz--what is often called in modern terms
  G, G sharp and A. These notes can be thought of as aliases for
  frequencies, they aren't really notes. Otherwise the G sharp would of
  course not be there.
  And each of these three theorbos can be thought of as being in A or G,
  but also F, although A and G are easy for practical work.
  This makes six to nine easy reference pitches for professional work.
  One could even play a Handel rehearsal in the morning with the 220Hz
  theorbo and feel fairly safe playing in F sharp minor thinking in A,
  then in the afternoon use the same instrument to play Marini with high
  pitch recorders in G minor thinking in G without tuning up or down. And
  in the morning I would tune the top string to the orchestra pitch, and
  in the afternoon the recorder player or Spinetta player would either
  give me my note or their note, and you would see a very brief pas
  de deux to sort that out.
  And I will just add here that this is *exactly* what every recorder
  player that I know does on a daily basis. Recorder players live in the
  transposing world by necessity.
  One could also play the same Handel Opera with modern orchestra on the
  208 Theorbo (the only practical choice here) and read it in G, then
  take that same instrument and play it in a rehearsal of Couperin at 392
  and play it as an A instrument in French low pitch--again, without ever
  tuning up or down. When I recorded the Airs de cour disk, the house
  pitch was 370Hz, and I could in addition to the 370 lute use a 415 lute
  to get a favorable playing key.
  You will also see lute migration, my Klaus Jacobsen 1983 theorbo I
  played for years at 196, and now it is very happy at 220. It is the
  same lute, just recomposed. And I have a larger instrument that then
  moved into the 196 place. I'm sure many lute players have similar
  experiences, especially with tweeners that are reinvented as F lutes
  and other pitches.
  Clear as mud, I know. But recorder players do it all the time. And I
  never tune up or down, I just play it where it is, unless I can't get
  at the right instrument.
  Or I take the wrong one by mistake. Yikes!
  dt
__

  From: Mathias Roesel mathias.roe...@t-online.de
  To: lute lute@cs.dartmouth.edu
  Sent: Sun, December 11, 2011 11:49:01 AM
  Subject: [LUTE] Re: Transposing lute tablature on sight
  Funny, I always looked at it the other way around, that keyboard
  notion
  is tablature: each note refers to a spot on the keyboard.
  That is so, indeed, with the so-called Italian keyboard tablature which
  has
  happened to develop into modern staff notation. In Italian keyboard
  tablature, each symbol may be seen as representing a 

[BAROQUE-LUTE] Slane Hill / Lord of All Hopefulness

[stephen arndt]

   Dear Friends,

   My sincere thanks to all who responded to my last posting of Irish
   tunes, expressing their sympathy and condolences on the death of my
   mother. Yesterday we had my mother's funeral, which she had planned
   herself. The recessional hymn that she chose was Lord of All
   Hopefulness, based on a traditional Irish melody very similar to the
   ones I had played for her just before she died (the hymn Be Thou My
   Vision uses the same tune). According to Wikipedia, The music is the
   Irish [1]folk song, Slane, which is about [2]Slane Hill where in A.D.
   433 [3]St. Patrick defied the [4]pagan [5]High King [6]Loegaire of
   [7]Tara by lighting candles on Easter Eve.  As soon as I got back to
   town yesterday afternoon, I began arranging it for baroque lute, using
   the Jan Struther keyboard arrangement as a point of departure. Today I
   made a rough recording of it and am posting it here as a final tribute
   to her. As far as I can determine, it does not appear in O'Neill's
   Music of Ireland or in Petrie's The Complete Collection of Irish
   Music, but anyone who was raised in a Christian church is likely to
   recognize it. It is a melody that I have loved since my youth. I hope
   you like it, and, as always, I welcome feedback, suggestions for
   improvement, or constructive criticism. A rough recording can be found
   on my Ning member page.

   Best regards,

   Stephen Arndt

   --

References

   1. http://en.wikipedia.org/wiki/Folk_song
   2. http://en.wikipedia.org/wiki/Slane#The_Hill_of_Slane
   3. http://en.wikipedia.org/wiki/St._Patrick
   4. http://en.wikipedia.org/wiki/Paganism
   5. http://en.wikipedia.org/wiki/High_King_of_Ireland
   6. http://en.wikipedia.org/wiki/L%C3%B3egaire_mac_N%C3%A9ill
   7. http://en.wikipedia.org/wiki/Hill_of_Tara


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[BAROQUE-LUTE] More Irish Tunes

[stephen arndt]

   Dear Friends,

   For anyone who may be interested, I have added a couple of pieces to my
   incipient collection of O'Neill's Music of Ireland arranged for the
   baroque lute. They are numbers 0269 (Burn's Farewell) and 0278 (O
   Arranmore Loved Arranmore). Unpolished recordings can be found on my
   Ning member page ([1]http://lutegroup.ning.com/profile/StephenArndt). I
   would like to add that my mother passed away yesterday. Sadly, she went
   through a period of agitation, apparently hallucinating that she was in
   danger, for several hours before she died. Not knowing what to do to
   calm her down or comfort her, I went into my office at the other end of
   a short hallway from her bedroom and played on the recorder a few airs
   from O'Neill's Music of Ireland. That music seemed to soothe her
   fears and allowed her to rest peacefully. She died shortly thereafter.
   I would like to post these pieces in loving memory of her.

   Best regards,

   Stephen Arndt

   --

References

   1. http://lutegroup.ning.com/profile/StephenArndt


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[BAROQUE-LUTE] Irish Tunes

[stephen arndt]

   Dear Friends,

   I have enjoyed playing the melodies in O'Neill's Music of Ireland on
   the recorder and thought it would be interesting to try to arrange some
   of them for baroque lute. So, with no particular criterion of selection
   beyond what appeals to me at the moment, I have attempted to do so. The
   arrangements are rather simple, consisting generally of three parts:
   the given melody with an added bass line, repeated once with a simple
   harmonization of the melody, and repeated again with a small
   embellishment of the melody, and can be found here:
   http://lutegroup.ning.com/forum/topics/irish-tunes. Never having taken
   a class or had an instructor in music theory, I am attempting these
   arrangements in part as an exercise to apply what little bit of music
   theory I have been able to acquire on my own. If anyone would care to
   make corrections or suggest improvements, I would be grateful for the
   opportunity to learn. Please write me at my personal e-mail address
   (stephenwar...@verizon.net). I have also posted some rather rough
   recordings of these arrangements, which you can find on my Lute Group
   page (http://lutegroup.ning.com/profile/StephenArndt). As time permits,
   I hope to add in the future to these initial attempts.

   Best regards,

   Stephen Arndt

   --


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[LUTE] Re: Something old and something new - Conrad Paumann and Gilbert Isbin

[stephen arndt]

My guess, and it is only a guess, is that it would be ich begehre nicht(s) 
mehr in modern German, meaning I desire no(thing) more, I desire nothing 
else, or I have no further desires, or something of that sort. Matthias 
would probably be the most qualified person on our list to translate it.


-Original Message- 
From: Stuart Walsh

Sent: Saturday, November 26, 2011 4:26 PM
To: Lute Net
Subject: [LUTE] Something old and something new - Conrad Paumann and Gilbert 
Isbin


Paumann's 'Ich beger nit mer'  from the Buxheimer Orgerlbuch. Paumann
played the lute (and perhaps, fingerstyle) as well as the organ and -
maybe - he played it in a similar way on both instruments.  It fits a G
lute well and only need five courses.

Online German translators don't recognise 'beger',  'nit' nor 'mer' as
German so I don't have a clue what the title means.

http://www.youtube.com/watch?v=HInorS2jmIk




Gilbert Isbin's 'Recall', (August? 2011)



http://www.youtube.com/watch?v=yKJxE7mTkmg


Stuart



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[LUTE] Mertel Question

[stephen arndt]

   If anyone has Mertel's Hortus musicalis novus, I would appreciate his
   or her looking at Prelude 150, measure four. The measure consists of a
   16th-note run on the first two courses and goes like this:

   h k l k i h  h i h   l
 l i l l i l

   (I hope this show up o.k. There are only single notes, no double
   stops.) The three chromatic descending notes k i h sound strange to
   my ear, and though I have tried various corrections, I haven't been
   able to come up with anything I find convincing. I would be interested
   in hearing others' opinions on whether this measure is correct as it
   stands or whether it needs some emendation. Please feel free to reply
   on- or off-list.

   Many thanks,

   Stephen Arndt


   --


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[LUTE] Re: Galilei lute works

[Stephen Arndt]

I found this in our local music library a few years ago and rather liked it:

Le gagliarde dal Libro d'intavolatura di liuto (Gal; 6): edizione critica 
con intavolature per liuto e con trascrizione in notazione moderna

Responsibility
Vincenzo Galilei; a cura di Giulia Perni
Publication Info
Publication Information: Pisa: Edizioni ETS, ©2000



-Original Message- 
From: be...@interlog.com

Sent: Friday, August 05, 2011 11:41 AM
To: LuteNet list
Subject: [LUTE] Galilei lute works

Hi, folks - a couple questions about Galilei lute works:

Is the Primo Libro D'intavolatura di Liuto  the only collection of his
stuff, or did he write more?

I've got the Edizioni Suvini Zerboni of this book - found it in the
Toronto library. Would anyone know how where I might go to find my own
copy? Thank - hope everyone is enjoying the summer - BCS



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[LUTE] Silva de Sirenas

[Stephen Arndt]

   Dear Friends,

   I have recently acquired an Alexander Batov vihuela (Belchior DAaz
   model) and am practicing the sonetos of Enriques de ValderrA!bano. If
   anyone happens to have the 1981 Minkoff reprint of his Silva de
   Sirenis, please e-mail me off-list. I have some questions I would like
   to ask about a particular piece that is confusing me. Also, if you are
   a native Spanish-speaker, you might be able to help me with one of his
   instructions that I am not too sure about.

   Many thanks,

   Stephen Arndt


   --


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[LUTE] Re: What's the point to 'historical sound'

[Stephen Arndt]

Something like: The differences of Germanic and Jewish psychology, which 
exist in fact and have long been known to insightful people, should not be 
confused, which can only be conducive to science.


-Original Message- 
From: G. Crona

Sent: Tuesday, July 12, 2011 7:07 PM
To: Lutelist
Subject: [LUTE] Re: What's the point to 'historical sound'

In English please?

G.

- Original Message - 
From: corvo di bassetto r...@recout.de

To: G. Crona kalei...@gmail.com
Cc: Lutelist lute@cs.dartmouth.edu
Sent: Wednesday, July 13, 2011 1:55 AM
Subject: Re: [LUTE] Re: What's the point to 'historical sound'


C.G. Jung was a … Nazi!
(cf.: »Die tatsächlich bestehenden und einsichtigen Leuten schon längst
bekannten Verschiedenheiten der germanischen und der jüdischen Psychologie
sollen nicht mehr verwischt werden, was der Wissenschaft nur förderlich sein
kann« C.G. Jung, Zentralblatt für Psychotherapie, Dec. 1933)



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[LUTE] Re: Medieval Lute

[Stephen Arndt]

I think that much of Dick Hoban's Masters of Polyphony series can be 
played on a 5-course lute, but check with him to be sure.


-Original Message- 
From: David R

Sent: Wednesday, June 29, 2011 2:28 PM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Medieval Lute

Hi luters,

I'm thinking of getting into a type of lute music I've never played
before, namely medieval lute.  Problem is, I don't know where to find
the music.  Are there sources specifically for medieval lute, or does
one simply have to just know what music to play based on knowledge
of medieval music in general?  I guess I'm wanting to know what the
various genres are, and where to find sources.  Can any of you kind
folks help me out on this?  Feel free to inundate me with info if you
want to!

Thanks,

David Rastall



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[LUTE] MP3 Conversion

[Stephen Arndt]

   Dear lute friends,

   I have been using Audacity to convert wave files to mp3 format but am
   not particularly happy with the result. There sometimes seems to be a
   degradation of the sound, and the best word I can think of to describe
   the result is wobbly. Can anyone recommend a better program to
   perform the conversion?

   Many thanks,

   Stephen Arndt

   --


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[LUTE] Re: MP3 Conversion

[Stephen Arndt]

Thank you both for responding so quickly. I changed the bit rate to 192 in 
Audacity (I didn't see the exact option you mentioned), and it seems to have 
made a significant improvement.


-Original Message- 
From: alexander

Sent: Saturday, May 21, 2011 10:56 AM
To: Stephen Arndt
Cc: lute mailing list list
Subject: [LUTE] Re: MP3 Conversion

You need to change the settings for LAME (in the Audacity preferences)
to --alt-presets standard (~190 kbit/s, typical 180 ... 220)  -
high quality, but fast enough. You can read on the settings, for example, 
here.



http://forums.afterdawn.com/thread_view.cfm/1912

LXR


On Sat, 21 May 2011 10:25:45 -0500
Stephen Arndt stephenar...@earthlink.net wrote:


   Dear lute friends,

   I have been using Audacity to convert wave files to mp3 format but am
   not particularly happy with the result. There sometimes seems to be a
   degradation of the sound, and the best word I can think of to describe
   the result is wobbly. Can anyone recommend a better program to
   perform the conversion?

   Many thanks,

   Stephen Arndt

   --


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[LUTE] Re: O felici occhi miei

[Stephen Arndt]

   I'm not sure of the original text. A previous respondent seems to have
   taken the translation from
   http://www.loscuadernosdejulia.com/2007/02/o-felici-occhi-miei-arcadelt
   -and-lute.html, which gives the following:
   O felic' occhi miei, felici voi,
   che sete car' al mio sol
   perche sembianz' havete
   de gliocchi che gli fu si dolc'e rei.
   voi ben voi sete voi,
   voi, voi felici et io,
   io no, che per quetar vostro desio,
   corr' a mirar l'onde mi struggo poi.
   If this is the correct text, I would understand it thus:
   O happy eyes of mine, you happy ones
   who are dear to my sun
   because you bear the semblance
   of the eyes of her that were so sweet and regal.
   You indeed, it is you,
   You, you who (are) happy, and I,
   I (am) not, who to quiet your desire,
   hurry to gaze where I then languish.
   I am not sure, however, about the word rei in line four of the
   original. It is probably a contraction of reali, which is how both the
   previous respondent and I have translated it, but it might be the
   plural of reo (Latin reus), meaning guilty (perhaps because the eyes
   of the lady in question elicited sinful desires in the poet?).



   Hope this helps.



   Stephen Arndt

   --
   From: Sean Smith lutesm...@mac.com
   Sent: Saturday, April 30, 2011 11:51 AM
   To: lute lute@cs.dartmouth.edu
   Subject: [LUTE] O felici occhi miei
   
Would anyone have a translation of Arcadelt's madrigal?
   
Here are the words (from the Ortiz 1552 book). I apologize for
probably not getting the lines/stanzas arranged correctly.
   
   
O felici occhi miei felici voi
Che sete car'al mio sol per che sembianz' havete
 de gl'occhi che gli fur si dolce rei
voi ben voi sete voi
voi voi felici et io, io no che per quetar vostro desio
corr'a mirar l'onde mi strugo poi mi strugo poi.
   
Mega-thanks in advance!!
   
Sean
   
ps Yes, it makes a nice lutesong. Solo in daCrema '46 (Minkoff)
   
   
   
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   --

[LUTE] Re: O felici occhi miei

[Stephen Arndt]

I defer to Francesco, who is a native speaker, whereas I am not. I would 
like to point out, however, that Il nuovo Zingarelli does give pronome 
personale atono di terza persona femminile singulare (an unstressed 
personal pronoun of the third person feminine singular) as a second meaning 
of gli. I also wonder whether it is possible to take l'onde as a 
contraction of là onde (there where or the place where), which I was 
doing, especially since in the text I found it was not attached to the verb 
mirar but to the adverb onde. But perhaps it is not because là has a 
written accent. In any event, the text does seem a bit convoluted.


--
From: Francesco Tribioli tribi...@arcetri.astro.it
Sent: Saturday, April 30, 2011 5:19 PM
To: 'lute' lute@cs.dartmouth.edu
Subject: [LUTE] Re: O felici occhi miei


rei here means guilty, harsh etc. Reo is someone who is recognized
responsible of a crime. Rei is the plural of reo. King is re and the
plural is again re. The English regal in Italian is regale so it's 
not

the case here.

The object of the lyric is a male. gli is male, female would be le and
also there is the mirarl'onde which is mirarlo onde and mirarLO is
referred to a male or it would have been mirarLA and the elision of the
o wouldn't have been possible.

The plot would be: the guy loves the singer eyes, a lady herself in love
with him that is her sun, just because they look similar to the eyes of 
his

beloved which to him (gli) were (fur) sweet (dolci) and harsh (rei-guilty
ecc.). The eyes of the singer are happy to see him but she is not because
she, to calm her eyes desire, hurries to gaze at him but then languishes
(because he loves the one who had probably rejected or abandoned him and 
not

her).

Not one of the best example of Italian poetry I would say 8^) Also it is a
quite strange and unusual situation, because normally it's the man that
languishes behind a lady in the poetry of that age. Might this be an
approximated transcription by the Spanish Ortiz of a text he didn't
completely understand?

Francesco


-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf Of Stephen Arndt
Sent: Saturday, April 30, 2011 8:25 PM
To: lute
Subject: [LUTE] Re: O felici occhi miei

   I'm not sure of the original text. A previous respondent seems to
have
   taken the translation from
   http://www.loscuadernosdejulia.com/2007/02/o-felici-occhi-miei-
arcadelt
   -and-lute.html, which gives the following:
   O felic' occhi miei, felici voi,
   che sete car' al mio sol
   perche sembianz' havete
   de gliocchi che gli fu si dolc'e rei.
   voi ben voi sete voi,
   voi, voi felici et io,
   io no, che per quetar vostro desio,
   corr' a mirar l'onde mi struggo poi.
   If this is the correct text, I would understand it thus:
   O happy eyes of mine, you happy ones
   who are dear to my sun
   because you bear the semblance
   of the eyes of her that were so sweet and regal.
   You indeed, it is you,
   You, you who (are) happy, and I,
   I (am) not, who to quiet your desire,
   hurry to gaze where I then languish.
   I am not sure, however, about the word rei in line four of the
   original. It is probably a contraction of reali, which is how both
the
   previous respondent and I have translated it, but it might be the
   plural of reo (Latin reus), meaning guilty (perhaps because the
eyes
   of the lady in question elicited sinful desires in the poet?).

   Hope this helps.

   Stephen Arndt
   --
   From: Sean Smith lutesm...@mac.com
   Sent: Saturday, April 30, 2011 11:51 AM
   To: lute lute@cs.dartmouth.edu
   Subject: [LUTE] O felici occhi miei
   
Would anyone have a translation of Arcadelt's madrigal?
   
Here are the words (from the Ortiz 1552 book). I apologize for
probably not getting the lines/stanzas arranged correctly.
   
   
O felici occhi miei felici voi
Che sete car'al mio sol per che sembianz' havete
 de gl'occhi che gli fur si dolce rei
voi ben voi sete voi
voi voi felici et io, io no che per quetar vostro desio
corr'a mirar l'onde mi strugo poi mi strugo poi.
   
Mega-thanks in advance!!
   
Sean
   
ps Yes, it makes a nice lutesong. Solo in daCrema '46 (Minkoff)
   
   
   
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --

[LUTE] Re: Wax

[Stephen Arndt]

It was used on my 13-course. I haven't notice any problems with it.


-Original Message-
From: Bruno Correia bruno.l...@gmail.com
Sent: Mar 23, 2011 4:32 PM
To: List LUTELIST lute@cs.dartmouth.edu
Subject: [LUTE] Wax

   Is this product (Ranaissance wax) advisable to use on the top of the
   lute? I think somebody mentioned it in the list...



   [1]http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Crystalli
   ne/dp/B001DSZWEM/ref=sr_1_1?ie=UTF8qid=1300899218sr=8-1

   --

References

   1. 
 http://www.amazon.com/Picreator-65mL-can-Renaissance-Micro-Crystalline/dp/B001DSZWEM/ref=sr_1_1?ie=UTF8qid=1300899218sr=8-1


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[LUTE] Re: Ed's birthday today

[Stephen Arndt]

No, just play the next 62 years out of tune.

--
From: howard posner howardpos...@ca.rr.com
Sent: Monday, February 21, 2011 5:47 PM
To: Lute List lute@cs.dartmouth.edu
Subject: [LUTE] Re: Ed's birthday today



On Feb 21, 2011, at 3:41 PM, Edward Martin wrote:


Yes, according to Baron!  I never have to tune again!


Mattheson, I think.

Happy birthday. 




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[LUTE] Re: Henry Williams, Manchester

[Stephen Arndt]

I had the same experience. I didn't reply to him.

--
From: Ken Brodkey kbrod...@pacbell.net
Sent: Friday, February 18, 2011 12:14 PM
To: howard posner howardpos...@ca.rr.com
Cc: lute mailing list list lute@cs.dartmouth.edu
Subject: [LUTE] Re: Henry Williams, Manchester

I'm not in the UK, but I received an email inquiry from this person about 
a lute I'm selling and it looked really fishy. He asked for pictures and 
the price. Funny, there are pictures with the posting and , of course, the 
price is listed. He didn't ask anything other than this and no specific 
questions that anyone buying a lute would ask. Also, the 'from' name on 
the email header was not Henry Williams.


Ken

On 2/18/2011 9:58 AM, howard posner wrote:
Do any UK listers know of a Henry Williams in the Manchester area?  We've 
been communicating about an instrument I'm selling, and I'm suspicious 
that it may be a scam.




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[LUTE] Re: OT: Baroque Guitar technique

[Stephen Arndt]

Dear David,

I had a very mixed reaction to your post. I am in no way a professional 
musician, though I consider myself a serious, if not a very accomplished, 
amateur (at least in the etymological sense of the word). Often times I have 
listened to lute recordings and thought, I might as well just quit. I'll 
never play like that. I can get through any given piece without an actual 
mistake (i.e., playing a wrong note) only one time in a hundred perhaps and 
never without twangs, splats, and squeaks. So, I was consoled to learn 
that even professional musicians may have up to 2,200 edits per CD. Perhaps 
if I could edit myself every 2 seconds, I wouldn't sound so bad after all. 
It could well be that commercial CDs set artificially and therefore 
unrealistically high standards of performance. On the other hand, your most 
recent video (I think), It's a Wonder to See, has absolutely no twangs, 
splats, and squeaks or any other imperfections that could be edited out, so 
I am back to thinking, I might as well just quit. I'll never play like 
that.


I am not addressing myself now to the Paul O'Dettes, Nigel Norths, or Robert 
Bartos among us (or even to the highly accomplished Daniel Shoskes or Valéry 
Sauvages among us), but just to the average lute player, whoever you may be. 
Do you have similar thoughts and feelings? Do you alternate between I love 
this more than anything and I'll never be any good at this? Maybe we 
should form a support group. Please let me hear from you.


Stephen Arndt

--
From: David Tayler vidan...@sbcglobal.net
Sent: Sunday, November 07, 2010 2:55 PM
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Subject: [LUTE] Re: OT: Baroque Guitar technique


Live music is great!
A typical classical music CD has 800 edits, a typical solo CD, such
as guitar, lute, harpsichord, etc, varies, but the high and low
numbers for the albums I hvae worked range from 450-2200
Now 2200 edits is a a very large number, that's 2200 twangs splats
and squeeks that have been removed. Basically, a correction has been
applied every 2 seconds.
So, live music is better. By going to a real concert, you hear
something that is real, and support musicians directly.



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[LUTE] Re: Francesco and flat back lute?

[Stephen Arndt]

Always interested in words and their origins, I read David's post with 
pleasure, as usual. I was puzzled, though, about the word viola, which in 
classical Latin refers to a flower (the violet). Viola in English and 
other languages seems to come from an identical word in Provençal, which my 
Italian dictionary says is di etimologia incerta but which an ancient 
Webster's I have (from the 1920s) speculates may be from the Latin vivus 
(lively), though a newer dictionary says it is probably from vitulari (to 
be joyful--I know I would be joyful if I had a vihuela). In Spanish the 
diphthong ue frequently replaces a stressed o in Latin (e.g., bonum  
bueno), and I am supposing that the h, which is silent in Spanish, simply 
serves to separate a triphthong into two separate syllables. If so, that 
orthographic convention explains how vihuela came from viola. I am 
wondering whether any native Spanish speaker on our list can confirm my 
supposition and, since Provençal was the language of the troubadours from 
the 11th to the 13th centuries, how old the viola/vihuela actually is. By 
how much does it predate the Renaissance?


Appreciative of any information,

Stephen Arndt

--
From: David Tayler vidan...@sbcglobal.net
Sent: Thursday, August 19, 2010 7:52 PM
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Subject: [LUTE] Re: Francesco and flat back lute?


  From an organological point of view, I have a slightly different
  opinion.
  The word viola means string instrument in the renaissance, and
  gradually changes its meaning to bowed string instrument
  towards the end of the renaissance. It maintains this latter meaning
  through the first half of the seventeenth century.
  The word vihuela similarly means string instrument, and da mano is
  added to differentiate it from the bowed versions. Vihuela is viola in
  Spanish.
  Francesco's instructions exactly parallel the countless numbers of
  instructions that are designed along the principle of ogni sorte.
  Thus, Cabezon's instructions that his pieces for keyboard can also be
  played on the harp or lute seem at first to be hard to imagine, but of
  course the player was perfectly capable of making any arrangement of
  the music necessary.
  Francesco's works could therefore be easily adapted to any string
  instrument, just as members of the lute list are making fabulous
  arrangements today.

  Musicologists in the 70s through the 90s erroneously interpreted the
  generic word viola and viol in musical editions to refer to the modern
  type of viola, as well as the viola da gamba. This distinction clearly
  does not apply to renaissance and early baroque music. Instruments in
  the renaissance came in many shapes and sizes; indeed, there are very
  few bowed string instruments that looks alike. The flat backed lute or
  vihuela also show this diversity of form.

  The good news is that you can play Francesco on the lute or vihuela da
  mano, or any of the instruments in between, or even make arrangements
  for solo viol, viol consort or viol duos.
  Not to mention the members of the violin family, all of which were in
  use in the 16th century.

  Generally speaking, it is important to remember that there were many
  more types of instruments than word or terms to categorize them. So
  terms like lute and viola have always a double meaning; one contextual
  and one general. Francesco may of course had a precise, contextual
  meaning in mind, but it was more likely that he wanted everyone to play
  his music, as was the custom of the time.

  Tinctoris (De invention) refers to bowed viola (note the persistent use
  of the adjective bowed) with strings stretched in a such a way that the
  bow can touch any single string.
  Lanfranco, writing in Scintille di musica (Brescia, 1533) describes
  four sizes of Violette da Arco (!!) senza tasti: Soprano, Contraalto,
  Tenore and Basso. This shows that the entire violin family was well
  developed by the early 16th century.
  (Lanfranco's writings are of interest for information on lutes and
  citterns as well)
  The earliest versions of these instruments generally had three strings.
  These instruments were played alongside the members of the viol family,
  whereas nowadays they are relegated to to baroque music.
  dt
  At 12:20 PM 8/17/2010, you wrote:

Dear lutenists,
didn't Francesco da Milano play also a flat back lute, viola or
something
like that. Perhaps the Neapolitian tabulature was connected to that
instrument?
Years ago there was some discussion also here, if memory serves...,
not
often does, though... ;-)
But what is the latest educated guess (=science) of his flat back
lute?
Any recent analysis?
Arto
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  --

References

  1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: incompatibility gardening/lute playing?

[Stephen Arndt]

Anthony,

You might want to look at Greg Irwin's finger control exercises on YouTube. I 
have found them very helpful and really should do them more regularly. They 
begin with this link: 
http://www.youtube.com/watch?v=HWmDbbYH1OQfeature=PlayListp=85E9D05280DCD668playnext_from=PLindex=0playnext=1,
 and there are quite a few of them.

Good luck,

Stephen Arndt



-Original Message-
From: Anthony Hind agno3ph...@yahoo.com
Sent: Jun 29, 2010 4:09 AM
To: lute@cs.dartmouth.edu
Subject: [LUTE] incompatibility gardening/lute playing?


   Dear lutenists
  Recently, I have found myself having to do some rather heavy
   gardening, which appears to be almost incompatible with lute playing.
   the simple fact of being physically tired is part of it, but also the
   fingers seem less supple after clenching a spade or a pick-axe.
   One lute player told me that even carrying suit-cases to a performance,
   can make their fingers stiff; and certain lute makers told me that
   using a lute maker's tools can make lute playing more difficult;
   although there are some excellent lute maker-players, even among us.
   %
   Do others have similar impressions, and if so, are there any ideas on
   how to get round this, (apart, of course simply from getting someone
   else to carry your lutes, and do the gardening, or play your lutes):
   some exercise between activities to help prepare for playing, perhaps?
   %
   At present, I am back in my flat in Paris, and so playing as much as I
   can, in spite of the hot weather, which also makes things more
   difficult, and I have regained the suppleness, but I will soon have to
   go back to gardening.
   Thanks for any advice,
   Anthony

   --


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[LUTE] Somewhat off topic

[Stephen Arndt]

   If any kind soul out there is fairly well-versed in the use of Django
   and would be willing to try to answer a couple of questions for me,
   please contact me off-list. Thank you.

   --


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[BAROQUE-LUTE] Re: Lully, it was Lully in Balcarres!

[Stephen Arndt]

I had not looked at Peter Steur's catalogue before. It is very impressive. 
Is there a similar catalogue for Renaissance lute, searchable by composer?


- Original Message - 
From: Bernd Haegemann b...@symbol4.de

To: baroque-lute@cs.dartmouth.edu; Luca Manassero l...@manassero.net
Sent: Saturday, April 17, 2010 9:29 AM
Subject: [BAROQUE-LUTE] Re: Lully, it was Lully in Balcarres!



Ciao belli,


  Togerther with what you found in the Balcarres mss., are you aware of
  other Lully transcription FOR BAROQUE LUTE somewhere else?



start here:


http://mss.slweiss.de/index.php?lang=engid=2type=mssmss=nam=key=msnam=comp=Lully


:)

tanti saluti
Bernardo



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[LUTE] Re: Swedish violin/lute picture - ID/date

[Stephen Arndt]

Interesting. On my 7-course lute, the octave on the fifth course was way too 
bright and prominent. Trying a number of different diameters did not solve 
the problem. So, I finally opted for a plain gut unison to go with the 
gimped string that I already had. They turn out to balance very nicely with 
each other. I wonder whether anyone else uses such a combination also.


- Original Message - 
From: Daniel Winheld dwinh...@comcast.net

To: lute@cs.dartmouth.edu
Sent: Sunday, April 04, 2010 7:07 PM
Subject: [LUTE] Re: Swedish violin/lute picture - ID/date



Just for comparison with the cello strings- a close up of my vihuela,
7th course fundamental D, (a = 409) 1.52 mm. First generation loaded
gut from Mimmo Peruffo. 6th course G, one string is a Dan Larson
Pistoy, 1.39 mm. (Had to use a gimp for the unison, all that was
available when I could no longer tolerate the octave string).

Granted, these strings are only a 4th apart, but still look similar in 
size.


http://s202.photobucket.com/albums/aa44/danwinheld/?action=viewcurrent=Strings.jpg


   http://tinyurl.com/yatt2yv


--



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[LUTE] Re: HIP, was string tension of all things

[Stephen Arndt]

I agree 100% that it is the performer, not the performance, that is informed 
in the sense of educated. My point was that there is another, older sense of 
informed as having been given form that can legitimately be applied to a 
performance, though, as I tried to indicate earlier, I suspect that these two 
senses are related. It is because a performer is informed about or educated in 
the principles of historical performance that he or she can give a particular 
historical form to his or her performance and thus inform it (which, by the 
way, you always do very nicely), so that the performance can then be said to be 
historically informed. Although this latter sense is immediately evident to 
me as a student of Latin and of scholastic philosophy (certainly still very 
current in the Renaissance), perhaps it is no longer very intelligible to most 
people, and your suggestion that HIP be taken as historically inspired 
performance therefore seems very reasonable.


-Original Message-
From: David Tayler vidan...@sbcglobal.net
Sent: Mar 30, 2010 2:17 PM
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Subject: [LUTE] Re: HIP, was string tension of all things

I guess what I am saying is that informed in the sense of educated is 
generally reserved for people, not objects.
Therefore, a performance cannot be educated. A building cannot be educated.

dt

At 10:06 PM 3/27/2010, you wrote:
David,

I am relying solely on memory here, but I believe that forma was 
the Latin term used for both eidos and morphe when Aristotle was 
translated into Latin in the late twelfth century (though I could be 
wrong). The scholastic Latin usage of informare means to put form 
into, and has the sense of the Latin in plus the accusative case. 
The prefix in- in the word informis is a negative prefix meaning 
not and has no relation to the in in informare. According to 
the Aquinas dictionary I cited earlier, informatio means (1) 
formation, i.e., providing with a form, synonym of 'formatio'  and 
(2) arrangement, management. The meaning of idea is not listed, 
though perhaps St. Thomas does use it in that sense somewhere, and 
his contemporaries certainly may have as well.

The OED has two listings for informed. The first, which does not 
concern us here, derives from informis and means unformed. The 
second, which does concern us, derives from the perfect passive 
participle informatum and has as its first meaning put into form, 
formed, fashioned, though that meaning is now regarded as obsolete 
(except in Neo-Scholastic circles, in which it is still very much in 
use). The second and current usage, which the OED gives as 
instructed; having knowledge of or acquaintance with facts; 
educated, enlightened, intelligent, I suspect derives from the 
first. In scholastic epistemology the forma intellectus is the 
species or concept abstracted from the phantasma or sense 
impression. It informs the intellect in a way analogous to that in 
which the forms of natural things inform their matter. The 
intellect that receives the abstracted form is thus informed, 
both in the sense of having undergone an (in)formation and of having 
knowledge or information in the modern sense of the word.

With regards to HIP, the question, I think, is whether informed 
means that the performance has been formed or shaped by historical 
principles (the OED's first meaning for the past participle) or that 
the performer is educated in historical practice (the OED's second 
meaning for the past participle). I have always taken it in the 
first way, in which case it is perfectly correct grammatically to 
say that a performance is informed. If it is meant in the second 
way, then, if not ungrammatical, it is at least illogical, since as 
you say, only people are informed. I suppose that it is the very 
illogicality of that usage that led me to take it in the first way, 
in addition to my familiarity with the Aristotelian-Thomistic 
philosophical tradition.

It is always a pleasure to read your learned disquisitions.

Equally respectfully,

Stephen


- Original Message - From: David Tayler vidan...@sbcglobal.net
To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Saturday, March 27, 2010 10:25 PM
Subject: [LUTE] Re: HIP, was string tension of all things



You can look up the definitions of inform as a verb and informed as
an adjective in any good dictionary.

The definitions are different.
The reason is that there are a number of words that split off in the
middle ages that share the same root, form-
I haven't seen a dictionary that says adjectives derived from verbs
have a different, unspecified definition. Why would people write down
definitions that they knew to be incomplete or wrong?

As far as the Classical Latin meaning, one can select the medieval
definition instead of the classical one, but of course there were
many words in medieval Latin with that root, and they, as well, all
have different meanings.

As far as the Greek 

[LUTE] Re: HIP, was string tension of all things

[Stephen Arndt]

Without any wish to be contentious, and agreeing with Howard, I would 
suggest that the informed in historically informed performance derives 
(at least in idea if not in fact--the coiners of HIP may never have read 
Aristotle) from Aristotelian metaphyics, where a substance (ousia) is said 
to consist of matter (hyle) and form (morphe). Thus, a particular form 
is said to inform prime matter and to make it the kind of thing that it 
is, somewhat as a particular shape makes this piece of marble to be a statue 
of Socrates rather than of Plato. In this sense, it seems to me, a 
particular historical form ( = the style of a particular historical epoch, 
whatever epistemological difficulties may be involved in determining what it 
was) could very well inform ( = give form to) the matter ( = the 
physical act of playing an instrument) of a given performance.


My two cents (which, with an annual inflation rate of about 2.5% is now 
worth only about 1.75 cents).


Stephen Arndt


- Original Message - 
From: howard posner howardpos...@ca.rr.com

To: lute-cs.dartmouth.edu list lute@cs.dartmouth.edu
Sent: Saturday, March 27, 2010 5:29 PM
Subject: [LUTE] HIP, was string tension of all things


On Mar 27, 2010, at 2:38 PM, David Tayler wrote:

The main reason not to use the phrase is that it is excruciatingly bad 
grammar.

* * *
 Performance, of course, is not informed. People are informed. By 
extension, I concede the transfer to the action of the person:one can, of 
course, make an informed decision. Make takes on the temorary role of a 
stative verb. And one can have an informed opinion, again, there is an 
implied reference to the owner of the opinion.

But can one make an informed performance?


inform ...v.t. ...3.  to give character to; pervade or permeate with 
resulting effect on the character: A love of nature informed informed his 
writing


From the Random House Dictionary of the English Language, Unabridged Edition 

(1968) p. 730

So writing, or a building, or, yes, performance, can be informed.  This is 
actually the original and most intuitive sense of the word inform, which 
is to give form to rather than the now more common to impart knowledge. 
And in this original sense it is things, not people, that are informed.


Performance is also not “historically--performance can be historic, but 
that means something very different.


Historically modifies informed, not performance.
Informed is an adjective here: the performance is described as being 
informed in some manner.   And if you're going to describe that adjective 
(in what way is it informed? what informs it?), you need an adverb, such as, 
for example, historically.


I don't think  performance to which considerations of historical practice 
have given character would have caught on.  PTWCOHPHGC makes a lousy 
acronym, at least in English.




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[LUTE] Re: HIP, was string tension of all things

[Stephen Arndt]

Once again, without in any way wishing to be contentious, informed in HIP 
is a verbal form (a past participle) used adjectivally. It therefore retains 
its verbal force. Just as a written message means a message that has been 
written, implying a message that someone wrote, so (as I have always 
understood it, at least), historically informed performance means a 
performance that has been historically informed, i.e., given a historical 
form, implying a performance to which someone has given a historical 
form. I checked A Latin-English Dictionary of St. Thomas Aquinas and 
found that it defines informare as to give a thing its essential or 
substantial form. Although I'm not sure at the moment whether St. Thomas 
himself uses the perfect passive participle informatum,  I can say that 
among Neo-Scholastic philosophical writers (from Gilson onwards) informed 
(and its equivalents in other European languages) is quite common in this 
sense. Having been schooled in that tradition, I naturally take informed 
in HIP in that way. I realize, however, that those who coined the phrase may 
not have had any familiarity whatsoever with the Aristotelian-Thomistic 
tradition and thus may have had something else in mind.


 Original Message - 
From: David Tayler vidan...@sbcglobal.net

To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Saturday, March 27, 2010 6:59 PM
Subject: [LUTE] Re: HIP, was string tension of all things



I have a slightly different view of the meaning of inform.
The definition you give is for the verb:
Snip
inform ...v.t. ...3.  to give character to; pervade or permeate with
resulting effect on the character: A love of nature informed informed
his writing
Snip

Informed in this case is not a verb, as you state below (e.g.,
Informed is an adjective here:). As an adjective, informed is,
amazingly, a different but related word. It means to have
information. As a verb, it has two meanings, the one you mention,
plus the meaning of to give knowledge to, like inform the accused of
their rights.
That's why it intuitively sounds different to use it as a verb. When
The love of nature informs the writing, no knowledge is transferred
to the writing, rather, it is, as you say, to give character to.

One could say historically informed writing, and that to me sounds
wrong, but it still isn't parallel because it refers back to the
writer as a single person, or, rarely, coauthors.. The parallel would
be an event or a group of people at an even, e.g.
historically informed convention--which sounds pretty bad, I think

This differs from a group of people of like mind working on a closely
related, purely literary project, e.g.
historically informed encyclopedia

All of the above would sound fine if informed were used as a verb,
but creaky if used as an adjective, because as in historically
informed building, no knowledge is transferred to the building.
Another way to look at it is that you can make an informed decision,
but a building cannot.

I still think historically informed encyclopedia is bad English, but
I could sort of make a case for it, but it isn't as bad as
historically informed performance which is missing an antecedent and
is substituting the verb connotation for that ofthe adjective.
The question is, who is doing the informing? Historically informed
performers immediately is clear, because they, the performers, have
the information or knowledge. Can a performance have knowledge?

From an advertising perpective, one can of course make the case that
if the phrase has something quirky in the structure, it is somehow
more memorable.
I think the thing I dislike the most is the automatic implication of
modern performers as uninformed.
Historical performance has less of a bite in that regard. Modern
performers aren't claiming to be historical, but they would be
annoyed at being rendered uninformed.

For sure, most modern players have studied history, and that study
informs their peformances, so the term is moot--they use history in
a somewhat different way!

Snip
This is actually the original and most intuitive sense of the word
inform, which is to give form to
Snip

The original meaning of the word is derived from the Latin informare
which means to shape, form, train, instruct or educate, so even in
the classical period it did not mean exclusively to give form to.
Earlier than the classical period the etymology is obscure; forma can
also mean beauty, for example. At what point the term formed the
English cognate is also unclear, but it would definitely antedate the
classical term which had already produce related words in Latin such
as informatio, which means idea.

dt






On Mar 27, 2010, at 2:38 PM, David Tayler wrote:

 The main reason not to use the phrase is that it is
excruciatingly bad grammar.
*   *   *
  Performance, of course, is not informed. People are informed. By
extension, I concede the transfer to the action of the person:one
can, of course, 

[LUTE] Re: HIP, was string tension of all things

[Stephen Arndt]

David,

I am relying solely on memory here, but I believe that forma was the Latin 
term used for both eidos and morphe when Aristotle was translated into 
Latin in the late twelfth century (though I could be wrong). The scholastic 
Latin usage of informare means to put form into, and has the sense of 
the Latin in plus the accusative case. The prefix in- in the word 
informis is a negative prefix meaning not and has no relation to the 
in in informare. According to the Aquinas dictionary I cited earlier, 
informatio means (1) formation, i.e., providing with a form, synonym of 
'formatio'  and (2) arrangement, management. The meaning of idea is not 
listed, though perhaps St. Thomas does use it in that sense somewhere, and 
his contemporaries certainly may have as well.


The OED has two listings for informed. The first, which does not concern 
us here, derives from informis and means unformed. The second, which 
does concern us, derives from the perfect passive participle informatum 
and has as its first meaning put into form, formed, fashioned, though that 
meaning is now regarded as obsolete (except in Neo-Scholastic circles, in 
which it is still very much in use). The second and current usage, which the 
OED gives as instructed; having knowledge of or acquaintance with facts; 
educated, enlightened, intelligent, I suspect derives from the first. In 
scholastic epistemology the forma intellectus is the species or concept 
abstracted from the phantasma or sense impression. It informs the 
intellect in a way analogous to that in which the forms of natural things 
inform their matter. The intellect that receives the abstracted form is 
thus informed, both in the sense of having undergone an (in)formation and 
of having knowledge or information in the modern sense of the word.


With regards to HIP, the question, I think, is whether informed means that 
the performance has been formed or shaped by historical principles (the 
OED's first meaning for the past participle) or that the performer is 
educated in historical practice (the OED's second meaning for the past 
participle). I have always taken it in the first way, in which case it is 
perfectly correct grammatically to say that a performance is informed. If 
it is meant in the second way, then, if not ungrammatical, it is at least 
illogical, since as you say, only people are informed. I suppose that it 
is the very illogicality of that usage that led me to take it in the first 
way, in addition to my familiarity with the Aristotelian-Thomistic 
philosophical tradition.


It is always a pleasure to read your learned disquisitions.

Equally respectfully,

Stephen


- Original Message - 
From: David Tayler vidan...@sbcglobal.net

To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Saturday, March 27, 2010 10:25 PM
Subject: [LUTE] Re: HIP, was string tension of all things




You can look up the definitions of inform as a verb and informed as
an adjective in any good dictionary.

The definitions are different.
The reason is that there are a number of words that split off in the
middle ages that share the same root, form-
I haven't seen a dictionary that says adjectives derived from verbs
have a different, unspecified definition. Why would people write down
definitions that they knew to be incomplete or wrong?

As far as the Classical Latin meaning, one can select the medieval
definition instead of the classical one, but of course there were
many words in medieval Latin with that root, and they, as well, all
have different meanings.

As far as the Greek references, the situation is more complex. I
myself don't agree that there is a direct parallel to the Greek
morph- stem. There was a distinct split in Greek usage. Many of the
Greek writers that were admired in the renaissance, and now, and
therefore were influential in the development of the language,
preferred the word eidos over those words which were based on the
morph- root. Homer and Plato, for example. Eidos was so important
that it was picked up in Latin as well, but nowadays in relegated to
the oid in android, anthropoid, etc., as well as the word
allantois which appears in 17th century English.

Regardless, morph turned into morphology, one branch of form- went to
information, the knowledge branch, if you will, and the other branch
of form- went into character or substance.

One could argue of course that the definitions in the dictionary are
wrong, or don't tell the whole story, but in this case the dictionary
is widely supported by literature and etymology.
If there were a strong verbal force, it would appear in the definition.

Since you bring up Aquinas, I would point out that informare means
to give shape, but at the same time of Aquinas, the word informatio
in Latin means, not surprisingly, idea but does not mean shape;
informitas in Aquinas means ugly, here relying on the antonym of
the older meaning of beauty, and informis in Aquinas means
shapeless, more closely related to 

[LUTE] Re: Modern lute recordings

[Stephen Arndt]

Daniel,

I noticed the improvement in sound quality as well in your most recent 
video. Can you tell us what was the superior mic you used?


Stephen

P.S. You're one of my lute heros.

- Original Message - 
From: Daniel Shoskes kidneykut...@gmail.com

To: wikla wi...@cs.helsinki.fi
Cc: lute@cs.dartmouth.edu
Sent: Tuesday, March 16, 2010 4:44 PM
Subject: [LUTE] Re: Modern lute recordings



  I've posted several times the processing I use, based on the
  recommendation of my sound engineer uncle. I apply an inverted smile
  EQ and if I am recording in my small office, I add a small amount of
  reverb (if I am alone in the house and can record in the big living
  room the reverb is not necessary). The inverted smile corrects for
  inadequacies in the response of the mic. I was once recorded with a
  $15,000 mic and that led me to believe that cheaper mic+EQ is very
  close to the reality captured by the expensive mic and therefore that
  the EQ isn't cheating. In my most recent recording, using a superior
  mic (but not in the thousands of dollars) I thought the sound was much
  better and only the tiniest adjustment (taking down the highest and
  lowest bands in the EQ) was needed:

  [1]http://www.youtube.com/watch?v=b2w15WCzoWY
  Danny
  (not a lute hero but a regular y-tuber)
  On Tue, Mar 16, 2010 at 5:00 PM, wikla [2]wi...@cs.helsinki.fi wrote:

Well, my new y-tubings of very variable quality certainly cannot
hide
anything! ;-)
The Zoom O3 hears everything and I play in very dry acoustics...
Is it really true that people y-tubing - and especially our lute
heroes
making CD's - really add artificial reverb and other machine
generated
effects to their canned performances? Perhaps that explains
something?
Just a thought... ;-)
Arto

  On Mon, 15 Mar 2010 22:50:47 -0400, Roman Turovsky
  [3]r.turov...@verizon.net wrote:
   But the reverb hides the imperfections so
  effectively..
   RT
  
   - Original Message -
   From: [4]chriswi...@yahoo.com
   To: [5]l...@cs.dartmouth.edu; [6]nedma...@aol.com
   Sent: Monday, March 15, 2010 10:46 PM
   Subject: [LUTE] Re: Modern lute recordings
  
  
   Ned,
  
  You're not alone at all.  I'm in complete agreement with you.  It
  seems
   to me that the ideal place to record a lute of all instruments, is a
   controlled environment like a recording studio where a touch of
  reverb
  can
   be added if wanted.  The long decay of a cavernous cathedral might
  feel
   good
   for the player, but its a very un-HIP place to find a solo lute.  I
  would
   love to turn down the reverb on nearly all my recordings.
  
   Chris
  
   --- On Mon, 3/15/10, [7]nedma...@aol.com [8]nedma...@aol.com wrote:
  
   From: [9]nedma...@aol.com [10]nedma...@aol.com
   Subject: [LUTE] Modern lute recordings
   To: [11]l...@cs.dartmouth.edu
   Date: Monday, March 15, 2010, 9:10 PM
   Looking on youtube
   for a video of the Earl of Essex Galliard the other
   night, I came across one by Elizabeth
   Brown. A fine player, but sounds
   I never heard from a lute live. I
   wondered what her recording engineer
   was thinking. But then I remembered
   that her sound was not
   completely unlike what I hear on many
   lute CDs, and it occurs to me
   that today's recording engineers
   generally have an odd concept of what
   a lute should sound like.
   Primarily, they seem to think it should
   sound BIG and with the oodles of reverb -
   as if heard from many feet
   away in a large and empty
   catherdral. Harmonia Mundi records Paul
   O'Dette this way, as do ECM and Naxos
   Nigel North, Naive Hopkinson
   Smith, and (not as exaggeratedly)
   Hyperion Elizabeth Kenny.
  
  
  
   Going into my vinyl collection I found
   that in the past, both Nonesuch
   and Astree did a much more natural job
   with Paul O'Dette, Edition Open
   Window is wonderful with Jurgen
   Hubscher (and Alfred Gross), and Decca
   always gave Joe Iadone and Chris Williams
   a natural sound.
  
  
  
   So, my appeal is to recording engineers:
   go into a medium size - or
   even fairly large - room with a lutenist
   sometime and listen to the
   sound he/she produces. Then
   forget recording in churches or
   cathedrals and by all means leave all
   electronic 'enhanements' out of
   the recording chain.
  
  
  
   Am I alone in this view?
  
  
  
   Ned
  
   --
  
  
   To get on or off this list see list information at
   [12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  
  
  
  
  
  
  
   To get on or off this list see list information at
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References

  1. http://www.youtube.com/watch?v=b2w15WCzoWY
  2. mailto:wi...@cs.helsinki.fi
  3. mailto:r.turov...@verizon.net
  4. mailto:chriswi...@yahoo.com
  5. mailto:lute@cs.dartmouth.edu
  6. mailto:nedma...@aol.com
  7. mailto:nedma...@aol.com
  8. mailto:nedma...@aol.com
  9. 

[LUTE] Re: tempos in Francesco Fantasias

[Stephen Arndt]

I am not exactly responding to Susanne's message, but making a related 
comment. I have been playing through and home-recording Denis Gaultier's La 
rhétorique des dieux on my 11-course. To guide me I have Louis Pernot's 
recording of this work, which I have often found very helpful (though I find 
his tone rather harsh--does anyone else?). But, generally speaking, I simply 
cannot play these pieces at the same tempos (or tempi for the Italian 
purists, or tempora for the Latin purists) as he does, which I find very 
frustrating. I don't know how one works up to those speeds, unless one plays 
a piece over and over with a metronome, gradually increasing the number of 
beats per minute, which I actually do, though before long I seem to reach a 
limit that I can't manage to surpass no matter how long I practice. I assume 
that Mr. Pernot knows very well what he is doing and is playing these pieces 
at the speeds at which they were intended to be played.


In a related vein, I have been working through Elias Mertel's Novus hortus 
musicalis on my 10-course, and I generally play the pieces as fast as I 
comfortably can, though I suspect that I am playing practically all of them 
too slowly on account of my technical limitations.


Any suggestions for improving speed or advice on determining the proper 
tempo for a piece would be much appreciated.


Best regards to all,

Stephen Arndt


- Original Message - 
From: Suzanne Angevine suzanne.angev...@gmail.com

To: Lute List lute@cs.dartmouth.edu
Sent: Friday, March 12, 2010 11:26 AM
Subject: [LUTE] tempos in Francesco Fantasias


Yesterday I got out a Francesco Fantasia I hadn't played in awhile.  Its 
one of the easier ones, since  I'm not that advanced a player.  But I 
thoroughly enjoyed playing it - the counterpoint, the expressiveness of 
it.  Later in the day I listened to a CD of a big name player doing 
Francesco pieces.  What struck me most was the utter contrast between what 
I had enjoyed about playing the music, and what I heard.  Not just on the 
same Fantasia, but almost the entire CD was BRIGHT, and very PERKY 
sounding.  In thinking about it, I felt that this effect was due almost 
entirely to the fast tempos chosen.  Now this player has exceptional 
technique, and can play fast and cleanly.  And it is to be admitted that 
the CD is rather old, and may no longer represent the player's point of 
view on Francesco exactly.  But it got me thinking about tempos.  Someone 
on this list recently commented that folks generally try to play too fast. 
Is there some actual musicological evidence somewhere that says what 
tempos should be used?  Or do moderns just play fast because we live in a 
fast paced world, and playing well fast shows off our skill?  A moderate 
tempo on the Fantasia in question allows some time and space for 
expression of the music to bloom, but a fast, perky tempo just makes it 
sound like pyrotechnic display, not what would earn a player the name of 
il divino.  So, any musicological evidence for proper tempos in 
Francesco's music?


Suzanne



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[LUTE] Re: Switching between gut strings and synthetics?

[Stephen Arndt]

AT LEAST YOU SEEM A MAN OF TASTE; INTELLIGENCE AND HEART, DAVID - I LOVE 
YOUR STYLE


I'll second that.

Stephen Arndt 




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[LUTE] Re: constructive critical commentary

[Stephen Arndt]

Stuart wrote:

I could see the use of something like a ning site dedicated only to 
constructive criticism of performances lute/allied plucked intruments - 
where you have to sign up  to comment and preferably you sign up on the 
understanding that you submit something. And each person would indicate: 
beginner, amateur, professional in their performances and in their comments. 
Better still would be link from here to somewhere dedicated to constructive 
criticism if that is what you actually wanted.


Great idea!

Stephen Arndt



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[LUTE] Re: Renaissance Metaphors

[Stephen Arndt]

Insofar as it is seen as denial of the saving power of Christ, it seems to me 
that the reference is more properly to despair. You might want to read what 
Thomas Aquinas wrote on the matter in ST I-II,q. 20, which you can find in a 
mediocre translation here: 

http://www.newadvent.org/summa/3020.htm#article1

He notes, however, in the fourth article that despair can arise from acedia or 
sloth.

-Original Message-
From: chriswi...@yahoo.com
Sent: Dec 9, 2009 5:59 PM
To: LuteNet list lute@cs.dartmouth.edu, Ed Durbrow 
edurb...@sea.plala.or.jp, Donatella Galletti do...@tiscali.it
Subject: [LUTE] Re: Renaissance Metaphors

Donatella,

It was called Acedia and was one of the seven deadly sins.  Its usually 
 translated as Sloth in English, but denotes a spiritual as well as physical 
 listlessness.

Chris

--- On Wed, 12/9/09, Donatella Galletti do...@tiscali.it wrote:

 From: Donatella Galletti do...@tiscali.it
 Subject: [LUTE] Re: Renaissance Metaphors
 To: LuteNet list lute@cs.dartmouth.edu, Ed Durbrow 
 edurb...@sea.plala.or.jp, chriswi...@yahoo.com
 Date: Wednesday, December 9, 2009, 4:26 PM
  Another take on the matter: In
 the eyes of Catholicism, being depressed was a serious sin
 because it was seen as a denial of the saving power of
 Christ.
 
 I talked to someone very much into Catholicism and the
 history of it and he has never heard  of such a thing.
 Me too. It would be interesting to know the source, is there
 anyone who wrote such things in Italy at the time?
 
 
 Donatella
 
 
 - Original Message - From: chriswi...@yahoo.com
 To: LuteNet list lute@cs.dartmouth.edu;
 Ed Durbrow edurb...@sea.plala.or.jp
 Sent: Tuesday, December 08, 2009 1:50 PM
 Subject: [LUTE] Re: Renaissance Metaphors
 
 
 Ed,
 
 --- On Tue, 12/8/09, Ed Durbrow edurb...@sea.plala.or.jp
 wrote:
 
  No
  one is mentioned as having
  caused the distress. Kind of like some
  blues in a way.
  
 
 Yes, blues is a great analog.  I suppose much of it is
 melancholy of the hurts so good variety.  Acting
 suitably bummed has been de rigueur among many in the
 artistic set for ages it seems.
 
 Another take on the matter: In the eyes of Catholicism,
 being depressed was a serious sin because it was seen as a
 denial of the saving power of Christ. (Think of Durer's
 Melencolia engraving.)  I'm not sure about
 Elizabethan mores, but assume that the Church of England
 would have retained a similar view on the matter.  For
 one to publicly admit that you were down would therefore be
 naughty and rebellious and therefore entirely
 tempting.  Just like dying.
 
 Chris
 
 
 
 
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 
 
 
 






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[LUTE] Re: Left hand gut issues

[Stephen Arndt]

I soak my hands in soapy water for a few minutes and then rub some shea butter 
on my finger tips before playing. It makes a huge difference both in avoiding 
the squeakiness and in improving the overall tone. If the fingertips are too 
dry, the resulting tone is harsh and unpleasant.

-Original Message-
From: Daniel Shoskes kidneykut...@gmail.com
Sent: Nov 25, 2009 11:39 AM
To: lute lute@cs.dartmouth.edu
Subject: [LUTE] Left hand gut issues

   A question for the no gut, no glory crowd. I have noticed that gut
   strings are stickier on my left hand fingers and sometimes when I lift
   off the string the stickiness can cause extraneous sounds. Have others
   noticed this and have they found any solutions?

   thanks

   Danny

   --


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[LUTE] Re: So, what you consider a must have publication?

[Stephen Arndt]

You can find it for free here:

http://lutegroup.ning.com/forum/topics/the-barbe-manuscript


- Original Message - 
From: Daniel Winheld dwinh...@comcast.net

To: lute@cs.dartmouth.edu
Sent: Sunday, October 18, 2009 11:00 PM
Subject: [LUTE] Re: So, what you consider a must have publication?



Damian, Stephen-

Now you've got my attention- can you please tell me a little about 
the Barbe Ms, or where I can go to find out about it, and maybe 
download or buy a copy?


Thanks,  Dan


  I'll second that on the Barbe Manuscript for the baroque lute, and for
   the Renaissance lute I am having a wonderful time working my way
   through the Hortus Musicalis Novus of Elias Mertel.



--



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[LUTE] Re: So, what you consider a must have publication?

[Stephen Arndt]

   I'll second that on the Barbe Manuscript for the baroque lute, and for
   the Renaissance lute I am having a wonderful time working my way
   through the Hortus Musicalis Novus of Elias Mertel.



   - Original Message -
   From: damian dlugolecki [1]dam...@damianstrings.com
   To: [2]l...@cs.dartmouth.edu
   Sent: Sunday, October 18, 2009 9:05 PM
   Subject: [LUTE] Re: So, what you consider a must have publication?

For me without question, the Barbe Ms. is a wonderfully rich
source of
music, and for one finding his own way, an indispensible
teacher.
   
Damian
   
   
   
To get on or off this list see list information at
[3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --

References

   1. mailto:dam...@damianstrings.com
   2. mailto:lute@cs.dartmouth.edu
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: A Viewing

[Stephen Arndt]

I can't think of a better way to dignify the occasion.

- Original Message - 
From: David Rastall dlu...@verizon.net

To: Lutelist list lute@cs.dartmouth.edu
Sent: Friday, October 09, 2009 2:29 PM
Subject: [LUTE] A Viewing



Have any of you ever been hired to play at a viewing?  As in where
the deceased is lying in an open casket, to be viewed by family and
friends...?  I was hired yesterday to play at one on Monday.  An hour
and a half's worth of lute music.  This is unique in my experience:
I've never even seen a dead body before, let alone provided ambient
music for such an occasion.  It's gonna be interesting...

Best,

David Rastall
dlu...@verizon.net
www.rastallmusic.com


--

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[LUTE] Re: French baroque, Lully and theorbo

[Stephen Arndt]

Arto wrote: Yes, I do know this is an ad in vain..., no interest in the 
List -- as usual.




Dear Arto,



Please do not assume that lack of response equals lack of interest or 
appreciation. I, for one, greatly admire your work and have enjoyed your 
videos over and over, and I am quite confident that I am not alone. Although 
time constraints do figure as a factor, in my case at least, the failure to 
respond owes more to an embarrassment over vocabulary. I can state a 
personal reaction such as I liked that, make a comment on performance such 
as You played that well, or give an opinion on the composition such as 
That was a beautiful piece. For me the problem with such generic comments 
lies in the fact that they apply more or less equally well to most postings. 
When I consider the number of videos posted by Daniel Shoskes or Valéry 
Sauvage, or the many fine compositions by Roman Turovsky, to name a few of 
the most prolific contributors on our list, I begin to feel stupid saying 
the same generic things after the first few times, and so, much to my own 
dislike, I end up saying nothing, and I suspect that I am not alone in this 
regard either.So, keep up the good work, and know that the interest, even if 
unexpressed, is there.




Respectfully,



Stephen Arndt





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[LUTE] Re: Information on the Wayne Cripps Lutes for Sale

[Stephen Arndt]

Wayne has an emergency back up page here:

http://www.cs.dartmouth.edu/~wbc/

By clicking on tab-serv you can still get to the tablatures.

- Original Message - 
From: Edward Martin e...@gamutstrings.com

To: Matteo Turri matteo.o.tu...@googlemail.com; lute@cs.dartmouth.edu
Sent: Saturday, August 29, 2009 10:02 PM
Subject: [LUTE] Re: Information on the Wayne Cripps Lutes for Sale



I had the same experience.  It must be down.

ed

At 06:29 PM 8/29/2009, Matteo Turri wrote:

Google gives

www.cs.dartmouth.edu/~wbc/lute.html

but the page doesn't work at the moment - document not found

Maybe they are updating it.

M.



On Sunday 30 August 2009 00:02:09 Rebecca Banks wrote:
August 29th, 2009
Dear Lutenists:
  I seem to have lost the URL for Wayne Cripps Lute Page, if you
can send it along . . . Many Thanks,
Sincerely,
Rebecca Banks
Tea at Tympani Lane Records
www.tympanilanerecords.com
  __

Send and receive email from all of your webmail accounts - right 
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[1]your Hotmail inbox! --

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1. http://go.microsoft.com/?linkid=9671351


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08/29/09 17:51:00




Edward Martin
2817 East 2nd Street
Duluth, Minnesota  55812
e-mail:  e...@gamutstrings.com
voice:  (218) 728-1202
http://www.facebook.com/profile.php?id=1660298871ref=name
http://www.myspace.com/edslute

[LUTE] Re: Goethe and the lute

[Stephen Arndt]

Er stimmte seine Laute länger, als er darauf spielte--tell me about it! 




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[LUTE] Re: Thumb-under . . always?

[Stephen Arndt]

David,

If you ever wanted to make an instructional video demonstrating all five 
techniques, it would be a great one.


Stephen

- Original Message - 
From: David Tayler vidan...@sbcglobal.net

To: lute-cs.dartmouth.edu lute@cs.dartmouth.edu
Sent: Friday, July 31, 2009 4:06 PM
Subject: [LUTE] Re: Thumb-under . . always?



I think there really is no thumb under and over.

There are however

Thumb in--the thumb is inside the hand'' NB: just as it was called back 
then

Thumb in tips up  the finger tips are higher
Thumb out  stretched--thumb must be like a bow NB specifically
described historically
Thumb out--not like a bow, more relaxed
Thumb middle--this is over in the sense that it is directly over
the first finger, however, it would be confusing to term it this way.

Obviously, there are a thousand variations on these, but this is a
good starting point.
To just start at over and under will just create technique
problems becuase you may get stuck or wobble between different positions.
Each of these produces a very distinctive and different sound.
Also, because the historical positions are not accurately described,
they have fallen out of use.
I use all five of these depending on the instrument and the repertory.

dt


At 07:09 AM 7/31/2009, you wrote:

On Fri, Jul 31, 2009 at 3:56 PM, nedma...@aol.com wrote:
   when the index finger strikes the string, it ends its
 =A0 stroke under and behind the thumb, before returning to its starting
 =A0 position in front of the thumb.

There are many ways of looking at it. Some suggestions, others will
give more, so take your pick.

A relaxed hand has thumb under index. Try without a lute. Aim for a
relaxed hand when playing.

Place thumb between index and middle finger. (Yes, fig-sign.) Unbend
fingers, don't overdo the strechting, remember to relax. Good lute
playing hand.

Do the plucking movement with your under-arm, bit of wrist, very litle
bit of finger. So index-to-thumb position does change but little
during  plucking.

After plucking thumb, don't 'move it back' to starting position, but
let plucking motion (under-arm) for index take your hand and hence
thumb back to starting point.

Play slowly, concentrate on relaxing and erradicating superfluous 
movements=




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