On Feb 4, 2008, at 12:36 PM, Roland Hayes wrote:
I seem to remember an archlute piece (Doni ms.) that does not
use a chanterelle. To me this implies that the first course was
problematic at times at least (a la french 11 c. pieces w/o
chanterelle)
and may have been replaced with a string
Martyn Hodgson wrote:
I now see from your mention of my guitar stringing email that you
seem to equate 'information' solely with figures whereas I also
include other things such as tunings, examples of solo music, etc
which you do not count as information - we'll bear this in mind.
Monica Hall wrote:
I was tempted to point out early on in this discussion that skips
of a 7th and 9th in scale passages (known as campanellas)
Campanellas are not necessarily skips of 7ths and 9ths. That's not
how they're defined. They are passages of notes that ring over other
notes
Campanellas are not necessarily skips of 7ths and 9ths. That's not
how they're defined.
I didn't say that they are. What I said was
skips of a 7th and 9th in scale passages (known as campanellas)
are commonplace in baroque guitar music.
It is the scale passages that are known as
On Feb 6, 2008, at 1:10 PM, Rob Lute wrote:
Don't believe everything you read on the lute net.
Now you tell me!
Well, you didn't ask...
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On Feb 6, 2008, at 12:37 PM, Monica Hall wrote:
Campanellas are a particular kind of scale passage in which each
note of the scale is played on a different string so that the notes
overlap creating a bell like effect.
Yes, I think we got the definition right on the third try.
In that
Blows that theory...
Maybe the Weiss squad was just unusually vigilant.
On Feb 11, 2008, at 1:30 PM, [EMAIL PROTECTED]
[EMAIL PROTECTED] wrote:
Nope. My YouTube submission just had the bit
about This is the Introduzzione by Weiss...
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On Feb 11, 2008, at 11:39 AM, [EMAIL PROTECTED]
[EMAIL PROTECTED] wrote:
(YouTube
wouldn't take it!)
Just curious: Was the sentence I guess I should have friggin'
checked the shot when I moved the camera closer! part of what you
sent to YouTube?
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because then you have the book on your own
computer. (If you have the space: it's nearly 49megs.)
The book is volume V of the 1911 Grove's, which contains T-Z and
the appendix. The entries on Vivaldi and Telemann say much about the
19th century attitude toward the 18th century.
On Feb 14, 2008, at 1:15 AM, Peter Jones-RR wrote:
We talked about Barbara Strozzi and Francesca Caccini - does anyone
have
any other suggestions?
If you want to expand to solo motets, there's Isabella Leonarda
(1620-1704).
I suppose your partner is familiar with Barbara Garvey
I've clicked on this link using Safari and Netscape and all I've
gotten is an in-depth knowledge of Air India fares.
Any suggestions? There's a Hamburg-Rebekka-II-08.mp3
that looks something like a link, but it does nothing. Am I missing
something, or is this a Mac thing?
On Feb 26, 2008,
For Anthony and others with the same problem, this link worked for me.
On Feb 26, 2008, at 1:52 PM, Mathias R=F6sel wrote:
Here's
another place where I I've posted it:
http://de.share.geocities.com/mathiasroesel/Hamburg-Rebekka-II-08.mp3
Hope that helps.
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On Mar 15, 2008, at 5:55 AM, Benjamin Narvey wrote:
The
fact that a generalist early music magazine chose my submission
bodes well
for us, in that it seems a kind of litmus test showing the interest
given
the lute from civilian non-pluckers.
Or perhaps yours was just far and away the
On Mar 17, 2008, at 2:55 PM, igor . wrote:
diego ( i hope you are not italian )
is there any recorded tiorbino ?
Lee Santana and Wolfgang Katschner play two Castaldi theorbo/tiorbino
duets on Feast of San Rocco Venice 1608 (Sony s2k 66254)
Vincent Dumestre and Massimo Moscardo play four
On Mar 21, 2008, at 8:41 AM, Arne Keller wrote:
Especially the bass saxophone player is good.
It's a bass clarinet, but indeed sensitively played. I like the
singer too.
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The bearded percussionist is Pedro Estevan.
On Mar 23, 2008, at 10:02 AM, Sean Smith wrote:
Btw, is that Lee Santana playing percussion?
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On Mar 24, 2008, at 7:18 AM, Stewart McCoy wrote:
Modern ones use elastic or a kind
of spring mechanism
Not all. I have an earlier version of this one:
http://www.activemusician.com/item--MC.14FD?
ref=brovchn=BIZovtac=CMPovcpn=Accessoriesovcrn=Dunlop+Professional
+Guitar+Capo+%2D+Flat
On Mar 25, 2008, at 6:28 AM, William Brohinsky wrote:
I seek advice and help: On a student's budget, is there a source
for scale
and chord studies, the basics that would make the relations of the
strings
make more sense to someone who has been linear-all-his-life?
Nigel North's book
On Mar 25, 2008, at 10:09 AM, Peter Martin wrote:
I guess this is the online Hurel facsimile that you were referring
to. but
can you give any guidance on how to open it? I am getting tied up
in an
unholy tangle of e-mules without much success
Use a different browser? Otherwise I
On Mar 25, 2008, at 3:22 PM, Stewart McCoy wrote:
The strangest chord I have ever seen was at the start of The
Creation by
a baroque composer - I forget which. To represent chaos, the first
chord
had the numbers 7 6 5 4 3 2, or possibly 8 7 6 5 4 3 2. Can't go
wrong,
really.
Les
On Mar 29, 2008, at 10:52 AM, Arthur Ness wrote:
Where did Richafort find it?
In a registered letter from Henry VIII.
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On Mar 29, 2008, at 10:52 AM, Arthur Ness wrote:
Unless you
have some urge to talk about Leonardo da Vinci's wandering beard.
I just acquired such an urge, at least to the extent of understanding
the reference. What are we talking about?
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Tony is talking about a modern computer-typeset edition of the Hurel Ms.
On Apr 12, 2008, at 12:47 PM, LGS-Europe wrote:
Dear Tony
I have the 1996 Minkoff facsimile. In its colofon it says it is
printed with the permission of the Piermont Morgan Library, New
York, the owner of the ms. It
This particular piece is a version of a well-known tune called La
Gamba, which in many sources is called a galliard. If you play it
as galliard, the walking steps of the duple pavan fit perfectly. The
same is true of the triple-time pavan in Milan's El Maestro.
There was a tradition of
On Apr 16, 2008, at 5:07 PM, David Rastall wrote:
There's more garbage in that one short article than you get on our
local tip in a year.
Agreed. I love the bit about these long-necked lutes called
continuos.
Click on the continuos link. It will take you to page with nothing
about
On Apr 17, 2008, at 6:25 AM, [EMAIL PROTECTED] wrote:
Jim wrote:
Fact-checking takes time, and editors must be paid, so accurate
reporting is
time- and labor-intensive. Today's blogosphere, which rewards
unschooled
right-wing loudmouths who spew half-truths and worse, has no
A propos of the Snopes Urban legend web site, I meant to mention that
you can find a debunking of a truly idiotic story (a column in the
Houston Chronicle) about Itzhak Perlman playing an entire concerto on
three strings at:
http://www.snopes.com/music/artists/perlman.asp
To get on or
On Apr 17, 2008, at 1:26 AM, Rob MacKillop wrote:
I was going to write to him and the guy who wrote the article, but
thought
better of it. We reap what we sow. It's not the first time I've had
quotation remarks around comments I never made. Seems to be the way
reporters work. Nothing to be
On Apr 17, 2008, at 8:38 AM, [EMAIL PROTECTED], apparently in all
seriousness, wrote:
And I defy you to come up with one honest, factual example of Rush
Limbaugh actually lying versus him merely presenting an informed
opinion that differs from yours.
For outright falsehoods, try:
On Apr 19, 2008, at 2:02 AM, Peter Martin wrote:
I don't know who the SCA are,
There's your problem. Had you known you were dealing with the
Society for Creative Anachronism, you'd have known pretty much what
you needed to know.
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On Apr 29, 2008, at 8:19 PM, Roman Turovsky wrote:
A friend of mine is wring a short article on the state of affairs
in contemporary composition for lutes/citterns, and he asked me to
assist in gathering the information.
I don't know whether the planned new lute composition index by
Lynda
On Apr 30, 2008, at 7:12 AM, Ron Andrico wrote:
When singing part music, a singer only had one part to read, and
did not have the luxury of scanning the complete score to see where
he or she could add bits here or there.
Neither does the first oboe player in an orchestra playing Handel
On May 1, 2008, at 9:50 AM, Mark Wheeler wrote:
To play the devil's advocate..
I doubt if music for the average 21st century teenager is any less
important
than it was in 15??. I don't think they would see it as merely an
extra.
Ron's point is that everyone in some levels of
On May 3, 2008, at 10:11 AM, The Other wrote:
Admittedly, I don't follow the news as closely as I should.
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On May 1, 2008, at 6:41 AM, Manolo Laguillo wrote:
In the DICCIONARIO DE INSTRUMENTOS MUSICALES, Barcelona 2001, under
'tiorba', the author of it, Ramon Andres, after mentioning an inventar
of possesions of Felipe II, the king of Spain, where two theorbos
figure,
Are we really talking about
On May 15, 2008, at 9:29 AM, [EMAIL PROTECTED] wrote:
By the way, is it known, in which pitch Vivaldi's orchestra was using?
The short answer is no. To answer the question, we'd have to be sure
where he was when he wrote it (he toured around a great deal) and
assume he intended the pitch
On May 22, 2008, at 10:02 AM, Peter Nightingale wrote:
Am I inviting trouble if I attempt Ed's barrel/blood knot with gut?
My experience with using leader is that gut is more likely than nylon
to break at the knot eventually, nylon more likely to slip. Neither
problem is serious and you
On May 24, 2008, at 6:52 AM, Martin Shepherd wrote:
I note with interest that Arto's calculator allows us to work out
the stringing for a 10m theorbo - what shall we say for the
fingerboard strings, only 5m?
Anything shorter than 3 meters is a toy theorbo anyway.
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On May 24, 2008, at 10:26 AM, Gernot Hilger wrote:
Don't say that too loudly. You'll fall prey to Stephen Barber's
wrath. Ask Martyn!
I'm far more likely to fall prey to Martyn's wrath.
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On May 25, 2008, at 12:46 AM, Martyn Hodgson wrote:
Very good mt dear Howard - but really not at all. I very much
welcomed your informed contributions as testing the envelope of
knowledge by citing early sources and organological data rather
than assertions based simply on personal
).
Domestic music making, especially with lutes, might well have not
reflected such a significant and discrete variation
--- On Sun, 25/5/08, howard posner [EMAIL PROTECTED] wrote:
From: howard posner [EMAIL PROTECTED]
Subject: [LUTE] Re: Choosing Strings
To: LUTELIST List lute@cs.dartmouth.edu
On Jun 1, 2008, at 5:58 PM, David Tayler wrote:
Perhaps the answer, as far as theorbos go, is to have a new
definition of theorbo.
What's the question, exactly?
Slim chance that everyone will agree on the definition, but perhaps a
collective attempt is the way to go.
I propose the
On Jun 2, 2008, at 2:06 AM, Martyn Hodgson wrote:
How do do we (ie you) know, without prejudging the issue, that
1) the actual range of sizes of surviving instruments is much
larger This implies you are able to identify double re-entrant
instruments from single (not to mention
On Jun 3, 2008, at 6:24 AM, [EMAIL PROTECTED] wrote:
the lute
player on the cover of Hoppy's 'Vieux Gaultier' CD
(who's the artist?) plays an instument with the first
and second courses red but also the BASS string only
of the 7th course. All the other ones are pale.
Why?
Maybe as a
On Jun 3, 2008, at 6:11 PM, [EMAIL PROTECTED]
[EMAIL PROTECTED] wrote:
Makes perfect sense for the 7th course. ...but the
top two? Those are probably the easiest two strings
to find.
Good point; I misread your first post.
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You mean loaded gut is impossible?
On Jun 5, 2008, at 12:00 PM, damian dlugolecki wrote:
There is no way to change the specific weight or mass of a gut
string by chemical means. If someone
were to claim that there are ways to chemically change the gut to
make it heavier, that would be
On Jun 5, 2008, at 1:12 PM, Eugene C. Braig IV wrote:
Loading gut is adding physical mass by adding a substance denser
than gut, not chemically altering the gut itself.
If I'm not mistaken, loading is essentially infusing, which would be
process similar to dyeing. Perhaps I'm mistaken.
--
On Jun 5, 2008, at 2:44 PM, Eugene C. Braig IV wrote:
I don't think you are mistaken; however, that still would not
involve a chemical change of the gut material itself.
Does dyeing? The question, if I am again unmistaken, was whether a
process used for dyeing might incidentally increase
On Jun 6, 2008, at 5:37 AM, Eugene C. Braig IV wrote:
My experiences with ironing goose quill, at least a split quill,
have not
been good.
Maybe you should try removing it from the goose first.
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On Jun 8, 2008, at 3:03 AM, Stewart McCoy wrote:
I have a vague memory of hearing
that Palestrina had a lute handy when composing.
If you google palestrina lute mass into google (without the quotes)
you should pull up a page of Jessie Ann Owens' The composer at work
from Amazon that
On Jun 8, 2008, at 2:46 PM, Stewart McCoy wrote:
The Amazon site gives a lot of detail about
Palestrina, and confirms that he used the lute while composing. Jessie
Owens' book certainly looks a good read.
I was mistaken in saying it was an Amazon site, BTW. It's Google
Book Search.
--
To
Rob MacKillop wrote:
What lute and voice settings are there of poems by John Donne (a
long-time
favourite poet of mine)? I'm also interested in settings for viols
and voice
or voices.
Ferrabosco set The Expiration as So, so, leave off this last
lamenting kisse (the seventh song in
There's also:
William Corkine: Break of Day (Second Booke of Ayres)
John Hilton: A Hymn to God the Father
And see:
http://www.matthewwadsworth.com/Donne-info.htm
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On Jun 16, 2008, at 3:45 PM, Rob MacKillop wrote:
Together with Marlow, Donne and Dowland shared the same female
patron, Lucy,
Countess of Bedford.
It must have been an interesting night.
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On Jun 18, 2008, at 1:58 PM, Jean-Marie Poirier wrote:
Anyway, the bulk of historical evidence is clearly in favour of a
more or less equal temperament when considering fretted instruments
like lutes or viols,
As far as I know, the historical evidence consists mostly of:
1) Actual
On Jun 19, 2008, at 8:18 AM, Roman Turovsky wrote:
A violin sonata by Georg Muffat modulates enharmonically from D
major to Bb major. There goes meantone out the window.
I have no idea what temperament Muffat liked, but those of us who
keep our renaissance lutes in some sort of meantone
Professor Harold Hill wrote:
all this 'quibble' about how to play music is interesting but
pointless.
True enough. There's nothing more pointless than musicians who want
to know what they're doing.
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On Jun 28, 2008, at 5:26 PM, Daniel Shoskes wrote:
As Ray Nurse said yesterday (and I know he was quoting somebody else)
A quick web search will turn up attributions to Elvis Costello,
Laurie Anderson, Frank Zappa, Robyn Hitchcock, Thelonius Monk, Miles
Davis and (don't ask me why) Woody
On Jun 29, 2008, at 6:54 AM, Roman Turovsky wrote:
This strikes me as the second most useless remark ever made about
music, well ahead of the third-place opera in English makes about as
much sense as baseball in Italian. (H.L. Mencken)
You would reconsider the uselessness of it- if you ever
Tony Iommi picked up the guitar as a teenager, after being
inspired by the
likes of Hank Marvin and The Shadows.
Just like Nigel North.
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On Jun 30, 2008, at 4:14 PM, sterling price wrote:
You just might find the left hand fingerings easier on the fingers
than the ren-lute.
But be sure your arthritic joints can handle the right-hand
stretches. Imagine a few more courses on your nine-course.
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On Jul 1, 2008, at 12:38 AM, LGS-Europe wrote:
I don't fly much, but when I do I prefer an extra seat for the
lute. This instrument in its case is just under 140cm, the other
one over 155cm. Size matters in small planes and taxis.
It certainly does. Toy planes are historically incorrect.
On Jul 6, 2008, at 1:27 PM, William Brohinsky wrote:
All of which is said because I really want to be able to
demonstrate that I
could play that theorboed lute as a theorbo when I audition in a
few months.
I've been working the top six courses as an exercise with my classical
guitar
On Jul 7, 2008, at 8:46 AM, William Brohinsky wrote:
Folks, please forgive me, and let this subject drop, now? I had no
intention
of stubbing toes, firing up rwars, or causing people to point fingers.
It is now obvious to me that I did not make the case for what I
want to do
clearly
On Jul 7, 2008, at 2:43 PM, William Brohinsky wrote:
Give me a nice tame electron...
Now I think you're addressing your request to the wrong group.
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On Jul 12, 2008, at 12:37 AM, David Tayler wrote:
You can see the results here for comparison, with the caveat that
this was a very dark room (noticeable grain):
youtube
http://www.youtube.com/watch?v=dcRhaf1i59k
vimeo
http://www.vimeo.com/1318410
Note that this is the *exact* same
On Aug 21, 2008, at 3:01 AM, Taco Walstra wrote:
Maybe it's time that Ritchie should bring out a CD with songs by
Campion or
Dowland. There is perhaps a croatian lutenist available to play the
lute
part.
Martin Barre is Croatian???
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On Sep 4, 2008, at 12:52 PM, Joshua Edward Horn wrote:
I have a question about Theorbos. First off, how it's it pronounced
(there-o-bo)???
Thee-oar-boe, with the initial th as in thick.
and 2nd are the extended strings off the body just plucked and
that's all they are used for?? (no
On Sep 4, 2008, at 1:11 PM, Rob MacKillop wrote:
Looks like an American accent, with that oar in there, Howie. I
would say Thee - or - boe.
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On Sep 4, 2008, at 1:11 PM, Rob MacKillop wrote:
Thee-oar-boe, with the initial th as in thick.
Looks like an American accent, with that oar in there, Howie. I
would say Thee - or - boe. But what do Scots know? [Don't answer that]
Most Americans would pronounce the two spellings the same
I believe the remaining pieces are from the Chilesotti Lute
Book (Da un Codice Lauten-buch), a book of musicologist Oscar
Chilesotti's transcriptions of a lute manuscript, which was published
in 1891. The original lute book has not been available publicly, if
at all, for more than a century.
On Sep 17, 2008, at 5:24 AM, Nigel Solomon wrote:
Even though most surviving theorbos are strung 6 + 8, does anyone
know of any originals strung 8 + 6 as many modern players seem to
prefer?
There are some instruments in the Lute Society of America's database
that appear to be theorbos
On Sep 18, 2008, at 10:59 AM, Ed Durbrow wrote:
When you say it is difficult for you to turn your left hand
completely over, I don't understand what you mean,
Nor I, but it reminds me of The Exorcist.
but if you mean it is difficult to reach around and touch the
frets, you are probably
Leonard Nimoy did indeed take the live long and prosper hand
position from the Birkat Kohanim (Blessing of the Priests)
traditionally said over the congregation by the priests (which is
to say, men descended from priests, the Jewish priesthood having been
otherwise unemployed since the
On Sep 25, 2008, at 11:16 AM, Sauvage Valéry wrote:
And the other evidence (speak with some luthiers) is to try to play
the strings in different places and hear where sound is the best
(objectively, not just as an idea of your ideal sound) Of couse it
depends on the lute, strings and
On Sep 26, 2008, at 11:40 AM, Jeffrey Noonan wrote:
Segovia was merely trying to keep up with the other international
virtuosi of the day (Landowska, among others ), who were unearthing
and performing old, obscure masterpieces--sometimes actual
historical pieces, sometimes new compositions.
On Sep 26, 2008, at 1:03 PM, Sauvage Valéry wrote:
I already tell my opinion on this, and ask luthier about it . Any
luthier on the list ?
The matter of taste of ancient players and listener is unknown now.
You can quote this or that, and who knows what else was said ?
(same with nails
On Sep 27, 2008, at 2:39 PM, Mathias Rösel wrote:
Once you put the lute into a broader frame of 16th century
ensemble, one
might argue that there _was_ kinda ideal sound. On my way through the
museum of musical instruments in Vienna, I learned that in the 16th
century it was Spaltklang.
On Sep 28, 2008, at 5:57 AM, Mathias Rösel wrote:
might argue that there _was_ kinda ideal sound. On my way through
the
museum of musical instruments in Vienna, I learned that in the 16th
century it was Spaltklang.
The obvious question would be who said that?
The museum's iPod 8)
And
On Sep 28, 2008, at 12:24 PM, Arthur Ness wrote:
He argued that Segovia was lying
when he bragged to have commissioned the first guitar concerto of
the 20th
century.
What was this concerto Segovia was supposed to have commissioned?
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On Sep 29, 2008, at 4:22 AM, Mathias Rösel wrote:
Hope that helps so far, as for chapters and verses.
So if I understand correctly, the answer to my question about who
mentioned Spaltklang is that it was 20th-century German
musicologists interpreting the intent of earlier musicians without
Maybe we're talking nonsense because we haven't defined our terms.
Or maybe you assume a clear dichotomy between blending and not
blending; the world is a more complicated place than that.
Indeed, I think the whole notion of a single sound ideal for all of
Europe for a century or more is
On Oct 3, 2008, at 1:21 AM, David Tayler wrote:
Having said that, England was famous for its eye rhymes
You mean all over the Continent in 1600, poets were saying You've
got to go to England and try the eye rhymes?
Or do you mean that modern readers/listeners are struck by the number
of
It's in Volume 7 of the Garland Press English Song 1600-1675, along
with a couple hundred pages of Wilson's songs.
On Oct 6, 2008, at 5:41 AM, Gmail Manuel Minguillon Nieto wrote:
Which is the fastest and easiest way of getting John Wilson
Preludes from manuscript of the Bodleian
Matthew Spring has done a modern edition of the solo pieces in tab
and keyboard transcription
http://diapason.xentonic.org/dp/dp049.html
On Oct 6, 2008, at 7:13 AM, howard posner wrote:
It's in Volume 7 of the Garland Press English Song 1600-1675, along
with a couple hundred pages
Mace actually warns of the dangers of plopping down carelessly on a
bed with a lute in it, remarking that he has seen several lutes
spoil'd with such a trick or words to that effect. I used to have
the passage glued to my lute case, but that was a couple of decades
and a couple of baroque
On Nov 2, 2008, at 9:06 AM, ml wrote:
hi, Howard,
what do you mean with passage glued to my lute case?
I mean I photocopied the pages from Mace, cut out the parts about
keeping the lute in a bed but being careful not to flop down on it,
and glued them to the case.
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On Nov 3, 2008, at 5:11 PM, Roman Turovsky wrote:
And in Russian figa is an obcene gesture of a masculine nature,
consisting of the thumb protruding between index and middle fingers
in a fist.
The fig in English is the same gesture. It comes up a few times in
Shakespeare.
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Who is this?
http://www.youtube.com/watch?v=sG0Hqi8BQYMNR=1
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Actually, this has come up a few times here. At least one of the
listers is a curator. Sorry you had to lug the drum along for nothing.
On Nov 8, 2008, at 6:16 PM, David Tayler wrote:
It is with a mixture of revulsion and delight that I relate the
enzymes of choice for this task acknowledged
So, is the angel in the upper left of this panel from the Sistine
Chapel giving the prophet Zechariah the fig? And did Michelangelo
give Zechariah Pope Julius II's face?
http://www.abcgallery.com/M/michelangelo/michelangelo49.html
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On Nov 9, 2008, at 3:56 PM, [EMAIL PROTECTED] wrote:
Look, if I wanted to read this kind of crap, I'd frequent the
classical
guitar list. This makes this list not worth it for me. With great
reluctance, I have to conclude that, put plainly, either igor
goes or I
go.
Might I
On Nov 26, 2008, at 2:32 PM, David Tayler wrote:
When driving to a concert,
my windshield wiper blew off in a driving rainstorm.
Why was your windshield wiper driving to a concert?
Visibility was
zero, I tied the wiper on with a gut treble.
And how did it sound?
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On Dec 4, 2008, at 12:12 PM, Daniel Winheld wrote:
I glibly assumed (and mentioned
in an email to Stewart) that orpharians bandoras would have had ET
frets, based on my memory of pictures of the Rose the Palmer
instruments- but now I don't trust what I might have missed, since I
wasn't
On Dec 7, 2008, at 10:37 AM, Arthur Ness wrote:
This concept protects some
facsimile editions, as I understand. Thus according to Swiss law,
Mrs. Minkoff can claim copyright not only for the photography but for
the work itself. According to a notice** in her edition of the Siena
MS, it is
On Dec 8, 2008, at 6:54 AM, Spring, aus dem, Rainer wrote:
Would you strike through everything in a book?
It would be a great improvement in many books.
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On Dec 8, 2008, at 8:30 AM, Peter Nightingale wrote:
See Feynman:
http://www.youtube.com/watch?v=_EZcpTTjjXY
Fascinating, captain. A prominent scientist offering two minutes of
meaningless generalities without a single fact. Completely illogical.
Yours truly.
Mr. Spock
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On Dec 9, 2008, at 2:29 PM, Lex van Sante wrote:
However you should note that one cannot run Windows on a PPC- Mac.
I do it all the time using Virtual PC. Not exactly a perfect option...
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On Dec 9, 2008, at 4:47 PM, Lex van Sante wrote:
You mean you have actually been able to use Fronimo with Virtual PC?
I've never tried to use Fronimo.
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On Dec 27, 2008, at 5:14 PM, David Rastall wrote:
but doesn't the English word
tocsin refer to the pealing of a bell?
Yes, but with the sense of alarm. You'd sound a tocsin in case of
attack or fire, not for celebration. That's in English, of course.
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