[LUTE] Re: This list is ending soon!

[Edward Martin]

Wayne, many thanks and we hope you like retirement!

Ed Martin

Sent from my iPhone

> On Sep 30, 2020, at 5:14 AM, Wayne Cripps  wrote:
> 
> Hi Lute People -
> 
>  The Dartmouth lute list is ending in less than three hours.  I certainly 
> have learned a lot from all of you and I thank you all for taking part in it.
> 
>  Wayne
> 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: The lute list is retiring soon

[Edward Martin]

Hi Wayne. 

Thank you for the message, and thank you for giving us many years of service 
through the lute list. If it started as you said in 1998, that is 22 years. It 
seems much longer to me. 

The service you provided has been so meaningful in connecting lute scholars, 
players, and builders. I have made many lasting friendships and have been so 
thankful for all the information presented. Through this list, there has been 
such a great deal of generosity in sharing information, resources, and ideas. 
It has made so many connections for us all. 

Congratulations on your retirement, and thank you for your selfless commitment 
to us all. 

Ed Martin

Sent from my iPhone

> On Aug 22, 2020, at 2:07 PM, Wayne  wrote:
> 
> Hi -
> 
>  I have been running this lute mail list since 1998, and it has been 
> interesting and fun.  Now I am retiring from my job at Dartmouth College, and 
> when I retire the computers that I have run will be shut down.  This includes 
> the  mail servers that run the lute mail list.  So it is time to retire from 
> running the lute mail list too.  I will also be closing my lute web page, my 
> lute tablature page, and "Lutes For Sale" web page.
> 
>  If someone wants to take up running the lute mail list I suggest that they 
> announce it on my list in the next month, while my list is still running.  My 
> list runs using software that I wrote, and I don’t recommend that someone 
> else try to use it.  I don’t know the last day yet, but I will make an 
> announcement when my list actually closes.
> 
>   Wayne
> 
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] R A Manco

[Edward Martin]

   Dear collective wisdom,
   Dan Larson came about  some photos of old lutes from the 20th century,
   and saw among the photos a Dolmetsch theorbo from 1969, but the most
   intriguing  instrument of all was a 13 course baroque lute labeled by a
   builder, R.A. Manco, and it is dated 1937.   There was also an
   anonymous 7-course lute.
   I find it interesting that the back is so beautiful for its time, and
   is of great workmanship;   the top is as predicted, heavy gloss, bridge
   saddles, probably guitar-like tension.   Dan discovered that there was
   an R. A. Manco in New York City in the 1930's, but I Googled R A Manco
   and found nothing.   I did find some connection with Sao Paulo, Brazil,
   but perhaps not the same person, and this connection had nothing to do
   with music.
   Any information on this mysterious  R A Manco is very appreciated!
   Does anyone know anything?
   Best,
   Ed Martin

   --


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[LUTE] Anthony Bailes, Lute Music of the Netherlands

[Edward Martin]

   Dear ones,
   I am interested in getting this recording on the Carpe  Diem label, but
   it is now out of print, and everywhere I tried it is no longer
   available.
   I want the CD, not interested in digital download.   Anyone out there
   willing to sell me their copy?
   Thanks, and wishing wellness to all in these troubled times.
   ed

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[LUTE] Re: Double Top

[Edward Martin]

Two years ago, classic guitar virtuoso Jason Vieaux visited my city and had an 
incredible concert and master class. Jason is a Grammy winning artist. His 
guitar had a double top, and it was perhaps the loudest guitar I have ever 
heard. I played a small passage on it (he offered) and it is incredible, 
robust, a great instrument. 

I wonder if such aesthetics would emote the truly sweet, beautiful sound of our 
concept of how a good lite should sound. 
Ed 

Sent from my iPhone

> On Mar 25, 2020, at 6:21 PM, John Mardinly  wrote:
> 
>    I have heard the terminology ‘composite top' and 'sandwich top' in
>   addition to ‘double top', and they all refer to similar construction,
>   although the earliest ‘double top' guitars used a layer of a hexagonal
>   synthetic material called Nomex in between the two paper thin layers on
>   wood.
> 
>   A. John Mardinly, Ph.D., P.E.
>   Classical Guitarist/Lutenist
> 
>   On Mar 25, 2020, at 9:56 AM, Joachim Lüdtke <[1]jo.lued...@t-online.de>
>   wrote:
> 
>   Dear David, dear list,
>   I was a bit puzzled at first because I know the term double top, but
>   only pointing to instruments like e.g. Marcard guitars with a second,
>   'interior' soundboard. What you describe is what I think is usually
>   called a sandwiched soundboard. Is my terminology too limited or do I
>   use it too strictly?
>   A few weeks ago, before the darn Corona guy rode into town, there were
>   guitar days here in the Hochschule für Kunst und Musik in Bremen, and
>   there were young builders showing their recently finished guitars, and
>   one of the guitar teachers of the Hochschule playing a few measures on
>   each of them. Most sounded excellent, and I am ashamed to say that I
>   couldn't make much difference between the majority of the sounds,
>   neither did I ask for prices …
>   Best from the Hanseatics
>   Joachim
>   -Original-Nachricht-
>   Betreff: [LUTE] Re: Double Top
>   Datum: 2020-03-25T17:44:36+0100
>   Von: "David Smith" <[2]d...@dolcesfogato.com>
>   An: "Tristan von Neumann" <[3]tristanvonneum...@gmx.de>,
>   "[4]lute@cs.dartmouth.edu" <[5]lute@cs.dartmouth.edu>
>   That cost is what a master builder charges for classical guitars -
>   10k-20k is pretty normal. The cost of doing a double top is really not
>   that high. The materials are not expensive and vacuum is used for a lot
>   of other things in the shop. I use it for attaching bridges and holding
>   instruments while French polishing. The Dammann price is based on his
>   reputation and not on it being a double top. You should be able to find
>   good quality double tops starting around 3-4k.
>   As to using it on a lute, you have to like the sound of it because it
>   is clearly not historical. I, personally, do not like the sound of
>   double tops that much. They sacrifice character for volume, imho. But,
>   if you are trying to fill a concert hall without a microphone then
>   there are already a lot of sacrifices being made and the double top is
>   just one more. For a more intimate setting I think it is overkill. The
>   bracing from Trevor Gore (Falcate system -
>   [6]https://urldefense.proofpoint.com/v2/url?u=https-3A__goreguitars.com
>   .au_main_page-5Finnovation-5Fsummary-5Ffalcate-5Fbracing.html=DwIFaQ&
>   c=l45AxH-kUV29SRQusp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvx
>   MmQPq9N6mpKZONBRt90E=ftBiwVy6my8Jghtq9GSLqxpeyK73pixj5LSQEZHAiYQ=hl
>   0F5qUAGqTuToEdzrjzuTjZ3Rl4kFVBRh16ZCVLBts= ) is more interesting. It
>   makes for a very even sound throughout the instrument and provides more
>   volume as well. Would I use it on a lute. Not likely.
>   Anyway, some random thoughts.
>   David
>   -Original Message-
>   From: [7]lute-...@new-old-mail.cs.dartmouth.edu
>   <[8]lute-...@new-old-mail.cs.dartmouth.edu> On Behalf Of Tristan von
>   Neumann
>   Sent: Wednesday, March 25, 2020 9:18 AM
>   To: [9]lute@cs.dartmouth.edu
>   Subject: [LUTE] Re: Double Top
>   For that money, I'd buy a Lute consort...
>   I don't see any advantage...
>   On 25.03.20 11:40, Jurgen Frenz wrote:
> 
> I read about the process to make such an instrument - from memory
> the two slices are glued together under vacuum, to me it sounds like
> quite a costly process. The guitars made by the inventor of this
> technology Matthias Dammann cost 15 000 € a pop.
> Jürgne
> ‐‐‐ Original Message ‐‐‐
> On Wednesday, March 25, 2020 2:04 AM, Mark Probert
> <[10]probe...@gmail.com> wrote:
> 
> John wrote:
> 
> Question is, has this been tried on a lute? Are there any luthiers
> interested in trying?
> 
> Interesting technology. As applied to a lute? Not so sure.
> I suspect someone will but most won't as there is not really any
> advantage and much disadvantage (the lamination process for
> starters,
> workin with nomex or similar, etc.).
> The problem this construction "fixes" is loudness. While there may
> be
> occassions 

[LUTE] Re: Everyone OK?

[Edward Martin]

   Yes, we are well in Northern Minnesota at this point.   I hope all my
   friends on this list are safe and well, please take care of yourselves.
   Ed Martin

   On Wed, Mar 11, 2020 at 2:57 PM guy_and_liz Smith
   <[1]guy_and_...@msn.com> wrote:

 I'm doing fine so far but it's going to be tough on Seattle area
 musicians, early or otherwise, regardless of whether they contract
 the virus. Seattle Early Music just cancelled an International
 Series concert, which is going to be a significant hit to their
 budget. The governor has prohibited events of >250 people in the
 major urban counties in the state, which could very well be
 tightened further. Even if smaller concerts go ahead, their gate is
 going to take a significant hit. People with resources might want to
 consider some additional donations to help keep groups afloat.
 Guy
 -Original Message-
 From: [2]lute-...@new-old-mail.cs.dartmouth.edu
 [mailto:[3]lute-...@new-old-mail.cs.dartmouth.edu] On Behalf Of
 [4]cyndi...@mail.cs.dartmouth.edu
 Sent: Wednesday, March 11, 2020 12:18 PM
 To: [5]tristanvonneum...@gmx.de; [6]lute@cs.dartmouth.edu
 Subject: [LUTE] Re: Everyone OK?
Such kind concern! This is a wonderful group! So far so good for
 me.
Cyndi
-Original Message-
From: Tristan von Neumann <[7]tristanvonneum...@gmx.de>
To: [8]lute@cs.dartmouth.edu <[9]lute@cs.dartmouth.edu>
Sent: Wed, Mar 11, 2020 3:16 pm
Subject: [LUTE] Re: Everyone OK?
I was wondering too...
I'm ok, I just don't have anything controversial to spark a
 discussion
:)
On 11.03.20 20:10, Leonard Williams wrote:
> Things have been rather quiet on the list...I hope everyone
 is OK
> during this stressful period!
> Best regards,
> Leonard Williams
>
> --
>
>
> To get on or off this list see list information at
>
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References

   1. mailto:guy_and_...@msn.com
   2. mailto:lute-...@new-old-mail.cs.dartmouth.edu
   3. mailto:lute-...@new-old-mail.cs.dartmouth.edu
   4. mailto:cyndi...@mail.cs.dartmouth.edu
   5. mailto:tristanvonneum...@gmx.de
   6. mailto:lute@cs.dartmouth.edu
   7. mailto:tristanvonneum...@gmx.de
   8. mailto:lute@cs.dartmouth.edu
   9. mailto:lute@cs.dartmouth.edu
  10. 
https://nam11.safelinks.protection.outlook.com/?url=http://www.cs.dartmouth.edu/~wbc/lute-admin/index.htmldata=02|01||d93dc45852e74a58ad1108d7c5f11287|84df9e7fe9f640afb435|1|0|637195511492519277sdata=v69QYbvHDGQ+v2HraYUiSEzigZikV5wJvUbFCjt7VQ8=reserved=0
  11. 
https://nam11.safelinks.protection.outlook.com/?url=http://www.cs.dartmouth.edu/~wbc/lute-admin/index.htmldata=02|01||d93dc45852e74a58ad1108d7c5f11287|84df9e7fe9f640afb435|1|0|637195511492519277sdata=v69QYbvHDGQ+v2HraYUiSEzigZikV5wJvUbFCjt7VQ8=reserved=0

[LUTE] Re: Unison C string on 8c lutes

[Edward Martin]

   I think you will be surprised at how you will like the 5 th course in
   octaves. Good luck!

   Sent from my iPhone

 On Nov 23, 2019, at 12:34 PM, Jurgen Frenz
  wrote:

   
   Hello Edward,
   thank you very much, I feel encouraged now to "go octaves" all the way
   down from 5th. course.I should consider myself stupid that I hesitated,
   because who is there to judge me apart from myself. I am not competing
   in any academic exercise :-)
   Thank you very  much again, gut is cost-wise prohibitive to me.
   Best regards
   Jurgen
   --
   "Close your eyes. Fall in love. Stay there."

   Jalāl ad-Dīn Muhammad Rumi
   ‐‐‐‐‐‐‐ Original Message ‐‐‐‐‐‐‐
   On Saturday, November 23, 2019 9:16 PM, Edward Martin
wrote:

   Hello Jurgen,
   I agree that in with 8-course lutes, they do tend to not sound as
   brilliant as with octaves.  Of course, it is a compromise, but on my
   8-course lute, I have octaves on 5,6,7, & 8  and like it very much.
   Whatever brand of strings you try, I think you will like the 5th course
   in octaves, as it brightens up the sound.  I do not see it as confusing
   the voices as you say, but adding to the richness and complexity of the
   sound.  Another thing that could very much improve the sound is to use
   gut.  If you do not want gut, at least consider using gut for octaves.

   On Sat, Nov 23, 2019 at 6:19 AM Jurgen Frenz
   <[1]eye-and-ear-cont...@protonmail.com> wrote:

  Hello there,

  I have an 8c lute now since 10 months and from the beginning I'm

  "unhappy" with the sound of the unison C strings on it. I changed
   the

  plain Aquila strings to round-wound Aquilas but to me it sounds
   quite

  the same. What I'm missing is the high frequencies that we have on
   6c

  instruments with the octave string. In my mind I call the current
   sound

  "plastic-y". The maker of the instrument suggested to try out the

  Savarez early music strings but I do not think I would recover high

  frequencies with them.

  Any remedies that you have tried out with success other than "just
   get

  used to it"? An octave string shouldn't be a good idea because it
   would

  confuse voices.

  Hoping for some suggestions,

  Jurgen

  --

  "Close your eyes. Fall in love. Stay there."

  JalÄl ad-DÄ �n Muhammad Rumi

   To get on or off this list see list information at

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

   --

References

   1. mailto:eye-and-ear-cont...@protonmail.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Unison C string on 8c lutes

[Edward Martin]

   Hello Jurgen,
   I agree that in with 8-course lutes, they do tend to not sound as
   brilliant as with octaves.   Of course, it is a compromise, but on my
   8-course lute, I have octaves on 5,6,7, & 8   and like it very much.
   Whatever brand of strings you try, I think you will like the 5th course
   in octaves, as it brightens up the sound.   I do not see it as
   confusing the voices as you say, but adding to the richness and
   complexity of the sound.   Another thing that could very much improve
   the sound is to use gut.   If you do not want gut, at least consider
   using gut for octaves.

   On Sat, Nov 23, 2019 at 6:19 AM Jurgen Frenz
   <[1]eye-and-ear-cont...@protonmail.com> wrote:

Hello there,
I have an 8c lute now since 10 months and from the beginning I'm
"unhappy" with the sound of the unison C strings on it. I changed
 the
plain Aquila strings to round-wound Aquilas but to me it sounds
 quite
the same. What I'm missing is the high frequencies that we have
 on 6c
instruments with the octave string. In my mind I call the current
 sound
"plastic-y". The maker of the instrument suggested to try out the
Savarez early music strings but I do not think I would recover
 high
frequencies with them.
Any remedies that you have tried out with success other than
 "just get
used to it"? An octave string shouldn't be a good idea because it
 would
confuse voices.
Hoping for some suggestions,
Jurgen
--
"Close your eyes. Fall in love. Stay there."
JalÃl ad-DÃ «n Muhammad Rumi
 To get on or off this list see list information at
 [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:eye-and-ear-cont...@protonmail.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Renaissance/Medieval Fairs

[Edward Martin]

Guy,
Thanks for the mention in the Minnesota renaissance festival. I played at it in 
the late 70’s, but discontinued it as it got to be too much. 
Ed

Sent from my iPhone

> On Sep 26, 2019, at 6:07 PM, guy_and_liz Smith  wrote:
> 
> One of the Minnesota Ren Faire's that I went to when I lived there in the 
> early eighties included a booth for Dan Larson, who must have been just 
> starting his business. I nearly ordered one of his six course instruments to 
> replace my old German heavy lute (Steiner), and I wish I had. Apart from 
> that, I haven't seen much in the way of authentic music at any of the Ren 
> Faires that I've attended. It's mostly filk singing (spelling is correct...), 
> random folk music, and Celtic music, especially the headliners.
> 
> That said, I've always enjoyed them, but more in the sense of "recreating the 
> Middle Ages as they should have been".
> 
> Guy
> 
> 
> -Original Message-
> From: lute-...@new-old-mail.cs.dartmouth.edu 
> [mailto:lute-...@new-old-mail.cs.dartmouth.edu] On Behalf Of Daniel Shoskes
> Sent: Thursday, September 26, 2019 3:31 PM
> To: Chris Wilke
> Cc: Lute List
> Subject: [LUTE] Re: Renaissance/Medieval Fairs
> 
> A few years ago I went to the Great Lakes Medieval Fair with my kids with 
> zero expectation of seeing anything remotely historically lutenistic. Sure 
> enough, in the distance I saw someone playing a lute. As I got closer I saw 
> that it had real tied gut frets. Closer still and the performer was clearly 
> playing thumb under and I could hear real Dowland.
> 
> Turns out it was Oberlin lutenist Michael Manderen. He plays lute and gamba 
> at Great Lakes and also the Michigan Renaissance Fair. Careful with those 
> bets Chris!
> 
> Danny
> 
>> On Sep 26, 2019, at 4:44 PM, Christopher Wilke 
>>  wrote:
>> 
>>  One of those "Ye Olde Renaissance Fayres" once made me some easy money.
>>  I attended with a friend who was a classical guitarist. I was going
>>  just for the fun of it with no expectation of historical accuracy. My
>>  friend said, "I'll bet YOU'RE super excited to be here." I asked why he
>>  thought I'd be so especially enthusiastic about the event. "Because
>>  you'll get your fill of lutes," he replied. I said I'd be surprised to
>>  see a single lute. He bet me $50 we would. I had a real nice dinner
>>  that night.
>> 
>>  Chris
>>  [1]Sent from Yahoo Mail for iPhone
>> 
>>  On Thursday, September 26, 2019, 10:00 AM, Braig, Eugene
>>   wrote:
>> 
>>  "Lucky America: having looked through musical performances at
>>  Renaissance Fairs, we see many ensembles actually performing
>>  appropriate songs and dances."
>> 
>>  This may be a bit too generous.  Some make/made real efforts (for
>>  example, spanning two or three decades, Ohio State University [OSU]
>>  held a "Renaissance Faire" that strove to book performers of 16th and
>>  17th music).  However, most feature performers in renaissance garb,
>>  badly aping modern cockney accents, and strumming new songs in
>>  imitation of Irish drinking tunes on modern steel-string guitars.  Even
>>  OSU's went the "fantasy" route around a decade or two ago andâafter a
>>  total run of 45 yearsâfinally ceased to exist by 2019.
>> 
>>  In OSU's ren-faire glory days, I approached a friend who specialized in
>>  English lute music.  I wanted to split a set with her playing
>>  Elizabethan lute pieces (she has a lovely 7-course Watanabe) and me
>>  playing vihuela music on, of all things, vihuela (pre-Chambure
>>  discovery, mine is based on iconography) to highlight the "armada"
>>  conflict.  It never came together, and I have thus never played such a
>>  "faire."  Not owning a period costume, I don't really have the
>>  incentive any longer.
>> 
>>  Eugene
>> 
>>  -Original Message-
>> 
>>  From: [2]lute-...@new-old-mail.cs.dartmouth.edu
>>  <[3]lute-...@new-old-mail.cs.dartmouth.edu> On Behalf Of Tristan von
>>  Neumann
>> 
>>  Sent: Thursday, September 26, 2019 9:30 AM
>> 
>>  To: [4]lute@cs.dartmouth.edu
>> 
>>  Subject: [LUTE] Renaissance/Medieval Fairs
>> 
>>  So here's something different for a change.
>> 
>>  Why is it that in the US there are "Renfairs", all dedicated to mainly
>>  the 16th century (and some really stretching it by allowing some
>>  fantasy elements), while in Germany we only have "Mittelaltermärkte"
>>  (Medieval Fairs).
>> 
>>  What I don't like about the Medieval Fairs in Germany (though some are
>>  quite good and only allow painstakingly recreated authentic stuff), is
>>  the music.
>> 
>>  Since we don't know much about instrumental music of the Middle Ages,
>>  many people take this as an excuse to brutally treat the crowd with
>>  Techno-like monster beats by huge drums and ear-shattering bagpiping.
>> 
>>  I have very rarely heard "real" Medival Music apart from some Walter
>>  von der Vogelweide favourites and the occasional Oswald von
>>  Wolkenstein.
>> 
>>  Even the popular "Estampies" are rarely heard, and we rarely get even
>>  

[LUTE] Re: string suppliers in the USA

[Edward Martin]

Gamut sells gut and nylon but not nylgut strings. 

Ed

Sent from my iPhone

> On Sep 23, 2019, at 10:56 AM, David Smith  wrote:
> 
> AquilaUSA distributes from Portland Oregon. Gamut strings does gut from 
> Minnesota.
> There are others.
> David
> 
> Sent from my iPhone
> 
>> On Sep 23, 2019, at 8:35 AM, Martin Shepherd  wrote:
>> 
>> Hi All,
>> 
>> If you live in the US, can you tell me where you buy strings (nylgut, nylon, 
>> gut, etc) in the US?
>> 
>> Aquilausa seems to be just a link to the producer, but I'd be glad to be 
>> corrected.  I'm looking for an easy-to-use online shop.
>> 
>> Thanks,
>> 
>> Martin
>> 
>> 
>> ---
>> This email has been checked for viruses by Avast antivirus software.
>> https://www.avast.com/antivirus
>> 
>> 
>> 
>> To get on or off this list see list information at
>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> 

[LUTE] Re: Hender Robarts Book

[Edward Martin]

   Hello Art,
   So good to hear from you.   Yes, thank you for the mention of Wallace
   Rrave's dissertation.   Yes, the Robarts book was discovered after his
   dissertation, but it is still an excellent reference.
   Best,
   ed

   On Fri, Aug 23, 2019 at 11:30 AM Arthur Ness
   <[1]arthurjn...@mail.cs.dartmouth.edu> wrote:

Not to be overlooked is Wallace Rave's dissertation, a thorough
 study
of the sources,
"Some Manuscripts of French Lute Music 1630-1700: An Introductory
Study"
(Ph.D. diss., U of Illinois, Urbana, 1972). 459 pp.
Dissertation Express, ProQuest #7310031.
Alas the Hender Robarts ms was discovered too late for inclusion
 in the
dissertation.
Arthur
-Original Message-
    From: Edward Martin <[2]edvihuel...@gmail.com>
To: Matthew Daillie <[3]dail...@club-internet.fr>
Cc: lute net <[4]lute@cs.dartmouth.edu>
Sent: Fri, Aug 23, 2019 8:32 am
Subject: [LUTE] Re: Hender Robarts Book
  Dear   Matthew, Martin, and Jean-Marie,
  Thank you for your responses very much.   I have Coelho's book,
 and I
  looked at the article by Wallace Rave, and it did supply some
  additional information.
  This book, being a major source of the works of Ennemond
 Gaultier, is
  quite fascinating, as it gives us a glimpse into seeing a book
 penned
  by a professional lute teacher in the mid 17th century. This
 teacher
  did not include works of his own - perhaps he did not compose
 at all.
  Rave provides a comparison in a Courante, comparing the
 Perrine,
  "Pieces", and Robarts versions and some of the fine details in
 their
  differences.   "Bourgaise" seems certainly to have been an
 excellent
  teacher.
  Thanks to all of you!
  ed
  On Fri, Aug 23, 2019 at 3:08 AM Matthew Daillie
  <[1][1][5]dail...@club-internet.fr> wrote:
Dear Ed,
I suspect that Claude Chauvel and Franà §ois-Pierre Goy would
 be
among the most well-informed experts to contact for further
information. I shall try to get the contact details for the
 former
and send them to you off list (I doubt that he is online).
In the meantime, there is an article by Wallace Rave in
 Victor
Coelho's 'Performance on Lute, Guitar and Vihuela' which has
 a
section on performance instructions in the Robarts Lute Book,
 if
that is of any interest.
Best,
    Matthew
Le 23 aoà »t 2019 à   02:59, Edward Martin
<[2][2][6]edvihuel...@gmail.com>
a à ©crit :
> Dear Ones,
> I have owned the Boethius edition of The Robarts Lute
 Book,
and
I am
> interested in it, as the music contained seems to be of
 very
high
> quality, and the majority of the pieces are by Vieux
 Gaultier.
All
> the music is for 11-course French baroque lute.
> I am wondering if there have been any papers written
 about
this
book.
> In the front of the book it states that this MS was
 discovered
in a
> drawer at Lanhydrock House, the Robarts family home in
Cornwall. It
> had been in the possession of that locale since it had
 been
written out
> for Hender Bobarts (1635-1685). Apparently, he
 traveled to
France in
> 1654 with his brothers and had lute lessons with a
 certain
"Bourgaise"
> on this or subsequent visits. Apparently there are
 further
details by
> Robert Spencer, A Lute Misic Discovery at Lanhydrock,
 The
National
> Trust Year Book 1975-6, pp.88-90. I have not been
 able to
find this
> paper.
> Written in French, in the prelim., The lute teacher of
 Hender
robarts
> signs himself as Bourgaise, presumably a French
 spelling of
the
Italian
> Bourghese. Apparently in the Rene Milleran Lute
 Book, Mr.
Bourghsaisi
> is listed among "principaux maitres" for lute at the
 time, so
he was
> perhaps highly regarded.
> I am wondering, is there any additional research
     ava

[LUTE] Re: Hender Robarts Book

[Edward Martin]

   Dear  Matthew, Martin, and Jean-Marie,
   Thank you for your responses very much.   I have Coelho's book, and I
   looked at the article by Wallace Rave, and it did supply some
   additional information.
   This book, being a major source of the works of Ennemond Gaultier, is
   quite fascinating, as it gives us a glimpse into seeing a book penned
   by a professional lute teacher in the mid 17th century. This teacher
   did not include works of his own - perhaps he did not compose at all.
   Rave provides a comparison in a Courante, comparing the Perrine,
   "Pieces", and Robarts versions and some of the fine details in their
   differences.   "Bourgaise" seems certainly to have been an excellent
   teacher.
   Thanks to all of you!
   ed

   On Fri, Aug 23, 2019 at 3:08 AM Matthew Daillie
   <[1]dail...@club-internet.fr> wrote:

 Dear Ed,
 I suspect that Claude Chauvel and François-Pierre Goy would be
 among the most well-informed experts to contact for further
 information. I shall try to get the contact details for the former
 and send them to you off list (I doubt that he is online).
 In the meantime, there is an article by Wallace Rave in Victor
 Coelho's 'Performance on Lute, Guitar and Vihuela' which has a
 section on performance instructions in the Robarts Lute Book, if
 that is of any interest.
 Best,
 Matthew
 Le 23 août 2019 à 02:59, Edward Martin <[2]edvihuel...@gmail.com>
 a écrit :
 >Dear Ones,
 >I have owned the Boethius edition of The Robarts Lute Book, and
 I am
 >interested in it, as the music contained seems to be of very
 high
 >quality, and the majority of the pieces are by Vieux Gaultier.
All
 >the music is for 11-course French baroque lute.
 >I am wondering if there have been any papers written about this
 book.
 >In the front of the book it states that this MS was discovered
 in a
 >drawer at Lanhydrock House, the Robarts family home in
 Cornwall.It
 >had been in the possession of that locale since it had been
 written out
 >for Hender Bobarts (1635-1685).Apparently, he traveled to
 France in
 >1654 with his brothers and had lute lessons with a certain
 "Bourgaise"
 >on this or subsequent visits.Apparently there are further
 details by
 >Robert Spencer, A Lute Misic Discovery at Lanhydrock, The
 National
 >Trust Year Book 1975-6, pp.88-90.I have not been able to
 find this
 >paper.
 >Written in French, in the prelim., The lute teacher of Hender
 robarts
 >signs himself as Bourgaise, presumably a French spelling of the
 Italian
 >Bourghese.Apparently in the Rene Milleran Lute Book, Mr.
 Bourghsaisi
 >is listed among "principaux maitres" for lute at the time, so
 he was
 >perhaps highly regarded.
 >I am wondering, is there any additional research available
 about
 >Robarts and Bourgaise, or Bourgsaisi?
 >Thanks in advance.
 >Edward Martin
 >.
 >
 >--
 >
 >
 > 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:dail...@club-internet.fr
   2. mailto:edvihuel...@gmail.com
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Hender Robarts Book

[Edward Martin]

   Dear Ones,
   I have owned the Boethius edition of The Robarts Lute Book, and I am
   interested in it, as the music contained seems to be of very high
   quality, and the majority of the pieces are by Vieux Gaultier.   All
   the music is for 11-course French baroque lute.
   I am wondering if there have been any papers written about this book.
   In the front of the book it states that this MS was discovered in a
   drawer at Lanhydrock House, the Robarts family home in Cornwall.   It
   had been in the possession of that locale since it had been written out
   for Hender Bobarts (1635-1685).   Apparently, he traveled to France in
   1654 with his brothers and had lute lessons with a certain "Bourgaise"
   on this or subsequent visits.   Apparently there are further details by
   Robert Spencer, A Lute Misic Discovery at Lanhydrock, The National
   Trust Year Book 1975-6, pp.88-90.   I have not been able to find this
   paper.
   Written in French, in the prelim., The lute teacher of Hender robarts
   signs himself as Bourgaise, presumably a French spelling of the Italian
   Bourghese.   Apparently in the Rene Milleran Lute Book, Mr. Bourghsaisi
   is listed among "principaux maitres" for lute at the time, so he was
   perhaps highly regarded.
   I am wondering, is there any additional research available about
   Robarts and Bourgaise, or Bourgsaisi?
   Thanks in advance.
   Edward Martin
   .

   --


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

[LUTE] Re: Julian Bream on Lute

[Edward Martin]

Yes, correct

Sent from my iPhone

> On Jun 25, 2019, at 5:09 PM, John Mardinly  wrote:
> 
> The initials “RM” are engraved on the top at the end of the fingerboard.
> 
> A. John Mardinly, Ph.D., P.E.
> 
> 
>> On Jun 25, 2019, at 3:06 PM, Edward Martin  wrote:
>> 
>> Thank you Jo. I do not think I need to investigate further as this is 
>> probably made by them. 
>> 
>> Sent from my iPhone
>> 
>>> On Jun 25, 2019, at 4:58 PM,  
>>>  wrote:
>>> 
>>> Dear Edward,
>>> 
>>> there are many Meinl - one ‎came from a region in Saxonia where many 
>>> instrument builders were working into what was then West Germany and opened 
>>> the firm Meinl & Lauber which ist still existing. No plucked strings 
>>> though, but in the former GDR lutes of the "intermediary" type where built 
>>> by Workshops run by the socialist state, sometimes under the name of former 
>>> owners, sometimes using the names just as labels. Your lute will have come 
>>> from one of these shops. I am not sure how production was run there but I 
>>> suspect that if your lute was built by an individual builder (as opposed to 
>>> being assembled by a group where one did bending the ribs, one glueing them 
>>> together a.s.o.) his name would not have been Meinl. You might learn more 
>>> by asking the stuff of the Musikinstrumentenmuseum Markneukirchen.
>>> 
>>> Best
>>> Jo the Lone Luter
>>> 
>>> Gesendet von meinem BlackBerry 10-Smartphone.
>>> Originalnachricht  
>>> Von: Edward Martin
>>> Gesendet: Dienstag, 25. Juni 2019 23:11
>>> An: Christopher Stetson
>>> Antwort an: lute-...@cs.dartmouth.edu
>>> Cc: Lute List
>>> Betreff: [LUTE] Re: Julian Bream on Lute
>>> 
>>> 
>>> Speaking of that very lute, I recall it was made by “Meinl”. Does anyone 
>>> know anything about Meinl?  Was the instrument constructed by an individual 
>>> builder of that name, or was Meinl the name of a company?
>>> 
>>> I am curious. I bought that lute 42-43 years ago, and it was built by an 
>>> individual, is Meinl still alive?
>>> 
>>> Sent from my iPhone
>>> 
>>>> On Jun 25, 2019, at 12:30 PM, Christopher Stetson 
>>>>  wrote:
>>>> 
>>>> Sellers often don't pay much attention to such matters, and many seem
>>>> to think that "rosewood" gets more views.   Or they might have just
>>>> copied it from a Roosebeck listing.
>>>> 
>>>> On Tue, Jun 25, 2019 at 11:47 AM Daniel Heiman
>>>> <[1]heiman.dan...@juno.com> wrote:
>>>> 
>>>>  Interesting that it is described as rosewood, when it looks an awful
>>>>  lot
>>>>  like curly maple, and the description says 16 strings for a
>>>>  conventionally
>>>>  strung 8-course Renaissance lute with 15 strings total.
>>>>  Daniel
>>>>  -Original Message-
>>>>  From: [2]lute-...@cs.dartmouth.edu
>>>>  [mailto:[3]lute-...@cs.dartmouth.edu] On Behalf
>>>>  Of Edward Martin
>>>>  Sent: Monday, June 24, 2019 11:08 PM
>>>>  To: Christopher Stetson <[4]christophertstet...@gmail.com>
>>>>  Cc: [5]lute@cs.dartmouth.edu
>>>>  Subject: [LUTE] Re: Julian Bream on Lute
>>>> Christopher and all,
>>>> Thanks for putting that e-bay link for the old Bream style lute.
>>>> I
>>>> looked at the photos, and the instrument looked somewhat
>>>>  familiar.
>>>> Low and behold, I saw a familiar name on the case - Edward A.
>>>>  Martin!
>>>> That was my first lute,I purchased it on consignment back in
>>>>  about
>>>> 1976 from a guitar shop in Minneapolis, the Podium!I recall
>>>>  selling
>>>> it to someone, and I see it is still around!How interesting!
>>>> It
>>>> was made by someone by the name Meinl from (at the time) East
>>>>  Germany.
>>>> Thanks, a nice trip down memory lane!!
>>>> ed
>>>> On Mon, Jun 24, 2019 at 10:39 PM Christopher Stetson
>>>> <[1][6]christophertstet...@gmail.com> wrote:
>>>>  Hello, all. So far I've been lurking on this interesting
>>>>   topic. As
>>>>  a lutenist of "that generation" I, too, was inspired by
>

[LUTE] Re: Julian Bream on Lute

[Edward Martin]

Thank you Jo. I do not think I need to investigate further as this is probably 
made by them. 

Sent from my iPhone

> On Jun 25, 2019, at 4:58 PM,  
>  wrote:
> 
> Dear Edward,
> 
> there are many Meinl - one ‎came from a region in Saxonia where many 
> instrument builders were working into what was then West Germany and opened 
> the firm Meinl & Lauber which ist still existing. No plucked strings though, 
> but in the former GDR lutes of the "intermediary" type where built by 
> Workshops run by the socialist state, sometimes under the name of former 
> owners, sometimes using the names just as labels. Your lute will have come 
> from one of these shops. I am not sure how production was run there but I 
> suspect that if your lute was built by an individual builder (as opposed to 
> being assembled by a group where one did bending the ribs, one glueing them 
> together a.s.o.) his name would not have been Meinl. You might learn more by 
> asking the stuff of the Musikinstrumentenmuseum Markneukirchen.
> 
> Best
> Jo the Lone Luter
> 
> Gesendet von meinem BlackBerry 10-Smartphone.
>   Originalnachricht  
> Von: Edward Martin
> Gesendet: Dienstag, 25. Juni 2019 23:11
> An: Christopher Stetson
> Antwort an: lute-...@cs.dartmouth.edu
> Cc: Lute List
> Betreff: [LUTE] Re: Julian Bream on Lute
> 
> 
> Speaking of that very lute, I recall it was made by “Meinl”. Does anyone know 
> anything about Meinl?  Was the instrument constructed by an individual 
> builder of that name, or was Meinl the name of a company?
> 
> I am curious. I bought that lute 42-43 years ago, and it was built by an 
> individual, is Meinl still alive?
> 
> Sent from my iPhone
> 
>> On Jun 25, 2019, at 12:30 PM, Christopher Stetson 
>>  wrote:
>> 
>>  Sellers often don't pay much attention to such matters, and many seem
>>  to think that "rosewood" gets more views.   Or they might have just
>>  copied it from a Roosebeck listing.
>> 
>>  On Tue, Jun 25, 2019 at 11:47 AM Daniel Heiman
>>  <[1]heiman.dan...@juno.com> wrote:
>> 
>>Interesting that it is described as rosewood, when it looks an awful
>>lot
>>like curly maple, and the description says 16 strings for a
>>conventionally
>>strung 8-course Renaissance lute with 15 strings total.
>>Daniel
>>-Original Message-
>>From: [2]lute-...@cs.dartmouth.edu
>>[mailto:[3]lute-...@cs.dartmouth.edu] On Behalf
>>Of Edward Martin
>>Sent: Monday, June 24, 2019 11:08 PM
>>To: Christopher Stetson <[4]christophertstet...@gmail.com>
>>Cc: [5]lute@cs.dartmouth.edu
>>Subject: [LUTE] Re: Julian Bream on Lute
>>   Christopher and all,
>>   Thanks for putting that e-bay link for the old Bream style lute.
>>   I
>>   looked at the photos, and the instrument looked somewhat
>>familiar.
>>   Low and behold, I saw a familiar name on the case - Edward A.
>>Martin!
>>   That was my first lute,I purchased it on consignment back in
>>about
>>   1976 from a guitar shop in Minneapolis, the Podium!I recall
>>selling
>>   it to someone, and I see it is still around!How interesting!
>>   It
>>   was made by someone by the name Meinl from (at the time) East
>>Germany.
>>   Thanks, a nice trip down memory lane!!
>>   ed
>>   On Mon, Jun 24, 2019 at 10:39 PM Christopher Stetson
>>   <[1][6]christophertstet...@gmail.com> wrote:
>>Hello, all. So far I've been lurking on this interesting
>> topic. As
>>a lutenist of "that generation" I, too, was inspired by
>>Bream,
>> along
>>with Schaeffer, Ragossnig, and Gerwig. I remember
>>talking with
>> my
>>friend who is now a respected medieval lutenist and teacher,
>> probably
>>around 1975. He said, "I know it's fashionable to
>>pooh-pooh
>> Julian
>>Bream's playing style, but when you listen to him playing a
>> Francesco
>>Ricercar, you can hear every voice." I was lucky enough
>>to see
>> him
>>perform at about the same time. He had his quirks (who
>> doesn't?), and
>>he was trying to make a living, but his playing was
>>inspiring
>> and, if I
>>may use an over-used word, awesome. Coincidentally,
>>there's a

[LUTE] Re: Julian Bream on Lute

[Edward Martin]

Speaking of that very lute, I recall it was made by “Meinl”. Does anyone know 
anything about Meinl?  Was the instrument constructed by an individual builder 
of that name, or was Meinl the name of a company?

I am curious. I bought that lute 42-43 years ago, and it was built by an 
individual, is Meinl still alive?

Sent from my iPhone

> On Jun 25, 2019, at 12:30 PM, Christopher Stetson 
>  wrote:
> 
>   Sellers often don't pay much attention to such matters, and many seem
>   to think that "rosewood" gets more views.   Or they might have just
>   copied it from a Roosebeck listing.
> 
>   On Tue, Jun 25, 2019 at 11:47 AM Daniel Heiman
>   <[1]heiman.dan...@juno.com> wrote:
> 
> Interesting that it is described as rosewood, when it looks an awful
> lot
> like curly maple, and the description says 16 strings for a
> conventionally
> strung 8-course Renaissance lute with 15 strings total.
> Daniel
> -Original Message-
> From: [2]lute-...@cs.dartmouth.edu
>     [mailto:[3]lute-...@cs.dartmouth.edu] On Behalf
> Of Edward Martin
> Sent: Monday, June 24, 2019 11:08 PM
> To: Christopher Stetson <[4]christophertstet...@gmail.com>
> Cc: [5]lute@cs.dartmouth.edu
> Subject: [LUTE] Re: Julian Bream on Lute
>Christopher and all,
>Thanks for putting that e-bay link for the old Bream style lute.
>I
>looked at the photos, and the instrument looked somewhat
> familiar.
>Low and behold, I saw a familiar name on the case - Edward A.
> Martin!
>That was my first lute,I purchased it on consignment back in
> about
>1976 from a guitar shop in Minneapolis, the Podium!I recall
> selling
>it to someone, and I see it is still around!How interesting!
>It
>was made by someone by the name Meinl from (at the time) East
> Germany.
>Thanks, a nice trip down memory lane!!
>ed
>On Mon, Jun 24, 2019 at 10:39 PM Christopher Stetson
><[1][6]christophertstet...@gmail.com> wrote:
> Hello, all. So far I've been lurking on this interesting
>  topic. As
> a lutenist of "that generation" I, too, was inspired by
> Bream,
>  along
> with Schaeffer, Ragossnig, and Gerwig. I remember
> talking with
>  my
> friend who is now a respected medieval lutenist and teacher,
>  probably
> around 1975. He said, "I know it's fashionable to
> pooh-pooh
>  Julian
> Bream's playing style, but when you listen to him playing a
>  Francesco
> Ricercar, you can hear every voice." I was lucky enough
> to see
>  him
> perform at about the same time. He had his quirks (who
>  doesn't?), and
> he was trying to make a living, but his playing was
> inspiring
>  and, if I
> may use an over-used word, awesome. Coincidentally,
> there's a
> Bream-style lute currently up on Ebay:
> 
> [1][2][7]https://www.ebay.com/itm/Vintage-Rosewood-16-String-Lute-Wi
> th-
>  Hard-C
> ase/233268737420?hash=item364fe6758c:g:U4cAAOSw98Rc~WS8
> Best, and keep playing.
> Chris.
> On Sun, Jun 23, 2019 at 4:50 PM John Mardinly
> <[2][3][8]john.mardi...@asu.edu> wrote:
>  I have always liked what Vladimir Horowitz said of
> practice:
>  "If
>   I miss
>  a day, I can tell. If I miss two days, my wife can
> tell. If
>  I
>   miss 3
>  days, everyone can tell."
>  A. John Mardinly, Ph.D., P.E.
>  On Jun 23, 2019, at 4:43 AM, Roland Hayes
>  <[1][3][4][9]rha...@legalaidbuffalo.org> wrote:
>When asked why he practiced three hours a day at age
> 85
>  Pablo
>   Casals
>said "because I think I am getting better"
>Get [1]Outlook for Android
> 
> __
>From: [2][4][5][10]lute-...@cs.dartmouth.edu
>   <[3][5][6][11]lute-...@cs.dartmouth.edu> on
>  behalf
>of Leonard Williams
> <[4][6][7][12]arc...@cs.dartmouth.edu>
>Sent: Sunday, June 23, 2019 7:30:40 AM
>To: [5][7][8][13]lu

[LUTE] Re: Julian Bream on Lute

[Edward Martin]

Yes, an 8 course instrument. I think it is maple. It is intriguing, I might 
contact the seller out of curiosity. I sold it on consignment at the same shop 
where it had been purchased. It is so curious that the instrument ended up in 
my home city. 

Sent from my iPhone

> On Jun 25, 2019, at 10:41 AM, Daniel Heiman  wrote:
> 
> Interesting that it is described as rosewood, when it looks an awful lot
> like curly maple, and the description says 16 strings for a conventionally
> strung 8-course Renaissance lute with 15 strings total.
> 
> Daniel
> 
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
> Of Edward Martin
> Sent: Monday, June 24, 2019 11:08 PM
> To: Christopher Stetson 
> Cc: lute@cs.dartmouth.edu
> Subject: [LUTE] Re: Julian Bream on Lute
> 
>   Christopher and all,
>   Thanks for putting that e-bay link for the old Bream style lute.   I
>   looked at the photos, and the instrument looked somewhat familiar.
>   Low and behold, I saw a familiar name on the case - Edward A. Martin!
>   That was my first lute,   I purchased it on consignment back in about
>   1976 from a guitar shop in Minneapolis, the Podium!   I recall selling
>   it to someone, and I see it is still around!   How interesting!   It
>   was made by someone by the name Meinl from (at the time) East Germany.
> 
>   Thanks, a nice trip down memory lane!!
>   ed
> 
>   On Mon, Jun 24, 2019 at 10:39 PM Christopher Stetson
>   <[1]christophertstet...@gmail.com> wrote:
> 
>Hello, all.So far I've been lurking on this interesting
> topic.As
>a lutenist of "that generation" I, too, was inspired by Bream,
> along
>with Schaeffer, Ragossnig, and Gerwig.I remember talking with
> my
>friend who is now a respected medieval lutenist and teacher,
> probably
>around 1975.He said, "I know it's fashionable to pooh-pooh
> Julian
>Bream's playing style, but when you listen to him playing a
> Francesco
>Ricercar, you can hear every voice."I was lucky enough to see
> him
>perform at about the same time.He had his quirks (who
> doesn't?), and
>he was trying to make a living, but his playing was inspiring
> and, if I
>may use an over-used word, awesome.Coincidentally, there's a
>Bream-style lute currently up on Ebay:
> 
> [1][2]https://www.ebay.com/itm/Vintage-Rosewood-16-String-Lute-With-
> Hard-C
>ase/233268737420?hash=item364fe6758c:g:U4cAAOSw98Rc~WS8
>Best, and keep playing.
>Chris.
>On Sun, Jun 23, 2019 at 4:50 PM John Mardinly
><[2][3]john.mardi...@asu.edu> wrote:
> I have always liked what Vladimir Horowitz said of practice:
> "If
>  I miss
> a day, I can tell. If I miss two days, my wife can tell. If
> I
>  miss 3
> days, everyone can tell."
> A. John Mardinly, Ph.D., P.E.
> On Jun 23, 2019, at 4:43 AM, Roland Hayes
> <[1][3][4]rha...@legalaidbuffalo.org> wrote:
>   When asked why he practiced three hours a day at age 85
> Pablo
>  Casals
>   said "because I think I am getting better"
>   Get [1]Outlook for Android
> 
> __
>   From: [2][4][5]lute-...@cs.dartmouth.edu
>  <[3][5][6]lute-...@cs.dartmouth.edu> on
> behalf
>   of Leonard Williams <[4][6][7]arc...@cs.dartmouth.edu>
>   Sent: Sunday, June 23, 2019 7:30:40 AM
>   To: [5][7][8]lute@cs.dartmouth.edu
>   Subject: [LUTE] Re: Julian Bream on Lute
>  Doctors and lawyers practice because they know what
> they're
>  doing;
> I
>  practice because I don't. (after 40 years, but you're
> way
>  ahead of
>   me ,
>  Martin!)
>  Leonard Williams
>  -Original Message-
>  From: Alain Veylit <[6][8][9]al...@musickshandmade.com>
>  To: Lute List <[7][9][10]lute@cs.dartmouth.edu>
>  Sent: Sun, Jun 23, 2019 3:23 am
>  Subject: [LUTE] Re: Julian Bream on Lute
>  Isn't that what keeps it interesting though?
>  On 6/22/19 1:50 PM, Martin Shepherd wrote:
>   This reminds me that even after 40 years I'm still hardly
>

[LUTE] Re: Julian Bream on Lute

[Edward Martin]

   Christopher and all,
   Thanks for putting that e-bay link for the old Bream style lute.   I
   looked at the photos, and the instrument looked somewhat familiar.
   Low and behold, I saw a familiar name on the case - Edward A. Martin!
   That was my first lute,   I purchased it on consignment back in about
   1976 from a guitar shop in Minneapolis, the Podium!   I recall selling
   it to someone, and I see it is still around!   How interesting!   It
   was made by someone by the name Meinl from (at the time) East Germany.

   Thanks, a nice trip down memory lane!!
   ed

   On Mon, Jun 24, 2019 at 10:39 PM Christopher Stetson
   <[1]christophertstet...@gmail.com> wrote:

Hello, all.So far I've been lurking on this interesting
 topic.As
a lutenist of "that generation" I, too, was inspired by Bream,
 along
with Schaeffer, Ragossnig, and Gerwig.I remember talking with
 my
friend who is now a respected medieval lutenist and teacher,
 probably
around 1975.He said, "I know it's fashionable to pooh-pooh
 Julian
Bream's playing style, but when you listen to him playing a
 Francesco
Ricercar, you can hear every voice."I was lucky enough to see
 him
perform at about the same time.He had his quirks (who
 doesn't?), and
he was trying to make a living, but his playing was inspiring
 and, if I
may use an over-used word, awesome.Coincidentally, there's a
Bream-style lute currently up on Ebay:

 [1][2]https://www.ebay.com/itm/Vintage-Rosewood-16-String-Lute-With-
 Hard-C
ase/233268737420?hash=item364fe6758c:g:U4cAAOSw98Rc~WS8
Best, and keep playing.
Chris.
On Sun, Jun 23, 2019 at 4:50 PM John Mardinly
<[2][3]john.mardi...@asu.edu> wrote:
 I have always liked what Vladimir Horowitz said of practice:
 "If
  I miss
 a day, I can tell. If I miss two days, my wife can tell. If
 I
  miss 3
 days, everyone can tell."
 A. John Mardinly, Ph.D., P.E.
 On Jun 23, 2019, at 4:43 AM, Roland Hayes
 <[1][3][4]rha...@legalaidbuffalo.org> wrote:
   When asked why he practiced three hours a day at age 85
 Pablo
  Casals
   said "because I think I am getting better"
   Get [1]Outlook for Android

 __
   From: [2][4][5]lute-...@cs.dartmouth.edu
  <[3][5][6]lute-...@cs.dartmouth.edu> on
 behalf
   of Leonard Williams <[4][6][7]arc...@cs.dartmouth.edu>
   Sent: Sunday, June 23, 2019 7:30:40 AM
   To: [5][7][8]lute@cs.dartmouth.edu
   Subject: [LUTE] Re: Julian Bream on Lute
  Doctors and lawyers practice because they know what
 they're
  doing;
 I
  practice because I don't. (after 40 years, but you're
 way
  ahead of
   me ,
  Martin!)
  Leonard Williams
  -Original Message-
  From: Alain Veylit <[6][8][9]al...@musickshandmade.com>
  To: Lute List <[7][9][10]lute@cs.dartmouth.edu>
  Sent: Sun, Jun 23, 2019 3:23 am
  Subject: [LUTE] Re: Julian Bream on Lute
  Isn't that what keeps it interesting though?
  On 6/22/19 1:50 PM, Martin Shepherd wrote:
   This reminds me that even after 40 years I'm still hardly
   beginning
  to
   understand how to do this.
  To get on or off this list see list information at

 [1][8][10][11]https://urldefense.proofpoint.com/v2/url?u=http-3A__ww
 w.cs
  .d

 artmouth.edu_-7Ewbc_lute-2Dadmin_index.html=DwIBAg=l45AxH-kUV29S
  RQu

 sp9vYR0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONB
  Rt9

 0E=iSHc9T6NAYlPSaJ_FUpst7DZjJ64Ozramk8vNhmF-fk=lQEGcZd5K4u6dRSlB
  MTH
 c8kU9pVWk1yTHA3g4oGquvA=
  --
   References
  1.

 [2][9][11][12]https://urldefense.proofpoint.com/v2/url?u=http-3A__ww
 w.cs
  .dartmo

 uth.edu_-7Ewbc_lute-2Dadmin_index.html=DwIBAg=l45AxH-kUV29SRQusp
  9vY

 R0n1GycN4_2jInuKy6zbqQ=VLPJ8OE-c_C6joGeE1ftlvxMmQPq9N6mpKZONBRt90E
  =

 iSHc9T6NAYlPSaJ_FUpst7DZjJ64Ozramk8vNhmF-fk=lQEGcZd5K4u6dRSlBMTHc8
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 pVWk1yTHA3g4oGquvA=
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   to which it is addressed, and may contain information that
 is
   privileged, confidential and exempt from disclosure under
  applicable
   law. If the reader of this 

[LUTE] Re: Corigniani

[Edward Martin]

   Alain and all,
   Thanks for bringing up Corigniani.   I have for years really liked this
   concerto in Bb for baroque lute duo.   I recorded it with lutenist Paul
   Berget 20 years ago in an album which was never released, as it was a
   home-made recording and the equipment used was basic, not of
   professional standards.   At any rate, I could e-mail the pieces in mp3
   format to anyone interested.
   Toyohiko Satoh also recorded his concerto with Miki Satoh, his
   daughter.   It is on a CD entitled, "Ayumi", Carpe Diem CD- 16275.   I
   shall write out the notes he included in the liner notes:
   "The Concerto in B flat major by Corigniani consists of four movements:
   Introduzzione, Adagio, Allegretto, and Allabreve.   The manuscript of
   this concerto is now kept in Brussels in Belgium.   Concerning the
   composer, no document is found.   It is most likely that Corigniani was
   a pen name of some German composer, as Telemann used a pen name,
   Melante.   The reason is that there are no solo lute pieces left with
   this name and it is hard to regard this work as a composition by a
   lutenist.   A lutenist would have used higher positions.   In the
   Breitkof catalog of 1761 there are two sonatas for lute duet by
   Corigniani, but it is not clear whether one of them is this concerto.

   The second lute part of introduzzione and Adagio is written to
   compensate the first part.   Allegretto and Allabreve are contrapuntal
   pieces, both lutes treated equally.   Originally a bass part for cello
   or violone was added to this concerto.   It is omitted in this
   performance, considering the fact that the bass is already doubled by
   the two lutes.   After a minute comparison of the lute parts with the
   bass part, missing notes of the bass were added to the lute parts,
   which made the performance only a trifle more difficult.   Although in
   a low register and therefore not so brilliant, this is still a very
   graceful concerto."
   If anyone has additional information, please share it!
   Best,
   ed

   On Fri, Jun 21, 2019 at 11:37 AM Ralf Mattes <[1]r...@mh-freiburg.de>
   wrote:


 Am Freitag, 21. Juni 2019 18:02 CEST, Alain Veylit
 <[2]al...@musickshandmade.com> schrieb:
 > There is a very nice concerto for 2 Baroque lutes and basso at the
 > Brussels Royal library by a mister (or mrs) Corigniani. Google
 turns up
 > very little on that composer, except that it may be a pseudonym
 for a
 > German composer. What is the rationale/research to doubt that
 Corigniani
 > was   Italian? Is there a notice for Corigniani in the latest
 Grove?
 No, nothing except the mention of the concerto in 'Sources of Lute
 Music'
 ([3]https://doi.org/10.1093/gmo/9781561592630.article.26299) by
 Ness and Kolczynski.
  Cheers, RalfD
 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:r...@mh-freiburg.de
   2. mailto:al...@musickshandmade.com
   3. https://doi.org/10.1093/gmo/9781561592630.article.26299
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Antonio Reggio (1725-1780)

[Edward Martin]

   Very nice music Konstantine, and well played.   Thank you for sharing
   this along with your observations.
   Best,
   ed

   On Thu, May 23, 2019 at 2:13 PM Konstantin Shchenikov
   <[1]konstantin.n...@gmail.com> wrote:

I had experience with that music. I've recorded 1st and 2nd with
 organ,
played it in concerts with harpsichord and another archlute. I
 also did
some guitar solo and guitar duo arrangements of several sonatas
 for
Anthony Hart and played some of them on XIX c. guitar.
I read through more or less all 24 lute sonatas. Some of them are
 very
interesting. In the average the music is of interesting
 transitional
style and good quality. There are some signs of old style, like
 2-part
form close to Scarlatti Sonatas or Bach-Sons pieces. The manner
 of
working with material is mostly old-fashioned for 70s' when Haydn
 and
Mozart were flourished, but the musical material itself sounds
 more
close to those vienna classics with some interesting haromies of
 very
'fresh' style linked to me with Mozart or even Schubert (f-minor
 sonata
particulary, find the link below).
After playing with harpsichord and archlute I came to conclusion,
 that
texture is missing in this music. There is a lot of fast
 contrasts in
material which must be supported with different types of texture
 in
accompaniment: choral chords in 1st bar, arpeggios in the 2nd and
counterpoint in 3rd...
Using similar kind of melodies and harmonies Mozart wrote such a
texture contrasts out carefully in his sonatas. Reggio uses
 outdated
manner of spelling and leave musicians to improvise it. (So, the
 organ
is not the best instrument for accompaniment here and my first
recordings are not satisfying, I'm still thinking of re-recording
 this
music with new ideas)
There are lots of question for me regarding this music.
The first is what instrument Reggio called lute? It's written in
 treble
clef and in high tessitura. Should it sound octave lower, like
classical guitar does? In this case some places occurs where
 lower note
in the lute part are lower than bass part. May be it's some
 little
instrument with high tunings? - So, this places with doubtful
 voice
leading will be solved, but may be this doubtful voice leading is
 just
composer's error?
What kind of tuning is involved? May be different tunings? Some
 chords
written out very comfortable for classical guitar tuning (but
 also for
archlute in A), some are written way to low even for archlute in
 G.
There is a sonatas in terrible keys for lute... That's all are
 very
interesting and I highly recommend to play Reggio. He is worth of
 it.
So here are my recordings:
F-minor
[1][2]https://youtu.be/efGYZtcx04Y
C-major
[2][3]https://youtu.be/AI5Yjel4V7c
Cheers,
Konstantin
--
 References
1. [4]https://youtu.be/efGYZtcx04Y
2. [5]https://youtu.be/AI5Yjel4V7c
 To get on or off this list see list information at
 [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:konstantin.n...@gmail.com
   2. https://youtu.be/efGYZtcx04Y
   3. https://youtu.be/AI5Yjel4V7c
   4. https://youtu.be/efGYZtcx04Y
   5. https://youtu.be/AI5Yjel4V7c
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Antonio Reggio (1725-1780)

[Edward Martin]

   Thank you Martyn,   This is indeed most helpful.
   Ed

   On Thu, May 23, 2019 at 3:21 AM Martyn Hodgson
   <[1]hodgsonmar...@cs.dartmouth.edu> wrote:

Anthony Hart has done work on Reggio. Here are some links:
  Anthony Hart   MSc, LLCM,ALCM.
  Musicologist   and   Independent   Researcher
  Highrise Court 'B', Apt 2, Tigne' Street, Sliema, SLM3174,
 MALTA
  Mob: +356 9944 9552.
  e-mail:   [2][1][2]resea...@antoninoreggio.com; web:
  [3][3]www.monsignor-reggio.com
  NEW   Publications:   EDIZIONE   ANTONINO   REGGIO
  -   [4][4]www.edizionear.com
  for information and special offer
  --
References
  1. [2][5]http://www.jobringmann.de/facsimile-links
  2. mailto:[3][6]resea...@antoninoreggio.com
  3. [4][7]http://www.monsignor-reggio.com/
  4. [5][8]http://www.edizionear.com/
On Thursday, 23 May 2019, 00:23:21 BST, Edward Martin
<[9]edvihuel...@gmail.com> wrote:
  Dear ones,
  I am wondering if anyone on the list has experience with the
 works of
  Antonio Reggio (1725 to 1780).   He apparently left some music
 for
  cello and lute, and apparently there are 6 duets in C, a minor,
 D
  major, f minor, f# minor, and g minor.
  Has anyone played these pieces, and are they of high quality?
  Thanks,
  Ed
  --
To get on or off this list see list information at
[6][10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
 References
1. mailto:[11]resea...@antoninoreggio.com
2. [12]http://www.jobringmann.de/facsimile-links
3. mailto:[13]resea...@antoninoreggio.com
4. [14]http://www.monsignor-reggio.com/
5. [15]http://www.edizionear.com/
6. [16]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:hodgsonmar...@cs.dartmouth.edu
   2. mailto:resea...@antoninoreggio.com
   3. http://www.monsignor-reggio.com/
   4. http://www.edizionear.com/
   5. http://www.jobringmann.de/facsimile-links
   6. mailto:resea...@antoninoreggio.com
   7. http://www.monsignor-reggio.com/
   8. http://www.edizionear.com/
   9. mailto:edvihuel...@gmail.com
  10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  11. mailto:resea...@antoninoreggio.com
  12. http://www.jobringmann.de/facsimile-links
  13. mailto:resea...@antoninoreggio.com
  14. http://www.monsignor-reggio.com/
  15. http://www.edizionear.com/
  16. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Antonio Reggio (1725-1780)

[Edward Martin]

   Dear ones,
   I am wondering if anyone on the list has experience with the works of
   Antonio Reggio (1725 to 1780).   He apparently left some music for
   cello and lute, and apparently there are 6 duets in C, a minor, D
   major, f minor, f# minor, and g minor.
   Has anyone played these pieces, and are they of high quality?
   Thanks,
   Ed

   --


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

[LUTE] Gamut Music

[Edward Martin]

   Dear ones,
   The local PBS station in northern Minnesota produced a video on Gamut
   Music, of which I am affiliated.   This was recorded 2 months ago, and
   was aired last month.   I hope you find it interesting, as you can see
   Dan Larson demonstrating finishing touches on a viola d'amore, as well
   as him doing finishing touches on a lute rose.   You can also see some
   of the Gamut stringmakers in the process of making gut strings, from
   beginning to completion. As well, I am on the video, playing on an
   11-course Frei, 68 cm, in all gut, with silverer gimped strings on 10th
   and 11th course.   For the recording, I played "Canaries" by Ennemond
   "Vieux" Gaultier
   I hope you enjoy this.
   [1]https://www.youtube.com/watch?v=PLKDl0Ww_Tg=youtu.be_sou
   rce=May+Day+Sale+reminder_campaign=May+Day+Sale_medium=email
   Best,
   ed

   --

References

   1. 
https://www.youtube.com/watch?v=PLKDl0Ww_Tg=youtu.be_source=May+Day+Sale+reminder_campaign=May+Day+Sale_medium=email


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

[LUTE] Marsh Lute Book - Boethius

[Edward Martin]

   Dear ones,
   I am wondering if anyone has a copy of the Marsh Lute Book of which
   they are willing to sell.   I am interested in the Boethius edition,
   not modern editions or digital downloads.   Please reply to me, and
   thanks in advance.
   ed

   --


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

[LUTE] Re: Reymann

[Edward Martin]

Since Doug posted this set of pieces on the Fronimo file site, he is sharing it 
for anyone to use. He is very generous.;  so yes, it is certainly shareable. 

Ed

Sent from my iPhone

> On May 2, 2019, at 3:25 PM, David Smith  wrote:
> 
> The post says it is Doug Towne. It was posted in Mar. 16 2003. The fromimo 
> directory contains 74 pieces plus text document describing the pieces.
> I do not know how to get in touch with Doug Towne so am not sure if it is 
> shareable.
> If anyone know I would be happy to convert all of the files to PDF and create 
> a single PDF file with all pieces and the introductory text.
> 
> Regards
> David Smith
> 
> -Original Message-
> From: lute-...@cs.dartmouth.edu  On Behalf Of 
> Jurgen Frenz
> Sent: Thursday, May 2, 2019 1:24 AM
> To: Mathias Rösel 
> Cc: Lutelist 
> Subject: [LUTE] Re: Reymann
> 
> There is a "modern" edition on the Fronimo user group archive, I guess it is 
> accessible to Fronimo users only. It was made in 1999, the "readme" doesn't 
> identify the author. My guess is Göran Krona or Jason Curtis.
> 
> 
> --
> “Close your eyes. Fall in love. Stay there.”
> 
> Jalāl ad-Dīn Muhammad Rumi
> 
> ‐‐‐ Original Message ‐‐‐
>> On Thursday, May 2, 2019 1:25 PM, Mathias Rösel  
>> 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 fr��������n Yahoo Mail
>> 
>> f��������r 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.  

[LUTE] Re: Question on strumming madrigals.

[Edward Martin]

Thanks for this Luke. I heard José Luis Pastor perform in 2011 in Gijon, and he 
was absolutely amazing. 

Ed

Sent from my iPhone

> On Apr 25, 2019, at 12:10 PM, Luke Emmet  wrote:
> 
> Perhaps slightly earlier than you had in mind, but not so long ago at the UK 
> Lute Society we had a presentation and recital by Jose Luis Pastor on the use 
> of the plectrum in Medieval Lute playing.
> 
> His accompanying CD called "The Evidence" provides a very compelling 
> performance and demonstrates the capabilities of what can be achieved with 
> lute plectrum technique.
> 
> https://www.amazon.com/Evidence-Medieval-Jose-Luis-Pastor/dp/B00ZFGV6IO
> 
> If you want to hear what an accomplished lute plectrum technique can sound 
> like, I recommend this. Contains a fair amount of strumming across partially 
> damped strings - similar to the lyre technique seen below. And very musical 
> performance to boot.
> 
> Best Wishes
> 
> - Luke
> 
>> On 25-Apr-2019 06:13, Tristan von Neumann wrote:
>> This video by Prof. Stefan Hagel, specialized in Ancient Greek Music, is
>> very interesting as it leads to a question that is lingering for a while
>> now that has been addressed here as I recall - and it pops up whenever I
>> see chords that require more than 4 fingers in the right hand.
>> 
>> First enjoy some Kithara playing:
>> https://www.youtube.com/watch?v=4UWBo0rsuHU
>> 
>> 
>> As you can see, it is suggested and it seems supported by iconography
>> that the strings were played with a plectrum and the muting of unwanted
>> strings.
>> 
>> The strumming accentuates the rhythm, which is very important in greek
>> music, as it is derived from the Greek poetry and the very melodious and
>> rhythmically pronounced language itself.
>> 
>> Considering that the Lute in the 16th century is seen as a conscious
>> revival of the ancient Kithara or similar stringed instruments, the
>> function of chords especially in dance music and in vocal intabulations
>> would be also to support rhythm.
>> 
>> Yet, we do not often hear strummed lutes, though it is clearly a
>> technique at least in Germany, judging from the explicitely strummed
>> pieces in Newsidler's Books or the Munich Manuscript, and early stuff
>> like Dalza is often written to strum. These chords are written to
>> contain on all courses notes of an allowed chord, or allow partial use
>> of the courses in one strum, no rules broken here if you happily indulge
>> in those.
>> 
>> But when it comes to clusters for example at the end of the fantasies in
>> the Thistlethwaite lute book or in Albert de Rippe, some of the chords
>> are very awkward to finger in the right hand (also in the left, but
>> that's probably because I am not a pro...).
>> 
>> The most puzzling settings are in the Donaueschingen Lute Book - 5 or 6
>> voice madrigals are set correspondingly in the lute - leading to chord
>> clusters that cannot possibly played without strumming if you want to
>> preserve the rhythmic character of the original. Wondrously, almost all
>> chords create a pleasing harmony or create the effect of a
>> Durchgangsdissonanz, even if the courses are all strummed. But if other
>> fingerings would have been used, the effect would not be as good or
>> would emphasize a note not favorable in the strummed chord.
>> 
>> The question arises: Is there any mentioning of this problem for example
>> in Fronimo or other treatises about how to intabulate so you are able to
>> strum, even though only the notes that are "in line with the rules" are
>> notated in the tablature (or as it often seems, only the frame notes of
>> the strum), or implying such a technique.
>> 
>> 
>> Considering the madrigals in Donaueschingen could possible be used to
>> accompany a singer, this practice would fall in line with the early
>> developments of Basso Continuo, and would make a great effect. We know
>> Luzzaschi and Gesualdo did it, but no tabs survived or were ever
>> created. Only recently, madrigal groups have added lutes to the full
>> vocals, my favorite is this album:
>> https://www.youtube.com/watch?v=7rX53ymutgc
>> 
>> It was discussed in one episode of me:mo, and I found it intriguing,
>> some seem to find it aweful.
>> 
>> I think the use of lute, ceterone and guitar is absolutely enriching the
>> madrigals, and some strumming is heard from the ceterone and the guitar,
>> obviously.
>> 
>> 
>> 
>> A while ago I have recorded this idea with "Venuta era madonna" by
>> Marenzio, and while sight-reading I decided to try to employ the Kithara
>> effect (sorry, not a pro).
>> 
>> This is by the way imho one of the most beautiful lute pieces ever with
>> lush harmonies bordering on impressionist Debussy-like stuff (especially
>> with the ring of the additional courses), highly recommended like the
>> whole manuscript.
>> 
>> 
>> Anyway, here it is, with links to the madrigal and the intabulation in
>> French tabs are included in the description:
>> 

[LUTE] GB Lbl ms 16889

[Edward Martin]

   Dear ones,
   I had a few responses, and I did get what I was in search of, thank you
   so very much for helping me.   I appreciate so much all who responded.
   Ed

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[LUTE] GB Lbl ms 16889

[Edward Martin]

   Dear Ones,
   I am in search of a particular piece in a particular source.   I would
   like to s   "Cordon Bleu" which appears on f.   99r.
   I cannot seem to find this on line.   Can anyone provide it to me?
   Thanks!
   Ed

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[LUTE] Re: Nylon string 2m

[Edward Martin]

You say a nylgut .62 is too thick. You have stated the length you want, but 
what size string are you asking?

Sent from my iPhone

> On Apr 1, 2019, at 7:42 AM, Yuval Dvoran  wrote:
> 
> I know, but carbon will be too thin for this job... I'd love to use Nylgut, 
> but 0,62 is too thick, and they don't produce it in 0,6 in 1,80m length.
> Am 01.04.2019 15:39 schrieb Roman Turovsky :
>> 
>> you can get unlimited lenghts of Seaguar carbonfiber. 
>> RT 
>> 
>>> On 4/1/2019 7:20 AM, Yuval Dvoran wrote: 
>>>  Hi folks, 
>>> 
>>>  Any ideas, where I can get a nylon string of 1,80-2,00m length? I 
>>>  already asked Pyramid and Kürschner, both only have short ones. 
>>> Savarez 
>>>  I'll contact in some minutes. 
>>>  And any experiments with line? 
>>> 
>>>  All the best from sunny Germany! 
>>>  Yuval 
>>> 
>>> 
>>> To get on or off this list see list information at 
>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 
>> 
>> 
> 
> 

[LUTE] Re: baroque lute duets

[Edward Martin]

   In addition to all suggestions and entries, Gamut Music produced a
   recording, "Courante", of French baroque lutes, performed by me and
   Thomas Walker.We have duets by E & D Gaultier, Dufault, Du But, and
   2 chaconnes, by Vieux Gaultier and Mouton, where the contraparties for
   those 2 works were composed by Tyler Kaiser.   Gamut published the
   music in 2 part books, with an accompanying CD in each part book.
   Lute 1 book has a disc audio recording of Lute 2, and the Lute 2 book
   has a disc audio recording of Lute 1.   So, one can play duets with one
   of our recorded parts. Most of the parts had lute 2 from the MS  D
   BERLIN, Deutsche Staatsbibliothek Preussischer Kulturbesitz (D B) Ms.
   4230, a MS containing contraparties for existing lute solos; we
   turned the pieces into duets.In many or most cases, the parts did
   not work together, requiring reconstruction.
   Sorry about the self promotion, but the books are very useful for a
   person wanting to play baroque lute duets, and does not have a duet
   partner.
   Ed Martin

   On Sat, Mar 23, 2019 at 12:26 PM Matthew Daillie
   <[1]dail...@club-internet.fr> wrote:

 There are some 'contreparties' to works by French baroque composers
 Dufaut, Dupré and Mercure in the Goëss V manuscript (published by
 Tree Edition) and a modern edition of five suites for two eleven
 course lutes from a manuscript in Warsaw (RM 4135) in the hand of
 Gusta Goldschmidt published by Nederlanse Vereniging.
 Best,
 Matthew
 On Mar 23, 2019, at 16:19, Roland Hayes
 <[2]rha...@legalaidbuffalo.org> wrote:
 >> Hi B lutenists
 >> On a different question.
 >> Do you know where I might acquire any Baroque lute duet sheet
 >music? I
 >> have some duets but just for B lute and flute.
 >> Thanks
 >> Dick Brook
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. mailto:dail...@club-internet.fr
   2. mailto:rha...@legalaidbuffalo.org
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Richard Gronning

[Edward Martin]

   Dear ones,
   I was saddened to hear yesterday that Richard Gronning passed away this
   past weekend.   Dick was an excellent luthier, building lutes mostly in
   the 1970's, I think.   He resided in a town south of Minneapolis and
   spent most of his life in Minnesota.   He was also a commercial pilot.
   Dick's lutes were well crafted, and had a characteristically rich tone.
 I do not know if there are many in circulation being used now, but i
   know of 2 instruments.
   Dick was very kind, an incredibly bright person, had a great sense of
   humor, and was a great person.   He will be missed.
   Ed Martin

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[LUTE] Richard Darsie Balcarres book

[Edward Martin]

   Dear Collective Wisdom,
   I had a book years ago, which i gave to a student, which was published
   by Richard Darsie.   It consists of Scottish pieces from the Balcarres
   lute MS, transcribed for 10-course lute.   I have a friend who would
   like to get a copy.   Does anyone have a copy  of it and willing to
   part with it?   I would be happy to purchase it.
   Thanks.
   Ed Martin

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[LUTE] Re: Gut Diapasons >180cm

[Edward Martin]

   At Gamut Music,
   Their regular length string is 120 cm and their diapason length is 240
   cm.
   See this:
   [1]https://www.gamutmusic.com/diapason-gut
   Best,
   ed

   On Sat, Feb 9, 2019 at 8:42 PM Edward C. Yong
   <[2]edward.y...@gmail.com> wrote:

 hi everyone,
 where does one find gut strings for diapasons longer than 180 cm? a
 young friend has diapasons that are 182.5cm, and the Aquila 180cm
 strings are too short to fit!
 thanks for the help :)
 best,
 Edward
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. https://www.gamutmusic.com/diapason-gut
   2. mailto:edward.y...@gmail.com
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Hello Ed Martin

[Edward Martin]

Hi David, I am still around and I am happy to speak with you!

Ed Martin

Sent from my iPhone

> On Jan 28, 2019, at 2:30 PM, DAVID RASTALL  wrote:
> 
> Ed Martin, are you still out there?  I've misplaced your e-mail due to a 
> computer meltdown (don't ask...) but I have a question I want to ask you.  
> Can you send me a message at d_lu...@comcast.net mailto:d_lu...@comcast.net  
> please.  Thanks.
> 
> 
> David Rastall
> --
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Milan et Saint-Saëns

[Edward Martin]

   Yes, agreed, quite interesting, Rainer.   Thank you.

   On Mon, Jan 7, 2019 at 6:20 AM Rainer <[1]rads.bera_g...@t-online.de>
   wrote:

 For details see:
 Camille Saint-Saëns, 1835-1921: A Thematic Catalogue of His
 Complete Works, page 480
 Available in Google Books.
 Rainer
 On 07.01.2019 10:38, David van Ooijen wrote:
 >  Thanks, that's very interesting!
 >  David
 >  ***
 >  David van Ooijen
 >  [1][2]davidvanooi...@gmail.com
 >  [2][3]www.davidvanooijen.nl
 >  ***
 >
 >  On Mon, 7 Jan 2019 at 10:33, Rainer
 <[3][4]rads.bera_g...@t-online.de>
 >  wrote:
 >
 >2 fantaisies ÃÆÃ ©crites pour le luth (viruela) / par D.
 Luis Milan de
 >Valence, compositeur espagnol du XVIe siÃÆÃ ¨cle ;
 transcrites pour le
 >piano par C. Saint-SaÃÆÃ «ns
 >[4][5]https://gallica.bnf.fr/ark:/12148/bpt6k1174900p
 >Rainer
 >To get on or off this list see list information at
 >
 [5][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 >  --
 >
 > References
 >
 >  1. mailto:[7]davidvanooi...@gmail.com
 >  2. [8]http://www.davidvanooijen.nl/
 >  3. mailto:[9]rads.bera_g...@t-online.de
 >  4. [10]https://gallica.bnf.fr/ark:/12148/bpt6k1174900p
 >  5. [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 >

   --

References

   1. mailto:rads.bera_g...@t-online.de
   2. mailto:davidvanooi...@gmail.com
   3. http://www.davidvanooijen.nl/
   4. mailto:rads.bera_g...@t-online.de
   5. https://gallica.bnf.fr/ark:/12148/bpt6k1174900p
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. mailto:davidvanooi...@gmail.com
   8. http://www.davidvanooijen.nl/
   9. mailto:rads.bera_g...@t-online.de
  10. https://gallica.bnf.fr/ark:/12148/bpt6k1174900p
  11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: stump?

[Edward Martin]

   There is a short Wikipedia article on Daniel Ferrant, and it states:

   Daniel Farrant (1575â1651)^[1][1] was an English composer, viol player
   and instrument maker. He invented types of [2]citterns, the
   [3]poliphant and the [4]stump, along with the early [5]lyra
   viol.^[6][2] He is also credited with the invention of the early
   [7]viola d'amore. The particulars of the [8]stump are not known.^[9][3]

References

Ashbee, Andrew. "Farrant, Daniel". [10]Oxford Dictionary of National
Biography (online ed.). Oxford University Press.
[11]doi:[12]10.1093/ref:odnb/67960. (Subscription or [13]UK public library
membership required.)

 Gozza, edited by Paolo (2000). Number to Sound the Musical Way to the
   Scientific Revolution. Dordrecht: Springer Netherlands. p.  147.
   [14]ISBN  [15]9789401595780.

 Galpin, Francis (1911). Old English Instruments of Music: Their
   History and Character. p.  32.

   Seasons greetings to all.

   ed

   On Sun, Dec 23, 2018 at 7:53 AM Rainer <[16]rads.bera_g...@t-online.de>
   wrote:

 On 23.12.2018 13:49, Arthur Ness wrote:
 >  The stump was according to Playford invented by a Daniel
 Farrant.   It
 >  was also known as an English theorbo.
 >  He   is said to have invented the Poliphant, a wire-strung
 lute-type
 >  instrument.
 Excellent - I didn't know that.
 This appears in Playford's "Musicks Recreation on the Lyra Viol"
 (London, 1652, 1661, 1669 and 1682 [and other editions?]).
 However. the stump and the polyphant seem to be mentioned in the
 1661 edition only.
 I can send a (poor) copy from my pdf file based on a microfilm..
 Rainer
 PS
 One of the 1681 copies once belonged to Thomas Oliphant (without
 "P") who published "improved" versions of several songs by Dowland
 in 1837.
 To get on or off this list see list information at
 [17]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. https://en.wikipedia.org/wiki/Daniel_Farrant#cite_note-1
   2. https://en.wikipedia.org/wiki/Cittern
   3. https://en.wikipedia.org/wiki/Poliphant
   4. 
https://en.wikipedia.org/w/index.php?title=Stump_instrument=edit=1
   5. https://en.wikipedia.org/wiki/Lyra_viol
   6. https://en.wikipedia.org/wiki/Daniel_Farrant#cite_note-2
   7. https://en.wikipedia.org/wiki/Viola_d'amore
   8. 
https://en.wikipedia.org/w/index.php?title=Stump_instrument=edit=1
   9. https://en.wikipedia.org/wiki/Daniel_Farrant#cite_note-3
  10. 
https://en.wikipedia.org/wiki/Dictionary_of_National_Biography#Oxford_Dictionary_of_National_Biography
  11. https://en.wikipedia.org/wiki/Digital_object_identifier
  12. https://doi.org/10.1093/ref:odnb/67960
  13. http://www.oxforddnb.com/help/subscribe#public
  14. https://en.wikipedia.org/wiki/International_Standard_Book_Number
  15. https://en.wikipedia.org/wiki/Special:BookSources/9789401595780
  16. mailto:rads.bera_g...@t-online.de
  17. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Nigel's Francesco vol 2

[Edward Martin]

   Well stated, Howard.   I have NOT heard the recording, but I shall
   order it, as i really like Nigel's interpretations of Francesco.   I
   seem to recall Nigel stating some time ago that the vihuela was an alto
   in "a", so the instruments ought not sound the same.   I shall find
   out.

   On Mon, Aug 27, 2018 at 1:41 PM howard posner
   <[1]howardpos...@ca.rr.com> wrote:

 Maybe it's time to be reminded that nobody has said the vihuela
 can't be distinguished from the lute in this recording.   Ed asked
 which cuts were on vihuela and which were on lute precisely because
 he HADN'T heard the recording, something that got lost early in the
 discussion (and was lost on me when I chimed in).
 So someone considering buying the recording need not be concerned
 with whether the engineer was   ignorant and opinionated, or indeed
 with whether NIgel wanted to make the two instruments sound similar.
 > On Aug 27, 2018, at 12:55 AM, Martyn Hodgson
 <[2]hodgsonmar...@cs.dartmouth.edu> wrote:
 >
 >Indeed, I agree. Which is why I put the similarity in sound
 down to
 >things other than how the two instruments were constructed -
 things
 >like the engineer, incorrectly and through ignorance, modifying
 the
 >sound so that the two instruments sound very similar.
 >Of course, it may be that NN had his viola belly constructed
 like a
 >lute ..
 >MH
 >
 __
 >
 >From: SW <[3]s.wa...@ntlworld.com>
 >To: Martyn Hodgson <[4]hodgsonmar...@yahoo.co.uk>; Sean Smith
 ><[5]lutesm...@gmail.com>; lutelist Net
 <[6]lute@cs.dartmouth.edu>
 >Sent: Monday, 27 August 2018, 8:24
 >Subject: [LUTE] Re: Nigel's Francesco vol 2
 >My knowledge of instrument making is limited but lute and
 vihuela
 >construction are somewhat different. Obviously the body shape
 is
 >different but a lute has a very thin soundboard with a fairly
 >complicated barring system. According to Alfonso Marin the
 vihuela has
 >just two bars and a thicker soundboard (maybe 3mms in places).
 >It might be expected that there would be some audible
 difference in
 >sound.
 >On 27 August 2018, at 07:21, Martyn Hodgson
 ><[1][7]hodgsonmar...@cs.dartmouth.edu> wrote:
 >  It may, of course, simply be down to a self-opionated
 sound/recording
 >  engineeer. Some of these seem ignorant of what period
 instruments
 >  actually sound like in the flesh and seek their own
 subjective
 >  recording 'balance' and tonal qualities. They, in their
 ignorance,
 >may
 >  even think a viola da mano 'should' sound like a lute and
 make the
 >  necessary adjustments
 >  MH
 >
 __
 >  From: Sean Smith <[2][8]lutesm...@gmail.com>
 >  To: lute <[3][9]lute@cs.dartmouth.edu>
 >  Sent: Sunday, 26 August 2018, 18:41
 >  Subject: [LUTE] Re: Nigel's Francesco vol 2
 >If we cannot hear the differences between the two
 instruments from
 >a
 >recorded performance, what conclusions should we draw? Is
 the
 >difference more apparent when we are in the same room?
 Should we
 >suspect they have been mixed (deliberately? inadvertently?)
 to make
 >them more similar?
 >Sean
 >On Sat, Aug 25, 2018, 5:37 AM Edward Martin
 >  <[1][1][4][10]edvihuel...@gmail.com>
 >wrote:
 >  Dear ones,
 >  I was asked to provide the answer to the list, so
 here it is:
 >  Nigel plays on both kinds of instrument:
 approximately 2/3 of
 >  the
 >  pieces on lute; the rest on viola da Mano (vihuela).
 >  -- Forwarded message -
 >  From: Christopher Stetson
 >  <[1][2][2][5][11]christophertstet...@gmail.com>
 >  Date: Fri, Aug 24, 2018 at 11:20 PM
 >  Subject: Re: [LUTE] Nigel's Francesco vol 2
 >  To: Edward Martin
 <[2][3][3][6][12]edvihuel...@gmail.com>
 >  Edward,
 >  Can you share the answer to the list, for the
 curious?
 >  Thanks,
 >  Chris.
 >  On Fri, Aug 24, 2018 at 9:24 PM, Edward Martin
 >  <[3][4][4][7][13]edvihuel..

[LUTE] Re: Nigel's Francesco vol 2

[Edward Martin]

I have not heard this recording;  from what I heard, the Vihuela is a small one 
tuned in a. If this is the case, and his lute is g, one ought to be able to 
distinguish between the two. 


Sent from my iPhone

> On Aug 26, 2018, at 1:21 PM, howard posner  wrote:
> 
> 
>> On Aug 26, 2018, at 10:38 AM, Sean Smith  wrote:
>> 
>> If we cannot hear the differences between the two instruments from a
>>  recorded performance, what conclusions should we draw? Is the
>>  difference more apparent when we are in the same room? Should we
>>  suspect they have been mixed (deliberately? inadvertently?) to make
>>  them more similar?
> 
> I might conclude 1) that Nigel’s taste in instruments leads him to own a 
> vihuela that sounds like his six-course lute, 
> 2) that Nigel has an ideal sound that he tries to get from both instruments, 
> or 
> 3) My ears aren't refined enough to detect the difference.
> 
> The last seems unlikely, given the time I spend applying ear-refining lotion.
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Nigel's Francesco vol 2

[Edward Martin]

   Dear ones,
   I was asked to provide the answer to the list, so here it is:
   Nigel plays on both kinds of instrument: approximately 2/3 of the
   pieces on lute; the rest on viola da Mano (vihuela).

   -- Forwarded message -
   From: Christopher Stetson <[1]christophertstet...@gmail.com>
   Date: Fri, Aug 24, 2018 at 11:20 PM
   Subject: Re: [LUTE] Nigel's Francesco vol 2
   To: Edward Martin <[2]edvihuel...@gmail.com>
   Edward,
   Can you share the answer to the list, for the curious?
   Thanks,
   Chris.
   On Fri, Aug 24, 2018 at 9:24 PM, Edward Martin
   <[3]edvihuel...@gmail.com> wrote:

Dear ones,
My inquiry was answered, thanks to Steven, Steve, and Andrew.
 Thanks
to all 3!
--
 To get on or off this list see list information at
 [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. mailto:christophertstet...@gmail.com
   2. mailto:edvihuel...@gmail.com
   3. mailto:edvihuel...@gmail.com
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Nigel's Francesco vol 2

[Edward Martin]

   Dear ones,
   My inquiry was answered, thanks to Steven, Steve, and Andrew.   Thanks
   to all 3!

   --


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[LUTE] Nigel North - Francesco

[Edward Martin]

   Dear ones,
   I saw an internet listing of a   recording by Nigel entitled, "A
   Decoration of Silence - the Music of Il Divino, Francesco Canova da
   Milano, Vol.2" .
   Con anyone tell me, is this on lute or viola (vihuela)?
   Thanks in advance.

   --


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[LUTE] Re: Krebs concerto for lute and strings

[Edward Martin]

   I found this:
   [1]http://www.arkivmusic.com/classical/album.jsp?album_id=1017616
   It is a 4-CD set of music by Krebs, and the lute concerto is performed
   by Stefan Maass.

   On Wed, Jul 18, 2018 at 12:29 AM stephan.olbertz
   <[2]stephan.olbe...@web.de> wrote:


 [3]https://www.amazon.de/Orchestester-Kantatenwerk-Schoenheit/dp/B00
 F9K3ZF

 S/ref=mp_s_a_1_1?__mk_de_DE=ÃMÃZÃÃ=8-1�_SX236_SY
 340_F

 Mwebp_QL65=krebs+kantatenwerk=1%2BdFL=p
 lSr
ch
Don't know if the long link will work, it's "Das Orchester- und
Kantatenwerk" by Merseburger Hofmusik and others. Played at the
 rose
with a big microphone in front, it seems. So you get the guitar
 anyway
;-)
Regards
Stephan
Von meinem Samsung Galaxy Smartphone gesendet.
 Ursprüngliche Nachricht 
Von: Alain Veylit <[4]al...@musickshandmade.com>
Datum: 18.07.18 03:26 (GMT+01:00)
An: lute list <[5]lute@cs.dartmouth.edu>
Betreff: [LUTE] Re: Krebs concerto for lute and strings
Any lute recording of this: "Johann Ludwig Krebs - Concerto for
 Guitar
and String Orchestra"? It was written for D-minor lute and
 strings, NOT
guitar...
see: [6]https://www.youtube.com/watch?v=YwyO_oDRX3U
To get on or off this list see list information at
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References

   1. http://www.arkivmusic.com/classical/album.jsp?album_id=1017616
   2. mailto:stephan.olbe...@web.de
   3. https://www.amazon.de/Orchestester-Kantatenwerk-Schoenheit/dp/B00F9K3ZF
   4. mailto:al...@musickshandmade.com
   5. mailto:lute@cs.dartmouth.edu
   6. https://www.youtube.com/watch?v=YwyO_oDRX3U
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Conradi Sonata in C Major - source?

[Edward Martin]

   You are correct Luca, Tree editions has the book.   There are 3 basic
   works, a suite in C Major, a suite in A major, and 2 incidental pieces
   in d minor.   It is indeed fabulous music, and it is frustrating that
   there are not more pieces.
   ed

   On Sat, Jun 2, 2018 at 4:33 AM Luca Manassero <[1]l...@manassero.net>
   wrote:

Dear Lute list,
  I suddenly felt in love with the Conradi Sonata in C Major
 as
Roberto Barto plays it in this
video: [1][2]https://www.youtube.com/watch?v=1jz6AfKH4KU
Can anybody please point me to the right facsimile or manuscript
 for
it?
Is it the Leipzig III.10.34 reprinted by Tree Editions?
Thank you in advance,
Luca
--
 References
1. [3]https://www.youtube.com/watch?v=1jz6AfKH4KU
 To get on or off this list see list information at
 [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. mailto:l...@manassero.net
   2. https://www.youtube.com/watch?v=1jz6AfKH4KU
   3. https://www.youtube.com/watch?v=1jz6AfKH4KU
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Thesis about Lauten Konzerte

[Edward Martin]

   Thank you, Anna.   I am very interested in all this information.
   ed

   On Sat, Mar 31, 2018 at 5:02 PM, Anna Wiktoria Swoboda
   <[1]wiktoria.swob...@gmail.com> wrote:

  Dear Greet and All,
  These are the information I got from TIM CRAWFORD:
  
   ---
  --
  "I have discussed this issue with Philippe Vendrix (who, as
   mentioned
  in the lute mailing list, was intending to publish Saint Luc's works
  with CNRS, though this never happened) and he told me that some of
   the
  documents about Saint Luc from Brussels can not be found today. The
  references came from E. van der Straeten's book, Jacques de
   Saint-Luc,
  luthiste athois (1887).
  Vendrix has summarised all that is known about Saint Luc in his
   paper,
  âJacques de Saint-Luc: Entre la France et le Saint-Empire', in F.
  Dassas et al., Luths et Luthistes en Occident: Actes du colloque
  organisà © par la cità © de la musique, 13-15 mai 1998 (Paris,
   1999), p.
  235. He states explicitly that the question of attribution of the
   music
  in the Vienna/Prague MSS is still open.
  I should point out something that Vendrix does not mention, that in
   the
  early Goà «ss MSS (Schloss Ebenthal, published complete in facsimile
   by
  TREE Edition) there are a few pieces by Mr St Luc, which are almost
  certainly by the lutenist born in 1616, with whom Constantijn
   Huygens
  corresponded; there are many connections with Huygens in these
  manuscripts, which were probably compiled by a friend of his.
  A letter from âJ[acques] de Sainct-Luc' (from July 1673) is
   apparently
  preserved in the Amsterdam University Library (Hs./Ms. XIV G 4; see
  Vendrix p. 238, note 13). It might be interesting to compare the
  handwriting with that of the later St Luc manuscripts. (Vendrix
  considers that these may have been copied by an amanuensis, but I am
  not sure.)".
  
   ---
  -
  Now we know from MANUEL COUVREUR about the marriage entry from May
  1705, where there is a statment that LAURENT is lutenist by
   profession
  (thank you Markus!).
  But as early as 1963 in her entry in MGG about S. Luc MONIQUE ROLLIN
  wrote clearly that there were lutenists Jacques de S.L. born 1616
   and
  his son Laurent or Jacques-Alexandre, who played in 1700 in Berlin.
  So, if I set it properly, it looks like that:
  1. JACQUES DE SAINT LUC father - born 1616; active in Brussel
  1639-1684; 1647 present in Paris; married 1658; corresponded with
  Huygens in 1676 and earlier. Author of the pieces from Goess Ms. -?
  2. LAURENT DE SAINT LUC son - born 1669; played at the ducal wedding
   in
  Berlin 1700; married 1705; probably in the service of Prince Eugene
   of
  Savoy in Vienna 1700-1708. Author of solo and ensemble pieces from
  Prague and Vienna Mss. -?
  * In the preface to his Recueil de pià ¨ces de guitare (1729),
  Jean-Baptiste Castillon recalled Saint Luc (Laurent?) as one who
  "enjoyed a great reputation and played the guitar with immense
   skill"
  (= he died some years before).
  2018-03-30 20:24 GMT+02:00 Edward Martin
   <[1][2]edvihuel...@gmail.com>:
   Thank you Markus! This is good information to have! I
appreciate it
   very much, and I hope all is well.
   Ed
   On Fri, Mar 30, 2018 at 11:25 AM, Markus Lutz
<[1][2][3]mar...@gmlutz.de>
   wrote:
   Am 30.03.2018 um 18:09 schrieb Edward Martin:
 Dear Ones,
 Thank you for the fascinating discussion particularly in
the
 area of
 Jacques de Saint Luc.  Anna, thank you for including
 mentioning me in
 the discussion, as I authored an article about St. Luc in
   a
 recent Lute
 Society of America Quarterly.
 I am a performer, not a scholar, and I merely quoted
   those
who
 have
 written on the topic of St. Luc, and I have done no
   primary
 research
 into this area.  The big question is who authored the
majority
 of his
 works; was it indeed Jacques (b. 1616), or his sons
 Jacques-Alexandre
 (b. 1663) or Laurent (b. 1669) ?  According to the
Scholar
 Phillipe
 Vendrix, there is no conclusive evidence that either of
   his
sons
 were
 involved with music.
   Dear Edward,
   this is the new thing, that Manuel Couvreur found, the marriage
entry
   fro

[LUTE] Re: Thesis about Lauten Konzerte

[Edward Martin]

   Thank you Markus!   This is good information to have!   I appreciate it
   very much, and I hope all is well.
   Ed

   On Fri, Mar 30, 2018 at 11:25 AM, Markus Lutz <[1]mar...@gmlutz.de>
   wrote:

   Am 30.03.2018 um 18:09 schrieb Edward Martin:

 Dear Ones,
 Thank you for the fascinating discussion particularly in the
 area of
 Jacques de Saint Luc.Anna, thank you for including
 mentioning me in
 the discussion, as I authored an article about St. Luc in a
 recent Lute
 Society of America Quarterly.
 I am a performer, not a scholar, and I merely quoted those who
 have
 written on the topic of St. Luc, and I have done no primary
 research
 into this area.The big question is who authored the majority
 of his
 works; was it indeed Jacques (b. 1616), or his sons
 Jacques-Alexandre
 (b. 1663) or Laurent (b. 1669) ?According to the Scholar
 Phillipe
 Vendrix, there is no conclusive evidence that either of his sons
 were
 involved with music.

   Dear Edward,
   this is the new thing, that Manuel Couvreur found, the marriage entry
   from May 1705, where it clearly is stated that Laurent is lutenist by
   profession (Lautenist). So he for sure has been involved with music.
   The other thing, that I wondered about - it is not very reasonable to
   have a very old man playing the lute in Berlin in a fascinating way and
   there is no mentioning that he was very old.
   So for all probability the lutenist playing in Berlin was one of his
   sons.
   Manuel Couvreur has no positive identification that the St. Luc around
   the time of 1700 is Laurent, but this has a very high probability in my
   opinion as he had been lutenist as his father.
   That old people can still be good musicians cannot be denied, but
   anyway the conclusions of Manuel Couvreur seem to be quite convincing,
   even if they are no 100% proof.
   Best regards
   Markus

 The confusion is that if Jacques died around
 1710, in his mid 90's, it would seem that he would have been
 very old
 to still be involved with music performance or composition.
 However,
 there are a few examples of great musical people from the time
 living
 to a very old age, such as Telemann and Stradivarius.
 I was unaware that Evangelina Mascardi has a recording available
 of
 music for St. Luc;I just ordered it and look forward to
 reading the
 notes by   Manuel Couvreur as well of hearing Mascardi's
 interpretation.
 I do not have an opinion on the matter of defining authorship,
 but
 rather I have a natural curiosity on the topic.If anyone has
 evidence in defining the true author, I would enthusiastically
 love to
 read the results.
 With very best wishes,
     Edward Martin
 On Fri, Mar 30, 2018 at 8:08 AM, stephan.olbertz
 <[1][2]stephan.olbe...@web.de> wrote:
Dear Anna, yes, I'm sure Tim has his reasons, however, in
 this case
 the
relevant book is from when, 1710? ;-)
Maybe someone on the list could ask Manuel Couvreur for a
 more
elaborate article... Although he already goes into much
 detail in
 the
booklet, including depiction of documents.
Best wishes
Stephan
Von meinem Samsung Galaxy Smartphone gesendet.
 Ursprà ¼ngliche Nachricht 
Von: Anna Wiktoria Swoboda <[2][3]wiktoria.swob...@gmail.com>
Datum: 30.03.18 12:09 (GMT+01:00)
An:
Cc: Lutelist Net <[3][4]lute@cs.dartmouth.edu>
Betreff: [LUTE] Re: Thesis about Lauten Konzerte
   Thank you all for the list and off-list answers!
   Dear Martin,
   yes, I'm going to work only on Dm lute works (with a small
 exception
of
   Kremberg's "Arien", where there is also an angelique &
 guitar
   required).
   And yes, I had to make a timeline limit - Weichenberger is
 the
latest
   composer I'll work on. I know there is a lot of that genre
 in the
   galant style, but I was not aware of Joseph Zincke.
   Dear Stephan,
   I don't have yet this CD booklet, but a few weeks ago I've
 been
   corresponding with Tim Crawford about the newest opinion
 of St.
Luc's
   identification (taking into account the recent
 Evangelina's CD),
 and
he
   was rather cautious about attributing all the St. Luc's
 oevre to
   Laurent (what about the early Goà «ss MSS and a few pieces
 by Mr
 St
Luc,
 

[LUTE] Re: Thesis about Lauten Konzerte

[Edward Martin]

   Dear Ones,
   Thank you for the fascinating discussion particularly in the area of
   Jacques de Saint Luc.   Anna, thank you for including mentioning me in
   the discussion, as I authored an article about St. Luc in a recent Lute
   Society of America Quarterly.
   I am a performer, not a scholar, and I merely quoted those who have
   written on the topic of St. Luc, and I have done no primary research
   into this area.   The big question is who authored the majority of his
   works; was it indeed Jacques (b. 1616), or his sons Jacques-Alexandre
   (b. 1663) or Laurent (b. 1669) ?   According to the Scholar Phillipe
   Vendrix, there is no conclusive evidence that either of his sons were
   involved with music.   The confusion is that if Jacques died around
   1710, in his mid 90's, it would seem that he would have been very old
   to still be involved with music performance or composition.   However,
   there are a few examples of great musical people from the time living
   to a very old age, such as Telemann and Stradivarius.
   I was unaware that Evangelina Mascardi has a recording available of
   music for St. Luc;   I just ordered it and look forward to reading the
   notes by  Manuel Couvreur as well of hearing Mascardi's interpretation.
   I do not have an opinion on the matter of defining authorship, but
   rather I have a natural curiosity on the topic.   If anyone has
   evidence in defining the true author, I would enthusiastically love to
   read the results.
   With very best wishes,
   Edward Martin

   On Fri, Mar 30, 2018 at 8:08 AM, stephan.olbertz
   <[1]stephan.olbe...@web.de> wrote:

  Dear Anna, yes, I'm sure Tim has his reasons, however, in this case
   the
  relevant book is from when, 1710? ;-)
  Maybe someone on the list could ask Manuel Couvreur for a more
  elaborate article... Although he already goes into much detail in
   the
  booklet, including depiction of documents.
  Best wishes
  Stephan
  Von meinem Samsung Galaxy Smartphone gesendet.
   Ursprüngliche Nachricht 
  Von: Anna Wiktoria Swoboda <[2]wiktoria.swob...@gmail.com>
  Datum: 30.03.18 12:09 (GMT+01:00)
  An:
  Cc: Lutelist Net <[3]lute@cs.dartmouth.edu>
  Betreff: [LUTE] Re: Thesis about Lauten Konzerte
 Thank you all for the list and off-list answers!
 Dear Martin,
 yes, I'm going to work only on Dm lute works (with a small
   exception
  of
 Kremberg's "Arien", where there is also an angelique & guitar
 required).
 And yes, I had to make a timeline limit - Weichenberger is the
  latest
 composer I'll work on. I know there is a lot of that genre in the
 galant style, but I was not aware of Joseph Zincke.
 Dear Stephan,
 I don't have yet this CD booklet, but a few weeks ago I've been
 corresponding with Tim Crawford about the newest opinion of St.
  Luc's
 identification (taking into account the recent Evangelina's CD),
   and
  he
 was rather cautious about attributing all the St. Luc's oevre to
 Laurent (what about the early Goà «ss MSS and a few pieces by Mr
   St
  Luc,
 almost certainly written by the lutenist born in 1616, with whom
 Constantijn Huygens corresponded?). But, unfortunately, there is
   no
 article by Manuel Couvreur about that yet.
 I can agree with you about resaerch-based PhD (although sometimes
 musicians are also good researchers ;), but academies have their
   own
 new regulations about the academic titles, we may like or don't
  like...
 2018-03-28 15:32 GMT+02:00 Martyn Hodgson
 <[1][4]hodgsonmar...@cs.dartmouth.edu>:
  Dear Anna,
  Are you are looking at concertedmusic from this period
   for
  all
   sorts
  of obligato lute, are you looking only at works with the Dm
  lute?
   There
  is a similar large repertoire of works (no substantive
   overlap
   either)
  for gallichon/mandora with other instruments. the MSs in the
  Universitatsbibliothek Eichstatt are just one good source.
  Well
  represented is the fine late composer Joseph Zincke (1758 -
  1829)
   one
  of the unsung heroes of this late eighteenth century lute
   repertoire..
  But all this might extend your thesis a quite a lot further
  both
   in
  volume and available time than you might wish and may have
   planned...
  regards
  Martyn
__
   __
   __
From: Anna Wiktoria Swoboda <[2][5]wiktoria.swob...@gmail.com>
To: Lutelist Net <[3][6]Lute@cs.dartmouth.edu>

[LUTE] Goffriller Lute

[Edward Martin]

   Dear ones,
   You may recall that I posted questions about a Goffriller lute, and I
   want to thank all those who responded.I heard back from Nico van
   der Waals via Sigrun Richter; Nico states that around the year 1980, he
   restored the lute in the possession of Nicolaus Harnoncourt, and it was
   a small 6-course lute labeled by Matteo Goffriller, made in 1700 in
   Venzia, and that the shell was of kingwood.
   I thought I would share this to those interested parties.
   Best,
   Ed Martin

   --


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

[LUTE] Re: Goffriller

[Edward Martin]

Thanks Daniel. 

Yes, I have that old LP and also the old recording of LeRoy and Paladin he did 
on that Goffriller copy.  Someone recently told me that Nico van der Waals is 
alive, living with a German Lutenist. Since Nico has never used computers, I 
shall ask that Lutenist if he/ she knows anything or could ask him.  It seems 
as though Nico van der Waals is the only person we know of who has knowledge in 
this area. 

I will be seeing Amit Peled who has the Pablo Casals Goffriller cello on 
Sunday, and I want to tell him about the extant Goffriller lute, assuming there 
IS a Goffriller copy anywhere. I hope this is not a hoax, but the claim was 
years ago that Paul played his alto lute as a Goffriller copy, but nobody has 
documentation now of the existence of a Goffriller lute. 

The plot thickens

Sent from my iPhone

> On Mar 15, 2018, at 10:23 PM, Daniel F. Heiman <heiman.dan...@juno.com> wrote:
> 
> Ed:
> 
> Paul O'Dettes copy of the Goffriller lute was used on this vinyl LP:
> https://www.discogs.com/Paul-ODette-Early-Venetian-Lute-Music/release/10202869
> However, there is no original lute by Goffriller listed in the 
> Lautenweltaddressbuch.
> 
> Regards,
> 
> Daniel
> 
> -Original Message-
> From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf 
> Of Edward Martin
> Sent: 15 March, 2018 14:30
> To: lute net
> Subject: [LUTE] Goffriller
> 
> Dear ones, 
> 
> I reside in Northern Minnesota, and in a few days we will have a cello 
> concert performed by Amit Peled, and he is performing on Pablo Casals’ old 
> cello by Matteo Goffriller made in 1733.  I looked up some information on 
> that builder, and he founded the Venice school of violin making and he is 
> known mostly for his cellos.  Most or all of his surviving instruments are 
> accounted for, but all lists contained only violins, violas, cellos, basses. 
> No lutes listed. 
> 
> I seem to recall years ago that Paul O’Dette used to play an alto lute built 
> by Nico van der waals, modeled after a lute by Goffriller. I am having a 
> difficult time finding anything about extant Goffriller lutes. Does anyone 
> know anything about the provenance of an old Goffriller lute?  I would like 
> to know, as I will be meeting with Amit Pelad, who has Pablo Casals’ 
> Goffriller cello. 
> 
> Thanks in advance. 
> 
> 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: Goffriller

[Edward Martin]

Dear Lex, 

Thank you for this. This is what I recall, that PO’D played. Goffriller copy. 
Yes, he did a recording on that lute, and he had it with him at a seminar I 
attended on the ‘70’s. 

Sent from my iPhone

> On Mar 15, 2018, at 3:48 PM, Lex van Sante <lvansa...@gmail.com> wrote:
> 
> I seem to recall from an interview with Nico van der Waals that I read 
> decades ago that Nico  restored an original lute  of Gofriller from Vienna 
> for Nicolaus Harnoncourt in the late seventies.
> He has made at least one copy of it which can be heard on a record by Paul 
> O’Dette with music by Leroy and Paladino. Morlaye and de Rippe are played on 
> another van der Waals lute.
> Cheers, Lex
> 
> Verstuurd vanaf mijn iPhone
> 
>> Op 15 mrt. 2018 om 20:29 heeft Edward Martin <edvihuel...@gmail.com> het 
>> volgende geschreven:
>> 
>> Dear ones, 
>> 
>> I reside in Northern Minnesota, and in a few days we will have a cello 
>> concert performed by Amit Peled, and he is performing on Pablo Casals’ old 
>> cello by Matteo Goffriller made in 1733.  I looked up some information on 
>> that builder, and he founded the Venice school of violin making and he is 
>> known mostly for his cellos.  Most or all of his surviving instruments are 
>> accounted for, but all lists contained only violins, violas, cellos, basses. 
>> No lutes listed. 
>> 
>> I seem to recall years ago that Paul O’Dette used to play an alto lute built 
>> by Nico van der waals, modeled after a lute by Goffriller. I am having a 
>> difficult time finding anything about extant Goffriller lutes. Does anyone 
>> know anything about the provenance of an old Goffriller lute?  I would like 
>> to know, as I will be meeting with Amit Pelad, who has Pablo Casals’ 
>> Goffriller cello. 
>> 
>> Thanks in advance. 
>> 
>> 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] Goffriller

[Edward Martin]

Dear ones, 

I reside in Northern Minnesota, and in a few days we will have a cello concert 
performed by Amit Peled, and he is performing on Pablo Casals’ old cello by 
Matteo Goffriller made in 1733.  I looked up some information on that builder, 
and he founded the Venice school of violin making and he is known mostly for 
his cellos.  Most or all of his surviving instruments are accounted for, but 
all lists contained only violins, violas, cellos, basses. No lutes listed. 

I seem to recall years ago that Paul O’Dette used to play an alto lute built by 
Nico van der waals, modeled after a lute by Goffriller. I am having a difficult 
time finding anything about extant Goffriller lutes. Does anyone know anything 
about the provenance of an old Goffriller lute?  I would like to know, as I 
will be meeting with Amit Pelad, who has Pablo Casals’ Goffriller cello. 

Thanks in advance. 

Sent from my iPhone



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

[LUTE] Re: Loose frets

[Edward Martin]

One factor is that new frets sound great. That is why I change frets. 

Sent from my iPhone

> On Mar 12, 2018, at 8:07 PM, spiffys84121  
> wrote:
> 
>   If you're smart enough to -tie- frets, you're smart enough to -tighten-
>   frets. It takes less time to do than describe. Seriously-- why are
>   people --replacing-- loose frets??
> 
>   Baffled,
> 
>   Sterling
> 
>   Sent from my Verizon, Samsung Galaxy smartphone
> 
>    Original message 
>   From: John Lenti 
>   Date: 3/12/18 1:13 AM (GMT-07:00)
>   To: howard posner , lute@cs.dartmouth.edu
>   Subject: [LUTE] Re: Loose frets
> 
>  I'm a little reluctant to share something that might seem almost
>  immoral, but what the hell, I make my living playing the lute and I
>   tie
>  a lot of frets, so I'll chip in here: when I go, as I do almost
>   weekly,
>  from my home in Seattle, where the weather is always perfect for
>  gut-strung-and-fretted instruments, to a place like the mountains of
>  Montana or the desert of Tucson and the humidity is 1% and my frets
>  (usually it's 1, 5, and 6 on my main touring instrument) start
>   slipping
>  and sliding around, and I don't feel like re-fretting, I tape them
>   down
>  with masking tape.
>  Sent from [1]Mail for Windows 10
>__
>  From: lute-...@cs.dartmouth.edu  on
>   behalf
>  of howard posner 
>  Sent: Friday, March 9, 2018 9:01:32 AM
>  To: lute@cs.dartmouth.edu
>  Subject: [LUTE] Re: Loose frets
>> On Mar 9, 2018, at 8:12 AM, John Mardinly 
>  wrote:
>> 
>> My frets never come loose and they have not worn out yet. They
>   are
>>  metal.
>  I want to know how you tied them on in the first place.  You must
>   have
>  really strong fingers.
>  To get on or off this list see list information at
> 
>   [2]https://nam01.safelinks.protection.outlook.com/?url=http:%2F%2Fwww.c
>  s.dartmouth.edu%2F~wbc%2Flute-admin%2Findex.html%7C01%7C%7Cb2e0
> 
>   482fe1c54b991ec608d585df2c7f%7C84df9e7fe9f640afb435%7C1%7C0
> 
>   %7C636562115923455431=IZZ6Zu8XFrfsZCfWdhf7SHgTi7418M8H6c6WDYZPwhA
>  %3D=0
>  --
>   References
>  1. https://go.microsoft.com/fwlink/?LinkIdU0986
>  2.
>   https://nam01.safelinks.protection.outlook.com/?url=http://www.cs.dartm
>   outh.edu/~wbc/lute-admin/index.html|01||b2e0482fe1c54b991ec608d585
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>   Z6Zu8XFrfsZCfWdhf7SHgTi7418M8H6c6WDYZPwhA==0
> 

[LUTE] Double first courses (chanterelles)

[Edward Martin]

   Dear Collective wisdom,
   When did double first courses cease to exist on renaissance lutes?   We
   know from early on, and from the middle ages, they were double strung
   on every course, including the treble.   In terms of iconographical
   evidence, I looked at the Caravaggio "Lute Player", an the subject (he
   or she) is playing a 6 course lute, double strung throughout, including
   the treble, and there are 6 pegs on the upper and lower side of the peg
   box.   Caravaggio's birth- death dates are 1571â1610.   So, perhaps his
   subject had an old fashioned lute for the time, or perhaps
   double-strung first courses lasted longer than we may think.
   Vihuelas also her double strung in the first courses, at least the
   instruments show 12 pegs for the 6-course vihuela.
   I tried to look up some information to answer my questions, but I could
   not find any in the sources I used.
   So, my questions are:
   1.   When did the double first courses stop, or go out of vogue?   Was
   it universal, or did some countries / nationalities stop the practice
   earlier or later than others.?   Did Francesco use a double first
   course?
   2.   Why did the double chanterelle stop?   We know that later, lutes
   only had pegs and pegboxes to accommodate a single treble.
   3.   What evidence is there to support the "when and why" of this
   practice?
   4.   If a double chanterelle was the norm for a great part of the
   renaissance, why is it that it is so infrequently that we see a modern
   player doing this practice?
   Thanks in advance.
   ed

   --


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[LUTE] Re: String tech

[Edward Martin]

Hello Leonard and others,

This is a topic of great interest to me, as I have played mostly gut strings 
for 30 + years. There is nothing as beautiful as the sound of a gut strung lute 
tuned well. Some have tried oils, resins, even crazy glue with mixed 
effectiveness of making trebles last long. 

Of the few who responded, what they did not say is what pitch and string length 
they are using. In my experience that is the utmost important factor. 

If you want a g treble at a=440, you cannot exceed 59 cm in length. If you do, 
you can only expect short strong life. It does not help to use a smaller 
diameter treble, as lowering the tension does not help either. If you want a 
baroque lute treble of f a = 415, if you exceed 68 cm, you will experience 
failure and short string life. We certainly can use any synthetic string, 
nylon, carbon, nylgut, etc., but the properties of gut are that we must stay in 
the formula or we have treble string short life. Some argue that we “should” be 
able to string gut trebles at higher pitches than what gut is capable of, but 
experience has shown otherwise. Although we can get a synthetic treble at g = 
440 at let’s say 63 cm, we cannot with gut and that lute for instance should be 
at f, not g. 

My 67 cm. 11-course baroque lute is at f 415 at 67.5 , and a usual treble lasts 
me 3 months. Once, I had one that lasted 10 months with heavy playing!!  On my 
70.5 cm baroque lute, it only lasts a day or so unless I lower the pitch to e. 
Then if I do that, it lasts as long as the other lute. 

So, if you have a 63 cm lute and insist on a gut treble, the pitch should be f, 
not g at 440. Staying within the upper limits is the only way to use a gut 
treble. Some people record in gut in that configuration, but they can stop and 
change trebles as they fail!

Another factor is what kind of gut. Gamut now has beef gut trebles and they 
seem much stronger than sheep gut;  some say beef is not as sweet in sound, but 
I cannot tell the difference in appearance, sound, playability, or texture. For 
me, beef is my personal choice. 

Ed

Sent from my iPhone

> On Jan 19, 2018, at 11:45 AM, Leonard Williams  wrote:
> 
> Has anyone come up with a technique to increase the life of gut trebles?  
> (besides switching to synthetics!) I get stray fibers very shortly after 
> installing one—still playable but the tone and intonation suffer.
> 
> Thanks!
> Leonard Williams
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Vallet's quartets

[Edward Martin]

Yes, the Tree Edition is excellent. I have performed it many times. 

Ed

Sent from my iPhone

> On Jan 13, 2018, at 12:15 PM, Albert Reyerman  
> wrote:
> 
> The Vallet quartet edition by Anne van Royen-Bailes is available from TREE  
> EDITION.
> See Catalogue or website.
> 
> Regards
> Albert
> 
> TREE  EDITION
> Albert Reyerman
> Finkenberg 89
> 23558 Luebeck
> Germany
> 
> albertreyer...@kabelmail.de
> www.tree-edition.com
> 0451 899 78 48
> ---
> Fine Art Paintings
> Anke Reyerman
> www.anke-reyerman.de
> 
>> Am 13.01.2018 um 19:06 schrieb Jean-Marie Poirier:
>> About Vallet’s quartets: with my ensemble “Le Concert du sieur Ballard” we 
>> do play them regularly and came to the conclusion that there are very few 
>> “mistakes” indeed.
>> Anne Van Royen’s edition is excellent and with very diplomatic corrections.
>> Very nice music to play !
>> Jean-Marie
>> 
>>> Le 13 janv. 2018 à 16:42, Rainer  a écrit :
>>> 
>>> Dear lute netters,
>>> 
>>> my Vallet editions has reached milestone 1. All pieces entered and 
>>> proofread numerous times.
>>> 
>>> 70% of the critical notes entered (a nightmare).
>>> 
>>> 
>>> I wonder if it makes sense to add the quartets. As far as I know there was 
>>> an edition published by Tree(?).
>>> 
>>> Anyway, I have played Vallet quartets only once in my life in Mark Wheelers 
>>> flat in Muelheim 20 years ago.
>>> 
>>> The players were Mark (who seems to have disappeared), Stefan from 
>>> Wuppertal, Kenneth Bee (still on the lute list?) and myselfe.
>>> 
>>> Now I have listened to one of the quartets in Fronimo.
>>> 
>>> It sounds VERY strange - lots of wrong notes.
>>> 
>>> In his article about the quartets Stan Buetens argued that they sound OK 
>>> when played on lutes.
>>> 
>>> What do people say who have played the quartets?
>>> 
>>> Should I include them in my edition?
>>> 
>>> Rainer
>>> 
>>> PS
>>> 
>>> Playing music for 4 lutes was really fun :)
>>> 
>>> 
>>> 
>>> To get on or off this list see list information at
>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>> 
>> 
>> 
>> .
>> 
> 
> 
> 
> 

[LUTE] Re: New music

[Edward Martin]

   Ron commented on Toyohiko Satoh.   He has done so much for composing
   music for lute.   He has done to my knowledge, 2 tombeaus, one for
   Alice Parkinson and another for David Phillips, both American lutenists
   who passed away in the 1980's.   He has done at lease 3 CD's of his
   works as well. the latest one in in 2016.
   ed

   On Fri, Dec 22, 2017 at 4:30 PM, Roman Turovsky
   <[1]r.turov...@gmail.com> wrote:

   I have heard it a few days ago, as it is available on Spotify.
   I daresay it is Muhly's best, and his least modernist piece I've heard.
   RT
   On 12/22/2017 2:05 PM, Peter Martin wrote:

 I think you've nailed it, Christopher.
 By the way, has *anyone* else heard the Nico Muhly piece?
 Peter
 On Friday, 22 December 2017, Christopher Wilke
 <[1][2]chriswi...@cs.dartmouth.edu> wrote:
   Newer music for the lute is a tough sell because it subverts
   audience expectations. I don't think it's too much of an
 assumption
   to say that most lute fans (both listeners and players) became
   interested in the instrument because they were attracted to
 early
   music first. Therefore, in this mindset, the lute is "for"
 early
   music and anything else introduces disconcerting cognitive
   dissonance. Some folks are genuinely offended that anyone
 would play
   something other than old European music on a lute. That's a
   significant enough segment of the already tiny lute audience
 that
   one risks alienating. That's a large disincentive to spend the
 time
   learning modern pieces, even for those interested in expanding
 the
   repertoire. (Personally, I've never seen it this way at all.
 To me,
   anything that sounds good on the instrument is fair game,
 regardless
   of style or period.)
   It's interesting that the harpsichord has not had this
 problem.
   There is a sizeable body of contemporary music for solo
 harpsichord
   as well as in ensemble compositions written by heavy weight
   composers. The late Elizabeth Chojnacka made virtually her
 entire
   career out of performing contemporary harpsichord music. (She
 passed
   away this past May.)
   Chris
   Dr. Christopher Wilke D.M.A.
Lutenist, Guitarist and Composer
[2][3]www.christopherwilke.com
   
   On Fri, 12/22/17, Tristan von Neumann
 <[3][4]tristanvonneum...@gmx.de>
   wrote:
Subject: [LUTE] Re: New music
To: "lutelist Net" <[4][5]lute@cs.dartmouth.edu>
Date: Friday, December 22, 2017, 9:32 AM
Not exactly "new", but modern:
Charles Tournemire requests a lute in
his 8th Symphony (1924) :)
Not a piece you can play with your
friends though, except if you are
friends with a Philharmonic
Orchestra...
Am 22.12.2017 um 12:23 schrieb Jim
Dunn:
>As the lute becomes
slowly more popular, I think we'll see more
>contemporary lute
music popping up equally slowly (I think lutes in
>their various guises
have a very interesting tonality and set of
>limitations to
compose for, I'm enjoying making my own ham-fisted
>efforts at
least...)
>Meanwhile, not
necessarily all 'new' material, but I've been enjoying
>Peter SÃÆ Ã ¶derberg's
three contemporary lute records:20th century stuff
>like Cage, Tenney,
Stockhausen etc, as well as recordings of more
>recent things
written specifically for lute. The non-lute material he
>has selected comes
over very well in my opinion.
>Here's to more!
>
>On 22 Dec 2017,
00:21 +, Eric Hansen <[5][6]librarylutepla...@gmail.com>,
>wrote:
>
>  Hartt School
composer David Macbride composes solo lute music for
>  me, a
>  total of 13
pieces as of this writing. I played one of them at the
>  Lute Society
Seminar in Cleveland a few years ago, it's up on
>  YouTube.
>  He and I have
begun to record the pieces, a few at a time.
>  Best to all,
>  Eric
>  On Thu, Dec
21, 2017 at 5:38 PM, Jacob Johnson
>  <[1][6][7]tmrguitar...@gmail.com>
  

[LUTE] Re: Chromatic lute works

[Edward Martin]

   Yes there is a contemporary tablature of BWV 997, but the fuga and
   double to the gigue are omitted!   So, you are correct, Mathias!

   On Sun, Dec 17, 2017 at 4:58 AM, [1]mathias.roe...@t-online.de
   <[2]mathias.roe...@t-online.de> wrote:

__
  Gesendet mit der [1]Telekom Mail App
  --- Original-Nachricht ---
  Von: [3]mathias.roe...@t-online.de
  Betreff: Re: Chromatic lute works
  Datum: 17.12.2017, 11:57 Uhr
  An: Baroque Lute Net
  Is there a contemporary lute tablature of BWV 997? I was thinking
   the
  initial post asked for tablatures.
  Mathias
__
  Gesendet mit der [2]Telekom Mail App
  --- Original-Nachricht ---
  Von: G. C.
  Betreff: [LUTE] Re: Chromatic lute works
  Datum: 17.12.2017, 11:46 Uhr
  An: Liuto Internazionale
  Yes, how could one have forgotten BWV 997 :)
  Thanks Ed!
  G.
  On Sun, Dec 17, 2017 at 11:32 AM, Edward Martin
  <[1]edvihuela12@[3][4]gmail.com>; wrote:
  Capriccio Chromatico by Pietro Paolo Melij
  I am surprised nobody listed the fugue in c minor by JS Bach, BWV
  997
  --
  References
  1. mailto:[5]edvihuela12@[4][6]gmail.com
  To get on or off this list see list information at
  [5][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  --
   References
  1. [8]http://www.t-online.de/service/redir/email_app_
   android_sendmail_footer.htm
  2. [9]http://www.t-online.de/service/redir/email_app_
   android_sendmail_footer.htm
  3. [10]http://gmail.com>/
  4. [11]http://gmail.com/
  5. [12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:mathias.roe...@t-online.de
   2. mailto:mathias.roe...@t-online.de
   3. mailto:mathias.roe...@t-online.de
   4. http://gmail.com/
   5. mailto:edvihuela12@
   6. http://gmail.com/
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   8. http://www.t-online.de/service/redir/email_app_android_sendmail_footer.htm
   9. http://www.t-online.de/service/redir/email_app_android_sendmail_footer.htm
  10. http://gmail.com/
  11. http://gmail.com/
  12. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Chromatic lute works

[Edward Martin]

 Capriccio Chromatico by Pietro Paolo Melij
   I am surprised nobody listed the fugue in c minor by JS Bach, BWV 997

   On Sun, Dec 17, 2017 at 2:34 AM, Jean-Marie Poirier
   <[1]jmpoiri...@wanadoo.fr> wrote:

   You mean « la mendiante » Francesco! A nice piece indeed ;-)!
   Best wishes,
   Jean-Marie
   > Le 17 déc. 2017 à 09:30, "[2]tribi...@arcetri.astro.it"
   <[3]tribi...@arcetri.astro.it> a écrit :
   >
   >Also Nicolas Vallet, fantasia mediante. Very beautiful
   >Francesco
   >- Rispondi al messaggio -
   >Da: "Tristan von Neumann" <[4]tristanvonneum...@gmx.de>
   >A: "lutelist Net" <[5]lute@cs.dartmouth.edu>
   >Oggetto: [LUTE] Re: Chromatic lute works
   >Data: dom, dic 17, 2017 02:22
   >
   > Also Spinacino's Ricercar 17 from Volume 1.
   >
   > It's not chromatic per se, but cadences on 12 tones are quite
   impressive.
   >
   >> Am 16.12.2017 um 22:06 schrieb G. C.:
   >> I imagine there is not a great number of chromatic lute pieces
   >> available. Dowland and Aegidius come to mind, as well as the
   Phillips
   >> dolorosa pavan. Has someone yet surveyed the available ones?
   >> G.
   >>> --
    To get on or off this list see list information at
   >> [1][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >>
   >
   > References
   >
   >1. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >

   --

References

   1. mailto:jmpoiri...@wanadoo.fr
   2. mailto:tribi...@arcetri.astro.it
   3. mailto:tribi...@arcetri.astro.it
   4. mailto:tristanvonneum...@gmx.de
   5. mailto:lute@cs.dartmouth.edu
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: French Baroque Lute and large numbers on YouTube

[Edward Martin]

That old recording is one of my favorites. Thanks for sharing this. 

Sent from my iPhone

> On Nov 19, 2017, at 10:09 PM, Alain Veylit  wrote:
> 
>   Congratulations to Michael Schaeffer for the 584,829 views of French
>   Baroque Lute Music on YouTube. I am wondering if this is actually five
>   hundred and eighty four thousand and eight hundred and twenty nine
>   views or cinq cent quatre-vingt quatre virgule huit cent vingt neuf
>   vues...
> 
>   Too bad he is no longer with us to celebrate in either case.
> 
>   [1]https://www.youtube.com/watch?v=ZRltMej-hSQ
> 
>   Alain
> 
>   On 11/18/2017 12:46 PM, G. C. wrote:
> 
>   Well deserved "panegyrical" Ron :)
>   Congratulations!
>   G
>   On Fri, Nov 17, 2017 at 3:19 PM, Ron Andrico [2]<[1]praelu...@hotmail.com>
>   wrote:
> 
>For those of you who read German, we were delighted to find a new
>profile of Duo Mignarda published in the online unser Luebeck
>gemeinnuetziges Kultur-Magazin:
>[1][2][3]http://www.unser-luebeck.de/magazin/musik/6325-duo-
> mignarda-im-portr
>aet-magische-anziehungskraft
>RA
>  
> __
>--
> References
>1. [3][4]http://www.unser-luebeck.de/magazin/musik/6325-duo-
> mignarda-im-portraet-magische-anziehungskraft
> To get on or off this list see list information at
> [4][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
>   --
> 
> References
> 
>   1. [6]mailto:praelu...@hotmail.com
>   2. [7]http://www.unser-luebeck.de/magazin/musik/6325-duo-mignarda-im-portr
>   3. 
> [8]http://www.unser-luebeck.de/magazin/musik/6325-duo-mignarda-im-portraet
> -magische-anziehungskraft
>   4. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> 
>   --
> 
> References
> 
>   1. https://www.youtube.com/watch?v=ZRltMej-hSQ
>   2. mailto:[1]praelu...@hotmail.com
>   3. http://www.unser-luebeck.de/magazin/musik/6325-duo
>   4. http://www.unser-luebeck.de/magazin/musik/6325-duo
>   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>   6. mailto:praelu...@hotmail.com
>   7. http://www.unser-luebeck.de/magazin/musik/6325-duo-mignarda-im-portr
>   8. 
> http://www.unser-luebeck.de/magazin/musik/6325-duo-mignarda-im-portraet-magische-anziehungskraft
>   9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 

[LUTE] Re: "Sting Effect" (was Direwolf Hall)

[Edward Martin]

   Actually, I cannot recall that I have seen a raising profile since the
   "Sting Effect".
   ed

   On Thu, Sep 7, 2017 at 3:55 PM, howard posner
   <[1]howardpos...@ca.rr.com> wrote:

 > On Sep 7, 2017, at 1:40 PM, John Mardinly
 <[2]john.mardi...@asu.edu> wrote:
 >
 > So is there any chance that this will result in archlute themed
 backpacks, pencil cases, blankets, pillows or other Disney themed
 merchandise?
 It's been 11 years (!) since Sting tackled (as it were) Dowland in
 Songs from the Labyrinth.   Some of us were speculating about a
 potential "Sting effect" raising the lute's profile in the world.
 Did anyone notice one?
 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:howardpos...@ca.rr.com
   2. mailto:john.mardi...@asu.edu
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: KF vs. new Aquila bass strings

[Edward Martin]

   Very interesting indeed.   Among the very first users of carbon strings
   is Toyohiko Satoh, and the original company was called I think Seagar,
   or something like that.   They are a Japanese manufacturer of fishing
   line.   So, all who use carbon are using fishing line.
   ed

   On Tue, Aug 29, 2017 at 4:06 PM, Tristan von Neumann
   <[1]tristanvonneum...@gmx.de> wrote:

 Hi George!
 Thanks for sharing your experience! I was exactly looking for that
 answer, but no one had attempted full stringing on a Renaissance
 lute and I forgot.
 What would you use for a 62cm Renaissance Lute 7c on G=415 or 432
 Hz?
 I'd be interested in a list and manufacturers, preferably those
 available in Europe.
 I thought monofilaments were thinner, the chanterelle was like .33mm
 from Pyramid Strings. That could be a little hard on the holes.
 I also don't want to damage my lute by overstringing it...
 Thanks for the hint!

   Am 29.08.2017 um 14:25 schrieb George Arndt:

   Hello fellow lute players:
   I have been using salt water monofilament fishing line on my lutes
   for
   the past three years with satisfactory results. The only exception
   being the 7th course on Renaissance lutes and the diapasons on my
   Baroque lute that are wound with metal. I matched the diameter and
   length of the original strings with fishing line. If a string was
   easily broken I use a larger diameter to replace it. If peg
   friction
   was a inadequate, I decrease string diameter and replace that
   string.
   If a string slapped the fingerboard I used a larger diameter when
   I replace it.   One nice advantage is mono-filament strings may be
   pigmented and this helped me as I was learning to play. After three
   years I am satisfied with the result. It cost $120 for a lifetime
   supply of strings for my seven lutes.
   Thanks for the opportunity to add my comments.
   George
 
   __
   From: [2]lute-...@cs.dartmouth.edu <[3]lute-...@cs.dartmouth.edu>
   on behalf
   of Matthew Daillie <[4]dail...@club-internet.fr>
   Sent: Tuesday, August 29, 2017 3:01 AM
   To: Dan Winheld
   Cc: lutelist Net
   Subject: [LUTE] Re: KF vs. new Aquila bass strings
   Unfortunately there have been serious issues with the new loaded
   nylgut
   strings.
   Availability has been erratic ( I believe that there have only been
   two
   batches so far, the second stiffer than the first) with promises of
   delivery of certain references delayed by several months.
   Some gauges break without warning between the nut and the peg,
   perhaps
   due to the fact that the surface is slightly rough and does not
   fare
   well on the passage in the grove over the nut.
   Strings are often false, especially when being stopped going up the
   fingerboard but also when used as diapasons; their inherent
   stretchiness gives them great amplitude so when they are plucked
   they
   can not only hit against the fingerboard but also against the
   string of
   a neighbouring course!
   I am sorry to be so negative regarding these strings. I had very
   high
   hopes and if Mimmo manages to get the formula right and overcome
   production issues, then they will probably become a lot of players'
   number one choice but we are certainly not there yet. Loaded nylgut
   strings are not inexpensive and it is frustrating to spend
   considerable
   sums of money before being forced to conclude that they are still
   at
   the experimental stage and that we are acting as guinea pigs.
   I use PVF strings on the 5th courses of renaissance lutes and as
   diapasons on theorbos. They work well and are incredibly long
   lasting.
   I have seen and heard them used very successfully on 6th, 7th and
   8th
   courses of renaissance lutes. Tying them around the bridge is
   tricky
   (some luthiers such as Martin Shepherd suggest thinning the ends).
   I
   have no experience of using them on baroque lutes but I would have
   thought that the diameters for the lower courses would have been
   prohibitive.
   Best,
   Matthew
   > On Aug 29, 2017, at 1:26, Dan Winheld <[5]dwinh...@lmi.net>
   wrote:
   >
   > A question for those of you who have tried, used, and been
   satisfied
   with the Savarez KF (originally for harp) bass strings- the gut
   like
   one starting at .90 or .95 mm thickness (losing memory here) and
   have
   also tried Mimmo Peruffo's new basses- How do they compare? I am
   mostly
   quite happy with the Savarez KF- VERY satisfied with the long
   single
   basses on my archlute-   but on my 10 course & 13 course bass rider
   style Baroque lute the very lowest courses could use a little help;
  

[LUTE] Re: Shakespeare songs

[Edward Martin]

   I second Roger's suggestion, a fantastic book.
   ed

   On Tue, Apr 18, 2017 at 10:42 PM, Roger Landes
   <[1]landesro...@gmail.com> wrote:

   Here you go:
   [2]https://www.amazon.com/Shakespeares-Songbook-Ross-W-Duffin/
   dp/0393058891/ref=sr_1_1?ie=UTF8=1492573316=8-1&
   keywords=ross+duffin+shakespeare
   Roger Landes
   [3]http://www.rogerlandes.com
   On 4/18/2017 5:33 PM, Stewart McCoy wrote:

 I am looking for 17th-century songs associated with Shakespeare
 for two
 sopranos and lute (or theorbo), and would be grateful for any
 suggestions.
 Thanks,
 Stewart McCoy.
 --
 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:landesro...@gmail.com
   2. 
https://www.amazon.com/Shakespeares-Songbook-Ross-W-Duffin/dp/0393058891/ref=sr_1_1?ie=UTF8=1492573316=8-1=ross+duffin+shakespeare
   3. http://www.rogerlandes.com/
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Text translations

[Edward Martin]

   Dear Ones,
   Does anyone happen to have handy English text translations for 2 pieces
   from Pratum Musicum, Io vo gridando and Donna Crudel?   I know Io vo
   gridando menas, "I go screaming" and Donna Crudel means "Cruel Woman".
   I would appreciate it if you are able, many thanks.
   ed

   --


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

[LUTE] Re: planetary tuners

[Edward Martin]

   Howard brings out a factor, which is longevity.   I have had them for 4
   years, no breakdown thus far.   Also, Charles gave an example of the
   Ernie Ball battery charged tuning device.  i do not have that, but a
   simple device that winds the string, and it works very well for
   changing strings.
   Yes, there are those who love them, those who dislike them.
   Personally, since I got pegheds, they have solved many past issues of
   sticking and slipping when in performance.
   ed

   On Sat, Feb 11, 2017 at 10:47 PM, howard posner
   <[1]howardpos...@ca.rr.com> wrote:

   > On Feb 11, 2017, at 4:32 PM, Some guy named "LSA Lute Rental Program"
   wrote:
   >
   >Then, after the dust settles, we discover we are pretty much
   evenly
   >split for and against
   You're not accounting for the many, many, fraudulent votes.
   > and the issue dies down only to rise again in 12
   >months.
   >For those who do not wish to use planetary tuners, the most
   notable
   >example of which is PegHedz, their best approach is not to use
   them.
   >For those, like me, who have used them and like them very much
   indeed,
   >the best approach is to keep using them.I have 42 instruments
   in the
   >LSA's lute rental collection and if I had the money to do so I
   would
   >install PegHedz on every single one.The LSA neither supports
   nor
   >does not support the use of any particular tuner, including
   friction
   >pegs or planetary tuners such as PegHedz.I am only telling you
   that
   >I think they are such a valuable resource that I would put them on
   all
   >the lutes if it could be afforded.It can't so I won't.But
   if I
   >did it would forever eliminate the problem that aging lutes have
   of
   >pegs that become out of round and needing replacing or retooling.
  It
   >would also make tuning much easier for beginners--but that is just
   my
   >opinion.
   Have these things been around long enough that we can talk about their
   durability?
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:howardpos...@ca.rr.com
   2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: planetary tuners

[Edward Martin]

I have them on an 8-course lute, 11-course lute, and vihuela. They are 
fantastic, highly recommended. 

Sent from my iPhone

> On Feb 11, 2017, at 9:59 AM, Roman Turovsky  wrote:
> 
> A question for the Collective Wisdom:
> 
> Looking for opinions on planetary tuners for lutes or vihuelas, cautionary 
> tales, where to get them, which brands, how to install etc.
> 
> Thank ye all,
> RT
> 
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Fortune my foe

[Edward Martin]

   Thank you Ron!   I appreciate your help.   Actually, I found it in Ross
   Doffin's large Shakespeare book.   There it is, with a total of all the
   22 stanzas!
   ed

   On Wed, Jan 18, 2017 at 5:42 PM, Ron Andrico <[1]praelu...@hotmail.com>
   wrote:

Edward:
Since there have been no other responses to your query, I can
 steer you
to my source of the tune, which is not terribly difficult to
 find.
"Fortune my foe" is in William Chappell's, _Popular music of the
 olden
time_, Volume One, p. 162.   Chappell only sets the first verse,
indicating that there are twenty-two tedious stanzas of four
 lines
each.   You can also find more information in John Ward's
 "Apropos "The
British Broadside Ballad and Its Music"", _Journal of the
 American
Musicological Society_, Vol. 20, No. 1 (Spring, 1967), pp. 28-86.
RA
  
 __
From: [2]lute-...@cs.dartmouth.edu <[3]lute-...@cs.dartmouth.edu>
 on behalf
of Edward Martin <[4]edvihuel...@gmail.com>
Sent: Wednesday, January 18, 2017 5:46 PM
To: lute net
Subject: [LUTE] Fortune my foe
   Dear collective wisdom,
   Does anyone have the song "Fortune My foe" in notation you
 could
   forward to me?I cannot seem to locate it.I am
 interested in
the
   vocal part with text, not a lute solo.
   Thanks in advance!
   ed
   --
To get on or off this list see list information at
[1][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[2]Frequently Asked Technical Questions about the lute mail list
[6]www.cs.dartmouth.edu
Frequently Asked Technical Questions about the lute mail list.
 getting
on and off the list; How do I get on the lute mail list? How do I
 get
off the lute mail list?

  --
   References
  1. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  2. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:praelu...@hotmail.com
   2. mailto:lute-...@cs.dartmouth.edu
   3. mailto:lute-...@cs.dartmouth.edu
   4. mailto:edvihuel...@gmail.com
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   6. http://www.cs.dartmouth.edu/
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Fortune my foe

[Edward Martin]

   Dear collective wisdom,
   Does anyone have the song "Fortune My foe" in notation you could
   forward to me?   I cannot seem to locate it.   I am interested in the
   vocal part with text, not a lute solo.
   Thanks in advance!
   ed

   --


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[LUTE] Re: What if I seek for love

[Edward Martin]

   Glad you have it, Gert!

   On Fri, Jan 6, 2017 at 7:59 AM, Gert de Vries <[1]desge...@xs4all.nl>
   wrote:

   Dear Edward,
   I have a Mac, but Matthew already sent me the facsimile, so I'm all
   set.
   Thanks!
   Gert
   > Op 6 jan. 2017, om 13:28 heeft jmpoirier2 <[2]jmpoiri...@wanadoo.fr>
   het volgende geschreven:
   >
   >... Or Ed you can print it as a pdf and everybody can open it ð!
   >
   >Envoyé depuis mon appareil Samsung
   >
   > Message d'origine ----
   >De : Edward Martin <[3]edvihuel...@gmail.com>
   >Date : 06/01/2017 1:01 PM (GMT+01:00)
   >Ã : Gert de Vries <[4]desge...@xs4all.nl>
   >Cc : lute net <[5]lute@cs.dartmouth.edu>
   >Objet : [LUTE] Re: What if I seek for love
   >--001a114812f25f888505456bc7c5
   >Content-Type: text/plain; charset=UTF-8
   >Content-Transfer-Encoding: quoted-printable
   >I have it in Fronimo.   If you do not have Fronimo, you can
   download the
   >demo version, in which you will be able to open files, but you
   must
   >have
   >windows to use the program.
   >[6]http://www.theaterofmusic.com/fronimo/
   >ed
   >On Fri, Jan 6, 2017 at 5:04 AM, Gert de Vries
   <[7]desge...@xs4all.nl>
   >wrote:
   >> Dear All,
   >>
   >> I'm looking for "What if I seek for love of thee" by Robert Jones. I
   >can't
   >> find it anywhere online.
   >> Anyone who can help me out?
   >>
   >> Thanks,
   >>
   >> Gert
   >>
   >>
   >>
   >>
   >>
   >> To get on or off this list see list information at
   >> [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >>
   >--001a114812f25f888505456bc7c5
   >Content-Type: text/html; charset=UTF-8
   >Content-Transfer-Encoding: quoted-printable
   >I
   >have it in Fronimo.   If you do not have Fronimo, you can download
   the
   >demo version, in which you will be able to open files, but you
   must
   >have windows to use the program.href="[9]http://www.theaterofmusic.com/fronimo/;>[10]h
   ttp://www.theaterofmusic
   >.com/fronimo/class="gmail_default">edclass="gmail_quote">On Fri, Jan 6, 2017 at 5:04 AM, Gert de Vries
   dir="ltr">mailto:[11]desge...@xs4all.nl;
   >target="_blank">[12]desge...@xs4all.nl
   wrote:class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc
   >solid;padding-left:1ex">Dear
   >All,
   >
   >I'm looking for "What if I seek for love of thee" by Robert Jones.
   I
   >can't find it anywhere online.
   >Anyone who can help me out?
   >
   >Thanks,
   >
   >Gert
   >
   >
   >
   >
   >
   >To get on or off this list see list information at
   >http://www.cs.dartmouth.
   edu/~wbc/lute-admin/index.html"
   >rel="noreferrer"
   >target="_blank">[14]http://www.cs.dartmouth.edu/~wbc/lute-
   admin/index.
   >html
   >
   >--001a114812f25f888505456bc7c5--
   >--
   >

   --

References

   1. mailto:desge...@xs4all.nl
   2. mailto:jmpoiri...@wanadoo.fr
   3. mailto:edvihuel...@gmail.com
   4. mailto:desge...@xs4all.nl
   5. mailto:lute@cs.dartmouth.edu
   6. http://www.theaterofmusic.com/fronimo/
   7. mailto:desge...@xs4all.nl
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. http://www.theaterofmusic.com/fronimo/
  10. http://www.theaterofmusic/
  11. mailto:desge...@xs4all.nl
  12. mailto:desge...@xs4all.nl
  13. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  14. http://www.cs.dartmouth.edu/~

[LUTE] Re: What if I seek for love

[Edward Martin]

--001a114812f25f888505456bc7c5
Content-Type: text/plain; charset=UTF-8
Content-Transfer-Encoding: quoted-printable

I have it in Fronimo.  If you do not have Fronimo, you can download the
demo version, in which you will be able to open files, but you must have
windows to use the program.
http://www.theaterofmusic.com/fronimo/

ed

On Fri, Jan 6, 2017 at 5:04 AM, Gert de Vries  wrote:

> Dear All,
>
> I’m looking for “What if I seek for love of thee” by Robert Jones. I 
> can’t
> find it anywhere online.
> Anyone who can help me out?
>
> Thanks,
>
> Gert
>
>
>
>
>
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>

--001a114812f25f888505456bc7c5
Content-Type: text/html; charset=UTF-8
Content-Transfer-Encoding: quoted-printable

I have it in 
Fronimo.  If you do not have Fronimo, you can download the demo version, in 
which you will be able to open files, but you must have windows to use the 
program.http://www.theaterofmusic.com/fronimo/;>http://www.theaterofmusic.com/fronimo/edOn Fri, Jan 6, 2017 at 5:04 
AM, Gert de Vries mailto:desge...@xs4all.nl; 
target="_blank">desge...@xs4all.nl wrote:Dear All,

I’m looking for “What if I seek for love of thee” by Robert Jones. I 
can’t find it anywhere online.
Anyone who can help me out?

Thanks,

Gert





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rel="noreferrer" 
target="_blank">http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html


--001a114812f25f888505456bc7c5--
--

[LUTE] Re: Shirley Rumsey

[Edward Martin]

   Dear Matthew and all,
   Thank you for this information!   I am so glad she is still alive, with
   her husband.   If anyone has her contact, could they please inform her
   that these sources list her as being deceased?   I think she would like
   to correct that!!
   Thanks to all,
   ed

   On Thu, Nov 10, 2016 at 11:06 AM, Matthew Daillie
   <[1]dail...@club-internet.fr> wrote:

 On 10/11/2016 17:43, Edward Martin wrote:

 Dear Collective wisdom,
 I am wondering if anyone knows the fate or whereabouts of
 Shirley
 Rumsey.She made a number of beautiful recordings on the
 Naxos label
 in the 1990's, and worked with Christopher Wilson - it is my
 understanding they were married.
 I was listening to her "Music of the Spanish Renaissance", and
 did an
 search about her, and the Wikipedia page devoted to her gives
 her birth
 and death years of 1933 to 1996.From what I could see on
 photos, she
 does not appear to be in her 60's when the photo was taken in
 the 90's.
   I also saw a chat page (I lost the link, sorry) to where
 someone was
 questioning if those birth/death years were indeed one and the
 same as
 our lutenist/singer Shirley Rumsey.The question put forth
 was not
 answered.
 Does anyone know if she has indeed passed away, or is still
 living?
 Thanks in advance,
 ed

 Dear Ed,
 Shirley is fine, living in England with her husband Chris Wilson.
 Neither of them performs in public any more. She is indeed a gifted
 musician,   considering herself mainly as a lutenist (having studied
 with Diana Poulton at the Royal College of Music) although her
 talents as a singer were not to be belittled. She also played harp
 and keyboard at some point.
 Best,
 Matthew

   --

References

   1. mailto:dail...@club-internet.fr


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[LUTE] Re: Shirley Rumsey

[Edward Martin]

   Dear Martin,
   Thank you for your reply!   It is indeed good to hear from you.   There
   are a number of sites listing her death as 1996.   Your conversation
   with Christopher is reassuring.   I am wondering, are there any others
   on this list, particularly in the UK, who have knowledge about her?   I
   certainly hope she is still among the living.   If she is still with
   us, is she still active in music?
   -- Forwarded message --
   From: Martin Shepherd <[1]mar...@luteshop.co.uk>
   Date: Thu, Nov 10, 2016 at 10:57 AM
   Subject: Re: [LUTE] Shirley Rumsey
   To: Edward Martin <[2]edvihuel...@gmail.com>
   Dear Ed,
   This is really strange.   Her birth date is given as 1933, when I would
   have thought it was more like 1953.   When I last saw Chris Wilson
   (about a year ago) I remember - I hope correctly - that I asked how she
   was doing (yes they were married) and he said fine.So I don't
   understand how she can possibly have died in 1996 either.
   Best wishes,
   Martin
   On 10/11/2016 17:43, Edward Martin wrote:

 Dear Collective wisdom,
 I am wondering if anyone knows the fate or whereabouts of
 Shirley
 Rumsey.She made a number of beautiful recordings on the
 Naxos label
 in the 1990's, and worked with Christopher Wilson - it is my
 understanding they were married.
 I was listening to her "Music of the Spanish Renaissance", and
 did an
 search about her, and the Wikipedia page devoted to her gives
 her birth
 and death years of 1933 to 1996.From what I could see on
 photos, she
 does not appear to be in her 60's when the photo was taken in
 the 90's.
   I also saw a chat page (I lost the link, sorry) to where
 someone was
 questioning if those birth/death years were indeed one and the
 same as
 our lutenist/singer Shirley Rumsey.The question put forth
 was not
 answered.
 Does anyone know if she has indeed passed away, or is still
 living?
 Thanks in advance,
 ed
 --
 To get on or off this list see list information at
 [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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   This email has been checked for viruses by Avast antivirus software.
   [4]https://www.avast.com/antivirus

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References

   1. mailto:mar...@luteshop.co.uk
   2. mailto:edvihuel...@gmail.com
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   4. https://www.avast.com/antivirus

[LUTE] Shirley Rumsey

[Edward Martin]

   Dear Collective wisdom,
   I am wondering if anyone knows the fate or whereabouts of Shirley
   Rumsey.   She made a number of beautiful recordings on the Naxos label
   in the 1990's, and worked with Christopher Wilson - it is my
   understanding they were married.
   I was listening to her "Music of the Spanish Renaissance", and did an
   search about her, and the Wikipedia page devoted to her gives her birth
   and death years of 1933 to 1996.   From what I could see on photos, she
   does not appear to be in her 60's when the photo was taken in the 90's.
 I also saw a chat page (I lost the link, sorry) to where someone was
   questioning if those birth/death years were indeed one and the same as
   our lutenist/singer Shirley Rumsey.   The question put forth was not
   answered.
   Does anyone know if she has indeed passed away, or is still living?
   Thanks in advance,
   ed

   --


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

[LUTE] Re: Boston Catlines Website

[Edward Martin]

Yes, I DID incorrectly spell it. I stand corrected!

Sent from my iPhone

> On Oct 19, 2016, at 9:25 PM, Terry Muska 
> <tmu...@new-old-mail.cs.dartmouth.edu> wrote:
> 
> I believe that should read 
> catli...@aol.com
> 
> Sent from my iPhone
> 
>> On Oct 19, 2016, at 8:47 PM, Edward Martin <edvihuel...@gmail.com> wrote:
>> 
>> I think the web site is down, but you can reach Chris at:  catli...@apl.com. 
>> 
>> Sent from my iPhone
>> 
>>> On Oct 19, 2016, at 8:22 PM, co...@medievalist.org wrote:
>>> 
>>> Good evening everyone. I've been trying to find the Boston Catlines
>>> website which, according to the BC Facebook page was put up in 2017.
>>> But for some reason it's not coming up at all and I get redirected to
>>> my ISP's search page. Has the website been taken down or perhaps the
>>> name changed? Thank you.
>>> Regards,
>>> Craig Allen
>>> 
>>> --
>>> 
>>> 
>>> To get on or off this list see list information at
>>> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
> 
> 

[LUTE] Re: Boston Catlines Website

[Edward Martin]

I think the web site is down, but you can reach Chris at:  catli...@apl.com. 

Sent from my iPhone

> On Oct 19, 2016, at 8:22 PM, co...@medievalist.org wrote:
> 
>   Good evening everyone. I've been trying to find the Boston Catlines
>   website which, according to the BC Facebook page was put up in 2017.
>   But for some reason it's not coming up at all and I get redirected to
>   my ISP's search page. Has the website been taken down or perhaps the
>   name changed? Thank you.
>   Regards,
>   Craig Allen
> 
>   --
> 
> 
> To get on or off this list see list information at
> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Vivaldi lute concerto

[Edward Martin]

   I have performed this concerto in the past, a few times.   Firstly, I
   observed his fingerings, and it is apparent that he is playing in C -
   major.   The composition is in D - major, so I think the ensemble
   recorded it a step down from how it was actually composed.
   Actually those fingerings are easier in C major than in D major.   I
   once performed it with an ensemble in D major, but used an alto lute in
   "a", so it had the same relative tuning as he used.

   On Mon, Oct 10, 2016 at 10:14 AM, Ron Andrico
   <[1]praelu...@hotmail.com> wrote:

The only bit of opinion in my previous message was that I thought
 Luca
Pianca's performance was musical.   The rest is supported by
 factual
information.
  
 __
From: Matthew Daillie <[2]dail...@club-internet.fr>
Sent: Monday, October 10, 2016 3:11 PM
To: Ron Andrico
Cc: fournierbru; [3]lute@cs.dartmouth.edu
Subject: Re: [LUTE] Re: Vivaldi lute concerto

  I'm not in the least bit surprised that our opinions and tastes
   differ
  Ron.
  Matthew
  > On Oct 10, 2016, at 16:51, Ron Andrico <[4]praelu...@hotmail.com>
   wrote:
  >
  >Hmm...Historically-informed must have taken on a different
   meaning
  >while I wasn't paying attention.   I should think Luca Pianca
   and
  his
  >Italian compatriots might have a bit more of a secure
   connection
  with
  >Vivaldi's music than the American's you name.   O'Dette
   recorded
  this
  >music with a silly little chirpy mandolino playing with a
   rather
  stiff
  >sounding band.   McFarlane's interpretation is vibrant and
   lovely
  but
  >what we hear in this video with Luca Pianca has everything to
   do
  with a
  >microphone placement that allows the lute to be heard above the
  rest of
  >the band, as is certainly the case in the other recordings
  mentioned.
  >As far as I can tell, single stringing was sometimes used by
   the
  old
  >ones but Luca Pianca's hand position is definitely
  >historically-accurate for Vivaldi's era.   The under thumb
   approach
  >ceased to exist with the advent of many additional basses,
   circa
  1600,
  >and those who use that hand position in baroque music today are
  >not using an historically-informed approach.   So unless
  >historically-informed now has something to do with microphone
  >placement, I think the video example is compelling and musical.
  >
  >RA
  >
  __
  >
  >From: [5]lute-...@cs.dartmouth.edu
   <[6]lute-...@cs.dartmouth.edu> on
  behalf
  >of Matthew Daillie <[7]dail...@club-internet.fr>
  >Sent: Monday, October 10, 2016 1:54 PM
  >To: fournierbru; [8]lute@cs.dartmouth.edu
  >Subject: [LUTE] Re: Vivaldi lute concerto
  >
  >>On 10/10/2016 15:29, fournierbru wrote:
  >> Hello all
  >>
  >> I would like your opinions on this interpretation of the
   Vivaldu
  >lute
  >> concerto I found on YouTube.
  >>
  >> [1][9]https://youtu.be/u9m3ghjN0RE
  >[2][maxresdefault.jpg]
  >[3]Vivaldi - Lute Concerto in D major, RV 93 - Il Giardino
   Armonico
  >[10]youtu.be
  >Antonio Vivaldi Lute Concerto in D major, RV 93 1 Allegro 2
   Largo 3
  >Allegro Luca Pianca, lute Il Giardino Armonico
  >>
  >> BRUNO
  >Not my cup of tea. He's using what looks like a single strung
  13-course
  >liuto forte, very guitar like and not particularly enticing.
  >Paul O'Dette and Ronn McFarlane have both recorded this work. I
  suspect
  >their interpretations are rather more subtle and historically
  informed.
  >Best
  >Matthew
  >To get on or off this list see list information at
  >[4][11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  >[5]Frequently Asked Technical Questions about the lute mail
   list

>[1][12]www.cs.dartmouth.edu
[2]Department of Computer Science
[13]www.cs.dartmouth.edu
Assistant Professor in Machine Learning. We are inviting
 applications
for a tenure-track faculty position at the level of assistant
 professor
in the area of machine ...
>Frequently Asked Technical Questions about the lute mail
 list.
getting
>on and off the list; How do I get on the lute mail list? How
 do I
get
>off the lute mail list?
>
>--
>
> References
>
>1. [3][14]https://youtu.be/u9m3ghjN0RE
[4][maxresdefault.jpg]

[LUTE] Re: blog post

[Edward Martin]

   Dear Martin, Martyn, and all,
   This is a very nice posting, and I agree with the idea that perhaps
   tensions were much lower than we seem to use today.   Toyohiko Satoh
   has been doing this very thing for years, which is playing with the
   right hand close to the bridge, with low tension strings, using plain
   or pure gut, no metal.
   For a few years I have been playing my 11-course Frei, 67.5 cm. mensur,
   at a = 415, in pure gut.   I have discovered that using all gut, no
   metal, can produce a wonderful sound, even down to the 11th course with
   no bass rider or swan extension.
   ed

   On Thu, Aug 4, 2016 at 10:46 AM, Martin Shepherd
   <[1]mar...@luteshop.co.uk> wrote:

 Dear Martyn (and All),
 I'm not ruling out the possibility of loaded strings, but I do think
 the evidence from bridge holes is mixed, in the sense that we would
 have to be absolutely certain that a bridge with small holes was
 original.
 Even with modern gut strings it's possible to string a 6c lute with
 only plain gut (well, high twist or whatever) in the bass and also a
 13c swan neck lute!   The difficult cases are the 8 to 10 course
 lutes, the 13c bass rider type, also the liuto attiorbato, for all
 of which loaded basses might well be the answer.
 I can't send attachments to the list but I'm sending you another
 painting from 1576 which shows strings very clearly and they're
 remarkably thin.
 Best wishes,
 Martin

   On 04/08/2016 14:55, Martyn Hodgson wrote:

 Hello Martin,
 Nice site and blog.
 I seem to recall that when loaded strings first came out (25 yrs
 ago?)
 that some of the evidence for their use was found in the small
 diameter
 holes in some lute bridges. To maintain string tensions at
 around
 present day levels the hypothesis was therefore that the old
 bass
 strings would have been dense than plain gut - hence 'loaded'.
 I also recall that somebody (might have been Eph Segerman) at
 the time
 also pointed out an alternative for such relatively small
 diameter
 holes: that the tensions of the bass strings might be much lower
 than
 the upper courses. In short just as you're suggesting. My
 experience of
 doing this at the time was that one needed to play very close to
 the
 bridge to gain any projection and, of course, this is precisely
 what
 most old sources (from c.1600 onwards) tell us. So you may be
 right -
 that basses were often(always?) at a significantly lower tension
 than
 the upper courses.
 Having said this, I did like Mimmo's loaded strings very much
 and, of
 course, they also possibly indicate loading because of their
 distinctive colour. All food for thought..
 regards,
 Martyn

 __
 From: Martin Shepherd <[2]mar...@luteshop.co.uk>
 To: Lute List <[3]lute@cs.dartmouth.edu>
 Sent: Thursday, 4 August 2016, 12:51
 Subject: [LUTE] blog post
 Hi All,
 Just to let you know that I have put up a new blog post - let me
 know
 your thoughts.
 [1][4]http://luteshop.co.uk/some-thoughts-on-string-tension/
 Best wishes,
 Martin
 ---
 This email has been checked for viruses by Avast antivirus
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 To get on or off this list see list information at
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 --
 References
 1. [7]http://luteshop.co.uk/some-thoughts-on-string-tension/
 2. [8]https://www.avast.com/antivirus
 3. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. mailto:mar...@luteshop.co.uk
   2. mailto:mar...@luteshop.co.uk
   3. mailto:lute@cs.dartmouth.edu
   4. http://luteshop.co.uk/some-thoughts-on-string-tension/
   5. https://www.avast.com/antivirus
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. http://luteshop.co.uk/some-thoughts-on-string-tension/
   8. https://www.avast.com/antivirus
   9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  10. https://www.avast.com/antivirus

[LUTE] My Lord Oxenford's Maske

[Edward Martin]

   Dear Collective wisdom,
   Thank to all who responded, Matthew, Rainer, and David.   Actually, the
   piece is entitled My Lord Oxenford's Maske, and David kindly sent me
   his part, of which I am most thankful.   Thanks to all!
   ed

   --


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[LUTE] Lord Oxenford's March

[Edward Martin]

   Dear collective wisdom,
   Does anyone have an intabulated lute part for this piece, I believe
   from the Morley Consort lessons?
   Thanks in advance!
   ed

   --


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[LUTE] Re: Red string

[Edward Martin]

   What about the bird on her shoulder?

   On Sat, May 28, 2016 at 9:59 AM, G. C. <[1]kalei...@gmail.com> wrote:

pls. notice the RH nail contact?
On Sat, May 28, 2016 at 4:42 PM, Sean Smith
 <[1][2]lutesm...@gmail.com>
wrote:
  Good morning all,
  I was impressed this painting:

 [2][3]http://www.fondationcustodia.fr/ununiversintime/1_meester_van_
 de_
  jaren_veertig_4494.cfm
  I appreciate that the artist was very attentive so I started
 zooming
  around with the magnifier. I noticed that while the spacing is
  unrealistic the top string was red. I hadn't heard about this
 from
  our modern string revivalists so I'm curious. What do you think
 it
  might be?
  Sean
  To get on or off this list see list information at
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--
 References
1. mailto:[5]lutesm...@gmail.com
2.
 [6]http://www.fondationcustodia.fr/ununiversintime/1_meester_van_de_
 jaren_veertig_4494.cfm
3. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:kalei...@gmail.com
   2. mailto:lutesm...@gmail.com
   3. http://www.fondationcustodia.fr/ununiversintime/1_meester_van_de_
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   5. mailto:lutesm...@gmail.com
   6. 
http://www.fondationcustodia.fr/ununiversintime/1_meester_van_de_jaren_veertig_4494.cfm
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: new on Magnatune

[Edward Martin]

   Welcome to Magnatune, Tom!   We are in over our heads compared to your
   effort!
   ed

   On Sat, May 21, 2016 at 8:34 PM, Thomas Walker
   <[1]twlute...@hotmail.com> wrote:

  Yes, Magnatune moved away from individual sales a few years ago,
   which
  is a bit inconvenient.   For early music fans, their library is a
   steal
  for the price, but for those on a budget (like me, honestly), it's
  steep.   You can still find my CD at CDbaby, and they've upped their
  download quality as well:
   [1][2]http://www.cdbaby.com/cd/rukavinawalker2.
  > Date: Sat, 21 May 2016 18:17:48 -0700
  > To: [3]twlute...@hotmail.com; [4]lute@cs.dartmouth.edu
  > From: [5]d...@dolcesfogato.com
  > Subject: [LUTE] Re: new on Magnatune
  >
  > Hi Tom,
  > This looks really nice. Is there any way to buy the album without
  having to
  > spend $299 to become a member? That seems a bit steep for 1
  album...which is
  > all I am interested in. Or perhaps I misunderstand.
  >
  > Regards
  > David
  >
  > -Original Message-
  > From: [6]lute-...@cs.dartmouth.edu
   [mailto:[7]lute-...@cs.dartmouth.edu] On
  Behalf
  > Of Thomas Walker
  > Sent: Saturday, May 21, 2016 5:38 PM
  > To: [8]lute@cs.dartmouth.edu
  > Subject: [LUTE] new on Magnatune
  >
  > Hello all,
  > A few years ago a completed a recording of lute music by
   Piccinini,
  > Kapsperger, Terzi, and Lorenzino. I finally got around to
   submitting
  > it to Magnatune and they graciously agreed to add it to their
   already
  > rich catalog of lute recordings. There are lots of great names in
  > their catalog, I feel rather in over my head, but here it is:
  >

   [1][9]http://magnatune.com/artists/albums/thomaswalker-stilemodernostil
   ean
  > tico?song=1
  > Cheers,
  > Tom
  >
  > --
  >
  > References
  >
  > 1.
  >

   [10]http://magnatune.com/artists/albums/thomaswalker-stilemodernostilea
   ntic
  o?son
  > g=1
  >
  >
  > To get on or off this list see list information at
  > [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  >
  >
  --
   References
  1. [12]http://www.cdbaby.com/cd/rukavinawalker2

   --

References

   1. mailto:twlute...@hotmail.com
   2. http://www.cdbaby.com/cd/rukavinawalker2
   3. mailto:twlute...@hotmail.com
   4. mailto:lute@cs.dartmouth.edu
   5. mailto:d...@dolcesfogato.com
   6. mailto:lute-...@cs.dartmouth.edu
   7. mailto:lute-...@cs.dartmouth.edu
   8. mailto:lute@cs.dartmouth.edu
   9. http://magnatune.com/artists/albums/thomaswalker-stilemodernostilean
  10. http://magnatune.com/artists/albums/thomaswalker-stilemodernostileantic
  11. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  12. http://www.cdbaby.com/cd/rukavinawalker2

[BAROQUE-LUTE] Re: Lute Lessons--Seeking Students

[Edward Martin]

Yes sterling, welcome.  I do this as well, and it is effective. 

Sent from my iPhone

> On May 4, 2016, at 12:00 AM, David van Ooijen  
> wrote:
> 
>   Welcome to the club! Rob MacKillop and I do the same.
>   David
> 
>   ***
>   David van Ooijen
>   [1]davidvanooi...@gmail.com
>   [2]www.davidvanooijen.nl
>   ***
>   On 4 May 2016 at 02:30, sterling price
>   <[3]spiffys84...@cs.dartmouth.edu> wrote:
> 
>To the World Lute Community---I am now offering lute lessons via
> Skype.
>I specialize in baroque lute, archlute and theorbo--(and even
>renaissance lute too!) Please do contact me for more info---
>Sterling
>--
> 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:davidvanooi...@gmail.com
>   2. http://www.davidvanooijen.nl/
>   3. mailto:spiffys84...@cs.dartmouth.edu
>   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 

[BAROQUE-LUTE] "Courante" Performance broadcast live on Facebook Live

[Edward Martin]

   This Saturday, April 23, Edward Martin and Thomas Walker will be
   performing the program from their duet recording of baroque lute duets
   "Courante" at the Sacred Heart Music Center in Duluth.
   The concert will be broadcast live on the Gamut Music Inc Facebook page
   and we invite you all to come to the page and watch and listen.   If
   you cannot make it to the live event, the video will be archived on the
   Gamut page and you can enjoy it some other time at your convenience.
   If on Facebook at that time, if you "like" the page, you will get a
   notice it is starting.
   Performance starts at 7:30 pm Central Standard Time.
   The performance consists of works of Gaultiers, Dufaut, Mouton, and
   Minnesota composer Tyler Kaiser.
   Martin and Walker have been performing as a duo for the past 4 years,
   and a year ago, they released their CD, "Courante" which was recorded
   at the Sacred Heart.  "Courante" has recieved critical acclaim, where
   the prestigious classical music magazine Early Music Today gave it a
   5-star rating, citing it to be one of the most important recordings of
   lute music to come out in years.
   [1]http://www.duluthnewstribune.com/features/ae/4014188-best-bets-baroq
   ue-lute-duo-plays-sacred-heart
   [2]https://www.youtube.com/watch?v=dKrIYrhMljc
   [3]https://www.youtube.com/watch?v=-Ue9fQZeSPA

   --

References

   1. 
http://www.duluthnewstribune.com/features/ae/4014188-best-bets-baroque-lute-duo-plays-sacred-heart
   2. https://www.youtube.com/watch?v=dKrIYrhMljc
   3. https://www.youtube.com/watch?v=-Ue9fQZeSPA


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

[LUTE] Re: Pachenbel suite for theorbo

[Edward Martin]

   Anthony Bailes also recorded this suite.

   On Thu, Feb 25, 2016 at 3:01 AM, Peter Steur <[1]p.st...@inrim.it>
   wrote:

   --Boundary-00=_XEI34BGBH2K712S0
   Content-Type: Text/Plain;
 charset="iso-8859-1"
   Content-Transfer-Encoding: quoted-printable
   BTW the first recording that I'm aware of is by Eugen Dombois, on vinyl
   ...
   Peter
   ---Messaggio originale---
   Da: Wayne
   Data: 23/02/2016 18:32:08
   A: [2]lute@cs.dartmouth.edu
   Oggetto: [LUTE] Re: Pachenbel suite for theorbo
   Peter Steur contributed them, and as Arto says, for baroque lute.
 Wayne
   To get on or off this list see list information at
   [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --Boundary-00=_XEI34BGBH2K712S0
   Content-Type: Text/HTML;
 charset="iso-8859-1"
   Content-Transfer-Encoding: quoted-printable
   
   
   
   v\:* {
   BEHAVIOR: url (#default#vml)
   }
   
   
   
   
   
   
   
   
   
   
   BTWthe first recording that I'm aware of is by Eugen
   Dombois, on vinyl ...
   
   Peter
   
   
   
   ---Messaggio originale---
   
   
   Da: mailto:[4]wst...@cs.dartmouth.edu;>Wayne
   Data: 23/02/2016
   18:32:08
   A: mailto:[5]lute@cs.dartmouth.edu;>[6]lute@cs.dartmouth.edu
   Oggetto: [LUTE] Re:
   Pachenbel suite for theorbo
   
   Peter Steur contributed them, and as Arto says, for baroque
   lute.
   
   Wayne
   
   
   
   
   To get on or off this list see list information at
   http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html;>[8]htt
   p://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=28
   61,201207171420,16,1,1953940358219890687rui=156356875app_test
   _id=0sd=20160225">
   
   
   
   http://www.incredimail.com?id=621161did=10501ppd=28
   61,201207171420,16,1,1953940358219890687">
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160225">Animazioni GRATIS per
   la tua e-mail 
   
   
   
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160225">
   
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160225">
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160225">
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160225">
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160225" border="0">Fai clic qui! 
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160225">
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160225">
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160225">
   
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160225">
   
   
   
   
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160225">
   
   
   
   
   
   
   http://www2l.incredimail.com/gcontent/stamps/new2011/pixel.gif
   ?upn=1953940358219890687" width=1 height=1> 
   --Boundary-00=_XEI34BGBH2K712S0--
   --

   --

References

   1. mailto:p.st...@inrim.it
   2. mailto:lute@cs.dartmouth.edu
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   4. mailto:wst...@cs.dartmouth.edu
   5. mailto:lute@cs.dartmouth.edu
   6. mailto:lute@cs.dartmouth.edu
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. 
http://www.incredimail.com/?id=621161did=10501ppd=2861,201207171420,16,1,1953940358219890687rui=156356875app_test_id=0sd=20160225
  10. 
http://www.incredimail.com/?id=621161did=10501ppd=2861,201207171420,16,1,1953940358219890687
  11. 
http://www.incredimail.com/?id=621161did=10501ppd=2861,201207171420,16,1,1953940358219890687rui=156356875app_test_id=0sd=20160225
  12. 
http://www.incredimail.com/?id=621161did=10501ppd=2861,201207171420,16,1,1953940358219890687rui=156356875app_test_id=0sd=20160225
  13. 
http://www.incredimail.com/?id=621161did=10501ppd=2861,201207171420,16,1,1953940358219890687rui=156356875app_test_id=0sd=20160225
  14. 

[LUTE] Re: Early Music Bracket

[Edward Martin]

   Way cool!

   On Wed, Feb 17, 2016 at 5:33 PM, Christopher Wilke
   <[1]chriswi...@cs.dartmouth.edu> wrote:

  Weiss is currently in 1st place!
  [1]Sent from Yahoo Mail for iPhone
  On Wednesday, February 17, 2016, 3:57 PM, Daniel Shoskes
  <[2]kidneykut...@gmail.com> wrote:
  Hey lutenists, how about showing SL Weiss some love??
  [2][3]http://www.poll-maker.com/poll582129x11172B06-25
  To get on or off this list see list information at
  [3][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  --
   References
  1. [5]https://yho.com/footer0
  2. [6]http://www.poll-maker.com/poll582129x11172B06-25
  3. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:chriswi...@cs.dartmouth.edu
   2. mailto:kidneykut...@gmail.com
   3. http://www.poll-maker.com/poll582129x11172B06-25
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   5. https://yho.com/footer0
   6. http://www.poll-maker.com/poll582129x11172B06-25
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Airs de Cour

[Edward Martin]

   Dear Collective Wisdom,
   I am in search of a particular air de cour, Antoine Boesset:  Ennuits,
   desespcirs et douleurs.   Apparently, this particular song comes from
   the 16th book of Boesst, and Minkoff only published books 1-15.
   If any kind soul on this list has the piece, would they be willing to
   share it?
   Many thanks,
   ed

   --


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 - Pitch

[Edward Martin]

   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] Jingle Bell Rock

[Edward Martin]

   Dear ones,
   I am playing at a Christmas office party in a couple of days, and
   naturally, they asked me to do Christmas music, and I happen to have a
   healthy assortment of pieces.
   I think it would be funny if I could do the old 50's or 60's tune,
   "Jingle Bell Rock", but I have no time to write an edition for lute.
   Has anyone done this piece for a renaissance lute, and if so, would you
   mind sharing it?
   Thanks in advance!
   ed

   --


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

[LUTE] Blessed be that Maid Marie

[Edward Martin]

   Dear ones,
I have been asked by a professional choir to play along with a
   Christmas Carol, Blessed be that Maid Marie.   There are modern choral
   arrangements of this piece, and they all attribute that it is from the
   William Ballet Lute Book.   Here is a link to the book in digital
   format, from a library in Dublin, of the Ballet Lute Book:
   [1]http://digitalcollections.tcd.ie/content/1297/pdf/1297.pdf
   I looked through it, and I could not find a piece with this title, and
   it is also not listed in  Julia Craig-McFeely's thesis, and she doesn't
   list any piece by that name in any English source.   I looked at the
   pices in the book, and could not find any of the tablatures that seem
   to match the melody of this piece.
   Allan Alexander did a beautiful adaptation years ago with variations
   (published in the LSA November 2004 Holiday newsletter, page 44), but I
   am unable to find the original.
   Does this piece exist in the book under a different title?
   Any assistance is appreciated!
   Happy luting,
   ed

   --

References

   1. http://digitalcollections.tcd.ie/content/1297/pdf/1297.pdf


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

[LUTE] Re: Blessed be that Maid Marie

[Edward Martin]

   Dear all,
   Thank you for all your responses!   Deciphering puzzling pieces such as
   this make such interesting discussion!   Wayne is correct, it is the
   staynes morris tune, but the choral version I have is VERY different,
   as many have cited here.   Not only is the time signature different in
   the Choral piece (4/4) where the original is "mostly" in 6/8, there are
   also many ficta changes.   In the first measure of the pieces, the f#
   is f natural in the choral piece, in the 2nd measure, the e naturals
   are e flats in the choral piece.   Clearly, changing this from "major"
   to minor" and changing the rhythm clearly makes the melody almost
   unrecognizable.   Not to mention, The Ballet version is in relative g
   minor, where the choral version is in e minor (perhaps inspired by a
   guitar arrangement?).
   I had looked at Staynes Morris, but looking at the major inflection
   with the rhythm not matching, I missed it.   Good eye, Wayne!
   Also thanks to Denys, Art, Allan, Bruno, and all who contributed to
   this discussion!   You all were correct.
   The choir director gave me the piece in 4 parts, and on the sheet he
   gave me, it states:
   Text:  Old English Carol, Sloane MS. 2593
   Music:  BALLET 2483
   From William Ballet's Lute Book, c. 1600, MS in the Library
   of Trinity College, Dublin
   Harmonization by Dr. Charles Wood from The Cowley Carol
   Book, 1902.
   I wanted to play the original between verses for a contrast, but that
   would result in chaos, with a key change, ficta change, rhythm change,
   etc.   I shall simply play along with the score of the choral part, and
   improvise a solo part. The arranger could have done is a favor by
   identifying which piece inspired the arrangement.
   Thanks!

   On Mon, Nov 30, 2015 at 10:52 AM, Wayne <[1]wst...@cs.dartmouth.edu>
   wrote:

   The Ballet version got a reworking to make it into the Christmas
   tune.   The Ballet original is in 6/8 time which is different from the
   carol
   and the contemporary morris dance tune, and the original has some rough
   passages which would need reworking.
Wayne
   > Begin forwarded message:
   >
   > From: "[2]denyssteph...@sky.com" <[3]denyssteph...@sky.com>
   > Date: November 30, 2015 at 11:41:41 AM EST
   > To: Wayne <[4]wst...@cs.dartmouth.edu>, "[5]lute@cs.dartmouth.edu"
   <[6]lute@cs.dartmouth.edu>
   > Subject: [LUTE] Re: Blessed be that Maid Marie
   >
   >Wayne is right - it's the staynes morris tune. I asked myself the
   same
   >question when I was arranging that carol for a Christmas concert a
   >couple of years ago. Arrangers of the tune often give the
   impression
   >that a setting of the song is to be found in the Ballet
   manuscript,
   >which is not the case. I suspect that very few of them will have
   seen
   >the original. For the purposes of accompanying a choir it would be
   much
   >better in my opinion to intabulate the setting they are working
   from -
   >the Ballet setting is unlikely to be a perfect fit.
   >Best wishes,
   >Denys
   >
   __
   >
   >From: Wayne <[7]wst...@cs.dartmouth.edu>
   >To: [8]lute@cs.dartmouth.edu
   >Sent: Monday, 30 November 2015, 16:09
   >Subject: [LUTE] Re: Blessed be that Maid Marie
   >Would that be the Staynes Morris on page 91 ?
   >  Wayne
   >> Begin forwarded message:
   >>
   >> From: Edward Martin <[1][9]edvihuel...@gmail.com>
   >> Date: November 30, 2015 at 10:53:51 AM EST
   >> To: lute net <[2][10]lute@cs.dartmouth.edu>
   >> Subject: [LUTE] Blessed be that Maid Marie
   >>
   >> Dear ones,
   >>I have been asked by a professional choir to play along with a
   >> Christmas Carol, Blessed be that Maid Marie.   There are modern
   >choral
   >> arrangements of this piece, and they all attribute that it is from
   >the
   >> William Ballet Lute Book.   Here is a link to the book in digital
   >> format, from a library in Dublin, of the Ballet Lute Book:
   >> [1][3][11]http://digitalcollections.tcd.ie/content/1297/pdf/1297.pdf
   >> I looked through it, and I could not find a piece with this title,
   >and
   >> it is also not listed in   Julia Craig-McFeely's thesis, and she
   >doesn't
   >> list any piece by that name in any English source.   I looked at the
   >> pices in the book, and could not find any of the tablatures that
   >seem
   >> to match the melody of this piece.
   >> Allan Alexander did a beautiful adaptation years ago with variations
   >> (published in the LSA November 2004 Holiday newsletter, page

[LUTE] Re: Blessed be that Maid Marie

[Edward Martin]

   One more thing - google books has this entry, for those interested:
   [1]https://books.google.com/books?id=CIkD5rhdva0C=PA40=blessed+be
   +that+maid+marie=en=X=0ahUKEwiMqIb65bjJAhUK8CYKHePpBcEQ6AEIKz
   AB#v=onepage=blessed%20be%20that%20maid%20marie=false

   On Mon, Nov 30, 2015 at 12:36 PM, Edward Martin
   <[2]edvihuel...@gmail.com> wrote:

  Dear all,
  Thank you for all your responses!Deciphering puzzling pieces
   such as
  this make such interesting discussion!Wayne is correct, it is
   the
  staynes morris tune, but the choral version I have is VERY
   different,
  as many have cited here.Not only is the time signature different
   in
  the Choral piece (4/4) where the original is "mostly" in 6/8, there
   are
  also many ficta changes.In the first measure of the pieces, the
   f#
  is f natural in the choral piece, in the 2nd measure, the e naturals
  are e flats in the choral piece.Clearly, changing this from
   "major"
  to minor" and changing the rhythm clearly makes the melody almost
  unrecognizable.Not to mention, The Ballet version is in relative
   g
  minor, where the choral version is in e minor (perhaps inspired by a
  guitar arrangement?).
  I had looked at Staynes Morris, but looking at the major inflection
  with the rhythm not matching, I missed it.Good eye, Wayne!
  Also thanks to Denys, Art, Allan, Bruno, and all who contributed to
  this discussion!You all were correct.
  The choir director gave me the piece in 4 parts, and on the sheet he
  gave me, it states:
  Text:   Old English Carol, Sloane MS. 2593
  Music:   BALLET 2483
  From William Ballet's Lute Book, c. 1600, MS in the
   Library
  of Trinity College, Dublin
  Harmonization by Dr. Charles Wood from The Cowley Carol
  Book, 1902.
  I wanted to play the original between verses for a contrast, but
   that
  would result in chaos, with a key change, ficta change, rhythm
   change,
  etc.I shall simply play along with the score of the choral part,
   and
  improvise a solo part. The arranger could have done is a favor by
  identifying which piece inspired the arrangement.
  Thanks!

On Mon, Nov 30, 2015 at 10:52 AM, Wayne
 <[1][3]wst...@cs.dartmouth.edu>
wrote:
The Ballet version got a reworking to make it into the Christmas
tune.The Ballet original is in 6/8 time which is different
 from the
carol
and the contemporary morris dance tune, and the original has some
 rough
passages which would need reworking.
 Wayne
> Begin forwarded message:
>
> From: "[2][4]denyssteph...@sky.com"
 <[3][5]denyssteph...@sky.com>
> Date: November 30, 2015 at 11:41:41 AM EST
> To: Wayne <[4][6]wst...@cs.dartmouth.edu>,
 "[5][7]lute@cs.dartmouth.edu"
<[6][8]lute@cs.dartmouth.edu>
> Subject: [LUTE] Re: Blessed be that Maid Marie
>
> Wayne is right - it's the staynes morris tune. I asked
 myself the
same
> question when I was arranging that carol for a Christmas
 concert a
> couple of years ago. Arrangers of the tune often give the
impression
> that a setting of the song is to be found in the Ballet
manuscript,
> which is not the case. I suspect that very few of them will
 have
seen
> the original. For the purposes of accompanying a choir it
 would be
much
> better in my opinion to intabulate the setting they are
 working
from -
> the Ballet setting is unlikely to be a perfect fit.
> Best wishes,
> Denys
>

 __
>
> From: Wayne <[7][9]wst...@cs.dartmouth.edu>
> To: [8][10]lute@cs.dartmouth.edu
> Sent: Monday, 30 November 2015, 16:09
> Subject: [LUTE] Re: Blessed be that Maid Marie
    > Would that be the Staynes Morris on page 91 ?
>   Wayne
>> Begin forwarded message:
>>
>> From: Edward Martin <[1][9][11]edvihuel...@gmail.com>
>> Date: November 30, 2015 at 10:53:51 AM EST
>> To: lute net <[2][10][12]lute@cs.dartmouth.edu>
>> Subject: [LUTE] Blessed be that Maid Marie
>>
>> Dear ones,
>> I have been asked by a professional choir to play along
 with a
>> Christmas Carol, Blessed be that Maid Marie.There are
 modern
> choral
>> arra

[BAROQUE-LUTE] Wayne Cripps's Mesangeau book

[Edward Martin]

   Dear Ones,
   Wayne published some years ago of pieces from the Panmure 5 MS, pieces
   attributed to Mesangeau.   Sadly, it is out of print, and I never
   bothered to initially order it (my bad jugedment).
   Is there anyone willing to sell me their old copy?
   Thanks.

   --


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

[LUTE] Re: Addendum

[Edward Martin]

   My thanks as well Wayne.   Bravo!

   On Tue, Jul 21, 2015 at 4:21 PM, Martin Shepherd
   [1]mar...@luteshop.co.uk wrote:

 Just to add my thanks to Wayne, and to say that I've been on the
 list since about 1998-9.
 M
 ---
 This email has been checked for viruses by Avast antivirus software.
 [2]https://www.avast.com/antivirus
 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:mar...@luteshop.co.uk
   2. https://www.avast.com/antivirus
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Pickledherring Lute Book Upside-down pages

[Edward Martin]

   I have known this, and it seems as though the inversion is in the
   original manuscript.   In the page immediately before the inversion,
   there is a paragraph explaining the foliation of the book was done in
   the year 1868.   It seems to me that the old Boethius editions were so
   well done, in that they would have not corrected things like inverted
   pages.

   On Mon, Jul 6, 2015 at 5:05 AM, Ron Andrico [1]praelu...@hotmail.com
   wrote:

  If you read the introduction and inventory, there is a helpful
   passage
  that says, Invert the book.
  RA
   Date: Sun, 5 Jul 2015 23:33:41 -0700
   To: [2]lute@cs.dartmouth.edu
   From: [3]howardpos...@ca.rr.com
   Subject: [LUTE] Pickledherring Lute Book Upside-down pages
  
   I should have actually looked at my copy of Jane Pickledherrings
   Lute
  Book before I responded tp your last post, but I had to move what
  interior designers refer to as a whole bunch of stuff to get to it.
   Ive
  moved the whole bunch of stuff after reading:
  
  
On Jul 5, 2015, at 7:53 PM, John Mardinly
   [4]john.mardi...@asu.edu
  wrote:
   
That thought occurred to me, but you would have to rip the pages
  out of
the book. There are 12 consecutive pages upside down with
   respect
  to
the rest of the book.
  
   Right you are, of course. I was thinking of an entirely different
  book. So never mind...
  
I have lots of table music scores, and they
have the two parts on the same page with just one part upside
   down;
  
   so that one player can read it while hanging from the chandelier
  
trios have one part sideways, etc.
  
   So that one player can read it while nailed to the wall.
  
My suspicion was that bookbinders are human and just goof
  occasionally.
  
   Thats certainly a plausible explanation. I havent dealt directly
   with
  bookbinders as such, so I cant form an opinion about what species
   they
  belong to, but the book is a manuscript, and looking at the book
   itself
  (see above) it seems just as likely that the person who wrote those
  pages (who was not Jane Pickledherring) may have started from a
   blank
  page well on in the book (or at the end) and went in the opposite
  direction, as if the end of the manuscript was his/her beginning, in
  which case upside down is in the eye of the beholder.
  
  
  
   To get on or off this list see list information at
   [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  --

   --

References

   1. mailto:praelu...@hotmail.com
   2. mailto:lute@cs.dartmouth.edu
   3. mailto:howardpos...@ca.rr.com
   4. mailto:john.mardi...@asu.edu
   5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: [SUSPECTED SPAM] Re: Pegheads on new lute

[Edward Martin]

What is the fuss?  None, from my experience. I have found pegheds to be 
wonderful, in every way. They do not appear different from friction pegs, but 
they work exceptionally well, are stable, very accurate, tune very quickly, no 
sticking or slipping. 

Sent from my iPhone

 On May 28, 2015, at 1:07 PM, John Mardinly john.mardi...@asu.edu wrote:
 
   Good grief: Peg Heads have a 4/1 ratio and guitar gears have a 16/1
   ratio. Changing strings is less complicated than going to the bathroom.
   What is the fuss?
 
   A. John Mardinly, Ph.D., P.E.
 
   Principal Materials Nanoanalysis Engineer
 
   EMail: [1]john.mardi...@asu.edu
 
   Cell: [2]408-921-3253 (does not work in TEM labs)
 
   Titan Lab: [3]480-727-5651
 
   NION UltraSTEM Lab: [4]480-727-5652
 
   JEOL ARM 200 Lab: [5]480-727-5653
 
   2010F Lab: [6]480-727-5654
 
   Office: [7]480-965-7946
 
   John Cowley Center for HREM, LE-CSSS
 
   B134B Bateman Physical Sciences Building
 
   Arizona State University
 
   [8]PO Box 871704
 
   [9]Tempe, AZ 85287-1704
 
   On May 27, 2015, at 10:32 AM, Dan Winheld [10]dwinh...@lmi.net
   wrote:
 
 ...if you put as little of the string as possible on the roller, and
 don't bother with a knot...
 That is EXACTLY the way I do it on conventional pegs. And if I am
   using
 a nylon chantarelle, I even manually pull some tension on it before I
 tuck/wrap the tag end under the string going into the hole, and then
 pull the somewhat tightened string up onto the nut  into its groove.
 (Outside peghole, of course).
 The only time I allow more wraps is when the peghole is centered, to
 get the tension closer (but not too close-binding!) to the inside
   cheek
 of the pegbox, where there will be less direct pulling force where
   the
 peg is most flexible. I can't understand why some people knot the
 strings at/in the pegbox- nothing but trouble.
 Dan
 On 5/27/2015 10:12 AM, Charles Mokotoff wrote:
 I am hardly the voice of experience here, having changed a grand
   total
 of about 7 strings now on this PegHed fitted lute. But I noticed if
   you
 put as little of the string as possible on the roller, and don't
   bother
 with a knot, it seems to be a lot easier to take off when the time
 comes. I have noticed no negative issues with doing it this way, its
 counter to how I used to do it with traditional pegs.
 On Wed, May 27, 2015 at 1:01 PM, Dan Winheld
   [1][11]dwinh...@lmi.net
 wrote:
   Part of being a lute teacher is showing my students how to do this
   stuff properly- it is not all either obvious or intuitional. Some
   lessons (in my case) are learned only by repeated experience.
   And gut winds around the peg differently than nylon; etc. Years ago
   I broke a stuck peg, forcing it when the string had wedged up
   against the inside cheek of the pegbox.
   My worst gripes about the PegHedz (even the ones that work well)
   are
   in fact about string changes. I do a fair amount of
   experimentation,
   changing out strings for different performance/pitch/tuning
   situations, and to try every damned new thing that Peruffo cooks up
   in his lab. Those things are worse than guitar machine heads for
   slow, awkward string changes- and lute pegboxes are not guitar
   heads.
It is especially bad for the chantarelle- the one string for which
   anyone needs instant access.  On my 8 course there is
   no-outside-the box option, and so I have to run that string to the
   last 4th course peg for proper angle  accessability. Chuck Herin
   was no help at all on this; even though Dan Larson has some
   outside-the-box string hole pegheads I could not get Chuck to even
   understand what I wanted, it's not rocket science.
   A simple treble rider- just for a single 1st course- would be a
   good
   compromise.
   Dan
 On 5/27/2015 9:27 AM, Gary Boye wrote:
   I know there are some bad pegs and peg makers out there, but in my
   experience the majority of peg problems can be traced to improper
   installation of the strings to the pegs. Players wind too much
   string on the peg, it bumps up against the inside of the
   pegbox--this becomes a stuck peg. They wind the string on the peg
   towards the thicker end, forcing the string to pop out when
   tightened--this is a loose peg. Learn to string your instrument
   properly and alot of these peg problems disappear . . . just my 2
   cents.
   Gary
   Dr. Gary R. Boye
   Professor and Music Librarian
   Appalachian State University
   On 5/27/2015 11:24 AM, Mayes, Joseph wrote:
   Early - 19th C. - guitars were made with machines or friction pegs.
   Those made with machines were more expensive. If you use pegheads
   on
   one of these instruments, you have an expensive guitar masquerading
   as a cheap one. 

[LUTE] Re: Pegheads on new lute

[Edward Martin]

You are preaching to the choir, at least my choir. I have pegged a on my 
11-course French lute as well as my Vihuela.  They are fantastic, a real gift. 
I have used them for years, and only wish I had them for all my instruments. 

Sent from my iPhone

 On May 26, 2015, at 8:22 AM, Charles Mokotoff mokot...@gmail.com wrote:
 
   I took delivery of a new lute this week that has Pegheads installed.
   I've never been one for much authenticity, so this doesn't bug me at
   all. All I can say is, where have they been all my lute life? I don't
   know what I am going to do with all the extra time I have now. They are
   fantastic. The only single thing I miss is the simplicity of removing a
   string with conventional pegs, but to be able to just sit there and put
   your left hand up to easily tweak tuning feels miraculous to me.
   I am curious what the conventional wisdom is on these.
 
   --
 
 
 To get on or off this list see list information at
 http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: a new way of cutting breathtaking roses?

[Edward Martin]

   That technology is already being used.A  Some builders are carving
   roses with laser cutters.

   On Fri, Apr 24, 2015 at 2:07 AM, Franz Mechsner
   [1]franz.mechs...@gmx.de wrote:

   A  A I found the following on an architecture discussion list, maybe it
   is
   A  A of interest for the art of cutting roses, or for the art of
   thinking
   A  A about roses? (BTW, why not develop more modern roses / carved
   A  A designs?):
   A
   A [1][2]http://www.unirel.vt.edu/audio_video/2013/02/022213-caus-ericst
   andle
   A  A y.html
   A  A ---
   A  A Dr. Franz Mechsner
   A  A Zum Kirschberg 40
   A  A D-14806 Belzig OT Borne
   A  A [3]franz.mechs...@gmx.de
   A  A [4]+49(0)33841-441362
   References
   A  A 1.
   [5]http://www.unirel.vt.edu/audio_video/2013/02/022213-caus-ericstandle
   y.html
   To get on or off this list see list information at
   [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:franz.mechs...@gmx.de
   2. http://www.unirel.vt.edu/audio_video/2013/02/022213-caus-ericstandle
   3. mailto:franz.mechs...@gmx.de
   4. tel:%2B49%280%2933841-441362
   5. http://www.unirel.vt.edu/audio_video/2013/02/022213-caus-ericstandley.html
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Saturday morning quotes - musicality

[Edward Martin]

   Ron,
   That was a tremendous tribute to Rob, ad I cannot think of a person
   more deserving of it.A  I visited Rob for a few days last summer, and
   he was enthusiastic, kind, a wonderful person and fantastic musician.A
   I cannot say enough good things about him.
   ed

   On Sat, Mar 14, 2015 at 12:30 PM, Christopher Stetson
   [1]christophertstet...@gmail.com wrote:

   A  A Thanks, Ron, for your observations, and a hearty confirmation of
   all
   A  A you say about Rob.
   A  A Be well, everyone, and keep playing.
   A  A Chris.
   A  A On Sat, Mar 14, 2015 at 12:37 PM, Rob MacKillop
   A  A [1][2]robmackil...@gmail.com wrote:
   A  A  A Ha. Thanks to Ron for that surprise. Right back at you, sir!
   A  A  A Lang may your lum reek - long may there be smoke coming from
   your
   A  A  A chimney :-)
   A  A  A Rob
   A  A  A [2][3]www.robmackillop.net
   A  A  On 14 Mar 2015, at 16:14, Rockford Mjos
   [3][4]rockype...@comcast.net
   A  A wrote:
   A  A 
   A  A  I also raise my glass to Rob a to his musicianship and countless
   A  A contributions!
   A  A 
   A  A  (Though I'm not sure what a reeking lum might be.)
   A  A 
   A  A  a Rocky
   A  A 
   A  A  On Mar 14, 2015, at 9:51 AM, Ron Andrico
   [4][5]praelu...@hotmail.com
   A  A wrote:
   A  A 
   A  A AA  We have posted our Saturday morning quote, this week from
   the
   A  A Burwell
   A  A AA  manuscript extolling the virtues of a particular musician.
   A  A AA  [1][5][6]http://wp.me/p15OyV-186
   A  A AA  Ron  Donna
   A  A 
   A  A AA  --
   A  A 
   A  A  References
   A  A 
   A  A AA  1. [6][7]http://wp.me/p15OyV-186
   A  A 
   A  A 
   A  A  To get on or off this list see list information at
   A  A  [7][8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   A  A 
   A  A 
   A  A 
   A  A --
   References
   A  A 1. mailto:[9]robmackil...@gmail.com
   A  A 2. [10]http://www.robmackillop.net/
   A  A 3. mailto:[11]rockype...@comcast.net
   A  A 4. mailto:[12]praelu...@hotmail.com
   A  A 5. [13]http://wp.me/p15OyV-186
   A  A 6. [14]http://wp.me/p15OyV-186
   A  A 7. [15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:christophertstet...@gmail.com
   2. mailto:robmackil...@gmail.com
   3. http://www.robmackillop.net/
   4. mailto:rockype...@comcast.net
   5. mailto:praelu...@hotmail.com
   6. http://wp.me/p15OyV-186
   7. http://wp.me/p15OyV-186
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. mailto:robmackil...@gmail.com
  10. http://www.robmackillop.net/
  11. mailto:rockype...@comcast.net
  12. mailto:praelu...@hotmail.com
  13. http://wp.me/p15OyV-186
  14. http://wp.me/p15OyV-186
  15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[BAROQUE-LUTE] Recording by Hopkinson Smith of Jacques de Gallot, Pieces de Luth

[Edward Martin]

   Dear Ones,
   I am asking if anyone on this list has this CD, and if so, if you would
   mind burning a copy of it.A  I purchased this CD in 1995, after it was
   released, and have had it for 20 years.A  I listened to it a half year
   ago, and would like to re-visit it, but alas, I cannot find it.A  I do
   have the jewel box and printed materials, but the CD itself is not in
   the case, and I cleaned my library, but cannot find it.
   I am asking if anyone is able and willing to make me a copy.A  I want
   to re-purchase it, but it is sadly out of print, and I cannot locate a
   copy anywhere in current venues, and I could also not find it used,
   such as e-Bay.A  If anyone knows of a source for this, please inform
   me!
   I know it is not legal to copy a copywritten CD, but I think it is
   moral to do so, as I already paid for it, and cannot locate a new or
   used copy.A
   For anyone willing to do this, please write me privately, and I will
   either pay you for your troubles, or perhaps send a copy of the new
   acclaimed CD Courante, French Baroque Lute Duets, featuring me and
   Thomas Walker.
   Thanks.
   ed

   --


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

[BAROQUE-LUTE] Re: Recording by Hopkinson Smith of Jacques de Gallot, Pieces de Luth

[Edward Martin]

   Dear Ones,
   Please disregard request, as somebody already offered!A A  Thanks
   anyway!

   On Sat, Mar 7, 2015 at 7:17 PM, Edward Martin
   [1]edvihuel...@gmail.com wrote:

 A  A Dear Ones,
 A  A I am asking if anyone on this list has this CD, and if so, if
 you would
 A  A mind burning a copy of it.AA  I purchased this CD in 1995,
 after it was
 A  A released, and have had it for 20 years.AA  I listened to it a
 half year
 A  A ago, and would like to re-visit it, but alas, I cannot find
 it.AA  I do
 A  A have the jewel box and printed materials, but the CD itself is
 not in
 A  A the case, and I cleaned my library, but cannot find it.
 A  A I am asking if anyone is able and willing to make me a copy.AA
 I want
 A  A to re-purchase it, but it is sadly out of print, and I cannot
 locate a
 A  A copy anywhere in current venues, and I could also not find it
 used,
 A  A such as e-Bay.AA  If anyone knows of a source for this, please
 inform
 A  A me!
 A  A I know it is not legal to copy a copywritten CD, but I think it
 is
 A  A moral to do so, as I already paid for it, and cannot locate a
 new or
 A  A used copy.A
 A  A For anyone willing to do this, please write me privately, and I
 will
 A  A either pay you for your troubles, or perhaps send a copy of the
 new
 A  A acclaimed CD Courante, French Baroque Lute Duets, featuring
 me and
 A  A Thomas Walker.
 A  A Thanks.
 A  A ed

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

   --

References

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

[LUTE] Re: Lute in the Future

[Edward Martin]

   A  A paths for our instrument in the 70s and 80s to which we are all
   greatly
   A  A indebted. Their efforts would have been in vain but for the
   platform of
   A  A support provided by forward thinking record companies, academic
   A  A institutions and festivals/concert series willing to take chances
   on
   A  A promoting what was then a promising, yet extremely risky endeavor.
   A  A  Young musicians working in early music today cant expect such
   A  A assistance. The plum teaching positions and concert series are
   already
   A  A occupied by members of the previous generation. This is true of
   record
   A  A labels as well, which, saddled with their own difficulties of
   making
   A  A money in the digital age, are unable to put money behind
   developing new
   A  A artists as they once did. This is especially true of those whose
   A  A artistic individuality brings fresh insights.
   A  A  Until recently, these deserving voices had little chance of
   being
   A  A heard at all. Despair not, hungry members of the lute hoard, for
   no
   A  A longer must we rely on outside arbiters of taste to find the
   boldness
   A  A we desire! The early music industry, restricted by market forces
   and
   A  A the expectations of recently invented tradition, must confine
   their
   A  A lineup of performers to a relatively small circle of recognizable
   A  A stars who play within an easily-defined range of stylistic
   options.
   A  A Admirable as the work of these well-established pioneers has been,
   you
   A  A can at last delight in other gems! How can you so empower
   yourself?
   A  A Simple. Through the support of people like you, several members of
   this
   A  A list, including Edward Martin, Thomas Walker and Duo Mignarda were
   able
   A  A to bring out valuable projects via crowd funding that otherwise
   may
   A  A have been neglected entirely.
   A  A  Im also turning Kickstarter to fund my next album. Its a
   recording of
   A  A Bach, Weiss and Falckenhagen that incorporates portions of
   elaborate,
   A  A written-out doubles and improvised cadenzas just how musicians of
   the
   A  A 18th century were expected to play. Im proud to present this
   A  A combination of art and research. However, because such intrepid
   A  A exploration goes beyond the just play the notes on the page
   mentality
   A  A of many in classical music, it is the type of thing that fits
   uneasily
   A  A into the catalog of record companies.
   A  A  The best part? Your support wont just give you the warm fuzzies;
   if
   A  A you back the project, your generosity will be rewarded with very
   real
   A  A gifts, including an advance copy of the new finished album. Click
   the
   A  A link below for a video presentation, description and audio
   samples.
   A  A 
   A  A 
   A
   A [7]https://www.kickstarter.com/projects/1600736048/desperate-doors-ba
   roque
   A  A -lute-album
   A  A 
   A  A  Thank you!!!
   A  A 
   A  A  Chris Wilke
   A  A 
   A  A  Dr. Christopher Wilke D.M.A.
   A  A  Lutenist, Guitarist and Composer
   A  A  [8]www.christopherwilke.com
   A  A 
   A  A 
   A  A 
   A  A  To get on or off this list see list information at
   A  A  [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   A  A --
   References
   A  A 1.
   [10]https://mignarda.wordpress.com/2013/01/30/should-listeners-feel-gui
   lty-about-using-spotify/
   A  A 2.
   [11]http://thetrichordist.com/2014/10/14/streaming-is-the-future-spotif
   y-is-not-lets-talk-solutions/

   --

References

   1. mailto:praelu...@hotmail.com
   2. https://mignarda.wordpress.com/2013/01/30/should-listeners-feel-guil
   3. http://thetrichordist.com/2014/10/14/streaming-is-the-future-spotify
   4. mailto:lute@cs.dartmouth.edu
   5. mailto:gjoachim...@wp.pl
   6. mailto:chriswi...@cs.dartmouth.edu
   7. https://www.kickstarter.com/projects/1600736048/desperate-doors-baroque
   8. http://www.christopherwilke.com/
   9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
  10. 
https://mignarda.wordpress.com/2013/01/30/should-listeners-feel-guilty-about-using-spotify/
  11. 
http://thetrichordist.com/2014/10/14/streaming-is-the-future-spotify-is-not-lets-talk-solutions/

[BAROQUE-LUTE] Re: [BAROQUE-LUTE] ▶ Courante by Weiss from Rohrau, Christopher Wilke, baroque lute - YouTube

[Edward Martin]

   Very good, Chris!A  What instrument is that?

   On Sun, Feb 8, 2015 at 3:40 PM, [1]r.turov...@gmail.com
   [2]r.turov...@gmail.com wrote:

   [3]https://www.youtube.com/watch?v=5TWfRD1Wc_U
   RT
   To get on or off this list see list information at
   [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. mailto:r.turov...@gmail.com
   2. mailto:r.turov...@gmail.com
   3. https://www.youtube.com/watch?v=5TWfRD1Wc_U
   4. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html