[LUTE] Re: Wishful thinking on lute temparaments was Re: Lute Temperaments

[Rafael Muñoz Rodríguez]

   Dear all,
   I would like to share my thoughts on this matter, based on my
   experience as a gigging and recording musician. Since around 2006 I use
   a modified meantone temperament wich, in my opinion, works practically
   for fretted plucked instruments. I use it on my theorbo, my archlute
   and (only for concerts wich include pieces in distant modes) on my
   Renaissance lute and vihuela (Baroque guitar and Baroque lute are
   different beasts regarding historical temperaments in my experience).
   We could say that it is a temperament wich sits between 1/4 meantone
   and  the well tempered baroque temperaments. Mayor thirds are not
   totally pure and fifths are slightly wider than meantone. It works
   beautifully for solo playing and, for what it ´s worth, it works for me
   as a chamber music/ continuo player in the real-professional world
   (maybe some other players can share their experiences here too).
   For concerts, I place my frets and tune my strings using this
   temperament and then I make (usually very) slight adjustments with
   frets and open strings depending on the keys that will be most used and
   in order to be as close as possible to the actual historical
   temperament wich the cembalo is using (Meantone, Valloti, Kirnberger,
   French temperaments...) BUT without going too far and making my
   instrument sound out of tune when played alone.  If it is needed I use
   one or two tastinos. Then, for example, when using a theorbo, I usually
   adjust my 4th fret for sharps and I play G sharp and D sharp  always in
   the fourth fret, second string and third string respectively. In
   absence of a tastino, I avoid 4th and 5th strings in the first fret and
   I use them only for A flat and E flat. I also avoid to play certain
   notes in specific frets wich shouldn ´t be moved, like A sharp (third
   fret fourth string) or C sharp (sixth fret fourth string). And that ´s
   all.
   For recording, I use this temperament as a basis but,  if needed,  I
   use more tastini and I adjust the frets for each individual movement or
   piece.
   Maybe I have been very lucky but, in all honesty, I have never been
   asked to modify or change my tuning (in fourteen years of live playing
   and recording) because it didn ´t  work with the historical temperament
   in use. My temperament doesn ´t completely match that of the
   cembalo/organ, etc... but it is much closer than equal temperament and
   with minor adjustments it works in any situation as long as my
   instrument sounds in tune by itself too. Of course, if you ´re playing
   a concert with lots of different keys (for example a big Opera or
   Oratorio) and the conductor asks for equal temperament, you know what
   to do. On the other hand, try to record an aria or recitativo by
   Monteverdi with a cembalo and a singer and using equal
   temperament...some fifths maybe passable but mayor thirds will be
   unacceptable.
   Sorry for the long post.
   Cheers,
   Rafael

   En domingo, 21 de julio de 2019 11:19:08 CEST, Martyn Hodgson
escribió:
 Dear Matthew,
 Thank you for his - though I really do not know why you suggest a
 'slanging match'!.  My intention is merely to put some historical and
 practical perspective on the matter rather than simple personal
 assertion.  To repeat: you are making the common mistake  of
   discussing
 theoretical temperaments (mainly, in practice, only  employable on
 keyboard instruments) with practical temperaments appropriate for
 fretted instruments such as the lute.
 Whether or not some modern players might adopt this manner
   ('meantone')
 of fretting is not, of course, the point - perhaps they might
 themselves engage in a degree of wishful thinking.  Certainly, modern
 fashions come and go as fast as fads, and in other areas of lute
 performance practice some modern players (even a few professionals
   who
 might be expected to know better) still insist on, for example,
 employing thumb-under for repertoire other than the sixteenth
   century.
 In short, such anecdotal reports, even from 'professionals, are not
 reliable evidence of historic practice.
 regards
 MH
 On Sunday, 21 July 2019, 09:37:33 BST, Matthew Daillie
 <[1]dail...@club-internet.fr> wrote:
 I certainly do not wish to get into a slanging match here, I was
   merely
 responding to a request for practical help with temperaments. In my
 opinion, the prerequisite for that is to have some understanding of
   the
 basics of the theory and above all, to get one's ears used to hearing
 pure intervals, which is no more complicated than hearing octaves
   (some
 would claim that it is actually easier).
 It is perfectly feasible to tune a lute to some form of meantone with
 fairly minimal means (I do not favour the use of slanting frets). The
 proof is that many of the top players do it, both for 

[LUTE] Re: A birthday

[Rafael Muñoz Rodríguez]

   Can' t say enough good things about Cuerdas Pulsadas. Great prices,
   fast delivery with very good shipping costs and an amazing customer
   service. Last but not least, David is a great supporter for many
   projects concerning lute world in Spain (and, by the way, a very gifted
   lute player...)

   Happy birthday!

   Rafael Munoz

   https://es-es.facebook.com/labellemont

   [1]Enviado desde Yahoo Mail con Android

   El lun 23 23e nov 23e 2015 a las 18:23, David Morales

    escribiA^3:

 Hi everyone,
 Please, excuse me for the commercial, first of all.
 We, at Cuerdas Pulsadas, are celebrating our fifth birthday :)
 During these five years, we have improved our offering, increased the
 list of countries where we are sending strings, and always tried to
 work better and better...
 But, in addition, we have always offered support for some projects,
 ideas, musicians, recordings, training... and also launched some
   tools
 and sites devoted to early plucked music, so we do have a lot of
   great
 memories collected during these five years.
 I invite all of you to:
   * take a look at our timeline:
 [1][2]http://www.cuerdaspulsadas.com/blog/nuestra-historia/
   * send us some words:
 [2][3]http://www.cuerdaspulsadas.com/blog/queremosescucharos/
 And enjoy our promotions until 10th december: great discounts at our
 website if you need strings for your instruments.

   [3][4]http://www.cuerdaspulsadas.com/blog/celebramos-quinto-aniversario
   -cu
 erdas-pulsadas/
 Thanks and regards
 [4]www.cuerdaspulsadas.com
 --
 De conformidad con lo dispuesto en la Ley OrgA!nica 15/1999 de
 ProtecciA^3n de Datos de carA!cter Personal DAVID MORALES DE FRAAS,
   con
 domicilio en Salamanca, C/ Luis Vives, 6 - cuarto, le informa que los
 datos de carA!cter personal que facilite forman parte de un fichero,
 responsabilidad del mismo, para la gestiA^3n administrativa de los
 clientes. En el supuesto de que desee ejercitar los derechos que le
 asisten de acceso, rectificaciA^3n, cancelaciA^3n y oposiciA^3n
   dirija
 una comunicaciA^3n por escrito a la direcciA^3n indicada
   anteriormente
 o al correo electrA^3nico [5]h...@cuerdaspulsadas.com con la
   referencia
 "ProtecciA^3n de Datos" incluyendo copia de su Documento Nacional de
 Identidad o documento identificativo equivalente. La informaciA^3n
 contenida en el presente mensaje de correo electrA^3nico es
 confidencial y su acceso A-onicamente estA! autorizado al
   destinatario
 original del mismo, quedando prohibidos cualquier comunicaciA^3n,
 divulgaciA^3n, o reenvAo, tanto del mensaje como de su contenido. En
   el
 supuesto de que usted no sea el destinatario autorizado, le rogamos
 borre el contenido del mensaje y nos comunique dicha circunstancia a
 travA(c)s de un mensaje de correo electrA^3nico a la direcciA^3n
 [6]h...@cuerdaspulsadas.com
 --
   References
 1. [5]http://www.cuerdaspulsadas.com/blog/nuestra-historia/
 2. [6]http://www.cuerdaspulsadas.com/blog/queremosescucharos/
 3.
   [7]http://www.cuerdaspulsadas.com/blog/celebramos-quinto-aniversario-cu
   erdas-pulsadas/
 4. [8]http://www.cuerdaspulsadas.com/
 5. mailto:h...@cuerdaspulsadas.com
 6. mailto:h...@cuerdaspulsadas.com
   To get on or off this list see list information at
   [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. https://overview.mail.yahoo.com/mobile/?.src=Android
   2. http://www.cuerdaspulsadas.com/blog/nuestra-historia/
   3. http://www.cuerdaspulsadas.com/blog/queremosescucharos/
   4. http://www.cuerdaspulsadas.com/blog/celebramos-quinto-aniversario-cu
   5. http://www.cuerdaspulsadas.com/blog/nuestra-historia/
   6. http://www.cuerdaspulsadas.com/blog/queremosescucharos/
   7. 
http://www.cuerdaspulsadas.com/blog/celebramos-quinto-aniversario-cuerdas-pulsadas/
   8. http://www.cuerdaspulsadas.com/
   9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Duets and Matelart

[Rafael Muñoz Rodríguez]

   Dear Franco
   thank you for your kind comments (many thanks also to Ed Durbrow and
   Edward Mast) and for the information about Matelart.
   Best regards,
   Rafael
 __

   De: franco pavan f.pava...@gmail.com
   Para: rafalu...@yahoo.es
   Enviado: Lunes 24 de noviembre de 2014 23:02
   Asunto: Duets and Matelart
   Dear Rafael
   Thank you so much for the beautiful playing. I have only a small add
   for you: Matelart died on 6th July 1604, not in 1607. The date in the
   New Grove's entry is wrong...
   many thanks again,
   yours
   Franco Pavan

   --


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[LUTE] Duos for Ren. lute

[Rafael Muñoz Rodríguez]

Dear friends,

Three duos for Renaissence lutes in g. Great composers. I hope you enjoy them.


http://www.youtube.com/watch?v=TEwbo4qxRjA

Kind regards,

Rafael Munoz



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[LUTE] Re: The Trujillo vihuelas

[Rafael Muñoz Rodríguez]

   Congratulations, David! After such a nice and rewarding experience,
   maybe some of these teenagers decide to become early music students.
   Moreover, in addition to increase their cultural knowledge, many of
   them will probably become early music lovers with enough interest to
   buy recordings and to attend concerts.
   best regards,
   Rafael Munoz
 __

   De: David Morales dmorale...@cuerdaspulsadas.com
   Para: R. Mattes r...@mh-freiburg.de
   CC: List LUTELIST lute@cs.dartmouth.edu
   Enviado: Viernes 25 de abril de 2014 23:20
   Asunto: [LUTE] Re: The Trujillo vihuelas
 You can translate the full site to your prefered language by using
   the
 flags located in the top-left corner, maybe that could help.
 These nine vihuelas are not made by amateur luthiers conducted by a
 professional one. The real thing about this project is that all the
 vihuelas are made by teenagers, living in a town in Spain, with no
 previous idea of how a vihuela looks like or even what instrument it
 is... this is about a teacher trying to do something different in his
 classroom, with his students, without barely support and tools.
 This is about how they get invaluable support from John Griffiths, in
 the opposite corner of the earth!, how the students even build the
 needed tools, how the Sociedad de la Vihuela gets also involved, and
 how Cuerdas Pulsadas offered for free all the needed strings and
 frets... among other things.
 I think that this is pretty nice!
 Kind regards.
 2014-04-25 15:49 GMT+02:00 R. Mattes [1][1]r...@mh-freiburg.de:
   On Fri, 25 Apr 2014 10:31:33 +0200, David Morales wrote
 A few months ago, John Griffiths shared with us a project that
   was
 brewing in Trujillo (Caceres, Spain) ... The idea was so simple
  that it  seems crazy to us: students technology institute
  Francisco Orellana  were engaged in the construction of nine
  vihuelas, with no previous  knowledge of lutherie, without having
  previously known the instrument  and barely have materials and
  tools for a work of such magnitude ...
   Maye I miss something utterly obvious (I can't read spanish, so the
   link doesn't really provide too much inforamtion for me), but what
   is the point of such an experiment?
   From what I get, they used some late 15th century paintig as a
   modell,
   but where did the (rather important) rest come from? John
   Griffiths?
   The neck/fingerboard/top joint doesn't look like anything I've seen
   in early (i.e. pre 1500) viola/vihuela iconography.
   But thank's for posting this link. It would be nice to learn a bit
   more
   about the rationale behind the project.
 Cheers, RalfD
 --
 De conformidad con lo dispuesto en la Ley Organica 15/1999 de
 Proteccion de Datos de caracter Personal DAVID MORALES DE FRIAS, con
 domicilio en Salamanca, C/ Luis Vives, 6 - cuarto, le informa que los
 datos de caracter personal que facilite forman parte de un fichero,
 responsabilidad del mismo, para la gestion administrativa de los
 clientes. En el supuesto de que desee ejercitar los derechos que le
 asisten de acceso, rectificacion, cancelacion y oposicion dirija una
 comunicacion por escrito a la direccion indicada anteriormente o al
 correo electronico [2][2]h...@cuerdaspulsadas.com con la referencia
 Proteccion de Datos incluyendo copia de su Documento Nacional de
 Identidad o documento identificativo equivalente. La informacion
 contenida en el presente mensaje de correo electronico es
   confidencial
 y su acceso unicamente esta autorizado al destinatario original del
 mismo, quedando prohibidos cualquier comunicacion, divulgacion, o
 reenvio, tanto del mensaje como de su contenido. En el supuesto de
   que
 usted no sea el destinatario autorizado, le rogamos borre el
   contenido
 del mensaje y nos comunique dicha circunstancia a traves de un
   mensaje
 de correo electronico a la direccion [3][3]h...@cuerdaspulsadas.com
 --
   References
 1. mailto:[4]r...@mh-freiburg.de
 2. mailto:[5]h...@cuerdaspulsadas.com
 3. mailto:[6]h...@cuerdaspulsadas.com
   To get on or off this list see list information at
   [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

   --

References

   1. mailto:r...@mh-freiburg.de
   2. mailto:h...@cuerdaspulsadas.com
   3. mailto:h...@cuerdaspulsadas.com
   4. mailto:r...@mh-freiburg.de
   5. mailto:h...@cuerdaspulsadas.com
   6. mailto:h...@cuerdaspulsadas.com
   7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: general public Lute awareness

[Rafael Muñoz Rodríguez]

   Hello Christopher,
   I agree with your point of view and for me it is explained with nice
   clarity. Regarding the lutenists'lack of basic or advanced training
   wich has been mentioned, I would like to point out that in Spain, even
   if we have early music departments inside a few conservatoires, most of
   the main subjects are common to the curriculum of the rest of classical
   instruments though. In low and intermediate levels you can practise
   continuo playing or consort when studying chamber music, but stuff like
   harmony, counterpoint, score analysis or music history aren't oriented
   and taught specifically for early music students. Before moving to
   Germany to attend a master degree, I have studied lute and related
   instruments in Spain for almost eight years and, for example, it was
   possible to study a kind of historical informed improvisation (hii?)
   subject only for two academic years. It happens many times that you can
   have good teachers but you will have to face a bad curriculum for early
   music instruments in the conservatoires. In my opinion, there is no
   point in requiring a lute player to sight-read a ritornello from
   L'Orfeo with the piano whilst he has not had the chance to study in
   depth during his academic formative years the Seconda prattica or how
   to perform a continuo by Monteverdi according to his contemporary
   sources. Now that I'm teaching lute at a conservatoire in Spain, I'm
   always trying to add specific subjects like continuo, ornamentation,
   ensemble or early music analysis to the curriculum of early music
   instruments in order to focus on the real necessities and try to
   overcome since the beginning this lack of basic training to wich David
   has referred to.
   Another related and interesting discussion would be: is good for early
   music learning to be a part of the conservatoires? how can a teaching
   system which was established in the early nineteenth century be
   suitable for early music teaching?
   best wishes,
   Rafael
 __

   De: Christopher Wilke chriswi...@yahoo.com
   Para: David Tayler vidan...@sbcglobal.net; lute@cs.dartmouth.edu
   lute@cs.dartmouth.edu
   Enviado: Viernes 9 de agosto de 2013 6:36
   Asunto: [LUTE] Re: general public Lute awareness
 Having taken these keyboard classes, and speaking as someone with a
 doctoral degree in historical plucked instruments, (ya know, lute,
 theorbo, baroque guitar and all that jazz) I can say that the
 considerable keyboard requirements were practically useless in
   helping
 with things like continuo realization or improvisation on plucked
 instruments. The media are just too different. I think the
   pedagogical
 goal in requiring piano for all majors is primarily so that
 non-harmonic (i.e. single-line) instrumentalists and singers will
   have
 some practical exposure to harmony. For lutenists or guitarists, this
 is less important, since we are of course already a harmonic
 instrument.
 Historically, pluckers avoided the type of highly abstracted
 contrapuntal approach to keyboard musicianship, which places a heavy
 emphasis on strict part writing in a predetermined number of voices,
 that is so prevalent in piano classes today. Perhaps because
 maintaining a totally strict contrapuntal conceit is so technically
 difficult on plucked instruments, lute/theorbo/guitar players were
 compelled to be far more inventive in their theoretical thinking.
 Surviving tabs show that pluckers understood and used the fundamental
 bass theory many decades before Rameau popularized it. This certainly
 opens the door for more inventive, satisfying - and audible!!! -
 continuo playing for us today. (I wrote an article about this which
 hopefully will come out soon in the LSA Quarterly when they get
   around
 to publishing it.)
 Chris
 Dr. Christopher Wilke D.M.A.
 Lutenist, Guitarist and Composer
 www.christopherwilke.com
   __
 From: David Tayler [1]vidan...@sbcglobal.net
 To: [2]lute@cs.dartmouth.edu [3]lute@cs.dartmouth.edu
 Sent: Thursday, August 8, 2013 7:57 PM
 Subject: [LUTE] Re: general public Lute awareness
   I think this is an interesting question, and I will risk posting an
   honest answer. The answer depends on who is The General Public. I
   divide the groups as: the 200 countries of YouTube distribution,
   Academics, other lute players, people in the Early Music scene, and
   modern musicians, as these are the groups frequently mentioned
   here.
   First off, however, I must note that at a good conservatory or
 college
   offering a real music major, you are expected to play the piano,
   read
   figured bass and pass a score reading exam using multiple staves of

[LUTE] Re: home recording

[Rafael Muñoz Rodríguez]

   Thanks to all who have commented.
   David, if some noise is inevitable in preamps of this category, I'll
   keep the Focusrite. Regarding the matched pair of microphones, I still
   doubt among The Studio Projects B1 and the Oktava mk 012. I like the
   roundness of the sound provided by the Oktava but, as I said before,
   I find it a bit too dark.
   Any hints for suitable mic cables and mic stands?

   Rafael
 __

   De: David Tayler vidan...@sbcglobal.net
   Para: lute lute@cs.dartmouth.edu
   Enviado: Miercoles 7 de agosto de 2013 20:02
   Asunto: [LUTE] Re: home recording
 Here are the specs for the Focusrite
 If you Focus on the EIN number, this measures the noise. Here the
 figure is -120dB, and it needs to be in the -128 to -129.5 range, if
 properly measured, (budget gear is never properly measured, so add a
 few points).
 What this means is that when you add the noise of the mic to the
   noise
 of the preamp, you get, well, noise. Not a lot of noise, but
   noticeable
 on a lute recording. Why the noise? Well, one reason is that it is
 powered by the USB bus. USB really does not have the power to run a
   mic
 preamp on a budget system.
 dt
 Frequency Response 20Hz - 20kHz +/- 0.1 dB
 THD+N  0.002% (minimum gain, -1dBFS input with 22Hz/22kHz bandpass
 filter)
 Equivalent Input Noise (EIN)  -120dB: measured at 55dB of gain with
 150I(c) termination (20Hz/22kHz bandpass filter)
 Gain Range +10dB to +55dB
 Max Input Level -3dBu

   ---
   ---
   Dear friends,
 I would like to buy a matched pair of microphones to make some
 home
 recordings with the following instruments: theorbo, archlute,
  Baroque
 lute, Renaissance lute, vihuela and Baroque guitar. The mikes
 would
 work with a Focusrite Scarlett 2i2. For the price I would like
  to pay I
 have been told that the best options could be a pair of Rode NT5
 or
 Oktava MK-012. I have listen to some guitar sound samples and I
  find
 the Rode more brilliant and dynamic, but it cuts a bit the low
  range
 frequencies. The Oktava gives a more natural and woody sound,
   but
 I
 find it a bit dark with a strong presence of mid-range
 frequencies.
 Does anyone have recording experience with these specific
  models? Other
 suggestions are also welcome. Maybe there is a model wich is
 particularly good at recording early music plucked strings
  instruments.
 Thanks in advance.
 Best wishes,
 Rafael Munoz
   To get on or off this list see list information at
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References

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[LUTE] Re: home recording

[Rafael Muñoz Rodríguez]

   Dear David and Stephen,
   thank you very much for the information.
   Rafael
 __

   De: Stephen Kenyon s...@jacaranda-music.com
   Para: Rafael Munoz Rodriguez rafalu...@yahoo.es
   CC: lute@cs.dartmouth.edu lute@cs.dartmouth.edu
   Enviado: Domingo 4 de agosto de 2013 16:41
   Asunto: [LUTE] Re: home recording
   Also consider Sontronics and sE small diaphragm mics.
   Stephen
   On 4 Aug 2013, at 14:48, Rafael Munoz Rodriguez wrote:
   Dear friends,
   I would like to buy a matched pair of microphones to make some
   home
   recordings with the following instruments: theorbo, archlute,
Baroque
   lute, Renaissance lute, vihuela and Baroque guitar. The mikes
   would
   work with a Focusrite Scarlett 2i2. For the price I would like
to pay I
   have been told that the best options could be a pair of Rode NT5
   or
   Oktava MK-012. I have listen to some guitar sound samples and I
find
   the Rode more brilliant and dynamic, but it cuts a bit the low
range
   frequencies. The Oktava gives a more natural and woody sound, but
   I
   find it a bit dark with a strong presence of mid-range
   frequencies.
   Does anyone have recording experience with these specific
models? Other
   suggestions are also welcome. Maybe there is a model wich is
   particularly good at recording early music plucked strings
instruments.
   Thanks in advance.
   Best wishes,
   Rafael Munoz
   
   --
   
   
To get on or off this list see list information at
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References

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[LUTE] home recording

[Rafael Muñoz Rodríguez]

   Dear friends,
   I would like to buy a matched pair of microphones to make some home
   recordings with the following instruments: theorbo, archlute, Baroque
   lute, Renaissance lute, vihuela and Baroque guitar. The mikes would
   work with a Focusrite Scarlett 2i2. For the price I would like to pay I
   have been told that the best options could be a pair of Rode NT5 or
   Oktava MK-012. I have listen to some guitar sound samples and I find
   the Rode more brilliant and dynamic, but it cuts a bit the low range
   frequencies. The Oktava gives a more natural and woody sound, but I
   find it a bit dark with a strong presence of mid-range frequencies.
   Does anyone have recording experience with these specific models? Other
   suggestions are also welcome. Maybe there is a model wich is
   particularly good at recording early music plucked strings instruments.
   Thanks in advance.
   Best wishes,
   Rafael Munoz

   --


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[LUTE] Re: De Visee tab emergency

[Rafael Muñoz Rodríguez]

   Hi,
   In the Sazenay,  the A-minor prelude is written in page 256 and the
   courante in page 254. There is a slight different version of both
   pieces (and some others in the same key) in the manuscript of the
   Bibliotheque nationale, in Paris with the reference F Pn Res.1106.
   I have recorded for Brillaint Classics the prelude (Paris ms) and a
   theorbo piece by Bartolotti. You can listen to the first section of the
   prelude in this link:
   http://www.youtube.com/watch?v=ZLCVtjtLdZA
   The complete cd, devoted to Marin Marais can be bought in Amazon,
   Cduniverse and others:
   http://www.amazon.com/Marais-La-Voix-De-Viole/dp/B001SNXTRY
   best regards,
   Rafael Munoz
   www.labellemont.com
 __

   De: be...@interlog.com be...@interlog.com
   Para: lute@cs.dartmouth.edu
   Enviado: Domingo 16 de diciembre de 2012 1:45
   Asunto: [LUTE] De Visee tab emergency
   Hi, folks! Hope all is well. I'm sending out a request for a couple of
   De Visee tabs that I can't seem to locate.
   In the A minor Suite d'Amila, there's a prelude and a courante. In the
   (awesome) Richard Civiol tabs that are available
   [1]http://luthlibrairie.free.fr, I can't seem to find those two pieces
   - are they in the collection, and I'm just too dense to locate them? If
   anyone has a line on those two tabs, I'd be really grateful - please
   get in touch. Happy various holidays - Ben S
   -
   [2]http://benjaminstein.ca/
   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. http://luthlibrairie.free.fr/
   2. http://benjaminstein.ca/
   3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] somebody travelling to Europe?

[Rafael Muñoz Rodríguez]

   Dear friends,
   My name is Rafael Munoz. I'm a professional lute player from Spain
   (www.labellemont.com).
   I have bought a theorbo wich is located near Berkeley and I would like
   to ask if somebody on the area (San Francisco/Berkeley/Oakland...) is
   flying to Spain or to Europe in the forthcoming weeks so I could buy an
   extrasit and then he/she could pick the theorbo up and bring it to
   Spain /Europe.
   Many thanks in advance,
   Rafael
   www.labellemont.com

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