--- On Wed, 20/10/10, Martyn Hodgson <hodgsonmar...@yahoo.co.uk> wrote:
From: Martyn Hodgson <hodgsonmar...@yahoo.co.uk>
Subject: Re: [LUTE] Re: Lute volume
To: "Christopher Wilke" <chriswi...@yahoo.com>
Date: Wednesday, 20 October, 2010, 14:26
I very much agree with your closing sentiments below. As you'll know,
there is considerable evidence that close to the bridge playing was the
general rule from the later 16th century onwards. The 'lute' (sometimes
'theorbo') stop on the harpsichord allows a row of jacks closer to the
bridge to be brought into play and on that instrument certainly results
in a penetrating sound. I'm not aware of any evidence why it was so
called: perhaps because of the quality of sound, or of plucking close
to the bridge or perhaps a combination of the two.
Martyn
--- On Wed, 20/10/10, Christopher Wilke <chriswi...@yahoo.com> wrote:
From: Christopher Wilke <chriswi...@yahoo.com>
Subject: Re: [LUTE] Re: Lute volume
To: "Lute Net" <lute@cs.dartmouth.edu>, "Stewart McCoy"
<lu...@tiscali.co.uk>, "Martyn Hodgson" <hodgsonmar...@yahoo.co.uk>
Date: Wednesday, 20 October, 2010, 13:45
Going in a slightly different direction, I've noticed that in
contemporary music chamber music concerts involving guitar, the guitar
is almost always amplified. This applies to standard "repertoire"
pieces (Boulez, etc.) as well as pieces by living composers who are
present at the concert and who have presumably given their blessing. I
know of no score that specifies "amplified guitar." The composers
apparently just write notes and expect the performer to use whatever
means needed to make it heard. (I've always wondered why they
continually use the nylon-strung classical guitar with amplifier
instead of an unamplified steel-string played with a plectrum, which
would have the chance of being heard.)
I'm not sure what, if anything, this tells us. Perhaps if modern
composers don't really care if you use an amplifier, then therefore...
Am I really going to argue for lute amplification in early music
settings on the assumption that olden composers would have been
delighted? No. But I do think that "amplification" via playing
harder, perhaps closer to the bridge and eschewing many of the niceties
we do in refined solo playing, is entirely appropriate.
Christopher Wilke
Lutenist, Guitarist and Composer
www.christopherwilke.com
--- On Wed, 10/20/10, Martyn Hodgson <[1]hodgsonmar...@yahoo.co.uk>
wrote:
> From: Martyn Hodgson <[2]hodgsonmar...@yahoo.co.uk>
> Subject: [LUTE] Re: Lute volume
> To: "Lute Net" <[3]l...@cs.dartmouth.edu>, "Stewart McCoy"
<[4]lu...@tiscali.co.uk>
> Date: Wednesday, October 20, 2010, 6:27 AM
>
> Dear Stewart,
>
> It's certainly odd if the amplification
> used for your large scale
> social events is used more generally
> which is what you appeared to
> suggest by your view that 'if you want
> people to hear what you are
> playing, there are times when
> amplification has its uses' ; this might
> appear to condone almost anything merely
> on a personal whim.
>
> rgds
>
> Martyn
> --- On Wed, 20/10/10, Stewart McCoy
> <[5]lu...@tiscali.co.uk>
> wrote:
>
> From: Stewart McCoy <[6]lu...@tiscali.co.uk>
> Subject: [LUTE] Lute volume
> To: "Lute Net" <[7]l...@cs.dartmouth.edu>
> Date: Wednesday, 20 October, 2010,
> 10:52
>
> Dear Martyn,
> The problem with discussions of this
> sort is that we often have
> different things in mind, and the
> thread has covered different kinds
> of
> performance.
> I agree that an amplifier would be out
> of place for a HIP
> performance
> say for a lute recital in a church,
> but if, for example, you agree
> to
> play the lute as background music for
> a social occasion, when people
> are sipping champagne, munching
> canapes, and talking loudly to each
> other, you have to be amplified or you
> won't be heard. My view is
> that
> it is better for people to hear and
> enjoy amplified lute music on
> such
> occasions, than not hear and not enjoy
> HIP lute music without
> amplification. I don't see anything
> odd about that.
> Best wishes,
> Stewart.
> -----Original Message-----
> From: Martyn Hodgson [mailto:[1][8]hodgsonmar...@yahoo.co.uk]
> Sent: 20 October 2010 08:55
> To: Stewart McCoy
> Subject: Re: [LUTE] Lute volume
> Dear Stewart,
> This seems an odd view to me - surely
> if we have any pretensions to
> trying to hear what the early auditors
> heard we ought to eschew such
> electronic amplification - otherwise
> we end up with a sound world
> the
> composer could not have reasonable
> expected. If the lute is not
> audible
> and the player's skill (and ability to
> play loud - for a lute) is
> undoubted perhaps the difficulty lies
> in the unecessarily raised
> volume
> of other parts (vocal and
> instrumental)?
> I think the key is where you say 'if
> you want people to hear what
> you
> are playing' .....
> yours
> Martyn
> --- On Wed, 20/10/10, Stewart McCoy
> <[2][9]lu...@tiscali.co.uk>
> wrote:
> From: Stewart McCoy <[3][10]lu...@tiscali.co.uk>
> Subject: [LUTE] Lute volume
> To: "Lute Net" <[4][11]l...@cs.dartmouth.edu>
> Date: Wednesday, 20 October,
> 2010, 0:59
> Cher Valery,
> No, it's not HIP to play with
> amplification, but if you want people
> to
> hear what you are playing, there are
> times when amplification has
> its
> uses. Better to be amplified than not
> heard at all.
> Amities,
> Stewart.
> -----Original Message-----
> From: [1][5][12]lute-...@cs.dartmouth.edu
> [mailto:[2][6][13]lute-...@cs.dartmouth.edu]
> On
> Behalf Of Sauvage Valery
> Sent: 19 October 2010 10:18
> To: [3][7][14]l...@cs.dartmouth.edu
> Subject: [LUTE] Re: Lute volume
> Is it an HIP position to play with
> amplification ? Not sure it is
> coherent
> with what was said about gut
> strings...
> If you want to search for the lost
> sound... gut strings, no amps.
> Same
> conditions as yesteryears...
> No ?
> V ;-)
> -----Message d'origine-----
> De : [4][8][15]lute-...@cs.dartmouth.edu
> [mailto:[5][9][16]lute-...@cs.dartmouth.edu]
> De la
> part
> de Peter Martin
> Envoye : mardi 19 octobre 2010 11:11
> A : Lute list
> Objet : [LUTE] Re: Lute volume
> Ah,
> amplification...
> I remember that
> David T and others made some recommendations a
> couple
> of years ago about
> contact mikes suitable for lutes. Any fresh
> updates?
> I fear my lute and
> saxophone combo won't ever get started without
> a
> little electronic
> help.
> Peter
> On 19 October 2010
> 09:44, Stewart McCoy
> <[1][6][10][17]lu...@tiscali.co.uk>
> wrote:
> Dear Howard,
> I think you
> are right to say that it is the overall sound which
> counts
> with an
> ensemble. When choosing voices for a choir, a conductor
> may
> choose not to
> invite a soloist with a strong, distinct voice,
> because it
> will stick
> out like a sore thumb. So it is with instruments.
> There
> has
> to be a
> balance, and it is up to the conductor (if there is
> one)
> to
> get
> it right.
> One of the
> strengths of the theorbo is that it enhances the
> other
> instruments
> of the group, as a catalyst may do in a mixing of
> chemicals.
> For example,
> it covers up mechanical clatter from a
> harpsichord,
> reinforcing
> the bass, and letting the audience hear the sweet,
> silvery
> tones of the
> harpsichord's treble notes. It is often the case
> that
> people in the
> audience do not recognise the sound of the
> theorbo
> in
> a
> group,
> because they are unfamiliar with it, but they would
> notice
> the
> difference if
> it wasn't there.
> There are
> times when a conductor may want the audience to hear
> the
> theorbo
> clearly, in which case he asks players of other
> continuo
> instruments
> to sit out.
> I sympathise
> with Chris's frustration at playing an instrument
> which
> cannot be
> heard, or at least cannot easily be distinguished.
> That
> is
> one
> reason why I
> gave up playing the double bass in orchestras
> years
> ago
> -
> why bother
> turning up, if there are five other bass players
> playing
> the
> same notes?
> The trouble is, if everyone thought that, there
> would
> be
> no
> orchestra.
> However,
> there are circumstances (playing background music
> while
> people
> talk, playing
> outside in the open air or in too big a room,
> playing
> alongside six
> trombones in a large, modern orchestra) when
> plucked
> instruments,
> particularly lutes, simply cannot be heard at all,
> and
> it
> is futile
> trying to thrash the instrument into audibility. If
> that
> is
> the case,
> there is little point playing without amplification.
> It
> is
> sad
> if one is
> reduced to contributing only to the visual aspect of
> a
> performance,
> merely for the sake of the cheque afterwards.
> Best wishes,
> Stewart
> McCoy.
> -----Original
> Message-----
> From:
> [2][7][11][18]lute-...@cs.dartmouth.edu
>
> [mailto:[3][8][12][19]lute-...@cs.dartmouth.edu]
> On
> Behalf Of
> howard posner
> Sent: 19
> October 2010 05:15
> To: Lute
> List
> Subject:
> [LUTE] Re: Lute volume
> On Oct 18,
> 2010, at 6:12 PM, Christopher Wilke wrote:
> > Howard,
> Huh?
> Wait, that's me!
>
> > Alright, so next
> time I'll should ask people if they did
> not
> hear me
> as a discrete
> component, but rather as a subconsciously
> perceivable
> part
> of the
> composite tonal aggregate?
> Subconscious,
> no; part of the tonal aggregate, yes. There's no
> reason
> to think the
> concept was any stranger in 1700 than it was in
> 1850
> or
> is
> now.
> Lots of instruments have the job of combining with other
> instruments
> to form a homogenized sound. Listen to a Schumann
> symphony
> for an
> extreme example in its time.
> BTW, if the
> violinist sharing the stand with the concertmaster
> at
> your
> concert had
> asked someone in the audience "Could you hear me?"
> the
> answer would
> have been, "Never. I couldn't distinguish your
> sound
> from
> the other
> first violinists'". The same is true of the organist
> in
> most
> ensembles,
> including rock bands, or the rhythm guitarist in a
> jazz
> big
> band (or lots
> of rock bands, for that matter). The issue in
> these
> cases
> is not
> whether you can hear the instrument, but how much better
> the
> group sounds
> with it than without it. 35 years ago Rick Kemp,
> then
> the
> Steeleye Span
> bass player, told me how fascinated he was
> watching
> Neil
> Young's bass
> player staring at the drummer's foot so he'd play
> together
> with the bass
> drum, making one percussive bass instrument. "I
> don't
> know whether
> it's good or bad," Kemp said.
> > Frankly,
> I'm not a believer in this way of thinking for
> baroque
> music.
> There's no
> evidence that baroque composers thought of blending
> tone
> colors into
> "new sonorities" or Klangfarbenmelodie in the
> manner
> of
> Ravel or
> Schoenberg.
> But as you
> point out in your very next sentence, they very
>
> conventionally blended tone colors into
> familiar combinations
> of
> sonorities.
>
> > Yes, bassoons double
> cellos and basses and oboes and
> violins
> play
> the same line
> in tuttis, but his rather goes to show how little
> regard
> baroque
> composers had for the actual colors of the instruments:
> I'd be
> inclined to disagree with this characterization of their
> regard,
> but since it
> pretty much proves my point, there's a limit to
> how
> hard
> I'll
> protest. In his operas, Handel typically expected one
> treble
> sound
> composed of
> oboe/violin, and a bass sound composed of
>
> cello/bassoon/harpsichord/theorbo/violone.
> He was obviously
> unconcerned
> with whether
> the bassoons were heard as bassoons: he just
> wanted a
> good,
> strong
> sound.
> > "If the
> part fits your register, play it for all I care."
> I'd be
> inclined to disagree with this characterization even
> more
> than I
> was inclined
> to agree with the characterization above (with
> which
> was I
> inclined to
> disagree, as noted above in the sentence that
> started
> "I'd
> be inclined
> to disagree...") but since it pretty much proves
> etc.
> ...
> > If Bach
> didn't have an oboist on a particular day for an
> obligato
> part, he had
> no qualms about re-writing it for traverso or
> violin,
> transposing
> if needed.
> I know of no
> instance in which Bach is known to have rewritten
> a
> part
> because
> someone wasn't available on a particular day. Do you?
> >
> How many times must this sort of thing have happened on the
> fly,
> with
> nothing being
> written down?
> Twelve.
> Thirteen, if you include that time in Frankfurt in
> 1752.
> Not a
> lot,
> really...
> > ("We've
> got a great virtuoso guest chalumeau player with us
> today,
> Herr
> Bach." "Well, I ain't got nothin' fer chalumeau, but
> tell
> him
> to
> take the
> traverso obligato on the third aria.") I don't think
> Handel
> or
> Telemann or
> either one of the Grauns ever thought, "This
> harpsichord
> is
> doing the job
> fine on its own, but it is a little thin
> sounding.
> Let's
> get a theorbo
> in here to warm it up, stat!
> They didn't
> have to think about it. They assumed the theorbo
> and
> harpsichord
> were both available, for the same reason they
> assumed
> the
> violins and
> oboes were both available: because they were
> available.
> >
> And tell the guy, even though it really goes without
> saying,
> that
> although the
> theorbo player CAN play to be heard, he needs to
> be a
> part
> of the
> musical texture without actually being noticed as a
> discrete
> sound.
> This is a
> very theorbocentric view of the whole matter. It's
> more
> accurate to
> say that how the audience hears the theorbo, as
> such,
> is
> less
> important to the director (who needs to worry about the
> overall
> sound and
> overall balance) than it is to the theorbo player.
> If
> the
> continuo
> sounds good and supports the singers, the director may
> not
> care
> at all if
> anyone can make out the theorbo separately. And in a
> lot
> of
> venues where
> the acoustics are imperfect, the subtlety of
> different
> continuo
> colors might be an unaffordable luxury.
> It could be
> that your directors are bozos who don't know what
> theorbos
> are
> for. It could also be that they have a much better
> notion
> of
> how
> things sound
> than the theorbo player in the middle of the mix
> does.
> But
> worrying
> about the theorbo player's desire to be heard isn't in
> their
> job
> description.
> To get on or
> off this list see list information at
>
>
[4][9][13][20]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> --
> Peter Martin
> 24 The Mount St
> Georges
> Second Avenue
> Newcastle under
> Lyme
> ST5 8RB
> tel: 0044 (0)1782
> 662089
> mob: 0044 (0)7971
> 232614
> [5][10][14][21]peter.l...@gmail.com
> --
> References
> 1. mailto:[11][15][22]lu...@tiscali.co.uk
> 2. mailto:[12][16][23]lute-...@cs.dartmouth.edu
> 3. mailto:[13][17][24]lute-...@cs.dartmouth.edu
> 4.
[14][18][25]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 5. mailto:[15][19][26]peter.l...@gmail.com
> --
> References
> 1.
>
[20][27]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmo
uth.
> edu
> 2.
>
[21][28]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmo
uth.
> edu
> 3.
>
[22][29]http://de.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.
edu
> 4.
>
[23][30]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmo
uth.
> edu
> 5.
>
[24][31]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmo
uth.
> edu
> 6.
>
[25][32]http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.u
k
> 7.
>
[26][33]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmo
uth.
> edu
> 8.
>
[27][34]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmo
uth.
> edu
> 9.
[28][35]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 10.
>
[29][36]http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.c
om
> 11.
>
[30][37]http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.u
k
> 12.
>
[31][38]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmo
uth.
> edu
> 13.
>
[32][39]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmo
uth.
> edu
> 14.
[33][40]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 15.
>
[34][41]http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.c
om
>
> --
>
> References
>
> 1.
[42]http://de.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co
.uk
> 2.
[43]http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
> 3.
[44]http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
> 4.
[45]http://de.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
> 5.
[46]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 6.
[47]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 7.
[48]http://de.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
> 8.
[49]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 9.
[50]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 10.
[51]http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
> 11.
[52]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 12.
[53]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 13. [54]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 14.
[55]http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.com
> 15.
[56]http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
> 16.
[57]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 17.
[58]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 18. [59]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 19.
[60]http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.com
> 20.
[61]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 21.
[62]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 22.
[63]http://de.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
> 23.
[64]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 24.
[65]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 25.
[66]http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
> 26.
[67]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 27.
[68]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 28. [69]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 29.
[70]http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.com
> 30.
[71]http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
> 31.
[72]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 32.
[73]http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.
edu
> 33. [74]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 34.
[75]http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.com
>
>
--
References
1. http://de.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
2. http://de.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
3. http://de.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
4. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
5. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
6. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
7. http://de.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
8. http://de.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
9. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
10. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
11. http://de.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
12. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
13. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
14. http://de.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
15. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
16. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
17. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
18. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
19. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
20. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
21. http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.com
22. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
23. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
24. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
25. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
26. http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.com
27. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth
28. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth
29. http://de.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
30. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth
31. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth
32. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
33. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth
34. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth
35. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
36. http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.com
37. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
38. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth
39. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth
40. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
41. http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.com
42. http://de.mc263.mail.yahoo.com/mc/compose?to=hodgsonmar...@yahoo.co.uk
43. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
44. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
45. http://de.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
46. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
47. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
48. http://de.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
49. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
50. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
51. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
52. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
53. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
54. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
55. http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.com
56. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
57. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
58. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
59. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
60. http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.com
61. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
62. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
63. http://de.mc263.mail.yahoo.com/mc/compose?to=l...@cs.dartmouth.edu
64. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
65. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
66. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
67. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
68. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
69. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
70. http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.com
71. http://de.mc263.mail.yahoo.com/mc/compose?to=lu...@tiscali.co.uk
72. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
73. http://de.mc263.mail.yahoo.com/mc/compose?to=lute-...@cs.dartmouth.edu
74. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
75. http://de.mc263.mail.yahoo.com/mc/compose?to=peter.l...@gmail.com
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
