From the Lute Society of America:
Blame Not My Lute:
Elizabethan Lute Music and Poetry
Ronn McFarlane, lute; Robert Aubry Davis, spoken word
2010 Dorian Recordings
This recording grew out of a series of concerts performed by Ronn and Robert. The simple idea--to match poetry and theatre about the lute to the music from the Elizabethan and Jacobian eras from which the words grew--shows the reverence these great poets and dramatists had for this elegant and courtly instrument.
These performances are not only highly entertaining and thoughtful, but a learning experience as well. Every performance begins with a sort of glossary to introduce the listener to some of the words and phrases used in the poetry about lutes and lute songs, many of which have expressive meanings in the poems themselves. The glossary contains such words as fret, division, prick and relish; it is easily understood that a definition of these technical terms can lend a deeper understanding of the imagery of the poetry. For instance, knowing the musical use of the word “prick” adds greatly to the already-hilarious double-entendre lyrics of “The Wanton Trick.”
There are some advantages to using declaimed poetry for this type of performance. First of all, of course, is the fact that not many people are very familiar with the poetry itself. I was unaware of the poem “Blame Not My Lute “ by Thomas Wyatt until I heard Robert’s sensitive and delicate rendition. “ Blame not my lute, for he must sound.”
Secondly, Robert’s style of reciting is so clear and sensitive that I can distinguish every word without having to refer to the program notes. His projection is so clear and intimate, and his style so lively, that I feel as if he is talking to me alone.
Not many performances are able to combine lute solos, poetry and readings from Renaissance dramatists, Shakespeare included. “A Woman Killed with Kindness” is a beautiful play by Thomas Heywood, and this recording performs a tragic scene (Act 5, Scene iii) wherein a lute is being returned regretfully by a lover to his lady. This lady (performed by Emily Townley) sadly says
I know the lute. Oft have I sung to thee;
We are both out of tune, both out of time
It cannot weep, but shall lament my moan.
She gives the lute to the servant and bids him return it, telling him to say “that you have seen me weep, wish myself dead,” and the servant replies, “If I can, for crying.”
And then, of course, the first lush strains of “Lachrimae,” played brilliantly by Ronn. All in all, the highlight of an already stellar recording. For lute solos we are treated to "Kemp’s Jig," "Packington Pound," the William Byrd “Pavana Bray,” a piece for harpsichord arranged for lute by Francis Cutting, and several Dowland compositions. The recording is so well-organized that the music flows gracefully from one piece to another and ends as it began–with another Thomas Wyatt poem “My Lute Awake.”
Now cease, my lute, this is the last
Labour that you and I shall waste,
And ended is that we begun
Now is this song both sung and past;
My lute be still, for I have done.
And I, having done listening, can start right back at the beginning.
Bobbye Larson
Needless to say, we are very grateful for these kind words, and as a long-time member of the Lute Society, it is a very worthy institution, and also one deserving of your interest and support: