Eugene C. Braig IV
Mon, 22 Sep 2008 11:24:26 -0700
Greetings Arthur (et al.), We appear to only differ on semantics. Exactly the thing that you are calling an "eyewitness account", I am contending IS the equivalent of "rumor" without something publicly verifiable by the scholarly community at large (read my previous note for detail). ...And no, this in no way should ever be construed as me naming anybody "liar." I am not nearly as adept at the controversial turn of phrase as our old friend at Editions Orphee, but I admit that I cannot find anything that disagrees with *either* of our positions in the content of his note here: <http://www.guitarandluteissues.com/rmcg/chilesotti.htm>. I personally do not feel at all contentious about our exchange or disagreement on language here, Arthur. Sincerely, Eugene At 10:39 AM 9/22/2008, Arthur Ness wrote: >----- Original Message ----- >From: "howard posner" <[EMAIL PROTECTED]> >To: "List Lute" <lute@cs.dartmouth.edu> >Sent: Tuesday, September 16, 2008 9:40 PM >Subject: [LUTE] Re: Respighi > >|I believe the remaining pieces are from the "Chilesotti Lute >| Book" (Da un Codice Lauten-buch), a book of musicologist Oscar >| Chilesotti's transcriptions of a lute manuscript, which was published >| in 1891. The original lute book has not been available publicly, if >| at all, for more than a century. Rumors of its whereabouts drift >| around from time to time. Arthur Ness will doubtless have something >| to say on that subject. > ><<<SNIP>> >oooooooooooooooooooooooooooooooooooooooooooo >Hello, again, Howard ><<Contuned. Part 2>> > >I first heard about the survival of the Codice Lauten-Buch at the 1997 >Francesco conference in Milan. Not one but several persons told me about >it, and named the well known Italian lutenist who was hired to give a >private recital. His host brought out a 16th-century manuscript of lute >music, from which he was asked to play. The lutenist immediately >recognized it as the Codice Lauten-Buch belonging formerly to Oscar >Chilesotti (1846-1916). It was long thought to have been destroyed in a >fire. > >Paul O'Dette did not attend that Francesco conference, but he >somehow independently learned about the manuscript being in a private >library in northern Italy a decade earlier, and reports that information >in the notes to his Ancient Airs CD, mentioning the conflicting (and >false) rumor about >the fire. > >Furthermore, Thomas Schall reported on this list that he met the lutenist >who played the recital, and confirmed what I heard from several persons at >the Francesco conference. This points not to rumors, but to an "eye >witness sighting of the manuscript." Thomas wrote, and I see no reason to >believe he and the lutenist are not telling the truth: > > >As far as I can judge the story of the Chilesotti > >Codice which survived > >and about the lutenist giving a house concert > >from it is true - I met > >the lutenist in question and he confirmed the story. > > >It seems the manuscript is preserved in a > >bank tresor (I've been told > >there would be many treasures in tresors > >because some people buy old > >books for their insurance value which would > >get lost if the owner would > >make the manuscript accessible to the public). A pity! > >What purpose is served to lie about this matter, and call the Italian >lutenist, Schall, O'Dette, Fabris and all the others liars? > >The attitudes that some owners of rare books and music harbor are >unfortunate. Such bibliophiles often believe that by sharing their >treasures with others, for example in a facsimile edition, the value of >the books will be diminished (as Thomas hints in his comments). Some >collectors buy rare books as an investment (the stock market returns have >been demonstrated to be a better invenstment than old books). Even some >librarians hold such a view, and (to cite one of many instances) for >decades a librarian at the Fitzwilliam Museum would not permit the >Cherbury >manuscript to be published in facsimile. > >Of course, not all collectors of rare music are so possessive, as the >example of the late Bob Spencer demonstrates. He generously allowed >visitors into his home to view and freely use his collection. He realized >that he was just a temporary >custodian of treasures that really belong to everyone. > >And if it were to be come known, a parade of visitors would surely >appear asking to see the Lauten-Buch. That might hurt current Italian >efforts to convince the owner to make the manuscript available in a >facsimile edition. > >Otherwise we will just have to wait until the manuscript comes on the >auction market, and hope that it will be purchased by a pubic institution. >Until then Dick Hoban's re-intabulation will serve us well. Other than >those pieces (five of the six*), the original tablatures of the pieces >orchestrated by Respighi are readily available, many in published >facsimile editions. > >*P.S. Of the 22 pieces in Respighi's suites, only SIX are from the Codice >Lauten-Buch, and for one we have a published photograph of the original >page. <_Pace_ Eugene!> > >=====AJN (Boston, Mass.)===== >This week's free download from Classical Music Library is Chopin's 3 >Mazurkas, Op. 59, performed by Abdel Rahman El Bacha, pianist. >To download, click on the CML link here >http://mysite.verizon.net/arthurjness/ > >My Web Page: Scores >http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/ > Other Matters: >http://mysite.verizon.net/arthurjness/ >=================================== > > > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html Eugene C. Braig IV Assistant Director Ohio Sea Grant College Program, F.T. Stone Laboratory, CLEAR, and GLAERC The Ohio State University Area 100 Research Center 1314 Kinnear Rd. Columbus, OH 43212 Phone: 614-292-8949 FAX: 614-292-4364 e-mail: [EMAIL PROTECTED] http://www.ohioseagrant.osu.edu/ http://snr.osu.edu/myhome/braig.1