Bach Lute Suites Recital at Boston College
Lutenist Richard Stone will perform the four Bach lute suites on Tuesday, September 21 at 8:00 in the St Mary Chapel of Boston College. This is part of the Music at St Mary's series, sponsored by the Jesuit Community and Music Department of Boston College. Admission is free. To reach Boston College, take the Green B Subway outbound to the end of the line, and walk up the hill. St. Mary Chapel is near the entrance on Commonwealth Ave.. Ask for directions at the guard house. ajn
lute face competition
My favorite portrait of a lutenist is the engraving on the titlepage of Sebastian Ochsenkhun's tablature book of 1558. There is a surprised look of disgust on his face. You can almost hear the expletive he uttered at that moment. Why? If you carefullly examine the engraving you'll find out has just broken a string! ajn
Raimondi manuscript
There is a published facsimile available for $26 from OMI (immelsatpanix.com): Libro di sonate diverse per liuto (Pietro Paulo Raimondi), introduction by Oscar Tajetti (Como 1980). 196 pp. ajn
Re: Raimondi manuscript
By the way, there was a lutenist (ca. 1600) at the Wuerttemberg court named, not Bernhard, but Georg Hofstetter. There is a piece by him in the Donaueschingen MS G.1.4 (now in Stuttgart???), on folio 46v. The name is written in Hebrew script. There's an article about him in the New Grove Dictionary of Music and Musicians. Maybe someone who has the manuscript can send you a copy. ajn BHofstoetter wrote Thanks a lot for the valuable input which I received from you all!! Bernhard ___ Gesendet von Yahoo! Mail - Jetzt mit 100MB Speicher kostenlos - Hier anmelden: http://mail.yahoo.de
More on V*rus Alert
It seems to me that it would be wise to avoid visiting web sites until this latest virus has been taken care of. I think the pornography that Tom is getting when he tries to download those Franciscque tracks may be a result of this new virus. Here are two messages from the CompuServe Virus Forum, posted today. Subj: InternetAttacks Section: Alerts News From: TonyDamico, 103146,1440 #60730 To: All, all Friday, June 25, 2004 4:15:13 AM CHICAGO, Illinois (AP) -- Government and industry experts warned late Thursday of a mysterious, large-scale Internet attack against thousands of popular Web sites. The virus-like infection tries to implant hacker software onto the computers of all Web site visitors. http://www.cnn.com/2004/TECH/internet/06/24/internet.attack.ap/index.html Subj: Help with e-mail Section: Alerts News From: Steven Stern / Sysop, 76003,1407 #60747 To: an boston, 71162,751 Friday, June 25, 2004 1:09:12 PM Has he run a virus scan? I haven't seen anything specific about this. This is the story you heard on the news today: http://news.com.com/Researchers+warn+of+infectious+Web+sites/2100-7349_3-52 47187.html?tag=nefd.top Due to a flaw in IE (so far unpatched), some sites are able to put malicious programs (currently undetected by virus scanners) on your computer. = Take care, all, Arthur.
Bottegari
For a question like this, one should consult perhaps the most important bibliography, Brown's Instrumental Musoic printed before 1600. He lists some 44 original prints containing music for one or more voices and lute, plus others for bandora and voice, cittern and voice, vihuela and voice, etc. Thomas is correct, the Denss book must have a hundred Italian songs for voice(s) and lute. For some Spanish songs, already mentioned is the Segovia Cathedral Manuscript. ajn FROM: Elias Fuchs, INTERNET:[EMAIL PROTECTED] TO: LUTE NET, INTERNET:[EMAIL PROTECTED] DATE: 6/15/04 3:32 PM Re: Bottegari Thank you all for answering, Nancy, Arto, Sean Smith, Stewart, RT, and others The Verdelot book I have since long, it's really great music, but except that one, there is no other Italian music for voice and lute, except the Bottegari which I'll try to get plus the Bossinensis book too, that I can get from Minkoff you said. To transcribe madrigals myselfof course that would be the best way, no objections - but who does that for me??? Don't laugh, don't even try to educate me, I just can't do it! I wonder why there is such a lot of spanish and even some french sources for voice and lute, but only 2 Italian. Anyway, if someone can tell me some other Italian voice-lute-books - also new editions in french tablature, like new transcriptions of madrigals and/or franco-flamish music - I would be happy about any infos. If somebody wants so send me his own personal madrigal-transcriptions, handwritten or else, I pay for it in advance, send me copies. Just write to my private address how much you want for your time, mail expenses, etc This is no joke, and not much of a problem or ridiculous or something, I hope. Because I'm not a publisher who wants to rip someone off, but just a very kind player of the lute, glad to hear from you on this. But no joking, maybe it's really unjust, somebody does all the studies and labour to do all the work (if it's hopefully well done), and then he should get payed off for it with 50 or 100 $, so maybe it's too personal, and if somebody wants to critizise me for that attitude, I could understand that viewpoint too. best wishes, Elias
Bottegari
Oh, I forgot to mention. You look in the Index arranged by Medium of Performance to find all of the prints containing music for voice and lute. That is such a dandy Bibliuographies. Actaaually is probably one of the finest ever produced, and we are so fortunet to have it withlute music. ajn
Re: R: Manuscript of Per Brahe - Skokloster
Gary Digman commented:= Dear Ed; And so was Galileo himself a lutenist. Or so I've heard. Gary He was indeed. There is a one-time reader of this list, Cantor Thompson in Orange County, California, who does a one-man show about Galileo Galilei. He plays lute pieces from Galileo's time and also sings. I provided him with that fantastically beautiful villanella with text from Orlando Furioso in the Chilesotti Codice-Lautenbuch (also orchestrated by Respighi and played on 'cello). But in music his father Vincenzo and brother Michelangelo were surely more famous. The brother published a book of lute music when he was in the service of the Dukes of Bavaria. There are two facsimiles. The Minkoff one has a very nice and informative preface by Claude Chuavel. I've never seen the other one, although I think Doug Smith was involved. I enjoy the story, probably apocyphal, of how Galileo Galilei and his father were testing the tensile strength of gut lute strings by lowering them with various weights over the side of the Leaning Tower of Pisa. He noticed how the weighted strings swayed, and thus discovered the physical properties of a pendulum. And you all know about the Florentine Camerata to which Vincenzo belonged, and how while studying the nature of Greek drama they discovered opera. Galilei was the principal researcher, and in a sense the inventor of opera. Of course, Francesco Triboli, an astronomer(?) himself, would name his tablature program after Vincenzo Galilei's treatise on the lute, Fronimo Dialogo (1568; 2nd. rev. ed. 1581/1586. Arthur.
Copy of: Re: Cosimo Bottegari-Lutebook
Dear Martyn, Thanks for the clarification. I haven't looked at that edition in 20 years. Not all of the pieces are by Bottegari. It includes that fantasia d'Incerto that some people think is by Francesco. It's really too square to be Francesco's, and almost all of the original sources (three or four of them) attribute it to Anonymous, and none to Francesco. Mrs. MacClintock had difficulty with one song. The voice part and the lute part are not in the same key. Something to watch out for. ajn (sorry for the duplication, Martyn. I forgot to address the message properly.)
Manuscript of Per Brahe - Skokloster
Wasn't Per Brahe a famous astronomer? His lute book at the Sklottsbiblioteket in Skokloaster was indeed copied when he was a student in Giessen (about 1618). It is on the cusp of the baroque and contains works by Dowland, Vallet, Bocquet, and so looks backward rather than forward into the Baroque. I have a vague recollection about seeing some pages from it. A few German chorales. Rather sloppy handwriting, as I recall. Kenneth Sparr has written about it in the Swedish lute and guitar journal, Svenska gitar och luta 8/2 (1975): 40-2. Alas, Thomas, I can't get too excited about it, except for its historical associations, and being perhaps representative of music favored by a university student in 1618. Arthur.
Lute Society was Re: N*geria Scams
Dear Stewart, Thanks for clearing that up. I guess you couldn't get a more authoritative voice than Chris's. But when I asked hm later, he said there had been no change. I find nothing objectionable to the British calling its society _The_ Lute Society. We all know that it is headquartered in Britain., I looked at the LSA membership lists and about 1/3 of the members reside outside Canada and the U.S. I _think_ ours is the Lute Society of [North] America. By the way, this list was originally called the New England Lute Net. But should the Lute Society wish to become international, they will have to have their meetings in places like New York City, Buenos Aires, Yokyo and Melbourne. The latter place reminds me that I had a message from Hil of Oz (Hillary Rhoades), who used to participate in this list. She has finished her Ph.D. and sent me a formal portrait in her academic gown. Very impressive in blue and orange with a beret-like cap. Perhaps she will return to the list when all that newly acquired knowledge stops buzzinng around in her head and settles in.g Arthur. ===FROM: Stewart McCoy, INTERNET:[EMAIL PROTECTED] TO: Lute Net, INTERNET:[EMAIL PROTECTED] DATE: 6/9/04 9:46 AM Re: Lute Society was Re: N*geria Scams Dear Arthur, I have done a quick search through my computer archives, and the only references I can find to the Lute Society of Great Britain are these: 1) Me in a message to this list on 11th July 2000: I wrote something similar to what I have to say here for the News Magazine of the Lute Society of Great Britain, but I cannot put my hands on the relevant issue. 2) Stuart Mayes in a message sent to this list by Roman Turovsky on 18th September 2001: As a long-standing member of the Lute Society of Great Britain, I have long been fascinated with the life and works of the English Lute composer/performer John Danyel (1564-1626), brother of Samuel of 'Delia' fame. 3) Monica Hall writing to the Spanish Lute List (Vihuelista) on 3rd May 2000, when she wrote: Soy miembro de la 'Lute Society of Great Britain' . 4) Chris Goodwin's Lute Society message dated 7th January 2004 about the Nigerian scam. After the information on the scam there is mention of the Lute Society of Great Britain in connection with concerts to be given by Ben Salfield. My guess is that you read about the Lute Society of Great Britain in this message from Chris Goodwin, because we have been discussing recently what Chris had to say about the Nigerian scam. (This would make the title of this thread more appropriate than perhaps you had imagined. :-) ) It makes sense to refer to the Lute Society as British, if one is mentioning it alongside other lute societies. That's probably why I used the phrase back in 2000, to avoid confusion with the American Lute Society. I agree with you that the Lute Society set up by Diana Poulton and Ian Harwood in the 1950s was the first lute society, and was created for everone in the world, no matter which country they happen to come from. Like you I prefer to save the phrase The Lute Society for the British lute society. There was some confusion a while ago, when John Buckman used the phrase Lute Society for his lute website, but I can't remember how this was resolved. At least one subscriber to this list refers to the list as the lute society, which could be misleading. I prefer Lute Net or Lute List. There is a parallel situation with the Viola da Gamba Society, which was started 1948. For many years they have referred to themselves as The Viola da Gamba Society of Great Britain. At least that's what you will see on the front of their Newsletter and in their Sup Pubs (music publications). They describe their journal, _Chelys_, as The Journal of the Viola da Gamba Society [no Great Britain]. Their website doesn't mention Great Britain either. I don't suppose these things matter too much. The main thing is to be clear about who is who. All the best, Stewart. 71162.751ompuserve.com To: LUTE NET lutes.dartmouth.edu Sent: Wednesday, June 09, 2004 1:30 AM Subject: Lute Society was Re: N*geria Scams Yes, I saw the designation Lute Society of Great Britiain from someone on this list, and thought the Society had altered its name. I can't remember who it was, but it was someone I thought would be in a position to know. When I wrote to Chris, I asked. He said there had been no change. I too see no reason to change, since the Lute Society was the first on the scene and surely has always intended to serve the whole lute world. And the officers and administrator have been doing a commendable job for all of us. And back in the 1950s, who would have thought there would be so many lutenists that national societies would be necessary. The most localized society is surely the Dutch Lute Society. Nearly 100% of the some 200 members live in Holland. The last time I checked, sveral years ago, only 10 persons lived outside of Holland. Could that
Lute Society was Re: N*geria Scams
Yes, I saw the designation Lute Society of Great Britiain from someone on this list, and thought the Society had altered its name. I can't remember who it was, but it was someone I thought would be in a position to know. When I wrote to Chris, I asked. He said there had been no change. I too see no reason to change, since the Lute Society was the first on the scene and surely has always intended to serve the whole lute world. And the officers and administrator have been doing a commendable job for all of us. And back in the 1950s, who would have thought there would be so many lutenists that national societies would be necessary. The most localized society is surely the Dutch Lute Society. Nearly 100% of the some 200 members live in Holland. The last time I checked, sveral years ago, only 10 persons lived outside of Holland. Could that mean that the Netherlands has more lutenists per square mile than any other country in the Western World?g arthur. ===Simon said== Just a small correction to something Arthur said: The message was a genuine warning from Chris Goodwin (lutesocol.com), administrator of the Lute Society of Great Britain (as they now call themselves). In fact the Lute Society based in the UK, of which Chris Goodwin is secretary, is called just that: the Lute Society, plain and simple, and has no plans to change the name. In fact it is especially appropriate since, as Chris tells me, more than 50% of members live overseas. Simon Lambert Oxford, England
N*geria Scams
Dear Jon and lute net readers: The message was a genuine warning from Chris Goodwwin ([EMAIL PROTECTED]), administrator of the Lute Society of Great Britain (as they now call themselves). He was describing some of the activities of an international gang of thugs, who have embezzeled over 100 million dollars using the internet and snail mail. At least one victim was murdered, and others were invited to fly to Nigeria (or some other African nation), where they were met at the airpirt and driven to a secluded spot and mugged. One of the scams is just like the one described by Scotland Yard in Chris's message. I have heard of a valuable guitar being stolen using the same techniques. So if you intend to sell valuables on e-Bay, it would be wise to read some of the sites devoted to the various Nigeria Scams. I get messages attempting to ;lure me into another Nigeria 419 Scame, almnost every week. It would be a mistake for me to answer asking to be left alone. The sceme is so obvious, I can't believe anyone would fall for it. But there' a sucker born ... When they use snail mail, even the Nigerian postage stamps are counterfeit.g One site to get you started: www.settlementnegotiation.org/front/eBay.html or www.geocities.com/spamresponses/419.htm Take care. I think I'd rather be back in the 20th Century. AJN.
about lute fraud
This is Chris's original message. It was not a hoax as some thought. AJN. -- Forwarded Message -- Sender: [EMAIL PROTECTED] Dear Lute Society member - read this and take heed! - Chris Goodwin WARNING ABOUT FRAUD INVOLVING LUTES - PLEASE WARN EVERYONE YOU CAN THINK OF ABOUT THIS. I have just had a message from a Lute Society member to the effect that fraudsters are continuing to target people selling lutes - and other objects of high value - over the internet. This is the second time in a few months I have been contacted about this, and have circulated a warning. Here is a typical message from a fraudster, and below that an explanation from the British police of how the scam works. - Original Message - From: [EMAIL PROTECTED] Sent: Tuesday, January 06, 2004 7:56 AM Subject: PURCHASE Hello, I'm really interested in buying your 10c lute 63.5cm, by Bernd Holzgruben as a gift for my Son. I'll be looking forward to sending me any available picture of the item and also the last price you want to let it go for,so as to make necessary arrangement for the payment. My method of payment is a certified cashier's check that is drawn on a reputable U.K Bank. I'll like to know cost of shipping to NIGERIA, and if you can't, i'll handle it by contacting my shipping agent for the shipment arrangement. I'm waiting for your mail today. Thanks, SAMUEL ADENUGA -- Powered by Outblaze And here is the police's explanation of the scam. Added - Wednesday, 16 July 2003 8:32 Detectives in Avon and Somerset are warning people about a sinister new ³on-line² fraud. People who offer their vehicles for sale on the Internet, are being targeted by the unscrupulous fraudsters. The ³potential buyers² usually located in another country contact the sellers with a proposal to buy their vehicle after spotting adverts on the Internet. The offer is usually coupled with an explanation that the buyer has a cheque due to his business from another source and that the cheque is in a larger sum than the agreed cost of the vehicle. The seller is then asked if the cheque can be made payable to them to cover the cost of the vehicle with a further request that the difference is forwarded by the seller back to the buyer. Det Con Andy Davis of Avon and Somerset Police¹s Fraud Squad said: ³We believe the scam is being operated by West African crime teams. There have been a number of approaches to people in the force area during the past few weeks. ³It is known that cheques when sent to the sellers, are either stolen of forged. Any difference between the price of the vehicle and the value of the cheque, if sent back to the buyer, will be a potential loss to the victim.² It is well known that these crime teams - who operate from all over the world - regularly bombard e-mail users with requests for personal or company bank details in order to transfer huge amounts of (fictitious) money, with an offer of large financial rewards. Those who take up these invitations inevitably end up losing considerable amounts of their own money. It now seems that these same people have diversified and are now trying to con vehicle sellers out of their money. ³Our advice to anyone who is approached in this way is to immediately cancel any dealings with the person concerned. There is no logical reason for anyone wanting to pay for goods in this way and people selling vehicles are advised to seek more regular and secure methods of payment such as a banker¹s draft,² said DC Davis.
German tablature facsimile
Dear Danierl, Stewart has already given a thorough answer to your question. Here is something I wrote before receving his message. What you have is the facsimile edition of the lute book copied by Mikulás Smala z Lebensdorf (Nickolaus Schmall of Lebensdorf), scribe for Jaroslav Borita, Baron of Martinic (1589-1649), a participant in the Defenstration of Prague. (Protestants invaded the Prague Castle in 1618 and threw Jaroslave and two companions out the Chancellery window. All three surivived the fall. Catholics claimed it was a divine miracle. The Protestants claimed they fell on a pile of horse dung.) This is really a carefully and professionally copied lute book and the ciphers are quite legible, once you become accustomed to the shapes of the letters. There is a lute fingerboard depicted on folio 37v which shows the tablature ciphers, and their shapes in relation to the frets and courses. The book was compiled for Baron Borita and the pieces are of moderate difficllty, and consist of many popular dances and songs of the time. Originally the facsimile edition came in a boxed set with a prefatory pamphlet in Czech, English, French, German and Russian by Jiri Tichota, the noted Czech lute scholar. If you are missing the preface, let me know and i'll bring my copy to Cleveland and you can Xerox it. ajn
Seeking score: El Baxel estra en la playa
There is a facsimile of all the Bataille volumes, $37.50 each, or all six volumes for $150, listed in he catalogue of lute music issued by the von Huene Workshop (aka New England Early Music Shop), for January 2003. This is a free catalogue. For a copy, contact Eric Haas at [EMAIL PROTECTED] Tel (617) 277-7217. The 1609 livre was reprinted in 1614, and there are quite a few original copies in various libraries. JJLubrano, the music antiquarians, now on Long Island, had some Bataille volumes for sale a few years ago. They were from the Thibault private library--more things of hers that did not go to the BN. Also OMI would have the Bataille facsimiles in stock. Contact Steve and Olga Immel, [EMAIL PROTECTED] What about the LSA Library? ajn ==FROM: Bob Purrenhage, INTERNET:[EMAIL PROTECTED] Dear far flung sources of musical help, I am looking for the score to: El Baxel estra en la playa (anonymous). It was published in Gabriel Bataille, Second livre 1609. This song may exist in other publications or collections. I would appreciate any help you can give in locating it! It appears as the final selection on the CD Deuce Beaute Boston Camerata Erato 3984-21656-2, 1998. Many thanks in advance! Bob Purrenhage pastimesmusicahoo.com --
Schele Lute Book (1619)
That should be _complEment._ Sorry.shudder art
Schele Lute Book (1619)
PS: Oh, dear. I corrected this (complement) before I sent it. I am happy that Bernd was able to tell us more about this new facsimile. The Schele Lute Book is thought to have been copied by the Dutch lutenist Joachim van den Hove, and contains many of his own compositions, as well as a wide selection of lute music by his contempioraries, J R Dowland, Melii, Vallet, Giovanni Battista, Kapsberger, Ballard, Perrichon, Besard et al. It is a book well deserving of a facsimile edition because of the quality of its some 156 pieces, and also because of the clear, but somewhat crammed, handwritten French tablature ciphers. Many of the pieces have dates and places where they were acquired, including a piece by Paulo d'Aragona, Siciliano, copied in Naples. It will compliment the lute prints of v. d. Hove which are due in facsimile by the Dutch Lute Society. Hope someone can tell us when they are available. One addtional autograph ms by vdH exists, Berlin, Mus ms autogr Hove 1. ajn. - Ahoi! The new facsimile of the Schele Ms. (1619)(Hamburg Staats- und Universitatsbibl. ) will be presented tomorrow, 13.5. 18:00 hrs in the lecture room of the library. Speech by the editor, Ralf Jarchow, musical examples played by Joachim Held Lots of wine afterwards. As far as I am informed, the price of the facsimile is rather low: EUR 57.- If somebody wants to visit the event, I can offer accomodation. (phone Hamburg 85414815) best regards BH ==MORE Hi all, some members of the list asked about the editor of the facsimile and ways of purchasing it. The editor is Ralf Jarchow, have a look at www.jarchow.com He just told me that in contrast to what is written on his site he *will* happily deal with customers from outside of Germany. (On the website he recommended ordering from www.trekel.de , but they don't have the book in their catalogue yet.) Perhaps I should say that my only connection to the project is that I'm a Hamburg lute dilettant and wanted to inform you :-) Best regards BH == End Part 2 ===
Re: Re: Shape note
Dear Thomas, Enjoy Switzerland. Are you playing? What you describe seems to be similar to a modern woodwind technique called multisonics. The player plays double stops by using special fingerings and I believe may play one note and hum the other one. Craig's experience is interesting. I think someone else mentioned it once before on this list. I'd like to hear a demonstration some day, but only if it wouldn't ruin the voice. Arthur. FROM: INTERNET:[EMAIL PROTECTED], Hi Arthur! Thanks for explaining the shape notes! And to Alain for the instructive link! I was completely on the wrong path! Obertonsingen means a certain scale (containing just the overtones) and way of singing (producing overtones in addition to the actual note you want to sing). This is produced by a certain way to exclain the vowels. U has less overtones than I. Everyone can try by himself singing one tone moving from u to i and what happens with the colour and the overtones. You may then imagine what could happen if you train your voice in a way that the rate of overtones increase up to parity with the actual note. Actually this sounds funny (but you need to get used to it g) and some modern composers made works for overtonesinging. Best wishes Thomas Am Fre, 2004-05-07 um 01.02 schrieb Arthur Ness (boston): Dear Thomas,As far as I know Shape Note notation and singing is an American invention from around 1800, and was used primarily in singing hymns (particularly in southern and midwestern churches). The earliest sytem has four syllables, Fa, Sol, La, Mi, and is sometimes called Fasola. Now an F major scale would be Fa (=the note F), Sol (=G), La (=A), / Fa (=the note Bb), Sol (=C), La (=D), Mi (=E), Fa (=F)..So the singers could identify the solmisation syllable, the music was notated on the usual staves, but each syllable had a differently shaped note head (instead of our round-shaped note heads). Fa was represented by a triangle, Mi with oblong circle, La with a rectangle, and Mi with diamond-shaped note head.I have never tried it, but it seems that it would be a very efficient method to train people who cannot read music to sing part songs. The most famous collection is _Sacred Harmony_ which orignally included Revolutionary War music by William Billings. Amazing Grace first appears in a shape-note hymnal.It is still being used today and has gone through a zillion editions. A few years ago I even did the engravings of some shape note music for the Revels Songbook.I have forgotten how voice tablature works. There is such a thing, but I don't think it is related to Fasola.Now you have to tell me, Thomas, what Obertonsingen is.g Please. Do you mean yodeling. That kind of singing that Swiss people sing in the Alps? Arthur. -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 lautenist autenist.de www.lautenist.de / www.tslaute.de/weiss --
Re: Shape note
Dear Thomas, As far as I know Shape Note notation and singing is an American invention from around 1800, and was used primarily in singing hymns (particularly in southern and midwestern churches). The earliest sytem has four syllables, Fa, Sol, La, Mi, and is sometimes called Fasola. Now an F major scale would be Fa (=the note F), Sol (=G), La (=A), / Fa (=the note Bb), Sol (=C), La (=D), Mi (=E), Fa (=F).. So the singers could identify the solmisation syllable, the music was notated on the usual staves, but each syllable had a differently shaped note head (instead of our round-shaped note heads). Fa was represented by a triangle, Mi with oblong circle, La with a rectangle, and Mi with diamond-shaped note head. I have never tried it, but it seems that it would be a very efficient method to train people who cannot read music to sing part songs. The most famous collection is _Sacred Harmony_ which orignally included Revolutionary War music by William Billings. Amazing Grace first appears in a shape-note hymnal. It is still being used today and has gone through a zillion editions. A few years ago I even did the engravings of some shape note music for the Revels Songbook. I have forgotten how voice tablature works. There is such a thing, but I don't think it is related to Fasola. Now you have to tell me, Thomas, what Obertonsingen is.g Please. Do you mean yodeling. That kind of singing that Swiss people sing in the Alps? Arthur.
LuteFest 2004: cheap flights to Cleveland
Charlotte checked with Continental and was also able to get an inexpensive flight from Boston. We had begun to despair because of the high travel costs. We would have needed a roomette if we went by rail, which only arrives in Cleveland at 3 a.m.! Even Greyhound is more expensive than the Continental fares. One airfare she found would have set us back by $600++. And since the Boston subway stops in front of our apartment, we no longer have an auto. Anyway, thanx for the info, Kenneth. Jason really liked your duet recital, didn't he. Congratulations!! Oh, to take in the preliminary events, when do we need to be in Cl;eveland? Arthur. FROM: INTERNET:[EMAIL PROTECTED], INTERNET:[EMAIL PROTECTED] I receive postings of discount fares from Continental Airlines (Cleveland is one of the hub airports for Continental) and just received a notice that the following cities have one way summer fares of $68 to Cleveland, perhaps relevant to some LuteFest attendees. You would need to check on their site for more details: Albany, Baltimore, Columbus (OH), Grand Rapids, Hartford, Indianapolis, Nashville, New York (both LaGuardia and Newark airports), Norfolk (VA), Raleigh/Durham, Richmond (VA), and Kansas City. - Kenneth Be LuteFest 2004 Director
S.L.Weiss Lute Concertos.
This should be on the regular lute list, as well as the baroque list. Stone's edition of the concertos will soon appear from the presses of a major U.S. commercial publiaher, I understand. ajn -- Forwarded Message -- From: Roman Turovsky, INTERNET:[EMAIL PROTECTED] TO: Baroque Lute Net, INTERNET:[EMAIL PROTECTED] Craig Hartley, INTERNET:[EMAIL PROTECTED] DATE: 5/2/04 12:10 PM RE: Re: httt://chandos.co.uk has an e-ordering possibility. RT __ Roman M. Turovsky http://turovsky.org http://polyhymnion.org In case your missed it, a new (in more than one way) Weis recording is coming out on Chandos this month: Silvius Leopold Weiss (1686?1750) Lute Concerti premiere recordings Concerto grosso in B flat, SC 57 Concerto a cinque in C, SC 90 Concerto in D minor, SC 58 Concerto in F, SC 53 Concerto for lute and flute in B flat, SC 6 Concerto for lute and flute in F, SC 9 Richard Stone lute Tempesta di Mare CHAN 0707 Silvius Leopold Weiss was the greatest lutenist of the eighteenth century, according to both contemporary and modern critical appraisal. Weiss?s ensemble compositions have remained hitherto obscure because they are all incomplete. Only the lute tablature part remains in the known manuscripts. Richard Stone has reconstructed the flute and bowed-string parts heard on this recording. This is the world premiere recording of these important concertos. The baroque ensemble Tempesta di Mare is named after Vivaldi?s concerto The Storm at Sea. The group, which originates from Philadelphia, has appeared at the Prague Spring Festival and the Amherst Early Music Festival, and will be performing regularly throughout Pennsylvania over the coming year. _ Use MSN Messenger to send music and pics to your friends http://www.msn.co.uk/messenger
Re: FaSoLa / Shape-Note singing in New Jersey
Yes, Jon, this is music for that old-time religion. I expect the practitioners today constitute a cult following, like those drum and bugle corps who choreograph all their march steps, or the Barbershop Quartet Society. I do know that Sacred Harp refers to an early collection of shape note hymns, not to the instrument Jon plays. In any event, it is an interesting way to notate music, and is a great assist to amateur singers. The earliest books used just four syllable, Fa, sol, la, mi, hence the name Fasola for that method of singing. I can imagine it would be an easy way to teach musical illiterates to sight sing. arthur =FROM: Jon Murphy, INTERNET:[EMAIL PROTECTED] Arthur, and list, Update on shape-note. I've emailed the convention and they gave me a web site (http://mysite.verizon.net/gssh). A bit more than three quarters of the way down the home page are two sample songs you can play to hear their sound (and there is a lot of info on the Sacred Harp - which, as I suggested, has nothing to do with harps). I warn you, don't play the music if your taste is narrow. They have but one volume, shouting. But if you listen carefully you'll hear some musical values of an old form. The harmonies aren't complex, but they do move within the parts. It ain't subtle, but it's full of enthusiasm. I intend to go, if I can get up that early. It should be fun, as it is a totally undisciplined group. I've heard Sacred Harp singing by pro's (selected groups, although not professional), but I rather enjoyed listening to these people. Nothing is held back, it is an Ode to Joy in a real sense - the joy of the singers, not the audience (particularly as they sing into a circle rather than out to an audience). It is the participatory sound of the Southern churches, but originating in Colonial times. Best, Jon There was some mention of this on the Lute List recently, and I thought some might be interested in this convention. Besides it's free. Maybe Jon will take it in and give us a report, since it _is_ called the Sacred Harp.g I think shape note singing is still even more popular in the South.
Re: Astro Logos
Yes, AstroLogos is simply re-selling the UMI product. UMI (now ProQuest) in Ann Arbor is the only firm authorized by the copyright owners to reproduce the HUP edition oof FdaM's works. UMI's price $157, AstroLogos's price $190. Even at $157price it is less expensive than gathering together all of the facsimiles with Francesco's music. It comes in two volumes, printed on both sides of the page in a Perfect Binding (each sheet is glued to the spin, but with a rubbery glue that resists drying out (as cheap paperback do). The older edition is still quite complete, since only 4 1/2 new pieces have surfaced, and 4 or 5 will be removed in the revised edition because they are not by FdaM. Just a few months ago I discovered, and received a copy with the assistance of Kenneth Bé and Candace Magner, a 5-voice motet attributed to Francesco da Milano, detto della Viola [da Mano]. I think there is another place where he is called that, too. Maybe one of the astrological reports. ajn
Re: Collected Works of Francesco da Milano Ness
The mentioned reprint edition offered by AstroLogos for $190 is simply the ProQuest (formerly UMI) product, not a separate repinting. -- Forwarded Message -- From: beau, INTERNET:[EMAIL PROTECTED] CC: ajness, 71162,751 DATE: 5/3/04 5:32 PM RE: Re: Collected Works of Francesco da Milano Ness An authorized reprint of the _Lute Music of Francesco Canova da Milano, 1497-1543,_ ed. Arthur J. Ness (Harvard UP, 1970) is available on demand from ProQuest (formerly University Microfilms Inc, in Ann Arbor), or from their affiliates in the U.K. and elsewhere, The Order Number is #2057946 and the two volume work costs $US157. Six dollars more for hard cover. The edition is printed on both sides of acid-free paper, and comes in Perfect Binding (using a rubber-based glue). Contact the appropriate U.S. or foreign office via the ProQuest (formerly UMI) website: http://www.umi.com ===On Mon, 03 May 2004 19:52:05 GMT, Bill Brewer [EMAIL PROTECTED] wrote: I am trying to find a copy of the above lute collection.Any suggestions would be welcome
FaSoLa / Shape-Note singing in New Jersey
There was some mention of this on the Lute List recently, and I thought some might be interested in this convention. Besides it's free. Maybe Jon will take it in and give us a report, since it _is_ called the Sacred Harp.g I think shape note singing is still even more popular in the South. ajn -- Forwarded Message -- RE: Sacred Harp singing convention in New Jersey, USA On Fri, 30 Apr 2004 10:32:51 -0400, in rec.music.early Roland Hutchinson [EMAIL PROTECTED] wrote: Please consider joining us and a hundred or so of our closest friends for all or part of three days of singing. Brief info below; more details at the web site. GARDEN STATE SACRED HARP SINGING CONVENTION WHAT: 12th annual Garden State Sacred Harp Singing Convention. Singing of traditional American shape-note music. Open to both singers (no previous experience required) and listeners. Includes a workshop with traditional singing master Richard DeLong of Carrollton, Georgia. WHERE: Montclair Friends Meetinghouse, 289 Park St. at Gordonhurst Avenue, Montclair, New Jersey (14 miles due west of midtown Manhattan, easily reachable by public transportation). WHEN: Friday May 14, 7-9:30 pm and Saturday May 15, 10 am-3:30 pm (Come and go as you please or stay for all of both days as you prefer.) ADMISSION: Free FOR MORE INFORMATION: http://mysite.verizon.net/gssh ALSO AT THE WEB SITE: Details of optional practice sessions (new this year) for new singers (April 30 and May 7, 7:00 pm in the same location) and of Unconventional Sunday singing (May 16, location TBA) of new compositions and other shape-note music NOT from The Sacred Harp. The Garden State Sacred Harp Singing Convention is presented by Garden State Sacred Harp Singers, Inc., a New Jersey non-profit corporation. In addition to the annual convention, the Garden State Sacred Harp Singers host smaller Sacred Harp singing events throughout the year in Montclair. All events are free and open to the public. -- Roland Hutchinson Will play viola da gamba for food. NB mail to my.spamtrap [at] verizon.net is heavily filtered to remove spam. If your message looks like spam I may not see it.
The Knight of the Lute
Hello Marco! CONGRATULATIONS You seem to have cracked a long-standing mystery in Cinquecento lute music. Whether Knight of the Lute was one or more persons has nagged me and others for ages. What a relief to have it solved after all those years. We all look forward to reading your paper. Did you know that an Italian student is doing a dissertation on Laurencini? She's studying in Cremona, I think. I can try to locate her address if you need it. Best wshes from Boston, Arthur. Arthur Ness =Marco Pesci wrote=== FROM: marco, INTERNET:[EMAIL PROTECTED] TO: LUTE NET, INTERNET:[EMAIL PROTECTED] DATE: 4/19/04 6:48 PM Re: The Knight of the Lute Dear e-friends, I would like to inform you my forthcoming study on next 'Recercare' (italian journal for the study and practice of early music), 'Il Cavaliere disvelato. Vincenzo Pinti nella corte di Roma detto il Cavaliere del Liuto' (in italian, with summary in english). According to my discovered sources Vincenzo Pinti was 'the most famous the Knight of the Lute'. You'll find a lot of new informations, unknown documents about this great lute player in my study. It's finally clear that the Knight of the Lute was not Laurencinus, but they were two different persons with very different history and life. Indeed, as someone will remember, I've just published a documentation that pointed out that 'Lorenzino' was the nickname of the lute player Lorenzo Tracetti (Recercare, IX, 1997: 233-242, summary in english) who died in 1590. This evidence excluded the possibility that Laurencinus and the Knight of the Lute (died in 1608) were one and the same person. All the best, Marco Pesci marco.pescinwind.it marcopesciliceposta.it
Re: st john lute aria
Has it been mentioned that there is a recitative and aria with lute obbligato.in the St. Matthew. It is Nos. 65-6 (Komm süsses Kreuz). The earliest version of the Passion calls for lute, but later versions use viola da gamba, a particularly unfortunate choice because with all the leaps the obbligato is very awkward on that instrument. But it nicely fits the natural gap between the thumb and fingers of the lutenist. There is a complete facsimile of the manuscript of the earliest version in the Neue Bach Ausgabe. Andre Burguart (I can't spell his name) was working on a solution that makes the obbligato in the St Johna's easier to play. Is that the version that Andi Schlegel is printing in Fronimo? If so, it would be worth the while for thiose inyterested to check it out. He was going to publish hix solution but I haven't seen it yet. AJN.
Re: Wax tablets (was: Fingerpicks)
They used a pen-like device that was made up of a sharp stylus on one end and a sort of flat scraper on the other to smooth out the table (or erase bits). The practice of using wax tablets started with the Romans and lasted up until sometime in the 17th century. Here are some references; http://www.cs.vassar.edu/~capriest/tablets.html http://www.geocities.com/TimesSquare/Portal/8927/vindolanda/tablets.html http://www.yorkarchaeology.co.uk/artefacts/tablet1.htm http://geocities.com/karen_larsdatter/tablets.htm Regards, Craig Thanks for this. Interesting. Other than a nonmusical reference to Hildegard von Bingen, I couldn't find anything related to music at these sites, though. -- Ed Durbrow Saitama, Japan http://www9.plala.or.jp/edurbrow/ -- Dear Ed and Craig, Erasable tablets to sketch music were extensively used by composers and composition students. That is why we have so few sketches on paper. Jessie Ann Owens (Composers at Work: The Craft of Musical Composition, 1450-1600 [OUP 1997]) has a chapter (about 30 pp.) on erasable tablets for music. . There are some that have been found in archeological digs in British and on the Continent, and she has references to pictures and other written references. Cipriano de Rore is one composer who used such tablaets. They were often slate, but rock and even thick paper was used with incised staff lines. Music shops sold them. They came with a variety of staff lines, sometimes 5 lines, others with the grand staff (11 lines). One must recall that the pencil had not been invented, and so to compose and correct sketches made with pen and ink was sloppy, Jessie's is a thorough examination of the matter. These tablets were used for music into the 19th century. Arthur (P.S. I see Jessie's book has been remaindered and is $9.98 (list price $27.50) at Labyrinthe Books, #050062): www.labyrinthebooks.com)
Je by Dowland
Dear Ed, I don't recall a Une jeune Fillette by Dowland. There is one by Vallet, so it may be from the CNRS edition. Their ciphers are similar to the ones in Poulton's edition. Unusual are the tie-like lines in the tabkature that begin in measure 17. That is in a line that begins with measure 15. If your tablature agrees, that is from the CNRS Vallet edition, pages 96-105. There is an indiction that it is à 9 (9 course lute). By the way, although Vallet was most likely born in France, the repertory in his books is thoroughly Dutch. Art.===FROM:Ed Durbrow, INTERNET:[EMAIL PROTECTED] I've been looking at variations on Une Jeune Fillette. The tab looks like it had been cut up, pasted together and then photocopied in order to eliminate a notation transcription and fit the tab onto two pages. The typesetting looks like the Poulton book. I'm sure I got this from my old roomate who often pasted things up like that. It was in my Dowland folder. Can anyone furnish me with information on it's provenance? Stylistically, it sounds so much like Vallet to me. Is it sure this is Dowland? TIA
Re: Fingerpicks
Ed Durbrow, INTERNET:[EMAIL PROTECTED] wrote: Jason: This report seems to come from a letter written about Milano. I read a reference to this some time ago, the source now escapes me. I recall they were something like silver thimbles. I know of no one who has experimented with this concept, I really cannot understand why anyone would want to. I hope Arthur Ness, or someone else who knows well about this source, will chime in. I think there were two sources for this, in fact. I also have in my mind, I don't know how, that there were possibly little plectrums coming out of the silver thimbles. (???) Last summer, I had the good fortune to study a bit with Crawford Young and learned that a guitar string can make a good plectrum. (He simply used a guitar string so that he wouldn't wear out his ostrich feathers) The point of that statement is that plectrums don't have to be flat. Feathers, when turned the opposite way that you would normally think of them being used -the thin end on the string, stripped of the feather part, are surprisingly like a nylon guitar string in thickness and stiffness. This roundness has a unique advantage in that you can attack a string from nearly any angle. I could envision a thimble with a bit of feather stem coming out of the middle of the tip. Think about doing didillo strokes with that! The fact that there is a possibility that Milano used thimbles would be reason enough to try them IMHO. Who knows what we could learn? cheers, -- Ed Durbrow Saitama, Japan http://www9.plala.or.jp/edurbrow/== === Dear Ed, Yes, Francesco's use of finger picks has been known since the 1980s when Jesse Ann Owens discovered a letter dated 1524 from a Ferrarese diplomatic in Rome The writer described a performance by Francesco. He is said to have played with two silver thimbles on the inside of which were quills. It does not say on which fingers they were attached. The sound was said to resembl;e a harpsichord. It would seem that the sound of the plectrum lute was being preserved by use of these finger picks. (And plectrum playing continued into the 16th century, perhaps especially for lute ensembles.) Other lutenists were known to use such finger picks (for wire-strung onstruments?), and some are listed in inventories of musical instruments and called Lute Nails. I wonder if any have survived. And what did a thimble look like in 16th-century Italy? And Ed, do you know what CDs Crtawford Young has issued? I just have one of his CDs titled Intabulations. Also I heard that he was doing a facsimile of the Pesaro Manuscript. Do you know if it has been published? It contains some plectrum polyphony (yes), as well as other plectrum pieces. By the way Jessie has published a fascinating book _Composers at Work: The Craft of Musical Composition, 1450-1600_ (OUP, 1997). It includes some remarks about how the lute was sometimes used as a means for composing. That is, Palestrina may have composed at the lute, and he even previewed the mass for a patron by playing it on the lute. She also tracked down some pieces if lute music that may be compositional sketches. There is not too much material like that because it is thought composers first wrote a piece oin a wax slate, and then when the composition was complete, ink it into a manuscript (or intabulate it?). arthur
RE: Suzuki
Frank Longay has summer seminars for teachers of Suzuki Guitar in Saratoga, Caifornia. Surely there must be other seminars. http://www,longay.com ajn
Re: Rischel collection in Copenhagen now on-line
All my information is freely available. I would be very happy to have it posted elsewhere. On Feb 1, 2004, at 12:57 PM, arthur ness wrote: May I post this to the lute list. There are persons there who would be interested. ajn On Sun, 01 Feb 2004 05:00:44 GMT, in rec.music.classical.guitar Robert Coldwell [EMAIL PROTECTED] wrote: Visit my site here for an overview of the collection: http://icoldwell.com/robert/music/library/guitar_collections.html A program I wrote to access the online items is here: http://icoldwell.com/robert/music/library/library.html The collection contains 1100+ items of guitar music. Items date from the 19th to the early 20th century. Right now about 200 composers are represented. Robert Coldwell [EMAIL PROTECTED] schreef in bericht news:[EMAIL PROTECTED] I just heard from the Music Librarian at The Royal Library and he says all the manuscripts in the Rischel collection have already been digitized and should be online sometime possibly before June. The digitization of the Rischel collection is just a part of a larger project at the library so there should be no worries that the collection will only be available for a limited time. This comment is directed mainly at those who have expressed worries that they had to rush to get access to the collection before it disappeared. Robert Coldwell [EMAIL PROTECTED]
Re: Bourdons or diapasons?
I think you have it backwards. A bourdon (bordone, bordun) is a drone strung, that is, the ones that are not fingered. A diapason is the lower octave of a course doubled in octaves. (Diapason means octave, right Farley?) ajn.
milano again
Dear Taco, You wrote: dear arthur, I answered a little bit short. Below some more information. I've the two editions by arnaldo Forni editore. The first edition is the facsimile of Intavolatura di lauto , milano 1548 together with Borrono. Of course, all of the concordances are givcen in the HUP edition. I tracked down and collated some 640 sources for that edition. Colin Slim, Brigadier Pyrnee (who assisted me) and I didn't miss much, and what we did miss was thought to have been destroyed in WW_II. There are two books from 1548 with FdaM and PBBorrono. Which one did Franco reprint? I saw his new facsimile but I do not have a copy. Didn't he dedicate it to me? I thoght he'd send me a copy.g But none has arrived. Is it Casteliono in Milan or Scotto in Venice. The contents are almost, but not quite identical. Here are those pieces: Here are the Francesco works in the Milan edition of 1548. It has one work omitted from the Venice, 1548 edition, which is otherwise identical. Fols. 20v-30: Nos. 55-64 Fols. 32v-40: No. 65 (missing from the Venetian print) There is at least one folio missing from the Milan print, and I believe Franco has replace it with page(s) from the Venetian print. Hope this helps. All of the concordances are fiven in the HUP edition, of course. The second edition is of unknown year (154??), Intavolatura da leuto, they think the first published book by him. I also have one of the minkoff editions. I have a recording with ness numbers but there is no mentioning of any book where they come from. I just want to know which is where. Here is information I wrote earlier The undated print (abbreviated sd in the HUP edition) contains Ricercars 1 through 19, and Intabulations 96 through 110a and 111 (that is Nos. 96-111, without No. 110b). The undated print was used as the basic sources for those pieces, (Except for Nos. 5, 8, 10 and 15, which use the better readings from the Siena Lute Book.) The undated print was published around 1530, and is the earliest source known for Francesco's music, althiogh the pieces were surely composed earlier than 1530. I suspect that date from the mid 1520s, or earlier. Perhaps, since the title refers to Francisco, when he was in the Kingdom of Naples (governed by Spain) as the assistant to some cleric. I suppose you've a good concordance list and it would be welcome to have this. best wishes, Yes, I checked and collated some 640 sources for the edition, and almost everything that has since turned up was thought back then to have been destroyed in World War II. Best regards from Boston, Arthur.
RE: Tabs, Staff and the rest of it. (for Stewart McCoy)
At 02:40 PM 12/10/2003 +0100, Spring, aus dem, Rainer RSpringausdemee.toshiba.de wrote: How would you write 3 versus 5 in tablature? I couldn't resist :) MOpheeExcellent point, which tells why there is no liklihood of modern composers using tablature. RadSOf course, it is almost impossible to play 3 versus 5 on a lute or guitar. MOPheeIt's definitely impossible to play on the flute AJN Sure you can. Haven't you ever heard the solo flute sonatas by CPEBach. One flute plays two contrapuntal lines. As for guitar, it is not easy, but definitely possible. There are many pieces of contemporary music where such polyrhythms are taken for granted. The tablature sign for quintuplets is straight flag(s) angling off to the LEFT. /| /| | or /| | The tablature sign for triplets is usually a rounded flag(s) |) |
Re: binary and ternary GIGUES
Dear Jerzy and Thomas, I think we can go a bit beyond what Walther has to say, but Walther is surely an excellent place to look for information on German baroque music. I believe what Jerzy Zak is asking about is the French and Italian kinds of gigues. The Italian one (giga) is usualy in compound quadruple meter, that is, 12/8 (or 12/4), and is in a fast rolling rhythm. The most typical examples are in last movements in Corelli sonatas. The French gigue is a bit slower, usually in duple meter, often compound duple meter (=6/8), with an emphasis on the lullabye rhythm: dotted 8th, 16th, 8th. Sometimes French gigues are notated in simple duple meter, that is, 2/4 (or 2/2). And this is the specific one Jerzy seems to be asking about. Conventional wisdom holds that this 2/4 is a simplified way of writing 6/8 (or 6/4), and should be played (in a gigue)as if it were in 6/8 (or 6/4), with the dotted 8th as a quarter note in 6/8 and the 16th as an 8th note. It's another instance of inequality in baroque music. (I think colieren [kolorieren] means ornamented, here. And the French variety is usually more elaborate than the Italian type.) ajn. ==Thomas Schall wrote=== Hi Jerzy, I've learned that there would be different kinds of gigues. Common is the typical rythmn (qaurter - 8th note, quarter - 8th etc. where the quarter is felt dotted). But apart from that there would be different forms like they also exist for the menuet. Walter wrote: A gigue (giga or gicque) is an instrumental piece which as a fast english dance contains of two reprises in 3/8, 6/8 or 12/8. It has usually on the first note of every bar a dot. The fugues written in kind of a giga could omit this feature, be more colorfull [colieren, not sure if that's right, T.S.] as being set in the bad mesure. They got their name from the italian word giga, which could mean a violin or fiddle. It could also be: the name comes from the tossing (schlenkern) of the legs which tightrope walkers and other are using. As the term giguen is not unknown in german meaning the unuasual walking of a human being. I think Walter expresses what needs to be known about the performance of a gigue. Best wishes Thomas Am Don, 2003-12-11 um 03.50 schrieb Jerzy ZAK: Dear thinkers and practitioners,In fact dealing with baroque music, and specially the 17th C., we are permanently close to the problem I stated in the subject of this letter. Some of us just accept the ''modern'' conclusion that gigues in binary meter on paper are obviously to be played in three, some are permanently struggling with a feeling it's not so obvious and often being brave enough are breaking the ''old-new'' rule. Recent discussions on the subject in the keyboard spheres are very informative (sources, sources, sources...) but, alas, still inconclusive. To that debate one might add a small observation that there is even more differentiation among the very ternary gigues: we have them in 3/8, in 3/4 (both could be with 'crossed 3'), 6/4 - I couldn't find more in just one book of Reusner (1676).Small number of lute binary gigues are imitative, so you can not say - they can only remain binary..., most often they are like the Allemandes.Do you know of any strict written rules (must have been some recent discovery). or is it still so much a question of performance practice, like ..inegalitee, but I feel even more deeply hidden.Any suggestion would be most welcome, Jerzy Dieser Mail Account ist geschlossen. Bitte lautenist autenist.de verwenden This mail-account is closed. please use lautenist autenist.de Regards Thomas --
Re: from rec.mus.classical
Yes, these are the two books (bound together) of frottole for voice (not necessarily soprano) and lute arranged by Franciscus Bossinensis and publ. by Petrucci in 1509 and 1511. $US204,000 is indeed very high, but there is only one other copy known of Libro II. In comparison a copy of Dowland's third book of ayres was offered by a U.S. music antiquarian for $15,000 and then he lowered the price ro #13,500. There are only seven or eight copies known to exist, out of 1250 originally printed. Literally tins of lute music has disappeared over the years. Both Bossinensis volumes are available in Minkoff facsimiles. Of the two, the Libro I has the best selection of pieces. He seems to have used left-overs for vol, II. Vol. I includes Che debo far by Tromboncino, O mia cieca e dure sorte (Cara), Se de fede (Cara), Non e tempo (Cara), In te domine speravi (!!!) (Josquin). Incidentally some of the ricercars are intended to be played between verses of the frottola. AJN =RT wrote== FROM: Roman Turovsky, INTERNET:[EMAIL PROTECTED] What was the book? One of the Bossinensis books with Cara, Tromboncino, et al?ed martin I have no idea. RT
Re: Names of composers (Was: Vihuela)
Editors, library cataloguers and others who have to deal with older writings, recognize two kinds of titles or spellings of name. A diplomatic title or name would be the spelling given in the old original. (pauan, luys, Kapsperger) The standard spelling would be an attempt to use a uniform modern spelling. (pavan, Luis, Kapsberger) This is important when one deals with dictionaries, and library catalogues. Unless there is uniformity, the would be a great deal of confusion. In the U.S. the Library of Congress maintains a Name Authority file which gives one standard spelling of a name or term, and all others would just have a see reference: Most U.S. libraries use the Name Aithority file for their own catalogues. Mylan, Luis. see Milán, Luís. Fantazia. see Fantasia. Usually to find the standard spelling, use the spelling given in a recent dictionary. Or the spelling given in a library catalogue. In a program, I see no reason not to use the diplomatic spellings for pieces (as Kenneth does), but I would think that all titles should be diplomatic, not just a few. I have Kenneth's program ere, and guess what? He did it properly. All of the pieces are cited with their diplomatic titles. His program ended (except for the encores) with Tarletones riserrectione. By the way, sometimes it is Luís de Milán. I do not know where the de came from. Is don in Spain an aristocrat? I rather suspect the de came from Andres Segovia. He was always hyping his music. Segovia also added a de to Mudarra, Alonso de Mudarra.g Arthur de Ness. Kenneth Béwrote In a message dated 12/13/03 7:39:09 AM Eastern Standard Time, wiklas.Helsinki.FI writes: Yes, these versions of names are interesting. For ex. Monteverdi's name was written Monteverde, Kapsbergers name Kapsperger.I have sometimes written Kapsperger as he himself saw his name written on his books. Normally someone complaints of my error... In my recent concert at Yale from the Osborn Bray lutebook in that library collection I peformed the two fantasias in it by Francesco di Milano and reproduced the original spelling from the manuscript in the printed program, spelled differently each time: A fancye of ffrancys myllayne A fantazia frauncis de myllayne - Kenneth --
Re: binary and ternary GIGUES
If the word is kolieren (or colieren), then _refined_ makes sense. As you suggest, it's related to English colander. But it is nice to see Walther's dictionary quoted. It is sometimes very useful to see how persons of the time defined a word. Walther, if memory serves, defines cantabil as polyphonic, that is the type of music that a choir sings. In the preface to the Inventions, Bach states that he wrote them to train students to play in the _cantabil_ style. It is often mistranslated as singing style, when as Walther says, Bach probably meant to train players in playing polyphony. I recall going to ar ecital of the complete 2- and 3-voice Inventions. And over the entire evening not a single staccato note was to be heard.g Surely the pianist's musical instincts should have told him that something was very wrong with that interpretation.sigh ajn RT wrote= Arthur Ness (boston) 71162.751ompuserve.com schrieb: (I think colieren [kolorieren] means ornamented, here.colieren in German means to take special care of, cherish (hegen, pflegen). Nothing to do with colour (but with cult). RTspelled with K, kolieren means to strain a liquid through a thin towel (from Latin colare). But that word is old fashioned or obsolete. Could that imply REFINED? RT
Re: Harrach collection
Dear José Luis, You can sample the Gleimus work on a nicely played CD by Jürg Meili and Thomas Schall, Galante Lautenduette (Lute Corner CD 0101). That is Andreas Schlegel's firm and they surely have a web site. (Yes, www.lutecorner.ch). The quality of this music is unusally high on this CD, in my view. There are duets by Corigiani, Falkenhagen, Hagen, pseudo-SLWeiss (from Moscow-Weiss) and Gleimius. Plus a particularly nice Duetto by an anonymous composer. Except for pseudo-Weiss and Gleimus, I believe all are in the Augsburg Manuscripts which (if I am not mistaken) are available on a CD from the German Lute Soiciety. AJN. ==José Luis wrote === In fact the Concerto A Flauto Dolci, au Luth par Mr. Ernst Gottlieb Baron is one of the best and more balanced works of Baron's chamber music. Our friend Thomas Schall has it in his repertoire. Some reference about quality of Concerto [two luths] de Mr. Gleimio [Gleimus]? Best, Jose Luis
Kenneth Bé plays at Yale
Wednesday Charlotte and I took the acela down to New Haven to hear our LuteLister Kenneth Bé in a recital at Beinecke Rare Book Manuscript Library at Kenneth's alma mater, Yale University. From his undergraduate days, he harbored a secret wish to present a recital devoted solely to music in those two famous Yale lute books, The Osborn (aka Braye) Commonplace Book and the Wickhambrook Lute Book. The Osborne manuscript, which is a center piece in John Ward's monograph _Music_For_Elizabethan_Lutes_ (OUP 1992), was probably copied around 1563, and contains music of the kind that Dowland would have encountered as a youngster. At that time much lute music was imported, and included on the recital were two fantasias by Francesco da Milano and the Bass of the Spagne by Narvaez, as well as some well known native Englosh piecs including The Kinges Pavane and Arthur's Domp. The Francesco fantasias were played in versions given in the manuscript, a valid approach since that is surely the way that the owner ofthe manuscript played them None of the mistakes are glaring and that is probably why they were not corrected in the manuscript. The other manuscript is a generation later, and contains mature music by John Johnson in particular, as well as works by Dowland and Holborne. Altogether Kenneth played about a third of the music contained in the two manuscripts. As well as a pair of guitar pieces from the Osborn manuscript, which he played on his 4-course renaissance guitar made by Lawrence Brown. Spotlighted, however, was Kenneth's spanking new, bird'seye maple 6-course lute which Grant Tomlinson had finished for him just a few weeks ago. Kenneth gets a very steady, solid sound from the instrument, and plays in a very expressive, sensitive manner. By centering a recital around one or two sources seems an ideal method for program building. A wonderful evening was had by all. Many thanks, Kenneth! And heartiest Congratulations! AJN
Re: Why was the K'berg MS stolen? (Was Re: Koenigsberg Manuscript
Mathias, I was going to post this to the group, but I've posted too much already. Thought you'd be interesed, though. Arthur. Mathias wrotefirst time I've been called Mat. I like it, though :) Titles are of some importance in Austria. There, it is a matter of politeness to correctly _use_ them when addressing a person. My 80ish landlady when I was a student in Munich was called Frau Dr. Olga Traumann. But she had no academic degree beyond what must have been a finishing school education. There was a picture of her on the wall on a horse leaping over some rails, but was living in poverty when I took a room with her. She had had a distinguished career as a piano accompanist. She still gave voice and piano lessons, and at first I slept on a pad under her Steinweg concert grand, and had to give up my room when she gave lessons. There were 6 or 7 sturents living there. Her father had been captain of the guards to the Austrian Emperor, and ocassionaly a Hapsburg who lived in Munich would visit her for afternoon tea. (He had the Hapsburg chin.) His brother would have been emperor if Austria had continued with royalty. I think she must have had some kind of aristocratic bearing, because people always defered to her. I remember some waiters in tuxedos clicking their heels, bowing and scraping when they served her coffee and sweet cakes in a hotel restaurant. No one else got that treatment. Someone told me that the title, Frau Dr., was the way one addressed an elderly woman who had accomplished much in life. -- Best wishes, Likewise, Arthur. Mathias
Sloane 1021
Peter Kiraly wrote it is nice of you, that you mentioned my opinion, that the lute tablature in British Library, Ms Sloane 1021, has been incorrectly attributed to Johannes Stobaeus. To be frank I would like to state, that I am not the only person, and definitely not the first one, who realised that the traditional attribution to Stobaeus is not correct. Yes, and that incorrect attributiuon still appears. Stobaeus was Kapellmeister in K'berg. That's one of the problems when persons with incomplete knowledge assign names to manuscripts of lute music. His name is squeezed into what was a small space on one of the last pages. There is a fairly good U.S. dissertation on Sloane 1021 (but mistitled): Donna May Arnold, The Lute Music and Related Writings in the Stammbuch of Johann Stobaeus (Ph.D. diss., North Texas State University, 1982; UMI # 8217612). Paul Madgewick in Munich wrote on one of these lists that a large cache of Stobaeus's music had been discovered in a German (non-muisc?) archive. The handwritings might shed further informsation about Sloane 1021. Arthur
Novus Partus
There is a Minkoff facsimile available for $US65. According to my OMI catallgue, it is still in print, Stewart. Julia Sutton wrote her doctoral dissertation at Boston University on the Novus Partus, and penned an article that appeared in the very first issue of the Journal of the Lute Society of America. I guess you could call me Novus partus challenged, because I have none of these. Has anyone worked with the lute ensemble pieces in the Novus Partus? Are they a worthwhile endeavor? AJN.
Who discovered the K'berg Manuscript? (Was: Re: MO's attack
FROM: Roman Turovsky, INTERNET:[EMAIL PROTECTED] wrote . Previously he had been working in a garment co-op next to (and living near) Kiev's Lutheran church in the Friedrich Engels Street (where my father was baptized in 1933). Even earlier, in 1926 he married a lady surnamed Saucheck (sic!), and whose descendant once asked a simple question on the lute-net Wasn't PO'D the one who discovered the Königsberg Ms? The rest is history. = I can confirm that what Roman Turovsky writes about P O'D's having discovered the Koenigsberg Lute Manusctipt is correct. Paul O'Dette also told me (and others) the same thing. He is the person who really deserves our thanks. Without his discovery of the WHEREABOUTS of the manuscript, it would probably still be gathering dust, held in secret on an unknown library shelf. You haven't a claim of discovery if you can't tell WHERE something is located. According to what Paul told me, it was at a gathering at Diana Poulton's f;lat in London that he made the discovery. Ms. Poulton had received a mysterious packet with pieces by Dowland. Not just one page as Ophee asserts. There was no return address or identification of the sender. Some pages had the oval of what might be a library stamp. In order to hide the library name, the sender had obliterated the ovals with a black marking pen. And for very good reason. As we have seen, the manuscript had been stolen. It was an easy matter to determine that the Xeroxes were of the famous Koenigsberg Lute Manuscript, which had been described with a complete and tantilizing list of contents in a history of Prussian lute music publ. in 1936 (RT's Kossack). Of special interest is that it can be associated with a troupe of English actors led by John Spencer, who had been appointed Brandennburg Cammer Musicus vnnd Comoediant in 1604 at an unusually high salary.. The large troupe of 19 actors and 16 musicians were in residence at the Brandenberg Court in K'berg. They were later associated in Amsterdam with Nicolas Vallet, who was not only a distinguished lute virtuoso, but ran a dancing school as well. I believe there is a Lachrimae in one of his books, too. For example, two unique pieces in the manuscript were titled Allemande à Globe. Even the psalms (which I discovered were from the Goudimel psalter) would be used by the actors, because on Sunday following Vespers they presented religious plays. I don't know if they danced to the several versions of Lachrimae in the manuscript, but one was for bandora. There is more English bandora music in the K'berg Manuscript than in any other single source, and it includes both solos and consort parts. The crucial question was not what the manuscript was, but WHERE was the manuscript. Through some clever, on the spot detective work, Paul discovered the WHERE. He announced (his word) his discovery to the Poulton gathering, which included Ophee (and Crawford?): the manuscript was in the library of the Lithuanian Academy of Sciences in Vilnius. With this information it was easy for Ophee to get Xeroxes, and to order the micorfilm. I recall all went very smoothly. This intrigue with KGB agents, etc., is simply typical Ophee hype. Alas Oprhee concealed from us that Paul O'Dette had told him where to find the manuscript. As a result to our embarrassment, Dr. John M. Ward and I did not properly acknowledge Paul's central contribution in our publication. Oh, yes. How did Paul make his discovery? What the anonymous sender _should_ have done, was to re-xerox the Xeroxes with the obliterated ovals and mail the second generation Xeroxes. But instead she/he sent the marked up pages. Paul was able to read the library stamp beneath the obliteration by holding the paper in front of a strong light, something noone else had thought to do. And thus Paul O'Dette made the remarkable re-discovery of a very interesting manuscript. We are all enriched because of him. This should end this thread for me. Sorry the exchange has gotten ugly at times. But I did wish to set the record straight, once and for all. ajn.
Re: Why was the K'berg MS stolen? (Was Re: Koenigsberg Manuscript
Continued.Dear McCoy,He's Stewart. Stewart McCoy! This has never been doubted. RT == Dear Roman, I meant no disrespect. Mr.(?) Ms.(?) S.Walsh doesn't understand that using a person's last name is a form of affectionate address over here. Charlotte calls me Ness, most of the time, in written and spoken communications. Actually I just couldn't remember whether Mr. (Dr.?) McCoy's name was Stuart or Stewart. And to use Mr. or Dr. smacks of impertinence on these lists. ajn
Why was the K'berg MS stolen? (Was Re: Koenigsberg Manuscript
Continued. Dear McCoy, As for the lute manuscript itslef, during the chaos of World War_II a team of Lithuanian nationalists broke into the Prussian State Archives in Koenigsberg. They wanted to repatriate a national treasure, an old manuscript containing an ancient Lithuanian epic poem. In the same drawer with the epic was the K'berg manuscript. Thinking it might also have Lithuanian connections (it doesn't) the patriots snatched that too. That is how the manuscript found its way to Vilnius. Very simple. It was along for the ride, so to speak. That is also why there was so much secrecy when Diana rec'd those Xeroxes from some anonymous sender. (I doubt it was Sagitas for several reasons.) Probably they were sent by a friendly music librarian in Vilnius. It was stolen property. The sender may have feared the penalties might be severe, if discovered by the Soviet authoriies who ruled Lithuania at the time. When Sigitas came to visit his sister who lives in Cambridge, not far from John Ward, I met his sister and spent the whole day showing him around Boston and Cambridge. He doesn't strike me as the kind of person who would even know who Poulton was. That evening we attended the famous Four and Twenty Lute recital and I introduced him to Paul. He was visibly bored during the recital, but the encore, a Scott Joplin rag, perked him up. Really a very pleasant man. I so much enjoyed meeting him, and learning a bit about his ardent Lithuanian nationalism. His pals really saved the manuscript, because I am certain had it remained in Koenigsberg it would have been destroyed in the intense bombardment that port city suffered. (Sagitas would have been in his teens during WW_II, so I doubt he was among those who liberated the epic poem.) Next I'll have to detail how Paul O'Dette discovered the K'berg manuscript, information that Matanya used in order to get a complete Xerox, and then the microfilm. Without Paul's information noone would have known where the manusctipt was located, or even if it existed any more. You can't discover something if you cannot tell WHERE it is. AJN.
Re: Melchior Newsidler
That 1574 lute book in German tabkature appears to have been printed in Venice by Gardano in Italian tablature in 1576 and in 1595. Fetis mentions one edition in his encyclopedia. But he is notorious for writing misinformation. Or better said, information that cannot be verified. We simply do not know where he got much of his inforation. Froim time to time we find some of his sources and they confirm the accuracie. Newsodler is also said to have pubished intabulations of Josquin motets. Fetis gives Vencie, but another source was found and it was Strassbourg, proably Jobin. But there is a catalogue from the time that lists the 1595 Venetian edition. Both editions are lost. Which gets to my refrain about how tons of lute music have been lost. We know of press runs of 1250 copies, with only one or two surviving to our time. And how much music is lost without a trace. We would not even know who composed Petrucci's Book III if it hadn't been listed in the Fernando Columbus caralogue (and also in a recently discovered carlogue fromthe Herwarth library--he owned a copy, too.) The favored system of notation in MN's Augsurg was Italian. Wtiness the many manuscripts from the Hans Heinrich Herwarth liobrary (now inthe Bavarian State Library), the so-called Chilesotti Codice Lauten-Buch belong ing, I believe, to a merchant from Nurember named Scheurle, and the Hainhofer Lautenbuecher, also from Augsburg. The manuscripts in Miunich also include what I believe are MN autographs, since they contain his music and we have a letter to the Duke in which MN presents, as in the past, some new lute pieces for the New Year. Surely he was being euphemistic when he spoke of his patriotism in usinng German tabkature. He might indeed have been influenced, as Arne suggested, by Drusin's pubications. BUt also he may have been influenced by the type of tablature being used in Strassbourg by Jobin. I suspect he brought all the books back from Venice to sell them in Bavaria. He was in Italy, I think I mentoned, perhaps fleeing the plague that hit Syugsburg. He returned woith a Luther associate, Philippe Camerarius. The rode through a blizzard while crossing the Alps in January.b. Thjey really wanted to get home! Hope this asnwers your question. Arthur.
For Doc Rossi (private--but read if you wish)
Doc, I lost your message about the cittern composer. I have some non-information to send you, but do not have your current e-mail address. Drop me a note so I can send it. Arthur.
Melchior Newsidler
A few years ago, one of our internationally touring recitalists did a complete program devoted to Melchior Newsidler, son (not brother) of Hans. He will probably have a CD one of these years. He's the type of player who works on everything before deciding what to record. And there's a lot of Newsidler for him to absorb. At least 241 pieces by my count, making him the most prolific lutenist-composer of the 16th century. And surely the greatest of the central European lutenists. His pieces are not easy, though. Richard Darcie once had a lute discography on line. Is it still available? ==ajn===jason kortis asked= Hello everyone, I just posted a zip file of M. Newsidler's Libro Primo (Italian tab. = originally) to the Yahoo Fronimo group. I was wondering if anyone has = ever recorded any of his music?=20 Jason --
Markus0.txt read me first
Opps. That was supposed to go directly to Markus. Arthur.
Re: Beethoven currency query
Yes, I posted Bill Merdith's message to illustrate the perils of attempting to equate old ecomonies with modern ones. The valid comparison would be within one economy, perhaps in one geographical area. That's why I gave the comparision (the only one I had at hand) between a ream of paper and a scullery maiden's monthly wages. (But I forgot to add in the free room and board, wine or brandy allowances, costumes, and other benefits provided by the employer.) My point was that books were expensive back then, and probably only wealthy persons could afford them. Hans Heinrich Herwarth who acquired thousands of books (including hundreds of music books) was one of the wealthiest men of his age. With some research one might be ablr to make some valid comparisons between the price of a Petrucci print and the costs of living at the beginning of the 16th century. ajn.
Beethoven currency query
This was posted to the musicology list, and may be of interest in light of our recent discussions. I forgot to mention that there was a cponference at NYU a few years back titled Thr Mu$ic Bu$ine$$ in the 18th Century. John Kmetz organized it, but I had to leave before the interting paper on the value of money was read. Bill Meredith heads the Beetoven Center of the U of Califonia, San Jose. He's mentioned prominently in that true detective story about Beethoven's hair. (Nice summertime read.) AJN -- Forwarded Message -- RE: Beethoven currency query From: Bill Meredith [EMAIL PROTECTED] To: [EMAIL PROTECTED] Subject: Beethoven currency query Dear Gail (and those interested): The question of currencies and today's money often comes up at the Beethoven Center. Unfortunately, there is no satisfactory way to say that one florin would equal so much in dollars today. What we have found works very well instead is to explain to elementary school teachers and adults and everybody that from the amount of money Beethoven received for a work, he could have paid for half a year's worth of rent on his apartment in Vienna, for example, or he could have bought so many chickens for his table. The ratonale behind this is that some things were very expensive in Vienna because they were in severely limited supply (rent), others reasonable (some foods, but not all). Julie Moore, in her wonderful dissertation that should have been published as a monograph long ago (Beethoven and Musical Economics) discusses all of this -- and much more -- in wonderful detail. For example, Beethoven received 100 gold ducats for the Fifth and Sixth Symphonies (Opuses 67 and 68); the Cello Sonata, Opus 69; and the two Pianoforte Trios, Opus 70, from Breitkopf Haertel around September 14, 1808. Thus, if you divide the sum earned by the four opus numbers evenly (questionable but workable enough for our purposes, and publishers probably made more on chamber music than symphonies), each opus number was worth 25 gold ducats. Beethoven's rent for his apartment in the Pasqualati House that year was 500 Florins Bankozettel (Moore, p. 194). If I did the math right (using the exhange rate of 1 gold ducat = 4.5 florins Conventionsmuenze and using the inflation rate for 1808 that 100 CM florins - 228.15 BZ florins), 25 gold ducats was worth 256 Florins BZ, which means that he earned half a year's rent for each opus number, or two years of rent for the five works. A chicken cost between 72-120 Kreuzer BZ in Vienna in 1808 (Moore, p. 549), so Beethoven could have bought a chicken for Sunday dinner every week for a little more than year (using the upper cost of a chicken) from what he made from one of the opus numbers. (Or 85 chickens at the cheaper price.) I have to confess that I am not an expert in these Viennese currencies, (especially with the complication of the inflation rates), so if anyone needs to correct my math, please let us all know (I'm serious about this). (Dr. Moore should really be the one doing this math, but I don't think she is on the list.) A one bedroom spacious apartment in San Francisco similar to Beethoven's expensive Vienna apartment in 1808 rents for about $1,800 today, so you could say that he earned about $10,800 in rent money for contemporary US dollars for the Fifth Symphony. (As is still true, apartments inside what became the ring in Vienna were much more expensive that ones outside the wall.) A chicken in the Bay area costs about $4-6, which means that he earned $284 in food money. This gap shows the problem with trying to say what 25 gold ducats would be today, since what money is worth is of course related to what things cost. Bill Meredith -- William Rhea Meredith, PhD Director, The Ira F. Brilliant Center for Beethoven Studies Professor, School of Music and Dance Mailing address: Beethoven Center, San Jose State University One Washington Square SJ CA 95192-0171 Phone: 408-808-2056 FAX: 408-808-2060 [EMAIL PROTECTED] www.sjsu.edu/depts/beethoven/
Re: Holbein, addendum
snip Jon Murphy write: You are both right and wrong. It wasn't the lute per se that was considered ungodly in the reformation, it was all music of the Catholic liturgy. ajnThere is little evidence of the use of lute in the Roman Rite. For example, pictures of services seldom show a lute. But a manuscript copied in Naples has next to two pieces the indication Van Geligha, causing one chap to declare in his dissertation that it must be a piece by a Dutch composer. But in Italian the word means Gospel, and so this would be a rubric reminding the lutenist where it would be apporpiate to play the piece during Mass. The untitled piece is Josquin's famous (in the lute world) motet Benedicta es coelorum Regina, with its third part (The popular lute intabulation Per illud ave is left out). The French Psalter (1562) was a primary, but there was also a German one and an English one (that brought to the States by the Pilgrims in 1620). I think it is more a tenet of the sect, rather than a universal practice. Just as some churches still consider dancing to be a sin, while others have dancing as a part of the devotional. And the Motu Proprio of about 1900 had a long lasting reform of Roaman church music with the revival of chant and Palestrina style, and the ousting of the Italianate opera style of church music. A Protestant minister is known to have brought two lutes to the New World on the Mayflower, and he also had Richard Allison's _The Psalms of David in Meter [for lute and voice]_ (London 1599). Allison is a first-rate composer whose intense music deserves to be heard more frequently. There is a complete-complete edition of his solo lute music (and bandora and cittern pieces) publ. by the Lute Society (UK) and edited by John Robinson and our Stewart McCoy, with an in-depth biographical sketch by the late Robert Spencer. This is an exemplary collected edition, because all variant versions of Allison's music are included, a procedure that is now becoming standard practice in critical editions of lute music. Later the favorite instrument of the American colonist was an instrument called the cittern. I use the quotation marks advisedly, because I wonder if it was a true cittern or an English gittar. It seems to have been more popular than even the harpsichord or flute or violin. Often in the home, the cittern was stored in the linen closet. Why? There was a shop here in Boston that drew the metal strings. snip Speaking of Palestrina, he is said to have composed at the lute, as some later composers compose at the piano. Palestrina previewed a recently composed mass movement for his patron by playing it on the lute. Arthur.
Re: La Magdalena
Dear Stewart,
I must have missed the earlier message. I would second Stewart's
recommendation. Daniel Heartz is a brilliant musicologist and always has
crunchy thing to say about the music he studies. He also authored an
important bibliography of the music published by Pierre Attaiingnant.
Alas he then turned to 18th-century studies, and was lost to the world of
the lute and its music. He's a piano virtuoso, but can get around on the
lute as well.
I'm going to place me order today.
AJN.Stewart McCoy wrote==
Dear Arthur,
This book {Preludes, chansons and dances from Attaungnat] was mentioned in
June and July 2002 on the French lute list. Roger Traversac informed the
list that there were over 200 mint condition copies of Heartz's edition of
Attaingnant's lute music still in stock in a shop in Paris. I bought myself
a copy staright away, and I imagine they'll still have plenty left. Here is
the relevant part of Roger's e-mail:
-o-O-o-
voici l'adresse du site pour le commander et les references :
http://www.librairie-picard.com
Tel/ 33. (0)1.43.26.96.73 Fax/ 33. (0)1.43.26.42.64
Librairie Picard, 82, rue Bonaparte
75006 PARIS magasin ouvert du mardi au samedi
de 10 h30 a 13 h et de 14 h a 19 h.
La Librairie Picard a souvent des livres de Musique Ancienne et notamment
de luth a proposer en quantite importante. C'est un interlocuteur a
privilegier.
-o-O-o-
It is an excellent edition of some very playable music, and is well worth
having on the shelves at home.
Best wishes,
Stewart McCoy.
The flat back lute/dental abrasive
I am going to look forward to finding out how Jon's flat back turns out and if he likes it. But unlike him, I'm boycotting the World Series.. How can anyone cheer a baseball team named after a fish? Some one suggested a few weeks ago using dental abrasive to sand groves for the strings. My dentist gave me some samples. Some is on a mylar plastic strip about the width of a flat shoelace. It comes in various strengths, and one looked like it used very fine graphite. Another strength that was silver colored had what seems to be embedded metal shards and would quickly cut away whatever you rubbed it on. I sent some samples to a luthier and he thinks it will be very useful for some of the work he does. It is apparently quite common to have these strips in the dentist's closet. Good luck, Jon. Arthur.
Re: La Magdalena
Robert, This book in English was published in a French series, so you may be able easily to find it in a local library. There is a modern edition of La Magdalena and after dances with tablature (by Pierre Blondeau from Dixhuit basses dances) is available in one of the classic editions of lute music, TITLE Preludes, chansons and dances for lute / published by Pierre Attaingnant, Paris, 1529-1530 ; edited by Daniel Heartz IMPRINT Neuilly-sur-Seine : Societe de musique d'autrefois, 1964. DESCRIPT lxxxvii p., 128 p. of music, 4 leaves of plates : ill. ; 32 cm. SERIES Publications de la Societe de musique d'autrefois. Textes musicaux ; t. 2. NOTE Modern transcription of Tres breve et familiere introduction (1529) and of Dixhuit basses dances (1529). Also includes facsimile reproduction of Oronce Fine's Epithoma musiceinstrumentalis (1530) Tablature and staff notation. The above contains all the instrujental works (incl.pieces for lute and flute) in the cited Attaingnant prints. The pieces for voice and lute from Tres breve were published in Lionel de Laurencie et al., Chansons au luth (1934). Heartz's is a fascinating edition, especially in its analytical layout. ajn
Leopolis (Was Re: L'vov lute manuscript (Was Re: MO's attacks
AJN write// Leopolis, the Latin name for that place. MF//Not to split hairs but Leopolis would be the Greek name for that place. //Mark Farley Dear Mark, It might be Greek to you and me, but it's Latin to most others. For example, Leopolis _is_ the Latin name forr the Lemberg/Lwow Archdioces in Galicia founded in 1376. (Hoffmann's _Liturgical Dictionary_ [1928]) Also my dictionary says it's Latin.. Maybe the Greek and Latin names are the same. In Lvov are Greek, Armenian and Roman churches. It must be quite a melting pot. The city's name is derived from one of its early rulers, someone named Lev. I wonder if Roman has ever been there. arthur.
Re: L'vov lute manuscript (Was Re: MO's attacks
FROM: Matanya Ophee, INTERNET:[EMAIL PROTECTED] DATE: 10/13/03 5:02 PM Re: Re: MO's attacks snip MOrphee woteUnfortunately for him and for his misguided predatory philosophy, that is far from being the case. We should be grateful to him and his ilk for the fact that the Franko University Library in Lviv, the Ukraine, refuses to allow anyone to have copies of the Lviv Manuscript or even to acknowledge its existence. Do prove me wrong, if you can. The L'vov (or Lwow) Manuscript, Ms 1400/I in the Ivana Franko Naucnaja Biblioteka is well known in the west. . It has 124 folios and 66 pieces. Most of it was copied by Hans Kernstockh in Cracow around 1555, and includes fantasias and dances by Giovanni Pacoloni, and a galliard attr. to Valentin Bakfark, some Polish songs and dances and lots of intabulations of French chansons, etc. . Paul ODette has even programed pieces from it. The Bakfark piece is in Benko's collected edition. It is probably best called the Kernstock Lute Book, but is also officvcially known as the Strzeskowsky Lute Book after a recent owner, who published some Polish pieces from it. A few months ago someone told me that he had refereed a paper that discussed the Pacoloni dances in that manuscript. Perhaps we'll read about it in one of our journals. There are microfilms of it circulating in the west, allthough I don't have a copy myself. I think someone even told me that there is a facsimile edition published in Poland. It's not a terribly exciting manuscript in my opinion. It also contains Dowland's Farewell Fantasia, although neither the title nor the composer are named in the manuscript. Someone published the Dowland fantasia in a string orchestra arrangement made from the Kernstockh tablature, but the arranger didn't know that the piece was by Dowland. I forget what title they gave it. One reason for confusion about the manuscript is because there are so many names for that city, Lvov, now in the Ukraine. Pohlman lists the manuscript under Lemberg, the Austrian name for Lwow, the Polish name for Leopolis, the Latin name for that place. At various times it has been part of Austria, Germany, Poland, Russia, and the Ukraine, and has had to battle off assaults by Turks, Tartars, Cossacks, and Swedes. Sounds like a city with a sadly violent history. I don't understand why M. Orphee thinks that Roman Turovsky and his ilk (=???) should be blamed because the Franko library doesn't answer its mail. I find it difficult to believe that the library denies owning the manuscript, it has been cited so frequently. In addition to Pohlmann, the manuscript is also listed in Boetticher's RISM inventory, in the Meyer et al. catalogue of lute manuscript in the former East Bloc countries, and probably in my article in New Grove. ajn.
Re: The cost of lute music
Donatella sent me a message saying she thought that perhaps the price in quatrains was too low. I really can't say. I don;'t remember the original message, but I think the price came from the catalogue of his library by Ferdinand Columbus. Alas almst everything in his liobrary was destroyed in the Lisbon earthquake, although his catlogue did survive. He owned over 15,000 books. Columbus sometimes indicate when and where he bought a book and how much he paid for it. In 1512 he bought all of Petriucci's lute books in Rome (publ. in Venice and Fossombrone). Were they cheap because they were old? Remainders, so to speak. Perhaps not. A press run of a music book would not sell out for as many as 15 years according to Stanley Boorman. So Book I (Spinacino) 76 quatrines Book II (Spincaino) 74 quatraines Book III (Alemani) 110 quatrines* Book IV (Dalza) 76 quatrines Bossinensis I 76 quatrines Bossinensis II 96 quatrines *No copy survives. Heinrich Herwarth also owned a copy of Book III, but it is not aming his rich library (one of the largest of its time) which went to the Bavarian Duchal Library (now the Bavarian State Library in Munich). It is particularly sad that this book is gone, because Alemanni was surely the best of the Petrucci lutenists, and it is sad that no music survives from his pen. (But I think I know where some is.g) There is another problem. Due to the influx of gold from the New World ther was lots of inflation in those times. The Columbus catalogue is p=ublished in an article by Catherine Weeks Chapman in Journal of the American Musicological Society 21 (1968): 34-84. I don't know if this gets us any nearer establishing the cost of lute music back then. arthur.
Re: The cost of lute music
I think if one were to investigate the price of score in the 16th century, you would find that their high price made them accessible only to wealthy persons. (And many professional lutenists were wealthy.) I once looked into the price of high quality paper in 16th century Augsburg, paper of the kind one would use to copy lute music. A ream of folio sized paper (about 9x12) in Augsburg cost the equivalent of a kitchen servant's monthly salary. Today a ream of highest quality paper could be bought with three hour's work by a dishwasher. I should also have checked the price of other items in daily use, such as a loaf of bread. The cost of copying pieces onto that paper was probably rather modest o9n those days if one hired a professional scribe. The salaries were probably rather low because there were so many of them (like lawyers today). The Augsburg guild of scribes refused to take apprinetices unless they agreed to leave Augsburg when their training ended, because of the glut of scribes. So it would probably be rather inexpensive to have tablatures copied, and from time to time one does encounter what is surely the work of a professional scribe. I have wondered how easy it was to purchsase a handwritten book of lute music in a stationer's shop. I do know one instance of such a manuscript.. Some stationers had equipment for drawing stave lines (not just a rastral). Not too much has been studied about professional scriptoria, althogh we are coming to realize that many music publishers also sold music copied by hand, perhaps on demand. The most famous was the Breitkopf scirptorium in Leipzig during the 18th century. They had music from throughout Euroipe and would on order [rovide hadnwritten copies. They even published famous thematic catlaogues of their offerings, including some tablatures with music by SLWeiss, some of which has not survived. The largest collection of lute music from the Breitkopf scriptorium is from the library of Fétis, the 19th-century music lexicographer, whose library went to the Royal Library in Brussels. These are the concertos, partitas, suites etc. that so many of you play by Kohaut, Durand, Falkenhagen, Hagen, Weiss, Baron, Kropfgans, et al. Fétis bought three or four bundles of music from the Breitkopf auction of 1820. The auction lot numbers are still on the music.
gypsies lilt plus
Rob MacKillop wrote: Scuse me for being a bit bored by this discussion. It will go on forever = and ever... If you like it, play it. If you don't, don't. But please = don't present statements without going into the whole thing much more = deeply. There are TWO different versions in the ms. The edition recently = uploaded is far from being reliable. I don't have a scanner working at = the moment. Maybe someone else has. Readers of this list, in particular, should know that there is a tablature edition of the entire Rowallan manuscript, _The Rowallan Manuscript: Edinburgh University Library, Laing III 487_ transcribed by Wayne Cripps (Fort Worth: Lyre Music Press, 1995). It is a beautifully produced edition. Pen and ink drawings by Kay Crane of scenes from Scotland fill what would have been blank spaces to prevent undue page turns. Both versions of Gypsies Lilt are given, of course. Wayne keeps The Chord as written in both. There are lots of nice things in the manuscript. Does anyone know the URL to order it? I do hope, Rob, that you will take a while away from the lute and kindred instrumets, but perhaps in a few years reconsider your decision. Yours is a unique talent, and it would be a loss for all of us were you to abandon that part of your self being. Arthur Ness Weird world: BBC Scotland television are doing an interview with me = about my concert. They are doing it BECAUSE it is my last. Don't they = spot the irony that if they had shown interest earlier in my career, = this might not have happened? If you are interested, I have signed-up = for a course in Advanced Jazz Studies at St Andrews University. Not too = far from lute music! Rob --
Re: Different note names (was: Baroque pitch)
Of course, I did not mean to suggest that a piece in New German keyboard tabkature would be in a diatonic scale on D sharp. Just the lowered (flatted) notes would be written as -is notes. In E flat major, the Eb would be Dis (D#), the Ab would be Gis (G#) and the Bb would be Ais (A#). An E flat scale would be Dis-F-G-Gis-Ais-C-D-Dis. (D#-F-G-G#-A#-C-D-D#) Wierd. Old German keyboard tabkature used staff notation for the right hand, and the same kind of tabkature for the left hand. It is very old, appearing first in the 14th century. I'll try to write a few words on the hexachord system next time and quare and round B's. But Jon posted the essentials already. Arthur.
willow song
I may be mistaken but I believe F. W., Sternfeld, _Music in Shakespearean Tragedy_ (London/New York, 1963)_ remains the best place to begin looking for songs used in Shakespeare. The Willow Song occupies pages 24-52 in the book, with 5 or 6 versions including several with tabkature in facsimile. The Sternfeld book is alos a vaulable reference tool because he has tracked down original music for not only the tragedies, but the comedies and histories as well (see Index I). Another volume which I have never seen was assembled y the late Andrew Charlton for Garland Press then in NYC It is said to be a practivcal edition of the Sakespearean music. I tried to get it reprinted, but the Garland editor thought there would not be enough sales. But it can be found in libraries. The Sternfeld is also probably OOP, but it will be in many libraries. This should get you started. Perhaps Arnold Gessel will have something to add. ajn.
