Thanks for the interest and discussion. Let me clarify some points: I took into account all earlier discussions and considered each one carefully. I apologise for not acknowledging each of you, but thanks for the comments. 1) A A I had considered a tabulature edition but, as it has been pointed out we are not sure what instrument they were intended for. Reggio just calls them "Sonatine a Liuto e Basso". There is nowhere (that I have so far discovered) any reference to these works other than the titles on the manuscript. The ms itself is Reggio's own draft written copies, this is clear from the crossings out and amendments on some of the pages and there is no "fair" copy.A So, because of this fact, I decided to reproduce Reggio's work as he wrote it (without the crossings out!). This would allow the performer to make is own assessment of the pieces. Also, hopefully to stimulate further discussion so that it might be possible to assess A the pieces more objectively. 2) A I also considered a facsimile edition but the copies available are very poor and it would not have been a successful undertaking. The library where the manuscripts are maintained do not have facilities for digitizing so therefore the copies are on microfische, also my copy is a copy of a copy of a copy...... I have invested in a good film scanner and have managed to produce a working copy to be able to copy, with great effort and strained eyes, them into a form that can be read.A My own humble ideas are that they written in the treble clef but sounding an octave lower. (the 8 is missing from the clef as these are sketches and Reggio has not indicated thus!). As he call the insrtument "Liuto" one can guesas that he might have meant the liuto attiobato, possible in G. We must also remember that Reggio was fundamentally a keyboard player and cellist. The lute sonatas are only 24 works in his corpus of 158 works. He possibly had a friend or colleague who played the lute and wrote them for him (her) with himself accompanying on the cello. Also, the question is: Where these actually played or just an excercise?A I hope that has answered some of your questions. I would welcome any feed back from you so, maybe, we can come to some better conclusions. After some 15 years searching for clues about Reggio and his works I feel I have exhausted the sources, however some small snippets have recently come to light, so maybe we might learn a bit more about these works.A As someone suggested some years ago that my work was a "labour of love", actually it became an obsession and a frustration that I have not been able to discover more. I hope that my work is appreciated I have kept the prices to a minimum considering the hours spent in transcribilng these works ( and the other 134 works!). An artist friend of mine has produced a beautiful illustration for the cover and I hope some will purchase the printed version (Hint!). I am not looking for profit I just want the works to be known, played and appreciated. Thank you all for your interest over the years since I announced this find and I hope that Antonino Reggio becomes part of the lute repertoire in years to come.A Just to remind you you can find these works on [1]www.edizionear.com/lute.html (A not too subtle advert!!) and please I would welcome any comments and feedback on my work. Best wishes to allA Anthony
On Mon, Apr 14, 2014 at 1:34 PM, Martyn Hodgson <[2][email protected]> wrote: A A There's already been discussion with Anthony about the likely A A instrument. I doubt a mandora since it was hardly, if at all, known in A A Italy at this time. However I agree with you about the use of sharp A A keys in this source and I suggested an instrument in the old tuning but A A with the highest A course at a nominal a'. A A I understand he was intending to transcribe the music into tablature A A but have no idea of what he has actually done, A though I presume he A A would not use the DM lute tuning..... A A MH A A A __________________________________________________________________ A A From: Stephan Olbertz <[3][email protected]> A A To: "[4][email protected]" <[5][email protected]> A A Sent: Monday, 14 April 2014, 8:35 A A Subject: [LUTE] Re: Lute sonatas of Antonino Reggio A A Ralf, A A judged by the score of vol 1, the music would go up to the 17th fret on A A an instrument in A. Examples of lute music in octave transposing clefs A A are too many to cite here. I too thought of mandolin music, but the A A tuning wouldn't seem to fit. As becomes clear from many chords of up to A A five notes, the best tuning would be a mandora in E, especially since A A sonata IV requires a third and sixth course "in effetto maggiore", A A which means F sharp, judged by the music. A lute tuning in E would A A already have that F sharp. A A Maybe Anthony has a discussion of the possible instrumentation A A somewhere? A A >> as the lute sound was understood mainly as a 16'-register in the A A >> 18th century, it is maybe not that much of a problem. A A > A A > Which 18th century source does state this explicitly? A A None. That's my conclusion based on the surviving evidence. A A Regards A A Stephan A A Am 13.04.2014, 23:09 Uhr, schrieb R. Mattes <[1][6][email protected]>: A A > On Sun, 13 Apr 2014 22:16:16 +0200, Stephan Olbertz wrote A A >> Dear Christopher, A A >> A A >> I was a bit hasty, I'm afraid, and didn't look closely enough to A A >> Anthony's sample, assuming it was all simple octaving basses. I A A >> purchased a pdf and found several instances where indeed the lute A A >> bass has a different, lower note than the violoncello. A A > A A > Only commenting the sample page: nowhere does the "liuto"-Bass play A A > below the notated bass voice. Unless you follow the theory that the A A > "liuto" voice is notated an ovtave higher than intended. But why A A would A A > one notate in the highest available key while much better fitting A A clefs A A > where widely in use (the combination F bass clef and C soprano clef, A A > pretty much the standard combination for keyboard music for quite A A some A A > time in the 18th century, works extremly well for lute music). A A > And let's not forget the possibility of an archiliuto tuned in A. A A That A A > would put the highest note of the minue on the 11th fret. Not too A A > different from the demands of late german lute music. A A > My first impression was actually: this looks and sound like music for A A > mandolin or some similar (plectrum played) instrument ... A A > A A > A A >> Now, as A A >> Daniel remarked, this actually seems strange. But on the other hand, A A >> as the lute sound was understood mainly as a 16'-register in the A A >> 18th century, it is maybe not that much of a problem. A A > A A > Which 18th century source does state this explicitly? A A > A A > A Cheers, Ralf Mattes A A > A A > A A -- A A Viele Gruesse A A Best regards A A Stephan Olbertz A A To get on or off this list see list information at A A [2][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html A A -- References A A 1. mailto:[8][email protected] A A 2. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.edizionear.com/lute.html 2. mailto:[email protected] 3. mailto:[email protected] 4. mailto:[email protected] 5. mailto:[email protected] 6. mailto:[email protected] 7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 8. mailto:[email protected] 9. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
