Dear Anthony,
Again, many thanks for bringing this source, previously unknown to me
at least, to our attention. And I'm sorry you had to go to so much
trouble to transcribe them for your edition. Out of interest would you
be able to post a link to a scan of a page or two of the original (or
rather your copy of a copy.....)
Finally, regarding the 'liuto' you mention below, there's really no
need to consider a 'liuto attiorbato' since there are depictions of
more conventional lutes being played in Italy in the mid eighteenth
century and, of course as mentioned before, even new instruments
were being made with just 7 or 8 courses during this period.
Keep up the good work!
regards,
Martyn.
__________________________________________________________________
From: Anthony Hart <[email protected]>
To: Martyn Hodgson <[email protected]>
Cc: Stephan Olbertz <[email protected]>; "[email protected]"
<[email protected]>
Sent: Tuesday, 15 April 2014, 5:51
Subject: Re: [LUTE] Re: Lute sonatas of Antonino Reggio
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) 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.
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 the pieces
more objectively.
2) 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.
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?
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.
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.
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 all
Anthony
On Mon, Apr 14, 2014 at 1:34 PM, Martyn Hodgson
<[2][email protected]> wrote:
There's already been discussion with Anthony about the likely
instrument. I doubt a mandora since it was hardly, if at all,
known in
Italy at this time. However I agree with you about the use of
sharp
keys in this source and I suggested an instrument in the old
tuning but
with the highest course at a nominal a'.
I understand he was intending to transcribe the music into
tablature
but have no idea of what he has actually done, though I presume
he
would not use the DM lute tuning.....
MH
__________________________________________________________________
From: Stephan Olbertz <[3][email protected]>
To: "[4][email protected]" <[5][email protected]>
Sent: Monday, 14 April 2014, 8:35
Subject: [LUTE] Re: Lute sonatas of Antonino Reggio
Ralf,
judged by the score of vol 1, the music would go up to the 17th fret
on
an instrument in A. Examples of lute music in octave transposing
clefs
are too many to cite here. I too thought of mandolin music, but the
tuning wouldn't seem to fit. As becomes clear from many chords of up
to
five notes, the best tuning would be a mandora in E, especially
since
sonata IV requires a third and sixth course "in effetto maggiore",
which means F sharp, judged by the music. A lute tuning in E would
already have that F sharp.
Maybe Anthony has a discussion of the possible instrumentation
somewhere?
>> as the lute sound was understood mainly as a 16'-register in the
>> 18th century, it is maybe not that much of a problem.
>
> Which 18th century source does state this explicitly?
None. That's my conclusion based on the surviving evidence.
Regards
Stephan
Am 13.04.2014, 23:09 Uhr, schrieb R. Mattes
<[1][6][email protected]>:
> On Sun, 13 Apr 2014 22:16:16 +0200, Stephan Olbertz wrote
>> Dear Christopher,
>>
>> I was a bit hasty, I'm afraid, and didn't look closely enough to
>> Anthony's sample, assuming it was all simple octaving basses. I
>> purchased a pdf and found several instances where indeed the lute
>> bass has a different, lower note than the violoncello.
>
> Only commenting the sample page: nowhere does the "liuto"-Bass
play
> below the notated bass voice. Unless you follow the theory that
the
> "liuto" voice is notated an ovtave higher than intended. But why
would
> one notate in the highest available key while much better fitting
clefs
> where widely in use (the combination F bass clef and C soprano
clef,
> pretty much the standard combination for keyboard music for quite
some
> time in the 18th century, works extremly well for lute music).
> And let's not forget the possibility of an archiliuto tuned in A.
That
> would put the highest note of the minue on the 11th fret. Not
too
> different from the demands of late german lute music.
> My first impression was actually: this looks and sound like music
for
> mandolin or some similar (plectrum played) instrument ...
>
>
>> Now, as
>> Daniel remarked, this actually seems strange. But on the other
hand,
>> as the lute sound was understood mainly as a 16'-register in the
>> 18th century, it is maybe not that much of a problem.
>
> Which 18th century source does state this explicitly?
>
> Cheers, Ralf Mattes
>
>
--
Viele Gruesse
Best regards
Stephan Olbertz
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