I am happy, that the site is useful for you.
I want to add, that most of the thanks also should aim to Peter Steur,
who has included most of the manuscripts and concordances. I also added
many things, but he responsible for most of it.
I am responsible for the coding etc.
The problem that you mention has two facettes in my opinion:
1. Quite often we haven't input the composer for every piece of a suite,
that is attributed to a certain composer.
2. With Johann Sigismund Weiss there is another problem.
We only have few ascriptions to him (which can be seen in Weiss,
Sämtliche Werke, Volume 10.2; the list was established by me - though my
name isn't mentioned).
I made a lecture on his works in Kassel 2007, which will be published
finally in the next yearbook of the Deutsche Lautengesellschaft (with
I have listed for lute:
- WeissSW 55: Concert in c minor for lute and strings (the only complete
Dresden in c minor
- WeissSW 8: Concert in Bb major for lute and traverso(not correctly
ascribed on mss.slweiss.de): London in B major
For solo lute
- WeissSW 73: Sonata in B major as trio in Salzburg
- WeissSW 83: Sonata in B major A-ROI
other movements in Cz-Pnm, Cz-Brno371, PL-W2002 (allegro),
Also a sonata with the same Allemande in A-ROI (sonata possibly
completely by J.S.Weiss?)
WeissSW 63,5 Sarabande in D, F-Pn
WeissSW 10* Menuet ("Weis junior" in W2002)
WeissSW 99.3 Bourée del Sigre. J. S. Weiss in A (D-Mbs Mus.ms.5362, fol.
63v), could Sonata 99 also be by him?
Some lost works in Königsberg also could have been by JSWeiss or his nephew?
WeissSW 12 Sonata in A, that probably falsely was ascribed to J.S.Weiss
first, but this ascription had been crossed out by S.L.Weiss.
So we don't have much solo lute works, that we can ascribe with high
probability to him. But the two concerts most probably are by him.
P.S.: I will try to update the ascription on the mss-site soon.
For Weiss works http://www.slweiss.de still is probably the better
choice, although some of the concordances haven't been updated.
Am 04.02.2018 um 16:37 schrieb Stephan Olbertz:
your web catalogue is indeed a great resource, so valuable to many, so thank
you very much again. I must say, that I recently had some trouble to find
the few compositins ascribed to Sigismund Weiss, as his name was abbreviated
in the catalogue. Maybe one could fix that? Also, concerning another search,
I noticed some false keys here and there, but was to busy (or lazy) to write
them down for you. I try harder next time!
Von: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] Im Auftrag
von Markus Lutz
Gesendet: Freitag, 2. Februar 2018 19:51
Betreff: [LUTE] Re: Cherbury lute book - Gautier Son adieu
Am 02.02.2018 um 19:04 schrieb Alain Veylit:
I could not find the references to Cherbury on Peter Stueur's site
alas... (I wonder if the Vorhandene Manuskripte table could be given
its own page with more descriptive titles associated with the sources
yes it's true, the table "Available Manuscripts" gets more and more
complicated, as now there are more than 400 manuscripts.
But I fear, an own page for that still would be very/too? complicated.
As soon as I have time for it, I will try to put the manuscripts in a
sidebar with only showing the manuscripts of one country (or first
And it also would be a good thing to have the manuscript table, that is
But to add this, I also will need some time.
The easiest way to find pieces or manuscripts often is to use the filtering
Firstly got to "Manuscripts", the click on "Show Filters"
There you can search for
- the title you are looking for e.g. "Son Adieu" or "Son Ad"
- the manuscript that you are looking for via the beginning of the signature
- or for a certain Composer etc.
Normally you can use the beginning of the phrase, or even a part within a
word, so f.i. "dieu" also will show the searched piece on place 9 (17
The filters normally are case-sensitive!
The manuscripts always use the RISM signatures, that have the country first
(in this case GB), then a hyphen, and after it the city (C for
Cambridge) and then the short signature for the museum: Fitzwilliam Museum =
fm; so that it is complete: GB-Cfm After that Peter and me always use a
shortened number of the complete signature. The complete signature or title
will be given at the beginning of a manuscript or print.
The prints have normally the composer, often shortened, and a shortened
title of it; or a year: e.g. Dowland-Var for Robert Dowland: Varietie of
I think it is necessary to play around with the site some time to
understand, how everything works!
But after some exercise nearly everything can be found quite swiftly!
Even sometimes new concordances can be found by filtering the incipits!
. and if someone finds the site too complicated, he is invited to write to
me, and I will see, if I can help or if it is possible to make it easier (if
I have the time to do)!
On 02/02/2018 02:55 AM, Jean-Marie Poirier wrote:
We do learn at all ages indeed ;-)!
Au passage, thank you Alain for all your hard work so useful to all of us
Le 2 févr. 2018 à 11:10, G. C. <kalei...@gmail.com> a écrit :
I was not aware of lord Herbert's Jacques Gaultier extradition letter
(found on Alain's site). The fact that some of the pieces have
concordances in both Besard (1603) and Varietie (1610), also exclude
By the way, Alain, you should look at the concordances by Peter Steur
to update those on the Fandango Cherbury page, where the ms. is not too
unreadable. Very nice work, thanks Alain!
On Fri, Feb 2, 2018 at 3:25 AM, Alain Veylit
Just a couple of points of recent history: back some 10 or 15 years
ago, Joel Dugot from the French lute society
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