In case you didn't already notice: Sarge has published the first 50
pieces of Marsh Lute Book.
http://gerbode.net/sources/IRL-Dm_archbishop_marshs_library/ms.z.3.2.13_marsh_lute_book/pdf/
I have been playing from the facsimile sometimes, but since the c's are
really c's and not r's (except for some pages), I have been struggling
to sight-read - though the book itself is very neatly written.
Now with nice fronimo settings, I have come to understand the value of
this book.
Here's what I noticed:
Most of the pieces seem difficult at first glance, but they are not -
they intuitively make you use a technique that employs one stationary
finger while having the other notes in convenient reach.
Even barred chords, the horror of any amateur, are used to make greatest
effect while relatively easy.
Also, many pieces are based on popular grounds which makes it easier
guessing the next moves.
This book was obviously compiled by a very, very skilled lutenist for
teaching purposes.
Some pieces not by the author of the book (it seems quite safe to assume
that the unnamed pieces are written by the compiler) are carefully
arranged to make them more playable without taking away the effect.
You can learn *a lot* from playing this book if you aren't already a
pro, while having massive fun because even the most humble pieces have a
great sound to them.
Nothing without sparking a discussion:
According to André Nieuwlaat, this seems to be a personal book (and
autograph) of John Dowland. I have no problem with that, judging by the
quality of the content.
Indeed, including very carefully copied pieces from 50 year old prints
of even much older and very difficult music (Albert de Rippe) makes it
likely that there was some direct connection to France and that the
compiler knew what he was doing.
This might finally solve the mystery of the relatively sparse occurence
of pieces known to be Dowland's, considering his long and successful career.
Some insight into alternative explanations of English lute manuscripts
can be gained from André's articles for the Belgian Lute Society.
I know this seems highly controversial (why actually..?), but many
English manuscripts may have been compiled by Dowland, and of course he
wouldn't sign his name to every pieces if these books were used by his
students or himself.
And some manuscripts from the continent also seem to have his contributions.
This based on archive science, not conjecture. As André says:
concordances tell stories.
(I have contributed some interesting concordances that were puzzling - I
ask you, how does a piece by John Dowland and Fantasies of Hirsch and
Thistlethwaite end up in Siena Ms., or vice versa?)
If anyone wants to discuss this: please no polemics.
There should actually be joy about the possibility of a vast number of
new pieces by Dowland.
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