[LUTE] Re: My Lady Careys Dompe

[AJN]

 Also (24 dompes) Michael Fink, ed., _*Down in the Dompes: The Collected 
English Lute Dumpes*_ 
 (Westminster: LVG Publications, 2008). 109 pp. French tablature with 
commentary.



On 02/23/17, Ron Andrico wrote:

 No, the Lady Carey of the eponymous dump predates the later puffy
 Hunsdon female by probably 50 years or so. And no, the same piece does
 not appear in the Marsh lute ms. Here is a list of pieces titled
 "dump" from John Ward,"The "Dolfull Domps", Journal of the American
 Musicological Society, Vol. 4, No. 2 (Summer, 1951), pp. 111-121.

 1. "My lady Carey's dompe," for keyboard. British Museum, Ms. Royal
 Appendix 58, ff. 44v-45v. Reprinted in Historical Anthology of Music,
 ed. Davison and Apel, No. 103.
 2. "The Duke of Somersett's dompe," for lute. Ibid., ff. 51v-52.
 3. "Pover man's doumpe,"'6f or lute. Ibid., f. 55. Reprinted in William
 Chappell's Old English Popular Music, rev. by H. E. Wooldridge (London,
 1893), Vol. I, p. 221.
 4. "Duke of Millans dump," for lute. Cambridge University Library, Ms.
 Dd. 2.11, f. IV.
 5. "J[ohn]: Johnsons 1. Dump," for lute. Cambridge University Library,
 Ms. Dd.3.18, f. 3.
 6. "J[ohn]: Johnsons 2. Dump," for lute. Ibid., ff. 3-4.
 7. "Militis dumpe," for lute. British Museum, Add. Ms. 31392, ff.
 16v-17.
 8. "A Dumpe" [= "Militis dumpe"],8 for lute. Folger Shakespeare
 Library, Ms.448.16, ff. I2-13v.
 9. "Queene Maries dumpe," for lute. Folger Shakespeare Library, Ms.
 1610.1, f. 1.
 10. "Quene Mariees Dump," for lute. Trinity College, Dublin, William
 Ballet's lute book, pp. 4-5.
 11. "Queen Maries Dumpe," a single bass [viol? ] part. British Museum,
 Add. Ms. 15118, f. 30v.
 I2. "The Irishe Dumpe," for keyboard. Fitzwilliam Virginal Book, p.
 297. Reprinted in the edition by Fuller-Maitland and Barclay Squire
 (Leipzig, 1899), Vol. II, p. 236.
 13. "The Queen of Bohemia's Dumpe,"for keyboard. New York Public
 Library, Drexel Ms. 5609, p. 122.
 14. "J. W. Dumpe," for keyboard. Ibid., p. 156.
 15. "An Irish Dump,"an instrumental tune. Printed in Smollet Holden's A
 Collection of Old Established Irish Slow and Quick Tunes (Dublin, ca.
 1806-07). Reprinted in Grove's Dictionary of Music and Musicians, 3rd
 ed. (New York, 1938), Vol. II, p. 109.
 __

 From: lute-...@cs.dartmouth.edu  on behalf
 of G. C. 
 Sent: Thursday, February 23, 2017 5:24 PM
 To: Lex van Sante
 Cc: lute mailing list list
 Subject: [LUTE] Re: My Lady Careys Dompe

 Yes, I'm unfortunately most probably mistaken with that fast and
 unchecked remark, as my only source was:
 [1]https://www.youtube.com/watch?v=mh-xLdCy_-Q
 and we all know how trustworthy that media is. Silly of me. Checked
 McFeely and found a few unspesified dumps in Marsh but none
 specific.
 Sorry, for probably being mistaken by wrong attributions!
 G.
 On Thu, Feb 23, 2017 at 6:14 PM, Lex van Sante
 <[2]lvansa...@gmail.com>
 wrote:
 @ G.C.
 I have tried to find it in Marsh a long time ago but to no avail.
 On which page can I find it?
 Lex
 > Op 22 feb. 2017, om 12:08 heeft Ron Andrico
 <[3]praelu...@hotmail.com> het volgende geschreven:
 >
 > Sterling:
 >
 > The piece is available in tablature from the Lute Society in
 a
 > tablature supplement circa 2000. Contact Chris Goodwin,
 since
 I
 > believe he made the arrangement.
 >
 > RA
 >
 
 __
 >
 > From: [4]lute-...@cs.dartmouth.edu
 <[5]lute-...@cs.dartmouth.edu> on behalf
 > of sterling price <[6]spiffys84...@cs.dartmouth.edu>
 > Sent: Wednesday, February 22, 2017 4:05 AM
 > To: Lute List
 > Subject: [LUTE] My Lady Careys Dompe
 >
 > Hi all--
 > I am looking for My Lady Careys Dompe as played by Paul
 O'Dette on
 > the
 > Royal Lewters cd. Gathering from the liner notes I think
 it
 is
 > Paul's
 > arrangement of the harpsichord version. Any ideas?
 > Thanks--
 > Sterling
 > --
 > To get on or off this list see list information at
 > [1][7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 > [2]Frequently Asked Technical Questions about the lute mail
 list
 > [8]www.cs.dartmouth.edu
 > Frequently Asked Technical Questions about the lute mail list.
 getting
 > on and off the list; How do I get on the lute mail list? How do
 I
 get
 > off the lute mail list?
 >
 > --
 >
 > References
 >
 > 1. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 > 2. [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
 >
 --
 References
 1. [1]https://www.youtube.com/watch?v=mh-xLdCy_-Q
 [2][th?id=OVP.R4nnhORIVeucnzOxuYCYrwEsCopid=Api]
 [3]MY LADY CAREY'S DUMP (Marsh Lutebook)
 www.youtube.com
 Dump (anglais) : Genre instrumental anglais pour luth ou clavier en
 vogue dans la seconde moitié du XVIème siècle. A l'instar du " dump "
 littéraire, le " dump ...
 2. [4]mailto:lvansa...@gmail.com
 3. [5]mailto:praelu...@hotmail.com
 4. 

[LUTE] Re: My Lady Careys Dompe

[AJN]

Hello Sterling,

The harpsichord version is readily available as No. 103 in Apel and Davison, 
_**Historical Anthology of Music**_ 
(the famous "HAM" to countless generations of music history students). Widely 
available in most libraries.

Also see John Ward's article "The 'Dolfull Domps'" in _**JAMS**_ 4 (1951): 
111-21. Ward's description doesn't seem 
to meet the fresh character of the "Lady Carey's Dompe." Today we are familiar 
with a similar term, e.g., "I've been in 
the dumps all week." 

It's such a famous, attractive piece, surely there must be a tablature 
arrangement around somewhere. --ajn


===
On 02/21/17, sterling price wrote:

 Hi all--
 I am looking for My Lady Careys Dompe as played by Paul O'Dette on the
 Royal Lewters cd. Gathering from the liner notes I think it is Paul's
 arrangement of the harpsichord version. Any ideas?
 Thanks--
 Sterling

 --


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Source for Le Berceau Canarie

[AJN]

David, To put it another way, ...

 As I tried to explain, the Pruni�res manuscript was NEVER in Prague. In the 
method for baroque lute that you own the author misread "Pa Pruni�res" without 
looking up the correct reading of the abbreviation in the critical apparatus in 
the front of the _*Oeuvres des Dubuts*_ collected edition (1979). 


We all need to take better care in watching for such matters. They can often 
cause great confusion, as you discovered in this instance. Others often want to 
seek a score for a piece on a CD, or the score itself for a performance of the 
same work. 


Your author guessed that "Pa" meant "Prague Archive," as in the library sigla 
he cited, <<<>>> "Pa 
Pruni�res" means Paris Pruni�res "Bibl. particuliere" [=private library] of 
Henry Pruni�res (d. 1942). Afterwards ("puis") the ms 

was acquired by Genevi�ve Thibault, Comtesse de Chambure (d. 1975). She 
bequeathed her entire collection of rare early prints and manuscripts to the 
Biblioth�que nationale in Paris (B. N.). Her collection of early musical 
instruments went to the Conservatoire. 

But her heirs sued to keep the books in the family. 


As I recall the litigation seemed to last forever, and as a compromise the 
Biblioth�que nationale gave up some of Thibault's prints and manuscripts 
already in their possession. The library retained much of the collection, 
including the "Pa Pruni�res Ms." 


 While the collection was in limbo during the litigation it could be described 
as you quote in the paragraph directly above Matthew's signature, a temporary 
shelf description: 

 Paris, B.N., [=Paris, Bibliot�que nationale]
aut. Bibl. particuliere Prunieres, 
puis Bibl. G. Thibault de Chambure (v. 1712). "Fantaisies et Praeludes... (par) 
Mr Weiss a Rome". 


AFTER the litigation ended, the manuscript officially joined the B.N. 
collection and was given the shelf number R�s Vmc 61. That's (to answer your 
question) how the ms got from Prague to R�s Vmc 61. 


As for books the family retained, they show up every now and then on the music 
antiquarian market. Mdme. Thibault, truly a "Grand Dame" and a generous one in 
sharing her valuable collection of rare books. She permitted me to use an 
important _*unica,*_ from her collection, the 1548 Casteliono 

*Libro Secondo*_ for the HUP Francesco edition. It contains what is surely 
Francsco's most mature works. I sent her a copy of the Francesco edition with 
an inscription expressing my gratitude for her kindness. The family kept it, 
and later our fellow Lute List reader Wie Wolf purchased that 

very same copy with my inscription from an antiquarian dealer in Berlin. 


The family also retained a copy of Dowland's Third Book of Ayres. A few years 
ago I saw it, identified as from the Thibault collection, being offered for 
sale by music antiquarian dealer for $35,000. It didn't sell apparently, and a 
few years later the dealer offered it "marked down" to the bargain price of 
$15,000. 

Rare books do not a good investment make. Thanks for the question, David. We 
all learned from it. Arthur.
-
On 12/19/16, Matthew Daillie wrote:

On 19/12/2016 19:47, David Smith wrote:
> Where is it documented that CZ-Pa Ms. Prunières became F-Pn Rés. Vmc ms. 61? 
> I have tried to trace this but am not finding it.

The CNRS edition does not give the Vmc ms. 61 reference but for the 
Prunières source states the following:

Paris, B.N., aut. Bibl. particulière Prunières, puis Bibl. G. Thibault 
de Chambure (v. 1712). "Fantaisies et Préludes... (par) Mr Weiss � Rome".

Best

Matthew



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.htmlMdme cc("aut

[LUTE] Re: Source for Le Berceau Canarie

[AJN]

The tablature was brought to the library, but had not yet been cataloged. Mde. 
Thibault had willed her entire collection to the Biblioth�que nationale. Also 
there was a law suit initiated by the Thibault heirs who wanted the scores.
 A compromise was brokered, as I recall.  She had many, many rare books and 
manuscripts. Including a unique Francesco print which she permitted.
me to use in the CE. 
-
On 12/19/16, Matthew Daillie wrote:

On 19/12/2016 19:47, David Smith wrote:
> Where is it documented that CZ-Pa Ms. Prunières became F-Pn Rés. Vmc ms. 61? 
> I have tried to trace this but am not finding it.

The CNRS edition does not give the Vmc ms. 61 reference but for the 
Prunières source states the following:

Paris, B.N., aut. Bibl. particulière Prunières, puis Bibl. G. Thibault 
de Chambure (v. 1712). "Fantaisies et Préludes... (par) Mr Weiss � Rome".

Best

Matthew



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.htmlMdme 

[LUTE] Re: Source for Le Berceau Canarie

[AJN]

 This is an interesting case, perhaps deserving of an extended comment. 


In many collected editions, and other scholarly publications, there may be a 
list of original sources from which the editor drew pieces included in the 
edition or study, often 

cited with an abbreviation. . It is important to look up and use the resolution 
given in the list of source abbreviatons. Guesses don't work. 


David's _*Method*_ cited as source for the piece he sought, "CZ-Pa Ms 
Pruni�res". This is a RISM library sigla for CZ=Czechoslovakia, P=Prague and 
a=archive (the State Archive in Prague--I was there once. It has ONE manuscript 
lute 


tablature with anonymous minuets galore, bourees, polonaises, etc., formerly in 
a Piarist convent.*) 


Consequently I too was puzzled by the reference to Pruni�res in Prague, of all 
places. Henry Pruni�res (d. 1942) was a famous French scholar and bibliophile 
who specialized in 17th century French music. 

His most famous work is a biography and complete edition of the works of Lully 
in TEN volumes. As a bibliophile he also collected original scores, including 
several lute tablatures, which passed through his library 

to the Bibioth�que nationale in Paris. Pa-, pa-, papa-geno? Paris? or Prague?


[OT] Henry enjoys a "special" place in my heart because he made an arrangement 
of Francesco da Milano's Ricercar No. 37 (which is actually by Perino 
Fiorentino, Francesco's student). The arrangement is for "concert grand piano." 

It is so filled with pianistic figurations that when performed it would sound 
like a piece by Franz Liszt himself!! 


Well the "Le Berceus canarie" that David requested appears twice in the 
collected edition of lute music by Dubut father and son, _*Oeuvres des Dubut*_ 
ed. Monique Rollin and Jean-Michel Vaccaro (Paris: CNRS 1979), 

-No. 122 ("Le Berceus, canarie" from ""Pa Pruni�res""** [=F-Pn Vmc ms. 61, 
fol. 47 recto!!!]) AND 

-No. 128 ("Gigue" from ""Pa Barbe"" [=F-Pn Vmb 7, p. 53]), both by Dubut 
P�re. 


"Pa" in the _*Oeuvres*_ stands not for Prague Archive, but Paris, that is, the 
Biblioth�que nationale [=F-Pn}. PAY ATTENTION TO ABBREVIATIONS, they're all 
over the place in our repertory. And can be confused, as in this 

instance by the author of David's _*Method*_


**[Formerly in Pruni�res private library, later in the private library of 
Genevieve Thibault. "Pa Barbe" also went directly from Pruni�res library to the 
Bibl. nationale.

*I'll leave for later the use of minuets in monasteries and convents, e.g., at 
Melk. From behind that round window from which music often sounded.
 
--
On 12/19/16, Matthew Daillie wrote:

On 19/12/2016 19:47, David Smith wrote:
> Where is it documented that CZ-Pa Ms. Prunières became F-Pn Rés. Vmc ms. 61? 
> I have tried to trace this but am not finding it.

The CNRS edition does not give the Vmc ms. 61 reference but for the 
Prunières source states the following:

Paris, B.N., aut. Bibl. particulière Prunières, puis Bibl. G. Thibault 
de Chambure (v. 1712). "Fantaisies et Préludes... (par) Mr Weiss � Rome".

Best

Matthew



To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.htmlmanuscrip

[LUTE] Re: chanson

[AJN]

   You're in luck, Martin.  There was a second edition RISM 1536/17:
   _**Canzoni francese di Messer Adriano [Willaert] & de altri . . . Libro
   primo M.D.XXXVI**_ (Venice; O. Scotto)
   No. 9:  S and B only. Copies in Oxford Bodleian and I-Bc.
   Also attributed to Tomas Janequin in DK-Kk MS 1848, p. 419.  (complete
   with all parts)
   I haven't looked for online digital facsimiles of these three books.

   On 11/27/16, AJN<arthurjn...@verizon.net> wrote:

   "Nous [Noz] Bergiers" attr. to Thomas(!) Janequin. Yes, it's No. 9
   (typeset by Andrea Antico)
   Il primo libro de le canzoni franzese (Venice: O. Scotto, 1535).
   Alto and Bass part books in Munich

   [1]http://stimmbuecher.digitale-sammlungen.de/view?id=bsb00082116

   Tenor part book in Univ of Virginia


   [2]http://search.lib.virginia.edu/catalog/uva-lib:1003220
   No Soprano part book, but intabulation by Marco dall'Aquila, pages 56-7
   in Libro Terzo
   (tablature and transcription). Also No. 101 in Francesco edition.
   [3]https://www.dropbox.com/sh/a52ltolwwdr5esy/AAC8A2gFZuEczZu7aVX3w3E4a
   ?dl=0


   On 11/27/16, adS<R[4]ainer.aus-dem-spr...@gmx.de> wrote:

   This one?
   [5]http://www.europeana.eu/portal/en/record/9200386/BibliographicResour
   ce_345467579.html?q=libro+de+le+canzoni+franzese
   On 27.11.2016 16:40, Martin Shepherd wrote:
   > Dear Collective Wisdom,
   >
   > Can anyone provide me with a copy of the chanson "Nous Bergiers" -
   no.9 in "Il
   > primo libro de le canzoni franzese" [sic] published by Scotto in
   Venice in 1535
   > (RISM 1535(8))?
   >
   > I don't have access to a library, and can't find it online.
   >
   > Thanks for any and all assistance.
   >
   > Martin
   >
   >
   >
   > ---
   > This email has been checked for viruses by Avast antivirus software.
   > [6]https://www.avast.com/antivirus
   >
   >
   >
   > To get on or off this list see list information at
   > [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >

References

   1. http://stimmbuecher.digitale-sammlungen.de/view?id=bsb00082116
   2. http://search.lib.virginia.edu/catalog/uva-lib:1003220
   3. https://www.dropbox.com/sh/a52ltolwwdr5esy/AAC8A2gFZuEczZu7aVX3w3E4a?dl=0
   4. mailto:ainer.aus-dem-spr...@gmx.de
   5. 
http://www.europeana.eu/portal/en/record/9200386/BibliographicResource_345467579.html?q=libro+de+le+canzoni+franzese
   6. https://www.avast.com/antivirus
   7. http://www.cs.dartmouth.edu/

[LUTE] Re: chanson

[AJN]

   "Nous [Noz] Bergiers" attr. to Thomas(!) Janequin. Yes, it's No. 9
   (typeset by Andrea Antico)
   Il primo libro de le canzoni franzese (Venice: O. Scotto, 1535).
   Alto and Bass part books in Munich

   [1]http://stimmbuecher.digitale-sammlungen.de/view?id=bsb00082116

   Tenor part book in Univ of Virginia


   [2]http://search.lib.virginia.edu/catalog/uva-lib:1003220
   No Soprano part book, but intabulation by Marco dall'Aquila, pages 56-7
   in Libro Terzo
   (tablature and transcription). Also No. 101 in Francesco edition.
   [3]https://www.dropbox.com/sh/a52ltolwwdr5esy/AAC8A2gFZuEczZu7aVX3w3E4a
   ?dl=0


   On 11/27/16, adS wrote:

   This one?
   [5]http://www.europeana.eu/portal/en/record/9200386/BibliographicResour
   ce_345467579.html?q=libro+de+le+canzoni+franzese
   On 27.11.2016 16:40, Martin Shepherd wrote:
   > Dear Collective Wisdom,
   >
   > Can anyone provide me with a copy of the chanson "Nous Bergiers" -
   no.9 in "Il
   > primo libro de le canzoni franzese" [sic] published by Scotto in
   Venice in 1535
   > (RISM 1535(8))?
   >
   > I don't have access to a library, and can't find it online.
   >
   > Thanks for any and all assistance.
   >
   > Martin
   >
   >
   >
   > ---
   > This email has been checked for viruses by Avast antivirus software.
   > [6]https://www.avast.com/antivirus
   >
   >
   >
   > To get on or off this list see list information at
   > [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >

References

   1. http://stimmbuecher.digitale-sammlungen.de/view?id=bsb00082116
   2. http://search.lib.virginia.edu/catalog/uva-lib:1003220
   3. https://www.dropbox.com/sh/a52ltolwwdr5esy/AAC8A2gFZuEczZu7aVX3w3E4a?dl=0
   4. mailto:ainer.aus-dem-spr...@gmx.de
   5. 
http://www.europeana.eu/portal/en/record/9200386/BibliographicResource_345467579.html?q=libro+de+le+canzoni+franzese
   6. https://www.avast.com/antivirus
   7. http://www.cs.dartmouth.edu/

[LUTE] Re: Dalla Casa in pdf?

[AJN]

   Here are some resources for locating online digital facsimiles.
   Bringmann cites

   a digital copy of dalla Casa's Regole with an attached volume of
   sonatas.

   Sources Manuscrites en Tablature Indexes(SMT)

   [1]http://w1.bnu.fr/smt/index.htm


   Russian Lute & Guitar Site   (links)

   [2]http://www.lute.ru/manuscript_eng/


   Bringmann Links

   [3]http://www.jobringmann.de/facsimile-links


   Lute Society of America: Digital facsimile links

   [4]http://lutesocietyofamerica.org/Tab-Facsimiles

   Paul Kieffer's Lute Library
   [5]http://www.lutelibrary.com/

   On 11/17/16, David van Ooijen<[6]davidvanooi...@gmail.com> wrote:

   Dear Collected Wisdom
   I have the SPES edition of the Filippo Dalla Casa MS. A friend of mine
   is looking for a pdf. I could scan, but perhaps there is a digital
   version floating around somewhere?
   Any leads appreciated, on his - and my scanner's - behalf.
   David
   ***
   David van Ooijen
   [1][7]davidvanooi...@gmail.com
   [2][8]www.davidvanooijen.nl
   ***
   --
   References
   1. [9]mailto:davidvanooi...@gmail.com
   2. [10]http://www.davidvanooijen.nl/
   To get on or off this list see list information at
   [11]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. http://w1.bnu.fr/smt/index.htm
   2. http://www.lute.ru/manuscript_eng/
   3. http://www.jobringmann.de/facsimile-links
   4. http://lutesocietyofamerica.org/Tab-Facsimiles
   5. http://www.lutelibrary.com/
   6. mailto:davidvanooi...@gmail.com
   7. mailto:davidvanooi...@gmail.com
   8. http://www.davidvanooijen.nl/
   9. mailto:davidvanooi...@gmail.com
  10. http://www.davidvanooijen.nl/
  11. http://www.cs.dartmouth.edu/

[LUTE] Re: Poulton #73 [was] dedillo

[AJN]

   Dear Ron,
   Nice to hear from you, and thank you for further explanation. I was
   surprised with your reference to "many pieces." Perhaps it's more like
   "some pieces."
   I'll comment below.


   On 10/30/16, Ron Andrico<[1]praelu...@hotmail.com> wrote:

   Hello Arthur:
   As you know, attributing music of questionable origin to a well-know
   composer, rightly or wrongly, can make things difficult for those of us
   who strive to untangle received ideas. Apparently, Josquin became a
   much less prolific composer after the New Josquin Edition was
   completed.
   <> It's useful to understand that the music of Josquin and
   Francesco continued to be copied and printed for nearly a century after
   their deaths.   It is unfortunate that Victor Coehlo is of the belief
   that attributions to Francesco first appearing in the sources after
   about 1540 were composed by an amanuensis, a "lute virtuoso from the
   hills of Tuscany." In Victor's opinion, the lutenist composed pieces in
   Francesco's style and attributed them falsely in an effort to enhance
   Francesco's posthumous fame.  This is far-fetched since there are so
   few examples of such practice, usually undertaken for pecuniary
   interests, e.g., publishing Pleyel string quartets under the name of
   Haydn to increase their saleability.  Likewise with Galilei's
   "Francesco" ricerars which seem to be improvisations on Francesco-like
   musical motives. Or simply a mistaken identity, as Ruggiero Chiesa's
   No. LVIII below.  And literally tons of lute music has disappeared with
   the sands of time, so the singular pieces appearing late in the century
   are not as lonely as they appear today..
   As for examples in the music of Francesco, in Arthur Ness, _The Lute
   Music of Francesco Canova da Milano_, Harvard University Press,
   Cambridge, MA, 1970, your N. 11 was wrongly attributed to Francesco,
   and I think I recall that you have changed your mind and credited Marco
   Dal l'Aquila with the piece.
   <> Yes, I knew too few pieces by Marco back then.  No. 11 has the
   "Marco signature motive" in several places: last note bar 4: (ii: 0 /
   -- 0 iii: 4 2)  = [d / dot d c# b]. (I suspect that the publisher of
   "sine datum" needed a ricercar in D and didn't have one by Francesco
   and used this one by Marco).  Also No. 45 based on the Calata alla
   Spagnola is surely by Marco as well.  That sine datum  print dates from
   before 1533 because it is the source a piece in Gerle's 1533 print.
   In Appendix D of your work, one can find
   several examples of questionable attribution.
   <> That's why they're in the appendix.
   Then there are several
   pieces in the Siena ms. that Martin Shepherd thinks may be by
   Francesco, and I agree with some of his suggestions.
   <> I think his suggestions are excellent choices. Of course adding
   pieces on stylistic features alone would have been especially dangerous
   back then, especially due to the uneven bibliographical control over
   the sources, a problem which we still face (albeit to a lesser extent).
   Respectable twentieth-century scholars have attributed a few works to
   Francesco. Ruggerio Chiesa thought the fantasia found in the Bottegari
   ms. and elsewhere was by Francesco.
   <> Chiesa's No. LVIII.  There are two or three sources for that
   fantasia, one is attributed to "d'Incerto" in the source.  It's rather
   proper 3-voice 16th century counterpoint, but hardly in Francesco's
   style.  The rhythm is  rather square.  I don't recall who first
   attributed the work to Francesco.
   <>There is another misattributed work in Chiesa's edition (not in
   the HUP edition).  No. LIX from Paris, Rés 429, fol. 135: "Recercar de
   F.M."  Chiesa and others misread the J for F.  The "J" has a line
   though the stem and looks like an "F".  It is by "JM," Julio da Modena
   (Segni), No. XI in Colin Slim's edition of Musica Nova.
   And Daniel Heartz made a case for
   the first prelude in Attaignant as another piece by Francesco, which
   was reinforced in the footnote 9 on page 3 of your Introduction:
   "Daniel Heartz argues convincingly that Francesco's music was known to
   France at least a decade before the visit to Nice. The first prelude
   in Pierre Attaignant's _Tres breve et familiere introduction (Paris,
   1529) shows unmistakable features of Francesco's style, as Professor
   Heartz points out in a comparison of the prelude with Fantasia No. 24
   (see Heartz's _Preludes, chansons and dances for lute [Neuilly-sur
   Seine, 1964], pp. xv-xvii). It is significant that this prelude also
   appears in the "Siena Lute Book" (fol. 17-17v) in an eminently better
   version than published by Attaignant. See Figs. 6 and 7."
   <> Yes, it's included in facsimile of the Siena pages as 

[LUTE] Re: Poulton #73 [was] dedillo

[AJN]

   Ron Andrico wrote:
   "There seems to
   be a tendency to attribute unascribed music to known composers simply
   because a given piece is good. This is certainly the case with many
   pieces attributed to Francesco da Milano."
   I am unaware of any pieces attributed to Francesco that are
   unascribed in sources.
   Can you provide some examples?

   On 09/29/16, Ron Andrico wrote:

   From the archives...
   __
   From: Ron Andrico <[1]praelu...@hotmail.com>
   Sent: Sunday, November 4, 2007 10:38 AM
   To: Are Vidar Boye Hansen; G.R. Crona
   Cc: [2]lute@cs.dartmouth.edu
   Subject: RE: [LUTE] Re: Poulton #73 [was] dedillo
   Dear Are:
   Diana Poulton attributed the piece (with reservation) to Dowland based
   on the fact that it contains several of Dowland's typical devices; the
   ascending scale passages with a repeated first note, and several
   tonic/dominant repetitions with inversions. The piece also appears in
   the manuscript (D9) following another fantasia more securely attributed
   to Dowland (Poulton #6). I have to agree with you that Poulton #73
   doesn't necessarily sound like Dowland, and the fact that the piece
   really needs reconstruction does not help the matter. There seems to
   be a tendency to attribute unascribed music to known composers simply
   because a given piece is good. This is certainly the case with many
   pieces attributed to Francesco da Milano.
   Best wishes,
   Ron Andrico
   [1][3]http://www.mignarda.com
   > Date: Sat, 3 Nov 2007 23:28:35 +0100
   > To: [4]kale...@c2i.net
   > CC: [5]lute@cs.dartmouth.edu
   > From: [6]ar...@student.matnat.uio.no
   > Subject: [LUTE] Re: Poulton #73 [was] dedillo
   > Does any of you know why this piece is attributed to Dowland? It is a
   > great piece, but to me it doesn't sound like a Dowland piece...
   >
   >
   > Are
   __
   Boo! Scare away worms, viruses and so much more! Try Windows Live
   OneCare! [2]Try now!
   --
   References
   1. [7]http://www.mignarda.com/
   2.
   [8]http://onecare.live.com/standard/en-us/purchase/trial.aspx?s_cid=wl_
   hotmailnews
   To get on or off this list see list information at
   [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:praelu...@hotmail.com
   2. mailto:lute@cs.dartmouth.edu
   3. http://www.mignarda.com/
   4. mailto:kale...@c2i.net
   5. mailto:lute@cs.dartmouth.edu
   6. mailto:ar...@student.matnat.uio.no
   7. http://www.mignarda.com/
   8. 
http://onecare.live.com/standard/en-us/purchase/trial.aspx?s_cid=wl_hotmailnews
   9. http://www.cs.dartmouth.edu/

[LUTE] Re: Creating a short score from pdf full score

[AJN]

   Martyn,
   Be sure to let us know what happens with DTOe and MuseScore!


   On 10/06/16, MJ Hodgson<mjhodg...@hotmail.co.uk> wrote:

   Thanks to all for thheir kind help. It seems there is no easy answer
   but that MUSESCORE2 might be suitable - but only if the original was
   created digitally in the first place - also other issues. Some of the
   scores I'm looking at currently are the Biber mass settings in the old
   (but still quite good) editions in the series [1]Denkmäler der
   Tonkunst in Ãsterreich
   I guess from what is being said that these wouldn't work with MUSESCORE
   - but I'll certainly give it a whirl!
   Many thanks
   Martyn
 __

   From: AJN <[2]arthurjn...@verizon.net>
   Sent: 05 October 2016 19:15
   To: [3]r...@mh-freiburg.de; [4]hodgsonmar...@yahoo.co.uk
   Cc: [5]mjhodg...@hotmail.co.uk; [6]bruno.l...@gmail.com;
   [7]tiorbin...@gmail.com; [8]davidvanooi...@gmail.com;
   [9]lute@cs.dartmouth.edu; [10]arthurjn...@verizon.net
   Subject: Re: Re: Re: Creating a short score from pdf full score

   I think it was MuseScore that the Italian publisher used from my *.PDF
   input file.  It worked very well.  And was probably very easy.


   On 10/05/16, Ralf Mattes<[11]r...@mh-freiburg.de> wrote:

   Am Mittwoch, 05. Oktober 2016 16:54 CEST, Martyn Hodgson
   <[12]hodgsonmar...@cs.dartmouth.edu> schrieb:
   > Thank you Arthur.
   > In fact chatting to an IT person earlier today they suggested GIMP
   > which seems to be much used for art work etc but they thought might
   > also be useful to move blocks of musical systems around. I've
   > downloaded it (it's free!) but the operation of the software isn't
   > obvious so I'll have to find precious time to understand it - unless
   my
   > son (now a Seattle resident) can explain it all to me when I next
   chat
   > with him...
   Please, don't use Gimp. It's a marvelous program, but not meant for
   that kind
   of job (and your "IT-person" should know ...) Gimp works on raster
   images
   only and will convert a pdf to a (set of) raster images. At that point
   you work with
   pixel data which will most likely look rather disapointing when printed
   at
   a different resolution.
   > Incidentally, Finale does have a free 'Notepad' version but this
   seems
   > very limited and unable (I think) to do the sort of cut and paste I
   had
   > in mind.
   Before you investigate further in Finale (a piece of crap IMHO) you
   might
   want to have a look at MuseScore ([13]https://musescore.org) - that'll
   probably
   give you more than you ever need, and the latest versions have pretty
   good
   support for lute tab.
   > Previously I've simply run off a photocopy and by using some
   > large paper shears and glue made a physical paste up - but the 160+;
   > pages of the mass rather put me off this traditional technique -
   hence
   > the search for a digital alternative.
   The digital version of that would be to import our pdf into a vector
   drawing
   program (Adobe Illustrator, Inkscape etc.) but the quality of that
   import
   depends on the program that generated the pdf.
   Unfortunately, the only convincing path to solve your problem is to use
   the
   same program as the original typesetter (if you can get the original
   digital version,
   NO the pdf). Otherwise, a good pair of scissors IS an astonishingly
   effective tool :-)
   Cheers, Ralf Mattes
   > regards
   > Martyn
   >
   To get on or off this list see list information at
   [14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. http://imslp.org/wiki/Denkmäler_der_Tonkunst_in_Österreich
   2. mailto:arthurjn...@verizon.net
   3. mailto:r...@mh-freiburg.de
   4. mailto:hodgsonmar...@yahoo.co.uk
   5. mailto:mjhodg...@hotmail.co.uk
   6. mailto:bruno.l...@gmail.com
   7. mailto:tiorbin...@gmail.com
   8. mailto:davidvanooi...@gmail.com
   9. mailto:lute@cs.dartmouth.edu
  10. mailto:arthurjn...@verizon.net
  11. mailto:r...@mh-freiburg.de
  12. mailto:hodgsonmar...@cs.dartmouth.edu
  13. https://musescore.org/
  14. http://www.cs.dartmouth.edu/

[LUTE] Re: Creating a short score from pdf full score

[AJN]

   I think it was MuseScore that the Italian publisher used from my *.PDF
   input file.  It worked very well.  And was probably very easy.


   On 10/05/16, Ralf Mattes<[1]r...@mh-freiburg.de> wrote:

   Am Mittwoch, 05. Oktober 2016 16:54 CEST, Martyn Hodgson
   <[2]hodgsonmar...@cs.dartmouth.edu> schrieb:
   > Thank you Arthur.
   > In fact chatting to an IT person earlier today they suggested GIMP
   > which seems to be much used for art work etc but they thought might
   > also be useful to move blocks of musical systems around. I've
   > downloaded it (it's free!) but the operation of the software isn't
   > obvious so I'll have to find precious time to understand it - unless
   my
   > son (now a Seattle resident) can explain it all to me when I next
   chat
   > with him...
   Please, don't use Gimp. It's a marvelous program, but not meant for
   that kind
   of job (and your "IT-person" should know ...) Gimp works on raster
   images
   only and will convert a pdf to a (set of) raster images. At that point
   you work with
   pixel data which will most likely look rather disapointing when printed
   at
   a different resolution.
   > Incidentally, Finale does have a free 'Notepad' version but this
   seems
   > very limited and unable (I think) to do the sort of cut and paste I
   had
   > in mind.
   Before you investigate further in Finale (a piece of crap IMHO) you
   might
   want to have a look at MuseScore ([3]https://musescore.org) - that'll
   probably
   give you more than you ever need, and the latest versions have pretty
   good
   support for lute tab.
   > Previously I've simply run off a photocopy and by using some
   > large paper shears and glue made a physical paste up - but the 160+
   > pages of the mass rather put me off this traditional technique -
   hence
   > the search for a digital alternative.
   The digital version of that would be to import our pdf into a vector
   drawing
   program (Adobe Illustrator, Inkscape etc.) but the quality of that
   import
   depends on the program that generated the pdf.
   Unfortunately, the only convincing path to solve your problem is to use
   the
   same program as the original typesetter (if you can get the original
   digital version,
   NO the pdf). Otherwise, a good pair of scissors IS an astonishingly
   effective tool :-)
   Cheers, Ralf Mattes
   > regards
   > Martyn
   >
   To get on or off this list see list information at
   [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:r...@mh-freiburg.de
   2. mailto:hodgsonmar...@cs.dartmouth.edu
   3. https://musescore.org/
   4. http://www.cs.dartmouth.edu/

[LUTE] Re: Creating a short score from pdf full score

[AJN]

   You might start with one of the OMR (Optical Music Recognition)
   programs.  I've never used this process, but a publisher
   did reformat a page that I submitted in *.pdf format.  He downloaded
   the resulting file into a music notation program
   and re-edited it.
   See [1]http://www.music-notation.info/en/compmus/omr.html
   Do let us know how you solved the problem you presented us.  It might
   be useful for others.



   On 10/05/16, MJ Hodgson<[2]mjhodg...@hotmail.co.uk> wrote:

   Thanks Bruno - sounds like a good idea.
   I don't have Finale on my PC but will search for a, hopefully, free
   version.
   Martyn
   __
   From: Bruno Figueiredo <[3]bruno.l...@gmail.com>
   Sent: 04 October 2016 16:13
   To: Martyn Hodgson
   Subject: Re: [LUTE] Re: Creating a short score from pdf full score
   Dear Martyn,
   Another solution would be to import a pdf using the Finale program. The
   file will be converted to Finale and you will be able to do anything
   with it.
   Regards.
   2016-10-04 4:57 GMT-03:00 Martyn Hodgson
   <[1][4]hodgsonmar...@yahoo.co.uk>:
   Dear David and Bruno,
   Many thanks for this.
   I've looked at Partifi now: it seems mostly to have been designed to
   produce individual parts from a full score although there does seem to
   be the facility to combine some. But the need to have to label every
   line and specify a part on every single page might make the whole thing
   a bit labourious for what I wish to do. eg a 165 page full score with
   up to 30 independent parts/lines to cut and paste into a short score of
   just four principal lines would seem to take a long time to achieve -
   unless I've missed some easier facility within Partifi.
   But many thanks
   Martyn
   __
   From: David van Ooijen <[2][5]davidvanooi...@gmail.com>
   To: MJ Hodgson <[3][6]mjhodg...@hotmail.co.uk>
   Cc: Lute NET <[4][7]lute@cs.dartmouth.edu>
   Sent: Monday, 3 October 2016, 15:18
   Subject: [LUTE] Re: Creating a short score from pdf full score
   My mistake. Here's the correct link
   [1][5][8]http://partifi.org/
   David
   On Monday, 3 October 2016, David van Ooijen
   <[2][6][9]davidvanooi...@gmail.com> wrote:
   Partify com or org, don't know).
   On Monday, 3 October 2016, MJ Hodgson
   <[1][3][7][10]mjhodg...@hotmail.co.uk>
   wrote:
   I'd be grateful for advice on the best (free) software for
   creating a
   new short score from an existing pdf full score. What I
   mean is
   being
   able to copy two or three principal lines and the bass onto
   a new
   pdf page of, say, a 30 part mass which already exists as
   a pdf
   .
   I presume there's some where one can scroll over a line,
   copy it
   and
   paste onto a new pdf and so, by digitally cutting and
   pasting,
   create a
   new short score more useful to a theorbo player who finds
   dealing
   with
   page turns every few bars not really practicable (unlike
   keyboard
   where
   the right hand can turn).
   MH
   --
   To get on or off this list see list information at
   [2][4][8][11]http://www.cs.dartmouth.
   edu/~wbc/lute-admin/index.html
   --
   ***
   David van Ooijen
   [3][5][9][12]davidvanooi...@gmail.com
   [4][6][10][13]www.davidvanooijen.nl
   ***
   --
   References
   1. mailto:[7][11][14]mjhodg...@hotmail.co.uk
   2. [8][12][15]http://www.cs.dartmouth.
   edu/~wbc/lute-admin/index.html
   3. mailto:[9][13][16]davidvanooi...@gmail.com
   4. [10][14][17]http://www.davidvanooijen.nl/
   --
   ***
   David van Ooijen
   [11][15][18]davidvanooi...@gmail.com
   [12][16][19]www.davidvanooijen.nl
   ***
   --
   References
   1. [17][20]http://partifi.org/
   2. mailto:[18][21]davidvanooi...@gmail.com
   3. javascript:;
   4. [19][22]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   5. javascript:;
   6. [20][23]http://www.davidvanooijen.nl/
   7. javascript:;
   8. [21][24]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. javascript:;
   10. [22][25]http://www.davidvanooijen.nl/
   11. mailto:[23][26]davidvanooi...@gmail.com
   12. [24][27]http://www.davidvanooijen.nl/
   --
   Bruno Figueiredo
   Pesquisador autà ´nomo da prà ¡tica e interpretaà §Ã £o
   historicamente informada no alaà ºde e teorba.
   Doutor em Prà ¡ticas Interpretativas pela
   Universidade Federal do Estado do Rio de Janeiro.
   --
   References
   1. [28]mailto:hodgsonmar...@yahoo.co.uk
   2. [29]mailto:davidvanooi...@gmail.com
   3. [30]mailto:mjhodg...@hotmail.co.uk
   4. [31]mailto:lute@cs.dartmouth.edu
   5. [32]http://partifi.org/
   6. [33]mailto:davidvanooi...@gmail.com
   7. [34]mailto:mjhodg...@hotmail.co.uk
   8. [35]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. [36]mailto:davidvanooi...@gmail.com
   10. [37]http://www.davidvanooijen.nl/
 

[LUTE] Re: lute repair Washington DC area

[AJN]

   Fret tying:
   [1]https://lutesocietyofamerica.wildapricot.org/Beginner-Videos
   Some basic information on the instrument:
   [2]http://lutesocietyofamerica.org/resources/Documents/Beginners%20Guid
   e%20Final.pdf

   The LSA webpages are being filled with spiffy guides and other
   informstion
   On 09/22/16, sterling price<[3]spiffys84...@cs.dartmouth.edu> wrote:

   Umm---why don't you just tighten the frets yourself? That's a very
   basic thing every lute player should know how to do. Its like being
   able to tie your shoes as a kid--
   SP
   __
   From: John Mardinly <[4]john.mardi...@asu.edu>
   To: "[5]cyndi...@netscape.net" <[6]cyndi...@netscape.net>
   Cc: "[7]lute@cs.dartmouth.edu" <[8]lute@cs.dartmouth.edu>
   Sent: Thursday, September 22, 2016 1:49 PM
   Subject: [LUTE] Re: lute repair Washington DC area
   I had my lute undergo extensive restoration last year by Mel Wong.
   [1][1][9]http://www.blackbirdstringarts.com/about/
   Just ship by UPS. Mel says he has never had a problem shipping by
   UPS.
   A. John Mardinly, Ph.D., P.E.
   Retired Principal Materials Nanoanalysis Engineer
   EMail: [2][2][10]john.mardi...@asu.edu
   Cell: [3]408-921-3253 (does not work in TEM labs)
   But don't call the labI won't be there!
   On Sep 22, 2016, at 12:24 PM, [4][3][11]cyndi...@netscape.net wrote:
   Hello
   I have an 8 course Yamaha lute, about 30 years old. Have not been
   able
   to play it lately because frets are loose, strings won't stay on
   etc.
   I
   would like it to have professional attention.
   I have called around. Not many folks around here have repaired
   lutes.
   They would have to send it out.
   Recommendations?
   Thanks
   Cyndi
   --
   To get on or off this list see list information at
   [5][4][12]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.da
   rtmo
   uth
   .edu_-7Ewbc_lute-2Dadmin_index.html=CwIBAg=AGbYxfJbXK67KfXyGqyv2Eji
   z41FqQuZFk4A-1IxfAU=MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ=-kR
   VCUm4cgxgX1PlnVcuqgpczedUeEYrWQ6MzLXbE2Y=XCdz7Lc5ORbh2jgwRIEPaDLMkbmX
   uiPzBFq_MPf5sU8=
   References
   1. [5][13]http://www.blackbirdstringarts.com/about/
   2. mailto:[6][14]john.mardi...@asu.edu
   3. tel:408-921-3253
   4. mailto:[7][15]cyndi...@netscape.net
   5.
   [8][16]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartm
   outh
   .edu_-7Ewbc_lute-2Dadmin_index.html=CwIBAg=AGbYxfJbXK67KfXyGqyv2Eji
   z41FqQuZFk4A-1IxfAU=MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ=-kR
   VCUm4cgxgX1PlnVcuqgpczedUeEYrWQ6MzLXbE2Y=XCdz7Lc5ORbh2jgwRIEPaDLMkbmX
   uiPzBFq_MPf5sU8=
   --
   References
   1. [17]http://www.blackbirdstringarts.com/about/
   2. [18]mailto:john.mardi...@asu.edu
   3. [19]mailto:cyndi...@netscape.net
   4.
   [20]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmout
   h
   5. [21]http://www.blackbirdstringarts.com/about/
   6. [22]mailto:john.mardi...@asu.edu
   7. [23]mailto:cyndi...@netscape.net
   8.
   [24]https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmout
   h.edu_-7Ewbc_lute-2Dadmin_index.html=CwIBAg=AGbYxfJbXK67KfXyGqyv2Ej
   iz41FqQuZFk4A-1IxfAU=MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ=-k
   RVCUm4cgxgX1PlnVcuqgpczedUeEYrWQ6MzLXbE2Y=XCdz7Lc5ORbh2jgwRIEPaDLMkbm
   XuiPzBFq_MPf5sU8=

References

   1. https://lutesocietyofamerica.wildapricot.org/Beginner-Videos
   2. 
http://lutesocietyofamerica.org/resources/Documents/Beginners%20Guide%20Final.pdf%C2%A0
   3. mailto:spiffys84...@cs.dartmouth.edu
   4. mailto:john.mardi...@asu.edu
   5. mailto:cyndi...@netscape.net
   6. mailto:cyndi...@netscape.net
   7. mailto:lute@cs.dartmouth.edu
   8. mailto:lute@cs.dartmouth.edu
   9. http://www.blackbirdstringarts.com/about/
  10. mailto:john.mardi...@asu.edu
  11. mailto:cyndi...@netscape.net
  12. https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmo
  13. http://www.blackbirdstringarts.com/about/
  14. mailto:john.mardi...@asu.edu
  15. mailto:cyndi...@netscape.net
  16. https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth
  17. http://www.blackbirdstringarts.com/about/
  18. mailto:john.mardi...@asu.edu
  19. mailto:cyndi...@netscape.net
  20. https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth
  21. http://www.blackbirdstringarts.com/about/
  22. mailto:john.mardi...@asu.edu
  23. mailto:cyndi...@netscape.net
  24. 
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.cs.dartmouth.edu_-7Ewbc_lute-2Dadmin_index.html=CwIBAg=AGbYxfJbXK67KfXyGqyv2Ejiz41FqQuZFk4A-1IxfAU=MAuGvnWTcVQkxORgQD0QS50ZicPM3Nw-61ygSK-LNEQ=-kRVCUm4cgxgX1PlnVcuqgpczedUeEYrWQ6MzLXbE2Y=XCdz7Lc5ORbh2jgwRIEPaDLMkbmXuiPzBFq_MPf5sU8=

[BAROQUE-LUTE] Re: Biechteler

[AJN]

   Thanks or the information, Markus.  I did see some atttribution to
   "Matt" Biechteler.
   Placide Marie Pichler was a Benedtine friar, famed organist and
   composer of sacred vocal music.  He was born, as you
   suggested, rather late--in 1722.  Some of the Pichler ensembles can be
   dated positively before 1731, so they
   could hardly be by Placide.  I need to find my notes and will write
   more tomorrow. Pichler is a real problem.
   And the variety of spellings makes for more difficulties.  E.g., BA
   1/4chler.  Sometimes BA 1/4chler on the cover, and
   Pichler on the parts.


   On 08/30/16, Markus Lutz<[1]mar...@gmlutz.de> wrote:

   I also was very astonished about the title of the mail.
   Biechteler is Matthias Sigismund Biechteler of Greiffenthal (about
   1668-1743), who was the successor of Biber in Salzburg and played the
   lute. But I don't think there is a piece by him in MS Egerton 2046.
   There are some in A-WAP:s ms. 120 and PL-Kj ms. mus. 40620.
   Furthermore he seems to have been involved in A-KR78.
   Pichler still is a mistery. For sure he cannot be identified with
   Placide Marie Pichler - he is much too late and it is never said that
   he
   played the lute.
   Best regards
   Markus
   Am 30.08.2016 um 21:53 schrieb AJN:
   > The thread is titled "Biechteler." Which piece(s) listed below are by
   > B.? And do you know who he is? Pichler?
   >
   >
   > On 08/30/16, Fischer BE (Aon)<[1][2]fischer...@aon.at> wrote:
   >
   > Dear Friends,
   > Some years ago I was reading through the original tabulature
   manuscript
   > MS Egerton 2046 ("Jane Pickering Lute Book") in the British Library,
   > London. This manuscript is know as one of the finest sources of the
   > English lute repertory, because it contains more than 80 renaissance
   > lute pieces from composers such as Dowland, Rosseter, Bacheler and
   > Johnson.
   > However, the great surprise at least for me was that in the middle of
   > the book varying writers have added - partially in an
   > upside-down-orientation in the manuscript - early baroque lute music
   > from French and English composers. To make it even more attractive,
   > these pieces in French Tabulature are for lutes in various Accords
   > Nouveaux tunings. To play these pieces I had to re-string and re-tune
   > my baroque lute to one of the early baroque lute tunings know today
   as
   > Accords Nouveaux.
   > I have now completed my amateur home recording of some pieces in the
   > socalled "Tuning Gautier" as presented in the manuscript. This
   "Tuning
   > Gautier" corresponds to the Goy 2a tuning of
   > fis',d',h,g,d,A,G,Fis,E,D,C. Apparently, this tuning makes reference
   to
   > the French lutenist Jacques Gautier who was in England from 1617
   until
   > about 1640.
   > I hope there are experts around (such as Andreas Schlegel) explaining
   > us more in detail the "Accords Nouveaux Story".
   > The 11ch lute I play is from Renatus Lechner, Bremen, Germany.
   > I look forward to your critical comments to following pieces:
   > Coranto Gautier [1][2][3]https://youtu.be/xE42_U5SFIM
   > Galliard; [2][3][4]https://youtu.be/jJpIcQs9PSY
   > Horn-Pipe; [3][4][5]https://youtu.be/euZ9PKlZPeY
   > Besse Bell; [4][5][6]https://youtu.be/3iByegE0krM
   > Coranto: [5][6][7]https://youtu.be/_4rmvpGQB7k
   > Country Dance: [6][7][8]https://youtu.be/iPZ78tA6Ad0
   > Courante: [7][8][9]https://youtu.be/omgegijOEqk
   > Best regards,
   > Bernhard, Vienna.
   > --
   > References
   > 1. [9][10]https://youtu.be/xE42_U5SFIM
   > 2. [10][11]https://youtu.be/jJpIcQs9PSY
   > 3. [11][12]https://youtu.be/euZ9PKlZPeY
   > 4. [12][13]https://youtu.be/3iByegE0krM
   > 5. [13][14]https://youtu.be/_4rmvpGQB7k
   > 6. [14][15]https://youtu.be/iPZ78tA6Ad0
   > 7. [15][16]https://youtu.be/omgegijOEqk
   > To get on or off this list see list information at
   > [16][17]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   > References
   >
   > 1. [18]mailto:fischer...@aon.at
   > 2. [19]https://youtu.be/xE42_U5SFIM
   > 3. [20]https://youtu.be/jJpIcQs9PSY
   > 4. [21]https://youtu.be/euZ9PKlZPeY
   > 5. [22]https://youtu.be/3iByegE0krM
   > 6. [23]https://youtu.be/_4rmvpGQB7k
   > 7. [24]https://youtu.be/iPZ78tA6Ad0
   > 8. [25]https://youtu.be/omgegijOEqk
   > 9. [26]https://youtu.be/xE42_U5SFIM
   > 10. [27]https://youtu.be/jJpIcQs9PSY
   > 11. [28]https://youtu.be/euZ9PKlZPeY
   > 12. [29]https://youtu.be/3iByegE0krM
   > 13. [30]https://youtu.be/_4rmvpGQB7k
   > 14. [31]https://youtu.be/iPZ78tA6Ad0
   > 15. [32]https://youtu.be/omgegijOEqk
   > 16. [33]http://www.cs.dartmouth.edu/
   >
   --
   Markus Lutz
   SchulstraAe 11
   88422 Bad Buchau
   Tel 0 75 82

[BAROQUE-LUTE] Re: Biechteler

[AJN]

   The thread is titled "Biechteler."  Which piece(s) listed below are by
   B.? And do you know who he is?   Pichler?


   On 08/30/16, Fischer BE (Aon)<[1]fischer...@aon.at> wrote:

   Dear Friends,
   Some years ago I was reading through the original tabulature manuscript
   MS Egerton 2046 ("Jane Pickering Lute Book") in the British Library,
   London. This manuscript is know as one of the finest sources of the
   English lute repertory, because it contains more than 80 renaissance
   lute pieces from composers such as Dowland, Rosseter, Bacheler and
   Johnson.
   However, the great surprise at least for me was that in the middle of
   the book varying writers have added - partially in an
   upside-down-orientation in the manuscript - early baroque lute music
   from French and English composers. To make it even more attractive,
   these pieces in French Tabulature are for lutes in various Accords
   Nouveaux tunings. To play these pieces I had to re-string and re-tune
   my baroque lute to one of the early baroque lute tunings know today as
   Accords Nouveaux.
   I have now completed my amateur home recording of some pieces in the
   socalled "Tuning Gautier" as presented in the manuscript. This "Tuning
   Gautier" corresponds to the Goy 2a tuning of
   fis',d',h,g,d,A,G,Fis,E,D,C. Apparently, this tuning makes reference to
   the French lutenist Jacques Gautier who was in England from 1617 until
   about 1640.
   I hope there are experts around (such as Andreas Schlegel) explaining
   us more in detail the "Accords Nouveaux Story".
   The 11ch lute I play is from Renatus Lechner, Bremen, Germany.
   I look forward to your critical comments to following pieces:
   Coranto Gautier [1][2]https://youtu.be/xE42_U5SFIM
   Galliard; [2][3]https://youtu.be/jJpIcQs9PSY
   Horn-Pipe; [3][4]https://youtu.be/euZ9PKlZPeY
   Besse Bell; [4][5]https://youtu.be/3iByegE0krM
   Coranto: [5][6]https://youtu.be/_4rmvpGQB7k
   Country Dance: [6][7]https://youtu.be/iPZ78tA6Ad0
   Courante: [7][8]https://youtu.be/omgegijOEqk
   Best regards,
   Bernhard, Vienna.
   --
   References
   1. [9]https://youtu.be/xE42_U5SFIM
   2. [10]https://youtu.be/jJpIcQs9PSY
   3. [11]https://youtu.be/euZ9PKlZPeY
   4. [12]https://youtu.be/3iByegE0krM
   5. [13]https://youtu.be/_4rmvpGQB7k
   6. [14]https://youtu.be/iPZ78tA6Ad0
   7. [15]https://youtu.be/omgegijOEqk
   To get on or off this list see list information at
   [16]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:fischer...@aon.at
   2. https://youtu.be/xE42_U5SFIM
   3. https://youtu.be/jJpIcQs9PSY
   4. https://youtu.be/euZ9PKlZPeY
   5. https://youtu.be/3iByegE0krM
   6. https://youtu.be/_4rmvpGQB7k
   7. https://youtu.be/iPZ78tA6Ad0
   8. https://youtu.be/omgegijOEqk
   9. https://youtu.be/xE42_U5SFIM
  10. https://youtu.be/jJpIcQs9PSY
  11. https://youtu.be/euZ9PKlZPeY
  12. https://youtu.be/3iByegE0krM
  13. https://youtu.be/_4rmvpGQB7k
  14. https://youtu.be/iPZ78tA6Ad0
  15. https://youtu.be/omgegijOEqk
  16. http://www.cs.dartmouth.edu/

[LUTE] Re: Danzig 4022

[AJN]

The edition with BP pieces attributed to B. Pekiel was published and
   withdrawn in the 1930s.  It should not be confused with Tomsinka's
   recent Tree Edition.


   On 08/15/16, AJN<[1]arthurjn...@verizon.net> wrote:

   Magdalena Tomsinka edited the Tree Edition facsimile published by
   Albert Reyermann. It has 222 pieces.
   On 08/15/16, Ron Andrico<[2]praelu...@hotmail.com> wrote:
   As I understand, Albert Reyermann paid for the scan, and as I know,
   Magdalena is a working musician. Buy the book.
   __
   From: [1][3]lute-...@cs.dartmouth.edu <[2][4]lute-...@cs.dartmouth.edu>
   on
   behalf
   of Daniel Shoskes <[3][5]kidneykut...@gmail.com>
   Sent: Monday, August 15, 2016 11:08 AM
   To: Lute List
   Subject: [LUTE] Danzig 4022
   Dear Collective Wisdom: I have grown so accustomed to easy access to
   catalogues and concordances in the baroque lute world thanks to Peter
   Steur's excellent website that when I have a Ren Ms to query I feel
   lost. Specifically, is there a catalogue of the contents of the Danzig
   4022 which I have been reading through as I enjoy my new 10 course?
   Lovely music, a couple of recent fine recordings and many tunes that
   sound familiar though marked anon. Was even surprised to find a version
   of the Piccinini Sarabande I just recently made a video of.
   So generally, is there a Ren lute manuscript resource similar to the
   Baroque site and specifically, does such a listing exist for the Danzig
   4022
   Thanks in advance
   Danny
   To get on or off this list see list information at
   [1][4][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   [2]Frequently Asked Technical Questions about the lute mail list
   [5][7]www.cs.dartmouth.edu
   Frequently Asked Technical Questions about the lute mail list. getting
   on and off the list; How do I get on the lute mail list? How do I get
   off the lute mail list?
   --
   References
   1. [6][8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   2. [7][9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   References
   1. [10]mailto:lute-...@cs.dartmouth.edu
   2. [11]mailto:lute-...@cs.dartmouth.edu
   3. [12]mailto:kidneykut...@gmail.com
   4. [13]http://www.cs.dartmouth.edu/
   5. [14]http://www.cs.dartmouth.edu/
   6. [15]http://www.cs.dartmouth.edu/
   7. [16]http://www.cs.dartmouth.edu/

References

   1. mailto:arthurjn...@verizon.net
   2. mailto:praelu...@hotmail.com
   3. mailto:lute-...@cs.dartmouth.edu
   4. mailto:lute-...@cs.dartmouth.edu
   5. mailto:kidneykut...@gmail.com
   6. http://www.cs.dartmouth.edu/
   7. http://www.cs.dartmouth.edu/
   8. http://www.cs.dartmouth.edu/
   9. http://www.cs.dartmouth.edu/
  10. mailto:lute-...@cs.dartmouth.edu
  11. mailto:lute-...@cs.dartmouth.edu
  12. mailto:kidneykut...@gmail.com
  13. http://www.cs.dartmouth.edu/
  14. http://www.cs.dartmouth.edu/
  15. http://www.cs.dartmouth.edu/
  16. http://www.cs.dartmouth.edu/

[LUTE] Re: Danzig 4022

[AJN]

   Magdalena Tomsinka edited the Tree Edition facsimile published by
   Albert Reyermann.  It has 222 pieces.


   On 08/15/16, Ron Andrico wrote:

   As I understand, Albert Reyermann paid for the scan, and as I know,
   Magdalena is a working musician. Buy the book.
   __
   From: [1]lute-...@cs.dartmouth.edu <[2]lute-...@cs.dartmouth.edu> on
   behalf
   of Daniel Shoskes <[3]kidneykut...@gmail.com>
   Sent: Monday, August 15, 2016 11:08 AM
   To: Lute List
   Subject: [LUTE] Danzig 4022
   Dear Collective Wisdom: I have grown so accustomed to easy access to
   catalogues and concordances in the baroque lute world thanks to Peter
   Steur's excellent website that when I have a Ren Ms to query I feel
   lost. Specifically, is there a catalogue of the contents of the Danzig
   4022 which I have been reading through as I enjoy my new 10 course?
   Lovely music, a couple of recent fine recordings and many tunes that
   sound familiar though marked anon. Was even surprised to find a version
   of the Piccinini Sarabande I just recently made a video of.
   So generally, is there a Ren lute manuscript resource similar to the
   Baroque site and specifically, does such a listing exist for the Danzig
   4022
   Thanks in advance
   Danny
   To get on or off this list see list information at
   [1][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   [2]Frequently Asked Technical Questions about the lute mail list
   [5]www.cs.dartmouth.edu
   Frequently Asked Technical Questions about the lute mail list. getting
   on and off the list; How do I get on the lute mail list? How do I get
   off the lute mail list?
   --
   References
   1. [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   2. [7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:lute-...@cs.dartmouth.edu
   2. mailto:lute-...@cs.dartmouth.edu
   3. mailto:kidneykut...@gmail.com
   4. http://www.cs.dartmouth.edu/
   5. http://www.cs.dartmouth.edu/
   6. http://www.cs.dartmouth.edu/
   7. http://www.cs.dartmouth.edu/

[LUTE] Re: Danzig 4022

[AJN]

   I should add that Magdalene Tomsinka also gives the Ms 4022 folio
   numbers for each piece on her CD.
   That may assist you when playing from the facsimile.
   The contents include the notorious attr. to P.B. which resulted in a
   whole volume of lute music by
   Bartholomeo Pekiel, a deserving master Polish composer.  Listen to some
   of his monumental Gabrieli-inspired grand polychoral works.
   Of course B.P, stands for Balletto Polacho, as the dances are properly
   identified on this CD. The "Pekiel" lute edition,
   which was transcribed using the Schrade method, was withdrawn.  Pekiel
   would have been 5 years old when that manuscript was copied.


   On 08/15/16, AJN<[1]arthurjn...@verizon.net> wrote:

   Also 32 pieces from Berlin/Gdansk 4022 recorded by Magdalena Tomsinska
   (A Danzig native, now in Canada)
   DUX 1150 "Pieces from the Gdansk Lute Tablature 4022." Beautiful
   playing, Magdalena!!
   On 08/15/16, Bernd Haegemann<[2]b...@symbol4.de> wrote:
   On 15.08.2016 14:22, Matthew Daillie wrote:
   > On 15/08/2016 13:08, Daniel Shoskes wrote:
   >> Dear Collective Wisdom: I have grown so accustomed to easy access to
   >> catalogues and concordances in the baroque lute world thanks to
   Peter
   >> SteurA-c- s excellent website that when I have a Ren Ms to query I
   feel
   >> lost. Specifically, is there a catalogue of the contents of the
   >> Danzig 4022 which I have been reading through as I enjoy my new 10
   >> course?
   Another tool:
   [1][3]http://www.cs.dartmouth.edu/~lsa/links/Digital-Facsimiles.html
   There are some pieces from Berlin 4022 on this fine recording by Michal
   Gondko:
   [2][4]https://www.outhere-music.com/en/albums/polonica-musique-a-connot
   ati
   on-polonaise-autour-de-1600-ram-1406
   best wishes
   B
   To get on or off this list see list information at
   [3][5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   References
   1. [6]http://www.cs.dartmouth.edu/
   2.
   [7]https://www.outhere-music.com/en/albums/polonica-musique-a-connotati
   on-polonaise-autour-de-1600-ram-1406
   3. [8]http://www.cs.dartmouth.edu/

References

   1. mailto:arthurjn...@verizon.net
   2. mailto:b...@symbol4.de
   3. http://www.cs.dartmouth.edu/
   4. https://www.outhere-music.com/en/albums/polonica-musique-a-connotati
   5. http://www.cs.dartmouth.edu/
   6. http://www.cs.dartmouth.edu/
   7. 
https://www.outhere-music.com/en/albums/polonica-musique-a-connotation-polonaise-autour-de-1600-ram-1406
   8. http://www.cs.dartmouth.edu/

[LUTE] Re: Danzig 4022

[AJN]

   Also 32 pieces from Berlin/Gdansk 4022 recorded by Magdalena Tomsinska
   (A Danzig native, now in Canada)
   DUX 1150 "Pieces from the Gdansk Lute Tablature 4022."  Beautiful
   playing, Magdalena!!


   On 08/15/16, Bernd Haegemann wrote:

   On 15.08.2016 14:22, Matthew Daillie wrote:
   > On 15/08/2016 13:08, Daniel Shoskes wrote:
   >> Dear Collective Wisdom: I have grown so accustomed to easy access to
   >> catalogues and concordances in the baroque lute world thanks to
   Peter
   >> SteurA-c- s excellent website that when I have a Ren Ms to query I
   feel
   >> lost. Specifically, is there a catalogue of the contents of the
   >> Danzig 4022 which I have been reading through as I enjoy my new 10
   >> course?
   Another tool:
   [1]http://www.cs.dartmouth.edu/~lsa/links/Digital-Facsimiles.html
   There are some pieces from Berlin 4022 on this fine recording by Michal
   Gondko:
   [2]https://www.outhere-music.com/en/albums/polonica-musique-a-connotati
   on-polonaise-autour-de-1600-ram-1406
   best wishes
   B
   To get on or off this list see list information at
   [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. http://www.cs.dartmouth.edu/
   2. 
https://www.outhere-music.com/en/albums/polonica-musique-a-connotation-polonaise-autour-de-1600-ram-1406
   3. http://www.cs.dartmouth.edu/

[LUTE] Re: Io non compro la speranza

[AJN]

   In Sarge's facsimile of Bossinensis, vol. 1, the frottola is on folio
   34-34v.  (the titles is ". . . piA^1 speranza"; ". . . la speranza" is
   part of the title of a previous piece.)  Perhaps Sarge can include the
   titles of vols. 1 & 2 from Brown's __Instrumental Music printed before
   1600__.  (BrownI1509/1  BrownI1511/1).

   It will take some practice to catch the shifting meter of the frottola
   as evident in this piece.
   On 07/17/16, Matthew Daillie wrote:

   It's in the Libro Primo of Bossinensis (xxx). You can find the
   facsimile online here:
   [1]http://www.gerbode.net/facsimiles/bossinensis/tenori_e_contrabassi_v
   1_1509/
   Best
   Matthew
   > On Jul 17, 2016, at 16:37, LSA Lute Rental Program
   <[2]lsaluteren...@gmail.com> wrote:
   >
   > Does anyone have tab for Marchetto Cara's Io non compro la speranza?
   > Thanks,
   > Michael
   >
   > --
   >
   >
   > To get on or off this list see list information at
   > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. 
http://www.gerbode.net/facsimiles/bossinensis/tenori_e_contrabassi_v1_1509/
   2. mailto:lsaluteren...@gmail.com
   3. http://www.cs.dartmouth.edu/

[LUTE] Sorry Re: Respighi and Lute Sources

[AJN]

   Sorry my post didn't make it through very well.  I have also downloaded
   it to Dan Shoske's Lute Network.
   http://lutegroup.ning.com/
   The layout there is closer to what I intended.  I think the problem is
   with my Verizon eMail processor.
   ajn.


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Respighi and Lute Sources

[AJN]

   Dear Andreas Schlegel,   (rev. 6/26)
   Prego,


   All of Respighi's pieces were orchestrated from various transcriptions
   from lute tablature by Oscar Chilesotti.  As you requested.

   here are the originals from which O.C. worked.  His transcriptions are
   also cited.  I wonder if Paul played from the tablature

   or the transcriptions.  His first CD was from the Chilesotti Codice
   Lauten-Buch.

   ===


   The Original Sources for Respighi's  Antiche Arie e Danse per Liuto


   Arthur J. Ness (2013)


 I. Suite  (1917)


   1. Simon Molinaro, "Ballo detto il Conte
   Orlande,"  Intavolatura di lauto ... Libro Primo  (Venice: Amadino,
   1599; Rpt. Florence, SPES,1978), p. 8.

   Respighi does not use the"Saltarello del preditto ballo" as
   the contrasting middle piece, but rather repeats the ballo in the minor
   mode (BalloMajor/BalloMinor/BalloMajor).

   Lautenspieler,* p. 139.


   2a.   Vincenzo Galilei,"Polymnia Gagliarda,"  Libro d'intavolatura
   di leuto (1584),  Florence, Biblioteca nazionale centrale, Fondo
   anteriori a Galilei 6 (Facs. Florence, SPES, 1992), p. 189.


   2b.   The "Italiana" from the  Lauten-Buch,*  No. 59, alternates
   (Polymnia/Italiana/Polymnia) with the Gagliarda, but is not by Galilei,
   as some have claimed in cheap guitar editions.

   The pieces were conceived 820 km apart. The piece is a
   Dudelsack, the ostinato represents the drone and the top line, the
   chanter. Several similar pieces in Fuhrmann's tablature.


   3. Villanella: "Orlando fa'che ti recordi,"  Lauten-Buch,  No.
   50.  One of the most beautiful pieces of the Renaissance.


   4. Passamezzo bonissimo, Lauten-Buch,  No. 24 (continued as No.
   66).


   5. Mascherada (Trommeten Tanz), Lauten-Buch,  No. 43.


   II. Suite (1923)


   1. Fabritio Caroso,"Laura suave: Balletto con Gagliarda,
   Saltarello e Canario,"  NobilitA  di Dames  (Venice, 1600, 1605; Rpt
   Bologna, Forni, 1970), p. 111.

   In Chilesotti, ed., Danze del secolo XVI (Milan 1884?;
   Forni 1969), pp. 22-5.


   2. Jean-Baptiste Besard, "Bransles de Village" for lute duet
   from  Novus Partus: Isagoge  (Augsburg, 1617; Rpt Geneva: Minkoff,
   1983). Lautenspieler, 220


   3. Incertis autoris. "Campagnae Parisiesis," Besard 1617.
   Lautenspieler, 226.


   4. Antoine BoA<

[LUTE] Re: Red string

[AJN]

   That's a nice read, Martyn.  Thanks for posting it. I recall some of it
   from a lecture he gave several years ago.  He can talk non-stop
   for hours about gut strings.


   On 05/29/16, Martyn Hodgson<hodgsonmar...@yahoo.co.uk> wrote:

   I'd heard a similar story some years ago but then the culprit was
   mercuric oxide (also dangerous and absorbable through the skin) which
   is also red/brown.
   Peruffo mentioned it when he was researching his concept of loaded
   strings - effectively reducing the diameter for the same mass p. u.
   length to favour more upper harmonics. The same brilliant
   characteristic may, as you say, also be the reason for thinner, but
   still as tense, violin first strings.
   Peruffo's pdf here contains some good pics of lutes with coloured
   strings - mostly red.
   [1][1]http://ricerche.aquilacorde.com/wp-content/uploads/liuto-en.pdf
   MH
   __
   From: AJN <[2]arthurjn...@verizon.net>
   To: [3]sauvag...@orange.fr; [4]lutesm...@gmail.com;
   [5]lute@cs.dartmouth.edu
   Cc: [6]ckolczyn...@bpl.org
   Sent: Sunday, 29 May 2016, 14:26
   Subject: [LUTE] Re: Red string
   It has been many years (20 +++) since I heard an explanation about
   the
   red strings. It was (iirc) from a person at an agriculture college
   up
   in
   New Brunswick. He apparently had been researching the history of gut
   strings.
   The red ones were loaded with arsenic (!!!). A top string loaded with
   arsenic might be comparable to the modern violin's
   metal e-string. To produce a brilliant sound. Musical string
   research
   is difficult because the
   makers didn't want to reveal trade secrets. And would you buy a
   string
   with arsenic? As I recall the most detailed explanation of musical
   string manufacture
   is in Diderot's encyclopedia. Here's a
   picture:
   [1][2][7]http://quod.lib.umich.edu/d/did/did.0001.398/--gut-stri
   ng-maker?rgn=main;view=fulltext
   The following video just explains the mechanics. Mimmo Peruffo is
   the
   proprietor of Aquila strings. He must have seen the Diderot drawing.
   He started when he found some string making machinery in an old barn.
   You can see the Mimmo's old winding machines here:
   [2][3][8]https://www.youtube.com/watch?feature=player_embedded=wRQq_0
   VM1
   10
   On 05/28/16, Valery SAUVAGE<[3][4][9]sauvag...@orange.fr> wrote:
   If you look at "l'homme au luth" (Rubens ? Troyes museum St Loup)
   you can see some strings are red too, and not only basses... (but I
   have no asnwer about it, copper loading is understandable for bass
   strings but treble ?)
   [4][5][10]http://lavie-enchampagne.com/pdf/numero75/numero75.pdf
   (perhaps you can find a better photo of the painting ?)
   ValA(c)ry
   > Message du 28/05/16 16:46
   > De : "Sean Smith" <[5][6][11]lutesm...@gmail.com>
   > A : "lute list" <[6][7][12]lute@cs.dartmouth.edu>
   > Copie A :
   > Objet : [LUTE] Red string
   >
   >
   > Good morning all,
   >
   > I was impressed this painting:
   >
   [7][8][13]http://www.fondationcustodia.fr/ununiversintime/1_meester_van
   _de_
   jar
   en_veertig_4494.cfm
   >
   > I appreciate that the artist was very attentive so I started
   zooming around with the magnifier. I noticed that while the spacing
   is unrealistic the top string was red. I hadn't heard about this
   from our modern string revivalists so I'm curious. What do you think
   it might be?
   >
   > Sean
   >
   >
   >
   > To get on or off this list see list information at
   > [8][9][14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   --
   References
   1.
   [10][15]http://quod.lib.umich.edu/d/did/did.0001.398/--gut-string-m
   aker
   ?rgn=main;view=fulltext
   2.
   [11][16]https://www.youtube.com/watch?feature=player_embedded=wRQq_0V
   M110
   3. mailto:[12][17]sauvag...@orange.fr
   4. [13][18]http://lavie-enchampagne.com/pdf/numero75/numero75.pdf
   5. mailto:[14][19]lutesm...@gmail.com
   6. mailto:[15][20]lute@cs.dartmouth.edu
   7.
   [16][21]http://www.fondationcustodia.fr/ununiversintime/1_meester_van_d
   e_ja
   r
   8. [17][22]http://www.cs.dartmouth.edu/
   --
   References
   1. [23]http://ricerche.aquilacorde.com/wp-content/uploads/liuto-en.pdf
   2. [24]http://quod.lib.umich.edu/d/did/did.0001.398/--gut-stri
   3.
   [25]https://www.youtube.com/watch?feature=player_embedded=wRQq_0VM110
   4. [26]mailto:sauvag...@orange.fr
   5. [27]http://lavie-enchampagne.com/pdf/numero75/numero75.pdf
   6. [28]mailto:lutesm...@gmail.com
   7. [29]mailto:lute@cs.dartmouth.edu
   8.
   [30]http://www.fondationcustodia.fr/ununiversintime/1_meester_van_de_ja
   r
   9. [31]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   10.
   [32]http://quod.lib.umich.edu/d/did/did.0001.398/--gut-string-maker
   ?rgn=main;view=fulltext
   11

[LUTE] Re: Red string

[AJN]

It has been many years (20 +++) since I heard an explanation about the
   red strings.  It was (iirc) from a person at an agriculture college up
   in
   New Brunswick.  He apparently had been researching the history of gut
   strings.
   The red ones were loaded with arsenic (!!!). A top string loaded with
   arsenic might be comparable to the modern violin's
   metal e-string.  To produce a brilliant sound.  Musical string research
   is difficult because the
   makers didn't want to reveal trade secrets. And would you buy a string
   with arsenic?  As I recall the most detailed explanation of musical
   string manufacture
   is in Diderot's encyclopedia.  Here's a
   picture: [1]http://quod.lib.umich.edu/d/did/did.0001.398/--gut-stri
   ng-maker?rgn=main;view=fulltext
   The following video just explains the mechanics.  Mimmo Peruffo is the
   proprietor of Aquila strings. He must have seen the Diderot drawing.
   He started when he found some string making machinery in an old barn.
   You can see the Mimmo's old winding machines here:
   [2]https://www.youtube.com/watch?feature=player_embedded=wRQq_0VM110



   On 05/28/16, Valery SAUVAGE<[3]sauvag...@orange.fr> wrote:

   If you look at "l'homme au luth" (Rubens ? Troyes museum St Loup)
   you can see some strings are red too, and not only basses... (but I
   have no asnwer about it, copper loading is understandable for bass
   strings but treble ?)
   [4]http://lavie-enchampagne.com/pdf/numero75/numero75.pdf
   (perhaps you can find a better photo of the painting ?)
   ValA(c)ry
   > Message du 28/05/16 16:46
   > De : "Sean Smith" <[5]lutesm...@gmail.com>
   > A : "lute list" <[6]lute@cs.dartmouth.edu>
   > Copie A :
   > Objet : [LUTE] Red string
   >
   >
   > Good morning all,
   >
   > I was impressed this painting:
   >
   [7]http://www.fondationcustodia.fr/ununiversintime/1_meester_van_de_jar
   en_veertig_4494.cfm
   >
   > I appreciate that the artist was very attentive so I started
   zooming around with the magnifier. I noticed that while the spacing
   is unrealistic the top string was red. I hadn't heard about this
   from our modern string revivalists so I'm curious. What do you think
   it might be?
   >
   > Sean
   >
   >
   >
   > To get on or off this list see list information at
   > [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   --

References

   1. 
http://quod.lib.umich.edu/d/did/did.0001.398/--gut-string-maker?rgn=main;view=fulltext
   2. https://www.youtube.com/watch?feature=player_embedded=wRQq_0VM110
   3. mailto:sauvag...@orange.fr
   4. http://lavie-enchampagne.com/pdf/numero75/numero75.pdf
   5. mailto:lutesm...@gmail.com
   6. mailto:lute@cs.dartmouth.edu
   7. http://www.fondationcustodia.fr/ununiversintime/1_meester_van_de_jar
   8. http://www.cs.dartmouth.edu/

[LUTE] Re: Haydn on lute?

[AJN]

   I didn't know about a composer search function for your Baroque
   Manuscript inventories.  How does one access it?
   I use the composer index online with SMT, and it does not cover
   everything.
   I couldn't find it this morning.  Of course, so many thanks for your
   wonderful index!!!


   On 05/20/16, Peter Steur wrote:

   --Boundary-00=_7GXGF823L3J4G6G0
   Content-Type: Text/Plain;
   charset="iso-8859-1"
   Content-Transfer-Encoding: quoted-printable
   Hi Arto,
   remember my database (mss.slweiss.de)? It has a search function for
   composer
   as well ...
   Give it a try and I'm sure you'll find what you need ! (And it will
   confirm
   Stephan's info).
   Peter
   ---Messaggio originale---
   Da: Arto Wikla
   Data: 20/05/2016 00:03:02
   A: lutelist Net
   Oggetto: [LUTE] Haydn on lute?
   Dear fellow lutenists.
   there is some chamber music to lute by Haydn. I just cannot find it!
   Any advice or help?
   Arto
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --Boundary-00=_7GXGF823L3J4G6G0
   Content-Type: Text/HTML;
   charset="iso-8859-1"
   Content-Transfer-Encoding: quoted-printable
   
   
   
   v\:* {
   BEHAVIOR: url (#default#vml)
   }
   
   
   
   
   
   
   
   
   
   
   Hi Arto,
   
   remember my database (mss.slweiss.de)? It has a search function
   for composer as well ...
   Give it a try and I'm sure you'll find what you need !(And
   it will confirm Stephan's info).
   
   Peter
   
   
   
   ---Messaggio originale---
   
   
   Da: mailto:wi...@cs.dartmouth.edu;>Arto Wikla
   Data: 20/05/2016
   00:03:02
   A: mailto:Lute@cs.dartmouth.edu;>lutelist Net
   Oggetto: [LUTE]
   Haydn on lute?
   
   Dear fellow lutenists.
   
   there is some chamber music to lute by Haydn. I just cannot find
   it!
   Any advice or help?
   
   Arto
   
   
   
   To get on or off this list see list information at
   http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html;>[5]htt
   p://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=28
   61,201207171420,16,1,1953940358219890687rui=156356875app_test
   _id=0sd=20160520">
   
   
   
   http://www.incredimail.com?id=621161did=10501ppd=286
   1,201207171420,16,1,1953940358219890687">
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=28
   61,201207171420,16,1,1953940358219890687rui=156356875app_test
   _id=0sd=20160520">Animazioni GRATIS per
   la tua e-mail 
   
   
   
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=28
   61,201207171420,16,1,1953940358219890687rui=156356875app_test
   _id=0sd=20160520">
   
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160520">
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160520">
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160520">
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160520" border="0">Fai clic qui! 
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160520">
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160520">
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160520">
   
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160520">
   
   
   
   
   
   
   http://www.incredimail.com/?id=621161did=10501ppd=2
   861,201207171420,16,1,1953940358219890687rui=156356875app_tes
   t_id=0sd=20160520">
   
   
   
   
   
   
   http://www2l.incredimail.com/gcontent/stamps/new2011/pixel.gif
   ?upn=1953940358219890687" width=1 height=1> 
   --Boundary-00=_7GXGF823L3J4G6G0--
   --

References

   1. http://www.cs.dartmouth.edu/
   2. mailto:wi...@cs.dartmouth.edu
   3. mailto:Lute@cs.dartmouth.edu
   4. http://www.cs.dartmouth.edu/
   5. http://www.cs.dartmouth.edu/
   6. 
http://www.incredimail.com/?id=621161did=10501ppd=2861,201207171420,16,1,1953940358219890687rui=156356875app_test_id=0sd=20160520
   7. 
http://www.incredimail.com/?id=621161did=10501ppd=2861,201207171420,16,1,1953940358219890687
   8. 
http://www.incredimail.com/?id=621161did=10501ppd=2861,201207171420,16,1,1953940358219890687rui=156356875app_test_id=0sd=20160520
   9. 

[LUTE] Re: Per illud ave does not match.

[AJN]

   Here is the page in Valdrrabano:
   [1]http://bdh-rd.bne.es/viewer.vm?pid=d-3510057
   And the score (in G tuning a fifth higher than the tablature):
   [2]http://www1.cpdl.org/wiki/images/3/39/Des_Prez-Per_illud_ave.pdf


   On 03/24/16, Ron Andrico<[3]praelu...@hotmail.com> wrote:

   I think it is in fact the same music, just in a different "key" and
   with different rhythmic organization, particularly at the opening. What
   you are seeing in the tablature is a version adapted for plucked
   strings with idiomatic changes in rhythm, a very common characteristic
   of intabulated vocal music. It's actually very interesting to see the
   way intabulators modified the music, for instance in Fuenllana's many
   duos for which we can find vocal scores. I think Fuenllana's adaptation
   of the Benedictus duo from Josquin's Missa Pange lingua is much better
   music than Josquin's original.
   Herbert, I imagine your questions arise in attempting to sort out the
   several points of dissonance in Valderrabano's tablature. The best
   thing you can do to gain an understanding of the piece is transcribe
   the tablature into notation on two staves.
   RA
   
   From: [4]lute-...@cs.dartmouth.edu <[5]lute-...@cs.dartmouth.edu> on
   behalf of Herbert Ward <[6]wa...@physics.utexas.edu>
   Sent: Thursday, March 24, 2016 8:29 PM
   To: [7]lute@cs.dartmouth.edu
   Subject: [LUTE] Per illud ave does not match.
   I appreciate the recent help with "Per illud ave".
   But the piece suggested by the people here in this
   forum does not match the piece in Damiani's book.
   Here is an illustration showing everything:
   [8]https://classwk.pw/Jos_Da_2016_11.gif
   What would be the next step in searching for
   the vocal score?
   -- Herbert
   To get on or off this list see list information at
   [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. http://bdh-rd.bne.es/viewer.vm?pid=d-3510057
   2. http://www1.cpdl.org/wiki/images/3/39/Des_Prez-Per_illud_ave.pdf
   3. mailto:praelu...@hotmail.com
   4. mailto:lute-...@cs.dartmouth.edu
   5. mailto:lute-...@cs.dartmouth.edu
   6. mailto:wa...@physics.utexas.edu
   7. mailto:lute@cs.dartmouth.edu
   8. https://classwk.pw/Jos_Da_2016_11.gif
   9. http://www.cs.dartmouth.edu/

[LUTE] Re: Per illud ave

[AJN]

   There is a tertia pars for Josquin's motet "Benedicta es coelorum
   regina,"---"Nunc Mater." It is perhaps the most popular sacred
   work in the lute repertory. Many years ago I
   counted 22 sources having intabulations of it, and today the number
   would be higher, including pages 60 ("Benedicta")-62 ("Poti Undans" =
   misspelling of "Per illud ave") in  Mus Ms 40032
   (ex-Berlin) now in Cracow.  There is a notation on page 62 "Van
   gelinga," which suggested a Dutch composer to one writer.  But
   interestingly, since such indications are
   so rare in lute sources, it is a rubric for Italian "Vangelo," Gospel.
That is, the piece is appropriate to be played before the Gospel
   reading in the mass.
   Francesco also made two parody ricercars based on "Benedicta", Nos. 82a
   and 82b.


   On 03/20/16, Anton HAP:ger<[1]diwa-animat...@t-online.de> wrote:

   Hi Herbert,
   what you are looking for is the second part from the 6v motet
   "Benedicta tu es coelorum reginaA-c- .
   You must saerch for "Benedicta tu es coelorum reginaA-c-
   I will send it to your Mail address.
   Anton
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:diwa-animat...@t-online.de
   2. http://www.cs.dartmouth.edu/

[LUTE] Re: MERCI! Re: da Milano duet wanted

[AJN]

   Wayne  Cripps' lute list from Dartmouth does not accept attachments.
   Jean-Marie, you could use the Lute List Ning or Lute Society lists.  Or
   send the duet privately.
   This duet is in the recently discovered Castelfranco Lute Book.  For
   many years it was hidden away, and only recently did a facsimile appear
   (2012--Paul O'Dette played a recital announcing the discovery in
   1994!).  During that period the duet was published in an article by the
   editor of the Arnaldo Forni facsimile, Franco Rossi, and then reprinted
   in the Lute News of the Lute Society (UK).  The manuscript was compiled
   by Giovanni Pacoloni, the composer of the famous lute trios.
   Unlike the Canon and Spagna duos, which surely are juvenalia the new
   duet is much in Francesco's familiar style. --Arthur


   On 03/02/16, Charles Mokotoff wrote:

   Attachment didn't come through to the list. Can you send a link?
   > On Mar 2, 2016, at 7:19 AM, "[1]b...@symbol4.de" <[2]b...@symbol4.de>
   wrote:
   >
   > Merci very much, cher Jean-Marie!
   > Amicalement
   > B
   >
   > Gesendet: Mittwoch, 02. Maerz 2016 um 12:55 Uhr
   > Von: "Jean-Marie Poirier" <[3]jmpoiri...@wanadoo.fr>
   > An: "Bernd Haegemann" <[4]b...@symbol4.de>
   > Betreff: Re: [LUTE] Re: da Milano duet wanted
   > Hello Bernd,
   > I suppose you are looking for the attached piece...
   >
   >
   > To get on or off this list see list information at
   > [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:b...@symbol4.de
   2. mailto:b...@symbol4.de
   3. mailto:jmpoiri...@wanadoo.fr
   4. mailto:b...@symbol4.de
   5. http://www.cs.dartmouth.edu/

[BAROQUE-LUTE] Re: Ms 5038 in Norway, ca 1830?

[AJN]

   It might be considered to be a tablature and autograph book of Niels
   Hertzberg.
   The dates (1829-230) all are in the autograph sections (page
   120ff./side 126ff.).
   Modegaard, Malmanger and Ullensvang are among the place names I
   could read by the autograph signatures.
   There are many of these autograph books from former years.  Especially
   compiled by
   university students. Some have tablature pieces and drawings (e.g., of
   students serenading).


   On 01/03/16, G. C. wrote:

   You might be right about that, as the repertory seems extremely old for
   1830. But the book was used also as a guest book, and those dates
   around 1829-30 are mainly to be found there. The front page seems to be
   a description of the lady who owned the book, (perhaps by a descendant,
   after her death), but I have problems reading those.
   --
   To get on or off this list see list information at
   [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. http://www.cs.dartmouth.edu/

[BAROQUE-LUTE] Re: Ms 5038 in Norway, ca 1830?

[AJN]

From: AJN
   Date: Jan 3, 2016 9:19:26 AM
   Subject: Re: [BAROQUE-LUTE] Re: Ms 5038 in Norway, ca 1830?
   To: kalei...@gmail.com, chriswi...@yahoo.com
   Cc: theoj89...@aol.com, baroque-lute@cs.dartmouth.edu

   It might be considered to be a tablature and autograph book of Niels
   Hertzberg.
   The dates (1829-230) all are in the autograph sections (page
   120ff./side 126ff.).
   Modegaard, Malmanger and Ullensvang are among the place names I
   could read by the autograph signatures.
   There are many of these autograph books from former years.  Especially
   compiled by
   university students. Some have tablature pieces and drawings (e.g., of
   students serenading).   --Arthur


   On 01/03/16, G. C.<[1]kalei...@gmail.com> wrote:

   You might be right about that, as the repertory seems extremely old for
   1830. But the book was used also as a guest book, and those dates
   around 1829-30 are mainly to be found there. The front page seems to be
   a description of the lady who owned the book, (perhaps by a descendant,
   after her death), but I have problems reading those.
   --
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:kalei...@gmail.com
   2. http://www.cs.dartmouth.edu/

[LUTE] Re: Capirola lute book

[AJN]

   The original Italian is given (with translation into English) in Otto
   Gombosi's edition (1955, rpt 1983), p. lxxxviii-xc (Italian), xc-xcii
   (English).  Copy at
   Indiana U. of Penn.   Sorry I forgot to send this earlier.  Arthur.


   On 12/06/15, Leonard Williams<[1]arc...@verizon.net> wrote:

   A perhaps silly request: I'm looking for the original Italian text of
   the Capirola book. Yes, I have it in English; and, yes, I have a
   facsimile of the book itself. I would like it in printed Italian for my
   own adventures in that language; Vidal's cinquecento calligraphy is
   not always clear to me. Surprisingly, I couldn't locate it on the
   internet.
   Thanks and regards,
   Leonard Williams
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:arc...@verizon.net
   2. http://www.cs.dartmouth.edu/

[LUTE] Re: Blessed be that Maid Marie (attn. Paul Kieffer)

[AJN]

You need to use McFeely's inventory with GREAT CARE.  The Ballet Ms is
   right there, although you have to look hard to find it.  Hint: upper
   right hand corner under Ms. 408/1.  Also the bibliography.
   Otherwise you wouldn't know what's what.  And I must warn all of you
   about "fascicle manuscripts."  Denys and others have had problems with
   them.  Often, even in the distant past,

   unrelated manuscripts are sometimes bound together.  In the Munich lute
   manuscript, for several centuries, lute music, when it was received,
   was tossed into several envelopes, as sheet music.
   One envelope even somehow included orchestral parts for a 17th century
   ballet, along with the tablatures. In 1868 the sheets were taken out of
   the envelopes and
   bound together, although they were from various places and times. MusMs
   266 has 11 unrelated fascicles dating from ca. 1536 to 1577.
   For Ballet you need to look for Ms. 408/1. The shelf number for the
   Ballet manuscript has changed from Dublin, Trinity College Library, Ms.
   D.1.21 to Ibid., Ms.408/1.
   That's essential information, and McFeely fails to tell us!!
   Ms. D.1.21 formerly encompassed two unrelated manuscripts. It was a
   fascicle manuscript.  Now the second fascicle is Ms. 408/2.   Similarly
   with the Dallis Manuscript.
   I didn't find "Maid Mary," but McFeely says she left out some
   pieces.  That is, McFeely, not Mary.

   On 11/30/15, Wayne
   <<>>
   > William Ballet Lute Book. Here is a link to the book in digital
   > format, from a library in Dublin, of the Ballet Lute Book:
   > [1][1]http://digitalcollections.tcd.ie/content/1297/pdf/1297.pdf
   > I looked through it, and I could not find a piece with this title,
   and
   > it is also not listed in Julia Craig-McFeely's thesis, and she
   doesn't
   > list any piece by that name in any English source. I looked at the
   > pices in the book, and could not find any of the tablatures that seem
   <<>>
   > References
   >
   > 1. [2]http://digitalcollections.tcd.ie/content/1297/pdf/1297.pdf
   >
   >
   > To get on or off this list see list information at
   > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >

References

   1. http://digitalcollections.tcd.ie/content/1297/pdf/1297.pdf
   2. http://digitalcollections.tcd.ie/content/1297/pdf/1297.pdf
   3. http://www.cs.dartmouth.edu/

[LUTE] Re: Another lute picture?

[AJN]

   Dear David,
   Yes, what I was attempting to suggest is that the lute is simply a prop
   and the sitter
   is not actually playing it.  It's there to symbolize something like
   harmonious love.
   And does the left hand position have additional symbolism.  I guess one
   could really make a
   little drama from it.  As I indicated the broken strings which I could
   not see might
   have additional symbolism.  I must agree it doesn't look like an
   original painting by a Dutch master.

Cheers from Boston, Arthur
   On 11/24/15, David Van Edwards<[1]da...@vanedwards.co.uk> wrote:

   Dear Arthur,
   Yes you are probably remembering the excellent 2003 book Picturing Men
   and Women in the Dutch Golden Age by Klaske Muizelaar and Derek
   Phillips, Yale Uni. Press and particularly Michiel van Musscher, A
   Painter in his Studio, 1679, Rotterdam, Historisch Museum and the
   inventory of his atelier which survives in the Gemeente Archives in
   Amsterdam no. NAA 4864, akte 36, folio 81 ev.30 July 1699.
   However I think the painting I discussed was simply copying the prop[s]
   from Eglon van der Neer's works! The physical impossibility of holding
   such a lute in such a position without grossly disturbing the diapason
   strings makes me think that the painting has nothing to do with either
   van der Neer or van der Werff. Plus all the other anachronisms!
   Best wishes,
   David
   At 08:38 -0600 24/11/15, AJN wrote:
   There are paintings of the interiors of artists' studios that
   show
   props used in pictures:
   busts, skulls, ornate chairs, drapes and sometimes (iirc) musical
   instruments. Such
   props are even listed in tax inventories, I understand.
   Art historians have traced some from painting to painting, e.g.,
   an
   ornate three-leg chair.
   Instruments might serve, as perhaps is the case in this painting,
   as symbols of the harmonious nature of love. The over reaction
   of the
   sitters in
   this painting recalls, at least to me, the depictions of various
   emotions illustrated in old treatises on acting. "Hamming it up"
   seems
   to have been part of theatrical performances
   in the past. So, one might argue, this painting may have been
   intended
   as a serious depiction. Ad the angles of the
   two instruments, as Gary notes, may have been foremost in the
   artist's
   plan.
   On the other hand, musicians would surely demand precision in the
   depiction of fingerings, holding the instrument, etc.,
   because their professional competency might otherwise be
   questioned.
   Interesting discovery, David. I must visit your web page more
   frequently. Arthur
   --
   The Smokehouse,
   6 Whitwell Road,
   Norwich, NR1 4HB
   England.
   Telephone: + 44 (0)1603 629899
   Website: [2]http://www.vanedwards.co.uk
   --
   To get on or off this list see list information at
   [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:da...@vanedwards.co.uk
   2. http://www.vanedwards.co.uk/
   3. http://www.cs.dartmouth.edu/

[LUTE] Re: Another lute picture?

[AJN]

   There are paintings of the interiors of artists' studios that show
   props used in pictures:
   busts, skulls, ornate chairs, drapes and sometimes (iirc) musical
   instruments.  Such
   props are even listed in tax inventories, I understand.
   Art historians have traced some from painting to painting, e.g., an
   ornate three-leg chair.
   Instruments might serve, as perhaps is the case in this painting,
   as symbols of the harmonious nature of love.  The over reaction of the
   sitters in
   this painting recalls, at least to me, the depictions of various
   emotions illustrated in old treatises on acting.  "Hamming it up" seems
   to have been part of theatrical performances
   in the past. So, one might argue, this painting may have been intended
   as a serious depiction.  Ad the angles of the
   two instruments, as Gary notes, may have been foremost in the artist's
   plan.
   On the other hand, musicians would surely demand precision in the
   depiction of fingerings, holding the instrument, etc.,
   because their professional competency might otherwise be questioned.
   Interesting discovery, David.  I must visit your web page more
   frequently.  Arthur


   On 11/24/15, Martyn Hodgson<[1]hodgsonmar...@yahoo.co.uk> wrote:

   Very interesting David.
   It may be simply a fashionable couple wanting to be portrayed
   performing but in fact unable to play a note! Perhaps the painter who,
   as you point out, might be thought to have known better was laughing up
   his sleeve...
   Or perhaps, and maybe more likely (the painter might not have wished to
   be later seen to make fools of his rich clients), they had insisted on
   this sort of pose (it certainly looks very stylised especially with the
   young lady's eyes turned to heaven etc) and their insistence overcame
   any scruples the painter may have expressed about depicting them
   actually playing. In short, the very act of posing for the picture was
   the statement rather than the playing of music.
   regards
   Martyn
   __
   From: David Van Edwards <[2]da...@vanedwards.co.uk>
   To: [3]lute@cs.dartmouth.edu
   Sent: Tuesday, 24 November 2015, 10:50
   Subject: [LUTE] Another lute picture?
   Dear All,
   My Lute of the Month series has dwindled to lute of the Year these
   days! It's because I've mainly been writng them for the Lute
   Society's
   newsletter, Lute News, now it has a nice full colour cover.
   But here is the latest, as it were more public, example up on the web
   at
   [1][4]http://www.vanedwards.co.uk/month/Nov%2015/month.htm
   I hope you find it fun! As usual please email me any corrections or
   comments
   Best wishes,
   David
   --
   The Smokehouse,
   6 Whitwell Road,
   Norwich, NR1 4HB
   England.
   Telephone: + 44 (0)1603 629899
   Website: [2][5]http://www.vanedwards.co.uk
   --
   To get on or off this list see list information at
   [3][6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --
   References
   1. [7]http://www.vanedwards.co.uk/month/Nov%2015/month.htm
   2. [8]http://www.vanedwards.co.uk/
   3. [9]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:hodgsonmar...@yahoo.co.uk
   2. mailto:da...@vanedwards.co.uk
   3. mailto:lute@cs.dartmouth.edu
   4. http://www.vanedwards.co.uk/month/Nov%2015/month.htm
   5. http://www.vanedwards.co.uk/
   6. http://www.cs.dartmouth.edu/
   7. http://www.vanedwards.co.uk/month/Nov%2015/month.htm
   8. http://www.vanedwards.co.uk/
   9. http://www.cs.dartmouth.edu/

[LUTE] Re: Another lute picture?

[AJN]

   Oh.  I couldn't see the broken strings.  There is allegorical symbolism
   of broken strings, and Charlotte told me about
   an entire book devoted to the matter.  I've often puzzled over the
   wonderful engraving of Ochsenkhun from his lute book.
   He has such a surprised look on his face: "Oh, damn, I just changed
   that string yesterday!"


   On 11/24/15, William Brohinsky wrote:

   So what do I know? the top of the bass extension appears to have at
   least two pegs mounted perpendicular to the others, coming out of or
   going behind the plane of the neck. If there are three arranged that
   way, it would account for all 9 string.
   To me, it looks like two strings on the lute are broken, and someone,
   the Lady, perhaps, has gathered the loose lengths up and tucked them
   under the string plane to keep them out of the way.
   Many portraits of this era made use of allegory: perhaps the artist was
   aware of, and painted into the picture, his assessment of the couple's
   relationship, the lady's pre-occupied look to the heavens and her
   instrument's broken strings being connected and a statement upon either
   her fidelity or comfort with her portrait-sharing partner?
   If I were asked to sit for a portrait with such an instrument, and
   told, by the artist, to sit on the right side of the other person, I
   would, politely and inappropriately-for-playing, rotate the lute in my
   lap to stick the neck off to the left. So I don't take any hints of
   handedness of the picture from that. The broken strings, the
   inattention or even ennui on her face, and the dog add up to unmusical
   indications of the Lady's status in the eyes of the painter, though.
   ray
   On Tue, Nov 24, 2015 at 8:53 AM, Martyn Hodgson
   <[1][1]hodgsonmar...@yahoo.co.uk> wrote:
   Dear Gary,
   I do agree: this is why I suggested that 'In short, the very act
   of
   posing for the picture was
   the statement rather than the playing of music'.
   regards,
   Martyn
   __
   From: Gary Boye <[2][2]boy...@appstate.edu>
   To: Martyn Hodgson <[3][3]hodgsonmar...@yahoo.co.uk>
   Cc: David Van Edwards <[4][4]da...@vanedwards.co.uk>;
   "[5][5]lute@cs.dartmouth.edu"
   <[6][6]lute@cs.dartmouth.edu>
   Sent: Tuesday, 24 November 2015, 13:19
   Subject: Re: [LUTE] Re: Another lute picture?
   Martyn,
   There seems to be an inside joke we're not privy to here. It may
   just
   be that the artist liked the 90 degree angle created by the 2
   instruments when held this way. And/or if she held it in the normal
   position she would have risked obscuring the man's face and throwing
   off the composition.But look at the dog: he/she doesn't seem to be
   enjoying the lute playing and the reaction is aimed pointedly at the
   lute player. Something important is happening there.
   This borders on parody, seen apparently from the point of view of
   the
   male gamba player, who looks directly at us. Subtle; but barely . .
   .
   It seems to me to be a joke on the woman, whether or not she was
   "in"
   on it.
   Gary
   On Tue, Nov 24, 2015 at 6:14 AM, Martyn Hodgson
   <[1][7][7]hodgsonmar...@yahoo.co.uk> wrote:
   Very interesting David.
   It may be simply a fashionable couple wanting to be portrayed
   performing but in fact unable to play a note! Perhaps the
   painter
   who,
   as you point out, might be thought to have known better was
   laughing up
   his sleeve...
   Or perhaps, and maybe more likely (the painter might not have
   wished to
   be later seen to make fools of his rich clients), they had
   insisted on
   this sort of pose (it certainly looks very stylised especially
   with the
   young lady's eyes turned to heaven etc) and their insistence
   overcame
   any scruples the painter may have expressed about depicting
   them
   actually playing. In short, the very act of posing for the
   picture was
   the statement rather than the playing of music.
   regards
   Martyn
   __
   From: David Van Edwards <[2][8][8]da...@vanedwards.co.uk>
   To: [3][9][9]lute@cs.dartmouth.edu
   Sent: Tuesday, 24 November 2015, 10:50
   Subject: [LUTE] Another lute picture?
   Dear All,
   My Lute of the Month series has dwindled to lute of the Year
   these
   days! It's because I've mainly been writng them for the Lute
   Society's
   newsletter, Lute News, now it has a nice full colour cover.
   But here is the latest, as it were more public, example up on
   the web
   at
   [1][4][10][10]http://www.vanedwards.co.uk/month/Nov%2015/month.htm
   I hope you find it fun! As usual please email me any
   corrections or
   comments
   Best wishes,
   David
   --
   The Smokehouse,
   6 Whitwell Road,
   Norwich, NR1 4HB
   England.
   Telephone: [5][11]+ 44 (0)1603 629899
   Website: [2][6][12][11]http://www.vanedwards.co.uk
   --
   To get on or off this list see list 

[LUTE] Air Travel with Lute?

[AJN]

   The A F of M is getting involved:
   [1]http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instrument
   s%2010.29.pdf
   And here's Dave from Halifax who started it all:
   [2]https://www.youtube.com/watch?v=5YGc4zOqozo

References

   1. 
http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instruments%2010.29.pdf
   2. https://www.youtube.com/watch?v=5YGc4zOqozo


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Air Travel with Lute?

[AJN]

   Use the links under "References"


   On 11/20/15, AJN<arthurjn...@verizon.net> wrote:

   The A F of M is getting involved:
   [1][1]http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instrum
   ent
   s%2010.29.pdf
   And here's Dave from Halifax who started it all:
   [2][2]https://www.youtube.com/watch?v=5YGc4zOqozo
   References
   1.
   [3]http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instrument
   s%2010.29.pdf
   2. [4]https://www.youtube.com/watch?v=5YGc4zOqozo
   To get on or off this list see list information at
   [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instrument
   2. https://www.youtube.com/watch?v=5YGc4zOqozo
   3. 
http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instruments%2010.29.pdf
   4. https://www.youtube.com/watch?v=5YGc4zOqozo
   5. http://www.cs.dartmouth.edu/

[LUTE] Re: Air Travel with Lute?

[AJN]

   Dear John,
   On 11/20/15, John Mardinly<[1]john.mardi...@asu.edu> wrote:

   When I try the link:
   I get:
   Are you lost?
   The page you tried was not found. You may have used an outdated link or
   may have typed the address (URL) incorrectly. You might find what
   you're looking for in one of these areas:
   Every time, on 2 different computers.
   A. John Mardinly, Ph.D., P.E.
   Principal Materials Nanoanalysis Engineer
   EMail: [2]john.mardi...@asu.edu
   Cell: 408-921-3253 (does not work in TEM labs)
   AJN: Try the end of the message, References 3 and 4.  They work for me.
The other links were cut short in the message.
   -Original Message-
   From: [3]lute-...@cs.dartmouth.edu
   [[4]mailto:lute-...@cs.dartmouth.edu] On Behalf Of AJN
   Sent: Friday, November 20, 2015 1:56 PM
   To: [5]arthurjn...@verizon.net; [6]lute@cs.dartmouth.edu
   Subject: [LUTE] Re: Air Travel with Lute?
   Use the links under "References"
   On 11/20/15, AJN<[7]arthurjn...@verizon.net> wrote:
   The A F of M is getting involved:
   [1][1][8]http://www.afm.org/uploads/file/Flying%20with%20Musical%20Inst
   rum
   ent
   s%2010.29.pdf
   And here's Dave from Halifax who started it all:
   [2][2][9]https://www.youtube.com/watch?v=5YGc4zOqozo
   References
   1.
   [3][10]http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instru
   ment
   s%2010.29.pdf
   2. [4][11]https://www.youtube.com/watch?v=5YGc4zOqozo
   To get on or off this list see list information at
   [5][12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   References
   1.
   [13]http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instrumen
   t
   2. [14]https://www.youtube.com/watch?v=5YGc4zOqozo
   HERE and
   3.
   [15]http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instrumen
   ts%2010.29.pdf
   HERE
   4. [16]https://www.youtube.com/watch?v=5YGc4zOqozo
   5. [17]http://www.cs.dartmouth.edu/

References

   1. mailto:john.mardi...@asu.edu
   2. mailto:john.mardi...@asu.edu
   3. mailto:lute-...@cs.dartmouth.edu
   4. mailto:lute-...@cs.dartmouth.edu
   5. mailto:arthurjn...@verizon.net
   6. mailto:lute@cs.dartmouth.edu
   7. mailto:arthurjn...@verizon.net
   8. http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instrum
   9. https://www.youtube.com/watch?v=5YGc4zOqozo
  10. http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instrument
  11. https://www.youtube.com/watch?v=5YGc4zOqozo
  12. http://www.cs.dartmouth.edu/
  13. http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instrument
  14. https://www.youtube.com/watch?v=5YGc4zOqozo
  15. 
http://www.afm.org/uploads/file/Flying%20with%20Musical%20Instruments%2010.29.pdf
  16. https://www.youtube.com/watch?v=5YGc4zOqozo
  17. http://www.cs.dartmouth.edu/

[LUTE] Re: Intabulation of Cara mia dolce stella / Chiara et lucente Stella (Hans Leo Hassler) by Melchior Neusidler

[AJN]

   Lieber Herr Dr. med. Hambre,
   This is good news. This is the manuscript known as the Donaueschingen
   Lautenbuch because for many years it was at the Fuerstlich
   Fuerstenberische Hofbibliothek in that town, where the Danube River
   issues into a grotto, decorated with the statue of Johann Strauss
   playing most likely his famous waltz on his violin. It was most likely
   compiled in Munich, rather than Donaueschingen. I have a recent article
   on this immense work of 412 pieces in three volumes of 73, 81 + 61
   folios: "Briefly Noted: A Physician's Lute Book," JLSA 40 (2007): 84-6.
I identify the possible owner to be one of two lute-playing physicians
   active in Munich, Johann Georg Brengger (also spelled Brencker) (b.
   1559, d. after 1617), later dean of the School of Medicine in
   Kaufbeuren, and Hieronymus Fabrum, from 1591 through 1608 Liebarzt to
   Dukes Albrecht V and Maximillian I. The latter intabulated several
   German Lieder by Lasso and his complete Sacrae lectione of 1565.
   He must have been Lasso's personal friend.
   The dance you ask about is No. (not fol.) 71 on folios 35v-36 of volume
   I.
   AJN

   On 11/09/15, Bernd Haegemann<[1]b...@symbol4.de> wrote:

   Dear all,
   today I received an e-mail from the library saying that they are
   starting to digititalizize the ms.
   Bravi!
   Best regrads
   Bernd
   On 22.10.2015 16:19, Harald Hamre privat wrote:
   > Thank you very much for the suggestion.
   >
   > This manuscript is now at Wuerttembergische Landesbibliothek
   > Stuttgart, has not been digitized and is only available for
   inspection
   > for research purposes.
   >
   >
   [1][2]http://www.wlb-stuttgart.de/sammlungen/musik/bestand/zimelien/lau
   ten
   > tabulatur-cod-don-g-i-4/
   >
   > Do you - or does anybody else - happen to have copy that you could
   scan
   > and send (Cod. Don. G I 4, fol. 71 - Chara mia dolce stella)?
   >
   > Harald
   >
   > Am 21.10.2015 um 20:37 schrieb Bernd Haegemann:
   >
   > Perhaps
   >
   > DONAUESCHINGEN, Fuerstlich Fuerstenbergische Hofbibliothek (D-DO)
   >
   > Ms. G I 4 , f. 71
   >
   > as "Chara mia dolce stella"
   > ?
   > On 21.10.2015 18:58, Harald Hamre privat wrote:
   >
   > Dear all
   >
   > Does anybody know the source for an intabulation of Cara mia dolce
   > stella (vocal: Hans Leo Hassler) by Melchior Neusidler/Newsidler? It
   is
   > recorded as No 14 on the Neusidler CD by Paul O'Dette.
   >
   > There are intabulations of the same melody, called 'Chiara et lucente
   > Stella' in the Hainhofer Lute Book I and in Johann Rude: Flores
   Musicae
   > I (1600) - but the one on the CD by POD is different.
   >
   >
   > Best regards
   >
   > Harald Johan Hamre
   >
   >
   > To get on or off this list see list information at
   > [2][3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   >
   >
   > --
   > Dr. med. Harald J. Hamre
   > Privat:
   > Tuerkenlouisstr. 24
   > D-79102 Freiburg
   >
   > Tel: +49 761 61 25 61 25
   > Mobil: +49 174 3015361
   > E-mail: [3][4]har...@hamre.de
   > 
   > IFAEMM e. V.
   > Zechenweg 6
   > D-79111 Freiburg
   >
   > Tel. +49 761 1560307
   > Fax +49 761 1560306
   > E-mail: [4][5]harald.ha...@ifaemm.de
   > [5][6]www.ifaemm.de
   >
   > References
   >
   > 1.
   [7]http://www.wlb-stuttgart.de/sammlungen/musik/bestand/zimelien/lauten
   tabulatur-cod-don-g-i-4/
   > 2. [8]http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
   > 3. [9]mailto:har...@hamre.de
   > 4. [10]mailto:harald.ha...@ifaemm.de
   > 5. [11]http://www.ifaemm.de/
   >
   >

References

   1. mailto:b...@symbol4.de
   2. http://www.wlb-stuttgart.de/sammlungen/musik/bestand/zimelien/lauten
   3. http://www.cs.dartmouth.edu/
   4. mailto:har...@hamre.de
   5. mailto:harald.ha...@ifaemm.de
   6. http://www.ifaemm.de/
   7. 
http://www.wlb-stuttgart.de/sammlungen/musik/bestand/zimelien/lautentabulatur-cod-don-g-i-4/
   8. http://www.cs.dartmouth.edu/%7Ewbc/lute-admin/index.html
   9. mailto:har...@hamre.de
  10. mailto:harald.ha...@ifaemm.de
  11. http://www.ifaemm.de/

[BAROQUE-LUTE] Over one million records! RISM online

[AJN]

   This announcement is worthy of the attention of some of you who search
   for original sources
   of lute music:

   RISM is pleased to announce a major addition to its free online
   catalog
   that strengthens its utility as a resource for the documentation of
   printed music. Two of its major publications have been added to the
   online catalog and are freely available online for anyone to search at
   opac.rism.info
   (_[1]https://opac.rism.info/metaopac/start.do?View=rism_)
   and

   [2]www.rism.info ([3]http://www.rism.info/):
   *
   The entire contents of A/I, /Individual Prints before 1800
   /Released on CD-ROM in 2012 and previously in 14 printed volumes
   *
   A portion of B/I, /Recueils imprimes, XVIe-XVIIe siecles /(Printed
   collections of the 16th-17th centuries), covering the years 1500-1550
   The addition of these printed sources brings the total number of
   records
   in the online catalog to over 1,010,000. New search fields allow users
   to search by *Publisher*, *A/I or B/I number*, and *Plate number*.
   Search results can be refined using the categories *Publisher *or a
   RISM*Series*. Icons of prints and manuscripts allow quick visual
   recognition.
   We would like to express our gratitude to Baerenreiter and Henle
   Verlag
   for allowing us to incorporate the data into our catalog.
   This addition of over 100,000 prints to the online catalog is an
   initial
   step towards revitalizing coverage of printed music in RISM. There are
   certainly many additions and corrections to be made to the A/I and B/I
   data and we ask for your patience as we work out a procedure for
   reporting new information. Institutions or individuals with additions
   or
   corrections to prints already in A/1 or B/1 are welcome to report them
   to us but for larger amounts of corrections, as well as new printed
   items without entries in A/1 or B/1, it will probably be easier to
   wait
   until the new cataloging program, Muscat, is available (expected in
   late
   2015).
   Any questions can be directed to: [4]cont...@rism.info

   Watch this brief video for an overview of what is
   new: [5]https://youtu.be/vXXkhsOCgZ0

References

   1. https://opac.rism.info/metaopac/start.do?View=rism_
   2. http://www.rism.info/
   3. http://www.rism.info/
   4. mailto:cont...@rism.info
   5. https://youtu.be/vXXkhsOCgZ0


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[LUTE] Re: Susato

[AJN]

   Hi Geoff,
   The Thomas edition (Pro Musica) was not among the antiquarian hits in
   my search.
   Apparently the edition is so good, no one wants to sell their copies on
   the antiquarian market.
   There are also excellent London  Pro musica editions of Italian dance
   ensembles, ed. Michael
   Morrow from manuscripts in Munich.
   Arthur.


   On 07/16/15, Geoff Gaherty[1]ge...@gaherty.ca wrote:

   On 2015-07-16 6:24 PM, AJN wrote:
The best Susato choice would be the Giesbert volumes.
   I disagree. The London Pro Musica edition is better in many ways,
   including parts both at written pitch and transposed up a fifth.
   Geoff
   --
   Geoff Gaherty
   Foxmead Observatory
   Coldwater, Ontario, Canada
   [2]http://www.gaherty.ca
   [3]http://starrynightskyevents.blogspot.com/
   To get on or off this list see list information at
   [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:ge...@gaherty.ca
   2. http://www.gaherty.ca/
   3. http://starrynightskyevents.blogspot.com/
   4. http://www.cs.dartmouth.edu/

[LUTE] Re: Susato

[AJN]

   Dear Val,
   There are many, many arrangements/editions of the Susato dances
   (including at least one for
   tuba quartet [honest]), as well as the facsimile edition.
   Some are quite inexpensive (Giesbert ed. 3-7 Euros).  To find books in
   the antiquarian market,
   use the last column in the Karlsruhe Connection:
   [1]http://www.ubka.uni-karlsruhe.de/kvk_en.html
   Although many of the index firms are German, coverage is international
   (France, U.S., Orient, Australia, etc.).  So look for a dealer in your
   country to save on postage.
   The best Susato choice would be the Giesbert volumes.
   AJN


   On 07/16/15, Valery SAUVAGE[2]sauvag...@orange.fr wrote:

   Thanks a lot. I'll look if I can find an used version (if someone have
   one, please send me a word)
   Val
Message du 15/07/15 23:32
De : Geoff Gaherty [3]ge...@gaherty.ca
A : Lute List [4]lute@cs.dartmouth.edu
Copie A :
Objet : [LUTE] Re: Susato
   
On 2015-07-15 5:02 PM, David van Ooijen wrote:
 Alamire in Belgium publishes all/many (?) Susato in facsimile.
   Lovely
 series, inexpensive.
   
It is listed on their web page:
   
[5]http://www.omifacsimiles.com/cats/alamire.html
   
But without a price, which indicates that it is out of print:
   
Susato. Het derde musyck boexken (FS I/B.18)
Het derde musyck boexken (Alderhande danserye). Introduction:
   Herman
Baeten. [Bibl. JagielloAAska, Krakow].
Facsimile Series: I/B.18. Peer, 1987. Oblong, 20 x 15 cm, 4
   partbooks,
9, 128 pp. Line-cut of the Antwerp, 1551 edition. Includes dances,
rondes, almaines, pavans and galliards by Susato himself. Many
   pieces
have subtitles: Les grands douleurs, Mille ducas en vostre
   bource,
etc. The oldest known printed source of dance music in the
   Netherlands.
Wrappers, with slipcase. [item no. 1585]
   
There are two modern editions, one from London Pro Musica and the
   other
from Schott.
   
Geoff
   
--
Geoff Gaherty
Foxmead Observatory
Coldwater, Ontario, Canada
[6]http://www.gaherty.ca
[7]http://starrynightskyevents.blogspot.com/
   
   
   
To get on or off this list see list information at
[8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   --

References

   1. http://www.ubka.uni-karlsruhe.de/kvk_en.html
   2. mailto:sauvag...@orange.fr
   3. mailto:ge...@gaherty.ca
   4. mailto:lute@cs.dartmouth.edu
   5. http://www.omifacsimiles.com/cats/alamire.html
   6. http://www.gaherty.ca/
   7. http://starrynightskyevents.blogspot.com/
   8. http://www.cs.dartmouth.edu/

[BAROQUE-LUTE] Re: Falckenhagen Op. 3

[AJN]

   Dear Markus and Peter,
   Perhaps I might belatedly add some additional information from a source
   I should have consulted when we discussed these
   works, Peter.  It is a bit confusing, and even expert music catalogers
   and bibliographers have been lead astray.
   Beginning in  the 16th century and for many centuries thereafter
   Leipzig hosted an Easter book fair.
   For each year a published catalog listed the new works and revised
   works, including music, which
   were available for purchase from dealers at the fair.
   The catalogs are a valuable bibliographical tool for matters such as
   ours.
   For nearly a century, from 1664 until 1759, the Leipzig firm of Johann
   Gross (and heirs) published them:
   //*Catalogus universalis, hoc est, designatio omnium librorum . . .
   vel novi vel emendatieres et auctiores prodierunt*\\

   Indicated below with Gr plus year.
   In catalogs from 1736, 1738 and 1743, the titles of eight works by
   Falckenhagen are listed, five with opus
   numbers:

   [Op. 1] Sonate [6] a Liuto solo . . . dedicate . . . Federica Sofia
   Villemina,Margravia di Brandenburgo.

   Opera prima. ..  fol. NA 1/4rnberg: Haffner.   Gr 1743 RISM F71:
   copies at B-Bc, D-Rp, D-LEm, GBaLbm


   [Op. 2] Sei Partite a Liuto solo.  Opera seconda. fol. kosten 2 Th. NA
   1/4rnberg: Haffner. Gr 1743

   RISM F72: copies at B-Bc, DaBds, GB-Lbm


   [Op. 3] Sei Concerti a Liuto, Traverso [A^2] OboA [A^2] Violino 
   Violoncello . . . Opera terza.

   NA 1/4rnberg: Haffner.  Gr 1743 RISM F73a-asupplement F72a: plate
   no. I: copy of lute part

   only at PL-Wu.


   [Op. 4] [Sei] Concerti a Liuto, Traverso [A^2] OboA  Violoncello . .
   . Opera quarta. NA 1/4rnberg: Haffner.

   Gr 1743 No copy known to survive. But we now know it existed at one
   time, and maybe . . .


   [Op. 5] [Sei] Sonatine da Camera a Liuto solo.  Opera quinta. NA
   1/4rnberg: Haffner.

   Gr 1743 No copy known to survive.


   [Op. nuova] [Sei] Concerti a Liuto, Traverso OboA A^2 Violino
   Violoncello . . . Opera nvova dedicati a

   Sua Altezza Serenissima . . . Ernesto Avgvsto, Duca di Sassonia, . . .
   Duca regnante du Sassonia-Weimar.

   NA 1/4rnberg:Haffner.


   Gr deest; RISM F73, plate no. III (ca. 1743): unique copy from
   DaWRtl, now at

   DaWRz  (RISM mistakenly cites a copy at PL-Wu; that print is not the
   same.  It=Opera terza,

   above).  This copy from the private Thurn und Taxis Hofbibliothek,
   Regensberg


   The card catalogue at WRz gives the full title and the cataloger cites
   cross references including a

   Uniform Title: Trios, Lt Ob Vc, Op. 4.

   This croass reference seems to be the reason some modern editions
   (including our Joachim's Gesamptausgabe)

   cite this print as Op. 4 (Opera IV), although no where in the print
   itself is it so designated.

   It remains improbable that a copy of Opera quarta was available for
   comparison.

   That is, Op. 4 seems to be a music cataloger's addition.

   The plate number (III) is also sometimes mistaken as an opus
   number,e.g. RISM F73

   (above) and New Grove which give Op. 3.

   The g minor concerto (No. 5) is rehearsed on You Tube by

   John Schneiderman, An Evening with Wilhelmine  (Sofia Wilhelmine of
   Brandenburg,

   Fredrickthe Great's sister and Falckenhagen's first patroness.)  The
   opera nuova concertos are

   sometimes called flute concerti in modern scores and CDs.

   The other works are [Sei] Sonate di Liuto solo Gr 1736;
   La premier douzaine des Menuets pour le Lut Gr 1738;
   Sonate del Liuto solo (Vienna) Gr  1748
   Not listed is Erstes Dutzend . . . Geistlicher-GesACURnge (Haffner pl.
   no. XXII, 1746).
   RISM F 74.  Copies at B-Bc, GB-Lbl and (not listed in RISM) US-Wc.
   Arthur

   On 05/02/15, Markus Lutz[1]mar...@gmlutz.de wrote:

   Hi Peter,
   op. IV has survived actually (from Jochen Domnings page:
   Op. IV, Sei Concerti, gewidmet Herzog Ernst August von Weimar (Haffner,
   Druck Nr. III.)
   Weimar, Zentralbibliothek der Deutschen Klassik, M 8 27 a+b
   Op. IV are 6 concertos with flute/violin and basso (all parts available
   at Trekel Musik )
   Probably the opera nuova is meant to be the same as Op. V, which we
   don't have.
   Best regards
   Markus
   Am 02.05.2015 um 16:27 schrieb Peter Danner:
Hi Chris
   
Having written the liner notes for John Schneiderman's recording of
Falckenhagen's opera nova (a CD apparently never released), and
having discussed the matter in detail with Arthur Ness and others, I
fear only the lute part to Op. 3 survives. Unfortunate. So much of
Falckenhagen's music seems to be lost.
   
Whether or not opera nuova is identical to a cataloged op. IV (as
Joachim Domning claims), remains to be seen, depending on actually
finding a copy of op. IV.
   
I look forward to receiving your new CD, Chris.
   
Peter Danner
   
   
   
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[LUTE] Re: [Fronimo_editor] Re: Tocha Tocha la canella

[AJN]

   Yes, Jean-Michel, like French cannelle,, one meaning for
   canella(Venetian canela) is spigot
   in Italian and Venetian dialect (these are Venetian dances). Or in
   general terms simply refers to a small cane, that is,
   canella regina = cinnamonabecause it looks like cane, drinking straw,
   swamp grass, etc., etc.).
   A 1546 description of the dance-song calls Tocha tocha la canella a
   cane dance, in which the men hold
   canes, et dando a ciascun baloardo (?!) una canna in mano ad alta voce
   poi gli
   dicono tocca la canella, that is, they sing (first line of lyrics)
   Tocha, tocha la chanella chio ti tocchera il tetton.
   It's risquA(c) methinks.  Dr. Baloardo is a stock character in the
   comedia dell'arte.



   On 05/01/15, jean-michel Catherinot j[1]eanmichel.catheri...@yahoo.com
   [Fronimo_editor][2]fronimo_edi...@yahoogroups.com wrote:


   to be more precise the cannelle is in french the name of the tap of
   a barrelcould be the same in italian !
   Le Vendredi 1 mai 2015 15h27, Luca Manassero [3]l...@manassero.net
   [Fronimo_editor] [4]fronimo_edi...@yahoogroups.com a A(c)crit :
   Martin is absolutely correct: the ancient writing tocha stays for
   tocca (imperative, therefore touch). The best translation sounds
   therefore like touch, touch the cinnamona|
   Luca
   Il giorno 01 maggio 2015 @ 13:49:22, Martin Shepherd
   [5]mar...@luteshop.co.uk [Fronimo_editor]
   ([6]fronimo_edi...@yahoogroups.com) ha scritto:


   I wonder whether in modern Italian it could be tocca - inwhich case
   various rather suggestive interpretations come to mind(with a cinnamon
   stick being understood as somethingphallic).  Perhaps our Italian
   friends can enlightenus
   M
   On 01/05/2015 02:36, [7]lutenist.mumin.ko...@gmail.com[Fronimo_editor]
   wrote:


   This is not the question about Fronimo editor, but
   Could someone help me to find the meaning of Tocha Tocha lacanella
   with which title dell'Aquila and Borrono wrote a piece.
   If it was Italian, torch the cinnamon could be the meaning but Iam
   not quite sure.
   Tomoko
 __

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[LUTE] Re: [Fronimo_editor] Re: Tocha Tocha la canella

[AJN]

   Yes, Jean-Michel, like French cannelle,, one meaning for
   canella(Venetian canela) is spigot
   in Italian and Venetian dialect (these are Venetian dances). Or in
   general terms simply refers to a small cane, that is,
   canella regina = cinnamonabecause it looks like cane, drinking straw,
   swamp grass, etc., etc.).
   A 1546 description of the dance-song calls Tocha tocha la canella a
   cane dance, in which the men hold
   canes, et dando a ciascun baloardo (?!) una canna in mano ad alta voce
   poi gli
   dicono tocca la canella, that is, they sing (first line of lyrics)
   Tocha, tocha la chanella chio ti tocchera il tetton.
   It's risquA(c) methinks.  Dr. Baloardo is a stock character in the
   comedia dell'arte.



   On 05/01/15, jean-michel Catherinot j[1]eanmichel.catheri...@yahoo.com
   [Fronimo_editor][2]fronimo_edi...@yahoogroups.com wrote:


   to be more precise the cannelle is in french the name of the tap of
   a barrelcould be the same in italian !
   Le Vendredi 1 mai 2015 15h27, Luca Manassero [3]l...@manassero.net
   [Fronimo_editor] [4]fronimo_edi...@yahoogroups.com a A(c)crit :
   Martin is absolutely correct: the ancient writing tocha stays for
   tocca (imperative, therefore touch). The best translation sounds
   therefore like touch, touch the cinnamona|
   Luca
   Il giorno 01 maggio 2015 @ 13:49:22, Martin Shepherd
   [5]mar...@luteshop.co.uk [Fronimo_editor]
   ([6]fronimo_edi...@yahoogroups.com) ha scritto:


   I wonder whether in modern Italian it could be tocca - inwhich case
   various rather suggestive interpretations come to mind(with a cinnamon
   stick being understood as somethingphallic).  Perhaps our Italian
   friends can enlightenus
   M
   On 01/05/2015 02:36, [7]lutenist.mumin.ko...@gmail.com[Fronimo_editor]
   wrote:


   This is not the question about Fronimo editor, but
   Could someone help me to find the meaning of Tocha Tocha lacanella
   with which title dell'Aquila and Borrono wrote a piece.
   If it was Italian, torch the cinnamon could be the meaning but Iam
   not quite sure.
   Tomoko
 __

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   Posted by: jean-michel Catherinot j[10]eanmichel.catheri...@yahoo.com
 __

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[LUTE] Re: Lutheran Hymns for lute?

[AJN]

   Here are 227 of them (with an English quadrille tossed in).
   [1]https://www.scribd.com/doc/253924713/PL-Kj-Mus-Ms-40151-mf
   That's the */Canzoni divoti tradotti nell'Liuto\* (Mus Ms 40151
   ex-Berlin) assembled by Kammermusicus at Coethen, lutenist Johann
   Michael Sciurius (Eichhorn?) for Christina Agnes Agnera, Princesse
   d'Anhalt-Coethen (on cover: C.A.A. P.d'A / 1742).  The chorales are
   drawn mainly from the Gesangbuch of Freylinghausen (1715).   They are
   organized by key into groups of four or five chorales, forming short
   sacred suites. Christina also studied harpsichord with J. S. Bach, and
   later was Countess of Anhalt-Dessau, where her Kapellmeister was
   Wilhelm Rust (d. 1796).
   He likely composed four sonatas for lute and violin (one for viola)
   with her in mind (one of his manuscripts has some of the Sciurius
   chorales).  They were first performed when the court went gondola
   rowing along the canals of the Garden of Dessau-WAP:litz (gondolas
   still operate there).   His like-named grandson published them in 1896.
He was the famous chief editor of the Bach Gesellschaft Ausgabe.  But
   he had a special plans for his grandfather's music.
   He published some of the elder Wilhelm's by then forgotten compositions
   (including the violin  lute works), altering them to make them appear
   that his grandfather was a major influence on Beethoven. The missing
   link between Mozart/Haydn and Beethoven, some claimed!  The French
   scholar M. D. Calvocoressi spilled the beans in a famous article, Der
   Fall Rust (The Rust Case). Vincent d'Indy in Le Cas Rust wrote in
   support of Rusts, younger and elder.
   Our Andi Schlegel has set the record straight by restoring the original
   readings in his recent edition of the sonatas (Menzikin: Lute Corner,
   1998).  The grandson's printed edition of 1896 is extremely rare.   I
   was unable to find a copy with repeated ILL requests in Germany, and
   concluded references to it were surely bibliographical ghosts.  But
   home in Boston--there in the BPL was a copy waiting for me.  In mint
   condition, of course--sadly nobody had looked at it in 100 years.g


   On 03/21/15, howard posner[2]howardpos...@ca.rr.com wrote:

   The Lute Society of America Quarterly published a handful of chorales
   for 10-course lute a long time ago. Maybe someone else can be more
   specific.
   To get on or off this list see list information at
   [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. https://www.scribd.com/doc/253924713/PL-Kj-Mus-Ms-40151-mf
   2. mailto:howardpos...@ca.rr.com
   3. http://www.cs.dartmouth.edu/

[LUTE] Two alfabeto prints (Pesaro Abbatessa) New UR Research Publications for dates: 01/21/2015 - 01/22/2015

[AJN]

Forgot to send this.

   --Original Message--
   From: [1]nore...@ur.rochester.edu
   Date: Jan 22, 2015 1:04:27 AM
   Subject: New UR Research Publications for dates: 01/21/2015 -
   01/22/2015
   To: [2]arthurjn...@verizon.net

   New publications are available in the UR Research collections you have
   subscribed to
   New publications in Musical Scores: 2
   Publication Name: Toccate di Chitarriglia Oue con cinque bellissimi
   ordini descrita si vede vna facilissima Regola, per apprendere il modo,
   di suonare la Chitarriglia di Spagna. Nel primo. Col tocco della mano,
   vn inuentione, di fare tutte le lettere; senza andare alle Scuole. Nel
   secondo. Vna facilissima Regola per accordare senza Maestro. Nel terzo.
   Vaghissime, ed armoniose suonate, al modo Italiano, Spagnuolo, 
   Francese. Nel qvarto, et nel qvinto. Alcuni vaghissimi scherzi di
   Penna; opera cvriosa, e dilettevole ..
   URL:
   [3]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId=28656versionNumber=1
   Author:Pesori, Stefano
   Publication Name: Ghirlanda di varii fiori, overo, intavolatvra di
   ghitarra spagnvola, doue che da se stesso ciascuno potrA!a imparare con
   grandissima facilitA!a, e breuita
   URL:
   [4]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId=28655versionNumber=1
   Composer:Abbatessa, Giovanni, Battista
   Enjoy!
   Questions/problems? let us know: [5]urresearch-h...@rochester.edu

References

   1. mailto:nore...@ur.rochester.edu
   2. mailto:arthurjn...@verizon.net
   3. 
https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=28656versionNumber=1
   4. 
https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=28655versionNumber=1
   5. mailto:urresearch-h...@rochester.edu


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Neusidler

[AJN]

   Dear Sean,
   The pieces in the first fascicle of Mus Ms 266 (and other manuscripts
   in the same hand) were sent to the Duke of Bavaria by Melchior
   Newsidler himself (b. 1531--son, not brother of Hans).  I was able to
   compare the handwriting in a letter to the duke with the tablatures.

   In December 1577, Newsidlerwrote his patron Wilhelm II, Duke of
   Bavaria,


   Most serene, honorable Prince, kind Lord, Your princely Grace: Sent is
   my most humble pledge, as well as wishes for a radiant,good, and
   peace-filled New Year. Always before, when wanting to be rememberedby
   Your princely Grace, I have humbly presented some pieces for the lute.
   To that end I also want to comply [this year] and thereforehave
   compiled some quite good German dances, which I do humbly present.


   Fascicles in his hand survive in Mus Mss 266 (nos. 1-14), 1627 (nos.
   1-12: more intabulations), 2987 (nos. 37-8--left in one of the enormous
   Lasso choir books), and Paris BN Res 429 (first fascicle: 2v-48v:
   Italian dances).  Many of the pieces appear in his prints, but often in
   more ornate versions, suggesting he sent early versions to the duke.
   Melchior's output numbers over 200 pieces, making him the most prolific
   lutenist-composer of the Renaissance.  Contents of the available Munich
   manuscripts are below.  The prints are identified by Brown serial
   numbers, and   indicates that the printed version is more ornamented
   than the manuscript version.
   (By the way, Rohrau is near the Newsidler Lake, a few miles south of
   Vienna.  Haydn was born there, and his mother worked in Graf Harrach's
   kitchen.  She might well have overheard Weiss' music from the Rohrau
   and Harrach manuscripts, which were mentioned here a few days ago.)

Munich,Bayerische Staatsbibliothek,

  Mus Ms 266

   (1v-2) Alla dolce Ombra di Cipriano [de Rore] / A 4

   (2v-3) Signor mio Caro di Cipriano / A 4

   1566/2, No.7   =1572/11, No. 8 [clip_image001.png] [clip_image003.png]

   (3v-4) Carita di signore: / A 4 di Cipriano

   1566/2, No. 8]

   (4-4v) Con leyfus'A.io  / Jaques de pont

   [Does not =1566/2 (differenttuning)]

   (5v-6) Pis ne me Peult Venir a 5/ Criquillon

   1572/1, No. 16

   (6-6v) Vray dieu disois A 4 Orlando [Lasso]

1566/2, No.15   =1572/1, No. 28

   (7v-8) SousSpirs ardans [Arcadelt]

   266, No. 1361566/2, No. 10

   (8v-9) Passa e mezo M[elchiorl N[ewsidler]

   =1566/2, No. 13

   (l0v-11) Bewar mich herr [Zirler?]

   1572/1, No. 24   1574/5. No. 23

   (11v-12) Iomi son giovinetta [Ferabosco]

   1572/1, No. 24 1574/5, No. 23

   Mus ms 266, No. 134

   (13 [formerly 76ff.])Hay Lass A. 4 di Orlando [Lasso]

   1566/2, No. 12   1572/1, No. 21

   (13v-14) Susanna / Vng Jour A.5. / di Orlando

   =1566/3, No. 7  1573/3, No. 22

   Mus ms 266, No. 149

   (That is, No. 149 is the model for the

   versionsof Mus ms 266, No. 13 and

   1573/03, No. 22)

   (15-16v) Sancta Maria A.6. vocum / di Vertalot

   [unicum]


Mus Ms 2987, No. 37-8

   (12-12v) Susanna Vng Jour M[elchior] N[ewsidler] [Lupi

 Didier II]

   =?1586/5,No. 34 [similar embellishment]

   (13-13v) Per su hospitiboschi: I A.4. Voce di Constanze festa

   [unicum]


   On 02/19/15, Sean Smith[1]lutesm...@mac.com wrote:

   One more source, Dan:
   Bayerische Staatsbibliothek, Mus. Ms 266.
   It's reachable through the LSA facsimile source site,
   [2]http://www.cs.dartmouth.edu/~lsa/links/Digital-Facsimiles.html
   You'll find the MNeusidler intabulations in the first few folios. I
   believe they are copied from his books. I don't know which one(s).
   Sean
   snip

References

   1. mailto:lutesm...@mac.com
   2. http://www.cs.dartmouth.edu/


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http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: St Matthew Passion lute part Komm Susses Kreuz

[AJN]

   Hi Roland,
   Traditionally the obbligato is played on viola da gamba. And it's a
   rather painful experience for this listener, and for the gambist, as
   well.
   It has continuous dotted notes with wide melodic leaps (depicting
   Christ being led to Crucifixion when Simon takes the cross).
   The gamba has to play a low note, and then skip over several strings to
   play a short high note and then back to a low note.
   For about five minutes. It's not idiomatic gamba music, for sure.  A
   few years ago, someone discovered an earlier version of the
   Passion (in Bach's handwriting???).  It was published in facsimile in
   the Neue Bach-Ausgabe.**
   It shows that the obbligato was originally written for Liuto, which
   it fits very nicely.
   I think David van Ooijen has played it several times.
   Once the conductor gave it back to the gamba player in order to
   preserve what he considered tradition.
   Whereas the gamba version had obviously been a stopgap measure.

   **The facsimile is hard to find. It may be in the volume of critical
   notes.

   On 10/21/14, Roland Hayes[1]rha...@legalaidbuffalo.org wrote:

   No. 57, Aria, has a lute part and I am curious if anyone has performed
   it, it looks like it might fit on the instrument (d minor lute) fairly
   well. Thanks in advance. r
   --
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:rha...@legalaidbuffalo.org
   2. http://www.cs.dartmouth.edu/

[LUTE] Re: Marco dall'Aquila edition

[AJN]

Dear Matthew,
   I have a new site for the Marco edition, but it will not be available
   for a month or so.  In the meantime it would be a wonderful stopgap to
   have
   the edition made available through DropBox.  But on the new site it
   will be easy to have everything in one place.
   It was a real bummer for Verizon to drop their web sites.  Surely many
   persons who use the space commercially were probably hurt.
   Thank you very much for your assistance, Matthew!!!
   Best regards, Arthur.


   On 10/17/14, Matthew Dailliedail...@club-internet.fr wrote:

   I have had several requests for a DropBox link, I would just like
   Arthur's approval before sending it to people.
   Best
   Matthew
   On 17 oct. 2014, at 09:20, Matthew Daillie
   [1]dail...@club-internet.fr wrote:
Too large a folder to send by mail but I can upload to DropBox if
   nobody else has sent it to you in the meantime.
   
Best
   
Matthew
   
   
On 17 oct. 2014, at 01:08, [2]al...@signtracks.com wrote:
   
Darn, I am seeing this bit of information a little too late... Did
   someone download this precious material who might be willing to send me
   a copy by email(s)??
Alain
   
On 2014-09-28 13:42, AJN wrote:
From: AJN
Date: Sep 28, 2014 3:36:58 PM
Subject: Re: Marco dall'Aquila edition
To: [3]arthurjn...@verizon.net, [4]lute-requ...@cs.dartmouth.edu
I must sadly report that my ISP, verizon.com, has cancelled all its
personal web pages, as of September 30th.
So if you have an interest in Marco's music, you have a short while
   to
download pieces (Italian tablature and grand staff transcriptions).
   You
may know of CDs by Chris Wilson, Paul O'Dette and Sando Volta.
I completed the edition some time ago, but it was a hassle to get
   it
onto the web page, so only a portion of the edition is there. As
   for
another venue, that is an open question.
Surely I'll let you know. Marco is such a fine composer, perhaps
   the
most important predecessor to Francesco. You may know of Marco CDs
   by
Chris Wilson, Paul O'Dette and Sandro Volta.
[1][5]http://mysite.verizon.net/vzepq31c/marcodallaquila/
The other scores (the Sinfonia, Lawes consort and Daube pieces)
   will go
to ISMLP.
References
1. [6]http://mysite.verizon.net/vzepq31c/marcodallaquila/
To get on or off this list see list information at
[7]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   

References

   1. mailto:dail...@club-internet.fr
   2. mailto:al...@signtracks.com
   3. mailto:arthurjn...@verizon.net
   4. mailto:lute-requ...@cs.dartmouth.edu
   5. http://mysite.verizon.net/vzepq31c/marcodallaquila/
   6. http://mysite.verizon.net/vzepq31c/marcodallaquila/
   7. http://www.cs.dartmouth.edu/

[LUTE] Polish Tablature was Re: Neapolitan tablature?

[AJN]

   Good morning, Gary!
   The Polish music scholar Alexander Polinski owned at leasttwo
   manuscripts of lute music.  One foundits way to the library of Countess
   Thibault (MS VII) and passed to the BibliothAquenationale, RA(c)s Vmc
   ms. 61.

   The other one which dates around 1600 was about 34 folios and contained
   many Polishdances and songs, among other things. Its Polish origins
   have never beenquestioned. It was destroyed in WW_II, but Maria
   Szczepanska (d. 1962) made acopy. A facsimile page from the original
   appears in Polinski's history ofPolish music and the two tablature
   pieces (Taniec and Rygodan) are reproduced in Johannes Wolf,
   _*Handbuch derNotationskunde*_ II (1919 / rpt 1963) p. 88.

   It is inverted French tablature.  That is, letters are used and the
   highestcourse is represented on the lowest staff line. The term Polish
   tablature has some official standing, since in someforms used
   to catalog lute music for RISM, Polish Tablature is one of the
   listedtablature choices. The form was developed at the international
   lute conferenceat Neuilly-sur-Seine in 1957.

   There is another manuscript in the Bavarian State Librarythat uses
   Polish tablature.  It is anappendix to a large printed folio book, like
   Besard.  (I forget the details, but John H. Robinsontold me about it
   some years ago.)  It is a recent acquisition.  AJN


   On 10/14/14, Gary R. Boyeboy...@appstate.edu wrote:

   I'll bite: IS there such a thing?
   Silesian lute tablature perhaps from the 18th century???
   Gary
   On 10/14/2014 6:52 PM, AJN wrote:
   Now, what about Polish lute tablature?
   snip


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[LUTE] Re: Polish Tablature was Re: Neapolitan tablature?

[AJN]

   Dear Gary,
   The varieties of lute tablatures are indeed confusing and inconsistent,
   but it seems to me they had been established for so long, it  would be
   difficult to reform the nomenclature.  I certainly did not wish to
   suggest that Luis Milan's tablature type be changed to Neapolitan,
   since it uses zeros.  And the Munich manuscript bound with Denss' lute
   book is also Spanish, although apparently compiled by a priest in
   Munich.
   The Luis Milan vihuela tablature you mention has been called Spanish
   since (as far as I know) 1884 and perhaps earlier, and has retained
   that name ever since (in work by Wilhelm Tappert [d. 1906] in 1884, in
   notation manuals by Wolf and Apel, and dictionaries such as New Grove
   and the Harvard Dictionary).  Dictionaries are intended to show the
   current meaning of a given term or concept.  And here we have
   confusion, because all other tablatures in Spain are Italian.  And
   indeed Italian tablature is the favored method in Bavaria, Spain and
   Southern France, as well as Italy.  And one just has to make
   adjustment, as far as I can see.  But some scholars who should have
   known better have made embarrassing mistakes by failing to recall the
   confusion in nomenclature.   That is, attributing a Bavarian manuscript
   in Italian tablature to an Italian lutenist, and praising it for its
   typical Italian repertory, when the manuscript was copied in Nuremberg
   and remained in a family library there from 1586 to 1886, when it was
   sold to an Italian scholar.
   There have been attempts to lessen the confusion, but none seem to have
   caught hold.  Hiro Minamino suggested calling the Luis Milan Spanish
   tablature Valencian, thus identifying it more precisely.  But whenever
   the term is used, the writer will have to make an explanation that it's
   what everyone else calls Spanish tablature.g
   Now what to call the recently discovered tablature from circa 1460?
   [1]http://mlewon.wordpress.com/2014/02/22/wolfenbuettel-lute-tablature/

   Arthur

   On 10/15/14, Gary Boye[2]boy...@appstate.edu wrote:

   Dear Arthur,
   Very interesting . . . If used with discretion and the knowledge that
   these geographic labels are not absolute, such terminology is useful.
   After all, is French tablature really French? The earliest extant
   example is certainly Italian (the Pesaro MS), but it becomes so
   associated with France that the label is a convenience. Perhaps the
   same applies to Neapolitan and Polish tablatures. So it is not the
   earliest example that is of primary importance, but common usage. That
   being said, the label inverted French tablature (or Italian, for
   Milan) is also useful and perhaps less confusing. And speaking of
   Milan, I think it is an error to label this Neapolitan since he does
   use the zero.
   As to the sources:
   The first one you mention is already in my list, although I had to make
   a change for its origins (not sure why I had it from Rome, but perhaps
   this was just an error):
   F-Pn Res. Vmc. ms. 61 [1712] (Poland or Germany?) [RISM B/VII p. 230
   (Thibault 7); SMT I p. 106]
   Note that Poland or Germany in 1712 strongly suggests Silesia, to me.
   So it's Polish, but regular French tablature, correct?
   The second one has been dated much later than 1600 by Christian Meyer:
   PL-WARSAW Aleksander Polinski Private Library, Ms. without Sign.
   [1690-1700?] [LOST]
   [RISM B/VII p. 344; SMT III/2 p. 168]
   I have this as 11c in inverted French tablature and it appears to be
   Polish, as you say. So there is definitely a Polish/Silesian connection
   here, although we would also have to count the number of such sources
   that use normal French tablature, to see if these sources are not
   just a (local?) anomaly . . .
   I'll ask John about the details of the appendix and make sure it is on
   my list. Thanks so much for bringing this up!
   Gary
   Dr. Gary R. Boye
   Professor and Music Librarian
   Appalachian State University
   On 10/15/2014 4:18 AM, AJN wrote:
   Good morning, Gary!
   The Polish music scholar Alexander Polinski owned at leasttwo
   manuscripts of lute music. One foundits way to the library of Countess
   Thibault (MS VII) and passed to the BibliothAquenationale, RA(c)s Vmc
   ms. 61.
   The other one which dates around 1600 was about 34 folios and contained
   many Polishdances and songs, among other things. Its Polish origins
   have never beenquestioned. It was destroyed in WW_II, but Maria
   Szczepanska (d. 1962) made acopy. A facsimile page from the original
   appears in Polinski's history ofPolish music and the two tablature
   pieces (Taniec and Rygodan) are reproduced in Johannes Wolf,
   _*Handbuch derNotationskunde*_ II (1919 / rpt 1963) p. 88.
   It is inverted French tablature. That is, letters are used and the
   highestcourse is represented on the lowest staff line. The term Polish
   tablature has some official standing, since

[LUTE] Re: Neapolitan tablature?

[AJN]

   Hello, Gary!
   Certainly by now Neapolitan Tablature is the standard term for that
   kind of tablature.  The term is used as early as 1585 (which is late as
   far as use of Neapoitan tablature in practical sources).  Michele
   Carrara published an engraved broadside _**Intaboltura di Liuto**_
   (n.p. 1585/ BrownI 1585/5; rpt 1594).  It has a piece in mensural
   notation with parallel intabulations into Italian, French and
   Neapolitan tablature.  The latter is titled Intavolatura alla
   Napolitana.  In 1956  a free facsimile* was widely distributed to (ALL
   known?) music libraries by an Italian foundation to mark the
   anniversary of Petrucci's first publication in 1501.  So many libraries
   will have a copy.

   An important addition to the Francesco print by Sulzbach is Bartolmeo
   lieto Panhormitano, _**Dialogo quarto**_ (Naples, 1549), a handbook for
   use by persons who cannot read pitch notation to make Neapolitan
   tablatures from mensural notation.  (John Ward has an article on the
   work in JLSA xv).
*Ed. Benvenuto Disertori, Florence 1956.
   Arthur
   On 10/14/14, Gary Boye[1]boy...@appstate.edu wrote:

   CW:
   Does anyone know where the term Neapolitan Lute Tablature (i.e., a
   tablature without the zero and with the same string orientation as
   French tablature) originates?
   I've always been a little queasy about the term, but it seemed
   relatively convenient, so I've used it in my web pages. The earliest
   extant use of it is in I-PESo MS Pesaro 1144 [1490-1511], which comes
   from central Italy (far from Naples). I-Bu MS 596. HH. 2 [c1500?-1560]
   is from Naples, as is Francesco da Milano 1536c, the most important use
   of this notation. So it may be associated with Naples, but I'm still
   not sure when the term itself was coined (I assume in the 20th
   century?).
   Gary
   --
   Dr. Gary R. Boye
   Professor and Music Librarian
   Appalachian State University
   --
   To get on or off this list see list information at
   [2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:boy...@appstate.edu
   2. http://www.cs.dartmouth.edu/

[LUTE] Re: Neapolitan tablature?

[AJN]

   Now, what about Polish lute tablature?


   On 10/14/14, AJNarthurjn...@verizon.net wrote:

   Hello, Gary!
   Certainly by now Neapolitan Tablature is the standard term for that
   kind of tablature. The term is used as early as 1585 (which is late as
   far as use of Neapoitan tablature in practical sources). Michele
   Carrara published an engraved broadside _**Intaboltura di Liuto**_
   (n.p. 1585/ BrownI 1585/5; rpt 1594). It has a piece in mensural
   notation with parallel intabulations into Italian, French and
   Neapolitan tablature. The latter is titled Intavolatura alla
   Napolitana. In 1956 a free facsimile* was widely distributed to (ALL
   known?) music libraries by an Italian foundation to mark the
   anniversary of Petrucci's first publication in 1501. So many libraries
   will have a copy.
   An important addition to the Francesco print by Sulzbach is Bartolmeo
   lieto Panhormitano, _**Dialogo quarto**_ (Naples, 1549), a handbook for
   use by persons who cannot read pitch notation to make Neapolitan
   tablatures from mensural notation. (John Ward has an article on the
   work in JLSA xv).
   *Ed. Benvenuto Disertori, Florence 1956.
   Arthur
   On 10/14/14, Gary Boye[1][1]boy...@appstate.edu wrote:
   CW:
   Does anyone know where the term Neapolitan Lute Tablature (i.e., a
   tablature without the zero and with the same string orientation as
   French tablature) originates?
   I've always been a little queasy about the term, but it seemed
   relatively convenient, so I've used it in my web pages. The earliest
   extant use of it is in I-PESo MS Pesaro 1144 [1490-1511], which comes
   from central Italy (far from Naples). I-Bu MS 596. HH. 2 [c1500?-1560]
   is from Naples, as is Francesco da Milano 1536c, the most important use
   of this notation. So it may be associated with Naples, but I'm still
   not sure when the term itself was coined (I assume in the 20th
   century?).
   Gary
   --
   Dr. Gary R. Boye
   Professor and Music Librarian
   Appalachian State University
   --
   To get on or off this list see list information at
   [2][2]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   References
   1. [3]mailto:boy...@appstate.edu
   2. [4]http://www.cs.dartmouth.edu/

References

   1. mailto:boy...@appstate.edu
   2. http://www.cs.dartmouth.edu/
   3. mailto:boy...@appstate.edu
   4. http://www.cs.dartmouth.edu/

[LUTE] Re: Lyrics by Skakespeare

[AJN]

I would enthusiastically endorse Craig's recommendation of Ross
   Duffin's Shakespeare Songbook.  It is indeed very well researched. All
   you might wish in 526 pp. with complete lyrics and tunes.
   Duffin teaches at Case Western where the LSA Summer Seminar is held.
   He often writes for the New Yorker magazine.  Here's
   more: [1]http://music.case.edu/faculty/ross-duffin/
   His most famous work is  _*How Equal Temperament Ruined Harmony (and
   Why You Should Care*_ (2008).
   For many years the standard work has been F. W. Sternfeld, *_Music in
   Shakespearean Tragedy*_ (1963).  It has an index of lyrics in the
   tragedies, comedies or histories, and many musical examples in
   facsimile in the text.  It is often a handy reference, because many
   local town libraries will have a copy.


   On 10/05/14, [2]co...@medievalist.org wrote:

   Wim,
   If you are referring to the songs that crop up in Shakespeare's plays,
   Dr. Ross Duffin has a lovely book researching that very subject called
   Shakespeare's Songbook. There are two CDs available with the music
   being played and the songs sung (the first is available comes with the
   book, the second is available seperately). You can find it on Amazon
   here:
   [3]http://www.amazon.com/Shakespeares-Songbook-Ross-W-Duffin/dp/0393058
   891/ref=sr_1_4?s=booksie=UTF8qid=1412561284sr=1-4keywords=music+of+
   shakespeare
   This book is, in my opinon, a definitive body of research.
   Regards,
   Craig Allen
   To get on or off this list see list information at
   [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. http://music.case.edu/faculty/ross-duffin/
   2. mailto:co...@medievalist.org
   3. 
http://www.amazon.com/Shakespeares-Songbook-Ross-W-Duffin/dp/0393058891/ref=sr_1_4?s=booksie=UTF8qid=1412561284sr=1-4keywords=music+of+shakespeare
   4. http://www.cs.dartmouth.edu/

[LUTE] Re: Lyrics by Skakespeare

[AJN]

   For Duffin, Shakespeare's Songbook try abebooks.com for numerous used
   copies at a decent price ($13 and up: many US dealers).  Also
   Alibris.com (from $10 to $410!!!)


   On 10/06/14, AJNarthurjn...@verizon.net wrote:

   I would enthusiastically endorse Craig's recommendation of Ross
   Duffin's Shakespeare Songbook. It is indeed very well researched. All
   you might wish in 526 pp. with complete lyrics and tunes.
   Duffin teaches at Case Western where the LSA Summer Seminar is held.
   He often writes for the New Yorker magazine. Here's
   more: [1][1]http://music.case.edu/faculty/ross-duffin/
   His most famous work is _*How Equal Temperament Ruined Harmony (and
   Why You Should Care*_ (2008).
   For many years the standard work has been F. W. Sternfeld, *_Music in
   Shakespearean Tragedy*_ (1963). It has an index of lyrics in the
   tragedies, comedies or histories, and many musical examples in
   facsimile in the text. It is often a handy reference, because many
   local town libraries will have a copy.
   On 10/05/14, [2][2]co...@medievalist.org wrote:
   Wim,
   If you are referring to the songs that crop up in Shakespeare's plays,
   Dr. Ross Duffin has a lovely book researching that very subject called
   Shakespeare's Songbook. There are two CDs available with the music
   being played and the songs sung (the first is available comes with the
   book, the second is available seperately). You can find it on Amazon
   here:
   [3][3]http://www.amazon.com/Shakespeares-Songbook-Ross-W-Duffin/dp/0393
   058
   891/ref=sr_1_4?s=booksie=UTF8qid=1412561284sr=1-4keywords=music+of+
   shakespeare
   This book is, in my opinon, a definitive body of research.
   Regards,
   Craig Allen
   To get on or off this list see list information at
   [4][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   References
   1. [5]http://music.case.edu/faculty/ross-duffin/
   2. [6]mailto:co...@medievalist.org
   3.
   [7]http://www.amazon.com/Shakespeares-Songbook-Ross-W-Duffin/dp/0393058
   891/ref=sr_1_4?s=booksie=UTF8qid=1412561284sr=1-4keywords=music+of+
   shakespeare
   4. [8]http://www.cs.dartmouth.edu/

References

   1. http://music.case.edu/faculty/ross-duffin/
   2. mailto:co...@medievalist.org
   3. http://www.amazon.com/Shakespeares-Songbook-Ross-W-Duffin/dp/0393058
   4. http://www.cs.dartmouth.edu/
   5. http://music.case.edu/faculty/ross-duffin/
   6. mailto:co...@medievalist.org
   7. 
http://www.amazon.com/Shakespeares-Songbook-Ross-W-Duffin/dp/0393058891/ref=sr_1_4?s=booksie=UTF8qid=1412561284sr=1-4keywords=music+of+shakespeare
   8. http://www.cs.dartmouth.edu/

[LUTE] Re: Marco dall'Aquila edition

[AJN]

   From: AJN
   Date: Sep 28, 2014 3:36:58 PM
   Subject: Re: Marco dall'Aquila edition
   To: arthurjn...@verizon.net, lute-requ...@cs.dartmouth.edu


I must sadly report that my ISP, verizon.com, has cancelled all its
   personal web pages, as of September 30th.
   So if you have an interest in Marco's music, you have a short while to
   download pieces (Italian tablature and grand staff transcriptions). You
   may know of CDs by Chris Wilson, Paul O'Dette and Sando Volta.
   I completed the edition some time ago, but it was a hassle to get it
   onto the web page, so only a portion of the edition is there.  As for
   another venue, that is an open question.
   Surely I'll let you know.  Marco is such a fine composer, perhaps the
   most important predecessor to Francesco.  You may know of Marco CDs by
   Chris Wilson, Paul O'Dette and Sandro Volta.
   [1]http://mysite.verizon.net/vzepq31c/marcodallaquila/
   The other scores (the Sinfonia, Lawes consort and Daube pieces) will go
   to ISMLP.

References

   1. http://mysite.verizon.net/vzepq31c/marcodallaquila/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: Kapsberger at LOC.

[AJN]

More there, too.  See right column for more Kapsberger.
   [1]http://www.loc.gov/item/2010456615/

References

   1. http://www.loc.gov/item/2010456615/


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: [Fronimo_editor] Francesco da Milano - Fronimo files

[AJN]

Hello Dante!
   Of course, the edition includes Critical Notes!!
   I had to compile them before my work was submitted to the Press for
   approval. The critical notes were to be published separately on
   microfilm and to be made available from the
   Harvard music department.  See the General Editors' Note on page ix,
   and pages 10-11. Important alternate versions are printed complete in
   the Appendix, which more
   players should examine for repertory.
   snip
   Sorry I lost this message until I spotted it this evening.
   Arthur


   On 07/26/14, Dante Rosati[1]danteros...@gmail.com wrote:

   I recently ordered the reprint from Boulder Early Music Shop and it is
   excellent. I just wish it were a true critical edition in the sense
   that it provided information on the variants. As it is, variants are
   shown in the transcription without any indication of which sources they
   come from or how many sources share them. A supplementary volume with
   this kind of apparatus would make the edition truly complete 
   definitive! Even so, it is a magnificent edition and absolutely
   indispensable for FdM!
   On Sat, Jul 26, 2014 at 6:46 PM, AJN [1][2]arthurjn...@verizon.net
   wrote:
   A A Dear Sylvie and Harald,
   A A (My critical edition was continuously available from
   UMI/ProQuest in
   A A their Books on Demand division after the HUP edition sold
   out.
   A A (It was the best seller in the HUP music series.) A Many
   publishers
   A A back then used the now defunct UMI/ProQuest on Demand service
   to make
   A A their
   A A out-of-print books available to libraries and others needing
   A A replacement copies. A Their catalog held an amazing 140,000
   titles!
   A A The original Harvard University Press edition of The Lute Works
   of
   A A Francesco Canova da Milano
   A A has been available for several years now in an AUTHORIZED
   REPRINT
   A A EDITION from Boulder Early Music Shop (now in
   A A Oregon) [1][2][3]https://www.bems.com/ A Price $80 (eighty
   dollars)--complete
   A A in two volumes. A The edition uses the
   A A 8 1/2 x 11 plates made by UMI for their Books on Demand,
   A and
   A A includes a half page of updates (on p. xii).
   A A The tablature-only edition you cite by Seicento Editions costs
   192
   A A Euros (=$258). Nor do I know how accurate it is.
   A A As a quick look reveals, for each piece I examined, Rainer
   sic cites
   A A the same sources I used,
   A A and has many of the same emendations as I. A Of course, I
   gathered
   A A together perhaps a hundred microfilms,
   A A and examined and collated ALL of the existing original sources
   for
   A A Francesco's
   A A music. A It is standard procedure in preparing a critical
   edition of
   A A music to search out, find, and publish the most accurate
   readings.
   A A I compared over a two million ciphers and rhythm
   signs.shudder
   A A Copies of the original HUP edition appear on the used book
   market about
   A A 2 or 3 times per year. A Use the Book Fetch / Wish List
   A A services of international antiquarian book dealers such as
   [3]abebook.com
   A A or [4]alibris.com A (their coverage is worldwide).
   A A Most are in very good condition and are reasonably priced
   A (usually
   A A well below $150; I bought for $35***; but one recently
   A A sold for $300).
   A A You must be quick, because most copies are sold within a few
   hours of
   A A being announced on the online antiquarian market.
   A A ***Mint condition. A A single pencil remark on No. 87a,
   Magnificent!
   A A Arthur
   --
   References
   1. [4]mailto:arthurjn...@verizon.net
   2. [5]https://www.bems.com/
   3. [6]http://abebook.com/
   4. [7]http://alibris.com/
   To get on or off this list see list information at
   [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:danteros...@gmail.com
   2. mailto:arthurjn...@verizon.net
   3. https://www.bems.com/
   4. mailto:arthurjn...@verizon.net
   5. https://www.bems.com/
   6. http://abebook.com/
   7. http://alibris.com/
   8. http://www.cs.dartmouth.edu/

[LUTE] Re: de Bellis lute book now on line!

[AJN]

It would be nice to see that manuscript again. (Frank's digital files
   don't work for me.) Gustave Reese made an
   inventory of it, published in the Plamenac Festschrift (1969).  Frank
   de Bellis (b. Bari, 1898 d. SF 1968) was a
   very, very wealthy man who made millions in San Francesco commercial
   real estate.  As a hobby in his retirement he
   acquired thousands of rare books, scores, manuscripts and other Italian
   artifacts.  And zillions of foreign 78 rpm recordings of Italian
   music (mostly madrigals, it seemed). He played them on his radio
   program, Music of the Italian Masters. It went nationwide.
   We used to call him the Little Old Wine Maker.  Without realizing, it
   was his better known
   son, Frank de Bellis, Jr., who owned the winery.  An hour of Italian
   madrigals played from scratchy
   recordings was hard to take. He had become a cult figure for the
   members of a youth symphony I played in.
   But it was fun to listen to him with his enthusiastic pronouncements.
   And where else back then might
   one have heard ten minutes of madrigals, let alone hours of them.  Of
   course, he also played lots of Italian baroque
   music, which was little known at the time.  The Vivaldi revival was
   soon underway, and surely he was a contributor.
   A memorable individual.  Married to a music librarian.
   Arthur

   On 08/23/14, John Robinson[1]j.h.robin...@me.com wrote:

   Dear all
   I contacted the San Francisco State University recently to see if they
   had considered digitizing the be Bellis lute manuscript [Ms. M2.1 M3
   'Ascanio Bentivoglio a| 1615' - one of the best late renaissance
   Italian manuscripts] and was pleased to hear that they planned to put
   it online in their digital collection - and then received the link
   yesterday! Not downloadable but looks good in colour - when you have
   fiddled about enlarging the images! You may have seen that I posted
   details on the Lute Group in Facebook too. And Chris, can it be
   included in the ainternet news' paragraph in the next Lute News as I
   promised Meredith Eliassen Curator of the Frank V. de Bellis Collection
   that I would spread the news?
   [2]http://digital-collections.library.sfsu.edu/cdm/compoundobject/colle
   ction/p16737coll4/id/1154/rec/1
   Please share distribute and disseminate!
   best wishes - John

References

   1. mailto:j.h.robin...@me.com
   2. 
http://digital-collections.library.sfsu.edu/cdm/compoundobject/collection/p16737coll4/id/1154/rec/1


To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

[LUTE] Re: [Fronimo_editor] Francesco da Milano - Fronimo files

[AJN]

   Dear Sylvie and Harald,
   (My critical edition was continuously available from UMI/ProQuest in
   their Books on Demand division after the HUP edition sold out.
   (It was the best seller in the HUP music series.)  Many publishers
   back then used the now defunct UMI/ProQuest on Demand service to make
   their
   out-of-print books available to libraries and others needing
   replacement copies.  Their catalog held an amazing 140,000 titles!
   The original Harvard University Press edition of The Lute Works of
   Francesco Canova da Milano
   has been available for several years now in an AUTHORIZED REPRINT
   EDITION from Boulder Early Music Shop (now in
   Oregon) [1]https://www.bems.com/  Price $80 (eighty dollars)--complete
   in two volumes.  The edition uses the
   8 1/2 x 11 plates made by UMI for their Books on Demand,  and
   includes a half page of updates (on p. xii).
   The tablature-only edition you cite by Seicento Editions costs 192
   Euros (=$258). Nor do I know how accurate it is.
   As a quick look reveals, for each piece I examined, Rainer sic cites
   the same sources I used,
   and has many of the same emendations as I.   Of course, I gathered
   together perhaps a hundred microfilms,
   and examined and collated ALL of the existing original sources for
   Francesco's
   music.  It is standard procedure in preparing a critical edition of
   music to search out, find, and publish the most accurate readings.
   I compared over a two million ciphers and rhythm signs.shudder
   Copies of the original HUP edition appear on the used book market about
   2 or 3 times per year.  Use the Book Fetch / Wish List
   services of international antiquarian book dealers such as abebook.com
or alibris.com  (their coverage is worldwide).
   Most are in very good condition and are reasonably priced  (usually
   well below $150; I bought for $35***; but one recently
   sold for $300).
   You must be quick, because most copies are sold within a few hours of
   being announced on the online antiquarian market.
   ***Mint condition.  A single pencil remark on No. 87a, Magnificent!
   Arthur


   On 07/26/14, Fam Aichholz [2]sylvie.eck...@t-online.de
   [Fronimo_editor][3]fronimo_edi...@yahoogroups.com wrote:


   Ask Reiner who sells Milano complete in frech tab.
   [4]http://www.seicentomusic.de/
   Regards Eckart
   Am 26.07.2014 10:43, schrieb Harald Hamre [5]haraldjha...@yahoo.com
   [Fronimo_editor]:


   Dear Fronimo users!

   Does anybody have, or know where to find, the following pieces by
   Francesco da Milano - as Fronimo files?
   In the Ness edition the numbers are

   23
   35-37
   42-46
   48-50
   53-54
   71-72
   77-80
   86-88
   90
   95-96
   101-105
   107-110
   112-124
   They are not in these collections
   [6]Index of /composers
   [7]Lute solos

   Best regards
   Harald Johan Hamre

   __._,_.___
 __

   Posted by: Fam Aichholz [8]sylvie.eck...@t-online.de
 __

   [9]Reply via web post a-c- [10]Reply to sender a-c- [11]Reply to group
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   =imgamp;cf12=FY]
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References

   Visible links
   1. https://www.bems.com/%C2%A0
   2. mailto:sylvie.eck...@t-online.de
   3. mailto:fronimo_edi...@yahoogroups.com
   4. http://www.seicentomusic.de/
   5. mailto:haraldjha...@yahoo.com
   6. http://www.gerbode.net/composers/
   7. http://www.lute.ru/library_eng/lutetab.htm
   8. mailto:sylvie.eck...@t-online.de
   9. 
https://groups.yahoo.com/neo/groups/Fronimo_editor/conversations/messages/870;_ylc=X3oDMTJvYWR2MG80BF9TAzk3MzU5NzE0BGdycElkAzg0NDE1MTEEZ3Jwc3BJZAMxNzA1MDIzODY1BG1zZ0lkAzg3MARzZWMDZnRyBHNsawNycGx5BHN0aW1lAzE0MDYzNjUwODE-?act=replymessageNum=870
  10. 
mailto:sylvie.eck...@t-online.de?subject=Re%3A%20%5BFronimo_editor%5D%20Francesco%20da%20Milano%20-%20Fronimo%20files
  11. 
mailto:fronimo_edi...@yahoogroups.com?subject=Re%3A%20%5BFronimo_editor%5D%20Francesco%20da%20Milano%20-%20Fronimo%20files
  12. 
https://groups.yahoo.com/neo/groups/Fronimo_editor/conversations/newtopic;_ylc=X3oDMTJlZG5xMTRpBF9TAzk3MzU5NzE0BGdycElkAzg0NDE1MTEEZ3Jwc3BJZAMxNzA1MDIzODY1BHNlYwNmdHIEc2xrA250cGMEc3RpbWUDMTQwNjM2NTA4MQ--
  13. 

[LUTE] Re: Lusty Gallant

[AJN]

   We have another one now.  _*Shakespeare's Songbook*_  by Ross Duffin.
   This is a very good collection by a recognized scholar.
   He has about a dozen references to Lusty Gallant, including Macbeth.
   Duffin is a frequent author of provocative articles in the New Yorker.
 He also teaches at . . .At? . . . . At? . . . .
   Heh!!! Case Western.
   He should certainly be invited to lecture at one of our LSA Summer
   Sessions at Case.  His is a very substantial collection of Elizabethan
   ballads.


   On 07/26/14, Nancy Carlinna...@nancycarlinassociates.com wrote:

   A good place to start looking for where you can find the music to this
   type of tune is
   Claude M. Simpson
   The British Broadside Ballad and its Music
   Rutgers Univ Press 1966
   Simpson list
   Ballet Lute Book p 85 (now available online)
   Marsh Lute Book p 61
   Another good place to look these up is in Julia Craig-McFeeley's
   dissertation. You can find a link to it in the links listed in the LSA
   web site.
   Nancy
Does anyone know where I can find the tablature for Lusty Gallant?
   
   
Thanks
   
   
RICK LINDBERG
   
Professional Content Developer
   
ARRIS
   
Lowell, MA
   
   
o: +1 (678) 473-8000
   
c: +1 (678) 473-8001
   
e: [1][1]richard.lindb...@arrisi.com
   
w: [2][2]www.arrisi.com
   
   
--
   
References
   
1. [3]mailto:richard.lindb...@arrisi.com
2. [4]http://www.arrisi.com/
   
   
To get on or off this list see list information at
[5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   --
   Nancy Carlin
   Administrator THE LUTE SOCIETY OF AMERICA
   [6]http://LuteSocietyofAmerica.org
   PO Box 6499
   Concord, CA 94524
   USA
   925 / 686-5800
   [7]www.groundsanddivisions.info
   [8]www.nancycarlinassociates.com

References

   1. mailto:richard.lindb...@arrisi.com
   2. http://www.arrisi.com/
   3. mailto:richard.lindb...@arrisi.com
   4. http://www.arrisi.com/
   5. http://www.cs.dartmouth.edu/
   6. http://LuteSocietyofAmerica.org/
   7. http://www.groundsanddivisions.info/
   8. http://www.nancycarlinassociates.com/

[LUTE] Re: Carmen's Whistle

[AJN]

   In other words, you need the PIckeringe setting. Facsimile on Veylit's
   Django pages.  Page 58-59 (the cited page 59 is a continuation).


   On 06/14/14, AJNarthurjn...@verizon.net wrote:

   The Carman's Whistle is a ballad tune about a lad meeting a damsel
   under a myrtle tree.
   O God a mercy: Carman, thou art a lively lad,
   Thou has as rare a whistle as ever Carman had.
   The setting in Dd.5.78.3 (Egerton), fol. 48v (see Gerbode) has no
   composer attribution. It has two additional variations, which
   sound too lugubrious for John Johnson. POD does not include them
   On 06/13/14, Nancy Carlinna...@nancycarlinassociates.com wrote:
   There are 2 Carmen's Whistles - to check titles like this the easiest
   way is to go to Julia Craig McFeely's dissertation. There is a link to
   it on the LSA's Links section of the web site and scroll down to her
   index of titles. One version is from Pickering and the other is it Dd.
   5.78. Next an easy way to start looking at the music is to check Sarge
   Gerbode's web site.
   [1][1]www.Gerbode.net
   You can find Pickering by going to Source facsimiles, then British
   Library and it is listed as Eg. 2046. Sarge has dd.5.78 under
   Cambridge. You could also check out Jan Berggers edition of Johnson
   that is available from Tree Editions. If you want to look at another
   version - there is one for keyboard in the Fitzwilliam Virginal Book.
   Nancy
Greetings,
Could someone point me to the version of this Johnson work that Paul
O'Dette plays here:
[1][2][2]http://youtu.be/3q5pi-Ad7JA
Thank you!
Charles Mokotoff
   
--
   
References
   
1. [3][3]http://youtu.be/3q5pi-Ad7JA
   
   
To get on or off this list see list information at
[4][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   
   --
   Nancy Carlin
   Administrator THE LUTE SOCIETY OF AMERICA
   [5][5]http://LuteSocietyofAmerica.org
   PO Box 6499
   Concord, CA 94524
   USA
   925 / 686-5800
   [6][6]www.groundsanddivisions.info
   [7][7]www.nancycarlinassociates.com
   References
   1. [8]http://www.gerbode.net/
   2. [9]http://youtu.be/3q5pi-Ad7JA
   3. [10]http://youtu.be/3q5pi-Ad7JA
   4. [11]http://www.cs.dartmouth.edu/
   5. [12]http://lutesocietyofamerica.org/
   6. [13]http://www.groundsanddivisions.info/
   7. [14]http://www.nancycarlinassociates.com/

References

   1. http://www.gerbode.net/
   2. http://youtu.be/3q5pi-Ad7JA
   3. http://youtu.be/3q5pi-Ad7JA
   4. http://www.cs.dartmouth.edu/
   5. http://lutesocietyofamerica.org/
   6. http://www.groundsanddivisions.info/
   7. http://www.nancycarlinassociates.com/
   8. http://www.gerbode.net/
   9. http://youtu.be/3q5pi-Ad7JA
  10. http://youtu.be/3q5pi-Ad7JA
  11. http://www.cs.dartmouth.edu/
  12. http://lutesocietyofamerica.org/
  13. http://www.groundsanddivisions.info/
  14. http://www.nancycarlinassociates.com/

[LUTE] Diego ORTIZ (etc., ed. Scheider )Re: New UR Research Publications

[AJN]

This message includes a facsimile for downloading of Ortiz' Tratado,
   edited in modern edition by Schneider.

   --Original Message--
   From: nore...@ur.rochester.edu
   Date: Jun 4, 2014 1:00:49 AM
   Subject: New UR Research Publications for dates: 06/03/2014 -
   06/04/2014
   To: arthurjn...@verizon.net

   New publications are available in the UR Research collections you have
   subscribed to
   New publications in Musical Scores: 9
   Publication Name: Birkbeck and the Russian church : containing essays
   and articles
   URL:
   [1]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId=28120versionNumber=1
   Author:Birkbeck, W, J (1859 - 1916)
   Editor:Riley, Athelstan (1858 - 1945)
   Publication Name: Tratado de glosas sobre clausulas y otros generos de
   puntos en la musica de violones, Roma, 1553
   URL:
   [2]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId=28119versionNumber=1
   Author:Ortiz, Diego
   Editor:Schneider, Max (1875 - 1967)
   Publication Name: Verzeichniss des Musikalien-Verlags von M. P.
   Belaieff in Leipzig
   URL:
   [3]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId=28118versionNumber=1
   Publication Name: Reisebriefe aus den Jahren 1830 bis 1832
   URL:
   [4]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId=28117versionNumber=1
   Author:Mendelssohn-Bartholdy, Felix (1809 - 1847)
   Editor:Mendelssohn-Bartholdy, Paul (1812 - 1874)
   Publication Name: Estudios sobre musica religiosa. El canto
   litA-c-urgico. El A-c-organo
   URL:
   [5]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId=28116versionNumber=1
   Author:Jimeno de Lerma, JosA-c-e, Ildefonso (1842 - 1903)
   Publication Name: The memoirs of a Cambridge chorister
   URL:
   [6]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId=28115versionNumber=1
   Author:Glover, William
   Publication Name: Colour-music : the art of mobile colour
   URL:
   [7]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId=28114versionNumber=1
   Author:Rimington, Alexander, Wallace (1854 - 1918)
   Publication Name: Mozart's Kunst der Instrumentation
   URL:
   [8]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId=28113versionNumber=1
   Author:KomorzyA-c-nski, Egon, R. von (1878 - 1963)
   Publication Name: Elfentanz. FuIr Viol. I, II, Viola u. Violoncello.
   URL:
   [9]https://urresearch.rochester.edu/institutionalPublicationPublicView.
   action?institutionalItemId=28112versionNumber=1
   Composer:KaIrnauke, Kurt (1866 - 1944)
   Enjoy!
   Questions/problems? let us know: [10]urresearch-h...@rochester.edu

References

   1. 
https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=28120versionNumber=1
   2. 
https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=28119versionNumber=1
   3. 
https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=28118versionNumber=1
   4. 
https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=28117versionNumber=1
   5. 
https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=28116versionNumber=1
   6. 
https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=28115versionNumber=1
   7. 
https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=28114versionNumber=1
   8. 
https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=28113versionNumber=1
   9. 
https://urresearch.rochester.edu/institutionalPublicationPublicView.action?institutionalItemId=28112versionNumber=1
  10. mailto:urresearch-h...@rochester.edu


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[LUTE] Re: petition for instrument museum in Nice

[AJN]

   From: AJN
   Date: Feb 15, 2014 4:01:24 PM
   Subject:  FW: petition for instrument museum in Nice
   To: am...@listserv.unl.edu

   This petition deserves our attention. Some of you have expressed
   interest in some of the instruments in this magnificent collection.
   The Musee du Palais Lescares holds the second largest historical
   musical instrument collection in France, described in the petition,
   below.
   Arthur J. Ness, Boston
   [1]arthurjn...@verizon.net
   --Original Message--
   From: American Musical Instrument Society Listserv
   Sent: Monday, February 10, 2014 7:43 AM
   To: [2]amis-l-l...@usd.edu
   Subject: petition for instrument museum in Nice
   The following is a translation of the text of the petition linked
   below.
   Please sign and forward as widely as possible.
   Help !
   Nice, musAA(c)e du Palais Lascaris : a collection of historical
   instruments
   adrift ?
   To all lovers of old instruments, musicologitsts and organologists: if
   you
   support our cause, we ask you to please sign this petition and to
   circulate
   it as widely as possible:
   [3]http://www.petitionpublique.fr/?pi=P2014N45944
   [4]http://www.petitionpublique.fr/?pi=P2014N45944
   You may also write to Mr Le DAA(c)putAA(c) Christian Estrosi /Maire de
   Nice / 5 rue
   de l'hAA'tel de Ville / 06364 Nice cedex 4, indicating your name, your
   title
   and/or affiliation, and your address, or send an email using the
   following
   link:
   [5]http://contact.nice.fr/index.php?mode=ecrireaumaire
   Thanks to all !
   Many scholars and musicians know the collection of historical
   instruments at
   the Palais Lascaris in Nice, the result of a bequest in 1904 of all of
   the
   musical collections (instruments, books on music, first editions,
   scores,
   autographs) of Antoine Gautier, founder of a string quartet that had
   celebrated their sixtieth anniversary and whom all of musical Europe
   knew,
   and whose salon they visited.
   The collection has suffered numerous tribulations and moves: MusAA(c)e
   Jules
   ChAA(c)ret in 1904, MusAA(c)e MassAA(c)na in 1922, Conservatoire de
   Musique in 1955, the
   store rooms of the abbaye de Roseland, return to the musAA(c)e
   MassAA(c)na, back in
   storage...
   Finally, the city council decided in 1996 to install it definitively in
   the
   baroque setting of the Palais Lascaris. At that point, under the
   enlightened
   leadership of its curator, the administration hired for the museum a
   reputed
   musicologist and organologist. Mr Robert Adelson. Very rapidly, the
   quality
   of the scholarly work, the richness of the exhibitions, the musical
   programmes, the access given to many scholars, developed a larger and
   larger
   audience, enriching the collections thanks to remarkable donations,
   even
   attracting the long-term loans of precious collections: the Ad Libitum
   collection (keyboard instruments, including an Erard grand piano from
   1790
   in playable state) and the Axa archives (owners of the
   Erard-Pleyel-Gaveau
   collections: paintings, documents, ledgerbooks, instruments, as well as
   an
   immense archive of unpublished correspondence, from Busoni, Cherubini,
   FaurAA(c), Gounod, Liszt, Massenet, Mendelssohn, Moscheles, Paderewski,
   Prokofiev, Ravel, Saint-SaAAns, Thalberg, Widor...).
   The inaugural exhibition of the Axa archives coincided with the
   creation of
   the Gautier galleries, the museum display cases presenting the most
   important instruments of the Gautier collection. In this way, the
   Palais
   Lascaris's own collections were valorised, which assured from that
   moment on
   the international reputation of the museum of musical instruments in
   Nice.
   Finally, convinced by the quality of the scholarship and the rich
   programmes
   offered in the museum, Mr Gabriel de Broglie, chancellor of the
   Institut de
   France, put on long-term loan at the palais Lascaris the Fonds
   Tissier-Grandpierre, an important collection of historical instruments,
   especially famous for its precious series of harps.
   Since the summer of 2012, the citizens of Nice witnessed with
   astonishment
   the reversal of all the developments that had taken place throughout
   the
   previous years and that had been so remarkably conducted: the
   side-lining of
   the Organologist-Curator, the cancellation of the Axa and Ad Libitum
   long-term loans, the limiting or refusal of access to international
   scholars, the apparent halt to the scholarly programmes, research and
   publications, acquisitions and restorations, the increasingly scarce
   concerts on playable instruments from the collection. Today one has
   reason
   to worry that the palais Lascaris and its instruments could be left to
   fill
   more decorative rather than organological functions.
   We underline that, since the exhibition of the Gautier collection at
   the
   musAA(c)e MassAA(c)na (1935), all

[LUTE] Re: Phalese stopping strings?

[AJN]

   That's my impression also.
   (I've had computer difficulties and still owe a few of you messages.  I
   haven't forgotten.)


   On 01/03/14, David van Ooijendavidvanooi...@gmail.com wrote:

   On the contrary, I understand these asterixes as reminders to sustain
   the notes, that is, to hold the fingers on the strings.
   David
   ***
   David van Ooijen
   [1][1]davidvanooi...@gmail.com
   [2][2]www.davidvanooijen.nl
   ***
   On 3 January 2014 18:50, [3][3]theoj89...@aol.com wrote:
   I was looking through Pierre Phalese, Hortus Musarum, 1552
   (available online - search Phalese Hortus IMSLP )
   Phalese puts an asterix (*) on the staff often sometimes multiple
   ones, and in very specific placement, and I realized these must be
   markings to 'stop' a string from sounding? I am very curious about
   this. Are there other examples of notations used in lute tab to stop
   strings? Does this suggest the sustain of lute strings back then
   might have been more robust than we may think? trj
   --
   To get on or off this list see list information at
   [4][4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   --
   References
   1. [5]mailto:davidvanooi...@gmail.com
   2. [6]http://www.davidvanooijen.nl/
   3. [7]mailto:theoj89...@aol.com
   4. [8]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

References

   1. mailto:davidvanooi...@gmail.com
   2. http://www.davidvanooijen.nl/
   3. mailto:theoj89...@aol.com
   4. http://www.cs.dartmouth.edu/
   5. mailto:davidvanooi...@gmail.com
   6. http://www.davidvanooijen.nl/
   7. mailto:theoj89...@aol.com
   8. http://www.cs.dartmouth.edu/

[LUTE] Re: Lute artwork

[AJN]

Here's the most extensive gallery I know.
   [1]http://www.lutevoice.com/luteiconography/Page%201.html


   On 10/17/12, Joshua Hornjoshua-h...@att.net wrote:

   Hi everyone,
   I'm looking for various artwork (paintings or drawings) of lutes and or
   people playing them from the time period. I had a link to a page that
   one of you graciously sent me in regards to lute roses but I've since
   misplaced that information. Can anyone send me a link to a page with
   artwork regarding lutes?
   Thanks,
   Josh
+ Joshua Edward Horn + 
   --
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References

   1. http://www.lutevoice.com/luteiconography/Page%201.html
   2. http://www.cs.dartmouth.edu/

Re: Early Type Specimens in the Plantin-Moretus Museum

[AJN (boston)]

Dana and others,

I forgot that you also mentioned Stanley Boorman's work on Petrucci.  His
book (800 pp.) is now finished and should be available very soon.  I recall
a publication date of April 22, or May 22, from Oxford University Press. 
My copy hasn't arrived yet.  That should be a very exciting book for many
of us.  And Stanley is such a good scholar.

Arthur



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Ed Martin injured

[AJN (boston)]

Many of you know Ed Martin from his contributions to this list and at the
LSA Summer Seminars.  On Monday he was severely injured in a cycling
accident and is recovering at St. Mary's Hospital in Duluth.  If you wish
to send him a note of cheer, here is his address:

Ed Martin
Room 8241
St. Mary's Hospital
407 East Third Street
Duluth, MN 55805



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Early Type Specimens in the Plantin-Moretus Museum

[AJN (boston)]

Dear Dana,

It's nice to see you back on line.  This message from Oak Knoll Press may
be of interest to you and others on the List. That publisher specializes in
works about book manufacture and bibliography.

 I don't know if this is the same type museum you were mentioning. The
famous one is thge Plantin-Moretus Museum in Antwerp. There is also a type
museum at Oxford University Press.  I've seen a short film that the Plantin
museum produced showing how type was made in the 16th century.  That museum
will be a must see whenever I get back to Antwerp.

The museum in Antwerp also has some specimens of music type, and perhaps
this new book will show more.  I wonder how it departs from Vervliet's
book, which you mentioned.  

Arthur.
-- Forwarded Message --

From:   INTERNET:[EMAIL PROTECTED], INTERNET:[EMAIL PROTECTED]
TO: AJN (boston), 71162,751
DATE:   5/12/05 5:54 PM

RE: Early Type Specimens in the Plantin-Moretus Museum

Dear Mr Ness,

Early Type Specimens in the Plantin-Moretus Museum is now available at Oak
Knoll! 

This first edition work features one of the world's richest collections in
type specimens, many surviving nowhere else. They include types by
Garamond, Granjon, Van den Keere, Briot, Van Dyck, Kis, Fournier, Rosart,
Gille, Didot and many other masters from the fifteenth to the nineteenth
century. Since the Plantin-Moretus printing office acquired most of the
type specimens when new, moreover, the collection as a whole tells a story
in a way that collections assembled piecemeal in the nineteenth and
twentieth centuries cannot. Finally, the Museum's extraordinary archives
help to document the origins of many specimens.
 This first detailed catalogue of the Museum's specimens reports the
styles and sizes of type shown, describes the structures and paper stocks,
notes relations with other specimens in the collection and elsewhere, and
provides references to literature on many of the individual types shown.
 Preliminary notes on the type founders and printers who issued the
specimens include chronologies of the foundries and information on the
origins of their materials, sometimes supplemented with information about
the history of the firms and the genealogy of the founders. Nearly all of
the nineteen specimens illustrated at their original size appear here for
the first time, and extensive indexes make this book a powerful reference
tool for type specimen enthusiasts and printing historians. Contains 15
illustrations and 4 rare facsimile specimen sheets inserted in the inside
back cover. Co-published with The British Library. 

Check out Early Type Specimens in the Plantin-Moretus Museum at the
following link:
http://oakknoll.com/detail.php?d_booknr=76434

We also have many more titles with similar subjects. Check out the
following online catalogue to view our titles on Early Type Specimens.

http://oakknoll.com/results.php?s_Catnr=925s_ShowPics=1  

We hope you find something of interest.

Best wishes,
Your Oak Knollers


-- -- -- -- -- -- -- -- -- -- -- --
Oak Knoll Books
310 Delaware Street New Castle DE 19720
P: 302.328.7232 - F: 302.328.7274 - E: [EMAIL PROTECTED] - W:
www.oakknoll.com

This is a commercial email message. If you do not want to receive any more
email from this site, please send an email message to [EMAIL PROTECTED]
and your name will be removed from the list.
 

== End Part 2 ===



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Re: 'Tastini' - lack of evidence

[AJN (boston)]

Some of you may wish to know that the English translation by Carol
MacClintock of Vincenzo Galilei's _Fronimo (1584),_ American Institute of
Musicology, Musicological Studies and Documents, 39 (1985), is still
available.  My catalogue lists it for $64.  AIM publications are
distributed by A-R Editions  in Middleton, Wisconsin.(www.areditions.com).

Incidentally A-R Editions has just released John Griffiths and Dinko Fabris
_Neapolitan Fantasias_ containing works by Dentice, the Severinos, Cardone,
M. Newsidler et al.  Transcription and separate tablature.  Many of the
works are from Berlin/Cracow, Mus Ms 40032.  

ajn
-
Arto wrote:

Dear Martyn,

 Yes, I would be most grateful for the relevant page numbers in the  
original edition(s) -1568 and/or 1584.

The MacClintoc translation/edition is of the 1584 version. If I interprete
the listings of contents right, the talk about uneven fret placement and
tastini starts in page 155ff: Unequal frets on Lute and Viola to  provide
for major and minor semitones are an impertinence, and then page 162:
Frets added to the Lute, and their impertinence. What makes me wonder, is
that these page numbers seem to correspond also the pages of the
translation! And for ex. this 155ff is the _lower_ half of the  modern page
155! Could MacClintock really preserve the original page  numbering in the
translation?  Anyhow, please check that Martyn, and let  us know!

By the way, in the book there is lots of more interesting material of 
these matters than I wrote to the net in my page in 1995! That is only 
kind of teaser, actually... ;-)  And in the book there is also very much 
else to be studied!  I must put the book in the front of my reading list! 
Thanks for re-activating my interest to Il Fronimo! Perhaps I or others 
will inform the List of other intersting comments of music and lutes 
written by Vincenzo G.!

All the best,

Arto



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Re: mesmerization

[AJN (boston)]

If I recall correctly, the Berlin Philharmonic played Beethoven's Fifth
from memory when they appeared here in Boston a few years ago.  They used a
small chamber orchestra for that work.

Doesn't Renato Fasano and his Virtuosi di Wherever also play from memory?

As for Andre, I think his musicians play from memory because they are
bored.  Can you imagine playing that stuff every night?

ajn.



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Historical Dance at Amherst EMF

[AJN (boston)]

Dorothy Olsson has asked me to forward this message to the lute list.

AJN
-- Forwarded Message --
From:   Dorothy Olsson, INTERNET:[EMAIL PROTECTED]
TO: AJN (boston), 71162,751
DATE:   3/29/05 5:49 PM
Please join us for the …

HISTORICAL DANCE PROGRAM

AT THE

AMHERST EARLY MUSIC FESTIVAL

July 9-24, 2005

Bennington College, Bennington, Vermont

THIS YEAR’S THEME: “Music of the British Isles”

FACULTY
Dorothy Olsson, Director; Kaspar D. Mainz

DANCE CLASSES

Dance is an integral part of the Amherst Early Music Festival (a two-week 
early music festival with a vast array of musical offerings; see 
http://www.amherstearlymusic.org/). For the 2005 workshop, classes will be 
offered in Renaissance and Baroque dance, and contredanses. All levels of 
dancers are welcome. This year's program consists of two weeks of classes, 
with two public performances. Participants are also entitled to attend many

other events (including English country dancing, concert and lectures) in 
the evenings that are part of the Amherst Early Music Festival.

PERFORMANCE OPPORTUNITIES

This year our first week production will be Henry Purcell’s opera, “Dido 
and Aeneas,” first performed in London in 1686. Our performance will take 
place on July 15, during the first week of the AEM Festival. Stage 
Director: Drew Minter; Dance Directors: Dorothy Olsson, Kaspar D. Mainz; 
Music Director: Andrew Lawrence-King; Scriptwriter: Lawrence Rosenwald; 
Costumer: Ronnie Snader

A production of “Oberon, the Faery Prince,” will be presented on July 22, 
during the second week of the AEM Festival. This masque by Ben Jonson was 
first performed in 1611 at the court of James I. Director: Grant Herreid; 
Dance Directors: Dorothy Olsson, Kaspar D. Mainz; Scriptwriter: Lawrence 
Rosenwald; Costumer: Ronnie Snader

Both performances will be fully staged, with costumes and accompaniment of 
live music.

FOR MORE INFORMATION AND APPLICATION FORM

For more information about the Historical Dance Program, please visit our 
web page,
http://www.newyorkhistoricaldance.com/aem2005dancewebpage.htm

or, contact Dr. Dorothy Olsson: [EMAIL PROTECTED]
Für Informationen auf Deutsch, bitte kontaktieren Sie Kaspar D. Mainz: 
[EMAIL PROTECTED]

For more information about the Amherst Early Music Festival, please visit 
our website,
http://www.amherstearlymusic.org/
Or send an email to: [EMAIL PROTECTED]

Amherst Early Music
Marilyn Boenau, Director
47 Prentiss St
Watertown, MA 02472, U.S.A.
Phone: 617-744-1324
Fax: 617-744-1327



=== End Part 1 / Begin Part 2 ===
Format: BINARY

% Part 2 is binary

== End Part 2 ===



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Need e-mail address for Denys Stephens

[AJN (boston)]

Denys,

I do not have you recent e-mail address.  

Arthur.



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van den Hove's 'Florida' published!

[AJN (boston)]

Arto Wikla wrote:

Dear lutenists

I heard that the Dutch Lute Society has just published 'Florida' by 
Joachim van den Hove (1601)!  And I already ordered a copy... :-)

Just go to their page:  

http://www.luitvereniging.nl/

All the best

Arto

Dear Arto, This is welcome news. And heartiest congratulations are due its
editor, our own Taco Walstra.  This seems to be an exceptional facsimile. 
David van Ooijen, LGS newsletter editor,wrote that Taco's edition is
printed on good quality paper of the original size, it has a hard cover,
is cloth bound and has a translation of the original Latin dedication as
well as an extensive background of the composer and the musical content of
the book.  219 pages of music in French tabkature and mensural notation.
 The sources for the vocal works are also cited.

Van den Hove is a major Dutch lutenist-composer well deserving of this
facsimile from the Dutch Lute Society.  Now many of us await the reprint of
the Vallet facsimile edition.  (And some other exciting things?)

Arthur.
AJN (Boston).

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Musiksammlung of the ÖNB to move; from Benjamin Korstv edt

[AJN (boston)]

FYI.  I always enjoyed the Cafe Mozart across the street.
-- Forwarded Message --
Sender: [EMAIL PROTECTED]

It may be worth alerting the list that this year the Musiksammlung of the 
Österreichischen Nationalbibliothek will be moving to a new location--on 
Herrengasse not far from the current location on Augustinerstrasse.  The 
current plans call for the move to begin in late May or early June, which 
may possibly yet change.  The entire collection will be unavailable for 
about four months during the move.  Obviously, anyone planning to work in 
the Musiksammlung this year will need to plan with this in mind.

all best,

Ben Korstvedt


***'
Benjamin M. Korstvedt, Ph.D.
Assistant Professor and Program Director for Music
Department of Visual  Performing Arts
Clark University
Worcester, Massachusetts 01610
508-793-7369
[EMAIL PROTECTED] 



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Re: Sacred music for baroque lute

[AJN (boston)]

Dear David,

What wonderful news.  Have you decided what works you are going to play? 
Be sure to let us know when the recital will take place.  That must be a
magnificent place to play.  I have never heard about  any lute music there.
 But the library is filled with manuscripts of music sent from Vienna in
the time of Mozart and Haydn.  There is a dissertation on music at Me;lk by
Robert N. Freeman, now professor of musicology at the University of
California.

It is from him that I heard about the monks and minuets. He even had a
photo of the circular window from which the music circulated down to the
listeners.  You might look for it.  I recall a white plaster wall with a
window about a meter in diameter.

It's interesting how many pictures of performing orchestras will have the
musuicians on a balcony above the listeners.  I've never heard a concert
that way.

Now on the Sciurus, which is Latin for Eichhorn (Mr. Squirrel). 
Incidentally I followed Gernot's idea and found an Eichorn (one H) in the
Boston telephone directory.

AJN.
FROM:   LGS-Europe, INTERNET:[EMAIL PROTECTED]
TO: LUTE NET, INTERNET:lute@cs.dartmouth.edu
AJN (boston), 71162,751
DATE:   2/26/05 4:34 AM
Re: Re: Sacred music for baroque lute
snip
I'll be playing in Melk in May. There's nothing about hidden rooms or
bleeding in my contract, I'd better check!

David



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Re: Sacred music for baroque lute

[AJN (boston)]

I followed Gernot's advi ce and checked the Boston telephone directory and
found one person,
Eichorn (one H--but the other was a misspelling on my part).

Anyway, Sciurus is Latin for squirrel.  And I was wondering if our Johann
Michael might have been named Eichhorn.  Often German composers changed
their names to be fashionable, e.g., Colombo for Daube, or Rossetti for
Rössler.  I notice now that there was a professor of Hebrew at the
University of Königsberg named Eichhorn who also used the pen-name Sciurus.

Anyway Sciurus was chamber musician and lutenist at the court of
Anhalt-Coethen from 1724 until about 1754, being appointed a few months
after J.S. Bach's departure..  Marcus mentions his book of chorales
arranged for lute, Canzoni devotti tradotti nell'liuto da me J[ohann]
M[ichael] Sciurius, 1742  Mus Ms 40151 in Cracow (formerly in Berlin), a
collection of over 200 chorales.  

They are rather intersting arrangements, because the chorales are adapted
to the lute, and are fairly easy pieces, mostly a bass line with the
melody.  But the spacing is such that the sound is fuller than one might
expect from such a thin texture. Most of chorales are taken from a
collection by Freylingshausen, and the lute arrangemets are often grouped
by key and function into suites.  

Thus a section of 6 Glaubens- und Liebes-Lieder on pages 68-73 are in g
and Bb, the next section of Liebes-Lieder (pages 74-79) are on d and F

One wonders for whom Sciurus penned this collection of pieces intended
probably for private devotionals.  Well, the cover carries a clue with the
embossed initials C. A. A. Pr. D.' A.  / 1740.

The book was for Christina Anna Agnera Princesse of Anhalt-Cöthen.  She
also played the harpsichord and had been a student of J. S. Bach when he
was director of music at Cöthen.

Markus also mentions a book of charales into which Wilhelm Friedrich Rust
added the lute part for one of his three sonatas for lute and violin.  The
chorales are in a different hand, and I doubt they are by Rust.  He surely
was an important and noted composer.  And had quite a grandson, also named
Wilhelm.  The grandson re-wrote some of his grandfather's music changing it
so that it sounded like Beethoven.  The grandson then claimed that his
granfather was the source for Beethoven's musical style.  Alas he was found
out, and Der Fall Rust (The Rust Case) was quite a musical scandal
around 1902.

Rust was Kapellmeister at the duchal court of Anhalt-Dessau.  And who was
duchess of Anhalt-Dessau?  Our Bach/Sciurus student, Christina Anna Agnera.
 So the sonatas were also probably written for her.

AJN.




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Re: Sacred music for baroque lute

[AJN (boston)]

The lute books seem to have been for personal use, Pater (later Abbot)
Herman Kniebandl, for example.  But there are sacred pieces in two of the
books from Gruessau (Mss 2009?? and 2011 now in Warsaw).  I imagine the use
of secular music in the monasteries may have been local option.

The magnificent mountainside Monastery at Melk maintained an orchestra in
the 18th cen. which played for visitors from a hidden room.  (e.g., the
emperor stayed at Melk while travelling). (The sounds issued through a
circle-shaped window above the banquet hall. Otherwise secular music was
apparently prohibited the monks, with one exception.  Every year the monks
were bleed, and for a few days thereafter the orchestra was permitted to
play minuets while the monks recuperated..

But the question is an interesting one.  That is, secular music in sacred
places. As well as sacred music in secular places.  Now about Johann
Michael Sciurius aka? Eichörnchen?  Is that a valid German family name?

AJN.




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Re: Board manuscript Boethius/Severinus

[AJN (boston)]

Here is news that will please Chris Schaub, who made the inquiry about
Board, and others of you
with an interest in the many important lute manuscripts publ. in facsimile
by Boethius and Severinus presses. It is such good news that they will be
kept in print for future generations, as well as ours.

AJN.
-- Forwarded Message --

From:   INTERNET:[EMAIL PROTECTED], INTERNET:[EMAIL PROTECTED]
TO: AJN (boston), 71162,751
DATE:   2/2/05 2:54 AM

RE: Re: Board manuscript
Dear Arthur

Thanks for this - could you forward the message below - I can't because I 
don't subscribe anymore:


All the out-of-print Boethius/Severinus facsimiles _are_going to be 
reprinted. 

The publishing company Peacock Press [aka RecorderMusicMail / Jacks Pipes
and 
Hammers / Ruxbury Publications] have bought up all the old stock of
Boethius 
/Severinus and are retailing it, and preparing reprints of out of print
titles.

For further info contact them at the address below.

The more emails from lutenetters they get begging for a reprint of Board,
the 
quicker they will get on with it!

Jacks, Pipes  Hammers , Scout Bottom Farm, Mytholmroyd, Hebden Bridge, HX7

5JS,
 tel: ++44/0 1422 882751
Fax   ++44/0 1422 886157,  
email: [EMAIL PROTECTED]

all the best
Chris Goodwin 



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Vallet - Le Secret Des Muses

[AJN (boston)]

Recently CNRS issued a revised edition of Le Secret (liv. 12), and it is
available from Eric Haas at the von Huene Workshop in Brookline, Mass. for
$US80.  Eric has also a free catlogue of lute music (60 pp.), which can be
a handy reference.  Von Huene is the successor to Donna Curry and later the
HUngry Monks.

Some CNRS editions now come wityh an additiojnal volume that contains just
the tabkature.  I do not recall if this is the case with the Vallet
Oeuvres.  One might also wait for the Dutch Lute Society to re-issue their
facsimile of the complet Vallet works.

Eric Haas  [EMAIL PROTECTED]
(617) 277-8690.

The revisions are simply additional items in the list of concordances.

AJN.



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