Lutezine 115

The Lutezine

PDF Colour Supplement to LUTE NEWS no. 115, October 2015

In this Lutezine, part 1

Pictures of artists playing at the next meeting 2 Notices 3 Reports from recent events: Flow my beers; lute music in London pubs, 3rd August and 28th September 4 A musical pilgrimage, by Eric Franklin, 16th August 5 Meeting of the Sociedad de Vihuela, Aracena, 27-30 August, by Isabelle Villey 6 Playing day, 10th October, at the house of Anne Cromwell, 10th October 8 Collage of photos and concert programme from recent meetings 12 Members holiday photographs: Lutes in frescoes and stove tiles at the Palazzo Vertemate Franchi in Cortinaccio 16 Other societies and periodicals 20 Lutes on the web 22 Picture gallery of covers of CDs reviewed 23 List of summer schools 24 Registers: of teachers, makers, lutes for hire and useful addresses 27 Additional tablature: Additional versions of Gagliarde by the Knight of the Lute; Gagliarde by Giovanni Maria Radino; settings of La Tambarino and the ballads The Blacksmith, When Daphne did from Phoebus fly, All you that love good fellows, Can you not hit it my good man, and the popular tune En me revenant/More Palatino & Albert de Rippe Part 7: Fantasies No 13-15, edited by John H Robinson Bergamasca by Gianoncelli, in Italian and French tablature, ed. Wilfred Foxe Spring and Summer, by Dieter Weber NOTE: The report on Samuel Danyel and John Danyel Conference at the RCM, 10-11 September, though listed in the contents list of Lute News , is carried over to the next issue of The Lutezine.

Some of the artists playing at the next meeting

Franco Pavan The Lutezine 103, October 2012

Massimo Marchese

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Notices Benefits of Lute Society membership Besides receiving the new member’s pack (on joining), quarterly issues of Lute News, The Lutezine, and The Lute, Annual Journal of the Lute Society (traditionally a couple of years behind cover date schedule) members receive the following benefits:• on request, a copy of the members’ list, (over 1000 members in 40 countries), • discounts on our ever-growing list of music publications, booklets and plans, • the right to purchase our unbound tablature sheets for the cost of copying and postage only, • free small ads in the for sale / wanted sections of our website and Lute News, • free publicity for your concerts (or any other relevant announcements) via our regular members-to-members emaill bulletins (which occasionally include offers of playing work); these are sent out, generally every Monday, to UK members, but on request can be sent to all the members in any country; • the opportunity to hire lutes and other instruments for our hire fleet (UK / Europe only, as instruments must not be taken by air), We currently have more than 60 lute-family instruments, mostly kept at the premises of Bridgewood and Neitzert, of Stoke Newington, London; instrument availability is indicated at www.lutesociety.org. The fleet includes renaissance lutes in every key from bass C to treble C, cittern, renaissance guitar, vihuela, mediaeval lute and gittern, theorbo, 11- and 13-course baroque lutes, liuto attiorbato, 10 and 12-course lutes which can be restrung in transitional tunings, 18th century mandora, bandora, and renaissance wooden flutes for consort playing. Music can be supplied for the mandora; and for mixed consorts; we can offer discount rates for students, children, and multiple hirings (e.g. flute, cittern, bandora and lute, for Elizabethan mixed consort), and we have several sturdy lutes for theatrical hire, hireable at reduced rates. • borrowing rights from our modest library, microfilm and vinyl record collections; • a free enquiry service (we can often supply copies of sought-after pieces from our library, especially renaissance tablatures), • and details of our meetings, concerts, and playing days and weekends in Britain and elswhere; • teachers and makers may ask to appear in our listings in Lute News and on our website • a link on the links to members’ websites page on our website. • We have a picture library which can be viewed by prior request with the librarian, at the Guildhall College of Music of Drama, The Barbican Centre, Silk Street, London; there are plans to digitise the archive on CD ROMs which will then be available to borrow. Children’s lute classes, groups and playing days We are here to help and encourage people to play! If you want to set up a children’s group (such as those which flourish in France, and which have been organised recently in Norfolk and in London) we may be able to supply sheet music, some small hire lutes, colour pictures for children’s bedroom wall posters, support in finding teachers, contacts with other experienced teachers etc. Replacement copies of Lute News Overseas readers sometimes complain that copies of this magazine have been so roughly treated in transit that the envelope has been torn open and the magazine damaged. If your copy has been badly mangled in this way, contact the Secretary for a replacement copy.





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The Lutezine 103, October 2012

Flow my beers: lute music in London pubs, 3rd August and 28th September Enterprising as ever, Lady Lovelylute, alias Stephanie Feeney, DJ of the early music and erudite chat show Renaissance FM, on the station Resonance FM (104 FM, or online) has started a series of early music pub evenings in London, under the amusing title of ‘Flow my Beers’. The first evening was held in The Sutton Arms, near Barbican tube station on 3rd August, and the next in the Lord Raglan, St Martin’s le Grand, on 28th September. Artists to perform so far have included Rick Jones (and his charming daughter), Wezi Elliot, Richard MacKenzie, Will Summers and Andy Freeland, and of course the inimitable Lady Lovelylute herself. The former venue, with a snug upstairs private room was deemed rather better than the latter, which seemed afflicted with a lot of noisy bankers, so for the next one Stephanie will perhaps return to the Sutton Arms. The date of the next meeting will be advertised in the Secretary’s round robin, and on the Lute Society Facebook group page, and in these pages if possible. Don’t be shy, come along and play your party piece, and if you are shy, just buy a pint at the bar, and come and enjoy the talents of others.

‘A Musical Pilgrimage’ reported by Erik Franklin This was a concert given on Sunday 16th August 2015 at St Hilary, Cornwall, in aid of the church. The performers were Miranda Bird, Lucile Clitherow, Helen Maguire; voices and Ben Salfield and Denys Stephens, lutes. This gem of a concert in a quiet church not far from the busy August holiday spots of Penzance, St Ives and Marazion was a locally organised event with a wide ranging programme, put together very much as a favour to the church by the performers themselves . Pieces ranged from mediaeval through to Jacobean with a programme of song, lute solo and duets lasting, including an interval, about two hours. The three ladies were well practiced, local amateurs who carried off their performances with accuracy and aplomb and who balanced well with the dynamics of both lutes. Solo songs were delivered by Lucile Clitherow, who rehearses regularly with Ben, and included Dowland favourites as well as lesser known pieces by Claudin de Sermisy and ‘anon’. Ben, on lutar, and Denys on ‘g’ and ‘a’ lutes punctuated the songs with familiar duets and solos of which Ben’s performance of a Rosseter galliard took the accolade of my wife and her sister. The event was advertised by handbill throughout West Penwith but keep your eyes well open for any return concerts in future years.

Meeting of the Sociedad de la vihuela, el laud y la guitarra, Aracena (Andalucia), August 2015, reported by Isabelle Villey This year’s annual meeting of the Sociedad de la Vihuela took place in Aracena, 50 miles from Seville), from the 27th of August till the 30th. The events of these days were organised in collaboration with the Festival of Early Music of Aracena, already with a long tradition in this charming Andalusian village. The opening of the meeting took place on Thursday 27th of August in presence of Anibal Soriano, president of the SV, of Jose Luis Pastor, artistic director of the Aracena Festival, and of the mayor of Aracena. The council actually collaborates actively in the organisation of these days, in the loaning of conference and concert rooms, the publicity for the events, which enables the Andalucian public to attend them. The same day the lute maker Carlos Gonzalez presented the first talk, about drawings and plans for construction of guitars, a few fragments of instruments, and 5 guitars, all by the great master Antonio Stradivarius, and still well-preserved today. On Friday 28th, three presentations were given, mainly concerning recent publications of the Sociedad de Vihuela. In the first one, David Hernandez presented his book La Dédicasse, a collection of pieces written for a baroque lute and transcribed for an 8-course renaissance lute. The main objective of these transcriptions is to allow renaissance ‘vieil ton’ lute players to widen their repertory with baroque pieces. Then, Antonio Corona-Alcalde in his talk paid tribute to the first researchers and musicologists who contributed to the knowledge of the presence of the lute in the Hispanic world, alongside to the vihuela. The last lecture of that day was offered by Francisco A. Valdivia presenting his research about the different rasgueados and their notation system for baroque guitar in Spain. La guitarra rasgueada en Espana durante el s. XVII deals not only with music in court but also with popular culture and the well preserved sources of guitar music, and he completes his study with numerous informations about concordances in sources of the pieces and a reconstruction of popular songs with their guitar accompaniment. On Saturday 29th, Jose Luis Pastor gave a lecture about string instruments in the Middle Ages. Then he presented his new CD El arte medieval de la penola, and the audience could listen to a few pieces played with a mediaeval lute. Finally, the General Assembly of the SV was held.

On Sunday 30th, the Catalan lute maker Joan Pellisa had the responsibility of the last talk of the weekend. His research concerns Catalan guitars and guitar makers from the 18th to the 19th centuries, and can be found in his book Guitarres i guitarrers d’escola catalana. Interspersed with these talks, every day there were concerts in the chapel of the castle of Aracena, situated on the top of the hill adjacent to the village, organised by the Early Music Festival of Aracena. In total there were three concerts, one of baroque music for viola da gamba and harpsichord, the second one, of renaissance music, depicting a musical promenade during the religious processions of Corpus Christi in Seville and the last one of mediaeval music. Another concert of the Sociedad took place in the ‘cave of marvels’ of Aracena, situated under the castle, therefore an ‘original’ ‘concert hall, and the audience was delighted with songs by the Spanish composer Sebastian Duron. A the same time, an exhibition of instruments of various Spanish lute makers, as well as classes given by Juan M. Nieto to young lutenists and theorbists, completed the activities of these days. Meeting musicians and friends, listening to lectures and concerts, discovering this village of Andalousie, its castle, its cave, tasting its gazpacho and its Iberian ham, all these activities gave a particular charm to these days. ‘In an instrumental concert, you do not hear the sound of a lute, a spinet and a flute, you hear a harmony, an assemblage, a result of all this cluster’, Montaigne writes, and similarly, it is for the harmony of these various and delightful moments shared with the participants that we must thank all the organisers in the Sociedad de Vihuela, and particularly its president Anibal Soriano, whose efforts permitted their realisation and success.—Isabelle Villey, September 26, 2015

Playing day, 10th October, at the house of Anne Cromwell, photos (mostly) by Graham Hope Very many thanks to Sue Davies who hosted a Lute Society playing day at her 17th century house in Cambridgeshire, the ‘big house’ of the picturesque village of Upwood, opposite the parish church, which is the house where Anne Cromwell’s virginal book was written and used. Stewart McCoy had spent days in preparation arranging music from that source for the 14-odd attendees to play, in two lute ensembles comprising theorbo and lutes in D, G and C. As a special treat, Francis Knights brought a set of virginals and played pieces from Anne Cromwell’s book—for all we know in the very room where the same music was played nearly 400 years ago. He explained the context of the book, as emblematic of the cultural attainments of a young lady player, from the upper gentry or lower aristocracy (she was first cousin to the famous Oliver Cromwell) under the tuition of the composer Simon Ives. We have about 10 or a dozen similar amateur keyboard manuscripts which give a fascinating glimpse of music as it was actually played away from courts and palaces. (Most have been edited, but the modern editions have mostly gone out of print again now!) Where did such players get their music from, given that hardly any keyboard music was printed, in England at least? Providing music for the student was part of the role of

the teacher, who would have copied a piece out during the lesson (cf. Dowland’s pieces written into the ‘Folger Dowland’ and ‘Margaret Board’ lute books) or left his own master copy for the student to transcribe between lessons. If Ives provided tune and bass for Anne Cromwell’s collection, he must surely have blushed to see how she filled in the harmonies—see for instance the shocking succession of consecutive fifths in the psalm setting below, in the left hand (tenor and bass voices). The music is a mixture of popular songs, court masque music, dances and psalms, with some charming homespun touches, such as a home-made song marking the departure of a family member to university. Larger houses with a fair number of servants held their own Sunday prayers for the family and servants, and the psalm settings may have been used in these humble religious gatherings. We re-enacted the life of the old house by all singing the psalm together to the accompaniment of the keyboard. Virginals are attractive instruments which were very widely used up to the middle of the 17th century, and are under-represented on the concert platform today, as players wish to own larger, louder harpsichords. The wire strings, of brass and iron, run parallel to the keyboard, rather than away from it, as in a long-case harpsichord; the case is rectangular with the keyboard on the ‘long’ side. On some models the point where the string is plucked actually varies across the instrument, though on this model the bridge and jack rail are both diagonal, so all the strings are plucked at the same distance from the bridge. Francis commented that changes in taste concerning furniture design may have been partly responsible for the decline of the virginals. The catering was magnificently generous—our hosts must still be eating the nice sandwiches now . . . All in all, a very special day; we hope for a repeat event at some point.

Collage of photos and concert programme from the most recent meeting

THE LUTE SOCIETY RECITAL The Dutch Church, London, 4.45 pm, Saturday 12th September 2015

Mésangeau’s Experiments Alex McCartney 10-course lute by Pierre Abondance (1977) restored by Richard Earle

Suite in Bb major René Mésangeau : Prélude, Prélude, Allemande, Allemande, Allemande, Courante, Sarabande

-- 10 minute interval –

Suite in F minor René Mésangeau: Prélude, Allemande, Allemande, Courante, Courante, Courante, Sarabande, Sarabande

-- 10 minute interval –

Suite in C major Anon, Francois Dufaux(^) and René Mésangeau (*): Prélude, Allemande, Courante, Courante*, Courante^, Courante^, Sarabande, Sarabande^, Sarabande*

A deserving recipient of European fame and success, René Mésangeau (fl. 1575-1638) was popular amongst contemporaries, receiving recognition by both Pierre Ballard in 1631 and 1638 and Marin Mersenne in 1636 (Harmonie Universelle). Robert Ballard also regarded Mésangeau very highly, placing him in the ‘First Rank’ of lute composers. Mésangeau and his contemporaries’ innovative experimentation with lute tuning systems eventually led to the development of the ‘standard Baroque lute tuning’, centered around a D-minor chord. Mésangeau was born in Paris in the last quarter of the sixteenth century. During his time in Germany (presumably pre-1617) it is likely he met Besard, who included a courante by Mésangeau in his Novus Partus published in 1617. Returning to Paris he gained a position in the service of Louis XIII with the title écuyer sui ordinarement la cour. His deliberately new style must have made a striking impression. By 1621 he had been elevated to the position of musicien ordinaire du Roi. At some point during this period of success Mésangeau married Marguerite Jacquet, the daughter of the famous spinet maker Jean Jacquet. Mésangeau’s popularity was summarised at his death by his pupil Ennemond Gaultier who composed the first known tombeau in his honour (Le tombeau de Mézangeau, 1638).

Alex McCartney Recently described as ‘a very good lutenist which one has a desire to hear more from’ [SFL], Alex McCartney has a busy performing schedule which allows him to see much of the world (although mostly Europe and North America). In 2015 Alex released his debut solo album Mésangeau’s Experiments to merry critical acclaim, in which his playing was described as, ‘sensitive and musical’ [EMR]. His next solo album Elizabeth’s Lutes is due out in March 2016 and features lesser-known music from the English Golden Age. Alex is a resident artist with his own record label Veterum Musica. Alex regularly performs as a soloist with ensembles such as Ensemble Libro Primo, Ensemble Marsyas, Cupid and Death, and Poeticall Musicke. He has also recently given a solo recital at York Early Music Festival 2015. As a continuo player Alex’s playing has been described as ‘sinewy and sensuous, ornaments rarely exaggerated’ [The Observer]. He holds principal positions in La Nuova Musica and Poeticall Musicke. He is also a regular guest principal for The Academy of Ancient Music. Aside from his main musical commitments, Alex also enjoys working regularly with artists such as Emma Kirkby, Orchestra of the Age of Enlightenment, The English Concert, The English Baroque Soloists, Brecon Baroque (Podger), The Early Opera Company, The Royal Opera House, His Majesty’s Sagbutts and Cornetts, Lutes and Ukes, and The Royal Ballet. Alex can be heard plucking away on recordings released by the following labels: Veterum Musica, Harmonia Mundi, Hyperion, and Linn. Occasionally Alex consults and teaches for film and television productions, the most recent being an adaptation of Wolf Hall by the BBC broadcast in January 2015. In addition to on-set consultancy, Alex had the challenge of teaching the actors Damian Lewis and Max Fowler to play the lute to a high standard in the short space of one month. Alex teaches the lute at the Universities of Aberdeen and Edinburgh, and at the Early Music Shop in London. In 2015, Alex authored his first book Memory Methods: Music which provides a practical, waffle-free approach to both general and musical mnemonic methods. In his spare time Alex enjoys making lutes in his studio in Glasgow.

Members holiday photographs: Lutes in frescoes and stove tiles at the Palazzo Vertemate Franchi in Cortinaccio The towns in the foothills of the Italian Alps have a slightly different look and ‘feel’ from those in the rest of the country, a little more suggestive of Switzerland or Austria, part of the Alpine rather than Mediterranean world, yet a building like the Palazzo Vertemate Franchi in Cortinaccio, near Chiavenna, reminds you after all of which country you are in. In fact the palace was not the principal residence of its owners, but merely there ‘casino da caccia’, a hunting lodge and house of pleasure (casino means a place for gambling in English, but in Italian can mean brothel!). Their wealth came from the prosperous and strategically placed Alpine-pass town of Piuro, which alas, was

destroyed by a huge landslide on 4 September 1618—only this Palazzo remains to suggest the lost splendours of the doomed town. The decorative schemes of the palace have a fair number of fresco representations of various musical instruments, including lutes, and a particularly nice one of Apollo(?) playing a lira da braccio, an instrument associated with rhetorical declamation. There are also some very fine intarsia panels, depicting decorative swags and grottesche, with some musical instruments in inlaid wood of different colours—another great artistic tradition of Italy. Of particular interest, however, are the representations of lutes in blue-and-white and green tiles which cover the sides of heating stoves in the ‘Juno’ room on the ground floor, and the ‘Napoleon chamber’ above it. Our guide and host, Klaus Jacobsen, was deeply sceptical of whether any conclusions could be drawn from these tiles at all, given the possibilty that they might be much later in a faux antique style, but the decorations of the Juno room bear the date 1577, over the door, and the guide leaflet says that the stoves were Nuremberg work of the mid-16th century. Very intriguing, if that is about right, would be lady playing a small lute with a sickle-shaped pegbox—an early mandore?

OTHER SOCIETIES AND PERIODICALS Yet again, because of constraints of time, this is a rather random look at a selection of relevant publications over the last couple of years, rather than a systematic record of the last three months’ music press. But we will catch up in the end! Publications dedicated to the lute Belgium Issue 68 of Geluit–Luthinerie, much shorter than usual, has details of Belgian Lute Academy’s meeting of 18th October, held in Brussels, and featuring and interesting ensemble of lute and nyckelharpa. There is also the sad news of the death of luthier Gerhard Bos. France The autumn 2015 issue of Le Joueur de Luth contains, as usual, a full and generous survey of French lute life, with concert and CD reviews, international news, and a book review of an important and reportedly very good book, Martin und Johann Christian Hoffman by Eszter Fontana, Veit Heller and Klaus Martius (Leipzig: Hormeister, 2015) which gives a history of the famous baroque lute makers, and catalogue and photos of all their surviving instruments. There are events listings and a splendid photographic section with photos from, it must be admitted, rather further afield than ours: a children’s early music class in Cuba, and the thinly scattered lute community of the Far East: lute players in Taiwan, Singapore and Thailand. Germany Issue 3/2015 of Lauten-Info has a report on the German Lute Society’s 2015 Lautenfest in Burg Sternberg, a copy of their constitution, annual accounts, and lists of lute makers and teachers, CD and book reviews, and two short biographical papers on the great virtuoso composer Melchior Neusidler, one shedding some light on the question of what year he died, and the details of his return from Italy in the winter of 1565/6. The music supplement, always generous and nicely presented, contains 10 pieces from Lord Herbert of Cherbury’s lute book, and for archlute a sonata by Filippo dalla Casa, and for baroque lute, a suite in G minor by Esaias Reusner. Other plucked string and early music publications Classical Guitar Classical Guitar is now published quarterly in the USA. The Fall 2015 issue includes a profile of the Assad brothers duo—now playing together for 50 years!—an interview with Roland Dyens, and a rather good special focus section on guitar education. This discusses an online support to classical guitar teaching in schools, http://guitarcurriculum.com, and there is a piece seemingly selling the UK based grades (ABRSM, Trinity and Registry of Guitar Tutors) to a US or worldwide readership; sightreading on the guitar, and one on the difficulties of getting the young to take an interest in acoustic instruments in a world where most music is amplified. And there is a listing of the tertiary guitar courses of the USA. There is a piece on ‘prepared guitar’—including guitars where strips of cardboard, paper clips or staples and inserted between the strings near the bridge. Now that is something I think nobody has tried on the lute. There are CD, book and concert reivews of course.

The British BMG Federation Newsletter Issue 74 of this attractive colour-printed newsletter has news and details of next spring’s festival in Glasgow (which we hope local lutenists will attend!) and reports of the Federation’s 2015 symposium and its summer school, an article on left-hand technique, and of particular interest to ‘people like us’, and essay on the mandolin in England in the 18th century (reprinted from no. 73 where it appeared without footnotes for some reason!) The Consort The autumn bulletin of the Dolmetsch Foundation has a piece on Purcell’s catch in commendation of the viol, and the sad news of the deaths of two very elderly supporters of the Dolmetsch family: Frank Davidson, at the age of 95, a Canadian who became friends with Carl and other family members after visiting them as a schoolboy in 1932; and Margaret Campbell, who died on 7 August in Worcester Royal Hospital after a fall, at the age of 98, a longtime contributor the work of the Foundation, best known perhaps as the author of the book, Dolmetsch, The Man and His Work. The great pioneer himself, ‘AD’ lived from 1858 to 1940; sad to think that even the oldest of the generation with clear memories of him are now passing! Early Dance Circle This title is proud to announce that it has reached issue 100! There are reports on the Oxford Dance Symposium, and the EDC’s own biennial conference of 2016, ‘Terpsichore and her sisters’, and the Krakow festicval of court dance, and an essay giving unexpected praise to the choreography of the BBC remake of the historical drama Poldark. We all know how the afficionado looks forward to historical dramas with a mixture of anticipation and dread. Orfeo, (free at http://www.orfeomagazine.fr/fr/English.html ) Orfeo is an absolutely beautiful free online guitar magazine which emphasises the visual beauty of our visual world with some lovely photographic spreads. Issue no. 6 has focusses on Italy and Italian luthiers: there is an intereview with luthier Andrea Tacchi, whose inlaid decorations are stunning, in the great Italian intaglio and intarsia traditions; and further interviews with luthiers Lorenzo Frignani, Luigi Lucalli, and Luca Waldner. There is an essay on Cremona, great centre of luthery, and something a bit out of the ordinary, an interview with Nicolo Alessi, who makes beautifully engraving guitar machine heads. De Bouwbrief, up to 158 This is an attractive colour A4 Dutch language magazine full of practical materials aimed at the instrument maker. Issue 158 has pieces on making a basset horn, CT scanning of old instruments, the Germanisches Nationalmuseum in Nuremberg, and a piece on Carlos Gonzalez and his copy of the Quito vihuela, once the property of Ecuador’s patron saint (see Lute News 102). There is a piece on the use of smartphones and tablets in analysing musical sounds, a piece on organ building, and a piece on the function of chamfering in recorder blocks.

LUTES ON THE WEB You can listen again to Renaissance FM, Lady Lovelylute’s radio show on Resonance FM, via the internet; recent issues include the following: https://m.mixcloud.com/Resonance/renaissance-fm-21st-july-2015/ https://m.mixcloud.com/Resonance/renaissance-fm-28th-july-2015/ https://m.mixcloud.com/Resonance/renaissance-fm-10th-september-2015/ https://m.mixcloud.com/Resonance/renaissance-fm-17th-september-2015/ https://m.mixcloud.com/Resonance/renaissance-fm-24th-september-2015/ https://m.mixcloud.com/Resonance/renaissance-fm-1st-october-2015/ Brian Wright’s setting of the Mass: . .. a substantial work, can be heard in performance on Youtube: https://www.youtube.com/watch?v=CvBcrzJktCQ&feature=youtu.be A new work by Joaquim Boguna Chesa, a book of 24 songs in a range of historically inspired styles, for lute and voice, can now be found as a free download on the members’ compositions page of our website http://www.lutesociety.org/pages/members-compositions A new website uses information from the Dicitonary of National Biography to construct networks of connections between figures in early modern Britain. It is called Six Degrees of Francis Bacon, a humorous allusion, in case you didn’t know, to the fact that allegedly every human being is connected to every other human being by no more than half a dozen degrees of separation (usually just acquaintance), and to the film buffs’ pub game about the American actor Kevin Bacon, who seems to have been in films with every other actor. There is a website and an explanatory video, at https://www.cmu.edu/news/stories/archives/2015/october/francis-bacon-launch.html and http:// www.sixdegreesoffrancisbacon.com/ They welcome further contributions from people like us. John Dowland is in there. The real problem, one would imagine, must be that 17th century London was a crowded and bustling place, where just about anybody could have met anybody else at some time or other!

Covers of CDs reviewed in this issue of Lute News

Dear Diary . . .



Our listings of residential courses which welcome lute players, here and at www.lutesociety.org, are meant to be comprehensive and are constantly updated; please let us know of any we have missed out. For one day events in the UK it is worth visiting the websites of the Early Music Fora. The various national lute societies list lute courses in their respective countries. Guitar festivals, competitions and courses are listed in Classical Guitar; early music courses, concerts and festivals worldwide are listed with admirable thoroughness in Early Music Review published by the Early Music Company, http://www.earlymusicco. co.uk/services/ Courses and summer schools in the USA are listed in Early Music America; the Swedish magazine Tidig Musik lists North European courses. An online list of early muisc courses can be found at http://renaissancemusik.dk/. There is also a British arts festivals website: www.artsfestivals.co.uk, and Classical Music and Music Teacher magazines publish an annual list of summer schools. Dance events, should you wish to play for dancers, are listed in the Diary of Early Dance Events (see Addresses list in The Lutezine). FORTHCOMING COURSES WITH DEDICATED LUTE TUTOR OR EXTENSIVE OPPORTUNITIES FOR LUTE PLAYING; FOR A COMPLETE LIST OF THE YEAR’S COURSES, SEE THE LUTEZINE Jan 4–10 Tafelmusik Winter Institute, The String orchestra in baroque England with Lucas Harris, lute and continuo class, University of Toronto, Canada, tel. ++1 416 964 9562, ext: 241 e: [email protected] web: www.tafelmusik.org Mar 26–29 Lutefest at Benslow, with Jacob Heringman, Lynda Sayce, Stewart McCoy, Jeni Melia, Roy Marks, Benslow Music Trust, Little Benslow Hills off Benslow Lane, Hitchin, Herts SG4 9RB. Tel: 01462 459446 (fax: 440171). web: http://benslowmusic.org e: [email protected] Mar 27-29 Lute and Guitar weekend, with Anna Kowalska, Anna Birula, Frederic Chopin State Music School, 11 Bednarska St., 00-310 Warsaw, POLAND, tel./fax: +48 22 826 63 14, +48 22 827 71 32, fax: +48 22 829 87 46 http://www.luteduo.com/en/edu/ Mar 28–Apr 2 17th Chalemie Summer School of Early Music, Dance and Commedia, Headington School, Oxford, with Matthew Spring, lute teacher, et al. Contact: Barbara Segal, tel: 020 7700 4293 / f: 7700 5877, or Chalemie Summer School, 3 Thornhill Square, Islington, London N1 1BQ, e: [email protected] web: www.chalemie.co.uk Mar 29–Apr 4 Easter Early Music Course at St George’s School Ascot, contact Annice Nethercott tel: 07898 091949 e: [email protected] www.easterearlymusiccourse.org.uk Apr 6-12 Musica Antica a Monterone/Sestino, Arezzo, with Sigrun Richter, tel: ++39 0575 772219, +49 171 1441047 www.sigrunrichter.de e: [email protected] Apr 6–12 Benslow Baroque Opera Project, Handel, Acis and Galatea, Benslow Music Trust, Little Benslow Hills off Benslow Lane, Hitchin, Herts SG4 9RB. Tel: 01462 459446. web: http://benslowmusic.org e: [email protected] Apr 24-25 Lute and Guitar weekend, with Anna Kowalska, Anna Birula, Frederic Chopin State Music School, 11 Bednarska St., 00-310 Warsaw, POLAND, tel./fax: +48 22 826 63 14, +48 22 827 71 32, fax: +48 22 829 87 46 http://www.luteduo.com/en/edu/ Apr 24-26 Masterclass sulla prassi esecutiva di mandolini e liuto, with Davide Rebuffa, Mauro Squillante, Centro di Musica Antica, Fondazione Pieta de Turchini, Naples, contact [email protected] May 14–17 Baroque orchestra course for string and B.C. Ein Roemisches Fest, with Sam Chapman, theorbo/baroque guitar, Nydegg Bern: Kirchgemeindehaus Schosshalde 43 und Nydeggkirche Bern, Switzerland, contact Allegria Musicale, 032 322 03 36 / 078 815 36 09 / / 032 322 09 58 [email protected] or [email protected] May 14-17 Musik des Fruhbarock, kurs fur historische Instrumente, Gemersheim, with Martin Lubenow, Friedhofstrasse 2, D 76726 Germersheim, Germany, ++49 7274 / 777 362 [email protected] May 28–31 An English Orpheus, celebrating John Dowland, with David Miller, Emma Kirkby, at Hawkwood College, Painswick Old Road, Stroud GL6 7QW, UK tel: +44(0)1453 759034, http://www.hawkwoodcollege.co.uk/courses/an_english_orpheus_may Jun 2-9 Engelsholm Renaissance Music Week with Jame Akers, Midtjysk Efterskole, Ejstrupholm, Denmark, [email protected], www.renaissancemusikuge.dk June 3–7 Kloster Schlehdorf, Kurs Alte Musik, flute, lute, gamba and violine, with Axel Wolf, Marion Teupel-Franck, Bildungshaus Kloster Armstorf, Dorfener Str. 12, D 84427 St. Wolfgang, Bavaria, tel: ++49 /089 601 2755 e: [email protected] www.flautotraverso.de June 4–17 Tafelmusik Baroque Summer Music Institute, with Lucas Harris, lute and continuo class, University of Toronto, Canada, tel. ++1 416 964 9562, ext: 241 e: [email protected] web: www.tafelmusik.org Jun 7–13 17th Annual Summer Texas Toot, with Scott Horton, lute and continuo, Concordia University, Austin Texas, e: [email protected], http://toot.org Jun 20–July 2 Triora Musica, Florentine intermedi of 1589, dir. Deborah Roberts, with Claire Williams (continuo) www.trioramusica.com e: [email protected] tel: +44 (0)7967689714 Jun 21-July 4 Oberlin baroque performance institute, c.1690, Purcell’s Fairy Queen with Lucas Harris Contact: Baroque Performance Institute, Conservatory of Music, 77 West College Street, Oberlin, Ohio 44074 1576, USA, tel: Anna Hoffmann ++1 440 775 8044 e: [email protected] web: http://new.oberlin.edu/office/summer-programs/baroque-performance-institute/ Jun 21-27 Baroque Music Workshop Lutheran Music from Praetorieus to Bach, [no lute tutor this year] Dominican University, San Rafael, CA, contact: San Francisco Early Music Society, details below Jun 26-28 Workshop fur Renaissanceluate, Lochmule Hohenleben, with Klaus Beireich, Gellerstrasse 15 D 01445 Radebeul, Germany, e: [email protected] ++49 0351 / 83 06 58 88, 0176 / 70 15 79 99 Jun 27-29 June Lute Masterclass, with Gian Luca Lastraioli, Palazzo Rucellai, Florence, tel. +39 55 366058 e: [email protected] Jun 27-July 4 IX Summer Early Music Methodological Courses with Anton Birula, Warsaw, e: [email protected] www.muzykadawna.org Tel: + 48 501827750 Jun 28-July 4 Mediaeval and Renaissance Workshop, with Vicente Chavarria, St Albert’s Priory, Oakland, CA, contact: San Francisco Early Music Society, PO Box 27495, Berkeley, CA 94127 0495, USA, tel: ++1 510 528 1725 email: [email protected] web: www.sfems.org June 30–July 5 Academia Internacional de Música Antigua Banchieri, Palextrina, Victoria [no lute teacher this year] Nieto, Avila, Spain, contact; Academia Internacional de Música Antigua, Apartado de correos 25, Brunete, 28690 Madrid, +34-635 415 484 [email protected] www.aimantigua.com July 5-12 27th International Summer School of Early Music, Valtice, Czech Republic, Purcell Dioclesian with Brian Wright, Contact: Vinarska skola Sobotní 116 , 691 42 Valtice tel: +420 721 347 911 e: [email protected] web: www.early-music.cz July 5-13 XXI International Summer Academy of Early Music, GP Telemann autumn of baroque music Wilanow Palace, Warsaw, Poland, with Jan Cizmar, e: [email protected] www.mlamd.pl July 6-12 4th International Course on Medieval Music Performance, Early Music Besalu, Catalonia, Spain, with Mauricio Molina, cithole and ensemble classes instrumental course, July 6–10, Ars nova course July 11–12, [email protected] www.earlymusicbesalu.com July 6-13 XIeme Academie Musicale Chateau d’Ollans, Chapelle de Larians, Parsival Castro, contact Association C.A.M.A. XIeme Academie Musicale, Monsieur Michel Lab, 3 Place du 8 Septembre, F 25000 Besancon, France, tel: ++33/0 3 81 83 30 84

http://academie-ollans.blogspot.co.uk/ e: [email protected] July 11–18 Madison Early Music Festival East European early music, with Grant Herreid, University of Wisconsin, contact: Madison Early Music Festival, 21 N. Park St. 7th Floor web: http://continuingstudies.wisc.edu/conferences/madison-early-music-festival/ e: [email protected], ++1 608-263-2790 July 12–19 Lute Society of America Summer Workship East, wtih Jason Priset, Eduardo Eguez, Nigel North, Grant Herreid, Chris Morongiello, within Amherst Early Music Festival, Connecticut College, New London CT, ++1 781 488 3337, http://www.amherstearlymusic.org/aemf_lutes July 13–25 Arezzo Summer School, with Franco Pavan (until 18th), http://www.arezzosummerfestival.com/ita/scuola_estiva.php e: [email protected] Tel +39 3474775173 - +39 0668134051 July 13–Aug 22 Internationale Sommerakademie der Universitat Mozarteum Salzburg, (various courses, no lute teacher this year) contact: Michaela Wieser-Hois, Büro des Direktors, Mirabellplatz 1, A 5020 Salzburg Tel: +43 (0) 662 6198 4501 e: [email protected] or www.moz.ac.at/de/kunst/soak/index.php July 6-18 Baroque Opera Studio, with Paul O’Dette (July 10-14) and Manuel Minguillón. Lute lessons and Cavalli’s opera ‘Gli Amore d’Apollo e di Dafne’ stage performance. www.baroqueoperastudio.com/en July 19-23 4th International Course and Festival of Medieval and Renaissance Music Morella 2014 with Ariel Abramovich, Morella Castellon, Valencia, web: http://www.culturalcomes.net/en/programme/course e: [email protected] July 19 -26 Academie d’ete du Capriccio Francais, Barcelona, [no lute teacher this year] 8ter, avenue Robert Andre Vivien 94160 Saint-Mande, Tel. : 33 (0)1 43 65 42 41 www.academie.capricciofrancais.com e: [email protected] July 19-26 Corsi Estivi di Musica Antica e Barocca, with Paulo Cherici, Pamparato (Cuneo) Italy, ++39 011 5211867 e: [email protected] http://www.accademiamusicaletorinese.it/corsi-internazionali-estivi.html July 19-28 International Early Music course, Urbino, with Paul O’Dette and Mauro Squillante, contact: Fondazione Italiana per la Musica Antica, Via Col di Lana 7, C.P. 6159, 00195 Roma, Italy Tel/fax: ++39 063210806 e: [email protected] www.fima-online.org July 20-26 Sommerakademie für alte Musik Kloster Michaelsstein Instrumental music around 1600: Praetorius, Schein, Gabrieli, etc with Axel Wolf, Michaelstein 15, D 38889 Blankenburg/Harz ++49/03944 / 9030-0 e: [email protected] http://musik.kloster-michaelstein.de/de/kurse-konferenzen/kurse/kurse2015.html July 23–30 Ringve Museum International Summer School, Inderoy, Norway. tutors include Thomas Boysen; contact: Olavsfestdagene · Pb 2045 · N-7410 Trondheim, tel/fax: ++47 40 40 45 84 www.ringvecourse.no e: [email protected] July 23-Aug 2 La Pellegrina summer school, Intermedi for La Pellegrina (1589) Bechyne, Czech republic, Contact: La Pellegrina, Dirkjan Horringa, Merwedeplansoen 73, 3522 JZ Utrecht, Netherlands, tel: ++31 30 2382535 e: [email protected] web: www.pellegrina.net July 26–31 Lute Society of America Summer Workshop, with Robert Barto, Paul Beier, Ronn MacFarlane, Ray Nurse, Travis Carey, within Early Music Vancouver, ++1 604 732 1610 www.earlymusic.bc.ca July 26–Aug 1 Liten Gitarrakademie 2015, with Roland Hogman web: http://www.sgls.nu/gitarrakademin/luta.html e: hogmanton(a)swipnet.se July 26–Aug 1 Gloucester Academy of Music Early Music Week The Thtee Marys with Philip Thorby, at Dene Magna School, Mitcheldean, Glos. GL17 0DU contact: Gloucester Academy of Music, Barbican House, Barbican Road, Gloucester, GL1 2JF tel: 01452 668592 e: [email protected] e: [email protected] www.gamusic.co.uk July 26–Aug 1 Stage de musique baroque, with Parsival Castro, Centre les Coulmes, Col de Romeyere, F 38680 Rencurel, France, tel: +++33 4 74 96 57 76 e: [email protected] web: www.lars.fr July 26-Aug 2 XVII Corso Internazionale de Musica Antica, with Ugo Nastrucci, Romano Canavese, Italy, Accademia del Ricercare, Via Chivasso 75 10090 San Raffaele Cimena (TO) e: [email protected] http://www.accademiadelricercare.com/romano_adulti14.html July 26-Aug 2 L’Humor Bizzarro, Intarsi di musica e danza antica, Rome, with Federico Marincola, Scuola Popolare di Musica di Testaccio, tel/fax: ++39 0633267447, / 328 3645555 e: [email protected] www.teatrodellamemoria.org/corsi.htm July 27-31 Nature et Renaissance Stage de musique, (pipe and tabor: no lute tutor this year), Abbaye de Valcroissant, Vercors, France, contact Solene Riot, tel: ++33/0 6 86 77 60 49, [email protected] [email protected] www.soleneriot.com or www.labellezza.fr July 27-Aug 1 6th International Medieval Music Course, Adam de la Halle, the last of the trouveres with Crawford Young, Centro Studi Europeo di Musica Medievale ‘Adolfo Broegg’ Spello, Italy, ++39 348 87 22 314 [email protected], www.centrostudiadolfobroegg.it July 29-Aug 7 Austria Barock Akademie, Music in Rome with Daniele Caminiti, Schloss Orth, Gmunden, Austria contact: Praterstraße 66/Stg. 1/73b A-1020 Wien, Austria, Regina Degen +43 (0) 699 1713 60 83 [email protected] www.austriabarockakademie.at July 30-Aug 4 ILMAestate 2015, corsi estivi de musica antica, with Giangiacomo Pinardi, San Vito al Tagliamento e: [email protected] http://www.ilmaonline.eu/4-1.html tel: ++39 331 4532413 Associazione Antiqua, Palazzo Gerometta, Pradis di Sopra, I 33090 Clauzetto (PN) Aug ??? Corso Estivo di Perfezionamento, with Francesca Torelli, lute, BC and transcription practice. Scuola Musicale Bertinoro ‘Dante Alighieri’ via Saffi 1, I 47032 Bertinoro (FC) www.bertinoromusica.it/corsi/ e: [email protected] tel. +39 0543 444651 Aug 1–8 Northumbrian Recorder and Viol School XLV (NORVIS), College of St Hild & St Bede, Durham, with Martin Eastwell, Stewart McCoy, Contact: 01652 678230 e: [email protected] www.norvis.org.uk Aug 1–Aug 10 Viel Klang Sommer, Tuebingen, with Lee Santana, Meisterkurse, Eberstr. 23, D 72072 Tuebingen, Germany e: [email protected] www.vielklang.org Aug 2-7 37th Sommerakademie Neuburg an der Donau with Jakob Lindberg, Emma Kirkby, details: http://www.sommerakademie-neuburg.de/ tel +49 (0) 8431 67020 Aug 2–9 Internationales Seminar fur Alte Musik, JS Bach and his circle with Andreas Arend, Schloss Zrel an der Pram, Oberosterreich, Austria, contact: Christa Pesendorfer, Hauptstr. 61b/8, A 3001, Mauerbach bei Wien, Austria, tel/fax: ++43 1 979 5898 e: [email protected] www.alte-musik.music.at Aug 2-9 Cambridge Early Music Summer Schools:, Sidney Sussex College Cambridge, week 1, Bach’s Library with the Parley of Instruments, Contact: Cambridge Early Music Summer Schools, Trinity College, Cambridge CB2 1TQ tel: 01223 847330 fax: 01223 701914 e: [email protected] www.CambridgeEarlyMusic.org Aug 7-16 13th Holešov Early music summer school, including theorbo and baroque guitar with Miloslav Student, Contact: The Czech Ensemble Baroque, Lázy 14, Loucka 756 44, Czech Republic, email: [email protected] www.baroknihudba.cz Aug 8-14 Sommerakademie Schloss Homburg am Main, Germany, workshop for lute, theorbo and chitarrone with Sigrun Richter, [email protected], http://www.sommerakademiehomburg.de/index.php/kurse-2014/m51/ c/o Martha Schubert Schmidt, Sandbuehlstrs 5a, D 97218 Gerbrunn, ++49/0 91 31 7059647 [email protected] Aug 8–15 Dartington International Summer School, week 1, incl. David Miller Contact: DISS, The Barn, Dartington Hall, Totnes, Devon TQ9 6DE tel: ++44/(0)1803 847080 email: [email protected] www.dartington.org/summer-school Aug 8-15 Baroque Week 2014, Ardingly, Sussex, baroque chamber playing. Contact: The Baroque Week, 297 Stafford Road, Caterham, Surrey, CR3 6NN, tel: 01883 344031. e: [email protected] web: www.baroque-week.org.uk

Aug 9-15 Cambridge Early Music Summer Schools: Sidney Sussex College Cambridge, week 2, Italia mia with Lynda Sayce, Contact: Cambridge Early Music Summer Schools, Trinity College, Cambridge CB2 1TQ tel: 01223 847330 fax: 01223 701914 e: [email protected] www.CambridgeEarlyMusic.org Aug 13–23 Mattheiser Sommer-Akademie Bad Sobernheim, International Masterclasses and Concert Festival, with Jakob Lindberg, Germany: www.mattheiser.de contact: Arcano Künstlersekretariat, Susanne Geer 50968 Cologne [email protected] Tel +49(0)221-344763 Aug 14-23 Aestas Musica, Varazdin, Croatia, Dragon of Wantley / Leclair, Scylla et Glaucus, tel : 00385 91 360 43 81 e: [email protected] www.aestasmusica.com Aug 15--22 Early Music Week at Pinewoods, nr Plymouth MA, Contact: The Country Dance and Song Society, 116 Pleasant St., Suite 345, Easthampton, MA 01027-2759 USA, tel: ++1 413-203-5467 e: [email protected] web: http://www.cdss.org/early-music.html Aug 17-21 Historically Informed Summer School, with Jacob Heringman, Hull University, Scarborough campus, contact: 0844 870 6478 e [email protected] http://www.hiss.org.uk/ Aug 16-22 Higham Hall Early Music Summer School, with Hugh Cherry, Higham Hall, Bassenthwaite Lake, Cockermouth, Cumbria CA13 9SH 01768 776976 www.highamhall.com Aug 18-29 10th Residential Summer Music Academy, for Voice, Violin, Harpsichord, Lute and Theorbo with Paul Beier (lute and theorbo), Michael Chance, Lynn Dawson, Kati Debretzni, etc. Siena School for Liberal Arts www.michaelchancecountertenor.co.uk/masterclasses/ Aug 23-30 13eme Atelier de Musique Ancienne,[baroque cello theme this year, not lute] Gruyeres, Swtizerland, Association Guitare & Luth, CP 2254, CH 1630 Bulle 2, Switzerland, e: [email protected] www.anselmus.ch Aug 23-30 XI Corso estivo di musica ‘L’Antica Pratica’, with Paolo Cherici, Tavernola, Bergamo, www.musicantica.eu [email protected] Sept 7–12 Rencontes Baroques de Montfrin, Music of the viceroyalties of Sicily and Naples with Eduardo Eguez, Eugene Ferre, contact: Association le Chant des Pierrres, 3 Rue Gambetta, F 30490 Montfrin, France (+) 33 466 020 354 e: [email protected] e: [email protected] web: http://www.montfrinbaroque.com/ Tel +39 329 8134141 Sept 9-13 3rd Alessandra Stradella International Festival, ancient music course, with Andrea Damiani, Italian music of the 1600s, Nepi (VT), Italy, contact Giorgia Rocca, e: [email protected] www.festivalstradella.org Sept 16-20 International viol course, masterclasses and concerts, with Jordi Savall, viols, and Rolf Lislevand teaching plucked strings, singers also welcome, CERAN, Avenues de Petits Sapins 27, / Eglise Protestante de Spa, Rue Brixhe 24 / Theatre et Salon Bleu du Centre Culturel de Spa, Rue Servais 8, Spa, Belgium, bookings at www.ricercarconsort.com Oct 3-4 10th Cottbus Spielertreffen, with Wolfgang Wiehe, ++49 0355/21500 [email protected] Oct 7–11 Basel Plucks Festival (a concert series rather than a residential course) e: [email protected] https://www.facebook.com/baselplucks Oct 24–26 3rd Admonter Lautenherbst, with Joachim Held, Hubert Hoffmann, contact Dagmar Fischer-Riedel, Evangelische Kirchenstrasse 233, A-8911 Admont (Steiermark) _++43 + 664 / 19 72 598 e: [email protected] RECENT YEAR’S COURSES WHICH HAVE NOT YET PUBLISHED DETAILS OF COURSES THIS YEAR July Workshops at Seehaus Castle, [nothing for lutes this year] Markt Nordheim, www.schloss-seehaus.de https://www.facebook.com/schloss.seehaus Intenational Music Course, Escola Superior de Musica de Catalunya, C/Padilla, 155 (L’Auditori Building) E 08013 Barcelona, Spain Tel.: (+34) 93 352 30 11 http://esmuc.cat/eng/Summer-School/Course-offerings/Early-music 2eme Academie de l’Ensemble Entheos at Bar-le-Duc, Renaissance chansons with Celine Ferru, ++33/0 6 60 74 51 06 e: [email protected] www.ensemble-entheos.com 21st Baroque institute at Longy School of Music, Music of the Hanseatic Cities [no lute teacher this year] contact Longy School of Music, of Bard College, 27 Garden Street, Cambridge, MA 02138 USA, tel: ++1 617 876 0956 e: [email protected] web: http://www.longy.edu/academics/summer-programs/ Aug X Savaria early music summer course with Istvan Konya, RZM Szombathely PF 397, Hungary, H-9700 tel: +3630 3110435 e: [email protected], web: www.rzm.hu Corso estivo di perfezionamento, Saint-Rhemy-en-Bosses, Valle d’Aosta, with Paolo Cherici, lute, BC and transcription practice, contact: AIAC AKADEMEIA Tel.: (+39) 0165. 525270 email: [email protected] www.akademeiaaiac.altervista.org Apollo Summer Academy with Michiel Niessen, Karveel 60-02, 8242 WK Lelystad, Netherlands, 06 33738875 e: [email protected] www. http://www.apollo-ensemble.nl/e_index_zomeracademie.htm Ancient Music, Festival Federico Cesi, with Massimo Lonardi, Bevagna, Italy, tel: +39.328.3328689 +39.393.9145351 www.festivalfedericocesi.com fabricaharmonica.com [email protected] X Corso Estivo di Musica Antica, Parzanica, Bergamo, with Paolo Cherici, Italy, Associazione Culturale Monti e Mousiké, via Belvedere 25, I 24060 Parzanica (BG) tel: 39 347 88.63.567 + 39 035 91.70.80 www.musicanticaparzanica.com e: [email protected] [email protected] Corso di Liuto with Evangelina Mascardi, Associazione Culturale Incontri Mediterranei, Palazzo Archi - Via Principe Umberto, 16 Orte (VT) - Tel. 0761.402893 - 333.2214656 e: [email protected] www.cittadiorte.it Sept Tage der Barock Musik Schrobenhausen, Chaconne, Passacaglia, Ostinati, with Axel Wolf, Regens-Wagner-Berufsschule Schrobenhausen Michael-Thalhofer-Straße 11, D 86529 Schrobenhausen www.barockmusik-schrobenhausen.de/c13/index.php/seminarbeschreibung.html [email protected] Oct International Academy of Early Music, Maguzzano, Lake Garda, chamber music and baroque orchestra, with Roy Marks, http://www.violadagamba.co.at/maaguzzano.html Renaissance Festival, Wittenberg with Joachim Held, www.wittenberger-renaissancemusik.de www.joachim-held.com Lautenkurs in Augsburg/Stadtbergen with Stewart McCoy, Miguel Israel, contact: Harald Gerstmayer, Schlegelstraße 7d, D 86157 Augsburg, tel. ++49/0 821 1598635 (from 9pm) e: [email protected]

REGISTER OF LUTEMAKERS



Inclusion in this list does not imply endorsement or approval by The Lute Society. Standards of lutemaking are generally high today, but there are some badly set-up lutes in circulation. Most lutemakers will do remedial work on incorrectly set-up lutes, but those who have particularly said that they are happy to do so are marked with an (r). United Kingdom R K Alexander, Lothlorien, 26 Goosegreen Close, Heath Way, Horsham, West Sussex RH12 5XZ, (++44/(0)1403 251747) e: [email protected] Chris Allen, St Tydfils, Wesley Place, Merthyr Vale, Mid Glam, CF48 4RS. (t/f:: ++44/(0)1443 693118) e: [email protected] web: www.luthiers60.freeserve.co.uk Stephen Barber & Sandi Harris, 11a Peacock Yard, London SE17 3LH, (++44/(0)20 7703 9978) e: [email protected] or Stephen@ LutesAndGuitars.co.uk www.lutesandguitars.co.uk Alexander Batov, 13 The Martlets, Lewes, East Sussex BN7 2HR (++44/0 1273 479511, fax: ++44/0 870 136 3863) e: [email protected] www.vihuelademano.com Lily Bennett, 3 South View, Frizinghall, Bradford, W Yorks BD9 4LJ (++44/0 1274 497689) James Bisgood, Hill Cottage, The Street, Great Hockham, Norfolk IP24 1NH (++44/ 0 1953 498975 mob: 07767 767 486) [cittern, gittern, mandore, rebec, renaissance guitar specialist] e: [email protected] Martin Bowers, The Volunteer Arms, 101 Wantz Road, Maldon, Essex CM9 5DD, (++44/(0)1621 853376) e: [email protected] (r) Bridgewood & Neitzert, 146 Stoke Newington Church Street, London N16 0UH, (++44/(0)20 7249 9398/ f: 7275 9330) e: [email protected] www.vivaceviolin.com (r) Philip Brown, 85a Northbrook Street, Newbury, Berks RG14 1AE (t/f: ++44/(0)1635 35465) e: [email protected] Bruce Brook, 1 Highview Close, Windmill Hill, Herstmonceux, East Sussex BN27 4TR, (++44/(0)1323 832979), e: [email protected] website: www.brucebrook.co.uk Hire purchase terms offered. David Butler, School House, School Road, Tivetshall St Mary, Norwich, Norfolk NR15 2BP tel: 01379 677704 Brian Cohen, The Old Glassworks, Alexandra Place, Guilford GU1 3QH e: [email protected] James Cole, 54 Buriton Road, Harestock, Winchester, Hants SO22 6JE, (++44/(0)1962 881323) e: [email protected] (r) Adrian Dodd, 10 Crosby Street, Derby, Derbyshire, DE22 3NY, (++44/(0)1332 232051) e: [email protected] David van Edwards, The Smokehouse, 6 Whitwell Road, Norwich, Norfolk NR1 4HB, (++44/(0)1603 629899) e: [email protected] www.vanedwards.co.uk Chris Egerton, 10 Burgos Grove, London SE10 8LL [restorer/conservator] (0774 773 0074) e: [email protected] Luke Emmet, Orlando Lutes, 133 Winnock Road, Colchester, Essex CO1 2DP (07905 075197) e: [email protected] (r) www.orlando-lutes.com Stephen Haddock, 4 Headland Avenue, Seaford, E Sussex, BN25 4PY (++44/0 1323 890503) e: [email protected] Jonathan Harding, 6 Desborough House, Amersham Hill, High Wycombe, Buckinghamshire HP13 6HH Sandi Harris, 11a Peacock Yard, London SE17 3LH, (++44/(0)20 7703 9978) e: [email protected] web: www.lutesandguitars.co.uk Martin Haycock, 12 Droke Lane, East Dean, Chichester, West  Sussex PO18 0JH,(++44/(0)1243 811545 or 07968 268644) e: [email protected] Steven M. Hicks, 62 Beechfield Ave, Birstall, Leicestershire LE4 4DA (0016 267 4373) James E Jackson, 13 St Agatha’s Close, Brandon, Durham DH7 8RA e: [email protected] (repairs and kit building) Klaus Jacobsen, 121 Listria Park, London N16 5SP, e: [email protected] Tony Johnson, 39 Cliff Road, Holmfirth, Huddersfield, W. Yorks HD7 1UY. Tel: (++44/0 1484 681300) [email protected] (r) www.tonyjohnsonluthier.co.uk

Marcos Kaiser Mori, 12 Regal Close, London, E1 5JB e: [email protected] web: www.marcoskaiser.com Philip Lourie Musical Instruments, Broaled, Llanrhaeadr, Denbigh, Denbighshire LL16 4PE (++44/0 1745 890221) e: [email protected] Michael Lowe, The Hermitage, Wooton-by-Woodstock, Oxfordshire OX20 1EQ, (++44/(0)1993 812120) David Luff, 4 Finham Road, Kenilworth, Warwickshire CV8 2HY e: [email protected] James Marriage, JM Instruments, 107 Avon Way, Hilton, Derbyshire DE65 5AE (++44/0 01283 734388) e: [email protected] web: www.jminstruments.com (r) J. L. Milek, 3 The Old Granary, Kings Yard, Salisbury Street, Fordingbridge, SP6 1AB (++44/0 1425650176) e: [email protected], www.mileklutes.co.uk Malcolm Prior, 113 Yarmouth Road, Blofield, Norwich NR13 4LQ (++44/(0)1603 713836) e: [email protected] web: www.malcolmprior.co.uk Arthur Robb, 79 Gloucester Road, Malmesbury, Wiltshire, SN16 0AJ, (++44/(0)1666 822945) e: [email protected] web: www.art-robb.co.uk (r) T Rytwinski, basement flat, 4 Riversdale Road, Highbury, Islington, London N5 2JP, ++44/(0)20 7354 4007) e: [email protected] (r) Martin Shepherd, Flat 6, 23 Lane End Road, Manchester M19 1WA e: [email protected], www.luteshop.co.uk Dallas Sutherland, 2 West Park Place, Edinburgh, EH11 2DJ. (++44/(0)131 623 7028, home: ++44/(0)0131 558 9114) P J (George) Stevens, 11 Ness Road, Lydd, Romney Marsh, Kent TN29 9DR. (++44/(0)1797 320152) e: [email protected] web: www.gstevensluthier.co.uk Paul Thomson, 1 Dundridge Gardens, Bristol BS5 8SZ, (++44/(0)117 967 0779) e: [email protected] Oliver Wadsworth, Wickham House, Buckland Road, Childswickham, Broadway, Worcs WR12 7HH (++44/(0)1386 842993 or 07986 517802) e: [email protected] www.wadsworth-lutes.co.uk Bruce Watson, 64 Cherrybrook Drive, Broseley, Shropshire TF12 5SH (++44/0 1952 884372) e: [email protected] Canada Ray Nurse, 2716 East 1st Avenue, Vancouver BC, V5M 1A7 (++1 604255 1874) e: [email protected] Grant Tomlinson, #206-8696 Barnard Street, Vancouver BC (++1 604 261 0230) e: [email protected] www.tomlinsonlutes.com Czech Republic Jiri Cepelak, V Hruskovne 75 E, Statenice, 25262 Horomerice, (++420 220 971879, mob: 776 309 226) e: [email protected] web: www.lute.cepelak.cz France Gwendal Le Corre, Les Atliers Relies, Le Vaubossard, 56430 Concoret Tel/fax: (++33) 2 97 22 98 24 e: [email protected] web: www.lecorre.com Offers hire purchase. Le Luth Dore, 76 Rue de la Verrerie, F 75004 Paris (++33/0 6 01 81 34 21) e: [email protected] web: www.leluthdore.com Wolfgang Früh, Le Point d’Accroche, 4 Avenue de la Porte Montmartre, F 75018, Paris (t/f: ++330/1 42 52 65 82) e: [email protected] www.lepointdaccroche.com Félix Lienhard, 1 Rue Henri Wallon, F 38600 Fontaine (Tel : +33 (0)6 78 45 64 92) e: [email protected] www.felixlienhard.com Stephen Murphy, la Vouronnade, 26170 Mollans sur Ouvèze, (++33 75 28 70 86) e: [email protected] web: www.murphylutes.com Martin Shepherd, Lieu-dit Montot, F 71120 Vaudebarrier (++33/0 3 85 24 73 16) [email protected] www.luteshop.co.uk Isabelle Venturini, 1 Place d’en Gauch, 04100 Manousque, (++33 92 87 51 18) Julien Stryjak, 10 rue de la Grande Coudre, F 71390 Saint-Germain-lès- Buxy e: [email protected] www.julienstryjak.com

Germany Corilon Violins, Lilienstrasse 2, D 81669 Munich (restorer, repairer, dealer) (+49 89 444 19 619 fax +49 89 444 19 620) www.corilon.com e: [email protected] Markus Dietrich, Eubabrunner Str. 50, D 08265 Erlbach t: ++49 37422 6141 e: [email protected] Bernd Streubel, Südekumzeile 7c, D-13951 Berlin, t: ++49/0 30 366 0380 Heidi von Rueden, Atelier Gitarren Werkstatt, Eulerstr. 2, D 13357 Berlin (++49/0 30 48478140 / 175 6388002) e: [email protected], web: www.abc-gitary.de Marcus Wesche, Moorweg 4, D 27367 Stapel (t: ++49/0 4288 3005995) e: [email protected], website: www.wendelio.de Hong Kong Kelvin Cheng, Luthier, Room R, 7/F, Phase 2, Kinho Industtial Building, 14 Au Pui Wan Street, Fo Tan, Hong Kong, ( ++852 5105 5934 / f: ++852 2144 3223) e: [email protected], www.luthier.hk Hungary Tihamer Romanek, Velence, Tulipan u. 2, H 2481 e: [email protected], web: http://www.romanektihamer.hu Italy Andrea Andalo, via Martiri di Monte Sole 5, 40129 Bologna, (t++39/(0)347 2969878 / ++39/(0)51 367226 f ++30/(0)51 256399) e: [email protected] Paolo Busato, via Orsato 7, I-35128 Padua, e: [email protected] www.busatolutes.com Antonio Dattis, Via Giulio Cesare 8, I 74028 Sava (Taranto) (++39 3403744313) [email protected] http://www.antoniodattis.it/ Anna Radice, Via Mengoli 11c , I 40138 Bologna (++39 3482924328) e: [email protected], www.annaradice.it Davide Ruvolo, Via Trieste 32, I 13900 Biella (t: 33 81 102572) e: [email protected] Bob Van de Kerckhove, Via Aselli 72, I 26100 Cremona (CR) (++39 333 1041771) e: [email protected] www.bobvanderkerckhove.com Romania Gyorgy Lorinczi, 540463 Targu Mures, Str Ramurele nr. 33, ap. 15 (t: 0040 65 141779) e: [email protected] web: http://lorilute.3x.ro/ (r) Slovakia Peter Hornak, Mala Okruzna 987/1, 95801 Partizanske e: [email protected] Slovenia Ivo Magherini, t: ++386 5 995 9005 e: [email protected] website: www.floxflorum.com Spain Cesar Arias Perez, Areal - Cruces, E 15980, Padron, A Coruna (++34 9 81803679 / mob: 6196 14172) e: [email protected] Jaume Bosser, Cal Cinto de la Creu, 08787 Santa Candia (Orpí), (++34/(9) 3 8080200) e: [email protected] www.bosserluthier.net José Ángel Espejo, C/ de la Independencia, 2. local izq. 28013 Madrid (t/f ++34 913 661 930) e: [email protected] www.ars-antiqva.com/ contents/es/d109_Jose_Angel_Espejo_violero.html Carlos Gonzalez, Suspiro del Moro 30, E 04720 Aguadulce, Almeria (t: ++34 950 341873 / ++34 629 012929) e: [email protected] Francisco Hervas, Ctra. de la Zubia 104, E-18006 Granada. (t ++34 657 756 205) e: [email protected] Alexander Hopkins, Ses Alqueries 15, E 07142 Sta Eugena t:(0034) 691 937 841) e: [email protected] www.hopkinslutes.com Switzerland Philippe Mottet-Rio, 7 Route de la Verna, CH 1720 Corminboeuf, e: [email protected] www.anselmus.ch Maurice Ottiger, Les Rosalys C117, CH-1619 Les Paccots, e: [email protected] (t/f: ++41/(0) 21 948 78 93) Payment in instalments accepted. Jonathan Rubin—minor repairs only see Register of Teachers (r) Jorge Sentieiro, Thannerstrasse 43, CH 4054 Basel (t: ++41/(0) 61 321 7442) e: [email protected] www.jorgesentieiro.eu

United States of America Ken Brodkey, 90 Peace Drive, Watsonville, CA 95076 (++1 831 761 0318) e: [email protected] (r) John Butterfield, 9833 Ravenna Ave NE, Seattle, WA 98115 (++1 206 527 6100) e: [email protected] www.butterfieldlutes.com David Fitzpatrick, 4247 Forty Acre Town Road, Ionia, MI 48846 9436 (t: ++1 616 527 4154) e: www.davidefitzpatrick.com Jacques Graber, 11244 Pecos River Court, Rancho Cordova, CA 95670-2918, (t ++1 916 341 6353/ 858 0438, f ++1 916 319 7196) e: [email protected] Paul Klemm, 929 North Ave, Rockford, IL 61103 (t++1 815 965 3379) e: [email protected] http://guitarmandolins.com/lute-for-sale#lutes Daniel Larson, 26 N, 28th Ave. E, Duluth, MN 55812 (t/f: ++1 218 724 8011) e: [email protected] web: www.daniellarson.com Andy Rutherford, 324 Millers Corners Road East Greenbush, NY 12061 (t: ++1 518 477 2349 or 917 538 0373) e: [email protected] REGISTER OF LUTE TEACHERS Inclusion in this list does not imply endorsement by The Lute Society. Teachers who can give lessons by skype, to students in remote locations are marked with (s). United Kingdom James Akers, 46 Elmwood Drive, Epsom, Surrey KT17 2NN (07984 409005) e: [email protected] Jeffrey Alexander, 8 Watchester Lane, Minster, Thanet, Kent CT12 4DA (01843 822227) [email protected] Yair Avidor, 27 Hornsey Lane Gardens, London N6 5NY (077957979219) e: [email protected], www.lutenist.co.uk Peter Batchelar, 24 Beaumont Park Road, Huddersfield, West Yorkshire HD4 5JS, (++44/(0)1484 326170) John Cadman, 2 Wellington Place, Cheddington near Leighton Buzzard Beds LU7 9AD (++44/0 1296 668339) Steve Carpenter, 1 Admirals Walk, Coulsdon, Surrey CR5 1BR (0774 927 9938) e: [email protected] Hugh Cherry,2 Anne’s Way, Chester, Cheshire CH4 7BA (++44/(0)1244 678634) e: [email protected]

Brian Cohen, Soundpost, The Old Glassworks, Alexandra Place, Guildford, Surrey GU1 3QH, e: [email protected] also antique instruments, strings, frets, materials

Selina Copley, 1 Catalan Close, Stafford, ST17 4XS e: [email protected] Chris Dumigan, 14 Rochester Road, Davyhulme, Manchester M41 0RL (++4/0)161 747 3851) e: [email protected] Martin Eastwell, ‘Lanehead’, Appletree Bank, Keenley, Allendale, Northumberland NE47 9ER, (++44/(0)1434 683733) e: [email protected] www. lyra-sound.com David van Edwards (teacher of lute making), see entry under makers Gordon J.S. Ferries, 52 Candlemaker Row, Edinburgh EH1 2QE, (++44/(0)131 225 9005) [email protected] Pat Glynn, 16 Meredun Close, Hursley, Winchester, Hants, SO21 2JB (++44/(0)1962 775257) [email protected] Jessica Gordon, Glasfryn, Cwmcarvan, Monmouthshire NP25 4JP (++44/(0)1600 740433) e: [email protected] Steve Graham, Church Farm, Thurlbear, Taunton, Somerset TA3 5BW, (++44/(0)1823 443911) e: [email protected] Gordon Gregory, 18 Meynell Crescent, London E9 7AS (0208 985 7422) e: [email protected] John Greye, Flat1, 16 Park Street, Bath, Avon BA1 2TE, (s) (++44/(0)1225 469459) e: [email protected] www.bathguitarstudio.com Roxana Gundry, Waye House, Alston Cross, Ashburton, Devon TQ13 7ET. (++44/0 01364 652114) e. [email protected] Dale Harris, [guitar teacher] 82 Squires Bridge Road, Shepperton, Surrey TW17 0QA (++44/0 7941 582194) e: [email protected], www.dale-harris.co.uk Arngeir Heidar Hauksson, 17 Windrush Court, Chichester Wharf, Erith, Kent DA8 1BE (s) (++44/(0)7801 844387) e: [email protected] Geoff Haxell, 52 College Road, Ardingly, W Sussex RH17 6TY (++44/0 1444 891267) e: [email protected], Jacob Heringman, Carlin House, 6 Frenchgate, Richmond, N. Yorks DL10 4JG (++44/(0) 1748 826771) e: [email protected] website: www.heringman.com; also Alexander Technique lessons

Martyn Hodgson, Garth Cottage, Heyshaw, nr. Summerbridge, N. Yorks, HG3 4HD, (++44/(0)1423 780404) e: [email protected] Dawn Johnston, 2 Creslow Way, Stone, Aylesbury, Bucks HP17 8YW (01296 749048) e: [email protected] Jeremy Kinglake-Jones, 2 Gelligaer Street, Cathays, Cardiff, Glamorgan (02920 400975) e: [email protected] Anna Langley, 13 Moss Bank, Cambridge, Cambs CB4 1UR (++44/ 01223 424333 mob: ++44/0 7877 314052) e: [email protected] http://lute.annalangley.eu Simon J Lilley, 79 Mornington Road, Bolton, Greater Manchester, BL1 4EF (++44/0 1204 845784) e: [email protected] Michael Lowe, The Hermitage, Wooton-by-Woodstock, Oxfordshire OX2 1EQ, (++44/(0)1993 812120) Richard Mackenzie, 45 Bonham Road, London SW2 5HN e: [email protected] (++44/0 7965578146)

www.richardmackenzie.site50.net/1_3_Contact.html

Selina Madeley, 9 Lyric Close, Stafford, Staffordshire ST17 9GG, (++44/(0)1785 211218) Rob & Susan MacKillop, 2 Orchard Brae Gardens West, Edinburgh EH4 2HL Scotland (0131 343 2195) e: [email protected] web: www.rmguitar.info Andrew Maginley, 11 Langbourne Way, Claygate, Surrey KT10 0DZ (01372 463747) e: [email protected] www.andrewmaginley.com (s) Peter Martin, 43 Woodside Road, Purley, Surrey CR8 4LQ (++44/0 8660 1644) e: [email protected] www.silvius.co.uk Alex McCartney-Moore,Flat 3/1 528 Victoria Road, Queen’s Park, Glasgow G42 8BG (++44/ (0)7516 322199) e: [email protected] Stewart McCoy, 55 Ranelagh Grove, Wollaton, Nottingham NG8 1HR, (++44/(0)115 928 5794) e: [email protected] (s) Steve Metcalfe, Golwg-y-Mynydd, Rhosfach, Clynderwen, Pembrokeshire SA66 7JR (++44/0 1437) 532679 e: [email protected] Zak Ozmo, Flat 2, 11-13 Parkway, London NW1 7PG (s) tel: 07962 449537 e: [email protected], www.zakozmo.com Elizabeth Pallett, Lorne Lodge, 1 Sling Lane, Malvern, Worcs WR14 2TU (++44/0 7900 865789) e: [email protected] David Parsons, 73 Osborne Road, London N13 5PU (mob: 07957 614357) e: [email protected] web: www.david-parsons.co.uk John Peck, 22 Tenter Drive, Halesowen, West Midlands B63 3JH e: [email protected] (++44/0 121 550 6730) www.johnpeckmusictuition.co.uk Enzo Puzzovio, The Orangery, Manor House Gardens, Ancaster Avenue, Lincoln LN2 4AY (++44/(0)1522 512753) e: [email protected] Gerard Roberts, 20 Killeaton Gardens, Denniochy, Belfast BT17 9HF, N. Ireland, (++44/(0)28 90613063) Ben Salfield, Cornwall, e: [email protected] www.bensalfield.com Lynda Sayce, 29 Linacre Close, Didcot, Oxfordshire OX11 9RQ, (++44/(0)1235 816158) e: [email protected] www.theorbo.com Ephraim Segerman, 6 Needham Avenue, Chorlton-Cum-Hardy, Manchester M21 8AA (++44/(0)161 881 8134) e: [email protected] website: www.nrinstruments.demon.co.uk Martin Shepherd, 3 Brooklawn Drive, Didsbury, Manchester M20 3GY e: [email protected], www.luteshop.co.uk Matthew Spring, 49 Pitts Road, Oxford OX3 8BA, (++44/(0)1865 761966) Al Summers, 8a Chinns Court, Warminster, BA12 9AN (++44/0 1985 211786) e: [email protected] web: www.gandamusic.co,uk Christopher Susans, Wavertree, 26 Burton Road, Ashby-de-la-Zouch, Leics LE65 2LL, (t: ++44/(0)1530 416564) e: [email protected] Taro Takeuchi, Top Floor, 11 Hollingbourne Rd, London SE24 9NB (t/f: ++44/(0)20 7274 7754) e: [email protected] web: www.crane.gr.jp/-tarolute/english.htm (s) Robin Thodey, 8 Quarry Heads Lane, Durham City, Durham DH1 3DY. (++44/(0)191 386 0217)

Peter Trent, Marine House, 8 Station Road, Fakenham, Norfolk NR21 0AE (++44/0 1328 829455) e: [email protected] George Urwin, 20 Mallory Close, Ramsgate, Kent CT12 6TW (++44/(0)1843 582122, e: [email protected]) Mark Willcocks, 94 Cains Cross Road, Stroud, Gloucs, GL5 4HB (++44/(0)1453 840074) e: [email protected] www.markwillcocks.co.uk

Stuart Willis, 16 Barnes Park Road, Sunderland SR4 7PE (0191 528 3803) Douglas Wootton, 123 Hamilton Road, London SE27 9SE (t: ++44/ 0 7984 114437) e: [email protected] Brian Wright, Hawkes Wood, Lower Treneague, Wadebridge, Cornwall PL27 7JX, (++44/(0)1208 814138) e: [email protected] www.modernlutemusic.com Also: Diploma courses in making of early stringed musical instruments: West Dean College, West Dean, Chichester, West Sussex PO18 0QZ (++44/ (0)1243 818219, f: 818291) e: [email protected] www. westdean.org.uk Argentina Isidoro Roitman, Av. Santa Fe 5150 4to ‘B’ , 1425 Capital Federal (++54 11 47714346) e: [email protected] (s) Laura Maschi, Habana 3015 6to A, Buenos Aires 1419 (++54 911/15 5497 4290) e: [email protected] Gabriel Schebor, French 2094, (1634) Beccar, Partido de San Isidro, Provinicia de Buenos Aires (++54 11 47 95 37 71) e: [email protected] Austria Herbert Altzinger, Kefermarkterstr. 1, 4293 Gutau (t/f:++43 7946 6604) e: [email protected]

Stephan Haas, Brunnachstr. 21, A-6166 Fulpmes, (++43 699 1254 5519) e: [email protected]

Australia Tommie Andersson, 101 Marlborough Street, Surry Hills, NSW 2010, (tel/fax: ++61 2 9319 5076) e: [email protected] Rosemary Hodgson, PO Box 4098, Eaglemont 3084, Australia (tel: +61 3 9499 9138 mob: +61 401 771 493) e: [email protected] www.rosemaryhodgson.com (s) Susan King, 1/123 Forest Road, West Hobart, Tasmania, 7000, ( ++61 432164145) e: [email protected] www.guitarlessonshobart.com

Andrew White, 25 Telfer Road, Castle Hill, NSW 2154 e: [email protected]

Belgium Bart Roose, Meersenstraat 57, B-8310 Brugge Assebroek (++32/0 50 37 33 92) e: [email protected] Bosnia Herzegovina Hana Alivodic, Mice Todorovic 2, 71 000 Sarajevo (+38 762297304) e: [email protected] Brazil Fernanda Bertinato, Rua Iperoig, 561, ap. 84, Perdizes, Sao Paulo, SP 05016 000 e: [email protected], Carin Zwilling, Rua Nilo Torres, 68 ap 41, 04650-040, Sao Paolo,SP (t ++55 11 5524 8919, f ++55 11 5687 6908) e: [email protected] Alvaro Henrique, QE 21 conjunto F casa 23, Guara 2, Brasilia DF 71050-064(t++55 61 567 6589, or ++55 61 931 1120) e: [email protected] Canada Sylvain Bergeron, 4058 Rue de Bordeaux, Montreal, Quebec H2K 3Z5 tel: (++1) 514 522 7356 e: [email protected] Evan Plommer, 117 Forsyth St, Sarnia, Ontario N7T 2A8 tel: (++1)(519) 383 1337 e: [email protected] Clive Titmuss, 1338 Gregory Road, Kelowna BC, V1Z 3P2 tel: (++1) 250 769 2884 e: [email protected] www.earlymusicstudio.com Magdalena Tomsinska,128 B Northlake Dr., Waterloo, Ontario, N2V 1H6 e: [email protected] Czech Republic Katalin Ertsey, 549/21 Kodanka, 101 00 Vrosovice, Prague e: [email protected] Denmark Per Weile Bak, Lillevang 69, DK 7190 Billund (t/f: ++45 86 19 00 92) e: [email protected] or [email protected]

France Claire Antonini, 21 Avenue Lucie, F 93250 Villemomble e: [email protected] Éric Bellocq, 11 Rue de la Billardière, F 28230 Épernon (++33/0 6 81 39 48 77) e: [email protected] www.bellocq.info Rémi Cassaigne, 15 Rus Simonet, F 75013 Paris, él : 0145803523 Fax: 0145807224 Mobile: 06 07 23 57 51 e: [email protected] Philippe Cuny, 31 Rue Louis Dubreuil, F 76000 Rouen, e: [email protected] Charles-Edouard Fantin, 40 Rue de la Voute, 74290, Veyrier-du-lac. ( ++33 450 60 05 39. Fax: ++33 450 45 83 99) e: [email protected] Eugene Ferre, Les Borrys, F 84360 Merindol (++33/0 4 90 08 43 49) e: [email protected] Henning Hoel, 8 Rue du Bessay, F-69800 Saint Priest (t/f: ++33/0) 4 78 21 18 04) Pascal Gallon, 32 Rue de Lieutenant Jefferson, F 13120 St Remy de Provence, e: [email protected] (s) James Holland, 14 Rue des Rosiers, F 93400 St Ouen (t: ++33/0 615870550) e: [email protected] www.jameshollandlute.com Leonardo Loredo de Sa, 21 Rue aux Perles, F 95220 Herblay (++33 6 61 88 27 26 / 1 39 78 14 63) e: [email protected] www.ilballo.fr Benjamin Narvey, 10 Rue Yves Toudic, Paris 75010 (++33 1 44 27 03 44) e: [email protected] www.luthiste.com Jean Marie Poirier, 15 Avenue Robert Buron, F 53000 Laval (++33/0 2 43 53 17 19) e: [email protected] web: http://poirierjm.free.fr and http://tresordorphee.free.fr Laura Monica Pustilnik, 3 Avenue de la Pepiniere 5eme Esc. B, F 94120 Fontenay sous Bois (++33 6 59393816 ) [email protected] [email protected] Gérard Rebours, 90 rue de la Jonquière, 75017 Paris (++33/(0) 1 42 26 39 81) e: [email protected] www.GerardRebours.com (baroque/renguitars) Martin Shepherd, Lieu-dit Montot, F 71120 Vaudebarrier

(++33/0 3 85 24 73 16) [email protected] www.luteshop.co.uk

Jean-Pierre Vignes, 7 Boulevard Arago, F 75013 Paris (++33/0 1 43 37 11 23) Isabelle Villey, 15 Avenue Georges Clemenceau, F 14150 Ouistreham (++33 06 86 30 02 59) e: [email protected] Germany Magnus Andersson, Wiesbadener Str 3, D 12161 Berlin e: [email protected] Robert Barto, Binzener Strasse 13C, D-79539 Lörrach, (++49 7621 46802) e: [email protected] Thomas Bocklenberg, Hülsmannstrasse 48A, D 45355 Essen, (t: ++49 201 64623771) e: [email protected] www.bocklenberg.com Monika Burzik, Quirinstr. 10, D-40545 Düsseldorf 11 (++49 211 58960) Joachim Held, Eherstorfer Dorstr. 11B, D 21224 Rosengarten (tel: ++49 040 791 42118 / f: 45060) e: [email protected] Matthew Jones, Richard-Sorge Str. 81, D-10249 Berlin (++49/0 3041934392) e: [email protected] Prof Hans-Michael Koch, Flueggestrasse 8, D-30161 Hannover (t:++49 511 318503/ f: 318505) Sigrun Richter, Hubertusstrasse 32, D 61250 Usingen, (t: ++49 6081 964676 mob: ++49 171 144 1047) e: [email protected] tel in Italy ++39 0575 772219 Stephanie Schmitz, Nordparkweg 26, 41462 Neuss, (++49 2131 540986) Ulrike Schober, Talstrasse 3, D 79102 Freiburg (++49 761 137 6642) e: [email protected] Christoph Stab, Wessobrunnerstr. 9, D 82131 Gauting (004989 51306401) E: [email protected] Dr Ulrich Sommerrock, Saazerstrasse 9, 85053 Ingolstadt, Tel/fax: (++49/(0) 841 62663) [email protected] Johannes Vogt, Hasenhein 8A, D-69221, Dossenheim, (++49 6221 860444) Axel Wolf, Kirchstr. 4, D-82457 Eurasburg-Berg (t: ++49 8179 998768 / fax: 998775) e: [email protected] web: www.laute.net (s)

Italy Tiziano Bagnati, Cannaregio 1759, 30121 Venezia (++39 349 1717988) e: [email protected] Paul Beier, Vicolo ai Ronchi 12/B, 23022 Chiavenna (SO), (++39 343 36279) e: [email protected] http://lute.paulbeier.com Michele Carreca, vicolo Scavolino 70, I 00187 Roma, (++39/ 0 66791254/ 3335846301) e: [email protected] Franco Pavan, Via Lovanio 10, I-20121 Milano (++3902657 2319) e: [email protected] www.franco-pavan.com Sigrun Richter, Monterone 6 (Centro Storico), I-52038 Monterone, Sestino (AR) (++39 0575 772219 mob: ++39 338 119 8350) e: [email protected] www.sigrunrichter.de Terrell Stone, Via I Nievo no. 2, I 35020 Ponte San Nicolo (PD) e: [email protected]

Francesca Torelli, Via Assalini 33, I 42123 Reggio Emilia e: [email protected] web: www.francescatorelli.com Japan Ed Durbrow, 324-2 Shimoakadakumi, Hanno City, Saitama Prefecture 357 0126 (t/f: ++81 429 77 2148) e: [email protected]

Netherlands Fred Jacobs, Amaliastraat 16, III, 1052 GP Amsterdam (++31 20 6813 057) Willem Mook, Klein Heiligland 64-F, 2011 EJ Haarlem, (++31 (0)23 5325683) e: [email protected] web: www.willemmook.com

Jelma van Amersfoot, Wenslauerstraat 106, 1053BB Amsterdam (++31 206 160078) e: [email protected]

David van Ooijen, Leeghwaterkade 51, 2521 DZ Den Haag(++31/0 70 3194080) e: [email protected] www.davidvanooijen.nl (s)

Lex van Sante, Noordvliet 543b, 8924 AE Leeuwarden e: [email protected]

Irene JM Thomas, Corn. Houtmanstraat 104, 2593 RK Den Haag e: [email protected]

Poland

Anton Birula and Anna Kowalska, Skarbka z Gor 67B m.5, 03-287 Warsaw (++48 607 727346) e: [email protected] www.luteduo.com Portugal Paulo Galvao, R. C. Joaquim Machado 68, 8600-682 Lagos (++351 282 761 855/fax: 767 305) e: [email protected] Helena Raposo, Rua Álvaro Lapa 14, Urbanização Cabeço do Arraial, 7005-797 Évora (++351 964 014061) e: [email protected] Serbia Darko Karajic, Suboticka 1/21, 11000 Belgrade, (++38 1 11 411 923) Spain Ariel Abramovich, c/ Doctor Seras 13, 3o D, E 41009 Sevilla (tel: ++34 954 908179) e: [email protected] Maike Burgdorf, E 17002 Girona (++34 659097896) e: [email protected] www.maike-burgdorf.de Manuel Minguillon Nieto, Apartado de Correos 25, E 28690 Brunete, Madrid ++34 616 324892 in UK: ++44/0 779 0705279 e:[email protected], web: www.manuelminguillon.com (Jesus Sanchez, c/ Orfeo No.12, Madrid 28022, Spain, (t: ++34 91 320 91 94) e: [email protected] William Waters, Rambla Arnau No. 10, 6o, 2a, E-08800 Vilanova i la Geltru, Barcelona (tel: ++34 93 815 0998) e: [email protected] Xavier Diaz Latorre, c/Autonomia 21, 1er 2a, E-08225, Terrassa (t/f: ++34 937 359 824) e: [email protected] Sweden Lars-Erik Larsson, Dobelnsgatan 95, 3TR, S 11352 Stockholm (t: ++46 8 612 8920) e: [email protected] James G Lidgett, Almhult 430, S 449 90 Nol e: [email protected] Karl Nyhlin, Lilla Bantorget 3, S 11123 Stockholm, (t: ++46 730 225559) www.karlnyhlin.com e: [email protected] Oskar Werninge, (theorbo and baroque guitar, Alby 126, S 38862 Morbylanga e: [email protected] www.oskarwerninge.yolasite.com

Switzerland Sam Chapman, Austrasse 60, CH 4051 Basel (++ 79 530 39 91 (mobile) (++) 61 681 33 19 (home) e: [email protected] Michael Craddock, Stoeberstrasse 35, 4055 Basel (++41 61 302 40 79) e: [email protected] Peter Croton, Mittlere Str. 140, 4056 Basel, (++41 61 321 23 74) e: [email protected] web: www.petercroton.com Christine Gabrielle, Les Peut Pres, CH 2832 Rebeuvelier e: [email protected] Oliver Holzenburg, Leonhardstr. 22, CH-4051, Basel (++41 61 271 37 85/ fax: 37 75) e: [email protected] www.holzenburg.com Paul Kieffer, Schoenstrasse 86, CH 4058 Basel (++41 789649220) e: [email protected] (s)

Simon Linne, Homburgerstr. 31, 4052 Basel (++41 789740842) e: [email protected] (s)

Jonathan Rubin, Simonstr. 23, CH-3012 Bern, (t/f:++41 31 301 3228) e: [email protected] ( s) Andreas Schlegel, Eckstr. 6, CH-5737 Menziken, (++41 62 771 47 07) e: [email protected] web: www.lutecorner.ch Haim Shazar, Ruelle du Marché 4, CH 1880 Bex (mob: +41 77 460 32 34 +41 24 463 31 04) e: [email protected] (s) Thomas Widmer, Mittelholzerweg 16, CH-8302 Kloten, (t/f: ++41 18 13 35 01) e: [email protected] USA Ron Andrico, 10922 Wade Park Ave, Cleveland, OH 44106 e: [email protected] web: www.mignarda.com Patrick Appello, 297 Spring Street, Apt 3, Red Bank, NJ 07701 tel: ++1 973 600 0821 e: [email protected] or [email protected] Joseph A Baldassare, 1911 N. Phillippi St, Boise, Idaho, 83706 1160 (s) (t: ++1 208 426 1507) e: [email protected] web: www.djroeb.com Tim Burris, 222 Pownal Road, Freeport ME 04032 (++1 207 865 0520) e: [email protected] (s)

Michael Calvert, 808 West End Ave, apt 908, New York, NY 10025 (t++1 212 666 4887) e: [email protected]

Donna Curry, PO Box 2553 Thompson Falls, MT 59873 (t: ++406 827 1506, e: [email protected]) David Dolata, School of Music, Florida International University, Wertheim Performing Arts Center, PAC 142, 11200 S.W. 8th Street, Miami FL 33199 (++1 305 348 4073) e: [email protected] Gail Gillispie, 28 E. Rose Street, Glenwood IL 60425 ++1 708 758 3750 e: [email protected] Thomas E Greene, PO Box 113822, North Providence, RI 02911 (++1 401 353 1161) e: [email protected] Olav Chris Henriksen, 34 Newbury St, Somerville, MA 02144 (++1 617 776 8688) e: [email protected] Scott Horton, 8405 Bent Tree Road, Flat 3421, Austin, TX 78759 ( ++1 512 502 2483, mobile: 512 663 2199) e: [email protected], Catherine Liddell, 5 Chrislin Way, Natick, MA 01760 (++1 508 647 0144) e: [email protected] (s) Thomas Millioto D.M.A., Brooklyn, New York City (t: ++1 718 783 2681) e: [email protected], web: www.tomimusic.com Christopher Morrongiello, 4 Piper Place, Old Bethpage, New York, NY 11804 (++1 516 694 5473) e: [email protected] Jocelyn Nelson, 2402 E . 4th St, Greenville, NC 27858 1617 (++1 252 328 1255) e: [email protected] Lyle Nordstrom, 10108 Ord Banks Drive SW, Cumberland MD 21502 (++1 301 338 2940) e: [email protected] Scott Pauley, 111 Quail Hill Road, Pittsburgh, PA 15238 (++1 412 963 9374 / fax: 9375) e: [email protected] Francis Perry, 386 Euclid Avenue, Manasquan, NJ 08736 (++1 732 223 9194 /fax: 9195) e: [email protected] Andy Rutherford, 324 Millers Corners Road East Greenbush, NY 12061 (t: ++1 518 477 2349 or 917 538 0373) e: [email protected] John Schneiderman, 2033 Greenleaf Street, Santa Ana, CA 92706-2531, ( t+f ++1 714 836 4186) [email protected] www.johnschneiderman.com John K Sheehan, 77 Kendall Drive, Ringwood, NJ 074561620 (++1 973 962 9655) e: [email protected] Elizabeth H Small, 3220 44th Street NW, Washington DC 20016 (++1 202 244 4765) e: [email protected]

Joel Spears, 310 Concord Square Gurnee, IL 60031 (++1 847 249 4647) e: [email protected] Richard Stone, 1034 Carpenter St Philadelphia, PA 19147, USA (++1 215 339 4067) e: [email protected] Rodney Stucky, 2145 St James Avenue, Cincinnatti, OH 45206 (++1 513 221 1896) e: [email protected]

Matthew Weinman, 291 Abbey Drive, Somerset, NJ 08873 (t++1 732 564 5478) e: [email protected] www.skypelutelessons.com (s) Matthew Wright, 14 Trull Street, Somverille, MA 02145 (++1 774 836 8398) e: [email protected]

REGISTER OF INSTRUMENTS FOR HIRE A list of the Lute Society’s own hire lutes not currently out on hire can be found in the ‘Lute Society News’ section of the magazine, and at www.lutesociety.org; for details, or to go on waiting list for lutes shortly to be returned please contact the Secretary. 14c theorbo by James Marriage, after Matteo Sellas (Paris) 85/168cm, 7c lute by Stephen Haddock 55cm; 5c Baroque Guitar by Alexander Hopkins, Catalan model 64cm, Alex McCartney, alexmccartney@ hotmail.co.uk 07516 322199 alexmccartney.co.uk @alextheorbo G lute owned by Robert R Baxter, Whitehaven, Cumbria day: 07739 868263, home: 01946 590554 [email protected] G lute, owned by NEEMF for hire, held by Gill Knowles, 3 Church Farm Garth, Shadwell, Leeds LS17 8HD, 0113 273 7477 e: knowles. [email protected] Lute for hire from Jaroslaw Lipski, e: [email protected] 6c lute by Stephen Murphy for hire, contact John Yorston, tel: 01224 873694 Several lutes, made by students at West Dean College, contact Roger Rose, day: 01234 818235, email: [email protected] 8c Mitre lute for hire, contact Judith Sassoon, Tobermory, tel: 01688 302464 e: [email protected] Ken Luckhurst is willing to hire out an instrument, address: Graylands Lodge, Langhurstwood Road, Horsham, Sussex RH12 4QD, tel: 01403 250837 8c lute by Arthur Robb, after Hieber (1998) with case, for hire. Contact: David Abel, 0191 515 2513 (Sunderland) e: david.abel@ sunderland.ac.uk The following makers, listed in REGISTER OF MAKERS have instruments for hire: Bruce Brook, James Marriage, P J (George) Stevens, Oliver Wadsworth, Wolfgang Fruh (Paris), Heidi von Rueden (Berlin; baroque guitar after Joseph Massaguer, Barcelona 1758)

USEFUL ADDRESSES A. Li. Ven (Venetian Lute Association) c/o Terrell Stone, via I. Nievo n.2, 35020 Ponte San Nicolo (PD), Italy. Asociacion Argentina de Laudes y Guitarras Antiguas, e: [email protected] web: www.aalga.com.ar Association Guitare et Luth, Case Postale 2254, 1630 Bulle 2, Switzerland. Web: www.anselmus.ch Associazione Italiana per la Musica e la Danza Antiche, Via Marco Aurelio 42, 00184 Roma, Italy. (e-mail: [email protected]) Associazione Liutistica Siciliana, via Brig. Nastasi, 3/a - 92019 Sciacca (Ag) Italy. Tel: ++39 925 85335, fax: ++39 925 21610 Austrian Lute Society: www.laute.at Belarus Lute Society, c/o Tatiana Belkovitch, Slavinskaga 17-252, 220086, Minsk, Belarus, e: [email protected] Belgian Lute Academy, c/o Greet Schamp, Prins Boudewijnlaan 133, 2650 Edegem, Belgium tel: 03 289 01 19, email: [email protected] web: www.lute-academy.be/ British Banjo Mandolin and Guitar Federation, c/o Sandra Woodruff, 104 Tower Road North, Warmley, Bristol BS30 8XN tel: 0117 967 2286 e: [email protected] website: www.banjomandolinguitar.co.uk California Bay Area lute group; now a Yahoo group Cittern Soicety: Facebook page The-Cittern-Society’, e: [email protected] tel: +33 6 20 60 61 52. Czech Viola da Gamba and Lute Society, Michaela Freeman, 252 82 Kamenný Prívoz 274, Czech Republic, tel/fax: 00420 2 24282357 (email: [email protected]) Deutsche Lautengesellschaft, c/o Dr Martin Struve, Am Knurrhahn 5, D23683 Scharbeutz, e: [email protected],website: www.lautengesellschaft.de The Dolmetsch Foundation (The Consort European Journal of Early Music) Jesses, Grayswood Road, Haslemere, Surrey GU27 2BS e: [email protected] www.dolmetsch.com/dolmetschfoundation.htm Early Dance Circle, membership secretary: Barbara Segal, 3 Thornhill Square, Islington, London N1 1BQ, tel: 0207 700 4293 email: [email protected] or www.earlydancecircle.co.uk Fellowship of Makers and Researchers of Historical Instruments (FoMRHI), c/o Christopher Goodwin, Soutshide Cottage, Brook Hill. Albury, Guildford GU5 9DJ tel: ++44/0 1483 202159 fax: ++44/0 1483 203088, e: [email protected] Fondazione Italiana per la Musica Antica della Societa Italiana del Flauto Dolce, Via Col di Lana 7, CP 6159, I-00195 Roma, Italy tel/fax: ++39 06 3210806 web: www.cilea.it/music/fima/fima.htm Galpin Society, Administrator: Maggie Kilbey, 37 Townsend Drive, St Albans, Herts AL3 5RF, e: [email protected] web: www.galpinsociety.org Guild of American Luthiers, web: www.luth.org e: [email protected] Internet Lute Society: www.internetlutesociety.com Lute and Early Guitar Society Japan, Administration c/o Toru Sakurada, 3-227 Oonari-cho, Koshigayashi city, Saitama, Japan, tel: ++81/0 90 3061 7731 fax: 048 986 8740 e: [email protected] European contact: LGS Europe, c/o David van Ooijen, Junko Nagiyama, Leeghwaterkade 51, 2521 DZ Den Haag tel: ++31/0 70 3194080 e: [email protected] web: http://home.planet.nl/~d.v.ooijen/lgs/ Lute Society of America, PO Box 6499, Concord CA 94524, USA tel: ++1 925 686 5800 e-mail: nancy@nancycarlinassociates web: www.LuteSocietyofAmerica.org Lute Society of Japan, c/o Hirotaka Watanabe, 5-22-4, Kamimeguro, Meguro, Tokyo 153-0051 Japan, ++81 3 3760 3495 fax: ++81 3 3714 3839 e: [email protected] website: www.lute.jp Nederlandse Luitvereniging, Secretary: Secretary: Cora Cannemeijer, Schaepmanstraat 20, 8161 DX Epe, The Netherlands, [email protected] Publication orders: Joost van Poppel, Zonstraat 41, 4818 Breda, Netherlands, ++31 765208596 email: [email protected] (web-site: www.nederlandsluitvereniging.nl) New France Lute Society/Maisonneuve Lute Festival, web: www.er.uqam.ca/nobel/r14310/Luth/index.html Lute Society of New Zealand, c/o William Bower, 154 Owen St, Newtown, Wellington 6021 e: [email protected] or [email protected] ‘Ning’ discussion groups: http://lutegroup.ning.com; http://baroquelute.ning.com; and http://earlyguitar.ning.com Recercare, Fondazione Italiana per la Musica Antica della SIFD, CP 6159, 00195 Roma. Romanian Lute Society, c/o Dr Marius David Cruceru, e: [email protected], web: www.prolauta.wordpress.com Societa del Liuto, Via di Mezzana 21, I 50065 Pontassieve (FI) e: [email protected] web: http://societadelliuto.it/ Sociedad de Vihuela, c/o Jose Antonio Benito Arenas, C/ Lituania, 6, 20 D, E 28030 Madrid, Spain tel: ++34/9 1 4373764, e: [email protected], website: www.sociedaddelavihuela.com Société Française de Luth, 48 rue Bargue, 75015 Paris. Tel ++33/0 1 45 66 73 05. (office staffed on Wednesday afternoons) web-site: www.sf-luth.org email: [email protected] Svenska Gitarr och Luta Sällskapet, Svartviksslingan 71, 161 29 Bromma, Sweden. Tel: ++46/0 8 736 62 31 e: [email protected] web: www.sgls.nu Southern California Area Lute Group, web: www.sclutegroup.org Viola da Gamba Society of Great Britain, Susanne Heinrich, 28 Freelands Road, Oxford OX4 4BT tel: 01865 723778 (email: [email protected]) ’Ud enqiries may be passed to: Dr Michael Moussa, 3 St Andrew’s Drive, Darton, Barnsley S75 5LX, tel: ++44/0 1226 390881 email@ [email protected]; or to Robin Jeffrey, 1 Church Cottages, Rotherfield, E Sussex, TN6 37N, tel: 01892 852878, e: [email protected] There are also several English language mailing lists on the internet administered by Wayne Cripps: [email protected], [email protected], [email protected] and [email protected] (run by Rob MacKillop, also covers baroque guitar).To subscribe to each of these send a message with the word ‘subscribe’ in the first line to [email protected], [email protected], [email protected], or [email protected] respectively. To join the cittern discussion group send an empty email with the word ‘subscribe’ in the subject line to [email protected]. To join the lute builders’s discussion group send a blank email to [email protected] with the word ‘subscribe’ in the subject line and nothing else. There is a Fronimo (tablature typsetting package) discussion group at http://groups.yahoo.com/group/Fronimo_editor/. An Italian lutelist is to be found at [email protected] To subscribe send a blank email to [email protected] The Spanish lute (and vihuela) list can be joined be sending an email to [email protected] or via the website http://groups.yahoo.com/group/vihue-lista There is a French lutelist at: http://fr.groups.yahoo.com/group/luth-SFL/ contact: [email protected] There is an oud mailing list; visit http://groups.yahoo.com/group/oud To join the J.S.Bach on lute and guitar mailing list go to: http://www.onelist.com/community/bach_plucked Stefan Lundgren has set up an interactive online lute tutor. The address is: www.luteonline.de Index of English lute music online: www.cs.dartmouth.edu/~wbc/julia/ap1/index.htm

1

LUTEZINE TO LUTE NEWS 115 (OCTOBER 2015): ADDITIONAL VERSIONS OF GAGLIARDE BY THE KNIGHT OF THE LUTE; GAGLIARDE BY GIOVANNI MARIA RADINO; SETTINGS OF LA TAMBARINO; THE BALLADS THE BLACKSMITH, WHEN DAPHNE DID FROM PHOEBUS FLY, ALL YOU THAT LOVE GOOD FELLOWS AND CAN YOU NOT HIT IT MY GOOD MAN; SETTINGS OF THE POPULAR TUNE EN ME REVENANT/MORE PALATINO & ALBERT DE RIPPE PART 7: FANTASIES NO 13-15 KNIGHT OF THE LUTE GAGLIARDE CONTINUED leuto1

L2b. I-PESc b.10, ff. 11v-12r Gagliarda dell'Cavaliereo del L2c. B-Br Lit. S.16.663, ff. 3v-5r untitled L15b. D-Hbusch w.s. (Herold), ff. 22r-23r Galliarda3 L15c. Piccinini 1623, pp. 60-61 Gagliarda VI - archlute4 L15d. CDN-Mc w.s., ff. 61v-63r Gagliarda - incipit only5

R4. Radino 1592, sig. D3r-D3v Gagliarda Quarta C233 C32 C36

The twenty gagliarde by Lorenzino Tracetti and/or Vincenzo Pinti were edited in Lute News 115, and only three of these are known in more than one source (two of no L5, three of no L2 and four of no L15). No 5a and 5b were both in Lute News 115, so the additional versions of no L2 and L15 are edited here. Two sources of no L2 are ascribed, both to Cavagliere, and only one of no L15, to Equitis Romani, so both are likely to be by Vincenzo Pinti. All three versions of no L2 are corrupt in the originals and editorial changes are listed in the commentary on p. 30 of Lute News 115, and shown in grey in the tablature.6 No 15c is an arrangement of an earlier gagliarde for 13-c archlute included in Alessandro Piccinini's Libro Primo published in 1623. On p. 8 of his preface, Piccinini relates that the Cavalier del Liuto relished playing the newly developed archlute, more likely to be Vincenzo Pinto who died in 1608, than Lorenzino Tracetti who died in 1590. So Piccinini was presumably honouring the memory of Vincenzo Pinti, and one wonders whether Piccinini or Pinti made the archlute arrangement of the earlier lute gagliarda as it is unascribed. App 1. PL-Kj 40032, p. 313 Cipriano App 2. PL-Kj 40032, p. 315 Saltarello Juan Farnese App 3. PL-Kj 40032, p. 374 Fresch`e gagliarda App 4. D-KNa W 4o 328, f. 8v Courant App 5. PL-Kj 40032, p. 314 Milanese App 6. PL-Kj 40032, p. 380 ii q(uarante) App 7. Gerle 1546, sigs. R4v-S1r En reuenan

p. 7 p. 9 p. 9 p. 11 p. 12 p. 25 p. 96

Seven appendices are here as page fillers; appendix 1 sounds like an Italian gagliarda with cognate versions in two Czech manuscripts and a German print.7 It seems unlikely it is by Cipriano de Rore (c.1515-1565), madrigal composer and maestro di cappella in Parma from 1546, so is probably by an unknown composer of this name or could be named after a place; appendix 2 could be by or dedicated to Juan/Giovanni Farnese, although no one of this name is recorded from the noble family of Farnese at Parma; appendix 3 is a typical Italian gagliarda and not an intabulation of Clemens non Papa's Frisque et Gaillard,8 so the meaning of the title is not clear; appendix 4 is another cognate of a courante by Santino Garsi da Parma and known as Brett's coranto in England;9 appendix 5 is a version of the popular Italian dance-song also known as Val Cerca;10 appendix 6 is a courante with similar opening bars to the Tambarino Gagliarda (see below) with original left and right hand fingering; and appendix 7 has a similar title to the popular song En me revenant (see below), but the music is unrelated. GAGLIARDE OF GIOVANNI MARIA RADINO Here are four gagliarde by a contemporary of Tracetti and Pinti, the Paduan organist Giovanni Maria Radino (d.1607) who published two books of music in Venice in 1592, one for keyboard and the other including the same music intabulated for solo lute. The remaining contents of his slim lute book are a Passamezo-Gagliarda pair and two Paduanas.11 R1. Radino 1592, sig. C4v Gagliarda Prima R2. Radino 1592, sigs. D1r-D1v Gagliarda Seconda R3. Radino 1592, sigs. D2r-D2v Gagliarda Terza

LA TAMBARINO GAGLIARDE Here are all the versions of a type of gagliarda called Tambarina/Tamburino or similar, apparently named after the third strain imitation of the drone-like roll of a tambourine, all based on similar musical material is arranged in a variety of ways. No T1-T7 are closely concordant but with variants, and no 8 & 9 only change the upper voices of the B strain. No T1014 are a different group that changes the second half of the first strain and all the B strain, varying and shortening the C strain in length, then adding a D strain (bars 31-34 of no T11 were corrupt and reconstructed here). No T15 is concordant with no T10-14 apart from omitting the B strain altogether. No Tapp1-3 are a more remote group beginning with the same four bars but continuing quite differently with only hints of the same material, and these do not have Tamburina in the title or the 'tambourine' strain. No Tapp4 is titled Volte Tambourina but is unrelated to the gagliarde also lack the tambourine strain. No T1 is probably the easiest to play, and no T6 the longest and most elaborate, probably Giovanni Antonio Terzi's arrangement of a popular gagliarda rather than his own composition.12 T1. US-BEm 757, ff. 18v-19r La Tanbarina - La Tanbarina T2. D-B 4022, f. 20v Jan Barino Galiarda T3. D-Sl 1.G.4 III, f. 59r Tamburino T4. I-BDGchilesotti, f. 24r Ein gut stuck T5. I-TRc 1947, f. 13r Il ta(m)burino T6. Terzi 1599, pp. 4-5 Gagliarda detta Tamburin T7. PL-Kj 40032, pp. 332-333 Gagliarda T8. B-Br II.275, f. 69v La TanBurina Galgliarda musichale [index: La Tanburjna Del fiorenza Galgliarda] T9. US-BEm 760, f. 24r il tanbarino T10. D-W Guelf 18.8 VIII, f. 242r Tamburino (Balli Padouani la maggior parte di Nicolai Legname)13 T11. PL-Kj 40032, p. 387 La Tamburina T12. D-B 4022, ff. 5v-6r (T)ambarina (G)aliarda (Al)ess Pi(cc)inin(i) T13. CZ-Pnm IV.G.18, ff. 172v-173v galliarde tambourina T14. GB-HAdolmetsch II.B.1, ff. 102v-104r Galliarda Tambourina T15. I-TRc 1947, ff. 23r-23v la tamburina Tapp1. D-W Guelf 18.8 VI f. 175r Gagliarda Diomedes 14 Tapp2. D-W Guelf 18.8 VI, f. 175v Eadem gagliarda alio modo Tapp3. D-W Guelf 18.8 VI, f. 176r La medesima gagliarda Di un’altro maestro Hort(ensio). Perla 15 Tapp4. GB-HAdolmetsch II.B.1, f. 104v Volte Tambourina

THE BLACKSMITH Only these lute and cittern versions of this tune are known and no ballad to fit this tune survives. It is different to the tune related to Greensleves used to accompany James Smith's poem The Blacksmith from 1656, or the ballad of The Blacksmith beginning 'Of all the Sciences under/beneath the sunne', found as no 121 in John Gamble's Commonplace Book of 1659.16 B1. IRL-Dtc 408/II, p. 84 The Blacksmith B2. US-CAh 179 (Boteler), f. 43v The Blacksmith - cittern

p. 31 p. 31

WHEN DAPHNE DID FROM PHOEBUS FLY A pleasant new Ballad of Daphne: To a new tune to the text 'When Daphne from faire Phoebus did flie, / the West winde most sweetly did blow in her face: / Her silken Scarfe scarce shaddowed her eyes, / The God cried, O pitie, and held her in chace, / Stay, Nimph, stay, Nimph, cryes Apollo, / Tarry, and turn thee, sweet nymph, stay, ...' is found in an early seventeenth century broadside. The ballad text was paraphrased (at III/i as 'Tarry and kiss me; sweet Nymph stay'

2 from line 6 of the ballad) in Ford's The Witch of Edmonton performed in 1621, and is found in the Giles Earle songbook (GB-Lbl Add.24665, f. 67v When Daphne from faire Phoebus did flie) and the printed ballad chapbook of Thomas Deloney Royal Garland of Love and Delight (1674), as well as The Garland of Delight (1681) and Cupid's Garland (undated).17 The tune was also popular for instrumental settings in England and the Netherlands,18 arranged for lute, lyra viol, recorder, violin, keyboard and instrumental ensemble.19 The five known versions for lute are included here, together with a cittern version, one for a lyra viol tuned like a renaissance lute, and my arrangement of the violin tune from Playford's Dancing Master. No D1 required some rejigging of the corrupt rhythm signs, whereas no D2 needed complete reconstruction of rhythm and barring (see illustration of the original from the Lute Society facsimile edition below); Valerius embellished no D6 to the point of awkwardness, so an alternative simplified version is also provided. However, his diatonic cittern setting (no D7) seems competent, and is transcribed for chromatic ciettern.

D1. NL-HOwfa 1667-1 (Enkhuizen),20 f. 4v Daphne p. 31 D2. US-Ws V.b.280 (Folger), f. 86v untitled p. 35 D3. D-Kl 4o.108.1 (Montbuisson), f. 26v untitled p. 37 D4. US-NHub osborn fb7, f. 82r Daphne p. 41 D5. Playford The Dancing Master 1651, p. 30 Daphne [the Shepherdess in later editions] (arranged for lute from violin melody) p. 41 D6i&ii. Valerius 1626 pp. 30-31 Engelsche Daphne - original and adapted pp. 42-43 D7i&ii. Valerius 1626 p. 31 Engelsche Daphne (diatonic cittern setting & transcribed for chromatic cittern) pp. 42-43 D8. GB-Mp BRm 832.Vu.51 (Manchester lyra viol book), p. 15 Daphne. R. S. (lyra viol tuned lute way) VdGS21 Sumarte 16 p. 44

ALL YOU THAT LOVE GOOD FELLOWS - NOWELLS DELIGHT Although no ballad named All those that love/are/ be good fellowes is known, the tune is called for by this name in many seventeenth century ballads and plays,22 for example, in the Shirburn Ballads, f. 229r No. LXVII That gallant prince Graaf Maurice to the tune of All those that are good fellowes beginning 'A true discouse of the winning of the towne of (Rhein)Berke ... 1601',23 and the ballad Good Newes from Virginia in 1623, as well as The Honour of a London Prentice registered in 1656, which is probably from the sixteenth century, and the tune is often referred to as The London Prentice in seventeenth century sources. The tune is known by a variety of other titles, such as in the two continental lute versions here (no N2 & N3), and as Nancie in a keyboard setting by Thomas Morley.24 The lute setting of the tune in the Welde lute book (no N1) is titled Nowells Delight, and the tune for the song in Starter's song book Friesche Lust-Hof of 1621 is called Sir Eduward Nouwels delight and so was probably dedicated to Sir Edward Noel (15821643),25 knighted in 1611 and made Lord Noel of Ridlington in 1617 and later second Viscount Cambden. He was nephew of Sir Henry Noel (d1597), Dowland's patron and dedicatee of his M. Henry Noel his Galiard for consort no 14 in Lachrimae or Seaven Teares of 1604, as well of the funeral psalms Lamentatio Henrici Noel. The opening bars are the same as Dowland's Mrs. Nichols' Almaine (DowlandCLM no 52), edited in Lute News 100 (December 2011), and to the march known to this day as The British Grenadiers! Starter set the Dutch ballad Silvester inde Morgenstond to the tune, and the latter title was used for recorder variations in van Eyck's Der Fluyten Lust-Hof in 1646

and became the tune indication in dozens of Dutch song books throughout the seventeenth century.26 N1. GB-WPforester-weld, f. 7r Nowells Delight p. 45 N2. LT-Va 285-MF-LXXIX, f. 14v Mitt Lust von wenigen Tagen p. 45 N3. D-B 4022, f. 21r Balletto Dantichano p. 56

CAN YOU NOT HIT IT MY GOOD MAN? There are two lute settings of this ballad, one with the incomplete title hit: in the manuscript bound with the Ballet lute book (no C1 here), and the other titled Chanson Englesa in the Dallis lute book (no C2 here). Neither Lumsden's thesis, John M. Ward's articles on the two manuscripts, nor Julia Craig McFeely's PhD thesis,27 recognised the relationship of the lute settings to the two keyboard versions titled Can you not hitt it my good man? The Dallis version is identical to Adriaenssen's Pratum Musicum of 1584, which was also in the reprint of 1600, and Spiessens' book on the life and works of Emanuel Adriaenssen28 did not identify the English ballad it was based on. However, Virginia Brookes' catalogue of English keyboard music,29 lists the Ballet lute book as a cognate of the keyboard settings, and her thematic incipit matches the tune. Also, although the ballad is not in Simpson,30 Brookes also draws attention to its inclusion as Canst thou not hit it in Chappell's Old English Popular Music.31 Chappell transcribes the version from the Ballet lute book and refers to an entry in the Stationers' Register for 1579 related to the ballad. The online transcript for 1578-9 reads:32 '16 Julij. Hughe Jaxon. ..., for his Licence to printe a ballat intytuled There is a better game, if you could hit yt iiij'. Chappell also alludes to the comedy Wily Beguiled probably by George Peele and printed in 1606, where towards the end the character Cricket sings To give my wench a kiss. And then dance Canst thou not hit it? &c, and Chappell also noted the quote in Shakespeare's Love's Labour Lost (act iv, sc. 1, l. 18-19), when Rosaline sings: Thou canst not hit it, hit it, hit it, / Thou canst not hit it, my good man. C1. IRL-Dtc 408/II, p. 84 hit: p. 56 C2. IRL-Dtc 410/I, p. 170 Altra chanson englesa p. 56 Adrienssen Pratum Musicum 1584, f. 92v Altra chanson englesa; Adrienssen Pratum Musicum 1600, f. 78v [Branle Englese] Autrement. Keyboard cognates: F-Pn Rés.1186, f. 67v Can you not hitt it my good man?; US-NYp Drexel 5609, p. 150 Can you not hitt it my good man?.

EN ME REVENANT DE SAINT NICOLAS, ALMANDE GRATIE MORE PALATINO LA NONETTE The tune of the diversely titled of instrumental settings probably all derive from a 4-part French Air published by Le Roy and Ballard in Airs de cour. Mis en musique à quatre & cinq parties de plusiers autheurs (Paris 1597), ff. 13r-13v.33 The first of ten stanzas reads 'En me revenant / De sainct nicolas / Rencõntray trois nonnes / Quand ie remue tout branle / Qui non salua / Quand le remue tout va' [While I was returning on St. Nicolas' day (or possibly from a town called St. Nicolas?), I met three nuns - when I'm on the move, everything dances - who greeted us - when I'm on the move, everything goes]. St. Nicolas' day is celebrated across Western Europe, as shown in Sinterklaas (the feast of Saint Nicolas, on the evening of the 5th December) dated c.1665-8 and by the Dutch painter Jan Steen and now in the Rijksmuseum (see image above). Saint Nicolas is the origin of the AngloAmerican Santa Claus or Father Christmas myths popularised in the nineteenth century. The settings are called En me revenant, Branle de St Nicolas, or Almande Gratie (probably referring to the three nuns, or graces of the text). The tune was later used for a Latin contrafactum of a German student

3 drinking song to the words 'More palatino / Bibimus ne gutta supersit / Unde suam possit / Musca levare sitim / Sic bibimus sic vivimus / In Academicis in Academicis' [In Palatinate style, we drink, lest a drop be left over from which a fly could slake its thirst. That's how we drink, that's how we live, in Academia, in Academia].34 The titles seem to be used indiscriminately, rather than associated with particular arrangements of the tune. Apart from Bacheler's Round in F, which is the most extensive and accomplished variations on the tune, there are another twenty eight renaissance lute settings in F, seven in B flat (no 1a-d & 2-4), and one in C (no 5). No 33 is for three lutes and two melody instruments, and the lute parts are reproduced here without editing into a working ensemble piece - the testudo major plays as a lute solo and the other two lute parts are glosses around the melody. A setting in B flat is ascribed to Jacobum in one source, assumed to be Jacob Reys/Jakob Polak/Jacques Polonois, and the other three are anonymous but concordant (no 1a-d), although a setting that is similar (no 2) is ascribed to another 'Jacobum', Jacob Murer. Presumably, the arrangements in the printed sources were made by their editors, Adrienssen, van den Hove and Fuhrmann, the latter for the anonymous one of three settings in his lute anthology Testudo Gallo-Germanica published in 1615 (the other two are ascribed to Jacobum [Polak?] and [Julien?] Perichonis, the latter titled La Nonette, probably another reference to the nuns of the text). Five settings (no 24, 25, 27-29) are found in the lute book of Johann Stobaeus (Lbl Sloane 1021), ascribed with the abbreviated names Leonis, Kul., [Franz?] Madel and Decker, presumably members of his musical circle. It is easy to imagine the settings are the results of a competition to arrange the tune, in which case I think Decker would have won, although all of them are clearly amateurs. If you are searching for a short or long version that you can play, then no 15 is a good place for beginners to start, before progressing through Jacob's setting (no 1a-d) on the route towards the virtuoso variations of Fuhrmann (no 10) and Daniel Bacheler. There are also settings for lutes in transitional (no 35 in English Gauthier or Mersenne Extraordinaire tuning & 38 tuned harp way) or baroque (no 34) tunings, as well as five settings for 4- or 5- course mandore in three different tunings (no 26, 32, 36, 27 & 39). DB43. Daniel Bacheler35 BachelerL36 no 43 DB43b. GB-Cu Add.3056, ff. 43v-44r untitled DB43c. GB-Ctc O.16.2, pp. 139-138 mr Daniell Bachelers Round 37 DB43d. GB-Lbl Add.38539, ff. 8v-9r Almayne 1. Jacob Polonois PolakP38 pp. 145-146 1a. GB-Lbl Sloane 1021, f. 65r-65v MORE PALATINO 1b. GB-Cfm 689, f. 44r En me reuenant. 3r. 39 1c. Fuhrmann 1615, p. 141 Bransle d. S. Nicola. p. Sig. Jacobum 1d. D-B 4022, f. 17r Cauallant a S. Nicola Chanson 2. CH-SO DA 111, ff. 33v-34r En me revenant de St. Nicolas / A D: Jacobo Murer 3. CH-SO DA 111, ff. 38r-38v En (me) revenant de St. Nicolas J:J:W: 4. CH-SO DA 111, ff. 38v-40r Idem 5. D-HRD Fü 9829, ff. 10v-11r 8. More Palatino / Variatio. 6. D-LEm II.6.15, p. 460 Flore paladino 7. D-LEm II.6.15, p. 500 En me reuenant 8. I-Fn Magl. XIX 105, f. 13r More Palatino 9a. B-Bc 26.369, f. 9v Allemande grassie 9b. Hove 1601, f. 109r Almande Gratie HoveB40 no 229 10. Fuhrmann 1615, pp. 158-159 Ballet 20. [header: Ballet 20. En me revenant]. 11. GB-Cfm 689, f. 31r En me reuenant 12. Fuhrmann 1615, p. 43 Subpleme[n]tu[m] folii. [header: La Nonette Perichonis] (Julien Perrichon)41 13. GB-Eu Laing III.487 (Rowallan), pp. 8-9 Sibit Sant Nikcola 14. D-Dl M 297 pp. 132-133 More Palatino 15. D-B N479, f. 2v untitled 16. CH-SO DA 111, f. 43v En moy revenant de S. Nicolas 17. LT-Va 285-MF-LXXIX, f. 65r Matthiae defl Röm: Kaÿserfl Auffzugh

in Franckfurdt geschehen 18a. Adriaenssen 1600, f. 75r Almande42 18b. Adriaenssen 1600, f. 75r Autrement 19. D-B N479, ff. 8v-9r Mascarate En m'en reuenant [right hand half of page torn out - the page reconstructed here] 20. S-B PB fil.172 (Per Brahes), ff. 35v-36r More Palatino 21. S-B PB fil.172, f. 37r More Palatino 22. GB-Lam 603 (Board), f. 25v Almayne 23. F-Sn R.107 10 (mss adds Phalese 1563), f. 2r Furst Joachim Ernsts von Anhalt Lied, so es frewlin Sibillen von Solms gmacht 24. GB-Lbl Sloane 1021, f. 65v ii Aliud Leonis 25. GB-Lbl Sloane 1021, f. 65v iii Aliud 26. D-Us 132, p. 71 nicola ton nuveau de la mandore (5-c mandore hefh) 27. GB-Lbl Sloane 1021, f. 66r i More pal. Kul. 28. GB-Lbl Sloane 1021, f. 66r ii Aliud Madel 29. GB-Lbl Sloane 1021, f. 66v Aliud Deck[er] 30. D-B Danzig 4022, f. 47r Chorea Anglica 31. NL-HOwfa 1667-1, f. 2r More palatino 32. François Sieur de Chancy Tabulature de mandore Paris, 1629, f. 5v En m’en revenant de S. Nicolas (mandore ffh)43 33i-iii. Besard 1617, no 9 en Reuenant de Saint Nicolas Nova Testudo [F] / Testudo maior [Bflat]/ Testudo minor [F]/ Superius / Bassus. 34. F-Pn Vm7 6213, p. 25 Branle de St Nicolas (11-c lute dfedf) 35. CH-Bu F.IX.53, f. 64v untitled (10-c lute edeff) 36. GB-En Adv. 5.2.15, pp. 120-123 Alman Nichols (mandore hfhf) 37. D-Us 133a, ff. 1v-2r En revenant de St. Nicolas (mandore hfh) 38. D-Us 132, p. 70 ballet de St nicolas (10-course lute fdeff) 39. D-Us 133b, ff. 1v-2r En revenant de St. Nicolas (mandore hfh) 40. D-Us 133b, ff. 32v-33r Quand je remue tout branle (mandore hfhf)

ALBERT DE RIPPE/ALBERTO RIPA44 This supplement ends with the seventh part in the series of the complete fantasies of Alberto Ripa/Albert de Rippe, reproducing the three fantasies from Fezandat book IV printed in 1554. No 13 and 14 are unique to Fezandat's print, the first can be heard on Hopkinson Smith's recording devoted to de Rippe,45 and look out for the characteristic sequence of suspensions early on. The second is set without using the first course, so a good standby to play if your top string breaks during a concert. No 15 is found in two additional sources with sufficient differences to include all three here. The Fezandat and Le Roy prints are concordant throughout except for 35 variants, two quite major: bars 91-92 in Le Roy are absent in Fezandat, and the final 5 and 6 bars are different. The title of the manuscript version (no 15c) suggests it was copied from the Le Roy print, and the first 61 bars are the same except for variants in bars 10, 11, 13, 21-23, 31, 33, 35, 43 & 44, but then it is completely different although typical of de Rippe. This shortens it from the 146 bars of the Le Roy print to 98 bars and so makes a more economical version to perform. Rippe13. Fezandet IV 15548, ff. 2r-5r Fantasie Rippe14. Fezandet IV 15548, ff. 5v-7v Fantasie pour jouer sans chanterelle Rippe15a. Fezandet IV 15548, ff. 8r-10r Fantasie Rippe15b. Le Roy & Ballard I 15628, ff. 22v-24r Fantasie neufiesme Rippe15c. D-Mbs mus.266, f. 67r Recercar de M Alberto de Rippe. La neufiesme fantasia du premier Livre

John H Robinson - October 2015

L2a. F-Pn Rés.Vnd.29, ff. 5v-6r Gagliarda del Cavaliere is in Lute News. Numbering from Mariagrazia Carlone ‘The Knights of the Lute: Musical Sources’ Journal of the Lute Society of America xxxviii (2005), pp. 1-45. 3 L15a. Besard 1603, f. 107v Galliarda equitis Romani is in Lute News. 4 In the commentary for no L15c on p. 30 of Lute News 115, I incorrectly changed the last two quavers to crotchets. 5 The Montreal MS was unavailable but when I visited to see the manuscript in 2014, the Bibliothèque du Conservatoire de Musique informed me of plans to digitise it. 6 Apart from the gagliarde by the Knight of the Lute and the de Rippe fantasies there is no commentary for the music in this supplement, but editorial additions, reconstructions and other changes are shown in grey. 7 Cognates: CZ-Pu 59r.469, f. 21v Ciprian; D-Z 115.3 (Arpin), f. 16v Ciprian: Gal:. In B flat: CZ-Pu 59r.469, f. 34r Cypryanska; D-Z 115.3 (Arpin), f. 24r Cyprian. Gal.; Waissel Tabulatura 1573, sig. M1r Gagliarda Cypriana. 1 2

4 Thanks to Jan Burgers for the suggestion. The other 21 versions I know are in the Lutezine to Lute News 111 (October 2014). 10 See the Lutezine to Lute News 109 (April 2014), pp. 31, 48, 49 & 85 for two other settings and a list of cognates. 11 Il Primo Libro d'Intavolatura di Balli d'Arpicordo di Gio. Maria Radino organista in S. Gio di Verdara in Padova. Nuovamente Composti, & con ogni diligenza Stampati (Venezia, Giacomo Vincenti 1592/modern edition: Susan Ellingworth (ed.) Corpus of Early Keyboard Music 33 (Middleton WI, A-R Editions 1968) Brown 15928 unique copy in B-Br, and Intavolatura di Balli per sonar di Liuto di Gio. Maria Radino (Venezia, Giacomo Vincenti 1592/facsimile: Studio per Edizioni Scelte, Firenze 1996) Brown 15929 unique copy in I-Fc. The first keyboard padoana arranged for two lutes can be found at: http://imslp.org/wiki/Padoana_Prima_(Radino,_Giovanni_Maria) and the keyboard version of the first gagliarde can be heard played at: https://www.youtube.com/watch?v=c6wqhDCk5IM 12 Played on the Paul Beier & Craig Marchitelli's CD Terzi: Il Secondo Libro de Intavolatura di Liuto (Stradivarius STR 33590, 2002), track 4. 13 Also edited for Lute News 92 (December 2009), no 14. 14 Also edited for Lute News 85 (April 2008), no 9. 15 Modern edition: Collected Lute Solos of Hortensio Perla of Padua and Pomponio of Bologna (Lübeck: TREE Edition, 2000), no 3. 16 See John M. Ward, 'Sprightly & Cheerful Musick: Notes on the cittern, gittern and guitar in 16th- and 17th-century England', Lute Society Journal xxi (1979-1981), p. 179; Claude M. Simpson The British Broadside Ballad & Its Music (New Brunswick, Rutgers University Press 1966), pp. 273-275 & 277. 17 Simpson, ibid., pp 163-164. 18 Ruth van Baak Griffioen Jacob van Eyck's Der Fluyten Lust-hof (1644-c1655) Muziekhistorische monografieën 13 (Utrecht 1991/reprinted KVNM 2005), pp. 162-167, gives another 29 Dutch song books up to 1780; and search title 'Toen Daph ne de overschone maagd' at http://www.liederenbank.nl 19 Cognates for keyboard: D-Lr Mus.ant.pract.K.N.146 (Drallius), no 212 Courant; F-Pn Rés.1186, ff. 55v-56r When Daphne did from Phoebus flie; NLUim camphuysen MS II, ff. 37v-39r Daphne; GB-Cfm 168 (Fitzwilliam virginal book), pp. 210-212 Daphne 5 / Giles Farnabie; GB-Lml 46.78/748 (Cromwell), f. 4v Daphny; RUS-SPan QN204, f. 21v Courante Daphne; USNYp Drexel 5609, pp. 138-9 When Daphne did from Phoebus flie. Recorder: Van Eyck 1649, ff. 3v-5r Doen Daphne (d’over schoone Maeght); Van Eyck 1649, f. 42r Tweede Daphne; Van Eyck 1649, ff. 66v-69v Derde, Doen Daphne d’over. Carillon: B-Gar Reg.96.2 (Voorslach MS) Doen Daphne, &c set 13 May 1662. Violin: Playford The Dancing Master 1651, p. 30 Daphne [or the Shepherdess]. Violin and bass: Vallet Apolloos soete Lier 1642 III, no 6 Daphne. Instrumental ensemble à 5: GB-Lbl Add.17786-9 & 17791, f. 7r Daphne. Song: GB-Lbl Add.24665 (Giles Earle songbook c.1615), f. 67v When Daphne from faire Phoebus did flie; US-LAuc (Robert Taitt songbook) MS without shelfmark, f. 148v When daphne did &c [4 voices]; Starter c1622, p. 181 Doen Daphne d'overschoone Maeght; Starter 1624, p. 155 Doen Daphne d'overschoone Maeght; John Forbes Songs and Fancies (Edinburgh, 1662), no 21 When Father Adam first did flee. Different to Tell me Daphne: GB-Lbl Eg.2046, ff. 35v-36r Daphney and Corridon, by John Whitfeild [edited in Lute News 56 (December 2000)]; GB-Lam 603 (Board), f. 40r untitled. Lyra-viol tuned edfhf, VdGS 7982: GB-Lbl Add.63852, f. 114v Lady Arbellay. Keyboard: GB-Cfm 168 (FVB), pp. 393394 Tell me, Daphne / Giles Farnaby; GB-Lbl Add.30486, f. 22r Goe no more a rushing. Song: US-LAuc taitt, ff. 35v-36r 4 Tell me Daphne where away. 20 For a description of this recently discovered source, see Jan W.J. Burgers, Louis Peter Grijp and John H. Robinson 'A newly discovered Dutch lute book: MS Enkhuizen 1667-1', in: Jan W.J. Burgers, Tim Crawford and Matthew Spring (ed.), The lute and its music in the Netherlands in the seventeenth century. Proceedings of the International Lute Symposium Utrecht, 30 August 2013 (in press). 21 Viola da Gamba Society: http://www.vdgs.org.uk/thematic.html 22 Simpson, ibid., pp. 13-16; William Chappell, revised H. Ellis Woolridge Old English Popular Music (London, Macmillan, 1893/reprinted New York 1961), part I, p. 262. 23 The Shirburn Ballads 1585-1616, edited from the manuscripts by Andrew Clark (Oxford, Clarendon 1907), p. 272. 24 Keyboard: GB-Cfm 168, pp. 28-30 Nancie: Thomas Morley. Recorder: Eyck 1646, f. 5r Silvester inde Morgenstond. Instrumental ensemble: Haußmann 1603, no 74 [à5], untitled; D-Uu Sch.130a, no 5 Tantz - Nachdantz [index: Jager auffzug - Nachdantz] [discant] D-Uu Sch.130a, no 6 Der Jager - Nachdantz [index: Jager auffzug - Nachdantz] [bassus]. Song: Starter 1621, p. 179, Sir Eduward Nouwel's delight. 25 David Greer, ‘... Thou court’s delight: Biographical notes on Henry Noel’ 8 9

The Lute Society Journal xvii (1975), p. 56. Griffioen, ibid., pp. 321-324. 27 David Lumsden The Sources of English Lute Music (1540-1620), (doctoral thesis, Cambridge University 1955); John M. Ward 'The Lute Books of Trinity College, Dublin, II: Ms. D.1.21 (The so-called Ballet Lute Book' The Lute Society Journal x (1968), pp. 15-32 and 'The Lute Books of Trinity College, Dublin, I: Ms. D.3.30/I: The so-called Dallis Lute Book The Lute Society Journal ix (1967), pp. 17-40; Julia Craig-McFeely English Lute Manuscripts and Scribes 1530-1630 (doctoral dissertation, Oxford University 1993), which misidentifies it as Lusty Gallant. Unrelated to the Robert Johnson Alman hit it and take it, edited in Lute News 108 (December 2013), no 5, or Mr Strange Gregery hitts/hills in GB-Cu Dd.2.11, f. 10r, edited in Lute News 56 (December 2000), no 1b. 28 Godlieve Speissens Leven en werk van de Antwerpse Luitcomponist Emanuel Adriaenssen I. Tekst; II. Muzikale Bloemlezing (Brussels, Paleis der Academiën 1974), I, pp. 285-286; II, no 34. Anthony part of track 24, also plays Adrienssen's version on his CD Lute Music of the Netherlands (Carpe Diem, CD-16289, 2012), but also was not aware of the English ballad that inspired it. 29 Virginia Brookes British Keyboard Music to c.1660: Sources and Thematic Index (Oxford, Clarendon 1996), no 404. 30 Simpson, ibid. 31 Chappell, ibid, p. 249. 32 https://archive.org/stream/extractsfromreg02collgoog/extractsfromreg02co llgoog_djvu.txt 33 Lost lute solo: Königsberg Staatsarchiv S.S.25, ff. 1r-1v & 12v More Palatino. Guitar accompaniments of strummed chords in French tablature: F-Pn Rés. 1402, p. 5 Branle de Saint NiCoLas (guitar feff); F-Psg 2344, f. 3v Branle de St Nicolas (guitar feff); F-Psg 2351, f. 6r Branle de St Nicolas (guitar feff) - thank you to Gary Boye for copies. Cognates for keyboard: A-Wm XIV.714, ff. 216v-217r Allemand [probably by Sweelinck, see SweelinckOO I/III no 7]; AWn 17771, f. 160v Revenant per Johan. Bull; B-Br 926, f. 18r Allemande St Nicholas; D-Lr Mus.ant.pract.K.N.146 (Drallius), no 62 More palatino; D-Lr Mus.ant.pract.K.N.148 (Witzendorf), no 23 More Palatino; DK-Kk Mu 6806.1399 (Ryge), no 10 More Palatino; F-Pc Rés.1185. pp. 30-31 Allmaine: Or: Gibbons; GB-Lbl Add.10337, f. 27v Almaygne: Mr. Johnson; GB-Lbl Add.36661, f. 40r The Italian Ground: By Mr. Orlando Gibbons; GB-Och 1113, pp. 219-220 Allmaine Orlan. Gibbons; Pepusch 18/I [lost], p. 88 Dr. Bull voor my gemaekt, En revenant; RO-MC 6199 (cod 35) (Kajoni), no 242 Rumen re(vena)nt de Saint Nicolas; US-NYp 5609. pp. 32-33 Almaygne Mr. [Robert?] Johnson; US-NYp 5612, p. 120-121 The Italian Grounde Mr. Orlando Gibbons. Recorder: Eyck 1644, f. 36v Vande Lombart; Eyck 1649, f. 38v Vande Lombart; Eyck 1649, f. 94r-94v More Palatino, met 2. Bass in mensural notation: D-Us 132, p. 6 En revent; D-Us 132, p. 7 En revent. - untitled. Lute song: F-VAL 429, f. 6v En me revenant de Sainct Nicolas; F-VAL 429, f. 43r En me revenant de Sainct Nicolas. Vocal à 4: Le Roy & Ballard Airs de court. Mis en musique à quatre & cinq parties de plusiers autheurs (Paris) 15966 & 159711, ff. 12v-13r En m'en revenant de sainct nicolas. See Ruth van Baak Griffioen ibid., pp. 220-225 for additional Dutch vocal sources. 34 Translation from Griffioen, ibid., p. 225. 35 DB43a. GB-Lbl Eg. 2046, f. 28v A Carranta is in Lute News 115. 36 Martin Long (ed.) Daniel Bacheler Selected Works for Lute (London, Oxford University press, 1970). 37 Bars 1- 34 missing due to a lost page and substituted from DB34b. 38 Piotr Pozniak (ed.) Jakob Polak Collected Works (Kraków, PWM 1993). 39 Played on Paul O'Dette's CD Lord Herbert of Cherbury's Lute Book (Harmonia Mundi 907068, 1992), track 1. 40 Jan Burgers (ed.) Joachim van den Hove: Life and Works (Utrecht, Koninklijke Vereniging voor Nederlandse Musiekgescheidenis 2013). Played on Massimo Marchese's CD Joachim van den Hove Florida (Brilliant Classics 94962, 202015), track 7. 41 Also edited in the tablature supplement to Lute News 114 (July 2015), no 21. 42 Speissens 1974, ibid., I, p. 46. 43 Thank you to Andreas Schlegel for a copy. 44 The commentary no Rippe13-15 is on page 30 of the Lute News supplement. 45 Numbering of fantasies from Jean-Michel Vaccaro Oeuvres D'Albert de Rippe I: Fantasies (Paris, CNRS 1972). Sources: Quatriesme Livre de Tabulature de Leut (Paris, Fezandat 1554) Brown 15548; Premier Livre de Tabulature de Leut (Paris, Le Roy & Ballard 1562/facsimile Lübeck, Tree Edition, 2009) Brown 15628. Recording: Hopkinson Smith CD Tabvlatvre de Leut: Albert de Rippe (AstréeE 7734, 1978), no 13. See also Lyle Nordstrom 'Albert de Rippe Jouer de luth de Roy' Early Music 7:3 (1979) 378-385. 26

5 L15b. Gagliarda - 7F8D9C A9C8D14

1

7

11

16

21

27

D-Hbusch, ff. 22r-23r

6 L15c. Gagliarda VI - 7F8E9D10C11Bf12A AA10BB8C8D14

1

8

14

18

23

30

34

Piccinini 1623, pp. 60-61

7

39

45

52

App 1. Cipriano - AA8

PL-Kj 40032, p. 313

1

10

L15d. Gagliarda - ? ?

1

CDN-Mc w.s., ff. 61v-63r

8 L2b. Gagliarda dell’Cavaliereo del leuto - 7F A14B13C11D13

8

15

21

26

32

38

I-PESc b.10, ff. 11v-12r

9

46

App 2. Saltarello Juan Farnese - 7D A8B12

PL-Kj 40032, p. 315

1

11

App 3. Fresch‘e gagliarda 7D ABC8

1

9

17

PL-Kj 40032, p. 374

10 L2c. Untitled - 7F8?C A14B13C10DD13

8

15

21

25

31

36

B-Br Lit. S. 16.663, ff. 3v-5r

11

42

49

56

App 4. Courant - 7F A12B16

10

19

D-KNa W 4o 328, f. 8v

12 App 5. Milanese - AA8BB8C4D4

1

9

14

21

28

33

PL-Kj 40032, p. 314

13 R1. Gagliarda Prima - 7F AABB8

7

13

19

25

31

Radino 1592, sig. C4v

14 R2. Gagliarda Seconda - 7F AABBCC8

1

9

16

23

28

34

42

Radino 1592, sigs. D1r-D1v

15 R3. Gagliarda Terza - 7F AA6BB4CC8

1

8

15

20

27

32

Radino 1592, sigs. D2r-D2v

16 R4. Gagliarda Quarta - 7F AA8BB10CC8

8

16

23

30

36

45

Radino 1592, sig. D3r-D3v

17 T1. La Tanburina - 7F A8B10C16

1

8

15

22

29

US-BEm 757, ff. 18v-19r

18 T2. Jan Barino Galiarda - 7F A8B10C16

1

8

15

22

29

D-B 4022, f. 20v

19 T3. Tamburino - 7F A8B10C16

1

8

15

22

29

D-Sl 1.G.4 III, f. 59r

20 T4. Ein gut stuck - 7F A8B10C16

1

8

15

22

29

I-BDGchilesotti, f. 24r

21 T5. Il Ta(m)burino - 7F AA8B10C16

1

8

12

16

24

30

36

I-TRc 1947, f. 13r

22 T6. Gagliarda detta Tamburin - 7F AA8BB10CC16

1

9

13

17

25

30

35

Terzi 1599, pp. 4-5

23

41

48

54

59

64

24 T7. Gagliarda - 7F AA8BB10CC15

1

8

14

20

26

31

37

PL-Kj 40032, pp. 332-333

25

43

49

56

62

App 6. (Courante) - 7F A7B12

10

PL-Kj 40032, p. 380 ii

26 T8. La TanBurina Gagliarda musichale - 7F A8B10C16

1

6

11

16

22

28

B-Br II.275, f. 69v

27 T9. Il Tanburino - 7F A8B10C16

1

8

15

22

27

US-BEm 760, f. 24r

28 T10. Tamburino - (Nicolai Legname) - 7F A9B8C12D8

1

8

15

22

27

32

D-W Guelf. 18.8 VII, f. 242r

29 T11. La Tamburina - 7D A8B8C12D8

1

7

13

19

25

31

PL-Kj 40032, p. 387

30 T12. Tambarina Galiarda Aless Piccinini - 7F9C AA8B8C12D8

1

9

14

21

28

34

39

D-B 4022, ff. 5v-6r

31 D1. Daphne - 7F9D10C A8B8C12

NL-HOwfa 1667-1, f. 4v

10

19

28

B1. The Blacksmith - AB4

IRL-Dtc 408-I, p. 84

1

B2. The Blacksmith - cittern AB4

1

US-CAh 179 (Boteler), f. 43v

32 T13. Galliarde Tambourina - 7F10C AA8B8C12DD8

1

8

13

19

26

31

35

CZ-Pnm IV.G.18, ff. 172v-173v

33

40

45

49

Tapp4. Volte Tambourina - 7F A9B11

9

17

GB-HAdolmetsch II.B.1, f. 104v

34 T14. Galliarda Tambourina - 7FC10 AA8B8C12DD8

1

8

13

19

26

31

35

GB-HAdolmetsch II.B.1, ff. 102v-104r

35

40

45

49

D2. (Daphne) - A8B8C12

10

19

US-Ws V.b.280, f. 86v

36 T15. La Tamburina - 7D8?C AA8B-C12DD8

1

7

12

18

23

27

31

I-TRc 1947, ff. 23r-23v

37

36

40

D3. (Daphne) - A4B4C6

10

D-Kl 4o.108.1, f. 26v

38 Tapp1. Gagliarda Diomedes - 7F AA8BB8C10

1

8

15

22

29

35

D-W Guelf 18.8 VI, f. 175r

39 Tapp2. Gagliarda alio modo - 7F AA8BB8CC10

1

8

15

22

29

38

46

D-W Guelf 18.8 VII, f. 175v

40 Tapp3. Gagliarda Di Hort(ensio) Perla - 7F AA8BB8CC10

1

10

16

25

30

38

46

D-W Guelf 18.8 VI, f. 176r

41 D4. Daphne - 7F A4B4C6

US-NHub osborn fb7, f. 82r

5

10

D5. Daphne or the Shepherdess - arranged for lute A8B8C12

10

19

Playford 1651, p. 30

42 D6i. Engelsche Daphne - 7F A8B8C12

Valerius 1626 pp. 30-31

7

13

21

D7i. Engelsche Daphne - diatonic cittern A8B8C16

10

20

Valerius 1626 p. 31

43 D6ii. Engelsche Daphne - 7F A8B8C12 adapted

Valerius 1626 pp. 30-31

7

13

21

D7ii. Engelsche Daphne - chromatic cittern A8B8C16

10

q

20

Valerius 1626 p. 31

44 D8. Daphne. R(ichard) S(umarte) - lyra viol lute way (ffeff) A4B4C6x2 GB-Mp BRm 832.Vu.51, p. 15

7

13

19

24

45 N1. Nowells Delight (All you that love good fellows) - 7D A4B8C8 GB-WPforester-weld, f. 7r

10

N2. Mitt Lust von wenigen Tagen - 7D A4B8C8

7

14

LT-Va 285-MF-LXXIX, f. 14v

46 DB43b. (En me revenant) - 7F ABB8x3

1

1

8

14

19

2

24

30

35

GB-Cu Add. 3056, ff. 43v-44r

47

41

3

45

49

56

59

62

67

48 DB43c. Mr Daniell Bachelers Round - 7F ABB8x3

1

1

8

14

19

2

24

30

35

GB-Otc O.16.2, pp. 139-138

49

41

3

45

49

56

59

62

67

50 DB43d. Almayne - 7F8E9D10C ABB8x3

1

8

14

19

2

24

30

35

GB-Lbl Add.38539, ff. 8v-9r

51

41

45

3

49

56

59

62

67

52 1a. MORE PALATINO (Jacob) - 7F8Ef11Bf AA4BB8x2

1

8

14

20

26

32

37

GB-Lbl Sloane 1021, f. 65r-65v

53

43

1b. En me reuenant (Jacob) - 7F8Ef AA4BB8

1

8

14

20

GB-Cfm 689, f. 44r

54 1c. Bransle d. S. Nicola. p. Sig. Jacobum 5 - 7F8D AA4BB8x2

Fuhrmann 1615, p. 141

1

1

8

14

2

20

26

32

37

55

43

2. En reuenant de St. Nicolas A D: Jacobo Murer - 7F8Ef9D10Bf ABB8x2

1

8

14

20

26

CH-SO DA 111, ff. 33v-34r

56 N3. Balletto Dantichano (All you that love good fellows) - 7F A4B8C8

D-B 4022, f. 21r

10

C1. (Can you not) hit (it my good man?) - AB4

IRL-Dtc 408/II, p. 84

1

C2. Altra Chanson Englesa - AB8

1

9

IRL-Dtc 410/I, p. 170

57 1d. Cauallant a S. Nicola Chanson (Jacob) - 7F8Ef AA4BB8AA4B8 D-B Danzig 4022, f. 17r

1

8

14

20

26

32

37

58 3. En (me) revenant .. J:J:W: - 7F8Ef9D10Bf - AA4BBB8

1

7

14

20

26

32

38

CH-SO DA 111, ff. 38r-38v

59 4. (En me revenant) - 7F8Ef10Bf - AA16-A16

7

13

19

27

35

43

CH-SO DA 111, ff. 38v-40r

60 5. More Palatino - Variatio - 7F8E9D10C A4B8AA4BB8

1

7

13

19

25

31

D-HRD Fu 9829, ff. 9v-10r

61 6. Flore paladino - 7F8Ef9D10C ABB8

D-LEm II.6.15, p. 460

7

13

19

7. En me reuenant - 7F10C A4B8

6

D-LEm II.6.15, p. 500

62 8. More Palatino - 7F ABB8

I-Fn Magl. XIX 105, f. 13r

7

13

19

9a. Allemande grassie - 7F AA2BB4

1

4

B-Bc 26.369, f. 9v

63

9b. Almande Gratie - 7F AAA2BB4

1

4

Hove 1601, f. 109r

64 10. Ballet 20 En me revenant - 7F8D A8B16x3

Fuhrmann 1615, pp. 158-159

1

6

11

16

2

21

27

32

65

38

43

3

49

55

59

66

66 11. En me reuenant - 7F8D AA4BB8

GB-Cfm 689, f. 31r

1

7

13

19

12. La Nonette Perichonis - 7F8E10C AA4BB8

1

7

Fuhrmann 1615, p. 43

67

13

19

13. Swit Sant Nikcolas - 7F AA4BB8

1

7

14

20

GB-Eu Laing III.487 (Rowallan), pp. 8-9

68 14. More Palatino - 7F8E9D10C AA4BB8

D-Dl M 297 pp. 132-133

1

7

13

19

15. Untitled - 7F8Ef9D10C A4B8

1

7

D-B N479, f. 2v

69 16. En moy revenant de S. Nicolas - 7F AA4BB8

CH-SO DA 111, f. 43v

1

7

13

19

17. Matthiae de Rom - 7F A2B4

1

4

LT-Va 285-MF-LXXIX, f. 65r

70 18a. Almande - 7F AA2BB4

Adriaenssen 1600, f. 75r

1

5

9

18b. Autrement - 7F AA2BB4

1

Adriaenssen 1600, f. 75r

71 19. Mascarate En m’en reuenant (right side of 2nd page torn out)

1

3

7

16

19

22

D-B N479, ff. 8v-9r

72 20. More Palatino - 7F AA4BB8

S-B PB fil.172, ff. 35v-36r

1

7

13

19

21. More Palatino - 7F A4B8

7

S-B PB fil.172, f. 37r

73 22. Almayne - 7F9C AA4BB8

GB-Lam 603, f. 25v

8

16

23. Furst Joachim Ernsts von Anhalt Lied - 7F A4B8

6

F-Sn R.107 10, f. 2r

74 24. Aliud Leonis - 7F A4B8

GB-Lbl Sloane 1021, f. 65v ii

1

7

25. Aliud - 7F A4B8

GB-Lbl Sloane 1021, f. 65v iii

1

7

26. Nicola ton nuveau de la mandore - 5-course mandore (hefh) A4B4

1

D-Us 132, p. 71

75 27. More pal. Kul. - 7F8E9D10C A4BB9

GB-Lbl Sloane 1021, f. 66r i

1

8

16

28. Aliud Madel - 7F A6B8

1

7

GB-Lbl Sloane 1021, f. 66r ii

76 29. Aliud Deck(er) - 7F8Ef9D10C AA4BB8

GB-Lbl Sloane 1021, f. 66v

7

14

20

30. Chorea Anglica - 7F A4B8

1

8

D-B Danzig 4022, f. 47r

77 31. More palatino - A4BB8

NL-HOwfa 1667-1, 2r

1

9

15

32. En m‘en revenant de S. Nicolas - 4-c mandore (ffh) ABB8

1

7

13

19

Chancy 1629, f. 5v

78 33i. Testudo maior - 7F8Ef9D10Bf A

Besard 1617, no. 9

1

6

12

18

34. Branle de St Nicolas - 11-course baroque lute (dfedf) A4B8

6

F-Pn Vm7 6213, p. 25

79 33ii. En Reuenant de Saint Nicolas Testudo minor -7F9D AA4BB8

10

15

20

Besard 1617, no. 9

80 33iii. En Reuenant de Saint Nicolas Nova Testudo - 7F10C AA4BB8

5

10

15

20

Besard 1617, no. 9

81 35. Untitled fragment - 10-course (edeff) AA4

36. Alman Nichols - 5-c mandore (hfhf) A8B8B7

1

8

15

CH-Bu F.IX.53, f. 64v

GB-En Adv.5.2.15, pp. 120-123

82 37. En reuenant de St. Nicolas - 4-course mandore (hfh) AA4BB8

D-Us 133a, ff. 1v-2r

1

7

13

19

38. Ballet de St Nicolas - lute harp way (fdeff) 7F10C A10

1

7

D-Us 132, p. 70

83 39. En revenant de St. Nicolas - 4-course mandore (hfh) AA4BB8

D-Us 133b, ff. 1v-2r

1

7

13

19

40. Quand je remue tout branle - 5-course mandore (hfhf) AA4B10

1

7

14

D-Us 133b, ff. 32v-33r

84 Rippe13. Fantasie

1

12

23

33

44

57

70

Fezandat IV 1554, ff. 2r-5r

85

84

97

108

121

132

145

160

86

172

185

197

210

221

233

245

87

255

266

276

286

Rippe14. Fantasie pour jouer sans chanterelle

1

12

Fezandat IV 1554, ff. 5v-7v

88

23

35

48

62

74

87

100

89

113

123

135

147

159

170

183

90

194

205

217

Rippe15c. Recercar de M Alberto de Rippe

1

15

26

D-Mbs 266, f. 67r

91

36

45

56

66

77

87

92 Rippe15a. Fantasie

1

15

25

35

44

55

65

Fezandat IV 1554, ff. 8r-10r

93

75

86

96

105

114

124

134

94 Rippe15b. Fantasie neufiesme

1

15

25

35

44

55

65

Le Roy & Ballard I 1562, ff. 22v-24r

95

75

86

98

107

116

126

136

96 App 7. En reuenant

1

9

15

21

26

30

Gerle 1546, sigs. R4v-S1r

Bergamasca  

 

   6

  

14



 







  







 

 





 



   

 















 

 









 



 

     

















   





  





 

   





















 









 

 



 

      





  



  





      





 

  

 





 





 







  

  

 



 











 

 

    



 

 



 

    



 

 

 



    



 

 





 

 





 



  

 

 

 





 

  









  

 

  







 

  

  

 

 



28



   





24



 



 

 





20

 

  

17

 



  

  

  

  

  

  

 



  

   

10

Bernardo Gianoncelli (d.1650)





 

   



 

 

 

 



 

32

36

   

 

 

   

 

 

 



   

 

 

 

 





  

 

 

  

  

 







 



 

 

 







 

 

 



 



 

    

  

 

 

 

 



 

 

 

 

 



 





40

  

 











44

  

48

 



   



 



 

  







  

56

60

   







 

 









 

 



 









 







 











 







 









 





  







 





  

 



 



 

 









  







 

  

 

  



  

 



  

 

  



  

 

  

 

 

  

 



 

 

 

 



 

 

 



 

 







 

52

 











 

63

  

67

72



 

       

 

   



   

  

 

 

    

  









 

  





76

 

 



80

   

84



93

  

 

 



 

 



   



 



 

 



   



 





   



 

 



 



 



    

 

 



 







 





 

 





 



 



 

 

 



   

   

 



 

  

   



  

 



 



 



   





 



 



  

 

 







 



 

 

 



 

 



 

 

 

 

 





 

 

 

  

 



 



 

 

 

 



 



 



 

 



   

 





 

 

   

88

  



 

 

 



 

  

    



     

    

   



 

 





 

Bergamasca, transcribed into French tablature

Bernardo Gianoncelli (d.1650) 



  

  

  





  



  



  



  









  



 

 



 



 

















  

 

  

 











 

 

 





 









 





6

 



  









 

 













 





















  





        









14

 

  























  



  











 





10



  

 





 













17































 



 









  





































 

20







 





 





















 





24



 

















 



















 

  





 

 





 

 

 

 

 









  



  

 

28

  

 

  

 



 

  

 



 

 

 







32

  

 

  

 

 36

 

  







 

 



 

 









 











 





 





 

 

 









 





 



 

 



 





 



 

  









40

  



  



















 



































44

 



















  

 





    

 



 







   



 

 

 56







 

























 





 

  



 





 







 



 







 







 











   







 



 







 







  











 









 60



  

















 



52



 

  







 



  

 





48

  





 





 



 



 









63





 



  





 67

 











 



 







  



 

 



  





 



  



 



 

 





 





 





 









72

     



 

  



 76

 

 









 





 







 







  





 88

 









 



  





 

 





 



 





 

  

 















 

 







 





  









 

 













 

  











 









 



 



 





84

 





 



 













  



  

   



 





 

        





80





 



 







 

 



 

   

 



 







 



 

 

93

  



 



 





 

  



  

 



 

  



  

 

  



Tuning





  









 





  



 



octave lower .............................................. unisons

 

octaves

 

 

 

 

 

 

 

 

 

 

 

 

 

Critical Commentary Source: Il liuto di Bernardo Gianoncelli … Venice, 1600, pp.8-9. In the original the sign  is used and this is rendered as + in the version in Italian tablature and as ‘ in the French version. The sign # is probably an indication for vibrato Bar 95, event 1, 0 on (2) in Italian version, a on (2) French version Wilfred Foxe, Rugby, September 2015