Sources of lute music.

This is one of a group of articles that give an outline of the spread of music and the range of sources before c1600. While the bulk of music throughout the period is vocal (as far as is known) and is discussed in the article Sources, MS, there are still some repertories that were always distinct. The sources of lute music are perhaps the clearest to distinguish for, with few exceptions, they were written in a special range of notations that did not use the staff.

The terminal date adopted here is later than that for other articles in the group because many important repertories of lute music date from after 1600. Thus the repertory of the English golden age straddles the turn of the century, the principal French school flourished internationally in the 17th century, and a group of central European lutenists sustained the instrument as a viable medium well into the last decades of the 18th century.

Reference to the sources solely of music for the Cittern, Theorbo, Chitarrone and Bandora, which represent quite different styles, will be found in those articles.

1. Introduction.

2. Italian sources to c1680.

3. Central european sources to c1650.

4. French sources, 1529–99.

5. Vihuela sources, 1536–76.

6. The Low Countries, c1545–1626.

7. English lute music.

8. French sources, 1600–99.

9. Central European sources after c1650.

ARTHUR J. NESS (with C.A. KOLCZYNSKI)

Sources of lute music

1. Introduction.

Although the lute has been known in Western music from medieval times, the earliest extant sources containing music specifically intended for lutenists date only from the end of the 15th century: the use of bare fingers instead of a quill to sound the strings, a major advance in right-hand technique, was the impulse for polyphonic music, which required a distinct system of score notation – lute tablature. Over the next 250 years the lute remained one of the most widely used domestic solo instruments, amassing a repertory equalling and in some areas and periods even exceeding that for keyboard. Printed sources, of which over 360 titles survive, range from selections of didactic music for novices to books that preserve the legacy of a famed virtuoso; others, some edited by or for skilled dilettantes, are cosmopolitan anthologies with hundreds of pieces by renowned contemporary lutenist composers. A few publishers, in order to expand the market for their books and cater for parochial needs, retained ‘house arrangers’ to intabulate their miscellanies of part-music and to ‘translate’ lute pieces from foreign systems of tablature. Over 500 extant manuscripts, some of immense size, embrace the barely legible scribblings of adolescents, personal working repertories of professional singers and players, manuscripts from commercial scriptoria, lessons assembled by distinguished lutenists for aristocratic pupils and, most frequently, the commonplace-books of amateurs who were diplomats, jurists, physicians, clergy, merchants, students or other members of a generally mobile élite who often entered favourite pieces casually over a lifetime, at times giving neither composer nor title.

It is convenient to divide the sources according to the general dispersal of lute music from centres of influence in Italy during the 16th century, France during the 17th and central Europe during the 18th, and to describe the contents of some representative prints and manuscripts for each area. (As information on books devoted to music of individual lutenists is covered under specific articles, some preference has been given to anthologies; additional information on the sources may be found in the bibliographies of Boetticher (RISM B/VII), Brown, Pohlmann, Rudén and Goy and others, as well as in national union catalogues of music, catalogues of individual libraries and RISM.) With the repertory of tablatures numbering nearly 60,000 pieces (including concordances), bibliographical control over the repertory still leaves much to be desired.

GENERAL BIBLIOGRAPHY, COLLECTED EDITIONS

AdlerHM

BrownI

WolfH

O. Chilesotti, ed.: Lautenspieler des XVI. Jahrhunderts/Liutisti del Cinquecento (Leipzig, 1891/R1969 in BMB, section 4, xxxi) [141 pieces]

O. Körte: Laute und Lautenmusik bis zur Mitte des 16. Jahrhunderts (Leipzig, 1901/R)

W. Tappert, ed.: Sang und Klang aus alter Zeit: Hundert Musikstücke aus Tabulaturen des XVI. bis XVIII. Jahrhunderts (Berlin, 1906)

J. Wolf: Musikalische Schrifttafeln (Leipzig, 1922–3, 2/1927)

J. Zuth: Handbuch der Laute und Gitarre (Vienna, 1926–8/R)

L. de La Laurencie: Les luthistes (Paris, 1928/R)

W. Apel: The Notation of Polyphonic Music. 900–1600 (Cambridge, MA, 1942, 5/1961; Ger. trans., rev. 1970)

R.M. Murphy: Fantasia and Ricercare in the Sixteenth Century (diss., Yale U., 1954)

Le luth et sa musique: Neuilly-sur-Seine 1957 [contributions by Boetticher, Heartz, Moe, Murphy, Noske, Thibault and others]

F. Lesure, ed.: Recueils imprimés, XVIe–XVIIe siècles, RISM, B/I/1 (1960)

H.C. Slim: The Keyboard Ricercar and Fantasia in Italy, ca. 1500–1550, with Reference to Parallel Forms in European Lute Music of the Same Period (diss., Harvard U., 1961) [incl. thematic index and concordances for lute ricercares and fantasias]

H. Radke: ‘Beiträge zur Erforschung der Lautentabulaturen des 16. bis 18. Jahrhunderts’, Mf, xvi (1963), 34–51, 208 only

F. Lesure, ed.: Recueils imprimés, XVIIIe siècle, RISM, B/II (1964)

J. Tichota: ‘Tabulatory pro loutnu a přibuzné nástroje na území ČSSR’ [Tablatures for lutes and related instruments in Czechoslovakia], Acta Universitatis Carolinae, Philosophica et Historica, ii (1965), 139–49

H. Mönkemeyer, ed.: Die Tabulatur (Hofheim am Taunus, 1965–)

E. Pohlmann: Laute, Theorbe, Chitarrone: die Instrumente, ihre Musik und Literatur von 1500 bis zur Gegenwart (Bremen, 1968, rev., enlarged 5/1982)

A. Quadt, ed.: Lautenmusik aus der Renaissance (Leipzig, 1968–83)

M.L. Martinez-Göllner: ‘Die Augsburger Bibliothek Herwart und ihre Lautentabulaturen’, FAM, xvi (1969), 29–48 [MSS and prints at D-Mbs]

K.-H. Schlager, ed.: Einzeldrucke vor 1800, RISM, A/I (1971–81; suppls., 1986–)

H. Radke: ‘Theorbierte Laute (liuto attiorbato) und Erzlaute (arci-liuto)’, Mf, xxv (1972), 481–4, 485–8

R. Chiesa: ‘Storia della letteratura del liuto e della chítarra’, Il ‘Fronimo’, no.1– (1972–) [continuing ser.]

J. Tichota: ‘Francouzská loutnová hudba v Čechách’, MMC, nos.25–6 (1973), 7–77

D. Fallows: ‘15th-Century Tablatures for Plucked Instruments: a Summary, a Revision and a Suggestion’, LSJ, xix (1977), 7–33 [incl. facs.]

W. Boetticher, ed.: Handschriflich überlieferte Lauten- und Gittarrentabulaturen des 15. bis 18. Jahrhunderts, RISM B/VII (1978); see also reviews by D.A. Smith in JLSA, xii (1979), 78–82; D. Fabris, NRMI, xv (1981), 457–61; A.J. Ness, JAMS, xxxiv (1981), 339–45

W. Boetticher: ‘Zur inhaltlichen Bestimmung des für Laute intavolierten Handschriftsbestand’, AcM, li (1979), 193–203

M.L. Göllner, ed.: Bayerische Staatsbibliothek: Katalog der Musikhandschriften, ii: Tabulaturen und Stimmbücher (Munich, 1979)

Le luth et sa musique II: Tours 1980 [incl. articles by M. Morrow, P. Pozniak, J. Tichota, K. Sparr, A.J. Ness, T. Crawford, H.M. Brown, P. O’Dette, R. Spencer, A. Bailes, M. Vaccaro]

C. Page: ‘The 15th-Century Lute: New and Neglected Sources’, EMc, ix (1981), 11–21

J.O. Rudén: Music in Tablature: a Thematic Index with Source Descriptions of Music in Tablature Notation in Sweden (Stockholm, 1981)

D. Fabris: ‘Prime aggiunte Italiane al volume RISM B/VII: intavolature mss per liuto e chitarra’, FAM, xxix (1982), 203–21

J. Hanekuyk and F. Pliester: Luit en gitaar: muziek en literatuur in de muziekbiblioteek van het Haags Gemeentemuseum (The Hague, 1984)

J. Tichota: ‘Bohemika a česky repertoár v tablaturách pro renesanční loutnu’, MMa, xxxi (1984), 143–289

Lute Symposium: Utrecht 1986 [incl. articles by H.M. Brown, A.J. Ness, L. Nordstrom]

D.H. Smith: Guitar and Lute Music in Periodicals: an Index (Berkeley, 1990)

D. Fabris: ‘Influenze stilistiche e cirulazione manoscritta della musica per liuto in Italia e in Francia nella prima metà del Seicento’, RdM, lxxvii (1991), 311–33

F.-P. Goy and others: Sources manuscrites en tablature: luth et theorbe (c.1500–c.1800), i: Confoederatio Helvetica (CH), France (F); ii: Bundesrepublik Deutschland (D); iii/1: Oesterreich (A); iii/2: Republic Tcheque (CZ), Hongrie (H), Lituanie (LT), Pologne (PL), Federation de Russie (RF), Slovaquie (SK), Ukraine (UKR) (Baden-Baden, 1991–9)

D. Kirsch: Berliner Lautentabulaturen in Krakau: bescheibender Katalog der handschriftlichen Tabulaturen … in der Biblioteka Jagiellonska (Mainz, 1992)

Sources of lute music

2. Italian sources to c1680.

Italian lute music survives in about 170 sources, many of them published at Venice and devoted to works of individual composers. Among the earliest sources of tablature from Italy is I-PESo 1144 (olim 1193), whose oldest scribal layers date from the late 15th century. The earliest printed sources were published by Petrucci between 1507 and 1511 and include the four important collections edited by Spinacino, Dalza and Gian Maria Alemanni, and two collections of frottolas for voice and lute arranged by Bossinensis from works of Tromboncino, Cara, Michele Pesenti and others. These books, which include rudiments on reading from tablature and playing the lute, were obviously intended for novices. Although the book by Alemanni (Petrucci’s only lutenist editor to enjoy great fame as a virtuoso) is unfortunately lost, the Capirola Lutebook of c1517 does contain pieces that illustrate the prowess of professional players of the time. The failure of later publishers to rediscover Petrucci’s double-impression process may account for the dearth of prints during the quarter-century following the last Petrucci book.

Books of works by Francesco da Milano, the most influential lutenist of the second generation, appeared in 1536 at Venice, Milan and Naples: the printers experimented with copper-plate engraving, primitive double-impression and movable founts that incorporate staff and cipher. Castiglione’s Milanese anthology of the same year contains important works by the most influential lutenists of Francesco’s generation. These prints mark the first trickle of what a decade later became a deluge of lute music, most of it issued from Venice at the rival presses of Scotto and Gardane: during a four-year span, 1546–9, they published some 600 pieces, exceeding the total printed output of the previous 40 years. Scotto published ten volumes containing music of Rotta, Francesco da Milano, Borrono, Melchiore de Barberiis and Giovanni Maria da Crema (see Bernstein, 1986), but pieces from Gardane’s prints enjoyed wider dissemination throughout Europe and featured a wider range of important figures including Francesco (three books of fantasias and ricercares), Abondante, Pifaro and Balletti (Venetian dances), Borrono and Gorzanis (variation dance suites), Vindella and Gintzler (intabulations), and two large volumes of music by the Augsburg lutenist Melchior Neusidler. The so-called Siena Lutebook (now at NL-DHgm; fig.1), which may date from the 1590s but contains a largely pre-1550 repertory, is unparalleled in the accuracy of its readings, thus shedding light on the corrupt nature of some printed sources with which it has concordances (few Renaissance prints appear to have been prepared under the composers’ supervision). After the mid-century Dorico published some important lutebooks in Rome that present the tablature without bar-lines, a not infrequent practice in manuscript sources.

Vincenzo Galilei’s surviving autographs (at I-Fn and Fr) include short ‘aerie’ – formulae for reciting Italian verse to the lute – and madrigals arranged for bass voice and lute, as well as variation dance suites in several partes and other pieces in various stages of composition, intended for inclusion in the various editions of his treatise on lute playing, Fronimo: dialogo (1568–9, 1584). During the last decades of the century Barbetta, Terzi and Fallamero prepared important summary collections that include heavily embellished intabulations (some for lute duet), abstract pieces (fantasias and canzonas) and new Italian dances. Some of the newer dances are illustrated with lute tablature in the manuals of Cesare Negri, Caroso and Lupi da Caravaggio. The Cavalcanti and Bottegari manuscripts are representative collections gathered by professional lutenist singers and contain many Italian dances, ricercares and vocal pieces with underlaid texts and extra stanzas scribbled in the margins. At this time large numbers of canzonettas, villanellas and napolitane for one or more voices with lute were published at Venice by Gardane, Scotto and Vincenti, including books devoted to works of Ippolito Tromboncino, Gastoldi, Orazio Vecchi, Marenzio and many others; at Rome Simone Verovio (using copper-plate engraving) collected similar pieces with lute and keyboard accompaniments by Soriano, Nanino, Palestrina and other members of Pope Gregory XIII’s ‘Sodalitas musicorum’, and a collection of galliards and a Christmas pastorale in dialogue form by Anerio.

Because of their appropriateness for accompanying solo song and realizing figured bass, the chitarrone, guitar ‘alla spagnola’ and theorbo largely replaced the lute in 17th-century Italy, and some prints provide alternative tablatures for those instruments. A small but distinctive literature for ‘liuto attiorbato’ did continue there, largely independent of the more persuasive currents of the French Gaultier school: Kapsperger (1604–19), Pietro Paolo Melli (1612–20), Castaldi (1622), Piccinini (1623–39), M.A. Galilei (Munich, 1620) and Gianoncelli (1650) made particularly important contributions.Pesaro, Biblioteca Oliveriana, Ms.1144: Miscelanea di Tempesta Blondi, Poesie del 1500. 386 pp.; 40 pieces. A cordiform MS with pre-ruled 6- and 7-line staves. The oldest layer, copied in French tablature in Venice, c1490–95, contains a bassadanza, 14 pieces titled ‘arecercar’ and intabulations of chansons by ?Busnoys (2), Japart and Hayne van Ghizeghem, and 4 anonymous frottolas. Seven of the pieces (including 2 of the intabulations) are for plectrum lute. Mid-century, after the manuscript had become his property, Blondi added 11 ‘recercate’ by Gasparo, ‘Antonio’ and anon., and 2 pieces in Neapolitan tablature for lira da braccio, intended as formulae to accompany the collection of poetry (pp.100–386). The MS was also used by the Blondi family to record important family events (births, deaths, marriages, etc., which perhaps accounts for its survival). Literature: W. Rubsamen: ‘The Earliest French Lute Tablature’, JAMS, xxi (1968), 286–99; D. Fallows (1977); V. Ivanoff: Das Pesaro-Manuskript: eine zentrale Quelle der frühen italienischen Lautenpraxis (Tutzing, 1988) [edn with diplomatic tablature]; V. Ivanoff: Das Pesaro-Manuskript: ein Beitrag zur Frühgeschichte der Lautentabulatur (Tutzing, 1988); V. Ivanoff: ‘An Invitation to the Fifteenth-Century Plectrum Lute: the Pesaro Manuscript’, Performance on Lute, Guitar and Vihuela Historial Practice and Modern Interpretation, ed. V.A. Coelho (Cambridge, 1997), 1–15Spinacino, Francesco: Intabulatura de lauto, libro primo [libro secondo] (Venice: Ottaviano Petrucci, 1507/R) (RISM 1507^5-6, BrownI 1507^1-2). 2 vols., 56 ff. each; 81 pieces (7 for duet): intabulations of motets, chansons, a Flemish song and instrumental ensemble music (including 2 Spagnas) by Josquin (9), Alexander Agricola (8), Brunel (3), Ghiselin (3), Hayne van Ghizeghem (3), Isaac (3), Ockeghem (3), Busnoys (2), Obrecht (2), Caron, Morton, Stokem and Urrede, drawn mainly from Petrucci’s Odhecaton (1501, 3/1503/R), Canti B (1502/R, 2/1503), Canti C (1504) and Motetti C (1505); 27 ricercares by Spinacino, some intended as preludes for the intabulations; each volume contains instructions for reading tablature. Facsimiles: J. Wolf (1919), ii, 52–5; W. Apel (1942), 63; MGG1, xii, 1047–8. Transcriptions: GMB, no.63; HAM, i, no.101; B. Disertori: Le frottole per canto e liuto intabulate da Franciscus Bossinensis (Milan, 1964) [12 pieces]. Literature: H.L. Schmidt: The First Printed Lute Books (diss., U. of North Carolina, 1969) [incl. transcrs. with parallel tablature of both books]; L. Nordstrom: ‘Ornamentation of Flemish Chansons as found in the Lute Duets of Francesco Spinacino’, JLSA, ii (1969), 1–5; R. Chiesa: Il ‘Fronimo’, no.1 (1972), 24–6; no.2 (1973), 11–15; no.3 (1973), 22–6; R. Meylan: ‘La technique de transcription au luth de Francesco Spinacino’, Schweizer Beiträge zur Musikwissenschaft, i (1972), 83–93; P. Pozniak: ‘Problems of Tonality in the Ricercars of Spinacino and Bossinensis’, JLSA, xxiii (1990), 63–79Dalza, Joan Ambrosio: Intabulatura de lauto, libro quarto (Venice: Ottaviano Petrucci, 1508/R) (RISM 1507⁶, BrownI 1508²). 56 ff.; 42 pieces (3 for lute duet): 13 ricercares and tastares de corde; 16 calatas and miscellaneous dances; 9 pavan–saltarello–piva suites; 4 intabulations of a motet and frottolas (2 by Bartolomeo Tromboncino). Facsimiles: J. Wolf (1919), ii, 54; AdlerHM, 398. Transcriptions: HAM, i, no.99; B. Disertori: Le frottole (Milan, 1964), 223, 228; H. Mönkemeyer, ed.: Die Tabulatur, vi–viii (Hofheim am Taunus, 1967). Literature: R.J. Snow: Petrucci: Intabulatura de lauto, Joan Ambrosio Dalza (diss., Indiana U., 1955) [incl. complete transcr.]; R. Chiesa: Il ‘Fronimo’, no.4 (1973), 20–25; no.5 (1973), 15–20; P. O’Dette: ‘Quelques observationes sur l’execution de la musique de danse de Dalza’, Le luth et sa musique II: Tours 1980, 183–92. Thematic index: L. Moe (1956), i, 348–9Chicago, Newberry Library, Case MS VM C.25: Compositione di meser Vincenzo Capirola, gentil homo bresano (copied in Venice by Capirola’s student Vidal, c1517/R; see Notation, fig.121). 74 ff.; 42 compositions: 13 ricercares, 7 dances (2 Spagnas, a basse danse, 2 paduanas ‘alla francese’ and a balletto), intabulations of frottolas by Bartolomeo Tromboncino (2), Marchetto Cara and Michele Vicentino. and intabulations of French chansons, motets and mass movements by Josquin (3), Alexander Agricola (2), Brunel (2), Hayne van Ghizeghem (2), Caen, Févin, Ghiselin, Obrecht, Prioris and Urrede. A valuable preface, translated in Gombosi (1955) and Marincola (1983), contains information on ornamentation, fingerings, selecting strings, tenuto playing and fretting. Literature: O. Gombosi, ed.: Compositione di meser Vincenzo Capirola: Lute-book (circa 1517) (Neuilly-sur-Seine, 1955) [incl. thorough study of the contents with facs., tablatures and transcrs.]; L. Rottner: The Intabulation Practices of Vincenzo Capirola with Special Emphasis on Music Ficta (diss., U. of Hartford, 1967); R. Chiesa: Il ‘Fronimo’, no.10 (1975), 20–24; no.11 (1975), 18–22 [incl. list of contents]; RISM B/VII, pp.79–80; F. Marincola: ‘The Instructions from Vicenzo Capirola’s Lute Book: a New Translation’, The Lute, xxiii (1983), 23–4Munich, Bayerische Staatsbibliothek, Mus.Ms.1511b (copied c1530–40). 26 ff.; 57 dances with titles in Venetian dialect: ‘Munaro in piva’, ‘Donna imprestare over burato’, ‘La moricella’, ‘La castalda’, ‘Lodesana’, ‘La chara cosa’, ‘Saltarello ala ferrarese’ (by Dalza, 1508), ‘Ala “El ballo de la torcha”’, ‘La rocha el fuso’, etc. Literature: A.J. Ness: The Herwarth Lute Manuscripts at the Bavarian State Library, Munich: a Bibliographical Study with Emphasis on the Works of Marco dall’Aquila and Melchior Newsidler (diss., New York U., 1984), i, 36–40; F.-P. Goy and others, eds. (1994), 221–3Francesco da Milano: Intavolatura de viola o vero lauto … libro primo [libro secondo] della fortuna (Naples: J. Sulzbach, 1536/R) (RISM FF159I, 1). 2 vols., 32 and 40 ff. First has 21 pieces in Italian tablature: 8 ricercares; 9 intabulations of chansons by Sermisy (2), Josquin or Févin, Mouton, anon. composers, and intabulations of motets by Josquin (3) and Compère. Second has 33 ricercares in Neapolitan tablature. (In the unique copy at F-Pn the last 28 ff. have been exchanged in binding.) Editions: A.J. Ness, ed. (1970); R. Chiesa, ed. (1971). Literature: Y. Giraud: ‘Deux livres de tablature inconnus de Francesco da Milano’, RdM, lv (1969), 217–19Castiglione, Giovanni Antonio da (publisher): Intabolatura de leuto de diversi autori (Milan, 1536/R) (RISM 1536¹⁰; BrownI 1536⁹). 64 ff.; 19 compositions grouped roughly by mode: fantasias, pavan–saltarello suites (some with a concluding ‘tochata da sonare nel fine del ballo’). The dances and all but 1 toccata are by Pietro Paulo Borrono, a toccata and 4 fantasias are by Francesco da Milano, and other fantasias are by Alberto da Ripa (3), Marco dall’Aquila (3), Giovanni Giacopo Albuzio (2) and Borrono. Editions: J. Wolf (1919), ii, 55–7 [incl. quasi-facs.]; GMB, nos.94 and 95; E.A. Wienandt (1951) [incl. complete thematic index and selected transcrs.]; G. Lefkoff, ed. (1960) [11 pieces]; A.J. Ness, ed. (1970); R. Chiesa, ed. (1971)Bianchini, Domenico: Intabolatura de lauto … libro primo (Venice: Gardane, 1546/R, 2/1554/R, 3/1563) (RISM 1546²⁴; BrownI 1546⁵, 1554², 1563²). 20 ff; 25 compositions: 6 ricercares (intabulated apparently from ensemble music of Julio Segni, Richafort and others); intabulations of motets by Gombert and Berchem, of chansons by Sermisy (3), anon. composer and Willaert, of madrigals by Arcadelt and Berchem, and of a napolitana by Willaert; dances include a 4-movement suite (passamezzo–paduana–saltarello–forze d’Ercule) and 5 other dances of Venetian provenance: ‘Lodesana’, ‘Meza notte’, ‘Cara cosa’, ‘Burato’ and ‘Torza’. Gerle published the ricercares and dances in German tablature in his Eyn newes sehr künstlichs Lautenbuch (Nuremberg, 1552). Edition: O. Chilesotti (1902) [incl. 9 transcrs.]. Literature: L. Moe (1956), 367 [thematic index]; H.C. Slim (1961), ii, 485 [thematic index]; R. de Morcourt: ‘Le livre de tablature de luth de Domenico Bianchini (1546)’, La musique instrumentale de la Renaissance: Paris 1954, 177–95 [incl. 4 transcrs., 2 with vocal models]; A.J. Ness: ‘Domenico Bianchini: Some Recent Findings’, Le luth et sa musique II: Tours 1980, 97–112Dorico, Valerio and Ludovico (publishers): Intabolatura de lauto di M. Francesco Milanese et M. Perino Fiorentino … Libro primo (Rome: Dorico [1546]; 2/Venice: Gardano, 1547; 4/Venice: Scotto, 1563). 12 fantasias by Francesco da Milano and 4 by Perino Fiorentino, and intabulations by Perino of 2 madrigals by Arcadelt, and intabulations by Francesco da Milano of 4 chansons by Josquin, Richafort and anonymous, and of 3 madrigals by Arcadelt. The volume was edited by Perino, Francesco da Milano’s student and ward, and is remarkable for the accuracy of the tablatures, which are printed without barlines. Mistakenly dated ‘MDLXVI’, the print appeared in 1546 (see Falkenstein, 22–8). Literature: E.A. Wienandt: ‘Perino Fiorentino and his Lute Pieces’, JAMS, vii (1955), 2–13; A.J. Ness, ed. (1970); R. Chiesa, ed. (1971); R.K. Falkenstein: The Lute Works of Pierino [sic] degli Organi (diss., SUNY/Buffalo, 1987) [incl. complete transcriptions of the Perino pieces]Barberiis, Melchiore de: Opera intitolata Contina, intabolatura di lauto, libro decimo (Venice: Scotto, 1549) (RISM 1549³⁹; BrownI 1549²). 30 ff.; 28 pieces (23 for solo lute, 2 for lute duet and 4 for 4-course, 7-string guitar): intabulations of motets by anon. composers (4), Mouton, Sandrin and Sermisy, of chansons by Lupi and Passereau, of madrigals by Verdelot (2), and of an English song by Henry VIII; 12 fantasias (1 by Francesco da Milano), a fantasia in 3 partes and a ricercare–fantasia pair. Several of the fantasias are parodies of vocal compositions and call for scordatura. Guitar pieces (pubd by Koczirz) are labelled ‘fantasia’. The Cortot copy is now at GB-Lbl. Literature: A. Koczirz: ‘Die Fantasien des Melchior de Barberis für die siebensaitige Gitarre’, ZMw, iv (1921–2), 11–17; H.C. Slim (1961), ii, 520; J.A. Echols: Melchiore de Barberiis’s Lute Intabulations of Sacred Music (thesis, U. of North Carolina, 1973) [incl. transcrs.]Balletti, Bernardino: Intabolatura de lauto … libro primo (Venice: Gardane, 1554) (RISM B777, BrownI 1554¹). 20 ff.; 14 compositions: paduana–saltarello and ‘Lamoretta–represe’ pairs, a 5-movement suite (short chordal toccata, paduana, saltarello, ‘La gamba’ and ‘Ciel turchino’), and miscellaneous dances (incl. ‘Ti parti’, ‘La favorita’, ‘Rocha il fuso’, etc.). Literature: L. Moe (1956) [incl. thematic index and concordances]; G. Lefkoff, ed. (1960) [incl. complete transcr.]The Hague, Gemeentemuseum, 20.860 (olim 28.B.39): Siena Lutebook. 118 ff.; 159 compositions (a few for 7-course lute), most without title or composer attribution, grouped by genre and mode: 100 fantasias attributed to Francesco da Milano (21) (also called ‘Francesco da Parigi’ and ‘Monzino’ in the MS), Fabrizio Dentice (7), Giulio Severino (7), Perino Fiorentino (4), ‘B.M.’ (4), ‘F.B.’ [? Francesco Bianciardi] (2), Alberto da Ripa (2), ‘G.P.’, Pineta, and a prelude appearing in Attaingnant’s Tres breve et familiere introduction (Paris, 1529) in a corrupt version; 25 intabulations of chansons by Sandrin (5), Crecquillon (3), Boyvin (2), Janequin (2), Pathie (2), Villiers (2), Arcadelt, Sohier; 22 addl ricercares by Francesco da Milano (6), Fabrizio Dentice (5), Andrea Feliciani (3) and Vindella; an intabulation of a motet by Josquin; 14 toccatas (10 by Amadis Moretti) and 7 dances including 4 settings of the ‘Spagna detta Lamire’. Because of its extraordinary accuracy, the MS is one of the most important sources of Italian 16th-century lute music. Facsimile: Tablature de lute italienne dit Siena Manuscript (c1560–1570) (Geneva, 1988) [with introduction by A.J. Ness]. Literature: K.H. Yong: Bijdragen tot de studie der luitmuziek (diss., U. of Utrecht, 1963); K.H. Yong: ‘A New Source of Prelude I in Attaingnant’s Tres breve et familiere introduction’, TVNM, xxi/4 (1970), 211–21; A.J. Ness, ed. (1970), 3, 8–10 [also incl. 2 facs. and 16 transcrs.]; A.J. Ness: ‘The Siena Lute Book and its Arrangements of Vocal and Instrumental Part-Music’, Lute Symposium: Utrecht 1986, 30–49Matelart, Ioanne: Intavolatura de leuto … libro primo (Rome: Valerio Dorico, 1559/R1989, with preface by O. Cristoferetti) (RISM 1559²⁷; BrownI 1559⁷). 12 ff.; 24 pieces: 15 ‘recercate o vero fantasie’ by Matelart and an intabulation of 2 mass movements by Morales; 7 fantasias (called ‘recercate concertate’) by Francesco da Milano (6), Julio da Modena (Segni) and Giovanni Maria da Crema, to which Matelart composed parts for a second lute. The tablature is without barlines. Editions: MGG1, viii, 1784 [facs. of title-page]; O. Chilesotti, ed. (1891) [2 pieces, incl. 1 duet]; O. Chilesotti: edn of Morales’s ‘Osanna’, EMDC, I/ii (1914), 655–6; A.J. Ness, ed. (1970), 416–39 [all of the ‘recercate concertate’ for 2 lutes]Pacoloni, Giovanni: Longe elegantissima excellentissimi musici: Joannes Pacoloni Celestae Patavini tribus testudinibus (Leuven: Phalèse, 1564; 2/Milan: Tini, 1583 [lost?]; 3/Antwerp: Phalèse, 1591 [lost?]; R1981 as Tribus testudinibus ludenda carmina, with preface by H. Vanhulst). (RISM P42). 3 vols.; 272 ff. For lutes tuned G, D and c. Twelve passomezzo–padoana–saltarello suites, and 35 single dances, most on popular Venetian tunes: ‘Tu te partti cor mio caro’, ‘Rocco el fusa’, ‘La desperata’, ‘Il est jour’ [a street song after Sermisy], ‘Forze de Hercules’, ‘Mezza notte’, ‘El burato’, etc. Frederic Viarea arranged many of the dances for a trio of citterns (Leuven: Phalèse, 1564, BrownI 1546/7). Pacoloni’s autograph is in an unavailable manuscript at I-CC. Edition: D. Benkő, ed. (Budapest, 1984) [edn for guitar]. Literature: A. Rooley and J. Tyler: ‘The Lute Consort’, LSJ, xiv (1972), 13–24.Florence, Biblioteca Nazionale Centrale, Landau-Finaly Mus.2 (MS appx to a copy of Fronimo: dialogo (1568–9) thought to be in the hand of Vincenzo Galilei (RISM B/VII, p.115). 20 ff.; 20 compositions copied c1568–84 in Florence: 14 madrigals by anon. composers (6), Lassus (2), Palestrina (2), Ferretti, Giacomini, Striggio and Wert, arranged for bass voice (in mensural notation on the facing page) and lute; 4 romanescas and 3 passamezzos. Facsimile: MGG1, iv, pl.54 (facing 1313). Literature: C. Palisca: ‘Vincenzo Galilei’s Arrangements for Voice and Lute’, Essays in Musicology in Honor of Dragan Plamenac, ed. G. Reese and R.J. Snow (Pittsburgh, 1969/R), 207–32 [incl. 2 transcrs., incipits and lists of contents]; Falkenstein (1997) Florence, Biblioteca Riccardiana, F.III.10431 (MS appx to a copy of Fronimo dialogo (1568–9), partly in the hand of Vincenzo Galilei) (RISM B/VII, p.124). 20 ff. (all but 3 blank); 10 items: ‘arias’ (incl. formulae for reciting sonetti and capitoli) and 6 short dances (passamezzos, galliards, contrapasso and romanesca). Literature: C. Palisca, ibid. (1969) [incl. 3 transcrs. and list of contents]; Falkenstein (1997)Modena, Biblioteca Estense, C 311: Arie e canzoni in musica di Cosimo Bottegari. 55 ff.; 132 pieces copied by Bottegari during his service in Munich and Florence, c1574–c1600: 108 arrangements of arias, canzonettas, napolitane etc. for voice and lute by Bottegari (27), Ippolito Tromboncino (6), Lassus (3), Fabrizio Dentice (2), Striggio (2), Regnart (2), Caccini, Conversi, Ferretti, Isabella de’ Medici (?), Nola, Orsini, Palestrina, Policreto, Primavera, Roiccandert and Rore, and 24 of sacred pieces (laudi, motets etc.) by Bottegari, Lassus, Wert and Pietro Vinci. Solo lute pieces include 2 fantasias (1 ‘sopra la canzone degli ucelli’), a romanesca and balli ‘a la tedesca’ and ‘forestiere’. Editions: (of the poetry) L. Valdrighi: Il libro di canto e liuto di Cosimo Bottegari (Florence, 1891/R); (of the music) C. MacClintock, ed.: The Bottegari Lutebook, WE, viii (1965). See also W.V. Porter, JAMS, xx (1967), 126–31, for addl concordances. Literature: C. MacClintock: ‘A Court Musician’s Songbook: MS C 311’, JAMS, ix (1956), 177–92; D. Nutter: ‘Ippolito Tromboncino: Cantare al Liuto’, I Tatti Studies, iii (1989), 127–74; Falkenstein (1997)Montreal, Conservatoire de Musique: Intavolatura di liuto: Orazio Vecchi e discépoli. 116 pp.; c71 pieces in random order: intabulations of madrigals by Rore (2), Palestrina and Renaldi; 10 napolitane with underlaid text by Vecchi (2), Bastiano, Cavaccio, Paratico, Regnart, Rore and others; 4 toccatas, 3 fantasias, 4 canzonas (1 for lute duet) and a ‘bataglia’ (duet) by Maschera (2) and Cavaccio; and the following dances: 19 paired dances (passamezzo–saltarello, paganina–saltarello, ballo francese–galliard, etc.), 18 saltarellos (incl. ‘Antola’, ‘Tu te parti’, ‘Brunello’, etc.), and 6 miscellaneous dances (spagnola, tedescha, barriera, mezza gamba, bergamasco and Ruggiero). Literature: Coelho (1995), 104–6, 336–7Caroso, Fabritio: Il ballarino (Venice: Ziletti, 1581; later expanded edns entitled Nobiltà di dame) (BrownI 1581¹). 24 + 188 ff.; 83 dances (22 for lute and a solo instrument, in mensural notation). The volume is a treatise on French, Italian and Spanish styles of dancing with detailed choreographies; the dances included are 20 balletto–sciolta pairs, cascardas, galliards, pavaniglia, villanella, passamezzo, baletto–sciolta–canario suites, barrieras, spagnoletta, bassa e alta, contrapasso, tordiglione, chiarentana, canario and balli. In addition to Caroso the dances are by Battistino, Oratio Martire, Bastinao, Paolo Arnandes and Ippolito Ghiditti da Crema. Facsimile: Monuments of Music and Music Literature in Facsimile, 2nd ser., xlvi (New York, 1967). Edition: O. Chilesotti, ed. (1891) [4 pieces]. Literature: M.T. Annoni: ‘Ulteriori osservazioni sul manoscritto Galliano “6” della Biblioteca Nazionale di Firenze’, Il ‘Fronimo’, xvii (1989), 22–32Florence, Biblioteca Nazionale Centrale, Anteriori di Galileo 6: Libro d’intavolatura del liuto … composte in diversi tempi da Vincenzo Galilei scritto l’anno 1584. 141 ff., divided into 3 sections: first has 11 passamezzo–romanesca–saltarello suites followed by a ‘Matriciana’ in 12 partes; second has 12 other passamezzos and romanescas with variations; third has 54 galliards with descriptive titles (‘Calliope’, ‘Talia’, ‘Polymnia’, ‘Amarilli’, ‘Galatea’, etc.) and 23 aiere di diversi, some by Santino Garsi (‘Lanfredina’, ‘Bardoccia’, ‘Coureant’, ‘Ruggieri’, ‘La moresca’, and other untitled). Editions: O. Chilesotti: ‘Trascrizioni da un codice musicale di Vincenzo Galilei’, Congresso internationale di scienze storiche [III]: Rome 1903, viii, 135–56 [incl. facs. and 12 transcrs.]; F. Fano, ed.: La camerata fiorentina: Vincenzo Galilei, IMi, iv (1934) [incl. facs. and 17 transcrs.]. Facsimile: complete vol. (Florence 1992) [with introduction by O. Cristoferretti]; Literature: P. Possiedi: ‘Il manoscritto galliano della Nazionale di Firenze’, Il ‘Fronimo’, xvi (1987), 14–25; M.T. Annoni: Il ‘Fronimo’, xvii (1989), 22–32Brussels, Bibliothèque Royale de Belgique, II 275: Lutebook of Rafaello Cavalcanti (dated Jan 1590). 3 + 104 ff.; c247 pieces (some for duet), grouped roughly by genre. Ff.1–49v: 22 galliards, 18 passamezzos (some on the romanesca) and other dances (saltarellos, ghieromettas, pavaniglias, spagnolettas, ‘ruggieri da cantar’, pavans, calatas, Spagnas, etc.), and 15 ricercares (1 on a fuga by Merulo), fantasias, a toccata and a canon for duet; composers include ‘Giovanni’ (22), Giovanbattista da Milano (13), Francesco da Milano (7), Santino Garsi (7) and Franchesino. Ff.50–62v: 35 napolitane and madrigals (most with several stanzas of text) by Vecchi (7), Lassus, Rore and Striggio. Ff.62–73v: 10 passamezzos, 4 galliards and other dances by Fiorenza (6), Garadino and Santino Garsi, and 10 ricercares, fantasias and a toccata (5 by Francesco da Milano). Ff. 74–87: 34 napolitane by composers including Malvezzi, Striggio and Vecchi. Ff.87–104: 6 napolitane and 10 miscellaneous dances (romanesca, galliards, 2 ‘bataglias’, a calata, etc.) by Santino Garsi (6), ‘Giovanni’ and ‘Monsu Balahart’. Editions: A.J. Ness, ed. (1970); R. Chiesa, ed. (1971). Literature: H. Osthoff: Der Lautenist Santino Garsi da Parma (Leipzig, 1926/R), 51–4, 146–61 [incl. 17 transcrs.]; R.K. Falkenstein (1997), 101–52; V. Coelho: ‘Raffaello Cavalcanti’s Lute Book (1590) and the Ideal of Singing and Playing’, Le concert des voix et des instruments à la Renaissance: Tours 1991, 423–42Terzi, Giovanni Antonio: Intavolatura di liutto, accomodata con diversi passaggi per suonar in concerti a duoi liutti & solo, libro primo (Venice: Ricciardo Amadino, 1593/R1981, with introduction by O. Cristoferetti) (RISM 1593¹¹; BrownI 1593⁷). 68 ff.; 61 pieces grouped by genre and medium: intabulations for solo lute of motets by Andrea Gabrieli (2), Palestrina (2), Cavaccio, Ingegneri, Lassus, Merulo and Renaldi; 7 intabulations of chansons and a canzona by Merulo (3), Striggio, Basso and Palestrina, all with an ad lib ‘contrapunto’ for a second lute; 11 intabulations of canzonas by Maschera for lute solo, or in concerto with the ensemble canzonas of Maschera’s Libro primo de canzoni da sonare, a quattro voci (Brescia: Sabbio, 1584); 7 intabulations for solo lute of madrigals by Andrea Gabrieli, Marenzio, Monte, Giovanni Maria Nanino, Costanzo Porta, Rore and Wert; 6 fantasias by Terzi; 30 dances, 4 attrib. Terzi, 1 to his father: passamezzos, galliards, saltarellos, balli tedeschi and francesi, and coranti francesi, some gathered in 2-, 3- and 4-movement suites. Facsimiles: M. Caffagni, ed.: Ioannis Antonii Terzi opera: Intavolatura di liuto libro primo (Bergamo, 1964); M. Caffagni, ed.: Il secondo libro de intavolatura di liuto, AntMI, Monumenta lombarda, ii (1966). Literature: S.E. Court: Giovanni Antonio Terzi and Lute Intabulations of Late Sixteenth-Century Italy (diss., U. of Orago, 1988)Lucca, Biblioteca Statale, MS. 774: Intavolatura di leuto da sonare e cantare (c1595–7). 26 + 23 ff. First fasc. contains 10 passamezzos, 3 romanescas and a spagnoletta; second has 14 texted arie (3 with vocal part in mensural notation, the others with text underlaid, or given in the margin), and 4 passamezzos, 10 galliards, 5 romanescas, 10 ‘contrapuntos’ (1 by ‘P.M.’) and 25 other miscellaneous dances: fiorentina, tornado da Bologna, spagnuola, pavaniglia, fantina, tordiglione, moresca, tuti parti, chiarentana, bergamasca, canario, balletto, etc. Edition: O. Chilesotti, ed. (1891), 185–6 [3 dances]. Literature: G. Sforza: ‘Poesie musicali del sec. xvi’, Giornale storico della letteratura italiana, viii (1886), 312–18; C. MacClintock: ‘Notes on Four Tuscan Lutebooks’, JLSA, iv (1971), 1–8 [incl. 2 transcrs. and list of contents]Molinaro, Simone: Intavolatura di liuto … libro primo (Venice: Ricciardo Amadino, 1599/R1978, with introduction by O. Cristoferetti) (RISM 1599¹⁸; BrownI 1599⁷). 74 ff.; 68 pieces for 6-course lute with 2 diapasons, grouped by genre: 7 saltarellos, 12 passamezzo–galliard pairs, 15 fantasias by Molinaro followed by 25 fantasias and 3 intabulations of chansons by his uncle and teacher Giovanni Battista della Gostena, a fantasia on Lassus’s Susanne un jour by Giulio Severino, and intabulations of 3 chansons and 2 canzonas. The passamezzos and fantasias are grouped in pairs by mode. Composers of the models are Clemens non Papa (2), Crecquillon (2), Guami (2 canzonas), Costeley and Lassus. Editions: G. Gullino, ed.: S. Molinaro: Intavolatura di liuto, libro primo (Florence, 1940, 3/1963); G. Gullino, ed.: G.B. della Gostena: Intavolatura di liuto (Florence, 1949/R); O. Chilesotti, ed. (1891) [14 pieces]. Literature: T. Dart: ‘Simone Molinaro’s Lutebook of 1599’, ML, xxviii (1947), 258–61; J. Ward: ‘Parody Technique in 16th-Century Instrumental Music’, The Commonwealth of Music, in Honor of Curt Sachs, ed. G. Reese and R. Brandel (New York, 1965), 208–28 [incl. 1 transcr.]; L. Moe (1956), 283, 475 [thematic index and concordances of the dances]Anerio, Giovanni Francesco: Gagliarde a quattro voci intavolate per sonare sul cimbalo et sul liuto, libro primo (?Rome: ?Verovio, c1607) (RISM A1126). 18 pp.; 16 galliards with keyboard score and intabulation for 7-course lute. Facsimiles: J. Wolf (1919), ii, facing p.256; GMB, no.181. Literature: B. Becherini: ‘Giovanni Francesco Anerio ed alcune sue gagliarde per cembalo’, La bibliofilia, xli (1939), 159–64San Francisco, State University Library, Frank V. de Bellis Collection. M2.1.M3 (MS ‘cominciato al 5 agosto 1615’, perhaps by Ascanio Bentivoglio, Milan). 96 pp. (16 missing); 81 pieces for 11- and 13-course lute, all unattrib.: 5 passamezzos, 7 galliards, 15 correntes, 5 ballettos, 2 balli, 4 pavaniglias, 3 spagnolettas, a piva, 2 settings of ‘aria del gran duca’, a romanesca, 2 Ruggieros, and other untitled and miscellaneous dances (‘matachins’, ‘marinetta’, ‘bergamasca’, etc.). Literature: G. Reese: ‘An Early 17th-Century Italian Lute Manuscript at San Francisco’, Essays in Musicology in Honor of Dragan Plamenac, ed. G. Reese and R.J. Snow (Pittsburgh, 1969/R), 253–80 [incl. thematic index]; Coelho (1995), 154–6, 589–619Melli, Pietro Paulo: Intavolatura di liuto attiorbato libro terzo nel quale si contiene varie sonate in una cordatura differente dall’ordinaria (Venice: Giacomo Vincenti, 1616/R1979, with introduction by O. Cristoferetti) (RISM M2220). 40 pp.; 23 pieces for solo lute: 3 capriccios, 4 correntes, a volta and galliard, 5 allemandes, a canzona, 2 passamezzo–saltarello pairs and 2 intabulations of madrigals ‘passeggiate’ (1 by Palestrina). The unusual tuning mentioned on the title-page is G–c–e–g–b–e' with 4 diapasons.Melli, Pietro Paulo: Intavolatura di liuto attiorbato libro quarto (Venice: Giacomo Vincenti, 1616/R1979, with introduction by O. Cristoferetti). 44 pp.; 17 pieces: a capriccio and 15 correntes for lute with 4 diapasons, and an intrada–balletto–corrente suite for an ensemble of 9 instruments: harpsichord, bass viol, double harp, violin, flute (in mensural notation), ‘lauto corista’, ‘lauto più grande un tasto’, ‘lauto alla quarta bassa’ and ‘citarra tiorbato’ (in tablature). Literature: F. Torelli: ‘Una prima documentazione sur Melli, musicisti di Reggio Emilia’, Flauto Dolce, x–xi (1984), 35–9; F. Torelli: ‘Pietro Paolo Melli, Musician of Reggio Emilia’, JLSA, xvii–xviii (1984–5), 42–9Piccinini, Alessandro: Intavolatura di liuto et di chitarrone, libro primo … et una inscrittione d’avertimenti, che insegna la maniera, & il modo di ben sonare con facilità i sudetti stromenti (Bologna: G.P. Moscatelli, 1623/R1983, with introduction by O. Cristoferetti) (RISM P2043). 132 pp.; 63 pieces for lute with 7 and 8 diapasons. 5 arie, a balletto in several ‘partite’, 12 correntes, 5 canzonas (1 for lute trio), 12 galliards, 2 ricercares and 26 toccatas (1 for lute duet); and 31 for chitarrone: 10 correntes, a chaconne, 4 galliards, 3 partite on the folia, romanesca and allemande and 13 toccatas. Instruction on playing the lute and chitarrone includes detailed information on hand positions, right- and left-hand fingering, arpeggiata, and ‘histories’ of the chitarrone, bandora and archlute. Edition: M. Caffagni, ed.: Opera, i: Intavolatura di liuto e di chitarrone, libro primo, AntMI, Monumenta bononiensia, xi (1962) [facs. and transcr.]; D. Perret, R. Correa and M. Chatton, eds.: Sämtliche Werke, i (Wilhelmshaven, 1983). Literature: G.L. Kinsky: ‘Alessandro Piccinini und sein Arciliuto’, AcM, x (1938), 103–18; S. Buetens: ‘The Instruction of Alessandro Piccinini’, JLSA, ii (1969), 6–17Florence, Biblioteca Nazionale, Magl.XIX.105: Questro libro è da sonare di leuto: di me Giulio Medici et suoi amici (signed ‘Giuseppe Rasponi a di 12 di marzo 1635’; ex-Medici Palatina). 18 ff. (5 blank); 35 dances: galliards, correntes, saisones, passamezzos, balli (1 with ‘rotta’) and other miscellaneous dances (bergamasco, pavaniglia, romanesca, spagnoletta, ‘passa gallio’, canario, chaconne, etc.). Edition: O. Chilesotti, ed. (1891)Thomassini, Filippo (publisher): Conserto vago … composti da buono, ma incerto auttore, libro primo (Rome, 1645). 36 pp.; a variation suite (balletto, volta, corrente, galliard, canzone francese–‘recercata’) for lute, theorbo and 4-course guitar ‘alla napolitana’, to be played solo or in ensemble. The print includes an explanation of ornaments and performance signs.Gianoncelli, Bernardo [Il Bernardello]: Il liuto (Venice: heirs of Gianoncelli, 1650/R1981, with introduction by O. Cristoferetti) (RISM G1839). 48 pp.; 97 pieces for 14-course liuto attiorbato, some arranged in suites (‘tasteggiata–gagliarda–spezzata’, etc.). Edition: O. Chilesotti, ed. (1891) [5 suites and 2 pieces]

BIBLIOGRAPHY, COLLECTED EDITIONS

Sources of lute music, §2: Italian sources to c1680

BIBLIOGRAPHY, COLLECTED EDITIONS

O. Chilesotti: ‘Note circa alcuni liutisti italiani della prima metà del cinquecento’, RMI (1902), 36–61, 235–63; pubd separately (Turin, 1902)

E.A. Wienandt: Musical Style in the Lute Compositions of Francesco da Milano (diss., U. of Iowa, 1951) [incl. complete thematic indexes of some prints containing Francesco’s music]

L. Moe: Dance Music in Printed Italian Lute Tablatures from 1507 to 1611 (diss., Harvard U., 1956) [incl. thematic indexes and concordances]

G. Lefkoff, ed.: Five Sixteenth Century Venetian Lute Books (Washington DC, 1960) [incl. complete transcr. of the books of Abondante, Borrono, Scotto (1563), Becchi (1568) and Balletti (1554)]

A.J. Ness, ed.: The Lute Music of Francesco Canova da Milano (1497–1543), HPM, iii–iv (1970)

R. Chiesa, ed.: Francesco da Milano: Opere complete per liuto (Milan, 1971)

V. Coelho: ‘Frescobaldi and the Lute and Chitarrone Toccatas of Tedesco della Tiorba’, Frescobaldi Studies: Madison, WI, 1983, 137–56

K.B. Mason: The Chitarone and its Repertoire in Early Seventeenth-Century Italy (diss., Washington U., 1983)

J.M. Meadors: Italian Lute Fantasias and Ricercars Printed in the Second Half of the Sixteenth Century (diss., Harvard U., 1984)

J. Bernstein: ‘The Burning Salamander: Assigning a Printer to Some Sixteenth-Century Music Prints’, Notes, xlii (1985–6), 483–501

D. Fabris: Andrea Falconieri Napoletano: un liutista-compositore del Seicento (Rome, 1987)

K. Underwood: The Renaissance Lute in Solo Song and Chamber Ensemble: a Study of Musical Sources to ca. 1530 (diss., Stanford U., 1987)

R.d’A. Jensen: The Lute Ricercar in Italy, 1507–1517 (diss., UCLA, 1988)

D. Fabris: ‘Voix et instruments pour la musique de danse: à propos des “Arie per cantare e ballare”’, Le concert des voix et des instruments à la Renaissance: Tours 1991, 389–422

V. Coelho: The Manuscript Sources of Seventeenth-Century Italian Lute Music (New York, 1995)

R.K. Falkenstein: The Late Sixteenth-century Repertory of Florentine Lute Song (diss., SUNY, 1997), 153–226

Sources of lute music

3. Central european sources to c1650.

Central European sources preserve a repertory considerably larger than that of other regions though much of it is imported. The earliest known lute tablature is German and dates from about 1460 (Tischler, 1974). These sources are seldom arranged around a single genre, showing wide diversity of design. Many of the earliest prints and manuscripts are didactically ordered: Judenkünig began by using the metres of Horatian odes to teach musical rhythm and concluded (in the 1523 book) with a group of pieces in successively higher positions; some manuscripts and the Nuremberg prints by Hans Neusidler and Hans Gerle began either with fundamenta (short preludes designed to illustrate various playing techniques) and intabulations a 2 followed by others a 3, or with strummed Gassenhauer leading to pieces ‘coloriert’ with figuration in the organist’s manner. Volumes published by Wyssenbach (1550), Gerle (1552) and Drusina (1573) drew their contents mainly from the Venetian prints of Scotto and Gardane, but also from material gathered while studying in Italy, ‘translating’ the pieces from Italian into German tablature; a massive manuscript copied in southern Germany c1590–1610 (now at D-DO G.I.4/11–13) contains some 350 pieces in German tablature, many copied in sequence from printed French and Italian tablatures. After mid-century Johann and Andreas Eichorn published at Frankfurt an der Oder a series of volumes by the dilettantes Drusina (1556), Gregor Krengel (1584) and Matthäus Waissel (1573, 1592 – the last print to use German tablature), the principal aims of which appear to have been the collection and dissemination of favourite pieces edited from earlier prints, or gathered during travels abroad.

Many other prints contained new intabulations of polyphony, rather than merely copying earlier volumes: at Strasbourg Bernhard Jobin published important collections in Italian tablature for lute and for cittern, including four books by Sixt Kargel that include large numbers of intabulations of vocal music by Lassus. Over two-thirds of the German repertory consists of such arrangements, some favourite intabulations often reappearing from source to source with successive encrustations of ornamentation. Ochsenkun’s book (1558), a work that marks a turn away from the earlier pedagogically orientated prints, often uses ‘heighted’ ciphers to show the part-writing of the original polyphony (which was possible only with the German tablature; see fig.2). After 1575, many intabulations were drawn from the villanella repertory of Italians such as Marenzio and Scandello and their German imitators Regnart, Lechner and Ivo de Vento.

Although Italian dance music is contained in the earliest prints and manuscripts alongside indigenous German and ‘Polish’ dances, the newer French dances enter the sources in considerable numbers only with Denss’s widely admired anthology (1594). Several enormous books display the wide range of genres and composers known in three particular areas of Germany at the turn of the century: the largest and most famous is Besard’s Thesaurus harmonicus (Cologne, 1603) in French tablature; a somewhat more localized collection in Italian tablature is the manuscript prepared for the Augsburg patrician and diplomat Philipp Hainhofer; the third is the fascinating commonplace-book of a Danish student at the University at Rostock, in which Petrus Fabricius recorded his developing erudition as dances and songs for lute and jocular marginalia give way to serious music and Latin homilies. The three collections contain works by German, French, Polish, Italian, Hungarian, Dutch and English lutenists, a parade of the most important international figures of the time, indicating the knowledge of players in many parts of Germany. It was also during the first half of the 17th century that troupes of English actors and musicians, some fleeing religious turmoil at home, took to the Continent the ‘marigold pavans’, ‘Englisch gaillardts’, ‘allemandes à Globe’, ‘thoys’ and other pieces by Englishmen whose names are scattered throughout German manuscripts, along with intabulations of dances and chorale settings by Hassler and Haussmann and Arien by Heinrich Albert.

Extant Central European sources before 1650 consist of some 65 prints and 100 manuscripts.

Berlin, Staatsbibliothek: Preussischer Kulturbesitz: germ.qu.719, fasc.4 (ff 103–85): Königstein Liederbuch (c1470–73). 4 monophonic melodies (nos.82, 133–5) in German tablature for 5-course lute. Literature: P. Sappler, ed.: Das Königsteiner Liederbuch Münchner Texte und Untersuchungen zur deutschen Literatur des Mittelalter, xxix (Munich, 1970) [incl. facs. and transcr.]; H. Tischler: ‘The Earliest Lute Tablature?’, JAMS, xxvii (1974), 100–03 [incl. transcrs.]; Fallows (1977); Goy and others, ii (1994), 19Freiburg, Couvent des Capucins, Ms. Falk Z105, ff. [2–2v]. Ornate intabulation (c1510) of De tous biens in Italian tablature (often used in southern Germany). Literature: J. Stenzel: ‘Peter Falk und die Musik in Freiburg’, SMz, cxxi (1981), 298–96 [incl. facs.]Vienna, Österreichische Nationalbibliothek, Mus.Ms.9704: Lautenbüchlein des Jakob Thuerner (copied at Vienna, c1522). 31 ff.; 24 pieces: 13 intabulations of German lieder and 2 dances (‘Marusca Danntz’ and ‘Zeiner Danz’), and from H. Judenkünig’s Utilis et compendiaria introductio (Vienna, c1515) 7 Horatian odes and 2 lieder. Edition: R. Flotzinger, ed.: Das Lautenbüchlein des Jakob Thurner, MAM, xxvii (1971) [complete transcr., facs. and study]Munich, Bayerische Staatsbibliothek, Mus.Ms.1512: Lauttenpuechl Anno &33 (probably copied at the Bavarian Court, Munich, c1533–44; a later MS by the same musician is D-Bsb Mus.Ms.40632). 72 ff.; 70 pieces: 21 German dances with Nachtänze (‘Hoff dantz’, ‘Maruscat Danntz’, ‘Stat pfeiffer Danntz’, etc.); 12 Italian dances (‘D’annto boloigna’, ‘Paduaner’, ‘Latraditora’, etc.); 13 secular German lieder, each intabulated in 2 and 3 parts; 4 sacred German lieder and a motet; 4 chansons each in 2 and 3 parts and 2 praeambula. The vocal models are drawn from works by Senfl (7), Hofhaimer (2), Stoltzer, Isaac, Sermisy (3) and Moulu. The MS also contains instructions, quoted in DTÖ, xxviii, Jg.xiv/1 (1907), and lxxii, Jg.xxxvii/2 (1931), on playing, tuning and fretting a lute. Editions: DTÖ, xxviii, Jg.xiv/1 (1907), and lxxii, Jg. xxxvii/2 (1931) [7 pieces]; H. Bischoff, ed.: Lieder und Tänze auf die Lauten (um 1540) (Mainz, 1938) [16 pieces]; A. Geering and W. Altwegg, eds. (1960) [12 pieces]. Literature: K. Dorfmüller (1967) [thorough study of the entire MS and its contents]; Göllner (1979), 87–92; Goy and others, ii (1994), 225–9Neusidler, Hans: Ein newgeordent künstlich Lautenbuch (Nuremberg: Johann Petreius, 1536) (RISM 1536¹²; BrownI 1536⁶). 87 ff.; A tutor with pieces in progressive order of difficulty. 73 items: instructions on how to play the lute; intabulations of 20 2-part vocal works; intabulations of 37 3-part pieces; and praeambula and Italian and German dances. Neusidler’s remarks on the pieces are interspersed throughout; the vocal models are drawn from works by Hofhaimer (14), anon. composers (10), Senfl (7), Isaac (5), Sporer (4), Stoltzer (4), Grefinger (3), Sixt Dietrich (2), Wüst (2), Adam von Fulda, Alexander Agricola, Lapicida, Brätel and Josquin. A few of the pieces are reprinted from Judenkünig’s print of 1523 and Gerle’s of 1532. Der ander Theil des Lautenbuchs (Nuremberg: Johann Petreius, 1536) (RISM 1536¹³; BrownI 1536⁷). 102 ff.; 47 pieces: 2 praeambula and intabulations of lieder by Hofhaimer (3), Senfl (2), Isaac and Obrecht, and intabulations of pieces from the Petrucci repertory, especially the Odhecaton (Venice, 1501): mass movements and motets by Alexander Agricola (2), Brumel (2), N. Caen (2), Josquin (2), Andreas de Silva, Févin, Finck and Obrecht; French chansons by Ghiselin (6), Josquin (5), Alexander Agricola (3), Compère (2), Obrecht (2), anon. composers (2), Hofhaimer, Isaac and Stokem. Editions: O. Chilesotti, ed. (1891) [12 pieces]; H. Bruger, ed.: Schule des Lautenspiels (Wolfenbüttel, 1926/R) [5 pieces]; DTÖ, xxxvii, Jg.xviii/2 (1911) [15 pieces]; DTÖ, lxxii, Jg.xxxvii/2 (1931) [21 pieces]; A. Geering and W. Altwegg, eds. (1960) [9 pieces]; GMB, no.93; HAM, i, no.105a; H. Mönkemeyer, ed.: Die Tabulatur, i, ix (Hofheim am Taunus, c1965) [selected transcrs. with quasi-facs. of tablature]; S. McCoy, ed.: Das erst Buch 1544 (Harrow, 1988) [Fr. tablature]. Facsimiles: J. Wolf (1919), ii, 40, 43; W. Apel (1942), 75; MGG1, v, 765–6, and ix, 1409–10; P. Päffgen and M. Schäffer, eds.: Institutio pro arte testudinis (Neuss, 1974–). Literature: O. Chilesotti: ‘Di Hans Newsidler’, RMI, i (1894), 48–59; K. Dorfmüller (1967), 75–85, 135–76 [concordances]Vienna, Österreichische Nationalbibliothek, 18688: Lutebook of Stephan Crauss (Ebenfurt, Lower Austria). 35 ff.; 42 pieces copied by 3 hands: Italian dances (3 suites, each praeambulum–paduana–piva, 5 paduanas (1 with saltarello) and 7 other dances, including a pavan by Spinacino, calata, cara cosa, etc.); 8 German dances; 13 intabulations of pieces with German, Latin and French titles; and 3 praeambula and 1 ricercare. The MS was originally bound with the Linz copy of Judenkünig’s lutebook of 1523 and contains biographical information about him. Literature: DTÖ, xxxvii, Jg. xviii/2 (1911) [list of contents, facs. and 15 transcrs.]; J. Dieckmann (1931), 108; K. Dorfmüller (1967), 40–41; MGG1, viii, 360 (pl.15); J. Wirth: ‘La tablature de luth de Stephan Craus’, Musique ancienne, vii (1979), 4–20; Goy and others, iii/1 (1997), 125–7Berlin, Staatsbibliothek: Preussischer Kulturbesitz, Mus.Ms.40588: Tabulatur uf die Luten (Swiss; dated 1552 at beginning). 82 pp.; 62 pieces arranged in progressive order (beginning with strummed and ending with ‘coloriert’ pieces): 28 sacred and secular German lieder, 21 dances, 4 preludes and postludes, and intabulations of a motet and chanson. The MS also contains instructions on playing the lute and a diagram of the fingerboard (reproduced in MMg, viii, 1876, p.6). Literature: J. Wolf: ‘Ein Lautenkodex der Staatsbibliothek Berlin’, Festschrift Adolph Koczirz, ed. R. Haas and J. Zuth (Vienna, 1930), 46–50 [incl. list of contents]; K. Dorfmüller (1967), 41; Meyer (1986); Goy and others, ii (1994), 48–50L'viv, Universitetskaya Biblioteka, 1400/I: Tabulatura (copied at Kraków by Hans Kernsthok, 1555; also known as Strzeskowsky Lutebook). 124 pp.; 66 pieces: intabulations of 3 motets, of 7 chansons by anon. composers (3), Sermisy (2), Lassus and Sandrin, of 6 madrigals by Verdelot (3), Arcadelt, Azzaiolo and Berchem, and of a German lied; 6 fantasias (1 by Giovanni Pacoloni) and a prelude; 12 Polish songs and dances; and 13 Italian dances (including a passamezzo–paduana–saltarello suite by Pacoloni and a galliard ‘Non dite mai ch’io habia il forte’ attrib. Bakfark). Edition: Z. Szweykowski, ed.: Muzyka w dawnym Krakowie (Kraków, 1964) [5 pieces]. Literature: M. Szczepańska: ‘Nieznana krakowska tabulatura lutniowa z drugiej połowy xvi stulecia’, Księga pamiątkowa ku czci Prof. Adolfa Chybińskiego w 70-lecie urodzin (Kraków, 1950), 198–217; Goy and others, iii/2 (1999), 263–5Ochsenkun, Sebastian: Tabulaturbuch auff die Lauten (Heidelberg: Johann Kohlen, 1558; 2/1564, Johann Maier) (RISM 1558²⁰; BrownI 1558⁵, 1564⁶). 92 ff.; intabulations of 29 motets, 38 sacred and secular German lieder and 9 French and Italian pieces (the lieder include several stanzas of text) by Senfl (14), Gregor Petschin (12), Josquin (9), Mouton (5), Crecquillon (4), Arcadelt (3), Sermisy (3), Benedictus Appenzeller (2), Brandt (2), Hofhaimer (2), Isaac (2), Kilian (2), Zirler (2), Wilhelm Braitgasser, Briant, Adrian Caen, Févin, Glanner, Gombert, Lupus, Mahu, Othmayr, Stoltzer, Verdelot and Zirler. The voice-leading is shown with heighted ciphers (see fig.2). Editions: DTÖ, xxviii, Jg.xiv/1 (1907), and lxxii, Jg.xxxvii/2 (1931) [9 pieces]; A. Geering and W. Altwegg, eds. (1960) [7 pieces]. Facsimiles: J. Wolf (1919), ii, 37, 44–5; MGG1, ix, 1825. Literature: J. Robison: ‘Ornamentation in Ochsenkhun’s Tabulaturbuch’, JLSA, xv (1982), 5–26; C.M. Hong: Sebastian Ochsenkun’s Tabulaturbuch auff die Lauten (1588) (diss., Michigan State U., 1984)Jobin, Bernhard (publisher): Das erste [ander] Büch newerlessner fleissiger ettlicher viel schöner Lautenstück (Strasbourg, 1572–3/R) (RISM 1572¹², 1573²⁴); BrownI 1572¹, 1573²). 2 vols., 50 and 30 ff.; 70 pieces, arranged by genre: 4 fantasias, intabulations of madrigals by Lassus (2), Arcadelt, Domenico Ferrabosco, Verdelot, ?Berchem, ?Rore and Pathie, of chansons by Lassus (7), Crecquillon (3) and Willaert, of German lieder by Lassus (3), Scandello and Zirler, of motets by Lassus (6); and 3 passamezzo–saltarello pairs. 4 of the intabulations are drawn from Melchior Neusidler’s prints (Venice, 1566). [Das ander Büch]: 5 passamezzo–saltarello pairs (incl. ‘antiquo’, ‘ungaro’ and ‘commun’), 7 galliards (incl. ‘chi passa’, ‘brunnette’, ‘varionessa’), 6 branles (1 by N. de Rans), and 15 teutscher Dantz–Nachdantz pairs. Literature: O.P. de Vallier: ‘Die Musik in Joh. Fischarts Dichtungen’, AMf, xviii (1961), 205–22; R.K. Inglefield: The Bernhard Jobin Lutebooks (1572, 1573) (diss., U. of Cincinnati, 1973) [incl. concordances, embellishment practice, facs. and transcrs.; summary in JLSA, viii (1975), 5–21]Zwickau, Ratsschulbibliothek, CXV.3 (codex 50): Prima pars tabellaturae continens choreas et galliardas tantum (copied c1600–10 by Johann Arpin a Dorndorf (c1571–1606)). In 2 sections, paginated 1–63 and 1–12. First section has 54 pieces (12 for 2 lutes tuned a 2nd apart): 20 galliards (1 entitled ‘Galliarta britannica elegans’, another ‘Cyprian galliarda’ [by ?Rore]), 14 German dances (with Nachtänze), 11 choreas, 3 ‘Tanecz polsky’, a passamezzo ungaro, a praeambulum, a canzonetta by Vecchi and a Czechoslovak song ‘Dobrou noc má mila’. The second section has 6 Italian dance suites (passamezzo–saltarello–ripresa). Editions: A. Quadt, ed. (1968) [7 pieces]; Z. Stęszewski, ed. (1962) [5 pieces and 1 facs.]. Literature: J. Dieckmann (1931), 109–10 (list of dances with concordances]; L. Schrade: ‘Eine Gagliarde von Ciprian de Rore’, AMw, viii (1926), 385–9 [incl. transcr.]; E. Vogl: Mf, xviii (1965), 281–90; Goy and others, ii (1994), 318–22Waissel, Matthäus: Lautenbuch darinn von der Tabulatur und Application der Lauten gründlicher und voller Unterricht (Frankfurt an der Oder: Andreas Eichorn, 1592) (BrownI 1592¹²). 28 ff.; 52 pieces: 4 ‘deudtsche Tentze’, 12 ‘polnische Tentze’, 4 passamezzo–saltarello–ripresa suites, 12 galliards (including ‘Cara cosa’, ‘Rocha el fus’io’, ‘Traditora’ and ‘Chi passa’), 8 German villanellas by Regnart, 6 napolitane by Vecchi and 4 ‘phantasias’. The volume contains 16 pages of instructions on lute playing, including reading tablature, right- and left-hand fingering, mordants, coloration, selection of strings, and tuning. Editions: Z. Stęszewski, ed. (1962) [12 Polish dances]; D. Benkő, ed.: Matthäus Waissel: Tabulatura (1573) (Budapest, 1980) [edn for guitar with parallel Ger. tablature]. Literature: H.-P. Kosack (1935), 67–70, 108–119 [incl. thematic index]; H. Grimm: Meister der Renaissancemusik an der Viadrana (Frankfurt an der Oder, 1942), 104; D.A. Smith: ‘The Instructions in Matthaeus Waissel’s Lautenbuch’, JLSA, viii (1975), 49–79 [trans.]Karlsruhe, Badische Landesbibliothek, Sammelband Mus.Bd.A 678 (olim Te 12) (MSS bound in the 16th century with prints of Ochsenkun (1558) and Jobin (1572); ex-Kloster Ettenheim-Münster). Ff.i–v (at beginning of vol.): Latin instructions on intabulating vocal music for lute. Ff.1–61 (at end of vol.): 74 pieces and (on f.61) short instructions in German on tuning 3 lutes in consort. First section has 16 German ‘madrigals’ by Hassler (12) and J. Jeep; 1 ‘Philippi Pauan’. Second section has 26 chorale settings, sacred and secular lieder by J. Jeep (5), Joachim a Burck (2) and Lassus (2); 6 galliards (2 by Hassler) and an ‘Englysh Galliardt & Auff Zug’; 3 allemandes (1 by Tain); a passamezzo–saltarello pair by ‘D.C.’; and 2 intradas by Hassler, a fuga and 3 miscellaneous pieces. Literature: Goy and others, ii (1994), 132–5.Reymann, Matthias: Noctes musicae (Heidelberg: Voeglin, 1598/R; 2/1600 as pt.ii of J. Rude’s Flores musicae) (RISM R1230; BrownI 1598¹⁰). 100 ff.; 73 pieces in French tablature for 8-course lute: 21 preludes, 16 fantasias (9 based on German chorale melodies), 12 passamezzo–proportio variation suites, 5 pavans, 10 galliards and 8 choreas. The preludes and passamezzos are grouped alternating major and minor modes on G, F, D, E and B. Literature: H.B. Lobaugh: Three German Lute Books (diss., U. of Rochester, 1968) [incl. thematic index and selected transcrs.]Wolfenbüttel, Herzog August Bibliothek, Guelf. 18.7 Aug.2°; 18.8 Aug. 2°: Philippi Hainhoferl Lautenbuecher (Bindings dated 1603 and 1604; compiled by 1 copyist for the Augsburg patrician and diplomat Philipp Hainhofer (1578–1647)). Two vols. 568 ff. (many blank following initial entries in each section); 212 pieces in Italian lute tablature, divided into 11 parts. First part (94 ff.): explanations of French, German and Italian lute tablature; 27 anon. sacred and secular German lieder intabulated by Conrad Neusidler (14), Melchior Neusidler (9) and Reys (4). Second part (54 ff.): 47 miscellaneous intabulations, most with text given above the tablature and several in 2 versions (the second ‘alio modo’). The vocal models are 12 secular lieder by anon. composers (9) and Hassler (5), 32 Italian pieces (madrigals, canzonas, canzonettas, napolitane, etc.) by anon. composers (18), Vecchi (7), Hassler (3), Gastoldi (2), Arcadelt, Ferretti, Lindner, Marenzio, Palestrina, Regnart and Rossetto, 3 chansons by Lassus (2) and Sermisy, and a motet by Kneselius. Hainhofer is named as intabulator of 1 piece. Third part (48 ff.): 26 abstract pieces: preludes by La Grotte (3), Besard (3), Romani, Dowland and Melchior Neusidler; fantasias by Cato [Francesco da Milano], Dentice, Dowland, Edinthon, Perla, Raël and Reys; 6 ricercares by Rotta; a toccata by Nicolai and 3 miscellaneous pieces by an anon. composer, Ballard and Santino Garsi. The part ends with Besard’s Latin instructions for playing the lute. Fourth part (43 ff.): 1 spagnoletta with 2 variations and 33 German dances with Nachtänze. Many dances have underlaid texts; others have dedicatory titles (some to Augsburg personages). Except for 1 dance each by Regnart, Besard and Bakfark, all are anon. Fifth part (55 ff.): 9 passamezzo–galliard pairs, most with variations (1 has 25 variations); individual variations are attrib. Besard (3), Nicolai (2), Bocquet, Eques Romanus (?Lorenzini), Alfonso Ferrabosco, Laurencini, Mercurius and Pompanio Boninensis. 1 pair bear the descriptive titles ‘bombarde’, ‘bataglia et jube’. Sixth part (26 ff.): galliards by Nicolai (5), Besard (4), Cato (2), Dowland (2), Eques Romanus (2), Laurencini (2), Pompanio (2), Bakfark, Bocquet, Dentice, Montbuisson, Mertel, Melchior Neusidler and Vaumesnil. Seventh part (10 ff.): pavans by Perla (2), Cato, Alfonso Ferrabosco, Nicolai and Pompanio. Eighth part (10 ff.): 15 paduanas and 3 romanescas with Perla and Nicolai named as composers of several. Ninth part (5 ff.): 2 settings of the ‘Ballo del Gran Duca’ (aria di Fiorenza) and 1 ‘Ballo di Savoia’. Tenth part (9 ff.): a spagnoletta by Długoraj, 2 intradas (1 by Conrad Neusidler), a Polish dance and 2 branles (1 in 11 partes by Laurencini requires cordes avalées). Eleventh part (7 ff.): courantes and voltes by Ballard, Besard, Dentice, Edinthon, Montbuisson, Regains and Sainzancy. The volumes were decorated with engravings (since removed) by Dürer, Correggio and others. Editions: A. Souris and M. Rollin, eds.: Oeuvres pour luth seul de Jean-Baptiste Besard, CM, Corpus des luthistes français (1969, 2/1981), 145–56, 162 [incl. 6 transcrs. and incipits for 19 pieces]; A. Souris and M. Rollin, eds.: Oeuvres de Vaumesnil, ibid. (1974) [9 pieces by Vaumesnil, Edinthon, Perrichon, Raël and Montbuisson]. Literature: W. Tappert: ‘Philipp Hainhofer’s Lautenbücher’, MMg, xvii (1885), 29–34; Goy and others, ii (1994), 302–16; J. Lüdtke Die Launtenbücher Philipp Hainhofers (1578–1647) (Göttlingen, 1999)Besard, Jean-Baptiste: Thesaurus harmonicus (Cologne: Greuenbach, 1603R) (RISM 1603¹⁵). 172 ff.; 405 compositions (in French tablature) grouped in 10 ‘books’. First book (12 ff.): 36 preludes; second book (24 ff.): 40 fantasias; third book (20 ff.): 16 madrigals by Ferretti, Rore, Palestrina, Regnart, Striggio, Vecchi and others and 10 villanellas by Marenzio arranged for voice(s) and lute; fourth book (26 ff.): 11 chansons (most by Lassus), 5 psalm settings and 34 airs de cour for voice and lute; fifth book (24 ff.): 9 passamezzo–courante pairs; sixth book (21 ff.): 52 galliards with diminutions; seventh book (12 ff.): 43 allemandes and a chorea; eighth book (12 ff.): Polish dances, branles and balletts (3 for lute duet); ninth book (14 ff.): 33 courantes; tenth book (15 ff.): a ‘Battaille de Pavia’ and 3 fantasias. At the end of the volume is a 4-folio treatise on lute playing which was widely translated and reprinted. John Dowland’s translation appears in Robert Dowland’s Varietie of Lute-Lessons (1610). Lutenist composers represented in the Thesaurus include Besard (46), Laurencini (44), Cato (19), Bocquet (15), Reys (9), Długoraj (8), Perrichon (8), Eques Romanus (6), Dentice (5), Dowland (5), Edinthon (3), Montbuisson (3), Alfonso Ferrabosco (2), Mercure (2), Mertel (2), Bakfark, Ballard, Maphon, Pomponio de Bologna, Raël and Vaumesnil. The compositions are for 7- to 10-course lute. Facsimiles: MGG1, i, 1818; ii, 616. Editions: O. Chilesotti, ed. (1891); O. Chilesotti, ed.: Madrigali, villanelle ed arie di danza del cinquecento dalle opere di J.B. Besardo, Biblioteca di rarità musicale, ix (Milan, 1892); O. Chilesotti: Villanelle a tre voci del Thesaurus harmonicus di J.-B. Besard (Leipzig, 1909); M. Szczepańska, ed.: Jakub Polak, WDMP, xxii (1951); M. Szczepańska, ed.: Diomedes Cato, ibid., xxiv (1953); A. Souris and M. Rollin, eds.: Oeuvres pour luth seul de Jean-Baptiste Besard, CM, Corpus des luthistes français (1969, 2/1981); A. Souris and M. Rollin, eds.: Oeuvres des Bocquet, ibid. (1972); A. Souris and M. Rollin, eds.: Oeuvres de Vaumesnil, ibid. (1974). Literature: O. Chilesotti: ‘Di G.-B. Besardo e del suo “Thesaurus harmonicus”’, GMM (1886), 231, 246; O. Chilesotti: Di Giovanni Battista Besardo e del suo ‘Thesaurus harmonicus’ (Milan, 1886); O. Chilesotti: ‘Jean-Baptiste Bésard et les luthistes du XVIe siècle’, RHCM, i (1901), 94–102, 143–6; O. Chilesotti: ‘Airs de court del “Thesaurus harmonicus” di J.-B. Besard’, Congresso internazionale di scienze storiche [III]: Rome 1903, viii, 131–4 [incl. 10 transcrs.]; J.N. Garton: The ‘Thesaurus Harmonicus’ of J.B. Besard 1603 (diss., Indiana U., 1952)Copenhagen, Kongelige Bibliotek, Samling Thott. 4° 841: Liederbuch des Petrus Fabricius (1587–1651) (copied while a student at Rostock, c1605–8, and a clergyman in Schleswig). 152 ff.; c400 pieces: 196 German lieder, most with several stanzas of text, in either mensural notation or lute tabulature (or both), by Haussmann (44), Regnart (11), Lechner (6), Horn ‘Fridericus D.’, Dedekind, Franck, Caspar, ‘H.K.’, Lange, Meiland, Scandello, Spatz, Steccius and others; 2 preludes and a fantasia; c200 dances by Pietro Paolo Borrono, Brade, Friderici, Melchior Neusidler, ‘M. Schō.’ and Waissel, including 54 German dances, 7 Polish and Swedish dances, a Gassenhauer, 4 allemandes, a canary, 32 galliards, 6 ‘padoanas’ and ‘galiardas anglicas’, a pavan in 9 partes, 3 chi passas and 48 passamezzos (many with variations and saltarellos); and (at the end of the book) settings of 26 German chorales. Scattered throughout the volume as a decorative border are rhymes, riddles and homilies. Editions: W. Tappert, ed.: Sang und Klang aus alter Zeit (Berlin, 1906), 60 [‘Roland-Lied’ and ‘La bataglia’]; P. Hamburger, ed.: ZMw, xi (1928–9), 444–6; Z. Stęzewski, ed. (1962) [8 transcrs. and a facs.]. Literature: J. Bolte: ‘Das Liederbuch des Petrus Fabricius’, Jb des Vereins für niederdeutsche Sprachforschung, xiii (1887), 55–68, 101–9 [incl. 22 melodies with discussion of texts]; J. Bolte: ‘Aus dem Liederbuche des Petrus Fabricius’, Alemannia, xvii (1899), 248–68; A. Kopp: ‘Die Liederhandschrift des Petrus Fabricius’, Archiv für das Studium der neueren Sprachen und Literaturen, cxvii (1906), 1–68, 241–55; B. Engelke: ‘Das Lautenbuch des Petrus Fabricius’, Die Heimat, xxxix (1929), 265–9; J. Dieckmann (1931), 96–101 [list of dances with some concordances], K. Gudewill: ‘Fabricius, Petrus’, MGG1 [incl. 1 facs.]; P. Hamburger: ‘Über die Instrumentalstücke in dem Lautenbuch des Petrus Fabricius’, Festskrift Jens Peter Larsen (Copenhagen, 1972), 35–46 [incl. 5 transcrs. and 2 facs.], J.O. Rudén: Per Brahes visbok (diss., U. of Uppsala, 1962); R. Wohlfarth: Die Liederhandschrift des Petrus Fabricius Kgl. Bibl. Kopenhagen, Thott. 4° 841: eine Studentenliederhandschrift aus dem frühen 17. Jahrhundert und ihr Umfeld (Münster, 1989)Kassel, Murhard’sche und Landesbibliothek, 4° Mus 108.1 (titled on f. 54v): Livre de tablature de lhut pour madame Elizabeth princesse de Hesse, commencé par Victor de Montbuysson, le dernier janvier 1611. 100 ff.; 150 pieces copied in 1 hand (?Montbuisson’s), in 2 sections. Ff.1–54: 4 courantes attrib. Moritz, Landgrave of Hesse, and 32 arrs. of German, French and Italian vocal music for lute solo, voice and lute, or voice and continuo, including pieces from Monteverdi’s fifth book (1605), ff. 54v–100: lute pieces including cadences, technical exercises, preludes, an intrada by Hassler, pavans, galliards, courantes, voltes, ballets, English dances (6 by Dowland), branles, villanellas and a sarabande, with other attribs. to Gautier d’Angleterre, Mercure and Montbuisson. Literature: A. Arnheim: ‘Ein Beitrag zur Geschichte des einstimmigen weltlichen Kunstliedes in Frankreich’, SIMG, x (1908–9), 399–421 [incl. 3 chansons for S and B]; W. Rave: Some Manuscripts of French Lute Music, 1630–1700 (diss., U. of Illinois, 1972), 27Nelahozeves, Lobkowitz Study Centre, XXIII.F.174 (olim Prague, Hudební Oddělení, Universitní Knihovny): Lautten Tabulatur Buech, darinnen … viel herrliche Stüeck beschrieben seindt von mier Nicolao Schmall von Lebendorf … Kantzeleischrebern des … Herrn Jaroslai Borzita vonn Martinicz … Hoffmarchalchen in Königreich Beheimb. Anno Domini. 1613. 75 ff.; 25 pieces for 9-course lute in German tablature, including instructions for tuning, 7 German lieder, 2 Catholic songs, 3 madrigals (1 by Pace), and various dances (bergamasche, choreas, correntes, galliards, Spanish and Czech dances and passamezzo–saltarello pairs with variations). Last 28 ff. contain Czech sayings and Marian prayers. Facsimile: J. Tichota, ed.: Loutnová tabulatura psaná Mikulášem Šmalem z Lebendorfu, Cimelia bohemica, viii (Prague, 1969) [with commentary]. Literature: E. Vogl, Mf, xviii (1965), 284; J. Klima: ‘Die Tänze des Nicolaus Schmall von Lebendorf (1613)’, ÖMz, xxi (1966), 460–61 [incl. facs. and 2 transcrs.]; J. Tichota, MMC, no.20 (1967), 65 [incl. 7 transcrs.]; A. Simpson: ‘The Lute in the Czech Lands’, JLSA, iv (1971), 9–20; K.-P. Klaus: ‘Ein Dokument tschechisch-polnisch-deutscher Musikbeziehungen’, DJbM, xviii (1973–7), 173–84Leipzig, Musikbibliothek der Stadt, II.6.15: Lautenbuch (dated 1619; sometimes incorrectly known as the ‘Długoraj-Buch’). 553 pp.; 460 pieces for 7-and 8-course lute, arranged roughly by genre: intabulations of German, Italian and French vocal music, abstract pieces (preludes, fantasias, toccatas, ricercares, fughe, etc.), and dances (10 passamezzo–saltarello pairs, 39 pavans, 66 galliards, 49 correntes, 41 ballets, 78 choreas and 17 allemandes and branles); many of the dances have national designations: Polish, Bohemian, English, Turkish, etc. The following composers are represented in the MS: Aloysius, Adriaenssen, Besard, Cato, Dowland, Długoraj, Engelmann, ‘I.A.F.’, Ferber, Gregorius, Groh, Hassler, Haussmann, Heller, Huet, Jenkins, Johnson, ‘C.K.’, Klipstein, Kühn, Lassus, Laurencie, Mercurius, Mertel, Otto, Peter Philips, Dalla Viola, Reinwald [Montbuisson], Reymann, Scandello, Schein, Schultz, Steuccius, Torrn, Tuartues and Walter. Editions: W. Tappert, ed. (1906) [5 pieces]; J. Wolf (1919), ii, 40 [facs.]; Z. Stęszewski, ed. (1962) [15 pieces and 1 facs.]; Z. Szweykowski, ed.: Muzyka w dawnym Krakowie (Kraków, 1964) [9 pieces]; A. Quadt, ed. (1968–83) [11 pieces]; D. Poulton and B. Lam, eds.: The Collected Lute Music of John Dowland (London, 1974) [5 pieces]. Literature: J. Dieckmann (1931), 101–2 [list of dances]London, British Library, Sloane 1021: Lutebook ex-libris Johannes Stobaeus (1580–1646) (dated Königsberg, 1640, but with contents from c1600–15). 115 ff.; c150 pieces, most in French tablature for lute with 10 courses, and 9 pieces for 6-string mandora: German, Polish and Lithuanian sacred and secular lieder (some by Lindner and Decker), fantasias and preludes, many courantes and galliards and other miscellaneous dances (incl. chorea polonica, pavans, ballets with variations, branles, etc.). Composers include Decker (7), F. and T. Lindner of Lübeck (5), ‘C.A.’, Dowland, Henckel and Wade. MS also contains 2 treatises on lute playing. 1 (ff.36–43v), entitled ‘Instituochlis’, contains instructions on playing in the German manner of Waissel (with music examples in German tablature); the other (ff.24–28v), ‘De methodo studendi testudine’, discusses right- and left-hand technique, ornamentation (coloration, various types of mordents), tuning, etc., in the newer manner. There is no evidence that Stobaeus was responsible for any of the contents of this manuscript. Edition: Z. Stęszewski, ed. (1962) (incl. 19 pieces, facs. and short discussion of the MS]. Literature: H.-P. Kosack (1935), 46–7, 85–8; D. Lumsden: The Sources of English Lute Music, 1540–1620 (diss., U. of Cambridge, 1955), i, 175; D. Arnold: The Lute Music and Related Writings in the ‘Stammbuch’ of Johann Stobaeus (diss., North Texas State U., 1982)

BIBLIOGRAPHY, COLLECTED EDITIONS

Sources of lute music, §3: Central european to c1650

BIBLIOGRAPHY, COLLECTED EDITIONS

E. Radecke: ‘Das deutsche weltliche Lied in der Lautenmusik des 16. Jahrhunderts’, VMw, vii (1891), 285–336

J. Wolf, ed.: Weltliche Werke von Heinrich Isaak, DTÖ, xxviii, Jg.xiv/1 (1907)

A. Koczirz, ed.: Österreichische Lautenmusik im XVI. Jahrhundert, DTÖ, xxxvii, Jg.xviii/2 (1911)

J. Dieckmann: Die in deutscher Lautentabulatur überlieferten Tänze des 16. Jahrhunderts (Kassel, 1931) [incl. lists of dances with concordances]

L. Nowak, A. Koczirz and A. Pfalz, eds.: Das deutsche Gesellschaftslied in Österreich von 1480 bis 1550, DTÖ, lxxii, Jg.xxxvii/2 (1931)

O. Gombosi: Bakfark Bálint élete és müvei (1507–1576)/Der Lautenist Valentin Bakfark: Leben und Werke (1507–1576) (Budapest, 1935, rev. 2/1967 by Z. Falvy in Ger. only)

H.-P. Kosack: Geschichte der Laute und Lautenmusik in Preussen (Kassel, 1935) [incl. some thematic indexes and lists of contents]

A. Geering and W. Altwegg, eds.: Ludwig Senfl: Instrumental-carmina aus handschriftlichen und gedruckten Quellen: Lieder in Bearbeitungen, Sämtliche Werke, vii (Wolfenbüttel, 1960) [incl. lute transcr.]

Z. Stęszewski, ed.: Tańce polskie z tabulatur lutniowych, ZHMP, ii (1962)

E. Vogl: ‘Lautenisten der böhmischen Spätrenaissance’, Mf, xviii (1965), 281–90

K. Dorfmüller: Studien zur Lautenmusik in der ersten Hälfte des 16. Jahrhunderts (Tutzing, 1967)

J. Tichota: ‘Deutsche Lieder in Prager Lautentabulaturen des beginnenden 17. Jahrhunderts’, MMC, no.20 (1967), 63–99

H. Tischler: ‘The Earliest Lute Tablature?’, JAMS, xxvii (1974), 100–02

I. Homolya and D. Benkő, eds.: Valentini Bakfark Opera omnia (Budapest, 1976–81)

Sources of lute music

4. French sources, 1529–99.

Printed lute music flourished in France for only about 40 years, beginning in 1529 when Attaingnant’s ‘house arranger’, Pierre Blondeau, prepared two volumes of lute music containing arrangements of chansons by Sermisy and others (fig.3), italianate preludes in the modes of the chansons, a battle-piece and the earliest extant polyphonic dance music in France: basses danses and branles, Italian pavans and galliards. Peripheral collections in Italian tablature (the usual system in southern France) were published at Lyons edited by Francescho Bianchini (c1547), Paladino (c1549, 1553) and Bakfark (1553) and include some intabulations drawn from Moderne’s anthologies of vocal music.

But the apogee of Parisian lute music was reached in 1552 when Guillaume Morlaye contracted for a 1200-copy posthumous edition of works by his teacher Alberto da Ripa; each of the volumes usually contains a single genre of composition with appropriate fantasias. Morlaye and his chief competitor, Adrian Le Roy (who brought out a second Ripa series), also published books of their own pieces which have important typographical advances: ciphers are inserted between single five-line flanges which print the staff, and diagonal lines show precise lengths of notes and chords sustained in ‘jeu couvert’. Le Roy wrote an influential treatise (now extant only in the 1568–74 English translation) that details ‘rules’ for playing the lute and explains exhaustively how to set vocal music in tablature (examples are drawn from Lassus chansons which are intabulated voice by voice and then ‘more finelier handeled’ with diminutions). The vogue for psalm singing is reflected in the collections for voice and lute prepared by Morlaye, Le Roy and Paladino; in post-1571 manuscripts the usual fashionable Italian villanellas appear, as well as newer French dances which, however, emerge in quantity only after 1600.

Le Roy, Adrian: Premier livre de tabulature de luth (Paris: Le Roy and Ballard, 1551) (RISM 1551²⁴; BrownI 1551²). 40 ff.; 28 pieces: 2 fantasias, 7 intabulations (a psalm and 3 motets by Maillard and chansons by Sandrin, Sermisy and Estraigues) and 19 dances (pavane–galliard pairs, allemandes, branles), all except 1 arranged from Gervaise’s third and fourth books of Danceries (Paris: Attaingnant, 1556 and 1550); many of the compositions are provided with alternative versions ‘plus diminuées’. Edition: A. Souris and R. de Morcourt, eds.: Adrian Le Roy: Premier livre de tabulature de luth (1551) (Paris, 1960)Le Roy, Adrian: Tiers livre de tabulature de luth, contenant vingt & un Pseaulmes (Paris: Le Roy & Ballard, 1552) (BrownI 1552²). 24 ff.; psalm settings (after Marot’s print, Lyons, 1549) for voice in mensural notation with lute accompaniment. Edition: R. de Morcourt, ed.: Adrian Le Roy: Psaumes (tiers livre de tablature de luth, 1552 [et] Instruction 1574) (Paris, 1962). Literature: R. de Morcourt: ‘Adrian Le Roy et les psaumes pour luth’, AnnM, iii (1955), 179–212 [incl. 4 transcrs.]Ripa, Alberto da: Premier livre de tabulature de leut (Paris: M. Fezandat, 1552, 2/1553) (RISM 1552³⁶; BrownI 1552⁸, 2/1553⁸). 48 ff.; 19 pieces: 6 fantasias and intabulations of chansons by anon. composers (5), Sandrin (4), Janequin (2), Lupus and Maillard. (The Cortot copy is now at GB-Lbl.) Editions: R.W. Buggert: Alberto da Ripa, Lutenist and Composer (diss., U. of Michigan, 1956), ii, 1; J.-M. Vaccaro, ed.: Oeuvres d’Albert de Rippe, CM, Corpus des luthistes française (1972–5). Literature: J.G. Prod’homme: ‘Guillaume Morlaye, éditeur d’Albert de Rippe, luthiste et bourgeois de Paris’, RdM, vi (1925), 157–67Morlaye, Guillaume: Premier livre de tabulature de leut (Paris: M. Fezandat, 1552/R) (RISM 1552³⁴; BrownI 1552⁴). 44 ff.; 24 pieces: 6 fantasias by Francesco da Milano, Julio Segni and Narváez (3); intabulations of chansons by Mithou (2), anon. composers, Gentian, Janequin, Magdelain, Mornable and Olivier, and of madrigals and frottolas by Arcadelt (2) and Tromboncino; and 6 paduana–galliard dance suites. Literature: J.G. Prod’homme: ‘Guillaume Morlaye, éditeur d’Albert de Rippe, luthiste et bourgeois de Paris’, RdM, vi (1925), 157–67Morlaye, Guillaume: Premier livre de psalmes mis en musique par maistre Pierre Certon (Paris: M. Fezandat, 1554) (BrownI 1554⁵). 24 ff.; 13 psalm settings of Certon arr. voice and lute by Morlaye. Edition: F. Lesure and R. de Morcourt, eds.: Psaumes de Pierre Certon (Neuilly-sur-Seine, 1957). Literature: P. Pidoux: ‘Les psaumes d’Antoine de Mornable, Guillaume Morlaye et Pierre Certon’, AnnM, v (1957), 179–98; NOHM, iv, 695 onlyRipa, Alberto da: Second livre de tabulature de leut (Paris: M. Fezandat, 1554) (RISM 1554³⁴; BrownI 1554⁶). 24 ff.; 11 pieces: 3 fantasias, and intabulations of 2 motets by Sermisy and of chansons by Sandrin (2), Févin or Josquin, Gentian and Janequin. Edition: J.-M. Vaccaro, ed. (1972–5)Ripa, Alberto da: Troisiesme livre de tabulature de leut (Paris: M. Fezandat, 1554) (RISM 1554³⁵; BrownI 1554⁷). 24 ff.; 10 pieces: 3 fantasias, and intabulations of chansons by Sandrin (2), Arcadelt, Gentian, Gombert and Pathie, and of a motet by Consilium. Edition: R.W. Buggert (1956), ii, 58; J.-M. Vaccaro, ed. (1972–5)Ripa, Alberto da: Quatriesme livre de tabulature de leut (Paris: M. Fezandat, 1554) (RISM 1554³⁶; BrownI 1554⁸). 24 ff.; 10 pieces: 3 fantasias (1 ‘sans chanterelle’), and intabulations of 2 motets (1 by Morales), and of chansons by Arcadelt, Certon, Le Brun and Sandrin. Editions: R.W. Buggert (1956), ii, 86; J.-M. Vaccaro, ed. (1972–5)Ripa, Alberto da: Cinquiesme livre de tabulature de leut (Paris: M. Fezandat, 1555) (RISM 1555³⁶; BrownI 1555⁴). 24 ff.: 8 pieces: 2 fantasias, intabulations of a motet by Josquin, a frottola by Sebastiano Festa, and a chanson by Sandrin, and 2 pavane–galliard pairs. Editions: R.W. Buggert (1956), ii, 117; J.-M. Vaccaro, ed. (1972–5)Uppsala, Universitetsbiblioteket, Vokalmusik i handskrift 87: Codex Carminum Gallicorum (copied c1557 in southern France and probably brought to Sweden by a musician at the court of Erik XIV). 72 ff.; 180 pieces in Italian tablature (many of the vocal pieces have underlaid texts): intabulations of motets by La Fague, Maillart, Verdelot and Werrecore, of madrigals by Ruffo (31), Arcadelt (12), Belleo (9), Rore (8), Verdelot (2), Corteccia, Costanzo Festa, Domenico Ferrabosco and Gero, of chansons by Arcadelt (14), Janequin (12), Sandrin (4), Le Heurteur (2), Cadéac, Certon, Clemens non Papa, Gombert, Maillart, Marle and Naich, of 43 anon. napolitane and villanellas, and of 21 Calvinist psalms by Certon, Costeley and Tessier; 6 ricercares and fantasias by Francesco da Milano (3), Giaches Organista (Brunel) and Ripa, and 2 untitled instrumental pieces. Some of the intabulations are by Bakfark, Francescho Bianchini and Ripa. Literature: B. Hambraeus: Codex carminum gallicorum, Studia musicologica upsaliensia, vi (Uppsala, 1961) [incl. 17 complete transcrs., 68 incipits and 2 facs.). See also A. Cohen, JAMS, xvi (1963), 399–401; J.O. Rudén (1981), 46–9 [list of contents with musical incipits]Ripa, Alberto da: Sixiesme livre de tabulature de leut (Paris: M. Fezandat, 1558) (BrownI 1558⁶). 24 ff.; 10 pieces: 2 fantasias; intabulations of motets by Josquin and Sermisy, of chansons by Boyvin and Certon; and 2 galliards and a pavane. Editions: R.W. Buggert (1956), ii, 147; J.-M. Vaccaro, ed. (1972–5)

BIBLIOGRAPHY, COLLECTED EDITIONS

M. Brenet: ‘Notes sur l'histoire du luth en France’, RMI, v (1898), 637–76; vi (1899), 1–44; pubd separately (Turin, 1899/R)

L. de La Laurencie, A. Mairy and G. Thibault, eds.: Chansons au luth et airs de cour français du XVIe siècle, PSFM, 1st ser., iv–v [recte iii–iv] (1934/R) [incl. chansons for voice and lute pubd by Attaingnant, 1529]

J.-M. Vaccaro: La musique de luth en France au XVI siècle (Paris, 1981)

A. Souris, M. Rollin, J.-M. Vaccaro and others, eds.: CM, Corpus des luthistes français (1957–): Oeuvres pour luth seul de Jean-Baptiste Besard (1969, 2/1981); Oeuvres d’Albert de Rippe, i–iii (1972–5); Oeuvres de Vaumesnil, Edinthon, Perrichon, Rael, Montbuysson, La Grotte, Saman, La Barre (1974); Adrian Le Roy: Fantaisies, motets, chansons et danses (Premier Livre, 1551) (1975); Adrian Le Roy: Fantaisies et danses: extraites de A briefe and easye instruction (1568) (1975); Adrian Le Roy: Instruction pour le luth, 1574, i–ii (1977); Adrian Le Roy: Sixiesme livre de luth, 1559 (1978); Oeuvres de Guillaume Morlaye, i–ii (1980–89); Oeuvres de Jean-Paul Paladin (1986); Adrian Le Roy: Psaumes, 1567 (1993); Oeuvres de Francescho Bianchini (1997)

D. Heartz, ed.: Preludes, Chansons and Dances for Lute Published by Pierre Attaingnant, Paris (1529–1530) (Neuilly-sur-Seine, 1964)

H.M. Brown: ‘La musica ficta dans les mises en tablatures d'Albert de Rippe et Adrian LeRoy’, Le luth et sa musique II: Tours 1980, 163–82

J.-M. Vaccaro: ‘La fantasia chez les luthistes Français au XVIe siècle’, AnM, xxxviii (1983), 139–45

W.J. Rave: ‘Remarks on Gallot Sources: how Tablatures Differ’, JLSA, xx–xxi (1987–8), 87–107

Sources of lute music

5. Vihuela sources, 1536–76.

Spanish sources encompass some 730 pieces contained in seven large printed tutors for vihuela de mano by Luys Milán (1535–6), Narváez (1538), Mudarra (1546), Valderrábano (1547), Pisador (1552), Fuenllana (1554) and Daza (1576). Except for Milán’s well-known El maestro, which uses Spanish (inverted Italian) tablature, all employ the normal Italian system. They are dominated by motets and mass movements (including eight complete masses by Josquin des Prez in Pisador’s book), and indigenous Spanish and Portuguese songs, such as romances, villancicos and sonetos. To permit alternative performance by voice or vihuela, complete texts are often underlaid and prominent lines and cantus firmi may be printed in red ciphers. In meeting the didactic aims of their publications, the vihuelistas provided explanations of solmization and modes, metre and tempo, playing of glosas, and other matters usually taken for granted in non-Spanish sources. Sometimes the pieces are graded by difficulty or classified by mode and they may explore, like a study, a technical problem or musical device. The models for parody fantasias, tientos and glosas are usually identified in the title or even during the course of the composition, a practice virtually unknown elsewhere, although parody pervades other repertories as well. Italian dances, abundant outside Spain, appear seldom, the Spaniards having a preference for the improvisational skills taught by diferencias on villancico melodies and hymns, or on the romanesca and antico formulae. Some of the earliest sources also include music for guitar, which before 1550 was already gaining international currency over the six-course vihuela. Although several 17th- and 18th-century Spanish and Latin American manuscripts indicate that they contain music for ‘viguela’, the pieces are for guitar.

Milán, Luys: Libro de música de vihuela de mano intitulado El maestro (Valencia: Francesco Diaz Romano, 1535–6/R) (BrownI 1536⁵). 102 ff.; 72 pieces for vihuela in Spanish tablature: 22 fantasias and 6 pavans, followed by 11 Spanish and Portuguese villancicos and romances, and Italian sonetos for voice (notated in the tablature with red ciphers) and vihuela; 22 fantasias followed by 11 more romances, villancicos (1 by Vasquez) and sonetos, similarly notated. The volume contains short descriptions of technical difficulties encountered in the various pieces. Editions: G. Morphy, ed. (1902), i [32 fantasias, pavans and arrs.]; L. Schrade, ed.: Publikationen älterer Musik, ii (Leipzig, 1927/R) [diplomatic facs. and transcr. of the entire vol.: see also O. Gombosi: ‘Neuausgaben alter Musikwerke’, ZMw, xiv, 1931–2, 185–9]; HAM, i, no.121–9; R. Chiesa, ed.: ‘El maestro’: opere complete per vihuela (Milan, 1971, 2/1974); C. Jacobs, ed.: Luys Milán: El maestro (Philadelphia, 1971). Facsimiles: J. Wolf (1927), pl.74; W. Apel (1942), 57; MGG1, v, 180, ix, 289–90; Monuments of Music and Music Literature in Facsimile, 1st ser., xxx (New York, 1975). Literature: J.B. Trend (1925); J.M. Ward: ‘The Lute in 16th-Century Spain’, Guitar Review, ix (1949), 26–8; J.M. Ward (1953); J. Roberts: LSJ, vii (1965), 24–31; C. Jacobs: ‘An Introduction to Luis de Milán’s El maestro (Valencia, 1536)’, Cahiers canadiens de musique, i (1970), 99–104; C.M. Russell: ‘The Eight Modes as Tonal Forces in the Music of Luis Milán’, De musica hispana et aliis: miscelánea en honor al Prof. Dr. José López-Calo, ed. E. Casares and C. Villanueva (Santiago de Compostela, 1990), 321–62Mudarra, Alonso: Tres libros de musica en cifras para vihuela (Seville: Juan de León, 1546/R1980, with preface by J. Tyler) (BrownI 1546¹⁴). 117 ff.; 76 pieces in 3 books: first has 16 pieces for vihuela and 6 for guitar: fantasias (studies in vihuela technique), intabulations of 2 mass movements by Josquin, variations on ‘Guardame las vacas’ and ‘Conde claros’, and 3 dances (pavans and a galliard); second has 26 pieces for vihuela: fantasias and tientos and intabulations of mass movements by Josquin (4) and Févin; third has 27 arrangements for voice (in mensural notation) and vihuela of motets by Gombert, Escobar and Willaert, romances, villancicos, sonetos and odes with attribs. to Boscán and Hofhaimer. Editions: MME, vii [complete]; G. Morphy, ed. (1902), ii [16 pieces]; MGG1, v, 1567–8 [facs.]. Literature: J.M. Ward, MD, vi (1952), 105; NOHM, iv, 126–9, facing p.129 [facs.], 686–7Pisador, Diego: Libro de musica de vihuela (Salamanca: G. Millis, 1552/R) (RISM 1552³⁵; BrownI 1552⁷). 112 ff.; 95 pieces (58 with voice, notated in red ciphers in the tablature or in mensural notation) in 7 books: first has 14 villancicos and romances with diferencias (fig.4); second has 16 villancicos (4 by Vasquez) and 3 intabulations of motets; third has 24 fantasias (12 with a vocal part in red ciphers); fourth and fifth have intabulations of 10 masses (a few movements omitted) by Josquin; sixth has intabulations of motets by Josquin (4), Gombert (3), García de Basurto (2), Willaert (2), Mouton and Morales; seventh has intabulations of villancicos, madrigals and chansons by Fontana (6), Willaert (4), Arcadelt, Festa and Flecha. Edition: G. Morphy, ed. (1902), ii [13 pieces]. Literature: N.A. Cortés: ‘Diego Pisador: algunos datos biográficos’, Boletin de la Biblioteca Menéndez y Pelayo, iii (1921), 331–5; L. Hutchinson: The Vihuela Music of Diego Pisador (diss., Eastman School of Music, 1937)

Daza, Esteban: Libro de musica en cifras para vihuela, intitulado El parnasso (Valladolid: Fernandez de Cordova, 1576/R) (RISM 1576⁸; BrownI 1576¹). 120 ff.; 112 pieces in 3 books: first has 33 fantasias arranged by mode and number of voices, some intended as technical exercises; second has 13 motets arr. for voice (noted in ciphers in the tablature) and vihuela by Buleau (6), Crecquillon (2), Guerrero (2), García de Basurto, Maillard and Richafort; third has 24 pieces, also for voice and vihuela, and 2 solo pieces, sonetos, villanesche, villancicos and chansons attributed to Cevallos (4), Guerrero (3), Navarro (3), Ordoñez (2), Clemens non Papa and Crecquillon. Editions: G. Morphy, ed. (1902), ii [10 villancicos and villanesche]; J.A. Griffiths, ed.: Esteban Daza: the Fantasias for Vihuela, RRMR, liv (1982)Kraków, Biblioteka Jagielonska, Mus Ms 40032 (olim Z32), formerly D-Bsb: Lautennoten nach der alten Tabulatur. 404 pp.; 350 pieces (many anonymous and some incomplete since 43 folios are missing). The oldest layer, which is described below, was copied in the Spanish kingdom of Naples, c1590; later the manuscript was brought to Germany (c1626) at which time additional pieces were entered. It is one of the most important sources of Spanish vihuela music, and is divided by genre into four parts. Part I (pp.1–149): canzonas by J. Tartiglia and Giulio Severino with anon. tiradas, clausulas and passos, and intabulations (4 attrib. Jehan de Liège) of sacred vocal music by Castillo (2), Jacquet of Mantua (3), Francesco de Aguyles and Josquin (6 – 2 with the rubric ‘Van Gelinga’ [for the Gospel]), and madrigals by Palestrina (4), Striggio (2), Ferrabosco (2), Rore (2), Castellini, Lassus, Verdelot, Donata, Reno, Faignant, Wert and Monte, and chansons by Lassus (15), Crecquillon (5 – 4 are intabulations of his ‘Ung gay bergier’) and Sandrin. Part II (pp.150–99): passomezzos (some paired with gagliardas), mostly anonymous, but with some attributions to Lorenzino (2), Luis Majone and Pietro Paulo, 2 romanescas and a set of differencias by Majone (on ‘Guardame las vacas’). Part III (pp.200–99): fantasias by Fabrizio Dentice (3), Francesco da Milano (3), Lorenzino (2), Giuseppe Giovanni (2 – one in 4 partes); ricercars by Giovanni (3), Dentice, a fuga by Cardone, an entrata on Renier’s ‘Chi dicomo’, ‘tochatas’ and tientos. Part IV (pp.300–404): gagliardas by Santino Garsi (20 – some with descriptive or dedicatory titles, including ‘La Garsi’, ‘Cesarina’, ‘Balduvina’, ‘Duca di Loreno’, ‘Giuliana’, etc.), Lorenzino and Juan Farnese; 6 voltas, 5 courantes, 3 allemandes, 3 sets of folia variations, 4 ballettas, ‘Matachin con differencias’ by Lorenzino, 4 pavanas, a canarios, ‘Segedillas par cantar’ and miscellaneous dances with descriptive titles (‘Rosina’, ‘Barone’, ‘Barriera’, ‘Rustica palma’, ‘L’appassionata’, etc.). Editions: H. Osthoff: Der Lautenist Santino Garsi da Parma (Leipzig, 1926, 2/1973); D. Kirsch, ed.: Santino Garsi da Parma: Werke für Laute (Cologne, 1989) [edn for guitar with facs. of tablatures]

BIBLIOGRAPHY, COLLECTED EDITIONS

G. Morphy, ed.: Les luthistes espagnols du XVIe siècle (Leipzig, 1902)

E.M. Torner, ed.: Colección de vihuelistas españoles del siglo XVI (Madrid, 1923)

J.B. Trend: Luis Milán and the Vihuelistas (London, 1925)

W. Apel: ‘Early Spanish Music for Lute and Keyboard Instruments’, MQ, xx (1934), 289–301

J.M. Ward: ‘The Editorial Methods of Venegas de Henestrosa’, MD, vi (1952), 105–13

J.M. Ward: The Vihuela de Mano and its Music (1536–1576) (diss., New York U., 1953)

I. Pope: ‘La vihuela y su música en el ambiente humanístico’, Nueva revista de filología hispánica, xv (1961), 365–76

C. Jacobs: Tempo Notation in Renaissance Spain (Brooklyn, NY, 1964)

J. Roberts: ‘Some Notes on the Music of the Vihuelistas’, LSJ, vii (1965), 24–31

J.A. Griffiths: The Vihuela Fantasia: a Comparative Study of Forms and Styles (diss., Monash U., 1983)

Sources of lute music

6. The Low Countries, c1545–1626.

Before the growth of a native school late in the century, the thesauri published at Leuven by Phalèse between 1545 and 1575 constituted almost the entire output of lute music in the Low Countries. Although sometimes unjustly reproached for his musical piracy, Phalèse (and his later partner at Antwerp, Bellère) provided an important service by making available in French tablature a select range of pieces drawn from Italian, Spanish and German presses, through which much Continental lute music reached the British Isles.

Original Netherlandish lute music, which begins with Adriaenssen’s print (1584), at first echoes the international propensity for vocal forms nurtured by Italian composers, but Van den Hove’s later prints and manuscripts, and the widely influential books of Nicolas Vallet contain a forward-looking repertory of metrical psalms, distinct prelude-fantasia genres (some in style brisé), newer French dances, and (in Vallet’s books) explanation of graces, the most vital component of 17th century lute style, and notes on their use. The enormous ‘Thysius Lutebook’, copied by Adrian Smout at Leiden, exemplifies cross-Channel exchanges, with nearly a third of its some 626 pieces being of English origin (19 for lute ensemble). The last Netherlandish printed tablature, Valerius’s 1626 nationalistic account in song of the Netherlands revolution (fig.5), draws timbres from English, French and Netherlandish lute repertories.

Phalèse, Pierre, and Jean Bellère (publishers): Theatrum musicum, longe amplissimum (Antwerp, 1571) (RISM 1571¹⁶; BrownI 1571⁶). 126 ff.; 196 items (7 for duet): fantasias by Melchior Neusidler (8), Francesco da Milano (7), Kargel (5), Morlaye (3), Giovanni Maria da Crema (2), Paladino (2), Borrono and Raphael Viola; intabulations of chansons by Lassus (38), Clemens non Papa (9), Crecquillon (9), Sandrin (5), Sermisy (3), Certon (2), Godard (2), Pathie (2), Verius (2), Ebran, Arcadelt, Cadéac, Gascongne, Janequin, Lupi, Mittantier and Rore, of madrigals by Lassus (15), Arcadelt (4), Rore (3), Berchem, Domenico Ferrabosco, Pathie and Verdelot, of motets by Lassus (8), Clemens non Papa (3), Josquin (2), Jacquet of Mantua and Lupus, and of a Netherlandish song by Clemens non Papa; and 29 dances, including pieces by Barbetta (12), Le Roy (9) and Neusidler. 60 of the pieces appear in earlier Phalèse anthologies and are drawn from prints by Francesco da Milano (Venice, 1536), Castigliono (Milan, 1536), Borrono (Venice, 1546), Crema (Venice, 1546), Gintzler (Venice, 1547), Pietro Teghi (Leuven, 1547), Le Roy (Paris, 1551), Morlaye (Paris, 1552, 1558), Bakfark (Paris, 1564), Melchior Neusidler (Venice, 1566), Barbetta (Venice, 1569), Bakfark (Antwerp, 1569) and Kargel (Mainz, 1569).Berlin, Staatsbibliothek: Preussischer Kulturbesitz, Mus.autogr.Hove 1 (MS is in the hand of Joachim van den Hove and dated Leiden, 1615 on various folios). 178 ff. (some blank); 106 pieces for 9-course lute. It contains 2 preludes, 6 toccatas, a fantasia and intrada; 11 passamezzos (4 paired with galliards), 14 courantes, a sarabande, 4 voltes, 6 allemandes (1 entitled ‘Pools almande’ with 4 variations), 5 galliards, 2 pavan–galliard pairs (entitled ‘Inferno’ and ‘Paradiso’), 2 ballets, 3 English masqueradas, 2 masques (1 ‘du Roy’), 3 ‘bouffons’, a spagnoletta and 3 ‘fortunas angleses’; and intabulations of 11 Netherlandish songs, 3 chansons (1 by Lassus), and 10 madrigals and villanellas (1 by Domenico Ferrabosco, 2 by Striggio – intabulated by Romani). Editions: L. Liepmannssohn: Katalog 221: Musikalische Seltenheiten (Berlin, c1930) [facs.]; A. Quadt, ed. (1968–83)Vallet, Nicolas: Secretum musarum in quo vera et genuina dextre simul et prompte pulsandi ratio ad amussim proponitur/Le secret des muses, auquel est nayfuement demonstrée la vraye maniere de bien & promptement apprendre a sonner du luth/Het gheheymenisse der Zang-Godinnen, waer in levendich wort vertoont de rechte maniere om wel ende veerdichlijck op de luyt te spelen (Amsterdam: Nicolas Vallet, 1615/R1986–92 with preface by L.P. Grijpe and R. Spencer; repr. 1618 as Paradisus musicus testudinis, by J. Janssonius, from the same engravings). 6 + 94 pp.; 92 pieces for 7-course lute with 1 to 3 diapasons, grouped roughly by genre: 14 preludes and 5 fantasias (1 on the ‘passemeze’, another ‘mediante’ (chromatic)), 3 pavans (1 ‘en forme de complainte’, another ‘d’Espagne’), 4 passamezzos, 7 galliards (1 ‘anglois’, 1 ‘Essex’), 2 allemandes, 5 ballets, 3 bourrées (1 ‘d’Avignon’), 19 courantes (1 by Bocquet), 5 voltes (1 ‘de la complainte’), a ‘Brande yrlandt’, ‘Sarabande de Espagnole’, dance entitled ‘Courante-sarabande’, chaconne, moresca, ‘Une jeune fillette’ and ‘Mall Simms’; 3 chansons (2 by Le Jeune and 1 ‘anglois’), 3 Dutch and 2 Polish pieces, and 13 miscellaneous compositions with descriptive titles (‘Les pantalones’, ‘La sigrolle’, ‘L’espagnolle’, ‘La daulphine’, ‘Guillemette’, etc.). It includes a valuable 5-page treatise on lute playing (Petit discours contenant la manière de se bien servir … du present livre … par lequel on peut en peu de temps arriver ala vraye connoissance du vrai maniment du luth), containing information on left-hand positions, right-hand fingering (including extension of the thumb in the Baroque manner) and ornamentation (part pubd by J. Wolf (1919) and J. Dodge (1907–8) [see Le second livre, ‘Literature’], and in facs. by A. Souris and M. Rollin (1970)).Vallet, Nicolas: Le second livre de tablature de luth, intitulé Le secret des muses … fort faciles & utiles pour tous amateurs/Het tweede boeck van de luyt-tablateur, ghenoemt Het gheheymenisse der Sangh-Godinnen (Amsterdam: Nicolas Vallet, 1616/R, 3/1619) (RISM 1619¹⁷). 56 pp.; 36 compositions (7 for lute quartet): 9 ballets (1 ‘des gueux’, another ‘L’escoisse’), 2 bourrées, 2 branles (‘Loreyn’ and ‘de la Royne’), 2 fantasias (1 by L’Espine), a pavan and passamezzo d’Italie/galliard, 5 French, Dutch and English pieces (incl. ‘Mall Simms’) and the ‘Onse Vader in hemel’, and 6 pieces with descriptive titles (‘Battaille’, ‘Carillon’, ‘La pinçante’, ‘La piccarde’, ‘La volecte’ etc.); the quartets (for lutes pitched D, G, A, d) consist of 2 ballets, a chanson and courante based on it, a galliard and 2 additional chanson arrangements. Facsimiles: J. Wolf (1927), pl.73; MGG1, ii, 1009–10, 1011–12. Editions: ZHMP, ii (1962) [2 pieces]; K.H. Yong, ed.: Nederlandse luitmuziek uit de 17e eeuw (Nijmegen, 1965) [3 pieces], A. Souris and M. Rollin, ed.: Oeuvres de Nicolas Vallet pour luth seul, CM, Corpus des luthistes français (1965, 2/1989) [incl. facs. of the Petit discours]. Literature: D.F. Scheurleer: ‘Het luitboeck van Nicolaas Vallet’, TVNM, v/1 (1896), 13–39 [incl. selected transcrs.]; D.F. Scheurleer: ‘Twee bijdragen tot de geschiedenis van Nicolaas Vallet’, TVNM, vi/3 (1899), 176–8; J. Dodge: ‘Ornamentation as Indicated by Signs in Lute Tablature’, SIMG, ix (1907–8), 318–36 [quotes from Petit discours]; J. Wolf (1919), ii, 149; H.-P. Kosack (1935), 43 only, 72–4; M. Falk: ‘Die Lautenbücher des N. Vallet’, SMz, xcviii (1958), 148–52; M. Falk: ‘De Amsterdamse liutspeler N. Vallet’, Mens en melodie, xiv (1959), 140–43; S. Buetens: ‘Nicolas Vallet’s Lute Quartets’, JLSA, ii (1969), 28–36 [incl. 1 piece]

BIBLIOGRAPHY

J.P.N. Land: Het luitboek van Thysius, beschreven en toegelicht (Amsterdam, 1889); orig. in TVNM, i/3 (1884), 129–95; i/4 (1885), 205–10; ii/1 (1885), 1–56; ii/2 (1886), 109–74; ii/3 (1887), 177–94; ii/4 (1887), 278–350; iii/1 (1888), 1–57 [incl. part listing of contents with some incipits; see also R. Eitner, MMg (1886), 39–43; xix (1887), 11–12]

G. Robyns-Becquart: Les livres de luth de Pierre Phalèse (diss., Catholic U. of Leuven, 1956)

F. Noske: ‘Remarques sur les luthistes des Pays-Bas (1580–1620)’, Le luth et sa musique: Neuilly-sur-Seine 1957, 179–92

A. Souris, M. Rollin and F.-P. Goy, eds.: Oeuvres de Nicolas Vallet, CM, Corpus des luthistes français (Paris, 1965, 2/1989)

H. Vanhulst: ‘Edition comparative des instructions pour le luth, le cistre et la guitare publiés à Louvain par Pierre Phalèse (1545–1579)’, RBM, xxxiv–xxxv (1980–81), 81–105

The Complete Works of Nicolaes Vallet (Utrecht, 1986–92) [facs. with introduction by L.P. Grijp and biographical study by R. Spencer]

H. Quittard: ‘L'Hortus Musarum de 1552–53 et les arrangements de pièces polyphoniques pour voix seule et luth’, Musique ancienne, xxiii (1989), 30–59

H. Vanhulst: ‘A Fragment of a Lost Lutebook Printed by Phalèse (c1575)’, TVNM, xl/2 (1990), 57–80

Sources of lute music

7. English lute music.

English solo lute music comprises some 1600 pieces contained in about 60 books, nearly all manuscript (a repertory nearly four times as great as that for virginals), while the sources of the lute ayre, on the other hand, are mostly prints. The earliest manuscripts, c1540–70, reflect the English proclivity for dances, grounds and song arrangements. Although works by continental lutenists such as Narváez, Francesco da Milano, Gorzanis and Melchior Neusidler (some of whose works reached England through the Leuven prints of Phalèse) are scattered through second-generation sources, dance forms by native composers occur with increasing frequency until they soon dominate the repertory.

One of the consummate periods in the entire history of lute music was reached between 1590 and 1626, a classical phase as English lutenists headed by John Dowland (whose works are represented in nearly every source) effected a successful synthesis of imported techniques, forms and styles with inherent gifts for melody and variation. The sources are overflowing with pavans and galliards, almans and courantes, fancies on Italian models, miniature toys and jigs, and many grounds, particularly the quadro and passymeasures, the Rogero, ‘le vecchie’ and the ubiquitous funereal dump. The only printed collections of solo lute music appeared at this time, the books of Barley (1596) and Robert Dowland (1603), alongside some 35 prints devoted to the lute ayre. The ayres were printed with the vocal parts so disposed on the page that the pieces could be performed as solo songs with lute or as partsongs with the singers seated around a table (for illustration, see Table-book), and include books by Dowland, Morley, Cavendish, Allison, Robert Jones (ii), Rosseter, Pilkington, Coprario, Danyel, Campion, Ferrabosco and others – for the most part composers who did not contribute substantially to the solo lute repertory.

With the appearance at court of Jacques Gautier in 1619 and the death of Dowland in 1626, indigenous English lute style declined before a gradual encroachment of French influences, well documented in Filmer’s French Court-Aires, with their Ditties Englished (1629), and in manuscripts such as Lord Herbert of Cherbury’s Lutebook and the Burwell Tutor. By 1676, as Mace recorded in his nostalgic Musick’s Monument, or A Remembrancer of the Best Practical Musick, the lute had been almost entirely ousted by the louder Italian chitarrone, an instrument more suited to thoroughbass realization, although several collections of Scottish tunes arranged for lute or mandore deserve mention.

London, British Library, Roy.App.58., ff.51v–56 (8 short pieces copied c1547–55 in a collection of miscellaneous keyboard and part-music). The pieces include intabulations of a Dutch lied (‘Ough warder mount’) and of 4 English songs (‘Pastyme with good companye’, by ?Henry VIII, ‘In wynter’s just returne’, etc.), and ‘The Duke of Somersett’s’ and ‘Queen Marie’s’ dumps. Literature: A. Byler (1952), 43, 125 [complete transcr.]; D. Lumsden (1955), i, 165; J.M. Ward: ‘The Lute Music of MS Royal Appendix 58’, JAMS, xiii (1960), 117–25 [discussion, facs. and transcrs. of the 8 pieces]; J.M. Ward (1992), i, 13–16 [incl. concordances], ii, exx.8b, 9a, 13, 126 [transcr.]Washington, Folger Shakespeare Library, V.a.159 (olim 448.16): the so-called Giles Lodge Book. 136 ff. (24 containing lute tablature); a commonplace-book of a novice player containing recipes and remedies, instructions on writing a testament, etc., a grammar school play (July and Julian), and 38 lute pieces. Ff.3–13 (27 pieces copied c1559–71): 10 English songs (‘Will you walk the woods so wilde’ attrib. Charles Jackson, ‘Blame not my lute’, ‘In winter’s just retorne’, etc.), ‘Mounsiers Almayne’, 2 pavans (1 by Weston), 4 galliards, ‘The bagpipes horn pipe’, ‘The antycke’ (i.e. ‘Les bouffons’), and other untitled and miscellaneous pieces. Ff.13v–21 (11 pieces copied c1572–6): 5 English songs (‘Maid wil you marie’, ‘The upright esquire’, ‘All of a greene willow’, etc.), a pavan by Weston, 2 galliards (including a French galliard by Johnson), ‘Militis dumpe’, ‘Brawl’ (branle) by ‘F.G.’, and an alman. Literature: G. Dawson and A. Brown, eds.: July and Julian, Malone Society Reprints (Oxford, 1955) [incl. facs. of 1 page from lute section, facing p.xvi); D. Lumsden (1955), i, 266; J.M. Ward: JAMS, x (1957), 151–80 [incl. 2 transcrs.]; J.M. Ward: JAMS, xx (1967), 28–86 [incl. 3 transcrs.]; F.W. Sternfeld: Music in Shakespearean Tragedy (London, 1963) [transcr. and facs.]; MGG1, xii, 615–16 [facs.]; J.M. Ward (1992), i, 16–21, 87–8 [incl. concordances], ii [27 transcrs.]Dublin, Trinity College Library, D.3.30/i, Book: Thomas Dallis Pupil’s Lute (dated Cambridge, 1583, but containing a repertory from the 1570s). 254 pp.; 288 compositions (198 for lute solo, 4 lute duets, 1 lute trio, a lute quintet, 20 lute and voice pieces, a branle for cittern, and 8 pieces for bandora): 21 sacred pieces (Dutch and English psalms, 3 Magnificat settings, a Nunc dimittis and ‘Vader onse’), 2 by Dallis; 16 chansons by Janequin (2), Lupi (2), Sandrin (2), Cadéac, Crecquillon, Josquin (intabulated by Spinacino in 1507), Lassus, Villiers and Van Wilder; 10 Italian madrigals and villanesche by Arcadelt, Gorzanis and Pathie (including 2 settings of ‘Era di maggio’); 4 English songs (2 set by Adriaenssen); fantasias by ‘M. Antonio’, Dallis and Francesco da Milano, and a ricercare by Spinacino; 4 grounds (‘Rogero’, In Nomine and ‘Queen Marys Dumpe’); c142 dances: 63 passamezzos (‘hauboys’, ‘d’Italie’, ‘Zorzy’, ‘rocha el fuso’, and many on the antico and moderno formulae) by David [?Pollacky] (13), Gorzanis (8), Barbetta, Padbrué and Newman; 3 passamezzo–galliard pairs (1 on the In Nomine for 2 lutes by Strogers); 36 pavans (‘quadro’, ‘flatt’, ‘La vecchie’, etc.) by John Johnson (i) (5), Peter Philips (3), Brewster, Byrd, Cotton, F. C(?utting) and Weston; 25 galliards (‘Chi passa’, ‘Wigmores’, ‘Earle of Oxford’, ‘Cara cossa’, ‘All a greene willow’, etc.) by Johnson (3) and Dallis; 3 pavan–galliard pairs, including 1 by Peter Philips arranged by Thomas Wudd, and 1 by Newman; 6 almans including ‘Queens’, ‘Princes’ and ‘Slaepen gaen’). The 20 pieces for voice and lute include 3 Italian villancicos and songs by Byrd and Parsons. The bandora pieces include ‘Tinternel’, ‘Chi passa’, ‘Rogero’, pavans and galliards. The MS appears to draw heavily upon continental sources, particularly the various prints of Phalèse & Bellère (Leuven and Antwerp, 1552–84). The unrelated Dublin Virginal Manuscript (D.3.30/ii) is bound with the Dallis Book. Edition: C. Goodwin, ed.: The English Lute Song before Dowland, i (Guildford, 1996). Literature: H.M. FitzGibbon: ‘The Lute Books of Ballet and Dallis’, ML, xi (1930), 71–7 [incl. 1 facs.]; J.M. Ward: ‘The “Dolfull Domps”’, JAMS, iv (1951), 111–21; D. Lumsden (1955), i, 232; J.M. Ward: JAMS, x (1957), 151–80 [1 transcr.]; F.W. Sternfeld: ‘Lasso’s Music for Shakespeare’s “Samingo”’, Shakespeare Quarterly, ix (1958), 105–15; F.W. Sternfeld (1963), 46 [information on Dallis with facs. and transcr. of his setting of ‘All a greene willow’]; J.M. Ward: JAMS, xx (1967), 28–86 [incl. 1 transcr.]; J.M. Ward and others: ‘The Lute Books of Trinity College, Dublin’, LSJ, ix (1967), 17–40 [list of contents and concordances]; xii (1970), 43–4 [additions]Cambridge, University Library, Dd.2.11 (copied by Matthew Holmes c1590–1600 at Oxford and in Westminster). 101 ff.; 326 pieces (53 for bandora); the lute pieces include 74 galliards, 53 pavans, 12 almans, 5 courantes, 5 grounds, 8 toys and jigs (1 by Bull), a masque tune, 24 abstract pieces (fancies, preludes, In Nomines, etc.) by Alfonso Ferrabosco (3), Francesco da Milano (3), Holborne, Paradiso, Parsons and Taverner, and 11 intabulations of chansons by Lassus (4), Sermisy, Gerarde, Arcadelt, Philips and Ferrabosco. The bandora pieces include 19 pavans (3 by Holborne and 2 by Dowland), 5 galliards (1 by Cutting), 6 grounds by Holborne, and 9 fantasias (2 by Holborne and 1 by Allison). Editions: M. Kanazawa, ed. (1967) [incl. 13 bandora pieces]; B. Jeffery, ed. (1968) [5 pieces and facs.]; A.J. Ness, ed.: The Lute Music of Francesco Canova da Milano, HPM, iii–iv (1970), nos.82–3, appx no.29. Literature: D. Lumsden (1955), i, pp.181, 204, 212, 220; I. Harwood: ‘The Origins of the Cambridge Lute Manuscripts’, LSJ, v (1963), 32–48New Haven, Yale University, School of Music Library, Ma.21.W.632: the so-called ‘Wickhambrook’ Lute Manuscript. 68 ff. (10 blank); 25 pieces: 3 intabulations of chansons by Arcadelt, Lassus and Peter Philips, 7 pavans (‘Le vecchie’, ‘Spanish’, etc.) by Johnson (4) and Philips; galliards by Holborne, Johnson and Knowles; a ground by Johnson; and an alman and 3 other pieces by Dowland (‘Tarleton’s Resurrection’, ‘My Lord Willoughbye’s Tune’, ‘Mistris White’s Dumpe’). The MS also contains the ‘La vecchie’ pavan–galliard for lute duet. Editions: D. Poulton and B. Lam, eds. (1974), nos.50, 59; D.E.R. Stephens, ed.: The Wickhambrook Lute Manuscript, Collegium Musicum, iv (New Haven, 1963); Monuments of Music and Music Literature in Facsimile, 3rd ser., iii (New York, 1974). Literature: R. Newton (1938–9); D. Lumsden (1955), i, 280Dublin, Trinity College Library, D.1.21/ii. 42 pp.; 63 pieces (1 for viol). An important source for broadside ballad tunes, here in simple, unadorned settings; the MS, though bound with the Ballet Lutebook, is unrelated to it. 27 popular tunes (‘Lusty gallant’, ‘The woods so wilde’, ‘The hunt is up’, ‘Greensleeves’, ‘Turkeylony’, etc.); 10 galliards, 8 pavans, and other miscellaneous pieces (‘Earle of Darbye’s Coraunta’, ‘Orlando Sleepeth’, ‘Scotis jig’, ‘Buffons’, a toy, march, etc.). Composers include Johnson (5), Pearce (2), Cotton, Newman and Robinson. Editions: W. Chappell: Popular Music of the Olden Time (London, 1855–9), i, pl.3 [quasi-facs. of ‘Greensleeves’]; O. Chilesotti, ed. (1891), 17 [1 transcr.]; G. Bontoux: La chanson en Angleterre au temps d’Elizabeth (Oxford, 1936), pl.iv [facs.]. Literature: A.M. FitzGibbon: ‘The Lute Books of Ballet and Dallis’, ML, xi (1930), 71–7 [incl. 2 facs.]; A. Byler (1952), 99, 189; D. Lumsden (1955), i, 244; D. Poulton: ‘Notes on the Spanish Pavan’, LSJ, iii (1961), 5–16; F.W. Sternfeld (1963) 70–78 [incl. 2 transcrs.]; C.M. Simpson: The British Broadside Ballad and its Music (Brunswick, NJ, 1966); J.M. Ward: ‘The Lute Books of Trinity College, Dublin’, LSJ, x (1968), 15–32 [list of contents with concordances and 4 facs.]London, British Library, Add.4900, ff.54v–65v. 18 songs (1 duet) by Heywood, Johnson, Taverner and Sheppard. Edition: C. Goodwin, ed.: The English Lute Song before Dowland, ii (Guildford, 1997). Literature: U. Olshausen (1963), 241–5Glasgow, University Library, Euing 25 (olim R.d.43): Euing Lutebook. 8 + 50ff.; 71 pieces: 6 fantasias by Dowland, 19 pavans (‘Lacrimae’, ‘Captain Piper’s’, etc.), 20 galliards (‘Mr. Langton’s’, ‘Melancholy’, ‘Earle of Derby’s’, etc.), 4 almans and a French volte, and 22 miscellaneous pieces, including ‘Image of Mr. Melancholy’, ‘Loath to depart’, ‘Infernum’ and ‘Countess of Pembroke’s funeral’, and Dowland’s ‘Mrs. Winter’s Jump’, ‘Fortune my foe’, ‘Solus cum sola’, ‘My Lorde Willoughbye’s Welcome home’, ‘Goe from my window’, ‘Semper dolens’, ‘Aloe’. Other attributions are to Dowland (17), Cutting (7), Holborne (6), Alfonso Ferrabosco (3), Bacheler (2), Robert and John Johnson (2), Askew, Bulman and Cavendish. The MS also contains thoroughbass instructions in verse (? by Ferdinando Gunther) for theorbo, c1680 (ff.50, 135–54v). Editions: M. Kanazawa, ed. (1967), nos.21, 25, 29; D. Poulton and B. Lam, eds. (1974), nos.9, 10, 72, 76, 78; Monuments of Music and Music Literature in Facsimile, 3rd ser., ii (New York, 1974). Literature: D. Lumsden (1955), i, 167Washington, Folger Shakespeare Library, V.b.280 (olim 1610.1): the so-called ‘Dowland’ Lutebook (c1600). 136 ff. (54 blank and some torn out); 44 complete pieces: 5 pavans (‘Leveche’, ‘Lacrimae’, ‘Delight’, etc.), 6 galliards (‘Lord of Oxford’, ‘Battel’, ‘Frogg’, etc.), a ‘passinmeser’ pavan–galliard, 4 almans (‘Mrs. Clifton’s’ [? in Dowland’s hand], ‘My Lady Hunsdons’, etc.), ‘Cobbler’s Jig’, ‘Zouch’s March’, 7 courantes and a volta, 11 English tunes and variation sets (‘Mall Syms’, ‘Robin is to the greenwood gone’, ‘What if a day’, ‘Paul’s Wharf’, ‘The voice’, etc.), and 6 duets and consort parts (including ‘Green slivis’). The MS contains attributions to Dowland (10), Robert and John Johnson (6) and Allison. Dowland’s autograph appears on ff.11v, 12v, 14, 16, 22v (incl. the tablature; facs. in EMc, iii, 1975, 117). Editions: B. Jeffery, ed. (1968) [3 facs. and transcrs.]; D. Poulton and B. Lam, eds. (1974), nos.23a, 39, 42, 48a, 53, 55, 66 and 79. Literature: R. Newton (1938–9) [incl. facs.]; J.M. Ward: ‘The So-called “Dowland Lute Book”’, JLSA, ix (1976), 5–29Robinson, Thomas: The Schoole of Musicke (London: Thomas East, 1603/R) (RISM, R1800). 28 ff.; a lute method with instructions on reading tablature, singing, right- and left-hand fingering, tuning, with 4 psalm tunes for voice and lute and 34 pieces (6 duets) for 7-course lute: Spanish pavan, 5 galliards, 2 almans, 13 toys and gigues, 9 variation sets and arrangements (‘Go from my window’, ‘Row well, you mariners’, ‘Bonny sweet’ etc.), 3 grounds and a fantasia. Edition: D. Lumsden, ed.: Thomas Robinson: The Schoole of Musicke, CM, Corpus des Luthistes français (1971). Literature: D. Lumsden (1955), i, 296Dowland, Robert, ed.: A Musicall Banquet … collected out of the Best Authors in English, French, Spanish, and Italian (London: printed for T. Adams, 1610) (RISM 1610²⁰). 23 ff.; 21 pieces by Dowland (4), Caccini (2), Bacheler, Hales, Holborne, Martin, Melli and Tessier. Editions: EL, 2nd ser., xx; F.W. Sternfeld, ed. (1967–71), iv/19. Literature: Anon.: ‘Robert Dowland’s Musicall Banquet (1610)’, MA, i (1909–10), 45–55 [incl. 4 transcrs.]; D. Poulton (1972), 314–17Dowland, Robert, ed.: Varietie of Lute-lessons (London: T. Adams, 1610/R) (RISM 1610²³). 36 ff.; 42 compositions for 9-course lute with 2 diapasons, grouped 7 pieces per genre: fantasias by Cato, ‘Knight of the Lute’ [?Lorenzini], Reys, Lorenzini, Huet; pavans by Moritz, Landgrave of Hesse, Holborne, Morley; galliards; almans (‘maskes’); courantes by Saman (2), Ballard and Perrichon; and voltes. Other composers include John Dowland (7), Bacheler (2), Robert Dowland (2), Alfonso Ferrabosco (2), Guilford and Smith. The print includes a translation of Jean-Baptiste Besard’s instructions on lute playing (Cologne, 1603) with ‘Necessarie observations’ by John Dowland (ed. W. Nagel, MMg, xxiii, 1901, 145–62). Editions: E. Hunt, ed.: Varietie of Lute-lessons (London, 1956) [transcrs.]; D. Poulton and B. Lam, eds. (1974), nos.1a, 14a, 40, 41, 42a, 43a, 44a, 45 and 47. Literature: D. Lumsden (1955), 303; D. Poulton (2/1982), 109–12, 387–90 [quotes from instructions for tuning and fretting]Dowland, John: A Pilgrimes Solace (London: M. Lownes, J. Browne, T. Snodham, 1613/R) (RISM D3486). 24 ff.; 21 ayres in 4 parts with lute and a galliard on Lachrymae for lute solo. Editions: EL, 1st ser., xii, xiv; F.W. Sternfeld, ed. (1967–71), iv/18; MB, vi (2/1963). Literature: D. Poulton (2/1982), 287–320Tailour, Robert: Sacred Hymns (London: T. Snodham, 1615) (RISM T54). 136 pp.; 50 psalms in 5 parts with lute and viol.Mason, George, and Earsden, John: The Ayres that were Sung and Played, at Brougham Castle in Westmerland, in the Kings Entertainment: given by the Right Honourable the Earle of Cumberland (London: T. Snodham, 1618/R) (RISM M1256). 10 ff.; 10 ayres and dances. Editions: EL, 2nd ser., xviii; F.W. Sternfeld, ed. (1967–71), viii/31. Literature: U. Olshausen (1963), 285–6, appx 27Cambridge, King’s College Library, Rowe 2: the Turpyn Book of Lute-songs (copied c1600–25). 21 ff.; 13 ayres by Dowland (3), Hales, Jones, Morley and Parsons. Editions: R. Rastall, ed.: Early Music in Facsimile, ii (Leeds, 1973); R. Rastall, ed.: The Turpyn Book (Kilkenny, 1973). Literature: P. Oboussier: ‘Turpyn’s Book of Lute-Songs’, ML, xxxiv (1953), 145–9; U. Olshausen (1963), 260London, British Library, Add.15117: Swarland Book (fig.6). 23 ff.; 34 ayres and sacred songs by John Dowland (4), Byrd (3), Leighton (2), Morley (2), Robert Dowland, Ferrabosco, Hume, Jones, Parsons and Tallis. Edition: E.B. Jorgens, ed.: British Library Manuscripts, i (New York, 1986). Literature: P. Seng: ‘The Earliest Known Music for Desdemona’s “Willow Song”’, Shakespeare Quarterly, ix (1958), 419–22; M. Joiner: ‘A Song in “Damon and Pithias”’, ML, xlix (1968), 98–100; M. Joiner: ‘British Museum Add. MS 15117: an Index, Commentary and Bibliography’, RMARC, no.7 (1969), 51–109; no.8 (1970), 102 onlyCambridge, Fitzwilliam Museum, Mus.689: Lute Book [of Lord Herbert of Cherbury] containing Divers Selected Lessons of Excellent Authors in Severall Cuntreys (c1619–40). 94 ff.; 248 compositions grouped roughly by key (g/d, f/F, E, B/b, c/C, a, A/f): 94 preludes, fantasias and a fugue, 24 pavans, 7 galliards, 2 almans, 76 courantes, 3 sarabandes, 17 voltes, a ballet and a chaconne, and other pieces (‘Pseaume 5’, ‘Ehi’, ‘Sussana ung jour’, ‘angelica’, etc.) by Reys (31), Gaultier (21), Bacheler (20), Cato (13), Despont (12), du Gast ‘Gentilhomme Provencal’ (10) Perrichon (10), Herbert (9), Belleville (8), Holborne, Polonois [?Reys] (8), Saman (8), Heart (5), Johnson (5), Ballard (4), Sweelinck (4), Bataille (3), Dowland (3), Rosseter (3), Cavalier (2), Courroy (2), Lorenzini (2), Bocquet, Coprario, Ferrabosco, Harding, L’Enclos and L’Espin. Editions: A Souris, M. Rollin and others, eds.: Oeuvres de Chancy, Bouvier, Belleville, Dubuisson, Chevalier, CM, Corpus des luthistes français (1967) [6 pieces]; Oeuvres des Bocquet, ibid. (1972) [1 piece]; Oeuvres de Vaumesnil, Perrichon, Raël, Montbuysson, La Grotte, Saman, La Barre, ibid. (1974) [9 pieces]; M. Kanazawa, ed. (1967), nos.15, 16; F. Noske, ed.: J.P. Sweelinck: Opera omnia, editio altera, i/3 (Amsterdam, 1968) [4 transcrs. and a facs.]; complete vol. (Geneva, forthcoming). Literature: T. Dart: ‘Lord Herbert of Cherbury’s Lute-Book’, ML, xxxviii (1957), 136–48; F. Noske: ‘Luitcomposities van J.P. Sweelinck’, Orgaan van de Koninklijke Nederlandsche toonkunstenaars-vereenigung, xii (1957), 46–8; F. Noske: ‘Remarques sur les luthistes des Pays-Bas (1580–1620)’, Le luth et sa musique: Neuilly-sur-Seine 1957, 179–92; C. Price: ‘An Organizational Peculiarity of Lord Herbert of Cherbury’s Lute Book’, LSJ, ix (1969), 3–27; P. Poźniak: ‘Wersja kamerlna i lutniowa jednej z fantazji Diomesesa Catona’, Muzyka, xiii (1968), 79–82 [incl. transcr.]; P. Pózniak: ‘Utwory polskich lutnistów w rękopisie lorda Herbaerta of Cherbury’, Z dziejow muzyki polskiej, xv (1971), 27–40 [incl. transcrs.] B. Cockburn: The Music of Cuthbert Hely in Cambridge, Fitzwilliam, MS 659 (diss., U. of Arizona, 1988) [incl. complete transcription of the Hely pieces]; J. Craig-McFeely: ‘A Can of Worms: Lord Herbert of Cherbury’s Lute Book’, The Lute, xxxi (1991), 20–35London, Royal Academy of Music, MS.604 (formerly part of the private collection of Robert Spencer): the Burwell Lute Tutor (copied c1660–72, perhaps by John Rogers). 92 pp.; instructions prepared for Mary Burwell Walpole on the French style of lute playing, with many short examples and exercises, and 11 complete pieces by Dubut, Ennemond Gaultier, Jacques Gautier, Mercure, Pinel and Vincent. Edition: T. Dart: ‘Miss Mary Burwell’s Instruction Book for the Lute’, GSJ, xi (1958), 3–62 [part edn of text, with musical examples in tablature and transcr.]. Reproductions of EMc, i (1974) [with introduction by R. Spencer]. Literature: F. Rosse: ‘Studio introduttivo sul Burwell Lute Tutor’, Il ‘Fronimo’, xlix (1984), 20–34; l (1985), 53–84Manchester, John Rylands Library: the Crawford Lutebook (on loan from the Earl of Crawford and Balcarres). 200 pp. (63 blank); c230 pieces: mostly Scottish songs, many set several times (‘Celia is my foe’, ‘I love my love in secret’, ‘Willie winks’, ‘Greensleeves’, ‘I was but a furlong from Edinburgh’, ‘Scots measure’, ‘Tweedsyde’, ‘Sugar candie’, ‘The Lady Errols delight’, ‘Greene grow the rushes’, ‘Over the moor to Maggie’, ‘Buckingham’, ‘John come kiss me now’, etc.), and c30 dances of French origin (minuets, sarabandes, canaries, etc.) with attributions to Gallot (12), Morton (5), Gaultier (2) and Mercure. The songs have many attributions to John Morrison (or Jean Mores), David Grieves, John Red, Lesslie, John McLachland and McLaughlen, and often appear to have been arranged by ‘Mr. Beck’ and his daughter, who also included many of their own pieces. Literature: M. Spring (1987); M. Spring: ‘The Balcarres Ms’, The Lute, xxxii (1992), 2–45

BIBLIOGRAPHY, COLLECTED EDITIONS

Sources of lute music, §7: English lute music

BIBLIOGRAPHY, COLLECTED EDITIONS

SpinkES

E.H. Fellowes, ed.: English School of Lutenist Song Writers, 1st ser. (London, 1920–32), 2nd ser. [without tablature] (London, 1925–7) [ESLS]; both rev., enlarged, by T. Dart, I. Spink and others as The English Lute-Songs (London, 1968–) [EL]

P. Warlock: The English Ayre (London, 1926/R)

P. Warlock and P. Wilson, eds.: English Ayres, Elizabethan and Jacobean (London, 1931)

R. Newton: ‘English Lute Music of the Golden Age’, PMA, lxv (1938–9), 63–92

B. Pattison: Music and Poetry of the English Renaissance (London, 1948/R, 2/1970)

A. Byler: Italian Currents in the Popular Music of England in the 16th Century (diss., U. of Chicago, 1952)

T. Dart and N. Fortune, eds.: John Dowland: Ayres for Four Voices, MB, vi (1953, 2/1970)

D. Lumsden, ed.: An Anthology of English Lute Music (London, 1954)

N. Greenberg, W.H. Auden and C. Kallman, eds.: An Elizabethan Song Book (Garden City, NY, 1955/R1970 as An Anthology of Elizabethan Lute Songs, Madrigals, and Rounds)

D. Lumsden: The Sources of English Lute Music, 1540–1620 (diss., U. of Cambridge, 1955) [incl. thematic index and concordances]

J.M. Ward: ‘Music for “A Handefull of pleasant Delites”’, JAMS, x (1957), 151–80

R.J. McGrady: The English Solo Song from William Byrd to Henry Lawes (diss., U. of Manchester, 1963)

U. Olshausen: Das lautenbegleitete Sololied in England um 1600 (Frankfurt, 1963)

D. Greer: ‘The Lute Songs of Thomas Morley’, LSJ, viii (1966), 25–37

D. Greer: ‘Campion the Musician’, LSJ, ix (1967), 7–16

M. Kanazawa, ed.: The Complete Works of Anthony Holborne, HPM, i (1967)

J.M. Ward: ‘Apropos The British Broadside Ballad and its Music’, JAMS, xx (1967), 28–86

D. Greer: ‘The Part-Songs of the English Lutenists’, PRMA, xciv (1967–8), 97–110

F.W. Sternfeld and others, eds.: English Lute Songs, 1597–1632, i–ix (Menston, 1967–71) [repr. of selected vols. from ESLS and elswhere]

W.W. Newcomb: Studien zur englischen Lautenpraxis im elisabethanischen Zeitalter (Kassel, 1968)

D. Lumsden, ed.: Music for the Lute (London, 1968–79) [most with facs. of the orig. tablature]: (i) Elizabethan Popular Music, ed. B. Jeffery: (ii) Francis Cutting: Selected Works, ed. M. Long; (iii) Francis Pilkington: Complete Works for Solo Lute, ed. B. Jeffery; (iv) Robert Johnson: Complete Works for the Lute, ed. A. Sunderman; (v) Daniel Bacheler: Selected Works, ed. M. Long; (vi) William Byrd, ed. N. North; (vii) Easy Lute Music, ed. A. Simpson; (viii) Alfonso Ferrabosco: Collected Works for Lute and Bandora, ed. N. North

E. Doughtie: Lyrics from English Airs, 1596–1622 (Cambridge, MA, 1970)

I. Spink, ed.: English Songs, 1625–1660, MB, xxxiii (1971)

D. Poulton: John Dowland (London, 1972, 2/1982)

D. Poulton and B. Lam, eds.: The Collected Lute Music of John Dowland (London, 1974)

J.M. Ward: ‘A Dowland Miscellany’, JAMS, x (1977), 5–153

L. Nordstrom: ‘The Lute in Settings for Consort’, Lute Symposium: Utrecht 1986, 50–63

M. Spring: The Lute in England and Scotland after the Golden Age (1620–1750) (diss., U. of Oxford, 1987)

J.M. Ward: Music for Elizabethan Lutes (London, 1992)

J. Craig-McFeely: English Lute Manuscripts and Scribes, 1530–1630 (diss., U. of Oxford, 1994)

Sources of lute music

8. French sources, 1600–99.

When the publication of lute music resumed in France after a 30-year lapse due to religious strife, the nature of the repertory had been considerably transformed: in the books of Antoine Francisque (1600) and Robert Ballard (1611–14) intabulations of vocal works are virtually absent, preludes and fantasias are distinct types, and the new court dances predominate, especially the ballet, branle, volte, entrée and the most frequently encountered dance of the epoch, the courante. The anthologies published by Ballard’s son, Pierre (1623–38), provide a good cross-section of first-generation composers (the only notable omissions are Bocquet and Ennemond Gaultier); these are the first printed sources to employ the accords nouveaux, a proliferation of (ultimately 28) different tunings, all stressing the interval of a 3rd between courses: G-c-f-a-c'-f'; G-c-f-a-c'-e'; G-c-f-a–c'-e', etc. (see Schulze-Kurz, 1990). (The air de cour repertory, for the most part by a separate group of composers, retained the Renaissance tuning in 4ths.) To accommodate the many tunings the sources segregate pieces by tuning and/or key into suite-like ordres: non-metrical prelude, allemandes, courantes and sarabandes, with less common genres (when they occur) clustered at the end (chaconnes, arrangements, folies d’Espagne, gavottes, etc.). After mid-century the tunings became stabilized in the ‘Baroque’ or standard D minor tuning: A-d-f-a-d'-f'.

A generation of composers active at this time has been called a ‘Parisian school’, and its works exerted practically unchallenged international domination. Headed by Denis Gaultier, the school included dynastic families of salon lutenists including the Pinels, Dubuts, Gallots and various Gautiers or Gaultiers, creating some still unresolved problems of attribution in the sources. The core of dances is further expanded with the regular inclusion of gigues and bourrées, and most of the sources show a profusion of literary, allegorical and depictive titles describing the alleged affective contents of the pieces; tombeaux (some for deceased lutenists) appear so regularly that they become a separate genre in their own right. Most prints (and some manuscripts as well) have extensive listings and descriptions of the many agréments with which the pieces abound, and it is not unusual to encounter as many different versions of a piece as there are sources for it: block chords in one version may elsewhere be broken up in style brisé (in essence a decorative device), different ornaments may be applied, rhythmic displacement (such as notes inégales) may occur, and a piece may even be rewritten in another key, tuning or mode. This style much influenced the French clavicinistes (see Ledbetter, 1987).

A convenient terminus for middle-generation sources is the publication in 1670 of Denis Gaultier’s music, towards the end of his career, thus foreshadowing the retrospective character of many succeeding sources, to which only Mouton and Gallot le jeune made significant contributions. Of the seven extant printed sources of the last third of the century, three are thoroughbass methods for lute or theorbo and a fourth is en musique – in normal notation. During the 1680s a vogue at court for the easily strummed guitar with its fashionable bucolic associations dealt French lute music a fatal blow, so telling that after 1700 virtually no lute sources of French provenance are known.

The French 17th-century solo repertory consists of some 50 manuscripts (many on manuscript paper printed by the Ballard firm) and 20 prints, and about 15 sources for the air de cour.

Francisque, Antoine: Le trésor d’Orphée (Paris: heirs of Robert Ballard and Pierre Ballard, 1600/R). 32 ff.; 69 pieces for 8-course lute with 1 diapason: 6 preludes and fantasias, 3 passamezzos and 3 pavanes, 3 galliards, 26 branles and a gavotte, 13 courantes, 12 voltes, and a ballett. Edition: H. Quittard, ed.: Le trésor de Orphée (Paris, 1906). Literature: L. de La Laurencie: ‘Les luthistes Charles Bocquet, Antoine Franciscque et J.-B. Besard’, RdM, x (1926), 69–77, 126–33; L. Lesca: ‘Antoine Francisque, joueur de luth et compositeur’, Musique ancienne, xix (1985), 45–56Aix-en-Provence, Bibliothèque Méjanes, 147(203)-R312: Manuscrit Reynaud. Ff.1–95 (copied c1600–20): 95 airs by Le Roy, Tessier, Bataille and others in Italian tablature with voice in mensural notation; ff.98–116v (copied c1650–60): 73 pieces for lute (3 with ‘contrepartie’ for a second lute) grouped according to tuning by Denis and Ennemond Gaultier (26), Pinel (5), Bocquet (2), Dubut (2), La Pierre, Lully (arr. by Trouché) (2), Bernace and Gayte. Edition: A. Souris, M. Rollin and others, eds.: Oeuvres du vieux Gautier, CM, Corpus des luthistes français (1966) [8 pieces]. Literature: A. Verchaly: Le ‘Livre des vers du luth’ (manuscrit d’Aix-en-Provence) (Aix-en-Provence, 1958)Airs de différents autheurs mis en tablature de luth, [premier]–sixiesme livre, ed. G. Bataille (Paris: Pierre Ballard, 1608–15/R). 6 vols.; 410 airs by Guédron (56), Bataille (36), Boesset (14), Vincent (12) and others. Septiesme–huictiesme livre, ed. P. Ballard (Paris, 1617–18). 2 vols.; 113 airs and psalms by Guédron (20), Boesset (15), Grand-Rue (14), Vincent (11) and others. Neufiesme–seiziesme livre, ed. A. Boesset (Paris, 1620–43). 8 vols.; 207 airs by Boesset (148), Guédron (19), Richard (6), J.B. Boesset (4), Auget (3) and Bataille (3). Editions: P. Warlock, ed.: French Ayres from Gabriel Bataille’s Airs de différents autheurs (Oxford, 1926); A. Verchaly, ed.: Airs de cour pour voix et luth (1603–1643) (Paris, 1961); Monuments of Music and Music Literature in Facsimile, 1st ser., xxxiii [books i–vi]. Literature: T. Gérold: L’art du chant en France au 17ème siècle (Strasbourg, 1921/R); P. Alderman: Anthoine Boesset and the ‘Air de cour’ (diss., U. of Southern California, 1946); A. Verchaly: ‘Gabriel Bataille et son oeuvre personnelle pour chant de luth’, RdM, xxvi (1947), 1–24; A. Verchaly: Chansons et airs de cour (Paris, 1954)Haslemere, Dolmetsch Library, II.B.1 (olim library of Max Kalbeck, Vienna): lutebook of Austrian origin (c1620). 287 ff.; c306 pieces (8 à corde avalée; a few in Italian tablature), grouped roughly by genre and key: 12 intradas, 4 fantasias, a capriccio and ‘fuga seu passagio’; 112 courantes and 6 sarabandes; 8 pavans, 36 galliards, 27 passamezzos (10 with saltarellos); 9 allemandes, 32 ballets, 38 voltes, 15 bergamasche, a ‘taned polski’, follie and canaries; 9 intabulations of napolitane (3 by Vecchi), and 13 miscellaneous pieces with fanciful titles (‘La testament’, ‘La Poulnoise’, ‘La Gaymbarde’, ‘La Matrizinie’, etc.). The few composer attributions include Besard (14), Ballard (12), M.A. Galilei (11), L’Espin (9), Vallet (8), Gaultier (7), Bocquet (5), La Grotte (4), Pietro Paolo Melli (4), Perrichon (3), ‘B’ (2), Guèdon de Presles (2), Lorenzini (2), Mercurius (2), Mesangeau (2), Reys (3), ‘Augustin’, ‘Baro di colon’, La Barre, Louys de Moy, Montbuisson and ‘VE’. (This scribe also copied CZ-Pnm, Ms.IV.G.18.) This is the MS from which W. Tappert copied 26 pieces (his copy is at D-Bsb Mus.Ms.40165). The original was never in that library: see W. Rave, p.44, and L. Liepmannssohn: Katalog 137 (Berlin, 1899), 28. Edition: A. Souris, M. Rollin and others, eds.: Oeuvres de René Mesangeau, CM, Corpus des luthistes français (1971) [2 pieces, after the Berlin copy]. Literature: W. Rave (1972), 44Ballard, Pierre, ed.: Tableture de luth de differens auteurs sur les accords nouveaux (Paris, 1631) (RISM 1631⁶), 78pp.; works by Bouvier (20), Chevalier (14), Dufaut (13), Chancy (12), Mesangeau (12), Robert Ballard (7; fig.7), Belleville (6), and Du Buisson (2), grouped by composer, tuning and key, into pseudo-suites: prelude (or recherche or intrada), allemandes, courantes (usually several), sarabandes and settings of timbres.

Paris, Bibliothèque du Centre National de la Recherche Scientifique: MS dated 1632 belonging to Bullen Reymes, an English student of René Mesangeau, and partially in Mesangeau’s hand (see Goy, 1988–9, p.190). 74 ff.; c125 pieces (and some fragments), most without title or attribution, but including works by Mesangeau (10), Merville (6), John la Flalle (4 pieces played ‘in the Queens maske on his harp’) and ‘Go’ (?Gaultier, 3 preludes). Many pieces omit use of the first course; right-hand finger indications and tenue signs are carefully shown. Another Mesangeau autograph is at US-Cn, Ms Case 7.Q.5. Edition: A. Souris, M. Rollin and others, eds.: Oeuvres de René Mesangeau, CM, Corpus des luthistes français (1971). Literature: M. Rollin: ‘A propos du manuscrit d’un élève de Mesangeau’, ibid., pp.xvii–xx; W. Rave (1972), 109–14Ballard, Pierre, ed.: Tableture de luth de differents autheurs sur les accords nouveaux (Paris, 1638) (RISM 1638⁷). 64 pp.; 41 pieces by Mesangeau (20), Dufaut (8), Bouvier (8) and Dubut (5), similarly arranged with a set of branles and 2 canaries. Editions: A. Souris, M. Rollin and others, eds. (1957–) [edns of all the pieces with information about the composers and their music]. Literature: W. Rave (1972), 101–03Berlin, Staatliche Museen (Kupferstichkabinett), Hamilton 142 (olim 78.C.12): [Denis Gaultier]: La rhétorique des dieux (c1652). 260 pp.; the famous manuscripts prepared for Anne de Chambre with 56 pieces grouped by tonality into suites (prelude, pavane, allemande, courante, etc.), each group headed with an engraving depicting the ‘passions’ associated with the mode. Many pieces have descriptive titles (‘L’héroïque’, ‘Mars superbe’, ‘Allemande: Le tombeau de Blanrocher’, etc.) and anecdotal commentaries about their expressive qualities. Some pieces are by Ennemond Gaultier. Tessier edition (1932) retains the order of Rhétorique but draws most of its pieces and facsimiles from the more ornate versions in Gaultier’s Pièces de luth and Livre de tablature (Paris, 1666; c1672). Editions: O. Fleischer: ‘Denis Gaultier’, VMw, ii (1886), 1–181 [edn with some other pieces; see also W. Tappert: ‘Zur Geschichte der französischen Lauten-Tabulatur’, Allgemeine deutsche Muzikzeitung (1886), no.23, p.140]; A. Tessier, ed. (1932) [facs. and transcrs., most after other sources]; A. Souris, M. Rollin and others, eds.: Oeuvres du vieux Gautier, CM, Corpus des luthistes français (1966) [7 pieces]; GMB, no.215; HAM, ii, no.211; D. Buch, ed.: Denis Gaultier: La rhétorique des dieux (Madison, WI, 1990). Facsimiles: MGG1, iv, pl.60 (facing 1442), 1471–2; viii, pl.16 (facing 362). Literature: M. Brenet (1899), 67–9; M. Brenet: ‘Les tombeaux en musique’, RHCM, iii (1903), 568–75, 631–8; A. Tessier: ‘Ennemond Gaultier, sieur de Nève’, Mélanges de musicologie offerts à M. Lionel de La Laurencie (Paris, 1933), 97–106; E.W. Häfner: Die Lautenstücke des Denis Gaultier (diss., U. of Freiburg, 1939); W. Rave (1972), 175; D. Buch: La rhétorique des dieux: a Critical Study of Text, Illustrations and Musical Style (diss., Northwestern U., 1983); C. Goldberg: ‘Appolon orateur’, Musik in Antike und Neuzeit, ed. M. van Albrecht and W. Schubert (Frankfurt, 1987), 67–76; A. Schlegel: ‘Bemerkungen zur Rhétorique des Dieux’, Gitarre & Laute, xi/1 (1989), 15–22; xi/2 (1989), 12–23; xi/4 (1989), 27–32; D. Buch: ‘The Coordination of Text, Illustration, and Music in Seventeenth-Century Manuscript: La rhéorique des dieux’, Imago musicale, vi (1989), 39–81; D. Buch: ‘On Dating the Lute Music in “La rhétorique des dieux”: New Evidence from Watermarks’, JLSA, xxv (1992), 25–37; F.-P. Goy: ‘Antiquité et Musique … “la rhétorique des Dieux”’, Bulletin de l'Association Guillaume Budé (Oct 1995, 263–76; A. Schlegel: ‘Was ich dank der Rhétorique des Dieux lernen konnte’, Die Laute, i (1997), 45–83Gallot, Jacques: Pièces de luth, composées sur differens modes … avec les folies d’Espagne, enrichies de plusieurs beaux couplets (Paris: H. Bonneüil, c1673–5/R). Copies are at CZ-Pu and US-Wc; a copy in F-Pc contains just the title-page, the contents being Mouton’s Livre, i. 77 pp.; 34 pieces, 16 in f (‘ton de la chèvre’) and 18 in a (comprising 3 suites and the folies d’Espagne); most pieces have fanciful titles, ‘Gigue la grande virago’, ‘Allemande la belle Lucrece’, ‘Gavotte la dauphine’, ‘Menüet la cigale’ – the first gavottes and minuets to appear in printed sources. The book contains 16 ‘reigles’ for performance, ornaments and left- and right-hand technique. Gallot promised a second livre that has not survived, although pieces for (or from) such a book may be in D-LEm II.6.14. Transcription: F-Pc Rés.1605 (20) by H. Quittard. Literature: W. Tappert: ‘Die Minuita – kein Menuett’, MMg, xxxiii (1901), 93–5; O. Chilesotti: ‘L’evoluzione nella scrittura dei suoni musicali’, RMI, viii (1901), 123–6 [1 piece with tablature]; O. Chilesotti: EMDC, I/ii (1914), 675 [1 piece with tablature]; L. de La Laurencie (1928/R), 110–12; M. Rollin: Revue des études du XVIIe siècle, nos.21–2 (1954), 463–79; H. Radke: ‘Bemerkungen zur Lautenistenfamilie Gallot’, Mf, xiii (1960), 51–5; C. Callahan: Jacques Gallot’s ‘Pièces de luth’: a Style Study and Critical Edition (diss., Ohio State U., 1963); W. Rave (1972), 246–8, 409–13New York, Pierpont Morgan Library, Morgan 17524 (c1677–83/R1997 with preface by C. Chauvel). 98 ff.; 34 pieces by Hurel, including suites in c, F, C, B and a, each with 1 or 2 preludes, and other miscellaneous dances, etc. (7 preludes, 2 allemandes, 8 courantes, 3 menuets de Poictou, 4 gavottes (1 ‘pour Mademoiselle de Lionne’), a gigue, 6 sarabandes (‘Boulonoise’, etc.), ‘Les pellerins’, a chaconne ‘pour Mademoiselle de la Balme’). The MS is copied (? by a professional hand) on paper printed by Robert Ballard. Literature: J.B. Holland: ‘Notes on a Lute Manuscript in the Pierpont Morgan Library’, AcM, xxxiv (1962), 191–4 [incl. facs.]; J.B. Holland: ‘The Pierpont Morgan Lute Manuscript: a Stylistic Survey’, AcM, xxxiv (1964), 1–18 [see also H. Radke: ‘Wodurch unterscheiden sich Laute und Theorbe?’, AcM, xxxvii (1965), 73–4]Perrine: Pièces de luth en musique avec des regles pour les toucher parfaitement sur le luth et sur le clavessin (Paris, c1680/R) (RISM [1680⁶]; RISM P1462). 72 pp.; 22 pieces in keyboard notation by Denis Gaultier (15) and Ennemond Gaultier (7) transcribed from the Pièces (c1670) and arranged in 3 suites: allemande (or fantasia), gigue, courantes, canaries (gigue or sarabande). Edition: A. Souris, M. Rollin and others, eds.: Oeuvres du vieux Gautier [6 transcrs.]. Literature: O. Fleischer: ‘Denis Gaultier’, VMw, ii (1886), 1–180 [with 2 transcrs. in appx]; H. Sommer: Lautentraktate des 16. und 17. Jahrhunderts in Rahmen der deutschen und französischen Lautentabulaturen (diss., U. of Berlin, 1923), 97Paris, Bibliothèque Nationale, Rés.823 (olim 22342): Recueil des plus belles pieces de lut des meilleurs maitres, sur les 14 modes de la musique, savoir sept en bemol, & sept en becare (copied c1690 by René Milleran, a pupil of Mouton and La Baule, and translator at the court of Louis XIV; R1977 with preface by F. Lesure). 120 pp.; 98 pieces copied in diverse colours for 6–11 course lute, some gathered into suites with tombeaux as second movements, by Mouton (26), V. Gaultier (26), Dupré d’Angleterre (4), Emond (4), Antoine Gallot (4), Jacques Gallot (3), Bocquet, Dufaut Delaunay, Hubert, Mercure, Pasch and La Baule, including the usual dances, a ‘balet polonais’, passacaille, brunettes arranged by Mouton (‘Le gris de lin’, ‘Le Cardinalle Revenir’, ‘Les tricotins’, etc.), and 8 pieces from Lully operas produced between 1659 and 1681, and arranged by Mouton. The MS is organized by key (c, C, d, D … b, B) and contains a valuable list of important lutenist composers of the time: Mouton, Ennemond Gaultier, Denis Gaultier, Jacques Gautier, ‘Gallot frères’, Gallot le jeune, Dufaut, Bocquet, ‘Dubut le père et les deux fils’, Mesangeau, Jasseve, Merville, Blanc Rocher (Charles Fleury), ‘Mrs Pinels’, Emond, Vignon, Le Fevre, ‘De Launay le père’, Porion, Jacquesson, d’Espon, ‘Bechon les deux frères’, Caron, La Baule, Solerat, Bourgsaisi, Dupré d’Angleterre, Valentin Strobel (ii), Niver, Raveneau, Berens, Chevalier, Esaias Reusner (ii), Otto, Eards, Gumprecht and Jakob Kremberg. Literature: M. Brenet (1899), 64; K. Koletschka: ‘E. Reussner der Jüngerer’, SMw, vii (1928), 18–45; W. Rave (1972), 264–70Nelahozeves, Lobkowitz Study Centre. II.Kk 80 (olim Prague, Hudební Oddělení, Universitní Knihovny). 140 pp.; 58 pieces, grouped by key (c, C, a, A, g, b, G) into suites, some with tombeaux as second movement and ending with chaconnes. MS perhaps copied by Charles Mouton for Ferdinand August Lobkowitz (1655–1715; see Rave, p.323). It complements items in Mouton’s extant Pièces (Paris, c1695): 17 movements are by Denis Gaultier, embellished in the style of Mouton (10 also have doubles by Mouton). Other pieces by Mouton (35) and Ennemond Gaultier (7) include a ‘sarabande en rondeau’, passacaille, menuet, ‘Sarabande Richelieu’ and ‘L’oraison de Mr. Gautier par Mouton’. Edition: A. Tessier, ed. (1932), nos.91–5 and pp.127–31 [7 pieces with 5 facs.; incorrectly cited as II.Kk 82]. Literature: W. Rave (1972), 316; J. Tichota, MMC, nos.25–6 (1973), 55

BIBLIOGRAPHY, COLLECTED EDITIONS

Sources of lute music, §8: French sources 1600–99

BIBLIOGRAPHY, COLLECTED EDITIONS

L. de La Laurencie: ‘Essai de chronologie de quelques ouvrages de luth’, RdM, i (1917–19), 227–32

A. Tessier: ‘Quelques sources de l’école française de luth du XVIIe siècle’, IMSCR I: Liège 1930, 217–24

A. Tessier: La rhétorique des dieux et autres pièces de luth de Denis Gautier (Paris, 1932)

M. Rollin: ‘Le “tombeau” chez les luthistes Denis Gautier, Jacques Gallot, Charles Mouton au XVIIe siècle’, Revue des études du XVIIe siècle, nos.21–2 (1954), 463–79

A. Souris, M. Rollin, J.-M. Vaccaro and others eds.: CM, Corpus des luthistes français (Paris, 1957–): Oeuvres de Chancy, Bouvier, Belleville, Dubuisson, Chevalier (1967); Oeuvres de René Mesangeau (1971); Oeuvres de Bocquet (1972); Robert Ballard: Deuxième Livre, 1614 et pièces diverses (1976); Robert Ballard: Premier Livre, 1611 (1976); Oeuvres de Julien Belin (1976); Oeuvres de Mercure (1977); Oeuvres de Dubut (1979); Oeuvres du Vieux Gautier (1980); Oeuvres de Pinel (1982); Oeuvres de Pierre Gautier (1984); Oeuvres des Gallot (1987); Oeuvres de Dufaut (1988); Oeuvres de Charles Mouton (1992); Oeuvres de Gumprecht (1993)

A. Verchaly: Airs de cour pour voix et luth (1603–1643) (Paris, 1961)

W. Rave: Some Manuscripts of French Lute Music, 1630–1700 (diss., U. of Illinois, 1972) [incl. concordances for about 60 prints and MSS]

A. Bailes: ‘An Introduction to French Lute Music of the XVIIth Century’, Le luth et sa musique II: Tours 1980, 203–13

C. Horrix: Studien zur französische Lautenmusik im 17. Jahrhundert (diss., U. of Tübingen, 1981)

J.-M. Vaccaro: La musique de luth en France au XVI siècle (Paris, 1981)

D. Ledbetter: Harpsichord and Lute Music in 17th-Century France (London, 1987)

P. Vendrix: ‘Le tombeau en musique en France’, RMFC, xxv (1987), 105–38

F.-P. Goy: Les sources manuscrites de la musique pour luth sur les ‘accords nouveaux’ (vers 1624–vers 1710): cataloge commente (diss., U. of Paris, Sorbonne, 1988–9)

D. Ledbetter: ‘French Lute Music, 1600–1650: Towards a Definition of Genres’, The Lute, xxx (1990), 25–47

M. Rollin: ‘Les oeuvres de Lully transcrites pour le luth’, Jean-Baptiste Lully: Saint Germain-en-Laye and Heidelberg 1987, 483–94

E. Schulze-Kurz: Die Laute und ihre Stimmungen in der ersten Hälfte des 17. Jahrhunderts (Wilsingen, 1990)

G. Durosoir: L’air de cour en France (Liège, 1991)

Sources of lute music

9. Central European sources after c1650.

Although dominated from the mid-century until about 1710 by the Parisian Gautier school, Central European sources of the later 17th century display a greater fondness for assembling pieces (sometimes from works of different composers) into suites or partitas, and give more meticulous attention to indications of notes inégales, style brisé and ornamentation. An important circle of lutenists (including the Strobels and Gumprecht) was active at Strasbourg, and works of the prolific and influential Breslau lutenist Esaias Reusner (ii), were also widely disseminated. They include over 100 chorale settings in style brisé (c1677) and three prints (1667–76) that contain many extended ‘parties’ (or suites) regularly combining Italian genres (sonatas, paduanas, arias, toccatas, etc.) with the French core of non-metrical prelude, allemande, courante and sarabande.

While the lute was falling into obsolescence elsewhere, the appearance at the end of the century of a circle of Austro-Bohemian lutenist composers provided a renewed vigour that was to keep the lute as a solo instrument flourishing in Central Europe for nearly a century. The most representative composers of this ‘school’ include the Belgian-born Jacques de Saint-Luc, Jan Antonín Losy, Hinterleithner, Eckstein, Radolt, Ginter and Bohr von Bohrenfels, many of whom were patronized by Eugen of Savoy in Vienna and Philipp Hyacinth Lobkowitz (the Lobkowitz library, now again in Nelahozeves after having been in Prague, contains many manuscripts of pieces by these composers as well as some important manuscripts of music by the Parisian Gautier circle).

Since many Austro-Bohemian composers were guitar players as well, the school’s newly evolved galant style naturally assimilated guitar rasgueado and the cantabile of Italian-dominated court opera into the earlier French fashions of play. A popular medium was the ‘Lauthen-Concert’ (violin and cello intermittently double the lute to produce pseudo-concertato effects) and many such works are cast in extended suites with as many as 11 movements including the usual French core, many minuets (by far the most frequently encountered dance; some are canonic) and locally favoured types (retiradas, arias, trezzas, toccatas, Tyrolian paysannas and Bohemian murkys and dumky). Echo pieces, carillons (campanellas) and pastorellas are so widely diffused through the sources that they become genres in their own right, reflecting an insatiable fascination with programmatic titles that reaches a manneristic plateau with Saint-Luc’s pieces named after royal proclamations, sieges and naval engagements, many inspired by contemporary events. Some tombeaux are in the form of miniature suites – one by Gebel closes with an intense movement entitled ‘Les roupies’.

Although the Austrians Lauffensteiner and Weichenberger are represented in most sources from the 1720s, the central tradition passed to north German lutenists, many trained in Breslau or Leipzig. The lute was especially cultivated at Mainz, Dresden (where the calichon was a popular instrument of amateurs) and Bayreuth, and eastern European sources include manuscripts prepared in or for monasteries at Grüssau, Kremsmünster, Göttweig and Rajhrad, among them the lutebooks of Gelinek and Kniebandl. The most widely disseminated works at the mid-century were by Baron, author of an important treatise (1727) on the history and technique of the lute, Falckenhagen, whose many chorale settings, concertos and sonatas were engraved by the Nuremberg lutenist and publisher J.U. Haffner, and the prolific S.L. Weiss, the greatest master of the age. In addition to some 80 original sonatas and concertos for lute, Weiss is also thought to have made many lute arrangements of opera arias and keyboard sonatas by his Dresden colleague Hasse. (Of J.S. Bach’s pupils, the London immigrant Straube composed sonatas (Leipzig, 1746) that stand among the finest of the time.)

During the second half of the 18th century, the lute was increasingly employed as an ensemble instrument in solo concertos, quartets, trios and duos, of which especially large and important collections containing works by Baron, Kühnel, Pichler, Weiss, Toeschi, Hagen, Kleinknecht, Kohaut, Haydn, Kropffgans, Arne, and others are at libraries in Augsburg (D-As), Salzburg (A-Smi) and Brussels (B-Br). Continuing interest in the lute is manifest in Breitkopf prints devoted to Seidel (1757, issued to initiate Breitkopf’s new typeface for lute tablature), Beyer’s Gellert odes (1760) and Kohaut’s divertimentos for lute and strings (1761), as well as the large numbers of works for lute listed in the catalogues of manuscript music available upon demand from the Leipzig firm. Some of these manuscripts survive in B-Br and D-Bsb (see Breitkopf und Härtel, 1836, and Brook, 1966). Among the last significant works for lute are the sonatas with violin or with viola (c1791) by F.W. Rust and the beautiful duo by Naumann arranged for lute and glass harmonica by J.A.F. Weiss. Lost is a quartet for lute and strings by J.F. Reichardt, composed for his father, one of the last lutenists.

Extant from the period 1650 to 1799 are about 145 manuscript and 40 printed Central European sources.

Strobel, Valentin (ii): Concert mit einem Mandor und drei Lauthen, wie auch vier Lauthen, samt dessus und bassus (Strasbourg: F. Spoorn, 1648); Concerten mit vier Lauthen, samt Dessus und Bassus, anderer Theil (Strasbourg, 1651); Zwey Symphonie mit drei Lauthen und einem Mandor, auch mit vier Lauthen, samt Bassus und Dessus (Strasbourg, 1654); Concerten mit zwey Angeliquen und Theorbe, samt Dessus und Bassus (Strasbourg, 1668). These prints, listed in the Frankfurter Mess-Katalogen, appear not to have survived.Rostock, Universitätsbibliothek, Mus.saec.XVII.18.54. 402 pp.; 358 pieces for 11- and 12-course lute (mostly in d tuning), copied in Württemberg, grouped according to tuning and key; one of the central sources of the century, with few conflicting attributions and a reasonable number of unica. The MS (c1660–70, ? or later) contains works by Pinel (39), Denis and Ennemond Gaultier (39), Dufaut (34), Dubut (28), Vincent (28), Mereville (19), Bechon (28), Mercure (6), Denis Gaultier (9), Gumprecht (21), Mesangeau (4), Strobel (11), Einmont (2), Blancrocher (Charles Fleury), NeuWert, Pierre Gautier (i), Jacques Gautier, Havernikkel, Henri, Montrovil, Villiers and ‘N.W.’ (NeuWert?); throughout the MS are scattered intabulations from Albert’s Arien (1640–42) and from Strobel’s Melodien (1656), chorales and several Polish dances. Edition: A. Souris, M. Rollin and others, eds.: Oeuvres de Dufaut, CM, Corpus des luthistes français (1965) [2 pieces]. Facsimile: K-P. Koch, ed.: Französische Tänze und Arien (Leipzig, 1983). Literature: H.-P. Kosack (1935), 53–4, 90 only; W. Rave (1972), 215–27Rochester (NY), Sibley Music Library, Eastman School of Music, ML 96 L973 (vault); (lute and mandora MS, copied in Saxony, c1665; ex-P. Nettl). 38 ff.; 38 pieces for 5-string mandora and 50 for the lute. The lute pieces (some of which are also in mandora versions) include unmeasured preludes, a fantasia, allemandes, correntes, gavottes, a ‘sallomon’, canary, chaconne, ‘Clory’, ‘Boemica’, ‘Tambour’, ‘Buffons’ and 3 arrangements German lieder and a French song. No attributions are given. Literature: A. Koczirz: ‘Eine Gitarren- und Lautenhandschrift aus der zweiten Hälfte des 17. Jahrhunderts’, AMw, viii (1926), 433–40 [incl. 15 transcrs.]; P. Nettl: ‘Böhmische Tänze in Handschriften des 17. Jahrhunderts’, Beiträge zur böhmischen und mährischen Musikgeschichte (Brno, 1927), 9–13 [1 transcr.]Berlin, Staatsbibliothek: Preussischer Kulturbesitz, Mus.Ms.40264 (olim 20052; not lost): Lautenbuch der Virginia Renata von Gehema (copied c1670, but containing an earlier repertory). 198 pp.; 157 pieces gathered by tuning, and grouped by key: many arrangements of lieder by Greflinger, German psalms and chorales, preludes (sinfonias, a fuga, etc.), many Polish dances and the usual French dances, attributed to ‘A.C.’, Dufaut, Jeremias Erben (? Gehema’s teacher; at least 30 pieces), ‘N.F.’, Gaultier, Gumprecht, ‘S.L.’, Mereville, Mesangeau, Pinel and ‘V.S.’ [?Strobel]. Facsimiles: J. Wolf (1927), no.51 [Polish dance]; complete vol. (Leipzig, 1984). Literature: Goy and others, ii (1994)Berlin, Staatsbibliothek: Preussischer Kulturbesitz, Mus.Ms.40068 (olim Z 68) Lautenbuch des Christian Francisci Co[mte] à Wolckenstein & Roddnegg, In Colleggio Parmensi A° 1656 (dated 20 Dec 1674 on last leaf). 81 ff.; 173 pieces (28 in Italian tablature, some notated without rhythm signs.) for 10-, 12- and 13-course lute. The Italian pieces (in Renaissance tuning) include intabulations of vocal music, some with underlaid text, Ruggieros, passamezzos and ‘canzone francesi’ with attributions to Eremite (3) and [?Pierre] Gautier. Includes instructions on playing the lute. The French repertory (mostly in d tuning) consists of the usual dances by Dufaut (10), Pinel (10), V. Gauteri (9), Wolckenstein (7), Dubut (6), Denis Gaultier (2), Gumprecht (2), Heart (2), Horny (2), Mercure (2), Strobel (2), Vincent (2), Losy, Louys de Moy, Lully and Pietro Paolo Melli. Editions: J. Wolf (1919), ii, 92; J. Wolf (1927), pl.26; A. Souris, M. Rollin and others, eds.: Oeuvres de Dufaut, CM, Corpus des luthistes français (1965) [17 transcrs.]; Oeuvres du vieux Gautier, ibid. (1966) [1 transcr.]. Literature: W. Rave (1972), 193–7Bittner, Jacob: Pièces de lut, … gravées par Gerard de Groos (Nuremberg, 1682/R) (RISM B2760). iv + 108pp.; 57 pieces grouped into 10 suites: prelude, sarabande, courante, gigue (or chaconne or passacaille). Literature: W. Rave: A Baroque Lute Tablature: Jacob Bittner, Pieces de Lut, 1682 (diss. U. of Illinois, 1966)London, British Library, Sloane 2923: Lutebook of Engelbert Kämpfer (dated 1683). 115 ff. (65 blank); 92 pieces in 2 sections: ff.3v–36: 6 suites by ‘I.A.K’ [?Kämpfer], 16 arrangements of sacred and secular German lieder, and 12 individual pieces, including attributions to Dufaut, Herzog Bernhard and ?Vignon; ff.101v–115: 22 pieces of French origin, including attributions to Gumprecht (6), Béthune (3), Pinel (3), Gaultier (2), Bocquet, Mercure, Merville and Vincent. References to Kämpfer’s travels and remarks in Polish, German and Arabic are scattered throughout the volume. Literature: W. Rave (1972), 350–54Kremberg, Jakob: Musicalische Gemüths-Ergötzung, oder Arien, samt deren unterlegten hochdeutschen Gedichten … welche also eingerichtet, dass sie entweder mit einer Stimme allein zu singen benebst dem General-Bass, oder aber zugleich und besonders auf der Lauthe, Angelique, Viola di Gamba und Chitarra können gespielt werden (Dresden: C. Mathesius, 1689) (RISM K2000; the D-Bsb copy is in PL-Kj). 46 pp.; 40 German arias (some with texts by Kremberg) with accompaniments for lute, angélique or guitar (in tablature) or basso continuo; a 20-folio appendix contains 6 3- to 6-movement sonatas for angélique and continuo, 2 each in the keys of a, d and g. The preface provides information on playing and tuning the instruments (quoted in Tappert, 1882, p.77); the agréments are written out in the tablatures. Editions: W. Tappert, ed. (1906), no.82 [3 versions of an aria with quasi-facs.]; J. Wolf (1919), ii, 128–9, 153 [facs. and transcrs. of the 4 varieties of tablature]. Literature: W. Tappert: ‘Zur Geschichte der Guitarre’, MMg, xiv (1882), 77–85Klagenfurt, Kärntner Landesarchiv, GV.Hs.5.5/37 (c1695; ex-Bibliothek Wieser). 92 ff. (18 blank); 65 pieces for 7-course lute with 4 diapasons, gathered into 7 suites, all anon., but in the style of Losy. The pieces include 30 minuets. Edition: J. Klima, ed.: Fünf Partiten aus einem Kärntner Lautenbuch, MAM, xvi (1965) [transcrs. with parallel tablature]Le Sage de Richée, Philipp Franz: Cabinet der Lauten (Breslau, 1695, 2/1735) (RISM L2054–5). 41 ff.; 98 pieces (preludes, allemandes, courantes (1 by Losy), sarabandes, gigues, gavottes, minuets, bourrées, chaconnes, passacaglias, ouvertures, rondeaux in echo), grouped into 12 partitas for lute with 5 diapasons. 4-page instruction with information on tuning, fingering, ornamentation, etc. (see Eitner, p.13). Edition: H. Neemann, ed.: Alte Meister der Laute, iii (Berlin, 1927) [3 pieces with tablature]. Literature: R. Eitner: ‘Ein wenig bekanntes Lauten-Werk’, MMg, xxi (1889), 9–24 [incl. 1 transcr. and quotation of the instruction]; T. Wortmann: Philipp Franz Le Sage de Richée und sein Cabinet der Lauten (diss., U. of Vienna, 1919); D.A. Smith and P. Danner: ‘“How Beginners … should proceed”: The Lute Instructions of Le Sage de Richée’, JLSA, ix (1976), 87–94Radolt, Baron Wenzel Ludwig von: Die aller treüste verschwigneste und nach wohl fröhlichen als traurigen Humor sich richtende Freindin, Vergeselschafft sich mit anderen getrëuen Fasalen Unser inersten gemeutz Regungen (Vienna, 1701) (RISM R30). 5 partbooks: lute I (78 pp.), lute II (83 pp.), violin I or flute (38 pp.), violin II (38 pp.) and bass (25 pp.). 8 ‘concertos’ in suite form for the instruments in various settings, including one for 3 lutes, 3 violins and bass (with continuo for a fourth lute); Radolt suggests that throughout the performers may select and arrange the instrumentation at their pleasure. 4 additional multi-movement works are entitled ‘Simphonia’, capriccio, toccatas and contrapartie, some including canonic minuets, retiradas, programme pieces (‘Querelle des amantes’), etc. Editions: DTÖ, 1, Jg.xxv/2 (1918) [conc. and contrapartie]; MGG1, i, 1313–14 [facs. of title-page]. Literature: A. Koczirz: ‘Klosterneuberger Lautenbücher’, Musica divina, i (1913), 176–7; A. Koczirz, SMw (1918), 54–9 [biographical information, quotation of performance indications from preface and list of contents]; J. Pohanka: ‘Loutnové tabulatury z rajhradského kláštera’, Časopis moravského musea, xl/2 (1955), 199–213; B. Samson and M. Hodgson: ‘Von Radolt’s Instructions to Lute Players (Vienna 1701), FoMRHI Quarterly, no.45 (1986), 48–55Nelahozeves, Lobkowitz Study Centre, X.Lb.210 (olim Prague, Hudební Oddělení, Národní Muzeum) (after c1705). 89 pp.; 94 pieces grouped in suites, many with programmatic titles (‘Le départ de la flotte’, ‘Le combat naval’, ‘La prise de Barcelona’ [1705], etc.). 8 pieces (a suite in A) are apparently by Count Camillo Tallard, the others by Laurent de Saint-Luc. Edition: DTÖ, 1, Jg.xxv/2 (1918). Literature: A. Koczirz, SMw, v (1918), 64–8 [incl. list of contents]Nelahozeves, Lobkowitz Study Centre, II.Kk 49a–c (olim Prague, Hudební Oddělení, Universitní Knihovna): Pièces de luth acc. d’un violon et le basse par le Sieur Saint Luc. 3 vols.: lute (104 pp.), violin (77 pp.), bass (33 pp.); 120 pieces by Saint-Luc, many grouped in suites with programmatic references to contemporary events and people: ‘La reduction de Naple’ [1707]: allemande, courante, sarabande, gigue, bourrée ‘pour les trompettes en rondeau’; ‘Carillon d’Anvers’, ‘Le cocq’ gigue, ‘La proclamation du Roy d’Espagne Charles 3me’, ‘La feste du nom de … le Prince Lobkowis’, etc. Literature: A. Koczirz, SMw, v (1918), 65–7II.Kk 54a–c: Pièces de luth acc. d’un violon et basse par le Sieur Saint Luc. 3 vols.; lute (104 pp.), violin (37 pp.), bass (33 pp.); 52 similar pieces by Saint-Luc, including ‘La prise de Lille’ [1708], march, ‘L’arrivée du Prince Eugène’, etc. Edition: DTÖ, 1, Jg.xxv/2 (1918). Literature: A. Koczirz, SMw, v (1918), 67–85 [incl. some pieces]Kremsmünster, Benediktiner-Stift, L77. 188 ff.; 179 pieces, in 3 groups: 105 French pieces (including Dufaut and Ennemond Gaultier); 5 suites, 1 attrib. Lauffensteiner; 4 partitas in 3 parts (lute, violin and bass), 1 in 5 parts (lute, chalumeau, oboe, viola d’amore and bassoon), and a partita in C by Weichenberger (lute, violin and bass). Literature: R. Flotzinger (1965), 48–51, 232–56; W. Rave (1972), 388Lund, Universitetsbiblioteket, Wenster Litt.G. No.37: Luthenisten D. Holtz stycken (ex-libris P. Platin, Mahlmöö, 1712). 23 ff.; 30 pieces attrib. Holst (10), Gaultier (2), Losy (2), Dubut and ‘P.R.’; 4-page instruction describing frets, tuning and playing technique (see Vretblad). Literature: Å. Vretblad: ‘Något om musikaliska ornament i svensk 1700-talspraxis’, STMf, xxxi (1949), 155–60; J.O. Rudén (1981), 31Prague, Hudební Oddělení, Národní Muzeum, IV. E.36: Musica sopra il liuto (copied by Iwan Gelinek at the monastery of St Joannis at Berau, and dated 1712). 298 pp.; c195 pieces (most without attribution), but including at least 3 partitas or suites by Gelinek (1 with lituus, violin and bass), a partita by Czerwenka, almost all the pieces (40 compositions) from Mouton’s Pièces de luth, i (Paris, c1690), and other pieces attrib. Weiss and Aureus Dix. The volume passed through the hands of Anton Seidl in 1819 and contains biographical information on Gelinek. Literature: E. Vogl: ‘Páter Ivan Jelínek (1683–1759)’, HV, iv (1967), 693–6; E. Vogl: ‘Der Lautenist P. Iwan Jelínek’, Mf, xxii (1969), 53–5; J. Holěck: J.A. Seydl, decani Beronensis, operum artis musicae collectio, Catalogus Artis Musicae in Bohemia et Moravia Cultae, ii (Prague, 1976)Warsaw, Bibliotecka Uniwersytecka, Rps.60/1–2 (olim Wrocław, Mf 2001 a-b): Parthies à deux luths. 2 vols.: 59 and 62 ff.; 13 partitas for 2 lutes some with (according to the title-page) ad libh. violins, hunting-horns, oboes and bass, attrib. ‘Melante’ (Telemann, a ‘Partie polonoise’ in B and 1 in G), Prantl, Richter, Thielli and 3 anon. composers.Brno, Hudební Archív Moravský, A 13.268 (olim Rahjrad, Benedictine Monastery, 2): Lautenbuch des Casimir Comes à Werdenberg et Namischt (dated 1713). 55 ff.; c63 pieces for 11-course lute (allemandes, courantes, etc., ouvertures, ‘Carillon’, ‘chasseur’, minuets, etc.), attributed to ‘W’ (8), Fux, Frischauff, Joseph I of Austria, Lauffensteiner (a partita in c), Questenberg and Wielland. Editions: G. Adler, ed.: Musikalische Werke der Kaiser Ferdinand III., Leopold I. und Joseph I. (Vienna, 1892/R), ii, 273 [pieces by Joseph I and Frischauff with facs.]; MAM, xxx (1973) [1 partita]. Literature: A. Koczirz, SMw (1918), 60–63, 68–9; A. Koczirz: ‘Böhmische Lautenkunst um 1720’, Alt-Prager Almanach, ed. P. Nettl (Prague, 1926), 88–100; J. Pohanka: ‘Loutnové tabulatury z rajhradského kláštera’, Časopis moravského musea, xl/2 (1955), 193–203 [incl. facs.]London, British Library, Add.30387. 160 ff.; 32 sonatas, suites, divertimentos, ouvertures, etc., 28 single movements (‘Tombeau sur la mort de M[onsie]ur Comte d’Logÿ’ (see fig.8), ‘Le fameaux corsaire’, ‘Le Sans Soucie’, ‘L’amant malheureaux’, etc.), concertos for flute and lute in F and B by S.L. Weiss and 1 concerto by Johann Sigismund Weiss for flute and lute. Many of the pieces are in Silvius Leopold Weiss’s hand and bear dates Prague, 1717 and 1719, Dresden 1719, 1721 and 1724. For the concertos only the lute part is extant, but they are reconstructed by Eileen Hadidian in the Smith edition (1990). Editions: W.E. Mason: The Lute Music of Sylvius Leopold Weiss (diss., U. of North Carolina, 1949); R. Chiesa, ed.: S.L. Weiss: Intavolatura di liuto (Milan, 1970) [both edns contain complete transcrs. of MS (Chiesa omits the concs.)]; EDM, 1st ser., xii (1939) [3 pieces incl. the tombeau in b for Losy]. Literature: H. Neemann, AMf (1939), 157–89; D.A. Smith, ed. Silvius Leopold Weiss: Sämtliche Werke für Laute in Tabulatur und Ubertragung, iv/1–4 (Frankfurt, 1990) [transcr. and facs.]

Stockholm, Kungliga Biblioteket, Kalmar Läroverks, 4a: Book of Matthias Silvius Swenonsis (dated Stockholm, 1721; ex libris Isac Baris). 68 ff.; 116 pieces in German keyboard tablature: allemandes, sarabandes, caprices, gavottes, echoes, etc., many minuets and polonaises with serras, and other pieces (‘La viole d’Espagne’, ‘Air de les boissons’, ‘de Busck’, ‘Dahl dantz’, ‘Entrée d’Apollon’) attributed to Losy (18), Düben (7), Ennemond Gaultier (2), Denis Gaultier, Croll, Lindst(?et) and Ratge. There are also several arrangements of songs with French, German and Swedish texts. The monogram ‘J.B.’ (the arranger, J[I]sac Baris) appears throughout. Literature: A. Lindgren: ‘En tabulaturbok i Kalmar’, Ny illustreread tidning, xxix (1893), 400, 411, 417, 436 [incl. several transcrs.]; J.O. Rudén (1978), 28, 56–7Vienna, Österreichische Nationalbibliothek, Suppl.Mus.1078: Lauthen-Tabulatur. 119 ff.; 58 items copied by various hands: 3 anon. partitas (in g [‘La querelle d’amour’], B, F), and others by Lobkowitz (B), Bergen (F, a, B), Porsille (g) and S.L. Weiss (F); 3 single movements by Weiss (prelude, paisane and minuet) and an arrangement of an aria from Caldara’s Ormisda (1721). Edition: EDM, 2nd ser., i (1942) [partitas by Bergen, Porsille, Lobkowitz and the Caldara aria]. Literature: A. Koczirz (1926), 88–100; E. Maier (1972), i, 17; ii, 1 [thematic index]Baron, Ernst Gottlieb: Historisch-theoretische und practische Untersuchung der Lauten (Nuremberg: Rüdiger, 1727/R). 218 pp.; an important discussion of the lute, its origins, players, builders and playing technique. Edition: D.A. Smith, ed.: E.G. Baron: a Study of the Lute (Redondo Beach, CA, 1976) [incl. trans.]. Literature: D.A. Smith: ‘Baron and Weiss contra Mattheson: in Defense of the Lute’, JLSA, vi (1973), 48–62Brussels, Bibliothèque Royale de Belgique, II 4085 (Fétis 2910): Pièces pour la luth à Monsieur [Joseph or Vincent] Schouster par J.S. Bach (autograph, c1727–31); Leipzig, Musikbibliothek der Stadt, III.11.3: Pièces pour le lut par S^re J.S. Bach. 10 ff. (tablature). [Suite in g BWV995]. Editions: H.D. Bruger, ed.: J.S. Bach: Kompositionen für die Laute, Denkmäler alter Lautenkunst, i (3/1925/R); H. Scherchen, ed.: Musica viva, iii (Brussels, 1936) [complete facs. of BWV995]; H.J. Schulze, ed.: J.S. Bach: Drei Lautenkompositionen in zeitgenössischen Tabulaturen (Leipzig, 1975). Literature: W. Tappert: ‘Sebastian Bachs Kompositionen für die Laute’, Redenden Künste, vi, 36–40; H. Neemann: ‘J.S. Bachs Lautenkompositionen’, BJb 1931, 72–87; H.J. Schulze: ‘Wer intavolierte Bachs Lauten-kompositionen?’, Mf, xix (1966), 326–48; T. Kohlhase: Johann Sebastian Bachs Kompositionen für Lauteninstrumente (diss., U. of Tübingen, 1972); H.J. Schulze: ‘Monsieur Schouster’, Bachiana et alia musicologica: Festschrift Alfred Dürr, ed. W. Rehm (Kassel, 1983), 243–50; R. Grossman: ‘Der Intavolator als Interpret: BWV995 im Autograph und in zeitgenossicher Tabulatur’, Basler Jb für historische Musikpraxis, x (1986), 223–44; A. Burgette: ‘Johann Sebastian Bachs Lautenwerke: Ende eines Mythos’, Gitarre & Laute, xvi/2 (1994), 66–72; xvi/4 (1994), 50–53Brussels, Bibliothèque Royale de Belgique, II 4087 (Fétis 2913): Recueil de pièces de luth par Baron. Contains 2 concertos for lute obbligato, violin and cello (c1730), a duetto for lute and flute (c1735), a suite, 8 partitas and a fantasia for lute solo, all apparently by Baron.II 4089 (Fétis 2914): Recueil de concertos pour le luth. Includes works by Blohm à Vienne: concerto for lute and violin; Corigniani: concerto (B) for 2 lutes and bass; Falckenhagen [? or Kohaut]: concerto (B) for lute and strings; Kühnel: concertos (F, C, A) for lute, viola da gamba and bass; Lauffensteiner: concerto (g) for lute, 2 violins and cello; Meusel: a concerto for lute and 2 for lute, flute or oboe, viola da gamba and bass; Pichler: trietto (G) for lute, violin and cello. Most of the works are cast in suites or partitas. Edition: MAM, xxx (1973) [Lauffensteiner conc. in g]New York, Public Library, JOG 72–29, vols.xi–xiv. Collection of 18th-century Manuscript Music (ex-Harrach family, Vienna). Vol.xi (53 ff.): Lauten-Musik mit Begleitung; anon. pieces. Vol.xii (19 ff.): Lauten-Musik, pieces attributed to Gleitsmann (4), Jacobi, Meusel and Weichenberger. Vol.xiii (31 ff.): E.G. Baron, Lautenmusik mit Begleitung auf Violine, Violoncello, dann Flöte und Oboe; 3 works by Baron. Vol.xiv (21 ff.): an overture and suite for lute, violin and cello by August Kühnel, a suite for lute by Lauffensteiner and a concerto (lute part only) by Gleimius.Rochester (NY), Sibley Music Library, Eastman School of Music, M2.1 D172 (vault) olim ML96 D172 (vault): My Lord Danby, his Book. 137 pp.; 92 pieces, some grouped in suites. 12 arrangements of music by Handel from Almira (1705), Florindo (1708) and Daphne (1708), and keyboard suites. A gavotte, bourrée, ritornello and air, and overture attrib. Handel are otherwise unknown. In addition to some 11 other pieces in Handel’s style are pieces by ‘N’ (2) and ‘C.N.’ (3), Visée (3), Lully (3), Corelli, Lord Danby, Fannel, Gallot, Losy and Purcell. Titles include: ouverture, courante/double, bourrée, gavotte, aria, air (‘No, no’, ‘La favorite du Roy de France’), minuet, ‘La belle … pour la Maîtresse de Monsr Schutz’, tombeaux (‘du Roy d’Orange’, ‘Mazarini’), gigue, etc. Facsimile: complete vol. (Geneva, forthcoming). Literature: T. Crawford: ‘Lord Danby, “Lutenist of Quality”’, The Lute, xxv (1988), 53–68; T. Crawford: ‘Lord Danby’s Lute Book: a New Source of Handel’s Hamburg Music’, Göttinger Händel-Beiträge, ii (1986), 19–50Salzburg, Studienbibliothek der Universität, M III 25: Musica: Partieen pro liutho, violino, basso. 153 ff.; 50 ‘Parthias’ and ‘Kammer-concertos’: 35 for solo lute by Fichtel (24), anon. composers (6), Beher, Lauffensteiner, Peutro (?Pietro), Serta and Weiss; 14 for lute with violin and bass by S.L. Weiss (7), Christ (2), Meckh (2), Lauffensteiner and Johann Sigismund Weiss; and a ‘Concerto da camera à 4’ by Blockh for lute, mandore, violin or flute, and basso continuo. The works extend from 3-movement concertos to partitas with 11 dances; some of the attributions have been questioned. Parts (other than lute) are extant only for the works by Christ and Meckh. Editions: DTÖ, lxxxiv, Jg.xlvi (1966) [2 partitas by Fichtel and 1 ascribed to Bohr von Bohrenfels]; MAM, xxx (1973) [conc. and partita]. Literature: J. Klima: ‘Die Paysanne’, Jb des Österreichischen Volksliedwerkes, x (1961), 102–6 [incl. 2 transcrs.]Martin, Philippe: Trio VI: III con luito [sic], flauto traversiere et fondamento, III con liuto, violin et fondamento (Augsburg: Leopold, c1731–8) (RISM M1172). 3 partbooks; 6 trio sonatas with flute and 3 with violin; most sonatas have 4 movements (capriccio, scherzo, minuet and trio, arietta; entrée, ballo, siciliano, minuet and trio; etc.). Literature: H. Neemann: ‘Philipp Martin: ein vergessener Lautenist’, ZMw, ix (1926–7), 545–65Wrocław, Biblioteka Uniwersytecka Mf 2002: Livre du luth, contenant des pieces les plus exquises: et gaillardes de quatre tons del accord françois ordinaire, scavoire: G.D.F. et A. & Des six tons des autres accords, pour la Paterneté trés Réligieuse, le Père Hermien Kniebandl, … ala Maison des Graces à Grissau (dated 1739 on f.91). 136 pp.; 120 pieces, many grouped into partitas (14 anon., and 1 each attrib. Kühnel and S.L. Weiss), and individual movements and arrangements of German lieder attrib. S.L. Weiss, ‘W’ and Jiunior Weiss. Also a 4-page instruction by Le Sage de Richée on playing the lute.Dresden, Sächsische Landesbibliothek, 2389/0/4c; London, British Library, Add.31305, ff.10–23v: Antonio Vivaldi: Concerto in d for viola d’amore, lute, strings and cembalo P266/R540 (performed for the Dresden court at Venice in 1740). Edition: O. Malipiero, ed.: A. Vivaldi: Opere strumentali (Milan, 1947–72), cccxxKrakow, Bibliotek Jagielońska (olim D-Bsb) Mus.Ms.40151: Canzoni devoti tradotti nell’ liuto da me J[ohann] M[ichael] Sciurus [Eichorn?] 1742 (ex-libris Christina Anna Agnera Princesse d’Anhalt Cöthen). 135 ff.; chorales and sacred lieder in settings for 13-course lute by Johann Michael Sciurus from the Cöthenische Lieder zum Lob des dreyeiniger Gottes (8 settings) and from J.A. Freylinghausen’s Geistreiches Gesang-Buch of 1704 (219 settings). The settings are grouped into 3- and 4-piece ‘suites’. Literature: Kirsch (1992), 142–77Dresden, Sächsische Landesbibliothek, 2423/I: J.F. Fasch: Concerto in d (autograph) for lute and strings, c1745–50. An arrangement for lute of an oboe concerto. Edition: R. Chiesa, ed. (Milan, 1969); W. Hobohm, ed.: Johann Friedrich Fasch: Konzert D-moll für Laute, Streicher und Basso continuo, Musik der Dresdner Hofkapelle, i (Leipzig, 1989). Literature: W. Hobohm: ‘Johann Friedrich Faschs Lautentranscription seines Oboenkonzert d-Moll’, Studien zur Auffuhrungspraxis und Interpretation von Instrumentalmusik des 18. Jahrhunderts, xxiv (1984), 76–83Munich, Bayerische Staatsbibliothek, Mus.Ms.5362 (copied perhaps in Leipzig, after c1745). 64 ff.; 134 pieces: partitas by S.L. Weiss (a, c, G, C), Kropfgans (g) and an anon. composer (E), and individual pieces with attributions to Kropfgans (14), S.L. Weiss (12), Falckenhagen (9), Lauffensteiner (8), Gebel (‘Tombeau–Adagio–Les roupies’), Kühnel, Pichler (3), David Kellner (attrib. Weiss) (2), Baron, ‘Graf in Merseburg’, Hoffmann and Schauer, and 5 opera arias by Hasse. Edition: MAM, xxx (1973) [2 minuets]Daube, Johann Friedrich: VI. Sonatas pour le lut, dans le gout moderne, Op. 1 (Nuremberg: Haffer, 1746) [lost]; D-ROu, Mus Saec XVIII.18/10: Trio à Liuto, Traverso e Basso; D-ROu, Mus Saec XVIII-13/2: Trio à Liuto traverso e Basso; D-ROu, Mus Saec XVIII.13/2a–c: Sonatas (e, F, d) and a suite (A) two arias with underlaid text arranged from operas by Hasse (Cleopatra and Clemenza di Tito). Editions: H. Neemann, ed.: J.F. Daube: Trio in D-moll (Berlin, c1930); K. Schnürl, ed.: Trio in A-moll, DTÖ, lxxxiv (1942). Literature: S.P. Snook-Luther: The Musical Dilettante: a Treatise on Composition by J.F. Daube (Cambridge, 1992)Kropfgans, Johann: III. Sonates pour le lut, op.1 (Nuremberg: J.U. Haffner, c1746) [?lost].Kellner, David: XVI. auserlesene Lauten-Stücke (Hamburg: C. Brandt, 1747/R) (RISM K263). 48 pp.; 17 pieces: 6 ‘phantasias’ (miniature canzonas), a chaconne, rondeau, 2 gigues, a pastorale, passepied, campanella, courante, sarabande and double, aria and gavotte. The volume may have appeared in a keyboard arrangement as Pièces pour clavecin (Hamburg: C. Brandt, 1747). Editions: W. Tappert, ed. (1906), 125–6 [selected variations from the chaconne]; H. Neemann, ed.: Alte Meister der Laute, iv (Berlin, 1928) [2 pieces]. Literature: E.A. Wienandt: ‘David Kellner’s Lautenstücke’, JAMS, x (1957), 29–38; K. Sparr: ‘A Poet’s Description of the Lute Playing of Silvius Leopold Weiss, and a Possible Link between Weiss and David Kellner’, JLSA, xviii (1986), 58–67; K. Sparr: ‘David Kellner: a Biographical Survey’, The Lute, xxix (1989), 3–36; K. Sparr: ‘David Kellner: ein biographischer Überblick’, Gitarre & Laute, xiv/6 (1992), 13–18; xv/1 (1993), 17–21; xv/2 (1993), 17–21Kohaut, Karl: Divertimento primo per il liuto obligato, due violini et basso (Leipzig: Breitkopf, c1761) (RISM K1302). W. Tappert’s transcription of the Leipzig exemplar is in D-Bsb Mus.Ms.11833. Concertos in D, F and B for lute, 2 violins and cello, concertos in E and B for lute, 2 violins, viola and bass, D-Bsb Mus.Ms.11834/1, 3, 5, 7, 9. Editions: H. Neemann, ed.: K. Kohaut: Konzert in F-dur (Berlin, 1927/R); EDM, 2nd ser., i (1942) [conc. and divertimentos]; DTÖ, lxxxiv, Jg.xlvi (1966) [Conc. in B]Brussels, Bibliothèque Royale de Belgique, II 4088 (Fétis 2013; ex-Breitkopf): Recueil de pièces de luth. 7 works for lute with violin and cello (or bass) by Kropfgans: 2 divertimentos, a trietto, concerto and 3 sonatas; and a concerto (or partita) in D for lute obbligato, 2 horns, violin, viola d’amore and bass by Neruda. From the Breitkopf scriptorium.II 4086 (Fétis 2911): Recueil de trios et concertos pour le luth (c1770; ex-Breitkopf). P.C. Durante: Concerto for lute, cembalo and strings, Concerto in F for lute and strings, a duetto and a divertimento for lute and violin, and a Sonata in a for lute solo; Haydn: Cassation in C for lute, violin and cello (an arrangement of H III:6); Kohaut: Divertimento l’amoureaux (trio per il liuto obligato, violino et violoncello) and a concerto for lute and strings; by Kohaut or Durante: 4 triettos for lute, violin and cello, and a divertimento for lute, 2 violins and cello. Editions: H. Neemann, ed.: J. Haydn: Cassation C-Dur für obligate Laute, Violine und Cello (Berlin, 1927); EDM, 2nd ser., i (1942) [works by Kohaut]; J. Domning, ed.: Paul Charles Durant: Gesamtausgabe (Hamburg, 1986)Mělník, Okresný Vlastivědné Muzeum, VM412: Aria tempore adventus producenda à c[anto] et alto in recit. (copied c1750–60 by Sebastian Böhm). 3 movements (recitative, sonata, aria and tutti) for SATB, 2 violins, 11-course lute in tablature, cello obbligato with figured bass for organ. The work is a parody, being constructed over an entrée, gavotte and paisane known elsewhere as solo lute pieces. Literature: J. Tichota: ‘Die Aria tempore adventus producenda und einige Zusammenhänge’, MMC, nos.31–3 (1970), 153–70 [incl. facs. and thematic index of movements]Seidel, Ferdinand: 12 Menuette für die Laute … samt einer Fantasie von Herrn Baron, … als eine Probe eines neuen Drucks von musicalischen Charakteren (Leipzig: Breitkopf, 1757/R). Preface and 11 pp. Editions: H. Neemann, ed.: Alte Meister der Laute, iv (Berlin, 1928); EDM, 2nd ser., i (1942) [the 12 minuets]; A. Quadt, ed. (1968–83) [incl. notes and transcrs.]Beyer, Johann Christian: Herrn Professor Gellerts Oden, Liedern und Fabeln … für die Laute übersetzt (Leipzig: Breitkopf, 1760) (RISM B2492). 38 pp.; arrangements of odes, lieder, French and Italian songs; the volume also contains tables for tuning the lute and explanations of ornamentation signs. Edition: R. Gies and A. Nachtsheim (Dausenau, 1993) [incl. facsimile and transcription]. Literature: J. Wolf (1919), ii, 94–5, 156–7 [diplomatic facs. and extracts from the tables of ornaments]; R. Eklund and M. Thiel: ‘The Instructions of Johann Christian Beyer’, The Lute, xxviii (1988), 34–46Krebs, Johann Ludwig: 2 concertos (C and F) for lute, 2 violins and cello. MSS (2 copies) D-Bsb, Mus.Ms.12019/1–2; 12020. Edition: R. Chiesa, ed.: Johann Ludwig Krebs: Concerto in Do [Fa] per liuto e archi (Milan, 1971)Naumann, Johann Gottlieb: ‘Wie ein Hirt sein Wolck weiden’, duo for lute and glass harmonica, arranged by Johann Adolf Faustinus Weiss from Cora och Alonzo (Stockholm, 1782). MS, D-Bsb Mus.Ms. 15976/5, 15948. Facsimile: MGG1, ix, pl.73 (facing 1311) [lute part]. Edition: R. Engländer: Die Dresdner Instrumentalmusik, Acta universitatis upsaliensis, v (Uppsala, 1956), appx. Literature: R. Engländer: ‘Zu J.G. Naumanns Duo für Laute und Glasharmonica’, Mf, xi (1958), 199–201Rust, Friedrich Wilhelm: Tre sonata (G, d, C) per il liuto con violino obligato … nell’anno 1791 (MS, D-Bsb Mus.Ms.autogr. Rust 53); B-Dur Sonata für Laute und Violinie … 1795 (MS, D-Bsb Mus.Ms. autogr. Rust 49; Mus.Ms.19138/20, 21, 23 (copies)). Editions: Friedrich Wilhelm Rust: Sonate, Erste (G-dur) [Zweite (D-moll), Dritte (C-dur)] für Pianoforte oder Laute mit Violine (Hamburg, 1892); H. Neemann, ed.: Johann Friedrich Rust: Sonate in d-Moll (Berlin, 1925); J. Klima, ed.: Friedrich Wilhelm Rust (1739–1796): Werke für die Laute (Maria Enzersdorf, nr Vienna, 1981). Edition: A. Schlegel: Friedrich Wilhelm Rust: Drei Sonaten (Menziken, 1998). Literature: A. Schlegel: ‘Zur Neuausgabe der Sonaten für Laute and obligate Violine/Flöte von Friedrich Wilhelm Rust’, Gitarre & Laute, xi/5 (1989), 41–7Augsburg, Staats- und Stadtbibliothek, Tonk.2° Hs.Fasc.III/1–2 (52 compositions in partbooks and 4 ‘Sammelhefte’; copied c1761–75, perhaps at the Bayreuth court/R2000 with preface by J. Domning). Toeschi: Conc. (F), lute, str, 2 fl, 2 hn; Ruge: Conc. (E), lute, 2 vn, vc, 2 hn; Concs. a 5 (lute, 2 vn, va, bc) by Falckenhagen (F), Hagen (d, A), Kleinknecht (C), Pfeiffer (B; with mutes), and S.L. Weiss (C); Kohaut: Divertimento in B, Conc. in A and 2 in F for lute, 2 vn, bc; Quartettos, lute, vn, va, vc, by Haydn (D; H III:8) and Seckendorf (B); Sonatas a 3 (lute, vn, vc) by Hagen (C, F, E, a, B), Haydn (F; H IV:F2) and Solnitz (B), Hagen: Trio (c), 2 lutes, vn obbl; Kleinknecht: Sonata, lute, fl, vc; Kohaut: Sonata, D, lute, va obbl, vc; Lauffensteiner: Sonata (A), 2 lutes (or lute and vn), va da gamba; Falckenhagen: Duetto (F), 2 lutes; Hagen: Sonata (G), lute, vn; Sonatas, lute solo: c, d, D, E, f (‘Solo’ and a sonata), F (a ‘Sonatina’ and a sonata), g, B, by Hagen (B), by Kleinknecht (D), by Kohaut; 3 anon. works (concertino, divertimento and sonata); and miscellaneous pieces by P.C. Durante, Falckenhagen, Kühnel, Locatelli, Weiss, Kleinknecht, Kehl, Hagen, (?Michael) Arne, Pfeiffer, Gaultier, Mouton, Steinmetz [?Stamitz], Felice, Geminiani, Giardino. Editions: H.D. Bruger, ed.: Joseph Haydn: Quartett in D-dur für obligate Laute, Violine, Bratsche und Violoncell (Wolfenbüttel, 1924); H. Neemann, ed.: Wolff Jacob Lauffensteiner: Sonate A-Dur für 2 Lauten (Berlin, 1927); H. Neemann, ed.: Alte Meister der Laute, iv (Berlin, 1928) [Hagen and Falckenhagen]; EDM, 2nd ser., i (1942) [Kohaut]: MAM, xxx (1973) [the duetto for 2 lutes]. Literature: ‘Joseph Haydn und die Laute’, Musik im Haus, vi/3 (1927); H. Küffner: ‘Eine Augsburger Sammelhandschrift als Quelle zur Geschichte der Bayreuther Hofmusik’, Archiv für Geschichte von Oberfranken, xlix (1969), 103–96 [list of contents and study of works by composers active at the Bayreuth court: Falckenhagen, Kehl, Kleinknecht and Pfeiffer]

BIBLIOGRAPHY, COLLECTED EDITIONS

Sources of lute music, §9: Central european sources after c1650

BIBLIOGRAPHY, COLLECTED EDITIONS

BrookB

Verzeichniss geschriebener und gedruckter Musikalien aller Gattungen, welche am 1. Juni 1836 … von Breitkopf & Härtel … verkauft werden sollen (Leipzig, 1836)

A. Koczirz: ‘Österreichische Lautenmusik zwischen 1650 und 1720’, SMw, v (1918), 49–96

A. Koczirz, ed.: Österreichische Lautenmusik zwischen 1650 und 1720, DTÖ, l, Jg.xxv/2 (1918/R)

A. Koczirz: ‘Verschollene neudeutsche Lautenisten (Weichmanberg, Pasch, de Bronikowsky, Raschke)’, AMw, iii (1921), 270–84

A. Koczirz: ‘Böhmische Lautenkunst um 1750’, Alt-Prager Almanach, ed. P. Nettl (Prague, 1926), 88–120

P. Nettl: ‘Musicalia der fürstlich Lobkowitz’schen Bibliothek in Raudnitz’, Beiträge zur böhmischen und mährischen Musikgeschichte (Brno, 1927), 60–70

H. Neemann: ‘Die Lautenistenfamilie Weiss’, AMf, iv (1939), 157–89

H. Neemann, ed.: Lautenmusik des 17./18. Jahrhunderts, EDM, 1st ser., xii (1939)

A. Koczirz, ed.: Wiener Lautenmusik des 18. Jahrhunderts, EDM, 2nd ser., Alpen-und Donau-Reichsgau, i (1942)

R. Flotzinger: Die Lautentabulaturen des Stiftes Kremsmünster: thematischer Katalog (Vienna, 1965)

B.S. Brook, ed.: The Breitkopf Thematic Catalogue, 1762–1787 (New York, 1966)

K. Schnürl, ed.: Wiener Lautenmusik im 18. Jahrhundert, DTÖ, lxxxiv (1966)

H. Radke, ed.: Johann Georg Weichenberger: Sieben Präludien, drei Partien und eine Fantasie für Laute, MAM, xxv–xxvi (1970)

E. Maier: Die handschriftlich überlieferten Tabulaturen für Lauteninstrumente des 17. und 18. Jahrhunderts aus dem Bestand der Öesterreichischen Nationalbibliothek mit dem Wiener Lautenbuch des Jacques de Saint Luc (diss., U. of Vienna, 1972) [thematic index in vol.ii]

W. Rave: Some Manuscripts of French Lute Music, 1630–1700 (diss., U. of Illinois, 1972)

H. Radke, ed.: Wolff Jakob Lauffensteiner: Zwei Präludien und fünf Partien für Laute, MAM, xxx (1973)

P. Cherci: ‘Le opera per liuto di Bach’, Il ‘Fronimo’, xxxii (1980), 26–30

T. Crawford: ‘Haydn's Music for Lute’, Le luth et sa musique II: Tours 1980, 69–86

L. Hoffmann-Erbrecht: ‘Der Lautenist Silvius Leopold Weiss und Johann Sebastian Bach’, Ars musica, musica scientia: Festschrift Heinrich Hüschen, ed. D. Altenberg (Cologne, 1980), 246–54

T. Schmitt: ‘Johann Sebastian Bachs Werke für Laute’, Gitarre & Laute, vii/6 (1985), 13–20; viii (1986), 26–7, 64–5

R. Flotzinger: ‘Graz und die österreichische Lautenmusik zwischen 1650 und 1750’, Florilegium musicologicum: Hellmut Federhofer zum 75. Geburtstag, C.-H. Mahling (Tutzing, 1988), 103–8

L. Hoffmann-Erbrecht: ‘Ernest Gottlieb Barons Kompositionen für Laute’, Quaestiones in musica: Festschrift für Franz Krautwurst, ed. F. Brusniak and H. Leuchtmann (Tutzing, 1989), 227–40

P.K. Farstad: ‘Ornaments in 18th-Century German Lute Music’, Die Laute, ii (1998), 85–113

P.K. Farstad: German Galant Lute Music in the 18th Century (Göteborg, 2000)