Only two short comments: - The manuscript formerly F-Pcnrs is now kept by the BnF: PARIS, Bibliothèque nationale de France (F-Pn), Rés. Vma. ms. 1404, dépôt du Centre national de la recherche scientfique (F-Pcnrs), 1630-1636 ca
- Here's the link to the page with the important paper by François-Pierre Goy on Bullen Reymes: http://www.accordsnouveaux.ch/de/Abhandlung/Schreiber/Schreiber.html Andreas Am 09.03.2017 um 10:37 schrieb Jean-Marie Poirier <jmpoiri...@wanadoo.fr>: > Interesting Ernst ! > Two (very small) remarks nonetheless : there is no point calling Merville > "Nicolo" (or is it a typo ?) as he was a Parisian born and such a typical > French lutenist, especially as you call him properly "Nicolas" a little > further down in your text. > The second point is about the transmission of the French repertoire to > England : as you noticed Reymes was a student of Mésangeau at first, and as > Mésangeau more or less let him down, he turned to Merville and was very > satisified with his teaching. Do not forget that Cherbury was in Paris too > from 1619 to 1621, at a timme when Merville and Mésangeau and dozens more > were active in Paris as lute players. Remember too that John Evelyn, the > diarist, says that he took lessons in Paris from Mercure (Jean, so-called > "John" after his long saty in England) in 1647. > Old Gaultier and Mésangeau visited the English court in the 1630s and played > for the monarchs, queen Henriette-Marie being French, a sister of Louis XIII. > All this points to an intricate network of influences and contacts between > French and English musicians until the Commonwealth took over, and the > English court found refuge at the French court until the Restoration in 1660 > or about. It is very logical to find a Chaconne / Sarabande like this in an > Engllish source like Egerton 2046, also known as Jane Pickeringe Lute Book. > > This repertoire and period really deserves more attention. I have a recording > project under way of some of the lesser known repertoire... > > Well done and all my best wishes Ernst, > > Jean-Marie > > -------------- > >> Dear lute friends, >> >> Thank you to all of you who helped me exploring a Sarabande (or Chaconne) in >> connection with the manuscripts F-Pcnrs Ms. sans cote [Bullen Reymes Lute >> Book], MS Egerton 2046 (British Library, London), A-KR MS L81 (Kremsmünster, >> Austria), etc. Extra big thanks to Peter, Anders, Bernd, Hubert, Anders, >> Matthay, Jean-Marie, and many others from the lute community. Please find >> below a short summary of my resume: >> >> This Sarabande has been attributed to Nicolo de Merville (1600 - 1643) a >> French lutenist and composer. In the manuscript MS Egerton 2046 (British >> Library, London), this piece consists of seven movements, each is a >> variation of the basic scheme. >> >> Very similar pieces, with and without title and attribution towards >> Merville, are included in various manuscripts, such as A-KR MS L81, B-Br Ms. >> II 276, CZ-Pnm Ms. IV.G.18, D-Mbs Mus. Ms. 21646, F-Pcnrs Ms. sans cote >> (“Bullen Reymes MS”), F-Pn Rés. Vmb. ms. 7 Ms. Barbe, GB-En Ms. 9452 >> (Panmure House Music Book Nr. 5), GB-Ob Ms. Mus. Sch. E. 411, RA-BAn Ms. 236 >> R, RF-Span MS O.N124, US-Rm Ms. Vault M140 V186S. >> >> Interestingly, each piece differs from the other manuscript, new movements >> have been added or other have been modified. This shows the highly >> variability and vitality of lute playing at this time, and the result of >> music traveling from one instrument to the other and from country to >> country. >> >> I was wondering about the where about and provenance of this piece in the MS >> Egerton 2046 (British Library, London): I learned that the English diplomat >> in Paris Mr. Bullen Reymes (1613–1672) took lute lessons in Paris by both >> René Messangeau and Nicolas de Merville (musicien ordinaire du roi) between >> 1632 and 1633. Thus, it was in Paris that Mr. Reymes learned the up-to-date >> French lute repertoire, and actually he is one of the original writer of the >> F-Pn Rés. Vma ms. 1404 (Paris, France), one of the richest source of music >> by Messangeau, Merville and other composers. It is known that Mr. Reymens >> used his manuscript during social events and that he entertained the English >> ambassador Sir Isaak Wake. I assume that Mr. Reymes imported this piece to >> England following his return to London. >> >> Here I present the amateur home recording of the Sarabande in g minor from >> the MS Egerton 2046 ( https://youtu.be/pvSx5NQ5C7k ) which comes in the >> Accords Nouveaux tuning "Flat French" (f’,d’,b,g,d,A,G,F,Es,D,C), and I >> added two more movement each one from the manuscript US-Rm Ms. Vault M140 >> V186S and F-Pcnrs Ms. sans cote (“Bullen Reymes MS”). The “Flat French >> Tuning” was very fashioned at this time and represents the authentic way to >> play the lute during the early 17th century both in France and England. >> >> Thank you, Ernst >> Biochemist in Vienna >> >> >> >> >> >> To get on or off this list see list information at >> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > Andreas Schlegel Eckstr. 6 CH-5737 Menziken +41 (0)62 771 47 07 lute.cor...@sunrise.ch
