Stewart,
I expect Roman will answer properly, but Sautscheck is the surname of his
grand mother. I saw a tomb with this name on it in Prague, in the cemetery
of important persons, apparently it's a common name.
In Italian all this ( wondering about the hidden meanings of it etc) is
called "dietrologia" , no idea how to translate it into proper English. Look
in the archives, he told the story in past mails to the list.
Donatella
P.S. I did not read the paper you are talking about, the message did not get
to me.
http://web.tiscali.it/awebd
----- Original Message -----
From: "Stewart McCoy" <[EMAIL PROTECTED]>
To: "Lute Net" <lute@cs.dartmouth.edu>
Sent: Sunday, June 08, 2008 12:03 PM
Subject: [LUTE] Musical Crimes: Forgery, Deceit, and Socio-Hermeneutics
Dear Roman,
The paper is indeed interesting, although I cannot be sure who wrote it.
In the paper, you are referred to as "Roman Turovsky-Savchuk". Is this
really your full name? If so, is your choice of the name "Sautscheck"
for your own compositions, derived from the last part of your name?
A few years ago, I told a friend about your compositions for lute, and
how you used the pseudonym "Sautscheck". He was much amused. He is a
retired lecturer in German, and so is familiar with the German language.
He said that "Sautscheck" has certain pejorative connotations, but I
cannot remember the details. Is there a joke with the name "Sautscheck"
which we are missing?
I think the author of the paper would have been interested to know that
Elias Mertel listed the names of the composers whose work was included
in his anthology, but he deliberately failed to mention who actually
wrote which piece. He argued in his introduction, that he wanted each
piece to be judged on its own merits.
Music from the 16th century is an interesting area as far as
attributions are concerned. It is often difficult to distinguish between
composer, arranger, intabulator, and publisher. Did Dowland compose "My
Lord Willoughby's Welcome Home, was the piece by Byrd, or did the piece
exist before either of them put their gloss on it?
On the question of arrangements, I would like to know more about how
lute composers composed. I suspect that people like Dowland would have
composed pieces in four or five parts in score, before arranging them as
lute solos, with divisions and ornaments added last. I don't think they
would have started with a lute on their lap and an empty tablature stave
in front of them, but I could be wrong. I have a vague memory of hearing
that Palestrina had a lute handy when composing.
Best wishes,
Stewart McCoy.
-----Original Message-----
From: Roman Turovsky [mailto:[EMAIL PROTECTED]
Sent: 08 June 2008 04:25
To: BAROQUE-LUTE
Subject: [BAROQUE-LUTE] Re: [delian] Musical Crimes: Forgery, Deceit,
and Socio-Hermeneutics
An interesting paper from Cambridge-
http://www.serenestudios.co.uk/articles/musical_crimes
RT
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