Dear Fabio,
Thank you for the clarification. Do you recall in which Italian journal
the list appeared? I think I'll revive an old article on the Codice
Lauten-Buch and post it on my web site. In the meantime, perhaps you'll
permit me to add a few comments to your helpful list. It surely is more
extensive and informative than
anything posted so far to this thread. I'll add my comments in << and
>>'s, but refer you to my article for identiication of composers,
corrections of misspelled and unreported titles, transcripts of the jokes
in the original, etc.
----- Original Message -----
From: "Arkadia Trio" <[EMAIL PROTECTED]>
To: "List Lute" <lute@cs.dartmouth.edu>; "ml" <[EMAIL PROTECTED]>
Sent: Wednesday, September 17, 2008 5:22 AM
Subject: [LUTE] Re: Respighi
|> Dear lutelisters,
| >
| > I was listening to the 1st Suite by Respighi (Antiche Arie e Danze),
| > and became curious: the first and second pieces are by Molinaro and V.
| > Galilei, and the 3rd and 4th are Anon.
| >
| > Which pieces exactly are the originals used by Respighi? Where are
| > they available (I mean the intabs, of course)?
|
|
| An Italian magazine published years ago the following list:
|
| SUITE nr. 1 <<1917>>
| Simone Molinaro, Ballo detto "Il conte Orlando" & Saltarello del
predetto
| ballo, from Intavolatura per liuto - Libro primo (1599)
<<Respighi does not use the saltarello. Instead, perhaps to make a broader
opening statement for his suite, he rewrote the ballo in the "minor mode"
The "major mode" ballo then is heard da capo to make an ABA form.>>
| Vincenzo Galilei, Polymnia <<gagliarda>>
<<The original is in one of Galilei's own manuscripts dated 1584.
Respighi got the transcrption from an article by OC in some Italian music
magazine. Polymnia is the muse
of sacred music, and that accounts for the unusually intense contrapuntal
texture. In one phrase the melody is in a middle voice, almost hidden
from many players--but NOT from Paul O'Dette. I have a transcription for
guitar that I'll post to my web page.>>
| Anon., Italiana from Oscar Chilesotti's "Da un codice del Cinquecento"
<<The title "Da un codice del Cinquecento . . ." is not correct. Some
rip-off editions try to
make the manuscript appear of Italian origin. It is Bavarian. The largest
word on OC's
title page is "Lauten-Buch," in the archaic spelling that Chilesotti
probably found on the cover.>>
<<A "Codice Lautenbuch" is simply a handwritten (codice) lute
book, as opposed to a printed one. Although Chilesotti takes pains to
indicate the pieces are for seven-course lute (transcribed for
seven-string lute-guitar), in actuality most are for six-course
instrument, often "in Abzug"--that is with the sixth course
tuned a tone lower, as in this Italiana.>>
<<This is No. 59 in the Codice Lauten-Buch. It is a bagpipe piece. The
ostinato F-c-f represents
the drones, and the high wandering melody, the chanter melody. The
manuscript was probably copied in Nuremberg and there are similar bagpipe
pieces in Fuhrmann's "Testudo Gallo-Germanica" (interestingly also
Nuremberg, 1615).
Other bagpipe pieces were written by Giulio Caesare Barbetta (one in the
Herold
MS, ed. in Facsimile by Schlegel and Goy for TREE EDITIONS) and Dowland
(The "Battel Galliard"--bagpipers of course led the soldiers into
battle.)>>
<<JUdging from his orchestration, Respighi was unaware that this is a
piece in imitation of bagpipes.>>
<<Then the Polymnia Galliard is heard again, da capo, making an ABA
structure. For this reason some guitar editions falsely attribute the
Italiana to Galilei, since it "appears" that the galiarda and Italian are
one ABA piece. The rip-off artists did not realize (as you correctly
indicate) that Respighi combined the pieces from entirely separate,
unrelated sources, one German and the other Italian.>>
| Anon., "Orlando fa' che ti raccordi (villanella)
<<Codice Lauten-Buch, No. 50. This is a strange item. I suspect the
underlaid text from "Orlando furioso" was added by OC. It is nevertheless
one of the most devastatingly beautiful lute pieces from the Renaissance.
I have been unsuccessful in locating the vocal original, if one exists.>>
| Anon., Italiana from Oscar Chilesotti's "Da un codice del Cinquecento"
<<No. 49. The tempo indication "lento" is editorial. The "Orlando"
villanella
then returns to make an ABA piece in Respighi's suite.>>
| Anon., Passo mezzo bonissimo
<<Codice Lauten-Buch, No. 24. In 4 partes. Also see No. 66 for a
continuation with 5 more partes (not used by OR).>>
| Anon., Mascherada
<<Codice Lauten-Buch, No. 43. Some cognate sources give the title
"Trommeten [or Drommeten] Tanz" ("Trumpet Dance"), then Passo mezzo da
capo in Respighi>>
| SUITE nr. 2 <<1923>>
| Fabrizio Caroso, Laura soave
<<See Caroso, 1600, 1605.>>
| Jean-Baptiste Besard, Bransles de Village, from Novus partus (1671
<<1617>>)
<<For lute duet>>
| Anon., Campanae parisienses
<<Ibid. The famous carillon piece.>>
| Antoine Boësset, Divine Amaryllis, from Mersenne's Harmonie Universelle
| (1636)
| Bernardo Gianoncelli, Tasteggiata & Bergamasca
<<publ. Venice, 1650; OC's transcription in "Lautenspieler des XVI
Jahrhunderts">>
| SUITE nr. 3 <<1931>>
| Anon., Italiana
<<Codice Lauten-Buch>> No. 60.>>
| Santino Garsi, La Cesarina
<<Codice Lauten-Buch No. 61 without title or attribution " "Senza
titolo".>>
| Jean-Baptiste Besard, 6 Airs de court, from Thesaurus Harmonicus (1603)
<<see folios 77, 72, 68v, 73v, 70 and 68>>
| Anon., Spagnoletta
<<"Titolo indecifrabile". Respighi's title is "Siciliano" Codice
Lauten=Buch No. 64. OR used a version in OC's Canzonette for voice and
"pianoforte">>
| Ludovico Roncalli, Passacaglia, from Capricci armonici (1692)
<<Bergamo 1692>>
<<for guitar>>
=====AJN (Boston, Mass.)=====
This week's free download from Classical Music Library is Chopin's 3
Mazurkas, Op. 59, performed by Abdel Rahman El Bacha, pianist.
To download, click on the CML link here
http://mysite.verizon.net/arthurjness/
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http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/
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