Re: Unknown Bach vocal work discovered
Try http://www.bbc.co.uk/radio4/today/listenagain/thursday.shtml for part of it (08:55 am) The listen agains are only kept for a week so you'll have to be quick. There's only about 45 seconds of it after the interviews... - Original Message - From: "Thomas Schall" <[EMAIL PROTECTED]> To: "Lutelist" Sent: Saturday, June 11, 2005 10:47 PM Subject: Fwd: Unknown Bach vocal work discovered > thought this could be of general interest > > Thomas > > > BACH-ARCHIV LEIPZIG > > FORSCHUNGSINSTITUT Ã- BIBLIOTHEK Ã- MUSEUM Ã- VERANSTALTUNGEN > > Stiftung bürgerlichen Rechts > > > June 7, 2005 > > > > FOR IMMEDIATE RELEASE > > UNKNOWN VOCAL WORK BY J. S. BACH DISCOVERED > > > A completely unknown composition by Johann Sebastian Bach has been > discovered at the Anna Amalia Library in Weimar, Germany by a researcher > from the Leipzig Bach Archive. The discovery was made by Michael Maul in the > course of a systematic survey of all central German church, communal, and > state archival collections, an ongoing research project begun in 2002 and > supported by the Packard Humanities Institute and the William H. Scheide > Fund. > > The score in Bachâ?Ts own hand dates from October 1713 and represents a > setting of a strophic aria with ritornello for soprano, strings, and basso > continuo composed on the occasion of the 52nd birthday of duke Wilhelm Ernst > of Saxe-Weimar, whom Bach then served as court organist. The twelve-stanza > sacred poem with the text incipit â?zAlles mit Gott und nichts ohnâ?T ihnâ?o > (Everything with God and nothing without him), the dukeâ?Ts motto, was > written by the theologian Johann Anton Mylius. > > There has been no previous record of, or reference to, this composition. > Moreover, in the seventy years since the 1935 discovery of the > single-movement cantata fragment â?oBekennen will ich seinen Namenâ? (BWV > 200) no unknown authentic vocal work by Bach has come to light. > > > â?oIt is no major composition but an occasional work in the form of an > exquisite and highly refined strophic aria, Bachâ?Ts only contribution to a > musical genre popular in late 17th-century Germany,â? said Professor > Christoph Wolff of Harvard University, chair of the Board of the Bach > Archive, initiator, and supervisor of the current research project. â?oI am > extremly proud of Michael who is a most resourceful researcher,â? he added. > â?oIn less than three years he uncovered an unparalleled number of new > archival Bach documents, but this is the first time he presented a musical > discovery. The overall research project is far from being over and I am > quite sure that sooner or later Michael Maul will make news again.â? > > > A facsimile and performing edition of the newly discovered piece will be > published in the autumn of 2005 by Bärenreiter-Verlag of Kassel, Germany. > The first recording will be prepared by Sir John Eliot Gardiner, this > yearâ?Ts winner of the Bach Medal of the city of Leipzig, for release on his > Soli Deo Gloria label. > > > For further information on the discovery, please contact the Bach-Archiv: > +49-(0)341-137102 > > www.bach-leipzig.de . > > For further information on Sir John Eliot Gardinerâ?Ts involvement and the > planned recording please contact Simon Millward PR, > 020-7490-1591/07990-507-310. > > > -- > Thomas Schall > Niederhofheimer Weg 3 > D-65843 Sulzbach > 06196/74519 > [EMAIL PROTECTED] > > http://www.lautenist.de > http://www.lautenist.de/bduo/ > http://www.lautenist.de/gitarre/ > http://www.tslaute.de/weiss/ > > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >
Re: Dedillo
>This is an interesting point. I have never heard anyone perform the >dedillo successfully, with the exception of Ronn McFarlane, who (if my >memory serves me correctly) used it on some Milan pieces in an older solo >CD of his. > >Other than that, I know of nobody who now uses it. When I was in Basel in 1980 there was an oriental lutenist who played in a noontime concert who just blew everybody away. I remember he was doing Dowland cadential trills with dedillo. On retrospect, I think it must have been Yasunori Imamura, because people told me he was there at that time and, judging by his deVisee CD, he is one of the most awesome players around today. For myself, I play dedillo without holding the finger against the thumb. I play it using a thumb under position. I use it as a practice technique. It focuses the movement of my index into a smaller arc. I also try to practice dedillo with the thumb alone. Now that is hard! However, as a practice technique, I find it forces me to narrow down the movement and then when I return to regular thumb under I am more accurate. my 2 ¥ -- Ed Durbrow Saitama, Japan http://www9.plala.or.jp/edurbrow/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Fwd: Unknown Bach vocal work discovered
thought this could be of general interest Thomas BACH-ARCHIV LEIPZIG FORSCHUNGSINSTITUT Ã- BIBLIOTHEK Ã- MUSEUM Ã- VERANSTALTUNGEN Stiftung bürgerlichen Rechts June 7, 2005 FOR IMMEDIATE RELEASE UNKNOWN VOCAL WORK BY J. S. BACH DISCOVERED A completely unknown composition by Johann Sebastian Bach has been discovered at the Anna Amalia Library in Weimar, Germany by a researcher from the Leipzig Bach Archive. The discovery was made by Michael Maul in the course of a systematic survey of all central German church, communal, and state archival collections, an ongoing research project begun in 2002 and supported by the Packard Humanities Institute and the William H. Scheide Fund. The score in Bachâ?Ts own hand dates from October 1713 and represents a setting of a strophic aria with ritornello for soprano, strings, and basso continuo composed on the occasion of the 52nd birthday of duke Wilhelm Ernst of Saxe-Weimar, whom Bach then served as court organist. The twelve-stanza sacred poem with the text incipit â?zAlles mit Gott und nichts ohnâ?T ihnâ?o (Everything with God and nothing without him), the dukeâ?Ts motto, was written by the theologian Johann Anton Mylius. There has been no previous record of, or reference to, this composition. Moreover, in the seventy years since the 1935 discovery of the single-movement cantata fragment â?oBekennen will ich seinen Namenâ? (BWV 200) no unknown authentic vocal work by Bach has come to light. â?oIt is no major composition but an occasional work in the form of an exquisite and highly refined strophic aria, Bachâ?Ts only contribution to a musical genre popular in late 17th-century Germany,â? said Professor Christoph Wolff of Harvard University, chair of the Board of the Bach Archive, initiator, and supervisor of the current research project. â?oI am extremly proud of Michael who is a most resourceful researcher,â? he added. â?oIn less than three years he uncovered an unparalleled number of new archival Bach documents, but this is the first time he presented a musical discovery. The overall research project is far from being over and I am quite sure that sooner or later Michael Maul will make news again.â? A facsimile and performing edition of the newly discovered piece will be published in the autumn of 2005 by Bärenreiter-Verlag of Kassel, Germany. The first recording will be prepared by Sir John Eliot Gardiner, this yearâ?Ts winner of the Bach Medal of the city of Leipzig, for release on his Soli Deo Gloria label. For further information on the discovery, please contact the Bach-Archiv: +49-(0)341-137102 www.bach-leipzig.de . For further information on Sir John Eliot Gardinerâ?Ts involvement and the planned recording please contact Simon Millward PR, 020-7490-1591/07990-507-310. -- Thomas Schall Niederhofheimer Weg 3 D-65843 Sulzbach 06196/74519 [EMAIL PROTECTED] http://www.lautenist.de http://www.lautenist.de/bduo/ http://www.lautenist.de/gitarre/ http://www.tslaute.de/weiss/ To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Dalsa translation
Dear Michael, You can find a good summary of the "rules for those who can't sing" online at: http://www.library.appstate.edu/music/lute/spi1507a.html You will see that this refers to the first of Petrucci's lute books by Francesco Spinacino, but the content of the "rules" is the same in Dalza. In addition next to the table of contents in the Dalza book there is a short paragraph introducing the music as being composed by the "excellent musician and lute player Joanambrosio Dalza of Milan," which goes on to explain that he has "included only pieces that are easy and pleasing to beginners, avoiding difficult pieces that satisfy only those knowledgeable in the art." (!) You might find it helpful to know the names of the courses on the lute in use in Dalza's time, which are: First course = canto Second course = sotane third course = mezane fourth course = tenor fifth course = bordon sixth course = contrabasso So where on page 33 he introduces a "Pavana alla Ferrarese" he adds "col contrabasso accordato ottava col tenor" i.e. "with the sixth course an octave lower than the fourth. " Unfortunately the introductory "rules" from the Petrucci lute books are far from a comprehensive set of instructions for lute playing, although they were clearly popular and were re-used in many printed lute books. We have to piece our understanding of lute playing in the early sixteenth century from all the sources we can find. There is helpful information, including tuning instructions in Sebastian Virdung's "Musica Getutscht" of 1511 (translation in the Lute Society Journal 1973), and there is an excellent translation of the instructions from the Capirola lute book by Federico Marincola in "The Lute" (The Lute Society Journal) Volume XXIII 1983 Part 2. My article on the Petrucci lute books & Dalza was in "Lute News" (the Lute Society Magazine) number 73 April 2005. If you are not a member of the Lute Society it's well worth joining. Every copy of Lute News includes a tablature supplement in addition to articles and information about what's happing in the lute world. In recent times there have been several supplements with early 16th century ricercars and dances edited by John Robinson which are very good to have if you like this music. Best wishes, Denys - Original Message - From: "Michael Thames" <[EMAIL PROTECTED]> To: "Lute net" Sent: Saturday, June 11, 2005 2:31 PM Subject: Dalsa translation > To all, but especially Denys, > I just got the facsimile of Dalsa," Intabulatura de Lauto Libro Quarto" editions Minkoff. > I was wondering if anyone knows of a translation of the introduction, and tuning instructions in English? > > Also Denys, what lute journal did your article on Dalsa appear in? > > Michael Thames > www.ThamesClassicalGuitars.com > -- > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > >
Re: Dresden MS
I have had this version for many years, and it suits me well. Yes, it is sadly our of print. Sorry, it is not for sale. ed At 07:32 AM 6/11/2005 -0600, Michael Thames wrote: >Hi Markus, > Good to know I'm not the only one who notices this. Also, good to know >that it was the publishers decision and not Tim Crawford's. > Yes, these editions I feel are well worth the price, they lay well on the >music stand, and the pages stay put. > >There is another edition of the Dresden MS, of a smaller book, with 34 >sonatas, non edited facsimiles, that is very nice as well, but seems to be >out of print. > I wonder if anyone out there has this edition, and would like to sell >it? >Michael Thames >www.ThamesClassicalGuitars.com >- Original Message - >From: "Markus Lutz" <[EMAIL PROTECTED]> >To: "Lute net" >Sent: Saturday, June 11, 2005 2:59 AM >Subject: Re: Dresden MS > > > > Hi Michael, > > the criticism on the mixture of facsimile and modern tablature is also a >thing that I really can concur with. > > I have spoken with Tim Crawford about that and he wrote,that it wasn't his >decision but had to do with the principles of the "Erbe Deutscher Musik", >that the Weiss works are published in. > > They want to make performance editions, so we probably can be lucky to >have also the facsimiles, as modern intabulations always seem to be >error-prone ... > > But anyway the edition is really worth the money it costs, although it is >very expensive. > > > > Best > > Markus > > > > On Fri, 10 Jun 2005 10:06:30 -0600, Michael Thames wrote: > > > > MT> Just got the first volume of the Dresden MS, edited by Tim Crawford. >Super nice paper, something that will last forever. > > MT>I do have one criticism of this edition however. The computer >generated tablature is mixed in with the facsimiles, ( a real drag). It >would have be much better to put all the facsimiles together in one section, >and a reference to the computer tab in the back of the book. > > MT> I don't understand Tim Crawford's criteria for eliminating some >of the facsimiles, and classifying them as damaged, and therefore eliminated >from the main body of facsimiles. > > MT> I have been reading from Xeroxed copies of these so called, >damaged facsimiles, for quite a while, with no problems. Oh Well. > > MT> > > MT> Michael Thames > > MT> www.ThamesClassicalGuitars.com > > MT> -- > > MT> > > MT> To get on or off this list see list information at > > MT> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > MT> > > > > > > > > Edward Martin 2817 East 2nd Street Duluth, Minnesota 55812 e-mail: [EMAIL PROTECTED] voice: (218) 728-1202
Re: Dresden MS
Hi Markus, Good to know I'm not the only one who notices this. Also, good to know that it was the publishers decision and not Tim Crawford's. Yes, these editions I feel are well worth the price, they lay well on the music stand, and the pages stay put. There is another edition of the Dresden MS, of a smaller book, with 34 sonatas, non edited facsimiles, that is very nice as well, but seems to be out of print. I wonder if anyone out there has this edition, and would like to sell it? Michael Thames www.ThamesClassicalGuitars.com - Original Message - From: "Markus Lutz" <[EMAIL PROTECTED]> To: "Lute net" Sent: Saturday, June 11, 2005 2:59 AM Subject: Re: Dresden MS > Hi Michael, > the criticism on the mixture of facsimile and modern tablature is also a thing that I really can concur with. > I have spoken with Tim Crawford about that and he wrote,that it wasn't his decision but had to do with the principles of the "Erbe Deutscher Musik", that the Weiss works are published in. > They want to make performance editions, so we probably can be lucky to have also the facsimiles, as modern intabulations always seem to be error-prone ... > But anyway the edition is really worth the money it costs, although it is very expensive. > > Best > Markus > > On Fri, 10 Jun 2005 10:06:30 -0600, Michael Thames wrote: > > MT> Just got the first volume of the Dresden MS, edited by Tim Crawford. Super nice paper, something that will last forever. > MT>I do have one criticism of this edition however. The computer generated tablature is mixed in with the facsimiles, ( a real drag). It would have be much better to put all the facsimiles together in one section, and a reference to the computer tab in the back of the book. > MT> I don't understand Tim Crawford's criteria for eliminating some of the facsimiles, and classifying them as damaged, and therefore eliminated from the main body of facsimiles. > MT> I have been reading from Xeroxed copies of these so called, damaged facsimiles, for quite a while, with no problems. Oh Well. > MT> > MT> Michael Thames > MT> www.ThamesClassicalGuitars.com > MT> -- > MT> > MT> To get on or off this list see list information at > MT> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > MT> > > > >
Dalsa translation
To all, but especially Denys, I just got the facsimile of Dalsa," Intabulatura de Lauto Libro Quarto" editions Minkoff. I was wondering if anyone knows of a translation of the introduction, and tuning instructions in English? Also Denys, what lute journal did your article on Dalsa appear in? Michael Thames www.ThamesClassicalGuitars.com -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
FW: Johann Friedrich Reichardt
There are a few more Lieder, "fresh off the press", for your perusal and delectation. The last one is an ode on Ludwig Hölty's death at the age of 28 in 1776 (Hölty has been the lyricist of many recent items posted). In this particular case JFR is the poet, the composer is his wife- Juliane Benda, the daughter of Jiri-Antonin (Georg-Anton) B. RT > http://polyhymnion.org/lieder/german.html > RT ___ $0 Web Hosting with up to 200MB web space, 1000 MB Transfer 10 Personalized POP and Web E-mail Accounts, and much more. Signup at www.doteasy.com To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Dresden MS
Hi Michael, the criticism on the mixture of facsimile and modern tablature is also a thing that I really can concur with. I have spoken with Tim Crawford about that and he wrote,that it wasn't his decision but had to do with the principles of the "Erbe Deutscher Musik", that the Weiss works are published in. They want to make performance editions, so we probably can be lucky to have also the facsimiles, as modern intabulations always seem to be error-prone ... But anyway the edition is really worth the money it costs, although it is very expensive. Best Markus On Fri, 10 Jun 2005 10:06:30 -0600, Michael Thames wrote: MT> Just got the first volume of the Dresden MS, edited by Tim Crawford. Super nice paper, something that will last forever. MT>I do have one criticism of this edition however. The computer generated tablature is mixed in with the facsimiles, ( a real drag). It would have be much better to put all the facsimiles together in one section, and a reference to the computer tab in the back of the book. MT> I don't understand Tim Crawford's criteria for eliminating some of the facsimiles, and classifying them as damaged, and therefore eliminated from the main body of facsimiles. MT> I have been reading from Xeroxed copies of these so called, damaged facsimiles, for quite a while, with no problems. Oh Well. MT> MT> Michael Thames MT> www.ThamesClassicalGuitars.com MT> -- MT> MT> To get on or off this list see list information at MT> http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html MT>
Re: Lute Weight
Dear Tom, I guess not many people weigh their lutes, but the weight of individual components is something I record as I build lutes, so I have quite detailed information going back many years. In looking at these records, one thing is immediately apparent - the main source of variation in lutes of a particular size and type is the material used for the back, which (for 6-7c lutes) accounts for about 40% of the total weight. So woods such as sycamore or yew produce a lighter lute than rosewood or ebony. Ebony veneers increase the weight of larger lutes (with more courses) quite a bit - also making them more or less top heavy and more difficult to hold. The thickness of the veneer obviously makes a huge difference, too. 6c lutes with unveneered necks weigh in at about 580 - 600g for a 60cm model to 630-640g for a 67-69cm lute. The equivalent figures for 7c lutes with veneered necks are roughly 610 and 695g. My theorbo (86/164cm, with a cypress back and veneered neck) weighs 1670g. Perhaps the most interesting finding is the weight of the soundboard. On a 7c 60cm lute, the soundboard might weigh about 65-75g, but the bars add about another 50g - so the total soundboard is roughly 40% bars! This figure will be less for 6c lutes, where the soundboard may be thicker and the barring less substantial. Best wishes, Martin Tom Knowling wrote: >To all Lute owners > > >Have you ever weighed your Lute ?? If not, which is probably the case, >please do and tell all. I have had the use of a traditional material, >ebony sycamore and Swiss Pine 10 course 60cm instrument which was very >responsive and stable,its weight is (strung with nylon plus wound) 650 gms >I await replies with interestregards Tom. > > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > >
