[LUTE] Re: Quaerite, et invenietis
New items published by TREE EDITION May 2010 ___ ___ for 10-course Renaissance Lute / Archlute Giovanni Zamboni: Sonate d'intavolatura di leuto, Lucca 1718 transcribed and edited by Gian Luca Lastraioli The style of Zamboni's twelve sonatas is highly elegant and all of his pieces show an accurate level of idiomatic writing for the instrument. For this reason they represent a precious, virtually unique, example of lute music of the Italian Settecento. Finally, not only can Zamboni's sonatas enrich the solo repertoire of today's lutenist, but they also represent an excellent source of inspiration for a better understanding of the art of basso continuo realization on the archlute as it was practiced in Italy during the baroque period. French tablature/ Renaissance tuning Euro 30.- ___ _ for Baroque Lute The appearance of a new source is always a major event in the world of the lute and its music. TREE EDITION proudly presents The WITTGENSTEIN Lute Book edited by Mathias Roesel. This previously unknown manuscript from the noble household of the German family Sayn-Wittgenstein-Hohenstein is published here for the first time. The text-section of the book: - Principia der Laute (Principles of the lute) - contains comtemporary explanations on how to perform graces. The music-section contains 102 pieces for the eleven-course baroque lute, dating until 1720. Named composers are Ebner, Kuehnel, Losy, and Meusel, besides many anonymous pieces. Concordances and incipits were compiled by Markus Lutz and Peter Steur. The moderate level of difficulty makes it a treasure trove for lovers of the baroque lute. Introduction and explanations in both German and English French tablature / Baroque tuning / 2 volumes Euro 40.- ___ ___ Send your orders to [1]albertreyer...@kabelmail.de Find our complete catalogue of lute music at [2]www.TREE-EDITION.com TREE EDITION / Albert Reyerman / Finkenberg 89 / D-23558 Luebeck / Germany -- TREE EDITION -Music for the Lute- Albert Reyerman Finkenberg 89 23558 Luebeck Germany [3]www.Tree-Edition.com [4]albertreyer...@kabelmail.de ++49 (0) 451 899 78 48 -- References 1. mailto:albertreyer...@kabelmail.de 2. http://www.TREE-EDITION.com/ 3. http://www.Tree-Edition.com/ 4. mailto:albertreyer...@kabelmail.de To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Ms. Schwerin 641
There will be a facsimile edition of Schwerin 641 edited by Francois Pierre Goy, published by TREE, available later this year. Regards Albert Reyerman TREE Am 30.03.2010 18:03, schrieb Benjamin Narvey: Hello luters, If anyone should happen to have a facsimile of Ms. Schwerin 641, could you get in touch off list? Many thanks! Benjamin -- TREE EDITION -Music for the Lute- Albert Reyerman Finkenberg 89 23558 Luebeck Germany www.Tree-Edition.com albertreyer...@kabelmail.de ++49 (0) 451 899 78 48 To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] TREE New Catalogue
TREE EDITION new catalogue of lute music -- TREE EDITION - Music for the Lute - Albert Reyerman Finkenberg 89 23558 Luebeck Germany web:www.Tree-Edition.com mailto: albertreyer...@kabelmail.de phone: ++49(0)451- 899 78 48 -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
Re: Vihuela
I ´m always asking myself why people call the composer in question LUIS MILAN. On the title page of EL MAESTRO his name is clearly written: LUYS MILAN. (Advantage of a facsimile edition !!) Albert TREE Stewart McCoy wrote: Dear Tony, The first printed book of vihuela music (as far as we know) was Luis Milan's _El Maestro_. There is often some confusion over the date, because 1535 and 1536 appear in it. The tablature was what some people call Spanish, with the top line representing the 1st course (highest in pitch). All the other vihuela books were printed the other way up in Italian lute tablature. Some vihuela pieces were pirated by Morlaye and Phalese, whose books appeared later than the vihuela books they dipped into. For example, the first piece in Phalese's _Hortus Musarum_ (Louvain, 1552) is a Fantasia which had appeared in Valderrabano's vihuela collection in 1547. The Italian equivalent of the vihuela was the viola da mano, or viola (for short). There is a book of music by Milano which was printed in 1536, which mentions the lute and the viola on the title page. You are right to think that the music for all these instruments can be played on any of them, because the tuning is the same. However, vihuela music often involves difficult chords high up the neck, which would be easier to play on a vihuela with strings (more or less) parallel, but awkward on the lute with fewer frets on the neck, and with the strings spaced wider apart than they are at the nut end. Best wishes, Stewart McCoy. - Original Message - From: Tony Chalkley [EMAIL PROTECTED] To: Lute Net [EMAIL PROTECTED]; Stewart McCoy [EMAIL PROTECTED] Sent: Friday, December 12, 2003 6:42 PM Subject: Re: Vihuela Dear Stewart snip However, her evidence is drawn from a wide period of time, and doesn't really explain why the Spanish should have printed music for the vihuela and not the lute, in the 40 years from Luis Milan (1536) to Estaban Daza (1576). Does this mean that the books in that period contained pieces in Spanish tablature that were perfectly playable on the lute because of the tuning, but were entitled Pieces for Vihuela? (Sorry I don't do Spanish). If so, the difference seems a bit academic as presumably everyone would know that they could play it on either instrument. From what you say about the iconographic evidence that lutes were being played, it is difficult to imagine the lutenists going down to the local music shop and saying Oh damn, they're still only churning out vihuela music. Does what you say mean that till 1535 (after 1576 is perhaps less important) they _were_ producing lute music. Going back to your earlier reply to Jon, how do we recognize a vihuela piece in a (later, non Spanish) lute collection? Is it because the earliest known version was published in that period in Spain? Yours, Tony --
Re: Vihuela
May be both are OK in modern use. But as long as the only source shows clearly LUYS we should use this, I think. Albert arielabramovich wrote: something similar happens with Estevan/Esteban Daza/Daça Both are ok, as well as Luys and Luis. There no one more appropriated than the other one. Ariel.
Re: an apologie
Michael thank you indeed for that email. I for my part have closed the book on this matter. Best regards Albert Albert Reyerman TREE EDITION Michael Thames wrote: Dear Mr.Reyrman, Thank you for the kind reply. You will no doubt be forwarded a = letter in which I addressed the lute list, and publicly insulted you.=20 First, let me say that someone forwarded you one of my letters from = the lute list in which I was asking about copyrights etc. Of which I = really know nothing about. I asked everyone's opinion about this and we = were exchanging ideas etc. I also had no idea that the process of = photographing these manuscripts was so involved. In the end someone = suggested that I contact you directly, which I did asking your = permission as you know. I wrote you about an hour before I received your first letter, = mistakenly assuming this was your response to my letter, all the time = unaware that someone sent you my first letter from the lute mailing = list. I then wrote a rather insulting letter back to you in response to = my first letter. I hope this is clear for you. Now, I would like to profoundly apologize to you, I deeply regret = what I said publicly about you, and hope that you can forgive me for = this. As it is late here as soon as morning comes I shall issue a public = apologies to the entire lute community, concerning my terrible unjust = letter. Thinking you read my first letter, I couldn't imagine that was = your response.I never at any point had any intentions of going = against your wishes, even if I could have gotten away with it. Who ever sent you the first letter did so with without my knowledge, = and alarmed you for no reason. I think Mantanya should mind his own = business, he causes nothing but problems.=20 Should you hold this against me I completely understand but hope = as two human beings we can come to a better place in this. And again I = humbly ask for your forgiveness. Michael Thames Michael Thames Luthier www.ThamesClassicalGuitars.com Site design by Natalina Calia-Thames --
Re: Facsimeles etc.
Open letter to Michael Thames who announced to place a TREE facsimile edition to the wwweb. from Albert Reyerman, TREE EDITION Dear Mr. Thames, first of all I would like to correct you: in the BACH/Weyrauch facsimile edition the copyright notice is printed on the very first page (in 24 point Times Roman, big enough not to be overlooked). It reads: Copyright 1999, TREE EDITION, Albert Reyerman Now to your plan, to place a Bach/Weyrauch facsimile edition on the Internet: I have nothing to say against that, as long as you place YOUR facsimile edition and not MINE. To make your own facsimile edition I´ll give you some information: fly/drive to Leipzig (from my hometown Leipzig was 400 miles away), go to Städtische Bibliotheken Leipzig Musikbibliothek Leuschnerplatz 10-11 D-04107 Leipzig Ask the head of the library (Dr. Brigitte Geyer) for permission to make a facsimile of the Bach edition and to publish it. If you are of good reputation and experienced in making facsimiles of sources of such value, she possibly agrees. In my case she did. Bring your own computer, software and scanner ( I brought my big AGFA T2000XL scanner, cause the original manuscript is so big in size that it does not fit to an A4 or legal format scanner. The street price of the Agfa scanner is about 10,000.- US $. Hopefully you have something good as this). Than scan the ms. Cause the ms. has few pages, It will take you only about one day or two, if you are an experienced operator (the ms. has light brown ink on a yellowish paper. Difficult to scan). At home, with your publishing software ( I use Adobe Pagemaker and Adobe Acrobat Professional) you can layout the book on your PC/Mac system and make a proper edition of it. You can avoid going to the printer, have the book printed. You can avoid, going to the book binder, to have the edition binded. You can avoid, to make some advertising around the world. You can avoid all these things I had to do, cause: you place YOUR facsimile edition to the internet. But again: place YOURS and not MINE. About fairness: I know very well that we both are living on different parts of this world. But I have been to the United States often enough (about 20 times or so within the last 25 years) to know that the American people as well as the European people are exactly aware of the difference between YOURS and MINE. No discussion about. If I misunderstood you and you are not talking about fairness, but on applicable laws: my lawyers on copyright matters are Zipse Habersack Dipl. Ing. Joerg Habersack Patentanwalt Kemnatenstr. 15 80687 Munich Germany They are highly approved and can answer all your questions. But I would like to count on your fairness. Thank you in advance. Please excuse my poor english. Albert Albert Reyerman TREE EDITION Finkenberg 89 D-23558 Luebeck Germany TREE EDITION is registered trade mark European Patent Register No. 1 038 427 By the way: I drove to Leipzig exactly 40 times in the past 9 years. They have 40 lute mss/prints and the gave me only one source at a time. (The biggest source was the DLUGORAI lute book. It has 600 pages. I worked on that book for 4 weeks fulltime). Now I have scanned all Leipzig lute sources. The 40 facsimiles are not all yet published in print. But they will be, one after another. I promise. Albert Michael Thames wrote: Let me state my intentions, and I will take all viewpoints to heart in = the matter. I would like to put these unedited facsimiles That I bought = from Tree publishing on my website for free downloading, as well = transcribe a version for guitar. Nowhere in the edition does it say = anything about copyrights etc.and there is absolutely no editing, just = Xerox copies of the original Tablature, period. In the Dowland MS manuscript project, ( see link ) they state, = they bought the rights to publish the manuscripts, and now they are = public domain, and are free to download. They got together 25 people to = chip in and buy the rights. Now, in theory is it not the same thing Tree = did? They most likely paid money, to get the rights to publish and SELL = the facsimiles. If I bought the Facsimiles for $25,00 could one assume = that I've fulfilled my part to Tree publishing by chipping in and = helping them to obtain rights to make these public domain, as well as = assisting them in there ability to sell them. In a way, it seems like = capitalism at it's best and worst. =20 Like many of you I download lots of music, But I also love to buy = nice editions, of the very pieces I've downloaded, and will continue to = buy nice editions, whenever I come across them. Last week, I bought the = complete lute works of John Dowland, even though I could download 90% of = that for free. The challenge for publishers, is to take this music = which is basically available to all, and arrange it in a nice, = informative fingered edition, then, they can make some money. Not to = continue to stiff us on unedited
