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MUSIC BEFORE 1800 Louise Basbas, Director Pallade Musica Imperfect Circle Chromatic, Circular, and Wandering Music Tanya LaPerrière, violin Elinor Frey, cello Esteban La Rotta, theorbo Mélisande McNabney, harpsichord Sonata Op. 1, No. 4 in B-flat Major, BuxWV 255 Dietrich Buxtehude (1637 - 1707) Ciaccona - Vivace - Lento - Allegro Fantasia chromatica, SwWV 25 Jan Pieterszoon Sweelinck (1562 - 1621) Sonata XII: “Sonate accademiche” Francesco Maria Veracini (1690 - 1768) Passagallo - Capriccio Cromatico (con Due Soggetti, e Loro Rovesci veri) Canzone sesta: Capriccio per camera Angelo Berardi (c. 1636 - 1694) Arcate - Corrente fancese - Tempo furio di sarabanda presto Balletto grave - Cromatico - Tempo di gagliarda - Tempo ineguale Arcate - Tempo inglese - Allegro. Perfidia replicata - Aria todesca Capriccio a2 Andrea Cima (c. 1580 - 1627) INTERMISSION Canzone prima: “Chi la fà, l’aspetti” Angelo Berardi On recolté ce qu’on a semé (What goes around comes around) Adagio - Presto - Allegro - Adagio - Canzone. Allegro Sonata #5 for violin and cello Evaristo Felice Dall’Abaco (1675 - 1742) Andante - Allegro - Adagio - Giga Aria cromatica e variata (1720) Francesco Antonio Bonporti (1672 - 1749) Sonata Op. 1, No. 6 in D minor, BuxWV 257 Dietrich Buxtehude Grave - Allegro - Con discretione - [Allegro] - Adagio - [Allegro] Adagio - Vivace - [Allegro] - Adagio - Poco presto - Poco adagio Presto - Lento Tis concert is sponsored, in part, by Judith Anne Wink and Michael Zumoff. Music Before 1800’s programs are supported, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Department of Cultural Affairs in partnership with the City Council. Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular phones and pagers. Te Kosciuszko Foundation 7:30 p.m. Tursday, March 2, 2017.

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FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University Collection 18 Plans and Books'
Elena Dal Coriivo No. 43 April 1986 FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University collection 18 Plans and books'. S.A.M.I., Paris 20 Plan! Eerens tr aver so 23 Plan! Vienna quint bass recorder The Harley Foundation, Welbeck 24 COMMUNICATIONS 688- REVIEWS! The Sound of the Fortepiano! A Discography, by A. Basardj 695 Musical Instruments Through The Ages, ed M. Hamber & L. Stanners^ Music for Oboe 1650-1800, by B. Haynes? ...Maultrommel..,2, ed. F. Crane*, A Treatise...violin playing, by L. Mozart, trans. E. Knocker (paperback reissue)! Un Musee Aujourd'hui (exhibition cat.)! The Art of Fingering the Harpsichord, by N. Pasquali (facs. of 1757 print)? Musical and Poetical Relicks of the Welsh Bards, by E. Jones (facs. of 1784 print) J. Montagu 26 726 Changes at Prague G. Lyndon-Jones 16 696 Review! Piano i Norge, by P A Kjeldsberg O. Aanstad 34 697 New Grove DoMI! JM no. 4! further detailed comments J. Montagu 35 698 New Grove DoMI! ES no. 4! Ca to Ci entries E. Segerman 39 699 Are computers anything for us? C. Karp 46 700 (Computer Comms) M. Lyndon-Jones 52 701 On computers, typewriters etc. M. Champollion 53 702 (Non-keyboard baroque temperament) B. Haynes 56 703 A matter of temperament M. Hodgson 69 704 The proportional compass R. Gug 71 705 A simple and cheap hygrometer T. Bergstrrim 87 706 Digital and other calipers B. van Leeuwen 88 707 Modification and sharpening of twist drills B. van Leeuwen 89 708 De humidifiers H.Hope 89 709 ...Chitarra battente H.Hope 90 710 Vihuela H.Hope 90 711 An experimental method N.
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Lute Tuning and Temperament in the Sixteenth and Seventeenth Centuries
LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND SEVENTEENTH CENTURIES BY ADAM WEAD Submitted to the faculty of the Jacobs School of Music in partial fulﬁllment of the requirements for the degree, Doctor of Music, Indiana University August, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulﬁllment of the requirements for the degree Doctor of Music. Nigel North, Research Director & Chair Stanley Ritchie Ayana Smith Elisabeth Wright ii Contents Acknowledgments . v Introduction . 1 1 Tuning and Temperament 5 1.1 The Greeks’ Debate . 7 1.2 Temperament . 14 1.2.1 Regular Meantone and Irregular Temperaments . 16 1.2.2 Equal Division . 19 1.2.3 Equal Temperament . 25 1.3 Describing Temperaments . 29 2 Lute Fretting Systems 32 2.1 Pythagorean Tunings for Lute . 33 2.2 Gerle’s Fretting Instructions . 37 2.3 John Dowland’s Fretting Instructions . 46 2.4 Ganassi’s Regola Rubertina .......................... 53 2.4.1 Ganassi’s Non-Pythagorean Frets . 55 2.5 Spanish Vihuela Sources . 61 iii 2.6 Sources of Equal Fretting . 67 2.7 Summary . 71 3 Modern Lute Fretting 74 3.1 The Lute in Ensembles . 76 3.2 The Theorbo . 83 3.2.1 Solutions Utilizing Re-entrant Tuning . 86 3.2.2 Tastini . 89 3.2.3 Other Solutions . 95 3.3 Meantone Fretting in Tablature Sources . 98 4 Summary of Solutions 105 4.1 Frets with Fixed Semitones . 106 4.2 Enharmonic Fretting . 110 4.3 Playing with Ensembles . 113 4.4 Conclusion . 118 A Complete Fretting Diagrams 121 B Fret Placement Guide 124 C Calculations 127 C.1 Hans Gerle .
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Three, Four & Twenty Lutes
FESTIVAL CONCERT NEW ENGLAND CONSERVATORY’S JORDAN HALL | THURSDAY, JUNE 11 | 5PM Three, Four & Twenty Lutes Paul O’Dette, director Canzone a Otto Voci per suonar à 4 Liuti (1599) Giovanni Antonio Terzi (fl. 1580–1600) Canzone a Tre Liuti (1623) Alessandro Piccinini (1566–ca. 1638) Canzon XIII à 8 Giovanni Gabrieli arranged by Patrick O’Brien (ca. 1554–1612) Suite for Four Lutes (1616) Nicolas Vallet Ballet (ca. 1583–ca. 1642) Ballet Est-ce Mars Courante de Mars Un jour de la semaine Allon aux noces Galliarde Passamezzo di Zorzi — Padoana — Saltarello (1564) Giovanni Pacoloni Als ick u vinde (1584) Hubert Waelrant arranged by Emanuel Adriaenssen (ca. 1554–1604) (ca. 1517–1595) Madonna mia pietà Orlando di Lasso arranged by Adriaenssen (1532–1594) O Villanella Waelrant arranged by Adriaenssen Three Masque Dances “for the twenty Lutes” Robert Johnson arranged by Tim Crawford and Patrick O’Brien (ca. 1583–1633) The Songe called Trumpets Robert Parsons reconstructed by Lyle Nordstrom (ca. 1535–1571/2) BOSTON EARLY MUSIC FESTIVAL extends heartfelt thanks This afternoon’s performance of Three, Four & Twenty Lutes is sponsored by the New York Continuo Collective, in loving memory of Pat O’Brien, whose genius inspires us all 2015 BOSTON EARLY MUSIC FESTIVAL 325 FESTIVAL CONCERT Suite from Terpsichore (1612) Michael Praetorius arranged by Patrick O’Brien and Grant Herreid (1571–1621) Ballet CCLVIII Courante LV Courant CL M.M. Wüstrow Bransle de la Torche XV Reprinse secundam inferiorem CCCX Courante CLXXXIII Dalle più alte sfere Antonio Archilei (ca. 1541–1612) O che nuovo miracolo Emilio de’ Cavalieri Ellen Hargis, Nell Snaidas & Danielle Reutter-Harrah, voice & guitar (ca.
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Fomrhi Q144.Pdf
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Editor's Note
AMR1.qxd 8/22/00 11:04 PM Page 17 EDITOR’S ______NOTE ______ ______ ______ ______ Volume XLI, Number 4 September 2000 FEATURES One of the goals of the ARS Long-Range Anthony Burgess: The Man and His Recorder Music . 11 Plan, adopted this past year, is to make An analysis of the surprising number of works for recorder American Recorder available on the Inter- net. With this issue we are taking the first left by one of the 20th century’s outstanding men of letters, steps toward that goal. On a trial basis, by Scott Paterson readers can access the September AR in 6 The Worshipful Recorder. 18 PDF format by pointing their web browser to <www.recorderonline.org>. A church organist, composer, and recorder player Thiswill take you to a page wel- wonders why the recorder isn’t ubiquitous in religious services, coming you to “American Recorder On- by Peter A. Ramsey Line,” with specific instructions on how to proceed (including how to download the latest version of Adobe’s Acrobat Reader, DEPARTMENTS which you will need in order to open these 11 Advertiser Index . 40 pages). The PDF format allows you to “thumb” Book Reviews . 21 through the magazine starting with the Chapters & Consorts . 35 cover, almost as if you are holding the Classified . 40 printed version. But there will be added advantages. After providing a password Music Reviews. 25 (shhh, it’s “Stanesby” for this issue only), On the Cutting Edge. 33 clicking on any article or department on Opening Measures . 31 this first Table of Contents page will take 35 President’s Message .
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MEANTONE TEMPERAMENTS on LUTES and VIOLS, by David Dolata
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Available As
The Wire Connection By Andrew Hartig A Brief Survey of Plucked Wire-Strung Instruments, 15th-18th Centuries - Part Three Wire-Strung Instruments in the 17th Century that the metal strings could also be plucked from behind Nearly all of the wire-strung instruments developed in with the left hand in order to add harmony or create an the 16th century continued to be used throughout the 17th century, additional independent line. though some of them had fallen into disuse by the close of the cen- tury. In some cases, as with the cittern, new tunings and/or changes Wire-Strung Lutes to body design (both size and shape) kept the instrument evolving In addition to wire strings being used sympa- and in continual use, while in others (such as for the orpharion) thetically on gut-strung instruments, some gut-strung changes in string technology or availability made old designs ob- instruments were completely restrung in wire. For solete. Changes in musical tastes and styles built upon trends found instance, some bowed instruments were given all- in the latter part of the 16th century –– continued experimentation wire stringing, such as the violen-cythaer developed in instrument size, the addition of courses to extend the bass range, by Michael Vreedman early in the century5 and the and the use of chordal tunings –– and strongly influenced the de- viola d’amore later in the century.6 Lutes, as well, velopment and evolution of new instruments. were not immune to this transformation. The four lutes found in the hands of “With deepest sympathy…” statues of angels in Freiberg Cathedral (placed Rather than wire stringing sounding a death knell for gut there between 1585 and 1594) were strung strung instruments, wire stringing was embraced not only for its use with metal strings, indicating a possible on all-wire instruments but for enriching the sound of existing gut- practice of stringing lutes with wire dat- strung instruments in the form of sympathetic stringing.
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Program Booklet
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