Karl-Ernst Schröder, lute Crawford Young, lute Instruments Renaissance lute in A – Richard C. Earle, Basel 1982 Renaissance lute in A – Richard C. Earle, Basel 2000 Renaissance lute in E – Joel van Lennep, Rindge ( usa ) 1993 5 A production of the Schola Cantorum Basiliensis - Hochschule für Alte Musik Recorded in the Liederhalle (Stuttgart, Germany), in May 2001 Engineered and produced by Andreas Neubronner (Tritonus, Stuttgart) Photographs: A.T. Schaefer (cover) & Thomas Drescher (artists) | Design: Rosa Tendero Executive producer & editorial director ( scb ): Thomas Drescher All texts and translations © 2002 harmonia mundi s. a. / Schola Cantorum Basiliensis Executive producer & editorial director (Gloss a/ note 1 music): Carlos Céster Editorial assistance: María Díaz © 2015 note 1 music gmbh Schola Cantorum Basiliensis – Hochschule für Alte Musik University of Applied Sciences and Arts Northwestern Switzerland ( fhnw ) www.scb-basel.ch This re-edition is dedicated to the memory of Karl-Ernst Schröder (1958-2003). Amours amours amours 25 Anonymous : Ogni cosa 1:14 26 Alexander Agricola - Johannes Ghiselin (fl .149 1- 1507): Duo 1:56 Lute Duos around 1500 27 Heinrich Isaac : E qui le dira 1:07 28 Heinrich Isaac : De tous bien plaine 1:03 5 29 Francesco Spinacino / Johannes Ghiselin: Juli amours 3:07 30 Francesco Spinacino / Incert.: Je ne fay 1:23 1 Mabriano de Orto (146 0- 1529) : Ave Maria 2:35 31 Josquin Desprez : Adieu mes amours 2:39 2 Jean Rapart (fl .c.147 6- 1481) or Antoine Busnois (c.143 0- 1492): Amours amours amours 2:19 3 Roellrin [Raulin ] / Hayne van Ghizeghem ( c.144 5- 1476/97): De tous biens plaine 1:16 4 Heinrich Isaac (c.1450/5 5- 1517): La morra 2:10 Sources 5 Joan Ambrosio Dalza (fl .1508): Calata 1:36 6 Giovanni Ambrogio : Petits riens 2:11 Prints: 7 Francesco Spinacino (fl .1507) / Anonymous: Jay pris amours 1:26 Harmonice Musices Odhecaton A , Ottaviano Petrucci, Venice 1501 (1, 2, 4, 16, 27, 31) 8 Francesco Spinacino / Josquin Desprez ( c. 1450/5 5- 1521): Fortuna desperata 1:30 Canti C. Numero Cento Cinquama , Ottaviano Petrucci, Venice 1503/4 (15, 24) 9 Francesco Spinacino / Hayne van Ghizeghem: De tous biens plaine 2:30 Frottole, Libro sexto , Ottaviano Petrucci, Venice 1506 (11, 12, 13, 25) 10 Francesco Spinacino / Josquin Desprez: La Bernardina 1:12 Francesco Spinacino, Intabulatura de Lauto, Libro primo , Ottaviano Petrucci, Venice 1507 (7, 9, 10, 29, 30) 11 Anonymous : Chui dicese 1:15 Francesco Spinacino, Intabulatura de Lauto, Libro secondo , Ottaviano Petrucci, Venice 1507 (8) 12 Anonymous : Moro de doglia 1:00 Joan Ambrosio Dalza, Intabulatura de Lauto, Libro quarto , Ottaviano Petrucci, Venice 1508 (5) 13 Anonymous : Aime sospiri 1:21 Hans Gerle, Musica Teusch , Hieronymus Formschneyder, Nuremberg 1532/2 (17) 14 Anonymous / Guillaume Dufay (139 7- 1474): Le serviteur 3:40 Hans Newsidler, Ein Newgeordent Künstlich Lautenbuch [Teil I-II] , Johannes Petreius, Nuremberg 1536/6 (4, 15) 15 Erasmus Lapicida ( c. 144 0- 1547) / Anonymous: Tandernaken 3:31 16 Hayne van Ghizeghem : Amours amours 1:56 Manuscripts: 17 Anonymous (after Hans Gerle , c. 150 0- 1570): Scaramella 1:39 Segovia, Archivo Capitular de la Catedral, s.s., c.1500 (3, 21, 22, 28) 18 Alexander Agricola (1445/4 6- 1506) / Hayne van Ghizeghem: De tous biens plaine 2:30 Perugia, Biblioteca Comunale Augusta, Ms 1013 (olim M.36), Venice c.1509 (3, 14, 23, 26) 19 Josquin Desprez : Scaramella 1:28 Florence, Biblioteca Conservatorio Luigi Cherubini, Biblioteca, B 2439, Brussels 1506-14 (18) 20 Anonymous : Tandernaken 1:42 Tremo, Museo provinciale da arte, Castello del Buon Consiglio, Ms 87 (20) 21 Antoine Busnois : Fortuna desperata 1:04 Paris, Bibliothèque Nationale, fonds it. 476 (6) 22 Josquin Desprez : Fortuna desperata 1:11 23 Anonymous : Bassadanza 1:38 5 24 Alexander Agricola / Anonymous: Tandernaken 3:05 4 5 English English e are indebted to this graphic description – to piece, such as a chanson. In parallel systems ters. And indeed, a single leaf from the end of the fif - W which one could add further passages on the Spinacino attempted to notate a virtuoso upper voice teenth century, preserved in Kassel, explains by faithful accompanist ( fidus in arte comes ) who as teno - in small note values, which exploits the entire range means of a drawing of a lute neck the special note rista plays the unwavering accompaniment to this of the lute with unceasing rapid scale passages. To be signs of organ tablature for lute players – with which breathtaking music, on the complex rhythms of the found are embellished versions of the original cantus, a rich written repertoire is opened to lute duos. upper voice, or on playing with a plectrum – for but also wide-ranging passaggi that have “strategi - The preserved written music is however only an Amours amours amours important information about the performance prac - cally” important notes of the original melody as their imperfect mirror of the actual practice. This also tices of lute duos. From a number of sources we know goals. This corresponds on the whole with the above- becomes clear in the descriptions of the playing of Lute Duos around 1500 that until the years around 1500 the lute duo was the cited description by Brandolini. However, in the famous lutenists. For even when they presented dominant formation, referred to in 1482 by music details there are peculiarities that are not to be over - compositions , that is to say, music worked-out and theorist Johannes Tinctoris as associati (teams), for heard: Spinacino obviously had problems correctly set to paper, these did not remain unaltered. In 1533 Pende animo, citharam laeve decurrat ut omnem, / professional lutenists who could improvise admirably notating the virtuoso lines with the means at his dis - the lutenist Hans Gerle described the strategies of a transigat ut celeri fila sonora manus. / Hic digitos volitare on any composition ( modulorum superinventionibus ). posal. This could at least in part have to do with the professional lute player, holding up Adolf Blind- simul miraberis omnes, / inque locis unam tot simul esse Because of the transient nature of improvisation it then new technique of tablature notation. It is note - hamer, presumed to have been his teacher, as an manum. / Nunc ruit ad summam fidium, nunc currit ad is obvious why almost no musical records of this worthy that all other surviving duets from the time example: After an improvised prelude, which provi - imam, / summaque nunc digitis, nunc tenet ima lyrae. / practice have survived: This was an art that required around 1500 are written in traditional musical nota - ded an opportunity to tune the lute and served to set Quin iures haud illi unam esse manumve lyramve, / mille musical notation only in exceptional cases. tion, not in a special lute tablature , and do not display the mood for the listener, Blindhamer played a com - volare manus, mille sonare lyras. However, we do have an approximate idea of the comparable problems. position with only a few embellishments ( Colora- (Aurelio Brandolini, Libellus de Laudibus musicae et repertoire of these ensembles: arrangements of all Such duos are above all to be found in a manus - turen, i.e. , coloraturas). The second time through he Petroboni , 1473, lines 79-86.) sorts of sacred and secular pieces (for example, of cript that is today preserved in Segovia. Among other interspersed the music with fast scale passages and French chansons and Italian frottole ), of dances things, it contains a collection of two-part pieces by diminutions ( wolgestellten leuflein, i.e., well-fashioned [“Behold how his left hand runs over the whole lute, (above all courtly basses dances ), and of widely known Alexander Agricola, who was perhaps a lutenist him - little runs). The third time he brought in complex how it swiftly wanders over the sonorous strings. You tenors. In addition, several musical sources make it self, and by other important composers of the time. rhythmical variations ( durch die Proportion geschlagen will be amazed how a hand can be in so many places possible for us to develop a more precise idea of their From among these duets a version of the frequently vnd volfürt, i.e., played and executed through the pro - at the same time. Now it storms to the top of the ins - performance practices. These include, above all, the arranged rondeau De tous biens plaine by a certain portion). With these abilities , a singular mixture of trument, now it runs to the bottom, now the fingers six lute duets in the very first printed tablature, Roellrin or Raulin stands out, in which, because of its musical artistry and technical dexterity, Blindhamer are up above, now they again take possession of the Francesco Spinacino’s Intabulatura de Lauto (Venice large range , the active upper voice is notated on ten and his professional colleagues distinguished them - lowest part of the lyra. You would swear that it could 1507; printed by Ottaviano Petrucci, the selfstyled lines. This is comparable to the notation of German selves. hardly be just one hand and one lute, but rather a “inventor” of music printing with movable type). In organ tablature in which the upper voice is likewise These arts were passed on only orally – if at all , thousand hands that fly, and a thousand lutes that these , the lute playing the part designated tenor takes notated on more than the usual five lines; the lower since they were the secrets of the virtuoso’s success, resound.”] the only slightly altered lower voices of the original voice, on the other hand, is notated using tone let - and therefore of his profession. Thus, a certain Don 6 7 English English Acteon reported in 1494 from Ferrara that he impulse for the present programme was lute.