CLASSIC QU TAR Compiled and Edited by David Crimes MEL BAY PRESENTS
TREASURES OF THE BAROQUE
Volume Three
MEL BAY PRESENTS TREASURES OF THE BAROQUE Volume Thnee
A COLLECTION OF MUSIC FROM BAROQUE GUITAR AND LUTE TABLATURES
Tnanscnlbed and Edited by DAVID GRIMES
© 1993 BY MEL BAY PUBLICATIONS, INC., PACIFIC, MO. 63069.
ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. B.M.I. MADE AND PRINTED IN THE U.S.A.
TREASURES OF THE BAROQUE - VOLUME III
CONTENTS
PREFACE ..........................................................vii
INTRODUCTION ....................................................viii
SOURCES ..........................................................xiv
I.	MUSIC FROM BAROQUE GUITAR TABLATURES
ANONYMOUS...........................................................3
Courir di Bude ...............................................4
Gavotte.......................................................5
Bouree and Double.............................................6
Suite in A Minor..............................................7
1.	Allemande
2.	Sarabande 1
3.	Gavotte and Double
4.	Sarabande 2 Suite in В Minor............................................ 12
1.	Prelude
2.	Sarabande
3.	Menuet
4.	Gavotte
FRANCESCO CORBETTA................................................ 15
Suite in F.................................................. 16
1.	Rondeau
2.	Menuet
3.	Gigue a la maniere Angloise
4.	Sarabande
HENRI GRENERIN ................................................... 20
Suite in C ................................................. 21
1.	Prelude
2.	Allemande
3.	Courante
4.	Sarabande
5.	Gigue
6.	Menuet
7.	Passacaille
iii
JOHANN ANTON LOSY.............................................. 29
Pieces in A Minor........................................ 30
1.	Ballet
2.	Bouree
3.	Gavotta
4.	Aria
5.	Capriccio
6.	Menuet 1
7.	Menuet 2
8.	Menuet 3
DOMENICO PELLEGRINI.................................................. 37
Toccata and Corrente .......................................... 38
Suite in E Minor............................................... 41
1.	Alemanda Quarta
2.	Corrente
3.	Sarabanda Sesta
LUDOVICO RONCALLI............................................ 45
Suite in G Minor........................................ 46
1.	Preludio
2.	Alemanda
3.	Corrente
4.	Minuet
5.	Gavotta
6.	Passacaglii Suite in E Minor..................................................... 52
1.	Preludio
2.	Alemanda
3.	Gigua
4.	Sarabanda
5.	Gavotta Suite in D .......................................................... 57
1.	Preludio
2.	Alemanda
3.	Corrente
4.	Gigua
5.	Sarabanda
6.	Minuet
iv
IL MUSIC FROM BAROQUE LUTE TABLATURES
ANONYMOUS........................................................ 65
Five Menuets................................................ 66
Gavotte and Double ......................................... 69
Adagio and Menuet........................................... 70
Suite in A Minor............................................ 72
1.	Allemande
2.	Menuet 1
3.	Menuet 2
4.	Bourree Suite in D ...................................................... 76
1.	Allemande
2.	Courante
3.	Menuet
4.	Aria
5.	Gigue
6.	Gavotte Suite in D ...................................................... 82
1.	Prelude
2.	Courante and Double
3.	Aria and Double
4.	Gigue 1 and Double
5. Gigue 2 Passacaglia...................................................... 88
Menuet in F ..................................................... 74
LAURENT DE ST. LUC..................................................... 93
Suite in D ...................................................... 94
1.	Allemande
2.	Caprice
3.	Menuet Suite in F Sharp Minor .......................................... 99
1.	Tombeau de Mr. Frangois Ginter
2.	Courante
3.	Sarabande
4.	Gigue
5.	Gavotte
6.	Menuet
GEORG MUFFAT....................................................... 105
Passacaglia.................................................. 106
v
FERDINAND IGNACE HINTERLEITHNER............................... Ill
Partita in E Minor....................................... 112
1.	Ouverture
2.	Courante
3.	Sarabande
4.	Menuette Partita in A...................................................... 116
1.	Ouverture
2.	Courante
3.	Aria
4.	Bouree
5.	Menuett
SILVIUS LEOPOLD WEISS ................................................. 121
Alternatim...................................................... 122
Menuet ......................................................... 124
Sonata in E Minor............................................... 126
1.	Allemande
2.	Courante
3.	Sarabande
4.	Bouree
5.	Tempo di Menueto
6.	Gigue Sonata in D Minor.................................................. 143
1.	Allemande
2.	Courante
3.	Paysane
4.	Sarabande
5.	Minuetto
6.	Allegro Capriccio.......................................................... 164
vi
PREFACE
The wealth of excellent music written for Baroque guitar and Baroque lute forms a rich and very important part of the natural repertoire for modern classical guitar. Nevertheless, relatively little of this literature has found its way into common usage. The sources are all in tablature, with which not all guitarists are fully conversant, and few modern editions have provided effective and practical performance versions. There are notable exceptions to this, however, including the fine publications of Frederick Noad.
Guitar students often proceed from the well-known “Suite in D Minor” by Robert de Visee directly to the wonderful but ubiquitous and very difficult “lute suites” of Bach. An observer might, indeed, conclude that the repertoire contains nothing but these, a few pieces by Sanz, and various transcriptions of works by Bach, Scarlatti and Handel. I hope that this collection will help to spur interest in the vast—and largely untapped—repertoire for Baroque plucked-string instruments.
vii
INTRODUCTION
EDITORIAL POLICY
Adapting Baroque lute and guitar music for performance on the modern six-string guitar poses unique problems. The bass range of the lute and the alto range and re-entrant tuning of the Baroque guitar make possible certain harmonic voicings and melodic devices that are at best cumbersome and at worst impossible on a six-string guitar. Transcribers must continually make choices as to the proper octaves for various notes, and those choices are usually based upon individual judgement and preference in voice-leading. It is often difficult to settle upon a consistent and defensible editorial policy.
At one extreme, one might attempt to reproduce as closely as possible what a piece would have sounded like on the original instrument. This almost always results in a literal transcription that is awkward to play and constricted in sound. At the other extreme, one could essentially disregard the original concept, making an arrangement that is as much the work of the arranger as of the composer. This can produce very playable and effective pieces, but the original flavor and style is often lost in the process. [I have, at various times, been passionately committed to both extremes, but eventually became dissatisfied with both.] For this publication I have chosen a middle course - entirely pragmatic, but as faithful as possible to the original concept (in so far as that may be discerned from the often ambiguous tablature).
Since these are arrangements, not strictly transcriptions, indicating each alteration from the original would be extremely unwieldy, making this volume impractically large. The arrangements are intended to be practical, performance editions. I have given serious consideration to the intentions of the composers, but where these are in conflict with playability and instrumental effectiveness, I have opted for practical solutions. Admittedly, other choices could be made that might be equally defensible, and I strongly recommend that the serious student consult original sources whenever possible.
Tempi are indicated editorially, but it should be remembered that any piece of music can be effective (often in different ways) over a considerable range of tempi, and that the given metronome numbers merely represent the editor’s judgement rather than any absolute maxims.
Note values are generally given as practical possibilities (with the fingerings indicated) rather than as (theoretical) intended durations.
In a few places, expression markings and articulations have been indicated. These are editorial (except where noted), such markings being quite rare in the Baroque tablatures.
Fingerings are indicated to clarify musical concepts or to suggest solutions to particular problems. A fair number of unorthodox (or "backward") fingerings have been offered where they seemed to afford the most practical ways of executing the passages effectively. Since the interpretation of any piece is closely related to the specific fingerings chosen, each guitarist should be encouraged to explore other possibilities before selecting the one that best suits his or her musical concept and technical ability.
viii
NOTATION
For the most part, the notations used here follow standard classical guitar usage, but a few items warrant special mention. See also the section on "Ornamentation."
Hinge bar - Sustaining an important note while other voices move sometimes requires that part of a full or half-bar be placed early or released temporarily. Such cases are indicated here by bar symbols in parentheses. (CV) indicates a "hinge bar" at the fifth fret. Specific execution will be made clear by the fingerings provided.
Campanella - A device much favored by many Baroque guitarists was the fingering of scale passages as though they were arpeggios. Consecutive notes are stopped on different strings, using open strings wherever possible and allowing each note to ring for as long as possible - at least until it is heard clearly against the next note of the passage. The delightful effect is reminiscent of the sound of small chimes. These will be notated (camp.) and clarified by the fingering.
Scalar passages in Baroque guitar music were virtually never executed as detached notes - they were almost always played either as Campanellas or as slur sequences. Interestingly, Baroque guitarists appear never to have applied the campanella concept to ornaments.
Batterie - Until the mid-17th century, most guitar music was played as a sequence of strummed chords; later in the period the strums were combined with individually-plucked notes. Many different ways of executing the strums (some quite elaborate, but always light and airy) are described by various Baroque tutors. This is an integral element of the style, and should not be avoided. The symbols used here are:
M Strum from the bass strings toward the treble, usually with the thumb.
Strum from the treble strings toward the bass, usually with the index or middle finger. This is normally somewhat lighter than the thumb strum, and occurs mostly on weaker parts of beats.
Reprise - Many French dances use the "reprise," a short phrase repeated (often veiy quietly) at the end of the piece - after all normal repeats. When indicated, the reprise (between the | signs) is played once more following the final repeat. At times, judicious addition or deletion of a rest will be necessary to make the beats come out right.
Hemiola - A striking rhythmic device found frequently in Baroque dance music in all triple meters is the "hemiola," where rhythmic stresses on beats 1 and 3 of one measure are followed by a stress on beat 2 of the next, producing the effect of two measures combined into a single measure of double length and with doubled note values. Where possible, this has been indicated explicitly with the beaming of specific note groupings, but the player should watch for other examples throughout this repertoire.
ORNAMENTATION
Baroque ornamentation is a large and complex subject, and the following notes are intended only as the most basic guidelines. Further, it must be understood that ornamentation is only a part of the larger topic of embellishment, the process by which a performer "fleshes out" and personalizes a Baroque composition.
Ornamentation indicated in Baroque lute and guitar tablatures is generally simple, limited to three or four different symbols. Those symbols are not the same as in standard music usage, they do not always mean the same things, they differ from one composer to another, and sometimes the intention is not at all clear, except for the general type of ornament intended. In this edition, I have used standard ornament signs, but in many cases another ornament from the same family may be substituted.
Baroque trills and appoggiaturas normally have important harmonic implications - they serve to introduce dissonances, which must be felt as points of tension in the music. That means that they begin on dissonant notes (on the beat) and resolve to consonances. The resolution of a trill should not be felt until the final note of the ornament, and so the note of resolution in a trill should not appear on a strong beat (or part of the beat) until the final note.
Appoggiaturas are generally long, usually taking half or more of the value of the main note, but they must also conform to the overall rhythmic movement of the piece. This last requirement sometimes produces appoggiaturas that are shorter than one would expect from reading some ornamentation treatises, and such "short" appoggiaturas are indicated explicitly in several of the tablature sources.
Appoggiaturas from the upper auxiliary are closely related to trills, and the two may be substituted for each other in many cases; those from the lower auxiliary are similarly related to mordents, and the analogous substitutions are again appropriate. In those instances where composers have written out their ornaments or provided clear instructions, there is most often a preference for appoggiaturas rather than trills in most situations. In this edition, the pralltriller (short trill) sign has been used for both trills and upper appoggiaturas, and the mordent sign has been used for both mordents and lower appoggiaturas. Many of the important appoggiaturas have been written out explicitly.
Although ornamentation is an integral part of the composed texture (and hence frequently obligatory), some of the notated ornamentation is not mandatory, but rather suggested. The ornamentation is to be used to amplify and clarify the basic musical ideas, not to obscure them. Standard Baroque practice also mandated that the performer alter and/or elaborate the ornamentation in repeated sections.
The examples below illustrate common and fairly basic realizations for the standard ornament signs used in this edition. Specific realizations should always be selected to complement the tempo and mood of the passage, as well as to sound natural and graceful in performance.
x
Pralltriller (short trill) and upper appoggiatura. The choice of specific ornament (using the upper auxiliary note) should be made according to the musical sense of the passage and the preference of the performer. The number of alternations in a trill depends upon the tempo, the length of the note, the technical feasibility and the taste of the performer.
Example 1: Anonymous - "Gavotte," page 5, measure 7.
An accidental written above the trill sign applies the indicated alteration to the auxiliary tone used in the ornament.
Example 2: Anonymous - "Allemande," page 8, measure 14.
When the sign occurs in a cadential figure, the trill is almost always intended. The trill frequently begins with a prolongation of the initial (dissonant) note, which acts as an appoggiatura and reinforces the harmonic function of the ornament.
Example 3: Corbetta - "Sarabande," page 19, measure 9.
xi
When a short trill is followed by a two-note termination (nachschlag), a common execution is as a trill in measured note values. The nachschlag is part of the trill, with no break between the two parts of the ornament.
Example 4: Anonymous - "Allemande," page 8, measure 17.
played
Mordent and lower appoggiatura. As with the trill, the selection of a specific ornament is made according to the musical situation and the discretion of the performer.
Example 5: Anonymous - "Allemande," page 8, measure 7.
An accidental written below the mordent sign applies the indicated alteration to the auxiliary tone.
Ex	ample 6: Anonymous - "Allemande," page 8, measure 1.
xii
(Extended) Arpeggio. This was often used for the initial chord of a prelude or for the chords in an unmeasured prelude. The specific rhythm and the shape of the arpeggio were left to the discretion and imagination of the performer.
Exa	mple 7: Pellegrini - "Toccata Prima," page 38, measure 1.
Vibrato. This was specifically indicated (with the sign ) in many Baroque guitar tablatures, and was considered an ornament. See, for instance, Anonymous - "Sarabande," page 13, measure 18.
Due to space limitations, the foregoing discussion of ornamentation is greatly simplified, and should be taken only as an introductory guide to the subject. It also treats only those ornaments found in this volume. For more complete information on Baroque ornamentation and interpretation, consult the following:
Charlton, Andrew: "Embellishment in Renaissance and Baroque Music." Soundboard, Winter, Spring, Summer and Fall 1983 issues.
Donington, Robert: A Performer’s Guide to Baroque Music, The Interpretation of Early Music.
Koonce, Frank and Troeger, Richard: "Aspects of Baroque Performance." American String Teacher, Summer 1989, Autumn 1989 and Winter 1990 issues.
Neumann, Frederick: Ornamentation in Baroque and Post-Baroque Music.
Tyler, James: The Early Guitar - A History and Handbook.
xiii
TABLATURE SOURCES
I.	GUITAR TABLATURES
Anonymous manuscript. University Library, Prague. Sign. II Kk 77.
Anonymous: Courir di Bude - p. 42
Anonymous: Suite in A Minor - p. 51
Losy: Pieces in A Minor - pp. 100, 152, 154, 140, 122, 82, 156, 98
Anonymous Manuscript. National Museum, Prague. Sign. X Lb 209.
Anonymous: Gavotte - p. 31
Anonymous: Bouree and Double - p. 82
Anonymous: Suite in В Minor - p. 79
Corbetta, Francesco: "La Guitarre Royale." Paris, 1671.
Suite in F - p. 38
Grenerin, Henri: "Livre de Guitare." Paris, 1680.
Suite in C - p. 52
Pellegrini, Domenico: "Armoniosi Concerti." Bologna, 1650.
Toccata and Corrente - p. 27
Suite in E Minor - p. 49
Roncalli, Ludovico: "Capricci Armonici." Bergamo, 1692.
Suite in G Minor - p. 53
Suite in E Minor - p. 8
Suite in D - p. 19
xiv
TABLATURE SOURCES
II.	LUTE TABLATURES
Anonymous Manuscript - Kremsmiinster Library. Ms. L. 83.
Anonymous: Five Menuets - second numbering, f. 4v
Anonymous: Adagio and Menuet - first numbering, f. 4v
Anonymous: Suite in A Mnior
Allemande - second numbering, f. 6v
Menuet 1 - second numbering, f. 7v
Menuet 2 - second numbering, f. 8
Bouree - second numbering, f. 6
Anonymous: Passacaglia - second numbering, f. 25v
Anonymous: Menuet in F - first numbering, f. 5v
Muffat: Passacaglia - first numbering, f. Iv
Hinterleithner: Partita in E Minor - first numbering, f. 19v
Hinterleithner: Partita in A - first numbering, f. 12v
Anonymous Manuscript - Kremsmiinster Library. Ms. L. 82.
Anonymous: Gavotte and Double - second numbering, f. 24
Anonymous: Suite in D - first numbering f. 19v
Anonymous: Suite in D - second numbering, f. 34
Anonymous Manuscript - University Library, Prague. Ms. X. Lb. 210.
St. Luc: Suite in D - p. 27
St. Luc: Suite in F Sharp Minor - p. 17
Weiss, Silvius Leopold: manuscript. British Library, London. ADD. 30387.
Sonata in E Minor - f lOOv
Capriccio - f. 153v
Weiss, Silvius Leopold: manuscript. Sachsischen Landesbibliothek, Dresden. Mus. 2841-V-l.
Sonata in D Minor - p. 43
Weiss, Silvius Leopold: manuscript. Museum of Musical Culture, Moscow. Ms. 282/8
Alternatim - f. 23
Menuet - f. 22v
xv
I. MUSIC FROM BAROQUE GUITAR TABLATURES
GUITAR MUSIC BY ANONYMOUS COMPOSERS
The "anonymous" pieces here are all found in two manuscripts now located in Prague. In the manuscript Sign. II Kk 77, the words, "Pieces composee par le Comte Logis," appear on page 61, but it is not quite clear to which pieces this ascription applies. It is entirely possible that some of the other works in both the Prague manuscripts were also composed by Losy.
Courir di Bude
This spirited "running" piece is a fine example of the clear, two-voice writing style much favored by several of the Baroque guitar composers. The title’s apparent reference to the capital of Hungary is unexplained, but the work stands well on its own without further elaboration. The last two notes in measure 9 are shown as G and E in the source, but the sequence should surely be as given here. The stretches for the adjacent-string unison D’s and C’s should not present special problems if the left hand is relaxed and positioned properly.
Gavotte
In the manuscript this Gavotte is found among a large group of pieces in the same key, many of which are illegible. The entire composition is based upon the same idea, a simple harmonic progression linked by descending scales, but the details are worked out attractively. The double slur in measure 3 is not uncommon in the guitar tablatures of the time, and can even appear as a double appoggiatura or double trill. (See, for instance, measures 7 and 15 of the Sarabande on page 13.)
Bouree and Double
In the Baroque, the "Double" was a variation that divided the original melody into shorter note values without alteration of the harmonic scheme. It is also possible that the Double could be used for the embellished repeats of the respective sections. Somewhat earlier it had been common to follow each section with a written-out variation. (For an example from 1650, see Pellegrini’s Corrente on page 41.) The passages in strummed chords would be very effective with more elaborate strum patterns (or "batteries").
Suite in A Minor
In the guitar and lute manuscripts, the compilers often grouped pieces by key without their necessarily being intended for performance as "suites," and sometimes with the works of different composers mixed together without attribution. In this case, the clear relationships among the pieces give a strong indication that the pieces were indeed intended as a performance unit.
Suite in В Minor
Some of the rhythmic indications in the source are corrupted, but the intent appears to be as given here. The frequent inclusion of dissonant tones in the chords (seen here as anticipated tonics in dominant harmonies) suggests the influence of Corbetta. The Menuet is well known, and appears in other manuscript collections.
3
Count di Bude
Anonymous
(J = 72 - 88)
4
Gavotte
Anonymous
cv
5
Bouree and Double
Anonymous
6
Double
7
Suite in A Minor
1. Allemande
Anonymous
8
(J = 66 - 80)
2. Sarabande 1
9
3. Gavotte and Double
(J =112-132)
Double
10
(J = 66 - 80)
4. Sarabande 2
11
Suite in В Minor
Anonymous
1. Prelude
12
2. Sarabande
13
(J = 120 -144)
3. Menuet
14
FRANCESCO CORBETTA
(C. 1615 - 1681)
Francesco Corbetta was undoubtedly the most influential guitarist in the Baroque period. He was active in Italy, France and England, and his students included a number of the prominent guitarists of the time. Many of the succeeding generation of guitarists paid tribute to Corbetta explicitly in their own writings, and his influence on their compositions is clearly seen.
Corbetta’s music is heard rarely today, but that is surely only because his works have not yet been fully "discovered" by contemporary guitarists. His compositions show beautiful craftsmanship, and many of them are truly enchanting.
Suite in F
Corbetta was a pioneer in the development of the "standard" Baroque suite ordering of allemande, courante and sarabande, with the closing gigue added later. In this Suite, however, he offers an entirely different structure, ending with a slower movement. Interestingly, all four dances have the same triple meter, and, as might be expected, hemiolas are found in abundance (beginning immediately with measures 2 and 3 of the Rondeau).
Corbetta’s harmonies are rich and original, frequently including "incidental" nonharmonic tones that happen to lie under the fingers in a chord position. In many cases, the added note anticipates the following change of harmony. In measure 23 of the Rondeau, for example, the F in the C chord makes the trill possible, while foreshadowing the movement from dominant (C) to tonic (F).
As with most of Corbetta’s works, the music here is infused with courtly elegance, grace and charm.
15
Suite in F
1. Rondeau
Francesco Corbetta
(J = 104-120)
cm
16
2. Menuet
cm
(J = 112-132)

17
3. Gigue
a la maniere Angloise
> = 132 - 160)
f Гг i г '1 i Гз '1 Г Г i *
18
4. Sarabande
(J =72-88)	cm	an
19
HENRI GRENERIN
(17th Century)
Little information is available about Henri Grenerin. According to the introduction to the modern reprint of his 1680 "Livre de Guitarre" (Minkoff, 1977), he was one of the "king’s musicians" in 1641, participated as a theorbo player in court ballets between 1656 and 1661, and dedicated a "Livre de theorbe" to Lully. His music is more straightforward and conventional than that of Corbetta, and is similar in style to Medard’s.
Suite in C
Light and airy, this Suite is simpler and more transparent than the preceding compositions by Corbetta, but the dances have their own graceful appeal. The sweetly poignant Passacaille is especially attractive.
The rhythms in measure 13 of the Prelude are somewhat suspicious, but appear to be intended as shown. In measure 19 of the Sarabande, the source (apparently erroneously) shows an A instead of G in the first chord.
Note that the relative strength of the bass-to-treble strum (compared to the treble-to-bass strum) is used to create desired accents. In measures 20 and 21 of the Menuet, for instance, the heavier stress on beat three of measure 20, combined with the lighter first beat of measure 21, produces the characteristic hemiola pattern.
20
Suite in C
Henri Grenerin
1. Prelude
„	£111
21
2. Allemande
22
3. Courante
(J = 112- 132)
23
4. Sarabande
(J = 72 - 88)
24
5. Gigue
25
(J = 132 - 160)
CIII
6. Menuet
26
(J = 66 - 80)
7. Passacaille
27
28
JOHANN ANTON LOSY
(1650 - 1721)
The Czechoslovakian Count Johann Anton Losy von Losinthal was esteemed as one of the foremost lutenists of his generation. He and Esaias Reusner were the most important representatives of the early school of German Baroque lute playing, laying the groundwork for the later achievements of Weiss. One of Weiss’ best-known works is a tribute to the memory of Losy, the eloquent and heartfelt "Tombeau sur la morte de M. Comte de Logy." (See Volume I of this collection.)
Losy’s name appears with various spellings in many sources and in different languages; some of the variants are Jan Antonin Losy (or Losi), Anton Logy and Antonio Logi. The proper pronunciation is Lo[zh]y, where the [zh] represents the sound of [z] in "azure."
Many of Losy’s works are now either lost or lie unidentified among the vast literature in anonymous manuscripts. Other pieces are known in guitar versions, some of which have been found to be arrangements from lute originals.
Losy’s music is original and fresh, with clear melodies and solid harmonic structure. The uncluttered textures make his pieces ideal for the player seeking an introduction- to the style, while their immediate appeal makes them very attractive to audiences.
Pieces in A Minor
This group of pieces is found scattered through the latter portion of an anonymous manuscript in the Prague University Library. Although these are obviously not intended to form a coherent "suite," they could be performed together quite effectively. The last two (Menuets 2 and 3) have been identified as arrangements of lute works found in other sources.
In Menuet 3, the curious use of В flat in measures 1 and 6 is possibly an error in the tablature, but the same notation appears in both places. In the same piece, the bass note in measure 15 was given as C, but the context clearly calls for an F.
29
Pieces in A Minor
Johann Anton Losy
1. Ballet
(J = 100-116)
30
(J =112-132)
2. Bouree
31
3. Gavotta
(J = 112-132)
4. Aria
(J = 72 - 88)
CIII
32
(J = 144 -176)
5. Capriccio
33
6. Menuet 1
(J = 120 -144)
34
7. Menuet 2
сш
35
8. Menuet 3
(J = 132 - 160)
36
DOMENICO PELLEGRINI
(17th Century)
Pellegrini’s sole extant work is his "Armoniosi Concetti sopra la chitarra spagnuola," published in 1650. This slim volume contains a rich assortment of pieces, quite a few of which are grouped in pairs by key and by dedication to various patrons.
Toccata and Corrente
The titles here, 'Toccata Prima" and "Corrente Quarta," merely denote the first toccata and the fourth corrente to appear in this book of tablature. As with most of the works in Pellegrini’s publication, these pieces bear elaborate dedications, in this case to the vice-legate of Bologna. The Toccata is particularly interesting, with an opening section featuring freely arpeggiated chords, followed by two sections that use imitation very effectively.
Suite in E Minor
I have taken the liberty of calling this three-piece grouping (appearing consecutively in the source) a "suite" because the first two clearly belong together and the third (in the same key) completes the dance ordering that later formed the core of the suite. Here the third dance bears a different dedication than that on the first two, but the grouping does not seem coincidental.
As noted above, "Alemanda Quarta" and "Sarabanda Sesta" indicate only the positions in the book relative to other dances of the same type. In measure 50 of the Corrente, the G was sharp in the tablature.
37
Toccata and Corrente
Domenico Pellegrini
1. Toccata Prima
aUTlLmoet Reverendiss. Sig. Padron mio Col.mo
Monsig. Marcello Santacroce, Vicelegato di Bologna

7 pd* f
38
39
2. Corrente Quarta al medesimo
40
Suite in E Minor
Domenico Pellegrini
1. Alemanda Quarta
all ’ 111“° et Reverendiss. Sig. Padron mio Col?°
Il Sig. Abbate D. Paolo Savelli
(J = 60 - 72)
41
2. Corrente
detta "La Savellina"
AV
42
43
3. Sarabanda Sesta
all’Illustriss. Sig. Padron mio Colendiss.
Il Sig. Co. Carlo Sforza Attendoli Manzoli
(J = 92 - 108)
44
LUDOVICO RONCALLI
(late 17th Century)
Many of the titled classes in the Baroque played at the lute or the guitar, but few rose above the status of dilettante. The most notable exceptions to this were Losy and Ludovico Roncalli. Their compositions display craftsmanship and musicality that rival almost anything achieved by the most of the "professional" musicians. Roncalli’s Suites contain music that is perhaps as gratifying as anything else written for the Baroque guitar. Especially noteworthy are his wonderful Alemandas and Passacaglias.
Suite in G Minor
This Suite exhibits some of Roncalli’s finest writing. The Preludio, Minuet and Gavotta are sweetly innocent, but there is an unusually well-developed relationship between the Alemanda and the Corrente, and the Suite concludes with a remarkable and profound set of Passacaglii.
In measure 26 of the Corrente, the tablature shows the last note as В natural.
Suite in E Minor
Here is another example of the high level of Roncalli’s compositional skill. The Alemanda is one of the most intricate dances in the book, while the Sarabanda and the Gavotta have an immediate charm that has led to their frequent performance as individual pieces. Note the use of the hemiola to prepare the cadences in the Sarabanda (measures 6 - 7, 14 - 15 and 22 - 23).
In the Gavotta, the surprising passing chords in measures 0 and 2 are presented as shown in the tablature. Modern transcriptions typically show these "corrected" to straight B7 chords, but the tablature notation is clear and identical in both places.
Suite in D
In this Suite the style of writing shows more French characteristics than are found in most of Roncalli’s music. This is noticed especially in the rhythms of the Corrente and the Minuet. The hemiola is used in this Minuet (measures 6-7 and 14 - 15) in the same way as it was seen in the E Minor Sarabanda. The Gigua is exceptionally lilting and airy.
45
Suite in G Minor
Ludovico Roncalli
1. Preludio
(J = 60 - 72)
46
2. Alemanda
47
3. Corrente
48
4. Minuet
5. Gavotta
49
6. Passacaglii
(J = 52 - 60)
Al	ч I
CHI fil
A
AV
лдиа ла . -л Гг V ir r w',,
cm
50
51
Suite in E Minor
Ludovico Roncalli
(J = 50 - 60)
1. Preludio
cv
CVII
2. Alemanda
(J = 56 - 66)
52
53
(J- = 92 - 108)
3. Gigua
evil	_
ptirv*- i'	r-—=
54
4. Sarabanda
(J = 60 - 72)
55
5. Gavotta
(J = 80 - 96)
56
Suite in D
Ludovico Roncalli
1. Preludio
(J = 108 - 126)
(СП)

57
2. Alemanda
(J = 72 - 88)
58
3. Corrente
(J = 104 - 120)
59
4.Gigua
(J. = 104-120)
72
ЖЗГ t j ю °.' 1' Г * lp-'7 t	I- ~+"
sz

у Г РШг
60
5. Sarabanda
(J = 72 - 88)
61
6. Minuet
(J = 112-132)
62
П. MUSIC FROM
BAROQUE LUTE TABLATURES
LUTE MUSIC BY ANONYMOUS COMPOSERS
The anonymous lute compositions here are all selected from two large manuscripts held in the Kremsmiinster Abbey. These manuscripts contain a vast amount of music that is unknown in other sources. Most of the pieces are untitled, and the naming of the dance movements, as well as their grouping into suites, should be considered provisional.
Five Menuets
Untitled in the source, these are described as "menuets" in Rudolf Flotzinger’s Die Lautentabulaturen des Stiftes Kremsmiinster - Thematischer Katalog (Vienna, 1965). The rhythmic structures of the first and third, however, are very anomalous for menuets; the first seems more like a courante, while the third could be a passacaglia without the variations. The same treatise attributes these two to "Pecheur," or Ferdinand Fischer (the prior of the Abbey in 1686), who copied down the manuscripts.
Gavotte and Double
Flotzinger calls this an "aria," but the character strongly suggests a dance form.
Adagio and Menuet
As in so many other pieces in triple meter, a great deal of rhythmic interest in the Adagio is provided by the hemiolas (mm. 3 - 4, 9 - 10, 12 - 13, 16 - 17 and 21 - 22).
Suite in A Minor
This is an artificially-constructed "Suite," since the movements do not occur consecutively in the source, and are not even necessarily by the same composer. Nevertheless, they do show some stylistic traits in common, and form a convenient performance unit.
Suite in D (page 76)
The Menuet has its ornamented repeats already written out explicitly. In the Gigue, the source has a shift of meter in measure 5, and this may be an error in the tablature, although the piece works satisfactorily as shown.
Suite in D (page 82)
Flotzinger calls the second and fourth movements "menuets," but the rhythmic structures suggest otherwise (perhaps courantes).
Passacaglia
The variations here are sei above a chromatically-descending bass, a common feature in such compositions, and this lends a melancholy poignancy. The initial statement of the subject is repeated occasionally, showing the influence of the French rondeau.
Menuet in F
There are left-hand problems here, but the piece must still sound light and graceful.
65
Five Menuets
66
67
4
68
Gavotte and Double
Anonymous
69
Adagio and Menuet
1. Adagio
Anonymous
(J = 52 - 60)
70
2. Menuet
(J = 100- 116)
71
Suite in A Minor
Anonymous
1. Allemande
72
2. Menuet 1
(J = 120-144)
20
SI
J J >•
J J -I J: ^Л
73
3. Menuet 2
(J = 120 - 144)
...........J г ' I1 III-1 |J nj
г г г Г г г 1 г ft
(CI)
74
(J = 120 -144)
4. Bourree
75
Suite in D
Anonymous
1. Allemande
(J = 60 - 72)
76
(J =96-112)
2. Courante
77
(J = 112-132)
3. Menuet
78
4. Aria
(J = 66 - 80)
79
5. Gigue
(J. =60-72)
80
(J = 60 - 72)
6. Gavotte
81
Suite in D
Anonymous
1. Prelude
(J = 40 - 50)
© ©©	01
82
2. Menuet and Double
83
3. Aria and Double
Double
84
4. Menuet and Double
(J = 120 -144)
85
5. Gigue
(J. = 92 -108)
86
Passacaglia
Anonymous
88
89
90
91
Menuet
Anonymous
(J = 104 -120)
/’’’ITT
92
LAURENT DE ST. LUC
(1663 - after 1700)
Laurent (or Jacques-Alexandre) de St. Luc was the student of his father, Jacques, who was also a noted lutenist and composer. The father was lutenist at the court in Brussels, where the son was bom, and the younger St. Luc was active in the court of Louis XIV before leaving for Vienna in the service of Prince Eugene of Savoy.
Suite in D
The vigorous writing in this Suite features an unusual amount of activity in the bass, lending depth and richness to the generally two-voice texture. The Suite is characterized by buoyancy and energy, with this mood broken only by the Adagio section beginning at measure 40 of the Caprice. This passage should be taken broadly, arpeggiating the chords freely at the discretion of the performer and resuming the momentum after the cadence at the start of measure 52. Also in the Caprice, measures 19 - 22 strongly suggest use of the echo effect, with measures 19 - 20 played forte and measures 21-22 answering piano. Hemiola figures occur in the Menuet (measures 6 - 7, 14 - 15 and 22 -23).
Suite in F Sharp Minor
This Suite takes its overall color from the opening Tombeau, an elegiac tribute to an earlier lutenist, Francois Ginter. The player will encounter numerous left-hand challenges in each movement, and in some cases I have suggested "backward" or otherwise unorthodox fingerings. (See, for example, the last chord in measure 29 of the Tombeau.)
In this Suite there are a number of five-note chords that omit the fifth string. The fingering given indicates that these are to be played with the index finger sweeping downward across the top four strings after the thumb strikes the bass.
An abundance of hemiolas will be found in the triple-meter dances: almost everywhere in the Courante (beginning with measures 1 - 2), as well as in measures 14 - 15, 24 - 25 and 30 - 31 of the Sarabande and in measures 6 - 7, 14 - 15 and 22 - 23 of the Menuet.
93
Suite in D
Laurent de St. Luc
1. Allemande
(J = 84 - 100)
94
30
2. Caprice
95
96
a tempo
СП
97
83
3. Menuet
98
Suite in F Sharp Minor
99
(J = 104-120)
*
2. Courante
J'J N 1 J'l j, J'JTl i JiJ M-u
П r ’* i if r
100
3. Sarabande
101
4. Gigue
(J- =60 - 72)
102
5. Gavotte
(J = 104 - 120)
103
6. Menuet
(J = 120 - 144)
(or СП)
104
GEORG MUFFAT
(1645 - 1704)
Georg Muffat was an influential German organist in the last part of the seventeenth century, holding a number of important posts and publishing several collections of music, both for organ and for chamber ensemble.
Passacaglia
This delightful work is an arrangement (made by an unidentified lutenist) of a piece composed for strings and continuo. The original is found in Muffat’s "Armonico Tribute" (1682), where it is in G major and marked "grave." (It appears as the final movement of the fifth chamber sonata.)
Partaking of some aspects of the rondeau, this Passacaglia reiterates the opening theme at intervals throughout the piece. One appearance of this theme is incomplete, and the player may wish to complete the passage by inserting measures 5 - 8 at (**) between measures 116 and 117. An unusual and striking feature is the exuberant variation in syncopation near the end (measures 129 - 140).
105
Passacaglia
Georg Muffat
Aria (J =80-100)
106
107
CVII
108
109
123
128
, Д ЖЗдД л л (Л ,пД
F > г г
civ	сп
^Л2ЛЛ|П пЛ
2	1 CIV
CVII
Г И рг ’^Г Р3Г V и и гг
-w-^j i^j t\ |^ i^j |^-Aj ? РП Г Г P f И	pf j Г jfTy
110
FERDINAND IGNACE HINTERLEITHNER
(1659 - 1710)
Hinterleithner was a Viennese lutenist and composer. In 1699 he published a book of trios for lute, violin and bass continuo, where the violin and bass merely double the outer voices of the lute part. The two works here are taken from the Kremsmiinster manuscript L. 83.
Partita in E Minor
Each of Hinterleithner’s Partitas begins with an overture in the French style, with a slow introduction followed by a more rapid, quasi-fugal section. In this Partita the Ouverture is rounded by concluding with another slow passage. With this Ouverture standing in place of the traditional allemande, the Partita then proceeds with fine examples of the standard dance movements (ending with a Menuette instead of a gigue). There are fewer clear hemiola figures than usual for the style. (Measures 12 - 13 of the Courante, measures 10 - 11 of the Sarabande and measures 14 - 15 of the Menuette follow the normal pattern. There are intimations in a number of other places, but the hemiola figure there is disguised by syncopations.) Constant syncopation and an exuberant leap at the end make the Menuette particularly vivacious.
Partita in A
Following the same format as the Partita in E Minor, this Partita consists of an Ouverture and dance movements, an Aria substituting for the sarabande. The quicker dance movements are tuneful and vigorous, with unexpected turns in the melody and in the rhythms. As usual, the Courante shows an abundance of rhythmic invention, with hemiolas, syncopations and dotted figures. In the Menuett the hemiolas appear normally to prepare the cadences (measures 14 - 15 and 22 - 23), and there is also a suggestion of the hemiola figure in the opening statement (measures 2 - 3).
Ill
Partita in E Minor
Ferdinand Ignace Hinterleithner
1. Ouverture
(J = 46 - 56)

112
113
2. Courante
(J =112- 132)
114
3. Sarabande
(J = 120 - 144)
4. Menuette
115
Partita in A
Ferdinand Ignace Hinterleithner
1. Ouverture
= 56 - 66)
116
117
2. Courante
118
3. Aria
(J = 40 - 48)
4. Bouree
(J =116- 138)
119
5. Menuett
120
SILVIUS LEOPOLD WEISS
(1686 - 1750)
Of all the composers for Baroque lute, Weiss is the best known to today’s performers and audiences. His works show gratifying structure, rich texture and inexhaustible invention in addition to a remarkable depth and nobility of concept.
Alternatim
The title is less than legible in my copy of the manuscript, but is given thus in Douglas Alton Smith’s 1977 dissertation, The Late Sonatas of Silvius Leopold Weiss. The writing is typical of Weiss, with a richness of texture rarely matched elsewhere in the repertoire.
Menuet
This excellent Menuet is found with the Alternatim in the manuscript, and the two would pair beautifully for program purposes.
Sonata in E Minor
Originally in the key of F Minor, this Sonata works much better for the guitar in E Minor. Every movement here is distinctive and exquisite, and this is a prime example of Weiss’ mastery.
Sonata in D Minor
Again Weiss’ superb craftsmanship and unflagging inspiration are displayed throughout this serious and rewarding (though difficult) Sonata.
Capriccio
This Capriccio is one of the gems of the lute repertoire, with a unique sparkle and wit. The entire composition is based upon the first six notes of the soprano voice, whose implications are explored ingeniously. The vigorous rhythmic drive is interrupted by an unmeasured coda, giving the performer a chance to display his own invention and virtuosity. The chords in this section should be performed as free arpeggios or flourishes. This can be a real showpiece.
121
Altematim
,	Silvius Leopold Weiss
(J = 60 - 72)
122
123
Menuet
Silvius Leopold Weiss
124
125
Sonata in E Minor
Silvius Leopold Weiss
1. Allemande
126
127
2. Courante
128
129
130
evil
131
3. Sarabande
Adagio (J = 52 - 60)
132
4. Bouree
134
135
53
136
5. Tempo di Menueto
(J = 120 - 144)
137
138
139
6. Gigue
(J. = 88 - 108)
140
141
142
Sonata in D Minor
Silvius Leopold Weiss
1. Allemande
Adagio (J - 42 - 50)
cm
143
144
145
2. Courante
(J = 144 - 176)
146
147
148
149
150
3. Paysane
(J = 56 - 66)
151
152
153
4. Sarabande
Adagio (J = 32 - 40)
4
154
155
5. Minuetto
(J = 120 - 144)
156
157
158
6. Allegro
(J = 100-116)
159
160
45
161
162
163
@ = D
Capriccio
(J = 88 - 104)
Silvius Leopold Weiss
164
165
166