Dear Vaughn,
 
Huzzah!!!  I'm an amateur, too and I want to say your are right on with your
comments.
 
And yes, I also own gobs of commerically printed music, and even some
facimilies.  Sometimes you just want to sit and play from music that's easy to
read (!!) and I think the Folop editions fill that need quite well.
 
Plus there's stuff there that's not so easily obtained.
 
So, Thank You  and Al Folop, too!!
 
Laura N. Goudket

--- On Tue, 1/17/12, Vaughn Carlton Maley Jr <ad5013@...> wrote:


From: Vaughn Carlton Maley Jr <ad5013@...>
Subject: [ViolaDaGamba] An appreciation of the Folop Music Collection
To: ViolaDaGamba@yahoogroups.com
Cc: "Folop Al" <afolop@...>
Date: Tuesday, January 17, 2012, 7:21 PM



 



Full disclosure: I play weekly with a group of retirees, including Al Folop. For
many years now, we have played music printed from the Folop Collection, as well
as editions such as those by PRB Productions and other commercial publishers.

I hope that the Folop Collection will be recognized and celebrated for what it
is, not what it is not. It is a very large collection, over 40,000 pages, of
music that Folop has edited from early manuscripts. He has provided scores and
parts in an extremely clear and readable printed format that is particularly
useful to the amateur musician. Most of the music is in simple,
four-quarter-notes to the bar format that amateurs can sight read easily.
Equally useful for the amateur is that the parts are provided in multiple clefs
where that makes sense. So a low tenor part will be available in alto, bass, or
octave treble clefs. This makes the music accessible to recorder players or
mixed consorts as well as, for example, to a tenor viol player who does not read
alto clef, or to a bass player who may need to cover a tenor line. Simply put,
the Folop Collection is a treasure trove for amateur consorts.

While there is, in fact, a lot of scholarship behind the Folop Collection, these
are not intended as scholarly editions. But scholarly apparatus and unfamiliar
notations can be an impediment, rather than a help, to the amateur musician.

Although Al is not a member of this list, he is open to discussions about the
collection, and anyone interested can contact him directly at
afolop{at}erols{dot}com.

Carlton Maley <ad5013@...>
(Vaughn Carlton Maley, Jr.)
1822 Kalorama Road, NW
Washington, DC, 20009
+1-202-299-0607
+1-301-461-4747 (cell)

[Non-text portions of this message have been removed]








[Non-text portions of this message have been removed]

http://icking-music-archive.org/ByComposer/Folop.php



________________________________
From: Jacque Gray <bassviolone@...>
To: ViolaDaGamba@yahoogroups.com
Sent: Thursday, January 19, 2012 5:19 AM
Subject: Re: [ViolaDaGamba] Re: An appreciation of the Folop Music Collection

Where is this music available?

  Jacque

On Wed, Jan 18, 2012 at 7:08 AM, michael <m.fleming@...> wrote:

> **
>
>
>
>
> The casual observation below about amateurs invites a response. Those who
> are paid to play viols are an extremely small proportion of those who use
> the music, so inevitably the majority of players are very diverse in terms
> of their taste, skills, experience, 'agendas', aspirations and potential
> for change.
>
> I'm an amateur violist, and so are most of the people with whom I play
> regularly. Some very much enjoy playing from facsimiles, complete with
> original notation, errors etc because this not only provides repertoire
> that is otherwise unavailable and can give a more enjoyable playing
> experience of familiar repertoire (despite the struggles), but it avoids
> editorial and formatting decisions with which one may not agree and which
> intrude on ease of use and enjoyment. Other people with whom I play
> regularly loathe facsimiles because of the problems, but one thing that
> even they agree about is that much music is better without barlines as
> these often obscure natural phrasing. I also know professionals who are
> completely happy reading from music that appears as it did to the original
> players, but no doubt there are others who find it pointless and an
> impediment to their brand of music-making.
>
> I just think it is unfair to characterise scholarship or original notation
> as unfriendly to amateurs, or to think of amateurs as a diluted version of
> real full-strength professionals - amateur/professional status is
> irrelevant when considering which presentation of music is suitable. Bear
> in mind that since the beginning, for over 500 years, most viol players
> have been 'amateur'.
>
> MF
>
> --- In ViolaDaGamba@yahoogroups.com, Vaughn Carlton Maley Jr <ad5013@...>
> wrote:
>
> > While there is, in fact, a lot of scholarship behind the Folop
> Collection, these are not intended as scholarly editions. But scholarly
> apparatus and unfamiliar notations can be an impediment, rather than a
> help, to the amateur musician.
>
> 
>


[Non-text portions of this message have been removed]



------------------------------------

    (see below) or send a blank email to:
    ViolaDaGamba-digest@yahoogroups.com
Yahoo! Groups Links



[Non-text portions of this message have been removed]

Hello Esha & all!

Getting back to the original question below: whether there is specific evidence
that vocal music was performed on viols, something else occurred to me just now,
which should be brought to people's attention. Praetorius, in his Syntagma
Musicum (1619) essentially compiled information about performance practice in
Italy, wanting to show his fellow German Kapellmeister how the Italians
performed their music. He suggests then orchestrations for many things, like
polychoral motets by Gabrieli, etc. But a salient example, and to the point of
our discussion, is his suggestion as to how to perform a "purely vocal" seven
part motet by Jacques de Wert (who lived in Italy). This is what he recommends:

7 viole da gamba
7 lutes
5 harpsichord-type keyboard instruments (he uses different names: spinetino,
cembalo, etc etc. But there are FIVE (in number, 5) keyboard instruments! ! ! !)
and, last, but not least,
3 boy sopranos.

May this be a lesson to us all! (particularly those who profess that a purely
vocal rendition – seven singers, one to a part – is "the right" way to perform
polyphonic music of the 16th and 17th C.)

All the best, José

> Dear all,
>
> The Folop viol music collection in IMSLP seems to include a fair amount of
vocal music. Does anyone know about the logic behind this? That is, was there
evidence for these particular pieces being played instrumentally (specific
evidence seems unlikely?), or was it based on the general principle that vocal
music would have been played instrumentally, or are these just pieces that Folop
liked and thought went well on viol, or what?
> http://imslp.org/wiki/Category:Folop_Viol_Music_Collection
> Thanks for any thoughts --
>
> Esha

Hello Esha,

I see that a lot have already answered your question. Here my thoughts, although
I am now in my Madrid apartment without a library, so only what's inside my
brain is available.

1. Performances of vocal works on viols was standard procedure everywhere in
Europe. The only purely "instrumental consort music" in Spain during the 16th C.
are the four "tientos" by Ambrosio Cotes, but these are very likely vocal works,
whose texts are missing, according to the editor of the modern edition. The 4
tientos sound very much like Gabrieli canzone.

2. Thomas Mace, in describing who composed for viol consort, mentions a certain
"Monteverde, a famous italian", whose "consorts" were played in England. Could
have only been the madrigals!

3. In fact, the fantasia entitled "Latral" by Mico is indeed a madrigal by
Monteverdi, but without text, the name being a corruption of the original
Italian text of the madrigal, "Là tra l'sangue". Latral 2 is probably Mico's
answer to the Monteverdi madrigal, as no Monteverdi original has been found. 
Mico obviously used the madrigal as a study in composition.

4. The Coperario fantasias in 5 & 6 parts all (but two) bear an Italian title,
which undoubtedly is just the insipid of the text. They were unquestionably
fully-texted madrigals. The complete texts for three of these have been found.
Here a vocal rendition of one of the Coperario fantasies. Also a vocal rendition
of the Lawes F-major fantasy:

This is a documentation of the restoration of one of the three trebles by
William Turner:
http://web.mac.com/vazquezjose/iWeb/EU-Project/Turner.html

This is the story of the Turner Family: four original viols in my collection
http://web.mac.com/vazquezjose/iWeb/EU-Project/FR-Turner.html

We have recorded more but they are not available.

Hope that you do manage to make it to one of the courses this year and meet the
original viols in person:
http://www.orpheon.org/OldSite/Seiten/Courses/Early_Music_Courses.htm
http://web.me.com/vazquezjose/Orpheon/Duino-10-course.html
http://web.me.com/vazquezjose/Orpheon/Duino-11-course.html

I've gone out of my way to make the venues as astonishing as the music we play!

José

At 4:05 AM +0100 1/20/12, orpheon@... wrote:
>Hello Esha & all!
>
>Getting back to the original question below:
>whether there is specific evidence that vocal
>music was performed on viols, something else
>occurred to me just now, which should be brought
>to people's attention. Praetorius, in his
>Syntagma Musicum (1619) essentially compiled
>information about performance practice in Italy,
>wanting to show his fellow German Kapellmeister
>how the Italians performed their music. He
>suggests then orchestrations for many things,
>like polychoral motets by Gabrieli, etc. But a
>salient example, and to the point of our
>discussion, is his suggestion as to how to
>perform a "purely vocal" seven part motet by
>Jacques de Wert (who lived in Italy). This is
>what he recommends:
>
>7 viole da gamba
>7 lutes
>5 harpsichord-type keyboard instruments (he uses
>different names: spinetino, cembalo, etc etc.
>But there are FIVE (in number, 5) keyboard
>instruments! ! ! !)
>and, last, but not least,
>3 boy sopranos.
>
>May this be a lesson to us all! (particularly
>those who profess that a purely vocal rendition
>- seven singers, one to a part - is "the right"
>way to perform polyphonic music of the 16th and
>17th C.)
>
>All the best, José


Thank you for that, José.  I had not come across
that particular quotation.  I think the consensus
is that voices and instruments were considered
very much equal and interchangeable, and it's
another quotation from Praetorius that really
makes it clear.  In instructing his fellow
Kapellmeistern how to sing a motet in the Ventian
way, he tells them to divide their musicians into
two or more choirs, placed around the church, and
to have each choir sing a phrase in turn and then
join together.  But the key sentence is the one
in which he says, "make sure to have at least one
singer in each choir, so the words are not
lost"!!!

There were places where an a cappella tradition
did exist, the Sistine Chapel for one (from which
the term "a cappella" originates), but for the
average choir director it wasn't a matter of
purity but one of practicality, and there are too
many graphics depictions of mixed ensembles in a
church setting (and of informal Hausmuzik as
well) to doubt it.  It's simply the wrong
historical period to get obsessed with "the
composer's intentions"!!!

John


--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
School of Performing Arts & Cinema
College of Liberal Arts & Human Sciences
290 College Ave., Blacksburg, Virginia 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:John.Howell@...)
http://www.music.vt.edu/faculty/howell/howell.html

"Machen Sie es, wie Sie wollen, machen Sie es nur schön."
(Do it as you like, just make it beautiful!)  --Johannes Brahms

Dear John!

Yes, I recall that quote from Praetorius (at least one singer...) (I'm still in
my Madrid apartment and enjoying the weather – no reference books available!. In
fact, I'm about to leave on my in-line skates...). About the Cappella Sistina: I
vaguely recall that Willaert wrote the work, "Quid non ebrietas dissignat", with
a musica ficta "trap". The flat appearing in one of the parts forces every note
thereafter to be sung a half-tone lower. The next flat in that same voice causes
again every tone to be sung a half-tone lower, meaning that it is now a whole
tone lower than at the beginning of the piece. The final chord is a written
seventh but is sung as an octave, if the ficta was properly applied. The story
is, if I recall correctly, that the "voices" of the Cappella Sistina attempted
it, but failed, whereas "the instrumentalists" of that same chapel managed to
reach the end, albeit with considerable difficulties. Could someone trace /
verify this story? If so, it means that at least in Willaert's time, the Sistina
had both singers and instrumentalists at their disposal.
I do recall that Pope Alexander VI (Rodrigo Borja – Italian: Borgia – from
Xátiva, Spain, who later sired numerous progeny with his mistresses) also
brought his musical establishment from Spain, which included viol consorts, to
Rome. Why would he not let them play in his own chapel?

All the best,

José



On Jan 20, 2012, at 5:39 PM, John Howell wrote:

> At 4:05 AM +0100 1/20/12, orpheon@... wrote:
> >Hello Esha & all!
> >
> >Getting back to the original question below:
> >whether there is specific evidence that vocal
> >music was performed on viols, something else
> >occurred to me just now, which should be brought
> >to people's attention. Praetorius, in his
> >Syntagma Musicum (1619) essentially compiled
> >information about performance practice in Italy,
> >wanting to show his fellow German Kapellmeister
> >how the Italians performed their music. He
> >suggests then orchestrations for many things,
> >like polychoral motets by Gabrieli, etc. But a
> >salient example, and to the point of our
> >discussion, is his suggestion as to how to
> >perform a "purely vocal" seven part motet by
> >Jacques de Wert (who lived in Italy). This is
> >what he recommends:
> >
> >7 viole da gamba
> >7 lutes
> >5 harpsichord-type keyboard instruments (he uses
> >different names: spinetino, cembalo, etc etc.
> >But there are FIVE (in number, 5) keyboard
> >instruments! ! ! !)
> >and, last, but not least,
> >3 boy sopranos.
> >
> >May this be a lesson to us all! (particularly
> >those who profess that a purely vocal rendition
> >- seven singers, one to a part - is "the right"
> >way to perform polyphonic music of the 16th and
> >17th C.)
> >
> >All the best, José
>
> Thank you for that, José. I had not come across
> that particular quotation. I think the consensus
> is that voices and instruments were considered
> very much equal and interchangeable, and it's
> another quotation from Praetorius that really
> makes it clear. In instructing his fellow
> Kapellmeistern how to sing a motet in the Ventian
> way, he tells them to divide their musicians into
> two or more choirs, placed around the church, and
> to have each choir sing a phrase in turn and then
> join together. But the key sentence is the one
> in which he says, "make sure to have at least one
> singer in each choir, so the words are not
> lost"!!!
>
> There were places where an a cappella tradition
> did exist, the Sistine Chapel for one (from which
> the term "a cappella" originates), but for the
> average choir director it wasn't a matter of
> purity but one of practicality, and there are too
> many graphics depictions of mixed ensembles in a
> church setting (and of informal Hausmuzik as
> well) to doubt it. It's simply the wrong
> historical period to get obsessed with "the
> composer's intentions"!!!
>
> John
>
> --
> John R. Howell, Assoc. Prof. of Music
> Virginia Tech Department of Music
> School of Performing Arts & Cinema
> College of Liberal Arts & Human Sciences
> 290 College Ave., Blacksburg, Virginia 24061-0240
> Vox (540) 231-8411 Fax (540) 231-5034
> (mailto:John.Howell@...)
> http://www.music.vt.edu/faculty/howell/howell.html
>
> "Machen Sie es, wie Sie wollen, machen Sie es nur schön."
> (Do it as you like, just make it beautiful!) --Johannes Brahms
>

At 6:23 PM +0100 1/20/12, Vazquez wrote:
>Dear John!
>
>Yes, I recall that quote from Praetorius (at
>least one singer...) (I'm still in my Madrid
>apartment and enjoying the weather - no
>reference books available!. In fact, I'm about
>to leave on my in-line skates...). About the
>Cappella Sistina: I vaguely recall that Willaert
>wrote the work, "Quid non ebrietas dissignat",
>with a musica ficta "trap". The flat appearing
>in one of the parts forces every note thereafter
>to be sung a half-tone lower. The next flat in
>that same voice causes again every tone to be
>sung a half-tone lower, meaning that it is now a
>whole tone lower than at the beginning of the
>piece. The final chord is a written seventh but
>is sung as an octave, if the ficta was properly
>applied.


That's the theory put forward by Ed Lowinsky in
"The Secret Chromatic Art of the Netherlands
Composers" in 1946.  And of course Willaert was
one of the northerners--Franco-Flemish or
Netherlands composers trained in the excellent
choir schools of Northern Burgundy.

It obviously works in quite a lot of examples
from the time period, but assuming that it was
always appropriate or always used may be pushing
the "rules" of ficta a bit far.  Besides, I would
have thought the singers would have taken it in
stride, while the instrumentalists would have
been challenged.  Not many renaissance
instruments play comfortably in Gb major, and the
theorists of the time were quite troubled by the
fact that notes already sung as "fa" would have
been further flattened to--well to WHAT?!!!
There's no "Fa-flat" in solmization!!

On the other hand, it's quite clearly intended in
Josquin's motet, "Absalon, fili mi," at the end
but it doesn't attempt to wander clear around the
circle of 5ths and does recover at the very end.
But the question was still being debated at the
International Josquin Festival in NYC in 1971,
which my wife and I attended, and which Lowinsky
chaired.

That the Cappella Sistina did sing unaccompanied
was a tradition, but whether it was that way from
the very beginning I'm not sure.  But within the
church, tradition has a great deal of force,
perhaps even enough to convince a new Pope.

All the best,

John


--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
School of Performing Arts & Cinema
College of Liberal Arts & Human Sciences
290 College Ave., Blacksburg, Virginia 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:John.Howell@...)
http://www.music.vt.edu/faculty/howell/howell.html

"Machen Sie es, wie Sie wollen, machen Sie es nur schön."
(Do it as you like, just make it beautiful!)  --Johannes Brahms

> That the Cappella Sistina did sing unaccompanied
> was a tradition, but whether it was that way from
> the very beginning I'm not sure. But within the
> church, tradition has a great deal of force,
> perhaps even enough to convince a new Pope.

The Church has a tradition of celibacy (It has been said...). That seems to have
posed little problems to the Borjas (Borgias), or to many before or
thereafter...
I think having a few instruments in the Cappella Sistina would face far fewer
obstacles of tradition, yes? According to my sources, the Vatican has a vast
treasure of old instruments (and I do have some very high sources within the
Vatican...hehehe!).

NB: Willaert – Flemish, yes, Netherlands,no! Two quite different cultures,
cultural spheres, but in music often confused.

On Jan 21, 2012, at 4:32 AM, John Howell wrote:

> At 6:23 PM +0100 1/20/12, Vazquez wrote:
> >Dear John!
> >
> >Yes, I recall that quote from Praetorius (at
> >least one singer...) (I'm still in my Madrid
> >apartment and enjoying the weather - no
> >reference books available!. In fact, I'm about
> >to leave on my in-line skates...). About the
> >Cappella Sistina: I vaguely recall that Willaert
> >wrote the work, "Quid non ebrietas dissignat",
> >with a musica ficta "trap". The flat appearing
> >in one of the parts forces every note thereafter
> >to be sung a half-tone lower. The next flat in
> >that same voice causes again every tone to be
> >sung a half-tone lower, meaning that it is now a
> >whole tone lower than at the beginning of the
> >piece. The final chord is a written seventh but
> >is sung as an octave, if the ficta was properly
> >applied.
>
> That's the theory put forward by Ed Lowinsky in
> "The Secret Chromatic Art of the Netherlands
> Composers" in 1946. And of course Willaert was
> one of the northerners--Franco-Flemish or
> Netherlands composers trained in the excellent
> choir schools of Northern Burgundy.
>
> It obviously works in quite a lot of examples
> from the time period, but assuming that it was
> always appropriate or always used may be pushing
> the "rules" of ficta a bit far. Besides, I would
> have thought the singers would have taken it in
> stride, while the instrumentalists would have
> been challenged. Not many renaissance
> instruments play comfortably in Gb major, and the
> theorists of the time were quite troubled by the
> fact that notes already sung as "fa" would have
> been further flattened to--well to WHAT?!!!
> There's no "Fa-flat" in solmization!!
>
> On the other hand, it's quite clearly intended in
> Josquin's motet, "Absalon, fili mi," at the end
> but it doesn't attempt to wander clear around the
> circle of 5ths and does recover at the very end.
> But the question was still being debated at the
> International Josquin Festival in NYC in 1971,
> which my wife and I attended, and which Lowinsky
> chaired.
>
> That the Cappella Sistina did sing unaccompanied
> was a tradition, but whether it was that way from
> the very beginning I'm not sure. But within the
> church, tradition has a great deal of force,
> perhaps even enough to convince a new Pope.
>
> All the best,
>
> John
>
> --
> John R. Howell, Assoc. Prof. of Music
> Virginia Tech Department of Music
> School of Performing Arts & Cinema
> College of Liberal Arts & Human Sciences
> 290 College Ave., Blacksburg, Virginia 24061-0240
> Vox (540) 231-8411 Fax (540) 231-5034
> (mailto:John.Howell@...)
> http://www.music.vt.edu/faculty/howell/howell.html
>
> "Machen Sie es, wie Sie wollen, machen Sie es nur schön."
> (Do it as you like, just make it beautiful!) --Johannes Brahms
>

Check out Massimo Troiano's account of the wedding in Munich 1559, with Lassus
in charge of music.  Absolutely stuffed with information like "various motets
among which was one by Cipriano in six parts played by 6 viole di braccio," 7 pt
motet of Lasso played by 5 cornets and 2 trombones,  “una suontosa musica” of 6
viole di gamba grosse, a fourth lower than usual, 6 flauti, 6 voices, and “lo
stromento di penna".  (Please excuse my scribbled semi-translations,  The title
is  Dialoghi di Massimo Troiano: ne' quali si narrano le cose piu notabili fatte
nelle nozze dello illustriss. & eccell. prencipe Gvglielmo VI., conte palatino
del Reno, e duca di Bauiera; e dell' illustriss. & eccell. madama Renata de
Loreno, and as you can see, it has loads of useful information.  (Does anyone
really question that instruments of all sorts played vocal music?)


FYI, in 2011, the VdGSA made Al Folop a Lifetime Member in thanks for the
enormous amount of work he did over many years bringing repertory to viol
players that they would otherwise not have had.  We are eternally grateful to
Al.  The viol repertory is vast and its dissemination has to be an ongoing
communal project.  Al started all this long before computers made it so quick,
and he did a ton of work.  Now its up to some of the people who want words in
their music to do their bit and put them in for the next generation of players.

Cheers-
Wendy

[Non-text portions of this message have been removed]

The term "celibacy" is often confused with chastity.  Celibacy merely means
abstention from entering the married state.

--- In ViolaDaGamba@yahoogroups.com, Vazquez <vazquezjose@...> wrote:
>
> > That the Cappella Sistina did sing unaccompanied
> > was a tradition, but whether it was that way from
> > the very beginning I'm not sure. But within the
> > church, tradition has a great deal of force,
> > perhaps even enough to convince a new Pope.
>
> The Church has a tradition of celibacy (It has been said...). That seems to
have posed little problems to the Borjas (Borgias), or to many before or
thereafter...
> I think having a few instruments in the Cappella Sistina would face far fewer
obstacles of tradition, yes? According to my sources, the Vatican has a vast
treasure of old instruments (and I do have some very high sources within the
Vatican...hehehe!).
>
> NB: Willaert – Flemish, yes, Netherlands,no! Two quite different cultures,
cultural spheres, but in music often confused.
>
> On Jan 21, 2012, at 4:32 AM, John Howell wrote:
>
> > At 6:23 PM +0100 1/20/12, Vazquez wrote:
> > >Dear John!
> > >
> > >Yes, I recall that quote from Praetorius (at
> > >least one singer...) (I'm still in my Madrid
> > >apartment and enjoying the weather - no
> > >reference books available!. In fact, I'm about
> > >to leave on my in-line skates...). About the
> > >Cappella Sistina: I vaguely recall that Willaert
> > >wrote the work, "Quid non ebrietas dissignat",
> > >with a musica ficta "trap". The flat appearing
> > >in one of the parts forces every note thereafter
> > >to be sung a half-tone lower. The next flat in
> > >that same voice causes again every tone to be
> > >sung a half-tone lower, meaning that it is now a
> > >whole tone lower than at the beginning of the
> > >piece. The final chord is a written seventh but
> > >is sung as an octave, if the ficta was properly
> > >applied.
> >
> > That's the theory put forward by Ed Lowinsky in
> > "The Secret Chromatic Art of the Netherlands
> > Composers" in 1946. And of course Willaert was
> > one of the northerners--Franco-Flemish or
> > Netherlands composers trained in the excellent
> > choir schools of Northern Burgundy.
> >
> > It obviously works in quite a lot of examples
> > from the time period, but assuming that it was
> > always appropriate or always used may be pushing
> > the "rules" of ficta a bit far. Besides, I would
> > have thought the singers would have taken it in
> > stride, while the instrumentalists would have
> > been challenged. Not many renaissance
> > instruments play comfortably in Gb major, and the
> > theorists of the time were quite troubled by the
> > fact that notes already sung as "fa" would have
> > been further flattened to--well to WHAT?!!!
> > There's no "Fa-flat" in solmization!!
> >
> > On the other hand, it's quite clearly intended in
> > Josquin's motet, "Absalon, fili mi," at the end
> > but it doesn't attempt to wander clear around the
> > circle of 5ths and does recover at the very end.
> > But the question was still being debated at the
> > International Josquin Festival in NYC in 1971,
> > which my wife and I attended, and which Lowinsky
> > chaired.
> >
> > That the Cappella Sistina did sing unaccompanied
> > was a tradition, but whether it was that way from
> > the very beginning I'm not sure. But within the
> > church, tradition has a great deal of force,
> > perhaps even enough to convince a new Pope.
> >
> > All the best,
> >
> > John
> >
> > --
> > John R. Howell, Assoc. Prof. of Music
> > Virginia Tech Department of Music
> > School of Performing Arts & Cinema
> > College of Liberal Arts & Human Sciences
> > 290 College Ave., Blacksburg, Virginia 24061-0240
> > Vox (540) 231-8411 Fax (540) 231-5034
> > (mailto:John.Howell@...)
> > http://www.music.vt.edu/faculty/howell/howell.html
> >
> > "Machen Sie es, wie Sie wollen, machen Sie es nur schön."
> > (Do it as you like, just make it beautiful!) --Johannes Brahms
> >
>

At 9:49 AM +0100 1/21/12, Vazquez wrote:
>  > That the Cappella Sistina did sing unaccompanied
>>  was a tradition, but whether it was that way from
>>  the very beginning I'm not sure. But within the
>>  church, tradition has a great deal of force,
>>  perhaps even enough to convince a new Pope.
>
>The Church has a tradition of celibacy (It has
>been said...). That seems to have posed little
>problems to the Borjas (Borgias), or to many
>before or thereafter...

José!!!  How can you question those distinguished
churchmen?!!!  They bought and paid for their
church ranks in a perfectly straightforward
business proposition!  (Much like many modern
politicians, whose concept of "public service" is
akin to that of the Borgias.)


>I think having a few instruments in the Cappella
>Sistina would face far fewer obstacles of
>tradition, yes? According to my sources, the
>Vatican has a vast treasure of old instruments
>(and I do have some very high sources within the
>Vatican...hehehe!).

Well, my sources are no higher than what is said
in various textbooks, but according to the
textbook tradition it was only the Cappella
Sistina that was "a cappella," and instruments
were freely used in other contexts.  There is
certainly plenty of evidence that the Spanish
cathedrals had excellent church bands.  Venice
was not unique in that particular way.  But we
also have to remember that both the choirs and
the consorts were very small by modern standards,
and that those were full-time, working,
professional musicians, not the talented amateurs
in so many modern choirs and orchestras.

>
>NB: Willaert - Flemish, yes, Netherlands,no! Two
>quite different cultures, cultural spheres, but
>in music often confused.

Yes, very true.  But it's the terminology that is
confused, not the facts.  No one really claims
that these folks were native Dutch
speakers--except for Obrecht, of course.
Franco-Flemish is more accurate linguistically,
just plain "Northerners" as a practical matter.
But the teaching in those northern choir schools
must have been really outstanding, unless it was
something in the water!

All the best,

John




>
>On Jan 21, 2012, at 4:32 AM, John Howell wrote:
>
>>  At 6:23 PM +0100 1/20/12, Vazquez wrote:
>>  >Dear John!
>>  >
>>  >Yes, I recall that quote from Praetorius (at
>>  >least one singer...) (I'm still in my Madrid
>>  >apartment and enjoying the weather - no
>>  >reference books available!. In fact, I'm about
>>  >to leave on my in-line skates...). About the
>>  >Cappella Sistina: I vaguely recall that Willaert
>>  >wrote the work, "Quid non ebrietas dissignat",
>>  >with a musica ficta "trap". The flat appearing
>>  >in one of the parts forces every note thereafter
>>  >to be sung a half-tone lower. The next flat in
>>  >that same voice causes again every tone to be
>>  >sung a half-tone lower, meaning that it is now a
>>  >whole tone lower than at the beginning of the
>>  >piece. The final chord is a written seventh but
>>  >is sung as an octave, if the ficta was properly
>>  >applied.
>>
>>  That's the theory put forward by Ed Lowinsky in
>>  "The Secret Chromatic Art of the Netherlands
>>  Composers" in 1946. And of course Willaert was
>>  one of the northerners--Franco-Flemish or
>>  Netherlands composers trained in the excellent
>>  choir schools of Northern Burgundy.
>>
>>  It obviously works in quite a lot of examples
>>  from the time period, but assuming that it was
>>  always appropriate or always used may be pushing
>>  the "rules" of ficta a bit far. Besides, I would
>>  have thought the singers would have taken it in
>>  stride, while the instrumentalists would have
>>  been challenged. Not many renaissance
>>  instruments play comfortably in Gb major, and the
>>  theorists of the time were quite troubled by the
>>  fact that notes already sung as "fa" would have
>>  been further flattened to--well to WHAT?!!!
>>  There's no "Fa-flat" in solmization!!
>>
>>  On the other hand, it's quite clearly intended in
>>  Josquin's motet, "Absalon, fili mi," at the end
>  > but it doesn't attempt to wander clear around the
>>  circle of 5ths and does recover at the very end.
>>  But the question was still being debated at the
>>  International Josquin Festival in NYC in 1971,
>>  which my wife and I attended, and which Lowinsky
>>  chaired.
>>
>>  That the Cappella Sistina did sing unaccompanied
>>  was a tradition, but whether it was that way from
>>  the very beginning I'm not sure. But within the
>>  church, tradition has a great deal of force,
>>  perhaps even enough to convince a new Pope.
>>
>>  All the best,
>>
>>  John
>>
>>  --
>>  John R. Howell, Assoc. Prof. of Music
>>  Virginia Tech Department of Music
>>  School of Performing Arts & Cinema
>>  College of Liberal Arts & Human Sciences
>>  290 College Ave., Blacksburg, Virginia 24061-0240
>>  Vox (540) 231-8411 Fax (540) 231-5034
>>  (mailto:John.Howell@...)
>>  http://www.music.vt.edu/faculty/howell/howell.html
>>
>>  "Machen Sie es, wie Sie wollen, machen Sie es nur schön."
>>  (Do it as you like, just make it beautiful!) --Johannes Brahms
>>
>
>
>
>------------------------------------
>
>     (see below) or send a blank email to:
>     ViolaDaGamba-digest@yahoogroups.com
>Yahoo! Groups Links
>
>
>

--
John R. Howell, Assoc. Prof. of Music
Virginia Tech Department of Music
School of Performing Arts & Cinema
College of Liberal Arts & Human Sciences
290 College Ave., Blacksburg, Virginia 24061-0240
Vox (540) 231-8411  Fax (540) 231-5034
(mailto:John.Howell@...)
http://www.music.vt.edu/faculty/howell/howell.html

"Machen Sie es, wie Sie wollen, machen Sie es nur schön."
(Do it as you like, just make it beautiful!)  --Johannes Brahms

Thank you Wendy! That's a beaut! Will keep it in the records...
So now, everyone can start playing some of the most wonderful consort music ever
written: the immense legacy of Cristóbal de Morales, Thomas Luís de Victoria and
their brethren. Check the site: http://www.uma.es/victoria, download the music
and start playing...with text!

Folop: Where would we all have been, back in the 70's, without this dedicated
man's colossal efforts? Thank you, Mr. Folop!

Greetings from Madrid, José

On Jan 21, 2012, at 4:12 PM, Wendy Gillespie wrote:

> Check out Massimo Troiano's account of the wedding in Munich 1559, with Lassus
in charge of music.  Absolutely stuffed with information like "various motets
among which was one by Cipriano in six parts played by 6 viole di braccio," 7 pt
motet of Lasso played by 5 cornets and 2 trombones,  „una suontosa musica‰ of 6
viole di gamba grosse, a fourth lower than usual, 6 flauti, 6 voices, and „lo
stromento di penna".  (Please excuse my scribbled semi-translations,  The title
is  Dialoghi di Massimo Troiano: ne' quali si narrano le cose piu notabili fatte
nelle nozze dello illustriss. & eccell. prencipe Gvglielmo VI., conte palatino
del Reno, e duca di Bauiera; e dell' illustriss. & eccell. madama Renata de
Loreno, and as you can see, it has loads of useful information.  (Does anyone
really question that instruments of all sorts played vocal music?)
>
>
> FYI, in 2011, the VdGSA made Al Folop a Lifetime Member in thanks for the
enormous amount of work he did over many years bringing repertory to viol
players that they would otherwise not have had.  We are eternally grateful to
Al.  The viol repertory is vast and its dissemination has to be an ongoing
communal project.  Al started all this long before computers made it so quick,
and he did a ton of work.  Now its up to some of the people who want words in
their music to do their bit and put them in for the next generation of players.
>
> Cheers-
> Wendy
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
>    (see below) or send a blank email to:
>    ViolaDaGamba-digest@yahoogroups.com
> Yahoo! Groups Links
>
>
>

> The term "celibacy" is often confused with chastity. Celibacy merely means
abstention from entering the married state.

Grand definition! So the popes will have no blemishes on their record when they
approach the Gates of Heaven! (Besides, they are sufficiently wealthy to pay for
indulgence.)  Brilliant time, the Renaissance!

José

Dear all,

I should explain that when I started this thread, I didn't actually intend to
question whether instrumentalists played vocal music (though I may have ended up
asking that as well). When I consulted the Folop collection, I was looking for
music which would have seemed to be written in a specifically instrumental idiom
-- I was hoping to perform some in a concert as somewhat of a contrast to the
pieces that were known to be vocal. Of course, such specifically instrumental
music would be harder to find as one looks earlier, and perhaps less common in
some countries than others.

So -- thoughts on that are welcome too!

Esha



[Non-text portions of this message have been removed]

Wow, Peter, that's fantastic!

Tell you what - I'm sending this to a couple of viol lists to see whether anyone
on them has ideas of ways to get all this lyra viol music digitized and
available, perhaps even catalogued, especially the stuff that is not available
elsewhere.  Is there a list of what the microfilms are that you can scan and
share?  I know Frank is a thorough scholar who probably collected absolutely
everything he could find.

Best,
Wendy
On Jan 26, 2012, at 9:09 PM, <organologist@...> wrote:

> Hi Wendy,
>
> I just wanted to let you know that Dr. Traficante's collection of microfilm
arrived today. It contains 60 boxes of microfilm and an unknown number of film
strips. The microfilm includes music for more than just one instrument. The
collection is simply amazing. I am still trying to find a company that will
either digitize the material or rent me a microfilm digitizer. Perhaps, in 2013,
the Society might be interested in making this material available.
>
> Peter
>



[Non-text portions of this message have been removed]

This is exciting. Several of the important lyra viol manuscripts are already
digitized and available (I don't have a list at my fingertips, but it wouldn't
be too hard to generate one)--it might be worth checking carefully to avoid
duplicate digitization. This would both save time and money and also reduce the
confusion that results when more multiple digitizations of the same exact
document starts circulating...

Loren Ludwig
visiting lecturer, New Zealand School of Music


[Non-text portions of this message have been removed]

Dr. Traficante's collection includes many items not specifically related to
lyra viol music. He acquired a number of viola bastarda manuscripts, German
manuscripts, French baroque works for viola da gamba, instruction books for
change ringing of bells, and on and on. I've digitized Moss' "Lessons for Basse
Viol" of 1671. The odd feature of this book is that pages 89-96 were missing
from the book. It appears to be a printing error not an error by the microfilm
technician. However, the technician had serious issues with creating a clean
copy. The book is evidently also missing page 1 of the staff notation section of
the book. Is this a feature of this book? Do other copies have these errors?

I will add more information about this project from time to time.

Peter





-----Original Message-----
From: ViolaDaGamba <ViolaDaGamba@yahoogroups.com>
To: ViolaDaGamba <ViolaDaGamba@yahoogroups.com>
Sent: Sat, Jan 28, 2012 1:22 pm
Subject: [ViolaDaGamba] Digest Number 1141

                                                        A mailing list devoted to
the appreciation of the viola da gamba and its music.? If you are a player,
student, builder, dealer,
           Messages In This Digest      (1                Message)
1a.       Re: Traficante's microfilm   From:        Loren Ludwig
                  View All Topics | Create New Topic
                 Message                                1a.
Re: Traficante's microfilm                Posted by:      "Loren Ludwig"
loren_ludwig@...                     ?                    loren_ludwig
Fri Jan?27,?2012 7:46?am        (PST)

        This is exciting. Several of the important lyra viol manuscripts are
already digitized and available (I don't have a list at my fingertips, but it
wouldn't be too hard to generate one)--it might be worth checking carefully to
avoid duplicate digitization. This would both save time and money and also
reduce the confusion that results when more multiple digitizations of the same
exact document starts circulating...

  Loren Ludwig
  visiting lecturer, New Zealand School of Music

  [Non-text portions of this message have been removed]


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[Non-text portions of this message have been removed]

I came across a man in the San Francisco bay area who has a selection of top
quality snakewood. I am NOT offering this material for sale. Instead, if any
instrument/bow maker needs another source for wood, contact me and I will send
his email.
?
Peter
?



[Non-text portions of this message have been removed]

Yes, I would love to get my hands on a piece to make another bass gamba bow.

Jacque Gray
bassviolone@...




On Mon, Jan 30, 2012 at 6:02 PM, <organologist@...> wrote:

> **
>
>
> I came across a man in the San Francisco bay area who has a selection of
> top quality snakewood. I am NOT offering this material for sale. Instead,
> if any instrument/bow maker needs another source for wood, contact me and I
> will send his email.
> ?
> Peter
> ?
>
> [Non-text portions of this message have been removed]
>
>
>


[Non-text portions of this message have been removed]

I too have been very excited to hear about the possibility of digitizing
some of Frank's microfilms, and am very encouraged to come across the
suggestion, early-on, that an attempt be made to avoid duplicating the
efforts of others.

I would like to mention that I managed to find a good outfit to work with
this summer, here in New York City, that digitized the entire John Merro
collection, Bodleian Library  with all three part books. I paid $400 to
have the job done. When it came out unacceptable in spots they were very
understanding about it and re-shot the entire roll of microfilm in
grayscale for no additional charge. When I got the final result back I did
go through the entire job, page by page to crop out all the black areas on
the edges as I figured that might wind up causing a fair amount of wasted
ink down the line.

The actual digitization work was sent out to Texas, but here's the local
office that I dealt with:

http://www.royalimaging.com
Miguel Oquendo 212-253-1511 ext.307
moquendo@...
Royal Imaging
Suite 1102
320 West 37th Street, New York, NY 10018
+18774496724

Miguel, the fellow I worked with, was extremely receptive and helpful. The
company does all the digitization of old records for The New York City
Department of Education and at least one other large city agency he
mentioned, so they're obviously going to be around for a while.

Since the Merro books wound up being shot in grayscale, the three files are
rather large, over 2½ GIGs, so be prepared for a long download, if you want
to start looking things over:

http://newtunings.com/viol/merro/illes

Otherwise I'm trying to make time to divvy things up in smaller parcels if
you want to try poking around here from time to time:

http://newtunings.com/viol/merro/packets

Regarding John Moss: Complete copies do exist, including those seeming
missing pages. There is an entire copy in Paris which probably served as
the basis for a recently published modern edition that unfortunately
contains many errors and formatting decisions that may have stood in the
way of its having caught on. Another very excellent edition has already
been readied for publication, but its author, Stephen Morris (VdGSA's
former microfilm custodian) has had trouble finding the right publisher.

In the meantime, an electronic copy of sorts can be found at the following
locations:

http://www.newtunings.com/all/mossthumbs/index.html

http://www.newtunings.com/all/JohnMoss

Unfortunately I worked on those without the benefit of a clean original
myself at the time, and have not yet gotten around to providing a better
version.

Thanks for introducing this important topic which has helped also has
helped me find and join this list.

I am really looking forward to hearing / seeing more about Frank's Fifty!

Yours,
David Saphra
Irvington, NY
lyraviol.org
dsaphra@...

wwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwwww

On Sun, Jan 29, 2012 at 1:54 AM, <organologist@...> wrote:

> **
>
>
> Dr. Traficante's collection includes many items not specifically related
> to lyra viol music. He acquired a number of viola bastarda manuscripts,
> German manuscripts, French baroque works for viola da gamba, instruction
> books for change ringing of bells, and on and on. I've digitized Moss'
> "Lessons for Basse Viol" of 1671. The odd feature of this book is that
> pages 89-96 were missing from the book. It appears to be a printing error
> not an error by the microfilm technician. However, the technician had
> serious issues with creating a clean copy. The book is evidently also
> missing page 1 of the staff notation section of the book. Is this a feature
> of this book? Do other copies have these errors?
>
> I will add more information about this project from time to time.
>
> Peter
>
> -----Original Message-----
> From: ViolaDaGamba <ViolaDaGamba@yahoogroups.com>
> To: ViolaDaGamba <ViolaDaGamba@yahoogroups.com>
> Sent: Sat, Jan 28, 2012 1:22 pm
> Subject: [ViolaDaGamba] Digest Number 1141
>
> A mailing list devoted to the appreciation of the viola da gamba and its
> music.? If you are a player, student, builder, dealer,
> Messages In This Digest (1 Message) 1a. Re: Traficante's microfilm From:
> Loren Ludwig
> View All Topics | Create New Topic
> Message 1a. Re: Traficante's microfilm Posted by: "Loren Ludwig"
> loren_ludwig@... ? loren_ludwig Fri Jan?27,?2012 7:46?am (PST)
>
> This is exciting. Several of the important lyra viol manuscripts are
> already digitized and available (I don't have a list at my fingertips, but
> it wouldn't be too hard to generate one)--it might be worth checking
> carefully to avoid duplicate digitization. This would both save time and
> money and also reduce the confusion that results when more multiple
> digitizations of the same exact document starts circulating...
>
> Loren Ludwig
> visiting lecturer, New Zealand School of Music
>
> [Non-text portions of this message have been removed]
>
>
> Back to top
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[Non-text portions of this message have been removed]

Membership Appeal for the VdGSA Young Players Weekend from Josh Lee - the
VdGSA Young Players Weekend is on the verge of being cancelled from
under-registration - THIS IS AN IMPORTANT WORKSHOP! Contact Josh Lee NOW! It
is a great workshop, and has always received rave reviews! Visit
http://vdgsa.org/pgs/youngplayersweekend.html to get involved. You WON'T be
sorry! Please help get the word around as soon as possible.



-          Phillip S.

   _____

No virus found in this message.
Checked by AVG - www.avg.com
Version: 10.0.1416 / Virus Database: 2109/4778 - Release Date: 01/31/12



[Non-text portions of this message have been removed]

Dear Gambists, Early Music Educators and Enthusiasts,

I'm sorry to fill your inboxes with another message, but we're at a crisis point
with this year's Young Players' Weekend. If we don't get more folks signed up or
in touch with us it looks like we will have to cancel this year's workshop. If
you, your students or anyone you know are interested in attending but haven't
registered yet, I urge you to get in touch with me. Our deadline with this
year's venue is Wednesday morning, so we've got a little time to pull this
together.

Thanks for all the help each of you have been - all of us at the VdGSA
appreciate your support as we try to ensure the future of the Society and build
a vital community of young gamba players. Whether you've put a poster up at your
school, told a friend or just shared this event on your Facebook wall you've
done us a great service!

Again, more information can be found at:
http://vdgsa.org/pgs/youngplayersweekend.html

Thanks again, and I hope to see some of you in February!

Josh Lee
joshlee415@...
Young.Players.Weekend@...
415.637.5011

ps - as in the past, please forward this message to whomever you see fit. Thanks
again!

Reposting contact information because I didn't get a chance to tell Josh that
Yahoo hides it:
 
Josh Lee
joshlee415 [at] gmail [dot] com
Young.Players.Weekend [at] gmail.com
415.637.5011

Esha


--- On Tue, 1/31/12, musikerbear <joshlee415@...> wrote:


Dear Gambists, Early Music Educators and Enthusiasts,

I'm sorry to fill your inboxes with another message, but we're at a crisis point
with this year's Young Players' Weekend. If we don't get more folks signed up or
in touch with us it looks like we will have to cancel this year's workshop. If
you, your students or anyone you know are interested in attending but haven't
registered yet, I urge you to get in touch with me. Our deadline with this
year's venue is Wednesday morning, so we've got a little time to pull this
together.

Thanks for all the help each of you have been - all of us at the VdGSA
appreciate your support as we try to ensure the future of the Society and build
a vital community of young gamba players. Whether you've put a poster up at your
school, told a friend or just shared this event on your Facebook wall you've
done us a great service!

Again, more information can be found at:
http://vdgsa.org/pgs/youngplayersweekend.html

Thanks again, and I hope to see some of you in February!

Josh Lee
joshlee415@...
Young.Players.Weekend@...
415.637.5011

ps - as in the past, please forward this message to whomever you see fit. Thanks
again!

With regard to Stephen Morris' edition of John Moss, Lessons for the
Basse-Viol (London, 1671), Stephen recently delivered his edition and we intend
to publish it in 2012.
Peter Ballinger, PRB Productions, Albany CA (_www.prbmusic.com_
(http://www.prbmusic.com) )


[Non-text portions of this message have been removed]

Hi David and fellow readers,

Thanks for the links and information about the other efforts todigitize lyra
viol sources. I noticed that in 2007, a number ofresearchers and musicians with
more insight than I suggested the verysame idea. I did not find that they
started this project.

I found that I can digitize the microfilm using my flatbed scanner at 1200 dpi.
It is not an easy process. Some of the microfilm is a positive. That format
scans very well. Some are a negative, and scanning that format åis a real
problem. The negatives take quite some time to render as positives, even with my
professional-quality software. Even then, some reels were shot by people who did
not do a good job. Lighting is poor; rotation is unprofessional; and I wonder
about missing pages. With that said, Traficante’s collection contains possibly
years of processing. But the results I’ve produced so far are well worth the
effort.

I found that saving the pages as grey scale PDF files greatly reduces the size
of the files. But I can see that digitizing this entire collection is going to
eat up a lot of hard drive space. I also found that saving the files as 1 inch
by 1 inch images greatly reduces the size of the file. This will mean that, in
the future, anyone who wants to print out a copy will need a program that can
expand an image without destroying the quality of the image. I suggest using
Photoshop Elements or Corel Draw on a PC format: sorry, I don’t know anything
about MAC software.

The microfilm of the Peter Leicester manuscript in the collection is completely
useless. It is too light. I even have a photocopy of the manuscript from the Ben
Schmidt Collection at Stanford. That copy is almost as useless. I’ve contacted
the library that owns the original asking for a readable copy. If anyone has one
that they would care to share, please let me know.

Peter

February 2, 2012
For Immediate Release
Contact: Jeffrey James Arts Consulting
516-586-3433 or jamesarts@...

Parthenia, a Consort of Viols Part of Choral Evensong on February 5 at St.
Peter's by-the-Sea Episcopal Church in Bay Shore, New York

New York, NY – Parthenia, New York's premiere viol consort, will be part of
choral evensong, performing with the choir of St. Peter's by the Sea Episcopal
Church, Tom Bailey director, conducted by Mark Engelhardt, on Sunday, February 5
at 4:00 PM at St. Peter's, 500 South Country Road in Bay Shore, New York.

Repertoire will be Henry Purcell's Magnificat and Nunc dimittis in G minor, and
J. Eccard's Maria wallt zum Heiligtum. Parthenia will perform a 20 minute
concert before the evensong service of Elizabethan and Jacobean music for 4
viols, highlights from the ensemble's repertoire.

For more about the February 5 event, call 631-665-0051, ext. 14 or visit
http://www.stpetersbayshore.org/. For MTA transportation information, visit
http://tripplanner.mta.info/_start.aspx.

Parthenia, which consists of Beverly Au, Lawrence Lipnik, Rosamund Morley and
Lisa Terry, has been hailed by the New Yorker as "one of the brightest lights in
New York's early-music scene," is a dynamic ensemble exploring the extraordinary
repertory for viols from Tudor England to the court of Versailles and beyond.
Known for its remarkable sense of ensemble, Parthenia is presented in concerts
across America, and produces its own lively and distinguished concert series in
New York City, collaborating regularly with the world's foremost early music
specialists and has been featured on radio and television and in prestigious
festivals and series including Bargemusic, Music Before 1800, Maverick Concerts
and the Regensburg Tage Alter Musik. They are the subject of a Fanfare Magazine
online article - http://www.fanfaremag.com/content/view/44677/10245/. Visit them
at http://www.parthenia.org.

Parthenia is represented by GEMS Live! Artist Management and records for MSR
Classics.

Parthenia's concert season is made possible by the New York State Council on the
Arts, with the support of Governor Andrew Cuomo and the New York State
Legislature. Parthenia is a fiscally sponsored organization of the New York
Foundation for the Arts, and is a member of Early Music America.

Parthenia group photos are available online at http://parthenia.org/press/. For
press inquiries, please contact Jeffrey James Arts Consulting at 516-586-3433 or
jamesarts@....

-30-

This new and surely readable copy will be an important publication. I
congratulate both Stephen Morris and Peter Ballinger for this project.

I just finished digitizing the Zeigler manuscript (lyra viol) and Bassani's
manuscript (viola bastarda).

Peter





-----Original Message-----
From: ViolaDaGamba <ViolaDaGamba@yahoogroups.com>
To: ViolaDaGamba <ViolaDaGamba@yahoogroups.com>
Sent: Thu, Feb 2, 2012 3:15 am
Subject: [ViolaDaGamba] Digest Number 1145

                                                        A mailing list devoted to
the appreciation of the viola da gamba and its music.  If you are a player,
student, builder, dealer,
           Messages In This Digest      (2                Messages)
1a.       Re: Digitizing Microfilms / Frank Trafficante's Collection of 50  
From:        prbprdns@...
2.       Re: Digest Number 1144   From:        organologist@...
                  View All Topics | Create New Topic
                 Messages                                1a.
Re: Digitizing Microfilms / Frank Trafficante's Collection of 50               
Posted by:      "prbprdns@..."             prbprdns@...
                     ballingerpr                                 Wed
Feb 1, 2012 1:07 pm        (PST)

        With regard to Stephen Morris' edition of John Moss, Lessons for the
  Basse-Viol (London, 1671), Stephen recently delivered his edition and we intend
  to publish it in 2012.
  Peter Ballinger, PRB Productions, Albany CA (_www.prbmusic.com_
  (http://www.prbmusic.com) )


  [Non-text portions of this message have been removed]


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                         Messages in this topic             (2)
                                2.                           Re: Digest Number
1144                Posted by:      "organologist@..."            
organologist@...                                          adamspeterh
Wed Feb 1, 2012 2:36 pm        (PST)

         Hi David and fellow readers,

  Thanks for the links and information about the other efforts todigitize lyra
viol sources. I noticed that in 2007, a number ofresearchers and musicians with
more insight than I suggested the verysame idea. I did not find that they
started this project.

  I found that I can digitize the microfilm using my flatbed scanner at 1200 dpi.
It is not an easy process. Some of the microfilm is a positive. That format
scans very well. Some are a negative, and scanning that format åis a real
problem. The negatives take quite some time to render as positives, even with my
professional-quality software. Even then, some reels were shot by people who did
not do a good job. Lighting is poor; rotation is unprofessional; and I wonder
about missing pages. With that said, Traficante’s collection contains possibly
years of processing. But the results I’ve produced so far are well worth the
effort.

  I found that saving the pages as grey scale PDF files greatly reduces the size
of the files. But I can see that digitizing this entire collection is going to
eat up a lot of hard drive space. I also found that saving the files as 1 inch
by 1 inch images greatly reduces the size of the file. This will mean that, in
the future, anyone who wants to print out a copy will need a program that can
expand an image without destroying the quality of the image. I suggest using
Photoshop Elements or Corel Draw on a PC format: sorry, I don’t know anything
about MAC software.

  The microfilm of the Peter Leicester manuscript in the collection is completely
useless. It is too light. I even have a photocopy of the manuscript from the Ben
Schmidt Collection at Stanford. That copy is almost as useless. I’ve contacted
the library that owns the original asking for a readable copy. If anyone has one
that they would care to share, please let me know.

  Peter


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                         Messages in this topic             (1)



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[Non-text portions of this message have been removed]

Hi Everyone! This is exciting--spread the word!

Best,

Loren

Vittorio Ghielmi, renowned Italian viola da gamba virtuoso and teacher, will
make a rare American appearance to perform and teach for a week at the Amherst
Early Music Festival and Workshop July 15-22, 2012. Mr. Ghielmi, who has
appeared as a soloist with the likes of the London Philharmonic, Wiener
Philharmoniker, and Il Giardino Armonico, and whose collaborators include
luminaries as diverse as Gustav Leonhardt and Uri Caine, will perform a concert
with lutenist Luca Pianca and teach viol technique and master classes during the
second week of the Amherst festival in New London, CT. Ghielmi, while well known
to American audiences and viol players through his recordings and the occasional
American concert appearance, has never taught a workshop in the U.S. The Amherst
Early Music Festival is delighted to make this eminent teacher and musician
available to American students of the instrument. Scholarships and work-study
tuition assistance is available, please see registration details at
www.amherstearlymusic.org

February 22, 2012
For Immediate Release
Contact: Jeffrey James Arts Consulting
516-586-3433 or jamesarts@...

Viola da Gamba Virtuoso Lisa Terry Performs Bach Sonatas on February 24 and 26
on Princeton, New Jersey

Viola da Gamba virtuoso Lisa Terry will present two New Jersey events featuring
J.S. Bach's three sonatas for viola da gamba and harpsichord, with
harpsichordist Joanne Kong. The first will be an exploration of the works in
depth through Ms. Terry's demonstration and discussion on Friday, February 24 –
4:00 PM at Princeton Public Library, 65 Witherspoon Street in Princeton. The
second will be a concert of the three masterworks on Sunday, February 26 – 3:00
PM at Miller Chapel of Princeton Theological Seminary, 64 Mercer Street, also in
Princeton. Both events are presented by The Dryden Ensemble.

Repertoire will be J.S. Bach's three sonatas for viola da gamba and harpsichord,
BWV 1027, 1028 and 1029. The three pieces have been variously dated, either to
Bach's Cöthen period, where as Kapellmeister he was responsible for all
instrumental music, and had at his disposal a small but outstanding ensemble of
musicians, or to the later period in Leipzig, when he was occupied with the
Collegium Musicum.

These events are free and open to the public. For more information, call
609-466-8541 or visit https://www.drydenensemble.org/home.html.

Lisa Terry performs on viola da gamba and cello with Parthenia, Dryden, BaroQue
Across the River, and many other New York area groups. She was a founding member
of ARTEK, and has also performed with the New York Philharmonic, New York City
Opera, Juilliard Opera Orchestra, Opera Lafayette, Orchestra of St. Luke's,
Concert Royal, New York Collegium, American Classical Orchestra, Four Nations
Ensemble, Santa Fe Pro Musica and Chicago Opera Theatre. She teaches at the
French-American School of Music and at workshops across the country.

Joanne Kong has earned numerous honors, including a fellowship to the American
Academy of the Arts in Europe and the Grand Prize in the 1985 International
Piano Recording Competition. Dr. Kong's concertizing as a soloist has included
orchestra performances under William McGlaughlin, Myung-Whun Chung, Samuel
Baron, George Manahan, Alexander Kordzaia, Mark Russell Smith, and Steven Smith.
Additionally, she is in frequent demand for piano master classes and chamber
performances throughout the country.

For press inquiries, please contact Jeffrey James Arts Consulting at
516-586-3433 or jamesarts@....

-30-

Live from WFMT - Ellen Hargis and The Newberry Consort of Viols TONIGHT,
February 27th at 8PM



Soprano Ellen Hargis and the Newberry Consort of Viols present a delightful
mix of songs ranging from the Elizabethan period to today. You'll hear
classics by old masters William Byrd, John Dowland, John Wilbye, and Orlando
Gibbons paired with new works written or arranged by new masters Benjamin
Britten, Paul Lansky,  Will Ayton, et al. Expect some surprises!



It will be on WFMT 98.7FM & streaming from http://www.wfmt.com/. We hope you
will listen as it is some very fun, challenging & gorgeous literature!
Please join us!



Preview Tonight's Program - Hidden Soul of Harmony
<http://www.youtube.com/watch?v=6iXYSqmvELE&feature=email>



Watch Eric Malmquist's "The Hidden Soul of Harmony," a composition
commissioned by The Newberry Consort for the program "Something Old,
Something New," performed February 13, 2011 at Lutkin Hall on the campus of
Northwestern University. The composition is written for soprano and six
violas da gamba. Ellen Hargis, soprano, was joined by the Newberry Consort
of Viols, David Douglass, Kenneth Perlow, Phillip Serna, Anna Steinhoff,
Craig Trompeter, and Russell Wagner. The text is by John Milton.
(http://youtu.be/6iXYSqmvELE)

12

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March 5, 2012
For Immediate Release
Contact: Jeffrey James Arts Consulting
516-586-3433 or jamesarts@...

Parthenia, a Consort of Viols Presents Seasons of Beauty and Love Concert on
March 10 at Picture Ray Studios in New York, New York

New York, NY – Parthenia, New York's premiere viol consort, will present Seasons
of Beauty and Love, a program of music for voice and viols, celebrating the
coming of Spring, on Saturday, March 10 at 8:00 PM at Picture Ray Studio, 245
West 18th Street (between 7th and 8th Avenues) in Manhattan. Special guest will
be renowned soprano Ellen Hargis.

Repertoire will be selections by William Byrd (1540-1623), Orlando Gibbons
(1583-1625), Alfonso Ferrabosco the younger (c. 1575-1628), John Wilbye
(1574-1638), Carlo Farina (c. 1600-1639), Claudio Monteverdi (1567-1643),
Gioseffo Guami (c.1540-1611), Andrea Gabrieli (c.1510 - 1586), Nicolò Corradini
(d.1646) and Girolamo Frescobaldi (1583-1643).

Parthenia member Rosamund Morley has written about the program, "The celebration
of love and the coming of Spring is nowhere more intensely portrayed than in the
poetry of the Italian Renaissance. This concert will present the sister
repertoires of the Italian and the English madrigalists. Out of the mania for
Italian culture that captured Elizabethans from the 1580's came many
publications of Italian madrigals presented in translation or with their
"ditties English'd." Long after the madrigal was rejected in Italy as old art in
favor of the new style of dramatic declamation of the text, the madrigal
flourished in England both as vocal music and as instrumental fantasy for which
the viols were particularly suited."

Tickets for the March 10 concert are $35. For tickets and more information, call
212-866-0468 or visit http://gemsny.org/parthenia20112012.html. For MTA
transportation information, visit http://tripplanner.mta.info/_start.aspx. All
Parthenia concerts are ADA accessible.

Soprano Ellen Hargis is one of America's premier early music singers,
specializing in repertoire ranging from ballads to opera and oratorio. She has
worked with many of the foremost period music conductors of the world, and has
performed with The Saint Paul Chamber Orchestra, The Virginia Symphony,
Washington Choral Arts Society, Long Beach Opera, CBC Radio Orchestra, Freiburg
Baroque Orchestra, Tragicomedia, The Mozartean Players, Fretwork, the Seattle
Baroque Orchestra, Emmanuel Music and the Mark Morris Dance Group. She has
performed at festivals in Australia, Holland, Austria, the U.S. and Canada, and
is a frequent guest at the Boston Early Music Festival. Visit her at
http://www.ellenhargis.com/.

Parthenia, which consists of Beverly Au, Lawrence Lipnik, Rosamund Morley and
Lisa Terry, has been hailed by the New Yorker as "one of the brightest lights in
New York's early-music scene," is a dynamic ensemble exploring the extraordinary
repertory for viols from Tudor England to the court of Versailles and beyond.
Known for its remarkable sense of ensemble, Parthenia is presented in concerts
across America, and produces its own lively and distinguished concert series in
New York City, collaborating regularly with the world's foremost early music
specialists and has been featured on radio and television and in prestigious
festivals and series including Bargemusic, Music Before 1800, Maverick Concerts
and the Regensburg Tage Alter Musik. They are the subject of a Fanfare Magazine
online article - http://www.fanfaremag.com/content/view/44677/10245/. Visit them
at http://www.parthenia.org.

Parthenia is represented by GEMS Live! Artist Management and records for MSR
Classics.

Parthenia's concert season is made possible by the New York State Council on the
Arts, with the support of Governor Andrew Cuomo and the New York State
Legislature. Parthenia is a fiscally sponsored organization of the New York
Foundation for the Arts, and is a member of Early Music America and Chamber
Music America.

Parthenia group photos are available online at http://parthenia.org/press/. For
press inquiries, please contact Jeffrey James Arts Consulting at 516-586-3433 or
jamesarts@....

-30-