I would like to acknowledge the following people who have made valuable
corrections and other contributions to this website:
,
for pointing out a missing file in Bossinensis v.1.
,
for help in figuring out the meaning of the red notes in the Eysert Lute Book and for help with finding a good facsimile source for Reymann’s Noctes Musicae“.
, for pointing out that
“O Mistress Mine” is not originally by Byrd or Morley, but anonymous
and arranged by each of them. Also for helping to suss out the composer in the Krakow lute ms (c1600), f.75v.
,
for pointing out some missing pieces from my edition of the John
Sturt Lute Book.
,
for identifying “O
du fröliche” variations as such. Also for excellent work in
intabulating several volumes of lute books by Hans Newsidler, Hans
Gerle, Bernhard Jobin, and Wolff Heckel.
, for corrections to the date in my edition of
Judenkoenig’s 1523 publication,for corrections to some Robert
Johnson files, and for corrections to my Herbert
of Cherbury edition,
#s 30 and 92.
,
for contributing intabulations of keyboard pieces from the Lochamer
Liederbuch.
,
for turning me on to the poetry
of Clément Marot, whose poetry appears in several of the
songs in the Attaingnant
collection. This allowed me to add some otherwise missing
stanzas and to give Marot proper credit in my editions.
, for contributing a diagram
of scordatura tuning in Dalza.
, who kindly
sent me portions of his 1997 PhD dissertation on the Cavalcanti
MS.
This dissertation contained invaluable information on
composer
names and the location of vocal models.
He
also helped me unlock an old mystery concerning the 1511 Bossinensis
frottola “Quando
adaratu al monte“, which I had stewed over for years.
, for
corrections to Narvaez’s
version of Milles Regretz
in Los Seys Libro del Delphin (1538), to Besard’s song, “Quelle
divinité
s’imprime” from Thesaurus Harmonicus, v.4, to Bonny
Sweete Boy
from Cambridge University Library Dd.2.11(B), and to Drewries
Accords from the Pickering Lute Book. Also, for
several corrections to Milano fantasies and to Holborne’s
“Fairy Round Galliard”, as well as for correcting an error in Da
Crema’s 13th
Ricercar from his Intabolature
di lauto
,
for correcting a broken link to Marincola’s translation of the text at
the beginning of Capirola’s
lute book.
,
for a correction to a Dalza piva.
,
for corrections to Milano Ricercars #32 and #46 and an H. Newsidler Praeambl.
,
for help on
Fuenllana notations and for translating some key passages in Orphenica
Lyra, as well as providing helpful
information about Vincenzo Galilei’s 1984 autograph MS,
“Libro d’intavolatura di liuto”.
,
for supplying a missing piece, “Mein Fleiß und Müh”, from the beginning
of Mus
MS 1512. Also for providing the original composer name for. Also, for supplying titles for 2 pieces in BSB ms. 267.
#43
Benedictus from MS.res
429, and for supplying the title and composer for a piece in
the
Cavalcanti Lute Book and adding one piece that was conflated with its
predecessor. Also for help in figuring out composer names in the Fabricius
Lute Book, and for correcting the title of a handwritten piece (D’amour je suis desheritée) in Hans Newsidler Ein Newgeordnet Kunstlich Lautenbuch, v.2.
, for help in elucidating the issue of
split
courses in Bakfark’s Harmoniarum
Musicarum.
,
for pointing out a duplicated piece in Vincenzo Galilei’s “Contrapunti”.
,
for contributing a facsimile of Kapsberger’s Intavolatura
di Liuto, v.1 and several other needed facsimiles, as well
as finding a
treble part for John Johnson’s “Good
night and good rest” duet.
(1611) and for pointing out that galliard on f. g1v from
Thomas
Robinson’s “Schoole
of Musicke” was duplicated and misattributed to Robert
Johnson in another part of my site. Fernando also contributed some beautiful
reconstructions of pages from Barbetta (1582) that were torn.
,
for the many valuable intabulations he has done, over the years.
,
for help in figuring out the meaning of the red notes and with a few corrections to the Eysert Lute Book, for help in figuring out a cryptic note in Capirola Padoana alla francese, and for corrections to Passamezzo 3 in Mathias Reymann Noctes Musicae. Also for helping to suss out the composer in the Krakow lute ms (c1600), f.75v.
,
for contributing a relatively clean copy of Cambridge
University Library MS
Nn.6.36 to my collection of facsimiles. Other copies were
missing most
of the first staff on each page. Neil has also been very helpful in
solving issues with the pieces in this source, as well as providing the
source facsimile for Kapsberger’s
“Intavolatura di lauto, v.1” and helpful suggestions for my
edition of this work on interpreting the rhythms. Also, his
advice and input has been invaluable in working out many pieces by
Daniel Bacheler, as well as solving a difficult puzzle in #63
of the
Cavalcanti Lute Book.
,
for invaluable information on terminology and naming conventions, as
well as for interpretation of clef signs in tablature and help with
split courses in Bakfark (any errors, though, are my responsibility).
Also for help in understanding
the de
Bellis
and Doni
lute MS
notations and pointing out helpful references. And for helping in many
other ways, over the years.
, for invaluable help in parsing out the repeat
structure and text
underlay in the frottole contained in Bossinensis’ Tenori e contrabassi ,
v.1
(1509).
,
For suppling a mensural version of Pierre Guédron’s “Mon âme est si fort blessée”, from which I could construct a lute song. Also for assisting in many other ways.
,
for a reconstruction of a Francesco
da Milano ricercar from the damaged Castelfranco MS and with locating
sources for the Milano collection.
Also for invaluable help in locating and discussing the de
Bellis lute MS (1615) the Doni
MS (1640), and invaluable help in finding sources for the
Milano collection, for help with figuring out rhythm flags in
Heckel’s Tenor
Lautten Buch, and for directing me to John Ward’s article, JLSA 10 (1977
Appendix S , pp. 138-139, for help in identifying the English pieces in
the Eysert Lute Book.
,
for the many, many times–over many, many years–he has helped me by
answering technical and programming questions in support of my website.
Without his help, this website and my whole enterprise of making lute
music available online would not have happened.
, for a correction and addition
to Capirola’s Ricercar
1.
, for a correction to #28
“Hoc signum crucis” from Berlin State Library mus.ms.40632
and many corrections in the Donaueschingen, Dlugorai, and Wurstisen
MSS.
, for multiple corrections to my edition of CUL
Dd.2.11. This was truly a spectacular job
that obviously took a lot of work.
, for his
beautiful edition of the Herbert of Cherbury MS. Since the
facsimile is of poor quality, it has been very helpful to compare
with Alain’s reading of symbols in the MS that are ambiguous or hard to
make out.
,
for corrections to my
edition of Bakfark’s “Ultimi mei sospiri”, in Bakfark’s
1552 “Intabulatura”.
Also for corrections and additions to Philip van Wilder’s “Arthur’s
Dump“, from the Marsh Lute Book and corrections to Pilkington’s
Funeral.
