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Intavolatura di Liuto Attiorbato, Libro Secondo, Venetia 1616

Pietro Paolo Melli (1579-c.1623) • Archlute • Italian & French tablature

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David Braid (1970-) • Renaissance lute • French tablature

Intabolatura de Lauto, Libro Primo, Venetia 1546

Marcantonio Del Pifaro (c.1500-c.1575) • Renaissance lute • Italian & French tablature

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SKU

LLDE0007

• Composer(s): Marcantonio Del Pifaro (c.1500-c.1575)
• Title: Intabolatura de Lauto
• Sub-title: Libro primo, in Venetia 1546
• First publisher: Antonio Gardane
• Year of edition: 1546
• Source: GB-Lbl K.5.b.14

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Description

Intabolatura de Lauto, Libro primo, Antonio Gardane, in Venetia 1546

The Intabolatura de Lauto is the only extant work by Marc'Antonio del Pifaro. ?The "Venetian" dances contained in the book are characteristic of a repertoire whose circulation began in the early years of the 16th century, with the publication, by Petrucci, of Joan Ambrosio Dalza's Libro Quarto.

Most of the pieces consist of a chiarenzana coupled with a saltarello, and their titles refer to a geographical origin (Bolognese, Cremonese, l'Aquila), a structural or thematic characteristic (Geometrina, la Battaglia), or a dedication (G.Stampa).

?The chiaranzana or chiarenzana is a courtly dance, similar in harmonic and metric structure to the better-known pass'e mezzo, and is habitually followed by a saltarello.

Marc’Antonio del Pifaro (c.1500-c.1575)

The scant biographical information we have comes mainly from Luca Aurico's Tractatus Astrologicus, published in Venice in 1552, which contains the natal charts of the lutenists active at the Court of Rome. Gaurico's testimony, which establishes Marc'Antonio's date of birth in March 1504, refers to the quality of his singing, accompanied by the lute, as "clarissimum, praecipue in fidibus canoris pulsandis ".

The names of Marc’Antonio and his pupil Alessandro figure among the lutenists present in Rome, as attested by the papal registers of payment (cf. Alison Sanders McFarland, Papal Singers, the Musica Segreta, and A Woman Musician at the Papal Court: the View from the Private Treasury of Paul III).?

The date of his death is not documented.

Content

Chiarenzana de Megio

Il suo saltarello

Chiarenzana La Geometrina

Saltarello de La Geometrina

Chiarenzana La Ciriolla

Chiarenzana il Girotto

Chiarenzana Larcholano

Il suo saltarello

Chiarenzana La Bataglia

Chiarenzana G. Stampa

Saltarello de la Stampa

Saltarello (Il) Bel Fiore

Chiarenzana la Malveza

Saltarello La Ciriola

Chiarenzana La Bianchetta

Saltarello (Il) Bianchetto

Chiarenzana Laquila (Chiarenzana L’Aquila)

Saltarello Laquila (Saltarello L’Aquila)

Chiarenzana La Bolognese

Saltarello non ti partir da me

Chiarenzana La Marsilia

Saltarello Il Marsilio

Chiarenzana La Madalena

Saltarello anconitano (Saltarello l’Anconitano)

Chiarenzana La Lambertina

Saltarello Il Cremonese

Chiarenzana Il est bel et bon

Specifications

• Editor(s): Sandro Volta & Richard Civiol
• Music period: Renaissance
• Instrument(s): 6c Renaissance lute
• Instrumentation: Renaissance lute solo
• Notation: Italian and French tablature
• Modern edition: Urtext
• Publisher: Le Luth Doré Urtext Editions
• Year of publication: 2016
• Collection: Lute and Theorbo Music Collection

• Pages: pp. 88
• Dimensions: 230x310 mm
• Weight: 0,320g
• Binding: Section sewn glue binding
• ISMN: 377-0-0017-8807-4

Editors

Sandro Volta

Lutenist

The Italian lutenist, conductor and musicologist Sandro Volta began his international concert career in the early 1980s. His performances mainly centre around the Italian Renaissance Baroque repertoire, and his discography comprises works by composers such as Simone Molinaro, Giovanni Battista Dalla Gostena, Giulio Caccini, Sigismondo d’India, Ludovico Roncalli, Claudio Monteverdi, Giovanni Girolamo Kapsberger, Marco Antonio Cesti, Antonio Vivaldi, Antonio Maria Bononcini, Robert de Visée, Nicolò Paganini, Mauro Giuliani , Girolamo Crescentini.

He has recorded for the labels Arion France, Tactus, Dynamic and Brilliant Classics.

A winner of various prizes, including the Grand Prix Du Disque in Paris (1994), Volta has been lauded by numerous magazines for the originality of his interpretations (Le Monde de la Musique, Diapason Hors-Série, The New York Times, Early Music). His publications include L’Opera in CD e video (ed. Saggiatore) and articles on Baroque music, including ones for Grove, “I Musicisti e la Lyrica di Gabriello Chiabrera”.

His performances are regularly aired by major broadcasters (ABC, BBC and Radio France). Volta has been artistic and musical director of various Italian theatres such as Teatro Ruggeri of Guastalla, Teatro Moruzzi of Noceto (Parma), Teatro Chiabrera of Savona (Youth Symphony Orchestra) and the Teatro Dovizi of Bibbiena. Current projects include recording the complete works of Marco Dall’Aquila, undertaking a thorough research of lute ms. tablatures, and the Petrucci lute tablatures.

Sandro Volta writing a monograph about John Dowland ”Passionate and Dolens” for Guitart magazine, with a “live performance” on cd enclosed, a study and transcription of Intermezzo “Zamberlucco e Palandrana” (Bologna ms.) by Alessandro Scarlatti (Viator Edition,Milano), ”Astetik un Klang”, for the Geigenbaumuseum Mittenwald (LF Editions, Modena).

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Richard Civiol

Lutenist

As a musician and lutenist, Richard Civiol has chosen as his life's work the study of the lute and theorbp. These instruments have basically disappeared from our contemporary orchestras while growing in visibility in smaller ensembles and solo performances thanks in part to his efforts.

He participates with the same enthusiasm and expertise in the renaissance and baroque repertory of all the different instruments of the lute family as well as the practice of basso continuo.

Civiol is a member of the ensemble "Les Musiciens des Mademoiselle de Guise" directed by Laurence Pottier, and they have performed both in France and abroad. They have also done several CDs together. Civiol is a member of the music ensemble "L'Oiseliere", and has collaborated with other ensembles, orchestras or chorales including"La Fabrique a Theatre", the chamber choir "Les Temperaments", and has worked with Jean-Francois Fremont, Didier Bouture, Christophe Sam and Romain Champion.

Civiol is the holder of the Premier Prix in musical composition (in Paris, France?).

Finally, Civiol is engaged in a large project of copying and restoring music for the lute, theorbo and vihuela.

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Urtext

Le Luth Doré Urtext Editions

The Le Luth Doré Urtext Editions offer musicians and musicologists worldwide reliable and authoritative musical texts. The main features are:

• superb and aesthetically appealing music engraving
• optimized for practical use (page turns, fingerings)
• books originally in Italian tablature are published in both Italian and French tablatures
• high-quality and durable (cover, paper, binding)
• both original and modern prefaces, documentation of the corrections made and explanatory footnotes in English, French, Italian, German …

About Le Luth Doré Urtext Editions

Our editions are urtext: we strive to provide reliable musical texts that are as true as possible to the existing sources and the composer’s intentions. We are aware, of course, that it is impossible to reconstruct the one and only urtext. Often, several manuscript sources exist for the same piece, and there is little reliable guidance for determining which version best represents the composer's intentions.

Although we cannot entirely dissipate historical uncertainty, we can compare texts and correct obvious errors, which sometimes occur even in autograph manuscripts. Sources have been meticulously examined - note by note, mark by mark.

When facing ambiguity inherent to the sources, wise editorial judgment must take the place of textual certainty.

The most important observations and editorial decisions are elucidated in the prefaces, in the critical commentary, in footnotes, or marked as such in the musical text. It therefore comes as no surprise that an editor has to invest a great deal of patience, knowledge and time when piecing together an urtext that is true to the source and, hopefully, to the composers’ intentions as well. Proven specialists with extensive knowledge and experience edit our Le Luth Doré Urtext Editions in close cooperation with our Editorial Department.

Each verified musical text preserves the original fingerings and notation of ornamentation and, in the absence of original manuscript notations, also sets forth helpful suggestions by modern masters regarding useful fingerings and ornaments faithful to historical style, as a stimulus to further thought and a starting point for the student's approach to performance.

We are deeply grateful to all the extraordinary musicologists, music teachers and artists that put their knowledge and experience at our disposal for Le Luth Doré Urtext Editions.

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