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Sonate di Liuto Solo, Opera Prima, Nürnberg 1736

Adam Falckenhagen (1697-1754) • Baroque lute • French tablature

Music Sheet | The Haslemere Manuscript, Pieces and Lute Sonatas | Vol. 1/5

Silvius Leopold Weiss (1687-1750) • Baroque lute • French tablature

Neue Lauten-Früchte, Berlin 1676

Esaias Reusner (1636-1679) • Baroque lute • French tablature

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LLDE0011

• Author(s): Esaias Reusner (1636-1679)
• Title: Neue Lauten-Früchte
• Sub-title: Berlin, 1676
• First Publisher: Esaias Reusner
• Year of edition: 1676
• Source: D-LEm, call no. II. 2. 47

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Description

Esaias Reusner (1636-1679)

Esaias Reusner Jr. was born in Löwenberg (Lwówek Slaski), Silesia on 29 April 1636. He grew up in a musical family: his grandfather was a chamber musician at the Elector of Brandenburg’s court, but, more importantly, his father – also named Esaias Reusner – was a lutenist and his first teacher. The father’s only known work is Musicalischer Lust-Garten, published in 1645 in Breslau (Wroclaw). In the preface, we are informed that the author was employed as a lutenist at the court of the Duke of “Bernstat in Schlesien”.

In 1655 he found employment at the court of Duke Georg III von Brieg (Brzeg) until his employer’s death in 1664. During this period, he married Maria Böhme, with whom he had three sons. Then he appeared for a short time in Breslau, and in 1665 entered the service of the next member of the Silesian noble Piast family - Christian, Duke of Brieg. During his seven years of duty he most probably undertook a journey to Vienna, where he performed for the Emperor Leopold I Habsburg, who was very pleased with his playing.

He became one of the two favorite and best-paid musicians of “the Great Elector”. On 1 May 1679, after a long agony, Reusner died there at the age of 43.

Reusner is an author of 3 collections of solo lute music: Delitiae testudinis 1667 (reprinted twice as Erfreuliche Lauten-Lust),

Neue Lauten-Früchte 1676, Hundert geistliche Melodien 1678, and 3 books of chamber music with a lute: Musicalische Taffel-Erlustigung 1668, Musicalische Gesellschaffts-Ergötzung 1670, Musikalischer Blumenstrauß 1673 (lost).

Some of the copies of Neue Lauten-Früchte include, on verso pages, copperplate with landscapes and the “author’s” copy contains additional new handwritten pieces. The collection opens with a very informative Preface, with an explanation of playing techniques and ornament signs. Almost all of the 13 Suites consist of the core allemande–courante–sarabande–gigue, which is the composer’s undoubted contribution to establishing the “classical” suite form.

This pieces clearly show that Reusner Jr. was not only an eminent predecessor of his famous compatriot S.L. Weiss, but was also a very important link between the French school (using style brisé, inégalité, thin harmonic texture, non mesuré preludes) and the German virtuoso baroque style, with its fondness for cantabile and more complex harmonic language – the combination which a hundred years later J.J. Quanz will call Stile misto.

Anna Wiktoria Swoboda | Le Luth Doré ®2015

Content

Suite in B-flat Major
Preludium de Reusner
Sonatina de R.
Allemanda de R.
Courant de R.
Sarabanda de R.
Aria de R.
Gigue de R.

Suite in B-flat Major
Allemanda de R.
Courant de R.
Sarabanda de R.
Gigue de R.

Suite in B-flat Major
Allemanda de R.
Courant de R.
Gavotte de R.
Sarabanda de R.
Canarie de R.
Ciacona de R.

Suite in B-flat Major
Allemanda de R.
Courant de R.
Sarabanda de R.
Gavotte de R.
Gigue de R.

Suite in C minor
Allemanda de R.
Courant de R.
Sarabanda de R.
Gavotte de R.
Gigue de R.

Suite in F Major
Allemanda de R.
Courant de R.
Sarabanda de R.
Ballett de R.
Gigue de R.

Suite in D minor
Allemanda de R.
Courant de R.
Sarabanda de R.
Aria de R.
Gigue de R.

Suite in E minor
Allemanda de R.
Courant de R.
Sarabanda de R.
Aria de R.
Gigue de R.

Suite in G minor
Allemanda de R.
Courant de R.
Sarabanda de R.
Ballett de R.
Gigue de R.

Suite in G Major
Allemanda de R.
Courant de R.
Sarabanda de R.
Aria de R.
Gigue de R.

Suite in A minor
Allemanda de R.
Courant de R.
Sarabanda de R.
Aria de R.
Gigue de R.

Suite in A Major
Allemanda de R.
Courant de R.
Sarabanda de R.
Gavotte de R.
Gigue de R.

Suite in D Major
Sonatina de R.
Allemanda de R.
Courant de R.
Sarabanda de R.
Gavotte de R.
Gigue de R.
Passagalia de R.

Specifications

• Editor(s): Jean-Daniel Forget & Anna Wiktoria Swoboda
• Music period: Baroque
• Instrument(s): 11c Baroque lute
• Instrumentation: Baroque lute solo
• Notation: French tablature
• Modern edition: Urtext
• Publisher: Le Luth Doré Urtext Editions
• Year of publication: 2015
• Collection: Lute and Theorbo Music Collection

• Pages: pp. 102
• Dimensions: 230x310 mm
• Weight: 0,320g
• Binding: Section sewn glue binding
• ISMN: 377-0-0017-8811-1

Editors

Anna Wiktoria Swoboda

Lutenist

Graduated with honours from the Academy of Music in Kraków (Poland) and from Hochschule für Musik Trossingen (Germany) with prof. Rolf Lislevand. Her special interests are solo repertoire of the 17th and 18th centuries for baroque lute, including research on Silesian lutenists, as well as miscellaneous chamber music with theorbo and baroque guitar as continuo instruments.

Anna Wiktoria is also a literature lover, she has obtained a Bachelor of Arts degree in Comparative Literature at the Jagiellonian University. She has taken part in master classes and workshops with the leading lute players such as Hopkinson Smith, Jakob Lindberg, Joachim Held, Evangelina Mascardi, Jürgen Hübscher and Anton Birula. She was awarded the Baden-Württemberg-Stipendium and the Vössing-Stiftung.

As a performer, she was invited to cooperate with numerous ensembles, orchestras and soloists in her country and abroad, and took part in different recordings of early music.

Anna Wiktoria is one of the editors in Le Luth Doré Urtext Editions and teaches lute at the Secondary Music School in Kraków and at the Academy of Music in Katowice (Poland).

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Jean-Daniel Forget

Computer Scientist, Lutenist

Passionate about the baroque era, Jean-Daniel Forget is a self-taught lutenist. In order to play the forgotten (lute) works of the 17th and 18th centuries, he has copied (and studied) their manuscripts for almost 20 years.

A long career as a computer scientist, having made him expert in programming, allowed him to utilize the normal logic of writing music, especially that which transcribes tablature for instruments with fretted strings.

In collaboration with Guy Grangereau. he has posted his tablatures on a public internet site that is frequented by many lutenists and guitarists.

Forget was enlisted by Miguel Serdoura to help prepare the musical examples for his fine Method of the Baroque Lute. Further on, he continues to assist Serdoura in the preparation of his (lute) editions.

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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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