A network for historic guitars and vihuelas
I don't know whether anyone is still interested in this but I have a query about a sign in at least one of the pieces, This is "Jesu meine Freude" on p.317. In the first chord of line 1 and the first chord of line 3 - a C major chord - there are what appear to be little dashes on the 2nd and 3rd lines of the tablature. Also in the last chord of line 2 - an A minor chord - there seems to be a dash on the 4th line. I would be inclined to think that they were meant to indicate that these courses should be omitted except that obviously you are not going to omit the 2nd course from the C major chord. Has anyone any suggestions what purpose these signs are supposed to serve.
I think it means that the chord should be arpeggiated. It's often used in lute tabulature.
Years ago I held the book in my hands and It is very beautiful.
Yes - of course that makes sense! The book looks very attractive - especially the cover. Perhaps Johanne Christine embroidered it herself.
Here is some commentary from a nice recording by the Nordic Baroque Quartet which included several pieces from the manuscript.
Hans Olav Gorset wrote in his liner notes to “Northern Delights” (Simax Classics, 2004, PSC 1224) by the Nordic Baroque Quartet
“It is hard to discern the difference between Danish and Norwegian music in the 18th century. Denmark and Norway were one nation: the educated shared a common culture. Thus we may call the Hertberg manuscript, which contains over one hundred pieces of music notated in tablature for baroque guitar, both Danish and Norwegian. The manuscript is beautifully presented with a cover of dark red velvet embroidered with silver. It was brought to Norway by Johanne Christine Winding (1708-1801), a wealthy lady from Copenhagen who ended her days as a vicar’s wife in Hardanger. In a poem written by a member of the family in the 19th century it is suggested that the Lady not only embroidered the cover, she also played the music beautifully. We have put together a suite from this collection in keeping with the fashion of the time. It is not known who composed the music, though the final piece Passacaglia Persee is from Jean Baptiste Lully’s “Persée, a Tragédie en musique” from 1682.”
The booklet incorrectly identifies the recorded tracks 14 and 17.
Track 12 Prelude -- solo guitar. In Am, “compiled” by Vegard Lund -- “a free interpretation of various 17th century harmonic devices.”
Track 13 Allemand de lully -- (f 15-16) solo guitar
Track 14 Gavotte en Boure -- actually Gigue (f. 6) solo guitar
Track 15 Rondeau -- (fol 9-10) guitar with a plucked bass on viol.
Track 16 Sarabande -- (f. 19) flute, guitar (continuo), bowed bass viol, guitar with plucked viol bass for a petit reprise.
Track 17 Gigue -- actually Gavotte en Boure (f. 4) guitar with plucked bass an A1 and B2, flute with guitar (continuo) and plucked bass for A2 and B1.
Track 18 -- Passacaglia Persee -- (fol 13-14) begins with guitar with plucked viol bass, adds flute, guitar (continuo) and bowed viol
Guitarist Vegard Lund (with a short commentary in the CD’s booklet) finds many similarities to contemporary guitar sources in the Royal Danish Library in Copenhagen, several which belonged to pribcess Charlotte Amalie, sister of King Christian IV. The style and compositions may be by Lully, filtered through transcriptions, arrangements and personal preferences of performers.
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