The complete Hertzberg manuscript

[Trond Bengtson]

I'm uploading the complete Hertzberg ms for baroque guitar on My Page. In a few days it will be complete. So far you can find the pieces in a minor.

[Rocky Mjos]

Fantastic! Thank you for for posting this manuscript. I first learned of the manuscript from the Nordic Baroque Quartet's "Northern Delights" CD. I thought I was aware of the main guitar sources with a Scandinavian connection, but had never heard of the Hertzberg. Thank you again for sharing this posting and your video contributions! -- R

[Daniel Shoskes]

I agree with Rocky, thanks so much for posting this. I'm picking up my new baroque guitar in 2 days and this will be on the top of my pile to read through.

What do you think of the "written out" ornaments vs the ornamental signs? Is it likely a short vs long appogiaturra distinction and is so, which is which?

[Juan Pablo Pira]

I was also wondering about some of the ornamental signs in these files. Maybe we could discuss some of these ornaments one by one.

[Trond Bengtson]

You can find me playing 3 of the pieces on my page, they are in part III of the ms. There you can also find a beautiful Chaconne, hope to hear and see you play it on your new baroque guitar.
About the ornament signs, I find it always difficult to decide. I guess the only reason for writing it out must be that he/she meant that this is the only way of playing it. With the ornament sign you are more free to decide what to do???

[Juan Pablo Pira]

What are the titles of the videos?

[Trond Bengtson]

Que mon martire - Air - Gavott

[Monica Hall]

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.

[Trond Bengtson]

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.

 http://www.nb.no/nbsok/nb/1c1e904cef8b1d14852fe645b2386ed5?index=7

[Monica Hall]

Yes  - of course that makes sense!   The book looks very attractive - especially the cover.   Perhaps Johanne Christine embroidered it herself.

[Rocky Mjos]

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.