RICORDI . . . amd Antologia di musiche rinascimentali e barocche per chitarra Anthology of Renaissance and Baroque Music for Guitar Anthologie der Renaissance- und Barockmusik fiir Gitarre Fascicolo IT - Volume I - IT Heft (Eliot Fisk) RICORDIPREFACE The present anthology picks up where the first volume left off. Not only is the thente of Molinaro’s Fantasia prima the same as that of the Fancy of Dowland that closed the first Anthology, ane confronts an extension of the difficulties in transcribing lute music for the modern guitar. By tuning the sixth string to D one ts able to do justice to the two sunny fantasias of Molinaro as well as to the magnificent arch of the Fantasia of Gregorio Howett whom Jobn Dowland commends in bis First Booke of Songes... (1597) fr his “love to me as for (bis) faculties’. With the compositions of Piccinini and Weiss the use of the lower courses becomes considerably more extensive as do the changes necessary to adapt these works to the six strings of the modern guitar. Piccinini’s 10 course lute til had an accordatura whose intervals resembled those of the guitar; by the end of the 17th century the lute had acquired 3 additional courses and the tuning of the upper courses had evolved into the so- called D-minor tuning which remained standard until the end of the Baroque era. This és also the instrument that inspired Jobann Mattheson’s famous satirical remark: "If a lutenist lives to be 80, he bas surely spent 60 years tuning the lute and fixing broken strings!”. However, Ernst Gottlieb Baron offers quite another picture when he says that the lute in Wetss's hands achieved full parity with any keyboard instrument: “He [Weiss] bas ant uncomt- ‘mon fullness of sound in arpeggios, in expressing the alfeti he is incomparable, he bas a stupendous facility (Fertigheit’), a rare delicacy and singing spirit; be i great improviser who can in a minute if be so chooses play the most beautiful themes and even read vtolin concertos at sight... either on the lute or the theorbo, and can also ‘accompany from the basso continuo.” To more clearly approximate the sound of Weiss’s lute I have transposed both pieces published here from C to D-major ‘Ass invariably the case when adapting Weiss’s music to the guitar, a number ofthe low bass notes so idiomatic to the lute have been raised an octave. Occasionally, where musically justified and technically possible, I have transcribed both notes of a bass course (i.e. in cases where Weiss would bave played one course with the right band thumb but have obtained the fundamental and the octave above). Ix addition, I bave tried to find a fingering that preserves the feel of the original especially as regards the styl brisé (arpeggiated style). Sometimes the only way to really simulate this effect is by means of harmonics. Of course, these harmonies should be played very delicately, imitating the sound of the lute. I have also written out some possible ornamentation. The player is, however, urged to develop bis own, using other pieces of Weiss and his contemporaries as inspiration. It is entirely within the aesthetic of the baroque that no 2 performances be alike. This is clearly exemplified by the mostly unmeasured Fantasie, which gives an den of what Weis sounded ike when improvising, he beaming of the notes here is only my suggesiion based on the harmonic structure. There exist other groupings which are equally valid, The player might start with my suggestions and then experiment on bis own. ey Eliot FiSimone Molinaro FANTASIA PRIMA (1603) por pre zaory 1 a) 1848552 $cen eoGregorio Howett FANTASIA (1610)134855? ° 7 oF fF Ff oF zo os a0 tos, I! ror #? 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