**** Welcome to the "LuteBot Quarterly" **** - the free electronic lute journal - *** #3, Summer 1998 **** *** by Federico Marincola *** The "LuteBot Quarterly" serves to disseminate information on the lute and its charming literature. Each issue contains one or more articles, plus somelute tablatures in tab source script.This document contains inline ASCII graphics which look best unformatted,in a monospace font like Courier. * To receive the latest issue of the "LuteBot Quarterly", send an email to * To receive the following past issues of the "LuteBot Quarterly", send a request to : ---> LuteBot Quarterly #1, Winter 1998: Vincenzo Capirola and his Lute Book - 1517 (by Federico Marincola) ---> LuteBot Quarterly #2, Spring 1998: Adrian Le Roy's "A Briefe and easye instruction" - 1568 (a synopsis, by Ian Harwood) * To receive my Electronic Brochure, send an email to * For further information about the lute and about me, and for links to interesting lute sites, tablature editors, beautiful pictures of lutes,etc, visit my Lute Page: http://www.marincola.com* To subscribe to "liuto-it", the Italian Lute Mailing List, send an email to , with the following line in the body of the message: subscribe liuto-it --------------------------------------------------------------------------- **** Copyright and dissemination ****| Under the Berne Convention, this document is Copyright (c) 1998 by| Federico Marincola (lute@marincola.com), all rights reserved. Permission| is granted for it to be reproduced electronically on any system connected| to the various networks which make up the Internet, Usenet, and FidoNet | so long as it is reproduced in its entirety, unedited, and with this| copyright notice intact. Web sites are included. Individual copies may| also be printed for personal use.This document was produced for free redistribution. If you paid moneyfor it, not only did you do so unnecessarily, but none of the money wentto the person who did the work of producing the documents.You need not obtain special permission to quote parts of this document foracademic research purposes, as long as you cite the source.If you would like to offer suggestions and ideas, please email me at .-------------------------------------------------------------------------- *** Table of contents *** This issue of the "LuteBot Quarterly" is devoted to the French lutenist andeditor Guillaume Morlaye (1510?-after 1558)Part I -- The "Honorable homme Maistre Guillaume Morlaye, marchand bourgeoys de Paris"(by F. Marincola) I.1 -- Life and works I.2 -- Bibliography Part II -- About Lyre Music Publications (by Dick Hoban, )Part III -- About Federico MarincolaPart IV -- 3 Lute Pieces by G. Morlaye in TAB source script: Galliarde, Pavane, Guaillarde Piemontoise (courtesy of Lyre Music) -------------------------------------------------- Part I -- The "honorable homme Maistre Guillaume Morlaye, marchand bourgeoys de Paris"(by F. Marincola) I.1 -- Life and works Little is known about the life of Guillaume Morlaye and whatbiographical details we do have are uncertain. Although we know that hewas born sometime between 1510 and 1520, we do not know where. He was astudent of the lute with the famous Albert de Rippe (Alberto da Ripa). Adocument dated 1541 describes him as "honorable homme Maistre GuillaumeMorlaye, marchand bourgeoys de Paris", and confirms that he was alsoactive as a musician, giving viol and lute lessons to an apprentice. In a contract dated 1552, Morlaye is found referred to as a"joueur d'instrument", or "joueur de leut". In 1545 the "marchand bourgeoys" appears to have been involvedin the sale of lutes and strings and, in 1548, his name is brieflymentioned in a document concerning a maritime expedition connected withthe black slave trade. This document has fired the imagination of manyscholars examining his biography. However, as indicated by musicologistMichel Renaud, Morlaye's role in this affair was extremely marginal. Sothis legend, depicting Morlaye as an adventurer, has little historicalfoundation.There is evidence from the following years, that Morlaye was incontact with the art world. As usual, he was motivated by self-interest:he lent money to engravers, including the famous Pierre Millan, andreceived engravings as a pledge.In 1552, the merchant-musician obtained from Henri II a ten-yearprivilege to publish the tablatures of his late teacher, Albert deRippe. This privilege also included the publication of tablatures forlute, guitar and cittern by Morlaye himself and other composers. It wasat that time that Morlaye went into partnership with the printer MichelFedenzat, and the collaboration between the two men proved fruitful forseveral years.Between 1552 and 1558, a total of six books of tablatures byAlbert de Rippe and various collections of pieces for lute, guitar andcittern by Morlaye, G.M. da Crema, E. de Valderrabano, F. Vindella andP.P. Borrono, were printed. Morlaye also published two books of "psalmeset cantiques en vulgaire francois" and a book of arrangements for voiceand lute of psalms by Pierre Certon.By 1558 we lose track of Guillaume Morlaye. However, in thelibrary of Uppsala (Carolina Rediviva), four manuscripts have beenpreserved. These manuscripts contain, amongst others, various pieces forlute. According to a remarkable study by the musicologist Jean MichelVaccaro, these volumes no doubt belonged to Morlaye. This extends theend of the merchant-lutenist's activity by twenty years, for some ofthese manuscript pieces can also be found in anthologies publishedbetween 1576 and 1577. Vaccaro puts forward a hypothesis, yet to be proved but morethan plausible. He notes that there are several elements which lead usto believe that Morlaye was at some point converted to protestantism. Itis not unlikely, therefore, that he was forced to leave France in orderto avoid the religious persecutions. It is possible that he was receivedinto the Swedish court, which was then in full cultural and artisticexpansion.Morlaye, like Adrian Le Roy, belonged to that segment ofmusicians who were capable of devoting themselves to teaching, businessand publishing. These individuals worked side by side with the narrowcircle of great virtuoso lutenists, such as Albert de Rippe and JeanPaul Paladin. The lute was extremely popular in France in the mid-16century. The art of playing musical instruments was no longer reservedonly for professionals, but was beginning to become a necessary elementin the cultural education of the nobility, courtiers, and members of theupper-middle and merchant classes. That was what enabled Morlaye and LeRoy to develop their brilliant publishing business.There must have been great demand for good anthologies andmethods, for their business prospered for several years. From anotherprospective, the work of these prolific lutenists-editors filled a veryimportant role in favoring the spread not only of the art oflute-playing, but that of plucked instruments in general. They madepublic a number of musical "trade secrets", which had until then beenthe preserve of a small circle of specialists, and thus providedamateurs with an extremely vast repertoire. In his publications Morlaye tries to satisfy every taste. Wefind great variety in his books, from the simple folk dances to the mostprofound pieces, full of the Renaissance Neo-Platonic "inspiredmelancholy". The whole range of styles then in vogue is represented.In 1993 I recorded a CD with 26 lute and guitar pieces byGuillaume Morlaye ("Guillaume Morlaye, Lute and Guitar Pieces", VeranyDisques - Arion, PV794052).At the moment I am working on an anthology of these tablatures, that will be published by "Lyre Music Publications" (see part II of this document). I.2 -- Bibliography* GUILLAUME MORLAYE, "Premier et Second Livre de Tablature de Leut (1552-1558)", Complete facsimile edition, Geneve: Minkoff, 1982* F. LESURE & R. de MORCOURT, "Guillaume Morlaye, Psaumes de Pierre Certon reduiz pour chant et luth", Paris: Editions du CNRS, 1957* M. RENAULT, "Guillaume Morlaye, Oeuvres pour le luth", CLF, Paris: Editions du CNRS, 1980* J. TYLER, "Simon Gorlier & Guillaume Morlaye, four guitar books", Complete facsimile edition, Monaco: Editions Chanterelle S. A. , 1980* J. M. VACCARO, "La musique de luth en France au XVI sicle", Paris: Editions du CNRS, 1981* J. M. VACCARO, "Guillaume Morlaye II, Oeuvres pour le luth, Manuscrits d Uppsala", Paris: Editions du CNRS, 1989 /--------------------------------------------------\ Part II -- About Lyre Music Publications (by Dick Hoban, )Lyre Music specializes in the publication of inexpensive editions oflute tablature. We are currently working on two new editions: a volume of Guillaume Morlaye's own compositions for lute and renaissance guitar and Volume 2of The Art of the Lute in Renaissance Italy. We hope to have theseeditions available in the Fall of 1998. We are always interested in yourcomments and suggestions.Currently available from Lyre Music:The Art of the Lute in Renaissance Italy ~ Volume 1: Ricercars. A collection of over 100 Italian ricercars from both printed and manuscript sources by numerous composers including Spinacino, Dalza, Bossinensis, Capirola, dall' Aquila, da Milano, da Ripa, Rotta, Abondante, Barberiis, Matelart, Paladin, Barbetta and Molinaro. All are edited in French tablature by Dick Hoban and Richard Darsie. $30.00 US plus $3.00 US postageTres Libros de Musica para Vihuela.A selection of over 100 pieces from the entire vihuela repertoireincluding duos, sonetos, pavanas, diferencias, villancicos, motets, sacred vocalintabulations, and 35 fantasias. The contents, all suitable for the intermediate player, have been transcribed into French tablature by Dick Hoban.$30.00 US plus $3.00 US postage Cancionero Nuevo ~ a New Harvest of Old Spanish Songs.A collection of 22 songs from 16th century Spanish songbooks edited andarranged for vihuela and voice or a melody instrument by Frank Wallace, complete withSpanish text and English translation. Available in both French and Italiantablature editions.$20.00US plus $2.00US postageChilesotti's "Da un codice Lauten-buch" in Lute Tablature.A transcription into French tablature of Chilesotti's 99 selections fromthis very popular late 16th century manuscript.$20.00US plus $5.00US postage16 Ricercars from the Siena Manuscript.A selection of 16 pieces in French tablature by anonymous composers forthe intermediate lute player from this important 16th century Italianmanuscript. $15.00US plus $2.00US postage Music in the Sharp Tuning.Explore new sonorities on your instrument with this set transitionaltuning pieces from the Panmure #5 manuscript by Rene Mesangeau; along with tuninginstructions, these easy to intermediate pieces have a Scottish flavor; edited byWayne Cripps.$10.00US plus $2.00 US postageThe Straloch Manuscript.The complete transcription of George Graham's selections from this nowlost Scottish lute manuscript; edited in French tablature by Wayne Cripps.$18.00US plus $2.00US postage The Rowallan Manuscript.The complete Scottish lute manuscript in French tablature edited byWayne Cripps; 39 pieces suitable for the beginning to intermediate lute player. $18.00US plus $2.00US postage Pieces de Luth par Mr de Visee.Three elegant French Baroque suites originally composed for theorbo, together with extensive notes on style and ornamentation, thoughtfully transcribed into French tablature for 8 or 10 course lute in renaissance tuning by Arto Wikla.$20.00US plus $2.00US postage Please add an additional $5.00US postage per book on internationalorders.We can be reached by e-mail at or send book orders to:Lyre Music Publications3710 Bellaire Circle * Fort Worth, TX 76109 * U.S.A. /-----------------------------------------------------\ Part III -- About FEDERICO MARINCOLAI live at the border between France and Italy, but I spend a lot of time traveling around to play my concerts and to teach. Usually I have a quite tight schedule, but, if you contact me well in advance, I might be availablefor recitals and seminars, or for collaborations with professional renaissance and baroque ensembles.Here are my addresses and phone numbers:email: lute@marincola.com Lute Page: http://www.marincola.com snailmail: C.P.50, 18039, Ventimiglia (IM), ItalyFrench Tel. + 33 4 93 35 66 58French Fax + 33 4 93 35 56 68Italian mobile + 39 347 73 09 321Here is my CV. If you want to check my complete discography, see some pressreviews etc, you are warmly invited to visit my Lute Page at http://www.marincola.com or you can get my Electronic Brochure (send an email to info@marincola.com). ----- Curriculum Vitae -----Born in Rome, Federico Marincola studied classical guitar with Sergio Notaro, later specializing in the lute with Diana Poulton. Having won a grant from the Dutch Government, he studied with Anthony Bailes at the Sweelinck Conservatorium of Amsterdam. Another grant from the BritishCouncil enabled him to study with Jakob Lindberg at the Royal College of Music in London, where he obtained a Performer diploma in lute, a second diploma in early music and the Certificate of Advanced Study. He completed his training with Nigel North and Christopher Wilson. In the last twenty years, Federico Marincola has been very active as a performer. He has given many solo recitals and played with singers and early music groups all over Europe. In 1986, he toured as a soloist in India, Pakistan, Nepal, Bangladesh and Sri Lanka. He is also in demand as a "basso continuo" player, and has played in many baroque operas at some of the most famous opera theaters of Italy (Teatro alla Scala, Milan; Teatro dell Opera, Rome; Teatro Massimo, Palermo; Teatro Comunale, Florence; Teatro San Carlo, Naples...). He is the theorbist with the Cappella della Pieta' dei Turchini, one of the most important baroque groups in Europe. In July 1998 he was invited by the Lute Society of Americato teach and play at the LSA summer course in Columbus (OH).With the Italian baroque Ensemble "Arte dell'Arco" he has recently started a new and extensive collaboration with Christopher Hogwood.He has made more than twenty CDs with orchestras and small groups, and has broadcasted in Italy, Switzerland, Austria, Belgium, France,Yugoslavia, the Vatican, India and Shri Lanka. With "Verany Disques - Arion", he recorded a CD of pieces from the "Vincenzo Capirola Lute Book" in 1992 (PV793012), a CD of pieces for lute and renaissance guitar by the French composer Guillaume Morlaye in 1993 (PV794052) and a third CD of lute pieces by Anthony Holborne in 1995 (PV795112). These solo recordings have been very positively welcomed by the international press ("5 Diapasons" to Capirola and Morlaye, "5 Diapasons" and "10 by Repertoire" to Holborne).Federico Marincola, who is also one of the founders of the Societa' Italiana del Liuto, uses an instrumental technique which is based on several treatises and iconographical sources from the 16th and 17th centuries. He believes that, to give a convincing performance of this repertoire, it is of paramount importance to have a profound knowledge of the original fingerings and criteria of interpretation. He also finds ideas and inspiration for the performance of early music in certain aspects of the philosophy and astrology of the Renaissance period.In the last few years he has also turned his attention to the study of social science: he is convinced that the sociology of music can be a great help in understanding the "spirit of the age" in which the different repertoires were produced. In 1994 he was highly commended for his thesis on the Jesuit opera Apotheosis sive Consecratio SS. Ignatii et Francisci Xaverii (1622) by Hieronimus Kapsberger, which earned him his degree in Sociology at the University of Urbino.Part IV -- 3 Lute Pieces by G. Morlaye in TAB ascii script: Gaillarde, Pavane, Cinquiesme Guaillarde Piemontoise (courtesy of Lyre Music) To turn these Tab source into beautiful tablatures you will need one of the following programs, all available in the Internet:*Tabdos by Wayne Cripps*. To know more about this program and ascii tab source, check the following web page: http://www.cs.dartmouth.edu/~wbc/lute/AboutTab.htmlYou can download this software from ftp://ftp.cs.dartmouth.edu/pub/lute/DOS.This directory contains the OS/2 & DOS version of tab version 3.1hThis version is basically obsolete. You can get the new version by contacting Rainer aus dem Spring at the e-mail address as he is distributing and supporting the newest windows 95 versions. *Fronimo by Francesco Tribioli*, for win 3.1 and win 95. It's an EXCELLENT program,and also supports tab source. You can download the demo version fromftp://ftp.arcetri.astro.it/pub/fronimo. This is the software that I use.*String Walker for win 95, by Alain Veylit*, another very good tablature editor that supports also tab source. You can download it from http://users.deltanet.com/~alainv/URegStrWkr.zipGOOD LUCK ;-)))!-------------cut here--------------------------------------------t-f{Guillaume Morlaye: Gaillarde/}bS32 ax c1 da cxa d eb2cddaxaxcxd1cd acb2cdda3axcxdxcxax d1acd ab1. ddef2 dd1 ebx da-cxa d excddab2da c&{xaxcxd }1cd abb1cdda2add ax c3 dx cx ax cb1. ddef2 dd1 eb2 aa cx ex ax cx da cxabxcd acx ax cx e1cddab2ac ax d1add axacd ab2 da cx ax dx cx abc ax cb2 da cxa1 db d2 caa cx abbx e c&{x ax cx dx caa cx ab1 aaacx abc ax ee cb2 cx aax bx cx aabx cb1 abc ax da cx aba db2 cdcax ax cx dx ca--cx ab1 defx aba dx cdcab2 ddax bx ax c1 ddabx db cx dxacd abb2cdda3axcxdxcxax d2acd ax dbx dbacx dx ddcax c3 dx cx ax cb1. ddef2 dd1 eb1 da cx da cx da cb2 cdcax a3 cx ax cx d1 cdcabx defx aba dx cdcab1. ddef2 f1 ddefbx cdcax aba dx da cbb2 cc ax ax cx ax cx eb2 a dx ax aa ecx c1 ee cb2 cx aax bx c1 aabcbbQe-------------cut here------------------------------------t-f{Pavane/\(I. 30-30v\)}bCwacdcab1acdcax cx dxabx axcdx dx abx exa dx cx eb2 da c{x cx dxax dx cx ax d }b1 da c2 cx d1 cx abx axacx dx cbb2acd ax exaxcxexaxcxebxf axexfxh1f2exfb1h axfxex hbx cxeaxa c2cxeb1f dexexc c ex fbx ea cx dxa c ex d ab2 cxaaax ex cx ex ax cx ebb1 axaacx cx dbA10aacc ax a.bA21 cccax dx ax cbb2 daax cx ax cx dx ax cx dbxaaa cxcxdxcxax dx cx ab1 ax cdcx d e2 ax cb1 d acx cx aa cx dbbx c cax cx d acx abx dcca2 cx ax dx c3 dx cx ax cb2 dcax ax cx ax cx dx ax cb1 dca2 dx cx ax dx cx abx cax ax cx ex cx ax ex cbb1 cax ex ax cb2 aaax cx ax c1 ax cb2 aaax cx ax cx dx a3 cx ax cx db0 aabc1 cx aabb1 dca2 cx dx a---cx dx cx abx cccax ax cx dx ax cx ax dbbx cccax ax cx dx ax cx dx ab1 ax cdcx ex cbx cax ex aax cb2 aaax cx ax cx ax cx ax cb1 d ax ax ax dbx c cx cx d efx fbx dcca2 cx ax dx c3 dx cx ax cbb0 cdcax0bQe--------cut here-------------------------------t-f{Guillaume Morlaye: Cinquiesme Guaillarde Piemontoise/Uppsala MS 412, f. 35r}bS31 dca2 dcab1 bd a2 bd ab2. ab d3 d2 bb3 dx bx a ax dx cx ab2 ac a2. b--a3 ab2 d bx a---ax cb2. d a3 d2 cbx d a1 cb2 dca3 d2 dca3 dcabb3. bb d4 a3 d3. b4 a3 db2 ab d3 ax d2 bb3 dx bx a ax dx cx ab2 ac a3 cx ax bx abx bx dx c--ax dx a---ax cb2. d a3 d2 cb2. d a3 cx ax cb1 dca2 dbbx cc a3 d ax ax bx db2ab--a3axcxdxabxf---axdxcxax dx bb3 ab--dx dx ax bx d---dx bbx ax dx a---dx bx dx ab2. bb d3 b2 cb2. bb d3 cx ax cb2. d a3 a2 bd abb3 ax ax bx ax dx db3a---dxcxdxaxb---axabx dx bx a ax dx bx abx ab dx dx ax bx d---dxabx dx bx a---d2 b3 ab2. bb d3 b2 cbx bb dx c3 dx bb2 a a dx bxabb3 dx b2 a---dx d ab1 ac a2 cbx ac a3 d ax ax bx db2a---d3 dx bx a ax dbx cx a2 ad ax cb2. d a3 d2 cbx d ax c3 dx bb2 a dx a3bxabx dx b2 a---dx d abb2. c a3 a2 cb2 ac a3 b--ax ax bx db2ab a3 dx bx a ax dbx cx a2 a3 dx cb2. d a3 d2 cb1 d ax cbQe--------cut here------------------------------######### end of the "LuteBot Quarterly" #3, Summer 1998 ########## (by Federico Marincola )