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The Haslemere Manuscript, Pieces and Lute Partitas | Vol. 3/5

Placide Marie Pichler (1725-1796)

Previous

The Haslemere Manuscript, Pieces and Lute Partitas | Vol. 5/5

Johann Michael Kühnel (c.1665-c.1725)

The Haslemere Manuscript, Pieces and Lute Partitas | Vol. 4/5

Johann Georg Weichenberger (1676-1740)

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SKU: LLDE0015

• Composer(s): Johann Georg Weichenberger (1676-1740)
• Title: The Haslemere Manuscript
• Sub-title: Pieces and Lute Partitas
• Year of edition: c.1750-1780
• Source: GB-HAdolmetsch Ms II.B.2
• Volume: 4

Details

The Haslemere Manuscript

This manuscript contains tablatures that a lutenist from Dresden or Prague assembled in the second half of the 18th century, most likely to be used for his own playing or teaching. His instrument of reference was a 12-course D-minor-tuned lute. Some pieces require a 13th course, but they are few in number, and the indication of a 13th course may have been added later. This copyist often indicated a composer's name alongside the titles; however, many pieces, whose origin must have been known to him, are anonymous. The tablatures are generally grouped by key, in order to be played consecutively without having to retune the bass courses. Only rarely are these groups of pieces explicitly referred to as Suites or Sonatas.

The original manuscript is now kept at the Carl Dolmetsch Library, in Haslemere, England; its reference is GB-HAdolmetsch ms II.B.2. Its history is unclear; it may have belonged to the Fétis collection, since we know that Fétis sold or traded several of the many works he had purchased1.

In the early 20th century, the manuscript was acquired by Eugène Arnold Dolmetsch (1858-1940). Born French into a family of organ, piano and harmonium makers, Arnold Dolmetsch went to London to study early music and its instruments. He earned a baccalaureate in music in 1889, and settled in London.

After teaching a short while, he began building keyboard instruments, and opened a lutherie workshop in Haslemere in Surrey, where he built copies of almost every sort of instrument played from the 15th to the 18th century.

Johann Georg Weichenberger (1676-1740)


Johann Georg Weichenberger was baptized in Graz, Styria, on 11 December 1676. Ernst Gottlieb Baron, however, in his treatise "Historisch-theoretische und praktische Untersuchung des Instruments der Lauten… ", states that he was born in 1677 in Vienna.

Johann Georg Weichenberger was not a professional musician, but a civil servant assigned to an accounting department at the Ministry of Finances of the Court of Vienna. One document declares that he was an officer of the Exchequer (i.e., the court finances), whereas others claim that he was a cavalry officer, a military title. Be that as it may, he had, throughout his life, many other centers of interest than his ministerial functions, and his artistic sensibility was highly developed.

A great connaisseur of painting, he left a considerable collection at his death, and was a very proficient lutenist all his life. It is highly probable that he met Silvius Leopold Weiss when the latter spent eight months in Vienna in 1718 and immersed himself in the musical life of the court and the city.

Johann Georg Weichenberger was a "Registrator und Expeditor" (registrar and dispatcher) at the Accountancy Divison of the Imperial chambre when he died in Vienna, on 2 January 1740, at the age of 63.

Jean-Daniel Forget | Le Luth Doré ©2015

Content

Partita in A Major
Courante (Weichenberg)
Bourrée (Weichenberg)
Gavotte (Weichenberg)
Gigue (par Ditto)

Partita in G Major
Allemande (Weichenberg)
Courante (par le même)
Sarabande (par le même)
Gavotte (par le même)
Gigue (par Weichenberg)

2 pieces in G Major
Courante
Menuet

Paysanne in B-flat Major
Paysanne

Partita in B-flat Major
Allemande (Weichenberg)
Courante (Weichenberg)
Rondeau (Weichenberg)
Capriccio (Weichenberg)
Gigue (Weichenberg)

3 pieces in C Major
Gigue (Bohr)
Courante (Bohr)
Bourrée (Bohr)

Addendum

Courante in C Major
Courante

Concordances

Ms. Code Ms. Name Library Name Country
A-GÖ1 A-GÖ ms. Lautentabulatur Nr. 1 Göttweig, Benediktinerstift, Musikarchiv Austria
A-Kla5-37 A-Kla ms. 5/37 Klagenfurt, Kärntner Landesarchiv Austria
A-KR77 A-KR ms. L 77 Kremsmünster, Benediktiner-Stift Kremsmünster, Regenterei oder Musikarchiv Austria
A-ROI A-RO Lauten-Ms. Rohrau, Graf Harrach'sche Familiensammlung
    Provenience: Salzburg
Austria
CZ-Bm13268 CZ-Bm Ms. sig. A.13.268
    Lautenbuch des Casimir Comes a Werdenberg et Namischt
Brno, Moravské zemské muzeum, oddělení dějin hudby MZM
    Provenience: Musicalien-Bibliothek des Stiftes Raigern 2.
Czech Republic
CZ-Bm371 CZ-Bm Ms. sig. A.371 Brno, Moravské zemské muzeum, oddělení dějin hudby MZM
    Provenience: Musicalien-Bibliothek des Stiftes Raigern 5.b.
Czech Republic
CZ-PaRPI504 CZ-Pa ms. ŘPI504 Praha, Státní ústřední archív Czech Republic
D-ROu52-2 D-ROu ms. Mus. Saec. XVII.18.52.2 Rostock, Universitätsbibliothek Germany
D-ROu65-6 D-ROu ms. Mus. Saec. XVIII.65.6 a-z Rostock, Universitätsbibliothek Germany
D-Witt D-BLfk M 184a (olim: Belletr. / 272, "Anleitung zum Singen")
    Wittgenstein-Manuscript
Bad Laasphe, Fürst Wittgensteinsches Archiv Bad Laasphe Germany
F-PnThII F-Pn Rés. Vmc ms. 61 (olim: Bibl. Mad. Thibault)
    In Venetiis 7.7br.1712
Paris, Bibliothèque National
    Provenience: Bibl. Mad. Thibault
France
I-Ven I-BDG ms. sans cote Bassano del Grappa, Biblioteca Civica
    Chilesotti manuscript (Chilesotti's transcription of the ms, now retained lost)
Italy
PL-Wu2003 PL-Wu RM 4136 (olim Mf. 2003) Warszawa, Biblioteka Uniwersytecka w Warszawie, Gabinet Zbiorów Muzycznych Poland
PL-Wu2004 PL-Wu RM 4137 (olim Mf. 2004) Warszawa, Biblioteka Uniwersytecka w Warszawie, Gabinet Zbiorów Muzycznych Poland
PL-Wu2005 PL-Wu RM 4138 (olim Mf. 2005) Warszawa, Biblioteka Uniwersytecka w Warszawie, Gabinet Zbiorów Muzycznych Poland
PL-Wu2008 PL-Wu RM 4140 (olim Mf. 2008) Warszawa, Biblioteka Uniwersytecka w Warszawie, Gabinet Zbiorów Muzycznych Poland
PL-Wu2010 PL-Wu RM 4142 (olim Mf. 2010) Warszawa, Biblioteka Uniwersytecka w Warszawie, Gabinet Zbiorów Muzycznych Poland
SK-BRnm651 SK-BRnm MUS XVIII 651 Lauthenconcert von Jochann Georg Weichenberger in Wienn Bratislava, Slovenské národné múzeum - Hudobné múzeum
    Provenience: Musicalien-Bibliothek des Stiftes Raigern 4.a-c
Slovakia
US-NYp12 US-NYp ms. JOG 72-29 Fasc.12 New York, New York Public Library at Lincoln Center, Music Division USA
US-NYp14 US-NYp ms. JOG 72-29 Fasc.14 New York, New York Public Library at Lincoln Center, Music Division USA

Work Title | Piece Title Ms. Code Ms. Page
Partita in A Major
Courante (Weichenberg) - -
Bourrée (Weichenberg) CZ-PnmE36 226
Gavotte (Weichenberg) F-PnThII 14r (Weiss)
Gigue (par Ditto) CZ-Bm371
CZ-PnmE36
8
232
Partita in G Major
Allemande (Weichenberg) SK-BRnm651
US-NYp12
28
17v
Courante (par le même) SK-BRnm651
US-NYp12
29
18r
Sarabande (par le même) SK-BRnm651
US-NYp12
31
19r
Gavotte (par le même) SK-BRnm651
US-NYp12
30 (1)
18v
Gigue (par Weichebrg) SK-BRnm651
US-NYp12
32 (1)
19v
2 pieces in G Major
Courante A-Kla5-37
D-ROu52-2
31v
48v
Menuet SK-BRnm651 30 (2)
Paysanne in B-flat Major
Paysanne A-Wös120
CZ-Bm13268
SK-BRnm651
51
7v
26
Sonata in B-flat Major
Allemande. (Weichenberg.) CZ-Bm371
D-ROu65-6
D-Witt
PL-Wu2008
93 (1)
r13 (p.139)
9r (XXII)
156 (1)
Courante. (Weichenberg.) A-ROI
CZ-Bm371
CZ-PnmE36
D-Witt
PL-Wu2008
63r ("Weiss")
93
282
35 (XCII)
156
Rondeau. (Weichenberg.) CZ-Bm371
CZ-PnmE36
D-ROu65-6
PL-Wu2008
PL-Wu2010
87
280
a3 (p.3), e12 (p.57), r5 (p.131)
158
294
Capriccio. (Weichenberg.) CZ-Bm371 95
Gigue. (Weichenberg.) I-Ven
US-NYp14
523.1
4-14v
3 pieces in C Major
Gigue (Bohr) A-KR77
D-ROu52-2
89v
27v
Courante (Bohr) A-KR77
PL-Wu2004
87v
54v
Bourrée (Bohr) A-KR77 88r
Courante in C Major
Courante (p. Weiss) A-GÖ1
A-ROI
PL-Wu2003
PL-Wu2005
6v (Weichenberg)
49v
6v
10

Editors

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 Yisrael to help prepare the musical examples for his fine Method of the Baroque Lute. Further on, he continues to assist Yisrael in the preparation of his (lute) editions.

 

Guy Grangereau
Guitarist, Lutenist

Guy Grangereau is a professional musician who studied guitar playing in Paris, notably with the Brazilian Turibio Santos. Then, he perfected his musical knowledge at Martenot school in Paris.

Since 1984, he gave guitar and piano lessons and, for twenty years, he taught guitar in music schools.

His favorite instrument is a guitar (Maurice Dupont) initially with 13 strings, to which a 14th string was added; more recently were added two strings and a theorbo neck for the last four strings. This 16 strings instrument can be tuned in thirds (open tuning); he uses it to transcribe solo harpsichord works. He also plays a 14-course theorbed baroque lute (Stephen Murphy).

Since 2010, he is collaborating with Jean-Daniel Forget for the copy of German baroque lute manuscripts of the 17th and 18th centuries, in bringing more particularly his musical expertise to the review of the Silvius Leopold Weiss’ work.

• Editor(s): Jean-Daniel Forget & Guy Grangereau
• 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. 44
• Dimensions: 230x310 mm
• Weight: 0,320g
• Binding: Section sewn glue binding
• ISMN: 377-0-0017-8815-9

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.

Le Luth Doré ©2015

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