Partiturbuch Ludwig - The Viola da Gamba Society

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1:18 Allegro, D major, WKO 198. Source: US-NYp, Drexel MS 5871, pp. 12-13. Editions: Knape, xvi; UO, HS99; CAP, 041, 042. 1:19 [Minuet], D major, WKO 199. Source: US-NYp, Drexel MS 5871, p. 13. Editions: Knape, xvi; DE, 22; CAP, 041, 042. 1:20 [Flourish or Cadenza], D major, not in WKO. Source: US-NYp, Drexel MS 5871, p. 13. Edition: CAP, 041, 042. 1:21 Tempo di Minuet [en rondeau], D major, WKO 200. Source: US-NYp, Drexel MS 5871, p. 14. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042. 1:22 Tempo di Minuet, D major, WKO 201. Source: US-NYp, Drexel MS 5871, p. 15. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042. Comment: related to 1:2. 45
1:23 [Minuet en rondeau], D major, WKO 202. Source: US-NYp, Drexel MS 5871, p. 16. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042. 1:24 [Minuet with two variations], in D major, WKO 203, 204. Source: US-NYp, Drexel MS 5871, p. 17. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042. Comment: slightly related to 1:1. 1:25 [Flourish or Cadenza], D major, not in WKO. Source: US-NYp, Drexel MS 5871, p. 17. Edition: UO, HS99; CAP, 041, 042. 1:26 [Prelude], D minor, WKO 205. Source: US-NYp, Drexel MS 5871, p. 18. Editions: Knape, xvi; UO, HS99; CAP, 041, 042. 1:27 [Minuet], D minor, WKO 206. Source: US-NYp, Drexel MS 5871, p. 18. Editions: Knape, xvi; DE, 22; UO, HS99; CAP, 041, 042. 46
Page 1 and 2: The Viola da Gamba Society Journal
Page 3 and 4: CONTENTS Editorial iv Blessed Wings
Page 5 and 6: editorial intervention; I would lik
Page 7 and 8: garments, each with a musical instr
Page 9 and 10: The viola da gamba of the Valencia
Page 11 and 12: Charles Dieupart’s Six suittes (1
Page 13 and 14: likewise, Dieupart’s works list i
Page 15 and 16: suggests that other instruments wer
Page 17 and 18: een notated in staff notation. The
Page 19 and 20: In fact, all three books were avail
Page 21 and 22: prebendary of Durham Cathedral from
Page 23 and 24: contrary motion (bb. 20-22) offer r
Page 25 and 26: continuo practice. Although doublin
Page 27 and 28: identical). 53 However, ‘purposel
Page 29 and 30: The Dieupart Suittes in the context
Page 31 and 32: Lautenkonzert was a French importat
Page 33 and 34: As a source of en concert keyboard
Page 35 and 36: c.1716), a French wind player and c
Page 37 and 38: Example 6. Comparison of the openin
Page 39 and 40: harpsichord, these pieces might als
Page 41 and 42: Charles Frederick Abel’s Viola da
Page 43 and 44: D-B Berlin, Staatsbibliothek zu Ber
Page 45 and 46: from Eighteenth-Century England’,
Page 47 and 48: 1:4 Adagio, G major, not in WKO. So
Page 49: 1:13 [Flourish or Cadenza], D major
Page 53 and 54: 1:33 [Rondo], A major, WKO 212. Sou
Page 55 and 56: 2:5 Sonata, A major, WKO 145. Sourc
Page 57 and 58: 2:10 Sonata, C major, WKO 151. Sour
Page 59 and 60: Minuetto 2:16 Sonata, D major, WKO
Page 61 and 62: Andante Minuetto 2:22 Tempo di Minu
Page 65 and 66: Cantabile Vivace 2:32 Sonata, C maj
Page 67 and 68: 2:36 Sonata, A major, WKO 179. Sour
Page 71 and 72: Allegro Adagio Allegretto Edition:
Page 73 and 74: Moderato Andante Menuetto 1763) and
Page 75 and 76: Un poco Vivace Adagio ma non Tropo
Page 77 and 78: the total: announcements for the Ba
Page 79 and 80: The Partiturbuch Ludwig: An Introdu
Page 81 and 82: headings) and in the Register (wher
Page 83 and 84: Catalogue Incipits are preceded by
Page 85 and 86: (�008)8 (Allemande, Double), 9 (C
Page 87 and 88: (�012)22 (Allemande, Double), 23
Page 89 and 90: (�018)33; p. 36 Briegel, Wolfgang
Page 91 and 92: (�027)42; p. 61 Bertali, Antonio
Page 93 and 94: (�035)50; p. 79 Sign: Schampon So
Page 95 and 96: (�045)59; p. 101 Anonymous Sonata
Page 97 and 98: (�053)66; p. 118 Anonymous Ciacon
Page 99 and 100: (�062)75; p. 140 Bertali, Antonio
Page 101 and 102:
(�071)84; p. 170 Clementis Sonata
Page 103 and 104:
(�079)92; p. 186 Bach, Heinrich S
Page 105 and 106:
(�089)102; p. 214 Drese, Adam Son
Page 107 and 108:
(�098)111; p. 261 Oswald, Andreas
Page 109 and 110:
nineteenth century, and which conti
Page 111 and 112:
times. The baryton then is not an i
Page 113 and 114:
Some well-established errors have a
Page 115 and 116:
een published through the Peacock P
Page 117 and 118:
Restoration Music Theory ALAN HOWAR
Page 119 and 120:
other aspiring musicians, but it wa
Page 121 and 122:
Explosion in a Paint Factory RICHAR
Page 123 and 124:
In view of the association of ‘su
Page 125 and 126:
pigeonholing or categorization, suc
Page 127 and 128:
wanting to take part; it is good to
Page 129 and 130:
of this review is much more negativ
Page 131 and 132:
GMO only summarizes the contents of
Page 133 and 134:
Reassessing a Court Composer DAVID
Page 135 and 136:
first glance intimates; though one
Page 137 and 138:
finial to the capital, both often r
Page 139 and 140:
alternated with no discerned patter
Page 141 and 142:
Cunningham takes issue with a copyi
Page 143 and 144:
pair could have been begun up to fo
Page 145 and 146:
looked to Simon Ives (a city musici
Page 147 and 148:
print; though an edition for the ha
Page 149 and 150:
third, in D minor, is not a suite o
Page 151 and 152:
337 g Alman U 103b g Alman U thus:
Page 153 and 154:
{169} HC 8 Saraband {170} HC 9 Alma
Page 155 and 156:
improvisation on organ: a zany yet
Page 157 and 158:
Comments on Appendix 1 and Discogra
Page 159 and 160:
textual commentary was not provided
Page 161 and 162:
William Lawes, once Coprario’s pu
Page 163 and 164:
Divisions are also prominent in the
Page 165 and 166:
epresents yet another significant s
Page 167 and 168:
market for new recorder music, and
Page 169 and 170:
Airs and Marches for Two Violins or
Page 171 and 172:
for his own main website, . Actuall
Page 173 and 174:
as upholding that ‘beat rates ...
Page 175 and 176:
difficulty, and suggests an alterna
Page 177 and 178:
21.51/6)+21.51=7.17]. The differenc
Page 179 and 180:
temperament was ideal to avoid the
Page 181 and 182:
almost 15 Cents away from the 9x23.
Page 183 and 184:
Couperin’s temperament On p. 148,
Page 185 and 186:
ones should have been included that
Page 187 and 188:
Finally, Lehman states that ‘The
Page 189 and 190:
Notes on the Contributors ANDREW AS
Page 191:
2003 the Austrian Government awarde
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