55 Chansons und Tänze

Zum Lautenfestival in Füssen ist (in Kooperatuion mit der Société Française de Luth / SFL) die erste Ausgabe der Deutschen Lautengesellschaft e.V. für Renaissancelaute erschienen. Die Auswahl der Stücke dieses Heftes ist darauf beschränkt, diejenigen Werke wieder zu geben, die technisch und musikalisch nicht allzu hohe Anforderungen stellen und denen der Durchlauf durch deutsche Ohren, Hirne und Finger irgendwie anzumerken ist, d.h., die sich stilistisch von den Intavolierungen der französischen Lautenisten (z.B. Le Roy, Morlaye, Phalèse) mehr oder weniger deutlich unterscheiden. Sie enthält 55 Chansonintavolierungen und Tänze französischen Ursprungs, die von deutschen Lautenisten der Renaissance arrangiert wurden. Viele der Bearbeitungen stammen von Hans Newsidler und Wolff Heckel, für die die französische Musik offensichtlich von besonderer Attraktivität war. Andere anonyme Tabulaturen stammen aus diversen Manuskripten (z.B. München, Donaueschingen, Basel, etc.). Die meisten Stücke liegen original in deutscher Lautentabulatur vor, einige wenige in französischer oder italienischer Tabulatur. Für diese Ausgabe sind alle Stücke in französische Tabulatur übertragen. 67 Seiten geheftet. Herausgegeben von Rainer Luckhardt At the lute festival in Füssen, the first publication of the German Lute Society (DLG) for renaissance lute (in cooperation with the Société Française de Luth, SFL) was launched. The selection of pieces in this collection is restricted to works that do not present too many technical and musical challenges, and in which it appears that they have in some way passed through German ears, brains and fingers; that is they exhibit significant stylistic differences to the intabulations by French lutenists (such as Le Roy, Morlaye, Phalèse) It contains 55 chanson intabulations and dances from French sources that were arranged by German lutenists of the renaissance. Many of the arrangements are originally by Hans Newsidler and Wolff Heckel, for whom French music was evidently particularly attractive. Other anonymous tablatures originate from various manuscripts (for example Munich, Donauschlingen, Basel, etc). Most of the pieces were originally in German tablature, just a few were in French or Italian tablature. In this edition, all pieces are transcribed into French tablature. 67 pages. Edited and published by Rainer Luckhardt. At the lute festival in Füssen, the first publication of the German Lute Society (DLG) for renaissance lute (in cooperation with the Société Française de Luth, SFL) was launched. The selection of pieces in this collection is restricted to works that do not present too many technical and musical challenges, and in which it appears that they have in some way passed through German ears, brains and fingers; that is they exhibit significant stylistic differences to the intabulations by French lutenists (such as Le Roy, Morlaye, Phalèse) It contains 55 chanson intabulations and dances from French sources that were arranged by German lutenists of the renaissance. Many of the arrangements are originally by Hans Newsidler and Wolff Heckel, for whom French music was evidently particularly attractive. Other anonymous tablatures originate from various manuscripts (for example Munich, Donauschlingen, Basel, etc). Most of the pieces were originally in German tablature, just a few were in French or Italian tablature. In this edition, all pieces are transcribed into French tablature. 67 pages. Edited and published by Rainer Luckhardt.