COMMENTARY
This Publication is dedicated to these individuals whose support made it possible:
Cecilia Tsypin and a few other unnamed ladies who served as Muses,
Alain Veylit,
whose invention facilitated it technically,Hans Kockelmans, Luca Pianca, Rob MacKillop, Elio Donatelli, Francesco Tribioli, Lynda Sayce, Axel Wolf, Thomas Schall, Robert Barto, Oleg Timofeyev, Donatella Galletti and Timothy Burris,
who offered moral support and constructive criticism that set the "editorial" process in the right direction,Timothy Crawford whose good-natured unalbionic effusiveness [see below] cured any self-doubt inherent in any such endeavor,
and Pat O'Brien, who taught me how to play baroque lute.
***Last update: September 3, 1849-[;-)}
I would like to take this opportunity to thank you, my dear Friends and Subscribers for your courage and cultural sensitivity, since I wouldn't imagine that one could become a subscriber to "Musikalische Abendprüfungen" out of mere ignorance.Instead of some "musicological" introduction that might purport to provide any factual insight into origin and nature of this Compendium, I can only extend to you an invitation to indulge in any kind of mythopoiesis to which you may be inclined or capable of.
***
If you would know who are the "Valentuomini" whose names grace this List of the Original Subscribers, here they are without any further Ado:
Markus Lutz, Luca Pianca, Davide Rebuffa, Ekkehard Schulze-Kurz, Per-Kjetil Farstad, Marcello Mortaro, Peter Steur, Nigel Solomon, Paulo Galvao, Kenneth Be', Loren Zawodny, Richard Stone, Stefan Lundgren, Ralf Bachmann, Carlo Stringhi, Clive Titmuss, Michael Miranda, Axel Wolf and Thomas Schall.
All Subscribers and Friends will be automatically entitled to any future updates.
***
This collection was born out of sad realization that there is little worthwile lute music from the 18th century outside the works of Sylvius Leopold Weiss and Joachim Bernhard Hagen, and most of this Era's lesser lute composers' music just doesn't hold water. In short: a music piece's pedigree is no guarantee of its quality. So, in the beginning there was a Word and it was followed by a Deed: hence our Publication. A momentous moment of epiphany came with an idea "What if Stile Brisée was invented by the Italians rather than the French? Un Stile Sbrisolone..." This idea permitted considerable ease of attainment of expressive Cantabile without exessive technical demand, and no loss of seriousness essential for music created within Germanic cultural context.
See for yourselves:
"Lautenübungen in auserlesenen Tabulaturen bestehend aus Sonaten
und Suiten: Allemanden, Couranten, Sarabanden, Giguen,
und andern Galanterien; Den Liebhabern (der Laute) zur
Gemüths Ergötzung - verfertiget von Herr Konradin
Aemilius Sautscheck (und seine Vorfahren) in Prag, anno domini 1848. In Verlegung des
Autoris. OPERA XII".This music presented here is taken from a prepared for publication, but never
actually published manuscript, containing some of the most serious (as all of us are well aware) music
for Baroque Lute, this side of Sylvius Leopold Weiss. The Manuscript has also been known as SWV [which stands for Sautscheck Werke Verzeichniss]. This Manuscript is one of ONLY two Lutenistic documents from the entire 19th Century, and it eloquently testifies that there was a living lutenistic tradition and compositional activity in the Era betweem Reichardt, Scheidler and our time.It was decided to preserve the Manuscript's peculiarity: it contains all variants, even those differing in rather minute details. This peculiarity points to compositional flux inherent in the Manuscript, as it's Author or Authors were in a perpetual process of trying new themes, structures or developements.
It is elegantly set in Stringwalker Tabulature Editor using the Gallichon font.
An introductory article by Dr. Theodore
Rakov-Brodsky of the Universities of Kiev, Ukraine and Hull, UK is forthcoming.
For the scores available (a goodly number) in PDF format see the "OPUS-1" and "OPUS-3" page. For the scores of many works by OTHER composers present in the Mss. in question see "OPUS-2" page.
In recent years this music received several premieres, most notably by Luca Pianca worldwide (Salamanca, Lisbon, Vilnius, Urbino, Schwetzingen, Adelaide), Simon Paulus (Wolfenbüttel) and Thomas Schall (Frankfurt), Stefan Lundgren in (München, Regensburg) Germany and (Öland) Sweden, Jakob Ruppel in Switzerland, Vadim Borisenko in Ukraine,Timothy Burris in the USA, and Clive Titmuss in Canada.
***
The following gentlemen were also to be the original subscribers, but theirr e-mail is bouncing:
HerrMuethel@rigacathedral.org
HerrStraube@london.co.uk
HerrWeiss@dresdencourt.de
SenhorSeixas@telepac.pt
SignorZamboni@tiscalinet.it
HerrReichardt@t-online.de
HerrBelogradsky@petropolis.ru
HerrKohaut@kakania.at
HerrHamann@koenigsberg.edu
HerrKant@koenigsberg.edu
HerrHagen@bayreuth.crt.net
HerrGoethe@weimar.gov
HerrBeethoven@lobkowitz.com
HerrJSBach@thomasschule.edu
HerrHaydn@eszterhazy.org
HerrBrahms@aon.at
So...
Make sure your Acrobat Reader is up to date, your printer is decent, your lute is in tune and the thirst is in your soul.
Good sailing!
Roman Turovsky -Editor-in-Chief/President,
Sautschecks Werke Verzeichniss & Gesellschaft, New York City, USANEXT
Last update: December 3, 1849-[;-)} Be sure to
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