Dear Renaissance lute music lover,

Melchior Newsidler was the firstborne son of Hans, the famous early 16th century German lute teacher and inaugurator. Melchior's brother Conrad also became a lutenist, by whom a handful, mainly choral pieces have survived in a few obscure manuscripts of German provenance f. ex. Hainhofer.

Melchior spent time in Italy, and published his first two lute-books there in 1566. His music is highly influenced by Italian style, but one can also discern a link to earlier South Germans like Gintzler in his musical idiom.

Those first two books were in Italian tablature. They were later transcribed to German tablature and published in 1573 by Benedict de Drusina, who had published a collection of lute music in 1556.

The work you see here, was published in 1574 in German tablature, from the printshop of Bernhard Jobin, apparently as a reaction to MN being accused of neglecting his national type of tablature. (See foreword) There is indication, (Ness?) that it was later also published in Italy, in Italian tablature, but no such book seems to have survived. Printer Jobin had published two collections of lute music in 1572 and 73, containing pieces by Newsidler in a new, somewhat easier to read German typeset, the one also used in the present work. I struggled a bit at the beginning, but soon became familiar with this strain of German tablature, which is absolutely not insurmountable.

Anyway, some of the music presented here, definitely belongs in the "hard to play" category, and represent a challenge for today's players. But it also contains a few charming branle like German dances which are not too demanding. And he says:

"For someone, to whom my works are unknown, these pieces may seem difficult to learn. I give the advice, to first try the lesser pieces, of which there are several to be found herein. Study them diligently and be attentive on the concordances and chords, and how I've ordered them. Whoever does so, will thereby learn a lot, so that the other pieces that are a bit more difficult, will thereafter be much easier to learn."

The players for whom parts of these books were intended must have had a degree of competence rarely seen today. I've often wondered if they played on smaller lutes than we do, to accomodate all those high position chords and extreme stretches, or if there could be other musical, historical or cultural explanations to the virtuosity.

According to Arthur Ness, who has done ample research on MN, he was one of the most prolific composers of his age, with more than 200 pieces scattered among a great number of prints and manuscripts, notably, Herwarth (Ms. 266) and not least Besard, there wrongly ascribed to Fabrizio Dentice, another outlandish virtuoso. MN had connections with famous Augsburg patricians, a.o. the Fuggers. (Der Fuggerin Dantz). Ness' 1984 dissertation is highly recommended reading for anyone who wishes to dig deeper into this material. For further biographical data, see "New Grove" and History of the Lute".

For readers of German, I've included Melchior's foreword. There he a.o. speaks warmly of the need for adding a 7th course, tuned to F3, so that the music should be sweeter and more correct. Strangely, however, he uses that 7th diapason very sparingly. I've marked it below.

Note that the flags are not duplicated for each measure, and only reappear when changing value, for easy prima-vista playing.

Hope you enjoy this music. If you have comments or questions, or spot errors, pls. drop me a mail!

Göran CronaOctober 2004

(Paul O'Dette has since recorded Melchior)

Der Durchleuchtigsten Hochgebornen Fürstin und Frawen/ Frawen Dorothea/ Pfalzgräfin bei Rein/ Hertzogin in Beiern/ Wittiben/ der Königreich Denmarck/ Schweden und Norwegen/ geborne Princessin und Erbin/ meiner Genedigsten Fürstin und Frawen.

Durchleüchtigste Fürstin/ Genedigste Fraw/ deren gnedigen gutthaten/ die von E.F.D. Ich und die meinigen empfangen haben/ bin ich unvergessen/ hab auch offtermals gedacht/ wie E.F.D. Ich meiner danckbarkeit underthänigste anzeigung geben könte/ diewiel ich dann weiß/ das E.F.D neben andern hochlöblichen Fürstlichen tugenten/ auch die holdselige Musicam lieben/ Sonderlich aber mit dem kunstlichen und lieblichen Instrument der Lauten gebürliche freud und ergätzlichkeit suchen/ und aber der Allmächtig Gott mit diser kunst mich auch etwas (ohne rhum zumelden) begabt/ habe E.F.D. Ich mein gutwillige wolmeinung unterthänigst zuerkännen geben wölle/ und derhalben von etlichen der fürnemsten und besten Composnisten/ so mir bekant/ etliche künstliche Muteten liebliche Frantzösische/ Italianische/ und teutsche Stuck/ Iten etlich fröliche teütsche Tänz/ Passo e mezo/ Saltarelli und Fantaseien zusamen gesucht auff die Lauten gesetzt/ in ein Buch geordnet/ und E.F.D. hiermit dediciern unnd zuschreiben wollen/ hoffendlich (?) werde nicht allein meinem lieben Vatterland Teutscher Nation ehrlich und löblich/ auch allen der Lauten und Musicken liebhabern dienstlich und nutzlich sein/ Sonder auch E.F.D. werde daran ein Genedigs unnd günstigs wolgefallen haben/ deren ich mich hiemit Underthänigst befelhen thue.E.F.DUnterthänigst DienstwilligerMelchior Newsidler

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Vorred an den günstigen LeserGunstiger lieber Leser/ Ich hab vor etlichen Jaren zwei Lautenbücher in Italienischer Tabulatur im Druck geben/ Erstlich darum/ das ich verhoffet/ es würde dem kleinstenteil diser Kunstliebhabern/ in Teutsche und andern Landen mit derselben Tabulatur gedient werden/ Darnach das ich auch noch meiner/ von Gott mir verlihenen Gabe/ unserm lieben Vaterlande/ bei fremden Nationen/ dahin sich dann unsere Teutsche Lautentabulatur nicht erstreckt/ die nachrede hülffe ableinen/ als solten die Teutschen nur ein grobe/ Bauerische und Bachantische Musicam haben/ Aber nach dem ich in erfarung kommen/ das mirs etliche dahin deutten/ als solte ich es merenteils aus und zu meines lieben Vaterlands verachtung gethon haben/ bin ich verursachet worden dahin zutragen wie ich erstlich mich solcher falscher auflage entschütten möchte und dann auch dem überigen theil Liebhaber der Lauten zu willen würde/ Habe derohalben diß Teutsche Lautenbuch mit sonder grossem fleiß/ mühe und arbeit zum Druck bracht/ und an tag gegeben. Auch damit sich jederman darein richten könne/disen bericht darüber thun wollen. Wiesvol vil Jar her die Lauten mit eilff Seiten breuchlich gewesen/ so befind ich doch im grund/ nach dem die Musica in kunst und liebligkeit hoch gestigen / das man auff solchen Lauten fast die aller artigsten und lieblichste Concordantzen oder griffe nit haben kan/ derohalben hab ich auff ein weg gedacht/ dadurch solcher mangel möchte erstattet werden. Ob nun wol die anzal der Seiten / nach eines jeden gutduncken mag gemehret werden/ ich auch hiemit niemanden will ordnung geben haben/ das erst nit mache/ wie er will/ so muß doch/ wie in allen dinge/ also hie auch/ mags gehalten werden/ und kan unsere heutige Musica auff der Lauten noch mit einer Saite/ sampt ihrer Octafe zu den vorigen eilffen also ergäntzet und perficiert werden/ das ein Laute mit 13 Seitten recht bezogen/ eines jeden gesangs Clausulen erzeichen und vollkömmlich geben mag. Es soll aber dise neiue Seite sampt irer Octafe underhalb des grossen Bomharts gezogen werden/ Unnd ob sie wol umb ein Quart/ das ist/ ein Octafe vom f. (4.er Chor) tiefer gestimmet werden/ auch solcher zug in Clausulen und Finalen/ ein schöne Resonantz/ und vil Noten oder Stimmen under dem Bomhart gibt/ das etliche griffe zubekommen/ die man der tieffe halber in keinem andern weg völlig haben kan/ So gibt es doch in der application eine grosse unordnung / unnd ungeschicktlikeit/ können auch vil der schönsten und lieblichsten Concordantzen nit gegeben werden/ die auff ein andern weg gar leicht und bequemlich zugreiffen und zuschlagen/ seind auch der selben tieffen Compositionen nit so vil/ das man uhrenthalben obbemeste unsömligkeit in dise Kunst einführen solte. Derhalben ziehe ich disen newen untersten Bomhärt sin niderer / unnd das auß folgenden ursachen: Dann erstlich find ich/ das inn der recht alten und gemeinen Scala/ welche aller alten unnd newen Componisten einiger grund und Regel ist/ nit mehr dann ein Noten unter dem Gamaut/ auch fast alle die beste Kunstuck nit tieffer componiert seind. Nun ist aber der ober oder grosse Bomhart auff einer gemeinen Lauten mit eilff Seitten/ wann der lähr geschlagen wirt/ das rechte natürliche

Gamaut. Zum andern so schickt sich diser zug sein artig zur Application auff allerlei Clausulen und Concordantzen/ derohalben hab ich bei dem wege bleiben wollen. Somit dann die Character in der Tabulatur belangt/ habe ich den obersten oder alten grossen Bomhart mit nachfolgenden Versalbuchstaben beschriben / als nemlich wann er soll lähr geschlagen werden + und dann vom ersten Bund an/ einen nach dem andern also A B C D E F G H J K. Den newen Bomhart mit dergleichen/ allein ist diß der unterscheid/ das ob einem jeden Buchstaben ein strich gefunden wirt/ wie folget A B C D E F G H J K (Durchgestrichen im fac.) und wann er soll lähr geschlagen werden mit disem Character I angedeuttet wirt. Wo auch einen/ dem meine Applicationen unbekant ist/ dise Stuck zu lehrnen gar schwer duncken wurde/ gebe ich ihme disen Rhat/ das er erstlich die geringen stuck/ deren auch etliche hierinnen gefunden werden/ für sich neme/ studiere die mit fleiß/ und gebe gute achtung auff die Concordantzen oder griffe/ wie ich die geordnet hab/ der wirt darauß so vil erfaren/ das ihme die andern stuck/ so etwas schwerer seind/ viel leichter zulehrnen ankommen werden. Damit wünsche ich allen denen/ die sich diser Stuck zu ihrer lehrnung oder ergetzligkeit gebrauchen/ ein glücklichen anfang/ ein gutes mittel/ und ein ausfürlichs end. Geben und in Truck verfertigt/ auch durch mich selbsten Corrigiert/ inn der hochlöblichen Keyserlicher Reichs und Freystat Straßburg/ Den 20. Julij/ Im Jar nach Christi Jesu unsers lieben Herrn und Heylands Geburt gezelet. 1574.

Melchior Newsidler

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Index Page

1 Benedicta est coloerum [Josquin].........................................................6

1b Per illud ave a 2 (secunda pars)........................................................10

1c Nunc Mater exora natum (tertia pars)....................................................11

2 Tua est potentia a 5 [Ioannes Mouton]...................................................12

3 Vita in ligno moritur a 5 (prima pars) [Ludwig Senfel]..................................14

3b Qui prophetice (secunda pars) [Ludwig Senfel]...........................................16

3c Qui Expansis (tertia pars) [Ludwig Senfel]..............................................18

4 Creator omnium a 5 [Willaert]...........................................................20

4/2 In te domine speravi a 5 (prima pars) [Iohan Lupus].....................................22

4/2b Et propter nomen tuum (secunda pars) [Iohan Lupus]......................................25

5 Si bona suscepimus a 5 [Verdelot].......................................................286 Aspice Domine a 5 [Jacquet].............................................................327 Hierusalem luge a 5 [Adrianus Kein].....................................................367b Deduc quasi torrentem (secunda pars) [Adrianus Kein]....................................388 Maria Magdalenae [Clemens non Papa].....................................................428b Cito cuntes (secunda pars) [Clemens non Papa]...........................................449 Domine quinque talenta tradidisti mihi a 5 [Orlando Lassus].............................4610 Du fond de ma pensee a 4 [Orlando Lassus]...............................................4811 Damour me plains a 4 [Rogier]...........................................................4912 Frais & galiarte a 4 [Clemens non Papa].................................................5213 Ung gai Bergier a 4 [Tomas Crequilon]...................................................5414 Si natem presces a 4 [Tomas Crequilon]..................................................5615 Bon Iuor mon Cour a 4 [Orlando Lassus]..................................................5816 Quando io Penso al martire a 4 [Archadelt]..............................................5917 Non so per qual Cagio [Archadelt].......................................................6118 Il ciel che rado virtu a 4 [Archadelt]..................................................6319 O Felici ochi miei [Archadelt]..........................................................6520 & 45 Anchor che col partire & Fantasia super Anchor [Rore & M.Newsidler].....................6721 Quanto il mio duol senza conforto sia a 4 [Orlando Lassus]..............................70

22 Bewar mich Herr [Steffan Zirler]........................................................72

23 Was wirt es doch des wunders noch [Ludwig Senfl]........................................74

24 Mein fleiss und m¿h a 4 [Ludwig Senfl]..................................................76

25 Trºstlicher lieb Ich mich stets yeb a 4 [Paulus Hofheimer]..............................77

26 Ich reijw und klag das ich mein tag [Gregorius Brack]...................................79

27 Wo Gott der Herr nicht bey uns helt a 4 [Orlando Lassus]................................81

28 Ich gieng ein mal spacieren & Volget der Hupffauff......................................82

29 Ein lieblicher und sehr guter Tanz & Folget der Hupffauff...............................83

30 Fuggerin Danz & Folget der Hupffauff....................................................84

31 Die alt Schwiger & Volget der Hupffauff.................................................85

32 Wann ich des morgens fr¿ auffsteh & Volget der Hupffauff................................86

33 Der alten Weiber Tantz & Volget der Hupffauff...........................................87

34 Wie mºcht ich frºlich werden & Volget der Hupffauff.....................................88

35 Proficiat ihr lieben herren & Volget der Hupffauff......................................89

36 Mein hertz ist frisch mein gm¿t ist frey & Volget der Hupffauff.........................91

37 Beschaffens gl¿ck ist unversammpt & Volget der Hupffauff................................92

38 Dorisanen Tanz & Volget der Hupffauff...................................................93

39 Mir ist ein feins brauns Mªgdlein gefallen in meinem Sinn & Volget der Hupffauff........94

40 Passa e'mezo La millanesa & Il Saltarelle...............................................95

41 Passa e'mezo Anticho & Il Saltrelle.....................................................98

42 Passa e'mezo Comune & Il Saltrelle.....................................................102

43 Fantasia...............................................................................107

44 Fantasia...............................................................................109

45 Fantasia supra Anchor che col partire [Rore]...........................................111

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Measures where the 7th diapason is required:

Piece nr. 4 "Creator" final chord loose diapason

Piece nr. 11 "Si bona" m. 6 first and last chord loose diap.

m. 7 first chord loose d.

m. 11 third chord loose d.

m. 69 last chord loose d.

Piece nr. 12 "Aspice" m.76 first chord loose d.

Piece nr. 13 "Hierusalem" m. 26 first and last chord loose d.

m. 51 second chord loose d.

m. 53 first chord loose d.

m. 55 first and last chord loose d.

Piece nr. 14 "Deduc" m. 32 first chord loose d.

m. 49 first chord loose d.

m. 51 second chord loose d.

m. 53 second chord loose d.

m. 64 first chord loose d.

m. 68 first and second chord loose d.

m. 138 second chord loose d.

m. 152 first and last chord loose d.

m. 153 first and second chord loose d.

final chord loose diapason.

Piece nr. 15 "Maria" m. 19 last chord loose d.

m. 50 third chord loose d. final chord loose diapason.

Piece nr. 16 "Cito" final chord loose diapason.

Piece nr. 17 "Domine" m. 55 first chord 1st fret d.

m. 65 third chord 1st fret d.

Piece nr. 23 "Bon iuor" m. 2 first chord loose d.

m. 7 first chord loose d.

m. 12 first chord loose d.

m. 19 first chord loose d.

m. 20 last chord loose d.

m. 22 last chord loose d.

m. 23 second chord loose d.

m. 28 third chord loose d.

Piece nr. 29 "Quanto" m. 30 second chord 4th fret d.

m. 31 second chord loose d.

Piece nr. 31 "Was wirt" m. 11 first chord loose d.

m. 21 second chord loose d.

final chord loose diapason.

Piece nr. 33 "Trºstlicher" m. 35 first chord loose d.

Piece nr. 37 "Ein lieblicher" m. 28 third chord loose d.

Piece nr. 49 "Passa e'mezzo" m. 29 last chord loose d.

m. 30 third chord loose d.

m. 31 third chord loose d.

m. 45 penultimate note loose d.

m. 46 fifth note loose d.

m. 77 penultimate note loose d.

m. 90 third chord loose d.

m. 93 fourth chord loose d.

m. 109 last chord loose d.

m. 141 last chord loose d.

m. 144 first chord loose d.

m. 148 first chord loose d.

m. 152 first chord loose d.

m. 156 first chord loose d.

This is a raw copy. There are still mistakes!

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