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Interpretation of the Copenhagen Chansonnier for Lute and voices
The Copenhagen Chansonnier (Det kongelige bibliotek of Copenhagen Chansons d'Amour Thott 291 8º) is a collection of 33 polyphonic pieces, most of them for three voices, with a few pieces for four voices. All of them with French text, written in white mensural notation. The collection was written at the end of the XV century, and it is a good example of the franco-flemish counterpoint style. All these pieces are love songs that approach the theme of love through different lenses including devotion love, erotic love, and painful love, among others.
These pieces were transcribed to the modern notation, and after that to the lute tabulature notation, or for lute and voices. It is also an intensive work of interpretation of that music since the notation in the manuscript is not precise enough to make a simple transcription. That is why, although there are transcriptions of this Chansonnier available, it is necessary to work with the original source to create a new version for lute. For this project, I use a 5-course lute (originally 6-course) inspired in the Freiberger Lute, made by Günter Mark. Freiberger Lutes are a very good example of early Renaissance Lutes despite of their late construction (1574). A similar lute can be seen in the sculpture of Pythagoras by Jörg Syrlin "The Old" (1474) in the Müster (cathedral) of Ulm, or in the Angel Salutation in St. Lorenz Nürnberg by Veit Stoß (1518)
Recomposing the concerts for Flute and Lute of Weiss
There are three concerts for flute and lute included in the London Manuscript (MS Add. 30 387 British Library, London), which contain mostly solo pieces for lute by Silvius Leopold Weiss (1687-1750).
Two of these concerts were composed by S. L. Weiss, and one by Johann Sigismund Weiss (S. L. son).
In these concerts, none of the flute parts are included in the manuscript, and it was an interesting work to recompose them. I based the composition of these parts in the pre-existing lute tabulature, and I also included concepts from the concerts for flute and lute at the time in Germany, the works of some well knows composer and the needs of the particular form between "Sonata da Chiesa" and the classic sonata of the 18 century.
We know for sources such as Thomas Mace "Musicks monument", how to compose a second part for a lute piece, so we can play that in lute duos. The compositions of Contreparties were in France and England a usual way to make chamber music for two lutes. There are some contreparties written by Mace, Gautier le Vieux, De Viseè, and Vallet, among others. In this project, I worked with pieces from Mace and Gautier (making new duos to play in suite with the duos they wrote)
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