**** Welcome to the "LuteBot Quarterly" ****

- the free electronic lute journal -

*** #3, Summer 1998 ****
*** by Federico Marincola ***
<lute@marincola.com>

The "LuteBot Quarterly" serves to disseminate information on the lute and
its charming literature. Each issue contains one or more articles, plus some
lute tablatures in tab source script.
This document contains inline ASCII graphics which look best unformatted,
in a monospace font like Courier.
* To receive the latest issue of the "LuteBot Quarterly", send an email to
<free-LuteBot@marincola.com>
* To receive the following past issues of the "LuteBot Quarterly", send a reques
t to
<lute@marincola.com>:
---> LuteBot Quarterly #1, Winter 1998: Vincenzo Capirola and his Lute Book
- 1517 (by Federico Marincola)
---> LuteBot Quarterly #2, Spring 1998: Adrian Le Roy's "A Briefe and easye i
nstruction"
- 1568 (a synopsis, by Ian Harwood)
* To receive my Electronic Brochure, send an email to
<info@marincola.com>
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---------------------------------------------------------------------------
**** Copyright and dissemination ****
| Under the Berne Convention, this document is Copyright (c) 1998 by
| Federico Marincola (lute@marincola.com), all rights reserved. Permission
| is granted for it to be reproduced electronically on any system connected
| to the various networks which make up the Internet, Usenet, and FidoNet
| so long as it is reproduced in its entirety, unedited, and with this
| copyright notice intact. Web sites are included. Individual copies may
| also be printed for personal use.
This document was produced for free redistribution. If you paid money
for it, not only did you do so unnecessarily, but none of the money went
to the person who did the work of producing the documents.
You need not obtain special permission to quote parts of this document for
academic research purposes, as long as you cite the source.
If you would like to offer suggestions and ideas, please email me
at <lute@marincola.com>.
--------------------------------------------------------------------------
*** Table of contents ***
This issue of the "LuteBot Quarterly" is devoted to the French lutenist and
editor Guillaume Morlaye (1510?-after 1558)
Part I -- The "Honorable homme Maistre Guillaume Morlaye, marchand
bourgeoys de Paris"(by F. Marincola)
I.1 -- Life and works
I.2 -- Bibliography

Part II -- About Lyre Music Publications (by Dick Hoban, <D.Hoban@tcu.edu>)
Part III -- About Federico Marincola
Part IV -- 3 Lute Pieces by G. Morlaye in TAB source script: Galliarde, Pav
ane,
Guaillarde Piemontoise (courtesy of Lyre Music)
--------------------------------------------------
Part I -- The "honorable homme Maistre Guillaume Morlaye, marchand
bourgeoys de Paris"(by F. Marincola)
I.1 -- Life and works

Little is known about the life of Guillaume Morlaye and what
biographical details we do have are uncertain. Although we know that he
was born sometime between 1510 and 1520, we do not know where. He was a
student of the lute with the famous Albert de Rippe (Alberto da Ripa). A
document dated 1541 describes him as "honorable homme Maistre Guillaume
Morlaye, marchand bourgeoys de Paris", and confirms that he was also
active as a musician, giving viol and lute lessons to an apprentice.
In a contract dated 1552, Morlaye is found referred to as a
"joueur d'instrument", or "joueur de leut".
In 1545 the "marchand bourgeoys" appears to have been involved
in the sale of lutes and strings and, in 1548, his name is briefly
mentioned in a document concerning a maritime expedition connected with
the black slave trade. This document has fired the imagination of many
scholars examining his biography. However, as indicated by musicologist
Michel Renaud, Morlaye's role in this affair was extremely marginal. So
this legend, depicting Morlaye as an adventurer, has little historical
foundation.
There is evidence from the following years, that Morlaye was in
contact with the art world. As usual, he was motivated by self-interest:
he lent money to engravers, including the famous Pierre Millan, and
received engravings as a pledge.
In 1552, the merchant-musician obtained from Henri II a ten-year
privilege to publish the tablatures of his late teacher, Albert de
Rippe. This privilege also included the publication of tablatures for
lute, guitar and cittern by Morlaye himself and other composers. It was
at that time that Morlaye went into partnership with the printer Michel
Fedenzat, and the collaboration between the two men proved fruitful for
several years.
Between 1552 and 1558, a total of six books of tablatures by
Albert de Rippe and various collections of pieces for lute, guitar and
cittern by Morlaye, G.M. da Crema, E. de Valderrabano, F. Vindella and
P.P. Borrono, were printed. Morlaye also published two books of "psalmes
et cantiques en vulgaire francois" and a book of arrangements for voice
and lute of psalms by Pierre Certon.
By 1558 we lose track of Guillaume Morlaye. However, in the
library of Uppsala (Carolina Rediviva), four manuscripts have been
preserved. These manuscripts contain, amongst others, various pieces for
lute. According to a remarkable study by the musicologist Jean Michel
Vaccaro, these volumes no doubt belonged to Morlaye. This extends the
end of the merchant-lutenist's activity by twenty years, for some of
these manuscript pieces can also be found in anthologies published
between 1576 and 1577.
Vaccaro puts forward a hypothesis, yet to be proved but more
than plausible. He notes that there are several elements which lead us
to believe that Morlaye was at some point converted to protestantism. It
is not unlikely, therefore, that he was forced to leave France in order
to avoid the religious persecutions. It is possible that he was received
into the Swedish court, which was then in full cultural and artistic
expansion.
Morlaye, like Adrian Le Roy, belonged to that segment of
musicians who were capable of devoting themselves to teaching, business
and publishing. These individuals worked side by side with the narrow
circle of great virtuoso lutenists, such as Albert de Rippe and Jean
Paul Paladin. The lute was extremely popular in France in the mid-16
century. The art of playing musical instruments was no longer reserved
only for professionals, but was beginning to become a necessary element
in the cultural education of the nobility, courtiers, and members of the
upper-middle and merchant classes. That was what enabled Morlaye and Le
Roy to develop their brilliant publishing business.
There must have been great demand for good anthologies and
methods, for their business prospered for several years. From another
prospective, the work of these prolific lutenists-editors filled a very
important role in favoring the spread not only of the art of
lute-playing, but that of plucked instruments in general. They made
public a number of musical "trade secrets", which had until then been
the preserve of a small circle of specialists, and thus provided
amateurs with an extremely vast repertoire.
In his publications Morlaye tries to satisfy every taste. We
find great variety in his books, from the simple folk dances to the most
profound pieces, full of the Renaissance Neo-Platonic "inspired
melancholy". The whole range of styles then in vogue is represented.
In 1993 I recorded a CD with 26 lute and guitar pieces by
Guillaume Morlaye ("Guillaume Morlaye, Lute and Guitar Pieces", Verany
Disques - Arion, PV794052).
At the moment I am working on an anthology of these tablatures, that will
be published by "Lyre Music Publications" (see part II of this document).
I.2 -- Bibliography
* GUILLAUME MORLAYE, "Premier et Second Livre de Tablature de Leut (1552-1558)",

Complete facsimile edition, Geneve: Minkoff, 1982
* F. LESURE & R. de MORCOURT, "Guillaume Morlaye, Psaumes de Pierre Certon redui
z
pour chant et luth", Paris: Editions du CNRS, 1957
* M. RENAULT, "Guillaume Morlaye, Oeuvres pour le luth", CLF, Paris: Editions du
CNRS, 1980
* J. TYLER, "Simon Gorlier & Guillaume Morlaye, four guitar books", Complete fac
simile
edition, Monaco: Editions Chanterelle S. A. , 1980
* J. M. VACCARO, "La musique de luth en France au XVI sicle", Paris: Editions du C
NRS, 1981
* J. M. VACCARO, "Guillaume Morlaye II, Oeuvres pour le luth, Manuscrits d Uppsal
a",
Paris: Editions du CNRS, 1989
/--------------------------------------------------\
Part II -- About Lyre Music Publications (by Dick Hoban, <D.Hoban@tcu.edu>)
Lyre Music specializes in the publication of inexpensive editions of
lute tablature. We are currently working on two new editions: a volume of
Guillaume Morlaye's own compositions for lute and renaissance guitar and Volume
2
of The Art of the Lute in Renaissance Italy. We hope to have these
editions available in the Fall of 1998. We are always interested in your
comments and suggestions.
Currently available from Lyre Music:
The Art of the Lute in Renaissance Italy ~ Volume 1: Ricercars. A collection of

over 100 Italian ricercars from both printed and manuscript sources by numerous
composers including Spinacino, Dalza, Bossinensis, Capirola, dall' Aquila, da Mi
lano,
da Ripa, Rotta, Abondante, Barberiis, Matelart, Paladin, Barbetta and Molinaro.
All are edited in French tablature by Dick Hoban and Richard Darsie.
$30.00 US plus $3.00 US postage
Tres Libros de Musica para Vihuela.
A selection of over 100 pieces from the entire vihuela repertoire
including duos, sonetos, pavanas, diferencias, villancicos, motets, sacred vocal
intabulations, and 35 fantasias. The contents, all suitable for the intermediate
player,
have been transcribed into French tablature by Dick Hoban.
$30.00 US plus $3.00 US postage
Cancionero Nuevo ~ a New Harvest of Old Spanish Songs.
A collection of 22 songs from 16th century Spanish songbooks edited and
arranged for vihuela and voice or a melody instrument by Frank Wallace, complete
with
Spanish text and English translation. Available in both French and Italian
tablature editions.
$20.00US plus $2.00US postage
Chilesotti's "Da un codice Lauten-buch" in Lute Tablature.
A transcription into French tablature of Chilesotti's 99 selections from
this very popular late 16th century manuscript.
$20.00US plus $5.00US postage
16 Ricercars from the Siena Manuscript.
A selection of 16 pieces in French tablature by anonymous composers for
the intermediate lute player from this important 16th century Italian
manuscript.
$15.00US plus $2.00US postage
Music in the Sharp Tuning.
Explore new sonorities on your instrument with this set transitional
tuning pieces from the Panmure #5 manuscript by Rene Mesangeau; along with tunin
g
instructions, these easy to intermediate pieces have a Scottish flavor; edited b
y
Wayne Cripps.
$10.00US plus $2.00 US postage
The Straloch Manuscript.
The complete transcription of George Graham's selections from this now
lost Scottish lute manuscript; edited in French tablature by Wayne Cripps.
$18.00US plus $2.00US postage
The Rowallan Manuscript.
The complete Scottish lute manuscript in French tablature edited by
Wayne Cripps; 39 pieces suitable for the beginning to intermediate lute player.
$18.00US plus $2.00US postage
Pieces de Luth par Mr de Visee.
Three elegant French Baroque suites originally composed for theorbo, together wi
th
extensive notes on style and ornamentation, thoughtfully transcribed into French

tablature for 8 or 10 course lute in renaissance tuning by Arto Wikla.
$20.00US plus $2.00US postage

Please add an additional $5.00US postage per book on international
orders.
We can be reached by e-mail at <D.Hoban@tcu.edu> or send book orders to:
Lyre Music Publications
3710 Bellaire Circle * Fort Worth, TX 76109 * U.S.A.
/-----------------------------------------------------\
Part III -- About FEDERICO MARINCOLA
I live at the border between France and Italy, but I spend a lot of time
traveling around to play my concerts and to teach. Usually I have a quite
tight schedule, but, if you contact me well in advance, I might be available
for recitals and seminars, or for collaborations with professional
renaissance and baroque ensembles.
Here are my addresses and phone numbers:
email: lute@marincola.com
Lute Page: http://www.marincola.com
snailmail: C.P.50, 18039, Ventimiglia (IM), Italy
French Tel. + 33 4 93 35 66 58
French Fax + 33 4 93 35 56 68
Italian mobile + 39 347 73 09 321
Here is my CV. If you want to check my complete discography, see some press
reviews etc, you are warmly invited to visit my Lute Page at
http://www.marincola.com or you can get my Electronic Brochure
(send an email to info@marincola.com).
----- Curriculum Vitae -----
Born in Rome, Federico Marincola studied classical guitar with Sergio
Notaro, later specializing in the lute with Diana Poulton. Having won
a grant from the Dutch Government, he studied with Anthony Bailes at the
Sweelinck Conservatorium of Amsterdam. Another grant from the British
Council enabled him to study with Jakob Lindberg at the Royal College
of Music in London, where he obtained a Performer diploma in lute, a
second diploma in early music and the Certificate of Advanced Study.
He completed his training with Nigel North and Christopher Wilson.
In the last twenty years, Federico Marincola has been very active as a
performer. He has given many solo recitals and played with singers and
early music groups all over Europe. In 1986, he toured as a soloist in
India, Pakistan, Nepal, Bangladesh and Sri Lanka. He is also in demand
as a "basso continuo" player, and has played in many baroque operas at
some of the most famous opera theaters of Italy (Teatro alla Scala, Milan;
Teatro dell Opera, Rome; Teatro Massimo, Palermo; Teatro Comunale,
Florence; Teatro San Carlo, Naples...). He is the theorbist with the
Cappella della Pieta' dei Turchini, one of the most important baroque
groups in Europe. In July 1998 he was invited by the Lute Society of America
to teach and play at the LSA summer course in Columbus (OH).
With the Italian baroque Ensemble "Arte dell'Arco" he has recently started
a new and extensive collaboration with Christopher Hogwood.
He has made more than twenty CDs with orchestras and small groups,
and has broadcasted in Italy, Switzerland, Austria, Belgium, France,
Yugoslavia, the Vatican, India and Shri Lanka.
With "Verany Disques - Arion", he recorded a CD of pieces from the
"Vincenzo Capirola Lute Book" in 1992 (PV793012), a CD of pieces for lute
and renaissance guitar by the French composer Guillaume Morlaye in 1993
(PV794052) and a third CD of lute pieces by Anthony Holborne in 1995
(PV795112). These solo recordings have been very positively welcomed by
the international press ("5 Diapasons" to Capirola and Morlaye,
"5 Diapasons" and "10 by Repertoire" to Holborne).
Federico Marincola, who is also one of the founders of the Societa'
Italiana del Liuto, uses an instrumental technique which is based on
several treatises and iconographical sources from the 16th and 17th
centuries. He believes that, to give a convincing performance of this
repertoire, it is of paramount importance to have a profound knowledge
of the original fingerings and criteria of interpretation. He also finds
ideas and inspiration for the performance of early music in certain
aspects of the philosophy and astrology of the Renaissance period.
In the last few years he has also turned his attention to the study of
social science: he is convinced that the sociology of music can be a
great help in understanding the "spirit of the age" in which the
different repertoires were produced. In 1994 he was highly commended for
his thesis on the Jesuit opera Apotheosis sive Consecratio SS. Ignatii et
Francisci Xaverii (1622) by Hieronimus Kapsberger, which earned him his
degree in Sociology at the University of Urbino.
Part IV -- 3 Lute Pieces by G. Morlaye in TAB ascii script: Gaillarde, Pava
ne,
Cinquiesme Guaillarde Piemontoise (courtesy of Lyre Music)

To turn these Tab source into beautiful tablatures you will need one of the foll
owing programs,
all available in the Internet:
*Tabdos by Wayne Cripps*. To know more about this program and ascii tab source,
check the following web page: http://www.cs.dartmouth.edu/~wbc/lute/AboutTab.ht
ml
You can download this software from ftp://ftp.cs.dartmouth.edu/pub/lute/DOS.
This directory contains the OS/2 & DOS version of tab version 3.1h
This version is basically obsolete. You can get the new version by contacting
Rainer aus dem Spring at the e-mail address <Rainer.adS.BERA_GmbH@t-online.de>
as he is distributing and supporting the newest windows 95 versions.
*Fronimo by Francesco Tribioli*, for win 3.1 and win 95. It's an EXCELLENT progr
am,
and also supports tab source. You can download the demo version from
ftp://ftp.arcetri.astro.it/pub/fronimo. This is the software that I use.
*String Walker for win 95, by Alain Veylit*, another very good tablature editor
that supports
also tab source. You can download it from http://users.deltanet.com/~alainv/UReg
StrWkr.zip
GOOD LUCK ;-)))!
-------------cut here-------------------------------------------
-t
-f
{Guillaume Morlaye: Gaillarde/}
b
S3
2 a
x c
1 da c
xa d e
b
2cdda
xa
xc
xd
1cd ac
b
2cdda
3a
xc
xd
xc
xa
x d
1acd a
b
1. ddef
2 dd
1 e
b
x da-c
xa d e
xcdda
b
2da c&{
xa
xc
xd }
1cd a
b
b
1cdda
2add a
x c
3 d
x c
x a
x c
b
1. ddef
2 dd
1 e
b
2 aa c
x e
x a
x c
x da c
xa
b
xcd ac
x a
x c
x e
1cdda
b
2ac a
x d
1add a
xacd a
b
2 da c
x a
x d
x c
x abc a
x c
b
2 da c
xa
1 db d
2 caa c
x a
b
b
x e c&{
x a
x c
x d
x caa c
x a
b
1 aaac
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x ee c
b
2 c
x aa
x b
x c
x aab
x c
b
1 abc a
x da c
x aba d
b
2 cdca
x a
x c
x d
x ca--c
x a
b
1 def
x aba d
x cdca
b
2 dda
x b
x a
x c
1 dda
b
x db c
x d
xacd a
b
b
2cdda
3a
xc
xd
xc
xa
x d
2acd a
x d
b
x dbac
x d
x ddca
x c
3 d
x c
x a
x c
b
1. ddef
2 dd
1 e
b
1 da c
x da c
x da c
b
2 cdca
x a
3 c
x a
x c
x d
1 cdca
b
x def
x aba d
x cdca
b
1. ddef
2 f
1 ddef
b
x cdca
x aba d
x da c
b
b
2 cc a
x a
x c
x a
x c
x e
b
2 a d
x a
x aa ec
x c
1 ee c
b
2 c
x aa
x b
x c
1 aabc
b
b
Q
e
-------------cut here-----------------------------------
-t
-f
{Pavane/\(I. 30-30v\)}
b
C
wacdca
b
1acdca
x c
x d
xa
b
x a
xcd
x d
x a
b
x e
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b
2 da c{
x c
x d
xa
x d
x c
x a
x d }
b
1 da c
2 c
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1 c
x a
b
x a
xac
x d
x c
b
b
2acd a
x e
xa
xc
xe
xa
xc
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b
xf a
xe
xf
xh
1f
2e
xf
b
1h a
xf
xe
x h
b
x c
xea
xa c
2c
xe
b
1f de
xe
xc c e
x f
b
x ea c
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xa c e
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b
2 c
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x c
x e
b
b
1 a
xaac
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b
A1
0aacc a
x a
.
b
A2
1 ccca
x d
x a
x c
b
b
2 daa
x c
x a
x c
x d
x a
x c
x d
b
xaaa c
xc
xd
xc
xa
x d
x c
x a
b
1 a
x cdc
x d e
2 a
x c
b
1 d ac
x c
x aa c
x d
b
b
x c ca
x c
x d ac
x a
b
x dcca
2 c
x a
x d
x c
3 d
x c
x a
x c
b
2 dca
x a
x c
x a
x c
x d
x a
x c
b
1 dca
2 d
x c
x a
x d
x c
x a
b
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x a
x c
x e
x c
x a
x e
x c
b
b
1 ca
x e
x a
x c
b
2 aaa
x c
x a
x c
1 a
x c
b
2 aaa
x c
x a
x c
x d
x a
3 c
x a
x c
x d
b
0 aabc
1 c
x aab
b
1 dca
2 c
x d
x a---c
x d
x c
x a
b
x ccca
x a
x c
x d
x a
x c
x a
x d
b
b
x ccca
x a
x c
x d
x a
x c
x d
x a
b
1 a
x cdc
x e
x c
b
x ca
x e
x aa
x c
b
2 aaa
x c
x a
x c
x a
x c
x a
x c
b
1 d a
x a
x a
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b
x c c
x c
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b
x dcca
2 c
x a
x d
x c
3 d
x c
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x c
b
b
0 cdca
x
0
b
Q
e
--------cut here------------------------------
-t
-f
{Guillaume Morlaye: Cinquiesme Guaillarde Piemontoise/Uppsala MS 412, f. 35r}
b
S3
1 dca
2 dca
b
1 bd a
2 bd a
b
2. ab d
3 d
2 b
b
3 d
x b
x a a
x d
x c
x a
b
2 ac a
2. b--a
3 a
b
2 d b
x a---a
x c
b
2. d a
3 d
2 c
b
x d a
1 c
b
2 dca
3 d
2 dca
3 dca
b
b
3. bb d
4 a
3 d
3. b
4 a
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b
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3 a
x d
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b
3 d
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b
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x b
x a
b
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b
2. d a
3 d
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b
2. d a
3 c
x a
x c
b
1 dca
2 d
b
b
x cc a
3 d a
x a
x b
x d
b
2ab--a
3a
xc
xd
xa
b
xf---a
xd
xc
xa
x d
x b
b
3 ab--d
x d
x a
x b
x d---d
x b
b
x a
x d
x a---d
x b
x d
x a
b
2. bb d
3 b
2 c
b
2. bb d
3 c
x a
x c
b
2. d a
3 a
2 bd a
b
b
3 a
x a
x b
x a
x d
x d
b
3a---d
xc
xd
xa
xb---a
xa
b
x d
x b
x a a
x d
x b
x a
b
x ab d
x d
x a
x b
x d---d
xa
b
x d
x b
x a---d
2 b
3 a
b
2. bb d
3 b
2 c
b
x bb d
x c
3 d
x b
b
2 a a d
x b
xa
b
b
3 d
x b
2 a---d
x d a
b
1 ac a
2 c
b
x ac a
3 d a
x a
x b
x d
b
2a---d
3 d
x b
x a a
x d
b
x c
x a
2 ad a
x c
b
2. d a
3 d
2 c
b
x d a
x c
3 d
x b
b
2 a d
x a
3b
xa
b
x d
x b
2 a---d
x d a
b
b
2. c a
3 a
2 c
b
2 ac a
3 b--a
x a
x b
x d
b
2ab a
3 d
x b
x a a
x d
b
x c
x a
2 a
3 d
x c
b
2. d a
3 d
2 c
b
1 d a
x c
b
Q
e
--------cut here------------------------------
######### end of the "LuteBot Quarterly" #3, Summer 1998 ##########
(by Federico Marincola <lute@marincola.com>)