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

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*** #4, Autumn 1998 ****
*** by Federico Marincola ***
<lute@marincola.com>

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on the lute and its charming literature. Each issue contains
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* To receive the latest issue of the "LuteBot Quarterly",
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* To receive the following past issues of the "LuteBot Quarterly",
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---> 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 instruction" - 1568
(a synopsis, by Ian Harwood)
---> LuteBot Quarterly #3, Summer 1998: The "Honorable homme
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(by F. Marincola)
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| Under the Berne Convention, this document, where not otherwise specified,
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is
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--------------------------------------------------------------------------
*** Table of contents ***
This issue of the "LuteBot Quarterly" is devoted to the Raimondi Manuscript
of the Biblioteca Comunale of Como (Italy)
Foreword by F. Marincola
Part I -- The "Raimondi Manuscript - 1601" an Italian lutebook
(by Franco Pavan)
I.1 -- The Raimondi Manuscript
I.2 -- Index of titles and concordances
I.3 -- List of sources and their abbreviations
I.3.a -- Manuscripts
I.3.b -- Printed books
I.4 -- Bibliography

Part II -- About Franco Pavan
Part III -- About Federico Marincola
Part IV -- 2 Lute Pieces from the Raimondi ms (tab source scripts):
"Toccata" and "Volta in Batteria"
--------------------------------------------------
Foreword -- by F. Marincola
Many years ago (1980) I bought the facsimile edition of the Raimondi
Manuscript. The edition was a REAL paperback, very simple but also
very inexpensive. It was published in the city of Como (Italy) by the
A.M.I.S. - Antiquae Musicae Italicae Studiosi.
Soon this facsimile went out of print, and became a rarity. It's
really a shame, as the manuscript contains a variety of most interesting
lute pieces. Just check "Section I.2 -- Index of titles and concordances"
of this issue of the LuteBot, and you will see.
Well, as I told you the facsimile is out of print, BUT... I managed to get
in touch with the A.M.I.S. of Como (Italy), and they still have some spare
copies of the book ;-).
If you are interested in getting one, just email to this address and ask:
<l.bidoggia@iol.it>. Their homepage is at
http://www.geocities.com/vienna/strasse/6010.
BTW, I have NOTHING to do with this business, and I'm giving this tip
just to help.
As far as I know, music from the Raimondi Manuscript has been
recorded two times:
1) Sandro Volta, an Italian lutenist, recorded an LP about 15 years
ago. That's all I know! I called Sandro some days ago, and he told me
that he lost the only remaining copy of his record, and he even
doesn't remember the name of the record company...
2) Ugo Nastrucci, another friend of mine, last year made a VERY good
CD with a selection of pieces from the manuscript (Ugo Nastrucci -
Lute, "P.P. Raimondo - Libro de' Sonate Diverse", QUADRO FRAME CD
FR9511-2). The email of this record company is <quadroframe@dada.it>,
and their homepage has the following URL: http://www.dada.it/quadroframe.
I don't know how this CD is distributed: if you want to purchase a copy you
better email them and ask.
----------------------------------------------------------------------------
Part I -- The "Raimondi Manuscript - 1601" an Italian lutebook
(by Franco Pavan)
I.1 -- The Raimondi Manuscript
MS 1.1.20 of the Biblioteca Comunale of Como --better known as the
Raimondi manuscript -- is one of the most interesting sources for the
Italian lute repertoire of the early 17th century. It contains 61
pieces, including ricercari of the first half of the 16th century,
toccatas in the late 16th-century style, dances conforming to the new
tastes (volte, correnti, brandi ) alongside the less modern gagliarda,
and finally transcriptions of vocal works.
The volume was compiled, at least in part, by Pietro Paolo Raimondi,
whose handwriting (responsible for adding the date "1 July 1601" to
the fourth fly-leaf of the work) is identified as that of Scribe B.
The facsimile edition of the manuscript was published by A.M.I.S. of
Como in 1980, though unfortunately omitting the second fly-leaf,
where two further names are written: those of Belisario Carcano and
Giovanni Durone Bottigella, who perhaps also added pieces to the
manuscript.
P.P. Raimondi is an interesting figure in the cultural life of
17th century Como. According to research by Oscar Tajetti, he was
probably elected decurion in 1608 and died in 1647. From other
sources we learn that he was a nephew of Ulpiano Volpi, bishop of
Novara, archbishop of Chieti, nunzio at the court of Felipe III in
Spain, a man of consequence at the Vatican, and a distinguished
figure in Como. In 1622 Volpi started erecting a magnificent palace
in the city, to designs by the roman architect Sergio Venturi and
under the supervision of Raimondi himself. Volpi followed the
building operations from Rome, during which time he conducted an
extensive correspondence with Raimondi, who perhaps even designed the
palace's front portal. Today the building houses the Pinacoteca
Civica.
Raimondi had important connections, therefore, in the social circles
where the lute tradition had achieved supreme importance. His
connections with Rome may perhaps also explain the concordances in
the Raimondi MS with pieces either preserved in Roman manuscripts or
in some ways related to the Roman lute school. Of particular
importance are the compositions by "Cavagliere del Leuto", one of
the greatest Italian lutenists who lived in Rome, who died in
Cardinal Montalto's palace in 1608.
Comparing the music in the Raimondi MS to versions of these same
works in other sources, there are significant differences, and we
cannot exclude the possibility that the music reached Raimondi directly
from Rome, via the privileged channel offered by Bishop Volpi.
The Raimondi MS also has concordances with about a dozen Italian
manuscripts of the period, not to mention points of contact with
the very widely known anthology Thesaurus Harmonicus (Cologne, 1603),
compiled by Jean-Baptiste Besard and dedicated to Laurencini.
The earliest pieces in the collection show signs of adaptation to
more contemporary taste in form, range and details of compositional
style, compared to other early sources. Such updating is
particularly conspicuous in the transcriptions of vocal works by
Palestrina and Striggio and in Francesco da Milano's Fantasie.
I.2 -- Index of titles and concordances
Como - I
Biblioteca Comunale Ms. 1.1.20
mm. 165x230
Senza coperta
carta di guardia I : prov[enien]za Raimondi [mano moderna]
Iv : vuoto
IIr : 1609 1406 1569 / Jo Gio : Durone Botigella /Durone [cancellato]/
Bilissario Carcono Bilissario Carcono
IIv-IIIv : vuoto
IVr : + / , 1601 Adi p[rim]o luglio . / Libro de sonate diverse di Pietro
Paolo Raymondo Comascho
IVv : vuoto
Tavola
n. c. titles concordances
1 1 Toccata
2 1v-2r Preambulo
3 2v-3 Corre<n>te Francese Cambridge Dd.9.33, c. 64v ; Hambur
g, p. 56
4 3r Pavaniglia Napoli 7664 c. 5
5 3v-4r Corrente Fran[cese]
6 4v-8v Brandle Paris 941, c.20v ; Besard c. 141v,
Adriaenssen,
c. 91v.
7 8v-9r Volta Francese Krakow 40591, c. 7v,
8 9v-10v Gagliarda Krakow 40032, pp. 334-335 ; with d
ifferent
variations
9 10v-11r Corrente Francese Cambridge Dd. 9.33, c. 57v
10 11v-12r Corrente [cancellato : Gagliarda]
11 12r Passaggio
12 12v-13r Gagliarda
13 13v-14r Volta in Batteria Prague, c. 23v ; Montreal, c. 29 ;
Naples, c.
73v ; Fuhrmann, p. 140
14 14r-15v Brandle .
15 15r Preludio Besard, c. 12v, Prael. Laurenc
16 15v-16r Fuga Mertel, p.152 ; Cherbury, c. 31v,
Prelude Perichon
17 16v-17r Toccata con una fuga Krakow 40032, p. 249
18 17v [without title] same as #17 ; one tone up
19 18r-20v Fuga Attributed to Francesco da Milano
in the ms. owned
by the Archivio del Duomo di Caste
lfranco Veneto,
without call number.
20 21r-22r Gagliarda
21 22v-23r Corrente Franciese Mertel p. 153
22 23v-24r Corrente
[cancellato : Gagliarda] Besard c. 159r
23 24v-25r Balletto Nicolas Vallet, Le Secret des Muse
s, II, p. 1
24 25v-27r Gagliarda
25 27v-29v Fantasia
26/26a 30r-31r Gagliarda
31r-32r Listesso in contraponto
27 32v-33v Volta Franciese
28 33v-34r Corrente Franciese
29 34v-35r Toccata
30 35r-36r Seguita la Fuga
31 36v-37r Volta Franciese Cherbury, c. 29r
32 37v V[olta]
33 38r V[olta] Besard, c. 166r
34 38v-39r V[olta]
35 39v V[olta]
36 40r Entrata p[er] la mano
37 40v V[olta] Besard, c. 162v ; Cherbury. C. 25v
38 41 Corrente
39 41v-42r Toccata
40 42v-43v Paganina
41 43v-44r V[olta]
42 44r-44v anepigrafo
43 45r-45v G[agliarda] Roma 1608, c. 28 ; Besard, c. 110v
;
Perugia c. 84r ; Paris 31, c. 47r
46r blank page
44 46v-49r Fantasia Fronimo, p. 116 ; Besard, c. 26v,
Fantasia
Laurenc[ini]; Dowland, c. 24v
45 49v-50r Toccatta
46 50v-54v Fantasia Krakow 40032, c. 1r [with many var
iants]
47 55r56v Fuga [Francesco da Milano ; see Ness pp
. 108-110] ;
Krakow 40032, p. 220 ; Haslemere,
c. 7 and 18v
48 57r V[olta]
49 57v-58r Toccata di Fil [Filippo Piccinini ?]
50 58v-63r Susanna del Cavagliere [Not the same in Besard, c. 57v]
51 63v-65r Gagliarda del Cavagliere [unicum]
52 65v-66v Toccatta
53 66v-67r Volta Fra[ncese]
54 67v-72r Madrigale Nasce la pena mia [Striggio : not relationship with
Galilei ; Krakow 40032 p. 80 and p
. 124]
55 72r-72v V[olta] Fuhrmann, p. 172, Courante 16 Bocq
ueti
56 73r-73v Gagliarda
57 74r fine della fuga [end of n. 65]
58 74v-75v Ricercata
59 75v-76r Brandle Corrente Besard. C. 157 ; Pesaro b. 10 ; Na
poli, c. 29v
60 76v-77r Volta
61 77v-78r Casandra
62 78v-79r Volta Besard, c. 165
63 79v Cesarina Gagliarda Caroso, Il Ballarino, c. 183 ; Cav
alcanti, c. 8v,
Gagliarda di Santino da Parma Paris 31, c. 36 ; Galilei p. 246
64 80r Volta Franciese Besard, c. 164r ; Cherbury, c. 69r
65 80v-82r Fuga [Francesco da Milano : see Ness p.
105]
66 82v-85r Vestiva i Colli [Palestrina] Krakow 40032, p. 9 and p. 11 ;
Haslemere, c. 20v
67 85v-87r Gagliarda del Cavagliero unicum
68 87v-88r Toccata
69 88v-91r Fantasia
70 91v-93r Gagliarda [section A] Prague, c. 45v, Volte ; Terzi, p.
21,
Balletto Francese

I.3 -- List of sources and their abbreviations
I.3.a -- Manuscripts
Cambridge Dd.9.33 Cambridge University Library, Ms. Dd.9.33,
Cavalcanti Bruxelles, Bibliothque Royale Albert I,
Dpartement de la Musique, Ms. II.275
Cherbury Cambridge, Fitzwilliam Museum Mus. Ms. 689
Galilei Firenze, Biblioteca Nazionale Centrale,
Ms. Anteriori a Galileo 6
Hamburg Hamburg, Statts- und Universitaetsbibliothek,
Ms. M B/2768 [Schele Lute-Book]
Haslemere Haslemere, Carl Dolmetsch Library, Ms. II. C. 23
Krakow 40591 Krakow, Biblioteca Jagellonska, Mus. Ms. 40591
Krakow 40032 Krakow, Biblioteca Jagellonska, Mus. Ms. 40032
Napoli 7664 Napoli, Biblioteca del Conservatorio di Musica
"S. Pietro a Majella", Ms. 7664
Paris 31 Paris, Bibliotheque Nationale, Ms. Mus. Res. Vmd
. 31
Paris 941 Paris, Bibliotheque Nationale, Ms. Fonds Conserv
atorie
National Res. 941.
Perugia Perugia, Archivio di Stato, Fondo Fiumi-Sermatte
i della Genga,
without s.m.
Pesaro b. 10 Pesaro, Biblioteca del Conservatorio di Musica "
G. Rossini",
Rari Ms. b. 10
Prague Prague, Narodni Muzeum, Hudebni Oddeleni, Ms. IV
. G. 18
Roma 1608 Roma, Biblioteca Angelica, Ms. 1608
I.3.b -- Printed books
Adriaenssen, Emanuel Adriaenssen, Pratum Musicum [...], Antwe
rp, 1584
Besard Jean Baptiste Besard, Thesaurus Harmonicus [...]
, Koeln, 1603
Caroso, Fabritio Caroso, Trattato secondo del ballarino
[...],
Venezia, 1581
Dowland, Robert Dowland, A Varietie of Lute Lessons, Lond
on, 1610
Fronimo Vincenzo Galilei, Il Fronimo [...], Venezia, 158
4
Fuhrmann Georg L. Fuhrmann, Testudo Gallo-Germanica, Nure
mberg, 1615
Mertel Elias Mertel, Hortus Musicalis Novus [...], Stra
sbourg, 1615
Terzi Giovanni Antonio Terzi, Il Secondo Libro de Inta
volatura [...],
Venezia, 1599
Nicolas Vallet Nicolas Vallet, Le Secret des Muses, II, Amsterd
am, 1616
MODERN EDITION Arthur J.Ness, The Lute Music of Francesco Canov
a da
Milano (1497-1543), Cambridge, Mass, Harvard Uni
versity Press,
1970
I.4 -- Bibliography

* Pietro Paolo Raimondo, Libro de sonate diverse, Como, A.M.I.S., 1980 [fac-simi
le
reproduction and with an introduction of Oscar Tajetti]
* Gianfranco Caniggia, Il restauro di Palazzo Volpi, Como, Societa' Archeologica
Comense, 1986
* Stefano Della Torre, Carriere ecclesiastiche e committenza in patria : una tr
accia per
il Seicento comasco, in Il Seicento a Como, Como, Musei Civici di Como, 1989,
pp. 11-22
* Dinko Fabris, Prime aggiunte italiane al volume RISM B/VII, Fontes Artis Musicae
, 28,
1982, pp.103-121J.
* Michael Allsen, A Chitarrone and Lute Manuscript for Stefano Pignatelli,
Journal of the Lute Society of America, Volumes XVII & XVIII, 1984 & 1985, pp.
1-25
* Umberto Nensi, Il manoscritto b. 10 del Conservatorio G. Rossini di Pesaro, Il Fr
onimo,
n. 30, 1989, pp. 39-59
* Victor Coelho, The Manuscript Sources of Seventeenth-Century Italian Lute Musi
c, New York,
Garland, 1995, pp. 68-72 ; 246-266
----------------- Part I is copyright of Franco Pavan <f.pavan@iol.it>, 1998 ---
-----------------
Part II -- About Franco Pavan
Franco Pavan studied the lute with Paul Beier in Milan (Italy), at
the Civica Scuola di Musica, where he graduated cum laude in 1994.
As a professional performer, he regularly plays continuo with many
Italian early music groups (La Venexiana, Ensemble Galilei, La
Risonanza, La Cappella della Pieta' de' Turchini, etc.). With these
and other ensembles he has recorded about 20 CDs.
As a soloist he performs a program of French lute music of the 17th
Century.
He graduated, also cum laude, in History of Music at the University
of Milan with a thesis on the life and works of Francesco Canova da
Milano.
Being considered a very active musicologists, he published studies
about the Lute and the early Seicento in Italy.
Here are Franco's addresses, if you want to get in touch with him:
Franco Pavan
via Lovanio, 10
20121 - Milano - Italia
tel.++39-2-6572319
email: f.pavan@iol.it
Franco's electronic brochure can be freely requested by email to the
autoresponder <info-pavan@marincola.com>
---------------------------------------------------------------------
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 -- 2 Lute Pieces from the Raimondi ms (tab source scripts):
"Toccata" and "Volta in Batteria"
To turn these Tab source scripts into beautiful tablatures you will need one of
the
following programs, all available in the Internet:
*Tabdos by Wayne Cripps*. To know more about this program and ascii tab scripts,

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 scripts. You can download the demo version from
ftp://ftp.arcetri.astro.it/pub/fronimo.
*String Walker for win 95, by Alain Veylit*, another very good tablature editor
that supports
also tab source scripts. You can download it from
http://users.deltanet.com/~alainv/URegStrWkr.zip
TO SEE A FACSIMILE OF THESE 2 PIECES IN WEB, copy and paste in your browser
the following URL:
http://www.marincola.com/app_lb4.htm
GOOD LUCK ;-)))!
----------cut here--------------------------------------------------------------
----------
-t
-f
{Toccata/Raimondi ms (1601) 41v-42r}
b
C
0cdda
x a
b
xcdda
xddff
b
1fx
x f
x e
xf
b
1h f
x a.
x d
xf e
b
1d c
2 c
x a.
1 c
xd c
b
1cdda
2a
xc.
1d c
xc a.
b
1a b
2c
xa.
1 da
2a
x d.
b
1 c c
x a
x a
x c a
b
b
2 d c
x a.
x c
x d.
2a e
x c.
x d
xa.
b
1c a
xf
xf
xf d
b
1da
x c.
xcd
x a.
b
1ac
x d.
x d
x d a
b
1 b c
x e
x aa
x c
b
1 ce
x a
x def
x a
b
1 ab d
x d
x d cc
x a.
b
1 dca
2 c
x a.
1 c
x a
b
b
x daa a
xf.
xc
xd.
b
1f
xcd
xda
xac
b
1cd
xda
x c
xcd
b
1a
x cd
x da
x ab
b
1 cd
x a
xcd c
x d
b
1ac a
xf.
xc c
xe.
b
1f a
xc a
x d c
xa e
b
1c a
x d c
xa e
xc aa
b
b
2a a
xc.
xa
x d.
x cd
x d.
xa
x c.
b
2 da
xa.
x d
x c.
x ab
x c.
x d
x a.
b
2 cd
x d.
x c a
x a.
x d c
x a.
x c
x d.
b
2 a d
x c.
x d
x a.
x c a
x d.
xa
x c.
b
1 d a
xf a
xc
xf a
b
1h
x f
xfdaa
x a
b
b
2dab d
x a.
x b
x d.
x a
x d.
x a
x c.
b
2 d d
x c
x d
x a
x c
x a
x c
x e
b
2 a
x c.
x d
xa.
xc
x a
1 c
b
0fdaa
b
b
Q
e
---------------------cut here---------------------------------------------------
-----
-t
-f
{Volta in Batteria/Raimondi ms (1601) 13v-14r}
b
S3
1c a
xa a
x d a
b
1c a
x a
x a
b
2d a
xc.
1a a
x d.a
b
1f a
x a
x a
b
1c a
xa a
x d.a
b
1c a
x a
x a
b
2a a
x d.
x c a
x d.
xa a
x c.
b
1 d a
x a
x a
b
b
2d a
xc.
1a a
2 d a
xa.
b
1c a
x a
x a
b
2d a
xc.
1a a
2c a
xd.
b
1f a
x a
x a
b
2d a
xc.
xa a
xc.
xd a
xa.
b
2c a
xd.
xa a
xc.
xd a
xc.
b
2a a
x d.
x c a
x d.
xa a
x c.
b
1 d a
x a
x a
bb
b
2 a a
x c.
x d a
xa.
xc a
xd.
b
1f a
x a
xh a
b
1d a
x a
xf a
b
1c a
2a a
xc.
1 d a
b
2a a
x d.
xa a
xc.
xd a
xa.
b
1c a
x a
x a
b
2a a
x d.
x c a
x d.
xa a
x c.
b
1 dx a
x a
x a
b
1 d a
xc a
xd a
b
b
1f a
xc a
xh a
b
1d a
xa a
xf a
b
1c a
2a a
xc.
1 d a
b
2a a
x d.
xa a
xc.
xd a
xa.
b
2f a
xd.
xc a
xa.
xd a
xc.
b
2a a
x d.
x c a
x d.
xa a
x c
b
1 d a
x a
x a
bb
Q
e
-------------- cut here ------------------------------------------
######### end of the "LuteBot Quarterly" #4, Autumn 1998 ##########
(by Federico Marincola <lute@marincola.com>)