Pieces from the Gdansk Lute Tablature 4022
Magdalena Tomsinska (lute)
rec. 2014, Waterloo, Canada
DUX 1150 [58.15]
This is rare repertoire and with the help of the fascinating
documentation and a beautiful, close recording the music, although slight
in many ways, comes alive. This is aided by clear, warm and precise
playing. We are thus presented with a picture of the type of small-scale
musical entertainment popular in 17th century Poland. In so clearly
a designed programme as that offered here by Magdalena Tomsinska there
can be few criticisms. The results are no doubt enhanced by the performer’s
preparation: she has been researching the manuscript for some years.
To put flesh on the bare bones, you will first notice
that only a few composers’ names are given below. This is partly to
do with the state of the manuscripts which, due to war damage and general
wear and tear, are not always in a complete state. Gdansk is the city
from which the manuscript originates but the dances are from all over
Europe and the collection has a truly international flavour.
It appears that there was a strong English influence. English musicians,
for a number of years, worked in Gdansk hence we have pieces like A
Parlament of Engellant, which uses the tune Nutmeg and Ginger.
Amongst the composers featured is one ‘John Sturt’; I presume
‘Stuart’. The dance called a Duda could well be Hungarian.
In addition there is a Balleto Ungaro. Polish Dances are represented
by titles like Balleto Polacho. German music is represented in the last tracks
with pieces based on Lutheran hymns and an arrangement of a madrigal
by Hassler. There are French pieces, for example the Corente -
a running dance. The word comes from the French verb. Robert Ballard
is the most named composer. He lived about 1575-1650 and was a Parisian
lutenist. He tutored King Louis XIII.
The manuscript numbered 4022 is one of several which are either partially
in existence or complete in some form or another. It has had quite a
chequered history which the notes discuss. It is lucky that it has survived
at all.
Magdalena Tomsinka tells us that because some of the pieces are very
short she has in some cases added variations and in other cases added
opening preludes. You can’t see the join. Examples are the Bergamasca,
a popular dance form with a repeated harmonic pattern. There’s also
a Spagnoleta. The longest piece, at over seven minutes, is entitled
Monÿcha which comprises a set of variations on what was actually
a French tune called ‘Une jeune fillette’.
Some pieces are ‘sine nomine’ and are recognised as such in the listing
although Tomsinska suggests a title and puts the suggestion in brackets.
Tomsinska uses an eight-course lute made in 2000 although she plays
some pieces meant for nine and ten course instruments. The latter became
more common as the seventeenth century progressed. Indeed the long set
of variations and the pieces by Ballard are for such an advanced instrument.
My only surprise and disappointment is that although, as Tomsinska says,
she has only recorded “a small portion of this sizeable repertoire”
the playing time comes in at less than an hour. Surely a few more pieces,
— perhaps some Spanish ones — might have been added.
The essay, as indicated, is clear and useful. There are colour photographs
and nice reproductions of sections of the manuscript. It all adds up
to a very pleasing presentation that more than aids the musical experience.
Gary Higginson
Track-List
1. Anonymous: B.P. (Balletto Polacho no. 34 ) f. 31/2
2. Anonymous: B.P. (Balletto Polacho no. 35) f. 31/3
3. Anonymous: B.P. (Balletto Polacho no. 3) f. 20v/1
4. Anonymous: Balletto de florenza f. 13/2 i/and Cúrrente f. 40/2
5. Alessandro Piccinini: Sarabanda f. 5/2
6. Robert Ballard: [Ba]llet [Ba]lardtus ( an arrangement of the air
de cour Est ce Mars by Guédron) f. 10v/1
7. Robert Ballard: [Coura]nt Bal[lard] f. 8v/1
8. Anonymous: B[alletto]Ungaro f. 42v/2 i/and Haÿdúcken Tanz f. 42v/1
9. Anonymous: Balletto (melodia polska?/ Polish tune?) f. 42v/3
10. Anonymous: Duda f. 46v/1
11. Anonymous: [Preludium] s.n. f. 43/3
12. Anonymous: The Parlament of Engella[n]t (melodia angielska/ English
tune Nutmegs and Ginger) f. 44/3
13. Anonymous: (Be merry lub/or Dargason; melodia angielska/ English
tune) s.n. f. 41v/2
14. Anonymous: [Corente] s.n. f. 40v/3, s.n. f. 43/2, s.n. f. 40v/3
15. Anonymous: B.P. (Balletto Polacho no. 4) f. 21/4
16. Anonymous: B.P. (Balletto Polacho no. 30) f. 30/3
17. Anonymous: (melodia polska?/ Polish tune?) s.n. f. 30/4
17. Robert Ballard: Balardus (courante) f. 1v/1
18. Robert Ballard: (La princesse, courante) s.n. f. 9v/1
19. Robert Ballard: [Cour]ant Bal[lard] f. 8v/2
20. Anonymous: Bergomasco f. 14/3
Anonymous: Monÿcha (wariacje na temat melodii La Monica znanej takze
jako Une jeune fillette/ variations on La Monica also known as Une jeune
fillette) f. 1v/2
21. Anonymous: [Allemande] s.n. f. 43v/2
22. Anonymous: [Jig] s.n. f. 41/2
Anonymous: s.n. f. 47/2 i/and La Spagnoletta f. 14v/3
23. John Sturt: [B]alletto f. 12v/2
24. Gregory Huwet: [Galliarda] s.n. f. 47/3
25. Anonymous: B.P. (Balletto Polacho no. 18) f. 27v/3
26. Anonymous: B.P. (Balletto Polacho no. 40) f. 32/4
27. Anonymous: Júngfraw dein schögestalt erfrewt mich sehr (opracowanie
utworu Hansa Leona Hasslera/ an arrangement of the choral piece by Hans
Leo Hassler) f. 49/4 i/and f. 24/3
28. Anonymous: Allein Gott in der Höh seÿ her (opracowanie hymnu luteranskiego/
an arrangement of the Lutheran hymn) f. 50/3
29. Anonymous: Gott behut dich herchen f. 49v/7
