Vivace hh, © Copyright 2005-2008, Viktor van Niekerk(iis) THIS EDITION CAN ONLY BE USED FOR PUBLIC PERFORMANCES, BROADCASTS, RECORDINGS AND SIMILAR PURPOSES IF ARRANGEMENT AND ARRANGER ARE GIVEN CREDITu Notes and Symbols Standard Tuning of the Modern Ten-String Guitar: [Source DO. 0@ O20 Oe ee ‘Adamo Falkenhagen (sic). [6] Sonate Di Liuto Solo: SSSaPrreE Opera Prima. sr Fe Niimberg, [1740]. ‘This edition contains a facsimile of the original tablature fr 13- course baroque lite (pp. 1-2) Guitarists might consider retuming to the original source o devise their own solitons ie tw ye regarding ornamentation, amticlation, and soon Scordatura for this work: ©FFOFHOCOLGHO®O Open and Stopped Basses, Fingering: ‘With regard to the bass notes that are also open strings (eg. G#2 and F#2), the guitarist would be ill-advised to substitute open strings for stopped (je. ‘freted”) basses when the latter are indicated. The fingering has been carefully considered to ensure that dissonances between open, vibrating bass strings are avoided and dampening has been consciously, although not always overtly, factored into the fingering, Where this is not the case (eg. movement in seconds between adjacent strings), itis assumed that the guitarist will know to damp an already vibrating bass string when sounding an adjacent string with either a rest-stroke ofthe thumb (descending), or withthe side ofthe thumb (ascending); or, in other eases, with the heel of the right hand (Co damp multiple strings). Singular forms of dampening are delineated in the score by means of special symbols (eg. [© ). ‘The fingering of the original version for baroque lute hes been considered though it has not always been retained, For example, certain ligatures idiomatic to the tuning of the lute have been reconsidered and replaced by a ligature ad eco (i. across strings). This includes some appoggiaturas (eg. Largo m. 14). Also, a deliberate editorial revision ~ for aesthetic reasons concerning consistency and purty of timbre ~ igatures of the left hand have been removed from appoggiaturas in the slow movement. This does not imply thatthe appoggiatura is to be played as normal notes! The guitarist should take care to affect (by the touch of the right hand) the appropriate articulation/dynamies normally associated with that ornament. That is, the first (often dissonant) note takes an accentual stress, on the beat, and is ted to its resolution on the (Gorter) main note. Once again, the performer is advised to consult the tablature should s/he wish to make a different assessment Interpretation ofthe Omamental Symbols ‘According to Tim Crawford’, “In Adam Falekenhagen’s Sonate, Nuremburg, c. 1740, the two types of mordent are distinguished —the sign. [x] meaning an inverted mordent, but another sign [Ae] for a normal mordent, (The latter sign is so interpreted in an ornament table in Nuremburg Germanisches Moscum MS 274, a manuscript associated with Bayreuth during Falekenhagen’s employment there)” While te editor bas occasionally translated the as an inverted (ie. uppet) mordent (in keeping with the above statement, the context in which the sign sometimes appears evidently indicates a till (see, cg. mm, 17 & 90 of the Allegro un poco, and m, 30 ofthe Vivace).2 With the exception of some (compulsory) omaments indicated by their modern signs, a number of other ‘omaments have been waitten out in the notation. Though written in precise chythms, they are only general ‘puidelines that should be performed more freely in accordance with known baroque style. Also, the editorial interpretations of omaments are only suggestions to comply with historical performance conventions since embellishment (an integral aspect of baroque music) cannot be omitted or subducted, "The performer is advised to consult the Tute tablature to determine his/her own ornatmental embellishments, particularly with regard to the compulsory alteration of the repeated material and, of course, variation from performance to performance. Dynamics / Volume: “Volume rises with rising emotion and relaxes with relaxing emotion. This happens in all music, and its a complete misunderstanding to confine baroque music within a range of what has recently been called terrace dynamics: long stretches of loud or soft flatly sustained.” (Donington 1977: 286) While the present edition includes only those dynamic markings indicated in the original text [and ‘some implied, in square brackets], this should not be taken as suggesting long stretches of terrace dynamics. [Nuances within an indicated dynamic level as well as erescendos and diminuendos are required. Indeed, ‘nuances in dynamics are even desirable for oraments and embellishments, First Movement: ‘This Largo is essentially in the form of a sarabande with its characteristic accentual stress on the second erotchet, Some chords on the second crotchet may be accentuated by arpeggiation not indicated in the text M. 3: The rhythmic notation ofthis bar is but one possible interpretation of the tablature, It may be equally feasible to assimilate the rhythm of the upper voice into that of the middle voice. Alternatively, the rhythm of the middle voice could be over-dotted, among other possibilities. Whatever the solution, the to notes of the upper voice constitute an appoggiatura and must be articulated as such. MM. 8.9: The ‘Scots snaps’ represent a case where over-dotting could be applied. MM. 39-40: For consistency, the player may wish to arpeggiate the chords in the manner of mm. 16-17 Second Movement MM. 16-17: There is logie in the madness of this fingering, Fist, it allows for good string crossing with the right hand fingers (avoiding such faux pas as ascending crossing from m to i). Second, it fees & left hand finger to damp ® (£2) atthe moraent ® (F#2) sounds, avoiding a dissonance. Finally it frees the first and fourth fingers for a fraction of a second to ready themselves for their postion in m. 17 (the fourth finger's barré and the first finger’s stop on ©), MM. 30-33 & 51-60: The appoggiaturas could be embellished (eg, as tills) during the repeat. MM. 39-47: Here the editor has transposed the melody of the bass part in its entirety (Transposition of individual bass notes ~ changing the melodic relation between them — would be unacceptable.) While players with large hands might be able to execute the stretch required to play the basses an octave lower (as in the original), the resultant necessity of then playing the upper voice on a single string would be too great a compromise. Thus, the transposition has, aside from a not so important technical reason, & more significant musical reason: to maintain the campanello effect (.c. overlapping sonorities) of the upper voice (mm, 39-4) ~ effectively a slow and extended mordent over two strings = ‘whose purpose is an intensification and colouration of te texture. M. 66; The appoggiatura on the second crotchet (as in m. 2) is absent in the original, For consistency, the player may wish to add it here, ‘Third Movement: 'M. 5: The editor has, for aesthetic reasons, taken the liberty to ‘correct’ the melodic line of the ‘bassin this bar. The two bass notes of the original scom (Within their melodic context) to be an octave too low, This compromise is evidently due to the otherwise awkward and unidiomatic position the left hand13, fingers would have to take on the lute's fingerboard in order to play the basses at the higher (but rmelodically preferable) octave, Both versions are, however, easly achieved on the guitar and the guitarist ‘may wish to play the original notes by simply changing three ofthe fingering indications. M, 34: Damp ® immediately after sounding © by momentarily returning the thumb to ®. (The same technique is used to damp @ in m. 37.) M. 38: A light rest-stroke (not for articulation) should be used to affect the dampening, After playing ®, the thumb flatens itself against @ and ®, effectively dampening the latter, ‘M. 22 (hinge barré): 1 stops C#2 on ®; on the last quaver, the base (not the tip) of the first finger stops © to play the F#4, The opposite movement is used in mm. 44-45. The base of the first finger stops the #4; this immediately lifts away while the tip of the extended first finger comes down to stop F#2 an ©, ‘M. 39: While it would have been possible to play the bass note of this bar an octave lower (asin the original), the editor has transposed it to maintain consistency between this phrase (answer/tesponse) and the preceding phrase (question/statement) in which the bass note of m. 35 necessarily had to be transposed, ‘Viktor van Nickerk Johannesburg, December 2005 (rev. Sydney, July 2008) © Straube, Rudolf, 1981 [1746]. Due Sdnate a Lino Solo. Tim Crawford ed. Monsco: Chanterelle. ‘Donington, Robert. 1977, The Interpretation of Early Music. New Version. London: Fabe. RH Right Hand. Right hand ornament ~ including ligature ad eco (notes a played over tvo diferent stings). Various fingerings are possible ‘Contract Tet hand fingers as Hinge barré. Part of a left hand finger (osully 1) depresses some strng/s while the est of the finger is lifted away from the remaining strings. required, eande Apoyando and Tirando ext Extend lft hand fingers as required, R Ruormeto/Ripresa A ile return to conclude the movement. pos. ‘The left hand remains in the same position on the neck, © ‘Til (should start on the upper sim. Simile. The fingering is siilor accessory) (o tat ofa preceding section, rc Damp a vibrating string (with the . Mordeat indiated finger, where applicable) 7 Sefnetler (upper morden) b Juxtaposed with (©, indicates the - heel of the right hand, used to damp a vibrating string. ‘Till EDITION CAN ONLY BE USED FOR PUBLIC PERFORMANCES, BROADCASTS, RECORDINGS AND SIMILAR PURPOSES IF ARRANGEMENT AND ARRANGER ARE GIVEN CREDIT,