Corrections and Contributors Honor Roll

I would like to acknowledge the following people who have made valuable corrections and other contributions to this website:

• , for pointing out a missing file in Bossinensis v.1.
• , for help in figuring out the meaning of the red notes in the Eysert Lute Book and for help with finding a good facsimile source for Reymann’s Noctes Musicae“.
• , for pointing out that “O Mistress Mine” is not originally by Byrd or Morley, but anonymous and arranged by each of them. Also for helping to suss out the composer in the Krakow lute ms (c1600), f.75v.
• , for corrections to Francisque’s Branle Gay 1.
• , for correcting several errors in Dowland’s Fantasy 73, one in Holborne’s  As it fell , and several more in one of Robert Johnson’s Pavanes in the John Sturt Lute book. Also a correction to Francesco da Milano #81.
• , for noticing that I put Händel Trio Sonata in F under “Bach” as well as Händel. Also for some needed corrections to Piccinini 1639 #30 Passacaglia, and for correcting a mis-filing of Vallet Secret of the Muses under Rippe.
• , for corrections to Lord Chamberlain’s Galliard, to the simple version of Willoughby, to one of Bianchini’s saltarelli, and to a Morlaye gaillard.
• , for contributing Spinacino Ricercar 16 from Intabulatura de leuto, v. 1.
• , for correcting a wrong link to Mudarra’s “Claros y frescos rios” (two PDF files).
• , for pointing out some missing pieces from my edition of the John Sturt Lute Book.
• , for identifying “O du fröliche” variations as such. Also for excellent work in intabulating several volumes of lute books by Hans Newsidler, Hans Gerle, Bernhard Jobin, and Wolff Heckel.
• , for a correction to a pavane by Lushier from CUL Dd.9.33.c. Also for a correction to a Josquin piece from the Herwarth MS, #57., another correction to Judenkoenig “Trop Plus Secret” from Ein schoene kunstliche underweisung(1523), another to a ricercar by Melchior de Barberiis, and several corrections to CUL ms Nn.6.36b, #75: Andrew Marks Pavane.
• , For corrections to Holborne’s “Fairy Round” Galliard.
• for providing me with many helpful facsimiles during the early days of my website.
• , for correcting a mis-naming of Beck’s “Nathaniel Gordon” as Tarphicken. Also for correcting an error in a Gaultier courante from the ML (John Sturt) lute book.
• , for corrections to the date in my edition of Judenkoenig’s 1523 publication,for corrections to some Robert Johnson files, and for corrections to my Herbert of Cherbury edition, #s 30 and 92.
• , for contributing intabulations of keyboard pieces from the Lochamer Liederbuch.
• , for corrections to Zamboni Sonata IX.
• , for many contributions to this site, including the Capirola MS and many pieces from Fronimo Dialogo, as well as edited midi files from Fronimo.
• , for turning me on to the poetry of Clément Marot, whose poetry appears in several of the songs in the Attaingnant collection. This allowed me to add some otherwise missing stanzas and to give Marot proper credit in my editions.
• , for his correction on Hewet’s Fantasy from “Varietie of Lute Lessons”, for a correction to Bacheler Pavane 2, and for help in figuring out a cryptic note in Capirola Padoana alla francese.
• , for pointing out that Ortiz‘ Recercada 3 was mislabeled as Recercada 2, being a duplicate of Recercada 3.
• , for correcting the first name of composer Reymann from Matthias to Matthäus.
• , for translating Milan’s notes to pieces in El Maestro and for a corrections to Robert Ballard’s Branle de Village #4 and La Rossignol lute duet.
• , for contributing a diagram of scordatura tuning in Dalza.
• , who kindly sent me portions of his 1997 PhD dissertation on the Cavalcanti MS.   This dissertation contained invaluable information on composer names and the location of vocal models.
• He also helped me unlock an old mystery concerning the 1511 Bossinensis frottola “Quando adaratu al monte“, which I had stewed over for years.
  
• , for corrections to Narvaez’s version of Milles Regretz in Los Seys Libro del Delphin (1538), to Besard’s song, “Quelle divinité s’imprime”  from Thesaurus Harmonicus, v.4, to Bonny Sweete Boy from Cambridge University Library Dd.2.11(B), and to Drewries Accords from the Pickering Lute Book.  Also, for several corrections to Milano fantasies and to Holborne’s “Fairy Round Galliard”, as well as for correcting an error in Da Crema’s 13th Ricercar from his Intabolature di lauto
• , for contributing the Duke of Somerset’s reverie and also Dowland’s Adew, for viol and lute.
• , for correcting a broken link to Marincola’s translation of the text at the beginning of Capirola’s lute book.
• , for a correction to a Dalza piva.
• , for corrections to Milano Ricercars #32 and #46.
• , for help on Fuenllana notations and for translating some key passages in Orphenica Lyra, as well as providing helpful information about Vincenzo Galilei’s 1984 autograph MS, “Libro d’intavolatura di liuto”.
• , for pointing out a missing piece (#7) in Milano and Fiorentino Intabolatura de Lauto, v.3 (1547).
• , for correcting an error in Dowland’s version of “In darkness let me dwell“.  The error was actually in the original bass line.
• , for correcting an error in Thomas Campion’s “When thou must home”. Also for correcting errors in a Rosseter Galliard from Pickering f.26 and in Rosseter’s “Whether men do laugh or weep”. Also for correcting an error in Dowland’s “Sleep, wayward thoughts” and errors in Thomas Ford’s “Now I see thy looks were feigned“.
• , for correcting errors in Dowland’s “Farewell, unkind, farewell” and “Love stood amazed“.
• , for help with sussing out rhythm flags in Heckel’s Tenor Lautten Buch.
• , for a correction to Dowland “If my complaints”, and for one to Milán’s Fantasy 8.
• , For a valuable suggestion for improving this web page.
• , for adding 120 pieces to the edition of  the Harwarth Lute MS!
• , for supplying a missing piece, “Mein Fleiß und Müh”, from the beginning of Mus MS 1512. Also for providing the original composer name for. Also, for supplying titles for 2 pieces in BSB ms. 267. #43 Benedictus from MS.res 429, and for supplying the title and composer for a piece in the Cavalcanti Lute Book and adding one piece that was conflated with its predecessor. Also for help in figuring out composer names in the Fabricius Lute Book, and for correcting the title of a handwritten piece (D’amour je suis desheritée) in Hans Newsidler  Ein Newgeordnet Kunstlich Lautenbuch, v.2.
• ,  for help in elucidating the issue of split courses in Bakfark’s Harmoniarum Musicarum.
• ,  for correcting a mistake in ms.BB.12150, 4. Cantate Domino, in University and State Library of Saxony-Anhalt.
• ,  for correcting a mistake in Capirola, #14: Sancta Trinitas.
• , for pointing out a duplicated piece in Vincenzo Galilei’s “Contrapunti”.
• , for contributing a facsimile of Kapsberger’s Intavolatura di Liuto, v.1 and several other needed facsimiles, as well as finding a treble part for John Johnson’s “Good night and good rest” duet. (1611) and for pointing out that galliard on f. g1v from Thomas Robinson’s “Schoole of Musicke” was duplicated and misattributed to Robert Johnson in another part of my site. Fernando also contributed some beautiful reconstructions of pages from Barbetta (1582) that were torn.
• , for correcting errors in the Dowland solo, 05_a fancy , and for corrections to Knight of the lute fantasy from Varietie of Lute Lessons.
• , for correcting an error to Amarilli, mia bella in Robert Dowland’s A Musicall Banquet.
• , for correcting formatting errors in certain files.
• , for a correction to Book 1, #1 of Orphenica Lyra, Pleni, from Missa Hercules of Josquin and a correction to Milan “El Maestro”, Fantasia 14.
• , for the many valuable intabulations he has done, over the years.
• , for help in figuring out the meaning of the red notes and with a few corrections to the Eysert Lute Book, for help in figuring out a cryptic note in Capirola Padoana alla francese, and for corrections to Passamezzo 3 in Mathias Reymann Noctes Musicae. Also for helping to suss out the composer in the Krakow lute ms (c1600), f.75v.
• , for a correction to Dowland’s “To ask for all thy love” (4th Book of Ayres) and to “Semper Dowland semper dolens” (Lachrimae)
• , for corrections to Narvaez’ Y la mi cinta dorado.
• , for corrections to Saltarello 48 of da Crema.
• , for filling in many missing Dowland solo pieces.
• , for corrections to Dowland’s La mia Barbara.
• , for valuable help in deciphering the German tab of the Dlugorai Lute Book.
• , for pointing out that the file milano_022 is the same as milano_020 in the Milano directory. This has been corrected.
• , for supplying the attribution of the piece “Herr, nun selbst den Wagen halt” in Mus.ms.40588 of the Berlin State Library.
• , for helping with Fuenllana notations and corrections to Fuenllana’s 2-part version of Josquin’s “Fecit Potentiam” in Book 1 of Orphenica Lyra.
• , for correcting an error in Spinacino’s La Mignonne de Fortune and a correction to an anonymous pavane in CUL Dd.5.78.3.
• , for correcting an error in Dowland’s Lady Laiton’s Almain.
• , for contributing a relatively clean copy of Cambridge University Library MS Nn.6.36 to my collection of facsimiles. Other copies were missing most of the first staff on each page. Neil has also been very helpful in solving issues with the pieces in this source, as well as providing the source facsimile for Kapsberger’s “Intavolatura di lauto, v.1” and helpful suggestions for my edition of this work on interpreting the rhythms. Also, his advice and input has been invaluable in working out many pieces by Daniel Bacheler, as well as solving a difficult puzzle in #63 of the Cavalcanti Lute Book.
•  for correction of a mislabeling of Dowland solo #38: “Viscount Lisle’s Galliard” as #37: “Lord Chamberlain’s Galliard”. Also for corrections to Dowland’s “Come heavy sleep” and “La mia Barbara”.
• , for invaluable information on terminology and naming conventions, as well as for interpretation of clef signs in tablature and help with split courses in Bakfark (any errors, though, are my responsibility). Also for help in understanding the de Bellis and Doni lute MS notations and pointing out helpful references. And for helping in many other ways, over the years.
• for making corrections to the Craus lute ms (>1540). Also for helping to suss out the composer in the Krakow lute ms (c1600), f.75v.
• , for correcting an error in Narvaez v.2 09 mode 1 fantasy, bar 40, 2 errors in CUL Dd.2.11, #98 Fantasy, an error in the same piece in the Hirsch lute book (f. 37), for providing a link to Adriaenssen Novum Pratum Musicum (1584), and some help in making sense of a piece (#27 Canario) from the Cavalcanti Lute Book. Also for major help in tracking down composer names in the Herwarth MS (#266).
• , for invaluable help in parsing out the repeat structure and text underlay in the frottole contained in Bossinensis’ Tenori e contrabassi , v.1 (1509).
• , for help in translating a Latin inscription from the beginning of the  Eysert Lute Book (c.1600).
• , for corrections to Belle qui m’avez blessé and for contributing several airs de cour and 10-course lute pieces to the site.
• , for corrections to Milano’s Fantasy 33 and to one of the exercises.
• , for a correction to dall’Aquila’s Ricercare 33, to Piccinini’s #25 “Aria di Sarabanda”, to da Crema’s #27 “Bayses moy“, to “Gray’s Inn masque” from the Margaret Board lute book, to #s 5, 13, 22, 40. 4, 55, and 76 of the Doni Lute MS. Also for encoding and contributing the entirety of a lute book “Il liuto” (1650) by Bernardo Gianoncelli.
• , For suppling a mensural version of Pierre Guédron’s “Mon âme est si fort blessée”, from which I could construct a lute song. Also for assisting in many other ways.
• , For a correction to the bass part of Ferrabosco’s “Come my Celia”.
• , for a reconstruction of a Francesco da Milano ricercar from the damaged Castelfranco MS and with locating sources for the Milano collection.  Also for invaluable help in locating and discussing the de Bellis lute MS (1615) the Doni MS (1640), and invaluable help in finding sources for the Milano collection, for help with figuring out rhythm flags in Heckel’s Tenor Lautten Buch, and for directing me to John Ward’s article, JLSA 10 (1977 Appendix S , pp. 138-139, for help in identifying the English pieces in the Eysert Lute Book.
• , for unlocking the mystery of the tuning of John Sturt Lute book f.33v allemande duet and for many other contributions to this website.
• , for the many, many times–over many, many years–he has helped me by answering technical and programming questions in support of my website. Without his help, this website and my whole enterprise of making lute music available online would not have happened.
• , For some valuable corrections to my edition of Valderrábano’s “Silva de Sirenas”.
• , for many contributions to this website, including several of his own compositions for lute and several pieces from the Lochamer Liederbuch.
• , for valuable help in figuring out rhythm flags in Heckel Tenor Lautten Buch, and for a correction to the same.
• , for contributing a charming set of pieces newly composed in renaissance style for 6-course lute.
• , for a substantial correction to Robert Ballard’s Branle de village #4,
• , for corrections to Campion’s “The man of life upright”, and John Danyel’s      “Rosamund“.
• , for invaluable help sussing out notations in the de Bellis MS and the Doni MS (1640).
• , for correcting an error in John Danyel’s lute song, “Like as the lute delights“.
• , for pointing out that “La Alfonsina” was composed by Johannes Ghiselin, not Hayne von Ghizehem.
• ,  for corrections to Dowland’s “Awake Sweet Love” and “Away with those self-loving lads“.
• , for pointing out many broken links on the site.
• , for correcting errors in my edition of Terzi, Libro Primo (1593).
• , for a correction and addition to Capirola’s Ricercar 1.
• , for a correction to #28 “Hoc signum crucis” from Berlin State Library mus.ms.40632 and many corrections in the Donaueschingen, Dlugorai, and Wurstisen MSS.
• , for pointing out that Milano’s Ricercar 1 on my site was incomplete and for corrections to Milano Ricercar #85. Also for making corrections to Dowland’s “What poor astronomers are they“. and for a correction to Robert Johnson’s “Full Fathom Five“.
• Carlo Stringhi, for encoding many of the pieces in the Milano collection and other pieces.
• , for corrections to a galliard by Ferrabosco and for help in interpreting clef signs in tablature. Also for help sussing out the de Bellis and Doni MSS.
• ,  for a correction to Valderrábano’s “Con que la lavoré”.
• ,  for a suggested addition to the anonymous pavane #225 from CUL Dd .2.11, f. 68v.
• , for corrections to, and 8-Course version of, Dowland’s Mrs. Vaux’ Jig and corrections to a dance in Mus MS 1512, Dowland’s Lady Hunsdon’s puff, and Bakfark’s intabulation of Je prens en gré.
• , for multiple corrections to my edition of CUL Dd.2.11. This was truly a spectacular job that obviously took a lot of work.
• , for his beautiful edition of the Herbert of Cherbury MS.  Since the facsimile is of poor quality, it has been very helpful to compare with Alain’s reading of symbols in the MS that are ambiguous or hard to make out.
• , for corrections of multiple errors in my edition of M. Galilei’s Book 1.
• , for a correction to Dowland’s Lady Laiton’s Almayne.
• , for pointing out a missing page in M. Galilei Primo Libro (1620), .
• , for corrections to Dalza’s Pavana alla Venetiana 1.
• , for corrections to Dowland “If my complaints” and “Rest awhile, you cruel cares”.  Also for contributing “Miserere, my Maker“.
• , for corrections to my edition of Bakfark’s “Ultimi mei sospiri”, in Bakfark’s 1552 “Intabulatura”. Also for corrections and additions to Philip van Wilder’s “Arthur’s Dump“, from the  Marsh Lute Book and corrections to Pilkington’s Funeral.
• , for pointing out two missing pieces from Molinaro’s 1599 “Intavolatura di liuto”. 
• , for making a correction to Vincenzo Galilei’s 1584 Libro d’intavolatura di liuto, v.1, Romanesca 11.
• , for corrections to Praeludium 1 from Matthäus Waissel’s 1573 volume.