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he cdítors cornerTheGUITARREVIEWtakes pleasure in presenting this number de-voted to the lute and is grateful to the collaborators who havemade the issue possible. The lute served many purposes in itsday and no study of early music is complete without a knowl-edge of its social significance and rich literature. How beauti-ful this pear-shaped instrument with its decorative sound hole,inlaid neck with frets and elaborate peg boz! Aesthetically thelute appealed to the eye more than any other stringgd instrument. There were treble lutes and bass lutes, archlutes, theor-bos, pandoras, orpharions and citterns (all somewhat differentand yet closely related). It must have required a great deal oftime and patience to master them (indeed one criticism wasthat a player spent half his life tuning the ute and relativelylittle playing it) yet to judge by its popularity, an ertraordinarynumber of people were patient and diligent.

the( VITA RrevievNo. 9 1949

Published bi-monthly and copyright 1949 by The Society of theClassic Guitar (a non-profit membership corporation), 409 East50th Street, New York 22, N. Y.Guest Editors for this issue: Carleton Sprague Smith, SuzanneBloch

Editors: Vladimir Bobri, Gregory d'AlessioAssociate Editors: Sydney Beck, Theodorus M. Hofmeester, Jr.Spanish Editor: Eithne GoldenArt Editor: George GiustiAdvertising: Mirko Markovich, Chauncey leeCirculation: Saul Marantz, Karl NoellYearly subscription (6 issues): $4.50. Single issues: $1.00

The lute was found in all countries of Europe but associatedprimarily with cultivated people; it was not the instrument ofstreet musicians but of trained artists and diseriminating ama-teurs. Lutes were built by craftsmen and it is symbolic thatthose who made the finest stringed instruments (violins, cellos,gambas) were called Luthiers. The best-known makers at thebeginning of the 15th century were found in Northern Italy-Bologna and Venice-while later those in Nürnberg and Ags-burg, Germany, became famous.Foreign: $5.00. Single issues: $1.10 The Venetian publisher, Ottaviano dei Petrucci brought outlute tablatures as early as 1507 and dances of Spanish andItalian origin and transcribed frottoles were soon available inabundance.CONTENTSAmong the early Spanish collections Luys Milán's is the most

fascinating. But other tablatures, by Luis de Narváez, Alonzode Mudarra, Enriquez de Valderrábano, Diego Pisador, Miguelde Fuenllana and Hernando de Cabezón, are equally importantin Italy. Adrian Willaert and Orazio Vicchi were responsiblefor collections of songs accompanied by the lute and there weremasters such as Francesco da Milano (called "N Divino"), Vin-cenzo Galilei (father of the astronomer), Antonio Becchi andSimone Molinaro (1599) who made important contributionsto the literature. Such books on the dance as Cesare Negri'sLE GRATE D'AMORE,NUOVE INVENTIONI DI BALLI and Fabritio Ca-roso'sBALLARINO,all noted in lute tablature, were just as re-markable in a related feld.

George GiustiSaul Marantz

CoverHeadings

ARTICLES

Notes on Archlutes

Decline of the LuteJohn Dowland

Lute Music, its notation and technical problems

Emanuel WinternitzSydney Beck

Alfred J. Swan

in relation to the guitar

Temperament Silhouette

Luys Milán

Francesco Da Milano

An Early Duet for Recorder and lute

The Lute in 16th Century Spain

An Elizabethan Self-Instructor for the Lute

Religious Music and the Lute

DEPARTMENTS

The Editor's Corner

Who's Who Among Our ContributorsA Letter

Suzanne Bloch

Puzant K. Thomajan

Leo Schrade

Joel Newman

Charles Warren Fox

John Ward

Charles Hughes

Carleton Sprague Smith

The Frenchmen, Attaingnant and Ballard were the leadingpublishers in the middle of the 16th century, Guillaume Mor-laye, Bataille and Boësset coming up during the reign of LouisXIII; the great l7th-century French lutenists included DenisGaultier, Charles Mouton and Robert de Visée. In HollandPierre de Teghi, Emanuel Andriaensen, Johannes Thysius,Joachim van den Hoven, Nicholas Vallet and Andrianus Valer-ius stand out while in England we need only mention the namesof Barley, Dowland, Morley, Hume, and Tailour, ending upwith Mace'sMUSICK'SMONUMENT (l676), to show the ertent ofthe feld. Turning to Germany Virdung, Schlick, Newsidler,Kapsberger, Reussner, Sylviuos Leopold Weiss and, of course,Johann Sebastian Bach, led the way. Finally, Count Logi ofAustria and Valentin Bakfark of Hungary were also outstand-ing in their day.

It is impossible to give a history of lute music in one issue ofthis magazine but we believe we have given a good idea of itand thata number of the studies are out of the ordinary. Forinstance, "The Decline of the Lute" by Sydney Beck; "TheLute in 16th-Century Spain," showing how the lute bowed tothe Vihuela and Guitar in Spain, by John Ward and the articleon the lute and religious music by Carleton Sprague Smith,which throw new light on the subject.

Andrés Segovia

SPANISH SUPPLEMENT

Luys Milán, El Vihuelista Leo Schrade

Unsolicited manuscripts, music or drawings will be given careful consid-eration. Any unused items will be returned upon request.

The editors would welcome letters of inquiry about lutemusic and suggestions as to how it can be made more avail-able to guitarists today.