Fundorte von Arbeiten von Claude Chauvel, aus diversesten Quellen zusammengestellt von Andreas Schlegel unter Mithilfe von Gérard Rebours, Stefan Hackl, Luise Scheit, ...
1976
Vorwort zum Faksimile von F-Pn Rés. 323 (Manuscrit Barbe, pieces de luth). Genève : Minkoff, 1976. Besprechung durch David J. Buch in: JLSA 1984-1985_XVII-XVIII, S. 133-134: Here, Claude Chauvel provides a short manuscript study in which provenance, dating, repertory, and notational peculiarities are touched upon. In addition to a listing of the pieces in the order that they appear in the manuscript (which is organized by tuning/key), he offers an index by composer and a concordance study comprising only modern editions and facsimiles. Chauvel states that a full concordance study would occupy too much space, but I wonder whether a complete listing of concordances is even a realistic hope at the present time. This repertory is drawn from approximately 200 sources, most of which have never been analyzed or properly catalogued. A few of Mr. Chauvel's more facile assertions might be challenged. He claims that brisé textures in the manuscript are restricted because they go against the "desire for clarity and verticalization of style which tends to dominate towards the end of the century." Yet in Wallace Rave's fine dissertation on the sources of 17th-century French lute music" (strangely ignored by most French lute scholars), the author rightly singles out the addition of séparées to many of the readings. Chauvel also states the lute transcriptions of Lully‘s music brought about "un renouveau d'inspiration non negligeable." However, from all available evidence, the lute was in a period of steadily increasing decline, and the sporadic intabulations of music from the tragedies-lyriques (many of which are artless and insipid caricatures of Lully‘s original music) are symptomatic of creative exhaustion rather than renewed inspiration. Fussnote in Wallace J. Rave: Remarks on Gallot Sources: How Tablatures Differ, in: JLSA 1987-1988_XX-XXI S. 91, Fussnote 3: Paris. Bibl. nat., Rés. 323; facsimile by Minkoff, 1976, as Manuscrit Barbe, pieces de luth. Named after the former owner (see the Introduction by Claude Chauvel) it apparently was compiled ca. 1685-95, or perhaps a bit earlier.
1980
Vorwort zum Faksimile von F-B 279152 & 279153 (Manuscrit Vaudry de Saizenay. Tablature de luth et de théorbe), Genève : Minkoff 1980 Fussnote in Wallace J. Rave: Remarks on Gallot Sources: How Tablatures Differ, in: JLSA 1987-1988_XX-XXI S. 87, Fussnote 1: Manuscrit Vaudry de Saizenay. Tablature de luth et de Théorbe (Geneva, 1980). The informative introduction by Claude Chauvel should be consulted. S. 88, Fussnote 2: In the introduction, Chauvel asserts the presence of four hands but does not specify the locations of their respective entries. Feruccio Busoni 1984 Vorwort zum Faksimile von Angela Michele Bartolotti: Libro primo et secondo di chitarra spagnola. Genève : Minkoff 1984. Besprechung durch Wallace Rave in: LSAQ 1989 No. 2, S. 24: Finally, it has to be said that Claude Chauvel’s introductory notes are very informative and beautifully written. They evidently spring from a deep knowledge of this music.
1988
CD-Booklet zu Hopkinson Smith: Pièces de luth du Vieux Gaultier, Astrée Auvidis E 8703. Besprechung durch Wallace Rave in: LSAQ 1989 No. 2, S. 24-25: Inaccuracy mars the liner notes, however, not so much the French original as the translation, which obscures and confuses more than once. At one point (p. ll) the translation claims that vieux Gautier’s pieces ---» all written in “old tune” (sic) -- are attributed only to “Gautier.” What the French language original correctly claims is that, besides a hundred or so vieux Gautier works in the new d minor tuning, there exists a number of pieces in old tuning -- that is, the common sixteenth century tuning -- which are attributed only to “Gautier.” In short, read the French original, if you can; although laced with abundant speculation about both music and life of Gautier, Claude Chauvel makes cogent remarks about style and specific works.
1988
Vorwort zum Faksimile von Michelangnolo Galilei, Il primo libro d’intavolatura di liuto, München, 1620, Genève : Minkoff 1988. Besprechung von Scott Pauly in: LSAQ 1990 No. 2 & 3, S. 29-30: Here, Claude Chauvel provides a short manuscript study in which provenance, dating, repertory, and notational peculiarities are touched upon. In addition to a listing of the pieces in the order that they appear in the manuscript (which is organized by tuning/key), he offers an index by composer and a concordance study comprising only modern editions and facsimiles. Chauvel states that a full concordance study would occupy too much space, but I wonder whether a complete listing of concordances is even a realistic hope at the present time. This repertory is drawn from approximately 200 sources, most of which have never been analyzed or properly catalogued. A few of Mr. Chauvel's more facile assertions might be challenged. He claims that brisé textures in the manuscript are restricted because they go against the "desire for clarity and verticalization of style which tends to dominate towards the end of the century." Yet in Wallace Rave's fine dissertation on the sources of 17th-century French lute music" (strangely ignored by most French lute scholars), the author rightly singles out the addition of séparées to many of the readings. Chauvel also states the lute transcriptions of Lully‘s music brought about "un renouveau d'inspiration non negligeable." However, from all available evidence, the lute was in a period of steadily increasing decline, and the sporadic intabulations of music from the tragedies-lyriques (many of which are artless and insipid caricatures of Lully‘s original music) are symptomatic of creative exhaustion rather than renewed inspiration.
1988
Index zum revidierten und korrigierten Faksimile von Francesco da Milano, Intavolatura de viola o vero lauto, libro primo, libro secondo, Naples 1536, Genève : Minkoff, 1988.
1989
Andreas Schlegel: Bemerkungen zur "Rhétorique des dieux" Zweiter Teil: die Tabulatureinträge vor dem stilistischen Hintergrund der französischen Lautenmusik des 17. Jahrhunderts, in: Gitarre & Laute 3/1989 S. 23, Fussnote 10: Bei Minkoff erschien vor kurzer Zeit ein Faksimile, das die vom damaligen Besitzer des Londoner Exemplars - Albertus Werl - notierten Stücke in der bekannten Qualität des Genfer Verlags lesbar macht. Claude Chauvel schrieb ein sehr lesenswertes Vorwort. Den heute erhaltenen Rest des "Ms.Werl", das ursprünglich den Druck sowie 91 Blatt in demselben Format umfaßte, wird der heutige Besitzer Robert Spencer in Kürze als Faksimile erscheinen lassen.
1990
CD-Booklet zu Hopkinson Smith: S. L. Weiss, Pièces de Luth, Astreé 8718.
1992
Michael Treder: Album für die Laute. Manuskript AUS-LHD 243. Musik für die Barocklaute von Jean Berdolde Bernard Bleystein de Prage, Ennemond Gautier („Gautier de Vienne“), Achatius/Achaz Casimir Huelse (Hültz), Germain Pinel, Esaias Reusner u.a., Lübeck : TREE 2013, S. 9, Fussnote 12: Auf diesen mit einem Eintrag von Steven Stubbs aus dem Jahr 1987 beginnenden und dem Eintrag von Claude Chauvel im Jahr 1992 endenden Notizen (2 Blätter) geht es vor allem um die Frage, welche Stimmung die Laute erfordert, um die Stücke zu spielen (durchgängig D-Dur), um die Identifizierung der Komponisten (auch „Logis“ = Johann Anton Graf Logy – siehe folgend - wird ins Spiel gebracht) und die zeitliche Einordnung (um 1700).
1993
THE GOËSS MANUSCRIPTS (1979 entdeckt, nach und nach von Albert Reyerman herausgegeben), General preface by Tim Crawford, London, 1993): The three viol tablatures were catalogued from microfilm by Gordon Dodd in England, and in 1986 the present writer visited Schloss Ebenthal with Albert Reyerman in order to carry out a more detailed examination of the manuscripts; the assistance of Claude Chauvel and David Ledbetter has since been invaluable in preparing concordance lists.
1993
CD-Booklet zu Hopkinson Smith: Jean-Sébastien Bach, Suites pour luth baroque, BWV 1010 and BWV 1012, Astrée Auvidis E 8744; Besprechung von Edward Martin in: LSAQ 1994 No. 2, S. 26-27: Hopkinson Smith’s transcriptions are very well done using both good taste and intelligence. Also well done are Claude Chauvel’s program notes. They are well written, informative and convincing.
1994
Jacques de Gallot, Pièces de luth, CD-Booklet zu Hopkinson Smith - Laute, Astrée Auvidis E 8528
1998
Vortrag “Quelques aspects de la renaissance du luth dans les pays germaniques", abgedruckt in: Luths et Luthistes en Occident, Actes du Colloque 13-15, Mai 1998. Paris, Cité de la Musique, 1999. Deutsche Übersetzung als Vortrag gehalten am 14. März 1999 in Basel anlässlich des Festivals der Laute der Deutschen Lautengesellschaft; Überarbeitung und Ergänzung des deutschen Manuskripts in Zusammenarbeit mit Andreas Schlegel, Joachim Lüdtke und Rainer Stelle ab ca. 2015.
1999
CD-Booklet zu Hopkinson Smith, Chiara Banchini, David Plantier, David Courvoisier, Roel Dieltiens: Lautenkonzerte. Concerti pour luth. Fasch, Haydn, Kohaut, Hagen, Auvidis-Astrée / WDR, E 8641
1999
Vortrag, gehalten anlässlich des Festivals der Laute in Basel, 14. März 1999: Die Rolle der deutschsprachigen Länder in der Wiederentdeckung und in der Renaissance der Laute (ca. 1830 – 1950)
2001
CHAUVEL, Claude: Bittner. In: SADIE, Stanley/TYRELL, John (Hrsg.): The New Grove. Dictionary of Music and Musicians, II. Edition, London 2001, Vol. 3, S. 638 “Tablature: Alternate music notations 1300-1750”, CESR in Tours (erscheint 2022) Andreas Schlegel in Beispiel Jacques Bittner, Sarabande, aus: Pieces de Lut Composées par Mr: Jacques Bittner. Dediées à Monsieur Piere Pedroni de Treÿenfels. (s.l. =Nuremberg?, 1682), pp. 24-29. Chauvel 2001 put Büttner in the Austro-Bohemian circle because of the engraver, Ger. de Groot, and the recipient of the dedication, banker Peter Pedroni, who both are known from their activities in Prag.
2002
LSA Quarterly August & November, 2002, S. 35 Recently the French lute scholar Claude Chauvel discovered Christian Cajetan to have been a brother of the Count Hartig who founded a musical academy in Prague in 1713, and whom Weiss must have associated with in his visits to Prague.
2002
Pierre Attaingnant. Libraire et imprimeur du Roy en musique, CD-Booklet zu Hopkinson Smith, Astrée naïve E 8854
2009
JLSA 2009-2010_XLII-XLIII, S. 92: Andreas Schlegel: On Lute Sources and Their Music—Individuality of Prints and Variability of Music, S. 92: Whoever looks at one of the remaining copies of Fuhrmann’s Testudo Gallo-Germanica of 1615, may or may not find the translation of Francisque’s instructions. In the only surviving original print of Francisque (1600), these instructions were not added. However, in translated form, they are included in the Fuhrmann specimens in PL-Kj and D-Mbs, but not in the copy in D-LEm, which today is available in a facsimile edition.2 ‘Antoine Francisque, Le tresor d'Orphée (Paris: Ballard, 1600); facs. ed., Geneve: Minkoff, 1973. I owe this information to Claude Chauvel, who is involved in the cataloguing project as an advisor.
2011
Claude Chauvel, Besprechung Schlegel & Lüdtke, Die Laute in Europa 2, in: Lauten-Info 2011 / 3, S. 25
2015
Lute News 121, April 2017, S. 37: Andreas Schlegel: The Story behind the Dohna Waissel prints During a discussion with Claude Chauvel, in Bordeaux in 2015 concerning the lute stringing chart found a copy on Denis Gaultier’s ‘Pieces de luth’ (see Lute News 107, 108, 112–114) he told me about two lutes belonging to the Dohna family and kept in their ancestral home, Schlobitten castle, which the late Karl Scheidt had seen on a visit there during the 1930s. Scheidt thought that they might still have had their original strings.
2020
Lute News 133, April 2020, S. 76: Memoirs of Herbert of Cherbury in French Many thanks to Claude Chauvel for pointing out that there is a 19th century French translation of the memoirs of Lord Herbert of Cherbury, made by historian and anglophile the Comte de Baillon. At the time of writing there is a copy of the Mémoires de Edouard Lord Herbert de Cherbury on sale via Arobase Livres in Perpignan, which would be available on Abe Books website—but there would be copies in the bigger French libraries too, I am sure.
2021
Lute News 140, December 2021, S. 45: We have recently heard of the death of the French musicologist Claude Chauvel, a major figure of the lute revival. He certainly deserves an obituary, and we will endeavour to have one translated.
2021
Chauvel, Claude: Erinnerungen an Walter Gerwig, in: Dieter Kirsch & Sigrid Wirth: Der Lautenist Walter Gerwig. Biografie, Frankfurt am Main 2022 (Deutsche Lautengesellschaft), S. 278-280.
In diesem Buch finden sich auch auf S. 214, 219 und 278 Fotografien, auf denen Claude Chauvel 1961 und 1963 zu sehen ist.
2022 (voraussichtlich)
Posthume Publikation des überarbeiteten Aufsatzes von 1998/99 in der von Claude Chauvel, Andreas Schlegel, Joachim Lüdtke und Rainer Stelle 2017 überarbeiteten und 2022 von Andreas Schlegel erneut ergänzten und überarbeiteten Fassung.
