> Begin forwarded message: > > From: "jmpoirier2" <jmpoiri...@wanadoo.fr> > To: Martyn Hodgson <hodgsonmar...@yahoo.co.uk>, Ron Andrico > <praelu...@hotmail.com>, Thomas Walker <twlute...@hotmail.com>, > lute@cs.dartmouth.edu <lute@cs.dartmouth.edu> > Subject: Re: [LUTE] Re: those sarabands > Date: December 17, 2014 at 4:23:40 AM EST > > I think Thomas was questioning the existing contemporary sources to choose a > correct tempo for the saraband in the 1630s. > To my knowledge Mersenne is the only one to address this question when he > recapitulates all the dance movements of his time (1636) and his indications > point towards a brisk tempo, exactly like English sarabands at the same time; > Locke always indicate "brisk" for his sarabands for instance. > Best wishes to all > Jean-Marie > > ------ Original Message ------ > From: Martyn Hodgson > Date: 17/12/2014 9:53 > To: Ron Andrico;Thomas Walker;lute@cs.dartmouth.edu; > Subject: [LUTE] Re: those sarabands > > Do you really mean to say that the tempo of a dance played on, say, the > lute has no relationship whatsoever to the tempo at which > contemporaries actually danced it? > MH > __________________________________________________________________ > > From: Ron Andrico > To: Thomas Walker ; "lute@cs.dartmouth.edu" > > Sent: Tuesday, 16 December 2014, 20:55 > Subject: [LUTE] Re: those sarabands > Hello Thomas: > A good modernish source of information can be found in D. J. Buch, > "The > Influence of the Ballet de cour in the Genesis of the French Baroque > Suite," Acta Musicologica, Vol. 57, Fasc. 1 (Jan. - Jun., 1985), pp. > 94-109. The saraband is discussed on page 102. > Since so much 17th-century lute music consisted of boiled-down > versions > of popular dance tunes, it important to know how a particular dance > worked in it's original context. Then one has to realize that, since > lutes are and were inaudible when dancer's feet scrape the floor, the > music is adapted and performed in whatever manner the player wishes. > RA > > Date: Mon, 15 Dec 2014 14:03:13 -0600 > > To: [1]lute@cs.dartmouth.edu > > From: [2]twlute...@hotmail.com > > Subject: [LUTE] those sarabands > > > > Greetings all-- > > I know the sarabande was originally a lively ditty which morphed > pretty > > thoroughly by the late 17th century. I have a question about the > > middle ground, in particular the sarabandes found in Ballard's > prints > > from the 1630s, though. Many seem to "work" whether played lively > or > > stately, and I know of an old Bailes recording where he positively > > burns through a sarabande by Mesangeau. I also have played > sarabands > > in ensemble works by Jenkins et al that demanded a lively reading. > > The question is, what textual evidence do we have for expected > tempi > of > > sarabandes of the French school 1610-1640? > > Thank you kindly, > > Thomas Walker, Jr. > > > > -- > > > > > > To get on or off this list see list information at > > [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > -- > > -- > > References > > 1. file://localhost/net/people/lute-arc/L10273-6162TMP.html > 2. file://localhost/net/people/lute-arc/L10273-6162TMP.html > 3. file://localhost/net/people/lute-arc/L10273-6162TMP.html >
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