Dear Ron,
I have no idea what you are talking about. I said nothing about the "meaning" - whatever that is - of the piece. The purpose of my posting obviously was to tell people interested in such funny detaisl that obviously even with printed sources available it is always advisable to cross-check manuscript sources. best wishes, Rainer
On 16.04.2017 17:49, Ron Andrico wrote:
Rainer, you always come up with interesting ideas, and I can hear the "Woods so wild" theme stretching into the second phrase of the section. But you seem to have overlooked the woods for the trees in the title, Pavanne en forme de complainte. Complainte is the French variant of the term, planctus, which implies a song of lamentation that has a long biblical tradition. This is no surprise, since more than half of Vallet's printed output consists of arrangements of the ever popular psalms. Of course, there is the possibility of a lamentation on a non-biblical theme, and the prominent and sustained whingeing of the Earl of Essex was a very popular theme that had what is known as staying power. Dowland wrote several songs on the theme, up to and including the masterful "From silent night, true register of moanes", from A Pilgrimes Solace (1612), the poetry of which Ed Doughtie attributed to the Earl of Essex. As you know, the "Woods so wild" theme was employed as a counter melody in the third strain of "Can shee excuse" from Dowland's First Booke (1597), the tune of which is also known as "The Right Honourable Robert Earle of Essex, high Marshall of England, his Galliard". Vallet was known to have firm connections with English music and English musicians, and he probably had aspirations to move his Protestant self to the court of King James I, to whom he dedicated his lavish Regia Pietas (1620), even instructing Michel le Blon to depict James as the harp-playing psalmist King David in the engraved title plate. So, it is no surprise that Vallet might have borrowed a bit of an English ditty for his Pavanne en forme de complainte, and he may have even stooped to employ the still currently popular Essex theme. But his use of the form of a lamentation should be understood as the framework upon which the bits of tunes are placed in order to really grasp the meaning of the piece. RA __________________________________________________________________ From: lute-...@cs.dartmouth.edu <lute-...@cs.dartmouth.edu> on behalf of Rainer <rads.bera_g...@t-online.de> Sent: Saturday, April 15, 2017 7:21 PM To: Lute net Subject: [LUTE] The woods so wild Dear lute netters, I have recently spent a lot of time studying and editing Vallet's lute music. Of course, I assumed that all concordant versions of his pieces for lute were direct copies form Le Secret des Muses. This is obviously the case with those pieces (dozens) in MS II.B.1 - apparently written by a very competent player. Today I spent several hours studying and playing "Pavanne en forme de complainte" (volume I, page 20 - No. 21 in the CNRS edition) The beginning of the second strain sounds rather familiar: | |\ | |\ | |\ | | | | | | | | |. | | | | | | _____a___c___a______ _f_______a__________________ ____________________ |_c__________________|_____________c___d___a______|____________________ | |_d__________________|_a___________d_______c______|_d_______c___d______ | |_c_______________c__|_____c___________________c__|_____a______________ | |____________________|_a__________________________|_e_______c___a______ | |____________________|____________________________|_________________c__ | //a The first 5 notes in the superius sound (sort of) like the famous citation form "The Woods so Wild" in Dowlands song. However, why five motes only? Now I compared the printed version with the concordant version in Mylius and Schele. Mylius is an almost exact copy of the "original". The version in Schele (page 55) has a strange remark : "Pauana de Nicola Vallet por tresdocte Martin Dalem den 8 april 1614." Most impressive - this tre docte (most learned) Martin Dalem had copied the piece before it was printed. Well, OK - an error. Now let's have a look at the beginning of the second strain in Schele: |\ |\ |\ |\ |\ |\ |\ |\ |\ |\ | |\ | |\ | |\ | |\ | |\ |. | | | | | | | | | _____a___c___a______ _f_______e___c___a______ ________________________ |_c__________________|________________________|_d_______c___d___a______ | |_d__________________|_a___________d_______c__|_a___c___d______________ | |_c_______________c__|_____c__________________|_____________________c__ | |____________________|_a______________________|________________________ | |____________________|________________________|________________________ | //a Here the citation from "the wooods-..." sounds much better. I think these notes are missing in the printed version. Apparently Vallet dedicated the piece to his pupil Martin Dalem and the text should read "Pauana de Nicolas Vallet pour [le] tres docte Martin Dalem en 8 avril 1614." I guess Schele could not read French :) Rainer PS: Nichts Neues unter der Sonne: That the two version differ is already mentioned in Jan Burgers' book. To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html [2]Lute Mail list technical information www.cs.dartmouth.edu Frequently Asked Technical Questions about the lute mail list. getting on and off the list; How do I get on the lute mail list? How do I get off the lute mail list? -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 2. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html