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.
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