I think Lex is trying to argue that the "French" tuning originated with
Carre and Corbetta just copied it because he thought this would make his
music more acceptable to French players although it wasn't the tuning he
used himself.
One other small point - I said
"Ms.Rés. 2344 which is dated 1647 includes music in mixed style
including a version of the repicco variation - which occurs in Bartolotti's
2nd book.
I have said "a version" - not that it was copied from Bartolotti. It may
have been a common element which several people incorporated into their
variations. It occurs several times in the Gallot ms. and in Elizabeth
Cromwell's book.
Vale
Monica
----- Original Message -----
From: Martyn Hodgson
To: Monica Hall ; Lex Eisenhardt
Cc: Vihuelalist
Sent: Tuesday, September 06, 2011 3:38 PM
Subject: Re: [VIHUELA] Re: Carre 'Anche' - etc.........
Hello you two,
I've been away a couple of days: can you kindly remind me of the principal
issue in this latest exchange? It surely can't be that you aim to base an
entire case on Carre's book
rgds
Martyn
From: Monica Hall <mjlh...@tiscali.co.uk>
To: Lex Eisenhardt <eisenha...@planet.nl>
Cc: Vihuelalist <vihuela@cs.dartmouth.edu>
Sent: Tuesday, 6 September 2011, 13:59
Subject: [VIHUELA] Re: Carre 'Anche' -
February 1671 indeed. We know that the printing of Corbetta's book was
completed 31 October 1671. We don't know what he has changed or added
between September 1670 and October 1671.
I think it unlikely that Corbetta would have changed anything after being
granted the licences because publications were subject to censorship. This
was certainly the case in Spain I am not sure of the details in France.
Like for example the preface.
Carré's book could have been printed long before that date. If Corbetta
knew the content of Carré's book he could easily have echoed the advice on
the stringing of the fourth course.
Whether he has echoed it or not is really immaterial. It doesn't prove that
Corbetta disagreed with Carre.
Carré's continuo examples are almost exclusively in pizzicato.
Well - he hasn't indicated whether any of the chords should be strummed -
probably for practical reasons to do with the printing.. But quite a few of
them could be strummed. A lot of the chords are in the wrong inversions
e.g.the first four chords on G re sol have the G on the 3rd course and the
notes on the fourth course will sound below them. The first four chords on
B fa si have the B flat on the fifth course where it will sound above the
notes on the third and fourth fifth courses and so on. I can't list them
all. Yes - he does seem to be confused as to which method of stringing he
is using - or perhaps he is just using his common sense and placing them
where it is practical to play them.
Very
different from the usual Italian battuto-pizzicato approach, and Carré has
certainly not copied this from Corbetta's 1671 book.
Yes - I agree he didn't copy these from Corbetta.
Monica
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