Dear Albert, You're quite right, of course, and his name appears on folio 3r, again as Luys Milan.
However, I think you should have said, "(Advantage of an original edition!!)", because on the modern title page of my Minkoff facsimile edition they have gone and put "Luis Milan". :-) I notice that H. M. Brown spells it Luis, with an acute accent on the i, in _Instrumental Music Printed Before 1600_, (Cambridge, Mass.: Harvard University Press, 1965). I have looked at my CD collection, and see one by Catherine King and Jacob Heringman. They spell it Luis Milan too. It seems we can't get away from Luis. As you know, spelling was not consistent in the 16th century: i/y, i/j, u/v are are often interchangeable. William Byrd's name appears as Byrd and Bird, not to mention Byrde and Birde, but Byrd is now taken as the modern convention. It's just as well you can't hear my voice, because I often make the mistake of pronouncing Luis like the French name Louis, i.e. not pronouncing the "s". I think Luis should be pronounced "Loo-eece", but I sometimes forget. Unless Milan's name appears elsewhere as Luis (ideally a signature in a manuscript), perhaps we should start spelling his name Luys, as you suggest. After all, Reierman and McCoi would look a bit odd, wouldn't they. :-) Best wishes, Stewart McCoy. ----- Original Message ----- From: "albertreyerman" <[EMAIL PROTECTED]> To: "Stewart McCoy" <[EMAIL PROTECTED]> Cc: "Lute Net" <[EMAIL PROTECTED]> Sent: Saturday, December 13, 2003 12:18 PM Subject: Re: Vihuela I īm always asking myself why people call the composer in question LUIS MILAN. On the title page of EL MAESTRO his name is clearly written: LUYS MILAN. (Advantage of a facsimile edition !!) Albert TREE Stewart McCoy wrote: >Dear Tony, > >The first printed book of vihuela music (as far as we know) was Luis >Milan's _El Maestro_.
