Dear Jurek (Jerzy), you are absolutely right saying 'there were always some kind of= distinctions in style and organisation.... There were real stars among both groups, whose names became known to the history, and thousands of others forgotten.'
If I my memory does not fails, Weiss received the highest salar= y at the Dresden court. It was definitely the case with Bakfark while he served Emperor Max= imilan. He was the best paid court musician of the Emperor. There is also much historical data, which prove, the best music= ians wanted sometimes enormous high payments. During the mid 1570s the Bavarian Duke tried to get Lorenzino into his services. But Lorenzino, a young musician = at that time, wanted such a high salary, which, according to the Duke, never have = been paid in his land any good musician, even not the best. And this is written= by a monarch, whose Kapellmester happened to be Orlando di Lasso, not a cheap o= ne at all. If we have a look on 16th century lute tablatures, it is also o= bvious, that some musicians published only 'serious/highbrow' music. Look at for example the= editions of Francesco da Milano or Bakfark: Only 'serious/highbrow' music = like fantasies and intabulations. Not a single 'popular' piece like songs, or d= ance music and the like. Thus without saying it, they made very much a distinction be= tween serious and popular. Best regards, Peter --------------------- Peter Kir�ly Glockenstr. 34 D-67655 Kaiserslautern T/Fax. (00)49 631 69866 E-Mail: [EMAIL PROTECTED]
