Hello, Ed! I don't have the facsimile of Gianconcelli's book, but I do have five of his suites in the transcription by Chilesotti (Lautenspieler des XVI Jahrhunderts; I notice also that one of the Contrapuncti by B.M. is in the book). I think you should remember there are two traditions at work here. One is the strain/varied reprise structure which you have observed in some dances by Galilei. The form was widespread and used by many others, including Elizabethan composers, as you and most readers of this list know:
Strain A/Reprise A-Strain B/Reprise B-Strain C/Reprise C. There is also the practice of Dance/After Dance, in which the After Dance is a variation of the principal dance, e.g., Passamezzo/Saltarello. It was also in Gianconcelli's time that the Italian partita came into being. Usually each of the several dances in a partita was based on the same harmonic/melodic materials. You can see remnants in some Bach partitas. So the Spezzati may be in the tradition of the variation suite."Spezzata" means broken, and refers to breaking up of the block chords in the previous dance. Reprises usually use divuisions for variation. Perhaps, if you wish, you could compromise and alternate the phrases between the Gagliarda and Spezzata in the manner of the Strain/Reprise structure. (To quote a favorite phrase of one of my students, "In 200 years, who'll know and who'll care?") I wouldn't be concerned about the incorrect repeat bar. The printer may have run out of the correct ones, or just made a mistake. Did you know that Gianconcelli's Bergamasca with a Tasteggiata is used in Respighi's Second Suite of Ancient Airs and Dances? It's a strong piece, in my opinion. Respighi repeats the bergamasca variations and inserts the tasteggiata between the two. But Paul correctly uses it as a prelude. And Bill Kilpatrick is correct in pointing out that the term tasteggiata has a connotation of being quiet and delicate. ajn ----- Original Message ----- From: Ed Durbrow To: Arthur Ness ; [email protected] Sent: Thursday, August 18, 2005 2:53 PM Subject: Re: [LUTE] Re: tastegiata On Aug 18, 2005, at 9:15 PM, Arthur Ness wrote: Now Gianconcelli also has movements called "La sua spezzata" following gagliardas and correntes. What does _that_ mean. Most of them take the previous gagliarda or corrente and present it in a broken chord figurations. So it seems to be like the French stile bris/e, which I think originated in Italy. The interesting thing is that typically he has a two part movement with repeats for both parts and then does the sua spezzata also with what look like repeat marks. First, I find it an interesting contrast to say, Galilei who writes out a strain and then writes it stille brise without even a double bar line, then treats the B section the same way. Second, I just noticed that the "repeat" marks at the end of the piece are in exactly the same form with dots on the side where there is no music, that is: two dots, two lines, two dots :||: So, I'm wondering if these are indeed repeat marks. cheers, To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
