Hi Goeran,

Let me see if I can straighten some of this out for you.
Maybe I'll do it intwo messages.
----- Original Message ----- 
From: "G. Crona" <[EMAIL PROTECTED]>
To: "Arthur Ness" <[EMAIL PROTECTED]>
Cc: <[email protected]>
Sent: Thursday, August 10, 2006 4:00 PM
Subject: [LUTE] F. da Milano [was: P H Lang: Music in
Western Civilization]


> Dear Arthur,
>
> after reading your message below, I re-read your
> introductory text, and
> found a few things that are still somewhat unclear to
> me:
>
> 1. The viola in Sultzbach's title is now definitely
> considered as being a
> "viola da mano" no?

Yes, viola da mano seems to be the preferred plucked
instrument in Spanish-ruled Naples. And probably in many
other part of
Italy as well.  It's the instrument named on Bartolomeo
lieto Panhormitano's Dialogo Quarto (and elsewhere).

> What about the assertions that F. also played the viol
> (bowed),

We didn't understand the meaning of "viola" in the 60s.
But one of the portraits said to be of Francesco shows
the scroll of the pegbox of a viol. He is said to have
been proficient
on a number of [unnamed] instruments. As you know, one
of his books was intabulated from ensemble music.  For
viols?  For lutes?

> and having held a post as "organist at the Duomo of
> Milan around
> 1530", do they still stand?

I thought he was organist at the Duomo of Piacenza.
That's mentioned in a poem, iirc. But
I see that I did not write that. we know a lot more
about Francesco thanks to Franco Pavan's dissertation
and his archival studies.  Francesco was a minor cleric,
until he married, that is, he was canon with prebends at
San
Novaro in Broglio in Milan.  That also suggests
proficiency in
organ.  His brother replaced him.

> (Concerning the "lost" Francesco intabulations of
> vocal polyphony, you
> surely know that the "Crainte et Espoir by Baston is
> found V. Galilei's
> "Fronimo 1584" (erroneously attributed to P. Guerrero
> in the index, but
> specified as being by F. in the text)).

Yes, I do not know why I did not include it. I knew
 it was there, and even had a film of the treatise.

> 2. "Valerio Dorico's Libro primo of 1566 (66D1), which
> was advertised as
> edited by Francesco's "discipulo," Perino Florentine
> degli Organi, has come
> down in a single imperfect copy lacking all but the
> first four folios".
> Brown asserts, that this work was a reprint of 1547/2.

Brown is mistaken. The Dorico print is EARLIER.<g> You
don't have to be Einstein to tell that 1566 is earlier
than 1547.  A complete copy has since surfaced,
so we now have a complete copy of that very important
print.  My former student Rick Falkenstein discovered
the
correct chronology. (With my acting as "catalyst."<g>)

> 3. Bernardo Monzino, Francesco's brother keeps popping
> up in my
> subconsciousness.

His name was Bernardino.

You know of an attribution to "Bernardo Monzino?
Monzino (alone) could also be Francesco.  And there is a
reference to Francesco da Milano detto "il Monzino."

> Do we know anything more about this brother of
> Francesco's? There are two pieces in the Siena Ms.
> that are identical. One
> is ascribed to B.M., the other to Monzino. Could that
> piece, ascribed to
> Monzino be by him?

Bernardo Monzino doesn't seem to be a logical name. BM
Florentine Gentleman does.  Monzino is a nickname after
the place where they were born, the town of Monza near
Milan.  He was known as Sig. Bernardino de Canova.

> Could he be the Bernardo who contributed at least 16
> vocal intabulations in Ms. mus. 266 (many unica)?
>
I did my damnedest to identify him.  Some place he is
called "Bernardo N."   There are a lot of Bernardos
back
then, and most of them played lute.  Don't see how
FdaM's brother's
music would have found its way into Mus Ms 266.

The pieces are, I believe, unrelated to
the Marco pieces which surround them.  Bernardo N will
have to remain an enigma.  And I am not certain his
pieces are related to the Marco repertory in Mus Ms 266,
any way.  There are also some unrelated German pieces,
too.

More latrer.




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