----- Original Message ---- From: "dem...@suffolk.lib.ny.us" <dem...@suffolk.lib.ny.us> To: lute@cs.dartmouth.edu Sent: Friday, 28 August, 2009 16:17:39 Subject: [LUTE] Re: Edward Martin/who nose?
On Fri, Aug 28, 2009, Antonio Corona <abcor...@yahoo.com> said: AC> At any rate, we cannote provide a reasonable hypothesis for > certain facts of performance pratice by summoning the whims of a priest. Dana: Not even a prince of a priest? It is such men who have the means to hire lutenists for such occaisions, so that is not an unreasonable circumstance. I do not speak of a common practice, but an aberation; yet, you must admit that the vagaries of heart-rate will have an affect on the players choice of tactus rate, this is true even today in modern orchestral performance; an excited conductor may well take some passages faster in performance than in rehearsal. Not even of a prince or priest. Milan was not a lutenist for hire: as far as we can tell from his autobiographical book he was an aristocratic amateur. And, while the heart rate may well affect a players' performance, we are not discussing how fast an excited vihuelist might have played, but a specific instruction by the author. >> In this particular case, I would be hard pressed to explain how >> slow pavans with the structure of a galliard could be played >> somewhat fast in general usage. Dana: At least half again as many notes makes for faster seeming music; especially contrasted against the Dancers gravitas. I spoke of the speed of the dance, not the music (save for the tenor, or the implied tenor). I beg your pardon. I was under the impression that we were discussing Milan's piece. Dana: As yesterday, and before that, and tomorrow and after that; I have not and cannot bring that music before my eyes tho I wish I could; nor does it lie in my head so I cannot speak more directly to your point. You can consult the facsimile at: http://bibliotecadigitalhispanica.bne.es/R/VF4NGVRAE4GN5CIQXCF7EBM5DNRXF6CN2GFGG7M9Y6UCN92U5T-02151?func=results-jump-full&set_entry=000012 Dana: I thank you for your translation, my spanish comes largely from my singing and is at best un poquito. Please recall that my first thought was of a pavan in triple, that it could be a galliarde was conjecture on my part. Wouldnt be the first time a publisher messed up the intentions of an author and the author didnt catch it from proofs, if indeed he was given proofs in a timely fashion. While both the press and LdM shared residence in Valencia, the book is dedicated to the King of Portugal, a healthy journey across the center of Spain. It is possible that LdM was seeking a position at the court and may have been traveling during the production work on the book (more conjecture). There is no messing up of the author's intentions, as the Milan rubrics I quoted before show. Milan was not looking for any position at the Portuguese court, he was already part of that of Germaine de Foix, and not as a vihuelist, but as an appreciated member, as his book of 1561 (quite some time after the publication of el Maestro), also published at Valencia, and dedicated to King Philip II, shows. We cannot build up knowledge just from conjeture. > Furthermore, the rubric to the sixth pavan states: "This pavan has the > proportion of three semibreves [each] bar Dana: and there you have it for certs, a pavan in tripla. Hemiola is a feature of things in three, but not all that features hemiola is a galliard; there are also tourdion, volta, and canario. No tourdions in Spanish sources, neither voltas (a bit late for the time when El Maestro was published, besides), while the Spanish canario is a seventeenth- and eighteenth-century dance. Best wishes, Antonio To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
