That's very interesting. Would the fact that Bartolotti was Italian
make any difference?
As ever
Monica
----- Original Message -----
From: [1]Martyn Hodgson
To: [2]Monica Hall
Sent: Monday, March 22, 2010 3:33 PM
Subject: Re: [LUTE] Re: Bartolotti - copy of relevant page
Well,
yle of the only theorbo work with the possible name of our man attached
('Allemande di Angelo Michieli') seems to me rather more treble and
bass polarised - somewhat closer to deVisee's theorbo works or those of
late 17th/early 18thC lutenists like Count Losy - than the more French
lute style (breaking of chords etc) of the third quarter of the 17thC.
Interestingly, in this Allemande the first course carries much of the
melody whereas the commoner theorbo pattern is to use inner courses (ie
3 and 4)
From: Monica Hall <[email protected]>
Subject: [LUTE] Re: Bartolotti - copy of relevant page
To: "Martyn Hodgson" <[email protected]>
Cc: "Lutelist" <[email protected]>
Date: Monday, 22 March, 2010, 14:09
I don't have a solution to this particular problem but I was interested
in
something which you said about the style of the pieces suggesting a
later
date in the earlier discussion. To witt...
"The only thing that bothers me about these attributions to A. M.
Bartolotti is the dates: from style alone I would have tended to date
the NB
17.706 MS to the end of of the 17thC and the Goess pieces no earler
than
the 1670s (but there are a number of scribes) - but Claude Chauvel
makes a
decent case for B being dead by 1682 when his Royal Household
establishment
books were passed to Launay (of course he may have simply retired but
I'd
have thought in that case we'd have pension payments recorded). "
What Chauvel actually says is that the establishment books record that
the
possessions (les biens in French) of one Miquelange, Italien were
assigned
to Launay, not that the establishment books were passed to Launay.
Under French law the possessions of foreigners who died in France
became the
property of the king to dispose as he saw fit. If this Miquelange,
Italien
is Bartolotti, he was presumably dead by January 1682 and his worldly
goods
given to Launay. Bartolotti would still have been alive and active in
the
1670s but not later.
What is it about the style of the pieces in the Vienna manuscript which
suggests that they are later that say 1680?
As ever
Monica
Could it be that these two A.M.s are not the same; did he have a son
also
called A M who played the theorbo? Against such wild speculation is
that B
clearly was an adventurous and, indeed, progressive composer so perhaps
the
mid 17thC is not unreasonable.
----- Original Message -----
From: "Martyn Hodgson" <[3][email protected]>
To: "Alexander Batov" <[4][email protected]>; "Vihuela
Dmth"
<[5][email protected]>; "Lute Dmth" <[6][email protected]>
Sent: Monday, March 22, 2010 8:08 AM
Subject: [VIHUELA] Re: Bartolotti - copy of relevant page
> --0-595003020-1269245312=:61374
> Content-Type: text/plain; charset=iso-8859-1
> Content-Transfer-Encoding: quoted-printable
>
>
> Thank you Alexander - an interesting idea. I've scanned my copy of
the
> first page of this 'Preludio' and attach it herewith.
>
> You'll see that the same number is put against different (tablature)
bass
> notes - especially see right at the end of the last line.
>
> My own preference is that it indicates a manner of breaking the
chords -
> but see the 4th and 5th chords from the end of the last line: a three
> against a 5 note chord - possible of course if one beaks the chord in
an
> uneven manner (say the two lowest notes and the top three notes as
three
> seperate strikes) but........
>
> As a very long stop, I've also wondered if it might indicate duration
(eg
> number of seconds or pulses per chord) written in by a teacher to
indicate
> the interpretation of this 'prelude non mesure' ..... but......
>
> Martyn
>
>
> -- On Sun, 21/3/10, Alexander Batov
<[7][email protected]>
> wrote:
>
>
> From: Alexander Batov <[8][email protected]>
> Subject: [LUTE] Re: Bartolotti
> To:
> Cc: "Lutelist" <[9][email protected]>
> Date: Sunday, 21 March, 2010, 17:36
>
>
> OK, here is an idea. In the so called "Swan" manuscript
(St-Petersburg,
> the library of the academy of science) some of the lute pieces appear
to
> be re-adapted to play on baryton, or, indeed, on either. I don't have
a
> copy of this MS with me at the moment but if the memory serves me
right (I
> used to see the original a number of times but that was 25 years
ago!), a
> similar sort of numbers are written beneath the bottom tablature
line,
> next to the usual bass course letters. What this would mean is that
the
> person would play from the tablature using the main six strings of
the
> baryton, with the left hand thumb plucking the corresponding drones
at the
> back of the neck. And it's those drone strings that would have to be
> indicated so as to eliminate guess work.
>
> What you can do is to check if the same numbers (2 or 3, for
instance)
> mean like indicating the same bass note (judging by what's written on
the
> tablature stave above) or, perhaps, if they are written next to the
same
> bass course indications (i.e. as for theorbo).
>
> Alexander
>
> On Sat, 20 Mar 2010 Martyn Hodgson wrote:
>
> On the subject of Bartolotti's theorbo works, has anyone yet come up
> with an interpretation of the small numbers under the tablature stave
> in the Prelude starting at f. 90v of Wien NB MS 17.706. Altho' this
> piece isn't attributed to B., a later Allemande in a very similar
> style is. I asked this question a few years ago (in fact 14 Dec 2005)
> but there seemed no convincing view of what they meant. I've pasted
my
> original query below and would be grateful for any insights.
>
>
> --------------------------------------------------------------------
>
> ' What I think are even more problematical, are the numbers (ie a '2'
> or a '3') appearing under some chords at the bottom of page 90 (179)
in
> the theorbo pieces at the back of Wien MS17.706. At first glance one
> might say these are simply shorthand for bass course tablature, but
the
> MS uses the usual strokes (ie a /a //a ///a 4 5 6 7) to indicate
> these; is it the number of times the chord is repeated? - but in the
> context of the particular chord progressions where it appears this
> makes little sense; is it how the chord is to be broken? but the
> relevant chords have varying numbers of notes (ranging from three to
5)
> and he also uses the established ://: sign for arpeggiation; is it
some
> LH fingering? - but in the context this again makes no sense.'
>
> Martyn
>
>
>
>
> To get on or off this list see list information at
> [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>
>
>
>
> --0-595003020-1269245312=:61374
> Content-Type: text/html; charset=iso-8859-1
> Content-Transfer-Encoding: quoted-printable
>
> <table cellspacing="0" cellpadding="0" border="0" ><tr><td
valign="top"
> style="font: inherit;"><DIV> </DIV>
> <DIV>Thank you Alexander - an interesting idea. I've scanned my copy
of
> the first page of this 'Preludio' and attach it herewith.</DIV>
> <DIV> </DIV>
> <DIV>You'll see that the same number is put against different
(tablature)
> bass notes - especially see right at the end of the last line.</DIV>
> <DIV> </DIV>
> <DIV>My own preference is that it indicates a manner of breaking the
> chords - but see the 4th and 5th chords from the end of the last
line: a
> three against a 5 note chord - possible of course if one beaks the
chord
> in an uneven manner (say the two lowest notes and the top three notes
as
> three seperate strikes) but........</DIV>
> <DIV> </DIV>
> <DIV>As a very long stop, I've also wondered if it might
indicate
> duration (eg number of seconds or pulses per chord) written in by a
> teacher to indicate the interpretation of this 'prelude non mesure'
> ..... but......</DIV>
> <DIV> </DIV>
> <DIV>Martyn</DIV>
> <DIV> </DIV>
> <DIV> </DIV>
> <DIV>-- On <B>Sun, 21/3/10, Alexander Batov
> <I><[11][email protected]></I></B>
wrote:<BR></DIV>
> <BLOCKQUOTE style="BORDER-LEFT: rgb(16,16,255) 2px solid;
PADDING-LEFT:
> 5px; MARGIN-LEFT: 5px"><BR>From: Alexander Batov
> <[12][email protected]><BR>Subject: [LUTE] Re:
> Bartolotti<BR>To: <BR>Cc: "Lutelist"
> <[13][email protected]><BR>Date: Sunday, 21 March, 2010,
> 17:36<BR><BR>
> <DIV class=plainMail>OK, here is an idea. In the so called "Swan"
> manuscript (St-Petersburg, the library of the academy of science)
some of
> the lute pieces appear to be re-adapted to play on baryton, or,
indeed, on
> either. I don't have a copy of this MS with me at the moment but if
the
> memory serves me right (I used to see the original a number of times
but
> that was 25 years ago!), a similar sort of numbers are written
beneath the
> bottom tablature line, next to the usual bass course letters. What
this
> would mean is that the person would play from the tablature using the
main
> six strings of the baryton, with the left hand thumb plucking the
> corresponding drones at the back of the neck. And it's those drone
strings
> that would have to be indicated so as to eliminate guess
work.<BR><BR>What
> you can do is to check if the same numbers (2 or 3, for instance)
mean
> like indicating the same bass note (judging by what's written on the
> tablature stave above) or,
> perhaps, if they are written next to the same bass course indications
> (i.e. as for theorbo).<BR><BR>Alexander<BR><BR>On Sat, 20 Mar 2010
Martyn
> Hodgson wrote:<BR><BR>On the subject of Bartolotti's theorbo works,
has
> anyone yet come up<BR>with an interpretation of the small numbers
under
> the tablature stave<BR>in the Prelude starting at f. 90v of Wien NB
MS
> 17.706. Altho' this<BR>piece isn't attributed to B., a later
Allemande in
> a very similar<BR>style is. I asked this question a few years ago (in
fact
> 14 Dec 2005)<BR>but there seemed no convincing view of what they
meant.
> I've pasted my<BR>original query below and would be grateful for any
>
insights.<BR><BR><BR>--------------------------------------------------
------------------<BR><BR>'
> What I think are even more problematical, are the numbers (ie a
'2'<BR>or
> a '3') appearing under some chords at the bottom of page 90 (179)
> in<BR>the theorbo pieces at the back of Wien MS17.706. At first
glance
> one<BR>might say these are simply shorthand for bass course
tablature, but
> the<BR>MS uses the usual strokes (ie a /a //a ///a 4 5 6 7) to
> indicate<BR>these; is it the number of times the chord is repeated? -
but
> in the<BR>context of the particular chord progressions where it
appears
> this<BR>makes little sense; is it how the chord is to be broken? but
> the<BR>relevant chords have varying numbers of notes (ranging from
three
> to 5)<BR>and he also uses the established ://: sign for arpeggiation;
is
> it some<BR>LH fingering? - but in the context this again makes no
> sense.'<BR><BR>Martyn<BR><BR><BR><BR><BR>To get on or off this list
see
> list information at<BR><A
> href="[14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html";
>
target=_blank>[15]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.htm
l</A><BR></DIV></BLOCKQUOTE></td></tr></table><br>
>
>
>
>
> --0-595003020-1269245312=:61374--
> --
--
References
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2. mailto:[email protected]
3. http://uk.mc263.mail.yahoo.com/mc/[email protected]
4.
http://uk.mc263.mail.yahoo.com/mc/[email protected]
5. http://uk.mc263.mail.yahoo.com/mc/[email protected]
6. http://uk.mc263.mail.yahoo.com/mc/[email protected]
7.
http://uk.mc263.mail.yahoo.com/mc/[email protected]
8.
http://uk.mc263.mail.yahoo.com/mc/[email protected]
9. http://uk.mc263.mail.yahoo.com/mc/[email protected]
10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
11.
http://uk.mc263.mail.yahoo.com/mc/[email protected]
12.
http://uk.mc263.mail.yahoo.com/mc/[email protected]
13. http://uk.mc263.mail.yahoo.com/mc/[email protected]
14. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
15. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
