Well - yes. There are also instructions for tuning 3 guitars to play in
consort together with a few piece in alfabeto in Foscarini's "Libro secondo"
(which he has copied from Colonna). Costanza's book has pieces for 4
guitars. And Carbonchi has gone to the limits and gives instructions for
tuning guitars to 12 different pitches.
So I suppose there must have been occasions when players did sit round
thrashing away together. What and how they played is another matter. The
surviving pieces suggest they all played the same thing in different
registers.
But another reason for including these instructions and pieces in different
keys is to illustrate how the music can be transposed - useful when
accompanying a voice part.
And there is no mention of triangles, tambourines or violones, never mind
saxophones.
Monica
----- Original Message -----
From: "Peter Martin" <[email protected]>
To: "Lutelist" <[email protected]>
Sent: Friday, April 01, 2011 9:49 AM
Subject: [LUTE] Re: Foscarini Experience again
The presence of the soprano sax in this photo suggests that
"historically informed" isn't their top priority...
[1]http://www.myspace.com/thefoscariniexperience/photos/490584#%7B%22Im
ageId%22%3A490584%7D
However ... do the printed versions of this music tell the whole story?
I was looking recently at the Corbetta 1639 book, kindly made
available by Daniel Shoskes on the ning early guitar forum.
[2]http://earlyguitar.ning.com/forum/topics/corbetta-first-book-1639
Although all the pieces are for solo guitar, in the introduction he
gives instructions 'per accordar quattro Chitarre di Concerto', or how
to tune four different sized guitars together. Counting up from the
largest, the guitars are a major third, a fourth and a fifth higher.
What was the purpose of this instruction? A merry band of guitars all
thrashing away together, in what must have been quite a departure from
the printed versions.
By the way, this book uses alfabeto for a delicious musical acrostic
on page 60, spelling out the name of patron CONTE ODOARDO in chord
symbols.
P
On 1 April 2011 09:14, Monica Hall <[3][email protected]> wrote:
Well - I've got this CD. The Fosco and Brizeno pieces are their
own elaborations of minimal material and the way in which the
Corbetta in particular and Bartolotti to some extent are played
departs quite a bit from the printed versions.
I don't think really these people really make any attempt to play
the music in a "historically informed way"..or have any relevant
knowledge at all.
Everyone is just fooled by their virtuosity.
Cynically
Monica
----- Original Message ----- From: "Stuart Walsh"
<[4][email protected]>
Cc: "Lutelist" <[5][email protected]>
Sent: Friday, April 01, 2011 9:06 AM
Subject: [LUTE] Re: Foscarini Experience again
On 31/03/2011 22:08, Stuart Walsh wrote:
On 31/03/2011 19:53, Monica Hall wrote:
I came across this CD by the group Foscarini Experience with the
title
"Bon voyage" some time ago.
I looked around to see if I could hear some of the tracks as
samples. Couldn't find anything but I did find an album by 'Private
Musicke' (who played at Edinburgh last year with an opera singer)
and there are some samples from this album, Echo de Paris:
[6]http://www.prestoclassical.co.uk/r/Accent/ACC24173#listen
It's interesting that the one solo of Corbetta's and the several of
Bartolotti are played actually as solos - very fluently (but
perhaps, at the gushing rather than the pinched, end of the
spectrum) whereas Foscarini (and Briceno) get a complete makeover.
Actually playing through Foscarini you struggle to find anything
musically coherent at all - but on this album, his (ahem) music
bursts forth as colourful, radiant and beguilingly tuneful.
(i.e. this is all rather curious...where did all these arrangements
come from - and arrangements of what in the first place?)
Stuart
In the liner notes it mentions an
illustration which features Foscarini on a wagon playing the lute
together with a girl with a triangle and a violone player which
apparently dates from 1615 and is part of an illustration of a
feast
held for the Archduchess Isabella Clara Eugenia, the wife of the
Archduke Albert.
Does anyone know anything about this illustration and whether the
lutenist is clearly identified as Foscarini. I have done a bit
of
surfing the net but haven't found any trace of it.
Monica
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24 The Mount St Georges
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ST5 8RB
tel: 0044 (0)1782 662089
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[8][email protected]
--
References
1.
http://www.myspace.com/thefoscariniexperience/photos/490584#%7B%22ImageId%22%3A490584%7D
2. http://earlyguitar.ning.com/forum/topics/corbetta-first-book-1639
3. mailto:[email protected]
4. mailto:[email protected]
5. mailto:[email protected]
6. http://www.prestoclassical.co.uk/r/Accent/ACC24173#listen
7. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
8. mailto:[email protected]
