With all due respect, G. Crona, practically everything you have
written here about the Judentanz is erroneous.
Don't you feel an obligation to check the accuracy of your facts before
posting to this list?
I sense a need to set the record straight, lest such misformation reach
a larger audience.
Nor should I permit the memory of one of the most eminent pioneering
scholars of the lute
and its music, Adolf Koczirz, to be maligned. What G. Crona says about
him and
Willi Apel is especially ugly because it is so farfetched.
G. Crona wrote:
> Especially funny to read about the Newsidler "Judentanz" that
had
> musicologists baffled in those early days because they
couldn't read the
> German tablature properly (dash above cipher) and therefore
totally
> misjudged the piece as an atonal <sic: recte: bitonal> piece
> centuries ahead of its time.
>
> Luckily, thanks to David Munrow <sic> who was there on
recorder, they were able
> to put things straight. But they still bowed to contemporary
musicologist
> knowledge and recorded a faulty atonal <sic> version as well.
>
> Shows you never to put too much trust in your contemporary
musicologists!
> He-he ;)
<<Huh? Koczirz, d. 1941: Apel, d. 1988; Morrow, d. 1994; Munrow, d.
1976>>
I fear the only person baffled around here is G. Crona. In 1911, the
first modern publication
of the Judentanz appeared in Koczirz's edition of Austrian lute music
issued as volume
37 of the monumental Denkmaeler der Tonkunst in Oesterreich (Jarhg.
XVIII).
It was but one of hundreds of transcriptions he made and published from
German and
other tablatures. A volume of lute music in the DTOe was even
assembled from his papers
and published posthumously, indicating the extent his work was revered
by his colleagues.
He was a student of Guido Adler at the University of Vienna.
The Judentanz was later published and its notation explicated by Willi
Apel in his
famous book on the notation of polyphonic music before 1600. Later
Apel printed the
Newsidler Judentanz in his widely available [Harvard] Historical
Anthology of Music (HAM),
No. 105b. Interestingly, he did not publish his own transcription, but
rather in a bow to his
distinguished predecessor, he publisher Koczirz's.
(HAM seems to be the fake book used by John Renbourn, judging by the
titles of many tracks on his CDs.<g>)
Koczirz and Apel were eminent professionals who could properly read
German tablature, and
well understood the meaning of a dash over a tablature cipher, and
other special signs.
Apel's book on the notation of polyphonic music before 1600 even
includes a chapter on
German lute tablature, with extended graphic examples showing how to
transcribe it
(including a correct explanation of the ciphers with dashes!) . G.
Crona's notion that Koczirz
and Apel couldn't read German tablature correctly is absurd. THIMK!
As a matter of fact, the Koczirz/Apel transcriptions are absolutely
correct
renditions of the piece according to the tablature and tuning
instructions
published in Hans Newsidler's 1544 book. If you examine the editions,
and compare them with the printed tablature (see below for facsimile),
you will discover that theirs were NOT FAULTY READINGS, as
Crona would have the readers of this newsgroup believe.
AS PUBLISHED IN NEWSIDLER'S 1544 TABLATURE BOOK,
THE JUDENTANZ IS A BITONAL* WORK.<Hee-hee>
Actually the dance is partially bitonal, because the cadences
are tonally stable.
So the piece dips in and out of bitonality, but is rooted in one tonal
center, D.
>>>>To be continued<<<<
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