Dear Ron, Nice to hear from you, and thank you for further explanation. I was surprised with your reference to "many pieces." Perhaps it's more like "some pieces." I'll comment below.
On 10/30/16, Ron Andrico<[1][email protected]> wrote: Hello Arthur: As you know, attributing music of questionable origin to a well-know composer, rightly or wrongly, can make things difficult for those of us who strive to untangle received ideas. Apparently, Josquin became a much less prolific composer after the New Josquin Edition was completed. <<ajn>> It's useful to understand that the music of Josquin and Francesco continued to be copied and printed for nearly a century after their deaths. It is unfortunate that Victor Coehlo is of the belief that attributions to Francesco first appearing in the sources after about 1540 were composed by an amanuensis, a "lute virtuoso from the hills of Tuscany." In Victor's opinion, the lutenist composed pieces in Francesco's style and attributed them falsely in an effort to enhance Francesco's posthumous fame. This is far-fetched since there are so few examples of such practice, usually undertaken for pecuniary interests, e.g., publishing Pleyel string quartets under the name of Haydn to increase their saleability. Likewise with Galilei's "Francesco" ricerars which seem to be improvisations on Francesco-like musical motives. Or simply a mistaken identity, as Ruggiero Chiesa's No. LVIII below. And literally tons of lute music has disappeared with the sands of time, so the singular pieces appearing late in the century are not as lonely as they appear today.. As for examples in the music of Francesco, in Arthur Ness, _The Lute Music of Francesco Canova da Milano_, Harvard University Press, Cambridge, MA, 1970, your N. 11 was wrongly attributed to Francesco, and I think I recall that you have changed your mind and credited Marco Dal l'Aquila with the piece. <<ajn>> Yes, I knew too few pieces by Marco back then. No. 11 has the "Marco signature motive" in several places: last note bar 4: (ii: 0 / -- 0 iii: 4 2) = [d / dot d c# b]. (I suspect that the publisher of "sine datum" needed a ricercar in D and didn't have one by Francesco and used this one by Marco). Also No. 45 based on the Calata alla Spagnola is surely by Marco as well. That sine datum print dates from before 1533 because it is the source a piece in Gerle's 1533 print. In Appendix D of your work, one can find several examples of questionable attribution. <<ajn>> That's why they're in the appendix. Then there are several pieces in the Siena ms. that Martin Shepherd thinks may be by Francesco, and I agree with some of his suggestions. <<ajn>> I think his suggestions are excellent choices. Of course adding pieces on stylistic features alone would have been especially dangerous back then, especially due to the uneven bibliographical control over the sources, a problem which we still face (albeit to a lesser extent). Respectable twentieth-century scholars have attributed a few works to Francesco. Ruggerio Chiesa thought the fantasia found in the Bottegari ms. and elsewhere was by Francesco. <<ajn>> Chiesa's No. LVIII. There are two or three sources for that fantasia, one is attributed to "d'Incerto" in the source. It's rather proper 3-voice 16th century counterpoint, but hardly in Francesco's style. The rhythm is rather square. I don't recall who first attributed the work to Francesco. <<ajn>>There is another misattributed work in Chiesa's edition (not in the HUP edition). No. LIX from Paris, Rés 429, fol. 135: "Recercar de F.M." Chiesa and others misread the J for F. The "J" has a line though the stem and looks like an "F". It is by "JM," Julio da Modena (Segni), No. XI in Colin Slim's edition of Musica Nova. And Daniel Heartz made a case for the first prelude in Attaignant as another piece by Francesco, which was reinforced in the footnote 9 on page 3 of your Introduction: "Daniel Heartz argues convincingly that Francesco's music was known to France at least a decade before the visit to Nice. The first prelude in Pierre Attaignant's _Tres breve et familiere introduction (Paris, 1529) shows unmistakable features of Francesco's style, as Professor Heartz points out in a comparison of the prelude with Fantasia No. 24 (see Heartz's _Preludes, chansons and dances for lute [Neuilly-sur Seine, 1964], pp. xv-xvii). It is significant that this prelude also appears in the "Siena Lute Book" (fol. 17-17v) in an eminently better version than published by Attaignant. See Figs. 6 and 7." <<ajn>> Yes, it's included in facsimile of the Siena pages as Figs 6 and 7. Perhaps I'll have more tomorrow. RA __________________________________________________________________ From: AJN <[2][email protected]> Sent: Saturday, October 29, 2016 5:24 PM To: [3][email protected]; [4][email protected] Subject: Re: [LUTE] Re: Poulton #73 [was] dedillo Ron Andrico wrote: "There seems to be a tendency to attribute unascribed music to known composers simply because a given piece is good. This is certainly the case with many pieces attributed to Francesco da Milano." <<ajn>> I am unaware of any pieces attributed to Francesco that are unascribed in sources. <<ajn>> Can you provide some examples? On 09/29/16, Ron Andrico<[5][email protected]> wrote: From the archives... __________________________________________________________________ From: Ron Andrico <[1][6][email protected]> Sent: Sunday, November 4, 2007 10:38 AM To: Are Vidar Boye Hansen; G.R. Crona Cc: [2][7][email protected] Subject: RE: [LUTE] Re: Poulton #73 [was] dedillo Dear Are: Diana Poulton attributed the piece (with reservation) to Dowland based on the fact that it contains several of Dowland's typical devices; the ascending scale passages with a repeated first note, and several tonic/dominant repetitions with inversions. The piece also appears in the manuscript (D9) following another fantasia more securely attributed to Dowland (Poulton #6). I have to agree with you that Poulton #73 doesn't necessarily sound like Dowland, and the fact that the piece really needs reconstruction does not help the matter. There seems to be a tendency to attribute unascribed music to known composers simply because a given piece is good. This is certainly the case with many pieces attributed to Francesco da Milano. Best wishes, Ron Andrico [1][3][8]http://www.mignarda.com > Date: Sat, 3 Nov 2007 23:28:35 +0100 > To: [4][9][email protected] > CC: [5][10][email protected] > From: [6][11][email protected] > Subject: [LUTE] Re: Poulton #73 [was] dedillo > Does any of you know why this piece is attributed to Dowland? It is a > great piece, but to me it doesn't sound like a Dowland piece... > > > Are __________________________________________________________________ Boo! Scare away worms, viruses and so much more! Try Windows Live OneCare! [2]Try now! -- References 1. [7][12]http://www.mignarda.com/ 2. [8][13]http://onecare.live.com/standard/en-us/purchase/trial.aspx?s_cid =wl_ hotmailnews To get on or off this list see list information at [9][14]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. [15]mailto:[email protected] 2. [16]mailto:[email protected] 3. [17]http://www.mignarda.com/ 4. [18]mailto:[email protected] 5. [19]mailto:[email protected] 6. 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