[LUTE] Re: How late was Ren Lute music performed?

[G. C.]

     Thomas Mace has a few choice things to say about the d-minor tuning,
      and includes a table that compares it with his favorite "flat"
   tuning
      to demonstrate how unwieldy the d-minor tuning is in terms of
   playing
      in various keys.
   And he wrote in 1676, when (I gather) D minor had begun to establish
   itself? What a contradiction to Mace, that it became the norm. Why?

   On Thu, Aug 31, 2017 at 11:22 PM, Ron Andrico
   <[1]praelu...@hotmail.com> wrote:

        Thomas Mace has a few choice things to say about the d-minor
     tuning,
        and includes a table that compares it with his favorite "flat"
     tuning
        to demonstrate how unwieldy the d-minor tuning is in terms of
     playing
        in various keys.
        That said, the d-minor tuning has some correspondence with the
     old
        tuning in that the second, third and fourth courses are the same.
       That
        means it's not so difficult to transmogrify music from the
     d-minor
        tuning to the old tuning.   There is a very nice edition
     available (I
        think) from the Spanish Sociedad de la Vihuela, el Laud y la
     Guitarra
        that does just that.   I bought it on the recommendation of David
     van O
        from this list.
        Ennemond Gaultier was almost of the same generation as Dowland, a
        little younger, and it seems to me that many of the pieces in the
        Herbert ms in the old tuning that are ascribed to (the various
        spellings of) "Gaultier" are likely to be by Ennemond, as can be
     seen
        by the similarity of style with the pieces by Ennemond in other
     accords
        nouveau.
        RA
          ____________________________________________________________
     ______
        From: [2]lute-...@cs.dartmouth.edu <[3]lute-...@cs.dartmouth.edu>
     on behalf
        of G. C. <[4]kalei...@gmail.com>
        Sent: Thursday, August 31, 2017 8:31 PM
        To: Lute List
        Subject: [LUTE] Re: How late was Ren Lute music performed?
           The new d-minor tuning is said to have cristalized out of all
     those
           transitional experimental tunings, for being the "best,
     easiest" to
           play. Has there been any research into the when, how and why
     of
           transitional and why they eventually resulted in D-minor? Was
     it a
           string question? Has anyone backward transposed d-minor into
     vieux
           tuning to find out if Ennemond in fact wrote in it?
           On Thu, Aug 31, 2017 at 10:19 PM, Mathias RÃÆ ¶sel

         <[1][5]mathias.roe...@t-online.de> wrote:
           > Imagine it: You're a lutenist back in the day who has just
   gone
           over to
           the new tuning dark side. There are exciting things you can do
      with
           the new
           tunings, but you don't exactly have hundreds of pieces from
   which
      to
           choose.
           Even though the old pieces are a bit out of fashion
   stylistically,
           aren't
           there a few favorites you'd like to keep? And wouldn't it be a
      great
           exercise to learn the new fingerboard layout by adapting some
   of
      the
           old
           pieces you've played for years?
           Makes me return to my favourite guess. Ennemond Gaultier
      flourished
           mainly
           when those transitional tunings were fashionable. He was a
           contemporary of
           Mesangeau who never wrote music in the new D minor tuning.
      Gaultier
           retired
           together with his employer, the queen mother, in 1631. The
   major
           part of his
           compositions, though, have survived in the D minor tuning, and
      very
           few of
           Ennemond's pieces survive in the French flat or in Mesangeau's
           tunings. How
           so? My guess is that people, led by Gaultier's younger cousin,
           Denis,
           arranged his music for their lutes, tuned in the new accord
           ordinaire. Denis
           complains in his preface to his own edition that people more
   often
           than not
           made bad arrangements, which is why he and after him his widow
      made
           corrected editions.
           Mathias
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      References

           1. [1]mailto:[7]mathias.roe...@t-online.de
           2. [2][8]http://www.cs.dartmouth.
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   References
      1. mailto:[9]mathias.roe...@t-online.de
      2. [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html

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References

   1. mailto:praelu...@hotmail.com
   2. mailto:lute-...@cs.dartmouth.edu
   3. mailto:lute-...@cs.dartmouth.edu
   4. mailto:kalei...@gmail.com
   5. mailto:mathias.roe...@t-online.de
   6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   7. mailto:mathias.roe...@t-online.de
   8. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
   9. mailto:mathias.roe...@t-online.de
  10. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html