But the psalm settings are beautiful! I play a lot of Vallet in my
concerts, and the preludes and psalms from the Regia Pietas are among
my - and I hope my audience's - favorites.
David
On Sat, 13 Jan 2018 at 18:34, Rainer <[1][email protected]>
wrote:
Why do you "reply to all"?
On 13.01.2018 17:41, Ron Andrico wrote:
> Rainer, if your object is to create a complete edition of
Vallet's lute
> works, of course you should include the quartets. I hope
you're also
> including all the psalm settings with variations from Regia
Pietas as
> well.
no, I won't. I am not interested in psalm settings and I don't think
anybody wants to see an edition with 700 pages.
Anyway, that would take two more years.
I am too sick for such a task.
>
> As I recall there aren't that many misprints in Vallet's
quartets, and
> passing dissonance in music for plucked strings was not
written to be
> judged by a standard created by 20th- and 21st-century
musicologists.
Well, have a look at duets from English sources. You won't find such
errors in English duets - apart from false relations between a
ground an a trebele.
The duets by Robinson are a bit too polished, though :)
> This is what I posted ten days ago:
>
> Dissonance in 16th- and 17th-century improvisational ensemble
music was
> the norm rather than the exception. This statement can be
verified
> simply by reading historical ensemble music with parts
intabulated for
> lutes. For instance, one's first reaction in reading through
Besard's
> lute duets (1603) and ensemble music (1617) is that he was a
complete
> hack and didn't know the first thing about composing. But
the same
> bountiful cross-relations and clashes can be found in duets
published
> by Phalese (1552) all the way up to the quartets published by
Vallet
> (1616). Sure, there were misprints and mistakes, but
passing
> dissonances were acceptable.
Somebody said that the trios by Pacoloni were composed part by part
ignoring the other parts.
I believe the main problem with Vallet's quartets simply is that it
is certainly very difficult to compose such music for 4 different
lutes.
Rainer
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David van Ooijen
[3][email protected]
[4]www.davidvanooijen.nl
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