Hello all, I don't know any source of Portuguese lute music but there is at least one of baroque guitar. It is called "O livro do conde de Redondo" and the facsimile was edited by Lusitana Musica.
All the best, ------------------------------------------------------------ Guilherme Barroso [1]www.guilherme-barroso.com On 5 Jan 2020, at 18:47, Roman Turovsky <[2][email protected]> wrote: All of Jordi Savall's CDs have him as De M. RT On 1/5/2020 12:24 PM, Joachim Lüdtke wrote: The title page of the Libro de motes ⦠has Luys Milan too I have not seen El Cortesano for quite a while ⦠All best Joachim -----Original-Nachricht----- Betreff: [LUTE] Re: Portuguese Lute Music anyone? Datum: 2020-01-05T10:13:43+0100 Von: "Albert Reyerman" <[3][email protected]> An: "Tristan von Neumann" <[4][email protected]>, "[5][email protected]" <[6][email protected]> Wrong, Tristan. The only source we have with his name given is EL MAESTRO. Here his name is prited Luys Milan (sic) No apostroph. Regards Albert TREE EDITION Albert Reyerman Finkenberg 89 23558 Luebeck Germany [7][email protected] www.tree-edition.com 0451 899 78 48 --- Fine Art Paintings Anke Reyerman www.anke-reyerman.de Am 04.01.2020 um 20:02 schrieb Tristan von Neumann: May I just add something outrageous: This guy is literally called "Milán". How sure are we that he's not of Italian origin? On 04.01.20 19:59, Antonio Corona wrote: Dear Ron, Thank you for your kind words. Again, I think we should be wary of speculations where the known facts points in another direction. While there is indeed a possibility of Italian influence in Milán, especially considering that the viceroy of Valencia was Ferdinand of Aragón, Duke of Calabria, I still believe that putting together Milán and Verdelot is pushing the evidence too far merely on the basis of a vague possibility (which I cannot share -the dates of their publications suggest otherwise); on the other hand, we have no way of knowing how much influence Castiglione's book might have had on Milán: at least there is none to be found in his own Cortesano. In my view all the arguments in favour of an Italian direct musical influence on Milán remain purely speculative. I cannot give credence to them. On the other hand, resorting to the contents of Valderrábano and Fuenllana is, again, misleading. Both vihuelists belong to a later phase and school (I call it Castilian as opposed to the earlier Valencian) and should not be used as a basis for comparison. The mere fact that both included a large amount of intabulations as opposed to the contents of El Maestro -where there are none-, not to mention the altogether different style of their fantasias, as well as the fact that both Valderrábano and Fuenllana were professional musicians at the service of nobility, whereas Milán was an amateur (probably a member of the lesser nobility as suggested by the "Don"), their "nationality": Castilian versus Valencian, and even the type of tablature they used should put us on our guard against a direct comparison and therefore considering them on the same category. I �m afraid that I shall need more solid evidence to convince me that Milan used the music of Verdelot (or any of the other great composers intabulated by later vihuelists) as a model or otherwise for his own music. As it stands now, I must stress it again, such a suggestion is firmly rooted on speculation and nothing more. Best wishes, Antonio On Saturday, 4 January 2020, 09:19:07 GMT-6, Ron Andrico <[email protected]> wrote: Thanks, Antonio. I must say it is heartwarming to know you are such a champion for the music of Milan. I appreciate his role as a pioneer in Spanish instrumental music and as an advocate of the viheula and its significance in courtly life. But I don't think it is much of a speculation to say that he was influenced by Italian examples, including Verdelot's madrigals and Castiglione's much earlier example of a guide to courtly custom. I think if you'll examine the large amount of intabulated polyphony found in the books of Fuenllana (1552) and Valderrabano (1547), both of which contain several intabulations of music by Verdelot, as well as Arcadelt, Compere, Gombert, Josquin, Mouton, Sermisy and Willaert, you must admit there is a chance Milan had access to examples for his instrumental settings. RA __________________________________________________________________ From: [email protected] <[email protected]> on behalf of Antonio Corona <[email protected]> Sent: Saturday, January 4, 2020 9:21 AM To: [email protected] <[email protected]> Subject: [LUTE] Re: Portuguese Lute Music anyone? Oops ... a mistake. In the paragraph wich reads: Milán`s El Cortesano is an account of his life at the viceregal court of the Duke of Calabria and Germaine de Foix at Valencia: it has little in common with Casteglione's work which, incidentally, was published in a Spanish translation by Juan Boscán in 1534 - the same year in which the work for publishing El Maestro began. We do not know at what time Milan might have learned of it, but his Cortesano was published in 1561, a long time after. The part which states "in 1534 - the same year in which the work for publishing El Maestro began." should be ignored (the correct date is 1535). Best wishes, Antonio To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html .  -- References 1. http://www.guilherme-barroso.com/ 2. mailto:[email protected] 3. mailto:[email protected] 4. mailto:[email protected] 5. mailto:[email protected] 6. mailto:[email protected] 7. mailto:[email protected]
