I am working on an edition of Spinacino v.1 (1507) and have run across
these 2 extremely dissonant duets.
I am not personally a big fan of gratuitous dissonance (diabolus in
musica). Dissonance that serves a purpose, as in Dowland, yes.
Dissonance as a passing note, yes. Dissonance as a cadential
suspension, yes. But minor second intervals on downbeats, not so much.
I would like to "correct" these duet parts so they harmonize instead
of "cacophonizing" with each other, but have no idea where to begin.
Has anyone tried to do this? If I can't find a harmonious solution, I
will just leave the duets as is, though I hate to punt like that,
because who will want to play them as written (except maybe Schräder,
and he is no longer with us)?
--Sarge
On 10/14/2019 23:48, Alain Veylit wrote:
I cannot read this thread without thinking about Spinacino's duets,
particularly the setting of Ghiselin's Jolis amours: are the notes
wrong or is it our ears? Yet, I had found a very convincing rendition
of that duet a while ago on the Net, played as printed 500 years ago
(already!) -- I believe Karl-Ernst Schröder was on one of the 2 lutes
-- Helas, I can no longer find that particular recording on the
Internet any longer. One trick they used to make the half-tone clashes
sound better was to play the piece very fast. It works.
Spinacino's "J'ay pris amours" is still there on YouTube but it is less
striking as an example of utter dissonance to modern ears - see
[1][1]https://www.youtube.com/watch?v=ljcq1ETbXkI
--
Frank A. Gerbode, M.D. ([2][email protected])
11132 Dell Ave
Forestville, CA 95436-9491
Home phone: 707-820-1759
Website: [3]http://www.gerbode.net
"The map may not be the territory, but it's all we've got."
--
References
1. https://www.youtube.com/watch?v=ljcq1ETbXkI
2. mailto:[email protected]
3. http://www.gerbode.net/
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