[LUTE] Re: Painting
Hi Bruno, The painting is a detail from a Portrait of a musician with lute (c. 1685) by Anton Domenico Gabbiani (1652-1726). The original is in the Galleria della Accademia, Florence, on loan from the Educandato della Santissima Annunziata al Poggio imperiale. You can find an image on Alfonso Marin's iconography website, and there is another full image at [1]http://baschenis.interfree.it/ita/quadro5e6.htm Good wishes, John On 09/07/2010, at 6:19, Bruno Correia wrote: Does anybody knows this painting: [1]http://www.harmoniamundi.com/#/albums?view=playlistsid=1258 I found this on O'Dette's cd playing Kapsperger. Harmonia Mundi changed the album front cover... I was curious about the instrument and the music that the lutenist is pointing to. -- References 1. [2]http://www.harmoniamundi.com/#/albums?view=playlistsid=1258 To get on or off this list see list information at [3]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html ___ Professor John Griffiths FAHA Early Music Studio, School of Music, The University of Melbourne 3010, Victoria, Australia tel +61 3 8344 8810 mob +61 421 644 911 [4]jag...@unimelb.edu.au [5]www.vihuelagriffiths.com ___ This e-mail and any attachments may contain personal information or information that is otherwise confidential or the subject of copyright. Any use, disclosure or copying of any part of it is prohibited. The University does not warrant that this email or any attachments are free from viruses or defects. Please check any attachments for viruses and defects before opening them. If this e-mail is received in error please delete it and notify us by return e-mail. -- References 1. http://baschenis.interfree.it/ita/quadro5e6.htm 2. http://www.harmoniamundi.com/#/albums?view=playlistsid=1258 3. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 4. mailto:jag...@unimelb.edu.au 5. http://www.vihuelagriffiths.com/
[LUTE] Re: [LUTE] Re: Fantasía que contrahaze la harpa en la manera de Ludovico
Exactly. And Bermudo (1555) confirms that Ludovico played a diatonic harp. He is likely to be the same Ludovico who was in Ferrara in the 1480s and who then went to Naples, and finally to Valencia when the Aragonese were expelled from Naples. He appears to have been in the service of Fadrique, the last of the Aragonese rulers of Naples, and then of his son Fernando in Valencia. For more details on the piece as one retrospective impression of how fantasias were improvised at the beginning of the sixteenth century, you can download my 1986 article La 'Fantasia que contrahaze la harpa' de Alonso Mudarra: Estudio historico-analitico from my website: [1]http://www.vihuelagriffiths.com/JohnGriffiths/Publications_ files/GRIFFITHS%201986%20mu%20fantasia.pdf The article shows how the piece is constructed as three variations on the folia. You can also find a briefer discussion in my dissertation, p. 223 ff, also downloadable from my webpage [2]http://www.vihuelagriffiths.com/JohnGriffiths/Publications.html (down the bottom of the page). But you also need to read Egberto Bermudez's article Sobre la Identidad de Ludovico in Nassarre 10 (1994): 9-16 which clarifies much of the identity of Ludovico in Ferrara, Naples and Valencia. Egberto corrects the mistaken conclusion made by Barbieri in the 1890s (which I didn't question in my 1986 article) that the documentary references to Ferdinand were to Fernando el Catolico, rather than to Ferdinand of Aragon from Naples. One of his jobs in Valencia was to sing Ferdinand to sleep at night, accompanying himself on the harp. I don't think this article is available on the web. If anyone is interested, let me know and I'll see if can put it on my website. Good wishes, John On 06/03/2010, at 8:48, Leonard Williams wrote: G Crona pretty much has it. A further note on the harp piece (quoting Stewart McCoy): From: Stewart McCoy [3]...@wollaton55.freeserve.co.uk Date: Wed, 27 Oct 1999, and Jan 16, 2003 Subject: Mudarra's pastiche of Ludovico. There is a caveat in Mudarra's fantasy that some notes which might appear wrong are actually meant to sound as they are written. However, it is really a very special case, because the piece is a pastiche, an attempt to make the vihuela recreate the distinctive sounds of the harpist, Ludovico. Michael Morrow has argued convincingly in Early Music, October 1979, p. 503, that Mudarra's Fantasia suggests that Ludovico's harp was diatonic, i.e. without the option of additional chromatic notes available. Since so much 16th-century music requires F natural in the bass, and F sharp in the treble, Morrow argues that it was normal to tune the harp that way, i.e. with the lower octave at F natural, and the higher octave at F sharp. Mudarra wanted to recreate the special discordant effect arising from this way of tuning the harp, but felt he had to explain to his readers that the resultant harmonic clashes were intentional. No doubt he feared that a vihuelist, playing a chromatic instrument, might otherwise try to iron out such false relations. Regards, Leonard Williams /[ ] / \ | * | \_=_/ On 3/5/10 1:38 PM, G. Crona [4]kalei...@gmail.com wrote: He writes at the beginning of the piece: Es dificil hasta ser entendida. Its difficult until understood. Algunas falsas, tanendo se bien no parecen mal. A few dissonances, well played they don't seem bad (my translation) G To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html ___ Professor John Griffiths FAHA Early Music Studio, School of Music, The University of Melbourne 3010, Victoria, Australia tel +61 3 8344 8810 mob +61 421 644 911 [6]jag...@unimelb.edu.au [7]www.vihuelagriffiths.com ___ This e-mail and any attachments may contain personal information or information that is otherwise confidential or the subject of copyright. Any use, disclosure or copying of any part of it is prohibited. The University does not warrant that this email or any attachments are free from viruses or defects. Please check any attachments for viruses and defects before opening them. If this e-mail is received in error please delete it and notify us by return e-mail. -- References 1. http://www.vihuelagriffiths.com/JohnGriffiths/Publications_files/GRIFFITHS%201986%20mu%20fantasia.pdf 2. http://www.vihuelagriffiths.com/JohnGriffiths/Publications.html 3. mailto:s...@wollaton55.freeserve.co.uk 4. mailto:kalei...@gmail.com 5. http
[LUTE] Re: Setting pieces at different pitches -was: Dowland's Lachrimae
Thanks David. I know we are splitting hairs here and I mean no disrespect either, but I presume your opinion is based on your familiarity with old Italian. I don't pretend to be an expert but your response says, in effect, that you do not believe that porre sul liuto means to place [mensural music] on the lute. I'd be grateful if you could share the knowledge on which your judgment is based. Perhaps there is something I have missed in my reading of old texts. Are you using empirical evidence, or are you just expressing an opinion? Maybe there is someone out there reading these messages who is more expert than either of us in old Italian and who can clarify. JG On 25/02/2010, at 19:24, David Tayler wrote: Respectfully, I can't really agree that those are similar since Galileo uses the word intavolare and the other source does not, plus the simple fact is that intabulate had the meaning of score, not tablature, since there was organ tablature and tablature for other instruments as well. dt At 10:54 PM 2/24/2010, you wrote: No doubt the lute was part of the compositional process as Jessie Ann Owens asserts, and it is difficult to draw any definitive conclusion about the exact role of the instrument from the brief bits of information in the letters concerning Palestrina. One detail that might make some difference to the way we interpret the documents, however, is that the term used in the letter is porre sul liuto, translated by Strunk as to set on the lute but literally to place on the lute. In sixteenth-century Italian usage, this is the common equivalent of what we now would express as to intabulate. Galilei, for example, writes more precisely in his Fronimo and uses the phrase intavolare sul liuto for the same thing. Strunk's translation is misleading inasmuch as to set in English can be construed as part of the compositional act. Hence, I think it is quite reasonable to conclude that the wording implies that music composed in some other way was fitted to the lute. The phrase at the end of the quote makes it clear that the process was not a simple linear progression from composition to intabulation, but that the process involved aural judgment, revision, correction, etc. the lute very much a part of the composer's toolkit. JG On 25/02/2010, at 12:29, David Tayler wrote: I think Howard is right on as far as the process goes. I don't think we can rule out the lute in any way based on this quote a far as being part of the compositional process. It may have been used for thematic material, for harmony, or any number of things, but it looks like a direct reference. The lute would not have had to play the full polyphonic web to be used as a compositional etch-a-sketch. dt At 05:09 PM 2/24/2010, you wrote: \On Feb 24, 2010, at 4:13 PM, John Griffiths wrote: the evidence about Palestrina and the lute suggests not that he composed on the lute, but that he intabulated his new compositions and tested them on the lute before releasing them. I'm not sure what tested or released would mean in this context, but at least in English translation, the letter from Annibale Capello to Duke Guglielmo Gonzaga of Mantua of 18 October 1578 seems to say Palestrina was using the lute to compose: Having passed recently through a serious illness and being thus unable to command either his wits or his eyesight in the furtherance of his great desire to serve Your Highness in whatever way he can, M. Giovanni da Palestrina has begun to set the Kyrie and Gloria of the first mass on the lute, and when he let me hear them, I found them in truth full of great sweetness and elegance. [] And as soon as his infirmity permits he will work out what he has done on the lute with all possible care. This seems to say that Palestrina had composed on the lute, and would expand it into the vocal parts as soon as he got well. The Duke apparently thought that Capello meant to say that Palestrina was writing lute music, as two drafts of a letter from a ducal official to Capello that Jeppeson found in Gonzaga show, or at least thats how Jessie Ann Owens reads them. The first one says: His Highness [the Duke] commands that Your Lordship [Capello] tell Messer Giovanni di Palestrina that he should take care to get well and not hurry to set to the lute the Kyrie
[LUTE] Re: Palestrina
Thanks, Howard. Your first point is right. I was using mensural music as an abbreviation of music already in existence and notated in mensural notation The second point is where we differ. You suggest that I am trying to parse, or even retro-parse (whatever that means!) yet the object of the exercise is the opposite of parsing. We are trying to comprehend a text in its entirety and understand its meaning in its context. The context includes the way that specific and perhaps technical terminology was used by people without technical knowhow or experience. Thus, the presumably non-musically trained letter writer Capello tells us that Palestrina ha cominciato a porre sul Liuto le chirie et la Gloria della prima messa. From my understanding, porre sul liuto is exactly the kind of terminology that I would expect an educated sixteenth-century Italian layman to use in this context to express what a professional contemporary like Galilei described as intavolare sul liuto. Now I'm not trying to fudge up my argument with modern value judgments about what Bach might or might not have been able to do at the keyboard, I'm just trying to understand a text. My understanding of the phrase is that Palestrina has begun to intabulate on the lute the Kyrie and Gloria of the first Mass. What others have been suggesting is that this means that Palestrina has begun to compose (or sketch) the Kyrie and the Gloria... on the lute possibly influenced by Strunk's translation of porre as to set. My point is that, admitting my limited understanding of sixteenth-century Italian, I don't believe the phrase would have been be understood in this latter way by an Italian of the time. I find the other mention of the lute in the same letter much more difficult to understand as precisely. Capello tells us that Palestrina spiegarà ciò ch’ha fatto col liuto con tutto il suo studio. Here I suspect that there is an implication that some part of the compositional process is taking place as a result of the composer's use of the lute. Your musings make much more sense with respect to this phrase. I promise not to comment further on this topic. JG On 26/02/2010, at 5:49, howard posner wrote: On Feb 25, 2010, at 3:18 AM, John Griffiths wrote: Thanks David. I know we are splitting hairs here and I mean no disrespect either, but I presume your opinion is based on your familiarity with old Italian. I don't pretend to be an expert but your response says, in effect, that you do not believe that porre sul liuto means to place [mensural music] on the lute. But there's no such thing as mensural music. There's music, which can be written in mensural notation or tablature. I'd be grateful if you could share the knowledge on which your judgment is based. Perhaps there is something I have missed in my reading of old texts. Are you using empirical evidence, or are you just expressing an opinion? There's a limit to how far parsing old Italian will get you, particularly if you assume that you're trying to retro-parse a musician's term of art. Annibale Capello was the Duke's agent in Rome, a political operative. We don't know whether he was a lute player, or how knowledgeable or careful he was in his musical terminology. But what seems clear is that he heard Palestrina play something on the lute that would not be written down in mensural notation until some future time when his infirmity permits. It makes sense that Palestrina would use a lute in the process of composing a complex work that could not be fully realized on the instrument. Composers do this all the time. Even Bach couldn't have sat down at the harpsichord and played all the notes in the B minor Mass. On the other hand, your hypothesis that Palestrina would take a fully-worked-out vocal composition and intabulate it to try it out on the lute makes no sense to me. The voice-leading would be fragmented, some of the vertical harmonies would have to be thinned, and he would have to reconstruct the work in his head as he played, which surely would defeat the point of the exercise. For Jessie Ann Owens' views, filtered through the eyes of the Venere Lute Quartet, the notes for the Venere Lute Quartet's Palestrina's Lute CD (available from the LSA) are at: http://www.venerelutequartet.com/programpl.html#notes To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: Setting pieces at different pitches -was: Dowland's Lachrimae
Dear list members, the evidence about Palestrina and the lute suggests not that he composed on the lute, but that he intabulated his new compositions and tested them on the lute before releasing them. The best known reference is a letter from Annibale Capello to Guglielmo Gonzaga of 18 October 1578 concerning Palestrina intabulating some of the movements of his Missa Dominicalis. See Jessie Ann Owens, Composers at Work (1997), p. 309 JG On 25/02/2010, at 10:59, Sean Smith wrote: On Feb 24, 2010, at 2:05 PM, howard posner wrote: On Feb 24, 2010, at 1:56 PM, Martin Shepherd wrote: Also one has to ask whether Francesco da Milano, brilliant though he must have been, was actually able to invent extended strict canons without recourse to mensural notation. Some of his pieces are so intricately worked that the idea that he composed them on the lute seems ridiculous. Not so ridiculous once we know that Palestrina composed on the lute. Did he? It may be in print but I can't picture anyone composing 5 or more voices on a lute. Then again, maybe it's easier to compose on a lute what you don't have to perform. I'll remain sceptical and believe: he wrote some compositions (some parts of compositions?) w/ his lute but there's no way we can know the extent of his composing-with-lute practice. What is the quote which deals with this? Sean To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html ___ Professor John Griffiths FAHA Early Music Studio, School of Music, The University of Melbourne 3010, Victoria, Australia tel +61 3 8344 8810 mob +61 421 644 911 [2]jag...@unimelb.edu.au [3]www.vihuelagriffiths.com ___ This e-mail and any attachments may contain personal information or information that is otherwise confidential or the subject of copyright. Any use, disclosure or copying of any part of it is prohibited. The University does not warrant that this email or any attachments are free from viruses or defects. Please check any attachments for viruses and defects before opening them. If this e-mail is received in error please delete it and notify us by return e-mail. -- References 1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 2. mailto:jag...@unimelb.edu.au 3. http://www.vihuelagriffiths.com/
[LUTE] Re: Setting pieces at different pitches -was: Dowland's Lachrimae
No doubt the lute was part of the compositional process as Jessie Ann Owens asserts, and it is difficult to draw any definitive conclusion about the exact role of the instrument from the brief bits of information in the letters concerning Palestrina. One detail that might make some difference to the way we interpret the documents, however, is that the term used in the letter is porre sul liuto, translated by Strunk as to set on the lute but literally to place on the lute. In sixteenth-century Italian usage, this is the common equivalent of what we now would express as to intabulate. Galilei, for example, writes more precisely in his Fronimo and uses the phrase intavolare sul liuto for the same thing. Strunk's translation is misleading inasmuch as to set in English can be construed as part of the compositional act. Hence, I think it is quite reasonable to conclude that the wording implies that music composed in some other way was fitted to the lute. The phrase at the end of the quote makes it clear that the process was not a simple linear progression from composition to intabulation, but that the process involved aural judgment, revision, correction, etc. the lute very much a part of the composer's toolkit. JG On 25/02/2010, at 12:29, David Tayler wrote: I think Howard is right on as far as the process goes. I don't think we can rule out the lute in any way based on this quote a far as being part of the compositional process. It may have been used for thematic material, for harmony, or any number of things, but it looks like a direct reference. The lute would not have had to play the full polyphonic web to be used as a compositional etch-a-sketch. dt At 05:09 PM 2/24/2010, you wrote: \On Feb 24, 2010, at 4:13 PM, John Griffiths wrote: the evidence about Palestrina and the lute suggests not that he composed on the lute, but that he intabulated his new compositions and tested them on the lute before releasing them. I'm not sure what tested or released would mean in this context, but at least in English translation, the letter from Annibale Capello to Duke Guglielmo Gonzaga of Mantua of 18 October 1578 seems to say Palestrina was using the lute to compose: Having passed recently through a serious illness and being thus unable to command either his wits or his eyesight in the furtherance of his great desire to serve Your Highness in whatever way he can, M. Giovanni da Palestrina has begun to set the Kyrie and Gloria of the first mass on the lute, and when he let me hear them, I found them in truth full of great sweetness and elegance. [] And as soon as his infirmity permits he will work out what he has done on the lute with all possible care. This seems to say that Palestrina had composed on the lute, and would expand it into the vocal parts as soon as he got well. The Duke apparently thought that Capello meant to say that Palestrina was writing lute music, as two drafts of a letter from a ducal official to Capello that Jeppeson found in Gonzaga show, or at least thats how Jessie Ann Owens reads them. The first one says: His Highness [the Duke] commands that Your Lordship [Capello] tell Messer Giovanni di Palestrina that he should take care to get well and not hurry to set to the lute the Kyrie and the Gloria with other compositions, because having at hand many other talented men [i.e. in Mantua, I think] there is no need for compositions for lute, but instead for compositions made with great care. The second draft says Capello should tell Palestrina that he not hurry to set the Masses to the lute, since [the Duke] desires that they employ imitation throughout and be written on the chant This is all at pages 292-293 of Composers at work which I pulled up on Google books by searching jessie ann owens palestrina lute. -- To get on or off this list see list information at [1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html ___ Professor John Griffiths FAHA Early Music Studio, School of Music, The University of Melbourne 3010, Victoria, Australia tel +61 3 8344 8810 mob +61 421 644 911 [2]jag...@unimelb.edu.au [3]www.vihuelagriffiths.com ___ This e-mail and any attachments may contain personal information or information that is otherwise confidential or the subject of copyright. Any use, disclosure or copying of any part of it is prohibited. The University does not warrant that this email or any attachments are free from viruses or defects. Please check any attachments for viruses and defects
[LUTE] Re: Transcription
But it is 10-course lute music, not theorbo. JG On 06/01/2010, at 12:07, [1]chriswi...@yahoo.com wrote: Bruno, My opinion regarding theorbo notation is for one staff in bass clef. With only ten frets on the neck, you'll never have to go higher then three lines for the rare passages that go up that high; with nothing below the tenth course in this particular book, you'll only have one ledger line under the staff. I would suggest that you account for the re-entrant tuning (especially unison notes and campanellas) in your staff notation by indicating the string with numbers in circles the way it is done in modern guitar notation. (This would be helpful for non-players in visualizing the complexity of some sections that seem at first to be quite simple.) I would definitely avoid arranging it for guitar, however - the music doesn't work at all that way. My two cents. Good luck! Chris --- On Wed, 1/6/10, Bruno Correia [2]bruno.l...@gmail.com wrote: From: Bruno Correia [3]bruno.l...@gmail.com Subject: [LUTE] Transcription To: List LUTELIST [4]l...@cs.dartmouth.edu Date: Wednesday, January 6, 2010, 9:46 AM Could anybody give his/her opinion about this issue: At the moment I am analysing the Kapsperger 1611 lute book for my Doc. dissertation. All the musical examples will be written with Django tab writer adding (automatically) its transcription. My question is: should the transcription be written on a single or double staff (treble and bass clefs)? I think that a single staff is more economical... I thought for a moment to transcribe it in (e) in order to easy the access to guitarists, but perhaps its just a fool idea. After all they don't have the deep basses (10 course). Appreciate any comments. -- To get on or off this list see list information at [5]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html To get on or off this list see list information at [6]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html ___ John Griffiths FAHA Professor of Music General Editor LYREBIRD PRESS [7]www.lyrebirdpress.com Director EARLY MUSIC STUDIO [8]www.music.unimelb.edu.au/research/EMS/index.html School of Music The University of Melbourne 3010 Victoria Australia tel (61+3) 8344 8810 fax (61+3) 8344 5346 [9]jag...@unimelb.edu.au [10]www.vihuelagriffiths.com ___ This e-mail and any attachments may contain personal information or information that is otherwise confidential or the subject of copyright. Any use, disclosure or copying of any part of it is prohibited. The University does not warrant that this email or any attachments are free from viruses or defects. Please check any attachments for viruses and defects before opening them. If this e-mail is received in error please delete it and notify us by return e-mail. -- References 1. mailto:chriswi...@yahoo.com 2. mailto:bruno.l...@gmail.com 3. mailto:bruno.l...@gmail.com 4. mailto:lute@cs.dartmouth.edu 5. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 6. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html 7. http://www.lyrebirdpress.com/ 8. http://www.music.unimelb.edu.au/research/EMS/index.html 9. mailto:jag...@unimelb.edu.au 10. http://www.vihuelagriffiths.com/
[LUTE] Re: Little Lines
The proper name for the mark signifying an abbreviation of this kind is a tilde. It is also known as a swung dash, I think. John Griffiths On 29/12/2009, at 17:21, Bernd Haegemann b...@symbol4.de wrote: Abkürzung, abbreviatur http://www.phil.uni-passau.de/histhw/TutKrypto/tutorien/Abkuerzungen.htm From: Stewart McCoy lu...@tiscali.co.uk To: Lute Net lute@cs.dartmouth.edu Sent: Tuesday, December 29, 2009 9:03 PM Subject: [LUTE] Little Lines Dear All, A friend of mine has asked me this question: When a seventeenth-century copyist abbreviated a word and indicated it by writing a line over the last letter, rather than a dot after it (e.g. Preludiu for Preludium), is there a proper term to refer to that line? I don't now the answer. Can anyone help? Stewart McCoy. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html --- --- --- --- No virus found in this incoming message. Checked by AVG - www.avg.com Version: 8.5.431 / Virus Database: 270.14.123/2592 - Release Date: 12/29/09 07:47:00
[LUTE] New vihuela society website
Dear lutenists, this message serves to draw your attention to the new webpages of the Spanish Sociedad de la Vihuela that have just been published on the web. The website is now fully bilingual in Spanish and English, and gives details of the Society's journal Hispanica Lyra, as well as other publications such as the sensational full-colour facsimile of Luis Milán's El Maestro which is being offered with a 20% discount to celebrate the new website (It only costs 56 euros!) http://www.sociedaddelavihuela.com/en/ Please check out the new site. Thanks, John Griffiths on behalf of the Sociedad de la Vihuela To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
[LUTE] Re: dedillo
Hi Jocelyn, No the guitarra portuguesa is closer to a cittern in its modern form -- they still use the term viol=E3o (=vihuela in Port.) for the Spanish guitar. Even though the current instrument is of 18th-century British origin, the techniques for playing it are much older. They still play dedilho for most passage work. Check these: http://www.attambur.com/Recolhas/a_guitarra_portuguesa.htm http://en.wikipedia.org/wiki/Portuguese_guitar John On 31/10/2007, at 11:45, Nelson, Jocelyn wrote: John, Is the Portuguese guitar you mention the 4-course like the Renaissance guitar and the uke? Jocelyn From: John Griffiths [mailto:[EMAIL PROTECTED] Sent: Tue 10/30/2007 8:41 PM To: [EMAIL PROTECTED] Subject: [VIHUELA] Re: dedillo My two-penneth worth is that we have two main ways of learning about dedillo from contemporary practice. One is from the variety of techniques used in vihuela/guitarra-derivatives in Latin America, such as the charango and various others. The second is the Portuguese guitar that has continued to use dedillo technique in a manner that I suspect is not far removed from the way that sixteenth-century vihuelists used it. John On 31/10/2007, at 10:23, Eugene C. Braig IV wrote: At 07:00 PM 10/30/2007, Stuart Walsh wrote: Is the vihuela the only instrument that uses this technique? I don't think there is anything like it in 4 or 5 course guitar, or any kind of lute, technique. There couldn't be anything in the construction of the instrument that makes this a more likely possibility, could there? And hats off to Ralph Maier for actually mastering it. Speaking only as an amateur: the whole business is trying to get the flesh of the fingers to sound the strings. But the downward stroke of dedillo seems like a crude bash with the nails. How do you square the considered upward pluck of the fingers with - what could easily be- a rather percussive chunk downwards with the thumb? Dedillo as tremolo is pretty common to modern classical guitar and perhaps even more common to flamenco (and, as Bill has offered, to chordal charango technique). I'm not certain how to interpret your latter paragraph, Stuart. The potential imbalance in tone is between the typical full-voiced upstroke of nail/flesh against the thinner-voiced downstroke of the same finger, back of nail only. To quote the fine detail of Ralph's article: [W]hen commencing a section of passage-work where dedillo has been indicated in the tablature, or where the passage seems well-suited to this type of articulation, the vihuelist begins with an upward stroke on the accented beat with the fleshy side of the index finger. During the subsequent release of the finger to its original starting point (in other words, the downstroke), the vihuelist articulates the string again, now with nail side of the finger. I don't necessarily think it needs to balance. I think the strong- weak pulse is a feature of dedillo to be exploited. Eugene -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html ~ Professor John Griffiths Faculty of Music =95 The University of Melbourne 3010 =95 Victoria =95 Australia tel (61+3) 8344 8810 =95 fax (61+3) 8344 5346 =95 [EMAIL PROTECTED] ~ This e-mail and any attachments may contain personal information or information that is otherwise confidential or the subject of copyright. Any use, disclosure or copying of any part of it is prohibited. The University does not warrant that this email or any attachments are free from viruses or defects. Please check any attachments for viruses and defects before opening them. If this e- mail is received in error please delete it and notify us by return e- mail. -- ~ Professor John Griffiths Faculty of Music =95 The University of Melbourne 3010 =95 Victoria =95 Australia tel (61+3) 8344 8810 =95 fax (61+3) 8344 5346 =95 [EMAIL PROTECTED] ~ This e-mail and any attachments may contain personal information or information that is otherwise confidential or the subject of copyright. Any use, disclosure or copying of any part of it is prohibited. The University does not warrant that this email or any attachments are free from viruses or defects. Please check any attachments for viruses and defects before opening them. If this e- mail is received in error please delete it and notify us by return e- mail. --
[LUTE] Re: Canciones
There are two new editions of the Cancionero de Uppsala: 1. Ed Maricarmen Gomez Muntane: El Cancionero de Uppsala. Edited by Maricarmen Gomez Muntane. 2 vols. Valencia: Biblioteca Valenciana, Generalitat Valenciana (Conselleria de Cultura i Educacio - Direccio General del Llibre, Arxius i Biblioteques), 2003. 2. Ed Eduardo Sohns: Villancicos de diversos Autores. Ed. Eduardo Sohns. 3 vols. Buenos Aires: Eduardo Sohns Libros de Musica, 2002. (http://www.sohns-musica.com.ar/) In the Gomez edition, vol. 1 is a facsimile. The Sohns is cheap, excellent and practical. John Griffiths Hello All, I'm really getting into Spanish lute songs and was wondering if anyone out there can help me track down some scores. I'm wondering whether there an edition of songs from the Cancionero de Uppsala easily available? And are the songs scored with lute tab and voice, or is is tab with coloured tab numbers for the vocal line, or is it written out parts? All these questions - my ignorance astonishes me! I've got the CD-ROM of the vihuelista publications, so the songs from there are within reach. But if anyone's got any favourites which I might have overlooked, recommendations are welcome, especially if you have taken the time to make performing editions of the songs which are purely in tablature... Can someone educate me? Peter http://www.bbc.co.uk/ This e-mail (and any attachments) is confidential and may contain personal views which are not the views of the BBC unless specifically stated. If you have received it in error, please delete it from your system. Do not use, copy or disclose the information in any way nor act in reliance on it and notify the sender immediately. Please note that the BBC monitors e-mails sent or received. Further communication will signify your consent to this. To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html -- No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.503 / Virus Database: 269.15.12/1097 - Release Date: 2007-10-28 13:58 ~ Professor John Griffiths Faculty of Music =95 The University of Melbourne 3010 =95 Victoria =95 Australia tel (61+3) 8344 8810 =95 fax (61+3) 8344 5346 =95 [EMAIL PROTECTED] ~ This e-mail and any attachments may contain personal information or information that is otherwise confidential or the subject of copyright. Any use, disclosure or copying of any part of it is prohibited. The University does not warrant that this email or any attachments are free from viruses or defects. Please check any attachments for viruses and defects before opening them. If this e- mail is received in error please delete it and notify us by return e- mail. --
[LUTE] Spinacino 1507-2007
A two-day conference celebrating the 500th anniversary of the first printed lute tablature. 30 November-1 December, Tours This conference will also mark the reactivation of the Corpus des Luthistes series, and the launch of its new website featuring a full colour facsimile of the Spinacino lutebook, by courtesy of the Jagellionian University in Cracow. A poster is available at: http://193.52.215.193/Epitome/ Spinacino.pdf.zip Centre d'Etudes Superieures de la Renaissance Projet Corpus des luthistes Dirige par Dinko Fabris, John Griffiths Philippe Vendrix Colloque international (Vendredi 30 novembre 2007 - Samedi 1er decembre 2007) Spinacino : 1507-2007 Vendredi 30 novembre 14h : Philippe Vendrix (CESR) Accueil des participants 14h30: Stanley Boorman (New York University) Why Spinacino? 15h15 : Philippe Canguilhem (Universite de Toulouse) Les premi=E8res tablatures et l'art de la memoire 16h30 : John Griffiths (Melbourne University) Predictability and irrationality in the music of Spinacino 17h15 : Victor Coelho (Boston University) Historiography and chronology in Spinacino Samedi 1er decembre 9h30 : Sabine Meine (Institut historique allemand de Rome) Les frottole de Spinacino 10h15 : Tim Crawford (University of London) Dance music for the lute 11h30 : Gianluigi Bello A close reading and new meaning of Spinacino vocal models 14h30 : Vladimir Ivanoff Spinacino's lute duos as sources for previous performance practice in lute duos 15h15 : Keith Polk Solo lutenists, lute duo- Foreign and domestic in Italy, c.1500 16h30 : Camilla Cavicchi (CESR) Luths et luthistes =E0 Ferrare 17h15 : Dinko Fabris (Universit=E0 de Basilicat=E0) Les tablatures italiennes de luth: etat des connaissances et prospectives pour le Corpus des Luthistes Pour toute information complementaire : [EMAIL PROTECTED] Lieu du colloque : CESR, 8 rue Rapin =E0 Tours http://193.52.215.193/cesr/plancesr.asp ~ Professor John Griffiths Faculty of Music =95 The University of Melbourne 3010 =95 Victoria =95 Australia tel (61+3) 8344 8810 =95 fax (61+3) 8344 5346 =95 [EMAIL PROTECTED] ~ This e-mail and any attachments may contain personal information or information that is otherwise confidential or the subject of copyright. Any use, disclosure or copying of any part of it is prohibited. The University does not warrant that this email or any attachments are free from viruses or defects. Please check any attachments for viruses and defects before opening them. If this e- mail is received in error please delete it and notify us by return e- mail. -- To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
