Agazzari was working in Rome and Siena, and probably the chitarra
spagnuola was more widely known there around 1600.
But Agazzari's 'Del sonare sopra il basso' is really about figured bass
and counterpoint, and from how he describes the use of the 'ornamental'
instruments it appears that the
- Original Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: Monica Hall mjlh...@tiscali.co.uk
Cc: Vihuelalist vihuela@cs.dartmouth.edu
Sent: Wednesday, December 14, 2011 8:51 AM
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari guitar
[was Re: Capona?]}
Thank you - you are either incorrect, mistaken or have misread what I
wrote
MH
--- On Mon, 12/12/11, R. Mattes r...@mh-freiburg.de wrote:
From: R. Mattes r...@mh-freiburg.de
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
Thanks Monica,
I'm really not saying these things are guitars - simply that the
possibility exists that they are - or are not!
And, yes, I don't rely on Tyler's opinions and have read Meucci's
article and agree with much of what he says.
Martyn
--- On Mon, 12/12/11, Monica
Hodgson [2][2]hodgsonmar...@yahoo.co.uk
Cc: Vihuelalist [3][3]vihuela@cs.dartmouth.edu
Sent: Monday, December 12, 2011 4:02 PM
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
Subject: [VIHUELA] Re: Return to earlier
Dear Martyn
But before getting too bogged down, the earlier question was whether
the chitarra spagnola might be included as a continuo instrument, even
by Agazzari. You'll know 'Le stravaganze d'amore' of Corradi (Venice
1616). This is an early 17thcentury source from a Northern
: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar
[was Re: Capona?]}
il Chitarrino, overo Chitarra Italiana which suggests that it
was
a
small lute rather than a 4-course guitar
[was Re: Capona?]}
Subject: [VIHUELA] Re: Return to earlier question: {was Re:
Agazzari
guitar
[was Re: Capona?]}
a small 4 course guitar (as described by Cerreto in his 1601
Neapolitan
publication).
The instrument described by Cerreto
- Original Message -
From: Lex Eisenhardt eisenha...@planet.nl
To: Vihuelalist vihuela@cs.dartmouth.edu; Martyn Hodgson
hodgsonmar...@yahoo.co.uk
Sent: Tuesday, December 13, 2011 10:53 AM
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari guitar
[was Re: Capona?]}
Thanks Lex
Maybe, but plucking to perform basso continuo on the guitar was not
unknown if that's what Agazzi really meant (and I'm not convinced we
can interpret his description as excluding BC using full chords only -
eg strummed). Indeed, there are even some, allbeit later,
On Mon, 12 Dec 2011 10:28:52 + (GMT), Martyn Hodgson wrote
Thanks Lex
Maybe, but plucking to perform basso continuo on the guitar was
not unknown if that's what Agazzi really meant (and I'm not
convinced we can interpret his description as excluding BC using
full chords only -
Thank you for this - you must have missed my qualifying rider: 'albeit
later sources' expressing that I am well aware these sources are not
contemporary with Agazzari. And of course you're quite right they do
not constitute evidence of what Agazzari was aware. The point is that
We seem to have got a bit at cross purposes here - at least I have.
Agazzari's book was printed in 1607 as far as I am aware. Only one year
after Montesardo. Foscarini's book in mixed style was printed in about
1630 and the version of which includes the continuo instructions was printed
in
Dear Monica,
I'm not sure we are at cross purposes since we all seem to agree that
nothing is certain about what precise instrument Agazzari had in mind
and whether he might have come accross the chitarra spagnuola (and
implied it in his 'etcetera').
Of course Foscarini's
Indeed - this supplements what I wrote below - thank you.
Presumably after 1589 the guitar (5 course alla spagnola) became better
known in the North.
MH
From: Eloy Cruz eloyc...@gmail.com
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar
:02 PM
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar
[was Re: Capona?]}
a small 4 course guitar (as described by Cerreto in his 1601
: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar
[was Re: Capona?]}
a small 4 course guitar (as described by Cerreto in his 1601
Neapolitan
The first of these is that in Millioni's 1631 book the 4-course
instrument is referred to as
il Chitarrino, overo Chitarra Italiana which suggests that it was a
small lute rather than a 4-course guitar.
But then it would be a small lute tuned like a 4 course guitar in 'temple
Subject: Re: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
il Chitarrino, overo Chitarra Italiana which suggests that it was a
small lute rather than a 4-course guitar.
But then it would be a small lute tuned like a 4 course guitar in 'temple
]vihuela@cs.dartmouth.edu
Sent: Monday, December 12, 2011 4:02 PM
Subject: [VIHUELA] Re: Return to earlier question: {was Re: Agazzari
guitar [was Re: Capona?]}
Subject: [VIHUELA] Re: Return to earlier question: {was Re:
Agazzari
guitar
[was Re: Capona
il Chitarrino, overo Chitarra Italiana which suggests that it was a
small lute rather than a 4-course guitar.
But then it would be a small lute tuned like a 4 course guitar in 'temple
nuevo'.
That's what it is. That is what Cerreto's instrument is and it has a
re-entrant tuning.
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