Dear Jocelyn,
Well, of course the 'cello COULD play chords and a few sources even
mention this, but there's little evidence that this was general
continuo practice.
Just one other thing: the bowed bass at this time would have been the
bass violon, (also called basso de viole or generally violone - often
confused these days with a double bass instrument!) tuned a tone below
the cello (ie 4th at Bb), or the bass viol (basso de gamba). The
smaller violoncello did not become general until the early 18th
century.
MH
--- On Wed, 13/4/11, Nelson, Jocelyn <nels...@ecu.edu> wrote:
From: Nelson, Jocelyn <nels...@ecu.edu>
Subject: [VIHUELA] Re: Granata
To: "Monica Hall" <mjlh...@tiscali.co.uk>, "Vihuelalist"
<vihuela@cs.dartmouth.edu>
Date: Wednesday, 13 April, 2011, 22:26
Hi Martyn and List,
Martyn said:
"I think it would have been usual to employ a small chamber organ if
any
realisation was thought necessary rather than the bowed bass
trying
to
realise the harmonies."
Remember, though, that the early (17th and early 18th c?) cello
played
chords; it was built differently enough to make chords accessible
and
was considered a foundation instrument for a time. I don't recall
offhand when this changed, though, and I don't know whether this
pertains to this music in particular.
Best,
Jocelyn
--
Jocelyn Nelson, DMA
Teaching Assistant Professor
Early Guitar, Music History
336 Fletcher Music Center
School of Music
East Carolina University
252.328.1255 office
252.328.6258 fax
[1]nels...@ecu.edu
On 4/12/2011 2:54 PM, "Monica Hall" <[1][2]mjlh...@tiscali.co.uk>
wrote:
Belatedly I got around to listening to Stuart's Granata
piece. It
works very nicely like this - I love the combination of guitar
with
lute.
But I thought it might be interesting to mention that the guitar
part
only of this piece and several of the others with violin and bass
parts
were copied by Castillion into his earlier manuscript B:Lc Ms.
245
and
he has attributed them to F.C. i.e. Francesco Corbetta.
According to my theory these are pieces which Corbetta says he
included
in the (missing) book dedicated to the Duke of Brunswick Luneberg
in
order to pay Granata back for his including some of Corbetta's
pieces
in one of his books - probably that of 1659.
A bit complicated. Perhaps the point is that they can be played
in
different ways.
Monica
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