Dear Arthur, Thank you very much for your kind and, as usual, very complete answer to my query. Your argumentation comforts my own conclusion. I had taken a look at the various sources I had at hand (your introductions to FdM's works, to the Siena ms, your Herwart's thesis, H. C. Slim's biography of FdM and also Suzanne Court's thesis on Terzi, plus Philipe Canguilhem's book on Galillei) and I always came to the same conclusion : B.M. remains the mystery man in "Fronimo" ! Hoppy and Paul were quite young at the time they recorded this "Duetti Italiani" record (1979) and they may have been a bit over enthusiastic about the attribution then... Never mind, their record is still very pleasant to listen to ! Well, now, B.M., a Florentine gentleman... Could he possibly be a member of the Medici family ?
Thank you again, Arthur, and have a very good day, Jean-Marie ======= 18-09-2008 02:48:19 ======= > >----- Original Message ----- >From: "Jean-Marie Poirier" <[EMAIL PROTECTED]> >To: "lute" <lute@cs.dartmouth.edu> >Sent: Wednesday, September 10, 2008 8:52 AM >| Dear collective wisdom, >| >| Could anyone on this list give me some precisions about the attribution >of some pieces in Galilei's Fronimo (1584 edition), namely 1 ricerecar and >2 Contrapunti at the end of the book, to a certain "Bernardino Monzino". >The table indeed gives the initials "B.M." for these pieces, but nowhere >does a complete name ever appear. How did some people (Paul O'Dette and >Hopkinson Smith among them) reached the equation BM = Bernardino Monzino ? >| If you have clues on that mysterious attribution I would be very >grateful for your help. Arthur... ??? ;-) >| >| All the best, >| >| Jean-Marie >| >oooooooooooooooooooooooooooooooooooooooooo >Dear Jean-Marie, > >I've been busy, so have had to put off responding to your question. > >The attribution Berdanrdino Monzino for pieces by "B.M." in Galilei's >"Fronimo" pieces comes from the duet LP >that Paul and Hoppy released in 1979. I do not have it, so I do not know >the thinking behind the attribution to "Bernardo Monzino", Francesco da >Milano's brother. (Francesco was also known as "Monzino," after his >birthplace, Monza in Milan, and some pieces of his are attributed to "F.M" >which >could mean Francesco Monzino.) > >Pieces attributed to a composer with the initials >"B.M." also occur in the Siena Lute Book and in the de Bellis Manuscript. >On folio 24 of the Siena manuscript is a piece attributed to "Monzino," >which could refer to Francesco or to his brother. The piece is included >in the HUP Francesco edition, as Appendix No. 26. Now a few folios >earlier (folio 19v) is a piece attributed to "B.M." and it _appears_ to be >the Monzino piece. For that reason Hoppy and Paul may have concluded that >the "M" of B.M. refers to Monzino, hence Bernardo (or Bernardino) Monzino. > >But it is only the first few measures of the two pieces that are alike, >and both continue differently after measure 12. In other words, the two >works are likely parody ricercars based on the same model. So the >attribution to a person named Monzino is questionable. Thanks to Franco >Pavan >we now know a bit about Bernardo's biography. Francesco's family was >associated with the French faction in Milan, and Bernardo traveled with >the Parisian composer Jean Conseil and was in Rome with him, when he was >in the Pope's private chapel, but otherwise Bernardo seems to have resided >in Milan. He succeeded Francesco as canon at the basilica of San Nazaro >in Broglio, when Francesco married. I can find no >reference to Bernardo ever being in Florence, except fleetingly. >Certainly he was not there long enough to be considered a Florentine. > >Galilei described "B.M." as being a "gentiluomo fiorentino," >and that would exclude Bernardo being "B.M." A Florentine gentleman might >disguise his name, since the occupation of musician was beneath his >station. > >Mariagrazia Carlone in a forthcoming article in JLSA suggests a member of >a prominent Florentine dynastic family as being "B.M., which would surely >fit the sobriquet "Florentine Gentleman." Dinko Fabris (iirc) has >suggested another name, >but I cannot find the reference. And one must remember that there were >surely a great many Renaissance gentleman-lutenists with those initials. > >But until the evidence is stronger, I would suggest the Fronimo pieces be >designated "B.M., Florentine Gentleman." It is always dangerous to make >attributions based on shallow, speculative evidence. > >=====AJN (Boston, Mass.)===== >This week's free download from Classical Music Library is >Brahms' Academic Festival Overture in C minor, Op. 80, >performed by the Orchestre National Bordeaux Aquitaine; >Alain Lombard, conductor. > >To download, click on the CML link here >http://mysite.verizon.net/arthurjness/ > >My Web Page: Scores >http://mysite.verizon.net/vzepq31c/arthurjnesslutescores/ > Other Matters: >http://mysite.verizon.net/arthurjness/ >=================================== > > > > > >To get on or off this list see list information at >http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >--------------------------------------------------------------------------------------- >Orange vous informe que cet e-mail a ete controle par l'anti-virus mail. >Aucun virus connu a ce jour par nos services n'a ete detecte. > > = = = = = = = = = = = = = = = = = = = [EMAIL PROTECTED] http://poirierjm.free.fr 18-09-2008
