----- Original Message -----
From: <dem...@suffolk.lib.ny.us>
To: "lute-cs.dartmouth.edu" <lute@cs.dartmouth.edu>
Sent: Wednesday, December 01, 2010 8:09 PM
Subject: [LUTE] Re: Francesco da Milano - Ness 33
<<BIG SNIP>>
imitation will often change the intervals as the harmony demands that,
yes, rhythm seems most often kept, but when changing mensuration that
first note(s) in the new section gets mangled as needed, no?
--
Dana Emery
===================================================
Hello, Dana!
Yes, but usually in Francesco the rhythm in subsequent points-of-imitation
remains the same. His polyphony depends more on Josquin's sacred polyphony,
rather than the informal contrapuntal style of the Josquin's chansons. The
paired imitation and dialogue style of No. 3, for example, is just like
Josquin's favorite sacred style. Put sacred words to it, and it might be
mistaken for a Josquin motet.
Francesco did not intabulate many Josquin chansons, and the two that he did
intabulate are of questionable attribution to Josquin. Two ricercars begin
with a direct quote from a Josquin motet, and he intabulated three genuine
Josquin motets.
His musical style depends more on the frottola (notice all the octave leap
cadences in those works from the Dorico print) and Parisian chanson, than
Josquin's chansons.
David Tayler is mistaken when he claims that I "evened up" uneven passages
in Francesco's music. No serious editor of early music would ever do
something like that. I explained why the Dorico opening of No. 33 is the
correct one, and the Gardane a mistake,
created when some typesetter didn't know where to put the barlines. And one
really has to watch for misplaced barlines in Francesco tablatures. It
would surely be bizarre should someone claim that a ricercar with
almost all of the barlines drawn before the upbeats might be an authentic
version to be
valued over all others.<sigh> It would drive a sensitive musician batty to
try to play from something like that.<g>
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