> So, piece in PL-Wn 396 Cim. is example of interpretation, but we need to do a > "source criticism", because we could eliminated errors and we would know > some specific of interpretation this piece.
Yes, I think so. But I do not think of this piece (or of any French baroque lute music) in terms of urtext. Wn 396 is a genuine source, as is. As you said, those half-moons aren't necessarily mistakes. > (By the way, there is a hermeneutics, > isn't there?) This is easier when we have concordances. There is harder when we > have a unique piece by Anonymous. Well, yes, there is a kind of hermeneutics. I shouldn't "correct" Pl-Wn 396, by means of other versions of other versions, as a whole. Some corrections are obvious (letters on wrong lines, "missing" letters). Others are not so obvious (ornaments, rhythm). > I thought about commas from e.g. 1st half: bar 4 on beat 1, bar 7 on beats 2 and > 4 are not the same as bar 6 on beats 2 and 4, bar 7 on beats 1 (look like half- > moons) - there are not single coincedences. Both wrote from the right side of > letter. I suppose that scribe intentionally wrote sometimes a bigger commas > (like half-moons) and sometimes smaller ornament. And I meant that smaller > comma could be a mordent and bigger comma could be an appogiatura. Let me > know if I think incorrectly and if these differentes are only slip of the pen. By half-moon I meant to denote a curve below a letter, not a comma on the right of a letter. And, no, different sizes of commas do not signify different ornaments IMO. A comma is a comma, be it broad or slim. BTW the differences between the commas that you mention amount to hundredths of miliimetres. Another cup of tea is whether you execute a comma as an appoggiatura or as a trill (starting on the main note or on the upper auxiliary note). I think that depends on when you think the piece was composed. Trills starting on the main note are fine with me in pieces earlier than, say, 1630. > One more important things in example from Schaffgotsch's manuscript are > points situated near the letters. I suppose there are mean a fingering to left > hand. Yes, definitely. > A scribe wrote fingering in difficult places to execute what we can't find in > examples from e.g. A-Wn17706 (only singly points), Well,the tombeau in Wn 396 is fingered througout. As opposed to that, single dots in Vienna 17706 refer to the index of the right hand. > So we could see that this > fingering is useful and probable was wrote by scribe who knew which fingering is > necessary to catch an unbroken cantabile and how to play more comfortable. Let me put it this way: Fingerings make clear the way scribes understood their phrasings. Not necessarily cantabile or comfortable. Best, Mathias To get on or off this list see list information at http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
