Thanks, Antonio. I must say it is heartwarming to know you are such a
champion for the music of Milan. I appreciate his role as a pioneer in
Spanish instrumental music and as an advocate of the viheula and its
significance in courtly life. But I don't think it is much of a
speculation to say that he was influenced by Italian examples,
including Verdelot's madrigals and Castiglione's much earlier example
of a guide to courtly custom. I think if you'll examine the large
amount of intabulated polyphony found in the books of Fuenllana (1552)
and Valderrabano (1547), both of which contain several intabulations of
music by Verdelot, as well as Arcadelt, Compere, Gombert, Josquin,
Mouton, Sermisy and Willaert, you must admit there is a chance Milan
had access to examples for his instrumental settings.
RA
__________________________________________________________________
From: lute-...@new-old-mail.cs.dartmouth.edu
<lute-...@new-old-mail.cs.dartmouth.edu> on behalf of Antonio Corona
<abcor...@mail.cs.dartmouth.edu>
Sent: Saturday, January 4, 2020 9:21 AM
To: lute@cs.dartmouth.edu <lute@cs.dartmouth.edu>
Subject: [LUTE] Re: Portuguese Lute Music anyone?
Oops ... a mistake.
In the paragraph wich reads:
Milán`s El Cortesano is an account of his life at the viceregal court
of the Duke of Calabria and Germaine de Foix at Valencia: it has little
in common with Casteglione's work which, incidentally, was published in
a Spanish translation by Juan Boscán in 1534 - the same year in which
the work for publishing El Maestro began. We do not know at what time
Milan might have learned of it, but his Cortesano was published in
1561, a long time after.
The part which states "in 1534 - the same year in which the work for
publishing El Maestro began." should be ignored (the correct date is
1535).
Best wishes,
Antonio
To get on or off this list see list information at
[1]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
--
References
1. http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
