How come is he also known as Luis de Milan and Lluis del Mila’? RT ==== http://turovsky.org Feci quod potui. Faciant meliora potentes.
> On Jan 5, 2020, at 4:16 AM, Albert Reyerman <albertreyer...@kabelmail.de> > wrote: > > Wrong, Tristan. > > The only source we have with his name given > is EL MAESTRO. > Here his name is prited Luys Milan (sic) > No apostroph. > > Regards > Albert > > TREE EDITION > Albert Reyerman > Finkenberg 89 > 23558 Luebeck > Germany > > albertreyer...@kabelmail.de > www.tree-edition.com > 0451 899 78 48 > --- > Fine Art Paintings > Anke Reyerman > www.anke-reyerman.de > >> Am 04.01.2020 um 20:02 schrieb Tristan von Neumann: >> May I just add something outrageous: >> >> >> This guy is literally called "Milán". How sure are we that he's not of >> Italian origin? >> >> >>> On 04.01.20 19:59, Antonio Corona wrote: >>> Dear Ron, >>> >>> Thank you for your kind words. Again, I think we should be wary of >>> speculations where the known facts points in another direction. While there >>> is indeed a possibility of Italian influence in Milán, especially >>> considering that the viceroy of Valencia was Ferdinand of Aragón, Duke of >>> Calabria, I still believe that putting together Milán and Verdelot is >>> pushing the evidence too far merely on the basis of a vague possibility >>> (which I cannot share -the dates of their publications suggest otherwise); >>> on the other hand, we have no way of knowing how much influence >>> Castiglione's book might have had on Milán: at least there is none to be >>> found in his own Cortesano. In my view all the arguments in favour of an >>> Italian direct musical influence on Milán remain purely speculative. I >>> cannot give credence to them. >>> >>> On the other hand, resorting to the contents of Valderrábano and Fuenllana >>> is, again, misleading. Both vihuelists belong to a later phase and school >>> (I call it Castilian as opposed to the earlier Valencian) and should not be >>> used as a basis for comparison. The mere fact that both included a large >>> amount of intabulations as opposed to the contents of El Maestro -where >>> there are none-, not to mention the altogether different style of their >>> fantasias, as well as the fact that both Valderrábano and Fuenllana were >>> professional musicians at the service of nobility, whereas Milán was an >>> amateur (probably a member of the lesser nobility as suggested by the >>> "Don"), their "nationality": Castilian versus Valencian, and even the type >>> of tablature they used should put us on our guard against a direct >>> comparison and therefore considering them on the same category. >>> >>> I´m afraid that I shall need more solid evidence to convince me that Milan >>> used the music of Verdelot (or any of the other great composers intabulated >>> by later vihuelists) as a model or otherwise for his own music. As it >>> stands now, I must stress it again, such a suggestion is firmly rooted on >>> speculation and nothing more. >>> >>> Best wishes, >>> Antonio >>> >>> >>> >>> >>> >>> >>>> On Saturday, 4 January 2020, 09:19:07 GMT-6, Ron Andrico >>>> <praelu...@hotmail.com> wrote: >>> >>> >>> >>> >>> >>> 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 >>> >>> >> >> >> >> . > > > >
