Lluis del Milà is the the name in Catalan. In Castiliano the name is Luys (or alternatively Luis) Milan. Cheers! Lex
Verstuurd vanaf mijn iPhone > Op 5 jan. 2020 om 14:17 heeft r.turov...@gmail.com het volgende geschreven: > > 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 >>>> >>>> >>> >>> >>> >>> . >> >> >> >> > >
