Dear Antonio,
A pleasure to make contact with you via this thread.
Strictly speaking there is another example of Milan's tablature, albeit for
guitar, in Melchiore de Barberiis, _Libro Decimo_ (Venice: Hieronymus
Scotum, 1549). Most of the book contains music for the lute in Italian lute
tablature, but at the end of the book are four short pieces for the 4-course
guitar. The tablature for the guitar music is the same as Luys Milan's.
Best wishes,
Stewart McCoy.
-----Original Message-----
From: Antonio Corona
Sent: Friday, January 10, 2020 2:35 AM
To: lute@cs.dartmouth.edu
Subject: [LUTE] Re: Milan's name - Postludium to the CODA
Dear G. C.
As I stated before, it would be foolish to deny that Milán was influenced by
Italian culture; what I do not find is evidence of any possible influence by
the Italian lutenists before him. I, for one, would welcome any information
about it, but I'm still waiting to be enlightened. As far as I know, with
the exception of Dalza's, pavans "alla venetiana" and "alla ferrarese" which
are quite different from Milan's, there is no Italian lute source of pavans
before 1536 (Attaingnant does have some, but so far nobody here has proposed
a French influence). An interesting point would be that, according to Milán,
his pavans resemble those played in Italy (parecen en su ayre y compostura a
las mesmas pauanas que en Ytalia se tañen). Valid questions would then be:
what were his sources? Manuscripts? Did he listen to them? I have to admit
this is a big lacuna in our knowledge of the matter, but so far we do not
have any satisfactory answers: speculation may contribute to our peace of!
mind, but not to our knowledge.
Valencian tablature should be called, in fact, Milan's tablature: there are
no other examples of it. To me this is another proof of Milán's unique
condition (an interesting antecedent would be the Marineo Siculo fragment
but that is, too, one of a kind). It could nevertheless be argued that Milán
used rhytmic flags above each cipher, as can be found in Petrucci's previous
publications (and unlike Casteliono in 1536 and later vihuelists), but that
is all I can find in common.
Since I am not Spanish, I feel I can hardly be found guilty of championing
any issue of honour or ownership; I just try to judge from what available
evidence can tell us and form my own criteria from it. I don't care where I
step as long as there is a sound basis to justify where I place my feet.
Best wishes
Antonio
P.S. What does "italianate music in a general sense" mean in the context of
Milán´s pieces?
On Thursday, 9 January 2020, 15:23:56 GMT-6, G. C. <kalei...@gmail.com>
wrote:
I meant to say: "An improvement to neapolitan tab" (Which was in
Valencian hands at the time)
(Also only one remaining ms. and de Milano at that!) It's fascinating
to think of what influences were at work there.)
G.
On Thu, Jan 9, 2020 at 8:23 PM G. C. <[1]kalei...@gmail.com> wrote:
Pavanas in italian style, songs in italian, italianate music in
a
general sense, etc. etc. I don't understand this tip-toeing
around
the fact that Milan was heavily influenced by Italian art and
(lutenist) culture, as many were around this time. And also his
surname, which I cannot see has satisfyingly been explained
yet. Not
to speak about the fascinating Valencian tablature, an
improvement
(in my view) to italian tab which just didn't catch on.
Are we afraid of steping on some misguided Spanish sense of
honour and
ownership for one of the early vihuelists here?
Just intrigued
G.
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