Re: a rose by any other name
Ariel, I assume that you really mean your comment, so will go further. > > particularly Times Square). The Andean (Bolivia, Peru, etc.) is mainly > > played on end blown flutes, pan pipes and drums, and is an infectious > sound. > > Would you explain that a bit more extensively? You are correct that the Andes are varied, I was using shorthand for a particular sound. There has been a considerable immigration, or at least visitation, by the Andean Indians (pardon the non PC designation). I fact the first time I heard them was on Isle St. Louis in Paris some thirty years ago. For the last twenty years they have been selling CDs (if we've had CDs that long) and playing in NYC subway stations (along with Juilliard violinists, and jazz saxaphonist - the latter mainly incompetant). They also attend the flea market in Englishtown, NJ, where I live. One of the larger in the US, where they play and sell the instruments (and most of those are incompetant, and the instruments mass made). The nature of the music is mainly a rhythmic "puff", both on the end blown flute and the pan pipes, accompanied with a simple hide drum. The music is harmonic, but not necessarily Western harmonies. The rhythm is complex, but not as polyrhythmic as the African. The end blown flutes make a somewhat "woofy" sound, in contrast to the purer sound of the Western side blown, or the clear end blown whistle with its fipple and blade. My guess is that most of these musicians are Bolivian, but that wouldn't preclude the Northern Peruvian. I have no idea about the rest of the Andes, nor any idea as to what they play at home. But the musicians are definitely of native Indian origin, by their appearance. That has been told to me by an old bartender friend, a Peruvian Indian who ended up tending bar in an Irish joint in Hoboken. Best, Jon
Copy of: Re: Cosimo Bottegari-Lutebook
Dear Martyn, Thanks for the clarification. I haven't looked at that edition in 20 years. Not all of the pieces are by Bottegari. It includes that fantasia "d'Incerto" that some people think is by Francesco. It's really too "square" to be Francesco's, and almost all of the original sources (three or four of them) attribute it to Anonymous, and none to Francesco. Mrs. MacClintock had difficulty with one song. The voice part and the lute part are not in the same key. Something to watch out for. ajn (sorry for the duplication, Martyn. I forgot to address the message properly.)
Burgenland
Dear All, It's a bit late in the day, I suppose, but if anyone is free and fancies a jolly early music course in the east of Austria (viol, recorder, lute), I shall be teaching on a course there in Burgenland from 9th-18th July. Details from Johanna Valencia, e-mail = [EMAIL PROTECTED] Best wishes, Stewart McCoy.
Re: Cosimo Bottegari-Lutebook
Published by Wellesley edition. In staff notation - does not include the tablature. Pleasant enough settings for voice and lute with a few simple lute solos (all lute solos by Bottegari I think). "Arthur Ness (boston)" To: LUTE NET <[EMAIL PROTECTED]> <[EMAIL PROTECTED]cc: serve.com> Subject: Cosimo Bottegari-Lutebook 14/06/2004 14:29 Like Michaelangelo Galilei Bottegari was lutenist and singer at the Bavarian court in Munich. There is an edition of the manuscriopt by Carol MacClintock and published in either the Yale or Wellesley music editions. I do not own a copy and therefore do not recall if she includes the tablature. The Yale series is now distributed by A-R Editions in Wisconsin. The Yale Collegium Musicum series also includes Daphne Stephens' edition of the Wickhambrook manuscript with Elizabethan music. She includes the tablature. The MacClintock book is not listed in the A-R catalogue, so it musit be Wellesley. Of course, I am fond of the frottola arrnge,ments by Bossinensis and published in two books by Petrucci. The first book has a better choice of pieces. There is a Minkoff facsimile of both. You shouldn't change lute when the voice does not match the lute.. The voice part should be transposed. The book was arranged so that the voice part will always fall into the same tessitura. So one can select a lute pitched to match the voice and play and sing all the frottole. And some of them are ideal for practicing you hemiolas. Some people including an Italian who transcribed both books believed mistakenly that one need six or seven lutes to play the pieces. Nope just one. ajn The information in this email (and any attachment) may be for the intended recipient only. If you know you are not the intended recipient, please do not use or disclose the information in any way and please delete this email (and any attachment) from your system. Service of legal documents is not accepted by email
Re: Galileo's lute
<[EMAIL PROTECTED]> schrieb: > Citat Rainer aus dem Spring <[EMAIL PROTECTED]>: > > Though others think the lute was first devis'd\\ > > In imitation of aa tortoise-baack,\\ > > Whose sinews, parched by Apollo's beams,\\ > > Echo'd about the concave of the shell:\\ > > And seeing the shortest and smallest gave shrill'st sound,\\ > > They found out frets, whose sweet diversity\\ > > (Well-touched by the skillful learned fingers)\\ > > Raiseth so strange a multitude of chords.\\ > > Which their opinion many do confirm,\\ > > Because Testudo signifies a lute.\\ > > I don't know the origin of this (Ovidius?) > According to Baron (p. 22 in the Eng. ed.) it is Virgil. > Also mentioned in preface to Drusina's 2cond ed. The myth of parched sinews can already be found in texts of ancient near east. They have it a little different, it goes like this: Yubal found his son slain. In his grief, he put the corpse on the the branches of a tree, according to burial-custom of his days. After a while, only bones and some parched sinews were left. When Yubal returned to the tree for mourning, he heard the wind making a noise on a sinew. He took it and tried it himself, that way always mournfully remembering his son. That's how he became ancestor of all string players. - The Bibel bears on that myth (Gen. 4:21). -- Best wishes, Mathias Mathias Roesel, Grosze Annenstrasze 5, 28199 Bremen, Deutschland/ Germany, T/F +49 - 421 - 165 49 97, Fax +49 1805 060 334 480 67, E-Mail: [EMAIL PROTECTED], [EMAIL PROTECTED], [EMAIL PROTECTED] "Gesucht: Das Beste für die Stadt" Ökumenischer Stadtkirchentag vom 19. bis 26. September 2004 in Bremen ! http://www.stadtkirchentag-bremen.de
Cosimo Bottegari-Lutebook
Like Michaelangelo Galilei Bottegari was lutenist and singer at the Bavarian court in Munich. There is an edition of the manuscriopt by Carol MacClintock and published in either the Yale or Wellesley music editions. I do not own a copy and therefore do not recall if she includes the tablature. The Yale series is now distributed by A-R Editions in Wisconsin. The Yale Collegium Musicum series also includes Daphne Stephens' edition of the Wickhambrook manuscript with Elizabethan music. She includes the tablature. The MacClintock book is not listed in the A-R catalogue, so it musit be Wellesley. Of course, I am fond of the frottola arrnge,ments by Bossinensis and published in two books by Petrucci. The first book has a better choice of pieces. There is a Minkoff facsimile of both. You shouldn't change lute when the voice does not match the lute.. The voice part should be transposed. The book was arranged so that the voice part will always fall into the same tessitura. So one can select a lute pitched to match the voice and play and sing all the frottole. And some of them are ideal for practicing you hemiolas. Some people including an Italian who transcribed both books believed mistakenly that one need six or seven lutes to play the pieces. Nope just one. ajn
RE: R: Manuscript of Per Brahe - Skokloster
> Of course, Francesco Tribioli, an astronomer(?) himself, would name his Yes, indeed. I would say a former astronomer as in the last 15 years or so I've worked fulltime with computers, here at the Florence Astrophysical Observatory. > tablature program after Vincenzo Galilei's treatise on the > lute, Fronimo Dialogo (1568; 2nd. rev. ed. 1581/1586. Exactly. The last residence of Galileo Galilei is just 200-300 meter away from the place where I work and being myself an astronomer and lutenist (even if a couple of orders of magnitude worse than Galileo family under both aspects) the choice of the name came out natural 8^) Francesco
Re: R: Manuscript of Per Brahe - Skokloster
Gary Digman commented:= Dear Ed; And so was Galileo himself a lutenist. Or so I've heard. Gary He was indeed. There is a one-time reader of this list, Cantor Thompson in Orange County, California, who does a one-man show about Galileo Galilei. He plays lute pieces from Galileo's time and also sings. I provided him with that fantastically beautiful villanella with text from Orlando Furioso in the Chilesotti Codice-Lautenbuch (also orchestrated by Respighi and played on 'cello). But in music his father Vincenzo and brother Michelangelo were surely more famous. The brother published a book of lute music when he was in the service of the Dukes of Bavaria. There are two facsimiles. The Minkoff one has a very nice and informative preface by Claude Chuavel. I've never seen the other one, although I think Doug Smith was involved. I enjoy the story, probably apocyphal, of how Galileo Galilei and his father were testing the tensile strength of gut lute strings by lowering them with various weights over the side of the Leaning Tower of Pisa. He noticed how the weighted strings swayed, and thus discovered the physical properties of a pendulum. And you all know about the Florentine Camerata to which Vincenzo belonged, and how while studying the nature of Greek drama they "discovered" opera. Galilei was the principal researcher, and in a sense the inventor of opera. Of course, Francesco Triboli, an astronomer(?) himself, would name his tablature program after Vincenzo Galilei's treatise on the lute, Fronimo Dialogo (1568; 2nd. rev. ed. 1581/1586. Arthur.
Re: Cosimo Bottegari-Lutebook
NYU Library has an edition of Bottegari (looks handwritten rather than typeset), must be way out of print, it's been 15+ years RT __ Roman M. Turovsky http://polyhymnion.org/swv > From: lutesmith <[EMAIL PROTECTED]> > Date: Sun, 13 Jun 2004 21:42:15 -0700 > To: lute society <[EMAIL PROTECTED]> > Subject: Re: Cosimo Bottegari-Lutebook > > > Elias > > I saw the microfilm that's at Stanford Library in California. It's very > difficult to read but an interesting source. There are many neapolitan > songs and some simple accompaniments to tops of the 1580's hit parade > (Ancor che col partire, Suzanne un jour etc). I hope the Modena Library > would be able to offer a better film. Almost no single print from Stanford > would render one page legible. > > Another source of Italian lutesongs (while you're waiting for the > Bottegari) is to intabulate the lower voices of any of your favorite > madrigals. It's good practice, educational and not unauthentic. deRore and > Arcadelt are very good for this. > > There is also an Italian song in the Phalese 1553 Hortus Musarum Secunda > Pars (Si Portigardo --attributed to Pathie but very unlike anything else by > him so I question it). > > One of the finest of the early lutesong collections is the Verdelot 1536. > The facsimile is wonderfully legible w/ few mistakes. Very good > arrangements. There is also the modern edition of it by London Pro Musica > which is excellent. > > Sean Smith > > > > > At 01:48 PM 6/13/04, you wrote: > > > >> Can anyone tell me how to get the Bottegari-songbook or a copy of it? I >> think the original is in the Modena Library in Italy, but I don't want it >> from there, it's too complicated, takes too long. I don't know of any >> facsimile prints or transcriptions. I'd prefer french tablature. If somebody >> could send me good photocopies I would pay 40$ in advance, ore more. I need >> that. Plus any hints on other Italian lute-songs, and where to get them >> from! Thank you all. >> Elias > >
Cosimo Bottegari-Lutebook
Dear Elias, There is a modern edition, but which has been out of print for some time. The biographical details are given by Ernst Pohlmann in his _Laute Theorbe Chitarrone_ (Lilienthal, Bremen: Eres Edition, 5th edn 1982), p. 209: Cosimo Bottegari, _The Bottegari Lutebook_, ed. C. MacClintock, The Wesely Edition, No. 8 (Wesely, Mass.: n.p., 1965). Unfortunately I don't have a copy, but I have seen it, and it seemed to be a reliable edition. In your searches for this book you may come across another one: Cosimo Bottegari, _Il Libro di Canto e Liuto_, Bibliotheca Musica Bononiensis , Sezione V N. 17 (Bologna: Arnoldo Forni Editore, 1978). Avoid it. It is utterly and completely useless. It is simply a reprint of a 19th-century edition of the Bottegari Song Book, but there isn't a single note of music in the whole book. All you get are the words of the songs, but no music. Good look in your quest. Best wishes, Stewart McCoy. - Original Message - From: "Elias Fuchs" <[EMAIL PROTECTED]> To: <[EMAIL PROTECTED]> Sent: Sunday, June 13, 2004 9:48 PM Subject: Cosimo Bottegari-Lutebook > > > > Can anyone tell me how to get the Bottegari-songbook or a copy of it? I > think the original is in the Modena Library in Italy, but I don't want it > from there, it's too complicated, takes too long. I don't know of any > facsimile prints or transcriptions. I'd prefer french tablature. If somebody > could send me good photocopies I would pay 40$ in advance, ore more. I need > that. Plus any hints on other Italian lute-songs, and where to get them > from! Thank you all. > Elias > > > > > >
Re: a rose by any other name
> particularly Times Square). The Andean (Bolivia, Peru, etc.) is mainly > played on end blown flutes, pan pipes and drums, and is an infectious sound. Would you explain that a bit more extensively? > > This is obviously not definitive, I am speaking from the "top of my head", > as usual. But it is clear that the music of the Andes, where the > conquistadores amputated the culture of the Inca, has returned to some > extent. Whereas the music of Brazil has the African influence along with the > Spanish, and has little of the native. Probably Brazilian music has little to do with the Spanish one, as it was Portugal the country where their "conquistadores" came from. > The music of the Appalachians bears a strong resemblance to that of the > Scot's/Irish ancestors - but none to the native Indians. Is the music of > Central America, and Brazil (etc.) entirely a derivation of the Spanish of > that time? Or does it have a native component - I don't know. But the Andean > is heavily native. The region of the Andes it is also sub- divided, and it would be more complicated to establish the origin of the music of the different points... >
