You pose an interesting question. Since the reformed religion embraced
a deliberately simpler approach to celebrating the mass, one might
assume they were likely to be a bit stingy with their music budget.
The reformed religion, in most cases, deliberately limited music during
the s
Dear Herbert,
there were no "early music" performances in those days, and so there was
no Catholic or Protestant support to these in your 1520-1648. So it was
not possible to "support" any "historical performance" either.
Perhaps you could clear your question?
Arto
On 31/12/14 02:58, Daniel
Herb:
No, it cannot be summarized briefly.
Would you care to narrow the focus of your question a bit?
Daniel
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Herbert Ward
Sent: 29 December, 2014 23:15
To: lute@cs.dartmouth.edu
Subject:
On Dec 29, 2014, at 11:20 PM, David van Ooijen wrote:
> Usually I'm tacet there, but the occasional conductor does asks for uncle
> Theo.
And does that include avuncular accompaniment in the parts that are for higher
voices only?
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On 2014-12-30 9:27 AM, Christopher Wilke wrote:
The Kurtzman edition of the Vespers includes a keyboard realization in this
style that may (or may not) serve as a
I've found most keyboard realizations useless for lute. The way
keyboards play chords is completely different from the way lutes
This is the sort of thing organists would have intabulated (i.e. made a reduced
score that roughly doubles the voices in a simplified way). An older, but still
valuable summary article is Imogene Horsley's "Full and Short Scores in the
Accompaniment of Italian Church Music in the Early Baroque"
But it is a double or triple canon surely with the high and low vocies
alternating and all six voices coming together in the last phrase. I
believe this is very common in late 16th century sacred polyphony e.g.
Victoria often does this in the last phrase of the Agnus Dei. Whether the
theorb
