the Siena pages as Figs 6
and 7.
Perhaps I'll have more tomorrow.
RA
__
From: AJN <[2]arthurjn...@verizon.net>
Sent: Saturday, October 29, 2016 5:24 PM
To: [3]praelu...@hotmail.com; [4]lute@cs.dartmouth
From the archives...
___
___
From: Ron Andrico <[1]praelu...@hotmail.com>
Sent: Sunday, November 4, 2007 10:38 AM
To: Are Vidar Boye Hansen; G.R. Crona
Cc: [2]lute@cs.dartmouth.edu
Subject: RE: [LUTE] Re: Poulton #73 [was] dedillo
Dear Are:
Diana Poulton
: Are Vidar Boye Hansen; G.R. Crona
Cc: [2]lute@cs.dartmouth.edu
Subject: RE: [LUTE] Re: Poulton #73 [was] dedillo
Dear Are:
Diana Poulton attributed the piece (with reservation) to Dowland based
on the fact that it contains several of Dowland's typical devices; the
ascending
ent level and at the same time be a great
learning experience for the lute world at large.
Expectantly!
G.
- Original Message -
From: "Martin Shepherd" <[EMAIL PROTECTED]>
To:
Sent: Tuesday, November 06, 2007 10:43 AM
Subject: [LUTE] Re: Poulton #73 [was] dedillo
De
Dear Goeran and All,
I agree with Ron that this piece needs major surgery, and the editors of
CLMJD have sometimes made things worse rather than better. My copy of
Poulton is covered in pencil annotations, which I can't really do
justice to in a list, but these are the main features:
It is
r Boye Hansen" <[EMAIL PROTECTED]>; "G.R. Crona"
<[EMAIL PROTECTED]>
Cc:
Sent: Sunday, November 04, 2007 11:38 AM
Subject: [LUTE] Re: Poulton #73 [was] dedillo
Dear Are:
Diana Poulton attributed the piece (with reservation) to Dowland based on
the fact that it contains
> Needs reconstruction It lacks a rhythmic sign in ms. 4 and a
> chord at the end of ms. 20 in the facsimile, I would hardly call
> that "needs reconstruction"!
Everyone is, of course, free to determine their own needs, but for
most people things like big 4-3 cadences that resolve on the
- Original Message -
From: "Ron Andrico" <[EMAIL PROTECTED]>
and the fact that the piece really needs reconstruction does not help the
matter.<
Needs reconstruction It lacks a rhythmic sign in ms. 4 and a chord at
the end of ms. 20 in the facsimile, I would hardly call that "nee
erything from Vincenzo Galileo Fiorentino (Rome, 1563), and nearly everything
from the Siena ms. My opinion.
Best,
Ron Andrico
http://www.mignarda.com
> Date: Sun, 4 Nov 2007 16:01:46 -0500> To: [EMAIL PROTECTED]> CC:
> lute@cs.dartmouth.edu> From: [EMAIL PROTECTED]>
utescores/
- Original Message -
From: "Ron Andrico" <[EMAIL PROTECTED]>
To: "Are Vidar Boye Hansen"
<[EMAIL PROTECTED]>; "G.R. Crona"
<[EMAIL PROTECTED]>
Cc:
Sent: Sunday, November 04, 2007 5:38 AM
Subject: [LUTE] Re: Poulton #73 [was] dedil
ED]> CC:
> lute@cs.dartmouth.edu> From: [EMAIL PROTECTED]> Subject: [LUTE] Re: Poulton
> #73 [was] dedillo
> Does any of you know why this piece is attributed to Dowland? It is a >
> great piece, but to me it doesn&
> >> PS. #73 has an identical beginning as 2 of Molinaro's fantasias.
>
> Neither remarkable nor much of a coincidence.
> The first three or four notes are a formula known in Italy as, if I
> recall correctly, the "canzona francese." Pieces based on it were
> common--Giovanni Gabrieli was
Nice version Ron!
your's is a little bumpier than my version for 6 course, as you use a few more
dotted notes than I, but otherwise they're very similar. Looking good for
performance!
Best wishes
G.
- Original Message -
From: Ron Andrico
To: [EMAIL PROTECTED] ; lute@cs.dartmouth
To All:
I haven't been following this thread too closely but in case anyone is
interested, we have posted a pdf of my performing edition of Poulton 73 on our
web site for download. You can find it at
http://www.mignarda.com/editions/downloads.html. I created this performing
edition after he
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