The trouble with historic texts is that we don't know if they should be
interpreted literally.
Yes, the chitarrone is in general well-suited for accompaniment. But should
we suppose that Caccini considered the theorbo in A the best option for
every song, in every key?
Bass lines may sometimes have been simplified, and thus some of the problems
could be avoided. Occasional voice crossings with the bass perhaps were
sometimes accepted (but probably not by everyone).
L
----- Original Message -----
From: "Martyn Hodgson" <hodgsonmar...@yahoo.co.uk>
To: "Lex Eisenhardt" <eisenha...@planet.nl>
Cc: "Vihuelalist" <vihuela@cs.dartmouth.edu>
Sent: Sunday, December 18, 2011 1:24 PM
Subject: [VIHUELA] Caccini's instrument {was Re: Strumming as basso continuo
{was: Return to earlier question: {was: Agazzari guitar [was Re: Capona?]}
Thanks Lex,
Caccini can speak for himself: 'the chitarrone is better suited to
accompany the voice, especially the tenor, than any other
instrument'.(G. Caccini, Le Nuove Musiche (Florence, 1602), sig. C2V
'Ai Lettori ... del Chitarrone ... essendo questo strumento piu atto
ad accompagnare la voce, e particolarmente quella del Tenore, che
qualunque altro.')
Further, Piccinini(1623) tells us Caccini used a chitarrone to
accompany himself before 1594.
The chitarrone did not, of course, at first have numerous long extended
basses. However it was tuned in a nominal A or G so, as previously
pointed out, the same problem would arise even if tuned in G with a
sung d and f# in the bass.
I suspect Striggio was using the term lute in a generic sense: it is
certainly not 'wrong' to use any form of lute from around this time to
perform his songs. See Rob Dowland Var of lute lessons for example and
Ms 704 Bib Con Brussels which contains intabulated settings of songs
by Caccini and his contemporaries.
regards
Martyn
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