JOAN AMBROSIO DALZA PDF

Paolo Cherici 44pp. Between and Petrucci printed six volumes of lute music with Italian lute tablature: two books by Francesco Spinacino both , a third by Giovan Maria Alemano which is now lost, a fourth by Joan Ambrosio Dalza, and two collections of lute songs by Franciscus Bossinensis and I think it would have been better to save up Spinacino for a separate volume. The format is similar to other books in the Paolo Cherici Collection.

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Paolo Cherici 44pp. Between and Petrucci printed six volumes of lute music with Italian lute tablature: two books by Francesco Spinacino both , a third by Giovan Maria Alemano which is now lost, a fourth by Joan Ambrosio Dalza, and two collections of lute songs by Franciscus Bossinensis and I think it would have been better to save up Spinacino for a separate volume. The format is similar to other books in the Paolo Cherici Collection.

The tablature is clearly laid out on the page, with no page-turns, and there are 36 pages of music. Cherici maintains the original notation — Italian lute tablature.

He provides an interesting Preface in Italian and translation into English, which gives information about Petrucci, together with what we know about the lives of Spinacino and Dalza. He compares and contrasts the contents of their books: Spinacino included intabulations of music by Franco-Flemish composers such as Josquin, Brumel, Ockeghem and Ghiselin, whereas Dalza concentrated on dance music, and music by Italian composers, notably Tromboncino.

It is an interesting comparison, but largely irrelevant if we have no intabulations by Spinacino in the edition. The English translation of the Preface would have benefitted from better proof reading: publicatiotts publications , appare appeared , and calledn called. Strictly speaking the Salterello on page 12 should be spelt Saltarello. As far as the editing of the music is concerned, Cherici shows where notes have been changed by putting them in square brackets.

However, there is no critical commentary, so there is no way of knowing what those changes involve. The exception is a footnote for a note changed on page 7. I checked the first piece which has no editorial square brackets against the original and found the following alterations:. The structure of this piece has puzzled me for many years, but for chord patterns to show some sort of consistency there appears to be a bar missing, perhaps because of haplology. My solution is to play bar again between bars and Despite my various cavils, this is a useful edition, and hopefully more lute music published by Petrucci will appear in future editions.

I checked the first piece which has no editorial square brackets against the original and found the following alterations: 1 bar 40, 2nd note: 0 on 3 changed to 0 on 2; 2 bars 49, 50, 54, right-hand fingering dots added to be consistent with similar passages; 3 bars 63, 79, right-hand thumb and index dot swapped round; 4 bar , 3rd note: 0 on 3 changed to 0 on 4; 5 bar , 3rd note: 3 on 2 changed to 2 to 2; 6 bar , 2nd and 3rd notes: 3 on 2 changed to 3 on 3; 1 on 2 changed to 1 on 3.

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Milan; fl Italian lutenist and composer. Dalza's book was the fourth of Petrucci's series of lute tablatures and is one of the precious few surviving sources of Italian lute music from the crucial period leading up to the first printed works by Francesco da Milano in Whereas intabulations of Franco-Flemish music had dominated Petrucci's earlier lutebooks by Spinacino and Giovan Maria, Dalza's book favoured dance forms and presented mostly original music that was almost entirely instrumental in conception.

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Intabulatura de Lauto, Libro 4 (Dalza, Joan Ambrosio)

Joan Ambrosio Dalza fl. Nothing is known about his life. His surviving works comprise the fourth volume of Ottaviano Petrucci 's influential series of lute music publications, Intabolatura de lauto libro quarto Venice, Dalza is referred to as "milanese" in the preface, so it must be assumed he was either born in Milan, or worked there, or both. Together with the oeuvres of Francesco Spinacino and Vincenzo Capirola , Dalza's work constitutes an important part of early Renaissance lute music. The surviving pieces comprise 42 dances, nine ricercares , five tastar de corde , four intabulations and a piece called Caldibi castigliano.

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