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Libro de musica de vihuela de mano intitulado El maestro, compuesto por
Luys Milan
Valencia : Francisco Diaz Romano, 1536
Edited and transcribed by Goran CronaEdited and transcribed by Goran CronaEdited and transcribed by Goran CronaEdited and transcribed by Goran Crona
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Foreword
Luis de Miln's 1536 work "El Maestro", (the teacher) is said to belong together with the Petrucci lutenists and Capirola to a "transitional"style, that bridge the few available late 15th century lute works with the later (ca. 1530's) more contrapuntal ones. Casteliono, (1536),displays a more advanced style of fantasia making. (Made by professional players in contrast to Miln's self-admitted autodidactic amateurstatus. Said to have travelled in Italy, Miln worked at the court of Germaine de Foix until 1538, with direct ties to the Spanish possessionsin Naples. His book abounds in italianate music. He includes pieces of Italian origin, and was without doubt influenced by an Italian style.At the same time, he has a distinct, personal and almost archaic sound. Also note his rhythmic playfullness and the hexachord modes, sotypical in Renaissance music, which often sound strange to our ears.
That this book suddenly appeared in 1536 without antecessors in Spain, displaying an already relatively "mature" style is seen by some asproof, that he had learned and borrowed from the existing Italian lute tradition. Also his surname indicates Italian family-roots. When the
monopoly on printing ended in 1536, there was a deluge of lute book publishing, (see Brown). Miln displays an elusory charm in hismusic. Chords and runs are brought together in an earthy, perhaps more emotional than learned way. His use of triple time is nearlyexclusive among vihuelists.
Working from the facsimile, obvious misprints and errors have been silently corrected. When you spot the ones that slipped me by, kindlydrop me a mail, so I can correct them. Some of the fantasias are not easy, but with industrious work those should also be manageable. Insome places, the fingerings could be simplified, to play an open string instead of a held one, but here I've consistently kept Miln's originalones.
Goran Crona
e-mail: [email protected]
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Table of Contents _______________
1 - Fantasia del primero tono2 - Fantasia del primero tono3 - Fantasia del primero tono4 - Fantasia del segundo tono5 - Fantasia del segundo tono6 - Fantasia de tono mixto, primero y segundo
7 - Fantasia del tercero tono8 - Fantasia del quarto tono9 - Fantasia de tono mixto, tercero y quarto10 - Fantasia del primero y segundo tono11 - Fantasia del primero y segundo tono12 - Fantasia del tercero y quarto tono13 - Fantasia del primero tono14 - Fantasia del quarto y tercero tono
15 - Fantasia del quinto y sexto tono16 - Fantasia del quinto y sexto tono17 - Fantasia del quinto y sexto tono18 - Fantasia del septimo y octavo tono19 - Fantasia del quinto tono20 - Fantasia del sexto tono21 - Fantasia del septimo tono22 - Fantasia del octavo tono
23 - Pavana del primero y segundo tono24 - Pavana del tercero y quarto tono25 - Pavana del quinto y sexto tono
26 - Pavana del septimo y octavo tono27 - Pavana del octavo tono "Qua la bella francesquina"28 - Pavana del octavo tono29 - Fantasia del primero tono30 - Fantasia del segundo tono31 - Fantasia de tono mixto, primero y segundo
32 - Fantasia del tercero y quarto tono33 - Fantasia del tercero tono34 - Fantasia del quarto tono35 - Fantasia de tono mixto, tercero y quarto36 - Fantasia de tono mixto, tercero y quarto37 - Fantasia del sexto tono38 - Fantasia del sexto tono39 - Fantasia del sexto tono
40 - Tentos del primero y segundo tono41 - Tentos del tercero y quarto tono42 - Tentos del quinto y sexto tono43 - Tentos del septimo y octavo tono44 - Fantasia del septimo tono45 - Fantasia del octavo tono46 - Fantasia de tono mixto, septimo y octavo47 - Fantasia de tono mixto, septimo y octavo
48 - Fantasia del sexto tono49 - Fantasia del septimo y octavo tono50 - Fantasia del septimo y octavo tono
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