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Enríquez de Valderrábano

Fantasía 09 contrahecha a otra extranjera

 

Silva de sirenas (1547), fol. 68

va096

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Source title Tercero grado. Octauo tono.
Title in contents   Fantasia en el tercero grado contrahecha a otra estrangera.
Text incipit


Music

Category abstract

Genre fantasia

Fantasia type Par

Mode 8

Voices 3

Length (compases) 118

Vihuela

Tuning G

Courses 6

Final VI/0

Highest I/9

Lowest VI/0

Difficulty difficult

Tempo medium

Song Text

Language

Vocal notation

Commentary

Rubric: “third level[of difficulty]; mode 8” Table of Contents: “Fantasia of the third level based on another foreign one.”

This is a parody fantasia based on one by Albert de Rippe first published in Casteliono 1536/9, nº 2 “Fantasia de M. Alberto da Mantua”, fols. 5-6v. In the edition of Alberto’s fantasias by Vaccaro it is given as Fantasia 12 (rippe1972, vol.1, 171-177). Vaccaro gives parallel transcriptions of the 1536 version and the later 1563 version published by Le Roy and Ballard of Alberto’s original. Ward established Alberto as the model for this work (ward1953, 232), and gives a detailed comparative table showing 35 compses of borrowed material. Griffiths also discusses the work in detail, with comparative transcriptions of the borrowed material (griffiths1983, 279-283).

This is one of 3 parodies by Valderrábano on Italian lute works. Of 117 compases, it is of medium length. Compases 44-82 are based on Alberto, i.e. one third of the work. Of the parodied section, all but a few linking bars are quotation. The main difference is a reduction to 3 voices of Alberto’s 4 and sometimes 5-part texture, mainly done by thinning Alberto’s harmonies and chords. Some figures are reduced, and Valderrábano adds a few passing notes. Alberto’s material is not quoted in any strict order. Valderrábano momentarily quotes from Alberto in compases 34-36, being c.177-9 of the model. He then quotes bars 93-100, 175-8, 39-45, 112, 125 of the 216 bar model. The material selected by Valderrábano is not Alberto’s most important, but rather some of his most appealing. Quotes are of non-imitative material, from Alberto’s rich, exciting sequences, from the climax of the 1st half, from the consequent anti-climax of great harmonic individuality (= coda), and from the conclusion of the 1st episode, passive rather than active polyphony, harmonic rather than imitative quotes. The opening section of the work is imitative, with the theme 1 imitations, giving way to an intricate free texture. After the quotes, the texture thins, and begins again but in non-imit free counterpoint spiced with the odd redoble and in broad sweeping treble dominated chords.