Search

Luis Milán

Fantasía [10] del primero y segundo tono

 

El Maestro (1536), fol. D3v

mi010

Previous Next
Source title Las fantasias destos presentes quarto y quinto quadernos q[ue] agora entramos: muestran una musica la qual es como un tentar la vihuela a consonancias mescladas con redobles que vulgarme[n]te dizen para hazer dedillo. Y para tañerla con su natural ayre haueys os deregir desta manera. Todo lo que sera consonancias tañerlas con el compas a espacio y todo lo que sera redobles tañerlos con el compas apriessa. Y parar de tañer en cada coronado vn poco. Esta es la musica que enla tabla del presente libro dixe que hallariades en el quarto y quinto quadernos que tiene mas respecto a tañer de gala que de mucha musica ni compas. Y estas dos fantasias siguie[n]tes va[n] por los terminos d[e]l primero y segu[n]do tono.
Title in contents  
Text incipit


Music

Category abstract

Genre fantasia

Fantasia type Id

Mode 1+2

Voices 3

Length (compases) 75

Vihuela

Tuning A

Courses 6

Final V/2

Highest I/5

Lowest VI/0

Difficulty not specified

Tempo not specified

Song Text

Language

Vocal notation

Commentary

Idiomatic fantasia in the style of “consonancias y redobles”. Milán’s rubric provides considerable information regarding performance practice that apply not only to this piece but all works in this style. Milán’s rubric indicates that “The fantasias in these fourth and fifth books in which we now enter show a music which is playing the vihuela in chords mixed with passage work that is commonly called “dedillo”. And to play them with their natural style you need to direct yourself in the following way: all that might be in chords should be played with a slow beat and everything that is redobles should be played with a fast beat. And at each fermata you should stop playing for a moment. This is the music that in the contents of the present book I said you would find in the fourth and fifth fascicles [and] has more to do with “tañer de gala” [festive playing?] than much [other] music, or with playing in time. And these two following fantasias go according to the first and second modes.”

The pages of this fantasía are bound incorrectly in some (if not all) the surviving copies.

The first of the consonancias + Redobles fantasias. The work is short, (75 compases), charming and almost naive in construction. It serves as an excellent example, by virtue of its simplicity, to Milán’s compositional approach. It is sectional, clearly defined by fermata breves. The same material is repeated in successive sections, each time cadencing in different place, hence forward thrust is achieved harmonically through tonal direction. Music divides into 4 sections: I (1-29); II (30-49); III (50-63); IV (64-75) that is progressively shorter 29:19:13:11. I divides into 3, II into 2, III & IV don’t divide although IV repeats itself but without cadence. Many interrelationships exist between sections. Each phrase is conceived in the same way: MAIN MATERIAL ➞ DESCENDING REDOBLE ➞ CADENTIAL FORMULA.
I (non-imitative) c.1 – intro. chord ➞ Ia: 1 ➞ 2 ➞ K [A]. Ib: I ➞ 2 ➞ K (d). Ic: intro chord ➞ 1 (mod) [foreshadows II] ➞ 2 ➞ K [A] cadential appendage: reinforces cadence, foreshadows 7 and adds 3rd repeat variety. K [A].
IIa ➞ 3 (sequence) – 2 (mod) – K [d] IIb intro chord g: ➞ 3 imitated (4 times) ➞ K (A)
III consonancias 4 (twice) ➞ 5 (imitated, 6 times) ➞ 2 (mod) ➞ K (g)
IV consonancias 6 (twice) ➞ 7 (twice) ➞ repeated ➞ K (d)
In I & II main musical statements are redobles, consonancias are for cadence. I is monophonic, II is imitative.
In III & IV, which are of identical formal construction, the musical discussion commences with consonancias, followed by redobles then cadence. In both, the consonancias are parallel 10ths with contrary motion in inner voice. The redoble theme 2 (desc.) precedes consonancias of cadences except in IV. Rhythm of Bar 3 often precedes this redoble. Foreshadowing adds cohesion. Long note descend theme, range of 4th occurs as a secondary event at 6-8, 36-38, 39-42, then as theme 4. 6 = 4 inverted.

Recordings

smith01 El Maestro: 1. Música de vihuela Hopkinson Smith solo Milan

moreno-quinteiro01 Luys de Milán: Fantasía José Miguel Moreno & Eligio Quinteiro solo ensemble Milán

lonardi01 El Maestro - Milan: Works For Vihuela Massimo Lonardi solo Milán Narváez

wilson04 Milán-Narváez: Music for Vihuela Christopher Wilson solo Milán Narváez

wallace05 Delphín Frank Wallace solo Milán Fuenllana Narváez Mudarra Daza

maier01 The Art of Vihuela Ralph Maier solo Milán Narváez Mudarra Valderrábano Fuenllana Daza

martin01 Luis Milan - El Maestro Edward Martin solo Milán

pitzl01 Alonso Mudarra, Tres Libros de Musica, Sevilla 1546 Raquel Andueza & Private Musicke dir. Pierre Pitzl vihuela song Mudarra Milán Narváez Daza

lonardi03 Libros de Música para Vihuela Massimo Lonardi solo Milán Narváez Mudarra Valderrábano Fuenllana Daza Pisador

fresno01 Spanish vihuelists of the 16th century I Jorge Fresno solo Milán Valderrábano

ragossnig02 Musik für Laute - Music for Lute - Musique pour Luth Konrad Ragossnig Milán Mudarra Narváez

wilson02 The Voice in the Garden. Spanish Songs and Motets Gothic Voices with Christopher Wilson solo vihuela song Narváez Milán

iadone01 The Art of the Lute Joseph Iadone Milán Mudarra Narváez Canova da Milano

marchese01 Si amores me han de matar: Italian and Spanish music for Vihuela de Mano Massimo Marchese Mudarra Milán Narváez Fuenllana

abt01 Dreams of a lost era. Spanish Renaissance Music Walter Abt Mudarra Narváez Milán Valderrábano Pisador

mito02 Let's Travel around Europe by Lute Music Part 1 - The Renaissance Era Shigeo Mito Milán Narváez Mudarra Valderrábano Fuenllana Pisador Daza

muska01 Vihuela Fantasies - Roots of the Classical Guitar Series (Digital Only) Terry Muska solo Milán Mudarra Narváez

gassmann01 La Vihuela: Das orphische Instrument Spaniens Joachim Gassmann solo vihuela song Milán Narváez Mudarra Fuenllana Pisador Encina Morales Ortiz

escobar01 Luis Milán (c.1500-c.1561) El Maestro, Libro I (1536) Works for Solo Vihuela José Antonio Escobar solo Milán

cherevko01 Silva de Vihuelas Dimitry Cherevko Milán Narváez Mudarra Valderrábano

cherici01 El Siglo de Oro: Obras para vihuela 1 Paolo Cherici solo Milán Narváez

Song Text

Intabulations
Modern edition(s)
Printed source(s)
Manuscripts