A page featuring a short discussion of Sumite karissimi can be found here:
http://www.examenapium.it/meri/sumite.htm
It includes links to previous editions and an image of the original notation from Modena, Biblioteca Estense, [alpha].M.5,24.
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In that very particular case, I have nothing to be unhappy about and I agree completely with you in every respect (I spent my last years rethinking a lot the practical functions of notation and to take into question common habits of using them). But the mentioned case is neither a fictive nor a particular one. This does not mean that I am dogmatic against or for a certain style of performance. In Germany we say: "Laßt viele Blumen blühen!"
Thank you very much also for being so generous and offering unlimited access to your dissertation, and for this interesting discussion.
Oliver
It's not quite clear what you are unhappy about but it is clear that this discussion has concerned issues of notational interpretation. Furthermore, it seems a generalisation to distinguish musicologists/editors from musicians when they are often one and the same, thus I would be reluctant to pursue such a discussion further. Finally, few music historians today, far from being specious, wish to tell anyone what they "should" do, but rather offer possible – but by no means unique – interpretations that can be either adopted or discarded.
The matter of performing from/without notation is a rather complex issue that cannot be passed over succinctly or lightly. Suffice it to say that if one accepts that musical writing is a culturally-based system of symbolic representation, whether as an aide-de-memoire or a mapping of a conceptualised musical space, its ramifications upon musical production and consumption are plainly evident, especially when compared with oral or semiliterate musical cultures. This both argues for using medieval notation, especially in terms of challenging assumptions that have been brought about by earlier experience with more recent musical writing, but also illustrates the well known futility of attempting to achieve an "authentic" performance due to the inescapable condition of our present being.
I am not so happy about it. Usually musicians are not only guided, but also misled by experts, for example Dominique Vellard who makes all the mistakes according to the transcription of Wulf Arlt. The needs of musicians are often also not really known by a lot of musicologists and editors... And who tells them that musicians should always use a pentagramm or that they need a transcription of certain shapes used by the composer, and that they should use any notation during the performance? Also here lies a lot of freedom which should be more explored by musicians.
Congratulations, Davide! I know what it means just to fight in order to get this temporary contract for paleography: teaching 76 hours during a year for only 2300 € netto as a whole (I translate it now for potentially interested forum members who are not familiar with the Italian academic system), while nothing has really changed at the conservatories since the last 50 years.
On the other hand I know several young gifted scholars, who are leaving their country, because they see no perspective for a future in Italy. Nevertheless I will apply and make them an offer, and I am curious to see what will come out of it. And I will contact you via email.
Yes Jason, I agree, the presence of Margaret Bent can explain the discrepancies between Grieg's article and OC performance.
Thank you Oliver. I'm easily approachable :-)
Thank you for the information. I would really like to work with you and I am sure that your presentation of music history will be imitated soon in other countries, presumably not as good as yours, but it is always important to offer a challenge.
Dear Davide,
Thank you for your kind words. I certainly agree that singers struggle without ties.
I haven't thought about which edition the OC use, but they are faithful to neither to Apel, Von Fischer/Gallo nor Reaney. They sing the void red semiminims in b. 7 incorrect, but as you would realise from your expert understanding of the notation all published editions make this error. Their text underlay is closest to Reaney, but Reaney doesn't specify enough musica ficta. But then Grieg uses Apel in his Early Music article. But remember that the OC also had the musicological advice of Margaret Bent for this recording. You would also know that all good singers make changes to their parts, re: musica ficta and text underlay, especially the most informed/experienced ones or those guided by experts.
Please feel free to use my edition of Sumite as you see fit.
The Conservatorio di Milano has published a 'bando' about a teaching role of Paleography. See here. It expires on 28 of this month.
Singers, even in Italy (and there are indeed some of my best and most appreciated colleagues), should learn to sing from the notation used by the composer. The second step of becoming free from notation comes afterwards!
I had the same discussion in Berlin which was about editing and transcribing historical notation. I said that musicologists should regard their work and themselves not too seriously, because at the end a well made facsimile is the most appreciated part of their edition. I got the answer that performing out of the facsimile was not the "non plus ultra". My reply was that it is not indeed, it is the very very beginning.
But maybe you are referring to the fact that the era Berlusconi has sacked the education and future of the country. I am in Italy right now, and please let me know, if you need a paleography teacher in Milan. I am willing to share my knowledge ;)
Concerning your well-done presentation of music history, my proposition is to add a general discussion about transcribing mensural notation including your simplified transcription and other transcriptions given and discussed in the quoted essays. It will help your students to understand that even your presentation cannot replace their own studies and experiences concerning the performance based on historical notation.
Dear Jason, your Phd is a very impressive work! Your transcription of SK is probably the best I have seen, but I think it is still too difficult for a singer. In my experience singers hate notes without ties between bars (also with ticks).
I totally agree about avoid to force medieval notation: this is the reason I put the original on top.
I know Grieg's article (it is in my web page) but the problem is: which edition Orlando Consort used?
May I insert your edition of SK in my page?
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