Conrad Paumann and the evolution of solo lute practice in the fifteenth century†

Abstract

Conrad Paumann and the evolution of solo lute practice in the fifteenth century‘ HIROYUKI MINAMINO The University of Chicago SOME TIME ago, Nino Pirrotta pointed out that a change oftechnique and style must have occurred in Renaissance lute playing shortly before the end of the fifteenth century. He was interpreting the description of performance practice in Paolo Cortese’s De cardinalalu Iibri Ire: of 1510 which distinguishes between the older monophonic manner and the new polyphonic manner.‘ The earlier monophonic style using the plectrum technique, for which Cortese named Pietrobono de Burzellis as representative, persisted well into the six- teenth century. Some lutenists apparently were skilled in both styles of play and employed the one more suitable to the music they were per- forming. In 1523 _]ohannes Maria Germanus, whom Cortese credited with having established a new lute style, performed a composition for four voices with three other lutenists, using plectra in the monophonic manner.’ Yet the performance of music in monophonic style was par- tially satisfactory for most of the sixteenth-century lutenists. l-Ians judenkiinig spoke for the artistic superiority of the finger technique over the plectrum technique,’ and Cortese regards solo lute style as “the first genre of playing that can be praised for the way in which it is arranged and put together.”‘ The stylistic change in lute playing may be the cause ‘l am grateful to Professors Howard Mayer Brown, Hans H. Lenneberg and Arthur]. Ncss for many helpful suggestions. ]. Mun':oIogim!R:mmlt. I986 CgGordon and Breach Science Publishers lnc.. I986 Vol. 6, pp. 291-310 Printed in the United Kingdom 0l4l-I396/86/0604-029i “$.50/0

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