Re: "Hatikvah" and "La Mantovana"

[Hope Ehn Dennis Ehn <ehn...>]

In view of Professor Jacobson's claim that the early sources of the tune
that became "Hatikvah" are nothing but a "fantasy," I offer herewith an
attempt at ASCII notation of three of the tunes, so that readers may make
up their own minds.

These are the "Hatikvah" tunes from 17th-century sources. The upper line
of each phrase is note values, the bottom one is pitches. "Bb" is B-flat,
"C#" is C-sharp. If a note that should have an accidental according to the
key signature doesn't have one, it means that the note is natural. I have
omitted some of the bar-lines from the London Pro Musica editions, all the
measures the same length as those in the Playford edition. (I suspect from
the single facsimile page printed in the edition of the Giamberti
collection, which unlike some early music was originally published with
bar-lines, that "Ballo di Mantua" in Giamberti's publication had measures
twice the length of those in the edition.)

"La Mantovana" from "Il Scolaro," Gasparo Zanetti, 1645 (From LPM DM6,
ed. James Tyler -- #74, vol.2 p. 23)
(Range: a1 [above middle c] to a2)

 _ _ _     _  |    _     _  |    _     _  |    _  |  ||
| | | | | | | | | | | | | | | | | | | | | | | | | o :||
A B C D E E E | F F F E E E | D D D C D C | B B B A  ||

   _     _  |    _  |    _   _      |       | |
| | | | | | | | | | o | | | | | | | | |. |\ o |
A A A G G G | F F F E | C D E C F E | D  E  C |

 _   _      |  _   _      |
| | | | | | | | | | | | | |
C D E F D B | B C D E C A |

 _         _  |    _     _  |    _     _  |  _    | ||
| | | | | | | | | | | | | | | | | | | | | | | | | o ||
A B C D E E E | F F F E E E | D D D C D C | B A B A ||
________

"Ballo di Mantua" from "Duo Tessuti con diversi Solfeggiamenti, Scherzi,
Perfidie et Oblighi," Gioseppe Giamberti, 1657 (from LPM RM4, ed. Bernard
Thomas -- #7, p. 9) (range: d1 to d2)

           |     |          _             | |     |   _  |               ||
|. |\ | |  o | | | |. |\ | | |  |. |\ | | | o | | o. | | | |  | | |    O ||
D  E  F G  A A C | Bb A  G A Bb A  G  F A | G G A F  E D | C# D D C(#) D ||

      |               _    | |       |                     |
o | | o | | | | | |  | | O | o |. |\ o  |  | | | | |. |\ O |
D D D C C C | B A G# A B A | C C  D  Bb Bb A | G F G  A  F |

         | | |         | | |
| | | |  o o | | | | | o o |
F G A Bb G E | E F G A F D |

This is followed by a slightly varied repeat of the first and second
lines, and then a Da Capo to the first line.
_______________

"An Italian Rant, from Playford's "Dancing Master," 1657 and later
editions. This is #148, p.44, in Jeremy Barlow's complete edition of the
Playford tunes (London: Faber, 1985) (range: g1 to g2, with 2 flats)

 _   __      |     _      |    _      __  |  _   _        ||
| | |  | | | | |  | | | | | | | | |  |  | | | | | |  | | :||
G A Bb C D D | Eb D C D D | C C D Bb Bb C | A G A Bb G G  ||

||     _     _  |  _   _      |  _   _                     |
||: | | | | | | | | | | | | | | | | | | |  | | |. |\ |  |  |
||  G G G F F F | E D E F D D | D E F D Eb D | C  D  Bb Bb |

 __   _       |  _    _       |                              ||
|  | | |  | | | | |  | | |  | | Then repeat the first line. :||
Bb C D Bb C A | A Bb C A Bb G |                              ||

___

The same tune is used in a Marini trio sonata in G minor ("Dorian"
signature with one flat -- a feature quite familiar to people who play or
edit Renaissance and Baroque music). It was published in his Opus 22
collection of sonatas, 1655.

This sonata doesn't quote the tune all the way through at once. Rather, it
uses the phrases separately, in a way that leaves no doubt that this is
the same tune. The title of the sonata is "Sonata Sopra Fuggi," which
refers to the madrigal "Fuggi, fuggi, dolente cor," which is itself
another early source of the "Hatikvah" tune.

Those who are interested in checking the veracity of my statement can
download Gordon Callon's transcription from the sonata by ftp at his ftp
site, the Acadia University (Canada) FTP Site for Early Music. Here are
the directions:

FTP to:  <ftp ace.acadiau.ca>. Log in as FTP or ANONYMOUS. As password,
use your own E-mail address. The subdirectory is \MUSIC, with further
subdirectories for each composer. The score of the Marini "Sonata Sopra
Fuggi" is in the form of 9 PostScript files, one for each page.

I have received a message from Professor Gordon Callon of Acadia
University <gordon(dot)callon (at) acadiau(dot)ca>, along with a *very* long 
list of
17th-century sources of the "Mantovana" tune. He also mentions planned
conference papers and publications: "I am including [this information] in
my edition of the Broxbourne and Lambeth Palace manuscripts.... A summary
of this, compressed but otherwise the same, is in my article concerning
these two manuscripts, to be published in the next issue of the Journal of
the Lute Sciety of America (1991 possibly 1992 issue - the two are being
put out at the same time), to be printed January 1995. I am gving a paper
on these at the April Conference of the Society for 17th-Century Music in
Danville, Kentucky."

I hope that this list will not degenerate into a forum for "witch hunts"
aimed at anyone who attempts to apply the tools of present-day musicology
to Jewish music. Internet groups are supposed to be places that welcome
critical inquiry based on facts, not vehicles for the expression of
reactionary defensiveness.

Hope Ehn                      <ehn (at) world(dot)std(dot)com>

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Dennis and Hope Ehn are 2 different people sharing one account.
Hope is the author of "On-Line Resources for Classical & Academic Musicians."
Dennis does programming (mostly C++).
PLEASE don't get us confused!                                 :-)
<ehn (at) world(dot)std(dot)com>
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