Dissertation on Rudentiu's (Rude) Book

68-13,806

LOBAUGH, Harold Bruce, 1930THREE THREE GERMAN GERMAN LUTE LUTE BOOKS: BOOKS: DENSS'S DENSS'S FLORILEGIUM. 1 159 594; 4; REYMANN’S REYMANN’S NOCTES NOCTES MUSICAE. MUSICAE. 1598; 1598; RUDE'S FLORES FLORES MUSICAE MUSICAE.. 1600 160 0 [with [ with]] VOLU VOLUME ME H. APPENDI APPE NDIX, X, TRANSCRIPTIONS. TRANSCRIPTIONS. The University of Rochester, Eastman School of Music, Ph.D„ 1968 Music

University Univ ersity Microfilms, Microfilms, Inc., Inc., Ann Arbor, Michigan Mich igan

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THREE THRE E GERMAN LUTE LUTE BOOKS: BOOKS: DENSS'S FLORILEGIUM. REYMAN REY MANN'S N'S NOCTES NOCTE S MUSI MU SICA CAE. E. 1598; 1598; RU D E »S FLORES FLORE S MUSICAE MUSI CAE. . 1600 Presented by Harold Bruce Lobaugh To fulfill the thesis requirement for the degree Doctor of Philosophy

Department of Musicology Thesis Director: Charle Charles s Warren Fox

Eastman School of Music of the University of Rochester

January, 1968

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YITA The writer was born bo rn at Toledo Toledo, , Ohio Ohio, , on Febru Februar ary y 19, 19, 1930. 1930.

He received receiv ed his earlier education in schools in in

Michigan Mich igan and Colorado, Colorado, receivin receiving g his high school diploma at Loveland, Colorado, in 19*+7*

He was graduat grad uated ed cum laude from

Muskin Mus kingum gum College at New Concord, Concord, Ohio, Ohio, in 1952, 1952, with with the degree Bachelor of Science. He was disc discha harg rged ed from fr om the U. S. Army Ar my in-' 195^ 195^ afte after r two years of service as an electronics electronics technician. technician.

Addition Additional al

study was underta und ertaken ken at Kansas Kansas University, the Universi University ty of Kansas City City, , and Indiana University.

The writer writer completed

requirements for the degree Master of Music Literature with a major in clarinet at the Eastman School of Music in 1959* His professional experience has included teaching in school systems systems in Kansas and Ohio Ohio. .

He was formerl form erly y Assi As sist st

ant Professor of Music at Hartwick Hartwick College, Oneonta, New N ew York, York, and at present is Assistant Professor of Music at the Univer sity of Saskatchewan Saskatchewan, , Regina Regina Campus, in Canada. Canada.

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PREFACE The intent of this thesis is to present a thematic index of the three hooks, hooks, full transcriptions transcri ptions of repre rep rese sen n tative pieces, and appropriate appropriate backgrou background nd and comment. comment.

All

three of the the books are printed sources, two of of which whi ch (those by Reyma Reymann nn and Rude Rude) ) were were intended intended to appear as a combined combine d print in 1600, 1600, although although we have not turned turn ed up any such copy. copy. The third book (Denss' (Denss's) s) was was included included because it has, has, like the others, not received much attention and is from the same decade. decade.

The thematic index appears in Volume Volu me II.

A conco concor r

dance is listed separately in Chapter III. In addition to the assistance provided by his advisor, Dr. Charles Warren Warre n Fox, the writer acknowledges acknowledges special help given him by Miss Eliza E lizabeth beth Henderso Hend erson n and Dr Dr. Klaus Speer of the Sibley Sibley Musica Musical l Libra Library ry staff, staff, as well well as that of Dr. Dr. Ri R i chard Murphy of Oberlin College College (who (who very kindly mailed his precious transcripti trans criptions ons from Italy) Italy). .

Mr. Mr. F. Niles Bacon Bacon of of

Rochester Rochester assisted assiste d with wit h the Latin Lati n translations, as did briefly Miss Virginia Moscrip, Moscrip, formerly of the the University Univer sity of Rochester.

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ABSTRACT Three well-known, hut relatively little discussed, printed lute-books are presented in a thematic index, full transcriptions of selected pieces (about one-fifth of the purely instrumental ones), and comment.

Rather extensive

Latin prefaces to the volumes have been perused for 'the few biographical details they contain and these have been com bined with other material from secondary sources. The repertoire of the books consists of over ^-00 pieces for solo lute (or in the case of the Denss book, for solo lute and voices), of which well over half are intabulations of well-known polyphonic vocal literature, both sacred and secular. Reymann1s book is notable for its large number of pre ludes (23) and fantasias (16).

Rude's book emphasizes the

pavan (20) and the galliard (21).

Six of Rude*s pieces have

been identified here as appearing in English sources of the time.

For some of these, Rude has failed to give credit to

their composers," Inland and Holborne.

Reymann*s pieces are

evidently all his 'own, but Denss prints several pieces by contemporary figures such as Victor de Montbuisson and Gregory Howett. All three of the books use the French tablature and are

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generally easily understood. The quality of the music in the Denss hook is particu larly high.

His fantasias are emulations of the motet style

in which some type of imitative subject is usually maintained, however brief'in nature.

His codas are usually of subdominant

harmony with slowed rhythmic values.

His dance pieces are

skillful blendings of modal and tonal procedures, sometimes using popular tunes. Reymann's pieces are remarkable for their rich low so norities and particularly,.in the case of the passamezzos, for their interesting harmony.

His preludes are often dis

play pieces but some bear the imprint of the motet style.:>. Nine of his fantasias use successive phrases of well-known chorale melodies as subjects for imitative entries, while the others have proved to be monothematic in structure.

The pre

ludes are presented in a variety of keys, including one in B-flat molle and one in E-flat durum. His dance pieces are done on a larger scale in length and range than many others of their time.

Modal schemes are clearly seen in his fan

tasias, but in the dance pieces he leans toward quite modernsounding functional harmony, as well as toward wide-ranging sequential melody. Rude'shook is the least satisfying as to musical qual ity.

Many of the pieces have more modally-oriented harmony

and cadence points with a wandering melodic style. pieces are those by persons other than himself.

The better

His galliards

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are quite conservative in their formal layout, but many of the pavans have unusual interior sections in triple time. Many of the vocal intabulations are rather literal rep resentations of the original, but some have the scalar em bellishment needed to fill in long note values.

Rude has

evidently made some changes in the harmony of a few pieces. Denss has included outer voice parts of the polyphonic vocal original in his book, probably to make the book more suitable for Hausmusik groups which might be lacking some voice parts.

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TABLE OF CONTENTS VOLUME I PREFACE

..............................................

LIST OF TABLES CHAPTER CHAPTER

........................................

I. INTRODUCTION II.

CHAPTER III.

THE LIVES OF THE COMPOSERS AND THEIR TIMES THE BOOKS THEMSELVES A. B.

CHAPTER

IV.

V.

BIBLIOGRAPHY

....................

The Contents: Prefaces and Music . . Concordance ...................... The Notation and the Present Edition

THE MUSICAL STYLE . . . .

' CHAPTER

............................

A. B. C-. D. E.

SUMMARY

The The The The The

................

In tr ad as ................. . . Preludes ...................... .............. Fantasias Dance-Pieces .................. Vocal Intabulations . . . . . .

..................................

............................

.............

VOLUME II APPENDIX: TRANSCRIPTIONS

......................

Florllegium (Adrian Denss) Thematic Index ............ Complete Pieces .......... Noctes Musicae (Matthias Reymann) Thematic Index ............ Complete Pieces .......... . Flores Musicae II (Johann Rude) Thematic Index ............ Complete Pieces . . . . . . Vocal Intabulations ..........

iii

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LIST OF TABLES

Table 1. 2. 3.

Florilegium: Table of Contents . Flores Musicae: Table of Contents Critical Notes ................

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VOLUME I


CHAPTER I INTRODUCTION The three lute books we are discussing were printed in Cologne and Heidelberg and mark the introduction into Germany of the French system of tablature, in printed books.

They

and their compiler-composers were known on into the seven teenth century and are very often referred to in passing by modern writers, but not in detail. All of the pieces are for solo lute, to which, in the case of the book by Denss, are added some voice parts.

The

books together comprise 257 vocal intabulations and 198 inde pendently conceived pieces such as intradas, preludes, fan tasias, and dance pieces.

The distribution of the contents

of the three books is as follows: Intabulations

Independent Pieces

86

6*t

0

7^

Rude (Book I)

95

0

Rude (Book II )1

76

60

Denss Reymann

We have directed our attention, as far as musical style is concerned, principally toward the independently conceived ^The two Rude books are hereafter referred to as Rude I and Rude II.

1

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2 pieces.

However, a few comments have been made about the

relatively few selections for which the vocal models are easily available in editions of the collected works of their composers.

Tables of the contents of the groups of intabu

lations have been given (see Tables 1 and 2) including, in the case of the Rude books, the earliest printed source in which the individual piece appeared or its location, in the edition of the complete works of the composer.

2

As background, we have presented a summary of the infor mation available on the compilers and on the lesser-known composers who appear in the books. In the evaluation of the importance of the books, writ ers have not been particularly partial to them.

Michael

Prynne, although listing them as being in the "Golden Age," says that at the time, "in Germany and the Low Countries there was no corresponding production /to that of the English/ of original work. "3

Kurt Dorfmliller has character

ized the Rude books as showing "hardly any self-sufficient character."

k

Wolfgang Boetticher has described the Denss

2

Such information for the intabulations of the Denss collec tion has already been given in Howard Brown's Instrumental Music Printed Before 1600: A Bibliography (Cambridge, 1965)• Michael W. Prynne', "Lute Music," Grove's Dictionary of Music and Musicians. 5th ed., V, *+*+3. ^Kurt Dorfmtiller, "Johannes Rude," Die'Musik in Gesch.ich.te und Gegenwart (hereafter referred to as MGG), ed. Friedrich Blume, XI (Kassel and Basel, 1963), cols. 1057-1058.

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book at some length but says that an evaluation is still lacking. An older writer, Ernst Gottlieb Baron, ih his Historisch-theoretisch und practische Untersuchung des Instruments der Lauten (Nuremberg, 1727) devoted several pages to Rude's book, mentioning the composers included and quoting several of the prefatory sections, but quoting no music and making nothing but a generally favorable comment without real ap praisal.

He also includes among his listing of the older

lute books our two other authors.

He mentions Reymann and

his Psalmodie and Floribus Musicae. and Denss and his Florilegio. as well as Francisque, Hove, and others. Rudolf Wustmann^ is the only modern writer to have taken an interest in any of the collections.

He quotes, in

part, or in full, several pieces from the Reymann and Rude books, and although not making'much comment, is quite re spectful of the scope of Reymann's pieces. Our three books would have been included in Jenny Dieckmann's Die in deutscher Lautentabulatur ttberlieferten T 8nze des 16. Jahrhunderts except for the fact that they are a bit more "progressive1' in using the French tablature.

Her work

is the chief basis for our study of the style of the dance pieces. Very few of the pieces from these collections have ^Rudolph. Wustmann, Musikgeschlchte Leipzigs (Berlin. 1909) •

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appeared in modern editions.

They are:

Denss: No. 72, de Monte's Que me servent. in Phillip de Monte Opera Omnia, edited by Charles van den Borren (Dttsseldorf, 1927, f.) XXV, 59. No. 76, de Monte's Verament' in amore. in de Monte, Opera Omnia XXV, 66. No. 86, Fantasia Prima. in Hans Neeman, Alte Meister der Laute (no date or place) II, No. 15. No. 93, Fantasia alia eiusdem (Howett) in Robert Dowland, Varietie of Lute Lessons (1610), edi ted by Edgar Hunt (London, 1956), 11. No. 118, Allemande. in Neeman, Alte Meister II, No. 16. Rude I: No. 17, de Monte's Ahi chi mi rompe, in de Monte, Opera Omnia XXV, 7* No. 35, de Monte's Occhi vaghi amorosi. in de Monte, Opera Omnia XXVf 19. No. 50, de Monte's Poi che il mio largo pianto. in de Monte, Opera Omnia XXV, 2*f. Rude II: No. 2, de Monte's Leggiadre Ninfe. in de Monte, Opera Omnia XXV, 27 . No. 35, de Monte's Amorosi Pensieri. in de Monte, Opera Omnia XXV, 32. No. *+9, de Monte's Veramente in Amore. in de Monte, Opera Omnia XXV, 7* No. 119, Entrata. in Wustmann, Musikgeschichte Leipzigs (Berlin, 1909), 268.

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5 Reymann: No. 3? Praeludium. in Wustmann, Musikgeschichte. pp. 221-222. No. 36, Fantasia, in Alter Meister der Laute II, No. 22. We have included not only a thematic index of the purely instrumental pieces but also a selection of some representa tive items from this repertoire in full.

Selected measures

from a few of the vocal intabulations are also given. The study is based on the copy of the Reymann book in the Sibley Musical Library and on films of the Denss and Rude books supplied by the Deutsches Musikgeschichtliches Archiv inâssel, which are evidently (according to the library marks) reproductions of the copies in the Library of Duke August at Wolfenbtittel.

A film, of the copy of the Reymann

book in the Brussels Library was also available. Copies of the Denss book are also in existence at the Nationalbibliothek in Vienna, and at libraries in Cologne, Leipzig, Munich, Trier, and Wroclaw (Poland); Reymann's book is also to be-found in Wolf enbtittel and Wroclaw; copies of Rude’s books are at Vienna, Braunschweig (Book I only), Dresden, and Cologne.


CHAPTER II THE LIVES OF THE COMPOSERS AM) THEIR TIMES No details are known, about Adrian Denss's life.

One can

agree with Boetticher's suggestion^ that he could have been resident in western Germany about the time that his lute book (the only publication of his known) appeared in Cologne, from a consideration of the places mentioned in its dedica tory preface.

The dedication reads:

REVEREND0, ILLUSTRI, AC GENEROSO DOMINO D. ARNOLD0 EX COMITIBUS DE MANDERSCHEIDT ET BLANCKENHEIM, BARONI IN IUNCKERAID ET DAUN, ET. METROPOLITANARUM ET CAthedralium Ecclesiarum Treviren, Praeposito Colonien, & Argentinensi Scholastico, nec non D. Andrea Ecclesiae Colonien, Praeposito. . . 2 The location of the towns mentioned is in an area south of Cologne, and generally west of Coblenz. Other than that, one can only speculate that he may have been active into the second decade of the seventeenth century, since his name appears in the prefaces of lute books of that era, §..&.•, those of Fuhrmann (Testudo GalloGermanica. published in Nuremberg in 1615) and Besard (Novus ^Wolfgang Boetticher, "Adrian Denss," MGG III (1952), col. 197.

2To the respected, honorable, and noble Lord, D. Arnoldus, from the counties of Maude rscheidt and Blankenheim, Baron in Junkerath and Daun, of the Bishops and Cathedrals of the church at Trier, Chief in Cologne, and teacher in Strasburg, as well as D. Andreas, chief of the church at Cologne.

6


Partus, published in Augsburg in 1617^).

However, the way

in which authors and titles are mixed up in the latter print might lead one to suspect that Besard had less than first hand acquaintance with the books he mentions. A reply to an- inquiry of the writer directed to the Historisches Archiv of the city of Cologne indicated nothing further is available. That Denss should direct his dedication to two rather (evidently) minor officials of the extensive arch-bishopric of Cologne is unusual.

Most publications named either their

immediate superior, Ernest of Bavaria, the elector (15831612), or his uncle, Maximilian I, the duke, as their patron. More is known about Matthias Reymann. has suggested a birth date of around 1565*

Kurt Dorfmtlller1* Since he refers

to himself on the title page of his book as Mattheus Reymann Toronensis Borussi.y the place of his birth is taken to be Thorn (Torun), Poland, northwest of Warsaw, on the Vistula. It was of some importance in the early Renaissance and also boasts of Copernicus as a native son. From the dedicatory poems prefacing his books, one is 3A translation of this portion of Besard's preface to his Novus Partus appears in an article by Julia Sutton, "The Lute Instructions of Jean-Baptiste Besard," Music Quarterly LI (1965), 359. ^Kurt Dorfmliller, "MatthSus Reymann," MGG XI (1963), col. 35*+. ^Matthias Reymann of Thorn in Borussia. a Latin name for the area.

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able to gather that at least some part of his youth was under the care of four brothers, John, Adam, Carol, and Ni cholas Czeykey, of Cazow and Olbramovitz.

Olbramovitz is

also known as Wolframitz and is in Bohemia, actually only about 60 miles north of Vienna.

There is a Russian town of

Kozowa, considerably to the east, beyond the Carpathians, north of Romania, which may be the locale of the other town. The poem mentions also a Lake Sazava, possibly the same lo cale as a famous mediaeval monastery of Sazava, 25 miles southwest of Prague, on a tributary of the Moldau. was mentioned as the site of their castle.

The lake

The discussion

of the fame of the four brothers (known, says Reymann, in France, Germany, and Italy) is of no help in placing them. They were perhaps lords of Bohemian estates appointed by Rudolph II, the Hapsburg emperor of Germany and Bohemia from 1576 to 1612. Wustmann,^1 without identifying his sources, says that Reymann was in Leipzig by 1582, the date at which Dorfmiiller? says that he matriculated at the University of Leipzig.

His

subject', to judge from his later activities, was the law, like that of a good many other lutenists of the time. At the time of the appearance of his book, Reymann tells ^Rudolf Wustmann, Musikgeschichte Leipzigs (Berlin, 1909)? I» 195. He may have been quoting from Leipzig city records or other sources mentioned in his preface. 7k. Dorfmtiller,

op

.

clt.. XI, col. 35^*


9 us that his fortunes have suffered (this may be posturing): En more gessi & quidem coactus gessi, ut qui sciam, quam sit mihi curta supellex, atque hoc in negotio res angusta dom.° Other details of his life may be listed as follows: 1609

He married, in the Nikolaikirche at Leipzig, Elisabeth Barthel Schmid of Leipzig, on July 17. He is described as "the respectable and learned Mattheus Reymann of Thorn in Prussia."

1610

He was described as "a lutenist" when he brought his daughter, Elizabeth, for christen ing, on June 17.

1612

He may have been temporarily in Cologne. 9

1616

He remarried, at Leipzig, on the twentieth Sunday after Trinity. His bride was Magda lene Brochlitz, the daughter of a local far rier. He is described as an administrator of justice for the Wolfferdorf family— who in 1612 were patrons of Schein at Weissenfels.

1623

A daughter was christened on April 11. is described as a lutenist.

1625

Another daughter was born on August 26. is described as a notary public.

He He

8So, I have obeyed and indeed carried on under the compul sion of_realizing that I have decrepit home furnishings and /am/ in straitened circumstances in this business. ^Wustmann suggests this (on. cit.. I, 3^9) • He describes the preface of a second book of Reymann's printed in Cologne: "Reymann dated, I admit, the dedication of his Cvthara Sacra sive Psalmodiae Davidis ad usum Testudlnis accomodatae in Cologne, on December 12, 161.2, where the work also appeared the following year, /printed/ by Grevenbruch; yet he stayed at that time only temporarily on the Rhine . . . " The book is now lost. It consisted of 152 settings of Psalm melodies, each with a variation, from the Goudimel Psalter. Wustmann quotes a few measures from one of the psalms and from its variation.

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10 What these items of information, provided by Wustmann'^ evidently from the records of the Nikolaikirche. prove is that the article of Fetis-^ contains some details about an other Matthias Reymann, who was born at Lowenberg in died in 1597*

and

These details are intertwined with some of the

ones we have quoted above, resulting in the incorrect state ment that Reymann's publications are posthumous. A definite death date has not been determined.

Reymann

is mentioned in the prefaces of the Fuhrmann and Besard books referred to earlier.

Three galliards and two choreae are

found in the Leipzig MS II. 6. 15, also known as the lute book of Albert Dlugorai, from 1619.

None of them are in the

Noctes. The recorded details of Johann Rude's life are made known to us from the same sources as those of Reymann's.-*-2 He stems from a family of musicians, his father having been a Leipzig Stadtufeifer. Kurt Rude, in service from 1556 to 1593 (he died in 1596).

Since he was married in 1555, the

date of Johannes's birth may be placed at some time after that. 10Ibid.. p. 195, 196. •^F. J. Fetis, "Reimann," Biogranhie Universelle des Musiciens (2nd ed.; Paris, 186^-), VII, 213. What basis F£tis had for describing, in a separate article, ''Reymann jV (p. 237), the subject of our study, as being in the service of the Elec tor of Cologne, we do not know. 12R. Wustmann, op., cit.. I, 195*



11 Johannes Rude is listed in a record of debtors among the customers of Jacob Apel, a Leipzig publisher of the time. The date by his name is 1592.

He next appears as the recip

ient of ten florins on October 18, 1595? for having served for a missing organist ("veil er sich in Manglung eines Organisten brauchen lassen").!^

His lute book has in its dedi

catory pages a statement which could be construed as evidence that he was receiving some kind of scholar's stipend from the Saxon electors: . . . quam gratiam ego in me singularem, multis beneficiis, certis documentis testatam, omni harmoniarum , & concentuum genere perpetuo celebrandam esse judico.f4' Rude has dedicated his first book to the following array of individuals: . . . DOMINO FRIDERICO WILHELMO, DUCI SAXONIAE ET ELECTORATES ADMINIstratori, Langravio Thuringiae, Marchioni Misniae, &c . . . DOMINO CHRISTIANO II." ELECTURAE HAEREDI, DOMINO IOANNI GEORG10 ET DOMINO AUGUSTO, DUCIBUS SAXOniae, Landraviis Thuringiae, & Marchionibus Misniae, &c . . .15 l^Loc. cit. I1*"! consider that this unusual regard for me as shownJby your many kindnesses and by specific evidence, ought to be celebrated forever with every kind of harmonious concord" (Flores Musicae /I/, folio ii, recto, line 1*+). Similar sug gestions are found in the second book. Ibid.. p. 138. •^"To Lord Friedrich Wilhelm, Duke of Saxony and Electoral Ad ministrator, Landgrave of Thuringia, Marquis of Meissen, etc. . . Lord Christian II, heir to the Electorate, Lord Jo han Georg, and Lord August, Dukes of Saxony, Landgraves of Thuringia, and Marquises of Meissen, etc."


12 His second book is directed toward still other persons: DOMINO JOHANNI ERNESTO ET DOMINO AUGUSTO, GERMANIS FRATRIBUS, BRUNSUICENSIUM ET LUNEBURGENSIUM DUcibus. . . Friedrich Wilhelm (born 1562, ruled 1573-1602) was of the Ernestine branch of the Saxon dukes and electors.

Their

lands were under the trusteeship of the Albertine branch from 1573 until 1586.

Accordingly, during this time a sepa

rate Kantorei was not maintained.

Friedrich, however,

founded a small one in the 1590’s which stayed principally in Altenburg and was, after his death, called to Weimar.

He

was intellectually gifted, entering the University at Jena at age twelve.

He was later a patron of the University,

around 1591? and certainly an appropriate individual for the dedication of a publication.

Rude even declares himself an

"eye-witness of . . . good will worthy of princes toward lit erary men and musicians. . ." further along in the body of the text. Rude turns next to the Albertine branch of the Saxon rulers at Dresden.

Christian II, Johann Georg, and August

were the young (the eldest was seventeen in 1600) .sons of Christian I. Johann Ernest and August of Braunschweig and Ltlneburg were young, too (August was twenty-one at the time).

Their

particular branch of the family was not to ascend to the 16

"To Lord Johann Ernest and Lord August, German brothers, Dukes of Braunschweig and Ltineburg. . ."


13 duchy until later, when August would be known as the most learned prince of his time and the collector of the core of the famous Wolfenbtlttel library.

Rude mentions that they

were "busy at Leipzig promoting good literature" in this dedicati on. In addition to referring to himself as a student of law on the title page of his first volume (LL. Studiosum) , Rude says, in his first book " . . .

because I was able to extri

cate myself temporarily from the study of law, to which my parents dedicated me, I devoted myself to the study of music." In his second book he makes reference to an illness which prevented him from pursuing his legal studies but gave him an opportunity to complete the book.

However, his name has

not been found in records of the University at Leipzig. He was mentioned, along with his mother and sister, in connection with the sale of the family house on April 20, 1601; there was a sale of another family house in 160^, but his name does not appear after that. The two books are his only publications, but Boetticher mentions a prelude by Johan Rude Franckf. 1615. in a Hamburg MS Scheie, folio 1.17 Of some interest in filling in the background of the era in which these three books appeared are the histories of some of the composers, other than the compilers themselves, 17w. Boetticher, Studien zur solistischen Lautenpraxis (Ber lin, 19^3), 163.

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lb

who are represented.

We will summarize the information

available regarding them, although in the case of those who are better known, we will not repeat what is easily available elsewhere. John Dowland (1562-1625), described as Dulandi Angli in the table of contents of Rude II, is the composer of the piece by his name, Pavana a. 5. voc., marked in writing on the tablature Pavanna Lacrimae. He is also the composer of the 18 Pavana I. D., No. 110. He is also mentioned in the Epigramma ad ornatissimim virum in Rude I (see Chapter II). Dowland1s fame, of course, was already international by the time of the publication of Rude's book.

The particular

impetus for interest in his pieces in Germany may be said to spring from his European trip of 159^+-1595, during which he stayed for a time at Wolfenbttttel (at the court of Heinrich Julius), at Kassel (at the- court of Moritz of Hessia), and at Nuremberg.

His travelling companion for part of the time

was Gregory Howett, another lutenist who crosses the pages of all three of our books.

Dowland was approached with

offers of employment by both of the above-named dukes, but he refused them and continued on to Italy. Peter Philips (1561-1628) is well-known. -i

Although born

0

It is Mr s. Brigide Fleetwood *s Paven.

See the Concordance.

Êckart Klessmann, "Die Deutschlandreisen John Dowlands," Musica XI (1957), 13-15-



15 in England, he was on the continent (Douai) by 1582, and after being located briefly in Rome, Paris, Antwerp, and then Brussels, he settled in Antwerp in 1590.

His English

ancestry is given its due, here, since his piece, in Rude II, No. 92, is called Pavana Anglica.

It is identified as an

intabulation of his. work by the writing on the Wolfenbtittel copy of the tablature, Pavana Phillipi.

The piece is one of

nearly twenty of his in the Fitzwilliam Virginal Book (see Chapter III).. Anthony Holborne (died in 1607? birth date unknown) is represented in Rude II by his Decrevi (Nos. 80 and 88).

Con

tinental collections contain a number of his pieces (Adriaensen's Novuum Pratum /1600/ and van den Hove's Delitiae Musicae /T6127).

Biographical details are not known.

has been the subject of a recent English dissertation.

He 20

The Mr. Johnson who is the composer of Rude II, No. 85, is the well-known John Johnson, lutenist to Queen Elizabeth from 1579 until his death in 1591+* quently in English sources.

He appears very fre

His piece in Rude II is a paduana.

(called in English sources a pavin). Matthia Ferrabosco (1550-1616) has been given the credit for composing the Gagliarda di Ferabosco which appears after the galliard of the second passamezzo suite in Denss's book. ^Brian Jeffrey, "Instrumentation in the Music of Anthony Holborne," Galpin Society Journal XIX (April, 1966), 20.

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16 Although born at Bologna, he was for 35 years (beginning in 1581) an alto singer, and later master of the chapel at Graz.

The chapel travelled with the prince, Erzherzog Fer

dinand, to several ceremonies at such locales as Regensburg and Vienna.

21

Also the composer of nine canzonettas which

Denss intabulated, he is not known for any other type of work, nor for any other instrumental pieces.

Works by other

Ferraboscos (Alfonso I and Alfonso II) of course appear in Robert Dowland's Varietie of Lute Lessons (1610) and Besard's Thesaurus (1603). Diomedes Cato, a Venetian for whom definite dates are not available, was active at Polish courts in the latter part of the sixteenth and the beginning of the seventeenth centuries.

He is mentioned in the laudatory poem in Rude I,

mentioned earlier, as Diomedis Sarmata. obviously a classical reference to the locale of his employment (the Sarmatians were a Slavic tribe in classical antiquity, occupying the area, generally, between the Vistula and the Don, .r.&ja modern 22 Russia and Poland). According to Eitner, he was brought to Cracow by the Polish minister of the treasury, Stanislas Kostka, who left Diomedis a legacy of 10,000 guilders at his death., and recommended him to the king, Sigismund III, as a ^Helmut Federhofer, "Matthia Ferrabosco," MGG IV (1955)? col. ^5. ^Robert Eitner, Biogranhisch-bibliographlsches QuellenLexicon (Leipzig, 1900), II, 20 7.



17 musician.

His salary was evidently considerable— 300 guil

ders a year and a weekly subsistence of six suilders.

He

was evidently known both as a singer and lutenist and left two books of lute songs, now lost, dated 1606 and 1607• Maria Szczepanska has published his extant works, which consist of the following lute pieces: five preludes, six fantasias, two passamezzos, six galliards, a Favorito. eight choreae nolonicae. and two vocal intabulations.

The

greater portion of the pieces appears in Besard's Thesaurus, together with a few others in Fuhrmann's Testudo. and one piece in Rude II (No. 10^) is his.

It is called Galliarda

Diomedis and marked in writing on the tablature with what looks like Galliarda StarnisV- (perhaps meaning "old style"). Other works for lute appear in various manuscripts, including the Dresden MS B 1030, now lost. Gregory Howett (Huwett) is a figure who is common to all three of our books, and a good bit of information pertinent to his activities can be assembled.

Although Reymann in his

Lectoris (to the reader) refers to Howett as Greeoriu Howet pl_L

Belga. Eitner refers to him as an Englishman.

So does a

recent writer, Martin Ruhnke: "in the following twelve months . . . the English lutenist Gregorius Huwet, appointed Âccording to Krystyna ¥ilkowska-Chominska, "A la recherche de la musique pour luth," La Luth et sa Musiaue. ed. Jean Jacquot (Paris, 1958), 197* 2^Robert Eitner,

o p . cit..

V, 215

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on May 22, 1591, was newly assigned a position."2^

Neither

writer gives a source, although the fact that Howett was a travelling companion of Dowland may have had something to do with their decision.

Thurston Dart, evidently relying on

the description of Robert Dowland in his Varietie ("the most famous Gregorio Huwet of Antwerpe") says that he was born in Antwerp.

Pf)

No definite date has been established.

Howett

was in the service of Duke Heinrich Julius at Wolfenbtlttel, who was born in 156b and ruled from 1589 until his death in 1613.

According to Ruhnk e,^ Howett began his employment

here in 1591 (see the quotation from Ruhnke, above).

He is

also listed in a pay register for Christmas of 1591*

There

is a letter from a Johann Block of Kassel, dated November 5? 159^, which mentions the arrival of "etliche frembde Musici" from Wolfenbtlttel, on the first day of that month.

Dowland

and Howett are thought to have been among the group, sent over to the court of Moritz of Hessia to display their skill.' In a letter of March 21, 1595? the Landgrave (Moritz) ^Martin Ruhnke, Beitrgge zu einer Geschichte der deutschen Hofmusikkollegien im 1 6 . Jahrhundert (Berlin. 1963), p. 65. ^ T h u r s t o n Dart, "John Dowland," MGG III (195*+)) col. 717-

722 .

^?M. Ruhnke, op., cit.. p. 65* He is working from court pay records and other documents, such as those in the NiedersSchsisches Staatsarchiv in Wolfenbtlttel. 2% uhnke (p. 65) credits E. Zulauf, in his Beitrgge zur Ge schichte der Landgrgflich Hessischen Hofkapelle zu Cassel (Kassel, 1902) with, this assumption.


19 thanked the Duke (Heinrich Julius) for having sent to him the two lutenists and apologized for having kept them beyond the time fixed for their stay.

He was very outspoken in his

praise of their skill, praising Howett as a seasoned and skilled lutenist.

Howett was "was muteten und madrialn zu 29 schlagenn anlangt, gar perfect und wohl passiert." While Dowland soon moved on to Nuremberg and Italy, Howett remained at the court at Wolfenbtlttel after returning from Kassel.

In the preface to his First Booke of Songes or

Ayres, published in London in 1597? Dowland acknowledged the kindness of both Howett and Heinrich Julius: Neither can I forget the kindnes of . . . Gregorio Howet Lutenist to the magnificent Duke of Brunswick, both whome I name as well for their love to me, as also for their excellency in their faculties. Although there are gaps in the documents, pay registers show Howett's wages at the court: 90 gulden 270 gulden 32^ gulden

in 1591; 1593, and 159*+. in 1602 and 1603. beginning in 1592 as board allowance.

oq

In 1595, the Duke gave him 1,200 Talern for the acqui sition of a house.

Ruhnke has noted that it is a measure of

the increased importance given to instrumental music at this court that Dowland and Howett enjoyed a remuneration equal to that of the singers . ^

The comparative social status

29Ibid.. p. 70 .

3°lbid.,

pp. 71, io*f, 109.

31ibid.. p. 85.


20 suggested by the amount of board allowance given to Howett shows him ranked above the druggist, the cook, singers and other instrumentalists,' but below the barber, the Hausmarschall. and the Kapellmeister. Another pay register recorded by Chrysander^2 shows Howett receiving for the year 1606-7 150 Talern and 30 more for an allowance for strings.

In Michael Praetorius's Memo

rial of 161^, which is a listing (and a kind of an attempt at justifying the duties) of the musicians of the court to a new, less musically inclined ruler at Wolfenbtlttel (Fried rich Ulrich), Howett appears: Dieweil Grego.rius, Lautenist /Chrysander inserts here der Englander/, sich bisher in unser Music nicht gebrauchen lassen, ich auch nicht gern wollte, dass er als numehr en alter Diener hierzu sollte genttthiget werden: so w9re hoch vonnttthen, wie ich mit Gregorio selbste drauss geredet, dass auf einen Lautenisten, der die Concerten mit Tribbeln und Coloraturen zu exorniren gut w9re, wie ich dann mich darnach bemtihen will, auch etwas geordnet wlirde.33 Howett is here portrayed to the new ruler as an old ser vant who has not been used, up to now, in music (meaning con certed music employing the whole Kantorei).

Praetorius

appears interested in using his manner in decorating such per formances with coloraturas and trills.

His name still appears

32Friedrich Chrysander, Jahrbiicher ftir Musikalische Wissenschaft (Leipzig, 1863). I, 150 (from a court pay register for the period from Trinity 1^06 through 1607, in the imperial archive at Hannover). 33Ibid.. p. 15^.

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21

in pay records as late as 1616, but he cannot be traced after that, in materials now available.

3k

He is known for the two fantasias which appear in the Denss book, the second of which also appears in Robert Row land' s Varietie, and for the two pieces attributed to "G. H." in Rude II (marked on the tablature Galliarda Gregory and Pavana Gregory).

They are Nos. 97 and 109? respectively.

There is also an ensemble galliard in the Newe Kunstliche Musicalische Intraden . . .

of K. Hagius (Nuremberg, 1617).

There were also two fantasias in the Dresden MS B 1030 re ferred to earlier. Wustmann equates Howett with Gregory Huberti who has a pavan and a galliard in Rude II (Nos. 90 and 93). Tobias Kuhn (Kuen) is another figure at the Wolfenbtlttel court, but of somewhat earlier appearance on the scene than Howett.

He was appointed on November 15? 1587? and is des

cribed as a tenor and lutenist, who was primarily engaged as a singer but was to play on the lute upon special request. He was originally from Halberstadt, and there is in existence a document detailing his life history which was requested by the Duke (Julius, who ruled from 1568-1589).

The document

evidently is a pioneer example of personnel management: the Duke's purpose was to discover ways in which he might employ his musicians in areas other than music activity.

Kuhn wrote

Ruhnke, op,, cit., p . 71 (Stadtarchiv Braunschweig).



22

it in both Latin and German, probably to impress his ruler with his erudition.

35

*3c.

He can be traced in pay lists*3

from

1587 to 1590, is missing in 1590, but appears for the last time in 1591* Rude II, Nos. 83 and 100 are both versions of the Pavana T. K. and are thought to be Kuhn's.

He appears in

Fuhrmann's Testudo (1615) with the following: Pavan No. 7 (Respondens Lachrimae T.. K.) Galliarda T . K. 3 Galliarda T . K. 5 He also had a Fuga 1030, and there

on Verleih unsFried in the

is a

galliard

Dresden MS B

in theLeipzig MS II.16.5*

Johann Thysius was the owner of a library named after him in Leiden, in which a large lute book in manuscript was found.

It has been studied, and the upper line of' most of

the contents given in the study by L a n d . I t around 1600.

dates from

He appears in Rude II, No. 101, with the Pa

vana del Signor Thisio. and he also has a Paduana in the Leipzig manuscript. Victor de Montbuisson, according to Eitner38 fr0m Avi gnon, was a lutenist (at least in 1598 and 1600) at the 3Îbid.. pp. 29; 57-8. 36lbid.. p. 89. 37j. P. N. Land, "Het Luitboek van Thysius," Ti.idschrift der Vereeniging voor Noord-Nederlands Muziekgeschiedenis I-III (I885-I89I), passim. 38R. Eitner,

ojd.

cit.. VII, 36.


23 Kassel court, under Moritz (who ruled from 1592 to 1627). The three couranteshy him in the Dresden MS B 1030 were pro bably the same three which appeared in the Denss book (folios 91 and 92— see Chapter III).

A Galliard de Victoris de Mont-

buisson appears in the Besard Thesaurus. and there is a Livre de tablature . . . commence . . . le. dernier .ianvier 1611 in the Landesbibliothek at Kassel by him. Rude II, No. 107 is a Pavannadi Mauritio d'alto Monte. Wustmann has equated Mauritio with Duke Moritz.

Several

others have unidentified attributions: Rude II, No. 95: Gagliarda B. F. L.; No. 102: Pavana Crisiana: Nos. 78 , 87 , and 89 (marked Pavana Anglica) : Nos. 96 and 131 (Galliarda Anglica) ; and Nos. 8l and 82 (Padoana P. B.). It can be seen from the foregoing that an important part of the background of the culture of the times was that generated at the courts, large and small, of the land. Rude's dedications, in fact, are obviously directed at some of them, in particular those at Altenberg, Dresden, and Braunschweig.

The first locale boasted only a handful of

musicians, since the Ernestine line of the Saxon dukes lost a large part of their lands around 15^75 and their court accordingly was not as well turned out as that of the Albertine line at Dresden.

The court there, around 1600, would

have boasted, under the Kapellmeister Rogier Michael, a complement of sixteen singers, twenty instrumentalists (in cluding two organists, tvro lutenists, a zink player, and

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2k

others) as well as a dozen trumpeters and a percussionist .39 The attention given to music depended, of course, on the wealth of the court and also on the interest of the in dividual rulers.

One can discern the varying degrees of con

cern in the changing fortunes of music at Wolfenbtlttel. There, the size of the Kantorei (meaning the entire force of musicians, Kanelle and instrumentalists) under Julius (who ruled from 1568 to 1589) actually was allowed to dwindle in to almost nothing in 1579 and continued at a low state until 1585, when it was re-organized, under the Kapellmeister Mancinus.

The next ruler, Heinrich Julius, is well-known for his

interest in arts and letters, as well as the theater.

He not

only established a permanent theater, but imported English players, around the turn of the century. Rude's second book, in particular, with its selection of intradas, may have been directed in part toward court or dra matic activity such as that outlined above, to say nothing of the fact that these cehters provided the means of support for a large number of professional lutenists who might have found all of these books useful in their duties. Of more importance, perhaps, to the particular back ground for these books is the middle class culture of German cities, in particular that of Leipzig.

The vigorous musical

activity around 1600 there is well-known, and we will only sketch a few details.

We have already noted that Rude was

39m . Ruhnke, op. clt.. p. 219 (records for 1606).

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the son of of a Stad St adtn tnfe feif ifer er. . one of four four mainta maintaine ined d by the the city to play play at banquets banque ts of the the council, council, weddings, or other other functions, functions, in addition to daily performance from fro m the the city's city's towers. towers.

Wustma Wus tmann1 nn1^ records the the squabbles of the council and

its Stadtnfeifern with two itinerant string players who eventual vent ually ly had to be banished banishe d to the the suburbs, suburbs, since they were competing for the income of the town employees. Another part of the musical atmosphere was the contri bution but ion of student groups, groups, both from the the schools of St. Tho T ho  mas mas and St. Nicholas, and from fro m the the University.

They part pa rti i

cipated in various various kinds of street street serenades, in which whic h the lute lute would have have played a part— par t— almost almost insurin insuring g that Reymann and Rude would woul d have joined in them them. .

Even Eve n the title, title, Noctes

Musi Mu sica cae. e. may be a reflectio reflec tion n of this tradition. As the the inventories inventories of several Leipzig Leipzig citizens' citizens' estates d e m o n s t r a t e t h e lut lute was was a not uncomm uncommon on poss posses essi sion on amo among those of the uppe up per r middle middle class. class.

In addition, addition, the city was

something something of a center center for the manufacture manufacture of lutes— lute s— the the in in  ventory of the possessions of a Stadtnfeifer Krause in 157^ showed him to have eighteen lutes on hand, parts for a good many more, more, and all kinds of tools tools for their manufacture. Fur Fu r ther records show sho w the lute books of KSrgel, Newsidler, and ^ R . Wust Wustma mann nn, , op., cit., I, 156. 156. ^ I b i d . , pp. pp. 163 163-1 -16^. 6^.

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Drusina to be current there. The great weight of vocal intabulations in the Rude and Denss Denss books books point to to their their use in suc such h domestic situations— situati ons— a way of bringing into the home not only certain serious li turgi tur gica cal l fav f avor orit ites es (.e.g.., the .0 quam quam glo glori rios oso o of Vict Vi ctor oria ia in the Denss Denss boo bo o k ) , but also the lighter canzonas and canzonetcanz onettas of the day.

h2

Ibid Ib id., ., pp. pp. 165-172, pass pa ssim im. .

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Rep rod uced with permission of the copyright owner. Further reproduction prohibited without permission.

CHAPTER III THE BOOKS THEMSELVES A.

The Contents: Prefaces and Music Florilegium

Denss's hook is a quarto volume of 96 folios, plus four prefatory folios.

The latter, all in Latin, include the

title page, some laudatory poems and prose, the dedication, and the table of contents.

Beginning with folio lv of the

main body of the book, every other page is inverted (those containing vocal parts) for practical performance purposes. This inverting is not, of course, continued for the section from folio 62v on, which contains the fantasias and the dance pieces. The title page reads: FLORILEGIUM OMNIS FERE GENERIS CANTIONUM SUAVISSIMARUM AD TESTUDINIS TABULATURAM ACCOMMODATARUM, LONGE JUCUNDISSIMUM. IN QUO PRAETER FANTASIAS LEPIDISSIMAS, continentur diversorum Authorum cantiones selectissimae, utpote: Motetae, Neapolitanae, Madrigales trium, quatuor, quinque, sex vocum. Item Passemezi, Galiardae, Alemandi, Courantes Voltae, Branles, & eius generis Choreae variae: Omnia ad Testudinis tabulaturam fideliter redacta, per Adrian Denss.1 Â selection of the flowering of nearly every kind of the most delightful songs adapted to the tablature_of the lute, by far the most pleasant. In which /.selection/ are included besides most agreeable fantasias, the choicest songs of var ious composers, namely: Motets, Neapolitans, Madrigals, for three, four, five and six voices; also passamezzos, galliards allemands, courantes,, voltas, branles, and various dances of 27

Rep rodu ced with permission of the copyright owner. Further reproduction prohibited without permission.

28

Just "below the center of the page is Grevenbruch1s printer's mark, a design with curved scroll-work intertwined with cherubs, surrounding a center picture of a sailing ves sel, with a castle on the shore in the background (see Plate I).

The motto Post Nubila Phoeb. (after clouds, the sun) is

above the picture, and below it is a shield, emblazoned with what evidently is the colophon of the printer. run the lines Coloniae Agrippinae. venbruch.

Below this,

Excudebat Gerardus Gre

Anno redemptionis. M. D. XCIV.

Folio ii has three items, the first of which is a prose paragraph, Ad philomusen (To the Lover of the Muses).

We

will only paraphrase the contents of material of this type. Denss tells us that he is not really accomplished on the lute, and has been forced into publishing these adaptations of the work of greater artists by the demands of his friends. The entire tone of such prefatory material is, in these times, overly apologetic and self-deprecatory.

He clearly states

that he is following the example of Emmanuel Adriaensen in putting forward his collection.

He says that he had intended

to make it larger, including the works of Luca Marenzio and G. Maria Nanino, but that the book had grown to such size that he "took in his sails.”

He suggests in closing that a fur

ther book may be forthcoming.

this sort; all faithfully edited for the tablature of the lute by Adrian Denss.


29 Following this, are two quatrains to Zoilus (a critic of Homer, hence, any critic) in which the author, as the times evidently demanded, attempts in flowery humanistic language to dispel’in advance any unjust criticism of his work.

An

other such reference is to Momus, likely implying again an anonymous critic.

The line Primitias rudibus nosui: hinc

mentem nrecor aauam Judicis . . .(I "have arranged the first of my efforts for the unskilled; so I pray for a fair apprais al by the discoverer) may be an admission of having directed his work toward amateurs.

The first is by M. G> M. G.., whom

we shall presently encounter, and the second is by I.. L. R., who remains unidentified. Folio iiv has two items, the first a panegyric: PANEGYRIS AD ORNATISSIMI ET MUSICES PERITISSIMI ADRIANI DENSS FLORILEGIUM SUAVISSIMUM. SCRIPTA A M. GUILIELMO MAIO GOTTINGENSI SAXONE MUSICES AMAT0RE.2 After discussing the way in which music and the lute can charm,‘the author launches upon a kind of review of mythological characters noted for their musical skill, among whom, of course, he includes Denss. The next poem, an "Exhortation tothe

Reader by the Same

Person," is an allegory, in which the selections Denss has intabulated are spoken of as a variety of roses, among which are found to be flourishing Lassus, Marenzio, Lechner, and ^Panegyric for the most charming Florilegium of the most honored and musically skilled Adrian Denss. ¥ritten by M. Gulielmus Maius of Gbttingen in Saxony, music lover.

R epr odu ced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

30 Vecchi. Folio iii contains the lengthiest item, the dedication, the opening of which we have already quoted in Chapter II. The first part is a defense of the art of music, over which we will not linger.

The next area of interest discussed is

his "decision" to seek a sponsor for this, his first work. The text closes with his request for patronage and vows of his obedience.

It is signed:

Datae Coloniae Agrippinae. *+. Nonar. Septemb. Anno 159*+: aera novata. Reverendae & Illustri Generositati vestrae perpetua observante voluntate deditissimus. Adrianus Denssius.^ The table of contents begins on folio iiiv .

The small

group of motets gives way to secular pieces, which Denss has organized first by type, then by number of voices (see Table 1).

It occupies folio ivr“v as well. The tablature proper now begins.

Two systems of folio

numbering occur, one using Arabic numerals printed in the upper right-hand corners, the other having the usual scheme of capital letters and number (in the lower right), v Folio iv is inverted, since it contains the vocal parts for Quam gloriosam.

In his Instrumental Music Printed Before

1600: A Bibliography (Cambridge, 1965), Howard Brown has called this folio 1, but Denss begins his numbering with the ■^Dated at_Cologne, on September 5, 159^, A.'D. /The l!l+” eludes us^y Willingly dedicated to your honored and famed Excellence in continuing regard. Adrian Denss.


31 next folio (the one containing the lute parts).

This means

that Brown’s table of contents does not agree with Denss's numbers.

We have ignored the complication proveded by

Brown, and used Denss's numbering, which is without error. Brown's mention of headings (Neaoolitanae. Motetae. etc.) supposedly occurring on various folios in the tablature is evidently an error. With the intabulations, Denss includes certain of the original voice parts, evidently taken from the part-books if Without change. Outer parts from the original are always '

included, and in about half of them an inner part is added. The parts are called Canto. Tenore. and Basso, but this is no indication of their respective ranges.

The practice of

printing voice parts with lute tablatures was common in Italian books of the time, but in Germany, only Schlick's Tabulaturen of 1512 was designed this way (in this case, only the soprano voice was given). The attention given to the canzonettas of Gaspar Costa is of interest.

There are 23 by this composer, an organist

at Milan from 1581 to about 1590.

He published several col

lections of canzonettas and one of motets and madrigals. Only a scattered selection of his canzonettas is found in other lute books.

Clearly the 1580; and 158^ prints of Costa

L Jigging from microfilms of two sets of part-books which are available, Canzonette di Gasnaro Costa (Venice, 1580) and Costa's II secondo libro di canzonette (Milan, 158H-).


32 were among those which Denss had at hand in compiling his book, and he intabulated most of the contents of the 1580 print.

The emphasis on his works may mark a personal acquain

tance with the composer or merely mean that Denss hoped the pieces would be accepted widely in amateur circles.Matthias Ferrabosco is represented with nine pieces, Lassus with seven, and Gastoldi with six.

All others have

fewer. It is obvious that the canzona and the canzonetta were in their heyday, since well over 60 percent of the intabula tions are of pieces of these types.

There are four motets,

five pieces with German texts, and five with French ones. Most of the pieces with. French and German texts Denss has classed as madrigals. A table of contents appears in Howard Brown's Instru mental Music Printed Before 1600: A Bibliography (Cambridge, 1965).

There, the pieces are listed in the order in which

they appear in the print.

For the present reader, the con

tents of the section containing the 6b purely instrumental pieces can be deduced from our Appendix.

We will summarize

the contents of all the collections' pieces of this type later.

We have reproduced the first section of Denss's

table of contents in our Table 1,

It lists the first 85

pieces (those for lute and voice).


33

TABLE 1

Index Cantionum et Choraearum Quae hoc in Libro compraehenduntur. Motetae Quatuor Yocum 0 Quam gloriosum Domine non sum dignus Miserere me 2 pars Laudate Dominum

Lodovvicus a Victoria Idem Bernardin Mosto

1

I 5

Quinque Vocum Gustate & videte Divites eguerunt 2 pars

Orlandus Lassus

6 9

Neapolitanae Trium Vocum Ogni vita Dal primo giorno Vaghe belezze Delle Vostre gciocchesse Assai promette La venenosa vista Se del mar si seccasser Crudel lascia sto core 0 Chiome relucenti Amore e fatto Udite novi amanti Fuggiro Fuggit' amore Non puo sentir Lieto cantai La gratia e la beltade Ahi filli S'in fede del mio amore Ahi che mi tiene Mentre scherzava Non si sa dimmi Madonna di cucagna Gut Singer und

Lodovvicus Torti Idem Idem Gaspar Costa Idem Idem Idem Idem Idem Idem Idem Paulo Bellasio Giov: Dominico danola Gio Giac: Gastoldi Casar Borgo Idem Gio: Giac Gastoldi Idem Idem Idem Joannin Favereo Idem Leonardus Lechnerus


12

16 17 17 18 19 19

21 22

3k

Adonis Zart Mitra d'hoggi

Idem Gastoldi

22 31

Orazio Vecchi Idem Idem

23 23 2k 2k 25 25 26 26 27 27 28 28 29 29 30 30 31 32 32 33 33 3^ 3*+ 35 35 36 37 38

Neapolitanae et Madrigales Quatuor Vocum Cosano vada Occhl ridenti Mentre lo campai Rlsposta. Mentre lo vissl 0 Tu che val 11 cor che ml rubasti Lucilla io vo morire Cor mlo se per dolore Dormlua amor 0 Monto o flumi Che glouerebbe hauer Dansar vld'lo Donna ben ch'io Io stanco & lasso E uns sol in ciel Che ml glova servir Meraviglio d'amore Desir che tanto salli Godi pur del bel sen Io vorrei pur hormai Lottava sfera Giovani vaghl Come faro A1 dipartir Amor s'lo posso Se doppo mille manlfeste prove DI piantl e dl sosplri Mentre lontan Non si puo piu Per planto la mia carne La virginella Gl1occhl Venite maghi Dlsse a 1'amata mia Veggo dolce mia Ridon di maggio Chi mi dimandara Mir hab ich gentzlich Wo jemandt lust Vray_dieu disoit une fillette

Idem Idem Idem Idem Ferabosco Idem Idem Idem Idem Idem Idem Idem Idem Gaspar Costa Idem Idem Idem Idem Idem Idem Idem Idem Idem Idem Idem Idem Baldasar Donato Gaspar Costa Idem Luca Marenzo Idem Hasslerus Idem Leonardus Lechm Idem Orlandus


, 3+90 > kl k2 k2

k3

^5 k6 ^6 93

35 Madrigales Quinque Vocum 0 dolce vita mia Veux tu ton mal Le voulez vous responce Que me servent Est il possible Dell' auro crin Con le stelle. Seconda parte Hor pensat'al mio mal Verement'in amore Elle s 'en va Madonna se volete Madonna poi ch'uccider Amor deh dimmi Ohn dich muss ich dich Chiamo la morte Mamma mia cara

Giulio Renaldi Orlandus

Ivo de vento Philip, de Monte Orlandus Hieron. Vespa Luca Marenz Gio: Maria Nanino Lechnerus Theodor Riccius Idem

1+7 !+8 *+8 50 52 52 53 52 55 55 57 58 59 59 60 60

Andreas Gabrielis Idem

61 62

Philip, de Monte Orlandus Idem

Sex Vocum Se tu m'ami Non ti sdegnar

Caeterum ne quid sit quod candidum Philomusen in hoc libro remoretur, seiat hos, ubicunq; signum hoc ()■() occurit, pro repetitionis signo usurpatos esse.


36

Noctes Musicae The one hundred folios of the main body of Reymann's book'’ are prefaced by four other folios which begin with the following title: NOCTES MUSICAE, STUDIO ET industria MATTHAEI REYMANI TORONENSIS BORUSSI CONCINNATAE.6 A cut of a lutenist with his foot on a lion follows (see Plate II), under the motto Non vi sed chely (not by force but by music).

Below that are these lines:

Editio est VOEGELIANA. ANNO CHRISTI C D. 10. XCVIII. Cum privilegio S. Caes. Maiest. & Septemuir. Saxon .< On folio ii, there begins, after the dedication to the four brothers we mentioned in Chapter II, a very long Latin poem.

The meager biographical information in it we have

also mentioned earlier, and the remainder is the familiar effusive extolling of the magnificence of the author’s (Reymann’s) patrons and their estates, coupled with a plea for their support. 'The Sibley library copy, bound in red vellum, has had the corrections from the Errata at the back of the book put in by hand, as well as extra barring, which divides many of the "measures" in half. The name of an owner, Philippus Walther ?tterborn . . . Anno 1601 is at the bottom of folio i. ^Musical Nights arranged by the zeal and diligence of Mattheus Reymann of Thorn in Prussia. ?The publisher is Voegel. 1598. With the consent of His Imperial Majesty and Elector of Saxony.

Re produ ced with permission of the copyright owner. Further reproduction prohibited without permission.

37 The preface on folio iv, which follows, Lectoris. is of more interest.

From it we gain the impression that some, of

the pieces in this book had been in circulation for some .time and that this publication has provided some alterations. He says, "You will find some of the parts increased, others curtailed, and others entirely eliminated.41 An explanation of the tuning of the seventh and eighth courses and their advantages is included.

This will be con

sidered in more detail later. He then summarizes the contents of the book, giving the number of pieces of each type to be found.

A comparison

with the actual contents (see Appendix) shows two errors. There are actually twenty-three preludes, not twenty-two. Although he says there are nine choreae, only eight are pre sent.

The idea of providing preludes and passamezzos in a

'

wide variety of keys is noted here: Has deinde Passemezae, Yariationes triplae, cum Ripresis ut vocant, similiter ad notas Musicales dlstinctas, tarn in cantu B mollari quam B duruali num. XXII.° The preface is dated June 13, 1598. v On folio iv three other laudatory poems occur, two by a M. Joannes Suevius Annaemont, and the other by PaulFroberg, whom Wustmann has identified as a Leipzig lawyer. 9 ^Then Passamezzos, triple variations with represas, as they call them similarly on separate musical tones as much in minor as in major,22 in number. 9r . Wustmann,

ojd.

cit.. I, 195*


38 The tablature itself begins on the following folio. The foliation usual for the time takes over. folios, R /!/ and /R2/, contain the Errata. blank.

Two further Folio R2V is

Cuts with elaborate scrollwork and centered faces

are found below the closing lines of both the tablature and the Errata.

The four introductory folios, plus those men

tioned above, total 10'-+.

The copy in the Sibley Musical Li

brary was not included in Howard Brown's Instrumental Music Printed Before 1600: A Bibliography (Cambridge, 1965).10 Again, we refer the reader to the Appendix for a table of contents of the 7^ pieces for solo lute which make up the book.

-^Brown's inventory of Noctes. made from a microfilm of the incomplete Brussels copy, says only that there are 100 folios. He is led astray by the table of contents into listing nine choreae. and has miscounted the preludes.


39

Flores Musicae Rude 1s first book has six folios of prefatory material including the title page, dedication and other items, before the sixty-six folios of vocal intabulations begin. The title page runs: FLORES MUSICAE hoc est SUAVISSIMAE ET LEPIDISSIMAE CANTIONES, MADRIGALIA, VULGUS NOMINAT, una cum variis pavanis, Paduanis, Galliardis, Intradis, Fantasiis, & Choreis, ex quam pplurimis autoribus Italicis, Gallicis & Germanicis magna industria collectae, & nunc primum ita descriptae, ut testudinis fidibus cani possint, per IOANNEM RQDENIUM LIPSIENSEM LL. STUdiosum & QiXoj«y60v. It continues with a statement that the book is being sold with Reymann's book, which is. now Liber III of the FloreseMusicae. A cut of the old testament ark of the covenant is in the center of the page (see Plate III).

It is surrounded by

cherubs and topped by a sunburst in which the Hebrew inscrip tion for Jehovah appears. Below the cut, the date (1600), the place (Heidelberg), and the printer (Voegel) are given. The dedication which follows on folio ii

r-v

is of the

■^Flowers of Music, that is, the most pleasing and agreeable songs and madrigals commonly known, along with various pavans, paduanas, galliards, intradas, fantasias, and dances from as many Italian, French, and German authors as possible, gathered with great diligence and now for the first time set down so that they can be played on the lute, by Johann Rude of Leipzig, student of law and lover of the muses.

Rep roduc ed with per mission of the copyright owner. Further reproduction prohibited without permission.

Ho type with which we are already familiar.

Rude places

him

self in the footsteps of King David and others, including "our great Luther." The Autor ad lectorem on folio iiir adds littleltoiour knowledge.

Rude wants to assure the reader that these in

tabulations are not mere plagiarizing, but that they re quired much work on his part.

He tells us that he followed

the advice of "good men who both insisted upon my publishing these melodies and promised the necessary expenses for it." v The Tvppgranhi admonitio which follows on folio iii will be discussed in connection with the notation. Immediately below the admonitio. the table of contents of both Reymann's and Rude's books begins, taking up also folios iv, and v, and part of vir. Each of Rude's selections is assigned a number which appears in the tablature at the beginning of each piece, framed in a box. are also given for each piece.

Folio designations

The scheme is like Reymann's,

except the lower case letters, a. and b, now indicate recto and verso, respectively.

Book Two begins with double letters—

AA, BB, and so on. The table of contents is given in Table 2.

From the

sources, it can be seen that more attention is given to the madrigal here than in Denss's collection. or some 60 pieces, are in that category.

About Ho per cent, About 30 per cent,

or slightly over ko pieces, are canzonas or canzonettas. are 27 German and 8 French texts.

Re pro duc ed with permission of the copyright owner.

There

The pieces date mostly from

Further reproduction prohibited without perm ission.

R e p r o d u c e d w i t h p e r m i s s i o n

TABLE 2 Table of Contents

o f t h e c o p y r i g h t o w n e r . F u r t h e r r e p r o d u c t i o n p r o h i b i t e d w i t h o u t p e r m i s s i o n .

Flores Musicae Pieces marked with * are unattributed. Sources given after the title are either the prints in which the pieces appeared (taken from Emil Vogel-Einstein, Bibliothek der gedruckten weltlichen Vocalmusik Italiens /.revised edition, Hildesheim 1962/), or mod ern editions of the complete works of the composer. Abbreviations for the latter are: Hassler W: Lassus W:

Hans Leo Hassler samtliche We rk e. Rev. by C. Russell Crosby, Jr. (Wiesbaden, 1961, f.). • Orlando:di Lasso Sammtliche Wer ke . Ed. F. Haber 1 (Leipzig, I89H-,

Lechner W:

Leonhard Lechner We rk e.

Monte 0: Palest W: PSM: P9p:

f.).

Ed. Ernst Schmid (Kassel, 195^, f.)*

Philippe de Mon te : Opera Omnia. Ed. Charles van den Borren (Dttsseldorf, 1927, f.)* Le Opera Complete di Giovanni Pierluigi da Palestrina. Ed. R. Casimiri (Rome, 1939, f.). Publikationen Slterer Mu si k. Ed. Theodor Kroyer (Leipzig, 1926, f.). Publikationen aiterer praktish&r . . . Musikwerke. Ed. Robert Eitner (Leipzig, 1873, f.).

Title *1. 2. 3. *+. 5. 6.

Ecco chio lasso il core. a6 . Erano Capei d'oro p'aura sparsi. a5« Nanino 2 , (1582), ^ 3. 17 Chi fara fed* al cielo. a5. 1566-3, 17 Sola Soletta. a5» Conversi 2 (1572), 9 Liquide perle amor. a5* P9M IV, 1 Ditemi o diva mia. a5* Vespa 2 (1576), 2b

Composer

Folio

D'incerto G. M. Nanino

A 1 .a. A l.b.

Allessandro Strigio Girolamo Conversi Luca Marentio Gironimo Vespa

A A A A

3-a« M-.a. ^.b. ^.b.

-r

R e p r o d u c e d w i t h p e r m i s s i o n o f t h e c o p y r i g h t o w n e r . F u r t h e r r e p r o d u c t i o n p r o h i b i t e d w i t h o u t p e r m i s s i o n .

Pietro Vinci Sapp:'. Signior. a5- Vinci 10 (l579)?p10 G. M. Nanino Scopriro. a5* (prima partita) 1597 Secunda parte ad madrigale Scopriro. Noe Faignient 9. Chi pervoi no sospira. a5* Giov. Pietro Manenti 10.- Se pensando al partir. a6. Manenti 1 (157*0? 11 Giov. Ferretti 11 . Donna crudel. a5* Ferretti 7 (1568), 3 Giov. Ferretti 12. Comme posso io morir. a5* Ferretti 7 (1568), Gianetta Palaestina 13. Vestivi Colli. a5* Seconda parte. Cose le chiome. Risposta 15. Morir puo vostro core. a5« Girolamo Conversi 16. Ma se tempo. a5« Conversi 2 (1572 )? 5 Filippo do Monte 17. Ahi chi mi rompe. a5* Monte 0 XXV, 51 Seconda parte. Giov. Ferretti 18. Sei tanto gratioso. a5* Ferretti 7 (1568), 5 Madonna mia gentil ringratio amore. a5» P&M IV, 1, 25 19. Luca Marentio Giov. Ferretti 20. Basciami vita mia. a5- Ferretti 7 (1568), 12 Pomponio Nenna 21. Torna amato mio bene. a5« Stefano Felis 22. Non so s’ amor. a6. Felis 1 (1579)? 5 Seconda parte. Tertia parte. Giov. Ferretti 23. Mirate che mi. a6. Ferretti 7 (1568), 7 2b. Moriro di dolor. a6. Macque 6 (1579)? 20 Giov. di Macque Madrigaletto all Napolitana *25. Io veggio che sei bella. a6. Giov. Gabrieli 26. Lieto godea. a8. A. Gabrieli 1 (1587)? 71 a6. Marenzio 2 (158^-), 5 Luca Marentio 27. Qual vive salamandra. Giov. di Macque 28. Amor io sent’ respirar. _a6.. Macque b (1582), 3 ' Giov. Ferretti 29. Quando mirai. a6. 1585 . Giov. Ferretti 30. Un tempo sospirava. a6. Ferretti 2 (1576), 20 Hippolito Baccusi 31. Io son bella e delicata. a6. Baccusi 3 (1579) , 8 Girolamo Conversi 32. Quando mi miri. a5. Conversi 2 (1572), 11 Luca Marentio Che fa hoggi. a5. P8 M IV 1, 18 (1580) 33. Uberto Warant 3*+. Vorria morire. a6. 1585^ Filippo d© Monte 35. Ochi vaghi amorosi. a5. Monte 0 XXV, 69 a5* Faignient (1568), 36 36. Par mi vedere. Noe Faignient Giov. Ferretti 37. Questa fera gentil. a6. 1583^ 7. 8.

A 6. a. A 6.b. B 1. a. B 2. a. B 3-a. B b .a. B B B

C C C C C C C C D D D D D D D D D E E E E E E E E E

b.h.

^.b. 6. a. 2. a. 2.b. 3.a. a. 5. a. 5* a. 6. a. 6. a. 1. a. l.b. 2.b. 3.a. b. a. U-.b. 5-a. 5.b. 6.b. 1. a. 2.a. 2.b. 3* a. 3-a. 3-b. .b. 5. a. 5.b.


'38. i+o!

*+1 .

b2.

>+3.

bb.

b$. >+6 . b7. b9. 50. 51. 52.

5b. 55. 56. 57. 58. 59. 60. 61.

62 . 63. 6b.

65.

Dialogo Amante el Core E Questa fera gentil. a6. 1583 Seconda parte. F Basclaml vita mia. a6. Macque *+ (1582), 6 Giov. de Macque F Uberto Uuarant F Mi voglio fare. a6. 1585 Allesantiro Strigio F Non romor si tamburi. a6. Strigio 12 (1579), 17 Francesco Rovigo F Liete le muse all1 ombra. a6. 1597 Andrea Gabrieli F Gloria di amor dicea. a6. 1605 Luca Marentio Tirsi morir volea. a5* P9M IV, 1, 12 (1580) F prima parte. Seconda parte. F F Tertia parte. , Giovanni Ferretti G Ochi no ochi. a6. 1585 o Giov. Ferretti G Corete tutti quanti. a6. 1583 Giov. Ferretti Su, su, non piu dormir. a6. Ferretti *+ (1575)? 9 G Madonna io no so sar tante parole. a6. G Seconda parte. G Leandro Mira Come il lauro non perde. a6. 15833 G Poi che il mio largo pianto. a6. Monte 0 XXV, 81 Filippo de Mo nt e• G Girolamo Conversi G Io vo gridando. a5. Conversi 2 (1572), 3 Hippolito Sabino Facciasi lieti. a7. (prima parte) G Sabino 5 (1582), 10 Seconda parte. Giov. Pietro Manenti H Vientene filli. a6. Manenti 1 (157b), 8 Vieni flora gentil. a6. Gabrieli 4- (1580), 1*+ Andrea Gabrielli H Nova belta soma virtu compresi. a6. Stefano Felis H Felis 1 (1579), 17 Andrea Gabrieli Dolcissimo ben mio. a6. Gabrieli b (1580), 8 H Giannetta Palaestina H 0 bella Ninfa mia. a5. Antonio Pacie H Mi parto vita mia. a6. Pacie 2 (1575), 8 Luca Marentio H Posso cor mio partire? a6. 1593 Hippolito Sabino H Tirsi in ira. a6. Sabino 1 (1579), 12 Allesandro Strigio I Partiro dunque. a6. Striggio 12 (1579), 7 Dialogo Giovanni di Macquel Tre gratiosi amanti. a6. Macque 4- (1582), b Stefano Felis I A1 vostro docie. a6. Felis 1 (1579), 10 Giov. Maria Nanino- I Amor deh dimi come. a5* G. M. Nanino.5 (1587), 8 Giov. di Macque I Bascianti vita mia. a6. Macque *+ (1582), 6

6. a. 1. a. 2. a. 2. a . 2. a. 3-b. *+.b. 5.a.

6.a.

6.b. 1. a . 1. a. 1.b. 2.b. 3.b. *+.a. 5.a. 5*b. 6 . a. l.a. 1.b. 2.b. 3*a. 3.b. *+.b. 5. a. 5*a. 1.a. 2.a. 2.b. 3-b. 3-b.

-r


66. 67. 68. 69. 70. 71. 72. 73. 74. 75. 76. 77.

78 . 79. 80. 81 . *82. 83. 84. 85. 86. 87 . 88. *89 . 90. 91. 92. 93. 94. 95.

Sonno scendesti in terra. a5» Felis 4 (1585)? 6 Di 'un si bel fuocho. a5- 1576 Io cantero. a5. Conversi 2 (1572), 21 Chi ami la vita mia. a5- 1583 Leggiadra giovinetta. a5* Ferretti 7 (1568), 8 E vivere e morire me fae quanti. a6. Vecchi 12 (1587), 12 Io voglio servirti dolcie mia vita. a6. Vecchi 12 (1587), 8 Io son restato quo sconsolato. Vecchi 12 (1587), 7 Che fai Dori che pensi. ab. 1597 Deh prego amor. a4. 1597 L'aqua cava la pietra. Sabino 5 (1582), 17 Saltavani Ninfe e saturi e pastori. a6. Vecchi 12 (1587), 2 0 Sole, 0 stelle, 0 luna, 0 cielo, 0 terra, 0 mare, 0 mia fortune. a6. Vecchi 12 (1587), 17 Nasce la pena mia. a6. Striggio 3 (1566), 4 Mamraa mia cara. a5* Riccio 2 (1577), 6 A monti. Vecchi 12 (1587), 10 Dolci sospiri Del crudo amor. Regnart 2 (1574), 4 0 tu che mi dai pene. Hassler W II, 31 Chi gllochi vostri. Hassler W II, 43 Or va canzona mia. Hassler W II, 50 Chiara e lucente stellae. Hassler W II, 53 Vivan sempre: Pastori. Hassler W II, 60 Sin fede del mio Amor. Strino la bella mano. a5* B. Mosto (1588), 8 Notte felice aventurosa. B. Mosto (1588), 4 0 chi creder deggio io? a5« Hassler (1596), 5 Dicea damet' a Clcride. a6. Vecchi 12 (1587), b Itene a lombra. a5* PSM IV, 1, 64 Io sequo sempre. a5* C. Ferrabosco (1590), 15

Stefano Tfelis Giache de Vuert Girolamo Conversi Lelio Bertrani Giovanni Gerretti Oratio Vechio

I I I K K K

Oratio Vechio

K 3*a.

Oratio Vechio Oratio VechioOratio Vechio Hippolito Sabino Oratio Vechio

K K K K K

Oratio Vechio

K 5* a.

Allesandro Strigio Teodoro Riccij Oratio Vechio

K K K L L L L L L L L L L L L L L

Iacobino Regniardo Giov. Leo Hasler Hassler Hassler Hassler Hassler Bernardo Mosto Bernardo Mosto Hassler V. A. Oratio Vecchio Luca Mar entio_ /_ Constantino/ Ferra boscho

4.a. 4.b. 6.b. l.b. 2.a. 2.b.

3*a. 3-b. 4.a. 4. a. 4.b.

5.a. 6.b. 6.b. l.a. l.a. 2. a. 2.a. 2.b. 2.b. 2.b. 3.a. 4. a. 4. a. 4.b. 5-b. 6.a. 6 .b. -r -r


Flores Musicae Book II Alles. Romano 1. Madonna piu che mai. Romano 3 (1572), 20 Filippo di Monte 2 . Leggiadre Ninfe. a6. Monte 0 XXV, 27 Seconda partita. Oratio Vechio 3- Gitene Canzonette al mio Signore. Veechi 12 (1587), 1 Oratio Vechio h. De laccia figll i fiorl. Vecchi 12 (1587), 3 Giov. Leo Hassler 5. Chi mi consola ahi me. Hassler W II, 20 Gaspar Costa b Delle vostre sciochezze. Costa (158^-), 2 6. Vincentio Nerito Un ghiaccio. Neriti 1 (1593), 2 7. Giovan. Leo Hassler .8 . Lieti fiori e felicii. Hassler W III, 1 9. Seconda partita. 0 soave contrada. 11 Ferraboscho cantare. a*+. C. Ferrabosco(1590), 10 . Mai non vo piu Teodoro Riccio Riccio 2 (1573), ** 11 . Fa pour lamor. Ferraboscho servire. C. Ferrabosco (1590), 13 12 . Piu non voglio Bernardo Mosto 13. Crudel per che mi fuggi. B. Mosto (1588), 3 lb. Al fiameggiar de bei vostri ochi. B. Mosto (1588), 11 Bernardo Mosto Grigolo Aichniger 15. Amorosetti ugelli. a5* 1597^ 16. Seconda parte. Vaga girlanda. Iacomo Regnardo 17. Tutto il glorno. Regnart 2 (157^), 3 Hasslero 18. Ridon di Maggio. Hassler W II, 5 Teodoro Riccio 19. Chi vuol veder. a5« Riccio 2(1577), 7 Teodoro Riccio 20 . Privo son. Riccio 2 (1577), 8 Teodoro Riccio 21 . Deh lasciati basciar. Riccio 2 (1577), 1 Bernardo Mosto 3 22 . Felicie e lo mil core. B. Mosto(1588), Giovanni Francesco Violanti 23. 0 saette da amor. a5- 1583 Andrea Gabrielli (1580), 3 2b. Come vuoi tu ch 'io viva. Gabrieli Andrea Gabrielli Sonno diletto. a6. Gabrieli (1580), 1 25. Giac. Gastaldi Gastoldi 8 (1581), 10 26 . Miracolo in natura. Orlando di Lasso 27. Dou venez vous Madame. Lasso W XIV, 69 Teodoro Riccio 28 . Dardi da amor. a5* Riccio 2 (1577), 10

AA

l.a. l.a.

AA

C M

AA

AA AA AA AA AA AA AA AA AA BB BB BB BB BB BB BB BB BB BB BB BB

CC CC CC CC

&

•

3*a* 3*b. b. a. *+.a. *+.b. 5. a. 5-b. 6. a. 6.b. l.a. l.a. l.b. 2.b. 3-b. *+.a . b. a . *t.b. 5* a. 5-b. 6.a. 6.b. l.a. 2.a. 2.b. 3*a.

-r

VJT.


Blanchl giglij. (prima parte) Marenzio 70 (1610), 8 Luca Marenzo Seconda parte. Tertia parte. Da bei vostri ochi. B. Mosto (1588), 5 Bernardo Mosto 30. Cipriano Rore Ancor che col partir. Rore 37 (l55l)> 11 31. Giovani Pisoni 32. Duoi belli ochi lucenti. Pizzoni 6 (1582), 11 Un nuovo Cacciator. a5* Gastoldi 8 (1581), 3 Giovanni Giacomo Gastaldi 3? ‘ Amor poi che no vuole. P&M IV, 1, 53 Luca Marentio 3b. Seconda parte. Filippo de Monte 35. Amorosi pensieri. Monte 0 XXV, 101 *36. Io pur son giovinetta. *37. Puis ne me peut. a5» *38. Hor sede amor. Se par son. Orlando di Lasso ?9 * Era il bel. *bo. *bi. Ie l'ayme bien. Annibal Stabile b2. Di amor le riche geme. Stefano Felis Dali' archa dia seconda. Felis 3 (1583)» 1 *+3« Andrea Gabrielli bb. Cinto me haveua. a6. Gabrieli b (1580), 2 Giovanni Ferreti b$, Pascomi sol di pianto. Ferreti 2 (1576), 6 *b6. Alix avoit. *1+7. Le bergiere. *>+8. Pour un plaisir. Filippo di Monte ^9. Veramente in amor. Monte 0 XXV, 66 *50. Ach woher kombt meim Herzen jetzundt so seltsam Schmerzen. a5. *51. Ursach hab ich zu klagen. *52. In klein und grossen Sachen. a5. *53. Eilendt hat sich verkehrt. a5* *5*+. Mancher nach Reichthumb freyet. a5* *55. Jungfrawlein igh seyd gezieret. *56. Welcher Jungfrawen lieb wil erlangen. a5» /Hausmann/ 57. Sag gib mir rath zart schttns Jungflewlein. *58. Ich hatte mir vorgenommen. a5. *59. FrOlich wil ich singen mit lust zu diser zeit. a5* /Hausmann/ 60 . Dein trawren macht das ich kaum sing. *61. Ach wie herzlich und schwer. 29.

i

CC CC CC CC CC CC DD DD

3 .b. *t-.a. M-.b. 5. a. 5.b. 6.b. l.a. l.b.

DD DD DD DD DD DD DD DD DD EE EE EE EE EE EE EE EE EE EE EE EE EE EE EE EE EE FF

2 •a. 2.b. 3* a. b .a. V.b. 5. a. 5.b. 6. a. 6.b. l.a. l.a. l.b. 2.b. 3.a. 3.b. 3-b. ^+.a. *+.a. *+.b. .b. 5. a . 5.b. 5.b. 6. a. 6.b. 6.b. l.a. C-TF\"

R e p r o d u c e d w i t h p e r m i s s i o n o f t h e c o p y r i g h t o w n e r . F u r t h e r r e p r o d u c t i o n

*62. *63 . *6h-. 65. 66. 67* *68. 69. *70. 71. 72. 73.

An dich stStiglich dencket mein Herz. Wiewol sich viel zum widerspiel Ach schiinste Zier/ wie hastu mir. Wiltu zu dir mein gunst so gar nichthun betrachten. ¥ 0 bleibt dein Herz/ das du so freundlich / &c. Mit grosser begier zu dir. Schbns Lieb~ mich frenckt der massen. 0 auffenthalt meines Lebens. /a^K/ .Hassler W II, 79 Wie kanstu so listig schon gegen mer. Ach hertziges Herz mit Schmertz. _ _ Wil uns das MSgdlein nimmer haben. /a 5.'/ PSP XIX, 98 Mir habe ich gentzlich mit begier. Z.aVi/ Lechner W IX, 25 7*+. Gott behute dich. a^-. Lechner W IX, 18 *75- Ach woher kombt. a5* _ _ 76 . Das du von meinet wegen. /a5a/ PSP XIX, 91

/Regnart-Lechner/ /Hausmann/ /Hausmann/

/Lechner/ _ /Regnart-Lechner/ /Lechner/ Leonhardt Lechners Leonhardt Lechners /Regnart-Lechner/

FF FF FF FF FF FF FF FF FF FF FF FF

l.b. l.b. 2. a. 2.b. 2.b. 3-a. 3-a. 3-b. 3-b. 3-b. *+.a. 1+. a.

FF ^.b. FF 5-a. FF 5- a.

p r o h i b i t e d w i t h o u t p e r m i s s i o n .

-r -o

1+8

the 70's and 80's, although a few, such as Lassus's Et dou venez vous (156^), the often-intabulated Ancor che col nartire of Rore (1551)> and some of the works of Striggio and Ferretti (the 1560's) are earlier. Ferretti (born about l5*+0, active in Italy, died after 1609) is the composer represented by the greatest number of pie cess-there-a are thirteen by him.

His canzonas have been

held by Einstein to be 'second only to the balletti of Gastol12 di in their influence in Europe. Hassler and Vecchi each have ten pieces— mostly canzonettas.

The madrigals of Maren-

zio (nine pieces), Andrea Gabrieli, de Monte, and Mosto (each with six pieces) are the next most numerous groups.

Other

composers who are given prominence are Riccio (six canzonas), Felis- {five madrigals), Conversi (five canzonas), and Macque (five pieces, type undetermined).

Others have fewer pieces,

many only one (as, for example, does Costa, who received so much attention from Denss). At the bottom of folio vir there appears the following laudatory poem: EPIGRAMMA AD ORNATISSIM VIRUM . . . It is of some interest because of the famous lutenists it mentions: ■Âlfred Einstein, The Italian Madrigal (Princeton, 19*+9)« II, 593.



^9 Anglia Dulandi lacrymis moveatur: Hoberti Julia se jactet terra superba chely. Geldria Rhedani, Diomedis Sarmata tollat Vel Laurentzini carmine Roma caput. Aurea Parisios oblectet Musa Camilli: Drusinosque vehat Misnis ad astra suos. We have already mentioned previously Hobert (Howett?) and Diomedes.

Laurencinus was a lutenist active at various

courts in Italy in the latter part of the century.

He is

represented by a considerable body of works in the Besard Thesaurus.

Drusina is probably Benedict Drusina, whose lute

books of 1556 and 1573 were published at Frankfurt on the Oder.

Rhedanus and Camillus are unidentified.

1 Ll

Julia may be

JUlich, a Rhine community, and Geldria may be Gelduba, now Gelb, a castle on the Rhine, or Gelderland.

The author of

the poem is M. Christoph Hunichius. Folio viV is devoted to another laudatory poem by M. Io. Richter which needs no comment.

The tablature begins on the

next folio, in which the folios are numbered by the system previously explained. 13

Let Let Let And Let And

It is devoted entirely to intabulations.

England be moved by the tears of Duland, the proud land of Julia boast of the lyre of Hobert Geldria in Rhedanus, Sarmatia in Diomedes, the capital of Rome exult in the song of Laurencinus the golden muse of Camillus delight the Parisians Meisseners carry Drusina to the stars.

are not the first to wonder about them. Ernst Gottlieb Baron, in his Historisch-theoretlsch und practische tintsrsuchune des Instruments der Lauten (Nuremberg, 1727), p. 55, as well as J. P. N. Land, in ''Rhedanus, een Luitenist uit Rheden," Ti.1dsch.rlft der Vereeniging voor Noord-Nederlands Muziekgeschledenls I (1885), 202, raised the question but came to no solution.


The second of Rude's hooks (Florum Musicae Joanne Rudenio Licsiense Collectorum Liber Secundus . . ., the Second Book of the Flowers of Music Collected by Johannes Rude of Leipzig) has only two folios of prefatory material before the 58 folios of the tablature begin.

Neither the title

page, which uses the same cut of the ark as Book I, nor the long statement of dedication of folio ii offer anything of interest which we have not mentioned.

The verso of this fo

lio contains an Autor Philomuso and a Tvcographus Philomuso. From the former, we have already culled the significant in formation for Chapter II, and the latter simply tells the reader to refer to the table of contents in Book I. The tablature itself now begins, with a numbering scheme like Book I.

The book contains both intabulations and the

complement of other types of pieces we have listed. The following chart summarizes the pieces in the three books which are not vocal intabulations: Denss

Reymann

Rude II

Iintradas

0

0

7

Preludes

0

23

0

/'•.F-antasias

11

16

1

Passemezzo suites

8

12

0

Pavans

0

5

20

Padoanas, Paduanas

0

0

10

Galliards

10

10

21


51 Denss

Reymann

Rude

22

8

1

Courantes

5

0

0

Voltas

2

0

0

0

0

1

0

0

_1

_0

_0

7*+

60

Allemandes, Choreae

Branles Ronde Pauern Tantz

The collection of Denss is perhaps more cosmopolitan, with its inclusion of the French forms yet to reach their zenith of popularity.

His omission of preludes and pavan-

types is in accord with the practice of certain other com posers,

, Adriaensen, Novum nr aturn musicum . . . (1592).

The preludes of Reymann are remarkable because of their num ber— perhaps the largest number since those of Gerle (1552). A large number (38) appeared in the Thesaurus of Besard (1603). Both Reymann and Denss are important for their fantasias— rather more of them appear here than in other lute books. The presence of so many pavans and galliards in the Reymann and Rude collections is a parallel to (and, as we will see, a reflection of) the interest given to these forms by the Eng lish virginalists.

In the case of the pavan, this interest

is somewhat of a revival of a dance which had flourished in the first half of the century. Rude's intradas mark a. rare appearance of this type of

Rep roduc ed with permission of the copyright owner. Further reproduction prohibited without perm ission.

piece in printed lute books of the time, although there are a good many in the lute-book of Albert Dlugorai.

The con

tents of his collections, generally, are designed to dovetail with that of Reymann, since the two appeared together in 1600. (Reymann's Noctes was the third book of Flores Musicae). The repertoire of Rude II presents a curiosity in that for some reason three pieces are- repeated (No. 80 = No. 88; No. 83 = No. 100; and No. 86 = No. 12^).

Seven pieces are

labelled Anglica. Angliae, or Angli (Nos. 78 , 87 , 89, 91, 92, 96, and 131).

All are pavan-types except No. 131, a galliard.

One of Dowland's pieces (No. 110) is simply labelled I. D. Another piece, No. 8*+ (also a pavan), has been traced in English sources (see the Concordance).

Rude has not given

credit to Holborne for Nos. 80 and 88 (Holborne's Decrevi) nor to John Johnson for his pavan (No. 85).

The terms pavin,

navana. paduana. and padoana are all used interchangeably in the titling of the duplicated pieces and some of the other borrowed items. Over one-third (2>+ pieces) of Rude's purely instrumental pieces are intabulations of the works of other composers.

The

Concordance at the end of this chapter lists English sources for the 12 pieces mentioned above as well as for one of the six pieces Denss included which were not his own. Several examples of each type of piece by each of the three authors were selected for inclusion in the Appendix, as well as a few of the borrowed pieces.


53

CONCORDANCE English Sources None of the English sources were available.

The con

cordances were taken from David Lumsden's Sources of English Lute Music. unpublished doctoral dissertation, Selwyn College, Cambridge University, 1955*

His number is indicated by (L).

The selections Rude repeated are also shown here. Florilegium 93*

Fantasia alia eiusdem /Gregory Howett/ (No. 6), f. 68. Dowland, Robert, A Varietie of Lute Lessons. l)+-l1+v (London, 1610). Edited by Edgar Hunt (London, 1956), 11 . Noctes Musicae

No concordances in sources referred to by Lumsden. Flores Musicae II 80.

Pavana FF 6.b. L 56*+ (A. Holborne's Decrevi). Holborne, Pavans, Galliards . . . (1599), No. 35 (con sort version, in A). Camb. Dd. 2.11, *+9 . Glasgow MS R.d. M-3 (Euing lute-book), 38 . Fitzwilliam Museum, Cambridge (Lord Herbert’s lutebook), 7V . Rude II, 88, below (Padoana). (Solo versions in G).

83. Padoana GG l.b.

Rude II, 100, below (Pavana T. K.). dences more ornamented.

8^.

No. 83 has ca

Pavana GG 2.a, _ L 5^6 /Pavane/ Cambridge University Library Dd. 2.11, 83. Glasgow University Library MS R.d. *+3 (Euing lutebook), 39v .


5^

85.

Paduana GG 2.b. L 507* A pavin. Mr. Johnson. Egerton 20*+6 (Jane Pickeringe lute-book), 23.

86.

Paduana GG. 3.a. /Holborne's Decrevi/ Identical to 80, above.

91.

Dulandi Angli GG 5*b. (Pavanna Lacrimae) L 511. British Museum Add. 31391, 35-36, and many others too numerous to list here. See Lumsden's An Anthol ogy of English Lute Music (London, 1953), 62, for a listing of them.

92.

Pavana Anglica GG 6.a. (Pavanna Phillipi)* L 18. Cambridge Dd. 2.11, 98-99. Dublin, Trinity College Library MS D.3.30. (Dallis lute-book, 1583), 251 +-5. Welde lute-book, 2-3. Wickhambrook lute MS, 12. For consort: Cambridge Dd.5«20; Dd.5.21, 2 .

100.

Pavana T.. K. HH 3 *a • Rude II, 83.

110.

Paduana I. D. II l.a. ___ lP+76. Mrs. Brigide Fleetwoods Paven. Jo/hn/ Dowland. Cambridge University Library Dd.9.33, 331-3l+.

12k.

Padoana II 5«a* Rude II, 86 (above).

131.

Galliarda Anglica KK 2.a. L 9*+3• Galliarda Anglaise. Sloane 1021, M-M-. Van den Hove, Florida (1601).

♦This list of concordances is taken from Daphne Stephens's The Wickhambrook Lute Manuscript (New Haven, 1963)•



55

B.

The Notation and the Present Edition

The system of tablature employed in all three books is the later French type, using six lines.

The letters "a"

through ,rn" (omitting "j”) designate the frets.

The books

are a part of the continuing effort of the time to expand the range of the lute in the direction of the bass courses, since they all require lutes of more than six courses. The Denss book requires a seventh course,- indicated by "e" beneath the staff.

It is veiyrarely fretted, and always

remains tuned to F. Reymann’s book uses a seventh and an eighth bass course, tuned to D and C., respectively.

His Lectoris explains:

Nec dabis temeritati aut arrongantiae, quod duos superiores crassos choros, septimum dico, & octavum, diverso modo quam alias consuevi, intend! iubeam. Hunc enim, quod apprime notabis, si choro quinto soluta, facto numerandi initio ab infima & altiore chorda per diapason remissius^ ilium vero choro eidem, sed tact! prius C litera, per diapason itidem remissius, concinnum reddideris: depraehendes, illud turn maximam utilitatem, turn gravitatem & ornatum prae se ferre; Et quidem in fugis condinendis, que hoc fundamento posito, plures aliquot quam alias, iterandi sese, non denegabunt vices, nec minus in transpositione clavis genuinae in remissiorem seu.-iadulterinam hoc ita sese habere resîpsa loquetur ibi enim nulla omissio Baseos. quam alias tibi imponit necessitas, metuenda veniet.^-5 15you will not attribute to rash haste or to arrogance the fact that I wish the two upper heavy courses— I speak of the seventh and the eighth— to be tuned differently from the_way I am accustomed to tune them otherwise. As to the _one /.course/ you will note_first, if__you have produced harmony /the correct tuning/, it /the course/ is lower by an octave than the open

Re pro duc ed with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

56 Reymann goes on to clearly state that the letters below the staff indicate the seventh course, and that the letters below the staff with lines through them indicate the eighth course.

He also mentions that Howett has proved the worth of

the system.

Reymann makes considerable use of the frets on

these lower strings. Rude also requires an eight-course lute.

He has two

different sets of tunings for the lower two courses, however. They may be tuned either to D and C. (like Reymann) or to F and D.

In the first instance the seventh course is indicated

by "a" and the eighth by "a."

It is used very little.

In

the second instance, both of the possible pitches are indi cated by "a," even within the confines of one piece.

One

must rely on the context of the music to select the correct pitch. ty.-^

Other tablatures of the time Jiave the same difficul The frets on the lower strings are not used much.

The pitches indicated in the tablature have been carried

fifth_course.*. beginning the counting from the higher and low est /pitched/string; as to the other, it is_lower, likewise by an octave, in relation to the same course /the fifth/.*, if the letter C is touched first /.making the pitches d and D/; you discover that this lends both the greatest usefulness and also dignity with embellishment. And even in playing fueas. which if this principle is established, yrill have several more op portunities for the imitation of it than otherwise, and no less in transposing from the natural key to a lower or foreign one, the advantage of having it thus will speak for itself, for certainly no omission of the bass which necessity imposes on you elsewhere, will come to be feared. l%ans Radke, "BeitrSge zur Erforschung der Lautentabulaturen,” Die Musik Forschune XVI (1963)? 37•

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over into our transcription using the G tuning clearly re quired in the Reymann book. Brackets indicate editorial corrections, or decisions made involving the difficulty in discriminating between the "e" and the "c" of the tablature, as well as Denss's symbol "B" ("b") and " ^ " ("h"), in which the context could not pro vide a definite solution. The original tablature is given with the first complete piece from each book in the Appendix. The rhythmic signs in the book are the usual ones: semibrevis = semifusa =

| |

.

; minima =

f

; semiminima

F

Rude adds one smaller value.

; fusa = £ His "Print

er's Suggestion" in his first book tells us: Signum hoc I post 1 plerunque positum eandem temporis quantitatem notat, ac si lineola quinq; virgularem apposita sit.' It is something of a chimera, since it bursts tup iienlys in a couple of intabulations. We have the usual practice of "reducing the values by one-half," that is, letting

I= J ;

\ =

J , etc.

We have attempted to show at all times individual voice leading, so clearly implied in the pieces.

There is some

appearance of added voices which are not part of the voice lines.

Some voice lines in lower voices suddenly disappear

17lhis sign, I , placed generally after I , denotes the same temporal value as if a fifth, line were placed beside the stem.


58 in our transcriptions, since we have ignored the double string courses which might carry them on. The vocal parts in the Denss book are in ordinary whitenote mensural notation.

The parts are marked Canto. Tenore.

or Basso, but that is no indication of the clef used.

They

include (to use Reese's terminology) V, S., M, A, T., Bar, and B.-*-®

Certain combinations may have, meant transposition, since

many of the lute parts are at different levels than the voice parts, in the manner of the chiavette.-^

About one-third of

the intabulations are a whole step below the voice parts, and another one-third is divided equally between being either a fourth or a fifth below.

However, there is not complete con

sistency in the "indication" of transposition by clef combi nations.

The greater part of the pieces using SB or STB

clefs are not transposed in the intabulations, but to illus trate the inconsistency, Mosto's Laudate Dominum uses SB clefs, yet the lute part is a fourth below the vocal parts. Any combination involving V is likely to have the lute part a fourth or a fifth below the voice, e..&., da Nola's Fugglt1 amore and Gastoldi's Non (see Appendix) respectively.

p u p

sentir use VSA and VVT

SSBar is also in this category.

ST is likely to mean a whole step transposition—

but Donato's

18

Gustave Reese, Music in the Renaissance (2nd ed.; New York, 1959),, P. 2k9. •Ârthur Mendel, "Pitch in the Sixteenth and Early Seven teenth Centuries," Music Quarterly XXXIV (19^8), p. 336.

Re pro duc ed with perm ission of the copyright owner . Further reproduction prohibited without permission .

La virginella (VBar) is also transposed by this interval, as is Costa's Gl' occhi (SB), illustrating that there are no rigid rules.

Judging from the levels at which the modern

critical editions of the vocal pieces Rude intabulated have appeared, he is following a similar practice. Time signatures are given to all of the pieces in the Denss book. used.

In the purely instrumental ones, ^

and 3 are

They have a general meaning of duple and triple, and

with the quite careful barring given by Denss, the former 2 b 3 3 falls into measures of Lj! or and the latter into g or In the vocal notation, the following are used:

C.3,

and ^

C , ^

,

3 . Likely no strict relationship is implied be

tween the integer valor of those without the vertical line and those with it, but the latter have a preponderance of the longer note values.

Values under both of the duple sig

natures are carried over into the lute tablature on a 1:1 basis; that is, a minima in the vocal pieces is.represented by a minima in the lute notation, but the triple ones are re duced 2:1 in the tablature. In the vocal parts, the following is used to indicate a triplet:

m

. A larger

3

inserted in the middle of. the

stave in duple pieces indicates changing to triple meter, on a 2:3 basis ( | = [•). Rests or ties are indicated in the tablature by placing the desired value above the staff.

No fret indications, of

course, appear under these signs.

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60 Repeats in the vocal parts are indicated by c) and as well as

For repeat signs in the intabulations or

other pieces in tablature, either

• or the sign ^

is used,

the latter being in the interior of the piece (at the point to which one is to return) as well as the end. indications are given to the right of the the performer find his place in the piece.

A few fret

final sign, to help These have not

been transcribed. Reymann's pieces all have time signatures, either i

(L 3

•

1+

or 3

Using his barring as measure-lines, mostly ^ and [j.

measures result (a very few are ^).

The sign (£3 is used to

inject triple meter into duple pieces, again on the 2s3 basis ( J =|* ).

The figure

3

is also used for this purpose (see

Bavan No. 3, Appendix), but with a slightly different mean ing (

) and now the barring marks off measures of three ■5 semiminimas. which in our reduction appear as g measures

His repeats are all marked by

No rests are indicated.

Time signatures are quite rare in the Rude books; a few intabulations have(^3.

The same sign is also used for chang

ing to triple, as in the other books. The following break in the tablature into which a men sural symbol is inserted we have transcribed as a rest only when a change of fingering follows its appearance:


61 Repeats are like Reymann's. is used in the intabulations:

A sign similar to Denss’s or

36

•

Bar lines in Rude may give no metrical indication at all, but evidently serve the purpose of a reading guide, as in earlier tablatures.

As a result, a dotted symbol may oc

cur at the end of a measure, indicating that it is to be tied over into the next measure. have been supplied.

In cases like these, bar-lines

The second line of double bar-lines at

repeats has also been supplied.

Both of these additions have

been shown by broken (dotted) lines. Beyond such metrical irregularities, errors involving fret indications and rhythmic signs are very frequent.

In

many cases what must have been intended can be determined on ly through comparing areas in which there is repeated material. Where corrections grow to such a dimension that they are al most like re-writing the piece, the original has been fol lowed and commented upon in the notes.

Our correction of I— i small rhythmic inaccuracies is done with dotted lines: #i . The first complete piece found in the Appendix from

each of the three books is given with a copy of the original tablature to illustrate the attempt we have made at providing a literal transcription.

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CHAPTER IV THE MUSICAL STYLE A.

The Intradas

The seven intradas in Rude II fall into two of the four types of the independent entry or processional species of intrada suggested by Margarete Reimann'1 '— either Type I, a duple procession-type, or Type III, a triple dance-type.

They ex

hibit other style points which she also mentions— two or three repeated sections; chordal texture; and dotted rhythms. There is hardly any scalar passage work, but there is much ca dence ornamentation. All but two of the intradas (Nos. ll^f and 119) are in duple meter and feature the rhythms suggested by Reimann as being peculiar to her Type Is

d

In our trans

criptions these appear as Also characteristic of four of the five duple intradas is the frequent use of a rest-anacrucis pattern, sometimes re curring in several successive measures (see Ex. 1). The two intradas in triple meter reflect the galliard, since

d Jor J»J'Jare

prominent.

The main feature of all of the seven brief pieces is a ■^Margarete Reimann, "Material zur ein Definition von Entrata, Die Musik Forschung X (1957)? 356. 62

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Ex. 1 Johann Rude?, Intrata. Rude II, No. 116, mm. 8-9

D

b.

T

. vF ut p 1

I

typical Gabrieli-llke alternation of harmonies formed from triads with their roots a fifth apart, with little melodic interest. The first two pieces closely approach modern functional major harmony (F major and G major).

The rest have more mo

dal traces in their cadence points and chord choices. One of the triple pieces (No. 119) has cadences on a, and d after beginning on b-flat, suggesting some modulatory func tion ;for the piece.

There are instances of several consecu

tive parallel fifths (see mm. 2-3 or 6-7 of No. 122 in the Appendix) and some awkward cadences (see the VI-V cadence in m. 10 of the same piece). be without thirds.

Either interior or final chords may

If the pieces are Ruders, he reveals a

particularly unsure hand in the rather banal repetition of tonic and dominant in the first section of No. 115 (see the Thematic Index) or in No. 117 (see Appendix) by his aimless wandering toward the final cadence. From their pompous and deliberate nature, it is not dif ficult to associate these intradas with processions of enter ing nobility in connection with dance or drama, as have many


61+

writers.

2

The pieces contribute hardly anything that would

belie their purely functional raison d'etre.'

% o r example, Margarete Reimann, "Intrada," MGG VI (1957)? cols. 1370-1375.


65

B.

The Preludes

Reymann's twenty-three preludes appear in the print in the following order: Key .G G F F D D C C E E B

Number of preludes

sol re ut, melos molle sol re ut, melos durum fa ut melos molle, tono ficto fa ut melos durum la sol re, melos molle la sol re, fictitoni, melos durum sol fa ut,melosmolle, tono ficto sol fa ut,melos durum la mi, melos durum _ _ la mi, tono ficto, melos molle /.sic/ fa, b mi, tono ficto, melos molle

3 3 3 2 3 1 2 2 2 1 1

The use of the term melos (melody) with those of durum and molle is, of course, an indication of a step in the pro gress of the latter two in acquiring the meanings of major and minor, although in these pieces the harmony cannot be fully described in this way. The term tono ficto cannot refer directly to the musica ficta alterations of some "signature11 which might be assigned the pieces, but must instead refer to the transposition of molle or durum (minor or major third above the key) to a tone of the hexachord upon which, in modal theory, such a pattern was not possible (the a.-flat above an f final, or the f-sharp above a d, for instance). The description which appears with Prelude No. 22 (ad


66

notam E la ml, tono ficto. melos molle) is evidently in er ror, since it is a durum piece (on .e-flat, using ^.-natural consistently), and the passamezzo with exactly the same des cription appearing later on is in molle (on .e-flat, hut using g.-flat consistently).

Preludes Nos. 20 and 21 are on

e., not .e-flat, a distinction which the E la mi designation cannot make.

Prelude 22 is given complete (Appendix, p. 50).

The grouping according to keys and the presentation of a wide selection of the available keys and modes is, of course, a reflection of the long-standing custom of providing a prelude to match the key of whatever song or piece might follow.

The selection of ricercars presented by Bossinensis

(1509) may be mentioned as a typical example of the practice, which was still followed by Bach in the Well-Tempered Clavier. About half of Reymann's preludes are, in typical fashion for the time, essentially short fantasias.3

The subjects for

imitation, however, are often quite short and may.be dropped quite soon.

A few (see Nos. 17 and 22 in the Appendix) treat

the same subject throughout their length, but most (see No. 1 in the Appendix) turn to a succession of ideas. The rest of the preludes have very little to do with imi tation but are either scalar display pieces (Nos. 2 and 9) or demonstrate a variety of the devices of the lutemst, all of Neither Adriaensen, in his Pratum Musicum of 1592, nor Praetorius, in Syntagma Musica (1619). made a complete dis tinction between the terms.

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1_L

which attest to the virtuoso capabilities of the composer. . Areas of simple chordal structure, a feature of some of the preludes of Francisque (1600), are generally rare. The sectional structure of the preludes is punctuated with a quickly.-stereotyped *+-3 suspension cadence formula. Wustmann has called this formal organization "mosaic-like" and likened it to Baroque "decorative craftsmanship" rather than to art-music. Only three of the pieces approach complete tonality, even though cadences in the interior are on I, V, or (less of ten) IV.

Their harmony is characterized by sequences of sev

eral measures closed by stereotyped authentic cadences. Nos. 20 and 21, both on e., are strongly Phrygian— nearly all the cadences are on IV.

There are some rare instances of de

gree inflection in a chordal texture (see Ex. 2).

He fre

quently exchanges accidentals in rapid scale passages. To the listener, the pieces are of varying interest. The lively imitative areas featuring widely broken style (of Ll Richard M. Murphy, in his "Fantasia and Ricercar in the Six teenth Century" (unpublished Doctoral Dissertation, Yale Uni versity, 195*+), has traced the improvisational background of these devices, which include parallel thirds and tenths (Reymann favors the latter,', and parallel sixths), pseudo-counter point (rapid alternation of voices, or broken style), mordentornamentation of cadences, dialogue, scalar ornamentation, and sequence. Contrary to the usual tendency, however, Reymann invests his preludes with more of this material than his fan tasias.

^R. Wustmann, Musikgeschichte Leipzigs (Berlin, 1909)» Ii 222



68

which there are at least traces in about half the pieces) and sequences which characterize the first prelude are stronglycontrasted with the rather dull extended areas of pseudocontrapuntal chasing up and down through the range of the lute, found in Prelude No. 3. The four measures of dotted rhythms in No. 13 are unique to the pieces.

The preludes are in the usual duple meter and

are of quite typical length (from nine to twenty-seven meas ures).

Each closes with the Reymann trademark, a long scalar

flourish.

Their chief distinction lies in their rather inore .

interesting harmonic style (compared with those of Besard or Francisque) and ijrrthe application of such a wide variety of lutenist's devices. Ex. 2. Matthias Reymann, Prelude 23, on B fa., b. mi, tono ficto. melos molle. f. B61', mm. 2b25.

flJ bhi>

0

" T 1^

J i.

~

=

•

^

b|M

T

f c z r

±

=

b = izrz

—

!I L p 1

—

1

r

i

________

-

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69

C.

The Fantasias Denss

Two of the eleven fantasias Denss has included (the seventh and the eighth) are those attributed (in the print) to Gregory Howett and will be discussed separately.

The

numbers in the titles of Fantasias 9 and 10 have been inter changed in the print.

Our discussion refers to them as they

are labelled, rather than by the order of their appearance. The image of the motet is still quite persistent in Denss's nine pieces.

£

Imitative beginnings (and a continuing

concern with imitation) are found in all of them. (Fantasias

In some

and 6), the first subject appears rather quick

ly in four voices, but the rest are content with getting it into two or three.

Other subjects (from three to as many as

fourteen) are introduced, imitated, and dropped, although they may be very short and rather incidental. % . Murphy, op., cit., p. 133> has noted that the fantasias of Bakfark, occurring about the middle of the century (his books appear in 1552 and 1565) achieve a.I'pihhacleoofâttention to the motet type of treatment. He says, "Structurally, they are the most rigid reproductions of this style provided by any lutenist in the century . . . " To achieve this end, Bakfark largely turned from the set of devices (already noted in our discussion of the preludes of Reymann) which had character ized the earlier ricercar-prelude-fantasia repertoire, and to which it was to return, in varying degrees, during the re mainder of the century.


70 Denss's opening themes rely almost entirely on the wellknown chanson-canzona rhythm ( o’ in the fantasia.

J ), also quit e common

Quicker motion in the first voice accom

panies the new entry.

In the opening of the ninth and elev

enth fantasias, the rhythmic pattern is speeded up into two progressively faster versions: Fantasia 9 Fantasia 11 In general, the contour of the opening themes contains little that would be out of place in the motets of Hassler or Lassus.

The first interval is often an ascending leap, which

is evidently a personal trait,: since most of the pieces of the type had a repeated tone or scale step at their beginnings. Several of the themes (see Fantasias *+•, 5? 6, and 10 in the thematic index) have a range of as much as a sixth or a sev enth, so that due to the limitation of the lute in the repre sentation of polyphony, voices not actually quoting the theme drop out, leaving a texture of only two voices in many cases. In contrast to some of the fantasias by such contempora ries as Kargel, Waissel, or Adriaensen, Denss shows a good bit more interest in unifying his composition by using related themes or recalling previous material in a coda, devices long practiced by Italian composers.

He also shows less tendency

to let his pieces go "free" into areas given over to special lute techniques but often continues to present new imitations or maintain three independent voices to the close of the

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71 piece (Fantasia b, in the Appendix, is a good example).

There

are also some attempts to incorporate these techniques into the thematic material of the piece.

Ex. 3 shows a theme used

earlier as an imitative subject now in parallel tenths. Ex. 3.

Adrian Denss, Fantasia 5> folio 65v ? mm. 88-89.

The entire group of themes used in the fifth fantasia is given in Ex. *f, showing a unity expressed by the interval of a minor third.

The coda (also in Ex. *f) shows (as does

that of Fantasia b) the bringing back of one of the earlier themes in several statements in close proximity. Fantasia 3 is exceptional, since slightly less than the last one-third of the piece is given over to pseudo-counter point or sequential coloratura unrelated to the rest of the fantasia. The Fantasias 9 and 11, which treat a common opening theme (an ascending scale) are somewhat set apart from the others.

Not only are the themes definitely unvocal, but

there is hardly any hint of a clear-cut exposition area. Rhythmic activity is speeded up in both melody and harmony


72

Ex. b.

Themes from Fantasia 5? f* 65v ; mm. 97-99•

f

^ 3 5

f f I 1

1 -w*-

j.tVl !■i. fffl* » b — — *%

VW*/

n * - J i yv* - ^ ' T h.K- f — _t—

)

l

* >*

f f .

.■ <

;

_

((A

I t t f a Pb b i \ L

<.

(j

- -[ 0 . >m 1 L > 7 J— t i l l, . .* ■ -r s : - r

b W l /

h

-

-

^

%

-

1H ^ — ^ 1— a i ~ j ~ f r i

.

.

-Jl

.

(the eighth-note is now the unit of change in the former case, instead of the quarter, and sixteenth-note hrief running pas sages are common).

They have somewhat the character of vir-

tuosic scale studies in which non-thematic areas may be long er, and the "themes" themselves are fragmentary.

Broken


73 style, spread over three voices, is of greater importance, too, shown (as is the quicker pace) by the exuberant repeated patterns in Ex. 5. Ex. 5.

Adrian Denss, Fantasia 11, f. 70v , mm. 5556.

U n g g

i

Lc t

in

A persistent feature is the motet-like coda of two or three measures, which features a slowing of rhythm and a plagal cadence. Some of the areas between statements of themes are en livened by interesting harmony such as the mild chromati cism in m. 10 of Fantasia b (Appendix, p. 10) or the sudden appearance of triads built on tones outside the prevailing mode (for example, the a-flat triad in m. 6*+ of Fantasia *+, which very nearly is completely an Ionian piece on b-flat). The image of modal polyphonic harmony and voice-leading is still rather strong, especially when themes are introduced, but it is somewhat diminished by a considerable amount of writing in parallel thirds (or tenths) and sixths, and by the tendency of cadence points to cluster around the tonic, domi nant, and subdominant even in modes where this would not be expected.

The free treatment of modal schemes causes many of

them to be ambiguous i.e., to fluctuate within the piece.



7b

Fantasia 11 is largely a Mixolydian piece on f but has about one-half its cadences on b-flat, more like the Aeolian mode. Denss1s use of the deceptive cadence rather stands out. He often leads up to them with extended passages of quite functional harmony and uses the passing seventh to get maxi mum effect (see*Ex. 6). Ex. 6.

Adrian Denss, Fantasia 1, f. 62v , mm. 12-13.

Howett The outstanding feature of the Howett fantasias is that they are monothematic, a type of construction also used by several others of the time— Molinaro, for instance.

The

theme is exposed at four different levels, the last two at greater distances (non-overlapping) but mostly only two or three voices are suggested throughout the piece.

After this

exposition, interludes occur in which there are imitations of short motives.

The interludes are punctuated by appearances

of the main theme in the bass. The seventh fantasia has a couple of noii-imitative epi sodes which develop ideas related to the main theme, followed

Re pro duc ed with perm ission of the copyright owner.


75 by a cluster of four statements of the main theme which rather suggest a second exposition, together with, a final statement of the main theme just before the final cadence, so that the line of demarcation between this fantasia and a Ba roque fugue grows quite narrow. The eighth fantasia follows the initial exposition with a motival-imitative section, but then turns to a lengthy florid and sequential melodic area under which two statements of the main theme appear in the bass.

Another brief imita

tive area aiid a scalar flourish close the piece. Both of Howett's pieces are in strong contrast to Molinaro's monothematic fantasias, which are more concerned with, a continuous restatement of the theme in various voices, fea turing diminished versions in the latter half of the piece. In contrast to Denss's pieces, Howett's texture is often thinner, drops voices more often, is more concerned with bro ken style, and has less emphasis on the chordal style in its interludes. The harmonic style is even less modal than Denss's— cadences are nearly all on tonic and dominant levels, there are fewer alterations of the thirds of triads or deceptive cadences, and the harmonic movement is generally quite strong ly tonal throughout. In their tendency to give up imitation, the presence of toccata-like figuration, and the use of "cantus-firmus" bass


76 themes, the two pieces have more in common with the keyboard fantasias of England than the northern continental line of de velopment of the fantasia. The second of the two pieces was printed by Robert Dowland in his Varietie of Lute-Lessons (London, 1610), where it bears the inscription "composed by the most famous Gregorio Huwet of Antwerpe; Lutenist to the most high and mighty Henericus Julius, Duke of Brunswick, etc." Reymgnn The sixteen fantasias of Reymann are of two types: (1) those using the successive phrases of well-known Protestant chorale melodies as subjects for a series of expositions, and (2)

those using a single original theme, but in a somewhat

different way. It is certainly not surprising that a Leipzig lutenist should turn to the chorale as a source for fantasia themes. Reymann was not even the first to use chorales in a fantasia. Paul Ltltkeman’s Newer Lateinischer und deutscher Gesenge (Stettin, 1597) even contains one on Ich ruf zu dir, used by Reymann. The total impression of these nine pieces is that of con siderable seriousness, in which the quite deliberate quarternote pace of the lengthy themes is enlivened generally only by some eighth-note passing tone activity and in which inter

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77 ludes do not present a contrasting texture but are notable for their restraint in assuming much of the lutenist's bag of tricks.

The sequential area in Fantasia 8, mm. 15-19 is ex

ceptional (see the Appendix).

The stilted mood is increased

by the almost unswerving introduction of the themes in many statements by the stereotyped cadence formula used so much in the preludes.

An attempt at creating variety is made by

swelling the number of voices at cadences to four or five and beginning the new material at a higher tessitura.

The decla

matory upper-voice chordal presentation of a chorale phrase (see mm. 38-39 of Fantasia 6 in the Appendix) is rare, but there are severallaugmented or diminished versions of them in outer voices (mostly bass-, some with coloratura above, like in Howett.) We should mention here that the obviously quicker pace of Fantasia 6 and its other features of interest are the reasons for its inclusion in the Appendix, rather than its being a completely typical example of Reymann's treatment of the form. Hints of the development of themes in the interludes or of the foreshadowing of those to come (see some of this in m. 26 of Fantasia 6 in the Appendix) are generally rare. The form is affected by chorale repeat-structure in the following ways: (1)

a repeat sign is used in Fantasia b after

the treatment of the firstttwo phrases, (2) there are two


separate treatments of the first phrase in Fantasia 6, closed by common cadence measure, (3)

there is a second treatment,

in Fantasias 7 and 8, of the first and second phrases, and (J+). the set of six phrases of Fantasia 5 is gone through twice. Although there are a very few minor alterations of final or initial note values, and other attempts to disguise the phrases by lack of a clear cadence, the general intent seems to be to make each statement stand out, often in outer voices in the quite Baroque-looking type of treatment seen in Ex. 7* Ex. 7■

Matthias Reymann, Fantasia 2, f r'Q2^,'Jmm^ 3^-38.

The versions of the chorales Reymann used are not strik ingly different from those found in a four-voice song-book of the time by Calvisius which happens to be at hand.?

Some mi-

nor departures from the latter are illustrated in Ex. 8. The chorales which Reymann chose did not originate in his own times but are at least several decades older.

In the case

?Sethus Calvisius, Harmonia cantionum Ecclesiasticarum (Leipzig, 15975,

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79 Ex. Ex. 8. 8.

Calv Ca lvis isiu ius1s s1s and Reymann Reymann's 's chorale incipits. incipits. • j ■ Calv Calvis isiu ius, s, Erha Erha.l .lt t uns uns Herr Herr

Reym Reyman ann, n, Fant an tasi as ia $, pmj. 1-3 1-3|

f i n

i r s

Calvisius, Ich ruf zu dir

^

^ ,4*

i i j .J—

Reytpan Reytpann, n, Fant Fa ntas asi ia 8, 8, mm. mm. 1-2

of Erhalt uns Her He r r . Reymann Reymann's 's vers v ersion ion is one one older (15^3) (15^3) than tha n g the "modernization" of of Calvisius. Calvisius. Nor does Reymann's Wenn mein Stundlein vorhanden 1st agree throughout with Calvisius*s, 9 although the contour of most of the phrases is the same. The Harmonia does not contain Nun komm der heiden HeilHeil and at at all (Fantasia 1), although the older Yeni Redemntor Rede mntor ^Johannes Zahn Zahn, , Die Melodie Mel odien n der deutschen deutsch en evaneelischen evaneelische n Kirchenlieder . . . (Gtitersloh, (Gtitersloh, 1889 1889-9 -93) 3) I, No. 350. ” ^The inner phrases phrase s vary the the most. most. The opening phrase is that that of Wolff Wol ff (1569)) (1569)) the sixth that of Calvisius, Calvisius, and the last that of Zinc Zinckei keisen sen (15 (158M-). It is obvious obvious that this tune nev ne v er really settled down into a comraonly-agreed-upon form after its incept inc eption ion (156 (1569) 9) and that that Reyma Rey mann nn might be contributing his own changes. See Zahn, o j d . ci t .. Ill, ¥ + 8 2 a.

R epro du ced with with permission of the copyright owner. Further reproduction prohibite prohibited d without without permission .

80 from which whi ch it it was derived is is present. euch was not the the one one Reym Re yman ann n used.

Calvisius's Nun freut

In the case of these these two

fantasias, Reyma R eymann nn uses melodies from fr om quite early in the Re formation (with remarkably little alteration) which were cer1o tainly the common com mon propert property y of any musici mus ician an of the the time. time. u The form of the seven monothematic fantasias is charac terized by the imitation of the theme in only one other voice, longer interludes, given given over to to running passages pa ssages or sequences, sequences, and a good many unimitated statements of the theme in the bass. bass.

Generall Gene rally y quicker motion moti on prevails. prevails. The scheme of the the tenth fantas fantasia ia (see the Appendix) Appendix) is

exceptiona exceptional. l.

After the fourth widely-spaced widely -spaced two-voice exposi

tion of the theme, theme, there is a ten-measur ten-measure e section in triple meter, in which whi ch galliard gallia rd rhythms rhythm s are suggested.

The main mai n

theme returns after the triple section for two more exposi tions and interludes.

One One other monothemati monoth ematic c fantasia fanta sia has

this return of the theme at a level and in the proper voicing to suggest a return of the initial exposition. The themes of the monothematic pieces are notable for their their departure departure from typical typical fantasi fantasia a themes— they are are more angular, of a greater greater range, and genera gen erally lly more lively. Reymann's Reymann's choral chorale e fantasias fantasias are are generally longer— they range from 63 to 131 measures, while the monothematic ones ^They both date from 152k (ib (ibid.. I, No. 117H-, and and III, No. ¥+27, respec respectiv tively ely). ).

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81 are from 29 to 90 measures in length (the measure equals two semibreves semibrev es or, or, very ver y rarely, rarely, three). three). The harmonic materials here are particularly noteworthy for a Reymann trait— the the fondness fondness for for the the low sonorities sonorities of of the seventh and eighth strings, and the use of low parallel tenths. tenths.

Chords in first inversio inversion n are very common. common.

Modal schemes are clearly reflected in the choice of cadence points and in the harmony of most of the fantasias. Within Within the five five Ionian Ionia n ones, ones, however, a rare passage passage such as the one in Ex Ex. 9 shows a much more nearly functional fu nctional organ orga n ization. ization.

Authentic Authe ntic cadences predominate only in the Ionian

pieces. Ex. Ex. 9. 9.

Matth Matthias ias Reymann, Fanta Fa ntasia sia 2, f. C2r , mm. 79-80.

The quic quick k chang ch ange e of the colo color r of a chord, even even if im imme^diately diat ely after afte r a cadence (see (see Ex. Ex. 10), is is typical. typical.

The lack

of cadence ornamentation is also characteristic. The rare kind of double abbreviated nota cambiata shown in Ex. 11 shows that Renaissance practice still holds a heavy hand over the organization of non-harmonic tones. All of the pieces close with major triads, about half of them with wit h the scalar "tra "t rade dema mark1 rk1' we have note no ted d in the

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82 Ex. Ex. 10. 10.

Matt Ma tthi hias as Reymann Reymann, , Fantas Fant asia ia 3? f* C3V > mm. mm. 27-28.

preludes; prelude s; or else they close abruptly after the the last statement of a theme with a plagal plagal cadence. cadence.

Final Fin al authentic cadences

are rare. Ex. Ex. 11.

Matt Ma tthi hias as Reyma Reymann nn, , Fantasia' 13, f. F51*) mm. 12-13. 12-13.

Rude The solitary soli tary fantasia fant asia :by Rude is monothemati monoth ematic, c, and per pe r haps inte i ntende nded d to be Mixoly Mix olydi dian an (it (it ends ends on £, but has inte int e rior cadences caden ces mostl mos tly y on c. and 4) although althou gh there is an occa oc ca sional b-f b-f. .lat lat in the texture.

After the initial initial exposition, exposition,

which whi ch simulates simulates getting getting the them theme e into four voices, single statements are the rule (one attempt is made at two-voice

Rep roduc ed with with pe rmission of the copyright owner. Further Further reproduction reproduction prohibit prohibited ed without without permission.

stretto) punctuated by three episodes of six to ten measures. These episodes reveal Rude's weaknesses as a composer.

He is

given to excessive ornamentation of cadences, sudden splashes of coloratura which seem out of place, and worst of all, he is unable to draw together his frequent excursions into bro ken style, so that they are overly complicated.

Our one

example (Ex. 12) shows the latter problem in particular. Note, however, that this episode (the last one, with which the piece closes) is developing the main theme (see the the matic index in the Appendix).

The harmony of the piece has

some strongly supported cadences (II-V-I) and a few areas of

functional motion, but generally it is wandering, and decep tive cadences are important. Ex.

12.

Johann Rude?, Fantasia. Rude II, No. 120, mm. 37-38.

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81+

D.

The Dance Pieces Denss

The passamezzo suites of Denss use the older form (galliards, not saltarel'los) and avoid rinresas unlike those of Adriaensen and of some German composers of the time.

The

stock harmonic-bass patterns are completely regular and care ful attention is given to the melodic pattern used in Italian passamezzos (see Ex. 13)* Ex. 13. Melodic schemes1^ and initial pitches of Denss1s measures. Passamezzo toatlcb n

35E

— _L ■e-

JL==:

e

H Passamezzo in F b mol ((Jo ±z±z

i

e e i

Passamezzo moderno

£ ±=t

w

It

E

£2-

Passamez zo I

1 » £

D lj, sol .!§. b d;ir ( 0 . 8) m

* m *$

t

t

•^Transposed from the patterns given in Lawrence H. Moe’s "Dance Music in Italian Lute Tablatures from 1507 to 1611" (unpublished Doctoral Dissertation, Harvard University, 1956), p. 130. The terms antico and moderno. however, are not. mentioned in any of the three books we are studying.

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There is much, evidence of careful construction in the passamezzos, involving smooth voice leading, full and varied har mony, and interesting changes of- texture.

Even in the molle

pieces (the first four are molle, the last four are dur) there are many evidences of the trend toward tonality for which the passamezzo is famous (see Ex. 1*+).

No preference 12 for the Dorian mode such as Dieckmann found is evident. Ex. lH-. Adrian Denss, Passamezzo in C. sol fa ut, per b. mol(No. 1), f. 75, mm. 9-10.

I n g 3£3 »

r.

—

The galliards stretch the harmonic skeleton still further. Denss has inserted after the second suite a ', galliard hy Matthias Ferabosco which is in the proper key (G) but is not related otherwise to the suite.

Its sections are not the

standard sixteen-measure length, and its interior cadences are on c..

The harmony is unrelated, and the bass is a descending

chromatic line in the final section. In other dances, the usual aa1 bb1 cc1 pattern is 1o Jenny Dieckmann, Die in deutscher Lautentabulatur tlberlieferten Tanze. . . (Kassel, 1931), pp. 14— 16.

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86 frequently altered. aa,; 11: b.'ll Ik 1 9

The most striking examples are the

scheme of Galliard No. 2 (p. 18 in the Appendix)

which treats a single motive imitatively throughout; or Galliard No. 6, which bends the pattern in the direction of a closed form (a a' b a" -). if k 6 k 2

The

frequent use ofimitation is

typical of the time. Smooth and expressive melodic writing of regular phrases is particularly evident in the galliards.

Clear major or

minor tonality is seen in well over half the pieces (see the Allemande Ich Dancke Gott, onpt28 of the Appendix, for an example of the clear use of major mode and of his effective handling of the lively rhythms typical of allemande cadences). Even in those pieces not clearly major or minor, the usual freedom of treatment of modal schemes is something which Denss turns to excellent advantage in creating a colorful scheme like that seen in Galliard No. 10 (p. 20 in the Appendix). Here he flits between Aeolian

on C andA-flat major before

arriving at the tonic (F) in

m. 8.

Six of the allemandes are titled, indicating that they are in the sphere of the migrant tunes of the day.

There was

a vast repertoire of this material, which might invade both sacred and secular, vocal and instrumental literature.^ •^This subject is discussed by John Ward in "Music for a Handefull of Pleasant Delites," Journal of the American Musicological Society X (1957)5


87 Certain of the tunes Denss selected were favorites— the Alle mande s d 1Amour. d 1Alliance, and de. Fleur, for instance, also 1'+ appear in the lute hook of Thysius. The Allemandes Ich dancke Gott and Imperial we cannot trace any further than their appearance in the Dresden manuscript B 1030 (now lost). The Allemande Brunette is probably a reflection of the refer ences to idealized femininity found in court poems of the Renaissance, by this time a popular cliche/ and taken over by the middle class.

15

Dieckmann has mentioned two other ver16 sions of the Allemande d 1Amour. The earliest is evidently s ^ 17 the one printed by Phalese in 1571 and the next is by Waissel, appearing in 1573*

The three later versions fill in the

melodic line of the earliest one. Boetticher has held at least one version of the Allemande d'Amour to be an example of a more serious French type, but here it is quite as lively as any typical German

one. Neither

does the group show the beginning rhythms ( • • |

i ) suppos1o edly characteristic of* allemandes from the Netherlands.

1*+ J. P. N. Land, "Het Luitboek van Thysius," Ti.ldschrift der . . . Muziekeeschiedenis II (1887), pp. 28m-, 285, and 288. lÂndre Verchaly, "Brunette," MGG II (1952), col. 1+05. J. Dieckmann, op., cit.. p. 51* ^ T h e piece appears complete in E. Mohr, Die Allemande. . . (Kassel, 1932) II, 9 . 1^Wolfgang Boetticher, Studien zur solistischen Lautenpraxis (Habilitationschrift doctoral dissertation, Berlin, I9V 3), p. 209.

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88 From a study of these titles and the way in which iden tical ones appeared in the Dresden B 1030 manuscript, the con clusion is almost inescapable that nearly half the manuscript (about forty dances) was a transcription of the Denss book into German tablature. ^

Some clarifications of titles that

were apparently illegible to Dieckmann can be made.

For in

stance, the Allemande de F d(?)ur on folio 98 was obviously the Allemande de Fleur. In addition to the passamezzo suites, the variation £ principle appears several places. The g Ripresa to Allemande No.

provides a triple-meter version of both the harmony and

melody of the Allemande.

The Reprinse to Allemande No. 17 is

a simplified melody over a drone bass.

The principle in the

variatio Allemande Nos. 1*+, 16 and 19 is to provide a change in texture or to vary an occasional chord, but not to offer florid versions of the preceding Allemande, the "theme." The form of Denss's Pauren tanz is like that of the allemandes— two four-measure repeated sections (a a b b ’)* Its triple Reprise consists of two eight-measure repeated sections which are non-ornamented versions of the preceding dance, bearing a 2:1 relationship to the duple melody.

The

ensuing Yariatio is also in triple meter, of the same form, but is an ornate version of the Reprise. Both of the triple 19

Compare the table of contents of the Denss print with that of the manuscript, in Dieckmann, op., cit.. pp. 93-95»


89 versions have a "peasant"-like drone bass throughout their length. Both the quick and the slow forms of the courante are present, indicating (as does the presence of tfee voltas) that 20 Denss was atuned to the latest developments. The three slower ones (by Victor de Montbuisson) with their florid melo dy and less skillful harmonic style are less attractive than the two faster ones by Denss.

The usual a-b-c .stock-^pattern

is adhered to for most of these dances found toward the close of the book.

The last branle (Branle de Poitou). however, is

a long series of repeated sections with varying lengths ( V-ll'* 8-||*L2.’||12*i|:LK||:Lh'||:8:||) like the Branle simple de Poictou in Besard's Thesaurus.

Repeated harmonic schemes (I-V-I) and repeated

melodic patterns give the motoric effect Dieckmann has found to be typical.2'*' Voltas (like courante:s) are rare in German sources. Dieckmann did not even mention them, although the Leipzig MS II.6 .15. has about 20 of them, and Besard*s Thesaurus has 3*+» The two here have the same thin texture that characterizes most of the dances in this latter part of the book.

The form

of the Ronde is rather similar to that of the branle de Poi tou.

The "return" idea is only hinted at (several sections

20Kurt Gudewill, "Courante," MGG II (1952), cols, 17¥+-17lf6, refers to the differentiation of the two styles as a seven* teenth-century development.

21 J. Dieckmann, op., pit., p. ^2.



90 open with the same melodic figure and C minor harmony).

Its

presence is something of a curiosity, since no such dance appears in German sources, including Besard's Thesaurus (1603), or in the collection of Francisque (1600). Reymann Reymann's twelve passamezzo suites are presented in al ternating molle and durum keys, using G, F, D, C, E-flat, and B-flat.

Three duple variation sections are followed By three

in triple meter, the scheme mentioned by Reese

22

as the norm

for Italian suites of the time (those of Terzi and Molinaro). Unlike most Italian or German suites, however, the triple sec tions are not called galliards or saltarellos, but simply Prima, secunda or tertia variatiae: nor do they contain much of a suggestion of galliard rhythms.

A seventh movement, a

ripresa. is added, a typical feature of the German suites of the time (.e.g.., those of Waisell).

The riprese are from 17

to *+9 measures long and free in relation to the passamezzo scheme; they are always in major and quite strongly tonal. One of Reymann's outstanding characteristics is the in teresting harmony with which he embellishes the framework of the dance pattern.

In Ex. 15, for instance, the "proper”

harmonies (tonic and dominant) are either left very quickly ^Gustave Reese, Music in the Renaissance (new York. 195^-). p. 526.



91 Ex. 15. Matthias Reymann, Passamezzo 9 ad notam E la ml. melos molle tono flcto. Variatlo 1 Tduple), f. M1Y7 mm. 13-15*

or arrived upon only at the very last moment.

A good many of

the passamezzos (No. 5? Appendix, p. 61) display brilliant scalar flourishes, changes of register, 'or rapid two-voice areas in the lower ranges which show a brilliance of style reflecting, if not surpassing that of his better-known con temporaries, Waissel and Terzi.

The full five or six voice

sonority available on the larger lute is used to good advan tage in all of the dance pieces. There are a few excursions into some unusual rhythm com plexities like that in Passamezzo, Variatio 3 (duple /see the Appendix, p. 69, mm. 912/). Reymann's formal schemes for the pavan, galliard, and the chorea are less varied than Denss's. tions are the rule.

Three repeated sec

However, he nearly always has at least

one section with an odd number of measures (Galliard No. 1, for example, has

11 :|I** 10 :||: 13 :|| ).

Although some chorea

sections are only two measures long, most galliard ones are

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92 over eight.

The five pavans have larger sections than the

English ones (No. 5 is

a:||:b:||'.c-i|). 181 k 13

The triple variatio sec-

tions of the eight choreae present the entire complex of their duple counterparts in generally more simple versions. Four out of the five pavans are particularly clear ex amples of pure major tonality.

Other dances are somewhat less

strong in their leanings toward tonality.

Sequential melody

of wide range is an outstanding trait in the faster dances. In chorea No. 8, mm. 9-12 (see the Appendix, p. 77) Reymann's sequential harmony leads him into the quite Baroque cliche of a circle of fifths. Rude The pavans and galliards in Rude's collection mostly have the usual three sections hut, like Reymann, with irregu lar numbers of measure. scheme 10*||*9*j|*9 *||-9^|:9•’|j•

One (Rude .'II, No. 127) has the unusual A scheme involving"free" areas is

found in No. 10^ (Galliarda

Diomedis): a 8

d'. 7

Huberti (No. 93)are two

The Galliardae Gregory

bc 8k

c'

k

— 3

d — 7 2

versions

(variatio orima. and variatio secunda) of a regular a‘ .||:b:||'c *|| form.

The variation technique is similar to that of the

Denss allemandes.

The same two and No. 97 (Galliarda G. H.)

are the only ones to make prominent use of imitation.

The

galliards in this collection (and those of Reymann, too) make


93 more use of coloratura than Dieckmann evidently found (she 23 speaks of a "retreat of coloration"). Of interest in Rude's pavan-types is the appearance of sections in triple meter (in the interior) followed hy a re turn of the original meter (see No. 89 , Pavana Anglica in the Appendix, p. 88).

Rude could have acquired this idea from

Waissel and grafted it onto...Nos. 87 and 895 since it is un known in English sources, unless one considers the pieces to 2^be examples of the "medley" discussed by Lumsden. It also appears in the Pavan Crisiana (No. 102).

There is no rela

tionship between the duple and triple sections. Rude made very small changes in the form of the pieces by other composers, to judge by those for which we have in formation.

The principal change was, in the case of the

pavans, simply to repeat a section instead of providing the Renresa.common to English sources.

The performer, of course,

could have provided a more ornate version in the repeat. Pavana Phillip! is a quite faithful adaptation of Phillips' 25 piece as it is found in the Fitzwilliam Virginal Book.

Two of the duplicated pavans are unchanged in their second versions, but No. 83 has more cadence ornamentation than its 23j. Dieckmann,

op

. cit., p. 35*

^ D a v i d Lumsden, "Sources of English Lute Music" (unpublished doctoral dissertation, Selwyn College, Cambridge University, 1955), Vol. I, 118118 2^J. a . Fuller-Maitland and W. B. Squire (eds.), Fitzwilliam Virginal Book (reprinted New York, 19*+9) I, 3^3 (No. LX-XXV).


counterpart, No. 100.

A search for the other pieces with

English attributions in the virginal literature

(the Mulli-

ner, Cosyn, Nevell and Fitzwilliam books) has failed to turn them up.

A Pavana Phillioi and Dowland's Lachrimae are fre

quently encountered in German manuscript lute sources of the time.2^ The English pieces in the collection aside, we find the other dance pieces to be somewhat out of step with the times, or at least not on a par with the English repertoire. about one-fourth of the pieces are in major.

Only

There are many

evidences in the others of mixed modal tendencies which are certainly not as successful as the technique of Denss.

The

harmonic scheme of the Galliarda B. F. L. (No. 95) gives something of an idea of this: Eb - D

: Bb

-

Bb :l|*. Bb

-

G

Rambling and uninteresting melodies are common, as are a great many open chords, successions of parallel fifths, and a wandering and awkward harmonic style.

The use of Phrygian

and plagal cadences to close galliards, and the rather jarring V to IV cadence in mm. 3 to cient examples.

of the pavan No. 106 are suffi

Some of the attributed pieces .e.g.., Pavana

Crisiana have redeeming features, so that the principal weak nesses of the collection must fall on the pieces evidently composed by Rude, himself.

The one chorea (No. 118, in two

Wolfgang Boetticher, op., cit., p. 19^.


sections) of the collection is on a higher level than most of the other pieces, hut lacks Denss's tunefulness and has the following typical harmonic scheme: F - D •I I - a D II minor

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96

E.

Vocal Intabulations

The chordal texture of the canzonetta or canzona-types so prominent in the Denss and Rude collections is carried over quite easily into lute tablature, especially since-so many of them are of only three voices.

The quicker rhythm

seems to have largely negated the necessity of representing through coloratura the longer note values,

although there

are some instances of it (see the contrast between Denss's intabulations of Lechner's Mir hab ich gentzlich and da Nola's Fuggit amore. p. 106 in the Appendix).

The six pieces which

both. Rude and Denss have intabulated are of this type and un fortunately do not give us much opportunity to find differ ences in treatment on the part of the two individuals.

One,

in fact, De le. vostre sciocchesse of Costa, is nearly notefor-note the same in both collections, and probably is an ex ample of the accepted plagiarism of the times.

Voices proba

bly were used with Rude's pieces, too. Radecke^? has discussed Rude's treatment of five-voice lieder by Lechner, mentioning that the increase in the num ber of voices and the introduction of polyphonic elements are reflected in the tablature.

We have noticed in an interior

27 Ernst Radecke, "Das deutsche weltliche Lied in der Lautenmusik des 16. Jahrhunderts," Viertel.i ahrschrift fllr Musikwissenschaft VII (1891), 307*


97 passage of Lechner's Will uns das Mfegdlein (see the Appendix, p. 105) apparent changes of harmony as well as the expected limited suggestion of the independence of voices.

There is,

of course, the possibility that Rude was intabulating a dif ferent version than the one known to us. What Radecke means when he says "If one, for example, views the transcriptions of Rude, one must conclude that lute technique at that, time stood at a very high level,"

p Q

and ■

what Boetticher is discussing when he says, "With Rude the five-voice /.texture/ becomes the rule, whereby the delineation of polyphonic structure results in astonishingly exact fash^-.i 29 ion" is not only the fact that Rude selected mostly four or five voice madrigals for intabulation, but also that in so do ing he represented them by a series of (after the voices are all involved) four, five, or even six-voice chords— to the exclusion, generally, of the coloratura which had previously characterized the intabulations of this type of piece.

Ac

cordingly, he represents (along with Denss) a "decline in the 30 classic art of transcription." A glance at the transcrip tions included in the Opera Omnia of de Monte bears this out, but we note that there are places in which Rude might have p O

Ibid.,, p: . -3O8 .:,.

,

29 W. Boetticher, "Laute," MGG VIII (I960), col. 362. 3^W. Boetticher, "Les Oevres de Roland de Lassus misesentabulature de luth," La Lute et sa Musiaue. ed. Jean Jacquot (Paris, 1958), p,'“151.

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98 given a much greater impression of separate voices than he did and remained closer to his model in other ways (see Marenzio's Liquide nerle in the Appendix , p. 105? m. 3).

The

first statement of the second point of imitation is dropped, although the ensuing measures do well by the model. Denss is generally not guilty of such re-writing.

He is

even less involved with the use of coloratura, even in con nection with some motets (see the beginning of Lassus1 Gustate et videte in the Appendix, p. 106).

The longer note-

values of the beginning of Victoria's 0 quam gloriosam. how ever, were too extended for representation in any other than the older fashion, however.

A rather literal carrying over to

the lute of a multi-voice complex is seen in the transcription of Que me servent mes vers of de Monte (Opera Omnia XXV, 12). The voice parts which Denss has printed in his book are in no case a skeleton (i_.e.., soprano and bass, or soprano and bass and an inner part) which the lute supports with harmonic "filler.”

The lute version attempts to reproduce a certain

impression of all of the voices.

Only in a very few;places

.

does a voice line seem to be independent of the lute (one may be seen in the entrance of the bass in O'quam gloriosam of Victoria, in the Appendix, p. 105).

About half of the pieces

give the outer voices from what were originally four-voice pieces, and fifteen give the upper and two lower voices from what were formerly four, five, or six-voice pieces, so that a


99 certain amount of modern polarization is involved.

Another

twenty of the pieces (mostly those of Costa and Torti) are given just as they were originally, in three voices. The Denss tahlature is able to yield a very few sugges tions about the performance of vocal music in the matter of musica ficta. .e.g.*, the sharp suggested in the complete edi'Vl tion of the works of Victoria for mm. 25 and 30 of Domine non sum dignus could (according to Denss) better be omitted (see Ex. 16-rmm. 2^-26 are identical to mm. 29-31)• Ex. 16. Tomas Luis de Victoria, Domine non sum dignus (Opera Omnia Victoria I, *+0, ed. Phillip Pedrell), mm. 29-31. W f\j\ ft J

J' " T "

—

h r

- —

—

i

rans 4 -«L \*

T

-AI r

f .A'  * = 4 - n . ■■ - 1

by permission of Breitkopf & Hartel Verlag, Wiesbaden Rude, on the other hand, inserts accidentals in a quite bewildering number and variety— considering only the intabu lations of the de Monte madrigals done by him.

There are so

many of them that obviously van den Borren considered them either to be errors or only the indications of the personal taste of an individual, and they are not reflected in the Opera Omnia of de Monte.

Rude changes the color of chords,

removing even those accidentals printed in the voice parts, and also at times reworking the harmony (see the removal of


100 two suspensions— impossible to execute at this pitch level on the lute— in Ex. 17, as well as the insertion of a b-flat in the first chord). Ex. 17.

Philippe de Monte, Amorosi pensieri.

Rude's intabulation (Rude II, No. 35, mm. 10-11).

Original version (Opera Omnia XXV. 102, mm. 10-11).

by permission of L. Schwann Verlag, Diisseldorf (Desclee et de Brouwer, Bruges)


101

TABLE 3 CRITICAL NOTES (for pieces transcribed in full) Denss Fantasia 1+ (f. 65*).

Vol. II, p. 10

m. 32.

Third beat. The symbol "4" appears below the staff, instead of on the bottom course. m. *+8 (f. 65;. First beat. The symbol "e" appearing on the fifth course should be a "d" on the sixth course. Galiarda 7 (f. 7^r). p. 11+ m. 16

First beat. The symbol "f" appearing on the fourth, course should be an "evf

Passamezzo 5 (f. 80v ). P* 25 m. 26

Second beat. The symbol P over the pitch d. in the soprano should be B .

m. 38

Fourth beat. The symbol over the pitch, c-c sharp ih .the middle voice has been changed to

m. 1+3

Fourth, beat. The symbol r over the upper voice has been changed to p.

r

Courante 2 (f. 92r). m. 2!+

P. 30

The final rhythmic symbol 1 occurs over the penultimate note, not the final one, and has been shifted to the right.

Courante 3 (f. 92r).

m. Ilf

in the

P. 30

First beat. The bass pitch (given as symbol "f" on the fourth course) has been corrected from b-flat to a.


102 Revmann 70.

(f. Q2r). p. 76.

Chorea. 4, Variatio triolae.

mm. 21 and 23 . A 4 -natural was given in the tenor. Rude Note:

The only time signatures given were those identified hy the original sign "between the staves. We have sup plied values for the final chords of sections. The tablature has J or lacks any symbol at these places except for a fermata. In the listing of rhythmic sym bols below, prevailing rhythms ocurring prior to the error are given in parentheses, followed by the incor rect symbols.

80. Pavana

(f. FF 6.b.).

Vol. II, p . 85.

m. 1+.

Third beat.

m. 8.

Third beat. (j^) Symbol lacking.

81. Padoana P.. B .

(f. GG 1. a.).

m.

2. Fourth beat,

m.

6. First beat,

m.

6. Fourth beat.

m. 7* m. 9. m. 10. m. 19.

P f P p . 87.

^ PP

Second beat. The symbol "k" (e." natural) was given in the soprano. A five-beat measure? A three-beat measure? First beat. The symbol "c" (b1 natural) was given for the tenor voice, A two-beat measure?

89.- Pavana Anglica

(f. GG *+.b.).

p. 88.

m. 7.

Second beat.

Value given was doubled.

m. 11. m. 12.

Fourth beat. Fourth beat.

The dot was missing. , Tie indicated by .

m. 16.

Fourth beat. the previous


j— | \ IS N cf) Fl)

103 97-

Gaeliarda G. H. m. 5-

102.

(f. HH 2.a.).

Third beat.

The only symbol given was ^ .

m. 12. Third beat.

The only symbol given was ^ .

Pavana

(f. HH ^-.a.).

p. 91*

m. k.

Second and third beats. The only, symbol given was |s , over the second beat.

m. 16.

Second beat, second eighth— the symbol for the soprano note was ^ .

106. Pavana (f. HH 5*b.) m. 7* m. 18. 109.

p. 90.

p. 9^.

Third beat. The symbol "h" on the fourth course was given for the tenor (pitch c.). Last two beats:

Pavana G. H.

^

(f. HH 6.b.)

^

js ^ p

p. 97*

m. 5.

117-

Third beat. The onlysymbol givenwas £ (all thirty-second values supplied), m. Ik. Fourth beat. Tenor pitch was Entrata (f. II 2.b.) p. 99*

122 .

m. 11. First beat. The low F in the bass was moved back under the final sixteenth of the pre vious measure. Entrata (f. II *f.b.) p. 99* m. 9*

132.

Gaeliarda m. 19. m. 30.

136.

Third beat. The bass low the staff. (f. KK 2.a.)

was indicated by "a" be

p. 102.

The soprano note was indicated as "a" (pitch on the first course, The tenor note was £-sharp in the tablature.

Gaeliarda (f. KK 3.b.) n. 103. m. 1. Symbols given for the entiremeasure: m. 3. m. 7 . m. 8. m. 9*

).

J n J r

n

Tie indicated by ^ . The N at the end of the measure was over the k a. in the tenor. A one-beat measure? The only symbol was I . The T symbol was between the a. and the £ tenor, not at the end.

R epro du ced with permissio n of the copyright owner. Further reproduction prohibited without permission .

inthe

CHAPTER V SUMMARY The first hook to appear, chronologically, of the three we are considering is in many ways the most rewarding. The book itself is carefully printed, and the independent pieces in it

are generally of quite high quality.

In his

treatment of

the dance forms of the day, Denss is to be

ranked with the masters of his day; and his fantasias, in which, he shows himself to be on rather a higher level in the organization of his pieces than such contemporaries as Waissel or Kargel, would have given Engel less cause to apologize for German treatment of the ricercar-fantasia form,,had he looked at them.^

His intabulations, if not concerned with

weightier pieces for the most part, offer at least a glimpse of the taste of the day, an indication of performance prac tices of domestic circles, as well as an example of careful respect for their models and of changing styles of treatment. His treatment of inclusion of tacts.

the allemandes and their variations, and the

the branles and the ronde reflect his French con

The passamezzos and fantasias show his contacts with

the low countries and international figures such as Howett. -'-Egon Engel, Die Instrumentalformen in der Lautenmusik des 16’. Jahrhunderts (Berlin, 1915)*

10b


105 In both the dance pieces and the fantasias, he has shown himself to be partial to quite modern major-minor functional harmony and adept in mixing modal and tonal idioms in an attractive way. His book, if avoiding some of the brilliance of tech nique of the most prominent lutenist of the day, John Dowland, is by no means designed for the beginner but for a lutenist of considerable accomplishment. Reymann's book is also notable for its careful printing and a high quality of musical accomplishment.

Even more im

portant, however, are the evidences of a lute technique of large proportions, seen most vividly in his brilliant passamezzos and monothematic fantasias, his even more striking adoption (in comparison with Denss) of functional major har mony, and his interest in a rich harmonic fabric and widesweeping melodic sequences.

His grandiose conception of the

passamezzo shows strong leanings toward Italian predecessors, as does his adoption of the monothematic form of the fantasia. Most of the rest of the repertory is indicative of German traits, slanted toward middle-class domestic circles in Leip zig, although treated in an individual way.

His chorale fan

tasias, rather than being startlingly new or monumental art works, are perhaps more in the nature of studies in Lutheran religious sentiment and in line with organ works of the kind. Rude's book remains most important for its prodigious collection of intabulations, evidence of the repertory and

Re pro du ced with perm ission of the copyright owne r. Further reproduction prohibited without perm ission.

106 taste of Leipzig amateur circles.

Evidently his personal

skill as a composer leaves much to he desired, and he is sur passed in this respect hy most of the pieces of the other com posers which he has included. The pavans in the collection are notable for their in clusion of sections in triple meter, and the tendency to mod ulate somewhat distantly in their interior sections.

The

galliards and the one fantasia demonstrate some attempts at a velocity of coloratura, indicative (as well as rapid shifts, large chords, and wider stretches) of a highly developed technique.

Other independent pieces are less distinctive.

The galliards of others, notably those by Gregory Huberti, are some of the most interesting, with their thin, imitative textures and variatio versions. The collection of independent pieces reflects the impor tance of English lute music on the continent in the same way that other printed and manuscript collections of the time do. The intabulations show that harmonic structure and imi tative webs could be altered to a considerable degree, de pending on the taste of the intabulator or possibly on the • use of versions not now known. Aside from the intabulations of vocal pieces, the gener ally quite low quality of the music contained in the book makes one suspect that Rude was intention'ally linking it with Reymann's (a fact prominently advertised on the title page of Flores Musicae) in an attempt to launch himself on the sea of

Re pro duc ed with permission of the copyright owner. Further reproduction prohibited without perm ission.

107 publication with the assistance of an already-established crutch.

It is obvious, of course, that Baron's praise of the

Rude book was specious and based largely on an admiration of the immensity of the number of vocal pieces intabulated, rath er than on a real knowledge of the music in the book. The Rude book- notwithstanding, these collections give ample evidence that the statement of M. ¥. Prynne to which we have referred earlier that "no corresponding /that is, corres ponding to the English/ production of original work" exists musttrefer to the small quantity of comparable printed collec tions rather than to the quality of the pieces.


BIBLIOGRAPHY

Adriaensen, Emanuel. Novum pratum muslcum . . . selectissimi diversorum autorum . . . Antwerp, 1592. Pratum musicum longe amoenissimum. cuius spatiosissimo eoaue iucundissimo ambitie . . . Antwerp, I58^f. Apel Willi.

Harvard Dictionary of Music.

Baker *s Biographical Dictionary of Music. nimsky. 5th ed., New York, 19 5^

Cambridge, 195*+• Ed. Nicholas Slo-

Baron, Ernst Gottlieb. Historisch-theoretisch und practishe Untersuchung des Instruments der Lauten. Nuremberg, 1727. Boetticher, Wolfgang. "Adrian Denss," Die Musik in Geschichte und Gegenwart (hereafter referred to as MGG). Vol. Ill T1952), col. 197. -----

.

"Laute," MGG.

Vol. VIII (I960), cols. 356-82.

"Les Oevres de Roland de Lassus mises entabulature de luth," La Lute et sa Musiaue. Ed. Jean Jacquot. Paris, 195^7 Studien zur solistischen Lautenpraxis.

Berlin, 19^3*

Brown, Howard M. Instrumental Music Printed Before 1600: A Bibliography. Cambridge, 1965. Bukofzer, Manfred.

Music in the Baroque Era.

New York, 19^7.

"On the Performance of Renaissance Music," Proceed ings of the Music Teachers1 National Association. Series 36119^1), pp. 225-35. Calvisius, Sethus. Harmonia cantionum Ecclesiasticarum . . . mit vier Stimmen contrapuncts-wefse richtig gesetzt . . . Leipzig, 1597. Chilesotti, Oscar (ed.). Leipzig, 1891.

Lautenspieler des 16. Jahrhunderts.

108


109 Chrysander, Friedrich. Jahrbtlcher ftir Musikalische Wissenschaft. Vol. I. Leipzig, I 863. Costa, Gaspar.

Canzoriette di Gasparo Costa.

II secondo libro di canzonette.

Venice, 1580.*

Milan, 158*+.*

Cosyn Virginal Book.* Dart, Thurston. 717-722.

"John Dowland," MGG. Vol. Ill (195*+) , cols.

Denss, Adrian. Florilegium . . . Cologne, 159*+ • (Film sup plied by Deutsches Muslkgeschichtliches Archiv in Kassel). Dieckmann, Jenny. Die in deutscher Lautentabulatur tiberlieferten T5nze des 16. Jahrhunderts. Kassel, 1931. Dorfmtlller, Kurt. "Johannes Rude," MGG. cols. 1057-1058.

Vol. XI ( 1963)5

"Matthatis Reymann," MGG. Vol. XI ( 1963)5 col. 35*+. Dowland, John.

First Booke of Songes or Ayres.

Dowland, Robert. Varietie of Lute Lessons. London, 1956. Einstein, Alfred. 19*+9.

The Italian Madrigal.

London, 1597-

Ed. Edgar Hunt.

3 vols.

Princeton,

Eitner, Robert. Biographlsh-bibliographisches Quellenlexiconj der Musiker und Musikgelehrten der ghristlichen Zeitrechnung bis zur Mitte des 19. Jahrhunderts. 10 vols. Leip zig, IB 99-190ik Engel, Egon. Die Instrumentalormen in der Lautenmusik des 16. Jahrhunderts. Berlin, 1915. Federhofer, Helmut. "Matthia Ferrabosco," MGG. Vol. Ill (1955), col. 1+5. Fetis, F. J. "Reimann," Biographie Universelle des Musiciens. 2nd ed., Vol. VII, p. 213. "Reymann,” Biogranhie Universelle? . . . 2nd ed., Vol. VII, p. 237.


110

Fitzwilliam Virginal Book. Ed. J. A. Fuller-Maitland and W. B. Squire (Reprinted: New York, 19^9). Francisque, Antoine, Tresor de'-Qrphee. Ed. H. Quittard (Printed in a piano version: 1906). Fuhrman, Leopold. 1615.*

Testudo Gallo-Germanica.

Nuremberg,

Garton, Joseph N. "J. B. Besard's Thesaurus harmonious.11 (unpublished Doctoral Dissertation, Indiana University, 1952). Gombosi, 0. Bakfark Balint elete es mtivei (Per Lautenist Va lentin Bakfark. Leben und Werke) tMusicologia Hungarica. Vol. II). Budapest, 1935* Gudewill, Kurt. 17^ 6 .

"Courante," MGG.

Vol II (1952), cols. 17M+-

Hamburger, Paul. "Die Fantasien in Emanuel Adriansens Pratum Musicum," Zeitschrift fttr Musikwissenschaft XII (1929), l'+S ff. Horsley, Imogene. "Improvised Embellishment in the Perform ance of Renaissance Music," Journal of the American Musi■icological Society IV (1957), 3-19. "The Sixteenth Century Variation: A New Historical Survey," J_ournal of the American Musicologlcal Society XII (1959), 118-132. Jeffrey, Brian. "Instrumentation in the Music of Anthony Holborne," Galpin Society Journal XIX (1966), 20. Kahl, Willi.

"Kttln," MGG.

Vol. VII (1958), cols. 1327-53.

Kinkeldey, 0. Orgel u. Klavier in der Musik des 16. Jahrhunderts. Leipzig, 1910. Klessmann, Eckart. "Die Deutschlandreisen John Dowlands," Musica XI (1957), 13-15. Kosseck, H. P. 1935.

Geschichte der Laute in Preussen.


Kassel,


Ill

Land, J. P. N. "Het Luitboek van Thysius," Tl.idschrlft der Vereeniging voor Noord-Nederlands Muziekgeschiedenls IIII (I885V189I), passim. "Rhedanus, een Luitenist uit Rheden," Ti.idschrift der Vereeniging voor Noord-Nederlands Muziekgeschiedenis I (1885) , 202. Laurencie, L. de la,

Les Luthistes.

Paris, 1928.

Lowinsky, E. Tonality and Atonality in Sixteenth-Century Music. Berkeley and Los Angeles, 1962. Lumsden, David (ed.). An Anthology of English Lute Music (Sixteenth Century). London, 1953* . "Sources of English Lute Music." (unpublished Doc toral Dissertation, Selwyn College, Cambridge University, 1955)

-----

"Lute-book of Albert Dlugorai." Leipzig II.16.15. (film).

Sibley MusicaIf.Library$i-i-HS

Ltltkeman, Paul. Newer Lateinischer und deutscher Gesenge . . . Erben (Stettin),1597* Mendel, Arthur. "Pitch in the Sixteenth and Early Seventeenth Centuries." Music Quarterly XXXIV (19^8), 336. Merian, Wilhelm. Der Tanz in den deutschen Tabulaturbtichern. Leipzig, 1927. Meyer, Ernst.

"Allemande," MGG.

Vol. I (19^9)? cols. 350-5^.

Mies, Otto. "Dowland's Lachrymae Tune," Musica Disciplina IV (1950), 59-6M-. Moe, Lawrence H. "Dance Music in Italian Lute Tablature from 1507 to 1611." (unpublished Doctoral Dissertation, Har vard University, 1956). "Padoana-Padovana-Paduana," MGG. Vol. X (1962), cols. 566-68. .

Havana1 *" MGG.

Mohr, Ernst.

Vol. X (1962), cols. 97^-77.

Die Allemande.

Kassel, 1932.


112

Molinaro, Simone. Intavolatura di Liuto, Lib, primo. G. Gullino, 19^0"! Monte, Philippe de. Opera Omnia. Vol. XXV, 1927, f.

Ed.

Ed. Charles van den Borren.

Morley, Thomas. A Plaine and Easie Introduction to Practical Musicke. 1597* (Reprint London, 1937*) The Mulliner Virginal Book. Ed. Denis Stevens (Musica Britannica, London, 195*1, f.) Murphy, Richard M. "Fantaisie et Rececare dans les Premieres Tablatures de Luth . . ." Le Luth et sa Musiaue. Paris. 1958. . "Fantasia and Ricercar in the Sixteenth Century." (unpublished Doctoral Dissertation, Yale University, 195*+.)

-----

La Musiaue instrumentale de la Renaissance. My Ladye Nevells Booke. Neeman, Hans (ed.). n. dV/

Ed. H. Andrews.

Paris, 1955*

London, 1926.

Alte Meister der Laute.

k vols.

£n. p.,

Newsidler, Melchior. Teutsch Lautenbuch darinnen kunstliche ' Mutete, liebliche Italianische. Frantzttsische. Teutsche Stuck. . . . Strasburg, 157*+. Prynne, Michael W. "Lute," Grove's Dictionary of Music and Musicians. 5th ed., Vol. V, pp. *+33-1+39• "Lute Music," Grove's Dictionary . . . V, p>A39.

5th ed., Vol.

Radecke, Ernst. ",Das deutsche weltliche Lied in des Lautenmusik des 16. Jahrhunderts," Viertel.iahrschrift fttr Musikwissenschaft VII (1891), 286r336. Radke, Hans. "Beitr8ge zur Erforschung der Lautentabulaturen," Die Musik Forschung XVI (1963), 37» Reese, Gustave.

Music in the Renaissance.

Reimann, Margarete. 1370-1375.

New York, 1959*

"Intrada," MGG. Vol. VI (1957), cols.

"Materialien zu einer Definition der Intrada," Die Musik Forschung X (1957), 337-356.


113 Reymann, Matthias. Noctes Musicae . . . Heidelberg, 1598. (Sibley Musical.Library copy; a film of the Brussels copy is also in the Sibley MusicaliMbrary). Rude, Johannes. Flores Musicae . . . I and II. Heidelberg, 1600. (Film supplied by Deutches Musikgeschichtliches Archiv.) Ruhnke, Martin. Beitrgge zu einer Geschichte der deutschen Hofmusikkolegien im 16. Jahrhundert. Berlin, 1963. Spiessens, Godelieve. "Emmanuel Adriaenssen et son Pratum Musicum,” Acta Musicologia XXXVI (196V), lV2 .' Stephens, Daphne. Haven, 1963*

The Wickhambrook Lute Manuscript.

New

Sutton, Julia. "The Lute Instruction of Jean-Baptiste Besard," Music Quarterly LI (1965), 3V5-362. Tappert, Wilhelm.

1906.

Sang und Klang aus alter Zeit.

/n. pJ ,

van den Borren, Charles. Sources of Keyboard Music in Eng land. London, 191V. Verchaly, Andre.

"Brunette," MGG. Vol. II (1952), col. Vo5.

Vogel, Emil. Bibliothek der gedruckten weltlichen Vocalmusik Italiens Aus den Jahren 1500-1700 . . . mit Wachtrggen von Prof. Alfred Einstein. Hildesheim, 1962. Ward, John. "Music for a HandefUtLll of Pleasant Delites," Journal of the American Musicological Society X (1957)i 151-180. . "The Use of Borrowed Material in Sixteenth-Century Instrumental Music," Journal of the American Musicologi cal Society V (1952), 86-98.

-----

Wasielewski, W. J. Geschichte der Instrumentalmusik im 16. Jahrhundert. Berlin, 1878. Wilkowska-Chominska, Krystyna. "A la recherche de la musique pour luth," La Luth et sa Musiaue. Ed'. Jean Jacquot. Paris, 1958. Wolf, Johannes. Handbuch der notationskunde. zig, 1913, 1919.

2 vols.

Rep rod uced with perm ission of the copyright owner. Further reproduction prohibited without permission .

Leip

11^ Wustmann, Rudolf.

Musikgeschichte Leipzigs I.

Berlin, 1909.

Zahn, Johannes. Die Melodien der deutschen evangelischen Kirchenlieder. . . 6 vols. Gtit'ersloh, 1889-93*

♦Film copies in Sibley Musical Library.


TABLE OF CONTENTS VOLUME II APPENDIX TRANSCRIPTIONS FLORILEGIUM

(Adrian Denss) . . „ . . .

„ ...

o ......

.

o . .

Thematic Index . . . . . . . . o . ................ Complete Pieces ..........................................

1 1 10

89 . 92. 95. 98. 103. 106. 111.

Fantasia W .................................... 10 Fantasia Gregorij Howet ( 7 ) .................... 1*+ Fantasia 9 .................................... 16 18 Gaillarde ( 2 ) ........ - .............. Galiarda (7) . . . . ........................ 19 Galiarda ( 1 0 ) .................................. 20 Passemezo in D la sol re, b mol (*0 ............. 22 Galiarda ....................................... 23 112. Passemezo in G sol re ut ( 5 ) .................. 25 G a l i a r d a ...................................... 26 122. Allemande Ieh dancke Gott (7 ) .................. 28 .121*. Allemande de Fleur ( 9 ) ........................ 28 129. Allemande ( 1 5 ) ................................ 29 Variatio praecedentls ( 1 6 ) . . . 29 135. Courante eiusdem /.Victor de Montbuisson/ (2) , 30 136 . Courante ( 3 ) ...................................30' 1^6. Branle ( W ) .................................... 31 Inciplts of Selected Vocal Intabulations NOCTES MUSICAE

(Matthias Reymann)

. 105

.......................................

32

Thematic Index ........................................... Complete Pieces . . . . . . . . . . . . . . . . . . . . . .

32 ^+5

1. 6.

Praeludij primi ad notam G sol re ut melos molle ^5 Praeludium harmoniae eiusdem . . . . V6 .......... /G sol re ut melos duru/ 7 . Praeludij primi ad notam F fa ut, melos molle tono f i c t o .................................. ^7 17. Praeludium harmoniae eiusdem .................. J+9 /ad notam C sol fa ut melos molle (t)ono ficto/ 22. Praeludium unum ad notam E la mi tono ficto melos molle / s i c / ............................. 50 29. Fantasia superIch ruffe zu dirHerr Jesu Christ 51 31. Fantasia super Dureh Adams Fall 1st gantz v e r d e r b t .....................................9+ 33* Fantasia ( 1 0 ) ................................... 56 35. Fantasia ( 1 2 ) ................................... 60 *+H. Passemezae 5* Variatio 1. ad notam D la sol re, melos m o l l e ...............................61 Variatio 2 ....................................... 62 Variatio 3 63 6^ Prima variatio triplae ........................ Variatio 2 .............................. 6b Variatio 3 ...................................... 65 R i p r e s a ................... 65

Rep rodu ced with perm ission o f the copyright owner. Further reproduction prohibited without perm ission.

*+9 .

5*+. 56. 57. 63. 70. 7^.

FLORES MUSICAE II

Passemezae 10. Variatio 1. ad notam E la mi, melos durum tono ficto .................. 67 Variatio 2 .................................. 67 68 Variatio 3 ................................ • • Prima variatio triplae ...................... 69 Variatio 2 .................................. 69 Variatio 3 .................................. 70 Pavana 3 ............................ 71 Pavana 5 « .......... . . . . . . . . . . . . 72 Galliarda 1 ................................ 73 Galliarda /£/ ................................ 7^ Chorea k ................................ .. . • 75 Variatio triplae ............................ 76 Chorea 8 .................................... 76 Variatio triplae ............................ 77 .

(Johann R u d e )

79

................

Thematic Index ... ......................................... Complete Pieces .. . •.............. 80. 81. 89. 97. 99102. 103. 106. 107. 108. 109. 113. 11*+. 117. 122. 125. 127. 132. 136.

Pavana i_A . Holborne's De cr ev i/ ............... 85 Padoana P. B ................................. 87 Pavana Anglica . ................ 88 Gagliarda G. H. /Galliarda Gregory/ .......... 90 Gagliarda .................................. 91 Pavana C r i s i a n a ......................... . . 91 Pavana ...................................... 92 Pavana ...................................... 9^ Pavana di Mauritlo d'alto Monte 95 ............. Pavana . . « . ^ B . . . . « . . . . . . . . . . 96 Pavana G. H. /Pavana Gr ego ry/ ............... 97 Gagliarda .................................. 98 Entrata ............................. 93 Entrata .................................... 99 Entrata .................................... 99 Padoana ....................................... 100 Gagliarda ..................................... 101 Gagliarda ..................................... 102 Gagliarda .......... 103

Incipits of Selected Vocal Intabulations

NOTE:

V

79 85

................

PIECES TRANSCRIBED IN FULL ARE OMITTED FROM THE THEMATIC INDEX.

■ ■

Rep rodu ced with permission of the copyright owner. Further reproduction prohibited without perm ission.

105

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CORRECTIONS Three German Lute Books II. B. Lobaugh Volume I p. *fl

p. *+2

Palest W: I have mistakenly given after this abbreviation the full title of the Casimiri edition of Palestrina’s works. Since only one of the two madrigals found in Rude's book has appeared in this edition (Vestiva i colli, in Vol. IX) it is better to refer to the Breit kopf and HMrtel edition of de Witt, Haberl, et al. The title should then read Pierluigi da Palestrina: Werke. (Leipzig, 1862-1907). No. 13. XXVIII,

p. *+3 No. 57.

XXVIII,

Vestivi colli a5. 192.

add Palest W

0 b e lla Ninfa mia a5 .

239.

add P a le s t W

p. kk No. 7*+ Che fai Pori appears in Vecchi's Selva di varia ricreatione (Venice, 1590), p. 22. p.

No. 75 Deh prega amor appears in Vecchi's Selva di varia recreatione (Venice, 1590), P* 23.

p.. 61

The entire page should be disregarded and a new page (included in these corrections) substituted.

Volume II Table of Contents. Under Florilegium, the following ■was omitted: 100. Gaillarde •(>+) ....................... 18 p. *+ No. 113 (Galiarda) m. 2, alto b on the 2nd beat should be flat. ” p. k No. 115 (Gaillarde) m. 2, beat 1, bass note is b (natural). p. 10 Fantasia !f, m. 5. Lower score has whole rest missing. p. lb

No. 98 (Gaillarde) m.. 5} 2nd beat. is a d above middle c, not an f.

Tenor note

R epro duc ed with perm ission of the copyright owner. Further reproduction p rohibited without permission.

Corrections Three German Lute Books (continued) Volume II p. 18.

No. 100. m. 6, 3rd beat. on last eighth-note.

Pi 19.

No. 100.

Tenor is a c-sharp ~

m. 15, 3^8 beat, tenor is c-sharp.

R eprod uced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.

Dissertation on Rudentiu's (Rude) Book

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