A gift of madrigals and motets, Vol. 1 9780226762739, 9780226762715

Table of contents :
Frontmatter
Prefatory Note (page xi)
Acknowledgments (page xiii)
I · THE MANUSCRIPT
1 History of the Partbooks (page 3)
2 Florentine Origin: The Physical Evidence (page 16)
3 The Composers (page 41)
4 The Texts (page 69)
5 A Florentine Gift for Henry VIII (page 105)
II · THE MUSIC
6 General Musical Traits (page 119)
7 The Motets (page 134)
8 The Madrigals (page 161)
9 The Results of Collation (page 191)
10 The Newberry Motets and Madrigals in Other Sources (page 205)
APPENDIXES
A Contents of the Newberry Partbooks and Their Sources (page 219)
B List of Abbreviations (page 228)
Bibliography (page 244)
Index (page 282)

Citation preview

A GIFT OF

MADRIGALS AND MOTETS

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Opening pages from cantus and bassus partbooks

A GIFT OF MADRIGALS AND MOTE'TS VOLUME I Description and Analysis

H. COLIN SLIM

Published for

The Newberry Library by

THE UNIVERSITY OF CHICAGO PRESS Chicago G London

The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London

© 1972 by The University of Chicago All rights reserved Published 1972

Printed in the United States of America International Standard Book Number: 0—226—76271-8

Library of Congress Catalog Card Number: 73-172799

To William Michael Walensky

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Prefatory Note X1 Acknowledgments , X11 I + THE MANUSCRIPT

1 History of the Partbooks 3 2 Florentine Origin: The Physical Evidence 16

Appendix to Chapter Two _| |4] 37 3 The Composers 4 The Texts 69

5 A Florentine Gift for Henry VIII 105 II + THE MUSIC

7 The Motets 134 89 The The Madrigals Results of Collation l6l 191

6 General Musical Traits 119 |

10 ‘The Newberry Motets and Madrigals in Other Sources 205 APPENDIXES

Bibliography 244 , Manuscripts 244: Works Printed before 1600 248 Modern Works 26] B List of Abbreviations 228

A Contents of the Newberry Partbooks and Their Sources 219

Index 282

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Illustrations

Frontispiece. Opening pages from cantus and bassus partbooks Following page 216

I. Watermark, tenor partbook, Newberry manuscript 2. Watermark, sixteenth-century state documents at Florence 3. Binding, cantus partbook, Newberry manuscript 4. Binding, tenor partbook 5. Binding, bassus partbook 6. Binding, quintus et VI partbook 7. Leaf from inside front cover, bassus partbook 8. Cantus partbook, fol. 1 9. Tenor partbook, fol. 1 10. Bassus partbook, fol. 1 11. Opening page of series II, tenor partbook 12. Opening page of series III, tenor partbook

13. Bassus partbook, fol. 10 |

14, ‘Tenor partbook, fol. 11

15. King David in prayer, Boccardi illumination from Salterio dei Sancti, Museo di San Marco, Florence 16. King David in prayer, Boccardi illumination from Salterio T, Basilica di San Pietro, Perugia 17. King David in prayer, with lute, c. 1498, Officium Beatae Mariae Virginis 18. Muniature of King David, and cameos, Yates Thompson MS. 30, British Museum

19. Illuminations on religious calendar, Yates Thompson MS. 30, British Museum

20. King David in prayer, attributed to Boccardi, from a breviary in the Bibhothéque Nationale

21. Cameo head and other characteristic illuminations from a breviary, Bibliothéque Nationale 22-25. Boccardi illuminations in the Pandects, Biblioteca Nazionale Centrale, Florence

ILLUSTRATIONS

26. Illuminations in the Corsiniana MS. 1232, Biblioteca Corsiniana, Rome 27. Illuminations from MS. nouv. acq., fr. 1817, Bibliotheque Nationale

28. Drawing of Alessandro de’ Medici, first page of cantus, Vallicelliana partbooks, Biblioteca Vallicelliana, Rome 29. Portrait of Alessandro de’ Medici in the Ryerson Collection, Art Institute of Chicago

30. Verdelot and, Ubretto, painting attributed to Sebastiano del Piombo 31. Illumination, showing pomegranate, from Royal MS. 8 G VII, British Museum

~~. Prefatory Note

AMONG THE NEWBERRY LIBRARY’S music manuscripts are four elegantly bound

and handsomely illuminated partbooks dating from near the end of the third decade of the sixteenth century.! Each partbook contains one of the voice parts for the same collection of motets and madrigals. Entitled ‘‘ Cantus,” ‘‘ Tenor,” ‘*Bassus,”’ and “‘ Quintus et VI,”’ the four small oblong volumes originally were parts of a five-volume set. ‘The missing volume, the “‘Altus,’’ has disappeared

without a trace. The compositions are arranged in three “series,” indicated by a numbering beginning with a roman numeral I in the manuscript and by the blank sheets separating one series from the next.? Series I contains fourteen motets for four voices: cantus, altus, tenor, and bassus. Series II consists of sixteen motets, the first twelve of which are for five voices—the above four plus the quintus. The next

three include a sextus as well as a quintus and are therefore for six voices. The last motet in the series breaks the pattern and is again for five voices. Series ITI contains the thirty madrigals, arranged, like the motets, by the number of voices used. ‘The first twenty-three are for four voices, the next five add the quintus, and the last two add both the quintus and the sextus. Arranging compositions in a collection by the number of voices in each was common practice in the period.3

No composer’s name appears anywhere in the extant partbooks, but it is possible, as in some contemporary manuscripts,‘ that the missing altus contained

a table of contents. Concordant sources—printed editions and manuscripts of the period—give composers’ names for many of the works as well as furnishing altus parts for all but five motets and five madrigals. Appendix A lists the composers, concordant sources, and other related facts about each of the works. 1. The call number is Case MS.-VM 1578. described by Edward E. Lowinsky in “A

M91. Newly Discovered Sixteenth-Century Motet 2. In referring to the compositions in the Manuscript at the Biblioteca Vallicelliana in

partbooks, I use roman numerals to indicate Rome,” Journal of the American Musicological the series and arabic for the individual works. Society 3 (1950): 173-232.

3. See for example the Vallicelliana partbooks 4. Ibid., illustration 2. : x1

PREFATORY NOTE

Although the Newberry partbooks have considerable historical and musical interest and have been known to a few scholars since long before they were purchased by the library in 1935, they have not hitherto been thoroughly studied. Many of the motets contain pointed references to contemporary political conditions, and four of the madrigals are thought to have been written expressly for productions of two plays by Machiavelli. The partbooks have an interesting relationship to other manuscript and printed motet collections of the period and are among the earliest sources known for the Italian madrigal. And their likely presence in the library of Henry VIII makes them the earliest evidence of the Italian madrigal in England.

My assessment of the artistic and historical importance of the Newberry partbooks results from a many-sided investigation. ‘The partbooks themselves, at first glance, yield no clues whatever concerning their origin, date, history, their composers’ names, or the reason for their appearance in sixteenth-century England. To search out the answers to these questions I used the musicologist’s

customary tools, namely, biobibliography, concordances, and textual and musical analysis. But I found that I had more success by using bibliographers’ tools not commonly employed by musicologists, namely, watermarks, bindings, script, orthography, and illuminations. The quest has proved fruitful and the story of it, I think, is fascinating. Volume 1 of the present work is arranged in two parts, the first of primarily historical and bibliographical interest, the second directed especially toward musicologists. Volume 2 consists of my transcription of the music of the partbooks followed by a section giving the texts and their translations into English. Details concerning the musical transcriptions are given in the introduction to volume 2.

X11

~~» Acknowledgments

MANY PERSONAL FRIENDs and colleagues have shared their knowledge in various

fields with me during the preparation of this book. In addition to these persons whose names are mentioned in the text and in footnotes—and many rendered help far beyond the specific aid cited—I wish to thank Charles S. Singleton,

Leonard W. Johnson, and Walter Rubsamen for help in linguistic matters; Richard L. Crocker and Bonnie J. Blackburn concerning liturgical questions; Geneviéve Thibault, James Haar, Anne-Marie Bragard, Martin Picker, and Lewis Lockwood for bibliographical assistance; A. Tillman Merritt (curator, Isham Memorial Library, Harvard University), Vincent Duckles (Music Library, University of California, Berkeley), Hans Lenneberg (Music Library, University

of Chicago), and Sergio Paganelli (Civico Museo Bibliografico Musicale, Bologna) for special kindnesses tendered to me; and William C. Holmes for valuable suggestions concerning my text. I also wish to thank Norbert BokerHeil and Nino Pirrotta for sending me copies of their books well in advance of their availability in this country. I owe a particular debt to Edward E. Lowinsky for his generous interest in this project since its inception. A grant from the Research Committee of the Division of the Humanities of the University of Chicago and a fellowship in musicology at I Tatti from Harvard

, University enabled me to work in Florence in 1963 and in 1969. Grants-in-aid from the Newberry Library in 1966 and 1968 and awards from the Humanities Institute of the University of California in 1966 and 1970 assisted greatly in the preparation of this book. Finally, I wish to express my profound gratitude to the anonymous Foundation whose generous funding allowed the publication of a complete edition of the music.

x1

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I

THE MANUSCRIPT

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\THE History of the Newberry partbooks is far from complete. Their whereabouts

for some three hundred years remains a mystery, as does the fate of the still missing altus partbook. Beginning with the acquisition of the four extant books

by the Newberry Library, I shall work back through the known facts to the Florentine origin of the manuscripts.

_ . Bernard Quaritch, the noted London antiquarian and bookseller from whom the Newberry Library bought the manuscripts in 1935, had previously offered them in his catalogs of 1931 and 1919.1 Quaritch himself purchased them in 1917 at the famous auction (17-24 May) in Sotheby’s rooms of almost 4,500 volumes belonging to the wealthy English antiquarian William Hayman Cummings (1831—1915),2 whose bookplate is still on the inside front covers of the

partbooks. ,

_ Where Cummings acquired the partbooks is unknown. That he, or a former owner, bought them from an English (probably London) bookseller is clear from a fragment of an earlier sales catalog which remains on the inside front cover of the tenor partbook. The fragment reads:

...[E?]S and ANTHEMS

...[d?]ainty

Though resembling this description, Sotheby’s 1917 catalog is not identical. It 1. A Catalogue of Printed Books (London: 2. Catalogue of the Famous Musical Library of Bernard Quaritch, 1935), catalog 510, pp. Books, Manuscripts, Autograph Letters, Musical 110-11, no. 991; A Catalogue of Rare and Scores, etc. the property of the late W. H. Cummings, Valuable Books (London: Bernard Quaritch, Mus. Doc. Sydcote Dulwich, S. E. (Sold by Order

1931), catalog 447, pp. 77-78, no. 866; A of the Executors) (London: Sotheby, 1917). A Catalogue of Manuscripts and Books relating to copy of this catalog in the Newberry Library Music from the libraries of Dr. W. H. Cummings, records that the partbooks were sold for 31 A. Huth, A. H. Littleton, Sir Fohn Stainer and pounds.

other sources (London: Bernard Quaritch, | October 1919), catalog 355, p. 54, no. 356. 3

CHAPTER ONE

reads ‘““ MADRIGALS AND ANTHEMS” and omits the word “dainty.” 3 With the aid of a mirror, the reverse side of the fragment can be read:

... his writing on the margins. S[p?]...d.D.D. and Sub-Dean of St. Paul’s... 6. Collection of D[R?]... The typeface is late nineteenth or early twentieth century. From its inception in 1290 until its abolition in 1936, the office of sub-dean at Saint Paul’s was held by only two doctors of divinity, Henry Fly (from 1811 to 1833) and William Sparrow Simpson (from 1881 to 1897). Apparently then, the reverse side of the above fragment which described the Newberry partbooks advertised for sale a book which was owned by one or the other of these divines. Although no sale is recorded of the property of Simpson, a sale of Henry Fly’s library took place in London on 17 March 1834.5 Among the items in the two pages which list music in the catalog is the following description of lot 715: “Services and Anthems, in manuscript, 3 vol.”® Obviously the description is not the one on the Newberry fragment. Nonetheless, by virtue of Henry Fly’s being both a sub-dean of St. Paul’s and a collector of music manuscripts, it seems probable that the Newberry description may well come from some later sale involving items which had once belonged to Sub-Dean Fly. An even earlier fragment of a description appears on the last page of the quintus. Although the outer side of the fragment has been completely obliterated, the following parts of words are still legible from the reverse side:

... sisti. .. [de?]ceased,

...me

KIN[G?] The long s used in the typeface of the above words helps to date this fragment. From about 1790 London printers discarded the long s and by 1800 it had almost completely disappeared, though it persisted in provincial publications for about twenty-five more years.7 In summary, the chances seem good that the Newberry partbooks were in England in the eighteenth century. The partbooks’ first known owner, W. H. Cummings, purchased books and music at nine sales between 1850 and 1905.8 None of the catalogs of these sales

3. See below, p. LI. 7. See Ronald B. McKerrow, An Introduction

4. I owe this information to the kindness of to Bibliography for Literary Students (Oxford, Canon Frederic Hood, dean of Saint Paul’s, 1960), pp. 309-10.

letter of 9 May 1964. 8. See A. Hyatt King, Some British Collectors of 5. See the List of Catalogues of English Book Music, c. 1600-1960 (Cambridge, 1963), pp. Sales, 1676-1900, now in the British Museum 48-49, 58, 60-61, 71, 95-97. In addition, Hugh

(London, 1915), p. 194: “Fly, Henry, D. D., McLean, “Blow and Purcell in Japan,”

F.R.S. Library, Manuscripts, etc.”’ Musical Times 104 (October 1963): 702-5,

6. I am grateful to Daniel Heartz and to notes that books belonging to the Reverend Oliver W. Neighbour for examining this entry John Gostling and Richard Church, sold in

in the catalog. 1777 and 1776, respectively, were in Cum4

HISTORY OF THE PARTBOOKS

contains any of the above-cited descriptions of the partbooks.° A speech given in 1877 by Cummings before the Musical Association in London reveals some of the sources of his library; it also indicates that Cummings had already assembled a

collection rich in manuscripts of English provenance and of English national interest: ““I have from time to time bought at public sales books including autograph manuscripts of Purcell, Creighton, Croft, Reading, and others, which have in former years belonged to the Chapel Royal and various cathedrals and colleges.’’ 1°

Twenty years later the British Musical Biography characterized Cummings: “A learned musical antiquary, he has acquired one of the finest musical libraries in

private hands, especially rich in early printed works and MSS.” ™ And in the Musical Times and Singing-Class Circular for 1898 appeared a long, unsigned article

about Cummings and his library. Apparently the anonymous author had seen the library or at least consulted a manuscript catalog of it, for he notes: “* Upon the well-filled shelves are tomes from the libraries of Henry VIII, Edward VI,

Charles I, Charles II, Oliver Cromwell, and Handel’s patron, the Duke of Chandos.” !2 He also remarks, tantalizingly: ‘““ Mr. Gummings’ son, Mr. Norman

Cummings, has just completed an excellent catalogue of his father’s library, which we sincerely hope will ultimately be printed, at least for private circulation ; such a volume would be invaluable for purposes of reference.”’ Invaluable as it would indeed be, the catalog prepared by Norman Cummings has disappeared. Perhaps it served Sotheby’s in compiling their 1917 auction catalog and was then discarded. In any event, the mention of “‘ tomes from the libraries of Henry VIII” may indicate that by 1898 the Newberry partbooks were already in Cummings’s hands.!3 Examination of nineteenth-century catalogs of English booksellers who dealt in music and of nineteenth-century auction catalogs, with a view to locating a description which could apply to the Newberry partbooks, has brought to light the following three items. Since catalog descriptions for the period before 1880 are often vague, any one of the three might have referred to the Newberry partbooks. mings’s collection. Perusal of the Catalogue of | 11. James D. Brown and Stephen S. Stratton, the W. H. Cummings Collection in the Nanki Music eds. (Birmingham, 1897), pp. 111-12.

Library (Tokyo, 1925) shows that books from 12. Vol. 39, no. 660 (1 February 1898): 81— the collections of Bernard Granville, William 85. Jackson of Exeter, the Reverend E.H.Goddard 13. Cummings also owned two copies of a (sold in 1878), and G. T. Smith (sold in 1877) Latin translation of Homer’s Jlliad and Odyssey were also owned by Cummings. See also (1528), both of which had belonged to Henry Catalogue of Rare Books and Notes; The Ohki VIII (see Sotheby’s Catalogue of the Famous Collection, Nanki Music Library (Tokyo, 1970). Musical Library [1917], nos. 895 and 896). The 9. Iam grateful to Daniel Heartz for examin- _ first of these bore the autograph of Edward VI

ing catalogs of these sales. on the inside cover and passed to the Nanki

10. William H. Cummings, ‘‘The Formation Music Library in Tokyo (see Catalogue of the of a National Musical Library,”’ Proceedings of Cummings Collection [1925], p. 56). The where-

the Musical Association 4 (1877-78) : 19. abouts of the other copy is unknown. i)

CHAPTER ONE

Typical of this vagueness is the item from an auction in 1872 by the firm of Puttick and Simpson: “‘Sacred Music, Anthems, etc. by various composers in manuscript, 5 vols.” '4 An account of a sale held in 1842 of books belonging to the Reverend Christian Ignatius Latrobe noted: ‘‘ There were very many lots of Madrigals and Motetts &c., by the English, Flemish, and Italian composers of the 16th and 17th centuries, of which it is so rare to meet with complete sets. Many of the above-mentioned formerly belonged to the celebrated collections of Dr. Bever [1725-91] and Gostling [ca. 1650-1733] of Canterbury.” !5 And an auction in 1849, advertised as that of the “Musical Library of a distinguished

professor,’ offered (tersely enough): ““Mapricats and MortettTs, in 5 parts, curious old MSS. 4°.’ 16 To return to the history of the Newberry partbooks, it can safely be ventured

that Cummings acquired them in the late nineteenth century from an English owner and that Englishmen had owned them a hundred years or so before that. Nothing further is known of their whereabouts in the eighteenth century or during most of the seventeenth. In all probability, however, they were in English hands all the while. Their history is curiously linked with Francis Tregian the Younger (1574?-1619), a Catholic recusant and political prisoner of James I. Scholars have long been convinced that Tregian copied the great manuscript collection of Elizabethan keyboard music now known as the Fitzwilliam Virginal Book. The recent discovery of his autograph and of notarial documents bearing his signature proves that Tregian copied not only the Virginal Book but also two large score anthologies: British Museum, Egerton MS. 3665, and New York Public Library, Drexel

MS. 4302 (the latter also known as the Sambrooke manuscript).!7 The huge Egerton manuscript contains villanelles, madrigals, and instrumental pieces for three to five voices. The Drexel manuscript—a companion volume and a continuation of the Egerton manuscript—contains madrigals, motets, and pavanes a5, a 6, and a &. On page 804 of the Egerton manuscript appears an anonymous setting of the madrigal Jtalia mia. A marginal note in Tregian’s hand states: “‘ex

libris Henr. 8 circa annum 1520.”!8 No. 24 in the Drexel manuscript is an 14. Catalogue of a Collection of Music including fessor (London, Puttick and Simpson, 23-25 the libraries of F. W. Bates, Esq., @ R. Underwood, June 1849), p. 29, no. 585.

Esq. (London: Puttick and Simpson, 25 and 17. See Bertram Schofield and Thurston

26 July 1872), p. 7, no. 146. Dart, ‘‘Tregian’s Anthology,’? Music and

15. The Musical World: A Weekly Review of Letters 32 (1951) : 206-7. Facsimiles of Tregian’s Science, Criticism, Literature, and Intelligence, hand are found in Elizabeth Cole, ‘‘In Search connected with the Art 17 (1842): 150-51, describ- of Francis Tregian,’? Music and Letters 33 ing a sale at Fletcher’s Great Room, Piccadilly, (1952): 31-32, and idem, ‘‘Seven Problems of Monday, 2 May 1842. The only known copy of the Fitzwilliam Virginal Book: An Interim the auction catalog is in the private collection of Report,’’ Proceedings of the Royal Musical Associa-

Walter N. H. Harding, Chicago. tion 79 (1953), pl. facing p. 51.

16. Catalogue of the very extensive, rare, and 18. Schofield and Dart, p. 214. valuable Musical Library of a distinguished pro-

6:

HISTORY OF THE PARTBOOKS

anonymous motet in honor of Henry VIII, Nil maius supert vident. It bears Tregian’s annotation: “ex libris Henrici 8 circa a[nnum] 1520.” No. 25 (the second part of this motet) has: “in laudem Henrici 7° [szc].”19 Tregian’s copy of Ltalia mia in the Egerton manuscript is identical—even to a scribal error— to Verdelot’s setting a 5 in series III, no. 26, of the Newberry partbooks.?° Tregian’s copy of Nil maius supert vident in the Drexel manuscript is identical

to the anonymous motet in series II, no. 16, of the Newberry partbooks. Tregian’s repetition of Newberry’s scribal error and his marginalia prove that he copied the motet and the madrigal into his manuscript anthologies

| directly from the Newberry partbooks. Although his role as copyist of the two anthologies and the Virginal Book is now indisputable, the place where he copied them has not yet been ascertained. Elizabeth Cole believes he copied them during his exile on the Continent between c. 1586 and 1605 for his father

(Francis Tregian the Elder), who was imprisoned in England.?! Thurston Dart, | however, adheres to the more traditional scholarly view that the younger Tregian

copied the three manuscripts for himself during his own incarceration as a recusant in the Fleet Prison between 1613 and his death there in 1619.22 Dart’s theory seems the more plausible, since a prime requisite for such an enormous amount of copying—Egerton contains 1,033 pages; Drexel, now 570, was originally 1,060 pages; and the Fitzwilliam Virginal Book is 440 pages—would be vast amounts of free time. Such a condition is amply fulfilled by Tregian’s six years of enforced idleness in prison. He is less likely to have had so much leisure during his Continental sojourn, when he was at first a student and then an active participant

in anti-Protestant movements. Faint remains of some old handwriting appear on folio 34 of Newberry’s tenor partbook. Most of the writing has been erased by painstakingly scraping the

paper. Even infrared light is of little aid in reading the inscription. Thus the following transcription is conjecture:

Mr. Allan... ,

doth direct...

19. See Hugo Botstiber, “‘Musicalia in der Jeppesen’s three semibreves and two minims; New York Public Library,’ Sammelbdnde der m. 43, tenor: two minims in place of Jeppesen’s Internationalen Musik-gesellschaft 4 (1903): 742. | semibreve; m. 75, cantus: breve in place of 20. A modern edition of the madrigal appears Jeppesen’s two semibreves; etc.

in Knud Jeppesen, ed., Italia sacra musica 21. “‘In Search of Francis Tregian,”’ p. 61, a (Copenhagen, 1962) 1: 58-63. In the bassus_ view also shared by Wilburn W. Newcomb, parts of both Newberry and Egerton there ‘‘Tregian, Francis,’’ Die Musik in Geschichte und appears, incorrectly, a B-flat on the third Gegenwart, vol. 13, cols. 634—35. minim of measure 89. Newberry and Egerton 22. ‘“‘Tregian, Francis,’’ Grove’s Dictionary of also agree in other places which diverge from Music and Musicians, 5th ed. (London, 1954) 8: Jeppesen’s edition: m. 27, bassus: two semi- 539-40, a view also held by J. A. Westrup and breves in place of Jeppesen’s semibreve and _ F. L. Harrison, “‘Tregian, Francis,’ The New two minims; mm. 29-30, bassus: semibreve, College Encyclopedia of Music (New York, 1960),

dotted semibreve, and three minims in place of _ p. 671. : 7

CHAPTER ONE

Perhaps here is the name of the owner from whom Tregian borrowed the partbooks to make his copies in the Egerton and Drexel manuscripts.”3 In any event, the accumulated evidence makes a strong case for the partbooks having been in _ England during the early years of the seventeenth century. Where were the partbooks before Tregian ??4 They were probably somewhere in England during most of the sixteenth century, for there is strong evidence that they were sent as a gift to Henry VIII.?5 Only five manuscripts remain that can be identified, by coat of arms or name, as once having been in Henry’s music library. Three of them are in London, one

| in Cambridge, and one in Oxford.26 None relates in any way to the Newberry partbooks. But these volumes, and catalog entries for others no longer extant, suggest that the royal music library was at one time considerable.?7 At his accession in 1509, Henry inherited his father’s library, the first recorded keeper of which had been appointed in 1492.28 Two catalogs, made in 1534 and 1542, and an inventory prepared after Henry VIII’s death in 1547 give some idea of the library’s dimensions. The first, a shelf list of 124 manuscripts and 19 printed books kept at Richmond Castle in 1534, mentions no music.”9 But the catalog of 23. The name might perhaps be read as Lowinsky, ““A Music Book for Anne Boleyn,”’ Morley and then might refer to the celebrated Florilegium Historiale: Essays Presented to Wallace Thomas Morley (1557-c. 1602), who owned a_K. Ferguson, ed. J. G. Rowe and W. H. Stock-

large library of music and of theoretical works; dale [Toronto, 1970], pp. 162-64); Oxford, see the foreword by Dart to R. Alec Harman, Bodleian Library, Music School, MSS. e. 376ed., Thomas Morley: A Plain and Easy Introduction 380 (c. 1531) (see John D. Bergsagel, ‘The to Practical Music (London, 1952), pp. xviii-xix. Date and Provenance of the Forrest-Heyther 24. Sears Jayne, Library Catalogues of the Collection of Tudor Masses,’’ Music and Letters English Renaissance (Berkeley and Los Angeles, 44 [1963]: 242). 1956), gives no clue to the whereabouts of the 27. Certain literary volumes which “‘es-

partbooks. caped’’ royal custody are still extant; see 25. See chap. 5, below. : note 13 above. Further cases are cited by 26. London, British Museum, Royal MS. 11. C. E. Wright, “‘The Dispersal of the Libraries

E.xi (c. 1517-20) (see Augustus Hughes- in the Sixteenth Century,’ The English Hughes, Catalogue of Manuscript Music in the Library before 1700, ed. Francis Wormald British Museum 1 [London, 1906]: 259, and 2. and C. E. Wright (London, 1958), p. 162, [London, 1908]: 1 and 193); London, British and by F. G. Emmison, Tudor Secretary: Museum, Royal MS. 8 GVII (c. 1519-28) (see Sir William Petre at Court and Home (Cambridge,

ibid. 1: 140 and 259, and 2: 1 and 193); Mass., 1961), p. 284. London, British Museum, Royal Appendix 28. T. J. Brown, The Old Royal Library (LonMSS. 45-48 (c. 1520-30) (see F. L. Harrison, don, 1957), p. 4.

| Music in Medieval Britain, 2d ed. [London, 29. See Henri Omont, ‘“‘Les manuscrits

1963], p. 285 n. 2); Cambridge, Magdalene francais des rois d’Angleterre au chateau de College, Pepys MS. 1760 (c. 1516) (see M. R. Richmond,”’ Etudes romanes dédiées a Gaston Paris James, A Descriptive Catalogue of the Library of (Paris, 1891), pp. 1-13, a list of manuscript and

Samuel Pepys, Part III, ‘‘Mediaeval Manu- printed books of the kings of England which in scripts’? [Cambridge, 1923], pp. 36-38, and A. 1535 were at Richmond Castle. The list 1s

Tillman Merritt, “A Chanson Sequence by preserved among the papers of Philibert de la | Févin,’’? Essays on Music in Honor of Archibald Mere and of Fevret de Fontette in volume 849 Thompson Davison by His Associates [Cambridge, (fols. 166-67) of the Moreau collection in the

Mass., 1957], pp. 91-99, and Edward E. _ Bibliothéque Nationale, Paris.

8

HISTORY OF THE PARTBOOKS

1542 listing the contents of the royal library at Westminster, which contained 910 volumes, includes these items of music: A pricke Songe booke of Masses and Anthems

Books of pricksong Masses foure oe

Lutyng Bookes 3 | Musica Ecclesiastica.3°

others: :

And the inventory of 1547, the first year of the reign of Edward VI, adds still Item. A box conteyninge V bookes of songe of lymon clothe needle

worke.

Item. Sondrie bookes and skrolles of songes and ballattes.31

Possibly the Newberry partbooks were included among the music mentioned in the fourth item of the 1542 catalog or in the second item of the 1547 inventory. Shortly after 1530 some of the motets would not have been sung, at least in and around London (I, 2, 11, 14; II, 5, 13). Not being based on biblical authority, these motets—votive antiphons of the Virgin and of various saints—would have been regarded as “‘superstitious”’ and “‘ popish.”’ 32 Since the partbooks show no signs of use and since part of their repertoire was ecclesiastically suspect, they were probably shelved, being preserved only by reason of their beauty. How did the partbooks leave the royal hands? Henry sometimes rewarded favorites, such as his councillor Archbishop Cranmer (1479-1556), with gifts of his books. A potentially useful source of information for this practice is the great manuscript catalog of the library of Thomas Lumley (c. 1534-1609) made in 1609; a fair proportion of Lumley’s books had once belonged to Archbishop Cranmer.33 Lumley inherited some of the collection, which contains music dating from 1516, from his father-in-law, Henry Fitzalan, twelfth earl of Arundel (c. 1517-80) .34

From about 1553 Arundel occupied Nonesuch Castle, a hunting lodge which

was built at Cuddington in Surrey in 1538 for Henry VIII; Lumley joined 30. A catalog of the royal library at West- Baillie, “‘Heinrich VIII.”’ See also Lady Mary minster is included as part of the Royal House- Trefusis, ed., Songs, Ballads and Instrumental hold Book of Henry VIII and Edward VI, now = Pieces composed by King Henry the Eighth (Oxford,

|9

in the Public Record Office, London: Augmen- 1912), p. xxx. , tation Office Book 160, fols. 107°ff. Two manu- 32. See Paul Doe, “‘Latin Polyphony under script copies are in the British Museum: Add. Henry VIII,’’ Proceedings of the Royal Musical MSS. 4729 and 25469. The above items are Association 95 (1969): 84, 87, 92. excerpted from MS. 4729, fols. 3, 3%,29,and29". 33. See Sears Jayne and Francis R. Johnson, Three of them appear in Hugh Baillie, “‘Hein- The Lumley Library: The Catalogue of 1609 (Lonrich VIII,” Die Musik in Geschichte und Gegen- don, 1956), passim; for specific gift from Henry wart, vol. 6, col. 72, but without indication of to Cranmer, see ibid., 302 and 76, no. 443.

their source. 34. Charles W. Warren, “Music at None31. British Museum, Harley MS. 1419, fols: such,’? Musical Quarterly 54 (1968): 49. 153 and 205’. Only the second item appears in

CHAPTER ONE

Arundel there in 1557. During the early years of Elizabeth’s reign (c. 1558-80), says Warren:

Nonesuch was the scene of an intense and historically significant musical activity. At a time when household music was at a low ebb in England, the brilliance of the Henrician courts being a thing of the past and the golden age of the madrigal not yet begun, it was one of the few places where an Englishman could hear the latest continental music

performed with something of the resources of continental courts. Indeed, in that rather gray period after the Reformation in England when the art of polyphony was officially held to be reactionary, if not absolutely illegal, Nonesuch remained a flourishing outpost of continental musical fashion manned by disciples of Roland de Lassus.35

Arundel’s passion for Italian music led him to: commission a collection of madrigals from Innocenzo Alberti on the occasion of a trip to Padua in 1566. In addition, his close connection with Henry VIII—he was lord chamberlain for Henry and for Edward VI—as well as his stewardship of Nonesuch, makes him a likely early owner of the Newberry partbooks. Moreover, Arundel’s Netherlandish composer-in-residence, Derick Gerarde, “‘whose autograph collections

of motets, chansons, and madrigals may all be traced back to the Nonesuch library,’ 3° copied into one of Arundel’s sets of partbooks (London, British Museum, Royal Appendix MSS. 49-54) Verdelot’s six-voiced motet Sancta Maria, virgo virginum, a work which also appears in the Newberry partbooks (II, 13). Either of two items still unidentified in the Lumley catalog may refer to the Newberry partbooks: no. 2594: Madrigali di diversi autori, 4 et 5 parte, manuscript Italice. 5 volum.

no. 2606: Divers imperfect bookes of Musick, bothe printed and written hande.37

And an unpublished author index to the Lumley catalog states: ‘‘Sunt preterea cantiones variae, madrigali, et moteta musicorum elegantissima, quorum nomina hic non habentur.’’38 (“There are also various compositions: madrigals and the most elegant motets by composers whose names are not available here.’’) The depredations and dispersals Henry’s library suffered from the hands of his successors, beginning with his son Edward VI, can only be guessed at. An order in council passed 25 February 1551 purged Edward’s library at Westminster ‘of all superstitiouse bookes, as masse bookes, legendes [lives of saints], and suche like.” 39 If the Newberry partbooks, which contain sacred Catholic music,

35. Ibid., p. 48. a manuscript and not printed music. 36. Ibid., p. 54. 38. Quoted in Warren, “‘Music at None-

37. Jayne and Johnson, The Lumley Library, such,’ p. 50. p. 286. For no. 2594 the authors suggest Jehan 39. Wright, “‘Dispersal of the Libraries,’ p. Gero, Madrigali (Venice, 1545), though this is 168. obviously impossible, since the Lumley item is IO

HISTORY OF THE PARTBOOKS

were in fact in Henry’s library, they would have been among the first to be separated from the royal library of the Protestant Edward VI. Probably through these means, or as a direct gift by Henry to some favorite, such as Cranmer or

Arundel, they came into private hands. |

Hyatt King believes that Lumley and some other bibliophiles had no “ personal interest in music or knowledge of it: they seem to have acquired it either incidentally, or simply for the sake of having the subject represented on their shelves.”’ 4° Warren shows, however, that Lumley was both interested in and knowledgeable

about music, as evidenced by the dedication to him of works by John Bull and by William Byrd.4! Indeed, the dedication to Lumley of Byrd’s Liber secundus sacrarum cantwnum (London, 1591) may suggest how the Newberry partbooks could have come into Tregian’s hands, for Byrd here praises Lumley’s willingness

to share his library with others. Warren notes also that during Lumley’s last years ‘when the persecution of Catholics in England was reaching a peak, it is likely he became acutely aware of the religious value of music, particularly the liturgical polyphony of his Catholic confidant, William Byrd.’ 4? Four years

before Lumley’s death in 1609, Tregian returned to England. Perhaps it was from Lumley, his fellow Catholic, that Francis Tregian the Younger borrowed the Newberry partbooks to make his copies of Nil maius supert vident (II, 16) and

Italia ma (III, 26). CaTALoG DEscRIPTIONS

The earliest positively identifiable description of the partbooks is in Sotheby’s catalog of 1917 for the auction of W. H. Cummings’s music library. The brief description of lot 1031 reveals that the altus was then missing. Probably Cummings never owned it. MaprIGALs AND ANTHEMS. Cantus, Tenor, Tenor Bassus, Quintus et VI,

Manuscript, in 4 vol. very beautifully written by an Italian artist in Roman characters upon paper, with illuminated initials in gold and colours, old morocco gilt, ornamental borders and devices on the sides, not quite uniform; oblong. SAEC. XVI.43 When offering the partbooks for sale in 1919, Bernard Quaritch provided a more detailed description and suggested a date: SEQUENCES, ANTHEMS and Mapricats for Cantus, Tenor, Bassus, and

Quintus and Sextus. A collection of 40 [szc] sequences and anthems and 30 madrigals. Iratian Manuscript bound in 4 vols., oblong sm. 4% | finely written in Roman characters on vellum-like paper, the music in a bold clear notation, with very fine illuminated initial letters executed in gold upon red, green, blue, and yellow grounds, those on the first leaf of the cantus, tenor and bassus parts having strap borders containing a man’s head, flowers, frutt, etc. ;

40. Some British Collectors, p. 7. 43. Catalogue of the Famous Musical Library 41. Warren, ‘Music at Nonesuch,”’ p. 56. (1917), lot 1031. 42. Ibid.

II

CHAPTER ONE in a very fine contemporary Italian morocco gilt, arabesque ornaments within delicate dentelle frame borders, each volume in a different coloured morocco with

varying ornament. about 1520. 55 pounds.*4

Quaritch’s cataloger supplied a table of contents and also the text to the last motet (no. 16 of the second series), to which he appended the query: “‘? Whether this was the anthem sung on Magdalen Tower, Oxford.” 45 A far more detailed description appeared in Quaritch’s catalog of 1931, when

the partbooks were next offered. J. A. Herbert of the British Museum, who frequently helped prepare Quaritch’s catalogs, probably wrote it between 1925 and 1931] :46

Motets anD Mapricats. Motets and Madrigals for 4, 5, and 6 voices. A Manuscript collection of 30 motets and 30 madrigals, INCLUDING ONE IN HONOUR OF Henry VIII, some apparently unpublished, by composers

of the early 16th cent., including Philippe Verdelot, Adrian Willaert, etc.

4 vols., oblong sm. 4°°, Cantus, TENor, Bassus, QUINTUS AND SEXTUS, ITaLtiAn Manuscript, finely written in Roman characters on vellum-ltke paper, the music in a bold clear notation on a stave of 5 lines, with fine illuminated initial letters in gold upon red, green, and yellow grounds, the first leaves of the cantus, tenor, and bassus parts having strap borders, each within a medallion containing a man’s head with the initials J.K., A.E., and N.C. respectively ; contemporary Italian morocco gilt, arabesque ornaments within delicate dentelle Srame borders, each volume in a different coloured morocco, with varying ornament.

Early XVI cent. 55 pounds.

A very attractive manuscript. The initials probably stand for Alfonso d’Este, Duke of Ferrara (1476-1534), Cardinal Ippolito d’Este (14791520), and their relative Nicolo Corregio [stc] (1450-1508). The latter’s work, Rapimento de Cefale, was performed before Duke Ercole (father of

Alfonso and Ippolito) in 1486. The presence of no. 16 of the second series—NN2l matus supert vident—in honour of Henry VIII of England,

is interesting. There is in the British Museum, a letter (Cotton MSS. Vitellius B. 11 f. 217) which accompanied the gift of a lute from Alfonso d’Este to that monarch.*7

Here Herbert not only suggested an origin for the partbooks and sought to 44. Catalogue of Manuscripts and Books relating 46. This information kindly supplied by

to Music, p. 54. Bernard Quaritch Limited, London.

45. This query apparently refers to an old 47. Catalogue of Rare and Valuable Books, pp. legend that an annual remembrance, com- 77-78. A translation of the letter mentioned by memorating the decease of Henry VII, was Herbert appears in Ivy L. Mumford, ‘‘The sung from Magdalen tower on May first (see Identity of ‘Zuan Piero,’’’ Renaissance News 11 H. A. Wilson, Magdalen College [London, 1899], (1958): 183.

pp. 50-53). In any case, the Newberry motet (series II, no. 16) has nothing to do with this custom.

12

HISTORY OF THE PARTBOOKS

connect them with the music-making of Henry VIII but he also named composers for twenty-five of the sixty works. His identifications are for the most — part correct. Quaritch’s catalog of 1935 merely reproduced the same description.48

The acquisition of the partbooks by the Newberry Library in 1935 occurred too late for the inclusion of a notice in Seymour de Ricci’s Census of Medieval and Renatssance Manuscripts in the United States and Canada, which appeared in the

same year.49 Consequently, scholars for some time knew of them only from the

descriptions in the auction catalogs mentioned above. For example, Alfredo Obertello knew of their location in Chicago, but when he published his study

in 1949 of the Italian madrigal in England, he referred only to Quaritch’s 1935 catalog.5° HisTORICAL STUDIES

Such a treasure did not long escape the eyes of two well-known historians. Edward E. Lowinsky directed the attention of the scholarly world to the partbooks in his account, published in 1950,5! of the Vallicelliana partbooks at Rome, in which he identified concordances with ten motets from Newberry’s second series. Some years before publishing his article Lowinsky had drawn the

attention of Alfred Einstein, the great scholar of the Italian madrigal, to the partbooks; Einstein’s score made from them is in the music archives at Smith | College, Northampton, Massachusetts.52 Einstein scored all the motets, listed incipits of the madrigals, and supplied concordances from sixteenth-century printed editions and manuscripts for many of the works. He dated the collection

“circa 1535,” and at the end of his score he wrote: ‘“‘P.S. The manuscript supplies no names of its composers. I have taken the identifications from the catalogue. All the other madrigals are not identified. The identification of the names is by a ‘Mr. Detterer.’’’ 53 “Mr. Detterer’’ was Ernst Detterer, custodian of the Wing Collection at the Newberry Library from 1932 until his death in 1947. ‘The typewritten catalog to which Einstein refers was compiled by Detterer

48. See note I. 50. Madrigali italiani in Inghilterra (Milan, 49. (New York, 1935), 2 vols. The partbooks, 1949), pp. 73-74. described after the 1931 (= 1935) Quaritch 51. “SA Newly Discovered Sixteenth-Century catalog, appear in C. U. Faye and W. H. Bond, Motet Manuscript at the Biblioteca Valliceleds., Supplement to the Census of Medieval and liana in Rome,”’ Journal of the American MusicoRenaissance Manuscripts in the United States and logical Society 3 (1950): 173-232.

Canada (New York, 1962), p. 148, no. 6. The 52. Ibid., p. 198 n. 77. editors identify the owner’s initials in the book- 53. “‘P.S. Das Manuskript gibt keine Namen plate as M LHC. There are no such initialsin der Komponisten. Die Identifizierungen habe W. Carew Hazlitt, A Roll of Honour: A Calendar ich vom Katalog tibernommen. Alle anderen of the names of over 17,000 men and women who Madrigale sind nicht identifiziert. Die Identithroughout the British Isles and in our early colonies fizierung der Namen sind von einem ‘Mr. have collected mss. and printed books from the XIVth Detterer.’”’

to the XIXth century (London, 1908). Faye and Bond must have misread WHC as MLHC.

13

CHAPTER ONE

from the 1935 Quaritch catalog and is on deposit in the library. The microfilms of Einstein’s collection of scores at Smith College make his scores of the Newberry motets easily accessible to music historians.54

In 1951 Manfred Bukofzer mentioned the partbooks as a source of motets by Adrian Willaert.55 In his doctoral dissertation on the madrigals of Philippe Verdelot, completed in 1963, Donald Hersh discussed the madrigals and revealed

his own important discoveries concerning the relation of four of them to plays by Machiavelli.5¢ Leeman Perkins examined the motets by Jean Lhéritier from the partbooks in his doctoral dissertation (1965) on that composer and in his edition of the music.57

In a paper, “A Gift of Madrigals and Motets for Henry VIII,” read before the annual meeting of the Americal Musicological Society at Seattle in 1963, I essayed a brief study of the partbooks—their provenance, production, recipient,

and function—and attempted a preliminary evaluation of the music and its historical importance. The joint meeting of the Newberry Renaissance Conference and the Renaissance Seminar of the University of Chicago at the Newberry Library in April 1964 heard a revised version of this paper.*®

Norbert Boker-Heil’s doctoral dissertation on Verdelot’s motets cites the Newberry partbooks as ‘‘Ms., Signatur nicht bekannt,”? and names them as a source for two motets by Verdelot.39 His information came from Lowinsky’s study of the Vallicelliana partbooks. Discussing the madrigal in England, Edward Dent noted the partbooks as “belonging to the period of Verdelot, who

is well represented in it; Alfredo Obertello suggests that it was presented to Henry VIII by Alfonso d’Este, as it contains a motet in the king’s honour.’’ Cecil H. Clough has speculated that the partbooks, together with an illuminated manuscript copy of Machiavelli’s play La Clizia, were a wedding present to Lorenzo Ridolfi upon the occasion of his wedding to Maria Strozzi in 1529.6

A brief description supplied by the present writer appeared in the catalog accompanying the exhibition of only the cantus partbook in the Vincent Astor Gallery of the Library and Museum of the Performing Arts at Lincoln Center, _ 34,The madrigals and the last motet of series diss., Yale University, 1965, pp. 142-44, II, honoring King Henry, are on reel 6, vol. published as Fohannis Lhéritier, Opera omnia, ed. 65b; the remainder of the motets are on reel 8, Leeman L. Perkins, 2 vols. (n.p., 1969).

vol. 88. 58. The Chicago Tribune, Sunday, 24 May 95. See his review of Hermann Zenck, ed., 1964, section 5, contains a brief resumé by

Adriant Willaert: Opera omnia I (Rome, 1950) Thomas Willis, entitled “A Royal Enigma.”’ in the Journal of the American Musicological 59. Die Motetten von Philippe Verdelot (Cologne,

Society 4 (1951): 252. 1967), p. 246.

56. ** Philippe Verdelot and the Early Madri- 60. “‘The Sixteenth-Century Madrigal,” in gal,’’ Ph.D. diss., University of California, The New Oxford History of Music 4 (London,

Berkeley, 1963, pp. 281-82, available on 1968): 83. microfilm from University Microfilms, Inc., 61. ‘‘Machiavelli Researches,’? Annali dell’

Ann Arbor, Michigan, no. 63-5513. Istituto universitario orientale di Napoli, sezione 37. “The Motets of Jean Lhéritier,” Ph.D. romanza 9 (1967): 126-27.

I4

HISTORY OF THE PARTBOOKS

New York City, 10 July to 24 September 1968. This catalog also contains a reproduction of the first page of the madrigal Cortese alma gentile (III, 23) from the cantus.®2 Lewis Lockwood examined one motet from the partbooks (I, 4) in an article dealing with musica ficta.°3 Nino Pirrotta recently published three

madrigals and the openings of two others from the partbooks in his study on theater and music in Italy during the Renaissance.*+ I have mentioned the Newberry partbooks in two reviews, one of Wolfgang Osthoff’s Theatergesang und darstellende Musik in der ttalienischen Renaissance 2 vols. (Tutzing, 1969),°5 and

the other of Perkins’s edition of the music of Lhéritier.® Finally, I have discussed one motet from the partbooks (I, 12) in ““An Anonymous Twice-Texted Motet

(a A.T.M.),” in honor of Arthur Tillman Merritt.® So far as I know, these works constitute the only scholarly attention accorded

the Newberry partbooks to date. ,

62. See “Musical Treasures in American un saggio critico sulla scenografia di Elena Povoledo Libraries: An Exhibition in the Vincent Astor (Turin, 1969), pp. 175-91. Gallery,” Bulletin of the New York Public Library 65. See the Journal of the American Musico72 (1968), no. 7, p. 7, item 8, and p. 4. logical Society 23 (1970): 338-43. 63. ““A Sample Problem of musica ficta: 66. See the Musical Quarterly 57 (1971): 152. Willaert’s Pater noster,”’ in Harold Powers, ed., 67. Words and Music: The Scholar’s View. A Studies in Music History: Essays for Oliver Strunk Medley of Problems and Solutions Compiled in

(Princeton, N.J., 1968), p. 171, no. 21. Honor of A. Tillman Merritt by Sundry Hands, ed. 64. Li due Orfei da Poliziano a Monteverdi con Laurence Berman (Cambridge, Mass., 1971).

15 ,

>

Florentine Origin: The Physical Evidence

ANALYSIS OF THE physical aspects of the Newberry partbooks—the paper and how it is folded, the binding and stamping, the handwriting and the illumination —reveals much of the evidence suggesting a Florentine origin for the manuscript.

The four extant partbooks are small, oblong books, each page, or folio, measuring approximately 8? inches wide by 54 inches high. The paper is creamcolored, thick, and of good quality, with a single watermark appearing on many of the pages. The music is mensurally notated neatly in brown ink on five-line staves. Presumably the same hand wrote the text under the music. Each partbook is bound in morocco of a different color: dark red for the cantus, brown for the

tenor, darker brown for the quintus et VI, and black for the bassus. Various ornaments and borders, as well as the titles ‘‘Cantus,” “Tenor,” ‘‘ Bassus,”’ and ‘Quintus et VI,” all stamped in gilt, appear on the front and back covers. All the edges are gilt and goffered. Elaborately illuminated minuscules appear in each partbook on the first page of the compositions that open series I, II,

| and III. Smaller illuminated minuscules decorate the beginning of each subsequent composition and of each secunda pars.

THE ScriseE’s LAYOUT |

The making of the partbooks was of course the work of many hands—paper maker, scribe or scribes, illuminator, binder. The sequence of operations is nowhere documented, but it is likely that the folding, stitching, and binding came last and that the scribe’s first concern was to rule staves on the blank sheets. To do this he apparently fastened the sheets to his desk with pins; tiny holes, the size of a pin, are still visible on all the pages of the cantus, tenor, and bassus partbooks. Even the blank pages between the series and at the end of each partbook are ruled. Four staves per page are used for the motets in the cantus, tenor, and bassus partbooks, but only three staves per page for the madrigals. (The blank pages at the end of the bassus partbook, following the madrigals, have four staves.) Madrigals in the quintus et VI also have only three per page. ‘The reason for 16

FLORENTINE ORIGIN: THE PHYSICAL EVIDENCE

this may well have been that the madrigals are shorter than the motets and also have more text per line. The three staves used for the madrigals are more widely

spaced than the four staves used for the motets and therefore were probably ruled separately. After the music with its accompanying words had been copied out and the - illuminator had decorated the pages, the sheets would have gone to the binder with the scribe’s directions upon them. The binder of the Newberry partbooks was careless in trimming the pages—perhaps he was being pushed to meet a deadline—and as a result enough of the scribe’s directions remain to give us valuable clues as to how the books were put together. The sheets of paper making up the partbooks were folded in half in groups of five—quinterns—to form gatherings of ten folios each. This practice of forming

manuscript music books by groups of quinterns was peculiar to Florence, according to Knud Jeppesen, who cites four Florentine collections of about 1500 which were made up this way.! The scribe’s X still visible at the bottom of some _of the pages presumably indicates the point at which the leaves of the quintern were to be folded. Apparently the cantus, tenor, and bassus (and probably the

now lost altus) had A-A4, BI—B5, C1—C5, dl-d5, and el-e5 on the opening five folios of each of the first five quinterns. The motets of series I and the ensuing blank pages thus occupied five quinterns, marked A-e5. Motets of series II and their blank pages occupied the next three quinterns, marked f1-f5, gl—g5, and hl—-h5. The madrigals of series III and their blank pages occupied the last five quinterns, marked with numbers having curved lines above them and designating the various leaves of the quintern. Although lack of adequate information prevents a complete reconstruction, the same system was probably used for the quintus et VI. In table 1, which lists all the remaining scribal instructions, the numbers and letters in brackets are my interpretation of what would have been on the pages before the binder trimmed them, and the numbers

in parentheses indicate what would have been the original folio numbers. “Modern foliation”? means the penciled folio numbers added in recent years.

Sometime during the four centuries between the making of the partbooks and their arrival at the Newberry Library, not only did the altus partbook disappear altogether but some folios were removed from the extant partbooks. Originally, thirteen quinterns were sewn together for the cantus and thirteen for the tenor. Thus the cantus and the tenor each had 130 folios. Because the 1. “The Manuscript Florence, Biblioteca a manuscript in Florence (Biblioteca Nazionale Nazionale Centrale, Banco rari 230: An At- Centrale, II.1.350) containing responsories by tempt at a Diplomatic Reconstruction,’? Bernardo, which, though truncated, comprises Aspects of Medieval and Renaissance Music: A nine quinterns. He also mentions a document Birthday Offering to Gustave Reese (New York, of 30 June 1514 which states that Bernardo 1966), p. 446. Frank D’Accone, “‘Bernardo was to “‘write a book”’ consisting of ten quinPisano: An Introduction to His Life and_ terns for the cathedral of Florence.

Works,”’ Musica disciplina 17 (1963): 133, notes | 17

Table 1 SCRIBE’S INSTRUCTIONS TO BINDER

11 l 3] 32 d[1] d[2] 2l

Modern

Foliation Cantus Tenor Bassus Quintus et VI

A 23l Tenor Tenor Ai Tenor Aii 4 Tenor Aili Bass Aili

5 Tenor Aliii 6 X 14 [B4]

15 [B5] 24 C4 22 Q[2]

25 C[5]

33 d3 d[3] 3 | 34 [d4] a 35 d[5] 36 xX 42 [e2]

43 [e3] , 50 f4 (54) 5] f5 (55) 53 £3 [f3] [3 ?] 54 | £4 [£4] 55 [£5] 56 [f6] 62 [gl](64) (63) 63e[2] [g2] 52 © f[2] X (56)

65 g[5]

72 h[2] [hl] (73) 88 ” (92) 89 ” (93) 90 _ “™Tenor(94) 91[2] 1 = (95) 92 94.5 ~ ™(96) 95

| 96 X (98) 99 3 (103) 101 1 (103) oe 103 3 (104) . 104 4 (105) | 18

FLORENTINE ORIGIN: THE PHYSICAL EVIDENCE

bassus had twelve quinterns and one sextern, it originally numbered 132 folios. Since a quintus part appears only in the sixteen motets of series II and the last

seven madrigals of series III, the quintus et VI partbook required just seven quinterns, forming 70 folios. Of the four partbooks only the cantus still contains its original 130 folios. The tenor lacks four folios in its fourth quintern, between

the modern penciled folios 33 and 34, with a consequent loss of music. The quintus lacks its concluding folio (fol. 70). Of its original 132 folios the bassus now has 129, having lost one between modern folios 81 and 82, and another between 115 and 116, both with loss of music, and a third, from the sextern, between folios 57 and 58, with no loss of music. Reconstruction of a scribal error in the copying of the bassus partbook will explain both the fact that no music was lost with the disappearance of a folio and the unusual insertion of a sextern among the quinterns, At the beginning of

folio 56 there appears, struck out, the close of the first part of the preceding motet, Recordare, Domine (fol. 55), without, however, the custos normally used to

indicate the beginning of a secunda pars. Apparently the scribe inadvertently omitted the second part of Recordare, Domine (II, 8) and copied the beginning of the next motet, Salve, Rex, pater misericordie (II, 9), on folio 56, directly after the first part of Recordare, Domine. Realizing his error after he had finished copying Salve, Rex, he ingeniously rectified matters. He struck out the close of the first part of Recordare, Domine on folio 56. Then he inserted another sheet into the quintern, thereby transforming it into a sextern. Next he recopied on this added sheet, now numbered folio 55, the close of the first part of Recordare, Domine (with the custos) and followed it by the second part of the motet, thus occupying

folio 55 and 55’. Finally, he removed the other half of the sheet containing folio 55. It is this blank page that “disappeared”’ between folios 57 and 58. The scribe’s layout of the partbooks shows that he intended them to be bound just as they appear today—in two series of motets and one of madrigals, separated from each other by blank pages. With paper costs a major factor in book production,? it is unclear why he included so many blank pages, for it is unlikely that he planned to add further compositions after the manuscript was bound. Table

2 reconstructs the scribe’s plan for the four extant partbooks, showing the locations of music and of blank pages, the foliation both modern and as it was before the loss of pages, the division into quinterns, and the number of staves drawn on the pages. An identical but more extensive system (because of a much larger number of folios), comprising minuscules, numbers, and majuscules, characterizes the 2. Some idea of the expense of paper may be___Breviaries: A Case Study in the Sixteenthgained from that fact that “‘in the sixteenth Century Business Operations of a Publishing century, paper costs far exceeded direct labor House,’’ Bibliothéque d’Humanisme et Renaissance

costs for composition and printing costs 22 (1960): 146. combined.’’ Robert M. Kingdon, “‘ The Plantin

19

CHAPTER TWO

Cantus Tenor | Table 2

Modern Original Modern Original

Contents Foliation Foliation Quintern Staves | Foliation Foliation Quintern Staves

MotetsI 1-33 same A-D 4 1-33” 1-34 A-D 4

Blank

pages 33°-50" same D-E 4 34-46" = 34"—-50" D-E 4

Motets II 51-79 same F-H 4 47-73 51-77 F-H 4 Blank

pages 79°-80"% same H 4 73°-76" 77°—80° H 4 Madrigals 81-118" same ? 3 77-116" 81-120V ? 3

, Blank

pages 119-30" same ? 3 117-26" 121-30” ? 3

Bassus Quintus et VI

MotetsI 1-31 same A-D 4 — — — — pages 31-40" same D 4 — — — — Motets II 41-68" 41-69” E-—G* 4 1-35 same ? 4

Blank Blank

pages 69-81% 70-82” G-H 4 35"-50" same ? 4 Madrigals 82-119 84-122 }§? 3 51-63 same ? 3 Blank pages 119°-29" 129%-39¥ ? 4 | 63-69% 63°-70¥ ? 3

* F = sextern. + Quintus appears in madrigals 24-30 only.

quinterns in the three volumes of the Pandects of Justinian in Florence (Biblioteca

Nazionale Centrale, MSS. Magl. XXIX, no. 16, Banco rari 24-26). The indications on the Pandects’ folios are in the same hand as those on the Newberry partbooks. Pin holes also occur, down the right margin of each recto. The similarity in the physical composition of the Pandects—volumes of certain Florentine

provenance—to that of the Newberry partbooks helps to establish an origin in Florence for the latter.

| WATERMARK

The only watermark on the paper, and one which is used throughout, is a pair of crossed arrows within a circle below a six-pointed star. The fold of the paper at the inside binding edge makes it difficult to see, to measure, and to photograph (pls. 1a, 1). Quite common in sixteenth-century Italian papers, this watermark appears in a number of versions in Briquet and in Zonghi.3

. 20

3. See Charles Moise Briquet, Les filigranes, _Monumenta Chartae Papyraceae Historiam 2d ed. (Leipzig, 1923), vol. 2, no. 6305, and __ Illustrantia, vol. 3 (Hilversum, 1953), pl. 90, E. J. Labarre, ed., PE Se Aa cS, SER RRR Ra cy. ON a ees Se eae BE Si RR eT ee GEO ee ee OE oe Soe aie:ERSetar S SSE ee RG g *y Les. asoeé Pe Shes a HagOR2S € ERR EeOegeSeBEN SR eee Poo ey are a Be RE II SS RRS ak ot0778 ORS MR ORE ee . PRP Behae» NERé.TRE Soeee FEshe » i? Be Re Ro Bet EMM OMI CN eS E aRss: oS Sa nea SRNe RAS EAiis REGan ON Oe SE=SERr ENE oI ale

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