Instrumental Music Printed before 1600: A Bibliography 9780674731677, 0674731670

Table of contents :
ACKNOWLEDGMENTS
CONTENTS
ILLUSTRATIONS
INTRODUCTION
CHRONOLOGICAL BIBLIOGRAPHY
Appendix. Editions with Basso Continuo Parts Not Listed Elsewhere in the Bibliography
List of Works Cited
Index I. List of Libraries and Their Holdings
Index II. Volumes Described, Arranged by Types of Notation
Index III. Volumes Described, Arranged by Performing Medium
Index IV. Names
Index V. First Lines and Titles

Citation preview

INSTRUMENTAL MUSIC PRINTED BEFORE l 6 0 0

INSTRUMENTAL MUSIC PRINTED BEFORE

1600 A Bibliography HOWARD MAYER BROWN

HARVARD UNIVERSITY PRESS CAMBRIDGE, MASSACHUSETTS

1965

© Copyright 1965 by the President and Fellows of Harvard College All rights reserved Distributed in Great Britain by Oxford University Press, London

Library of Congress Catalog Card Number 65-12783

Printed in Great Britain

For John Ward

ACKNOWLEDGMENTS My first debt of gratitude is to Professor John Ward of Harvard University. He began this bibliography, and many of the crucial, initial decisions about style and content were his. Since I assumed responsibility for the work, he has been extremely generous with his time, materials, and ideas. The bibliography is, then, in a very real sense his as well as mine, and I am deeply grateful to him for his help. Three dissertations written at Harvard University, those by Lawrence Moe, Daniel Heartz, and H. Colin Slim, were especially helpful to me and I acknowledge with thanks the contributions their authors made to this work. Moreover Professor Slim has been extraordinarily generous with suggestions and advice ; he undertook the thankless task of proofreading the entire typescript, an immense labor for which I am duly grateful. I cannot list here all of the librarians who so kindly verified the existence of volumes in their libraries, but my thanks to all of them is nonetheless sincere. Among the other friends and colleagues who have helped me, I should like to thank especially Madame la Comtesse de Chambure, Edna Christopher of the University of Chicago Library, Alan Curtis of the University of California, Vincent Duckies of the University of California Library, David Fuller of the University of Buffalo, Elizabeth Henderson, Reference Librarian at the University of Rochester, François Lesure of the Bibliothèque Nationale in Paris, Professor Edward Lowinsky of the University of Chicago, who allowed me to check various concordances against his index of sixteenth-century motets, and Larry Mowers of the Isham Memorial Library of Harvard University. Publication of this volume was assisted by a grant from the American Council of Learned Societies as a result of a contribution from the United States Steel Foundation. I am pleased to acknowledge also the financial assistance of the Research Committee of the Division of the Humanities of the University of Chicago, and Wellesley College. Their grants of money enabled this book to be prepared. Without the help of Katherine Bowers, Lenore Coral, Raymond Rosenstock, and William Spady, the index of musical incipits from which the concordances were made would probably never have been completed. And, finally, it is a pleasure to thank two people whose assistance has been literally invaluable: Bonnie Blackburn, who not only typed the manuscript superbly well but also saw to innumerable details, and Blair McElroy, whose expert editorial help made the final stages much less painful than they otherwise would have been. September

1964

HOWARD MAYER BROWN

CONTENTS Introduction

ι

Chronological Bibliography

9

Appendix. Editions with Basso Continuo Parts Not Listed Elsewhere in the 439

Bibliography List of Works Cited

441

Index I. List of Libraries and Their Holdings

471

Index II. Volumes Described, Arranged by Types of Notation

476

Index III. Volumes Described, Arranged by Performing Medium

478

Index IV. Names

481

Index V. First Lines and Titles

496

ILLUSTRATIONS

Title page of 1536e

50

Title page of 1546^

92

Title page of 15472

95

Title page of 15562

170

Title page of 15623

197

Title page of 1565!

217

Title page of 15682

226

Title page of 15753

279

Title page of 15883

352

Title page of 1589,

357

Title page of 1595™

405

INSTRUMENTAL MUSIC PRINTED BEFORE l 6 o o

INTRODUCTION A definitive history of sixteenth-century instrumental music has not yet been written. Joseph W . Wasielewski's pioneering study, Geschichte der Instrumentalmusik im XVI. Jahrhundert (1878), remains the only booklength survey of the subject, and it is now almost hopelessly out of date, for only a limited amount of the music was accessible to the author. A n over-all view of the field is attempted in some general histories. Hugo Riemann in his Handbuch der Musikgeschichte (2nd ed., 1920-1923), Wilhelm Fischer in Guido Adler's Handbuch (2nd ed., 1929), Gustave Reese in Music in the Renaissance (1954), Geneviève Thibault in the Encyclopédie ele la Pléiade: Histoire de la musique, vol. I (1960), and Yvonne Rokseth in volume III of The New Oxford History of Music (i960)—all present a summary of Renaissance instrumental music. But these are more accurately reports on the current state of research rather than genuinely comprehensive surveys; lack of space has prevented the authors from writing very detailed studies. T h e fact that there are almost no syntheses of all of the available material does not mean that the subject of sixteenth-century instrumental music has been entirely neglected by scholars. A number of articles and monographs treat a single aspect of the larger field, and some of these are exhaustive within their self-imposed limitations. 1 Moreover, interest in the subject has recently grown very rapidly. N e w editions of the music are appearing in greater quantities than at any time since the sixteenth century itself. For example, the Centre National de la Recherche Scientifique in Paris has stimulated research on lute music. Thanks to one of its directors of research, Jean Jacquot, a study group has been formed, 1 Most of these articles and monographs are mentioned in the List of Works Cited, with their sigla. Only the sigla will be used to refer to these works throughout this bibliography.

and a series of modern editions of music with lute ( " L e Choeur des Muses") is now under way. And the American Institute of Musicology has recently begun to publish a corpus of early keyboard music, with Willi Apel as general editor. Before a comprehensive survey of the field can be made, however, the music must be assembled, sorted, and studied. T h e present volume, cataloguing and describing all of the instrumental music published before 1600, is a first step in that direction. Using the bibliographical techniques developed mainly by Robert Eitner, Emil Yogel, Alfred Einstein, Claudio Sartori, and, most recently, by the compilers of the first volume of the Répertoire international des sources musicales (RI SM), my aim has been to gather in one place information relevant to a study of this repertoire, describing each volume, making an inventory of the contents, and listing modern editions and studies of the music. 2 This is, in other words, a workbook, designed to make easily accessible to the student of this music all of the pertinent data. T h e bibliography lists volumes of instrumental music known to have existed but now lost, as well as those still extant. Perhaps hitherto unknown copies will turn up as a result and in any case including these lost volumes helps to complete our picture of the period. In an effort to collect as many such " g h o s t s " as possible, I have combed various reference works, notably Robert 2 T h e editors of R I S M intend to publish bibliographies of lute music and of keyboard music, manuscripts as well as prints, of the sixteenth and seventeenth centuries. T h e R I S M bibliographies will apparently not list the individual compositions in each collection, nor will they contain an index of composers. Therefore there is a point in making this present bibliography more detailed within narrower chronological limits and not restricted to volumes of music for one particular kind of instrument. A n d bibliographical control of the printed sources is a necessary preliminary to detailed studies of the manuscript instrumental music of the period.

2

I N T R O D U C T I O N

Eitner's Biographisch-bibliographisches Quellenlexikon (1899-1904) and François J. Fétis' Biographie universelle des musiciens (1860-1865), and have searched through sixteenth- and seventeenth-century book lists and catalogues, such as the inventories prepared by Georg Draudius for the Frankfurt book fairs (Bibliotheca classica, 1625 ed.; Bibliotheca exotica, 1625 ed.; Bibliotheca librorum germanicorum, 1625 ed.), and inventories of private libraries like those of the Fugger family (see Richard Schaal, " D i e Musikbibliothek von Raimund Fugger d. J.," Acta musicologica, X X I X [1957], 126) and of King John IV of Portugal (see Josquim de Vasconcellos, El Rey D. Joäo o 4'", 1900, and Vasconcellos, Primeira parte do index da libraria de musica do Rey Dom Joäo IV, 1873). I have included notices of licenses granted to issue volumes of instrumental music (for example, [1505]!, [i536]i, [iS65] e , and [1574] 4), even when no evidence is available to prove that the volumes ever were actually printed. And for cases of particularly dubious " g h o s t s " and of obvious mistakes, I have invented a category of " D o u b t f u l Works," lumping several volumes under the one heading at the end of the year involved (see, for example, the end of 1535 and 1536). 3 T h e bibliography cites volumes of music for instruments and voices—lute songs, for example—and anthologies that contain some vocal music and some instrumental music. These mixed anthologies are described fully, but only the instrumental pieces are inventoried. 4 Theoretical treatises that deal wholly with instruments or with the music written for them are included in the bibliography. 3 Three " g h o s t s " are dubious enough not even to have merited inclusion in one of the " D o u b t f u l W o r k s " lists: (1) a volume listed under " P a d u a n a " in DraudiusBC, p. 1647, as "Cantiones Italicae quas Paduana Itali vocant, 4. vocum. Venet. 1565. 4°.," which might contain instrumental music, but might as well be vocal; (2) a collection of " T e r n s c h e Lieder auf die fletten. U n d ande Instrument" listed in SchaalM, p. 129, no. 67, as having been in the Fugger library; and (3) an otherwise unknown collection by Costanzo Antegnati, Inni d'intavolatura d'organo (Venice, n.d.), listed in FétB I, 116, which may have been printed after 1600, if it ever in fact existed. 4 In cases where inventories were not available in any standard reference work I have sometimes included the vocal music as well as the instrumental music for these mixed anthologies.

These volumes either survey the instruments in use during the sixteenth century, such as Sebastian Virdung's Musica getutscht (15113), or deal with specific kinds of instruments, their construction, and use, such as Arnolt Schlick's Spiegel der Orgelmacher (1511 2 ); or else they are instruction books explaining how to play various instruments, such as Silvestro di Ganassi's Regola Rubertina (15422). Dance treatises are cited here only if they contain music. T h u s Antonio Arena's Ad suos compagniones studiantes (1529 and later) and the Jacques Moderne basse dance book (reprinted in François Lesure, "Danses et chansons à dancer au début du X V I e siècle," in Recueil de travaux offerts à M. Clovis Brunei, 1955) are omitted, while the choreographic instructions of Michel Toulouze (148?!) and of Thoinot Arbeau (1589!) are included. Treatises that discuss instrumental music as part of a more general study have not been described in the bibliography. Even though chapter 33 of Claudio Sebastiani's Bellum musicale (1563), for example, contains valuable information about instrumental practices, 5 the central issues of the book do not concern instruments, and so it has not been listed; nor has Pater Johann Lengenbrunner's Musices haud vulgare compendium (1559), in spite of its appendix on the transverse flute.6 Some treatises include musical examples without text, but I have not felt that fact sufficient to justify adding those volumes to the bibliography, and so Nicolaus Listenius, Musica. . .ab authore denuo recognita (1537 and later), Giovanni Paduani, Institutiones ad diversas ex plurium vocum harmonía cantilenas (1578), Orazio Tigrini, Il Compendio della musica (1588), and Thomas Morley, A plaine and easie introduction to practicall musicke (1597), for example, are all omitted.' Even when textless examples are as clearly instrumental in character as the twelve "ricercares" a2 5 A German translation of Sebastiani by Hermersdorff appeared in Cacilia X V - X V I I I (1875-1878), and also separately. A n English translation of chapter 33 may be found in Y o u n g B S , p. 66. 6 T h e full title of Lengenbrunner's lost treatise is given in D a v B , p. 48; EitQ V I , 132; and FétB V , 271. ' T h e Listenius treatise was reprinted in a facsimile edition by Georg Schünemann in 1927. Both the Tigrini and the Morley treatises are listed in W o l f H II, 308, as containing instrumental scores. T h e Paduani treatise is described in SartMS, p. 33.

INTRODUCTION

3

illustrating the modes in Book IV of Gioseffo and that was not so performed. In other Zarlino's Le Istitutioni harmoniche (1588 words, the ensemble counterpart of the lute and later), the treatise has not been included and keyboard intabulation is missing comin this bibliography, since under no circum- pletely from the present volume; to understances could it be considered to be princi- stand what actually happened during the pally about instrumental music. The only century the reader should remember that exceptions to the practice of excluding the instrumentalist also performed "vocal" treatises unless they deal wholly with instru- music.8 ments or instrumental music are the first Even with the distinction between instrutwo editions of Juan Bermudo's Declaración mentally performed songs and originally de instrumentos musicales (15493 a n ¿ 1550^, instrumental pieces clearly in mind, it has and Adam Gumpelzhaimer, Compendium not always been possible to make clear-cut Musicae (i59i 6 and 15944). decisions. What should be done, for example, This bibliography lists volumes of music with the Odhecaton, Canti Β, and Canti C written specifically for one kind of instru- (i5oi 1 ( 15031, 15041, and 15042)? The ment, or for one family of instruments, as pieces in these anthologies are not texted well as music written with no particular and scholars have disagreed about whether kinds of instruments in mind. Thus there or not they were intended for instrumental are entries for collections of keyboard music, performance. On the one hand text can of lute music and music for other plucked easily be added to many of the pieces, and stringed instruments, of viol and recorder many are effective as vocal compositions. music, and of music for miscellaneous On the other hand texts are not actually instrumental ensembles. Some idea of the present, some of the pieces might have been number of volumes published for each kind written as instrumental arrangements of of instrumental combination may be vocal melodies, and some may well have obtained by referring to Index III, Volumes been originally conceived for instruments. Described, Arranged by Performing My solution has been to describe these volumes, and to inventory only those pieces Medium. The development of music written which probably did not have words originally specifically for instruments is one of the (in this case those pieces which have been distinguishing characteristics of the sixteenth called, for want of a better term, carmina, century, and yet no hard and fast distinctions like " L a Morra," " L a Stanghetta," and between instrumental and vocal music exist. " L a Alfonsina"). But this general principle Some arbitrary decisions have had to be is admittedly difficult to apply, and there made concerning which volumes to include is much room for disagreement about and which ones to omit. Throughout the some of the volumes I have omitted, and century publishers added on the title pages some of the individual compositions I have of vocal anthologies notes stating that the listed. music was fit to be played on instruments I have listed as 15332 and i5333> for as well as to be sung. To have listed all of example, the two volumes of chansons the volumes would have meant citing a far published by Pierre Attaingnant which are greater number of printed music books of described on the title page as being partithe century, and would have obscured the cularly suitable for recorders and transverse central purpose of this bibliography. On flutes, since certain of the individual the other hand, to omit these volumes of chansons are marked as being better for the music suitable for voices or instruments is one instrument or for the other. And I have to risk distorting the reader's view of listed the volume of music performed at the sixteenth-century instrumental practices, for marriage of Cosimo de' Medici and Leonora without these anthologies the innocent of Toledo in 1539, since the instruments reader might suspect that comparatively that performed specific pieces are described little music originally conceived for voices in detail in the table of contents (see was capable of being performed by instru- 15391)· mental ensembles, when exactly the reverse 8 See SchneidA for a discussion of this point, and is true. There is scarcely any vocal music for an exploration of other borderline areas between at all that cannot be played on instruments instrumental and vocal music.

4

INTRODUCTION

I have omitted, on the other hand, several volumes of music that might, using similar criteria, have been included. Several volumes of Nicolas Gombert's motets were published with the title Musica Quatuor Vocum (vulgo Motecta nuncupatur), Lyris maioribus, ac Tibiis imparibus accommodata. This statement that they are arranged for viols or recorders ( ?) is much more specific than the usual vague note that the music is apt for voices and instruments ; and yet the volume contains vocal music, and so it was not included in the bibliography; nor was Giovanthomaso Cimello's Libro primo de canti a quatro voci sopra Madriali, even though the title promises information about instrumental practices, and about the combination of voices with instruments ("le più necessarie osservanze instromentali, e più convenevoli avvertenze De toni accio si possano anchora Sonare, & Cantare insieme"), a promise it does not fulfill. Girolamo dalla Casa, head of the wind band in Venice, published a volume of madrigals a 5 decorated with passaggi, but like the Cimelio and the Gombert volumes, Dalla Casa's madrigals are essentially vocal music, even with ornaments, and so the volume has been omitted. 9 In the last quarter of the sixteenth century vocal music began to be published taking into account the practice of accompanying a chorus by a keyboard instrument. An accompaniment could be entirely written out, as in at least one volume of Victoria motets. Or the composer, or publisher, could merely write in suggestions, as in Francisco Sale's Patrocinium Musices (1598), where the alternation between voices and instrument is marked in the music: " C h o r u s , " " O r g a n , " or "Organista cum suis Cantoribus." More commonly, the set of part books would include a separate "Basso per l'organo," usually a simplified score of two staves, showing the highest and lowest sounding voices at any given moment, from which the organist could improvise his accompaniment. But even though the advent of the figured bass is of great significance to the history of instrumental music, organ basses and organ scores are not catalogued in this bibliography unless they 9 For the Gombert volumes, see SchmidtgG, pp. 348-349; for descriptions and inventories of the volumes by Cimelio and Dalla Casa, see Vogel.

contain music not originally conceived with words (such as canzonas). 10 Volumes containing hunting calls of the sixteenth century do not figure in the bibliography, although hunting calls deserve to be classified as instrumental music. But in fact only two books fall into this category: George Turberville, The noble art of Venerie, and Jacques du Fouilloux, La Vénerie, both of which went through several editions in the sixteenth century. 1 1 And I have omitted Antonio Gardane's 1539 volume of two-voiced chansons ( R I S M 153921), which Claudio Sartori includes in his Bibliografia della musica strumentale italiana (1952, p. 5), although the volume may well have been intended for instrumental performances. Indeed, the collections of duos printed from time to time throughout the century are all rather difficult to justify as " i n s t r u m e n t a l " music; many of them might more properly be called exercise books for counterpoint students. But, following the principle that pieces which did not originally have words should be included I have listed many of these collections of duos (see, for example, I 5S9e> 15772, 159011, and 159012)· T h e y may well have had two functions : to provide both beginning instrumentalists and counterpoint students with material for study and performance. T h e main body of this bibliography is arranged chronologically. As with other similar bibliographies each entry is labeled with the year of publication and a subscript number. Within any given year the volumes are listed alphabetically by composer or editor, with the anonymous anthologies 10 The Victoria motets are discussed in ReMR, pp. 604, 607, and 629, and in the introduction to VicO I. Sale's Patrocinium Musices is described in BohnMD, p. 350. KinO, pp. 94ÍT, lists and discusses late sixteenth-century editions with organ bass parts. Those editions with basso continuo parts that do not otherwise appear in this bibliography are listed in the Appendix. 11 Undated copies of the Turberville volume are in the Yale University Library and in the Henry E. Huntington Library, San Marino, California. A diplomatic reprint of the 1576 ed. was published in the Tudor & Stuart Library (Oxford, 1908); for a discussion of the work, see H a l f T . A copy of a 1561 ed. of the Du Fouilloux work, printed in Poitiers, is now in the Library of Congress. For a bibliography of editions of the Du Fouilloux volume, see the new edition of 1844; for a discussion of the work, see TautA.

INTRODUCTION grouped at the end. T h u s 1546 begins with the volume of lute dances b y Julio A b o n dante, continues with volumes b y Melchiore de Barberiis, Dominico Bianchini, Francesco da Milano, and so forth to Francesco Vindella, and ends with the lute anthologies published b y the firm of Pierre Phalèse. If the title page or the colophon carries no year, then the date of the dedication is used instead. Undated volumes are grouped at the end of the decade in which they were probably published. T h a t is, all o f the undated collections published during the 1540's are arranged after 1549 under the rubric 154?. T h e one exception to this approximate dating is 154 ?4, a volume of lute music by Francesco da Milano. T h e probable date of that collection is impossible to determine. I have included it under 154? only because the majority of Francesco's works were published during that decade. Late discoveries and changes of policy in the course of preparing this bibliography have pushed some volumes out of alphabetical order. I have left them that way in order to avoid changing all of the crossreferences for a whole year. If a collection was reprinted, the later editions are mentioned at the end of the description of the first edition. Such crossreferences are given even when the collection was later revised or augmented, and the changes are listed in the description of the revisions. Whenever editions after 1600 are cited a reference to them in some standard bibliographical work is given (Eitner's Quellenlexikon, R I S M , Sartori's Bibliografia della musica strumentale italiana, or Emil Vogel, Bibliothek der gedruckten weltlichen Vocalmusik Italiens, 1500-1700, 1892). Sixteenth- and seventeenth-century catalogues and book lists are cited only when they mention volumes that are now lost, or when they disagree with known facts. For example, that Draudius dated the volume of Mainerio dances incorrectly is noted in the description of that volume (1578g). Each entry begins with the title page. Line divisions and punctuation of the original title pages are indicated, as well as the distinction between upper- and lower-case type. T h e only exception to this practice has been to substitute commas for diagonal slashes in the original German title pages, in order not to confuse punctuation marks with line

S

divisions. Cuts are described and printers' marks are indicated. But, since this is a workbook designed for the student of music rather than for the professional bibliographer, some features of the title pages are ignored in the catalogue entries. Distinctions between Roman and italic types are not made. Ornamental borders, fleurets, and other decorative features are not always indicated. Abbreviations are resolved without comment. If the collection is printed in part books, the abbreviations S A T B , 5, 6, 7, and so on are used for the various part books. In the inventories, however, the designation of the part used as the model is not included. Normally the cantus part book was used in such cases, and variants with the other part book title pages are indicated in footnotes. Following the title page each entry describes a perfect copy of the volume, indicating the number of folios and the kind of musical notation, and briefly describing the prefatory material (dedication, illustrative plates, table of contents, rules for performance, observations on notation, laudatory poems, and the like), and the closing material (colophon, index, and so on). Throughout the bibliography I have used the term " m e n s u r a l n o t a t i o n " to describe the normal staff notation in common use for polyphonic music during the fifteenth and sixteenth centuries, as opposed to the various tablatures devised for specific instruments. T h e term " mensural notation," therefore, is not meant to suggest that tablatures are not measured. Modern editions and facsimile editions of complete volumes are listed if they exist, as well as monographs and articles dealing with the contents of the volumes. If single pieces from a volume are reprinted in modern editions they are indicated in footnotes. If several pieces from the same source are reprinted in a single place they are identified by a superior letter preceding the footnote numbers. Curiously enough some of the modern editions of sixteenthcentury instrumental music are more difficult to find than the original sixteenthcentury editions. T h e reason for this state of affairs is that m u c h sixteenth-century instrumental music has been reprinted only in popular editions, which libraries do not usually collect, and which soon go out of

6

INTRODUCTION

print. I have tried to include as many of these popular editions as I could, in spite of their rarity, but I have probably not been able to control them all. I have omitted modern editions when the editor has drastically arranged the sixteenth-century original, such as the Susato and Phalèse dances arranged for piano, four hands, in volumes X X V and X X V I I of Vereeniging vor Nederlandsche Muziekgeschiedenis (1896—), and the lute music reprinted in modern schools of guitar playing like José de Azpiazu, Gitarrenschule (1954-1958), and Bruno Henze, Das Gitarrespiel (1950), but I have not been neurotically consistent about this policy. A t the end of each description there is a list of the libraries where copies of the volume are now located. I have included libraries that once owned copies which are now lost, indicating that fact (for example, see 1546 xfor the collection that was in Sorau), as well as the previous locations of volumes when that information has been available (see, for example, 15422). T h u s all of the copies known to have existed should be listed among the exemplars. If a library owns a defective copy that fact is noted, although the imperfections are not always specified. It has not always been possible to discover whether or not a copy is defective, since I have made the entries mostly from microfilms of one or at most two or three exemplars of each volume. If a library owns an incomplete set of part books, its holdings are indicated in parentheses by the abbreviations S A T B 5, 6, 7, and so on. Whenever possible manuscript appendixes to the printed volume are inventoried if they contain instrumental music, but no attempt has been made to identify further the individual compositions in these manuscript appendixes. Finally, the contents of each volume are inventoried. Titles of the pieces have been taken from the body of each volume and not from the tables of contents. Where the information in the two places differs significantly, that fact has been noted. T h e original spelling and punctuation of titles have always been preserved. Especially in the case of the intabulations that fact may occasionally create ambiguity. If the original is so garbled that the actual title of a piece remains obscure, then the actual title is also

given. If the title includes directions for accordatura tunings or other instructions for the players, it has been shortened to omit this information. And occasionally the entries have been made consistent where they were not in the original. T h e pieces in each volume have been numbered, and either pagination or foliation, whichever appears in the original, is also included. Errors in the original numbering have been corrected here without comment. Regardless of medium, sixteenth-century instrumental music falls into a few clearly defined categories. Each of these categories has been treated in a slightly different way in the inventories of the volumes. There are pieces originally conceived for voices but arranged for instruments (for example, intabulations and lute songs), music originally conceived for instruments (for example, "abstract" instrumental pieces: ricercares, fantasies, and preludes), and dance music. Each sort of music is represented by examples for each kind of performing medium, with the exception explained above that the reader will look in vain for vocal compositions directly transferable to instruments. Wherever possible the vocal model of the intabulations and other compositions originally conceived for voices is identified in the inventories. Instrumental pieces are identified in the bibliography in one of four different ways : ι. Vocal models of intabulations are identified thus: "Susanne ung jour (LevyS, p. 403: Didier Lupi Second)." 2. When the vocal model could not be found, but a closely related piece is known, the identification is preceded by " c o m p a r e " : "Je ne veux plus (compare L e s L R B , art. 3, no. 13: Certon)." T h e word " c o m pare" also precedes identifications of monophonic melodies on which instrumental compositions are based, and references to sources related in some other significant way to the composition in question. 3. Pieces that are exactly reprinted are identified by equals signs; for example, the first fantasia in 15703 was reprinted from 1568e, so the entry in 15703 reads: "Fantasia = 1568e, no. 2." 4. When a dance or an abstract piece is arranged for a different performing medium,

I N T R O D U C T I O N

the original is cited as though it were a vocal model. For example, in 1599 Giovanni Terzi arranged for solo lute two of Guami's instrumental ensemble fantasias; thus the entry for the first of them in 159911 reads: "Fantasia in modo di Canzon Francesa [Francesco] Guami (1588g, no. 4)." T h e identifications refer the reader to modern editions of the vocal models whereever these exist, and otherwise to sixteenthcentury editions cited by their RI S M numbers, Vogel numbers, or, in rare cases, by their Eitner numbers. T h e identifications include volume, page number, and composer if he is not cited in the instrumental volume, and the correct title of the model if the intabulator has changed it enough to cause serious ambiguity. Identical intabulations are cross-referenced. Different intabulations of the same vocal models can be collated by consulting the index of text incipits (see, for example, the many different versions of "Susanne ung jour"). Secundae partes are not given separate numbers in the inventories. A motet, chanson, or madrigal in more than one part is numbered as one composition, and references elsewhere to an individual part are made by number followed by a letter. Thus " 15733, no. 23b," refers to " E t valde mane," the secunda pars of Christian Hollander's motet " D u m transisset Sabbathum." T h e job of making the identifications and cross-references has been done mostly through incipits. Some mistakes will inevitably have crept in because of this procedure, for occasionally a piece will begin in the same way as another and continue differently. This possibility of confusion is particularly acute, for example, in the Hans Newsidler volumes (i53Ó e , 15367, and so on), in which several slightly different versions of the same pieces occur. Vocal models have not been found for all of the intabulations. For some of these unidentified intabulations different arrangements of the same thematic material, or perhaps a monophonie melody related to the intabulation, do exist. In such cases the reader is advised to " c o m p a r e " the other version. Wherever the word " c o m p a r e " precedes an identification, then, the vocal source is not the exact model on which the intabulator has based his instrumental arrangement, but the two versions are

7

related in some significant way. T h e reader should also take into account the fact that not all of the compositions listed in this bibliography were originally conceived for voices; some, and perhaps many, of the otherwise unidentified "intabulations" may have been originally conceived for instruments, or for instruments with voices. 12 In those cases where a number of vocal compositions have been compared with an intabulation and the model has still not been identified, all of the false leads are listed in a footnote. That the "Bergerette savoysienne" in 1507.,, for example, is not related to the monophonie tune, nor to the three polyphonic arrangements known, is almost as informative as having found the model; in any case, stating the fact may save scholars some time and effort. Abstract pieces, fantasias, and ricercares that are reprinted in later volumes are crossreferenced in the same manner as the intabulations. Often the pieces in question have been republished without acknowledgment of the editor or printer, so that the crossreferences sometimes bring out surprising relationships. N o further identifications of the abstract pieces seemed necessary or possible. On the few occasions where a fantasia has been based on a vocal model, and the vocal model is cited, that fact appears, of course, in the title. T h e task of crossreferencing all of the abstract pieces has been greatly facilitated by consulting H. Colin Slim, " T h e Keyboard Ricercar and Fantasia in Italy, ca. 1500-1550" (unpub. diss., Harvard University, 1961), which includes a thematic index of all of the fantasias from the first half of the century, and some examples from the second half. I here acknowledge my debt to Professor Slim. Dance pieces have been cross-referenced only if they are identical settings of the same melodies. Many of these compositions are rearrangements of some one given element. That is, the melodies of many dances are similar to each other, but the harmonizations differ, or else the bass patterns 1 2 See, for example, the introduction to L e RoyP, and my review of that volume in Music Library Association Notes, X X (1963), 558. In this case stylistic evidence strongly suggests that the compositions were originally conceived for lute, or for lute and voice.

8

INTRODUCTION

resemble each other, or the harmonies are the same. It has not been possible to include all of these resemblances in the inventories of the present bibliography. T h e reader is referred to Lawrence M o e , " D a n c e Music in Printed Italian L u t e Tablatures from 1507 to 1611 " (unpub. diss., Harvard University, 1956), for concordances for all of the Italian lute dances, and to Daniel Heartz, " S o u r c e s and Forms of the French Instrumental Dance in the Sixteenth Cent u r y " (unpub. diss., Harvard University, 1957), for concordances for all of the French dances. I am grateful to Professors M o e and Heartz for their important contributions to this bibliography. Vocal melodies used as a basis for dances are cited comparatively infrequently (and usually with the admonition to compare the melody with the dance—see, for example, 148 Such relationships are listed here only when they

can be proven beyond the shadow of a doubt. One number in the inventories has been given to each group of dances. Pavanegaillarde pairs and Pavana-saltarello pairs are numbered as one composition, and so are suites of three and four dances, while series of branles, allemandes, and courantes have been numbered separately. T h e reader may complain that this system is sometimes arbitrary and involves interpreting the contents. It is not always clear from the original volumes which dances are to be grouped into units, but, in spite of this drawback, such a numbering system reveals the conventional groupings more easily, and allows the reader to see at a glance how a volume is organized. Smaller sections within a single dance movement—those sections marked " r e p r i s e " or " a l i o m o d o " for example—have been omitted from the inventories.

CHRONOLOGICAL BIBLIOGRAPHY 1 4 8 ?! T O U L O U Z E , M I C H E L DE,

PUBLISHER

9

As

Sensuit lart et instruction de bien dancer. 12 fols. Mensural notation. On fol. B6V: cut of a couple dancing and the colophon, " C y finissent les regles de dancer toutes dances avecques celles regles sont notees pour Jouer a tous Instrumens nouvellement imprimees a paris aumont sainct hylaire par Michiel tholouze a lenseigne de la corne du cerf." Beginning on fol. Ai : instructions for dancing, including choreographies with monophonie melodies (dance tenors). TouA is a facsimile reprint of this dance manual. All but four of the tenors (nos. 10, 11, 45, and 46) are also in the "Brussels Basse Dance Manuscript" (B:Br, M S 9085; printed in facsimile in ClosBD). For further information see MeM, SmithFC (which includes a facsimile of fol. B6V and of no. 20), and the bibliography in BukMR, pp. 212-216. For a detailed comparison of the Toulouze choreographies with those in the Brussels Manuscript, see HeartzBD, pp. 331-332. A modern edition of the Toulouze and Brussels choreographies appears in JackBD. Copy in: GB:Lrc. I 2

fol. A3V A3V

3 4 S 6

A3 v A4 A4 A4V

V 7 A4 8 AS

Le petit Rouen Filles a marier (compare GomVC, p. xxxvii, and PlamSC, pp. 1 1 9 121) Ma maistresse Le hault & bas Le moys de may Triste playsir (compare BinchoisC, no. 45, and GurB, pp. 160-161) La poytevine Langueur en nul soit destresse1 (compare the Rostocker Liederbuch, " M i r ist mein Pferd"

10 As 11 12 13 14 15 16 17 18

As v A5V As v A6 A6 A6V A6V A6V

19 20

Βι Βι

21

Bi v

22

Bi v

23 24 25

Bi v B2 B2

26 27 28 29 30 31 32 33 34 35 36 37 38 39 40

B2 v B2V B2V Β3 Β3 B3 B3V B3v B3v B4 B4 B4 B4V B4v Bs

[RanR, no. 38], and the Lochamer Liederbuch, no. 48: "Virginalis flos" [SalmL, p. 90]) Lejoyeulx espoyr (compare no. 34 below) Casulle la novele ( = " La Spagna " ; see GomVC, pp. lxii-lxiii, and BukMR, pp. 190-216) Torin Le grand roysin Avignon Je languis Le petit roysin Ma myeux aymeye Le grant thorin Ma doulce amour (compare GB:Ob, MS Canonici misc. 213, no. 290 [see ReaneyMS], and GurB, pp. 160-161) La beaulte de castille Roti bolli joieulx2 (compare KinDT, p. 22) Lesperance de bourbon en pas de barbain [sic] Sensuit la basse dance Lesperance de bourbon Aliot novelle La basse dance du roy Lespoyr (compare BinchoisC, no. 30: " M o n doulx espoir," and GurB, pp. 160-161) Beaulte Mamie La verdelete Le joy eu!χ de brucelles Engolesme La belle Bayonne La navaroyse Barcelone (compare no. 9 above) Florentine La tantayne Barbesieux La róchele Orlyans Mamour

IO

148?!

41 42 43 44 45 46 47

Bs Bs Bs B5 v Bs v B5 v B5 v

48 49

Β6 B6

Alenchon La portingaloyse3 Vätern mon amoureux désir4 Joyeusement Passe rose La basine Ma souverayne (compare PlamF, p. 6, no. 102) La marguerite Vyses

Facs. of fol. A$ in B u k M R , opp. p. 128. M o d . ed. in K i n D T , p. 102. Facs. of fol. B i in P N , p. 63. 3 Apparently not related to Dufay's " P o r t u g a l e r " (mod. ed. in BorD, pp. 297-302). 4 Apparently not related to " V a tost mon amoureux desir," in I: Fr, M S 2356; see P l a m S C , no. 30. 1

2

fol. 20v 49v 54v

I 2 3

87v

4

Dit le burguygnon a 4 La morra2 Yzac a3 La stangetta3 Werbach [or Obrecht ?] a 3 Laalfonsina4 Jo. ghiselin a3

Facs. of title page in G r a n d T , p. 7. Facs. of title page and one other page in M a g n i S M I, 239. Facs. of several pages in A b b S I, 331; P N , p. 66; R e O ; and VernO, fig. 3. 2 Mod. ed. also in D T O XIV/28, p. 90, and R i e M , no. 18. 3 M o d . ed. also in O b r W W , p. 45. 4 M o d . ed. also in A m b G V , 190, and GiesS, p. 92. 1

1502i P E T R U C C I , O T T A V I A N O , PUBLISHER Motetti. A . numero. / .trentatre. / A

I Soil P E T R U C C I , O T T A V I A N O , PUBLISHER Harmonice Musices / Odhecaton / A 1 104 fols. Mensural notation. Dedication to Girolamo Donato on fol. i v headed "Octavianus petrutius forosemproniensis Hieronymo Donato patricio Veneto Felicitatem," and dated "Venetiis decimo octavo cal. iuias. Salutis anno. M D I . " (May 15, 1501). On fol. 2: a letter from Bartolomeo Budrio to Girolamo Donato, headed " Bartholomaeus Budrius Justinopolita Hieronymo donato patricio Veneto. S . " On fol. 2 V : table of contents. All of the prefatory material is reprinted in SartP, pp. 34-37. PetrO is a facsimile reprint (made from 15042) of the entire collection, Petrucci's first publication, and the first volume of polyphonic music ever printed. H e w O is a modern edition of the entire collection, with an extensive introduction, several facsimile pages, and complete concordances. For further information, see also ReO and SartP, pp. 34-42. T h e volume contains 96 compositions, most of them with text incipits only. A t least four of these were almost certainly originally conceived for instruments (see the statement of policy in the Introduction, above, and also CauO, C a u T , and HewO, pp. 74-78, where seven such pieces from this volume are listed and discussed). Contents = 1503 t and 15042· Copy in: I : B e (imperfect).

56 fols. Mensural notation. On fol. i v : table of contents. Colophon on fol. 56: "Impressum Venetiis per Octavianum Petrutium Forosemproniensem die 9 Madii Salutis anno 1502. Cum privilegio invictissimi Dominii Venetiarum quod nullus possit cantum Figuratum Imprimere sub pena in ipso privilegio contenta," followed by the register of signatures. For further information see SartP, pp. 44-46. T h e volume contains 32 compositions with Latin text, two vocal compositions (" O flores rosa " and " D e tous biens") with text incipit only, and one composition for instruments. SartP gives a complete list of the contents. Copy in : I : Be. 1 fol. 32

ι

La spagna2

Ghiselin

a4

A copy was in E : S ; see SartN, no. 11. 2 T h e beginning is pr. in G o m V C , p. 1. 1

15031 P E T R U C C I , O T T A V I A N O , PUBLISHER Harmonice Musices / Odhecaton / A 104 fols. Mensural notation. T h e prefatory material is identical with that in the first edition (1501!). Colophon on fol. 104: " Impressum Venetiis per Octavianum Petrutium Forosemproniensem 1502 die 14 Januarii. Cum privilegio invictissimi Dominii

II

[1 50 S] χ Venetiarum quod nullus possit cantum Figuratum imprimere sub pena in ipso privilegio contenta," followed by the register of signatures. For further information see SartP, pp. 52-55. Contents = 1501!. Copy in : E : S (imperfect).

15041 PETRUCCI, OTTAVIANO,

PUBLISHER

Canti. C. N° cento / Cinquanta. / C 1

first edition (1501 i). Colophon on fol. 104: "Impressum Venetiis per Octavianum Petrutium Forosemproniensem 1504 die 25 Maii. Cum privilegio invictissimi Dominii Venetiarum quod nullus possit cantum Figuratum imprimere sub pena in ipso privilegio contenta," followed by the register of signatures. For further information see SartP, pp. 77-82. PetrO is a facsimile of the entire collection, made from the Treviso copy. Contents = ΐδοίχ. Copies in: E : Mme, F : Pc, I : T V c a p (imperfect), N L : D H g , U S : W c . 2 Facs. of title page in Z u r M , p. 12. T h e Hague copy was in the Wolffheim library (see W o l f f C II, no. 1909). 1

168 fols. Mensural notation. On fol. 2: table of contents. Colophon on fol. 168: "Impressum Venetiis per Octavianum Petrutium Forosemproniensem 1503 die 10 Februarii. Cum privilegio invictissimi Dominii Venetiarum quod nullus possit cantum Figuratum imprimere sub pena in ipso privilegio contenta," followed by the register of signatures. For further information see SartP, pp. 69-74. The volume contains 139 compositions, including at least four which were almost certainly originally conceived for instruments. SartP gives a complete list of the contents. Copies in: A : W n , F : P c , I:TVcap (imperfect). 2

ι 2 3

fol. 13i v i47 v 15 i v

4

I57 T

Vive le roy3 Josquin a4 La spagna1 a3 Le hault dalemaigne Mathurin a3 La bernardina* Josquin a3

1 Facs. of title page in SchmidOP, fig. 1. Facs. of several pages in CesF, p. viii, and I M A M I I, viii. 2 A copy was in E : S ; see SartN, no. 12. 3 M o d . ed. in ChilS, no. 13, and ScherG, no. 62a. 4 T h e beginning is transcribed in B u k M R , p. 205 ; this piece is intabulated in 15072, no. 24; see also G o m V C , p. lxii. 5 Mod. ed. in K i e s S , app., no. 20; K i e s T , app., p. 64; and ScherG, no. 62b.

15042 PETRUCCI, OTTAVIANO,

PUBLISHER

Harmonice Musices / Odhecaton / A 1 104 fols. Mensural notation. The prefatory material is identical with that in the

2

[

1

50 5] 1

MARCO D'AQUILA [Intabulatura de lauto] In 1505 Marco d'Aquila received a tenyear privilege from the Signoria of Venice to print lute books. No volumes are known to have been printed by him. The privilege (reprinted in SchmidOP, pp. 12-13, after Venice, Archivio dell'Ex-Veneta Cancelleria Ducale, Registro Notatorio X X I I I , 14991506, fol. 141) reads: Serenissimi Principi ejusque Sapientissimo Consiglio. Humiliter supplica et servitor de la Sublimità Vostra Marco da l'Aquila cum sit che cum grandissima sua fatica et spesa non mediocre se habii inzegnato a comune utilitate de quelli che se delectarono sonar de Lauto nobilissimo Instrumento pertinente a Vary Zentilhomini far stampar la tabullatura, et rasone de metter ogni Canto in lauto cum summa industria, et arte ; et cum molto dispendio de tempo, et facultade sua: la qual opera non mai e sta stampata: Se degni la Illustrissima Signoria Vostra concieder de special gratia al prefato supplicante vostro fidelissimo: che alcun chi esser se vogli si in questa Cità de Venetia, come in tutte altre terre, et lochi nel Dominio de la Sublimità Vostra non ardisca, over prosama far stampar alcuna tabullatura de lauto de alcuna sorte, nec etiam se

12

[1 50 5] ι

alcuno la stampasse extra ditionem Illustrissimi Dominii Vestri, possi quella vender, over far vender in questa Cità ne altrove nel predicto Dominio, sotto pena, si a quelli, che la stampasseno in le terre de la Sublimità Vostra, come a quelli la conducesseno a vender in ipse terre de perder irrimissibiliter le loro opere et libri tabullati, et per cadauno de quelli stampati, over venduti pagar Ducati X. Il terzo de la qual pena sia del accusator, un terzo de quel rector, over Magistrato a chi sara facta la accusa, et l'altro terzo de epso supplicante aciò el possi cum tal gratia de Vostra Celsitudine continuar a vender le ditte opere et libri tabullati, et che alcun non li togli la industria et utilità che cum tanti sudori, et vigilie el prefato fidelissimo supplicante se ha acquistato, et questa prohibitione se intendi valer per anni X. come in similibus ad altri e sta concesso: ai piedi de la qual Sublimità Vostra humiliter se ricomanda. Die l i . Martii 1505. Infrascripti Domini Consiliarii intelecta suprascripta suplicatione terminaverunt quod suprascripto suplicanti, fiat quod petit.

headed " Christopherus Pierius Gigas Forosemproniensis in Laudem Francisci Spinacini," and the table of contents. T h e initials F . S. (Francesco Spinacino) appear in the volume over the pieces followed here by an asterisk. T h e compositions identified by the superior letter a ( a ) are reprinted in DiseF, pp. 176-247. SlimK II, 434, contains a thematic index of the ricercares. All of the compositions are for solo lute except nos. 8-12, which are for two lutes. 2

ι 3 3 4 5 6 7

8 Ser Ser Ser Ser

Consiliarii. Franciscus Barbadico. Nicolaus Foscareno. Marcus de Molino. Andreas Gritti.

9

10 1507» SPINACINO, F R A N C E S C O Intabulatura de Lauto / Libro primo. 56 fols. Italian lute tablature. Colophon on fol. 56: "Impressum Venetiis: Per Octavianum Petrutium Forosemproniensem : 1507. Cum privilegio invictissimi Dominii Venetiarum quod nullus possit imprimere intabulaturam lauti, ut in suo privilegio continet." On fol. 2: "Regula pro illis qui canere nesciunt" (in Latin and Italian); the same instructions " f o r those who cannot sing" appear in 15072, 15083, i5°9i> i 5 n i > and 15a?!. 1 On fol. 2V: a preface by the printer, dated "Venetiis. iii. Calendas Martias. Anno Salutis. M. D. V I I , " a poem

11

12

13 14 15 16 17

fol. 3 3 3 Ave Maria de Josquin* (JosqMT, no. 2) 3 (HewO, 4 Benedictus de Isach* no. 76) (RISM 5 Le desproveu infortune* 15043, no. 94: Caron?) 6V Come feme* (RISM 15043, no. 120: Alexander Agricola) 4a 8 Fortuna dun gran tempo* (HewO, no. 74: Josquin?) 9 Una maistres* (RISM 15043, no. 129: Brumel) 10 Vostre a Jamays* 5 (RISM 15043, no. 130: "Vostre a jamais / J'en ay dueul," Ghiselin) i l Juli amours* 3 [two lutes] (RISM 15043, no. 115: Ghiselin; compare no. 23 below) 13 2a pars 16 De tous biens*3 [two lutes] (HewO, no. 20: Hayne; compare no. 22 below) 19 La Bernardina de Josquin* [two lutes] (ScherG, no. 62b ; see no. 15 below) 21 Je ne fay* [two lutes] (HewO, no. 8) 22v 2a pars [De lyvres plains] 23v Jay pris amours* 3 [two lutes] (DrozT, no. 2) 2 4 V 2a pars [Heureux seray] La Mora* (HewO, no. 44 : 26 Isaac) O Venus banth* (HewO, no. 78: 27 Josquin [or Gaspar ?]) La Bernardina de Josquin* β v 27 (ScherG, no. 62b; see no. 10 above) 28v Bassadans7 (1504!, no. 2: " L a Spagna") 31 Ma buche rit (HewO, no. 54: Ockeghem)

13

I 5°7ϋ T

18

32

19

33 v

20

35T

21

36 36 v

22

37 v

23

38

24 25 26 27 28 29 30 31 32 33 34 35 36 37 38

39 39v 4° v 42 v 43 44 44v 46v 47 47 v 49 50 51 52 53 v

8

Adiu mes amours* (HewO, no. 14: Josquin) Nunquam fuit pena maior (HewO, no. 4: Juan Urrede) Non sovenir (HewO, no. 83 : " M o n souvenir," Hayne) Replica ( = coda) Fortuna per te crudelea (HewO, no. 60) Recercare de tous biens* 9 (compare no. 9 above) Recercare a Juli amours* 10 (compare no. 8 above) Recercare*11 Recercare Recercare de tutti li Toni12 Recercare Recercare Recercare Recercare13 Recercare14 Recercare Recercare Recercare Recercare Recercare Recercare Recercare

1 The " R e g u l a " are repr. in SartP, pp. 140 (from 15082) and 148 (from 1 5 0 9 ^ ; fees, and German transi, (from 15073) in WolfH II, 5 3 ; Eng. transi, (after 1 5 1 I 1 ) in SartFB. 2 Copies were in D : Bds and E : S (see SartN, p. 193, and PlamEC, p. 679). A photostat of the Berlin copy is now in F : Pn. For further information see SartP, no. 30. Sartori is mistaken in stating that a copy is in A : Wn. 3 Partial transcription in PirH, p. 1 3 5 . 4 Partial transcription in L o w G , p. 62. See there for an extended discussion of the vocal model. 5 No. 7 is listed as "Vostre a maistres" in the table of contents. 11 Mod. ed. in ScherG, no. 63a. ' Partial transcription in G o m V C , pp. Ii—Iii, and ApelR, p. 143. Incipit in M o e D M , p. 348. 8 Although Spinacino's name does not appear in the body of the print, this title in the table of contents is initialed " F . S . " Facs. of fol. 32V i n W o l f M S , no. 28. » Mod. ed. in S l i m K II, 601. 10 Mod. ed. in S l i m K II, 602. 11 Mod. ed. in BarthaZ, no. 41 ; N e e m A M I, no. ι ; and ScherG, no. 63b. Facs. of fol. 39 in ApelN, facs. 19. 12 Mod. ed. in K ö r L , p. 129. 18 Mod. ed. in SlimK II, 598. 14 Facs. of fol. 46* in W o l f H II, 55. Mod. ed. in H A M , no. 99b, where the source is incorrectly given as 1507.^ and in Z a n G I, 14.

I

5°7ι

SPINACINO, FRANCESCO Intabulatura de Lauto / Libro secondo. 56 fols. Italian lute tablature. Colophon on fol. 56 : " Impressum Venetiis : Per Octavianum Petrutium Forosemproniensem : Cum privilegio invictissimi dominii Venetiarum: quod nullus possit intabulaturam Lauti imprimere : sub peni : in ipso privilegio contentis. Die ultimo Martii 1507»" followed by the register of signatures. On fol. i v : "Regula pro illis qui canere nesciunt" (in Latin and Italian; for concordances see 15071), followed by the table of contents (facsimile of fol. i v in WolfH II, 53, along with German translation of the " R e g u l a " ) . The entire volume is by Francesco Spinacino. The compositions identified by the superior letter a C) are reprinted in DiseF, pp. 184-242. SlimK II, 437-438, contains a thematic index of the ricercares. All of the compositions are for solo lute except no 29, which is for two lutes. 1

3 4 5 6 7 8 9 10 11 12 13

fol. 2 2 Bergirette savoyene 3 Je ne cuide (HewO, no. 2: " J e cuide se ce tamps me dure") 4V Christe de si dedero3* (ObrMS I I I , Mass 9: Obrecht) 5V Agnus de ut re mi fa sol la (SartP, no. 8: Mass 3, Agnus I I I : Brumel) 7 Tandernaken" (GomO, no. 25 : Alexander Agricola) 9 J e « demande (HewO, no. 42: Busnois) io v Leur e et verme (HewO, no. 81 : A. Agricola) 13 Jay pris amours (DrozT, no. 2) 14* Le sovenir (JepK, no. 20: Morton ?) i5 v Haray tre amours (HewO, no. 86: " H a traître amours," Stockhem) 16 Palle de ysach** (DTO XIV/28, p. 98) I7V Cent mil escus ( R I S M 15043, no. 96: Busnois?) i8 v Malor me bat (HewO, no. 63: Ockeghem ?)

1 5072

H 14 15 16 17 18 19 20 21 22

23 24 25 26 27 28 29 30

31 32

33 34 35 36 37 38 39 40 41 42 43 1

i9

v

Coment peult avoir Joy e* (RI S M 1502 2, no. 19: Josquin) 20 v Dung autramer (DrozT, no. 36: Ockeghem) 2 i v A le regretz ( H e w O . n o . 48: A. Agricola) 23 v Amours amours (HewO, no. 9: Hayne) 23 v ik/o man ma defame (GB : Lbm, Add. M S 35087, fol. 2i v ) 24 v Helogeron nous (HewO, no. 40: Isaac) 25 Kyrie de lez armes (SartP, no. 9: Mass 2: Ghiselin) 26 Marguerit (HewO, no. 85) 27 v Motetto o dulcís Jesu de sopra el pater nostro ( R I S M 1504!, fol. 15) 29 v Si dedero . (HewO, no. 56: Alexander [Agricola]) 31 Bassadanza5 ( R I S M 15043, no. 121 : " L a Spagna") 33v Mater patris & filia3 (HewO, no. 62: Brumel) 35 Lome bani (HewO, no. 47: A. Agricola) 3ÓV Pensi che mai (HewO, no. 43 : "Pensif mari," Tadinghen) 37 v La stanghetta (HewO, no. 49 : Weerbecke or Obrecht?) 38 v Fortuna desperata [two lutes] (JosqMS I, 106: anon.) 41 v Sifaysviey ( I : F n , M S Magi. X I X , 59, fol. 82": " S e j e fais bien," A. Agricola) 42 v Je ne fay cont damer 43 v La Mignonne [de fortune] (I : Fn, M S Magi. X I X , 59, fol. i30 v : A. Agricola) v 45 In pace in idipsum (I : Fn, M S Magi. X I X , 59, fol. 43 v : Josquin) 47 Recercare 48 Recercare 48 Recercare 49 v Recercare 50 v Recercare 5 i v Recercare6 = 15681, no. 44 52 v Recercare 53 v Recercare = 1568^ no. 42 54 v Recercare = is68 1 ( no. 41 55 v Recercare''

Copies were in D : Bds and E : S (see S a r t N , p. 1 9 3 , and P l a m E C , p. 679). A photostat of the Berlin copy is now in F : P n . F o r further information on 1 5 0 7 3 , see SartP, no. 1 3 1 . Sartori is mistaken in stating that a copy is in A : W n .

2 N o . ι has no apparent musical relation to the chanson "Bergerette savoisienne," a monophonie version of which is pr. in ParisC, no. 1 2 . T h i s melody is incorporated in the anon, setting in R I S M 15043, no. 4 2 , and in the settings b y Josquin ( H e w O , no. 10) and by Compère (Segovia C h a n sonnier [ E : S E , M S s.η.], fol. 1 5 4 ) . 3

Facs. of fol. 4 V in W o l f H I I , 5 2 . M o d . ed. in D T O X I V / 2 8 , p. 90. 5 Incipit in M o e D M , p. 348. 6 M o d . ed. in B r u A L I, 1 7 ; E n i , N e e m A M I, no. 2. 7 M o d . ed. in G o m V C , p. xxxi. 4

p. 7 ;

and

[ISO»]! GIOVAN MARIA1 Intabulatura di Lauto, Libro Tertio. T h e third of Petrucci's lute tablatures is now lost. Knowledge of the work is limited to the information contained in an entry made by Fernando Colón in the Regestrum Β of the Biblioteca Colombina, Seville (see HuntingC, no. 2582, and PlamEC, p. 679): "Intabulatura de lauto libro tertio, et opera quae continet sunt Joannis marie alemani cuius epistola I. Come la musica. Cantilene sunt 25 quorum tabula est in principio. Item Regula pro illis qui canere nesciunt Italice et Latine. Italice I. prima deve. Latine I. intelligendum est. prima cantilena I. come feme, ultima I. Recercare giovan maria. Imp. venetiis anno 1508 Junii 20. est in 4° ad longum. Costo en Roma 110 quatrines por Setiembre de 1512." 1

On the identity of this composer see S l i m K I,

383.

I 5082 DALZA, J O A N A M B R O S I O Intabulatura de Lauto / Libro Quarto. Padoane diverse. / Calate a la spagnola. Calate a la taliana. / Tastar de corde con li soi recercar drietro [ite]. / Frottole. Joanambrosio.

/ / / /

56 fols. Italian lute tablature. On fol. i v : "Regula per quelli che non sanno cantare" (in Italian only; for concordances see 1507!), followed by a note stating that " t u t t e le pavane hanno el suo saltarello e piva,"

I 5082 followed by the table of contents headed "Tavola de la presente opera composta per lo excelente musico e sonator de lauto. Joanambrosio dalza milanese." The " R e g u l a " and table of contents are reprinted in SartP, pp. 140-142. Colophon on fol. 56: " I m p r e s s u m Venetiis: Per Octavianum Petrutium Forosemproniensem: Cum privilegio invictissimi dominii Venetiarum: quod nullus possit intabulaturam Lauti imprimere: sub penis in ipso privilegio contentis. Die ultimo Decembris. 1508." SlimK II, 438, contains a thematic index of the ricercares. M o e D M contains a thematic index (p. 349) and a table of concordances of the dances (p. 220). All of the compositions are for solo lute except nos. 24-26, which are for two lutes. Copies in: A : W n , B:Br, U S : C n (imperfect). 1

I 3 3 4 5 6 7 8 9 IO II 12 13 14 IS l6

I? l8

19 20

fol. 2 3 3V 3V 3V 4 4V S 5V 6 6V 7 8 8 9 9V I0V I Iv I2V i3 v 14 I4V I5V i6 v

Caldibi castigliano2 Recercar 3 Tastar de corde 4 Tastar de corde5 Recercar dietro Tastar de corde Recercar dietro = 15453, no. 11 Tastar de corde 6 Recercar dietro7 Tastar de corde 8 Recercar [dietro] 8 Recercar9 Recercar Recercar Pavana alla venetiana10 Saltarello Piva Pavana alla venetiana Saltarello Piva Pavana alla venetiana11 Saltarello Piva Pavana alla venetiana12 (compare 15232. no. 5) 17 Saltarello 17 Piva 18 Pavana alla venetiana 19 Saltarello 20 Piva Pavana alla ferrarese13 21 22 Saltarello 23V Piva

21

22

23

24 25 26 27 28

15 24" 25 v 2ÓV 27V 29 v 3iv 33 34 v 36

29 30 31 32 33

37 39 41 43 44 v 44 v 45 46 46 v 47 47 v

34

48 v

35 36 37 38

49 49 v 50 5° v

39

52

40

53 v

41

54

42

55 v

Pavana alla ferrarese Saltarello Piva Pavana alla ferrarese Saltarello Spingardo Pavana alla ferrarese Saltarello Spingardo (D : Mbs, Mus. M S 1511b, fol. I3 V : "Saltarello ala ferrarese") Saltarello [two lutes] Piva [two lutes] Calata [two lutes] Calata dito zigonze Calata de strambotti14 2a pars Calata15 Calata Calata Calata Calata ala spagnola = 15232, no. 33 Calata spagnola (at end : Recercar detto coda) Calata ala spagnola Calata ala spagnola Calata spagnola Calata ala spagnola ditto terzetti di zuan umbroso dalza Poi chel ciel contrario adverso16 (CesF, p. 18: Bartolomeo] Tromboncino]) Poi che volse la mia stella17 (CesF, p. 107: Bartolomeo] Tromboncino]) Patientia ognun me dice ( F : P n , Rés. V m ' 676, fol. i8 v ) Laudato dio18

1 A copy was in E : S (see SartN, p. 206, and PlamEC, p. 679). 2 A corruption of "Calvi vi vaivi, calvi arravi," the " A r a b i e " tune quoted in SaliM, p. 339, in connection with the Spanish text " R e y don Alfonso Rey me señor." 3 Mod. ed. in WasG, no. 12. * Mod. ed. in ApelM I, 20, and WolfH II, 54, with a quasi-facs. 6 Mod. ed. in EP, p. 1209; H A M , no. 99a; and KörL, p. 132. 6 Mod. ed. and facs. in AdlerH I, 398. ' Mod. ed. in Z a n G II, 16. 8 Mod. ed. in BruS II, no. 73, and T a p S , pp. 4 - 5 . β Mod. ed. in SlimK II, 603. 10 Melody only of nos. i8a and b in K ö r L , pp. 1 4 8 - 1 4 9 . Melody only of first phrase of nos. 15a, 16a, 17a, 18a, and 19a in G o m V C , p. lxv; melody only of first phrases of nos. 2oa, 21a, 22a, and 23a

15082

ι6

in G o m V C , p. lxiv. Mod. ed. of nos. I 5 a - c in M o e D M , p. 319. 11 Facs. of fol. 1 4 in P N , p. 67. 12 Mod. ed. (somewhat arranged) in A p e l M I, 20. 13 Mod. ed. in L o w T , p. 63, and Z a n G I I , 4. 14 M o d ed. .in B r u S I, no. 28; E C , pt. I, vol. I l l , p. 1 2 2 0 ; and W a s G , no. 2. 16 Mod. ed. in M o e D M , p. 322. 18 Mod. ed. in P i r F , pp. 6-9, and DiseF, p. 225. 17 Mod. ed. in PirF, p. 10, and DiseF, p. 223. 18 Mod. ed. in DiseF, p. 228.

15091

Copies in: A : W n , E : S , F : P c , (imperfect).

US:Cn

SONGS FOR SOLO VOICE AND LUTE

ι

fol. 3

2

3V

3

4

4

4V

Afflitti spirti miei1 Bartolomeo] T r o m b o n c i n o ] (RI S M 15073, fol. 2 ) Sel morir mai de gloria B. T. ( R I S M 15073, fol. 3V) Accio chel tempo e i cieli B. T. ( R I S M 15073, fol. 4) O dolce e lieto albergo ( R I S M 15055, fol. 45v)

BOSSINENSIS,

FRANCISCUS

Tenori e contrabassi intabu/lati col sopran in canto fi/gurato per cantar e so/nar col lauto Li/bro primo. / Francisci Bossinensis / Opus. 56 fols. Italian lute tablature and mensural notation. O n fol. i v : table of contents including a list of the "Recercar li quali serveno a le frottole secondo lordino de le littere sottoscripte." O n fol. 2: "Regola per quelli che non sanno c a n t a r e " (in Italian only; for concordances see 1507!). O n fol. 2 V : dedication to " R e v e r e n d o in Cristo Patri Domino .D. Hieronymo Barbadico Prothonotario appostolico ac primicerio .S. Marci Venetiarum dignissimo patrono singulari Franciscus bossinensis. S. P. D . , " followed by a poem in Italian signed B. M . F. On fols. 55 V -S6: extra verses of text for some of the in tabulations. Colophon on fol. 56: " I m p r e s s u m Venetiis: Per Octavianum Petrutium Forosemproniensem : C u m privilegio invictissimi dominii Venetiarum : quod nullus possit intabulaturam Lauti imprimere : sub penis in ipso privilegio contentis. Die 27 Martii. 1509," followed by the printer's mark. T h e entire collection is reprinted in DiseF, which includes facsimiles of the title page, fols. 49" and 50, the table of contents, and the colophon. For f u r t h e r information see SartP, pp. 146-151, which reprints the table of contents, the " R e g o l a , " the dedication, and the poem. SlimK II, 441, contains a thematic index of the ricercares. Nos. 1-70 are for solo voice (written in mensural notation) and lute; nos. 71-96 are for solo lute. I n the following inventory the composers' initials are resolved the first time they appear only.

5

5

6

6

7

6V

8

7V

9

8V

10

9

11

9V

12

io v

13

il

14

II V

15

I2V

16

13

Zephyro spira e il bel tempo rimena

17

14

Ho scoperto il tanto aperto

Si e debile il filo a cui B. T . ( R I S M 15073, fol. 4V) Con pianto e con dolore ( R I S M 15055, fol. 42) Sii din mai chio venga in odio B.T.

( R I S M 15073, fol. 3I V )

Che debo far che mi consigli B . T . ( R I S M 15073, fol. i3 v ) Haime per che mhai privo ( R I S M 15073, fol. 47) Voi che passate qui F r a n c e s c o d'Ana] V[enetus organista] ( R I S M 15073, fol. 18: B. T.) Non peccando altri chel core B . T . ( R I S M 15073, fol. 26V: M [arco] C[ara]) Cade ogni mio pensier B.T. ( R I S M 15073, fol. 4 6 v ) Ala fama si va per varie scale ( R I S M 15092, fol. 9: B. T . ) Chi in pregion crede tornarmi B. T . ( R I S M 15074, fol. 3V) Spargean per lariale annodate B. T . B. T .

( R I S M 15074, fol. 5 V ) ( R I S M 15074, fol. 6 V )

B. T .

( R I S M 15074, fol. i 6 v ) 18

14*

19

I5 V

20

I6V

21

17

22

I7V

23

18

Deh non più deh non più mo M . C. ( R I S M 15073, fol. 44 v ) O despietato tempo P. Zanin [Bisan] ( R I S M 15073, fol. 5o v ) Io cercho pur la insupportabil B . T . ( R I S M 15073, fol. 52 v ) Chi Iharebbe mai creduto ( R I S M 15092, fol. 17: M . C.) Arma del mio valor* M.C. ( R I S M 15092, fol. i6 v ) Lacrime e voi sospir ( R I S M 1 5 0 5 5 , f o l . 42V)

1 ν

24

ι8

25

19

26

20

27

20 v

28

22

Nasce laspro mio tormento F. V. (CesF, p. 52) O mia cieca e dura sorte (CesF, p.S:M.C.) Se per chieder merce gratia simpetra M. C. (RISM 15074, fol. io v ) Ostinato vo seguire (RISM 15092, f o l . I 2 V : B . T . )

22 v

30

23

31

23v

32

24 V

33

24

34 35

25 25V 26v

37

27

52

53 54

( R I S M 15092, fol. 40 v )

Sera forsi ripreso il pensier mio B. T . (RISM 15092, fol. 3ov) Chi vi dara più luce F. V. Son più tua che non son mia 3

55 56 57 58 59 60

28

39

28v

40

29v

41

3°v

42

31

43

32

44

32v

45

33

46

34

47

34v

48

35

49

35v 36

17 10

v

Ben chamor me facci torto B. T . (CesF, p. 22) 37 Ognun fugga fugga amore Ant[onio"| Cap[rioli Brixiensis] (RISM 15055, fol. 3 6 v ) 11 38 Poi chel ciel contrario adverso B. T . (CesF, p. 18) 38* In te domine speravi Josquin [des Prez] Dascanio (CesF, p. 38) 39v Ala guerra ala guerra Β. T . (CesF, p. 26) El convera chio mora B. T . 40 (CesF, p. 21) 1 4° v Udite voi finestre * M. C. (CesF, p. 10) 41 Poi che per fede manca Ant. Cap. Brixiensis (CesF, p. 43) 4i v Aime chio moro D. M. C. (CesF, p. 33: Micha[el Pesenti]) 13 42v Ben chel ciel me thabbi tolto 36

B.T.

( R I S M 15092, fol. 7V)

F . V.

( R I S M 15055, fol. 22 v )

O cara libertade (RISM 15063, fol. 49) Più non tamo aibo aibo M. C. (RISM 15092, fol. i8 v ) Sei affannato cor in foco giace

61

44

62

44v

Poi che volse la mia stella * B. T . (CesF, p. 107) Deh si deh no deh si B. T. (CesF, p. 12: M. C.) Sio gel dico che dira B. T.

63

45v

64

46

Ti par gran maraveglia N[icolaus] Pfifaro] (RISM

( R I S M 15074, fol. 2V)

65

46v

66

47

67

47v

Chi me dara più pace M. C. (CesF, p. 11) Pietà cara signora M. C. (CesF, p. 12) Non som qual chio solea Phi.

68

48

( R I S M 15074, fol. 33 v )

Chi vi dara più luce B. T . ( R I S M 15074, fol. 54)

38

50

( R I S M 15063, fol. 9)

Deus in adiutorium meum intende B . T . (RISM 15056, fol. 9V) Mia benigna fortuna el viver lieto (RISM 15092, fol. 37") Come chel bianco cigno M. C. (CesF, p. 11) Aqua aqua aiutai foco B. T.

M . C.

36

51

Tu dormi io veglio a la tempesta B. T .

29

5 °9ι

Crudel come mai potesti 6 (CesF, p. 1 8 : B. T.) Scopri lingua el cieco ardore B. T . (CesF, p. 14) Se de fede vengo ameno M. C. (CesF, p. 7) Oime il cor oime la testae M. C. (CesF, p. 3) Non e tempo daspetare7 M. C. (CesF, p. 3) Hor venduto ho la speranza M. C. (CesF, p. 6) Io non compro più speranza 8 M. C. (CesF, p. 8) La fortuna voi cosi (CesF, p. 1 3 : M. C.) In hospitas per alpes D. M[ichele Pesenti] (CesF, p. 34) Se me grato il tuo tornare Phi[lippo] de Lu[prano] (CesF, p· 41) Integer vite scelerisque purus 9 D . M . (CesF, p. 35)

15055, fol. I7 V )

D. L. M . C. 69

( R I S M 15063, fol. 2)

Se ben il fin de la mia vita asento ( R I S M 15063, fol. 4 2 v )

48" Non si po quai che si vole Phi. D . L . fol. 47 v )

70

49

( R I S M 15063,

De che parlera più la lingua mia M. C.

SOLO LUTE PIECES

71 72 73 74 75

49v 49v 50

Recercar primo

50

76

50 50'

45."

77 78 79

51 51 51

2." 3.15

6.

7.17 8.

9•

ι8

80 81 82 83 84 BS 86 87 88 89 90 9i 92 93 94 95 96

1 5 0 9 1

Si 5iv 52 52 52 52 52v 52v 53 53 53v 53v 54 54 54v 55 55

IO. II. 12. 13· I4.1* 15-19

16.20 17· 18. 19. 20. 21. 22. 23. 24,21 2526.

Facs. of fol. 3 in S c h m i d O P , fig 3. Facs. of fol. 17V in P i r H , pl. X V I . T h e title is given here as it appears in the table of contents. T h e text under the voice line reads " S o m pi tua che non sia m i a . " 4 M o d . ed. in P i r F , pp. 6 - 9 . 5 M o d . ed. in F e r a n d I M , pp. 383-384. 6 M o d . ed. in R e M R , pp. 163-164. 7 M o d . ed. in S c h e r G , no. 72. 8 M o d . ed. in B r u A L I, 13, and in M a g n i S M I, 249—250. Quasi-facs. in W o l f H II, 60. 9 M o d . ed. in B r u S I I I , no. 1 1 6 ; S c h e r G , no. 7 4 ; and T a p S , pp. 6 - 7 (with a quasi-facs. of fol. 36). 1 0 M o d . ed. and facs. of fols. 36 v and 37 in N o s k e S , p p . i l , 17. 1 1 M o d . ed. in P i r F , p. 10. 1 2 T h e table of contents reads " Odite voi finestre." 1 3 T h e initials " D . M . " appear on fol. 43 v over the last page of no. 60. 1 4 M o d . ed. in A p e l M I, 21. 1 5 M o d . ed. in B r u S I, no. 33, and W a s G , no. 13. 1 6 M o d . ed. in S l i m K II, 605. 1 7 M o d ed. in T a p S , p. 7. 1 8 M o d . ed. in F e r a n d I M , p. 382. 1 9 M o d . ed. in E C , pt. I, vol. I l l , p. 1220. 20 M o d . ed. in R e M R , p. 163. 2 1 M o d . ed. in F e r a n d I M , p. 382. 1

2 3

quelli che non sanno cantare" (in Italian only; for concordances see 1507!). On fol. 2 V : the same dedicatory letter addressed to Girolamo Barbadico and poem in Italian as appear in 1509!. Colophon on fol. 64: " Impressum in Forosempronii per Octavianum Petrutium Forosemproniensem Anno domini M D X I Die 10 Madii," followed by the printer's mark. For further information see SartP, pp. 152-159, which reprints the prefatory material. Facsimiles of fols. i v and 3 appear in SartFB, opposite p. 240; the same article contains an English translation of the prefatory material. T h e entire collection is reprinted in DiseF, which includes facsimiles of the title page, the " Regola," the dedication, fol. 48", and the colophon. BossR is a modern edition of the 20 ricercari in this volume. SlimK II, 445-449, contains a thematic index of the ricercares. Nos. 1-56 are for solo voice (written in mensural notation) and lute; nos. 57-76 are for solo lute. In the following inventory composers' initials are resolved the first time they appear only. Copy in: I : M b . 1 SONGS FOR SOLO VOICE AND LUTE

ι 2

fol. 3 3V

3

4V

4 5

5 6 7

5V 6V 7V

8

9

9 10

10 iiv

11

I2V

12

I3V

X S I I 1

BOSSINENSIS,

FRANCISCOS

Tenori e contrabassi intabu/lati col sopran in canto fi/gurato per cantar e so/nar col lauto Li/bro Secundo. / Francisci Bossinensis / Opus. 64 fols. Italian lute tablature and mensural notation. On fol. i v : table of contents including a list of the "Recercar li quali serveno a le frottole secondo lordine de le littere sottoscripte." On fol. 2: "Regola per

Felice fu quel di felice il ponto Per dolor me bagno il viso Bartolomeo] Tromboncino] ( R I S M 15142, fol. 24 v : M[arco] C[ara]) II bon nochier sempre parla de venti Io tho donato il core Jo[an] Battista] Ze[sso] ( R I S M 15073, fol. 2) Se mai per maraveglia 2 Si oportuerit me teco mori M . C . Ochi mei lassi mentre chio B. T. ( R I S M 1510, fol. 4ov) Per fuggir damor le punte M.C. ( R I S M [c. 1516L, fol. 8V) Se per colpa di vostro fero3 Amando e desiando4 Cariteo ( R I S M 15092, fol. 55v) Dopoi longe fatiche & longi (I : Vnm, M S S It. Cl. IV, 179598, no. 11 : Galeotto del Carretto) Deh chi me sa dir novella D . Mi [chele Pesenti] 5 ( R I S M 15074, fol. 45v)

1

13

IS

5

He le nata aime colei Pieftro] da Lodi 14 16 Poi chel ciel e la fortuna Michel [Pesenti] V[eronensis] (CesF, p. 29) 15 17 Pregavi frondi fiori aque6 B. T. ( R I S M 15073, fol. 11) 16 i7 v Come vai mondo fior tu che beato T . B. [sic] ( R I S M 1 5 0 7 3 , fol. n v : B. T . ) 17 18 Passato el tempo jocondo B. T . 18 i8v Vidi hor cogliendo rose Alexan[dro] Demophon ( R I S M 15073, fol. 49 v ) 19 I9V Venimus e romeria ( R I S M 15063, fol. 45 v ) 20 20 Con pianto e con dolore ( R I S M 15055, fol. 42) 21 20 v Io non manchi di fede Jo. Ba. Ze. 22 21 v Poi che mia sincera fede Antfonio] Cap[rioli] ( R I S M 15055, fol. 4V) 23 23 O bon egli e bon 0 bon M . C. ( R I S M 1505e, fol. 4V) 24 24 Non val aqua al mio gran foco Β. T . (CesF, p. 15) 25 25 Ite in pace suspir fieri Β. T. ( R I S M 1505 e , fol. 13η 2Ó 2ÓV Sei partir mincrebe e dolse ( R I S M i S o 5 e , fol. 25*) 27 27 Fate ben gente cortese Β. T. ( R I S M 15074, fol. 3 9 v ) 28 28 Non si vedrà mai stanca ne satia A . C . ( R I S M 1 5 0 7 3 , fol. 8 V ) 29 29 Spenta mhai del petto amore D. M . ( R I S M 1 5 0 7 3 , fol. 2 θ ν ) 30 30* Liber fui un tempo in foco M.C. (CesF, p. 122) 31 31" Sto son stato a ritornare D . Mi. (CesF, p. 30) 32 32 v Ai ceco e crudo amore Helias Dupre 33 33 Chi non sa chi non intende Β. T. ( R I S M 15063, fol. i9 v ) 34 35 Soto un verde e alto cupresso Anto. Capri. ( R I S M 15074, fol. I3 V ) 35 36 Chi promete e debitore ( R I S M 15074, f o l . I2 V )

36

37

37

38 v

38

39 v

Quei che sempre han da penare M . C. (CesF, p. 120) Fuggitiva mia speranza M. C. (CesF, p. 121) Cosi confuso e il stato Β. T .

1 1

i9

1

39

4θν

40

41

41

42 v

42

43 v

43 44

44 44 v

45

46

46

47

47

47 v

48

48 v

49

49

50

49 v

51

51

52

52 v

53

53

54

54

55

54 v

56

55

Dolce amoroso foco ( R I S M 1505 e. fol. 32 v ) Quando andaratu al monte Jo. Pie. Man. (AmbG V, 534: " E quando andare tu al monte," Giovanni Battista Zesso) Dolermi sempre voglio Β. T . ( R I S M 15092, fol. 3) Quella bella e bianco mano A. C. ( R I S M 15074, fol. i4 v ) Starala ben cussi Jo. Ba. Ze. Ite caldi o miei suspiri Β. T . ( R I S M 15092, fol. ι i v ) Suspir io themo ma più theme il core B. T . ( R I S M 1505e, fol. S4V) Se mai nei mei pochi anni B. T . ( R I S M 15074, fol. 27) Ala fe per la mia fe Pelefgrino] Cesena ( R I S M 1505e, fol. 5 V : anon.) Sio sedo a lombra amor7 M. C. ( R I S M 1505e, fol. 53) Ameni colli Ludo[vico] Mila[nese] ( R I S M 15074, fol. 29 v ) Non e pensier chel mio secreto D . Mi. ( R I S M 15074, fol. 54 v ) Ahimè lasso ahimè dolente Mi. C. ( R I S M 1505e, fol. 2 V : Michele Pesenti) Vale diva vale in pace B. T . (CesF, p. 17) Deh per dio non mi far torto B. T . (CesF, p. 19) Son pur congiùnto a tanto ( R I S M 15055, fol. 52 v ) O selve o sparse gregge [Onofrio] Anftinori] Pattavinus ( R I S M 1505e, fol. 49: anon.) O tempo o ciel volubil Pauli Scotti ( R I S M 15092, fol. 8 V : anon.)

SOLO L U T E PIECES

57 58 59 60 61 62 63 64 65 66

55 v 55 v 56 57 57 v 58 58 58" 58 v 59 v

Recercar primo R2 3 R4 R5 6 7 R8 9 10

20 67 68 69 70 71 72 73 74 75 76

I 5 60 6ov 6ov 6o v 61 6iv 62 62v 63 63"

1

II complete treatise. SchlickS (Miller) is an English translation. For further information see BraunS; FrotO, p. 86; K e n N ; MendP; R e F S , no. 34; and SchlechtB. Copies in: D : H A m k , G B : L b m h .

R11 R12 13 14 15 16

1 Facs. of cut in CollaerAH, p. viii, and M G G V I I , col. 639. Facs. of title page in KleinO, p. 48; K o m m a M , p. 82 ; and S u m n O , pi. 9.

17 18 R19 R20

A copy was in E : S (see PlamEC, p. M o d . ed. in BossR, p. 17. ® N o musical relation to the setting text by Marco Cara in R I S M 1514». 4 M o d . ed. (with vocal model) and DiseCT. 5 A note indicates that Pesenti wrote well as the music of no. 12. " M o d . ed. in G a l l L P , p. 137. 7 M o d . ed. in BossR, p. 18. 8 Mod. ed. in G a l l L P , p. 137. 1

683).

2

of the same

VIRDUNG,

SEBASTIAN

analysis in the text as

15 112 SCHLICK,

I S I Is

Musica getutscht und / aussgezogen durch Sebastianum virdung Priesters / von Amberg und alles gesang auss den noten in die tabulaturen diser benanten dryer Instrumenten der Or/geln: der Lauten: und den Flöten transferieren zu lernen / Kurtzlich gemacht zu eren dem hochwirdigen hoch / gebornen fürsten unnd herren: herr wilhalmen / Bischove zum Strassburg seynem gnedigen herren. 1

ARNOLT

Spiegel der Orgelmacher und Organisten allen Stifften und kirchen / so Orgel halten oder machen lassen hochnützlich, durch den hochbreüm/pten und künstreichen Meyster Arnolt Schlicken Pfaltzgravischen / Organisten artlich verfasst. und uss Römischer Kaisserlicher maiestat / sonder löblicher befreyhung und begnadung auffgericht und aussgangen. / [Cut of performing musicians] 1 30 fols. Colophon lacking. T h e "Privileg i u m " is signed: " G e g e b e n in unserer und des Reichs Stadt Strassburg, am 3. April Anno 1511, unserer Herrschaft im Römischen Reiche des 26. und im Ungarischen des 21. Jahres. Für den König: Im Auftrag Seiner Kaiserlichen Maiestät eigenhändig: Serentiner sszt." After SchlickS (Eitner) it has been assumed that the work was printed in Mainz by Peter Schofler in 1511 ; SchlickS (Smets) states that Peter Drach in Speyer was the printer. This short treatise deals with organ construction; it includes information on building materials, tuning, registration, and use of the instrument, and descriptions of contemporary organs. SchlickS (Eitner), SchlickS (Flade), and SchlickS (Smets) are modern editions of the

56 fols. On fol. A i v : heraldic shield. On fol. A 2 : dedication to " D e m hochwirdigen hochgebornen fürsten und herrenherr Wilhelmen Bischove zu Strassburg," and signed on fol. A2 V , "Geben zü Basel uff zinstag Margarethe. Tusent fünff hundert und xi Jar." N o printer is named. 2 T h i s treatise in dialogue describes various types of instruments and teaches the student to transcribe vocal music for organ, lute, and flute. T h e text is profusely illustrated with woodcuts of the instruments. On the illustrations see EisenV. 3 On the "instruments of Saint Jerome" see Hammerl. T h e volume contains one complete composition, a German religious song " O haylige, onbeflecte, zart junckfrawschafft marie," printed in mensural notation on fols. H 4 v - J i ; in organ tablature on fols. Ji v -J2; and in German lute tablature on fols. M 2 v - M 3 . " T h e second part of this treatise was translated into French (see 15292), Latin (see 15364), and Flemish (see 15549 and 1568g). Agricola's Musica Instrumentalis deudsch (for various editions see 15291) is based on Virdung. P u b A P T M X I and VirdungM are facsimile editions of the complete treatise. For further information see L e n n e C C (which includes a modern

I 5 I 2χ edition of the lute intabulation) ; N e f V ; ReFS, no. 33; and WalS. Copies in: A : I u , A : W g m (imperfect), A : W n , C H : B u (imperfect), D : B d s - T ü , D:KA, D:Mbs, D:Ngm, D : W , F:Pc, G B : Eu, GB : Lbm, G B : L b m h (imperfect), NL:DHgm.5 1 Facs. of title page and three other pages in KinsP, pp. 1 1 8 , 1 3 2 . 2 D a v B names Michael Furter as the printer. 3 Some of the illustrations are repr. in A b b S I, 426; DegenB, pi. 2 ; E C , pt. I I , vol. I l l , p. 1488; LittC, p. 8; M G G V I I I , col. 3 5 7 ; PinchlH, p. 40; and WinterR, p. 469. 4 Facs. of fol. M2V in M G G V I I I , col. 358 (incorrectly labeled " M a r i a z a r t " ) ; mod. ed. in ChilHN, p. 52. 5 Copies were in the libraries of W. H . Cummings (see C u m m C , no. 1 1 5 3 ) , Alfred Littleton (see LittC, p. 8, and M L E , 1904, p. 12), J . E. Matthew (see M L E , 1904, p. 32), and in E : S (see HuntingC, no. 922, and P l a m E C , p. 670, where the title is given as " M u s i c a theutonica Sebastiani virdvarg"). J u s t possibly this is the volume referred to as " T e u t s c h e Lieder auf die fletten. U n d ande Instrument" in the Raimund Fugger library (see SchaalM, p. 129).

ISI2l SCHLICK, ARNOLT [Cut of a swan and a lady playing a recorder; at her feet are an organ, a harp, a lute, and several other instruments.] Tabulaturen Etlicher lob/gesang und lidlein uff die orgeln u n d lau/ten, ein theil mit zweien stimen zü zwicken / u n d die drit dartzu sungen, etlich on gesangk / mit dreien, von Arnolt Schlicken Pfaltz/gravischem Chürfürstlichem Organisten /Tabulirt, u n d in den truck in der ursprungk/lichen stat der truckerei zü Meintz wie hie/nach volgt verordent. 4 + 43 fols. Mensural notation, German keyboard tablature (mensural notation and letters), and German lute tablature. On fol. i v : poem in German beginning " D i s s artlich büch u n d künstlich wergk." On fol. 2: a letter addressed to "meinem lieber vatter," and signed "Arnolt Schlick der Jung, dein undertheniger sone," followed (on fols. 2 v -4) by the "Antwort Arnolt Schlicken uff die bitt seines sons," dated " D a t u m Andree apo. anno 1.5.11." On fol. 4V : table of contents and a satirical poem in 2 +B.P.I.M.

21

German against Sebastian Virdung beginning " Ir Musici senger orgler" (see LenneCC for information about their quarrel). Fol. S = p. ι . Colophon on p. 83: " G e t r u c k t zü Mentz durch Peter Schöffern. Uff sant Matheis abent. Anno. M . d. xii." SchlickT (Eitner) is a modern edition of most of the collection. SchlickT (Harms) is a modern edition of the entire collection, and includes facsimile pages of the prefatory matter and some of the music. Nos. 1 - 1 4 are cantus firmus settings for solo keyboard (written in keyboard tablature); nos 15-26 are for solo voice (written in mensural notation) and lute; and nos. 27-29 are for solo lute. Copies in: D:Bds-Tu (imperfect), D : L E m , F : P n (imperfect). SOLO KEYBOARD PIECES

ι 2 3 4 5 6 7 8 9 10 11 12 13 14

P· ι Salve regina1 4 Ad te clamamus 6 Eya ergo advocata 10 O pia 13 O dulcís Maria 18 Pete quid vis 24 Hoe losteleck2 29 Benedictos3 34 Primi toni 37 Maria zart* (compare BäumK II, 89; ZahnM, no. 8552; and no. 26 below) 42 Cr iste 45 Dapacem5 49 Dapacem5 53 Dapacem5

SONGS FOR SOLO VOICE AND LUTE

Mein M. ich hab 6 (MosL, no. 41) 16 59 Cupido hat (MosL, no. 24) 1 (MosPH, 17 61 Hertzliebstes pild no. 9: Hofhaimer) 18 62 Nach lust hab ich 8 (MosL, no. 25: Georg Forster) 9 (MosL, no. 4) 19 64 Vil hinderlist 20 65 Möcht es gesein10 21 66 Mein lieb ist weg 22 67 Ich schrei und rieff (MosL, no. 45) 11 (HewO, no. 27 23 68 Metzhin isack " Tmeiskin was jonck," Isaac, J apart, or Obrecht?) iS

57

22

I 5 I 2 !

24

7i

25

73

26

75

Philips zwolffpot auss not hilff mir12 -Www Äa£> ich all mein tag gehört13 (SchlickT [Harms], p. 6i) Maria zart14 (compare no. 10 above)

SOLO LUTE PIECES

27 28

79 81

29

81

All ding mit radt15 Wer gnad durch klaff16 (MosL, no. 62) Weg wart dein art1,1 (CH:SGs, Cod. 463, no. 61)

1 M o d . ed. in A p e l M K , p. 38; H A M , no. 100; M O M L I ; and O L V I I I , 5. Facs. of p. 1 in A p e l N , p. 27, and P i n c h l H , p. 41. Facs. of parts of several pages in ChrysS, p. 472. 2 Mod. ed. and partial quasi-facs. in W o l f H II, 20. 3 Facs. of p. 29 in G o t t r o n M M , pi. III. 4 M o d . ed. in A p e l M K , p. 39; H A M , no. 101; K l e i n O , p. 50; M U II, Supplement, " M u s i k im A n f a n g , " p. 30; O L X I V , 7 ; RitZ II, 96; R o y M , p. 38 ; and StraubeM II, no. 25. 5 M o d . ed. of nos. 1 2 - 1 4 in L i t a D P , p. 3 ; mod. ed. of one " D a p a c e m " in O L II, 4. Facs. of p. 52 in KinsP, p. 77. 6 M o d . ed. and quasi-facs. of p. 57 in T a p S , p. 8. Heading on p. 56: " H i e n a c h fahet an Tabulatur uff die Lauten. Ein Stirn zu singen die andern zwicken." ' M o d . ed. in B r u A L , p. 2; D T O X X X V I I / 7 2 , p. 82; and M U II, app., p. 25. 8 M o d . ed. in B r u A L , p. 4. 9 M o d . ed. in BruS I, no. 15, and K ö r L , p. 155. 1 0 M o d . ed. in K ö r L , p. 154. 1 1 M o d . ed. in D T O XIV/28, p. 159. 1 2 Partial quasi-facs. in W o l f H II, 42. 1 3 M o d . ed. in BruS II, no. 85, and GünthB, 1936. 1 4 M o d . ed. in BruS II, no. 46. 1 5 Heading on p. 79: " Z w i c k e n mit dreien." 1 6 M o d . ed. in T a p S , p. 10. 1 7 Only the discant and altus of the vocal model are extant. T h e altus does not appear in the Schlick arrangement.

1

S

1

7l

ANTICO, ANDREA,

40 fols. Keyboard score. On fol. 2 : table of contents. On fol. 38 v : printing privilege granted by Leo X , dated and signed (on fol. 39): "Romae apud sanctum Petrum sub annulo Piscatoris. Die . X X V I I . Decembris. M . D . X V I I . Pontificarne, nostri Anno Quarto. Jacobus Sadoletus," followed by the printer's mark (two intertwined A's within an ornamental border) and the colophon: "Impresso in Roma per Andrea Anticho de Montona. Nel anno. M . D . X V I I . A di .XIII. di Genaro." T h e printing privilege and a facsimile of the title page and the colophon appear in SartMS, opposite p. ι , and pp. 1-2. For further information on this volume see GravA, pp. 14iff, and TomasA. T h e compositions identified by the superior letter a (a) are reprinted in JepO, which includes facsimiles of the title page and fols. I9V and 33", an introduction to the volume (I, 47-75), and thematic incipits and concordances for the entire collection (I, 50-53). T h e compositions identified by (b) are reprinted in DiseF, pp. 271-303, which includes (between pp. 32 and 33) facsimiles of fols. 7 V , 14, and 39. All of the compositions are for solo keyboard. In the following inventory the composers' initials are resolved the first time they appear only. Copies in: C S : P d o b r , I:Rpol (fol. 37 wanting). 2

ι

fol. 2V

2

4V

3 4

5V 6V

5

7V

6

10

7

12

8

14

9

16

10

i8v

PUBLISHER

FROTTOLE INTABULATE DA SONARE ORGANI / LIBRO PRIMO. / [Cut of a man playing a harpsichord decorated with the arms of Leo X . A lady in the background holding music points to a monkey with a lute crouching on top of the harpsichord.] 1

Amor quando fioriva mia speme 3 Bartolomeo] Tromboncino] ( R I S M [c. 1516] 2, fol. 2V) Per mio ben te vederei3 T . B. [«'e] ( R I S M 1510, fol. 40v) Chi non crede B. T. Frena donna i toi bei lumib ( R I S M [c. 1516] 2, fol. 30v) Virgine bella che del sol vestitab B. T . ( R I S M i S i o , fol. 3 8 v ) Gentil donna B. T . (RISM [c. 1516] 2, fol. 6V) Che debbio fare* B. T . (RISM 15073, fol. I3V) Si e debile el filo* B. T . (RISM 15073, fol. 4V) Ochi miei lassi* B. T . (RISM 1510, fol. 4ov) Odi cielo el mio lamento B. T. ( R I S M [c. i5i6] 2 , fol. 29v)

I 5 11

20

12

21 22

14

24

15

25

16

27

17

29

18

30

19

31

20

32v

21

33

22

33 v

23

35

24

35 v

25

36

26

37

I47)

Fiamma amorosa Β. T . (RISM [c. 1517]!, fol. 8 V : anon.) 4 Non resta in questa*5 (RISM 1510, fol. 36) O che aiuto o che confortob M [archetto] C[ara] ( R I S M [c. i S i 7 ] i , fol- 5V) Per dolor mi bagno el viso** M . C. ( R I S M 15142, fol. 24v) Non più morte al mio morirea Β. T . ( R I S M [c. i5i6] 2 , fol. i5 v ) Dolce ire dolce sdegni Β. T. ( R I S M 1510, fol. 37 v ) La non voi esser B. T . (RISM 15142, fol. 8) Son io quel che era quel di Β. T . ( R I S M [c. 1516] 2, fol. 28) Che forala che dirala* Β. T. ( R I S M 15142, fol. 28: D . Mfichele Vicentino]) O che dirala mo Β . T . (RISM [c. 1517]!, fol. 7V) Crudel fugge se sai M . C . ( R I S M 15194, fol. 42 v ) Me lassera tu moa Ranier ( R I S M 1 5 1 9 4 , fol. 39v) Hor chel ciel e la terra B. T. ( R I S M [c. i 5 i 6 ] 2 , fol. io v ) Cantai mentre nel core ( R I S M [c. 1517]!, fol. 45 v : Marco Cara)

1 Facs. of cut in E F I, 280, and M a g n i S M I, 303. Facs. of title page in PirC, p. 33. 2 A copy was in E : S (see JepL, p. 74). In the Rome copy there is a manuscript addition to the title page: "Impresso in Roma da Andrea Anticho da Montona .Chierico. Con privileg. di P P Leone X . M D X V I I I . . . . " On fol. 3 there is the manuscript addition: "Questo libro si e de canto d'organo.'* Three folios have been bound in at the end of the volume: fol. 4 1 : Four seven-line staves without music; 4 1 v : Four seven-line staves: on the bottom stave in chant notation: "Celerius urbs sevecale ( ?)"; 42: Blank; 42 v : In manuscript: "recetta d'accorssar el umo et ha la muffa et sappia & moscanello"; 43 : A n index of pieces with Italian titles, along with an " A g n u s voi clamo ne cesses" (superius from the " A g n u s " of the Missa L'Homme armé super voces musicales by Josquin des Prez; written in mensural notation with Arabic numerals added); 43V: T w o measures of " M u l t i sunt vocati pauci vero electi," in Italian organ tablature. 3 4 5

?

23

1

Animoso mio desire Β. T . ( R I S M [c. isi6] 2 ) fol. I3V) Sfavasi amor Β. T . (RISM [c. I 5 i 6 ] 2 ) f o l .

13

1

Facs. and mod. ed. in TomasA. Attributed to Marco Cara in R I S M i s i S j . Mod. ed. in FuserC, no. 1.

151 ? 1 JUDENKÜNIG,

HANS

Utilis & compen/diaria introductio, qua ut fun/damento iacto quam facillime mu/ sicum exercitium, instrumentorum / & Lutine, & quod vulgo Gey/gen nominant, addiscitur labore / studio & impensis Joannis Ju/denkunig de Schbebischen / Gmundt in communem omnium / usum & utilitatem typis ex/cudendum primum exhi / bitum. Viennae. / Austriae. 12 fols. German lute tablature. O n fols. A i v - A 4 : instructions for playing the lute. O n fol. A4 v : cut of two men, one playing a lute and the other a viol, with the inscription : "HANS. JUDENKUNIG. BIRTIG. V O N . S. G . L U T B : N I S T . I. Z. W . " T h e same cut appears in 15232, fol. a2. Note on fol. B i : "Harmonie super odis Horatianis secundum omnia Horatii genera, etiam doctis auribus haud quaquam aspernandae. Nota tarnen, bone T y r o , quaecunque eiusdem generis sunt carmina, sub una eademque harmonía fidibus esse pulsanda." On fol. B4 v : rules for tuning the lute, headed " Regula qua cordas congrue aptare." Hans Singriener of Vienna was probably the printer, although he is not named (see 15232). All of the odes of Horace (nos. 1 - 1 9 ) are intabulations of the settings by Peter Tritonius published in Melopoiae (Augsburg, Erhard Öglin, 1507); these vocal models have been reprinted in LiliH. T h e compositions identified by superior letters are reprinted as follows: ( a ) in B r u S ; ( b ) in D T O X V I I I / 3 7 , p. ι ; and (c) in Z a n G I, 7. For further information on Judenkünig see 15232 and KoczJ. A l l of the compositions are for solo lute. Copies in: A : W n , D : M b s . fol. I

Bi

v

2

Bi

v

3 4 5 6

Bi

v

Bi

v

7 8

B2 v

9 10

B2 b

2

B2 v B2 v B2 v

Ode prima Mecoenas atavis^1 Ode 2. Iam satis terrisa = 1523; no. 10: " S a p h i c a " Ode 3. Sic te diva potena Cypri Ode 4. Solvitur acris hyemsa Ode 5. Quis multa gracilis Ode 6. Scriberis vario Ode 7. Laudabunt aliia Ode 8. Lydiadic per omnes Ode 9. Vides ut alta steta Ode il. Tu ne quesieris3

24

I 5 I ?1

11

B3

12 13

B3 B3

14

B3

15 16 17 18 19 20

B3 v B3 v B3 v Β4 B4 B4

21

Ci

22

Ci

23

Ci

24 25 26

Civ C2 C2 C2V

27

C2V

28

V

C3

29

C3V

30

C4

31

C4V

32

C4V

1

Ode 18. libri secundi. Non ebur neque aureu Ode 12. li. tertii. Miserarum est Ode 7. libri quarti. Diffugere nives60 Ode prima ex libro Epodott. Ibis liburnis inter alta navium Ode il. Pecti nihil me sicut Ode 13. Hórrida tempestas Ode 17. Mollis inertia Ode 16. Altera iam bellis Ode 17. Iam iam efficaci dominus Phaleutium Hendecasyllabum. Vivamus mea lesbia atque amemusbl Madonna katerina. Oder hast du mich genummen (compare no. 31 below, and also 1540!, no. 3) 3 Christ ist erstanden3tK4 (compare BäumK I, 502, and ZahnM, no. 8584) Und wer er nit erstandena6c4 (second strophe of no. 22) Der hoff dantz5 Der hoff dantz ( = Nach Tantz) Ich traw der lieben woll Zart schönste Jraw (CW X X I X , 28; compare 1536 e, no. 7) Nach lust (MosL, no. 25 : Georg Forster) Nach willen dein (MosPH, p. 74: Hofhaimer; compare 1536e, no. 12) Zucht er und lob (MosPH, p. 99: Hofhaimer) Von edler art* (MosPH, p. 180: J. Schönfelder or Hofhaimer; compare 1536e, no. 13) Hast du mich genumen (compare no. 21 above, and also 1540J, no. 36) Wo sol ich mich hin herena ( P u b A P T M X X I X , 90: Georg Vogelhuber)

Mod. ed. also in ApelM I, 6. This is a setting of an ode by Catullus (text in CatalP, p. 6). 3 The compositions in 1 5 1 identified as having concordances with 1536, and 1540! (lute books of Hans Newsidler) are very similar to but not identical with these later versions. In most cases Newsidler has added more ornaments to the music borrowed from JudenkUnig. 4 Mod. ed. of nos. 22 and 23 also in BehD, p. 5 (arr. for guitar), and M U I I I , app., p. 32. s Mod. ed. and identification of the tune ( = "Schwartz knab") in GomH, p. 60.

I 52 I 1 EUSTACHIO ROMANO Musica di Eustachio / Romano. / Liber primus. 47 fols. Mensural notation. On fol. i v : table of contents. On fol. 2: dedication to "Reverendissimo domino Jovani Marie de Monte Pontici: Sipontino ac Papiensis." Colophon on fol. 47*: "Musica D u o r u m Eustachii Romani de Macionibus e x c u s i t . . . Ingenti cura & industria magistri Johanis Jacobi de pasotis de Montículo Regiensis Impressum fuit hoc opus Musicae. A Romae Anno domini M . D. xxi de mense V l l b r i s die xvi regnante Leone decimo pontífice Maximo." SartMS, pp. 2-3, reprints the dedication and the colophon. All of the pieces are a 2 and without text (but see nos. 2, i l , 13, 22, and 26). Information added in brackets is from the table of contents. For a brief discussion of the volume see JepO, p. 18. Copy in: A : W n . 1

I

2

3 4 5 6 7 8 9 10

fol. 2V 3V 4V 5V 6V 7V 8V 9V

II

IO v I Iv I2V

12 13

I3V I4V

14 15 16 17 18 19 20 21

I5V i6 v i7 v i8 v i9 v 20 v 2I V 22 v

2

[a. Tenor cum. ¿asso] [b. Tenor cum òasio] (RI SM ΐ549ιβ> no. 29: " N o n opus habent," Eustachius Romanus) c. [Tenor cum tenor] d. [Tenor cum basso] e. [Tenor cum tenor] /. [Tenor cum tenor] g. [Tenor cum tenor] h. [Tenor cum tenor] i. [Tenor cum basso] k. [Βassus cum basso] l. [Cantus cum tenor] (RI S M i549ie» n o · 28: " H a e c est vita aeterna," Meistre Gosse) m. [Bassus cum basso] η. [Tenor cum basso] ( R I S M I 549ie» no. 30: "Ecce mysterium," Eustachius Romanus) 0. [Tenor cum basso] p. [Tenor cum tenor] q. [Tenor cum basso] r. [Bassus cum basso] s. [Tenor cum basso] t. [Bassus cum basso] u. [Tenor cum tenor] χ. [Cantus cum tenor]

15232 22

23

23 24 25 26

24v 25v 2ÓV 27 v

27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45

28v 29v 30v 3I V 32v 33v 34v 35 v 36v 37 v 38v 39v 4° v 4iv 42v 43 v 44 v 45 v 46v

y. [Tenor cum tenor] ( R I S M I 549i6. n o · !2: "Prande bis tecum," Meister Jan) z. [Catitus cum tenor] A. [Cantus cum tenor] B. [ Tenor cum basso] C. [Cantus cum tenor] ( R I S M Ι549ιβ» no. 24: " M u l i e r cupido," Eustachius Romanus) D. [Bassus cum basso] E. [Cantus cum tenor] F. [Tenor cum basso] G. [Tenor cum &α»ο] Η. [Cantus cum tenor] J. [Tenor cum tenor] K. [Tenor cum basso] L. [Tenor cum tenor] L. [sic] [Cantus cum canto] M. [Tenor cum teso] Ν. [Bassus cum basso] O. [Tenor cum basso] P. [Tenor cum ftasso] Q. [Tenor cum tenor] R. [Tenor cum tenor] S. [Bassus cum èasso] T. [Bassus cum basso] U. [Cantus cum tenor] X. [Cantus cum tenor]

1 T h e unique copy has manuscript corrections in various places, and on fol. 2" a hymn 02: "Herodes hostis impie," with both voices texted.

15231 CAVAZZONI, MARCO

ANTONIO

RECERCHARI / M O T E T T I / CANZ O N I / Composti per Marcoantonio / di Bologna. / L I B R O P R I M O 1 38 fols. Keyboard score. On fol. A i v : Dedication " A L M O L T O M A G N I F I C O CAVALIERO, MESSER FRANCESCO CORNARO PROCURATORE DI SAN M A R C O . " On fol. Κ ι : the printing privilege of Pope Adrian V I , followed by the colophon: "Venetiis apud Bernardinum Vercelensem mense Aprili. M . D . X X I I I . " SartMS, pp. 3-4, reprints the dedication and the printing privilege. None of the vocal models has yet been identified. T h e entire collection has been reprinted twice: in C M I I, and in JepO, which includes

25

facsimiles of the title page, the decication, and fols. A2 and D3. SlimK II, 450, contains a thematic index of the ricercares. All of the compositions are for solo keyboard. Copies in : G B : Lbm, U S : Cn (imperfect), fol. ι 2 3 4 5 6 7 8

A2 B2 Ci D3 E4V Giv Hi H4

Recercare primo2 Salve Virgo3 Recercare Secondo O Stella maris Perdone. Moi sie. folie. Madame vous. aves. mon. cuor,4 Plus, de regres. Lautre, yor. per un mating

1 Facs. of title page in M G G V I I , col. 654, and KinsP, p. 132. A facs. of fol. C 2 appears in A p e l N , p. 5, and of fol. D3 in M G G II, col. 935. A part of one page in facs. is repr. in P N , p. 68. 2 Mod. ed. in B e d b l II, no. 3. 3 Mod. ed. in FroideA I, 14-17. 4 Mod. ed. in B e d b l II, no. 1. 5 M o d . ed. in B e d b l II, no. 2.

I 523î JUDENKONIG,

HANS

1.5.2.3. / Ain schone / kunstliche under/ Weisung in disem / büechlein, leychtlich zu be/greyffen den rechten grund / zu lernen auff der Lautten / und Geygen, mit vleiss ge/macht dürch Hans Juden/künig, pirtig von Schwe/bischen Gmünd Lutenist, / yetz zu Wien in Osterreich 46 fols. German lute tablature. On fol. a2: the same cut that appears in 151 ?i, fol. A4 v . 1 Instructions for playing the lute are interspersed throughout the volume (on fols. a3 v -b2, c i - c i v , d i - d i v , e3 v , f4 v , h2 v , and 13—Í3V).2 T h e compositions introduced by these instructions are arranged in progressive order of difficulty; the first six numbers are α 2, the rest a 3. On fol. 14: table of contents. T h e second part of the volume (fols. ki v -l4) is introduced by a separate title page (on fol. k i ) : Item das ander puechlein zuver/nemen, darinnen du underrichtt / wierdest, den gesang ziiversteen was ayn yedliche / noten oder pawss bedeíit, under aynem yedlichen / zaichen welcher nit singen kan,

26

1

5

2 3 a

auch wie ain yedli/cher gesang anfecht, auff der Lautten oder Geygen / und wievil, ain yedliche noten, in den Ligereturen / an ainander gepunden, gilt, darnach wie du zwo / oder drey stym züsamen setzen soldest auss dem ge/sang, in die Tabalatur under ain mensur einge/ taylt, und gerechnet muess werden. Und wie / die noten, unvolkumen gemacht werden, / in den volkhumen zaichen, und welche / gealterieret wierdt, das ist aine yedli/chen nutz züwissen, Wiewol es jetzt / wenig der gebrauch ist in dem ge/ sang, noch ist gemainiklich der / aller pesst gesang, in mani/cherlay zaichen versatzt, / darumb ist es dier / von noten zu / wissen.

12

C4V

13

d2

14

d2 v

15

d3v

16

d4

17

19 20

ei eiv e2 e3 e4 e4v

Colophon on fol. I4: "Vollendet und getriickht zu Wien yn Osterreich dürch Hanns Singryener. im 1.5.2.3. Jar." T h e compositions identified by the superior letter a (a) are reprinted in D T O XVIII/37, pp. 2-14. SlimK II, 449-450, contains a thematic index of the ricercares. For further information on Judenkünig, see 151 ?ι· All of the compositions are for solo lute. Copies in: A : W g m (imperfect), A : W n , B:Br, CS:B, D:Mbs, US:Wc.3

21

fi

22

fiv

23

Í2V

24 25 26 27 28 29 30 31

f3 v gì giv g2 v g4 h2 h3 I13

32

h4v

33

12

fol. b2 v

b2 v

3

b2 v

4

t>3

5

b3v

6

b4 b4v cz

7

C2 c

3 3 C V 3

9 10

c

il

C3V

Wo soll ich mich hin keren ich armes ( P u b A P T M X X I X , 90: Georg Vogelhuber) Mag ich Unglück nit widerston * (SenflW V , no. 13: Senfl; see no. I i below) Ich bin ir lange zeyt hold gewesen ( C H : S G s , M S 463, no. 173) 5 Woll kumbt der may 6 ( E D M R X X , no. 66: Wolff Grefinger) = 1536e, no. 19 Pavana alla Veneciana (compare 15083, no. 18a) Ain hoff dantz mit zway stimen7 [Nach Tantz] Das erst PriamelP8 = 15322, no. 25 Rossina ain welscher dantza 9 Rossina [Nach Tantz]* Ain niderlendisch runden dantz3 10 Saphica3 = 151 ?1? no. 2: " I a m satis terris," Tritonius 1 1 Mag ich ungliick nit wider sten12 (see no. 2 above)

18

Eislein liebes Elslein13 (SenflW IV, no. 17: Senfl) Das ander PriamelP14 = 15322, no. 32 Zucht er und loba 15 (MosPH, p. 99: Hofhaimer) Mein hertzigs (MosL, no. 6: Heinrich Finck) Nach willen dein*1* (MosPH, p. 74: Hofhaimer) Der hoff dantza [Nach Tantz] Der ander hoff dantz3 [Nach Tantz] Das drit Priamel317 Freüntlicher gruess ( P u b A P T M IX, 25) Erweit hab ich mir ( P u b A P T M IX. 7) Ellend bringt peyn ( E D M R X X , 126: Benedictas Ducis) Nerrisch don ist mein munier ( P u b A P T M X X I X , 106: " N u r nerrisch sein ist mein monier," Sixt Dietrich) Weyplich arta (MosL, p. 50) Das fierd Priamel*18 Ain triuma Tota pulchra Tota pulchra Ain Spaniyelischer hoff dantza Das fünfft Priamel3 Tropolus secret3 ( C H : B u , M S S F. X . 1-4, no. 108: " T r o p plus secret," Pierre de la Rue) Mein hertz ail dit (ObrWW, no. 21: " M i j n hert heest altijts verlanghen," Obrecht [Pierre de la Rue?]) Kalata ala spagnola = i5o8 2 , no. 33

' T h e cut is repr. in E F II, 639; KommaM, p. 82; PanS, p. 338; and SubHM I, 442. 2 Some of the diagrams illustrating the instructions are repr. in facs. in D T O XVIII/37, pi. A. Facs. of fols. a2 and ei appear in Library of Congress. Annual Report, 1928, opp. p. 124. 3 The Washington copy was in the Wolffheim library (see WolffC I, no. 1194); a copy was in the library of Alfred Wotquenne-Plattel (see ThibaultC). 4 Mod. ed. in SenflW VII, no. 41a, and BruS II, no. 43. 5 Judenkünig gives only bass and tenor for no. 3 ; only the discant and altus part books of the St. Gall manuscript are preserved. But the two sources fit together perfectly.

I 529a M o d . ed. in B r u D , no. 1 5 ; D T O X X X V I I / 7 2 , p. 7 9 ; and SenflW V I I , no. 35a. ' M o d . ed. in N e e m A M I, no. 3, and Z a n G I, 12. 8 Mod. ed. and identification of the tune ( = " Bentzenawer ") in G o m H , p. 6 1 (main dance only). 8 M o d . ed. in BruS I, no. 25, and M F H II, 9. 1 0 M o d . ed. in BruS IV, no. 130, and Z a n G I, i g . 1 1 T h e title is derived from the poetic meter on which this ode is based. 1 2 M o d . ed. in SenflW V I I , no. 41c. 1 3 M o d . ed. in B r u A L I, p. 6; SenflW V I I , no. 29a; and T a p S , p. 11. 1 4 M o d . ed. in E C , pt. I, vol. I l l , p. 1221 ; M U II, app., p. 8 (incorrectly labeled); MiilleG, no. 13; N e e m A M I, no. 4 ; and W a s G , no. 3. 6

M o d . ed. in D T O X X X V I I / 7 2 , p. 90. M o d . ed. in D T O X X X V I I / 7 2 , p. 84; the beginning is repr. in M o s P H , p. 76. For a comparison of this intabulation with various others, see NowakH. 1 7 Facs. of fol. e4 in A p e l N , p. 79. 1 8 Facs. of fol. g ì in D T O X V I I I / 3 7 , pl. B, and N e e m A M I, no. 5. 15 le

1538! AGRICOLA,

MARTIN

Musica / Instru/menta/lis. / Deudsch. / Martinus Agricola. 60 fols, plus four inserted tables (?). Contents = 1529!, except for the different title page. T h e dedication is dated 1528, the only date given in this edition. Copy in : D : D1 (imperfect).

ι 5 291 AGRICOLA,

MARTIN

Musica instru/mentalis deudsch / ynn welcher begrif/fen ist, wie man / nach dem gesange auff mancherley / Pfeiffen lernen sol, Auch wie auff / die Orgel, Harffen, Lauten, Gei/gen, und allerley Instrument und / Seytenspiel, nach der recht/gegründten Tabelthur / sey abzusetsen. / Mart. Agricola. 1 60 fols, plus four inserted tables. On fol. i v : the preface ("Vorrhede")· On fol. 3: dedication to "Georgio Rhaw buchdrücker zu Wittemberg," signed " G e b e n zu Magdeburg, am tage Bartholomei. 1528. Mart. Agrie." Colophon on fol. 60: "Gedrückt zu Wittemberg durch Georgen Rhaw. M . D .

27

xxix." This treatise on musical instruments in rhymed verse is based on Virdung's Musica getutscht (15113). T h e only complete composition that Agricola includes is " A c h gott von hymel sich dar e y n " in German lute tablature on fols. 38 v -40. For other editions of this treatise see 1528^ 1530!, iS32i, 15421, and 15451 (the last a completely revised version). T h e 1529 edition and the 1545 edition have been reprinted in a quasi-facsimile as P u b A P T M X X . For further information on Agricola see FunA. Copies in : A : Wgm, A : Wn, Β : Br, C H : E, D:As, D:Bds-Tü, D : D S , D : G , D:LEm,2 D : M b s (imperfect ), D : W , G B : L b m (imperfect), N L : DHgm, S:Uu, US: CA (imperfect). 3 1 Facs. of title page and two other pages in KinsP, p. 118. Illustrations of instruments from this volume appear in A b b S I, 4 3 0 ; E C , pt. II, vol. I l l , p. 1 4 8 8 ; E F I, 250, and II, 8 3 ; M G G I, col. 1 6 5 ; ReissmA, p. 1 9 8 ; and ScheurC, opp. p. 2 1 6 . One of the tables, showing how to transcribe a line from mensural notation into German keyboard tablature, is repr. after the 1 5 3 2 ed. in P N , p. 5 7 . 2 A t the end of the Leipzig copy (call number : I. 1 9 1 ) , which is bound with Martin Agricola's Ein Kurtz Deudsche Musica (1528), there are 43 fols, of manuscript music in German keyboard tablature: fol. i v : [Diagrams explaining the tablature]; 4 ; Der stad pfeyff er tanez; 7 V : Der Trippel; Qv: Si ist meyn bull; i i v : Ich het mir eyn aneletn fürgnommen; I 3 V : Elssleyn libes elssley; I5V: Eyn Tancz; 17V: Der trippel; I9V: Unser magdt kann aussdermassen v v [kochen] ; 2 i : Nach wyllen deyn; 2 4 : Ach Lieb mit laidt; 2JV : Von edler arth; 30v : Zarth schone fraw; 3 3 v : Meyn eyniges a; 36v: Deyn murren macht; 38V: WO ich miih leyb; 4 o v : Preludium; 4 1 : Eyn Final; 4 1 ν : Preambel; 4 2 v : Sive Preludia. 3 A copy was in the li brary of Alfred Littleton (see L i t t C , p. 9, and M L E , 1904, p. 34), and in D : H A L (see E i t Q I, 6 1 ) .

1 529a VORSTERMAN,

GUILLAUME,

PUBLISHER

Livre plaisant et tres/utile pour apprendre a faire & ordonner toutes tabu/latures hors le discant, dont & par lesquelles / Ion peult facilement et legierement apren/dre a jouer sur les Manicordion, Luc, / et Flutes. / [Cut of a man playing the lute, with two recorders and a clavichord forming a border] 40 fols. Colophon on fol. K 4 : "Imprime en Anvers par moy Guillaume Vorsterman

28 demourant en la rue de la chambre a la Licorne dor L a n de nostre Seigneur. M . C C C C C . & x x l x L e douziesme jour Doctobre. [Cut with the double-headed eagle of the Holy Roman Empire] C u m gratia et privilegio." T h i s volume is a free translation of the second part of Virdung's Musica getutscht (15113), using French rather than German lute tablature, and replacing Virdung's musical example with " E e n vrolijc w e s e n " (by Barbireau, Isaac, or Obrecht; see 15382, no. 28), in mensural notation on fols. D I - D 2 v ; in organ tablature on fols. D 3 - E I v ; in French lute tablature on fols. G 2 v - G 4 ; and the superius only in mensural notation again on fol. K 3 . T h e treatise was later translated into Flemish (see 1554» and 1568s). For further information see FoxP, F o x E D (which includes a transcription of " E e n vrolic w e s e n " for recorder and guitar), and N i j M (which includes facsimiles of the title page and five other pages). Copy in: E : S . 1 1 Manuscript note on fol. K4 V of the unique copy (from the library of Fernando Colón): " E s t e libro costo 12 negmit en bruselas a 26 de agosto de 1531 y el bucado de oro vale 320 negmit."

rigles pour estre tost & facillement introduict en la tabulature du lutz," reprinted in W o l f H II, 72-73. S l i m K II, 450-451, contains a thematic index of the preludes. T h e compositions followed by an asterisk are for solo voice (written in mensural notation) and lute; they are all reprinted in L a u C , which includes facsimiles of the title page and fol. 5o v . All of the other compositions in the volume are for solo lute. Copy in: D ^ d s - T ü . 1

1 2 3 4 5

fol. 2V 3V 4V 5V 6V

6

7V

7

8V

8 9

9 9V

10

iov nv

11

I2V I3V

15293 A T T A I N G N A N T , PIERRE,

PUBLISHER

Tres breve et familiere introdu/ction pour entendre & apprendre par soy mesmes a jouer toutes chansons reduictes en la tabu/ lature du Lutz, avec la maniere daccorder le diet L u t z . Ensemble .xxxix. chansons dont la plus / part dicelles sont en deux sortes, cest assavoir a deux parties & la musique. Et a troys sans musique / L e tout acheve dimprimer le .vi. jour doctobre .1529. Par Pierre Attaingnant demourant a / Paris en la rue de la Harpe près leglise saint Cosme. Desquelles la table sensuyt. / [Table of contents] / A v e c privilege du Roy nostre sire pour troys ans, que nul ne pourra / imprimer ou faire imprimer en ce royaume la mu/sique & jeu du lutz fors le diet Attaingnant. soubz les / peines contenues es lettres du diet privilege. 60 fols. Mensural notation and French lute tablature. O n fol. i v : " T r o y s breves

I4V 12

i5 v

13

i6v I7 V

14

i8v I9V

15

20v 2iv

16

22v 23 v

17

24v 25v 2ÓV

Prelude2 Prelude3 Prelude Prelude Alsovverdonont / A toy me rendz ( M B X V I I I , no. 42: " O u g h warder m o u n t " ) Dulcís amica (RoksT, no. 4 : Priorie) Cest boucane4 (AttainCK I I I , no. 2) Prelude Fortune laisse (AttainCK II, no. 23) = 154618, no. 12 Fortune laisse moy la vye* Amy souffres (AttainCK III, no. 7 : Moulu) Amy souffres que je vous ayme* Jay trop ayme (AttainCK I, no. 12) = 15461s, no. 14 Jay trop ayme vrayment je le confesse* Si vostre cueur ( R I S M [c. 1528] 5, no. 30) Si vostre cueur prent le tane* De retourner (AttainCK III, no. 10) De retourner mon amy je te pry e* Languir me fais (AttainCK II, no. 12: Claudin de Sermisy) Languir me fais* Vivray je tousjours en soucy (AttainCK III, no. 17: Sermisy) = iS49e. no. 18 Vivray je tousjours en soucy* Jätens secours (AttainCK II, no. 11 : Sermisy) Jatens secours* Ces fascheux sotz (AttainCK II, no. 25) Ces fascheux sotz*

29

I 52?1 18

27 v

19 20

a8 v 29" 30v 3iv

21

32v 33 v

22

34 v 35 v

23

36* 37 v

24

38" 39 v

25

40v 41 4iT

26

42 v

27

43 43 v

28

44 v

29

45 45 v

30

46* 47 v

31

48" 49 v

32

50* 5iv

33

52v 53 v

34

54 v 55 v 56*

Dolent depart (AttainCK I, no. 15) = 15453. no. 19 Dolent depart* Je me repetís5 Je me repens de vous avoir ayme* Je demeure seule esgaree (AttainCK I I I , no. 4) Je demeure seule esgaree* Amour vault trop (AttainCK I I I , no. s) = 15453, no. 18 Amour vault trop* Secoures moy (AttainCK I I , no. 22: Sermisy) Secoures moy* Dou vient cela (AttainCK I I I , no. 22: Sermisy) Dou vient cela* II me suffit" (AttainCK I, no. 9 : Sermisy) = 15453, no. 21, and 156312, no. 109 II me suffit* Las las pourquoy (RI S M [c. 1528] 5 , no. 18) Las las pourquoy mestes vous si dure* Fortune a bien couru sur moy7 (compare 15544, no. 14: " S i j'ayme ou n o n " ) Fortune a bien couru sur moy* Le dur regret (compare R I S M 15301» no. 12: Cochet) = 1549g, no. 21 Une bergerote8 ( R I S M 15305, no. 30: Sermisy) Une bergerote Las il fauldra ( R I S M [c. 1528],, no. 20) Las il fauldra* Le jaulne & blanc (AttainCK I I , no. 15: " L e jaulne & b l e u " ) Le jaulne & blanc** Jouissance (AttainCK I I I , no. 24: Sermisy) Jouissance vous donneray* Destre amoureux10 (compare R I S M 15293, no. 23) = 1549s, no. 19 Destre amoureux*11 Tant que vivray12 (AttainCK I I , no. 10: Sermisy) = 15453, no. 30 Tant que vivray*13 Si jay pour vous (AttainCK I I I , no. 12: Sermisy) Si jay pour vous*

35

57 v

36

58

37

58"

38 39

59 60

Damour je suys (compare C M I I , 5) = 15453, no. 17 De toy me plains (AttainCK I I , n o 24) Elle sen va (AttainCK I, no. 8 : Sermisy) La guerre1* Tresoriere \de plaisir amoureux] ( R I S M [c. 1528] 5) no. 3)

1 The unique copy has manuscript additions in lute tablature on fols. 54, 55, J9 V , and 6o v . 2 Mod. ed. in K ö r L , p. 133. 3 Mod. ed. in K ö r L , p. 135. 4 Mod. ed. in BruA, no. 16. 5 A different text beginning " J e me repens" may be found in ParisC, no. 23 (monophonie), and D K : K k , Ny. Kgl. S. 2°. M S 1848, p. 149 (a3). • Quasi-facs. and mod ed. in WolfH II, 77-78. 7 Quasi-facs. and mod. ed. in WolfH II, 76-77; facs. of fols. 42 v and 43 in ApelN, p. 65, and in W o l f M S , pi. 61. 8 The second version of this chanson (no. 28b) is the intabulation for solo lute. The first version is a somewhat modified arrangement of the lower two voices. Perhaps the voice part was omitted through an oversight. 9 Mod. ed. in L o w T , p. 30. 10 Mod. ed. in BruA, no. 23. 11 Mod. ed. in B r u A L I, 28, and K ö r L , p. 157. 12 Mod. ed. in ApelM II, 23, and BruA, no. 24. 13 Mod. ed. in B r u A L I, 29; K ö r L , p. 1 5 6 ; L o w T , p. 27; and NoskeS, p. 18. 14 Mod. ed. in K ö r L , p. 153.

I 52 ?1 TROMBONCINO, BARTOLOMEO, A N D M A R C O CARA Frottole de Misser Bortolomio T r o m b o n / cino & de Misser Marcheto Carra / con T e n o r i & Bassi tabulati & con / soprani in canto figurato per / cantar & sonar col / lauto. / Sanctissimus dominus sominus noster Papa L e o .x. / vetat nequis alius hos cantus imprimat t:o/to decennio s u b excommunicationis pena. / [Cut with fleur-delis] 48 fols. Mensural notation and Italian lute tablature. O n fol. i v : table of contents. On fol. 2 : " Regula per quelli che non sano c a n t a r e " (in Italian only; for concordances see 1507!). T h i r t e e n folios, including that containing the printer's colophon, are missing f r o m the unique copy; these are indicated in the following list of contents by an asterisk. T h e composers' initials are

ι 52?ι

3°

resolved the first time they appear only. For further information see Vogel Einstein [1520]2, W o l f E A , and GanB. All of the compositions are for solo voice (written in mensural notation) and lute. Copy in: I : F c (fols. 14-19, 30-34, 47-48 wanting). fol. 1

2V

2

3V

3

5

7

IO

8

ιο ν

9

II V

10

I2V

11

I3V

12 13 14 15 16 17 18

20v

19

22

20 21 22

23v 26 27

Chi se po slegar damore1 Bartolomeo] T[romboncino] Se gliel dico che dira2 M [arco] C[ara] Come haro donque ardire Β. T. ( R I S M 15194, fol. 29 v : text by Michelangelo Buonarroti) Per fugir la mia morte alma M . C . ( I : V n m , M S S It. Cl. IV, 1795-1798, no. 74: anon.) Almen vedesti el cor mio Β. T. Aqua non el humor Β. T. ( R I S M Ι 5 Ι 4 2 , fol. 7 i v ) Se alcun tempo da voi M . C . (RI S M 1518, fol. 42) Più volte fra me stesso B. T. (CesF, p. 75: anon.) Se la lumacha che sabrusa B. T. (RI S M 15172, fol. 6V) Amor se dora in hor B. T. ( R I S M 15172, fol. 2ÓV: M . C.) Se amor non e, che adunque M . C . ( R I S M 15172, fol. 5 V : text by Petrarch) La non vol perche* (RISM 15194, fol. 2 i v : M . C. [?]) Nel foco tremo* ( R I S M 15172, fol. 39 v : B. T . [?]) Signora un che v'adora* (RISM 15194, fol. 32 v : M . C . [?]) Dura passion che per amor* ( R I S M 15194, fol. 4o v : B. T . [?], text by Sannazar) La speranza in tutto* (RISM 15194, fol. 3 6 v : B. T . [ ?]) Cangia sperar mia voglia* Cum rides mihi Β. T . (RISM 15194, fol. 25 v : anon., text by Pontano) Madonna la pietade Β. T. ( R I S M 15172, fol. 8V) Mia ventura al venir Β. T. Ogni mal d'amor procede3 Β. T. Quando i piango e mecho amore Β. T . ( R I S M 15194, fol. 4 i v : anon.)

23

28

24

29v

25 26 27

28 29

35v 37

30

38

31

39v

32

40"

33

41

34

43

35

45

36

45 v

37

4ÓV

Movessi il vechiarel Β. T. (I : Vnm, M S S It. Cl. IV, 1795-1798, no. 27: anon.) Facto son per affanni B. T . (I : Vnm, M S S It. Cl. IV, 17951798, no. 26: anon.) Donna non me tenete* Donna sol per voi* Queste lachrime mie** B. T. ( R I S M 15142, fol. Ó3V: text by Castiglione) Voi gentil alme accesse B. T . Gli e pur cocente il fier Β. T. ( R I S M 15194, fol. 44') Ecco colui chi marde M . C. ( R I S M 15194, fol. 43 v ) Farsi e ver forsi che non5 F. T . [sic]

Munchos son damor per dicios Β. T . ( R I S M 15194, fol. 27 v ) Ben mi credea passar mio tempo F. T . [ne] ( R I S M 15143, fol. 6 V : B. T . , text by Petrarch) De fusse almen si nota Β. T. ( R I S M 15142, fol. 4V) Queste non son piu lachrime B. T . ( R I S M 15172, fol. 3V: text by Ariosto) Longi dal mio bel sol chiaro 6 Β. T . ( R I S M 15172, fol. 52v) Piangea la donna mia7 M.C. (I : Vnm, M S S It. Cl. IV, 1795-1798, no. 85 : anon.)

M o d . ed. in K ö r L , p. 158. This is not related musically to the T r o m boncino setting of the same text in R I S M 15074. 3 M o d . ed. in K ö r L , p. 159. 4 T h e end of this piece is preserved on fol. 35. 5 M o d . ed. in K ö r L , p. 160. T h i s is not related musically to the Cara setting of the same text in CesF, p. 118. 6 Mod. ed. in K ö r L , p. 161, and L o w T , p. 59. 7 Only the beginning of this piece is preserved. 1

2

I 5 3°1 AGRICOLA,

MARTIN

Musica instru/mentalis deudsch / ynn welcher begrif/fen ist, wie man / nach dem gesange auff mancherley / Pfeiffen lernen sol, Auch wie auff / die Orgel, Harffen, Lauten, Gei/gen, und allerley Instrument und / Seytenspiel, noch der recht/gegründ-

31

I 53O3 ten Tabelthur / sey abzusetzen. / Mart. Agricola. 60 fols, plus four inserted tables. Contents = 15291· Copy in: U S : W c .

15302

BruS ; and (c) in BruA. All of the compositions are for solo lute; those identified by an asterisk include the melody (called " S u b j e c t u m " ) notated separately in mensural notation. T h e composer's initials are resolved the first time they appear only. Copy in: D i M b s . 1

ι

fol. iv

2

iv 2 2V

FINÉ, ORONCE Epithoma musice instrumentalis / ad omnimodam Hemispherii seu Luthine & theoricam et practicam / Per Orontium fineum Delphinatem studiose collectum. 1530 / Venit Pat. in officina libraria Petri Attaingnant / in vico cythare. 8 fols. Several diagrams, but no complete compositions appear as musical examples in this instruction book (in Latin) for the lute. Copies in: A : W n , D : B d s - T ü .

ι 5 3 °3 A T T A I N G N A N T , PIERRE,

3 4

5

3 3V 4 4 4V

6

5

7 8 9

5V 6 6V

PUBLISHER

1529 'Kal. Februarii / Dixhuit basses dances garnies de / Recoupes et Tordions, avec dixneuf Branles, quatre que Sauterelles que / Haulberroys, quinze Gaillardes, & neuf Pavennes, de la plus grant part / desquelles le subject est en musique. L e tout reduyt en la tabulature / du Lutz nouvellement imprime a Paris par Pierre Attaingnant demourant / en la rue de la Harpe près leglise saint Cosme, desquelles la table sensuyt. / [Table of contents] / Avec plusieurs aultres chansons nouvelles tant en tablature du Lutz, que en musique. / Cum privilegio regis ad triennium.

10

7

11 12

8 8V

13

9 9V 10 io v 11 II v nv I2V 13 i3 v 14 I4V 15 I5V 16 i6 v

14

15

16 40 fols. French lute tablature and mensural notation. See HeartzSF, chap, i, for a discussion of the possibility that the volume was printed in an incorrect order, and p. 315 for some dance concordances (see also HeartzS, p. 76). T h e compositions identified by superior letters are reprinted as follows: (a) in BlumeS, app. B ; (b) in

17 18 19 20

La Magdalena. Basse dance*2 P[ierre] B[londeau] (15305, no. 6) [Recoupe] [Tordion] Puisquen deux cueurs. Basse dancec P. B. (compare AttainCK III, no. 13) Basse dance P. B. La brosse. Basse danceM P. B. [Recoupe]c [TordioriY Le cueur est bon. Basse dancea (compare AttainCK I, no. 11) Lespoir. B[ran]l[e] (compare AttainCK III, no. 20: "L'espoir que j a y " ) F oves basse dance La roquec P. B. Basse dance. Le corps sen va P. B. (compare R I S M [c. 1528] 5, no. 9: Conseil) Tous mes amys. Basse dance*c P. B. (compare R I S M [c. 1528]5, no. 4: Sermisy) Sansserre. Basse dance0 Cueur angoisseux. Basse dance3 P. B. Basse dance. s\ans~\ roch3C 4 Recoupeac Tórdionac Basse dance de lespine3 5 Recoupe Tordionb Basse dance' Recoupec Tordionc Basse dance'· Recoupe Tordion'' Branle gay Branle gay Branle Branle gay. Cest mon amy (compare R I S M i578 1 5 , fol. 15: Janequin)

I5303

32 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37

17 i7 v 18 i8v 19 19 i9v I9V 20 20v 21 2I V 2I V 22 22 v 22 v 23

38 39 40

23 v 24 24V

41 42

53 54 55

25 25V 25 v 26 26v 27V 27 v 28 28 v 29 29 v 30 3° v 3° v 31 3iv 3iv 32 32 v 33 33 v

56 57 58 59 60 61 62 63 64

34 v 35 35 v 36 v 37 37 v 38 38" 39

43 44

45 46 47 48 49 50 51 52

Branle Branle gayf Branle gay Hauiberroys Haulberroysc B[ranle de] Poictou Branle [de] Poictou' B[ranle de] Poictou B[ranle de] Poictouc Branle Branle Nicolas mon beau fr ere Gaillardec B\ranle de] Poictou Gaillarde Branle gayc B[ranle] Allez dire a c. damboyse Branle gayc (compare R I S M I535e, no. 10: " J e ne seray jamais bergere," Passereau) Sauterelle Gaillardec 7 Branle Sil est a ma postec (compare M M R F V, no. 27 : Hesdin) Pavane 8 Basse Dance Patiencec 9 Recoupeb Tordion Pavanecl° = 154630, no. 18 Basse dance. Β eure fraisa 11 Recoupe Tordion12 Pavanec 13 Sauterellec Gaillarde* Pavanec 14 Gaillarde15 Gaillarde Gaillarde* Basse dance. Verdurant Recoupe Tordion™ Gaillarde Pavane17 Gaillarde*1β P . B . (153O4, no. 4) Balle Pavanec Ρ. B. = no. 63 below Gaillarde* P. Β. = no. 64 below Pavane P. Β. Pavaneh Blondeau Gaillarde* P. Β. Gaillarde*c (153O4, no. 6) Pavane P. Β. = no. 57 above Gaillarde = no. 58 above

39 v

6s

66

4o v

Gaillarde* P. Β. (compare 15305, no. 5: " L a scarpa m y faict mal Basse d a n c e " ) La Rote de Rode**1'

1

Manuscript addition on fol. 1 3 : " L e Nomi delle note sono sette : A.lasolre. B.mi. C.solfaut. D.lasolre. Elami. F.faut e G.solreut." Manuscript addition on fol. 40: examples of notes, rests, and accidentals. 2 Mod. ed. in B r u A L I, 30, and WasG, no. 4a. I am grateful to Daniel Heartz for resolving the initials. 3 Facs. and mod. ed. in W o l f H I I , 75 ; mod. ed. in N e e m A M I, no. 8. 4 Mod. ed. in K ö r L , p. 1 5 0 ; ScherG, no. 90; and Z a n G I, 7. 5 Mod. ed. in K ö r L , p. 1 5 1 . β Mod. ed. and quasi-facs. of the beginning in T a p S , p. 12. 7 Mod. ed. in N e e m A M I, no. 7. 8 Mod. ed. in N e e m A M I, no. 6. * Mod. ed. (arranged) of nos. 42a-c in D o l D E ,

P· 39· 10

Mod. ed. in HeartzS, p. 7 1 . Facs. in Wolf M S , pi. 68; mod. ed. in ApelN, p. 68, and SachsRD, p. h i . 12 Mod. ed. in Z a n G I, 4. 13 No. 45 is related thematically to no. 46. 14 Mod. ed. in Z a n G I, 6. 15 Mod. ed. in G o m V C , p. lxxi. le Mod. ed. in BehF, p. 5 (arr. for guitar), and M U I I I , app., p. 36. 17 Mod. ed. in HeartzS, p. 67. 18 Facs. and mod. ed. in WolfH I I , 79. 19 Mod. ed. in T a p S , p. 13. 11

I 5304 A T T A I N G N A N T , P I E R R E , PUBLISHER Six Gaillardes et six Pavanes / avec T r e z e chansons musicales a quatre parties le tout nouvellement / imprime par Pierre Attaingnant imprimeur et libraire demourant a / Paris en la rue de la H a r p e devant le b o u t de la rue des M a t h u r i n s / près leglise saint Cosme, desquelles la table sensuyt. / [Table of contents] / Superius F o u r part books in mensural notation, each of 16 fols. O n the title page of the bassus and contratenor parts: lists of errata. As the title explains, the volume contains 12 dances, presumably for instrumental ensemble, and 13 chansons. T h e 12 dances are reprinted in GiesA I. O n dating the volume, see H e a r t z C . 1 For some concordances see HeartzS, p. 76, and H e a r t z S F , P· 323· Copies i n : D : E (A only), D : M b s . 2

1

fol. ιν Iv 2 2V 2V

3 7 8 9 10 11 12

Gaillarde 1 = 15552, no. 290 Gaillarde 2 = 15552, n o · 291 Gaillarde 3 3 = 15552, no. 320 Gaillarde 4 = 15305, no. 45 (15303, no. 55) Gaillarde 5 = 15305, no. 43 Gaillarde 6 (153O3, no. 62, and 15314, no. 17) = 1555a, no. 191 Pavane 1 = 15552, no. 197 Pavane 2 4

3 3V 4 Pavane 3 (compare L e s A C , no.

13

4 4V 4V 5

14 15

Sv 6V

i6

7

17

7V

18

8V

19 20 21 22 23 24

II I2 V

25

i6 v

13 14 15 i5v

18: " J ' a y le rebours," Certon) = 1555a, no. 65 Pavane 4 = 15552, no. 158 Pavane 5 Pavane 6 A laventure lentrepris Willart Mon cueur mon corps Willart En lombre dung buyssonnet M . lasson Hellas hellas madame M o u l u Alleluya my fault Gombert Voulez ouyr les cris de paris Jannequin Ian petit ian ian Lhiretier Dessus le marche darras Willart Si vous estes marnye Cest tout abus Du feu damours Jacotin Vion viette sommes nous Claudin En regardant

' T h e tenor part book bears the date 1529, but Heartz shows that it was printed before Easter, that is, in 1530 N.s. 2 A copy of the superius part book was in D : W E s (see E i t Q I, 230). 3 M o d . ed. in M G G IV, col. 1286. 4 Mod. ed. in R i e T , no. 1, and W o h l T , no. 2.

IS306 A T T A I N G N A N T , PIERRE,

PUBLISHER

N e u f basses dances deux branles / vingt et cinq Pavennes avec quinze Gaillardes en musique a quatre / parties le tout nouvellement imprime a Paris par Pierre Attaingnant / libraire demourant en la rue de la Harpe au bout de la rue des Matu/rins près leglise saint Cosme. 1530 / Superius. / C u m privilegio

33

S 3 °5

Four part books in mensural notation, each of 16 fols. O n the title page of the tenor and contratenor part books: the printer's privilege. 1 T h e entire volume is reprinted in G i e s A I—II. T h e compositions identified by superior letters are reprinted as follows : ( a ) in BlumeS, app. B ; (") in R i e T ; and ( c ) in WohlT.2 For some concordances see HeartzS, p. 76, and HeartzSF, p. 324. For a possible later edition see [1 S38] 3 . All of the dances are for instrumental ensemble 04, except for no. 1 (05) and no. 29 (a 6). Copies in: D : M b s , E : S (A only).

ι

8 9

10 11 12 13 ï4 15 16 17 18 ï9 20 21 22

23 24 25 26

27

28 29 30

fol. iv

Basse dance r a b c (a 5) (compare no. 3 below) = 15552, no. 30 Basse dance 2abc = 15552, n o · 2 3 9 Basse dance 3 (compare no. 1 above) La gatta en italien Basse dance 4 abc = 15552, no. 314 La scarpa my faict mal Basse dance 5 1,bc3 (compare 15303, no. 65: " G a i l l a r d e , " P. B.) La magdalena Basse dance 6 abc 4 (15303, no. 1) = 15552, no. 249 Tourdion6 = 15552, no. 250 Basse dance 3 3V La brosse Basse danceîb 6 4V Branle 4V Branle 2 (1547e, no. 17, and i 5 4 ? e , no. 43: " B r a n l e s i m p l e " ) Pavenne. 1 = 15552, no. 276 S 5 Pavenne 2 5V Pavane 3 5V Pavane 4 = 15552, no. 313 6 Pavane 5 = 15552, no. 194 6V Pavenne 6 7 Pavenne 7 = 15552, no. 254 7V Pavane 8 = 15552, no. 248 7V Pavane 9 = 15552, no. 268 Pavane 10 8 8 Pavane 11 8V Pavenne 12'' = 15552, nos. 218 and 319 8V Pavenne 13 = 1555 2, no. 175 9 Pavenne 14 9 Pavenne 15 9V Pavane .r6 abce 9T Pavane 17 = 15552, no. 184 Pavane 189 (a 6) = 15552, ΙΟ no. 6 ι ο ν Pavenne 19 1 0 (1531 4 , nos. 26, 30)

1

34 31

32

II V

33

11 12

34

38

I2V I2V 13 13

39

I3V

35

36 37

40 41 42

I3V H I4V

43

I4V

44

IS

45

i5v

46

r5

16 16 16 i6 v i6 v

47

48 49

50 51

5 3 °5

Gaillarde ιΛ (compare A t t a i n C K III, no. 22: " D o n t vient cela," Sermisy) Gaillarde 2 = no. 44 below, and 1555a. no. 277 Gaillarde 3 Gaillarde 4 (15314, no. 29) = 1555z, no. 270 Gaillarde 5 Gaillarde 6 1 1 = 15552, no. 321 Gaillarde 7 (15314, no. 32) Gaillarde 8 Gaillarde g Gaillarde 10 Gaillarde 11 Gaillarde 12 Gaillarde 13 = 15303, no. 5 Gaillarde 14 — no. 32 above, and 15552, no. 277 Gaillarde 15 = 1 5 3 O 3 , no. 4, and 15552» no. 271 Pavenne 20a Pavenne 21^ Pavenne 22 Pavenne 23b = 15552, no. 258 Pavenne 24 Pavenne 25 La rote de rode12

1 T h e privilege reads: " L e R o y a donne privilege de troys ans audit Attaingnant après limpression de chacun livre quii imprimera. Et deffent a tous libraires, imprimeurs & aultres quilz nayent a imprimer & contrefaire lesdits livres par ledit Attaingnant imprimez ne aulcune partie diceulx sur peine de confiscation & damende arbitraire." 2 WohlT also includes a dance labeled "La brosse," which is not no. 9 of this volume nor any other dance from the volume. 3 M o d . ed. in M o e D M , p. 336, and Z a n G I, 6 (arr. for guitar). 4 M o d . ed. in W a s G , app., no. 4b. • 5 M o d . ed. in M o e D M , p. 336, and Z a n G I, 6 (arr. for guitar).

M o d . ed. in G o m V C , p. lxxii. M o d . ed. in O p p e l F , p. 215. 8 M o d . ed. (arranged) in R i e M , no. 31. 9 Mod. ed. in D o l D E , p. 85 (arranged), O p p e l F , p. 214. 1 0 M o d . ed. in HeartzS, p. 67. 1 1 M o d . ed. in SteinitA, no. 14. 1 2 M o d . ed. (arranged) in D o l D E , p. 8 5 . 6 7

and

111 partes. In youth. Cowper [A2] Beware my lytyll fynger [Bi v ] So great unkyndnes Cowper [D2V] W h o shall have my fayr lady. Jones [Ei v ] Mynyon goo trym [E 3 ] Joly felow Joly [Fi v ] And wyl ye serve me soo [F3V] M y harte my mynde Tavernar [ G i v ] Love wyll I Tavernar [G4 V ] M y hartes lust Fayrfax [J3] Fa la soli Cornyshe [Li] Anno domini. M . ccccc .XXX. Decimo die mensis Octobris.

iiii. partes. Pater noster Cornysh [Ai] By by Pygot [A4] She may be callyd Ashwell [C2] T h e bella Tavernar [C3V] M y love mournyth Gwynneth [Hi v ] Pleasure it is Cornysh [Ji] Concordane musycall. Cornysh [Ji v ] Ut re my fa sol la. Fayrfax [K2] U t re my fa sol la Cowper [L3]

Four part books in mensural notation. (Bassus of 45 fols.) On fol. 1 of each part book ( ?) : designation of part (triplex, medius, bassus, and a fourth). On fol. i v of each part book ( ?) : title page. Fol. 2 = fol. Α ι . Folio numbers in brackets have been added to the title page above from the bass part book, which contains one composition with Latin text, 16 with English text, and three textless compositions, presumably for instrumental ensemble. 1 For further information see ImelS. Copies in: G B : L b m (fol. 1 of triplex and complete bassus), 2 G B : L w a (medius, fols, ι and 45). 3 fol. K.2 Li L3

ι 2 3

Ut re my fa sol la Fayrfax Fa la soil4 Cornyshe a 3 Ut re my fa sol la Cowper

a4 a4

T h i s volume was formerly thought to have been printed b y W y n k y n de Wörde. Facs. of bass, fol. E i v , in P N , p. 73 ; facs. of fols, i», C 2 , C 2 V , C 3 , and C3V in R e e d C , pis. B - F ; facs. of bass, fol. C 2 , in SteeleE, pi. 6. 1

1530« CORNYSH, PYGOT, ASHWELL, A N D OTHERS In this boke ar conteynyd .xx. songes .ix. of .iiii. partes, and .xi. of thre partes. /

2 T h e bass parts of two songs, " B e h o l d and se h o w byrds dothe fly," and " B y a banke as I l e y , " have been added in manuscript to the bass part book. A t the end of the first song the composer's name,

1

5 3 12

T h o m a s Strettoli, has been written backwards ( " S a m o h t notterts"). 3 T h e m e d i u s title page (repr. in facs. in N i x B , pi. X V I ) has the colophon: " I m p r y n t y d in L o n d o n at the signe of the black M o r e n s , " and the initials " T B " and " S " ; see N i x B f o r further details. 4 M o d . ed. of all three voices after GB:Lbm, A d d . M S 31932, in M B X V I I I , no. 6.

IS30 DOUBTFUL

WORKS

i . FétB III, 460, lists the following volume of lute music by Hans Gerle: " Lauten-Parthien in der Tabulatur, Nuremberg, 1530, petit in-4° obi." See 15322, note I.

I S3 I I A T T A I N G N A N T , PIERRE,

PUBLISHER

Dixneuf chansons musicales redui/ctes en la tabulature des Orgues Espinettes Manicordions, et telz / semblables instrumentz musicaulx Imprimees a Paris par Pierre / Attaingnant demourant en la rue de la Harpe près leglise saint Cosme / Desquelles la table sensuyt. Idibus Januarii 1530 / [Table of contents] / L e roy a donne permission et privilege audit Attaingnant des livres quii / a par cy devant imprimez & espere imprimer cy apres tant en musique / ieux de Lutz, Orgues, et semblables instrumentz que nul ne les pourra / imprimer contrefaire ne aulcune partie diceulx vendre ne distribuer / jusques a troys ans après limpression de chacun diceulx. Et le tout sur / peine de confiscation et damende arbitraire. 40 fols. Keyboard score. Tables of contents for all seven of the 1531 Attaingnant keyboard tablatures are given in SchlechtK. For a discussion of all seven volumes see RoksMO, chaps. 6 and 7; on the chansons see BroC. AttainC I is a facsimile of the entire volume. AttainCK I is a modern edition of the volume, and includes the vocal models, printed above the intabulations. Therefore, the inventory below lists sixteenth-century sources of the vocal models. All of the compositions are for solo keyboard. Copy in: D : M b s .

35

ι

fol. iv

2

4V

3

7

4

8

5

g

6

il

7

J3V

8

I5V

9

I7 V

10

i8 v

11

2iv

12

23v

13

25

14

26

15

28

16

30

17

33

18

35v

19

38

1 2

Ung grant plaisir ( R I S M 1536,;, no. 13: Sermisy) Hau hau le boys ( R I S M 15292) no. 5 : Sermisy) Mon cueur en souvent bien marri ( R I S M 153I2, no. 21: Sermisy) Amours partes ( R I S M 152921 no. 16: Sermisy) A bien grant tort ( R I S M [c. 1528],, no. 9) Celle qui ma tant pourmene ( R I S M 15293, no. 14: Sermisy) Je ne scay point comment ( R I S M 15291, no. 9) Elle sen va de moy tant reg ( R I S M 15292, no. 9: Sermisy) II me suffit1 ( R I S M 15293, no. 34: Sermisy) Fors seulement ( I : F n , M S Magi. X I X , 164-167, no. 61 : anon. [Pipelare]) Le cueur est bon ( R I S M 1531 2 , no. 34) Jay trop ayme ( R I S M 15294, no. 14) Au desiuner2 ( R I S M J5312t n o · 2: " A desiuner la belle") Mauldicte soit la mondaine richesse ( R I S M 15292, no. 15: Sermisy) Dolent depart ( R I S M 15294, no. 16) Auprès de vous \secretement\ ( R I S M 15293, no. 3: Sermisy or Jacotin) Cest grant plaisir ( R I S M 15294, no. 42) Dung nouveau dart ( R I S M [c. 1528] 4, no. 5) Je le disoies ( R I S M [c. i528] 5 , no. 29)

M o d . ed. in R i t Z II, 75. M o d . ed. in A t t a i n C V , pl. H .

I 5 3 12 A T T A I N G N A N T , PIERRE,

PUBLISHER

xli / Vingt et cinq chansons musicales / reduictes en la tabulature des Orgues Espinettes Manicordions & / telz semblables instrumentz musicaulx Imprimees a Paris

1

36

531

par Pierre / Attaingnant demourant en la rue de la Harpe près leglise saint Cosme / Desquelles la table sensuyt. Kai. Februarii 1 530 / [Table of contents] / Avec privilege du Roy nostre / sire pour trois ans. 40 fols. Keyboard score. AttainC I I is a facsimile of the entire volume. AttainCK I I is a modern edition of the volume, and includes the vocal models, printed above the intabulations. Therefore, the inventory below lists sixteenth-century sources of the vocal models. For further information see 15311. All of the compositions are for solo keyboard. Copy in: D : M b s .

I

fol. 4iv

2

44

3

45 v

4

47

5

49

6

51

7

52

8

53 v

9

55

10

57

II

58 v

12

59 v

13 14

61 6I V

Du bien que loeil ( R I S M 15292, no. 19: Sermisy) Mon cueur en vous ( R I S M [c. 1528] 5, no. 25) Dessus le marche darras (153O4, no. zo: Willaert) Tant que vivray ( R I S M 15313, no. 37: Sermisy) Jätens secours ( R I S M 15312, no. 28: Sermisy) Languir me fais ( R I S M 15312, no. 29: Sermisy) Au joly bois 4 Vignon vignon vignette (RISM

15

63

Le jaulne & bleu

Aller my fault sur la verdure ( R I S M 15293, no. 9 : Janequin) Jay contente ma volunte1 ( R I S M 15312. no. 35: Sermisy) Cest une dure departie 2 ( R I S M 15292, no. 18: Sermisy) Le cueur de vous ( R I S M 15293, no. 8: Sermisy) Contre raison3 ( R I S M 15293, no. 19: Sermisy) Lheur de mon bien ( R I S M [ c . 1528],, n o . 19)

20

71

21

73

22

75

23

76 v

24

78

25

79V

15293, n o . 26)

Le cueur est myen

Facs. of fol. 44 in W o l f H II, opp. p. 250. M o d . ed. in O p p e l F , p. 216. 3 M o d . ed. in S c h e r G , no. 91c. 4 M o d . ed. in SchlechtB II, 123, and T a p S , p. 14. A different version of the same melodic material is in R I S M 15294, no. 35, by Clemens non Papa.

I 53 Is A T T A I N G N A N T , PIERRE,

65

18

67

19

68V

PUBLISHER

lxxxi / Vingt et six chansons musicales / reduictes en la tabulature des Orgues Espinettes Manicordions & / telz semblables instrumentz musicaubc Imprimees a Paris par Pierre / Attaingnant demourant en la rue de la Harpe près leglise saint Cosme / Desquelles la table sensuyt. Non. Februarii 1530 / [Table of contents] / Avec privilege du Roy nostre / sire pour trois ans. 40 fols. Keyboard score. AttainC I I I is a facsimile of the entire volume. AttainCK I I I is a modern edition of the volume, and includes the vocal models, printed above the intabulations. Therefore, the inventory below lists sixteenth-century sources of the vocal models. For further information see 153Ii. All of the compositions are for solo keyboard. Copy in: D : M b s . fol.

(RISM

I

8I V

2

83

3

84

4

86V

Mon cueur gist tousiours ( R I S M [c. 1528],, no. 26) Cest boucane ( R I S M 15294, no. 10) Las voulez vous ( R I S M 15312, no. 20 : Vermont) Je demeure seule esgaree ( R I S M

(RISM

5

«7V

Amour vault trop

15291, n o . 7)

17

( R I S M 1529

2

[ c . 1528],, n o . 24) 64

Ces fâcheux sotz no. 8)

1

[ c . 1528],, n o . 3)

16

Maulgre moy viz (RISM [c. 1528],, no. 2 3 : Sermisy) Long temps y a que je viz ( R I S M [c. 1528],, no. 18) Secourez moy ( R I S M 1 5 3 1 2 , no. ι : Sermisy) Fortune [lesse moy la vie] ( R I S M 15294, no. 13) De toy me plains (RISM

Ung jour robin ( R I S M 15312, no. 31 : Sermisy) Cest a grant tort ( R I S M 15293, no. 31 : Sermisy) Changeons propos ( R I S M 15312, no. 27: Sermisy)

15294, n o . 6) 15291, n o . 18)

(RISM

1

6

89

7

90

8

91

9

92 v

10

94 v

11

95 v

12

97

13

98*

Las je my plains (RISM 15312. no. 36) Amy souffrez ( R I S M 15294, no. 1 2 : Moulu) Je ne fais rien que requerir ( R I S M [c. 1528] 4, no. 2* Sermisy) Le content est riche1 (RISM 1 5 3 1 2 , no. 1 5 : Sermisy) De retourner ( R I S M 15293, no. 2 4 ) Ung grant plaisir (RISM [c. 1 5 2 8 ] , , n o . 6)

Si jay pour vous ( R I S M 153I2, no. 13 : Sermisy) Puis quen deux cueurs ( R I S M [c. 1 5 2 8 ] , , n o . 3 3 )

14

100

15

102

16

io3 v

17

io4 v

18

i05 v

19

io7 v

Puis quen amours ( R I S M 15292, no. 26: Sermisy) II est jour dit Mouette (RISM 1 5 3 1 2 , no. 1 4 : Sermisy) Jay mis mon cueur2 (RISM 15294, no. 1 1 ) Vivray je tousiours ( R I S M ^ S 1 ! » no. 1 1 : Sermisy) Jay le désir content ( R I S M 15292, no. 20: Sermisy) Veu le grief mal ( R I S M 1 5 3 1 2 , no. 23)

20

109

21

nov

22

112

23

114

24

116

25

117

26

119

Lespoir que jay ( R I S M 15292, no. 4 ) Ma bouche rit ( R I S M 15365, no. 1 9 : Duboys) Dont vient cela ( R I S M 15312, no. 1 0 : Sermisy) A mes ennuys ( R I S M 15293, no. 1 0 : " E n mes ennuyz") Jouyssance vous donneray ( R I S M 1 5 3 1 2 , no. 1 2 : Sermisy) Nauray je jamais reconfort ( R I S M 15312, no. 3 2 : Jacotin) Le departir (RISM153i2.no. 22)

1 2

Mod. ed. in KinO, p. 260. Mod. ed. in AttainC V, pis. E - G .

1

S3

4

37

reduict de musique / en la tabulature du jeu Dorgues Espinettes Manicordions & telz / semblables instrumentz musicaulx Imprimées a Paris par Pierre / Attaingnant demourant en la rue de la Harpe près leglise saint Cosme / Avec privilege du Roy nostre / sire pour trois ans. 40 fols. Keyboard score. AttainC I V is a facsimile of the entire volume. T h e compositions identified by the superior letter a ( a ) are reprinted in EitT. For some concordances see HeartzS, p. 76, and HeartzSF, p. 3 2 1 . For further information see ApelQ, and 153 i i · All of the compositions are for solo keyboard. Copy in: D : M b s . fol. iv 4 5V 6 7V 8 9 11 12 10

13

11

14

12

l6

13

I7V

14

19

15

20

16

20v

17

2IV

18

22

19

23

20

23v

1 5 3 0 4 , n o . 6)

24

28

25

29v

Branle3 Gaillarde3» Pavane Gaillarde310 Gaillarde11 (compare no. 25 below) Pavane12 Gaillarde Gaillarde (compare no. 22 above)

26

30v

Pavane

21

24

22

25

23

26

27

3iv

28

32v

A T T A I N G N A N T , P I E R R E , PUBLISHER

29

Quatorze Gaillardes neuf Paven/nes, sept Branles et deux Basses Dances le tout

30 31 32

33 v 35 37 39

I 53 Ii

Pavane (compare no. 31 below) Gaillarde sur la Pavane1 Gaillarde Gaillarde Branle commun2 Branle gay 3 Gaillarde Basse dance3 4 Basse dance Branle Gaillarde Pavennea Gaillarde' Branle [simple]3 6 Branle3 7 Branle [simple]3* Gaillarde3 (153O3, no. 62, and

(15305, no. 30, and

compare 110. 30 below) Gaillarde Gaillarde'13 Gaillarde (15305, no. 34) Pavane14 (compare no. 26 above) Pavane15 (compare no. 1 above) Gaillardeale

( 1 5 3 0 5 , no. 3 7 )

1

3«

S3

1

4 EZV EZV E3 E3V E4 E4V E4V

M o d . ed. in A p e l M II, 22. M o d . ed. (arranged) in D o l D E , pp. 58-59; facs. of no. 5 in A p e l N , facs. 2. 3 M o d . ed. in H a l b K , p. 7. 4 M o d . ed. in A p e l M II, 21; B e s M , p. 275; BlumeS, app. B, no. 18c; and SachsPM, p. 13. 5 M o d . ed. in ScherG, no. 91a. « M o d . ed. in B ö h T II, no. 1 4 1 ; D o l D E , p. 62 (arranged); and AttainS, no. 1. ' M o d . ed. in E C , pt. I, vol. I I I , p. 1226, and AttainS, no. 2. 8 M o d . ed. in AttainS, no. 3. 8 M o d . ed. in A p e l M II, 2 1 ; B ö h T II, no. 142; and R e h A I, 21. 1 0 Mod. ed. in EP, p. 1284. 1 1 M o d . ed. (arranged) in D o l D E , p. 122. 1 2 M o d . ed. in HeartzS, p. 7 1 . 1 3 M o d . ed. in ScherG, no. 91b. 1 4 M o d . ed. in HeartzS, p. 67. 1 5 M o d . ed. in H A M , no. 104. 1 8 M o d . ed. in H a l b K , p. 8. 1

2

FIV

FA FAV F3V F4V GIV

GZ G3 G3R G 4V G4 HIV

HAV H3 H3V H4 H4V JI JI V J2 J2V J3 J3V J4V K2 K3

153I5

A T T A I N G N A N T , PIERRE,

PUBLISHER

Tabulatore pour le jeu Dorgues / Espinetes et Manicordions sur le plain chant de Cunctipotens et / Kyrie fons. Avec leurs Et in terra. Patrem. Sanctus et Agnus dei / le tout nouvellement imprime a Paris par Pierre Attaingnant de/mourant en la rue de la Harpe près leglise sainct Cosme. / Avec privilege du Roy nostre / sire pour trois ans. 40 fols. Keyboard score. RoksO is a modem edition of the entire volume, and includes a facsimile of the title page. For further information see 1531 x. All of the compositions are for solo keyboard. Copy in: D : M b s .

Ι

fol. AI V A3 A4 BI V B3 CIV

C2 V C2 V C3V DI DZ D3V D4 EI

Kyrie fons1 Kyrie Christe Kyrie Kyrie Et in terra pax Benedicimus te Glorificarmis te Domine deus rex celestis Domine deus agnus dei Qui tollis Quoniam tu solus sanctus Tu solus altissimus In gloria dei patris

1

Patrem Visibilium omnium Et ex patre Et incarnatus Et homo factus est Et expecto Amen Sanctus Sanctus Benedictus Agnus dei Agnus dei Deo gratias2 Kyrie Cunctipotens3 Kyrie 3 Christe 3 Christe Kyrie 3 Ultimus Kyrie Et in terra pax Benedicimus te Glorificamus te Domine deus rex ce Domine deus agnus Qui tollis peccata Quoniam tu solus Tu solus altissimus In gloria dei patris Sanctus 4 Sanctus Benedictus Agnus dei Agnus dei

Mod. ed. of first Kyrie only in SchlechtG, no.

57b. 2 3 4

Mod. ed. in RauQ, p. 8, and RitZ II, 77. M o d . ed. in FroideA I, 28. M o d . ed. in ScherG, no. 92.

Ι53 Ι6 A T T A I N G N A N T , PIERRE,

PUBLISHER

xli / Magnificat sur les huit tons avec / T e deum laudamus. et deux Preludes, le tout mys en la tabulature des / Orgues Espinettes & Manicordions imprimez a Paris par Pierre / Attaingnant libraire demourant en la rue de la Harpe près leglise / saint Cosme. Kai. Martii 1530 / [Table of contents] / Avec privilege du Roy nostre sire / pour trois ans.

I 5 3 17 40 fols. Keyboard score. RoksO is a modern edition of the entire volume, and includes facsimiles of the title page and fol. 44 v . SlimK II, 451, contains a thematic index of the preludes. For further information see ι S3 ii- AU of the compositions are for solo keyboard. Copy in: D : M b s .

I 2 3

fol. 4iv 44v 49 50 5iv

Preludium Prelude sur chacun ton1 Magnificat primi toni Secundus versus Magnificat secundi toni (compare 4 no. 10a below) 52v Secundus versus 5 53v Magnificat tertii toni 54v Secundus versus 6 55v Magnificat quarti toni 56" Secundus versus 57 v Tertius versus 58* Quartus versus 59v Quintus versus 7 6ov Magnificat quinti toni 6 i v Secundus versus 8 62 Magnificat sexti toni Secundus versus 63 Magnificat septimi toni 9 64 6s v Secundus versus 10 66v Magnificat octavi toni (compare no. 4a above) 67 v Secundus versus Tertius versus2 69 70 Quartus versus II 7 i v Te deum laudamus 3 Tibi omnes angeli 72 Sanctus 73 73 v Sanctus Dominus Te gloriosus 74 74 v Te martyrum Patrem immense 75 75 v Sanctum quoque 76 v Tu patris 76* Tu devicto 77 v Judex crederis Eterna fac 78 Et rege eos 79 79 v Miserere nostri. Et laudamus 80 In te domine speravi Mod. Mod. Mod. 63 ; mod. 1

2 3

ed. ed. ed. ed.

in in of of

S c h l e c h t G , no. 57a. R a u M II, 1. versets 1, 7, and 9 - 1 1 in B i g g s T , p. the first verset in R i t Z II, 75.

39 ι S3 I7

A T T A I N G N A N T , PIERRE,

PUBLISHER

lxxxi / Treze Motetz musicaulx avec ung / Prelude, le tout reduict en la tabulature des Orgues Espinettes et / Manicordions et telz semblables instrumentz imprimez a Paris par / Pierre Attaingnant libraire demourant en la rue de la Harpe près / leglise saint Cosme Desquelz la table sensuyt. Kai. April. 1531 / [Table of contents] / Avec privilege du Roy nostre sire / pour trois ans. 1 40 fols. Keyboard score. RoksT is a modern edition of the volume and includes the vocal models printed above the intabulations and a facsimile of the title page and fol. 8i v . Therefore, the inventory below lists sixteenth-century sources of the vocal models. For further information see 15311· All of the compositions are for solo keyboard. Copy in: D : M b s . fol. 8i v 83v 86 v 89 92 97 v 7

IOO

8

105

9

io6 v

IO

108

11

no III V

12

IIS

Manus tue domine fecerunt me Fortuna desperata ( G B : Lbm, Add. M S 35087, fol. II v ) Bone jesu dulcissime ( R I S M 15353. fol. 16: Gascongne) Sicut malus2· ( R I S M 1541 2 , no. 20: Moulu) Sancta trinitas ( R I S M 15141, fol. 9: Févin) Benedictus Fevin ( R I S M 15161, fol. IO2v: Missa Ave Maria, Févin) Si bona suscepimus ( R I S M 15353, fol. 7= Sermisy) Sicut lilium ( R I S M 15385, no. 2: Brumel) Dulcis arnica dei3 ( U S : W c , Laborde Chansonnier, fol. 142: [Prioris]) O vos omnes qui transitis per viatn ( R I S M 1542s, no. 15: Compère) 2a pars [Audite obsecro] Aspice domine* ( R I S M 15353, fol. 11 : De la fage) Consumino [la vita mia] ( U S : W c , Laborde Chansonnier, fol. 139)

40

153*7

13

117

14

ii9v

Parce domine (RISM 1503!, fol. 33 v : Obrecht) Prelude5

Facs. of title page and one other page in R o k s M O , p p . 214, 216. 2 O n this composition see R o k s M . 8 M o d . ed. in F r o i d e A I, 27, and R i t Z II, 76. * In R I S M [c. I526] 6> no. 5, the motet is attributed to Sermisy. ' M o d . ed. in R a u Q , p. 8, and R i t Z II, 7 7 ; musical incipit in S l i m K I I , 452. 1

15321 AGRICOLA, MARTIN Musica / Instru/menta/lis. / Deudsch. / Martinus Agricola. 60 fols, plus four inserted tables.1 The title is placed within an ornamental border. A second title page on fol. A i v : Musica Instru/mentalis Deudsch, ynn / welcher begriffen ist, wie / man nach dem gesange auff man/cherley Pfeiffen lernen sol, Auch wie / auff die Orgel, Harffen, Lau/ten, Geigen, und allerley In/strument und Seyten/spiel, nach der recht/gegründten Ta/belthur sey / abzuse/tzen. Contents = 1529!· Copies in: A : W n , D:Bds-Tü, D:Mbs, F:Pc, G B : Lbm (imperfect), U S : R . 1 O n e of the tables showing how to transcribe a single line from mensural notation into G e r m a n keyboard tablature is reprinted in P N , p. 57.

15322 GERLE, H A N S Musica Teusch, auf die Instru/ment der grossen unnd kleinen Geygen, auch Lautten, / welcher massen die mit grundt und art irer Compo/sicion auss dem gesang in die Tabulatur zu ord/nen und zu setzen ist, sampt verborgener / applicacion und kunst, /Darynen ein liebhaber und anfenger berürter Instrument so dar zu lust und neygung / tregt, on ein sonderlichen Meyster mensürlich durch tegliche ubung leichtlich begreiffen / und lernen mag, vormals im Truck nye und ytzo durch Hans Gerle Lutinist / zu Nurenberg aussgangen. / 1532.

63 fols. German lute tablature, viola da gamba tablature, and mensural notation. The title is placed within an ornamental border containing the initials " H . G . " and date 153o.1 On fol. A2: preface headed "Allen und yeden der Lauten und Geygen kunst liebhabern, Wünsch ich Hans Gerle Lutinist burger, zu Nürmberg frydt unnd hayl, &c." Colophon on fol. Q3: "Gedruckt zu Nurenbergk durch Jeronimum Formschneyder." On fol. Q3V: errata. This instruction book is divided into five parts : fol. A2 v : " D e r Erst tayl von dem grossen Geygen" (including, on fol. A4, a cut of two Grossgeigen2). fol. E i v : " D e r ander tayl diss Buchs" (dealing with notation). fol. H2 v : "Hie hebt an der Drittayl diss Buchs und lernt wie du solt auff den kleynen Geigleyn lernen die kein Bündt [frets] haben" (including, on fol. H4, a cut of a Kleingeige with four strings 3). fol. J 2 : " . . . der Viert tayl der zaygt an wie du auff der Lautten solt lernen" (including, on fol. J4, a cut of a lute). fol. N4: " D e r Fünfft und letzt tayl diss Buchs, darinnen anzaygt wirt wie du auss dem gesang in die Tabulatur der Lautten setzen solt." For further information see EinZ ; SommL, p. 78; and TapL. The table of contents is given in M f M G III (1871), 210. The compositions identified by the superior letter a (a) are reprinted in SenflW VII. Some of the compositions are reprinted in LB, vols. 27 and 81. Nine of the pieces for Grossgeigen are reprinted in MonkS I. Contents = 15371. See 15465 for a revised and augmented edition. Copies in: D:Bds-Tü, G B : Lbm, GB:Lbmh. 4 PIECES FOR FOUR GROSSGEIGEN

1

fol. C2

2

C2V

Ich clag den tag5 ( D T O XXXVII/72, p. 71: Stoltzer; another version of nos. 18 and 34 below) Eyn freylein sprach ich freuntlich zu8 (compare E D M R X X , no. 25: "Ein Magd, die sagt mir freundlich zu," Malchinger or Senfl)

41

I 53*2 3

C3

4

C3V

5

C4

6

C4V

7

Di

8

Div

9

D2

10

Ü2V

11

D3V

12

D4v

13

Ei

Pacientia[m müss ich han]3 7 (SenflW IV, no. 64: Senfl; another version of nos. 19 and 23 below) Mein fleiss und müe3 8 (SenflW IV, no. 19: Senfl; another version of no. 24 below) Mein selbs bin ich nit meer3 (SenflW VI, no. 6: Senfl) Ach herre Gott wie syndt meiner feyndt so vil. Psalm Hi (another version of no. 27 below ; compare BraunS, p. 46, no. 33) Das ist ein fug geen all stint auss dem Discant9 Auff erdt lebt nit eyn schöner weyb (MosL, no. 56) Entlaubet ist der walde10 (EDMR X X , no. 61 : Stoltzer) Von edler art (MosPH, p. 180; J. Schönfelder or Hofhaimer) Trostlicher lieb11 (MosPH, p. 86: Hofhaimer; another version of no. 21 below) Elslein liebes Elselein312 (SenflW IV, no. 17: Senfl; compare no. 31 below) Die Gugel313 (SenflW IV, no. 15: " N u n grüss dich Gott," Senfl)

20

K4V

21

Li

22

L2

23

L/2v

24

L3

25 26

L3V L,4V

27

Mi"

28

M2

29

M3

30

M3 v

31

Μ4

32 33

Ni Niv

34

N2 v

35

C>4V

36

Qi

37

Qiv

38

Q2 v

PIECES FOR FOUR GROSSGEIGEN PRINTED ALSO IN MENSURAL NOTATION

14

15

Giv

G3V

Herr Christ der eynig Gott (PubAPTM VII, no. 29: Johann Walther) Mag ich hertzlieb erwerben dich314 (SenflW IV, no. 28 : Senfl)

PIECES FOR FOUR KLEINGEIGEN

16 17

Jι Jiv

Mag ich gunst han Ein M aydt die sagt mir zu315 (EDMR XX, no. 25 : Malchinger or Senfl)

PIECES FOR SOLO LUTE

18

K4

19

K4

Ich klag den tag1* (another version of no. 1 above) = 1536e, no. s Pacientia (another version of no. 3 above)

Nach willen dein11 (PubAPTM IX, 42: Hofhaimer) Trostlicher lieb18 (another version of no. 11 above) Wu sol ich mich hin keren ich armes brüderlein18 (PubAPTM X X I X , 90: G. Vogelhuber) Pacienciaa (another version of no. 3 above) Mein fleyss und müe ich nie hab gespartIa (another version of no. 4 above) Priambel = 15233, no. 7 Was wirdt es doch des wunderss noch3 (SenflW IV, no. 26: Senfl) Ach herre Gott wie seyndt meiner feindt so vil. Psalm iii (another version of no. 6 above) Die Brünlein die do ftiessen ( D T O XIV/28, p. 69: Isaac) O du armer Judas (compare BöhA, no. 539c; PubAPTM III, no. 102: Senfl; and ZahnM, no. 8187a) Ich het mir ein Endlein für genummeti3 (SenflW V, no. 26 : Senfl) Das Elselein3 (compare no. 12 above) Priambel = 15232, no. 13 Nun grüss dich Gott du mein drusserlein (EDMR X X , no. 82 : Sixt Dietrich) Ich klag den tag10 (another version of no. ι above) Scaramella21 (compare AmbG V, 134: Josquin des Prez) Dich als mich selbs™ (EDMR X X , no. ι) Cenespas22 (RISM 15022, fol. io v : " C e nest pas," Pierre de la Rue) Ach werde fruchte22 (SenflW IV, no. 66: Senfl)

1 Facs. of title page in HeronF II, frontispiece; HeyerV II, pl. 2; KinsP, p. 133; and M G G I V , col. 561. FétB III, 460, lists a 1530 volume by Gerle: " Lauten-Parthien in der Tabulatur, Nuremberg, 1530, petit in-4 0 obi." T h e same ornamental border is used in 15371, 15469, a n d *552ι· 2 Facs. of fol. A 4 in H i r K IV, pi. 31 ; KinsP, p. 118; L M I, 389 (from 1546 ed.); and SenflW V I I , χ. 3 Facs. of fol. H 4 in SenflW V I I , χ. 4 A copy was in D : W ; the Hirsch copy was in the Heyer library (see HeyerV II, 40).

42

i 5 3 22

6 Mod. ed. in B S X X X I V , no. ι ; D T O X X X V I I / 72, p. 96; and Stoll. 6 Mod. ed. in B S X X X I V , no. 2. ' Mod. ed. in B S X X X I V , no. 3. 8 Mod. ed. in B S X X X I V , no. 4. » Mod. ed. in E C , pt. I, vol. I l l , p. 1 2 1 0 ; M F H V I I , 1 3 ; M U IV, app., p. 1 9 ; SteinitA, no. 1 5 ; and W a s G , no. 19. 10 Mod. ed. in DehnC; D T O X X X V I I / 7 2 , p. 95 ; and Stoll. 11 Mod. ed. in D T O X X X V I I / 7 2 , p. 86, and beginning only in MosPH, p. 88. 12 Mod. ed. in E h m L , no. 1 ; M U IV, app., p. 1 2 ; and T a p S , p. 15. 13 Quasi-facs. in WolfH II, 223. 14 Facs. of fols. G3V and G 4 in SenflW V I I , χ. 15 Quasi-facs. in WolfH II, 2 2 2 - 2 2 3 . 16 Mod. ed. in B S X X X I V , no. 1 ; D T O X X X V I I / 72, p. 96; and Stoll. 17 Mod. ed. in D T O X X X V I I / 7 2 , p. 84, and beginning only in MosPH, p. 77. For a comparison of this intabulation with others see NowakH. 19 Mod. ed. in D T O X X X V I I / 7 2 , p. 86, and beginning only in MosPH, p. 88. 19 Mod. ed. in M U IV, app., p. 1 1 . 20 Mod. ed. in D T O X X X V I I / 7 2 , p. 96. 21 No. 35 is an example of intabulation method. 22 Nos. 3 6 - 3 8 are headed " N u n folgen etliche stucklein hernach in der Tabulatur zu den dreyzehen saytten."

Copies in: D : B d s - T ü , GB : L b m (title page wanting), G B : L b m h . 2

I

2 3 4 S 6 7

fol. 3V 9 9V 9V II IIV

I3V

8

I4V

9 10

15v i6 v

11

i7v

12

i8v

13

I9V

14 15

21 2i v

16

22

17

23

18

24

19

24 v

20 21

25v 2ÓV

22

27v

23

28 v

24

29v

25 26

30v 3i v

15331 GERLE, HANS Tabulatur auff die Laudten etli/cher Preambel, Teutscher, Wel/scher und Francösischer stück, von Liedlein, Muteten, und schönen Psalmen, mit drey u n d vier stym/men, Durch Hanns Gerle Luttinisten, Burger und Lauttenma/cher zu Nürenberg, ordenlich gesetzt, und in Truck / gegeben, Im M . D. X X X I I I . Jar. / Mit Rom. Kaiserlicher u n d K ü n . Mai. Freiheyt begnadet, in vier jaren nit / nach zu trücken, Bey straff und peen zehen Marek lötigs goldes. 1

95 fols. German lute tablature. T h e title is placed within an ornamental border containing the initials H . G. and the date 1530. On fols. 2-2 v : preface headed "Vorrede einer underrichtung." On fol. 3 : cut of a lute. Colophon on fol. 94 v : " G e d r ü c k t zü Nürenberg durch Jeronymum Formschneider. M . D. X X X I I I . " For further information see T a p L . SlimK II, 453, contains a thematic index of the preambles. All of the compositions are for solo lute.

Ein güt Preambel auff allerley Claves Nochlauff auff das Priambel Preambel = 15453, n o · 4 Preambel Preambel Preambel Herr thu uns h i l f f 3 (compare BraunS, p. 77, no. 505) Jhesus Christus unser heyland ( P u b A P T M VII, no. 24: Johann Walther) O herre Gott Ellend ich rüff ( E D M R X X , no. 100: Arnoldus de Bruck) Ellend du hast umbfangen mich (EitD II, no. 21) Ich stund an einem morgen ( R I S M [c. i53 5 ] 1 4 I I I , no. 40 [compare BridgmE, p. 160]) Einfrölich wesen ( D T O XIV/28, p. 5, and LenN, p. [28]: Isaac, Barbireau, or Obrecht) Ein büler schmaycht Mein selbs bin ich nit mer (SenflW VI, no. 6: Senfl) An dich hab ich ergeben mich (compare LeMaiG, no. 74: Le Maistre) Mein hertz thut alezeit verlangen (GomO, no. 31: anon.) = 15453, no. 33 Nicht lass mich hart entgelten (EitD II, no. 109) Capitan [Herre Gott] ( P u b A P T M II no. 67: Lupus Hellinck) Glück eer und gut Wie mag es in der karten sein* ( R I S M 153417, no. 116: Wilhelm Breitengraser) Wie das glück mil (SenflW V, no. 30: Senfl) Auff erd lebt nit ein schöners weyb (MosL, no. 56) Welt gelt (SenflW IV, no. 32: Senfl) Es mag meinfreud Mich zwingt dein liebs

43

1 5 3 32 27

3 !v

28 29

32 v 33 v

30

37

31

39

32

40 v

33

4iv

34

43 v

35

45

36

46

37

47 v

38

48 v

39

49

40 41

5ov 52

42

53 v

43 44

55 56"

45

58" 6iv 64

46

66v 69 71

47

72 v 74 v

48

78 8ov 82v

Elssle liebes Ehelein5 (compare SenflW IV, no. 17: Senfl) Brüder Steff an Der alt Tandernack (HewO, no. 69: Obrecht) Tandernack (compare H e w O , no. 69) Adieu mes amours* (HewO, no. 14: Josquin) Mile regres (JosqWW, no. 24: Josquin) = iS46 1 8 , no. 19. Plus mile regres (JosqWW, no. 29: " P l u s nulz regretz," Josquin) = 1562 3, no. 9* Ales regres (HewO, no. 57 : Hayne) En ¡ombre ( R I S M 1536!, no. 14: Josquin) En lombre ( C M I I , 46: M . Lasson) Ein Mutetlein (AttainCK I I I , no. 9: " L e content est riche," Sermisy) Lelefairay (D:Mbs, Mus. M S 1516, no. 24: " J e le f e r a y " ) Alaventure ( C M I I , 16: " A l'aventure l'entrepris," Adrian Willaert) Tant rentoereist Fors seulement ( O b r W W , p. 90: Josquin or Févin) = 154613, no. 17 In ilio tempore accesserunt1 ( R I S M 15371, no. 50: Jean Mouton) 2a pars Propter hoc Deus qui sedes ( P u b A P T M V I I , no. 40: Johann Walther) Alma redemptoris 2a pars Si dormiero ( D T O XIV/28, p. 104: Isaac [Agricola or L a Rue?]) 2a pars 3a pars Si Deus pro nobis ( R I S M 15645, no. 40) 2a pars Certum est Qui habitat ( J o s q M T , no. 52 : Josquin) 2a pars Non accedat Nisi dominus* (SenflW I I I , no. 10: Senfl) 2a pars Cum dederit

v

49

84

50

86 v 87 t 89 9o v 92 93 v

O Maria mater Christi (RISM 152O4, no. 21: Isaac) 2a pars Ave domina 3a pars O jocunda 4a pars Ave sanctissima Inviolata 9 ( J o s q M T , no. 42: Josquin) 2a pars Nostra ut pura 3 a pars O benigna

1 T h e gatherings are signed A 1 —Ζ 4 and a 1 - 4 . T h e A gathering has only three folios, and two folios are numbered 3 1 , an error uncorrected in the inventory. A facs. of the title page appears in KinsP, pi. 1 3 3 , and in HeyerV I I , pi. 3. M G G I V , col. 5 6 1 , lists a Tabulatur auff die Laudten pr. in 1 5 5 3 ; the date is probably a typographical error, and the notice refers

to I533l·

2 T h e Berlin copy was in the Wolffheim library (see W o l f f C I, no. 1 1 9 2 ) ; the Hirsch copy was in the Heyer library (see HeyerV I I , 40). 3 Heading on fol. 1 3 V : " F o l g e n hernach Teutsche stücklen." 4 Facs. of fol. 26V in CollaerAH, p. 62 ; M a g n i S M I, after p. 2 7 4 ; and E F I I I , 1 1 3 . 5 N o . 26 is on the verso of the first folio numbered 3 1 ; no. 2 7 is on the verso of the second folio numbered 3 1 (see η. 1 above). 6 Heading on fol. 3 9 : " N u n volgen hernach etliche Welsche stücklein, und etliche trium." 7 Heading on fol. 5 3 : " N u n volgen hernach Lateinische stück Psalmen und Muteten." 8 Heading on fol. 8o v : " N u n volgen etliche stück mit vier stymmen." " H e a d i n g on fol. 9θ ν : " D a s nachvolgend stück gehet im abzug."

1 5 3 3a A T T A I N G N A N T , PIERRE,

PUBLISHER

Chansons musicales a quatre parties / desquelles les plus convenables a la fleuste dallemant sont / signees en la table cy dessoubz escripte par a. et a la fleuste / a neuf trous par b. et p o u r les deux fleustes sont signees / par ab. Imprimees a Paris en la rue de la H a r p e devant / le bout de la rue des M a t h u r i n s prez leglise sainct Cosme / par Pierre Attaingnant. / Mense aprii. M D . X X X I I I . I [Table of contents] / Superius. / C u m privilegio ad sexennium F o u r part books in mensural notation, each of 16 fols. (?). As the title page states, those chansons marked with a are suited for transverse flute, those with b for recorder, and those with ab for both. Since only a

1

44

53 3a

single part book now exists concordances with extant copies of the chansons are indicated in the following inventory. Copy in: CH:Lcortot (S). 1

ι 2

fol. iv 2

3

2V

4

3V

5

V

ab a

Per eh'el viso J'aymeray qui m'aymera Gombert O passi sparsi ( R I S M iS26 e , no. 4: Sebastian Festa) Or vieti ca vieti2 Jannequin ( R I S M i540 1 7 , fol. 6V) Je l'ay aymé ( R I S M 15363, no. 6: Certon) De noz deux cueurs ( R I S M

4

a

6

S

b

7

5V

8

6

9

6V

IO

7

II

7V

12

8

13

8V

14

9

15 16

9V 10

17

io v

18

I Iv

19

II V

20

12

21

I2V

Si par fortune Certon ( R I S M 155523, fol. 8) Desir tri assault Manchia court b O desloialle dame Bourguignon a En espoir d'avoir Gombert ( F : C A , M S 124, fol. 40) a Aulire que vous de moyne ( R I S M 153412, no. 3: Sermisy, or R I S M 1535e, no. 18: Gombert) ab jf'ay tant souffert ( R I S M 15363, no. 1 7 : Jacotin) a Hors envieux retirez Gombert (EngL, p. 51) a Sur tous regretz Richafort (PubAPTM II, no. 78) a Vostre beaulté3 Lupus b Puis que j'ay perdu Lupi ( R I S M 15363, no. 24) a Vous l'ares s'il vous plaist4 Adorno ab Mille regretz J . le maire (Josquin) a Le printemps faict Benedictas ( N L : DHk, M S 74, H. 7, no. 1 3 : " L e printtamps fait fiorir," anon., tenor only) a Si ung oeuvre parfait Claudin [de Sermisy] ab Faict oufailly Bridam

15363, no. 1 0 : G u y o n )

a

( R I S M 15293, no. 3 0 :

22

13

b

Sermisy, or more probably 1549e, «o. 3 1 ) Eslongné suys de mes amours

23

I3V

ab

24

I3V

ab

25

14

a

26

I4V

a

27

15

a

28

i5 v

ab

29

16

a

30

i6 v

a

Content desir qui cause Claudin ( R I S M 15363, no. 8) Vivre ne puys content Claudin ( R I S M 15363, no. 9) Veu le grief mal Heurteur (AttainCK I I I , no. 19: anon.) Par trop aymer Benedictas La plus gorgiase du monde (compare 15363, no. 2 1 )

Changer ne puys Lupi ( R I S M 155424, no. 13) Souvent amour me livre Heurteur ( R I S M 15373, no. 15) Si je ne dors je ne puis vivre Legendre

1 A copy of the superius part book only was in D : WEs. 2 Listed in the table of contents as " M ' a m y e perrette." EitS, 1533a, states that the volume contains 31 chansons. Eitner probably counted " O r vien ca v i e n " and " M ' a m y e perrette" as two compositions. 8 A version of "Vostre beaulté" by Certon is pr. in L e s A C , no. z i . Another "Vostre beaulté" was set by Gombert, pr. in P u b A P T M I I , no. 79. 4 See the Josquin setting in JosqWW, no. 16.

1 5 33a A T T A I N G N A N T , PIERRE,

PUBLISHER

Vingt & sept chansons musicales a qua/tre parties desquelles les plus convenables a la fleuste dal/lemant sont signees en la table cy dessoubz escripte par a. / et a la fleuste a neuf trous par b. et pour les deux par a b . / Imprimees a Paris en la rue de la Harpe devant le bout / de la rue des Mathurins prez leglise sainct Cosme par / Pierre Attaingnant. Mense April: m. D. xxxiii. / [Table of contents] / Superius. / Cum privilegio ad sexennium. Four part books in mensural notation, each of 16 fols. AU of the compositions are fully texted in all voices. As title page states, those chansons marked with a are suited for transverse flute, those with b for recorder, and those with ab for both. Copy in: D î M b s . 1

1535 ab

I

I

2

Iv

3 4

2V a 3

5

3V

6 7

4 4V

8 9

S ab 5V ab 6V 7 7V 8

IO II

12 13

ab a

ab ab ab a

8V ab 9 ab 9V a

14 IS 16

17

10

18

IOv

ab b

19

II

20 21 22 23 24

I

I2V

25 26 27 28

I4V IS I5V i6 v

Iv

12 13 i3 v

45

-w. ma

fol. v

D

b a ab ab a a

a a

De vous servir Claudin [de Sermisy] Mirelaridon don don Heurteur Parle qui veult Claudin Va mirelidrogue va Passereau Gentil mareschal (text beg. A paris prez des billettes) Les yeulx bendez Vermont Amours amours vous me faides grant tort Gombert Amour me poingt Claudin Allons ung peu plus avant Heurteur Je ne puis pas Heurteur Tous amoureux Passereau Par ung matin Heurteur Pren de bon cueur P. de manchicourt Hellas amour Heurteur Amour me voyant Claudin Jectes moy sur Iherbette Lupi Jamais ung cueur Troys jeunes bourgeoises Heurteur Allez souspirs Claudin Elle veult donc Claudin On dit quamour Vermont Voyant souffrir Jacotin Hayne et amour Vermont Pourquoy donc ne fringuerons Passereau Je nen diray mot Passereau Je navoye point Claudin Ung petit coup Passereau Si bon amour Jacotin

1

A copy of the superius part book only was in D : WEs.

ganassi dal fontego sonator della Ill . S a . D . V a . / [Cut of five men grouped around a table, upon which are three part books; three of the men are playing recorders, and one is singing; hanging on the wall in back of them are three violas da gamba and a lute ; two cornetti are pictured in the foreground.] 1 8 + 72 fols. On fol. * i v : dedication "Allo Illustrissimo & Serenissimo Principe di Venetia Andrea Gritti," printed in SartMS, p. 4. On fol. S3V: table of contents and colophon: "Impressum Venetiis per Sylvestro di ganassi dal fontego sonator della illustrissima Signoria di Venetia hautor proprio. M D X X X V . 4- + iiabcdefghiklmnopqrs." Although Ganassi's instruction method for the recorder contains no complete compositions, it does contain numerous musical examples in mensural notation, most of them illustrating techniques of diminution. GanaF is a facsimile reprint of the volume ; GanaOF is a German translation and includes several facsimile pages; GanaOFE is an English translation of the German edition. Some of the musical examples are reprinted in KuV, p. 89. On this and the later volumes by Ganassi see EitSW. Copies in: D:Bds-Tü, D : J , D : W , 2 I:Be, I : F c , U S : W c . 3 1 The cut on the title page is repr. in DegenB, pi. 7 ; HuntR, p. 3 ; and M G G IV, col. 341. Facs. of title page in AbbS I, 422; GaspaC I, 336; KinsP, p. 148; and K u V , pi. 1. The fingering chart for the recorder is repr. in WolfH II, 242. 2 The Wolfenbüttel copy contains manuscript additions by Ganassi himself: a dedication, and an appendix of 175 diminutions of one six-note figure. GanaOF incl. these interpolations. Both GanaOF and M G G IV, col. 1355, incl. a facs. of the manuscript dedication. 3 On the back cover of the Washington copy there are manuscript remarks in a modern hand. Copies were in the libraries of Gaetano Gaspari and J . E. Matthew (see SartMS, p. 5).

I S 3 Si 1

S3S

GANASSI, S I L V E S T R O D I DOUBTFUL WORKS Opera Intitolata Fontegara / Laquale insegna a sonare di flauto chon tutta l'arte opportuna a esso instrumento / massime il diminuire il quale sara utile ad ogni instrumento di fiato et chorde : et anchora a / chi si dileta di canto, composta per sylvestro di

ι. T h e title page of Luis Milán. Libro di musica de vihuela de mano. Intitulado El maestro, is dated 1535, but the colophon is dated 1536. T h e volume is listed in this bibliography as 15365.

46

[1 5 3 6]ι

ι

fol. 2

Urna obra e arte pera tanger.

2

3

In 1536 Baena solicited King John III of Portugal for a privilege to print the abovenamed keyboard tablature. See KastnR, p. 97. T h e volume, if it was ever printed, is now lost.

3

3V

4 5

4v 4V

[1 S36] 2

6

6V

7

7V

8 9 10

7T 8T 9

11 12 13

9V 9T io v

14 15

il iiv

16

12

17 18 19

I2V I3V I4V

20

16

21

17

22

i7 v

23

18

24

19

[1 5 36 ]ι BAENA,

GONÇALO

BRAYSSINGAR, GUILLAUME Tablature d'Épinette. Moderne, 1536.

Lyon,

DE

Jacques

This volume, now lost, is listed in D u Verdier IV, 7 1 ; FétB II, 62; and DraudiusBE, p. 208. It contained ricercares, fantasias, and variations for solo keyboard.

15363 FRANCESCO DA

MILANO

I N T A B O L A T U R A DI L I U T O DE DIVERSI, CON L A / B A T A G L I A , E T A L T R E COSE BELLISSIME, DI M. FRANCESCO DA / MILANO, STAMP A T A N U O V A M E N T E PER F R A N CESCO / MARCOLINI DA FORLÌ, C O N G R A T I A E P R I V I L E G I O . / [Cut of a lutenist and two auditors] 1 34 fols. Italian lute tablature. On fol. i v : preface headed "Francesco Marcolini, A i Musici," reprinted in SchmidOP, p. 120.2 Colophon on fol. 34: " I n Vinegia per Francesco Marcolini da Forlì, In la Contrà di Santo Apostolo, ne le Case de i Frati di Crosachieri, negli anni del Signore. M D X X X V I . del mese di Magio." Thematic index of the entire volume in W i e M II. SlimK II, 454, contains a thematic index of the ricercares. For further information on Francesco and transcriptions of some of his music see N e w m M . Contents = 154 ?4. All of the compositions are for solo lute. Copy in : A : Wn.

Recercare3 = 1546-, no. 4; 15613, no. 4; 15635, no. 4; 1568,, no. 12; 1571 e> no. 6 Recercar = 15467, no. 5; 15613, no. 5; 15635. no. 5 Recercare4 = 15467, no. 6; 15469, no. 73; 15613, no. 6; 15624, no. 78; 1563 5, no. o Recercar5 = 15687, no. 18 Recercar6 = 15467, no. 7 ; 15613, no. 7; 15635, no. 7; 15687, no. 14 Recercar7 = 15467, no. 8; 15613, no. 8; 15635, no. 8 Recercar = 1546,, no. 9; 15613, no. 9; 15635, no. 9; 15687, no. 10; i 5 7 i e , no. 15 Recercar Recercar Recercar8 = 15484, no. 4; 15631, no. 17 Recercar9 Recercar Recercar10 = 15472.no. 10; 15621, no. 10; 1563e, no. 10, 15661, no. 10 (lost) Recercar Recercar = 15687, no. 19; i57ie> no. 8 Recercar11 = 15687, no. 8; I 57 I 6) no. i l Recercar Recercar Recercar = 15467, no. 3; 15613, no. 3; 15635, no. 3 Mon per si ma marie (F:Pn, M S nouv. acq. fr. 4599, fol. 3V : [tenor only]) Le plus gorgias du monde (15332, no. 28: lost) = 15467, no. 10; 15613, no. 10; 15635, no. 10 Chi voletio dir de moy [" Que voulez vous dire de m o y " ] 1 2 = 15472. no. 23; 15621, no. 23; 1563e, no. 23; 15661, no. 23 (lost) Tu dicois [que je mourroye] ( R I S M 153O3, no. 3: Sermisy) = 15467, no. 1 1 ; 15613, no. 11; 15635, no. i l Fort se lament (ObrWW, p. 90: " F o r s seulement," Josquin or Févin) = 15472, no. 22; 15621, no. 22; 1563e, no. 22; 1566!, no. 22 (lost)

I 5 3

25

no

20

26

2ov

27

2i v

28

22

29

22 v

30

23 v

31

23

32

24v 26 v

33

28

34

29 v

35

32v

Nos bergeres ( R I S M 1535e, · 9: " N o u s bergiers") = 1546,, no. 13; 15613, no. 13; 15635, no. 13 Can gieto fu marie (compare R I S M i535 8 ( no. 5: " Q u a n d j'estoye à marier," Willaert) Se la natura (RISM153i2.no. 3: " S i la nature en la diversité") Gentil galans (compare R I S M ΐ52θ β , nos. i l and 23) Resionit ( I : F n , M S Magi. X I X , 117, fol. 45 v : "Resjouissez vous bourgeoises," Mouton) Las ye my plains (LesAC, no. ι : Sermisy) Perquoy ale vo soleta ( R I S M [1535]!» no. 5: "Pourquoy allez vous") = 15467, no. 12; 15613, no. 12; 15635, no. 12 Pater noster a sey de Josquin (JosqMT, no. 50) = 15467, no. 1; 15613, no. 1; 15635, no. 1 2a pars Ave maria a sey de Josquin Stabat mater dolorosa (JosqMT, no. 36: Josquin) = 1546,, no. 2; 15613, no. 2 ; 15635, no. 3 La bataglia13 ( M M R F V I I , 31: Janequin) = 1546e, no. 2; 1546g, no. 26; 154? 6 , no. 12; 15504, no. 10 ; 15563, no. 2; 15634, no. 2; 1 563101 no. 10; i57i„, no. 196 O bone Jesu (SmijO, no. 33 : Compère)

1 Facs. of title page in A b b S I, 424; E F II, 1 5 6 ; E I X X I I , 259; and KinsP, p. 134. 2 Marcolini's privilege to print this work, granted by the Signoria of Venice, is pr. in SchmidOP, p. 1 2 1 . FétB III, 305, incorrectly lists 15363 as two different volumes of music by Francesco da Milano : " Intabulatura di organo, lib. 1 , " and " Intabolatura di liuto, Milano, 1 5 4 0 " ; apparently Fétis misread DoniL, p. 159.

6

e

47

1 5364 LUSCINIUS,

OTTOMAR

M U S U R G I A / seu praxis M U S I C A E . / Illius primo quae Instrumentis agitur certa ratio, ab Ottomaro / Luscinio Argentino duobus Libris absoluta. / Eiusdem Ottomari Luscinii, de Concentus polyphoni, id est, / ex plurifariis vocibus compositi, canonibus, Libri totidem. / Argentorati apud Joannem Schottum, / Anno Christi. 1536. / Cum gratia & privilegio Imperiali, / ad Quinquennium. 56 fols. On fol. a2: dedication to " M a g n i fico viro Domino Andreae Calvo Mediolanensis. Ottomarus Luscinius, Argentinus, S. D . " On fol. a3 v : cut of Andreas Silvanus and Sebastian Virdung. 1 On fol. 03: index. This is a free translation of Virdung's Musica gelutscht (1511 3 ). It contains the same musical example as 1511 3 ( " O haylige, onbeflecte, zart junckfrawschafft marie") in mensural notation (fol. f3 v ), organ tablature (fol. f4 v ), and German lute tablature (fol. h¿). On Luscinius see NiemOL. Contents = 15423· Copies in: A : W n , B:Br, C H : L c o r t o t , D : Bds-Tii, D : Mbs, D : Rp, D : W, D K : Kk, E:Mmc, E:Mn, F:CV, F:Pc, GB:Lbm, I : Be, I : Rsc, N L : DHgm, US:Cn, U S : NYp, U S : R , U S : W c . 2 1 Facs. of this cut in Maggs 28, p. 7 1 ; M a g n i S M I, 3 3 0 ; and W o l f f C I, pi. 26. Maggs 28, p. 72, repr. another illustration from the volume. 2 Copies were in the libraries of A . H. Littleton (see LittC, p. 1 1 , and M L E , 1904, p. 35), Werner Wolffheim (see WolffC I, no. 788), and in C S :Os (see EitQ V I , 254).

I 5 3 65

3

Mod. ed. in N e e m A M I, no. 18. 4 Facs. and mod. ed. in G o m R F , pp. 166, 1 7 4 (after 15467). 6 Mod. ed. in B r u A L I, no. 1 4 ; WasG. no. 1 4 ; D T O X V I I I / 3 7 , p. 104 (after A : W n , M S 18.827). 6 Mod. ed. in HamC, p. 138 (after S : U u , M S 87). 7 Mod. ed. in ChilF, no. 7. 8 Mod. ed. in SlimK II, 632. 9 Mod. ed. in SlimK II, 6 1 3 . 10 Mod. ed. in ChilF, no. 6 (after 15473). 11 Mod. ed. in M U III, app., p. 91. 12 Mod. ed. in ChilCI, p. 66. 13 Mod. ed. in ChilS, p. 37 (after 1563,). Facs. of a part of fol. 29V in KinsP, p. 134.

MILÁN, LUÍS L I B R O D E MU/sica de vihuela de mano. Intitulado El / maestro. El quale trahe el mesmo estilo y orden / que u n maestro traheria con un discípulo / principiante : mostrandole ordenadamen/te desde los principios toda cosa que / podría ignorar, para entender la / presente obra. Compuesto por / don Luys Milan. Dirigido / al muy alto & muy pode/roso & invictissimo

48

iS365

princi/pe don Juhan : por / la gracia de dios / rey de Portu/gal y de las / yslas. / &c. / Anno. M. D. xxxv. / Con privilegio Real. 1 102 fols. Italian lute tablature. 2 T h e title page = fol. Az. On fol. Azv: a woodcut of a seated king, with the coat of arms of King John III of Portugal, and the legend: " Invictissimus Rex Lusitanorum." On fol. A3: dedication to the king. 3 Beginning on fol. A3 v : a preface explaining the intentions of the book and giving preliminary instructions for playing the vihuela (cut of a vihuela on fol. A4). On fol. A6: summary of the contents of the book. On fol. A6V: cut of a vihuelist with the heading: " E l grande Orpheo, primero inventor. Por quien la vihuela, paresce en el mundo. Si el fue primero, no fue sin segundo. Porque es de todos, de todo hazedor." 4 On fol. Βι : introduction to the music. On fol. Rs v : a note headed "Intelligencia y declaración de los tonos que en la musica de canto figurado se usan." Colophon on fol. R6: " A honor y gloria de dios todo poderoso y de la sacratissima virgen Maria madre suya y abogada nuestra. Fue impresso el presente libro de musica de Vihuela de mano intitulado el Maestro: por Francisco Diaz Romano. En la Metropolitana y Coronada Ciudad de Valencia. Acabóse a. iiii. dias del mes de Deziembre Año de nuestra reparación, de Mil y quinientos treynta y seys." On fol. R6 V : author's corrections. T h e fourth gathering has been misbound. T h e correct order of folios is: D3, D2, D i , D6, D5, D4. In the following inventory the revised order is adopted. T h e entire collection is reprinted in MilanM, which includes facsimiles of the title page and fols. A2 and A6V (see also the review by Otto Gombosi in Zeitschrift für Musikwissenschaft, X I V [1933], 185). T h e compositions identified by superior letters are reprinted as follows: ( a ) in BruAL I ; C) in MilanSP; (c) in M o r L I; (d) in PedCP I I I ; (e) PujBG, nos. 1 0 0 1 - 0 3 , 1 0 1 7 , 1045-47, 1055. Three compositions (nos. 41, 48, and 50) are reprinted in JacobsTN, pp. 53-69. SlimK II, 461, contains a thematic index of the ricercares. For a discussion of the volume see TreL. Nos. 29-39 and 62-72 are for voice (written in red ciphers in tablature) and vihuela. T h e other compositions are for solo vihuela. T h e music is

usually introduced by a paragraph of prose explaining the technical problems set by each piece. Copies in: D : L E m , 5 E:Bd, E : M n (two copies), F:Pc, F : P n , GB : Lbm, I:PAc, N L :DHgm, P:V, US:Cn, US:Wc (imperfect). VIHUELA SOLO I

2 3 4 5 6 7 8 9 IO

fol. Βιν B2V B3V BS Β6 Civ C3 C4V C5V D3V

12 13 14

D2V D6 D5 D4

IS

EI

17

18

E4 E5V

19

FIV

II

16

E2V

27

F3V F6V G 2V G3 G4 G5 G5V G6

28

G6V

20

21 22 23 24 25 26

Fantasia del primero tono Fantasia del primero tono Fantasia del primero tono Fantasia del segundo tono6 Fantasia del segundo tonoc 7 Fantasia del primero tono Fantasia del tercero tonoc [.Fantasia]'8 Fantasia del tono mixtoc Fantasia del primero y segundo tono9 [Fantasia] Fantasia del tercero y quarto tono Fantasia del primero tono Fantasia del quarto y tercero tonoc 10 Fantasia del quinto y sexto tono Fantasia del quinto y sexto tono***11 Fantasia del quinto y sexto tono12 Fantasia del séptimo y octavo tono Fantasia del quinto tono' Fantasia del sexto tonoc Fantasia del séptimo tono Fantasia del octavo tonoe Pavana** Pavana** Pavana"™13 Pavana**'14 Pavana: Que la bella franceschina3ìxx 15 Pavana16

VOICE AND VIHUELA 29

HI HI

30

HIV

HIV

31

Η2

32

H2 H2V

Toda mi vida vos amec 17 Villancico in Spanish [Another version] Sospiro una señora?18 Villancico in Spanish [Another version] Agora viniessec Villancico in Spanish Quien amores ten a finKi Villancico in Portuguese [Another version]

I

33

h3

34

h3

35

h3 h3v

36

h4 h4v

Falai miña amor3ci 1 9 Villancico in Portuguese Poys dezeys que me quereysaca Villancico in Portuguese [Another version] Durandarte, durandarteci 20 Romance in Spanish (see Quel, p· 312) 2a pars. Palabras son lisongeras Sospirastes, baldovinosc 21 Romance in Spanish (see Quel,

49

5 3 6 5

64

Q2 v

65

Q3 Q3

66

Q3 v Q4

67

Q4 Q4 v

68

Q4 v Q4 v

69

Riv R2

70

R2 v

71

R3 v

72

R4 v

P· 312)

h5 37

h5v

38

H6V

39

v

h7

2a pars. Si te vas conmigo en jrancia Amor che nel mio pensier Soneto in Italian Porta chiascun nela fronte Soneto in Italian Nova angeleta Soneto in Italian

VIHUELA SOLO

40

41 42 43

Ji J3 J5

Kiv

44 45

K3 K5 Li

47

l3v L5

49 50 51 52 53 54 55 56 57

MI

46

48

58

59

60 61

M2 v M4V NI

n3 n5 OI

θ2ν O

4

O6 Pi

P3 P5

Fantasia del primero tono Fantasia del segundo tono Fantasia del tono mixtoc 22 Fantasia del tercero y quarto tonoc Fantasia del tercero tono Fantasia del quarto tonoc Fantasia del tercero y quarto tono Fantasia del tercero y quarto tonoc Fantasia del sexto tono Fantasia del sexto tono Fantasia del sexto tonoc [Fantasia] Fantasia del tercero y quarto tono Tentos del quinto y sexto tono Tentos del séptimo y octavo tono Fantasia del séptimo tono Fantasia del octavo tono Fantasia del séptimo y octavo tono Fantasia del séptimo y octavo tono Fantasia del sexto tono Fantasia del séptimo y octavo tono Fantasia del séptimo y octavo tono

VOICE AND VIHUELA

62

Qi

63

Qi Qiv Q2

Al amor quiero vencerc 23 Villancico in Spanish [Another version] Aquel cavalleroci Villancico in Spanish [Another version]

Amor que tan bien sirviendoc Villancico in Spanish [Another version] Levayme amor"124 Villancico in Portugese [Another version] Un cuydado que mia vida tenc Villancico in Portuguese [Another version] Perdida tenyo la color'25 Villancico in Portuguese (VasquezVC [1551], no. 12: Vasquez) [Another version] Con pavor recordo el moroci 2β Romance in Spanish (see Quel, P· 312) 2a pars. Mi cama las duras peñas Triste estava muy quexosac 2 ' Romance in Spanish (see Quel, p. 312) O gelosia damanti Soneto in Italian Madonna per voi ardo Soneto in Italian Gentil mia donna28 Soneto in Italian

1 Facs. of title page in A b b S I, 431 ; E F I I I , 206; M G G V , col. 180, and I X , col. 289; SalvaC II, 345; S c h r a L M , p. 20; V i n S , p. 89. 2 Unlike all other Italian lute and Spanish vihuela tablatures this one uses the lowest line to represent the lowest string, and the highest line to represent the highest string. 3 Facs. of fol. A 3 in S u b H M E , p. 207. * Facs. of fol. A6V in A n g M E (cover); M G G I X , col. 289; V i n S , p. 89; W a r d L , p. 26; and Otto Haas Sales Catalogue, no. 37 (1959), p. 41. s T h e Leipzig copy was in the Wolffheim library (see W o l f f C I, no. 1200). 6 M o d . ed. in MilanF. 7 M o d . ed. in R i e H II/i, p. 445. 8 M o d . ed. in P u j H C , p. 4. 9 M o d . ed. in P u j H C , p. 6. 1 0 M o d . ed. in MilanF. 1 1 M o d . ed. in A z p i a A , no. 2; M i l a n F a ; M i l a n S P , no. 7 ; and T a g A I, no. 4. 1 4 M o d . ed. in H A M , no. 121. 1 3 M o d . ed. in T a g A I, no. 5, and T r e L , p. 105. 1 4 M o d . ed. in A p e l M II, 13 ; N e e m A M I, no. 10; O H M I I I , 1 7 ; SteinitA, no. 3 1 ; T a g A I, no. 6 ; T a p S , p. 16 (incl. quasi-facs.) ; and W a s G , no. 5. 16 Mod. ed. in Die Laute I V (1920-21), 22; N e e m A M I, no. 9; and M a g n i S M I, 349. " Facs. of fol. G6V in A p e l N , facs. 18; M o r L I, xxxix ; and Wolf M S , pi. 74. M o d . ed. in A p e l M II, 12; E C , pt. I, vol. II, p. 647; and T r e L , p. 108. 1 7 M o d . ed. in M i l a n T ; M i l a n T (Puj); TreL, p. 101 ; and T o r n C M , p. 58. 1 8 M o d . ed. in B r u S III, no. 109, and W o l f H II, 107 (incl. quasi-facs.).

I 5365

5°

1 8 M o d . ed. in BalR, p. 19 (arr. for voice and piano); ScherG, no. 96b; and T r e L , p. 103. 20 Facs. of fols. H 3 v - H 4 in M o r L I, xxxvii. M o d . ed. in BalR, p. 14 (arr. for voice and piano); BruS IV, no. 139 (incl. beg. in tablature on p. 183); E C , pt. I, vol. II, p. 647, and vol. IV, p. 2018; and ScherG, no. 96a. 2 1 M o d . ed. (arr. for voice and piano) in BalR,

p.

II.

M o d . ed. in T a g A I, no. 3. M o d . ed. in BruS III, no. 89. 2 4 Mod. ed. in M i l a n L (arr. for voice and guitar). 2 5 Facs. of fol. Q 4 t in S c h r a L M , p. 21. M o d . ed. in BruS I I I , no. 119. T h e model is identified in T r e B M , p. 537. 2 6 M o d . ed. in M i l a n C (arr. for voice and guitar). 27 Mod. ed. (arr. for voice and piano) in BalR, p. 9. 28 M o d . ed. in BarthaZ, no. 45. 22 23

I 5 3 6e NEWSIDLER,

HANS

Ein Newgeordent Künstlich Lau/tenbuch, In zwen theyl getheylt. D e r erst für die anfahenden / Schuler, die aus rechter kunst und grundt nach der Tabulatur, sich one / einichen Meyster darin zuüben haben, durch ein leicht Exempel dieser / punctlein. . .

(Sin

wohin man mit einem yeden finger recht greiffen / sol. Weyter ist angezeigt, wie man die Tabulatur auch die Men/sur, und die gantz Application recht grundtlich lernen und versteen sol. / I m andern theyl sein begriffen, vil ausserlessner kunstreicher stuck, / von Fantaseyen, Preambeln, Psalmen und Muteten, die von den hochberümb/ ten, und besten Organisten, als einen schätz gehalten, die sein mit sonderm fleiss auff / die Organistisch art gemacht und colorirt, f ü r die geübten und erfarnen di/ser kunst, auff die Lauten dargeben. Dergleichen vormals nie im / T r u c k , A b e r yetzo durch mich Hansen Newsidler Lutinisten / und Bürger zu Nürnberg, öffentlich aussgangen. / M i t Rom. Keys, und Königk. M a . freyheit, in / funff iaren nit nach zu trucken, begnadet. 87 fols. German lute tablature. O n fol. a2: the same printer's privilege as in 15367, 15442, 15443. and 1549 e , headed " W i r Ferdinand von Gottis genaden, Römischer K u n i g , " and dated " i n unser Statt W i e n den fünffzehenden tag des monats Maii, im Funffzehenhundert und fuffunddreissigisten unserer Reich des Römischen im Funfften,

£flnfítícf)

icnüucf) /^η

tocníÍKpl

©crcrft furtoeanfanarteli

θ φ ϋ ΐ ά / b i c aue redact funfî rnbgrunbtnad)

€ittid)ttt t î î e y f ï e r punctleíu

btt ZMñtut/fkl) one Uid}tíB]ttmpet b i e f a

bacín j u ú b e n l)aben/bwrd)' cm

t r o p i n m a » mit einem yebê fìnger red)t g r e i f e «

fol ·t P c y t e u ß angejeigt/wie

ma bit C a b u l o f t i r wd) bit trim

f u r / m b t c g a t r ç A p p l i c a t i o n recfyt g a i t t b r t t d ) l e r n e n v ñ m ß e a t f o l .

g m anbern ίίχρ l fein 6cartffctt/t>ií aufjerlcfrtcr funfîracfccr ítucf / voit Aantafeyeit/p:eambe(n/pfalmeo

vnb tXlmtm/bit

teit vñ b e f í c n ( D i g a n í f i c n / e l e e i n e n fd)fi%Qá)ñlun/bit

»0«

boibo^bctóm^

fein m i t f o n b « r m f ! e t g a i t f f

bit ( D : g a m í í t f c i > att g e m a c h t r n b c o l o n r t / f t í r b i e g e i í b t e n v n b a f m m e n b i * f e e f u n ( ï / a u f f b t e S a u t e n b a t g e b e n . S k t a l t i ^ t t t v o m t r t s rae i m CttlcE/ a t x r y c ç o

brnd) mid) b a n f è n

r u b B o r g e r 5«

flarnberg/ofímlicf)

SUttinißm wßgatigm.

ttofïbfer

ÎTlitKôfti.Scyf. rnb^ômflï.ttla. frevfjeit/tn funff taren nit πβφ ju rr«kfen/bt0natc:. T i t l e page of 1536,

1536e und der andern im Neunten Jarn." On fol. a2 v : preface headed " D e m gütigen Leser glück und hayl." Beginning on fol. a3 v : instructions for playing the lute, including a number of musical examples (nos. 1 - 4 below). Remarks by Newsidler are interpolated at various points throughout the volume (for example, fols. f i v , ki). On fol. X3V: list of errata. Colophon on fol. X4: "Getruckt zu Nurmberg bey Johan Petreio, durch angebung und Verlegung, Hansen Newsidler Lutinisten, bürtig von Pressburck jetzt bürger zu Nurmberg. Anno Tausent funff hundert und sechs und dreyssig." On fol. X4V: the same cut of the neck of a lute with an explanation of the tablature as appears in 15367, 15441, 15442, and 15474. 1 On the unsigned fol. after fol. Χ4 ( = fol. 86) : index of the contents. T h e compositions identified by superior letters are reprinted as follows : ( a ) in BruS ; (b) in C h i l L S (including a facsimile of fol. t3v on p. iii) ; (c) in D T O XVIII/37; (d) in D T O X X X V I I / 7 2 ; (e) in M o l z H N ; ( f ) in SenflW V I I . There is a modern edition of a preamble and a dance in NeuP (arranged for guitar). SlimK II, 460, contains a thematic index of the preambles. T h e table of contents is given in M f M G III (1871), 152. For further information see ChilHN, and Library of Congress. Annual Report, 1930, p. 196 (which includes facsimiles of the title page and fol. ki). Some of Newsidler's different intabulations of one vocal model are closely related to each other. T h e versions marked with an equals sign in the following inventory are not always absolutely identical, but the differences are trivial. All of the compositions are for solo lute. Nos. 5-24 are a2 ; all the rest are a3. Copies in: C H : B E s u , C H : Z O , D : B d s T ü , D : H A u , D : L E m (two copies), D : M b s (imperfect), D : W , D K : K k , F : S s p (imperfect), U S : Wc. 2 fol. b3 c

3

C3

Mein fleiss und mii' (SenflW IV, no. 19: Senfl) = 15442, no. 1 Die Erst Regel, und ist ein gering fundament der Lauten = 15401, no. ι ; 15441, no. ι ; 15442, no. 2; 15453, no. ι ; i547i, no. ι ; i549 6 , no. ι Die Ander Regel, und ist ein ander art

C3V 3

C4

4

C4V C4V di

5

d3 v

6

d4

7

d4v

8

eι

9

eiv

10

e2

11

e2v e3

12

e4 e4v

13

fi

14

fiv

15

f2 v

16

f3 v

Die drit regel und ist auch eine andere art Das klein fundament mit dem einigen pünctlein* = 15442, no. 3, and 1549 e, no. 2 Die ander regela Die drit regela Nun volgt ein anders fundament, das vil kunstreycher, ist, aber ein wenig schwerer dann das erstIe = 15442, no. 4, and i549 6 , no. 3 Ich klag den Tag** ( D T O X X X V I I / 7 2 , p. 71 : Stoltzer ; another version of no. 25 below) =

15322, n o .

18

Mein hertz hat sich mit lieb verpflicht (MosPH, p. 154: Hofhaimer; another version of no. 38 below) = 15401, no. 4 Zart schöne fraw gedenck und schawa ( C W X X I X , 28; compare 151 ? 1( no. 26; another version of no. 30 below) Entlaubt ist uns der walde^4 ( E D M R X X , no. 61 : Stoltzer) = 15441, no. 5; 15442, no. 7 ; 15471, no. 5 Mag ich Unglück nicht widerstan1 (SenflW V , no. 13: Senfl) = 15401, no. 5 Ein guts hofftentzlein fur ein schüler (compare 1549 e, no. 7) Der hupff auff Der vorig tantz auff ein ander art gesetzt = 15474, no. 7 Hupff auff Nach willen deiri15 (MosPH, p. 74: Hofhaimer; another version of no. 34 below; compare 151?!, no. 28) = 15442, no. 8 Von edler arf (MosPH, p. 180: J. Schönfelder or Hofhaimer; another version of no. 33 below; compare 151 ? 1; no. 30) = 15442, no. 9) Mein einigs Aa (MosPH, p. 66: Hofhaimer; another version of no. 35 below) Zucht ehr und lobä (MosPH, p. 99: Hofhaimer) Tröstlicher lieti1 (MosPH, p. 86: Hofhaimer; another version of no. 36 below)

52

1536e

17

f4

18

f4 v

19

gì

20

g2

21

g3

22

g4 v

23

h2 v h4 v

24

¡3V

25

ki

26

k2

27

k2 v

28

k3

29

k3 v

30

k3 v

31

k4v

32 33

Ii I2

34

I3

35

I4

36

mi

37

m2

38

m2 v

Ach lieb mit leidä 6 (MosPH, p. 26: Hofhaimer; another version of no. 31 below) O weiblich art7 ( E D M R X X , no. 108: Isaac) Wo/ kumpt der May3it (EDMR X X , no. 66: W. Grefinger; another version of no. 42 below) = 15232, no. 4 Ach hilff mich leid (MosL, no. 21 : Adam von Fulda) La mora Isaac* (HewO.no. 44: Isaac; another version of no. 48 below) Alexander agricola (15382, no. 27: " C a e c o x " or " C e c u s " ) Alexander der ander theyl Hie folgt der Tannernack1 (LenN, p. [14] : Erasmus Lapicida; different from no. 51 below) Ich stund an einem morgen (SenflW V I I , no. 3: Senfl) Ich klag den tag1x19 (another version of no. 5 above) Der hund mir vor dem liecht umb gat ( E D M R X X , no. 44) = 1544!, no. 19, and 15474, no. 19 In liebes brunst ( E D M R X X , no. 76) = 1540], no. 20 Liebs meidlin gut, was hast im mut Elslein liebstes Eislein meinf10 (SenflW IV, no. 17: Senfl) = 1544!, n o · 22, and 15474, no. 18 Zart schöne fraw (another version of no. 7 above) Ach lieb mit leidä (another version of no. 17 above) = 15441, no. 28, and 15474, no. 22 Nie noch nimmer (MosL, no. 3) Von edler arte (another version of no. 13 above) Nach willen deitfi (another version of no. 12 above) Mein einigs A011 (another version of no. 14 above) Tröstlicher lieb4 (another version of no. 16 above) Jetz scheyden pringt mir schwer (MosL, no. 2) Mein hertz hat sich mit lieb verpflichtb (another version of no. 6 above)

39

Π14

40

ni

41

n2

42

n3

43

n4

44 45

02

46

03*

47

o4v

48

piv

49

p3

50

p4 v

51

qz

52

q4v

53

ri v

54

r2

55

r2v

56

r3

57

r3v

58

r4v

59

si

01 v

So wünsch ich ir ein gute nachf1 ( D T O X X X V I I / 7 2 , p. 74: Stoltzer) Nur nerrisch sein ist mein monier ( P u b A P T M X X I X , 106: Sixt Dietrich) In rechter lieb und trew (MosPH, p. 168: Hofhaimer) Wol kumbt der Mayil (another version of no. 19 above) Freundtlicher gruss, mit biiss12 ( P u b A P T M I X , 25) Ach Unfall wes seihest du mich Was wurt es doch des Wunders noch1 (SenflW IV, no. 26: Senfl) Ach Gott wem soll ichs klagen, das heimlich leiden meind13 W. Gräfinger (MosGR II, no. 18) Die prünlein die da fliessen14 ( D T O XIV/28, p. 69: Isaac) La mora Isaac15 (another version of no. 21 above) Benedictus (HewO, no. 76: Isaac) Adiu mes amours (HewO, no. 14: Josquin) Ander nacken op den Rhin (different from no. 23 above; compare 15331, no. 30) Ach meidlein rein, ich hab allein, mich dir eigen ergebet¡df ( E D M R X X , no. 62: Grefinger) Wan ich lang klag, alle tag, und griim mich ser, hab nichts dest mer ( R I S M [iS3Ó] s , no. 26: Huldrich Brätel) Kunt ich schön reines werdes weyb116 (SenflW II, 1 : Senfl) In diser weit, hab ich kein gelt17 ( R I S M [1536L, no. 17: Paul Wüst) On tugent freyd die leng nit wert ( R I S M [1536] s, no. 49 · Sixt Dietrich) Wer wenig behelt, und vil verthut ( R I S M [1536] 8, no. 7 · Thomas Sporer) Sie ist mein gluck, wenn ich mich schick ( R I S M [1536] 8, no. 31 « Paul Wüst) Lieb ist subtil, fürt gferlich spil ( R I S M [i536] 8 , no. 40: Thomas Sporer)

1

60

siv

61

S2

62 63 64 65 66

S3 S3V S4 S4V ti

67 68

tz t2 v t3 v

69

t4v ui

70

uiv U2

71 72

U3V χι X2

73

X3

1

40.

53

Dis fassnacht solt ich hoch auff springen ( R I S M [i536] 8 , no. 16: Thomas Sporer) Mir würt untrew getheylet mit ( R I S M [ 1 5 3 6 k no. i l ) [Preatnbel\cls = 15442, no. 57 Preambelç Preambelœl9 = 15474, no. 26 Preamel [sic] c2 ° = 15474, no. 27 Hie folget ein welscher tantz Wascha mesa^ [ = passamezzo] Der hupff auff* Ein guter welscher tantz*'2·1 Hie folget der recht artlich hojftantz im. abzugb22 = 1544», no. 24, and i549 6 , no. 25 Hupff auff» Ein geringer hoff tantz» = 15401,

53 15

Mod. ed. in D T O XIV/28, p. 152. Mod. ed. in BruD, no. 18 (arr. a2); ChilHN, p. 57; and E C , pt. I, vol. II, p. 643 (incl. facs.). 17 Mod. ed. in ChilHN, p. 59. 18 Heading on fol. S3: " H i e folgen etlich Preameln." 19 Mod. ed. in B r u A L I, 6; K ö r L , p. 1 3 7 ; NeemAM I, no. 1 1 ; ScherG, no. 93; ValentinTo, no. 2; Die Laute IV (1920-21), 22; and Z a n G I, 17· 20 Mod. ed. in B r u A L I, 7 ; M U II, app., p. 8; and WasG, no. 6. 21 Mod. ed. in ChilB V I I I , no. 1 ; GiinthB, 1937; and NeemAM I, no. 1 3 . Manuscript heading in Washington copy: "Paduana." 22 Mod. ed. and facs. in E C , pt. I, vol. II, p. 644. 23 Mod. ed. (arr. for guitar) in KlaemM II, no. 2. 24 Mod. ed. in H A M , no. 105a. 25 Mod. ed. in BarthaZ, no. 46; GiinthB, 1937; WolfME, no. 29; and ZanG II, 6. 26 Mod. ed. in ZanG I, 18. 16

no. 1 6 , and 1 5 4 7 4 , no. 1 4

Der hupff auff»23 Ein ser guter hoff tantz mit durch straicherìx 24 Hupff auff* Gassenhawer*25 Ich gieng wol bey der nacht (compare BöhA, no. 74) Ein gut Preambelcc 26

Facs. of fol. x4 v in ApelN, p. 75, and WolfH II,

2 At the end of the Washington copy there are two fols, of manuscript music in German lute tablature— fol. 87 v : "Salltarelo des passamezo gehört dartzu"; fol. 88 v : " N u n gruess dich got." There was a copy in P L : L . T h e manuscript music bound into one of the Leipzig copies is listed in DieL, p. ι ο ί . 3 Mod. ed. in R a L , p. 333, and Stoll. Heading on fol. d3 v : " H i e volgen etiliche Lieder auffs aller schlechtest, wie es in Noten oder Gesang steht für die anfahenden Schuler." 4 Mod. ed. in Stoll. 5 For a comparison of this intabulation with various others, see NowakH. • Beg. pr. in MosPH, p. 28. 7 Mod. ed. in BruD, no. 17, and D T O XIV/28, p. 160. 8 Mod. ed. in BruD, no. 20, and D T O XIV/28, p. 1 5 1 . 9 Mod. ed. in KlaemM II, no. 1 (arr. for guitar), and R a L , p. 333. Heading on fol. ¡4": " H i e enden sich die stuck mit zweyen stymmen." Heading on fol. k i : "Hienach folgen nun die stuck mit drey stymmen." 10 Mod. ed. in Die Laute V (1921-22), 38. 11 Mod. ed. in ChilHN, p. 58. 12 Mod. ed. (arr. 02) in BruD, no. 19. 13 Facs. of fol. 03V in M G G V, col. 765. 11 Mod. ed. in D T O XIV/28, p. 138, and M U I I I , app., p. 40. Facs. of fol. 04v in KinsP, p. 133, and M G G I X , col. 1409. 3 +B.P.I.M.

15367

NEWSIDLER,

HANS

Der ander theil des Lautenbuchs. / Darin sind begriffen, vil ausserlesner kunstreycher stuck, von Fanta/seyen, Preambeln, Psalmen und Muteten, die von den Hochberiimbten und besten / Organisten, als einen schätz gehalten, die sein mit sonderm fleyss auff die Orga/nistisch art gemacht und coloriert, für die geübten unnd erfarnen di/ser kunst, auff die Lauten dargeben. Dergleichen vormals nie im / Truck, aber yetzo durch mich Hansen Newsidler Lutinisten / und Bürger zu Nürnberg, offenlich aussgangen. / Mit Rom. Keys, und Königk. Ma. freyheit, in / funff jarn nit nach zu trucken, begnadet. 120 fols. German lute tablature. On fols. A I V - A 2 : the same printer's privilege as in 15365. On fols. A 2 V - A 3 : preface headed " Z u dem Leser." On fols. G g 2 - G g 3 : author's corrections. On fols. G g 3 - G g 3 v : table of contents. On fol. G g 4 : a note to the reader, followed by the colophon: "Getruckt zu Nürnberg beym Petreio, durch Verlegung Hansen Newsidlers Lutinisten. Anno 1 5 3 6 . " T h e table of contents is given in M f M G III (1871), 152. All of the compositions are for solo lute. Copies in: B : B r (imperfect), D : B d s - T ü , D : H Au, D : Ngm, D : W , F : S s p .

54

15367

I

fol. A3"

2

BI

3

B3

4

B3V

S

B4V

6

CIV

7

C

8

C4V

9

Ü2

3

IO

D3v

II

EI

12

E

13

E3

2

14

E4V

IS

FIV

16

F3

17

GI

ιδ

G3

19

HIV

20

H4

21

I2V ΚΙ

22

K3V

L2

Ein seer guter Organistischer Preambel1 Trium Si ascenderò (RI S M 15043, no. 122: Nicolas Craen) Disant aditi madame (HewO, no. 89: Compère) Harraytre amours (HewO, no. 86: " H a traître amours," Stokhem) Mater patris T r i u m A. Brumel (HewO, no. 62) Lastangeta (HewO, no. 49: Weerbecke or Obrecht) La plus te plus Jossquin (HewO, no. 64: " L a plus des plus") Medobt Compere (HewO, no. 45: " N e doibt on prendre") Tus Biens Ghiselin (RI SM 15022, no. 42: " D e tous biens") Ein gut trium, mit schönen fugen2 Vostrea Jamais Ghiselin ( R I S M 15043, no. 130: "Vostre a jamais/J'en ay dueul ") La Bernardina Jossquin (ScherG, no. 62b) Jay vien ahur Alexander Agricola (HewO, no. 82: " J a y bien a h u e r " ) Jay pris amors Ghiselin (DrozT, no. 2) La alfonsina Jo. Ghiselin (HewO, no. 80) Mess pensees Compere (HewO, no. 59) Favus distillons Ghiselin ( R I S M 15043, no. 123) Tartara3 Henricus Isaac ( D T O XIV/28, p. 107) Juli amors Ghiselin ( R I S M 15043, no. 115) Si sumpsero 4 Jacobus Obrecht ( O b r M T , no. 19) Ave sanctissima der erste theil Alexander agricola 2a pars Si dormiero. der erste theil5 Hainricus Finck ( D T O XIV/28, p. 104: Isaac [Agricola or La Rue ?]) 2a pars

23

W

24

M4

25

N3

26

θ2ν

27

P2

28

R4

Q3

S2 29

S3

30

T2 Vi

Xi 31

X3V

32

Y2V

33

Z2

34

Z

35

Aai v

36

Bb4

37

Cci v

38

Cc 3

39

Cc4

40

Ddi

41

Dd2 v

42

Dd4

43

Eeiv Ee 3 v

44

4

Ecce video celos apertos. der dritt theil N. Croen [sic] ( R I S M 15021, fol. 24 v : Craen) Toner nack Paulus Hoffhamer (compare HewO, no. 69) Ander nacken up dem Rhin 6 Ja. Obrecht (HewO, no. 69) Ander nacken up dem Rhin Alex, agricola (GomO, no. 25) Alexan. agricola, der erste their (15382, no. 27: " C a e c o x " or "Cecus") 2a pars Letatus sum. der erste theil Andreas de Sylva (RI S M 15141, fol. 4V) 2a pars [Fiat pax in virtute] Memor esto Jossquin de press (JosqMT, no. 31) 2a pars [Portio mea, Domine] Laudate dominum de celis. Der erste theyl Antonius brumel ( R I S M i S i 4 l , fol. 15) 2a pars [Laudate dominum in sanctis eius] Adiu mes amours Joss Quin (HewO, no. 14: Josquin) Sancta trinitas Jo. muton (RoksT, no. 8: Févin) Plus miiltz regres Joss Quin (JosqWW, no. 29: Josquin) Cum sancto spiritu Joss Quin (JosqMS X V I : "Missa de Beata Virgine," Josquin) Hie volget ein sehr kunstreicher Preambel oder Fantasey8 Von edler art (MosPH, p. 180: J. Schönfelder or Hofhaimer) Tröstlicher lieb9 (MosPH, p. 86: Hofhaimer) Mein fleys und mühe10 (SenflW IV, no. 19: Senfl) Ach lieb mit leid11 (MosPH, p. 26: Hofhaimer) Mein einigs A12 (MosPH, p. 66: Hofhaimer) Die prünlein die da fliessen13 ( D T O XIV/28, p. 69: Isaac) Was wirt es doch des wunders noch14 (SenflW IV, no. 26: Senfl) Ach unfal wes zeigstu mich Mile regrets (JosqWW, no. 24: Josquin)

45

Ff ι

46

FÍ2 v

47

Ggi

1

5 3 69

Mein hertz alzeyt hat gross verlangen (ObrWW, no. 21 : " Mijn hert heest altijts verlanghen," Obrecht [Pierre de la Rue?]) Si dedero Ja. Obrecht (HewO, no. 56: Alexander Agricola) Nach willen dein™ (MosPH, p. 74: Hofhaimer)

4 S 6 7 8

5V 7V 8V 10

9

IS 16 17 18 19 20

12 I3V I4V 16 i7 v 20 21 23 24 25v 2ÓV 28

21

29v

22

3° v

1 Mod. ed. in D T O X V I I I / 3 7 , p. 17, and N e e m A M I, no. 12. 2 Mod. ed. in D T O X V I I I / 3 7 , p. 24. 3 Mod. ed. in D T O XIV/28, p. 166. 4 Mod. ed. in O b r M T I V , 194. 5 Facs. of fol. K3V in W o l f H II, 43, and Handbuch der Bibliothekswissenschaft II (1931), 499. 6 M o d . ed. in O b r W W , no. 24. ' M o d . ed. in D T O X V I I I / 3 7 , P· 26. 8 Mod. ed. in D T O X V I I I / 3 7 , P· I9> and K ö r L , no. 6. » Mod. ed. in D T O X X X V I I / 7 2 , p. 87. 1 0 M o d . ed. in SenflW V I I , no. 30c. 1 1 M o d . ed. in D T O X X X V I I / 7 2 , p. 80. 1 2 M o d . ed. in D T O X X X V I I / 7 2 , p. 83. 1 3 Mod. ed. in D T O XIV/28, p. 139. 1 4 M o d . ed. in SenflW V I I , no. 32d. 1 5 M o d . ed. in D T O X X X V I I / 7 2 , p. 84.

IO II

12 13 14

55

II

V

Madonna qual certezza 2 Con lagrime, & sospir3 Fugi fugi cor mio Igno soave Amor se d'hor in hor la doglia cresce Donna che sete tra le belle bella Se mai provasti donna Afflitti spirti mei Ben che'l misero cor Madonna il tuo bel viso Divini occhi sereni Si lieta e grata morte Vita de la mia vita Gloriar mi poss'io donne Piove da gli occhi della donna mia Con l'angelico riso Se'o pensasse madonna che mia morte Madonna io sol vorrei [Andreas de Silva] 1 Madonna per voi ardo

See SartD, p. 142. M o d . ed. in T a g A I, no. 1. M o d . ed. in B r u A L I, 20; E i n I M I I I , no. 95; and T a p S , p. 18. 4 Verdelot is named as the composer in some later editions (see Vogel: Verdelot 13 [1557]). 1

2 3

I 53Öf VERDELOT, PHILIPPE ι 5369 I N T A V O L A T U R A DE / LI MADRIGALI DI VERDE/LOTTO DA CANTARE ET SONARE NEL LAUTO, INTA/volati per Messer Adriano, Novamente Stampata. Et / con ogni diligentia Corretta. / M . D . [Cut of angel blowing horn with the motto " F a m a m extendere factis, est Virtutis opus"] X X X V I . / Con Gratia, & Privilegio. 32 fols. Italian lute tablature and mensural notation. T h e printer's mark is that of Ottaviano Scotto. 1 On fol. i v : table of contents. All of the compositions are for solo voice (written in mensural notation) and lute; the vocal models are all in RI S M i537 8 , which names Verdelot as the composer of all but no. 21. Contents = i540 2 . Copy in : A : Wn.

ι 2 3

fol. 2 3V 4V

Quanto sia liet'il giorno Quando amor i begli occhi Donna leggiadra, e bella

CASTELIONO, GIOVANNI ANTONIO INTABOLATURA DE LEU/TO DE DIVERSI AUTORI NOVA/MENTE STAMPATA: ET CON DELIGENTIA / R E V I S T A : C O N G R A T I A E T PRIVILEGIO / CHE N I U N O POSSA S T A M P A R E : N E / F A R E S T A M P A R E PER DIECI ANNI. / S O T T O PENA DE Scutti C E N T O : A P L I / C A T I A L A I M PERIALE CAME/RA: C O M E N E CAPIT O L I / SI C O N T E N E . 64 fols. Italian lute tablature. On fol. 1 : cut of a lutenist playing. On fol. i v : the title page proper. On fol. 2: preface by the editor, Raynaldo Dadda, headed " A l i o Illu. S. Baptista Vesconte." On fol. 2 V : table of contents. 1 On fol. 63*: "Stampata Nela Cita De Milano per. Io. Antonio Casteliono al Primo D e Magio. M . D . X X X V I . " On fol. 64: printer's mark. In the inventory below the information in

15369 brackets is from the table of contents. Modern editions of the compositions identified by the superior letter a (a) are in M o e D M . SlimK II, 457-460, contains a thematic index of the ricercares. M o e D M contains a thematic index of the dances (P· 357) and some concordances (p. 221). W i e M II contains a thematic index of the volume and selected transcriptions. 1563x1 is a partial reprint of this volume (see there for a modern edition of i 5 6 3 n ) . All of the compositions are for solo lute. In the following inventory composers' initials are resolved the first time they appear only. Copies in : A : Wn, F : Pn (imperfect), I : Fc.

ι

fol. 3

2

5

3

7

4

9

Fantasia del divino Francesco da Milano = 1 5 5 2 n . n o . 1 1 ; 1568-, no. 15; 15716) no. 12 (compare 15524, no. 6) Fantasia de M. Alberto [Ripa] da Mantua = 1552!, no. 27; 15547, no. 3; 1562H, no. 9; 15747. no. 1

10 ι iv I2V I3V 5

14

I4V

6

15* 17 I7V 18 2ov 22v

23v 24v 7

25

Fantasia de M. Marcho da Laquila2 = 15521, no. 26 Pavana chiamata la Milanesa [P(ietro) Paulo B(orrono) da Milano] Saltarelo [de la preditta] Saltarelo chiamato Rose [e] Viole3 Saltarelo chiamato bel Fiore Tochata da sonare nel fine del ballo Pavana ditta la Malcontenta3 P. P. Borono da Mi. = I54? 5 , no. 9 Saltarelo nel fine del ballo [de la preditta] Saltarelo chiamato Baggino Saltarello ditto el Burato Tochata nel fine del Balloa 4 Pavana chiamato Monta su che son de Veliaa P. P. B. Saltarelo [delà dittai Saltarelo chiamato la Torgia (and Fa la dansa. Jo. Petro che la balla ben)5 Saltarelo chiamato el Mazolo Tochata del Divino Fran. Da Milano8 Fantasia del Divino Fran. Da Milano = 154620, no. 5; 15521, no. 2 1 ; 1573s, no. 5

8

26v

Fantasia de M. Alberto de Mantua = 1552!, no. 28, and 15554, no. ι 9 29 Fantasia de M. Marcho Da Laquila'' = 15521, no. 31 10 31 Fantasia de M. J0. jfacobo Albutio da Milano = 15521, no. 29; 155211, no. 6; 1563^, no. 3 11 33 Fantasia de M. Petro Paulo [-B.] da Milano8 = 15521, no. 24; 155211, no. 19; 156312, no. 9; 15687, no. 4; and i57i no. 3 Die Ander Regel Die drit regel Nun volgt ein anders fundament, dz vil kunstreycher ist, aber ein wenig schwerer dass dz erst = 1536e, no. 4 Ich klag den tag und alle stunda ( D T O X X X V I I / 7 2 , p. 7 1 : Stoltzer) = i549 e , no. 6 Mag ich unglück nit widerston1 (SenflW V, no. 13: Senfl) Entlaubet ist der walde — 1536,, no. 8: Stoltzer Nach vilen deim = i536 6 , no. 13: Hofhaimer Von Edler art einfrewlen zart = 15360, no. 13: Schönfelder or Hofhaimer Ein guter artlicher hoff tantz (compare ΐ549 β , no. 24) Der hupff auff zum hoff tantz Artlich und schön gantz wol gestalt2 ( E D M R X X , no. 23 : Casparus Bohemus) = 1549 e, no. 8 Willig und trew ich mich ergib = 1544], n o · 6: Georg Forster Fraw ich bin euch von hertzen holdt (SenflW V I , no. 16: Senfl or Gregor Peschin) Gesell, wis urlaub saumb dich nit umb ein trit ( E D M R X X , no. 20: Matthias Eckel) Ich schwüng mein horn3 (SenflW V, no. 44: Senfl) = 1549 e, no. 10 Kumbt her ir lieben gesellen, wir haben ein gans Gentil galans [compaignons du resin] (BrownTC, no. 24) Lautre Jour Janes (MMRF V , no. 2: " L'autre jour jouer m'aloie," Conseil)

19

F3 v

20 21 22

F4 F4 v Gì Giv

23

G2 v G3

24

G3 v

27 28

G4 v Hi Hiv H2 H2 v H3

29

H3 v

30

Η4 H4 v

31

Ji

32

34 35

J2 J3 J4 J4V Ki Kiv

36

K2 V

37

K3

38

K3 V

39 40

K4 K4 V

41

Liv

42

L2 v

43

L3 V

25 26

33

Je suis damour deschredite ( C M II, 5: "D'amours je suis desheritée") Feme du Bien [Der Polnisch Tantz]3 4 Der hupff auff Der recht alt Hoff Tantz = 15496, no. 23 Der hupff auff zum hoff tantz Ein Welisch tentzlein clira Cassa35 [" Cara cossa gagliarda"] Hie volget der Hofftantz noch ein mal, auff ein andre art im abzug — 1536s, no. 68 Der hupff auff Ein Welischer tantz36 Ein ander Welischer Tantz3 Der hupff auff zum tantz Ein gut Welisch tentzlein* Ameur wait trop (AttainCK III, no. 5: " A m o u r vault trop") Ein Welischer tantz [Der Kiinigin Tantz] 3 7 Der Hupff auff Lodesana ein Weitsche tantz = 1540L no. 29 Passa mesa. Ein Welischer tantz = 15401, no. 30 Sula Bataglia3 Der hupff auff Ein guter Welischer tantz Der hupff auff Son Tornato Diolosa Du Wentzela = 15402, no. 32: " D o n t vient cela," Sermisy Siparsonfre ( R I S M 15294, fol. 7 V : " S i par souffrir") = 1549 e, no. 57 Le vray amor ( R I S M i538 1 0 , no. 7 : " L e vray amy," Sermisy) Ami sonfre = 1540!, no. 31: " A m i sofre," Moulu O seul Espoir3 Testa grant = 1540j.n0. 33: " C e s t a grand [tort]," Sermisy Cest faschaux (AttainCK II, no. 25) Lamar Narite (compare KosackL, p. 99: " L a Marguaritt") = I549 e , no. 52 le sege adiu (LenN, p. [108]) = i547i. no. 29

72

15442

44 45

L n o : Godard) Disantal Naur acorgete ( R I S M 15419, p. 24: " N o n v'accorgete," Arcadelt) Henneur sons plus (CW XV, no. 8: " H o n n e u r sans plus," Lupus) Folpechi = 1549e» n o · 4 ° Petit Hec est dies quam, fecit dominus Archadelt ( R I S M 153912, p. 29) Hie volget die Schlacht vor Bafia. Der erst Teyl (MMRF V I I , 31: Janequin) = I549e, no. 64 2a pars [Fan frere le le lan fan] Nun volget Lalafetea (MMRF V I I , 105: " L e chant de l'Alouette," Janequin) Hie volget die Frantzösisch Schlacht die heist Singnori3 2a pars 3 a pars Hie volget der Juden Tantz3 9 Der huff auff Ein guter gassenhauer auff die Welisch art310 Der hupff auff Preambel = 1536 e, no. 62

1 544a NEWSIDLER, HANS Das Dritt Buch. / Ein N e w künstlich Lauten Buch, darin vil treff/Iicher grosser Maisterlichen kunst stück, vom Psalmen, u n d Muteten, ein auss/geklaubter kern, die in dieser zeyt die berumbtisten Stück sind, u n d vor / der keins nye in druck kumen, aber itzo durch mich Hansen Newsi/dler Lutenisten u n d Burger zu N ü r m b e r g , mit allem fleiss / zusamen gebracht, u n d öffentlich / aussgangen. / M i t Römischer Kay. u n d Künigk. May. freyheyt, / in Fünff Jarn nit nach zudrucken, Erst hewr / auff ein Newes begnadet. / M . D . X L I I I I Jar. 48 fols. G e r m a n lute tablature. O n fols. A I v - A 2 : the same printer's privilege as in 15365. On fols. A2 v -A3: the same preface headed " D e m Leser Glück u n d h e y l " as in 15367. O n fol. M 4 : table of contents followed by the colophon: " G e d r u c k t zu N ü r m b e r g bey H a n s Günther, durch angeb u n g u n d Verlegung Hansen Newsidler Lutinisten, Bürtig von Presspurck, yetzt Burger u n d Lutenist zu N ü r n b e r g . A n n o M . D X L I I I I . J a r . " On fol. M4 V : the same cut of the neck of a lute as appears in 1536, (see there for concordances). All of the compositions are for solo lute. Copies in: D : N g m , D : U s c h e . fol. ι

A3v

1

Mod. ed. in MolzHN, no. 15. Heading on fol. E3: "Hie nach volgen, guter Newer stiicklen 10. Teutsch und Frantzösisch, die aus rechten grund und kunst, mit den piinctlen ausspunctirt seind, wie man mit einem yeden finger recht und ordenlich greyffen soll." 3 Mod. ed. in SenflW VII, no. 49a (after Ι549 β , no. 10). 4 Heading on fol. F4 V : "Nun volgen etlich tentz Welisch und Teutsch." 6 Mod. ed. in ZanG I, 17. 6 Heading on fol. H i : "Nun volgen etlich Welisch Tentz." Mod. ed. in ZanG I, 18. 7 Mod. ed. in MolzHN, no. 12 (as "Im abzug ein gutter tantz"), and ZanG II, 7. 8 Not related musically to RISM I540 13 , no. 11: "Mon seul espoir," Maillard. 9 Mod. ed. in ApelM I, 10, and HAM, no. 105b. Facs. of fols. R4V and S i in ApelN, facs. 22 (incorrectly dated 1536). Mod. ed. and discussion of Apel's transcription in MorrA. 10 Mod. ed. of no. 56a only in BruS I, no. 35 ; mod. ed. of no. 56b only in TapS, p. 21 ; mod. ed. of both in ZanG II, 18. 2

Bi

2

B2 v

3

C2r

4

D2 v

CI

c4v E3

5 F3v G4v 6

H2

H4V 7

J3 V

Dilexi quoniam (I : BGid, M S 1209, no. 51: Hieronim[o] Mafffonio]) 2a pars [O domine libera animarti meam\ Beatus vir 2a pars Beati omnes. Der Erste Teyl 2a pars Bonitatem fecisti. Der Erste teyl ( R I S M 15141, no. 3: Carpentras) 2a pars [Manus tue Domine] Domine ne in furore tuo. Der Erste Teyl 2a pars Jerusalem luge. Der Erste Teyl ( R I S M 1532e, p. 49: Richafort [or L u p u s ?]) 2a pars [Deduc quasi torrente] Vita in ligno. Der Erste teyl ( R I S M I537J, no. 20: Senfl)

73

1 5452

8

K2 K4 Liv

9

L4 M3

za pars [Qui prophetice] 3a pars [Qui expansis] Verbum Iniquum. Der Erste Teyl (MoralesO II, 122: Morales) 2a pars [Duo rogavi te] Tristicia vestra ( R I S M 1541 2 . no. 24: Isaac)

ι 545i AGRICOLA,

MARTIN

Musica In/strumentalis Deudsch, / darin das fundament / und application der finger und zungen, / auff mancherley Pfeiffen, als Flöten, / Kromphörner, Zincken, Bomhard, Schal/meyen, Sackpfeiffen und Schweitzerpfeif/fen, etc. Darzu von dreierley Geigen, als / Welschen, Polisschen, und kleinen hand/geiglein, und wie die griffe drauff, auch /auff Lauten künstlich abgemessen wer/den, Item vom Monochordo, auch von / Künstlicher Stimmung der Orgelpfeiffen, / und zimbeln, etc. kürtzlich begriffen, / und für unser Schulkinder und / andere gmeine Senger, auffs / verstendlichst und ein/feltigst, itzund new/lich zugericht, / Durch / Martinum Agricolam. / Anno Domini, 1545. 83 fols, plus two inserted tables. On fol. Α ι ν ( = fol. ι ν ) : Cut of lady playing lute with other instruments in background, entitled " F r a w Musica." On fol. 2: dedication " D e m ersamen und weysen herrn Georgio Rhaw, Buchdrücker, vorweser und fürderer der edlen fraw Musices, zu Wittemberg, meinem grossgönstigen lieben herrn und Patron, wündsch ich Martinus Shor odder Agricola, Gnad und fried von Gott," and " V o r r h e d e " signed (on fol. 6): " A n n o Domini, 1545. U m 14. tage Aprilis. Mart. Agricola." T h e preface is reprinted in RothB, p. 120. Colophon on fol. 83: "Gedruckt zu Wittemberg durch Georgen Rhaw, Anno M . D . X L v . " This is a completely revised edition of 1529!. Agricola does not include any complete compositions among his musical examples. P u b A P T M X X is a quasi-facsimile of this volume. Copies in: D : A s , D : B d s - T ü , D : D S , D : G , D : HV1, D : L E m , D : W , G B : Gu, G B : Lbm, N L : D H g m .

ι 545s LICINO,

AGOSTINO

A G O S T I N LICINO / PRIMO LIBRO DI D U O CROMATICI DI AGOSTINO / LICINO CREMONESE DA CANTARE E T S O N A R E / Composti una parte sopra laltra con la sua resolutione da parte / Novamente posti in luce / A D U E [Printer's mark] V O C I / Venetiis Apud Antonium Gardane. / M . D . X X X X V . T w o part books in mensural notation, each of 20 fols. (?). Fol. Α ι ν = p. ι . For a second volume in the same series see 154612. All of the compositions in the volume are canons a 2 without text. Contents = 15867. Copy in: D : M b s (S).

ι

P· ι

2

3

3

5

4

7

5

9

6

il

7

13

8

15

9

17

10

19

11

21

12

23

13

25

14

27

15

29

16

31

17

33

Duo. Canon. In diapente superius, Primi Toni Duo. Canon. Ad semiditonum superius, Primi Toni Duo. Canon. In diapente superius, Primi Toni Duo. Canon. In diapente superius, Primi Toni Duo. Canon. Ad ditonum inferius, Primi Toni Duo. Canon. In diapente superius, Secundi Toni Duo. Canon. In diapente superius, Secundi Toni Duo. Canon. In diapente superius, Secundi Toni Duo. Canon. In diapente inferius, Secundi Toni Duo. Canon. In diatesaron superius, Secundi Toni Duo. Canon. Ad eptachordum superius, Tertii Toni Duo. Canon. Ad semiditonum superius, Tertii Toni Duo. Canon. In diapente superius, Tertii Toni Duo. Canon. In diapente superius, Tertii Toni Duo. Canon. In diapente superius, Tertii Toni Duo. Canon. In diapente superius, Quarti Toni Duo. Canon. In diapente superius, Quarti Toni

74

1 545a

18

35

19

37

20

39

Duo. Canon. In diapente inferius, Quarti Toni Duo. Canon. In diapente inferius, Quarti Toni Duo. Canon. In diapente superius, Quarti Toni

ι 54Ss P H A L È S E , P I E R R E , publisher D E S C H A N S O N S RE/duictz en T a b u latore de L u t à deux, / T R O I S , E T Q U A T R E P A R T I E S . / Avecq une briefve & familiare Introduction pour entendre & apprendre par soy / mesmes à jouer dudict Lut. Livre premier. / [Cut of a Iute] / T o u t nouvellement Imprime / A L O U V A I N / PAR J A C Q U E S B A T H E N E T R E Y N I E R VELPEN. / AUX DESPENS DE PIERRE P H A L E Y S L I / B R A I R E . Lan de Grace M . D. XLV. 48 fols. French lute tablature. On fol. A i v : preface headed " A U BENING L E C T E U R , " and dated " D e Louvain le 22. de Septembre. Lan 1545." Beginning on fol. A2: instructions for playing the lute. 1 Fol. Β ι = p. ι. Some of the pages are incorrectly numbered; in the inventory below the numbers are corrected without comment. SlimK II, 479, contains a thematic index of the abstract pieces. T h e collection was reprinted in a second, revised edition (15477 a n d i547e) and in a third edition (1549g); a " copies of another edition ([i575]e) have been lost. 2 All of the compositions are for solo lute. Copy in: F : B . 3

I 2 3 4 5 6 7 8 9 10 11 12

P·

I Primum Fundamentum = 15365,

2 3 3 4 6 7 8 10

II

12 13

no. 2 Praeludium = 15753, no. 1 Praeludium Aliud Praeludium = 15331, no. 3 Fundamentum Praeludium Fantasia Benedictus Isaac 4 Fantasia = i546 1 8 , no. 11 Fantasia Fantasia = 15082, no. 7 Praeludium

13 14 15

14 16 17

16

18

17

19

18

20

19 20

21 22

21

23

22

24

23

25

24

26

25

27

26

28

27

29

28

30

29

32

30

33

31

34

32 33

36 38

34

40

35

42

36

43

37

44

Fantasia Praeludium Die Lustelycke Mey (compare R I S M i 5 7 2 u , no. 25: Clemens non Papa, and D u y L I, 356) Jay mis mon cueur (AttainCK I I I , no. 16) Damours ie suis déshérité = 15293, no. 35 Amour vault trop — 15293, no. 21a Dolent depart — 15293, no. 18a Ces fâcheux sotz (AttainCK II, no. 25) II me souffit (another version of no. 35 below) = 15293, no. 24a: Sermisy Cest grand plaisir (AttainCK I, no. 17) Dont vient cela (AttainCK I I I , no. 22: Sermisy) = 1563x2, no. 110 Le cueur est bon ( R I S M 1531 2 , no. 34) Tous mes amis ( R I S M [c. 1528] 5, no. 4: Sermisy) Languir mi fault (AttainCK II, no. 12: "Languir me fais," Sermisy; another version of no. 29 below) Amis souffrez (AttainCK III, no. 7 : Moulu) Een vrolic vvesen ( D T O XIV/28, p. 5, and 15383, no. 28: Barbireau, Isaac, or Obrecht) Aliud languir (another version of no. 26 above) = 1552H, no. 34 Tant que vivray (another version of no. 45 below) = 15293, no. 33a: Sermisy Cest done par moy ( R I S M 154113. no. 60) Du bon du cueur Myn hert heeft altyt verlangen = 15331. no. 17 Miins lief kens bruyn oogen (compare V N M X X X , 6 : Susato, and LenN, p. 70) II me souffit (AttainCK I, no. 9 : Sermisy; another version of no. 21 above) Helas amy ( R I S M 1541g, fol. 4: Sandrin) Auprès de vous [secretement] (AttainCK I, no. 16)

I 546i 38

46

39

48

40

50

41

52

42

53

43 44

54 56

45

58

46

60

47

62

48

64

49

65

50

66

51 52 53 54 55 56 57 58

70 76 78 79 80 81 82 83 84

59 60 61

85 86 86

1

Ung gay bergier (RieH II, 462: Crecquillon) = 155211, no. 33; 156312, no. 45; 1568,, no. 39a Damour me plains. Ad descensum (PubAPTM X X I I I , no. 49: Roger Pathie) Le content est riche (AttainCK III, no. 9: Sermisy) Plourez mes yeulx (RI S M i54°13> n o · 22: Sandrin) = 15747, no. 28 Jamays naymeray masson ( R I S M 1520g, fol. 6V) = 1 5 6 3 η , no. 100 Pour ung petit coup Sur tous regres (PubAPTM II, no. 78: Richafort) Tant que vivray (AttainCK II, no. 10: Sermisy; another version of no. 30 above) = 1563η, no. 98 Vous perdez temps (PubAPTM X X I I I , no. 56: Sermisy) Je prens en gre la dure mort (ClemensO X , 14: Clemens non Papa) Or sus a coup ( R I S M 1570g, Ρ· 39) La fiellette (LesAC, no. 10: " Il estoit une fillette," Janequin) La Bataille. Pars Prima (MMRF V I I , 3 1 : Janequin) = 1546 ]8, no. 55 2a pars [Fanfrere le le lan fan] La Traditora Galliarde Gallairde [sic] Galliarde Ρaduana Paduana = 154620, no. 24 Paduana Paduana = 154630, no. 21, and 1563,2, no. 127 Ronde Ronde Tripla

On fol. A2: "BREFVE I N T R O D U C T I O N POUR A P P R E N D R E DE SOY mesme lart & usance du Lutz." On fol. A3: " P O U R SCAVOIR TROUVER LES T O N S . " On fol. A 3 v : " S E N S U I T D U T E M P S OU DES M E S U R E S E T PAUSES." On fol. A4V: " P O U R SCAVOIR M E T T R E LES DOITZ." On fol. A 4 v : " P O U R SCAVOIR T E N D R E E T ACCORDER LES CORDES." A Latin version of these instructions is pr. in 1549s·

75

2

The following volumes in the " D e s Chansons" series published by Phalèse can be traced: vol. I: 1545s, 15477" I 547e, ^498. [1575]«; H= 1546181546m; I I I : I547 8 , i547io, 1573s I I V : I54 6 20 , I573 8 ; V : [ I 5 4 7 ] u , [I547Í12· 3 In the unique copy there is some manuscript music without title in French lute tablature on p. 55. 4 Not related musically to HewO, no. 76 : "Benedictus," Isaac.

I 5461 ABONDANTE, JULIO INTABOLATURA / DI JULIO A B O N D A N T E / SOPRA E L L A U T O DE OGNI SORTE D E B A L L I / NOVAM E N T E S T A M P A T I E T POSTI IN L U C E / LIBRO PRIMO / INTABOLAT U R A [Cut of a lion and a bear standing on their hind legs facing each other, and holding between them an open rose, in which is a fleur-de-lis, with the motto CONCORDES V I R T U T E E T N A T U R A E M I R A C U L I S and the initials A. G.] D E L A U T O / I N V E N E T I A Apresso di / Antonio Gardane. / M . D. X X X X V I . / CON G R A T I A E T P R I V I L E G G I O 20 fols. Italian lute tablature. On fol. E4 V : table of contents. M o e D M contains concordances with similar (but not identical) settings (p. 226) and a thematic index of the entire volume (p. 361). Modem editions of the compositions identified by the superior letter a ( a ) are to be found in MoeDM. For further information see EitGA. Contents = 15631 (see there for a modern edition of the entire collection). All of the compositions are for solo lute. Copy in: A : Wn. 1 ι 2

fol. Aiv A2 v

3 4 5

A3 A3 v A4

6

A4V

Pass'e mezo [moderno] Venetiana gagliarda (compare 15612, no. 1 2 : " L a Barcha del mio amor") El Traditor gagliarda La Meza notte [gagliarda]a El Ciel turchin gagliarda (compare R I S M 1563e, p. 4 1 : " O Maria Diana Stella") L Herba fresca {gagliarda]a (compare I:Vnm, M S It. Cl. IV, I 795-i798, II, p. 1 : " L a via de la fiuma")

76 7

8

9

10

1

BI

BIV

B2 t B3V

II

B4V

12

CI

13

CIV

C2V c3 15 16 c 3 v 14

17

C

4

18 C4V 19 D I 20 D I 21 D2 v 22 D 3 23 D 3 V 24 D 4 25 D 4 V V

26 E I 27 E I 28 E 2 29 Ezv

V

30

E3

31

E3V E4

32

S

El Poverina El Pass'e mezo [antico]a La Traditora El Pichardo gagliarda Pass'e mezo [moderno] La Poverina La Chara cossa gagliarda El Tedesco gagliarda Bel fior gagliarda La Fornerina gagliarda La Inspirita gagliarda La Comadrina gagliarda Zorzi gagliardaa (compare AzzaiV, no. 8: "Occhio non fu,: Azzaiolo) Quadrelin gagliardaa La Gasparina gagliarda El Burato gagliardaa La Canella gagliarda Corneto gagliarda Tu te parti cor mio charo (compare AzzaiV, no. 12: " T i parti, cor mio caro," Azzaiolo) La Ben contenta [pavana] L Herba fresca gagliarda La Ferarese gagliarda Pass'e mezo [antico] Gagliarda del dito pass'e mezo La Disperata Le Forze di Erchole [pavana]

24 fols. Italian lute tablature. On fol. i v : dedication "AL REVERENDISSIMO M O N S I G N O R M. FRANCESCO Pisani Cardinale di san Marco pre Merchiore Padoano." On fol. 23 v : instructions for playing the lute headed "Per dechiarare a quelli che non hanno musicha, & etiam hanno pocca pratica nel sonar de Liuto io li mostrerò qui disotto per ragione, et per pratica," with one musical example on fol. 24, "Tastar daspoi acordato." The same instructions appear in 15463 and 15464. On fol. 24 v : table of contents. SlimK II, 483, contains a thematic index of the ricercares. All of the compositions are for solo lute. 1 Copy in: G B : L b m . 2 fol. I

2 2V 3V 4 4V 5V 7 8V 9 9V IOV

II

Ά copy was in P L : S . EitQ I, 32, erroneously dates this volume 1536.

IS462 BARBEROS, M E L C H I O R E D E I N T A B U L A T U R A / DI L A U T O / L I B R O QUARTO / D E LA M E S S A D I ANTONIO FEVINO. SOPRA AVE MARIA / Intabulata & accomodata per sonare sopra il Lautto dal Reverendo messer pre / MARCHIORE de barberiis da Padova sonatore eccellentissimo de Lautto, da / lui proprio nuovamente à utilità di virtuosi posta in luce, / con alcuni altri suoi recercari accomodati so/pra il tuono di ditta messa. / Agiontovi il nuovo modo di accordare il Lautto posto in fine. / Con gratia & privilegio. / V E N E T I A M D X L VI

2

I2V

13 I3V H 15

16 2 17

3 4 5

i7v i8 v 19

6 i9 v 20v 21 22

7 8 9 IO

22v

La messa di Antonio fevino intitulata Ave maria (RI SM ΐ 5 ΐ 6 χ : Missa no. 3, Févin) Chirie Christe Chirie Domine deus in duo Et in terra pax Qui tolis peccata mundi patrem omnipotentem Et incarnatus est Crucifixus Et rexurexit Et iterum venturus est Et in spiritum sanctum Sanctus pieni sunt celi in duo Osana Benedictus qui venit Agnus dei Agnus dei Qui tollis peccata Richafort Benedictus qui venit Agnus dei lupus Agnus dei lehortur [Heurteur or L'Héritier] Duo Fantasia Fantasia Crucifizus in duo Carpentias [Carpentras] Fantasia

1 Five volumes of lute music composed and arranged by Barberiis survive. These five volumes probably formed part of a series published between 1546 and 1549, presumably all by Girolamo Scotto (see M o e D M , p. 8). This series comprises the

77

15464 following collections: vol. I : Antonio Rotta (154615); I I : Francesco da Milano and Borrono (15463); I I I : Joan Maria da Crema ( i 5 4 6 n ) ; IV, V, and V I : Barberiis (15462, 15463, 15464); V I I : Francesco da Milano (15484); V I I I : Borrono (15482); I X and X : Barberiis (1549!, and 15492). 2 A copy was in D : B d s (formerly in D : W ) .

IS463

8

8

9 10 11 12 13 14

9 9V il 12 I3V I4V

15

15

16

16

17

i6 v

18 19

18 i8 v

20

i9 v

21 22 23 24

20v 22 23 24

25 26

24v 25 v

BARBERIIS, MELCHIORE DE INTABULATURA / DI LAUTTO / LIBRO QUINTO. / DE MADRIGALI, E T CANZON FRANCESE INTABUL A T I / & accomodati per sonare sopra il Lautto dal Reverendo messer pre M E R C H I O R E / de barberiis da Padova sonatore eccellentissimo di Lautto da lui proprio / nuovamente à utilità di virtuosi posta in luce. / Agiontovi il nuovo modo di accordare il Lautto posto in fine. / Con gratia & privilegio. / V E N E T I A M D X L V I 28 fols. Italian lute tablature. Dedication on fol. i v headed " A L L ' E C C E L E N T I S S I M O D O T T O R E M. M A R C A N T O N I O da genova Philosopho Padoano," and signed " Di V. E. Pre Merchiore Padoano." On fol. 27: the same instructions for playing the lute that appear in 15462· On fol. 28 : table of contents. For other volumes in the same series, see 15463, note 1. SlimK II, 484, contains a thematic index of the ricercares. All of the compositions are for solo lute. Copy in : D : L E m .

ι

fol. 2

2

2V

3 4

3V 4

5

s

6

6

7

7

Si Roi Regret mi complans. Canzott francese ( R I S M 15305, fol. 4: " Si je regrette et my complains") De vos sechur ( R I S M 15331, no. 1 [ = !5333 above]: " D e vous servir," Sermisy) Canzun francese A bien gran tort ( R I S M [c. 1528] 7, no. 9) Contra rasun (AttainCK II, no. 5: "Contre raison," Sermisy) O sto potesse donna ( R I S M 15419» Ρ· 19 : Giachet Berchem) Amor non vede ( R I S M 1 5 4 1 1 5 , no. 2: Maître Jan)

Canzun Iatens secors (AttainCK II, no. i l : Sermisy) Canzon francese Fantasia Fantasia Fantasia Fantasia Con lacrime & sospiri (EinIM III, 3 1 9 : Verdelot) Madonna io sol vorei ( R I S M ΐ537β> η ° · 5 : Andreas de Silva [Verdelot?]) Vitta de la mia vitta (RI S M 15379, no. 25: Verdelot) Madonna qual certezza (EinIM III, 21 ; Verdelot) Si suave Madonna mi consumo ( I : F c , M S Basevi 2440, no. 33) Altro non é el mio amore ( R I S M 153415, fol· i4 v : c · Festa) Veramente madonna Quando vostri belli occhi Perche bramo morire A l'umbra al caldo al gello (I : Vnm, M S S It. Cl. IV. 17951798, no. 70) La dolce umbra Celis asamplus (CH:Bu, M S S F . X . 1-4, no. 87: "Cela sans plus," Pope Leo X)

15461 BARBERIIS, MELCHIORE DE INTABULATURA / DI L A U T T O / L I B R O S E S T O /DI D I V E R S I M O T E T T I A Q U A T T R O VOCE, I N T A B U L A T I , / & accomodati per sonare sopra il Lautto dal Reverendo messer pre M E R C H I O R E / de barberiis da Padova sonatore eccellentissimo di Lautto da lui proprio / nuovamente à utilità di virtuosi posta in luce. / Agiontovi il nuovo modo di accordare il Lautto posto in fine. / Con gratia & privilegio. / V E N E T I A M D XLVI 32 fols. Italian lute tablature. On fol. A a i v : dedication " A L L ' E C C E L L E N T I S S I M O D O T T O R E M. M A R C O M A N T O A J U R I S C O N S U L A T O P A D O A N O . " On fol. 30 v : the same instructions for playing

1

78

the lute that appear in 15462· On fol. 31*: table of contents. For other volumes in the same series, see 15462, note 1. All of the compositions are for solo lute. Copy in: D : W .

ι 2

3 4 5 6

7

8

9

10

11

fol. 2 Beati omnes qui timet ( R I S M Ι539β, Ρ· 2i : Gombert) 5 Ave Ancilla trinitatis (RISM 1520X, no. 1: Andreas de Silva) 7 2a pars [Ave cuius concepito] 9 Ave virgo singularis [La] fage n v Postquam consumati sunt Lupus ( R I S M 15191, no. 5) 13 Salve regina Jusquino (JosqMS, no. 48) 15 Domine quis habitabit in tabernáculo tuo ( R I S M 153210, p. 50 : Jo. Courtois) i6 v Michael arcangelle Jacotin ( R I S M 15191, no. 6) i8 v 2a pars [In conspectu angelorum] 20 Inter natos mulierum (RISM 153210, P· 53= F. de Layolle) 21 2a pars [Fuit homo missus a deo\ 22 Dignare me laudare te (GombertO V, 93 : Gombert) 23 2a pars [O regina poli] 24 v Elisabet Zacharie (RISM 15191, no. 24: Lafage) 26 2a pars [Inter natos mulierum] 27 v Super flumina babilonis Gombert (HAM, no. 114)

15465 BIANCHINI, DOMINICO INTABOLATURA / DE LAUTO / DI DOMINICO BIANCHINI / D I T T O R O S S E T T O DI RECERCARI M O T E T T I / MADRIGALI CANZON FRANCESE N A P O L I T A N E / E T B A L L I NOVAM E N T E S T A M P A T I / L I B R O [Cut with the printer's mark of Antonio Gardane] P R I M O / I N V E N E T I A Apresso di / Antonio Gardane / M . D. X X X X V I . 20 fols. Italian lute tablature. On fol. A i v : dedication " D O M I N I C O BIANCHINI D I T T O ROSSETTO A LI SIGNORI MARCAD ΑΝΤΙ DI F O N T E G O ALLE-

54^4 M A N I . " On fol. E4 V : table of contents. M o e D M contains concordances for the dances (p. 235) and a thematic index of the dances (p. 367). Some of the compositions were probably reprinted in [i547]n (see there for details). SlimK II, 485, contains a thematic index of the ricercares. For further information see MorcouB. T h e compositions identified by the superior letter a ( a ) are reprinted in ChilLI. Contents = 15542 and 15632. All of the compositions are for solo lute. Copies in: D : N g m , GB : Lbm, U S i W c . 1 fol. A2 A2V

A3V A4 Bi

6

Biv

7

B2 v

8

B3 B3v B3V

9

B4

10 11 12 13 14

B4 v Ci Civ C2 C2V

15 16

Di Div

17 18

D2 D2 v

19

D3

20

D3 V

21 22 23

D4 v Ei Eiv

Recercar primo3 = 15521, no. 9 Recercar segondo Recercar terzoa = 15521, no. 11 Recercar quarto Con leifuss'io ( R I S M 154317, p. 36: Arcadelt, Berchem, Corteccia, or Giaches de Ponte) Auprès de vous [secretement] (AttainCK I, no. 16: Sermisy or Jacotin) Madonna io non lo so [napolitane] (CW V I I I , 18: Willaert) Pass'e mezo [antico]a2 = 1552!, no. 32a La sua padoana*3 = 15521, no. 32b Il suo saltarelloa = 15521, no. 32c Le forze derculle [passamezzo antico] = 15521, no. 33 Lodesana4 = 15521, no. 34 Meza notte = 15521, no. 35 La cara cossaa = 15521, no. 36 El Burato5 = i552], no. 37 Ave santissima (GombertO V, 77: Gombert) = 15479, no. 15 Santo erculano36 Cest grand pitie (SeayFC, ρ. 8: Certon) Recercar1 = 15521, no. 10 Il me suffit8 (AttainCK I, no. 9: Sermisy) Par ton regard ( R I S M 153O4, fol. 3V: Sermisy) Le dur travail ( R I S M 154412, fol. 12: Willaert) Recercar9 Torza [saltarello]a O s'io potessi donna ( R I S M I 54 I »> P· 19: Giachet Berchem)

79

1546e 24

E2 v

Tant que vivraia

10

A2v

(AttainCK

25

E3v

Pùngente dardo

2a pars

[Vous orrez a mon

advis]

II, no. 10: Sermisy) ( R I S M 1541 e ,

p. 3 : Giachet Berchem) 1 A copy was in P L : S , and in the Wolffheim library (see W o l f f C I, no. 1186). T h e Sorau copy, bound with various other tablatures pr. in 1546 and 1547 (see TischA), contained also 21 fols, of manuscript music in Italian lute tablature, beginning with instructions for learning tablature headed " Instructio tradens eiusmodi Tabellatura intelligentiam, quoad tactum Test 11 dl η is, in Polish and Latin. T h e following titles were included: Tocada, Ballo Pollacho, Gagliarda, Pass'e mezzo, Psalmus [Polish text], Córente Francese, Almane, Taniez, Praeambulum, and Final by Cavaliero maestro di Roma (see BoettB).

Mod. ed. in W a s G , no. 10 (after issìì). 3 Mod. ed. in EitT, no. 39 (after 1552!). 4 Mod. ed. in M o e D M , p. 344. 5 Mod. ed. in EitM, no. 38 (after 1552,). 6 Mod. ed. in M o e D M , p. 329. ' Mod. ed. in WasG, no. 7 (after 1552,). 8 Mod. ed. (along with vocal model) in MorcouB, p. 182. 9 Mod. ed. in MorcouB, p. 193. 1 0 Mod. ed. in ChilB V I I I , no. 4; ChilCI, p. 70; E C , pt. I, vol. II, p. 649; and P u j B G , no. 1069.

2

A3v

3a pars

[Rossignol du boys joli]

Βι

4a pars

[Arriéré, maistre Cocu]

B2 v

La bataglia francesa =

15363,

no. 34: Janequin 3

B4 V

2a pars

C3 V

Hors envieulx retires vous

[Fan frere le le lan fan]

( E n g L , p. 5 1 : Gombert)

=

1546e, no. 19, and 1546,9, no. 49 4

C4 V

Martin menoit Janequin

(CM

II, 79) = 15469, no. 24, and 1 54618)

5

Div

2

no. 53

Fortune alors*

( R I S M 153915,

no. 2: Certon) = 15469, no. 22, and 15461 s, no. 50 6

D2

Pour avoir paix

(RISM

[1539] 20, fol· 2 : F . de Layolle) =

15469, no. 18, and i 5 4 6 1 8 ,

no. 29 7

D2 V

Sur toutes fleurs jayme la margarite = 15469, no. 20, and 1546,9, no. 51

8

D3v

Fantesia di F. da Milano

=

6

15469, no. 15, and 154620, no. 2 IS46 FRANCESCO

9

DA

MENTE PRIMO mark]

DA

10

MILANO

MILANO

RISTAMPATA /

DE

/

LAUTO

/

/

IN

VENETIA

Gardane

/ M.

20 fols. Italian lute tablature.

On

the

entire

additions). 1

All

of

the

Copies in: A : W n , C H : L c o r t o t , D : N g m , G B : Lbm, U S : C n , U S r N Y p . 2 fol. Aiv

La canzon detti ucelli3

(MMRF

V I I , 1 : " L e Chant des Oyseaux," beginning "Reveillez vous, cueurs endormis," Janequin) = 1546g, no. 25; 154613, no. 54; 15504. no. 9

E2 V

=

Pourtant si je suis brunette* ( C W L X I , no. 6: Sermisy)

=

15469, no. 2 i , and i546 1 8 , no. 45 E3 V

Reveillez moy9

(PubAPTM

X X I I I , no. 23: Garnier) = 15469, no. 1 7 ; 1546,9, no. 48; 1568,, no. 36

volume.

compositions are for solo lute.

Fantesia di F. da Milano7

156312. no. 6; I 5 7 i 6 , no. 33 12

fol.

the ricercares. Contents = 15563 and 15634 has some

E2

D.

S l i m K II, 489, contains a thematic index of (which

=

15469, no. 16; 155211, no. 7 ;

E4 V : table of contents. W i e M II contains a of

Fantesia di F. da Milano8 1568,, no. 43

11

13

index

Ei

LIBRO [Printer's

XXXXVI.

thematic

=

15469, no. 1 1 ; 154620, no. 3 ;

NOVA-

INTABOLATURA

Apresso di / Antonio

Fantesia di F. da Milano 15469, no. 13

I N T A B O L A T U R A / DE L A U T O / DI FRANCESCO

D4

e

Pici A, p. 197, lists under Francesco (da Milano): " L i b . I. Intavolatura di liuto. Venet. 1547," probably referring to this volume. 2 A copy was in P L : S (see 15465, n. 1). 3 Mod. ed. in ChilLS, p. 44 (after 15634), and ChilS, p. 37; prima pars only in BossiC, no. 1, and CorteA, no. 58 (after 1563,); end of 3a pars in BruS IV, no. 132. 1 Mod. ed. in ChilF, no. 3. 6 Mod. ed. in B r u A L I, no. 16; ChilF, no. 1; and ChilLI, p. 48. " M o d . ed. in ChilF, no. 2; L e f L (after 1568^; and N e e m A M I, no. 19. 7 Mod. ed. in N e e m A M I, no. 17. 8 Mod. ed. in ChilCI, p. 67. " M o d . ed. in ChilF, no. 4, and L e f L (after 1568,). 1

8o

15467 1546, FRANCESCO DA

1546s MILANO

FRANCESCO DA MILANO AND PIETRO PAOLO BORRONO

I N T A B O L A T U R A / DE L A U T O / DI F R A N C E S C O D A M I L A N O / De motetti recercari & canzoni francese novamente ristampata. / L I B R O S E G O N D O . / [Printer's mark] / In Venetia apresso di / Antonio Gardane. / M . D . X X X X V I . 20 fols. Italian lute tablature. On fol. E4 V : table of contents. W i e M II contains a modem edition of the entire volume, as well as a thematic index. Contents = 15613 and 15635. All of the compositions are for solo lute. Copies in: A : W n , CH:Lcortot, D : N g m , F : Pthibault, 1 G B : Lbm, U S : C n , U S : W c . fol. Aiv

I

A4 2

Biv

3

b4

4

C2

5

C3

6

c4

7

Di

8

d3

9

d

4

Pater noster di Jusquin a sei = 15363, no. 32 [2a pars] Ave Maria di Jusquin a sei Stabat mater di Jusquin a 5 = 15363, no. 33 Fantesia di F. da Milano = 15363, no. 19 Fantesia di F. da Milano = 15363, no. ι Fantesia di F. 15363, no. 2 Fantesia di F. 15363, no. 3 Fantesia di F. 15363, no. 5 Fantesia di F. 15363, no. 6

da Milano = da Milano2

=

50 fols. Italian lute tablature. On fol. i v : instructions for reading lute tablature headed "Regola per quelli che non sanno la Intavolatura," reprinted in HamC, p. 66. On fol. 5o v : table of contents. M o e D M contains a thematic index of the dances (p. 371) and concordances for them (p. 238). SlimK II, 486, contains a thematic index of the ricercares. W i e M II contains a thematic index of the entire volume. Parts of this volume were reprinted in 15504. For other volumes in the same series, see 1546 2, note ι. T h e pavane and first saltarello of no. 6 are both supplied with a second lute part; they may be performed either by one or two lutes. All of the other compositions are for solo lute. Copy in: S : U u .

ι

fol. 2

da Milano = 3V

da Milano =

4V

Fantesia di F. da Milano = 15363, no. 7 Le plus gorgias du monde = 15363, no. 21

IO

D4V

II

Eiv

Tu disois — 15363, no. 23: Sermisy

12

E2 v

13

E3v

Pourquoy ailes vous seullette = 15363, no. 31 Nous bergiers = 15363, no. 25

M m e . Thibault's copy was in the Ëcorcheville library (see ËcorC, no. 246). 2 Facs. of fols. C4 and C4 V and mod. ed. of no. 6 in G o m R F , pp. 166 and 174. 1

I N T A B U L A T U R A / DI L A U T O / DEL DIVINO FRANCESCO DA MILANO, / ET DELL'ECCELLENTE P I E T R O P A U L O / Borrono da Milano, nuovamente posta in luce, et con ogni / diligentia corretta, opera nuova, & perfettissima / sopra qualunche altra Intavolatura. / L I B R O S E C O N D O / V E N E T I I S M D XLVI.

6V

2

7

8 3

8V

9V

Pavana detta la Borroncina dell'Eccellente P. Paulo Borrono da Milano1 = 154620, no. 7 Saltarello Primo = 154620, no. 27: " G a l i a r d a " Saltarello secondo della Duchessa = 154620, n o · 28: " G a l i a r d a " Saltarello terzo detto la Barbarina — 154620, no. 29: "Galiarda" Pavana novissima detta la Moniardina dell'Eccellente P. Paulo Borrono da Milano = 154620» no. 9 Saltarello Primo2 = 154620, no. 30: " G a l i a r d a " Pavana detta la rinoldina dell'Eccellente P. Paulo Borrono = 154620» no. 14 Saltarello Primo

11 I2V

I

5 4 6 s

Saltarello secondo detto la mezza gamba Saltarello terzo detto Madonna

11

I3V

30v

5

15

i6v

i7v

"Gallarda"

13

32v

Pavana novissima detta la centùria dell'Eccellente P. Paulo Borrono da Milano = 154620»

14

33

Fantesia dell'Eccellente P. Paulo Borrono da Milano = 1 5 4 6 3 5 , n o .

Saltarello Primo Saltarello secondo novissimo detto el Scharavelino3 Pavana detta la Pianzolenta dell'Eccellente P. Paulo Borrono da Milano = 154630, n o . 1 3 Saltarello Primo — 154630, n o .

15

34v

Fantesia del divino F. da Milano =

16

35v

Fantesia del divino Francescho da

17

36

37:

18

= 154630, no. 40:

"Galiarda"

Saltarello secondo detto la rocha el fuso = 154620, n o . 3 8 :

6

igv

20v

6 15460, n o . 8

Milano

2IV

22

37

8

24

24v 26

Sur toutes Jayme la marguaritte

154630, n o . 3 9 :

21

39

Pour tant si Je suis Brunette =

22

39v

Fortune alors = 1546 e, no. 5 ·

23

39v

Martin menuyt de Claudin l ( R I S M 535e> n o . 1 4 : S e r m i s y )

24

40v

Martin menuyt de C. Jannequin =

25

4i v

La Canzone délit Ucelli. Revillez vous euer = 1 5 4 6 3 , n o . 1 :

15460, n o . 3 :

"Galiarda"

Pavana Milanesa dell'Eccellente P. Paulo Borrono da Milano = h

La detta Pavana a duy Lauti Saltarello Primo = 154620, n o .

10

Certon

=

15461s, no. 52

15460, n o . 4

= 154620, no.

Janequin

Pavana novissima detta la Bella Ugazzotta dell'Eccellente P. Paulo Borrono da Milano = 5

=

154620, n o .

Pavana nova detta la bella zudea dell'Eccellente P. Paulo Borrono da Milano = 154620, n o . 1 2 Saltarello Primo = 154630, n o . 3 4 Saltarello Secondo detto El Verceleso — 154630, n o . 3 5 Saltarello terzo detto De leva su = 154630, no. 36

2ÓV Fantasia del divino Francescho da Milano = 154630, n o . 1 28 Fantesia dell'Eccellente P. P. Borrono da Milano6 = 154630, n o . 4 ; 155211, n o . 1 2 ; 156312, no. 2

=

15465, n o . 1 2 : S e r m i s y

"Galiarda"

Saltarello Primo

Gombert

1546e, no. 7

"Galiarda"

El detto saltarello a duy Lauti Saltarello secondo novissimo detto non dite mai ch'io habbia il torto Saltarello terzo novissimo detto le

Brunetta

9

15460, n o . 6 :

38

26

42v

2a pars

43 v

3a P a r s

Vous orrez a mon advis Rossignol du boys Jolii

44 v

4a pars

45v

La bataglia Francesca = 15363,

Arriéré

no. 34: Janequin

31 : " G a l i a r d a "

23v

=

F. de Layolle

20

154630, n o . 1 0 23

Pour avoir paix

Saltarello terzo novissimo detto che le el martello che tei fa dire4 =

33:

22

moy = 15460, no. 1 3 :

Gamier

Hors envies retires vous =

pur bon o ruschina

7

= 15460, no. 11

Resvillez

37v

32: 21

= 15460, no. 9

19

154620, n o .

20

Fantesia dell'Eccellente P. Paulo Borrono da Milano Fantesia del divino Francescho da Milano

"Galiarda"

i8v

= 15460, no. 10

3i v

no. 15

14 I4V

Fantesia del divino Francescho da Milano

12

zanna

4

81

47 v

2a pars

[Fan frere

le le lan

fan\

M o d . ed. in M o e D M , p. 324. 2 Instructions: " P e r il Secondo et Terzo Saltarello toleti quelli de la Borroncina." 'Instructions: " P e r il terzo saltarello sonate il terzo de la rinoldina." 4 Instructions : " V o l e n d o sonare le riprese toleti quelli che sono nel secondo Saltarello de la detta Pavana." s Instructions: " P e r il secondo & terzo Saltarello toleti quelli de la Milanesa." "Instructions: " P e r che ne la detta fantesia li sono alchune battute che allí scholari serano dificile glie fatte le medeme battute in altra forma di tempo più facile, cioè se redotta la semicroma in croma. Et la croma in semi[mi]nima. Et accio se cognosca dove se hanno a fare glie stato fatto uno tal segno." 1

82

I S469 15469

5

C4

6

C4V

7

Div

8

Ü2 V

9

D3 V

10

D4 v

11

Eiv

12

E2 v

13

E3 v

14

E4 v

15

Fiv

16 17

F2 v F3 v

18

F4 v

19

Gì

GERLE, HANS Musica und Tabulatur, auff die In/ strument der kleinen und grossen Gey/gen, auch Lautten, Welcher massen die mit grundt und art irer / composition, aus dem gesang in die Tabulatur zu ordnen und / zu setzen ist, sambt verborgner Application unnd kunst, darin / ein ytlicher liebhaber und anfenger berürter Instrument so / darzu naigung dregt an ein sunderlichen Meyster men/surlich durch Tegliche ubung leychtlich kumen kan, Von newem / Corrigirt und durch auss gebessert, Durch Hansen Gerle / Lautten macher zü Nürnberg. Im / M . D . X X X X v i . Jar. / Gemert mit. 9. Teutscher und 36. Welscher auch Frantzöscher Liedern, Unnd 2. Mudeten, / wie das Register anzeygt. / Mit Rhö. Kayser. May. Auffs New in fünff Jaren nit nach zü drücken / Bey straff fünfzehen Marcklötdigs Goldts. 102 fols. German lute and viola da gamba tablature, and mensural notation. T h e title is placed within the same ornamental border as in iS32¡¡. On fol. A i v : table of contents. On fol. A3: the same preface as in 15322.1 This is a revised and augmented version of the first edition of I532 2 ; see there for details concerning the organization of this instruction book. Colophon on fol. C4V: "Gedrückt zü Nürnberg Bey Jheronimus Formschneyder." T h e contents are listed in M f M G IV (1872). See also T a p L . Eight of the pieces for Grossgeigen are printed in MonkS, vol. II. Copies in: A : W n , D : B d s - T ü , D : M u , F:Pc.2 PIECES FOR FOUR GROSSGEIGEN

1

fol. C3

2

C2V

3

C3

4

C3V

Ich klag den tag = 15322, no. ι : Stoltzer

Licite \mest endurer] ( R I S M 15381e» fol. 19: G . de la Moeulle) O Herr ich rueff dein namen an1 (SenflW V, no. 29: Senfl) Sur tous regres ( P u b A P T M II, no. 78: Richafort) Dont Vienzela (AttainCK III, no. 22: Sermisy) Lheur et malheur ( R I S M τ53%Π) fol. 24: P. de Villiers) Ce fut amour ( R I S M 1538,,,, fol. 13: Passereau) Si par sofrir ( R I S M 153414, no. 4: Courtois) Jay faict pour vous ( R I S M 153O3, no. 20: S e r m i s y )

Si Jay pour VOUS (AttainCK III, no. 12: Sermisy) Amissofre (AttainCK III, no. 7: Moulu) Damour me plains ( P u b A P T M X X I I I , no. 49: Roger Pathie) Ein gut geselle Ich habs gewagt ( E D M R X X , no. 16: Georg Forster; another version of no. 32 below) Eisslein liebes elselein5 = 15322, no. 12: Senfl Ich het mir ein Endlein für genommen 6 (SenflW V, no. 26: Senfl)

PIECES FOR FOUR GROSSGEIGEN PRINTED ALSO IN MENSURAL NOTATION

20

Jiv

21

J3V

Es flug ein kleynes wait vogelein (compare BöhA, no. 115) [Mag ich hertzlieb erwerben dich] = 15322, no. 15: Senfl

PIECES FOR FOUR KLEINGEIGEN

22

Li

23

Liv

Es ligi ein Hauss im Oberlandt7 ( P u b A P T M I, no. 8: Oswalt Reytter) Artlich und schön" ( E D M R X X , no. 23 : Casparus Bohemus)

Ich schwing mein Horn3 (SenflW V, no. 44: Senfl; another version of no. 33 below) Vivrai je [tousjours en soucy\ (AttainCK III, no. 17: Sermisy)

PIECES FOR SOLO LUTE

Hors de plaisir ( R I S M Ι538 1β , fol. 23: Richafort; another version of no. 39 below)

24

M4

25

M4

26

M4 v

Ich klag den tag = 15322, no. 18: Stoltzer Pacientia = 15322, no. 19: Senfl Nach Willen dein = 15322, no. 20: Hofhaimer

I 5469 27

Ni

28

N2

29

N2 v

30

N3

31

N3v

32

N4 v

33

Οι

34

Oiv

35

02v

36

θ3ν

37

Û4V

38

Piv

39

P2

40

P2V

41

P3V

42

P4

43

Qi

44

Q2

45

Q2 v

46

Q3 v

47

Q4 v

48

Riv

49

R2 v

50

R3V

51 52

R4V Siv

Trostlicher lieb = 15322, no. 2 1 : Hofhaimer Der heilig herr S. Matheis schleust uns auff dy thür ( P u b A P T M X X I X , no. 51) Willig und Trew ( E D M R X X , no. 42: Georg Forster) Gesell wiss urlawb ( E D M R X X , no. 20: Mathias Eckel) ES sout ein meskin holen win ( P u b A P T M X X I X , no. 1 : Sampson) Ich habs gewagt (another version of no. 17 above) Ich schwing mein horn (another version of no. 2 above) Jay le desyr content (AttainCK III, no. 18: Sermisy) O felici [penner] (RI S M i 5 4 i i 3 > Ρ· i 8 : C . Festa) Le dur travil ( R I S M 154412, fol. 12: Willaert) Ce nest a vous ( R I S M i54o 1 0 , no. 26: Certon) Lass me fault [il tant de mal] ( R I S M i540 1 3 , no. 19: Maille) Hors de Plaisir (another version of no. 4 above) Ce me semblent ( R I S M 15381e, fol. 4: F. de Layolle) Une sans plus ( C W L X I , no. 5 : Cadéac) II est cellui ( R I S M [1538] 15 , fol. 25: " I l n'est celuy," Cadéac) Sans Ceser y e lamente ( R I S M [1538L5, fol. 26: "Incessament sans cesser je lamente," Mornable) Celle qui fut ( R I S M 154013, no. 18: Sandrin) Venons au poinct (RISM I 54°i3> no. 10: Maillard) Plus nay espoir ( R I S M i540 1 3 , no. 16: Certon) Venus par tout ( R I S M 1538] 6, fol. 3: Sermisy) Je ne le croy ( R I S M [1538]^, fol. 28: P. Sandrin) Priegi qui muoia ( R I S M [I 5 3 8] 1 5 , fol. 32: P. de Villiers) Plus je la vois ( R I S M 153915, no. 8: Mittantier) En revenant Dung amy

83

53

S2 V

54

S3

55

S3V

56

Ti

57

Tiv

58

T2 V

59

T3 V

60

T4 V

61

Viv

62

V2

63

V3

64

V3 V

65

Xi

66

X2

67 68

X3 X3 V

69

X4

70

Y2 Y3 V

71

Zi Z2 V

72 73

Z3 V aiv

74

a2v

75

a3

76 77

a3v a4

78 1 2

civ

II nest trésor ( C W X V , no. 3 : Lupi) Si dieu vouloit pour (RISM 15417, fol. 28: A . Mornable) Ha quel tourmont ( R I S M 154010, no. 16: Godard) O doulx reveoir ( R I S M 154010, no. 13: Godard) Qui peche plus luy ( R I S M 154013, no. 17: Sermisy) Mon seul espoir ( R I S M 154O13, no. 11 : Maillard) Si je vous ayme ( R I S M 1540^, no. 3: Maillard) Le vray amy ( R I S M 1538m, no. 7 : Sermisy) Languir me faiz (AttainCK II, no. 12: Sermisy; another version of no. 62 below) Languir me faiz (another version of no. 61 above) Amour est bien ( R I S M 153810, no. ι : Certon) Le mal que jay ( R I S M 154010, no. 2: L e Moisne) Vostre beaulte ( P u b A P T M II, no. 79: Gombert) Celui qui fust ( R I S M 154213, no. 22: Mittantier) Gens qui parlez Si mon vouloir ( R I S M 154012, no. 19: Maillard) Super salutem ( R I S M 1546g, no. ι : Janin) 2a pars [Dixi sapientiae] Spes salutis ( R I S M 15385, fol. 23 v : Lupus) 2a pars Tu es enim Amour Je suis (compare C M II, 5: " D ' a m o u r s je suis déshéritée " ) Bean Priambel = 1536 3, no. 3 · Francesco da Milano Dein freundtlichs gesicht ( P u b A P T M V i l i , no. 12: Heinrich Finck) Ich klag den tag — 15322, no. 34: Stoltzer Saltarelo Ich weyss mir ein hübsch Paumgertelein 9 Scaramella = 15322, no. 35

Facs. of fol. A4 (from 1546 ed.) in L M I, 389. A copy was in U S S R : K .

84 8

Mod. Mod. Facs. « Mod. 7 Mod. 8 Mod. ' Mod. 1

5

1546 ed. in ed. in of fol. ed. in ed. in ed. in ed. in

SenflW V I I , app., no. 2. SenflW V I I , app., no. 3. F4V in KinsP, p. 1 3 3 . SenflW V I I , app., no. 1. T a p S , p. 25. M U I V , app., p. 59. BruS II, no. 68.

I S 4 6 10 GIOVANNI MARIA DA CREMA JOAN MARIA / INTABOLATURA / DE L A U T O / DI RECERCARI CANZON F R A N C E S E / Motetti Madrigali padoane é Saltarelli Composti per lo Eccellente / musicho & sonator di L a u t o messer Jo. Maria da Crema / novamente ristampata & del medesmo autore corretta / L I B R O [Cut with printer's mark of Antonio Gardane] P R I M O / In Venetia apresso di / Antonio Gardane. / M . D . X X X X V I . 40 fols. Italian lute tablature. O n fol. K4 V : table of contents. M o e D M contains a thematic index of the dances (p. 369) and concordances for t h e m (p. 237). S l i m K I I , 487, contains a thematic index of the ricercares. T h e compositions identified by the superior letter a ( a ) are reprinted in C h i l L I . C r e m a i is a m o d e r n edition of the entire volume. Contents = 1546H. Some of the compositions were probably reprinted in [1547]]] (see there for details). All of the compositions are for solo lute. Copies i n : A : W n , C H : L c o r t o t , D : N g m , F : Pthibault, G B i L b m . 1

1

fol. A2

2 3 4

A2 v A3 v A4

5

Βi

6

Biv

7

B2

8 9

B2 v B3

Recercar primo = 1552], no. ι (compare 15484, no. 14) Recercar segondo = 15521, no. 2 Recercar terzo Recercar quarto = 1552], no. 3, and 1571e, no. 25 (compare 15403, no. 9: Julio da M o d e n a [Giulio Segni]) Recercar quintoa = 15484, no. 15; 15597. no. 23; 1571e, no. 13 Recercar sexto32 = 1549g, no. 3, and 1552], no. 4 Recercar settimo = 15484, no. 20: Julio da Modena [Giulio Segni] Recercar ottavo = 15687, no. 11 Recercar nono = 1549e, no. 5

IO II 12 13 H IS l6 I? l8 19 20 21 22 23

24 25 26 27 28

29 30 31 33

33

34 35 36

Recercar decimo = 15521, no. 7 Recercar undécimo33 = 1549s, no. 4, and 1552], no. 6 Ci Recercar duodecimo C i v Recercar tredecimo 4 Ca Recercar decimoquarto = 15521, no. 5 C2V Recercar decimoquinto = 15521, no. 8 Entre mes bras C4 Vivre ne puis 5 ( R I S M 15363, c4v no. 9: Sermisy) Di Jayme le cueur ( C M II, no. 16 Sermisy) D i v De vous servir ( R I S M 15331, no. ι : Sermisy) D2 Amours ont change (SeayFC, p. 28: Mahiet) Da v Le content e riche (AttainCK I I I , no. 9: Sermisy) D 3 V Je le laray (compare B r o w n M , Cat., no. 199) D 4 Amy souffres (AttainCK I I I , no. 7: Moulu) D4V Jamais [je naymeray grant homme] ( C M I I , no. 17) Ei Holla be 6 ( H M , vol. 137, no. 15: " H o l a ho par la vertu g o y " ) = 1552,1, no. 39 E i v Et don bon soir7 (RISM [c. 1528] 4 , fol. 7) Ea Bayses moy [tant tant] 8 Mon amy [na plus que faire de E3 venir en ma maison] (compare F : P n , M S nouv. acq. f r . 4599, fol. 5V [tenor only] : Gascongne) = 1571e, no. 138 9 ( C M 11, no. 13 : E3V Il nest plaisir Janequin) Mais quest ce10 E4 Fi Allons allons [gay gayement] ( B r o w n T C , no. 2: Willaert) Fiv Queramus [cum pastoribus]11 ( R I S M 1529!, fol. 9 V : Mouton) 3a pars [recte 2a pars] [Ubi F3 pascas ubi cubes] F4 Letare [nova syon]12 (RISM I 5 3 2 i o , P· 59: Andreas de Silva) G i v 2a pars [Cantate canticum] G a v Que es ista [Gombert] ( G o m b e r t O V, 59) G 3 v Si bona suscepimus [a 4] (MoralesO I I I , 172: Sermisy) H i v Lasciar il velo ( R I S M 1541,, p. 32: Arcadelt)

B3 B4V

I 546i2 37

h

3

38

h

3

39

h

4

40

l i

41

l2v

42

IS

v

v

43

I3T

44

I4

45

I4V K i

46

K i

v

K2V 47

K

3

V

K4

Con lacrime e sospiri3 (EinIM III, 319: Verdelot) Quanto sia liet'el giorno ( R I S M 1 5 3 7 e : Verdelot) O felici occhi miei (CW V , 19: Arcadelt) Occhi miei lassi ( R I S M 15419, p. 8: Arcadelt) = 155211, no. 37 Sai [torello] ditto el maton13 = 15521, no. 38 Sai [torello] ditto bel fior™ = 15521, no. 39 Sai [torello] ditto la bertoncina Saltarello] ditto elgiorgio15 Pass'e mezo ala bolognesa = 15521, no. 40a Saltarello a la bolognesa = 15521, no. 40b Pass'e mezo della louetta = 15521, no. 41a Saltarel de la louetta — 15521, no. 41b Pass'e mezo de la sasinataa Saltarello de la sasinata

1 Copies were in P L : S (see 15465, η. i), and the Ëcorcheville library (see ÉcorC, no. 246). 2 M o d . ed. in E C , pt. I, vol. II, p. 652. 3 M o d . ed. in CremaR. 4 M o d . ed. in CremaR. 6 M o d . ed. in C h i l C I , p. 203. 6 M o d . ed. in C h i l C I , p. 203. 7 M o d . ed. in C h i l C I , p. 204, and E C , pt. I, vol. I I , p. 652. 8 N o t identical with the Willaert setting in R I S M '5361, fol. i 5 v , although Crema's version uses the same thematic material. Willaert's other settings of this text (a3 and a s ) are unrelated to no. 27. * M o d . ed. in C h i l C I , p. 205. 1 0 Unrelated to " M a i s que ce fust le plaisir delle" (monophonie in GéroB, no. 7 5 ; and 03 in R I S M 1520$, fol. I9 V ), and to " M a i s que ce fust secretem e n t " (a setting 03 by Compère in H e w O , no. 87; and a setting 04 by Janequin in R I S M I535 e , fol. 16). 1 1 Listed in the table of contents as " d e Jusquino." 1 2 Listed in the table of contents as " de Jusquino." 1 3 M o d . ed. in B r u A L , no. 5 ; FerandM, p. 410; and K ö r L , no. 10 (all after 1552!). 1 4 M o d . ed. in E i t T , no. 41 (after 1552!), and M o e D M , p. 338. 1 6 M o d . ed. in M o e D M , p. 330.

154611

85

E S A L T A R E L L I C O M P O S T I / per lo Eccellente musicho, & sonator di Lautto / messer J O . M A R I A da Crema. / L I B R O T E R Z O . / Con gratia & Privilegio. / V E N E T I IS M D X L V I . 39 fols. Italian lute tablature. On fol. 2: instructions for playing the lute headed "Regola alii lettori," reprinted in HamC, p. 67. On fol. 39 v : table of contents. Contents = 154610. For other volumes in the same series, see 15462, note 1. All of the compositions are for solo lute. Copies in: A : W n , S : U u .

ι 546 J 2

LICINO, AGOSTINO AGOSTIN LICINO / IL SECONDO LIBRO DI DUO / CROMATICI DI A G O S T I N O / Licino Cremonese da Cantare Et Sonare Composti una parte / sopra 1 altra con la sua resolutione da parte / Novamente posto in luce / A D U E [Printer's mark] V O C I / In Venetia Apresso di / Antonio Gardane. / M . D. X X X X V I . T w o part books (the second called "Resolutio") in mensural notation, each of 20 fols. For the first volume in this series see 15452- On fol. A i v : dedication " A l Molto Magnifico Signor II Signor Benedetto Guarna da Salerno patron mio osservandissimo," reprinted in SartMS, p. 12. Fol. A2 = ρ. ι . All of the compositions in the volume are canons a 2 without text. Copy in: D : M b s .

ι

P· ι

2

2

3

4

4

6

5

7

6

8

7

10

GIOVANNI MARIA DA CREMA I N T A B O L A T U R A / DI L A U T O / DI RECERCHARI, CANZON FRANCESE, M O T E T T I , / MADRIGALI, PADOANE, 4 + B.P.I.M.

Duo. Canon. Quinti Toni Duo. Canon. Quinti Toni Duo. Canon. Quinti Toni Duo. Canon. Quinti Toni Duo. Canon. Quinti Toni Duo. Canon. Quinti Toni Duo. Canon. Sexti Toni

In diapente inferius. In diapente superius. In diapente superius. Ad ditonum superius. In diapente superius. In diapente superius. In diapente inferius.

86 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25

ι 546I2 12

Duo. Canon. Ad eptachordum superius. Sexti Toni 14 Duo. Canon. Ad endecachordum inferius. Sexti Toni 15 Duo. Canon. Ad endecachordum superius. Sexti Toni 16 Duo. Canon. In diapente superius. Sexti Toni 17 Duo. Canon. In diapente inferius. Sexti Toni 18 Duo. Canon. In diapente superius. Sexti Toni 20 Duo. Canon. In diapente superius. Sexti Toni 21 Duo. Canon. In diapente superius. Sexti Toni 22 Duo. Canon. In diapente superius. Septimi Toni 23 Duo. Canon. In diapente superius. Septimi Torti 24 Duo. Canon. In diapente superius. Septimi Torti 26 Duo. Canon. Ad eptachordum minus superius. Septimi Toni 28 Duo. Canon. In diapente inferius. Septimi Toni 30 Duo. Canon. In diapente superius. Septimi Toni 32 Duo. Canon. In diapente superius. Octavi Toni 34 Duo. Canon. In diapente superius. Octavi Toni 36 Duo. Canon. In diapente superius. Octavi Toni 38 Duo. Canon. In diapente superius. Octavi Toni

154613 MARCANTONIO D E L PIFARO INTABOLATURA / DE LAUTO / DI MARCANTONIO DEL PIFARO / BOLOGNESE DE OGNI SORTE DE BALLI NOVAMENTE / STAMPATI ET POSTI IN L U C E / LIBRO PRIMO / I N T A B O L A T U R A [Cut with the printer's mark of Antonio Gardane] D E L A U T O / I N V E N E T I A Apresso di / Antonio Gardane / M. D. X X X X V I .

20 fols. Italian lute tablature. On fol. E4 V : table of contents. Since the chiarenzanasaltarello pairs are sometimes separated in the volume (for example, nos. 5 and 14 form one unit), each dance has been given a separate number in the inventory below. MoeDM contains a thematic index of the volume (p. 376) and concordances (p. 240). The compositions identified by the superior letter a ( a ) are reprinted in ChilLI. All of the compositions are for solo lute. Copies in: A:Wn, CH:Lcortot, GBiLbm.1 ι 2 3 4 5 6 7 8 9

fol. Aiv A2 A3 A4 A4 v Biv B2 Β3 B3 v

10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27

B4 v Ci Civ C2V C2V C3V C4 Di Div D2 D3 D3V D4 Ei Eiv E2 E3 E3 v

Ciarenzana de megio2 II suo saltarello3 Chiarenzana la geometrina4 Saltarello] de la giometuna Chiarenzana la ciriolla Saltarello il giretto Chiarenzana larcholano II suo sal [torello] Chiarenzana la batagliaa (compare M M R F V I I , 31 : " L a Bataille," Janequin) Chiarenzana G. stampa Saltarello de la stamp Saltarello belfiore Chiarenzana la malvezaa Saltarello la ciriolaa Chiarenzana la bianchetto Saltarello bianchetto Chiarenzana laquila Saltarello] de laquila Chiarenzana la bolognese Saltarello] non ti partir da me3 Chiarenzana la marsilia Saltarel \lo] il marsilio Chiarenzana la madalena Saltarello] Iaconitanoa5 Chiarenzana la lambertina Saltarello] il cremonese Chiarenzana il est bel & bon (compare R I S M 153412, no. 1 : Passereau)

1 The British Museum copy has an extra folio bound in at the end, with a manuscript explanation and diagram of the musical gamut. A copy was in P L : S (see 15465, n. 1). 2 Mod. ed. in M o e D M , p. 3 1 2 . 3 Mod. ed. in MoeDM, p. 3 1 3 . 4 Mod. ed. in MoeDM, p. 343. 5 Mod. ed. in E C , pt. I, vol. II, p. 651.

I 54611 154611 MUDARRA, ALONSO ALONSO, MUDARRA / TRES LIBROS DE M U S I C A EN CI/FRAS PARA VIHUELA. EN EL PRIMERO. A Y . M U S I C A . F A C I L Y DIFI/cil en fantasias: y ComPosturas: y Pavanas: y Gallardas: y AlGunas fanta/sias pora guitarra. El segundo trata de los ocho tonos (o modos) / tiene muchas fantasias Por diversas partes: y Com/posturas glosadas. El tercero es de musica / para cantada y tañida. Tiene mo/tetes. Psalmos. Romances. / canciones, Sonettos en / castellano: y Italiano / Versos en latin. Villanzicos. Di/rigidos al muy magni/fico señor el se/ñor don Luys / çapata. / Fue impresso el presente libro en la muy noble y leal ciudad de Sevilla en casa de Juan de Leon. / 1546. 117 fols. Italian lute tablature, harp (or organ) tablature, and mensural notation. On fol. * i v : dedication headed "Epistola al muy magnifico señor Don Luys Çapata." On fol. *2: table of contents for Book I. On fols. *2 v -*3 v : instructions for learning the tablature and the rudiments of music headed " D e como se an de entender estos libros." On fol. *4 V : cut of the god Mercury playing on a lute-like instrument made from a tortoise shell; beneath the cut: two lines from Horace. Fol. *5 = fol. 1. Each of the three books has its own title page (reproduced below) and on the verso its own table of contents. On fol. 58 of Book I I I : cut of the prophet Elijah praying on the mountainside; in the distance a man singing and playing the vihuela, with the legend: " C u m q u e caneret Psaltes, facta est / Super eum manus domini." On fol. 58* of Book I I I : printer's mark with the motto " E x bello pax; ex pace concordia; ex concordia musica constat." On fol. 59-59*: author's corrections. On fol. 60: a note explaining that Mudarra includes one example of a new tablature for harp or organ ("una nueva manera de cifras para Harpa y Organo"). On fol. 6o v : a cut of King David playing the harp with a Latin inscription beneath. On fol. 61 : a tiento in the new tablature. On fol. 6 i v : the same printer's mark as on fol. s8 v , followed by the colophon: "Acabóse la presente obra en la muy

87

noble y leal Ciudad de Sevilla por Juan de Leon impressor a sancta Marina en la calle real a siete dias del mes de Deziembre. i54[6]." T h e entire collection has been reprinted in a critical edition with introduction, concordances, and facsimiles of the title page, the colophon, fol. *4V, fol. 24 of Book I, and fols. 1, 34, 58, and 61 of Book III in M M E V I I . SlimK II, 492-498, contains a thematic index of the ricercares. T h e compositions identified by the superior letter a (a) are reprinted in M o r L II. T w o compositions (nos. 30 and 58) are reprinted in JacobsTN, pp. 82-85. Nos. 17-22 are for solo four-course guitar, and nos. 49-75 are for vihuela and voice, written partly in ciphers in the tablature (nos. 49-50) and partly in mensural notation (nos. 51-75). No. 76 is for solo harp or organ. All of the other compositions are for solo vihuela. Copies in: E : E , E : M n (imperfect). 1 VIHUELA SOLO

ι

fol. ι

2

2

3

3

4 5 6 7 8 9 10

4 5 5V 7 8 9 iov

12 11

13

12 13 14 15 16

I5V 17 18 I9V 20

Fantasia de pasos largos para desenboluer las manos Fantasia pa\rd\ desenboluer las manos Fantasia de pasos pa\ra\ desenboluer las manos Fantasias de pasos de contado2 Fantasia fácil Fantasia fácil Fantasia fácil Fantasia Fantasia La segunda parte de la gloria de la misa de fay san regres de Josquin 3 (JosqMS X I I I : Missa Faysant regrets) Pieni de la misa de fay san regres de Josquin Fantasia que contrahaze la harpa en la manera de Luduvicoa 4 Conde Claros"5 Romanesca : o guardarne las vacas?6 Pavana"7 Pavana de Alexandrea Gallarda38

GUITAR SOLO

17

21

18

2iv

Fantasia Guitarra Fantasia Guitarra

del primer tono al temple viejo del quarto tono al temple nuevo

88

i S 4

19

22

20

23

21

23v

22

24

Fantasia del quinto tono Guitarra al temple nuevo Fantasia del primer tono Guitarra al temple nuevo Pavanaa Guitarra al temple nuevo Romanesca: o guardarne las vacas9 Guitarra al temple nuevo

6

u

36

I3V

37

14

38

15

39

i6 v

40

17

41

18

42

20

43

20v

44

22

45

24

46

24

47

25T

48

27

VIHUELA SOLO

LIBRO SEGUNDO DE MUSICA / EN CIFRAS PARA VIHUELA. EN EL Q U A L A Y M U C H A S / fantasias y algunas ComPosturas Glosadas / por los ocho tonos que por otro / nombre mas propio / Se llaman mo/dos / Fue impresso el presente libro en la muy noble y leal ciudad de Sevilla en casa de Juan de Leon. / 1546 fol. 23 24 25

26 27

S 6V

28

6V

29

30

8

31

8

32

33 34

"

35

i2 v

v

Table of contents Tiento [Primer tono] (compare 15572, no. 56) Fantasia [Primer tono] Kyrie primero de la missa de Beata Virgirte de Josquin glosado (compare JosqMS X V I : Missa De Beata Virgine) [Primer tono] Fantasia [Primer tono] Tiento [Segundo tono] (compare 15572, no. 57) Fantasia [Segundo tono] (compare i557¡¡, no. 57) Fantasia de sobre fa mi ut re [Segundo tono] (compare 15572, no. 58) Tiento [Tercero tono] (compare 15572, no. 60) Fantasia [Tercero tono] (compare 15572, no. 59) Glosa sobre un Kyrie postrero de una misa de Josquin que va sobre Ρ ange Lingua [Tercero tono] (compare C W I : Missa Pange Lingua, Josquin, and also 15572, no. 60) Tiento [Quarto tono] (compare 1557s, no. 62) Fantasia [Quarto tono] (compare 15572, no. 61) Glosa sobre un Benedictus de una missa de Josquin que va sobre la sol fa re mi [Quarto tono] (compare JosqMS I I : Missa La solfa re mi)

Tiento [Quinto tono] (compare 15572, no. 65) Fantasia [Quinto tono] (compare 15572, no. 65) Fantasia [Quinto tono] (compare 15572, no. 64) Tiento [Sexto tono] (compare 15572, no. 68) Fantasia [Sexto tono] (compare 15572, no. 68) Glosa sobre el primer Kirie de una missa de Fevin que va sobre Ave Maria [Sexto tono] (compare RI S M 15151: Missa Ave Maria) Tiento [Séptimo tono] (compare 15572, no. 70) Fantasia [Séptimo tono] (compare 15572, no. 70) Glosa sobre el Cum Sancto Spiritu de la missa de Beata Virgine de Josquin [Séptimo tono] (compare JosqMS X V I : Missa De Beata Virgine) Tiento [Octavo tono] (compare 15572, no. 72) Fantasia [Octavo tono] (compare 15572, no. 72) Fantasia [Octavo tono] (compare 15572, no. 71) Fantasia va sobre fa mi fa re ut solfa sol mi re [Octavo tono] (compare 15572, no. 73)

VOICE AND VIHUELA

LIBRO TERCERO / DE MUSICA, EN C I F R A S Y C A N T O / de organo para tañer y cantar con la Vihuela : en el / qual ay Motetes, Psalmos, Romances, Cancio/nes, Sonetos, Versos en latin, Villan/cicos, como verán en la tabla que a la buelta desta hoja esta. / Fue impresso el presente libro en la muy noble y muy / leal ciudad de Sevilla en casa de Juan de Leon. / 1546

49 50

51

fol. * i v Table of contents *2 ( = fol. 1) Pater noster a 4 Vuilliart (WillO II, 11) 4 Respice in me Deus Gombert (JosqWW, no. 31 : " J e ne me puis tenir d'aimer," Josquin) 6 Clamabat autem mulier Motete de la Cananea (compare ElúsA, p. 33 : Pedro de Escobar) 1 0

89

I 5461B 52

ioT

53

iiv 13

54

14

55

I5V

56

18 20

57

21

58

23

59 60

25 v 28

61

3θ τ

62

32 v

63

34

64

34 v

65

36

66 67

39 4iv

68

44

69

45

70 71 72

47" 50 53

73

55

74

56

75

57

Durmiendo y va el señora Romance (see Q u e l , p. 318) 2a pars El agua, con la tormenta Triste estava el rey David3·11 Romance (see Q u e l , p. 318) Israel, mira tus montesa Romance (see Q u e l , p. 318) Sin dudar Canción al milagro de la encarnación 2a pars Por que arte Recuerde el alma dormida*12 Canción (text b y Jorge Manrique) Claros y frescos rios3 Canción (text b y Juan Boscán) Que llantos son aquestos Sonetto a la m u e r t e de la serenissima princesa D o ñ a Maria Nuestra Señora. Va a manera de dialogo Si por amar el hombre Soneto Por ásperos caminos Soneto (text b y Garcilaso) Regia qui mesto Versos a la m u e r t e de la Serenissima Princesa D o ñ a Maria nuestra Señora Dulces exuviae Versos del quarto de Virgilio Beatus iïle Verso en latin, de Horacio ( M o s P H , p. 123: Paul Hofhaimer) Hanc tua Penelope Verso en latin, de Ovidio La vita fugge Soneto en italiano (text b y Petrarch) Lassato a yl tago Soneto O gelosia d'amanti [Soneto] (text b y Sannazaro) I tene al ombra [Soneto] (text b y Sannazaro) Dime a do tienes las mientesa 13 Villancico Si me llaman a mia Villancico Gentil cavalierea Villancico Isabel, perdiste la tu faxaa 14 Villancico Si viesse e me levasse?15 Villancico Nisi Dominus Psalmo por el séptimo tono = 15572, no. 74 Exurge quare Psalmo por el primer tono

HARP OR ORGAN SOLO

76

61

Tiento18

1 Bound in at the end of the Madrid copy are ten pages of manuscript music in Italian lute tablature: fol. ι : Duo de flecha que dis se amores me an de matar — '5543. η ° · 4 ; ι ν · Contrapunto sobre este vilancico = 15543, n o · 5 ! 2 V : £>u0 de folhana = 15543, n o · 9 ! 4 : duo de morales susepi disrael = 15543, n o · 3 ! 5 : benedictus a tres da misa de guaude [sic] barbara de morales = 15543, no 13; 6 : beneditus [sic] a quatro da misa dave Regina celorum de morales = 15543, n o · 5 3 ; 7 V : Blank; 8: basa e alta (compare 1581!, no. 66)

M o d . ed. in P u j B G , no. 1012. For information on this piece see FellJ. Mod. ed. in M u d F ; P u j H C , p. 10; and SainzF, no. ι . 5 Mod. ed. in P u j H C , p. 8; mod. ed. of beg. in T r e M , pp. 226-227. β M o d . ed. in AzpiaA, no. 1, and T a g A I, no. 13. 7 M o d . ed. in T a g A I, no. 14. 8 Mod. ed. in BehS, p. 3; M u d G ; P u j H C , p. 8; and T a g A I, no. 15. 8 Mod. ed. in M u d R . 1 0 See R i b F for a discussion of the relation between the intabulation and the motet. 1 1 M o d . ed. in M u d T ; P e d C P III, 1 1 6 ; T r e L , p. 1 1 3 ; and VillalbaCE, p. [2. 1 2 M o d . ed. in T o r n C M , p. 6 1 ; T r e L , p. in; and VillalbaCE, p. 8. 1 3 See BarbiC, p. 192. T h e piece is pr. and discussed in SchneiderV. 1 4 M o d . ed. in M u d i , and VillalbaCE, p. 14. 1 5 M o d . ed. in T r e L , p. 116, and VillalbaCE, p. 10. 1 6 M o d . ed. in KastnSI, no. 1. Facs. of fol. 61 in E F III, 265, and M G G V , col. 1567. 2 3

4

154615 ROTTA,

ANTONIO

INTABOLATURA / DE LAUTO / DI LO ECCELLENTISSIMO MUSICHO MESSER / ANTONIO ROTTA DI RECERCARI MOTETTI, BALLI, M A D R I / g a l i , Canzon francese da lui composti, & Intabulati, / & novamente posti in luce. / L I B R O P R I M O / Con gratia e privilegio. / V E N E T I I S M D X L V I . 52 fols. Italian lute tablature. O n fol. 52: table of contents. T h e n u m b e r i n g of the dances in the inventory below is subject to revision (perhaps nos. 5-8 and 9-10 should each be considered one unit). Some of the compositions were probably reprinted in [1547] 11 (see there for details). M o e D M contains a thematic index of the dances (p. 381) and concordances for t h e m (p. 242). S l i m K I I , 491, contains a thematic index of the ricercares. T h e compositions identified by the superior letter a ( a ) are reprinted in

9o

i 546I5

M o e D M . For further information see M a l A R and MalR. Contents = 1546™. For other volumes in the same series, see 15462, note ι . All of the compositions are for solo lute. Copies in: A : W n , B : B r , CH:Lcortot, D : M b s , F:Pthibault, S t U u . 1

1

2

3

4

5

fol. iv 2V 3 3V 4V 5V 6V 7V 8 8V 9 10 iov il

12

13 I4V i6 v 17 18 i8 v 19 I9V 20 20v 21 v 22 22v 23

13 14

24 24v

15

25v

16

2ÓV

17

27 v

18

29

19

30v 3i v

6 7 8 9

10 11

33

Pass'e = 15521, no. 43 Gagiarda Padouana Pass'e mezo [antico] = 15521, no. 43 Gagiarda Padouana Pass'e mezo = 15521, no. 45 Gaiarda Padouana3 Gientil madonna3 Pass'e mezo = 15521, no. 44 Gaiarda Padouana4 Pass'e mezo [moderno] = 15521, no. 46 Gaiarda Padouana II Sabioncelo: Saltarello] Saltarello] dito la fantasia Rose e viole3 Pass'e mezo a la villana3 Alio modo Saltarel cioè gagliarda3 Padouana gaiarda La rocha'l fuso3 6 Pass'e mezo ditto el de Gaiarda Gaiarda ditto stradiot Canzon francese, basso una voce più basso Hellas mon dieu A qui me doibz ig [sic] retirer ( R I S M 154213, fol. i5 v : Maille) Si iay Ayme legierement ( R I S M I 54°i2. fol. ι i v : D e porta) Malheur me suit fortune (RISM 1545s, fol. i4 v : Meigret) Fringotes jeunes filletes ( R I S M 153819, no. 2: Nicolo Payen) Unum cole deum Jachet ( R I S M i540„, no. 2) 2a pars Non occisor In ilio tempore Jo. monton ( R I S M 15371, no. 50: Mouton) 2a pars Propter hoc dimittet

20

34v

21

35v

22

37 39

23

40

24

41 v

25 26 27

42v 43v 44v

28

46

29

47

30

48

31

48*

32

50

33

51

mezo2

Sánete paule Adr. Vuilgliar (WiUO I, 89: Willaert) Levavi oculos meos Gomb[ert] (GombertO V, 47) 2a pars Dominus custodit te In un boschetto adorno ( R I S M 154518, P- 22: Arcadelt) Bramo morir per non patir più morte ( R I S M 1556 22. no. 21 : V--. Festa) Tanto più grat'e charo ( R I S M 154318, P· 23) In me donna il desio Valle Se pur ti guardo ( R I S M 15709, p. 46: Roger Pathie) = 155211, no. 38 Reccerchar A . R. = 15521, no. 16; I 5 5 2 U , no. 16; 156312, no. 4 Reccerchar A . R. = 15521, no. 17 Reccerchar · A . R. = 15521, no. 19; 155211, no. 17; 156312, no. 12; 15687, no. 20 Reccerchar A . R. = 155211, no. 3; 156312, no. 8; 1568 7, no. 3 Reccerchar'' A . R. = 15521, no. 18, and 155211, no. 14 Reccerchar A . R.

A copy was in P L : S (see 15465, η. ι). Mod. ed. in EitT, no. 40 (after 15521), and WasG, no. 11 (after 1552!). 3 Mod. ed. in BruS II, no. 78. 1 Mod. ed. in NeemAM I, no. 16. 6 Mod. ed. in ChilLI, p. 251, and PujBG, no. 1070. 6 Mod. ed. in WasG, no. 9 (after 1552,). ' Mod. ed. in NeemAM I, no. 15. 1

2

I 546ie ROTTA,

ANTONIO

ANTONIO ROTTA / INTABOLAT U R A / DE L A U T O / DE L'ECCELLENT I S S I M O M U S I C H O M . / Antonio Rotta di Recercan Motetti, Balli, Madrigali. Canzon francese da Lui / composti & Intaboladi novamente posti in luce. / L I B R O [Cut with printer's mark of Antonio Gardane] P R I M O / In Veneria apresso di / Antonio Gardane. / M . D . X X X X V I .

I 546i8 40 fols. Italian lute tablature. On fol. K4 V : table of contents. Contents = 154615. All of the compositions are for solo lute. Copies in: D : Mbs, D : N g m , GB : Lbm, I: Be.

91

9

C3V

10

C4V

11

Div

12

D2 v

ι 54617

13

D3v

V I N D E L L A , FRANCESCO

14 15

D4 v Eiv

16

E2 v

17

E3 v

INTAVOLATURA / DI L I U T O / DI FRANCESCO V I N D E L L A / T R I V I G G I ANO D ' A L C U N I M A D R I A L I D ' A R C H A D E L T / NUOVAMENTE POSTA IN L U C E / LIBRO P R I M O / I N T A V O L A T U R A [Cut with the printer's mark of Antonio Gardane] D I L I U T O / IN V E N E T I A Apresso di / Antonio Gardane / M. D. XXXXVI. 20 fols. Italian lute tablature. On fol. A2 : dedication headed "Al molto magnifico Signor Giovanbattista visconte padrón & Signor mio osservandissimo," and signed " Gioanfrancesco Vindella. S." On fol. E4 V : table of contents. The contents are listed in M f M G X I X (1887), 145. All of the compositions are for solo lute. Copies in: A : W n , D : Mbs, D : N g m , DiW.1 fol. A2 v A3 3

Mv

4

B2

5

B3

6

B4

7

Ci

8

C2V

Si grand'e la pietà2 (RISM 153921, Ρ· 4: Arcadelt) = 155211, no. 65 Dolci rime leggiadre (RI SM i55o 17) no. 1 : Arcadelt) Quand'io penso al martire (RISM 15419, p. 54: Arcadelt) = 15524, no. 16; Ι503 12 , no. 71 ; 15687, no. 60 Se'l tuo partir mi spiaque (RISM 15419, p. 25: Arcadelt) Pongente Dardo (RISM 154I9, p. 3 : Giachet Berchem) = 155211, no. 36 O s'io potessi donna (RISM J54 1 9, p. 19: Giachet Berchem) Nova donna (RISM 15419, p. 12: Arcadelt) Non v'accorgete Amanti (RISM Ι 54 Ι β, P· 24: Arcadelt)

Ancidetemi pur (RISM 1541,, p. 9: Arcadelt) Fra più bei fiori (RISM 1541,, p. 26: Arcadelt) Se la dura durezza (RISM i 54 i 9> P· 20: Arcadelt) Che più foco (RISM 1541,, p. 16: Arcadelt) Io mi rivolgo indietro (Vogel: Arcadelt 31 [1539], no. 2) Florida mia gentil Fato son esca (RISM 1550,,, no. 13: Arcadelt) = 15524, no. 15 Bella fioreta (RISM 1541», p. 45 : Arcadelt) Dehfugite o mortali (Vogel: Arcadelt 31 [1539], no. 4)

1

A copy was in P L : S (see 15465, η. ι). Although the first intabulation is labeled no. 2, the print is complete. FétB V I I I , 357, erroneously dates the volume 1556. 2

ι 54618 PHALÈSE, PIERRE, publisher Des chansons reduictz en Tabulatu/RE DE LUC A TROIS E T QUATRE P A R / T I E S LIVRE D E U X I E M E . / [Cut of ten performing musicians] / A L O U V A I N / Par Piere Phaleys libraire. Lan de Grace M. D. X L V I . 56 fols. French lute tablature. Fol. alT is blank. On fol. a2: preface headed " A u bening lecteur Salut," and dated " A dieu Le dernier de May. 1 5 4 6 " ; this is a French version of the preface of 154619. Fol. a2v is blank. T h e music begins on the next page, signed " b . " On the two pages after fol. 04*: table of contents. T h e following page is blank. Colophon on its verso: " L O V A N I I . Ex officina Servatii Zasseni Diestensis, Anno M. D. X L V I . " SlimK II, 481-482, contains a thematic index of the abstract pieces. Contents = 154619. All of the compositions are for solo lute. Copy in : GB : Lbmh.

ι 2

fol. bi biv

Praeludium1 Praeludium

f ^ D c s c h a n f o n s rcduiâ^ en Tabulatu RE DE L V C A T R O I S ET Q V A T R E TIES

LIVRE

A

PAR

DEVXIEME.

L O V V Al Ν

Pat Pi'crc Phaleys libraire, Lan de Gracc M, D, X L V I . Title page of 154619 3 4 5 6 7 8

bz b2 v b3 b4 ci civ

9

C2

10

C3

11

C4V

12

div

13

d2 v

14

d3v

15

d4v

16

ei

17

eiv

18

e3

19

e3 v

20

e4v

21

fi

Fantasie = 1538^ no. 9: Narváez Fantasie = 15381,110. 10: Narváez Fantasie = 1538t, no. 11 : Narváez Fantasie = 15381, no. 12: Narváez Fantasie = 15381, no. 13 : Narváez Fantasie = 1538!, no. 14: Narváez Fantasie = 15381, no. ι : Narváez Fantasie = 15381, no. 2: Narváez Fantasie = 15453, no. 9 Fortune lesse moy la vie = 15293, no. 9a Si jay pour vous (AttainCK III, no. 12: Sermisy) Jay trop aymez = 15293, no. n a Sebahist on ( R I S M 15294, no. 15: "Sesbahist on se jay perdu") Cest a grand tort (AttainCK II, no. 18: Sermisy) Forsseulement — 15331, no. 41: Josquin or Févin Contre raison (compare AttainCK II, no. 5: Sermisy, and R I S M i545j4» fol. 9 V : Susato) Mille regres = 15331, no. 32: Josquin Si mon malheur ( R I S M 153212, fol. i o v : L e peletier) Joyssance [fous donneray] (AttainCK III, no. 24: Sermisy)

22

fiv

23

f2 v

24 25

f3 v Í4V

26

gì

27

giv

28

g2 v

29

g4

30

g4 v

31

hi

32

hiv

33

h2 v

34

h3

Je suys déshérité (CW X V , no. 2: Lupus or Cadéac 2 ) = 15623, no. 8 En espoir [d'avoir mieulx] (KemE, p. 15: Gombert) Vray dieu Entre tous viellartz = 1552H, no. 62, and 156312, no. 94 Tribulatie en verdriet (compare D u y L I, 581) = 1563 u , no. 95 Cest une dure partie (AttainCK II, no. 3 : Sermisy) Noch weet ic een scoon vroucen 3 (LenN, p. [101]: " N o c h weet ick een schoen ioffrau," Nicolas Liégeois) = 155211, no. 68 Pour avoir paix = 1546 e, no. 6: F. de Layolle Pour ung plaisir (ParrishM, no. 20: Crecquillon) = 155211, no. 57; 156312. no. 32; 15687, no. 41 Pa[s\eavase = 15381, no. 25: Narváez Si tantos halcones = 15381, no. 26: Narváez Si tantos halcones = 15381, no. 26: Narváez I la mi cinta = 15381, no. 27: " Y la mi cinta dorada," Narváez

I 5462O

93

h3v

35 36 37 38 39

40

Peysen ende trueren (compare L e n N , pp. 77 and [62]) h 4 v II me souffit (compare A t t a i n C K I, no. 9: Sermisy) La bella mal maridada = 15381, ii no. 28: Narváez i i v Deul dobble duel (CW XV, no. ι : Lupi) 12v 0 combien en madoreus (ClemensO V I I , 156: " 0 combien est malheureux," Sandrin or Sermisy) = 15623, no. 25, (compare 1568,, no. 22, and 1571e, η ° · J 6 6 T Le ceueur le corps (RI S M Ì3 [1556]η, Ρ- 7= Crecquillon; " r e s p o n c e " to no. 41) Je ne desir aymer auter (RI S M [1556L7, p. 6 : Crecquillon) Den lustelike mey (compare kl R I S M 157211, no. 25: Clemens n o n Papa, and D u y L I, 356) k i v Elle le veult donc k2 v En poursuivant k 3 v Pour tant si je suis brunette — 1546 e, no. 12: Sermisy) La bella franciscana k4 ( R I S M i57o e , k4 v Toutes les nuyt p. 12: Crecquillon) l i v Revillez moy = 1546 e, no. 13: "Reveillez m o y , " Garnier l2 v Hors envies retires vous = 1546 e, no. 3 : G o m b e r t Fortune alors = 1546,, no. 5: IS Certon l3 v Sur toutes la margarite = 1546 e, no. 7 : " S u r toutes fleurs jayme la m a r g a r i t e " l4 v Mertin menuit Claudin = 15469, no. 23 Jennequin = m i " Martin menuyt 1546e. no. 4 m2 v Revillez vous euer endormis = 1546«, no. ι : " L e Chant des Oiseaux," Janequin m 3 v 2a pars Vous orres a mon advis 3a pars Rossingnoul du boys joly ni n2 v 4a pars Arriéré maistre coquu n 3 v Bataille. Descendat uno tono = 15453, no. 50: Janequin 02 2a pars [Fan frere le le fan fan\

w

41 42

43 44 45 46 47 48 49 50 51

52 53 54

55

1

Mod. ed. in S l i m K I I , 609. 2 T h e same chanson is pr. in P u b A P T M X X I I I , no. 1 1 attributed to Cadéac. 3 Mod. ed. (with the vocal model) in L e n K , no. 26 (after I 5 5 2 n ) . 4*

154619 P H A L È S E , P I E R R E , PUBLISHER C a r m i n u m Quae chely vel t e s t u d i / N E CANUNTUR, TRIUM, QUATUOR, ET/ QUINQUE P A R T I U M LIBER SECUND U S . / [Cut of ten performing musicians] I L O V A N I I . / A p u d P e t r u m Phalesium bibliopolam, anno M . D . X L V I . 56 fols. F r e n c h lute tablature. O n fol. A 2 : preface headed " B e n i g n o Lectori Salutem," and dated " P r i d i e cal. Junii. 1 5 4 6 " ; this is a Latin version of the preface in iS46 1 8 . O n the two pages after fol. 04 v : table of contents. T h e following page is blank. Colophon on its verso: " L O V A N I I . Ex officina Servatii Zasseni Diestensis, A n n o M . D . X L V I . " Contents = 1546x3. All of the compositions are for solo lute. Copy i n : A : W n .

154620 P H A L È S E , P I E R R E , PUBLISHER C a r m i n u m pro T e s t u d i n e Liber I I I I . / IN QUO CONTINENTUR EXCELLENT I S S I M A / carmina, dicta Paduana & Galiarda, composita per Franciscum M e d i olanensem: / & P e t r u m P a u l u m Mediolanensem, ac alios artifices / in hac arte praestantissimos. / [Cut of ten performing musicians] / L O V A N I I / A p u d P E T R U M P H A L E S I U M Bibliopolam j u r a t u m . / A n n o Domini M . D . X L V I . / C u m gratia & privilegio ad triennium. 40 fols. F r e n c h lute tablature. O n fol. a a i v : printer's privilege. Colophon on fol. kk4 v : "LOVANII EXCUDEBAT JACOBUS B A T I U S T Y P O G R A P H U S A CAE. M A . A D M I S S U S . M . D . X L V I . M e n . Decemb. [Cut of a lute]." Contents = i573 8 . Nos. 22 and 48 are for two lutes ; the other compositions are for solo lute. Copies i n : A : W n , G B : L b m h . ι

fol. aa2

2

aa3 v

Fantasia Francisci Mediolanensis = 15465, no. 9 : Francesco da Milano Fantasia Francisci Mediolanensis = 1546 e, no. 8

ι 54620

94 3

aa4v

Fantasie de Francoys de Milan = 1546,, no. 10 Fantasia de Petro Paulo da Milano = 1546 g, no. 10: Pietro Paolo Borrono Fantasia da Francesco da Milano = 15369, no. 7 Fantasie de Pierre Paule Barron = 1546g, no. 12 Paduana I = 1546g, no. ia Paduana [II] Paduana III = 1546g, no. 2a Paduana [IV] = 1546g, no. 7a Paduana V — 1546g, no. 6a Paduana VI = 1546g, no. 8a Paduana VII = 1546g, no. 5a Paduana VIII = 1546g, no. 3a [Paduana IX~\ = 1546g, no. 4a Paduana X Paduana XI

4

bbiv

5

bb3 v

6

bb4 v

7 8 9 10 11 12 13 14 15 16 17

CC2 cc2 v cc3 v cc4 v ddi ddiv dd2 v dd4 v ee2 ee2 v ee3

18

ee3v

Paduana

19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49

ee4v fïiv fÏ2 fÎ2v fÏ3 fÏ3v fÏ4 fÏ4v ggi gg2 gg2 v gg3 v gg4 gg4 v hhiv hh2 hh2 v hh3 v hh4 iii iiiv iÏ2v 113 114 kki kkiv kk2 kk2 v kk3 kk3 v klq.

Passa mezo a la batailla Passa mezo de vaccas Paduana = 15453, no. 58 Paduana [for two lutes] Passa mezo = 1563 i2> n o · *33 Paduana = 15453, no. 56 Paduana Gailliarda I Galiarda II = 1546g, no. i b Galiarda III = 1546 g, no. i c Galiarda IIII = 1546g, no. i d Galiarda V = 1546g, no. 2b Galiarda VI = 1546g, no. 7b Galiarda VII = 1546g, no. 6c Galiarda VIII = 15463, no. 6f Galiarda IX = 1546g, no. 8b Galiarda X = 1546g, no. 8c Galiarda XI = 1546g, no. 8d Galiarda XII = 15463, no. 5b [Galiarda XIII] = 1546 g, no. 5c Galiarda [XIV] = 1546g, no. sd [Galiarda XV] = 1546g, no. 3d [Galiarda XVI] Galiarda [XVII] Bour ata Bourata Almanda1 Almanda Quatre branles Caracossa [for two lutes] Roman[é]scha

[XII]

=

15303.n0.43

M o d . ed. in M o h r A I, i8 (the beginning is accidentally left out). 1

1546 DOUBTFUL

WORKS

i. M o r L I, xliii, lists Antonio di Becchi, Intavolatura di lauto. Libro i" (Venice, 1546), as having been in the library of King John I V of Portugal. T h e volume is otherwise unknown; it is not mentioned in VasJ. T h e only volume of music by Becchi that survives is 1568J.

15471 BUUS, JACQUES SUPERIUS / RECERCARI DI M. J A C Q U E S B U U S / Organista in Santo Marco di Venetia da cantare, & sonare d'Organo / & altri Stromenti Novamente posti in luce. / L I B R O P R I M O / A Q U A T R O [Printer's mark] V O C I / In Venetia Apresso di / Antonio Gardane. / M . D. X L V I I . Four part books in mensural notation (S, 13 fols.; A T , each of 14 fols.; Β, i2 fols.). Fol. A i v = p. ι . On p. 27 of the tenor part book only: dedication " A L MOLTO MAGNIFICO MESSER HIERONIMO U T I N G H E R , " reprinted in GaspaC IV, 191, and SartMS, p. 13. SlimK II, 509, contains a thematic index of the entire volume. For further information see SutherR and SutherS. All of the compositions are for instrumental ensemble a 4 (or solo keyboard). Copies in: D : M b s , D : R p , I : B e ( T only).

10 1 2

ι 3 5 7 9 12 15 18 21 23

Recercar Recercar Recercar Recercar Recercar Recercar Recercar Recercar Recercar Recercar

primo segondo1 terzo quarto 2 quinto sexto séptimo ottavo nono decimo

M o d . ed. in L e n K , no. 27. M o d . ed. in R i e M , no. 40, and W a s G , no. 18.

95

1 547a Copies

1 547s FRANCESCO

DA

PERINO

MILANO

Aiv

I N T A B O L A T U R A / DE L A U T O / DI

D:Ngm,

MILANESE

/ ET

M.

Madrigali,

&

Canzone

Fantasia di F. Milanese2

2

A2v

Fantasia di F. Milanese

3

A3

Fantasia di F. Milanese31

4

A3 V

Fantasia di M. Perino

In Venetia Apresso di / Antonio Gardane /

5

Βι

Fantasia di F. Milanese6

M. D. X L V I I .

contents.

WieM

entire volume. S l i m K compositions

II

includes

of

identified

ricercares.

B2 v

Fantasia di F.

B3 V

De mon triste [desplaisir] di F. Milanese8

by

the

superior

For a discussion of

Milanese7

( B r o w n T C , no. 16:

Richafort) 8

B4

The

Fan[tasia\ de mon triste di F. M.a9

9

Ci

Some

of the compositions were probably reprinted [1547]]!·

=

6 a

II, 500, contains a

the

letter a ( a ) are reprinted in C h i l L I . in

5

7

m o d e m edition and thematic index of the index

=

Ι 5 7 ΐ β , no. 14

24 fols. Italian lute tablature. O n fol. 24* :

thematic

=

15597. no. 20

retta. / L I B R O [Printer's mark] T E R Z O /

of

3

15597. no. 17

Francese / Novamente Ristampata & cor-

table

=

iS52i, no. 20, and 15865, no. 1

P E R I N O F I O R E N T I N O / Suo Discípulo Recercate

D:Mbs,

fol. ι

Di

A:Wn,

AND

FIORENTINO

M. F R A N C E S C O

in:

F : Pthibault, U S : C n , U S r W c . 1

Fantasia di F.

Milanese1"

(compare 15572, no. 27) 10

C2 V

Perino's

Fantasia di F. Milanese11

=

15363, no. 13

music see W i e P . Contents = 1562!, 1563 e,

11

C3V

Fantasia di F.

and 1566]. A l l of the compositions are for

12

C4 V

Fantasia di F.

solo lute.

13

Div

F[antasia]

Milanese Milanese12

di Perino Fiorentino

I N T A B O L A T V R A DE L A V T O Z)Ì

M. FRANCESCO M I L A N E S E ET M. VERINO FIORENTINO Suo Dfopulo Di Recercate Madrigali,ς-j· Cannone Fraiiceß Nouamente Rijìampata e r Corretta.

IH l^cnetiA 4V

34

P2

35

P3

36

P4

Veu le grief mal [Villiers] ( R I S M 154012, fol. 8V) = 155211, no. 48 Mais pourquoy [noze Ion prendre le bien]7 [Sandrin] ( R I S M 154311, no. 4) = 155211, no. 35 Si de beau[coup]8 [Sandrin] ( R I S M 154311, no. 3) Dames [dhonneur voyez] [Sandrin] ( R I S M i543ii, no. 17)

1 The B r i t i s h M u s e u m c o p y has m a n u s c r i p t r e m a r k s scattered t h r o u g h o u t the v o l u m e . 2 A c o p y w a s in P L : S (see 15465, n. 1). 3 M o d . ed. in C h i l L S , p . 1 8 ; E n i , app., p . 8 ; and N e e m A M I, n o . 20. 4 M o d . ed. i n C h i l L S , p . 20, and N e e m A M I, n o .

22. 6 M o d . ed. i n B a r t h a Z , no. 4 4 ; N e e m A M I, n o . 21; W a s G , no. 8 (after 1 5 5 2 ! ) ; W o l f H M , p . S24 (after 1 5 5 2 ^ ; and W o l f ' M E , n o . 32 (after I552j). 6 M o d . ed. i n C h i l C I , p . 68. ' M o d . ed. i n C h i l C I , p . 69. 8 M o d . ed. of t h e c h a n s o n (reconstructed f r o m the intabulation) in C h i l S , p . 23.

I 547i NEWSIDLER, HANS Das Erst Buch. / Ein Newes Lautenbüchlein mit vil feiner lieblichen Liedern, / für die jungen Schuler, die fein leicht unnd gantz ring zu lernen seind, auch etlich / feine Tentz, Welisch unnd Frantzösische Stück, die fein artlich unnd lieb/lich Collerirt, mit sündern fleys verfast, unnd zusamen gebracht, / durch mich Hansen Neusidler Lutennisten unnd Burger / zü Nürnberg, öffentlich aussgangen, im / M . D. X L V I I . / Mit Römischer Kay. unnd König. May. freyheyt, / inn Fünff Jaren nicht nach zu drücken / begnadet. 32 fols. German lute tablature. On fol. A i v : table of contents. On fol. H3 V : the same notice as in 15474 headed " W i e man die Lauten sol lernen ziehen." On fol. H4: a note advertising Newsidler's other volumes of lute music (the same as in 1549 β), followed by the same notice as in 1540! headed " V o n den Creutzlein und pünctlein, wie man sie verstehen sol," followed by the colophon: "Gedruckt zü Nürmberg bey Christoff Gutknecht durch Verlegung Hansen

98

1 5474

Newsidler Lutinisten Anno M. D. XLVII." On fol. H4 v : the same cut of the neck of a lute with a brief explanation of the tablature as appears in 1536g and later volumes by Newsidler. The three "Regeln" at the beginning of the volume are unnumbered; the compositions are numbered beginning with "Hastu mich genummen." This is a revised second edition of 15441. For further information see Dorf S. All of the compositions are for solo lute. Copy in : D : Ngm.

ι

fol. Aa

Azv A2 v 2 A3

3

A3V

4

A4 v

5

A4

6

Βι

7

Bi v

8

B2 B2V

9

B3 B3V

B4 10 B4v

11

Ci Civ C2

12 13

Czv C3 C3V C4

Das Erst Fundament auff die Lauten = 1536 e, no. 2 Die ander Regel am Fundament Die drit Regel Hastu mich genumen (another version of no. 15 below) = I54°i. no. 3 Unser köchin kan auss der massen kochen viol = 15401, no. 2 Ein niderlendisch tentzlein = 15441, no. 4 Entlaubet ist der walde = 1536e, no. 8: Stoltzer Willig und trew on alle rew (EDMR XX, no. 42: Georg Forster) Ein guter Hofftantz = 15360, no. I i Der hupff auff WO gehnd die Bamberger Meidlein hin, wo gehn sie hin nach gras1 = 15441, no. 8 Der hupff auff Es wolt ein jeger jagen, wolt jagen vor dem holtz = 15441, no. 9 Hupff auff Ich wais mir ain stoltze Miilnerin = 15401, no. 6: "Wayss mir ein hüsche Miilnerin" Hupff auff Der Nunnen tantz = 1540!, no. 12 Der hupff auff zum Nunnen tantz Der Zeiner tantz = 154O1, no. 11 Der hupff auff Der petler tantz = 15401, no. 15 Der hupff auff zum petler tantz

14

C4V

15

Di D2

16

D2 v

17

D3

18

D3 v

19

D4

20

D4 v

21

Ei

22

Eiv

23

E2

24

E2V E3v

25

E4

26

E4V Fi

27

Fiv

28 29

F2 F2 v

30 31

F3 v F4

32

Gì

33

Giv

34

G2 v

35

G3 v

36

G4 v

37

Hiv

38

H2

Der Hofftantz mit drey stimmen = 1536e, no. 69 Der hupff auff Madunna Katherina2 = ΐ54θ1( no. 36 (another version of no. 2 above) Ich het mir ein Annelein für genumen = 15401, no. 13: Senfl Es taget vor dem holtze = 15401, no. 14 Elslein liebstes Elslein mein = 1536e, no. 29: Senfl Der hund, mir vor dem licht umbgat = 1536e, no. 26 Ich klag den tag3 (DTO XXXVII/72, p. 71: Stoltzer) Nach willen dein mich dir allein = 15441, no. 27: Hofhaimer Ach lieb mit leid wie hast den bscheid = 1536e, no. 31: Hofhaimer Nun gruss dich Gott mein truserlein = 15401, no. 23: Dietrich Ein guter welscher gassenhawer = 1549 e, no. 68 Den hupff auff muss man gar behend schlagen Ein guter gassenhawer für die jungen Der hupff auff Ein gut Preambulum4 = 1536e, no. 64 Ein guter Preambulum = 1536e, no. 65 le seg adiu6 = 15441, no. 30 Du Fíensela = 154O1, no. 32: "Dont vient cela," Sermisy Je suis ami aux = 15441, no. 32 In te domine speravi = 15441, no. 34: Josquin des Prez Languir Me fais — 15441, no. 35: Sermisy Fons perte6 = 15441, no. 37: "Vous perdez temps," Sermisy O dulx Roveoir = 15441, no. 38: Godard En esperant = i544i, no. 39: Sermisy Dame de Beaulte = 15441, no. 40: Morel Mon petit Nose = 15441, no. 41 : " M o n petit [cueur]" Adieu amours de forts suis lus trop = 15441, no. 42

1 547s 39

H2 v

Le departir = 15441, no. 43: Clemens non Papa

1 Heading on fol. B2 V : " H i e volgend feine ringe liedlein mit drey stymmen." 2 Heading on fol. D2 : " Hie volgend feine ringe liedlein mit drey stymmen." 3 Mod. ed. in MolzHN, no. 6. 4 Mod. ed. in MolzHN, no. 4. 8 Heading on fol. F 2 : "Hie nach volgen etliche Frantzösische Stück." β Heading on fol. G i v : "Hienach volgen etliche Frantzösische und Welische Stück, die fein artlich colerirt seind."

1 547s VALDERRÁBANO, ENRIQUEZ D E [Cut of the coat of arms of the Conde de Miranda] / L I B R O D E M U S I C A / D E V I H U E L A , I N T I T U L A D O SILVA D E / sirenas. En el quai se hallara toda diversidad de musica. Compuesto por Enrriquez / de Valderravano. Dirigido al Illustrissimo señor don Francisco de Çuftiga Con/de de Miranda. Señor de las casas de Avellaneda y Baçan, &c. / C O N P R I V I L E G I O I M PERIAL 8 4- 104 fols. Italian lute tablature and mensural notation. On fol. *z: printing privilege granted by Prince Philip (later Philip II), dated " F e c h a en Madrid, a seys dias de Mayo de mill y quinientos y quarenta y siete años. Va escripto sobre raydo, o diz diez vale. Yo el Principe. Por mandado de su alteza Francisco de Ledesma." On fol. *2V: dedication headed " A l Illustrisimo Sennor Don Francisco de Çuftiga Conde de Miranda." On fols. *3~*3V: preface headed "Prologo." On fols. *3 v -*5 : a note in praise of music headed "Musice laus, Nullo authore." On fol. *5: two poems in Latin, the first headed " In Henrrici summi musici syrenas Epigramma, Nullo Authore," and the second headed "Eiusdem Nulli Tetrastichon." On fols. *5-*6: a note explaining the tablature headed "Relación de la obra." On fols. *6 V -*8 V : table of contents. O n fol. *8V: a note headed "Aviso para que la musica deste libro sea bien tañida," explaining that the fingers of the left hand should stay on the frets until the music or another fingering requires that they be raised, followed by a note headed

99

" D e los tonos," explaining that the modes were not associated with fixed positions on the vihuela ; mode is determined by the intabulated music and is identified by means of solfa. Fol. # 9 = fol. ι . Colophon on fol. io4 v : " A Gloria y alabança de Nuestro Redemptor y Maestro Jesu Christo, y de su gloriosa madre. Fenesce el libro Llamado Silva de sirenas. Compuesto por el excelente musico Anrriquez de Valderavano. Dirigido al Illustrissimo señor don Francisco de Çuftiga Conde de Miranda, &c. Fue impresso en la muy insigne y noble villa de Valladolid Pincia otro tiempo llamada Por Francisco Fernandez de Cordovo impresor. Junto a las Escuelas Mayores. Acabóse a veynte y ocho dias del mes de Julio Deste Año de 1547," followed by the printer's mark with the motto " N e ingenium volitet, Paupertas de primit ipsum." SlimK II, 503-508, contains a thematic index of the ricercares. T h e compositions identified by the superior letter a ( a ) are reprinted in M o r L II ; those identified by (b) are reprinted in JacobsTN, pp. 86-100. For a discussion of Valderrábano's parody fantasias, see WardP, p. 226. For further information see WardV II, 389. T h e volume is divided into seven books, each of which has its own title, reproduced in the inventory below. T h e compositions in Books I, V, VI, and VII are for solo vihuela; those in Book I I for voice (notated in red ciphers in the tablature) and vihuela; those in Book I I I for voice (notated in mensural notation) and vihuela; and those in Book IV for two vihuelas. 1 Copies in: A : W n , 2 E : B u , E : M n (two copies), E : V A c (imperfect), G B : L b m , I : MOe, U S : N Y h s (imperfect).

I 2 3 4 5 6 7

fol. Fugab 3 a 3 I v I Fuga a 3 I v Agnus dei sobre mi fa re sol fa mi a 3 2 Benedictus a3 = i 5 5 2 n , no. 82 Osanna sobre el dicho mi fa re 2 sol fa mi a 3 2V Agnus dei 04 3V Agnus dei Josquin a 4 (JosqMS, no. 1 : Missa L'homme armé super voces musicales)

1 5475 Comiença el Segundo libro de motetes y otras cosas para cantar y tañer contrabaxo y en otras partes tenor. 8

5

9

5V 5V

10 II 12

6V 6V

13

8

Η

8V

iS

9V

7V

16

IOv

17 18 19

IOv I Iv 12

20

13

21

14

22

15

23

I5V

24

i6

v

25

17

26

i7 v

27

i8 v

Laudate dominum omnes gentes Layole 0 4 ( I : F n , M S Magi. XIX, 1 1 7 , no. 33) 2a pars Gloria patri et filio O gloriosa dei genitrix Gombert (SmijT I, 167) Beata quorum agmina a 4 Si bona suscepimus 4 a 4 Infirmitatem nostram Verdelot 04 (SmijT IV, no. 17) = 155211, no. 79 Repleti sunt quidem spiritu sancto Verdelot 04 Pañis quem ego dabo Lupus a 4 ( K J XXV [1930], Notenbeilagen, p. 2) Hic precursor et dilectus Gombert a 4 (GombertMT I [r539]> n o · 19b: 2a pars of " F u i t homo missus") Exultet celum laudibus Sepulveda a 4 Ave Maria5 Loyset a S Jesum queritis5 Loyset a 4 Tibi soli peccavi Jaquet a 4 (JachetMT I [1539], no. 12) Aparens Christus discipulis suis Gombert a 5 Veni in altitudinem maris Jaquet a¡ (RISM 15382, fol. 9V: 2a pars of "Salvum me fac Domine") Nomine disimulavi Morales 04 ( M M E X I I I , 42: 2a pars of "Antequam comedam") Virgo prudentissima Pieton 04 (compare SmijT III, no. 10: Penet) Peccavi supra numerum Adriano [Willaert] a 5 (WillO III, 61) Augustine lux doctorum6 Adriano [Willaert] a 5 (WillO III, 43: 2a pars of "Laetare sancta mater") Ave Maria Josquin a 6 (JosqMT, no. 50b) Antequam comedam Vicencio rufo a 5

28

I9V

29

20

30

2θ ν

31

21

32

21 v

33

2i v

34

22

35 36 37

22 22 v 22 v

38

23 23 v

39

23v

40

24

41

24

42

24

43

24

44

24v

45

25

Ay de mi dize el buen padre7 a 4 "Historia de come Matatías llora la destruycion de Hierusalem . . . a sonada de romance viejo" (see Quel, p. 318) Adormido se a el buen viejo (2 diferencias) "Historia de como el propheta Helias huyo por el disierto . . . a sonada de romance viejo" (see Quel, p. 318) En la ciudad de betulla "Historia de Judith quando siendo biuda degollo a Holofernes . . . a sonada de romance viejo" (see Quel, P. 318) Laudate dominum deum nostrum De hazer lo que jure* Proverbio Auchelina vel auchlinaa Soneto (in table : Villancico) Eulalia de tarpeya vernana Soneto (in table: "Eulalia borgonela") O que en la cumbrea Villancico Muera en las hondas Villancico Corten espadas afiladasra Soneto a manera de ensalada contrahecho al de Cepeda (compare M M E V I I I , 1 3 1 : Cepeda) A monte sale el amora Soneto (in table : Villancico) 2a pars A los montes de diana 8 De donde venis amore" 9 Juan Vasquez Villancico ( M M E IV, 207) Corona de mas hermosasa 10 Villancico Desposose te tu amiga juan pastor3 Villancico Rugier qual sempre fui tal10 Soneto (compare EinAR) Con que la lavarea Villancico (compare M M E IV, 209: Juan Vásquez) = 1552η, no. 5 Como puedo yo bivir que el remedio* Villancico Las tristes lagrimas mias Villancico

ΙΟΙ

I 547ô φ

25

47

25

48

26

v

49

26

50

2ÓV

51

2ÓV

Sea quando recordaresa "Proverbio sacado de la sagrada escriptura" Los brafos traygo3 Romance (see Quel, p. 47; compare M M E IV, 193) Y arded coraçon arded3 Villancico Ya cavalga calaynos311 Romance (see Quel, p. 312) La bella mal maridada*12 Villancico Donde son estas serranas*12 Villancico (see Quel, p. 316)

SIGUESE E L TERCE/RO LIBRO, E L Q U A L T R A T A D E M O T E T E S / Canciones, Villancicos, y otras cosas para cantar en falsete. Lo qual es muy provechoso. 52

53

27 27 v 28 28

54 55

29 v 3ov

56

31

57

3iv

58

32

v

59

33

60 61

34 34

62

35

63

35 v

64

36 v

65

37 v

66

38

Vita dulcedo Lupus 2a pars Et Jesum 3a pars O dulcís virgo In te domine speravi Lupus ( R I S M 15351, fol. 6") = 155310» no. 22 O quam suavis Hierusalem luge Verdelot ( R I S M 15329, p. 49: Richafort [or Lupus?]) Cum invocarem Verdelot (anon, in 15572, no. 93) Ut fidelium propagatane Miguel Ortiz Hierusalem convertere ad dominum Miguel Ortiz Lamentación Se pur te guardo (RISM i57°8> P- 46: Pathie) Quid prodest " O vi di carmen" Se in me exstremob (compare 1558,, no. 6: " S i come estremo ardore") Gloriarmi poss'io Verdelot (EinIM III, 26) Madonna qual certezzaa Verdelot (EinIM I I I , 21) Qui la dira Verdelot ( R I S M 15722, fol. 2: Willaert) Madonna non so dir Verdelot (CW V, 13) Dormendo un giorno Verdelot (WagMP, p. 461) = 15687, no, 106

67

39

68

39 v 40

69

41

70

42 v

43 71

43 v

72

44

73

44 v

Vita de la mia vita Verdelot ( R I S M 15379, no. 25) 2a pars Quel foco che Amor tu say Archadelt (MaldP X X V I [1890], 27) Ytalia mia Verdelot ( R I S M I54°i8, Ρ- 7) Quien me otorgase señora3 Canción Juan Vasquez ( M M E IV, 76) 2a pars Aunque mill años turases Argimina nombre le dioa Anrriquez [Valderrábano] " Canción de las reynas que fueron en españa . . . contrahecha a otra francesa" Señora si te olvidarea Anrriquez [Valderrábano] Jamas cosa que quisiessé*13 Anrriquez [Valderrábano]

[Within an ornamental border:] 1547 / COMI/ençan las obras com/puestas del quarto Libro para ta/ñer dos juntos en dos vihuelas, en / quatro maneras de temples, en uniso/nus, en tercera, en quarta, en quin/ta, lo qual es muy util y provecho/so para gozar de la musica, y / orden de las bozes, ay gu/ardas, y haspiraciones, / las quales se aguarda/ran, como es uso / en el canto de / organo. 74

75

76

77 78 79 80

45 v

Assiste parata Gombert ( R I S M 15382, p. 12: 2a pars of " O beata María") = 155211, no. 86 46 v Et in spiritum sanctum de la missa sobre la canción mille regres Morales ( M M E XI, 238: Missa Mille regrets) = 155211, no. 87 47 v Petite camusete3 Adriano [Willaert] ( R I S M 15722, fol. 57) 48* Conde Claros Anrriquez [Valderrábano] 49 v Andreas Christi Sánete Andrea* Morales ( M M E X I I I , 157) 5° v Quanti mercenarii Morales ( M M E X I I I , 166) 5 i v La primera parte del Credo de la missa de Josquin de beata virgine (JosqMS, no. 16 : Missa de Beata Virgine)

i 547s

I02 81

S2V

82

53 v

83

54

84

55

8s 86

57 58 v

87

6o v

88

6iv 6iv

Cum sancto spiritu Morales ( M M E X I , ι : Missa de Beata Virgine) Pater noster* Adriano [Willaert] (WillO II, 11) Payne trabel Mouton Canción Canción de sibivit Adriano [Willaert] ( R I S M 15722, fol. 54 v : " O r suis-je bien au p i r e " ) = 1552U, no. 104 Obsecro te domina* Josquin Contrapunto sobre el tenor de la baxa Anrriquez [Valderrábano] = 1552J1, no. 105 Inviolata Josquin ( J o s q M T , no. 42) 2a pars O benigna1* Jubilate [deo]11 Morales (MoralesO II, 184)

AQUI COMIENÇA EL / QUINTO LIBRO, EL Q U A L T R A T A DE FANTA/ sias, assi sueltas como acomposturadas. Las primeras que se / siguen son del primero grado, y por esto no / ternan tanta musica como las / de adelante. 89

Ó3V

90 91

63* 64

92

64

93

65

94 95

6s v 66 v

96

97

98

Ó7V

68

68v

Fantasia. Quarto tono15 Anrriquez [Valderrábano] = 155211, no. i Fantasia = 1552H, no. 2 Fantasia sobre un Benedictus. Primero tono Fantasia sobre entrada de una baxa. Tono mixto Fantasia de tañer algo despacio. Tercero tono Fantasia. Primero tono Fantasia remedando en algunos pasos al aspice de Gombert (compare S m i j T II, 147: " A s p i c e D o m i n e , " Gombert) Fantasia remedando a una magnificat de Morales, que es al primer verso, y al tercero. Primero tono Fantasia [contrahecha a otra estrangera] Otavo tono16 (compare 1536s, no. 2: " Fantasia de M . Alberto [Ripa] da M a n t u a " ) Fantasia sobre un pieni de contrapunto

99

69

100

6g v 70

102

70

103

71

104

7iv

105

72

106 107

73 73 v

108

74

109

74 v

no

75 v

111 112

76 v 77

113 114 115

77 78 78 v

116

79 v

Fantasia contrahecha a una entrada de una ave maristella. Quinto tono Fantasia. Quinto tono = 155211, no. 9 Fantasia de tañer conforme al tiempo, por que es de contrapunto. Quinto tonob [Fantasia contrahecha a la del milanes] Quinto tonob ( " E n esta fantasia se hallaran redobles") (compare 15369, no. 16: "Fantasia del divino Francesco da M i l a n o " ) Fantasia remedando al motete de Gombert Inviolata. Quinto tono (compare R I S M 15397, no. i : " Inviolata," Gombert) Fantasia sobre un benedictus de la misa de Mouton tua est potentia. Séptimo tono (compare R I S M 15322: Mass no. 1) Fantasia sobre la entrada de la gloria de la misa de pañis quem ego dabo. Séptimo tono (compare R I S M 15325: Mass no. 3 : Lupus) Fantasia. Primero tono Fantasia remedada al chirie postrero de la misa de Josquin, de beata virgine. Primero tono (compare J o s q M S , no. 16) Fantasia sobre un Pieni [de una misa de Bauldoin] Primero tono Fantasia hecha sobre una canción. Primero tonob Fantasia acomposturada de cierta parte de la missa de Ave maristella de Josquin. Primero tono (JosqMS, no. 6) Fantasia. Primero tono Fantasia sobre un quia fecit. Otavo tono [Magnificat verse] Fantasia. Otavo tono Fantasia. Quinto tono Fantasia contrahecha a otra de Francisco milanes. Quinto tono Fantasia remedando al motete de queramus cum pastoribus. Quinto tono (compare R I S M I 5 2 9 i , fol. 9 V : " Q u e r a m u s cum pastoribus," M o u t o n ; see no. 117 below)

103

1 547s 117

8o

118

8ov

119 120

81 8i v

121

82

Fantasia sobre la segunda parte del dicho motete, queramus cum pastoribus. Quinto tono (see no. i i 6 above) Fantasia de tañer espacio, por que es consonancia. Sexto tono Fantasia. Tono mixto Fantasia. Quarto tono (compare 15572, no. 63) Fantasia. Tono mixto

LIBRO SEXTO EL / QUAL T R A T A DE PARTES DE MISAS, DUOS, / CANCIONES, Y SONETOS, ALGUNOS FA/CILES DE T A Ñ E R , EN EL PRIMERO / GRADO, A DONDE EL QUE / NO TOVIERE MANO HA/LLARA MAS FACILI/DAD QUE EN / OTRA PARTE D E L L I B R O , S A L V O A L G U N A S PAR/ T E S DE MISAS QUE SON MAS D I F I C U L T O / S A S , Q U E E S L O PRIM E R O Q U E / SE S I G U E . 122

83

123

83^

124 125

83v 84

126

84'

127

85

128

85"

129

85'

130

86

v

131 132

86 86v

133 134

86v 87

Qui tollis de la misa de pange lingua Josquin (JosqMS, no. 18) Osana Mouton (CW L X X : Missa Alleluya, Mouton) Agnus dei Morales a 3 Agnus dei de la misa de gaudeamus Josquin (JosqMS, no. 3) Cum sancto spiritu de la misa de adfugam Josquin (JosqMS, no. 14) Cum sancto spiritu de beata virgine Josquin (JosqMS, no. 16) Et incarnatus est de la misa de faysan regres Josquin (JosqMS, no. 13) Otra parte del credo de la dicha misa Josquin (see preceding piece) Crucifixus de la misa de quem dicunt homines ( R I S M 1540!, no. 4: Mouton) Et resurrexit Duo Benedictus Duo (JosqMS, no. 6: Missa Ave Maris Stella) = 155211, no. 80 Pieni sunt Duo Agnus dei Duo ( R I S M 15322, Mass no. ι : Missa Tua est potentia, Mouton)

135 136

87 87v

137

87v

138

139 140

141

89

142

89

143

89v

144

90 9° v 9° v 90v 9° v 91 91

145 146 147 148 149 150 151 152 153 154 155 156 157

9iv 9iv 92 92 92 v 92 v 92 v

158

93

159 160 161 162

93 93v 93v

163 164

94 94

93 v

Pieni sunt Duo Per illud ave Duo Josquin (SmijO V , 146-154: 2a pars of "Benedicta es regina coelorum") Et misericordia eius Duo [Magnificat verse] Si tantos monteros ("Soneto contrahecho ala sonada que dizen si tantos monteros") Adiu mes amours Canción (BerH, p. 66: Mouton) Diviencela (AttainCK III, no. 22: " D o n t vient cela," Sermisy) Teresica hermana (MitU, p. 91 : Mateo Flecha) Ami sufle (AttainCK III, no. 7 : " A m y souffrez," Moulu) Soneto lombardo a manera de dança Soneto17 Soneto17 Soneto Soneto Soneto Soneto = 155211, no. 18 Dichosa fue mi ventura Soneto (in table: Villancico) Soneto Soneto Soneto Soneto Soneto Soneto Omni mal de amor procedi Morales (compare 152?!, no. 21 : " O g n i mal d'amor procede," Bfartolomeo] Tromboncino]) Lo que queda es lo seguro Soneto Soneto Soneto Gentil galans Soneto Soneto contrahecho a la sonada de benedicto sea el iorno Soneto Viva la Margarita Soneto

L I B R O S E P T I M O / E L quai tracta de pavanas, y diferencias sobre guardarne / las vacas, y para discantar sobre el conde claros, por / dos partes con otro discante fácil.

104 165

i 94 v

Pavana318

5 4 7 s

("Quatro

diferencias sobre la p a v a n a por grados") 166

95v

[Pavana]

( " T r e s diferencias

sobre la d i c h a p a v a n a por otro tono") 167

96*

Guardarne (seven

168

97v

Conde

las

vacas19

diferencias) claros

diferencias)

(a set of (compare 155211,

no. 100) 169

99 v

Conde

claros

("Otras

diferentes d i f e r e n c i a s " ) (compare 1 5 5 2 1 1 , no. 100) 170

103

Sobre

171

i03v

Musica

la pavana

un punto

para

reap

discantar

sobre

[ T w o vihuelas]

1 T h e compositions in Book I V marked with an asterisk are those for w h i c h the complete text is given in the intabulation. 2 T h e Vienna copy has a variant title page, b u t is in all other respects identical w i t h the other copies. T h e title page, within an ornamental border, reads: M U S I S D I C A T U M / L i b r o llamado / Silva de Sirenas. / C o m p u e s t o por el ex/celente musico A n r i q u e z / de Valderavano. / Dirigido al ilustrissimo / señor don Francisco de / Çufiiga conde de / M i r a n d a & c . / C o n privilegio. / 1547 / N U N C R E V I V I S C O . T h e V i e n n a c o p y has manuscript music in Italian lute tablature ( f r o m the seventeenth century?) added at the end of the v o l u m e : fol. 105: [J9] Différencias de la çarabanda; I05v: Folias (13 diferencias); 107: Saltarello (13 diferencias).

O n e of the M a d r i d copies ( R . 14018) contains four pages of m a n u s c r i p t m u s i c in Italian lute tablature : fol. I (glued to the front cover) : Tiento de los Tonos. Fuenllana. Primero tono = 15543, n 0 * J 7 4 î I : Segundo tono = 15543, n o · 175 ; I : tercero tono = '5543, n o · ' 7 6 ; I I (guard leaf at end of volume) : Fuenllana. Ave maris stella = 15543, n o · ' 7 0 (texted voice part in mensural notation ; vihuela accompaniment in tablature); I I * : fragments of m u s i c in mensural notation; I I I (glued to the back cover): fragments of music in mensural notation and in tablature. M o s t pieces in the v o l u m e are introduced b y several sentences explaining the mode, the degree of difficulty, or h o w the solfa of the music can b e located. T h e s e c o m m e n t s are omitted in the i n v e n tory. T h e preliminary remarks for no. 1, unusually full, are given here as an e x a m p l e : " A q u i se siguen dos fugas para principio de entender la musica deste libro, y son a tres, esta primera se señala desta manera para entender la solfa, tercera en primero traste se señala la clave de ce sol fa ut. para saber que la primera cifra colorada es alamire, cantando y tañendo la sol. sol. la. re. con las cifras negras. Y para m e j o r gustar estando tres juntos el que tañere cantara juntamente la dicha cifra colorada y entonara al segundo en segunda en vazio, aguardando dos compases, c o m o se vera en la primera señal, y el segundo entonara al tercero en prima en 3

vazio, aguardando el dicho tercero u n compas al segundo." 4 Neither the setting b y Verdelot, nor that by Sermisy (see Index V , below, for details). 5 L o y s e t is probably not C o m p è r e (see F i n s c h C , p. 141), but Pieton. 6 M o d . ed. and quasi-facs. in W o l f H II, 1 0 9 - 1 1 2 . ' M o d . ed. in P e d C P I I I , 121, and V a l d e A (arr· for voice and guitar). 8 M o d . ed. in B r u A L I, 34. 9 M o d . ed. in B a l R , p. 18 (arr. for voice and piano), and P e d C P I I I , 124. 1 0 M o d . ed. o f no. 40 in B r u S I I , no. 55 ; m o d . ed. of no. 42 in W a r d M , p. 1 7 1 . 11 Mod. ed. in P e d C P I I I , 118, and V a l d e Y (arr. for voice and guitar). 1 2 Facs. of fol. 26V in A n g M E , pi. 30. 1 3 M o d . ed. in P e d C P I I I , 127. 1 4 Facs. of fol. 6 i v in S u b H M E , p. 210. Facs. of fol. 63 (incl. the title for Book V ) in S u b H M I, 490, and S u b H M E , p. 221. 1 5 M o d . ed. in A p e l M I I , 15, and S a i n z F , no. 2. 1 8 Facs. in L i u M I, 84. 1 7 M o d . ed. in P u j H C , p. 3. 1 8 M o d . ed. of first diferencia in B e h S , p. 6. 1 8 M o d . ed. in H A M , no. 124; first diferencia only in A p e l L , p. 434.

1 547« ATTAINGNANT,

PIERRE,

PUBLISHER

S e c o n d livre c o n t e n a n t trois G a i l l a r d e s , / TROIS

PAVANES,

BRANLES, doubles,

/

Tant

Douze

VINGT gays,

basses

TROIS

Simples,

dances,

&

Que Neuf

tourdions, / E n s o m m e C i n q u a n t e , L e t o u t o r d o n n e selon les h u i c t tons. E t / n o u v e l l e m e n t i m p r i m e en M u s i q u e a quatre parties, en u n g / livre seul, par Pierre A t t a i n g n a n t , I m p r i m e u r / de m u s i q u e d u R o y , d e m o u r a n t a Paris

/ en la R u e

d e la H a r p e ,

près

/

leglise sainct C o s m e . / 1 5 4 7 . / A v e c p r o r o g a tion d u p r i v i l e g e d u R o y , D e n o u v e l o b t e n u par ledit par

luy

attaingnant imprimez

/ Pour

&

quii

les livres

la

Imprimera

cy

après j u s q u e s a six a n s . 1

32 fols, (signed I I - Q 4 t ) . iv.

Mensural

identified b y

notation.

Fol. IIV =

The

fol.

compositions

t h e superior letter a ( a ) are

reprinted i n M M R F X X I I I , w h i c h i n c l u d e s a facsimile information

of t h e see

( w h i c h includes

title p a g e .

CombDF

For

and

further

HeartzSF

concordances). A l l of

the

c o m p o s i t i o n s are f o r i n s t r u m e n t a l e n s e m b l e a 4 e x c e p t f o r n o . 50, w h i c h is α 5 . 2 C o p y in : F : P n .

1 5477 fol. ιν Iv 2V 3V 4V 6

5V

7 8 9 10 II

6V 6V 7V 7V 8V

12

8V

13 14 IS l6 17

9V 9V I0V I0V I Iv

l8 19 20

I Iv I2V 12

21 22

I3 V I3 V

23 24

I4 V I4 V

25 26

I5 V I5V

27

i6 v

28

i6 v

29

I7 V

30

i8 v

31

i9 T

Basse dance Basse ciance = ΐ54? β , no. 25 Basse dance Basse dance Basse dance. Celle qui ma le nom damy donne3 (compare R I S M 15437, n ° . 2: Sandrin) Basse dance. La volunte3 3 (compare R I S M 154311, no. 9: Sandrin) Tourdion = i54?e, no. 28 Tourdion — I54? e , no. 26 Tourdiona 1 Tourdion Branle3 = 15573, no. 8: "Bransle s i m p l e " Branle [simple] = 15591, no. 10: "Bransle c o m m u n " Tourdion Branle [simple] Branle [simple] Branle [simple] Branlea (compare 15305, no. i l , and i54? e , no. 43: "Branle simple " ) Branle [simple] Basse dance Branle [simple']. Lespoir que jay (compare A t t a i n C K III, no. 20) Branle [simple] Branle [gay]. Mari je songeois laultre jour3 (compare R I S M 153212, no. 18: Jacotin) Branle [gay]3 Branle [double]3 = i54? e , no. 47: " B r a n l e de bourgoigne," and I 5 5 ° e , no. 43: "Bransle de champaigne" Branle [doublé]35 Branle3 = 15555, no. 12: "Bransle de champaigne" Branle - 15555, no. 13: "Bransle de champaigne" Branle (compare 15645, no. 33: " B r a n l e courant") Basse dance. Auprès de vous (compare A t t a i n C K I, no. 16: Sermisy or Jacotin) Tourdion. Cest grand plaisir3 (compare A t t a i n C K I, no. 17) Tourdion. Vous aurez tout ce qui est my en3 6 (compare R I S M 153212, no. 28)

32 33

20v 2iv

34

22v

35 36

23 v 24 v

37

25 v

38

25 v

39 40 41

2ÓV 2ÓV 27 v

42 43

28

v

44

28

v

45 46 47 48 49 50

29 v 29 v 30v 3iv 3iv 32v

27 v

Basse dance Basse dance. Content désir (compare B r o w n T C , no. 13: Sermisy) Basse dance. Par fin despit3 (compare R I S M 153414, no. 8: Sermisy) Branle [simple]3 Branle gay. Que je chatoulle ta fossette3 7 Branle3 = i54? 6 , no. 42: " B r a n l e simple" Basse dance. Trop de regretz3 (compare R I S M 153O5, no. 2: [Hesdin]) Tourdion3 Tourdion Branle (compare 15573, no. 12: "Bransle simple") Branle gay Branlé' = 15555, no. 15: "Bransle de champaigne" Branle = 15555, no. 14: "Bransle de champaigne" (compare 15591, no. 46) Pavane Pavane Pavane = 15552, no. 202 Gaillarde Gaillarde Gaillarde [«5]

Facs. of title page in EF II, 252. The following volumes from the same series survive: III (15573), IV (15505), V (ΐ55°β), VI (1555s), and VII (15574). a Mod. ed. in BarthaZ, no. 49a; HAM, no. 137a; and TwittT II, no. 1. 4 Mod. ed. in TwittT I, no. 3. 5 Mod. ed. in BarthaZ, no. 50c. 6 Mod. ed. in BarthaZ, no. 49b, and TwittT I, no. 2. 7 Mod. ed. in BS, vol. 51. 1 2

1 547T PHALÈSE, PIERRE,

PUBLISHER

Des Chansons Reduictz en Tabulature de / L U T A D E U X , T R O I S , E T Q U A T R E P A R T I E S . / A v e c une briefve & familiaire Introduction pour entendre & apprendre par / soy mesmes a jouer dudict L u t . / Livre premier. / [Cut of ten performing musicians] / A Louvain par Pierre de

ιο6

1 547T

Phaleys libraire jure / Lan M . D. X L V I I . / Avec Grace & Privilege. 1 32 fols. French lute tablature. Printer's privilege on fol. A i v : " Il est defendu a tous libraires & imprimeurs de nenprimer les Tabulatures de Lut, si non du consentement de Pierre Phaleys libraire jure, sur la peine de la confiscation des toutes les libres & lamende de 25. Carolus comme plus amplement est declaire en les lettres par Limperialle Ma. a luy donnez. Nel an 1546. En soubsigne P. de Lens." Beginning on fol. A2: the same instructions for playing the lute that appear in 15453. Colophon on fol. H4 V : " L O V A N I I EX officina Jacobi Batii typographi jurati, & à Caes. Ma. admiss. Anno Domini M . D. X L V I I . [Cut of a Iute]." T h e volume is a revised edition of 15453. All compositions appearing in the 1545 edition are marked with an asterisk. Attributions in brackets are from that edition. See 15453 for the sources of the intabulations. Contents = 15473- All of the compositions are for solo lute. Copy in : GB : L b m h . fol.

3

BI BIT BIV

4

B2

I 2

5 6 7 8 9 10

B2V

B3 B3V B4 B4V CI

II

CIV

12

C2

13

Czv

14 15 16

C3

17 18

C4V

C3V C

4

19

DI DIV

20

D2V

21

D3 D3V D4V

22 23 24 25 26

EIV E2V

E3V

Praeludium* Praeludium* Praeludium* Praeludium 2 Praeludium* Praeludium* Die lustelycke Mey* Jay mis mon cueur* Damour je suis déshérité* Amour vault trop* Dolent depart* Ces fâcheux sotz* Il me souffit* [Sermisy] Dont vient cela* [Sermisy] Le cueur est bon* Tous mes amys* [Sermisy] Languir mi* [Sermisy] Amys souffrez* [Moulu] Een vrolick Wesen* [Barbireau, Isaac, or Obrecht] Languir mi fault* [Sermisy] Tant que vivray* [Sermisy] Cest donc par moy* Du bon du cueur* Miin hert heeft altiit verlangen* Miins liefkens bruyn ooghen* Il me souffit* [Sermisy]

27 28

E4 E4V

Helas amy* [Sandrin] Auprès de vous*

29

FI

Ick

30 31 32 33 34 35 36 37 38 39

FI V F2V F3 v F4 F4V Gì G2 V G3 G3V G4

40

G4 v

41 42

HI Hiv

43

H2V

44 45

H3V H4

Ung gay bergier* [Crecquillon] Le content est riche* [Sermisy] Plourez mes yeulx* [Sandrin] Jamais naymeray masson* Pour ung petit coup* Sur tous regres* [Richafort] Tant que vivray* [Sermisy] Het is soe goeden dinck Or sus a coup* Grace & vertu (RISM [c. 1528L, no. 7: [Roquelay]) De mon triste 3 (compare BrownTC, no. 16: Richafort) Cest grand plaisir* Gequest ben ick (compare D u y L I, 5 4 1 , and I I I , 2 7 3 1 ; and L e n N , p. 84) — 156312) n 0 · 93 Quant je cogneu. la responce de helas amy ( R I S M [i539]2o> fol. 20: Sandrin) Roude* [sic] Ronde*

seg adieu

=

15442, n o . 43

1 Facs. of the title page in HirK III, pl. 1 3 ; KommaM, p. 93; M G G II, col. 1075; and ZurM, p. 28. 2 Incipit in SlimK II, 499. 3 Mod. ed. in WardLM, p. 124.

1 5478 PHALÈSE, PIERRE,

PUBLISHER

Carminum quae Chely vel Testudine ca/NUNTUR, DUARUM, TRIUM, E T Q U A T U O R P A R T I U M , / Liber Primus. / Cum brevi Introductione in usum Testudinis. / Omnia recens & elegantius quàm antea unquàm impressa. / [Cut of ten performing musicians] / L O V A N I I , / Apud Petrum Phalesium bibliopolam iuratum, Anno Domini / M . D. X L V I I . / Cum gratia & privilegio Caes. Ma. ad triennium. 32 fols. French lute tablature. Printer's privilege on fol. A2V: "Caesaris privilegio cantum est ne quis haec exemplaria excudat aut distrahere tentet, nisi de consensu Petri Phalesii bibliopolae iurati, sub poena confiscationis omnium librorum, ac mulctae aurariae 25. florenorum, uti latius patet in Uteris illi à Cae. Ma. concessis. Subsignavit

107

1 5479 Philippus de Lens," followed by the table of contents. Beginning on fol. A3 : the same instructions for playing the lute as in 15453, here translated into Latin. Colophon on fol. H 4 v : " L O V A N I I EX officina Iacobi Batii typographi iurati, & à Caes. Ma. admis. Anno Domini M . D . X L V I I . [Cut of a lute]." Contents = 15477. All of the compositions are for solo lute. Copy in: A : Wn.

1 547» P H A L È S E , P I E R R E , PUBLISHER

Des Chansons & Motetz Reduictz en / T A B U L A T U R E DE LUC, A QUATRE, CINQUE E T / SIX PARTIES, LIVRE T R O I X I E S M E . / Composees par lexcellent maistre P I E R R E D I T E G H I Paduan. / La table vous trouverez au dernier feullet. / [Cut of ten performing musicians] / A L O U V A I N . / Par Piere Phaleys libraire jure, nel an de Grace / M . D . X L V I I . / Avec Grace & privilege a troix ans 36 fols. French lute tablature. On fol. A a i v : same printer's privilege as in 15477. On fol. I13: table of contents. Colophon on fol. Ii3 v : " L O V A N I I . Excudebat Jacobus Batius, typographus juratus, & à Caes. Maies, admissus. M . D . X L V I I . [Cut of a lute]." W i e M II contains a thematic index of the volume and selected transcriptions. Contents = 154710 and 15735. All of the compositions are for solo lute. Copies in: A : W n , G B : L b m h .

1

2

3

fol. Aa2

Aa3 v

Aa4 v

Je prens en gre (ClemensO X , 14: Clemens non Papa) = 155211, no. 25; 156312, no. 25; 1 5 6 8 7 , no. 3 8 ; 15733, no. 1 8 Damour me plains. Descendat uno tono maior nervus1 ( P u b A P T M X X I I I , no. 49 ; Pathie) = 155211, no. 30; 156312, no. 34; 15687, no. 45; 1571 6 , no. 49 Vous perdez tamps ( P u b A P T M X X I I I , no. 56: Sermisy) = 155211, no. 43, and 156312, no. 21

4

BbiT

5

Bb2 v

6

Bb3

7

Bb4

8

BB4V

c

v

9

10

CC2 V

11

Cc3

12

Cc

'3

Ddi

I

Dd2 v

4

4

Dd4 15

Eeiv

*6

^e4

i7

Ff2v

Ff3v 18

Ggiv

19

Gg4 Hh2

Tel en mesdict ("Responce" to no. 3) ( R I S M i54O 10 , no. 15: Mittantier) = i 5 5 2 n , no. 44; 156312, no. 22; 15687, no. 25; I 5 7 i e , no. 38 Si mon travail ( P u b A P T M X X I I I , no. 52: Sandrin) = 155211, no. 27; 156312, no. 26; 15687, no. 30; 1571e, no. 43 Le deul yssu ("Response" to no. 5) ( R I S M 15409, no. 14: Villiers) = 155211, no. 28 Il estoit une fiellette (LesAC, no. 10: Janequin) = I563 1 2 , no. 101 Ung gay bergiere (RieH II, 462, Crecquillon) = 1568!, no. 33; 15687, no. 39b; i 5 7 i e , no. 51 Jay veu que jestoisfranc (RISM 1543,, no. 4: Sandrin) Je ne puis bonnement penser ( R I S M 1541 5, no. 6: Sandrin) Doulce memoire. Descendat bassus uno tono ( P u b A P T M X X I I I , no. 50: Sandrin) = 155211, no. 60 Fini le bien. Descendat bassus uno tono ("Responce" to no. 11) ( R I S M 15409, no. 8: Certon) = 1552U, no. 61; 156312, no. 29; 15687, no. 27; 1571 e , no. 40 Aime aime ( R I S M 154I9, p. 53: " A h i m è , ahimè dov'e'l bel viso," Arcadelt) Queramus cum pastoribus ( R I S M 15291, fol. 9 V : Mouton) 2a pars Ubi pascas ubi cubes Ave sanctissima a 4 = 15465, no. 14: Gombert Si bona suscepimus a 5 (MoralesO I, 274: Verdelot) Hierusalem luge a5 (RISM 15329, p. 49 : Richafort [or Lupus?]) 2a pars Deduc quasi torrente a 5 Descendat bassus Pater noster a 6 (JosqMT, no. 50: Josquin) 2a pars Ave Maria a 6 Benedicta [« caelorum regina] a 6 (JosqMT, no. 46 : Josquin)

ιο8

111 112 1

1

2a pars 3 a pars

5 479

Per illud ave Nunc mater

Mod. ed. in KosackL, app. III.

Prynne for making it available to me. T h e concordances in the inventory below are all conjectural. Contents = [1547] 1 ϋ· All of the compositions were for solo lute.

ι 2 3 4

fol. Αι A2 A3 v A4 v

5

Biv

6

B2

7

B3

8

B3 v

9

B4

10

B4 v

11 12 13 14 15

Civ C2 C3 C4 C4 V

[ ι S 4 7 ] 11

16

Di

P H A L È S E , P I E R R E , PUBLISHER

17

D2

D E S Chansons Gaillardes, Paduanes & Mo/TETZ, R E D U I T Z EN T A B U L A T U R E D E L U C , / Par les excellentz Maistres Francoys, de Milan, A . à Rota, & Jean Maria / de Crema & autres, / L I V R E C I N Q U I E S M E . / [Cut of ten performing musicians] / A L O U V A I N / Par P I E R E P H A L E Y S Libraire Jure. N e l an de grace / M . D . X L V I I . / A v e c Grace & Privilege.

18

D3

19

D3 v

20

D4 v

21

Eiv

22

E2 v

23

E3 V

I 54710 P H A L È S E , P I E R R E , PUBLISHER Carminum ad Testudinis usum composi/ T O R U M L I B E R T E R T I U S . / A b excellentissimo artifice P E T R O TEGHIO Patavino elegantissime concinnatus. / T a b u lam Carminum habes ultima pagella. / [Cut of ten performing musicians] / L O V A N I I . / A p u d Petrum Phalesium bibliopolam iuratum, A n n o Domini / M . D . X L V I I . / C u m gratia & privilegio Caes. M a . ad triennium. 36 fols. French lute tablature. O n fol. A a i v : the same printer's privilege as in Ι 547β· O n fol. I13: table of contents. Colophon on fol. IÌ3 V : " L O V A N I I . Excudebat Iacobus Batius, typographus iuratus, & à Caes. Maies, admissus. M . D . X L V I I . [Cut of a lute]." Contents = 1547 9 . All of the compositions are for solo lute. C o p y in: A : W n .

32 fols. French lute tabulature. O n fol. H 4 : table of contents and printer's privilege. O n fol. H 4 v : colophon and printer's mark. T h i s volume, now lost, was in D : B d s . M m e . la comtesse de Chambure made an inventory of the contents from the Berlin copy. I am grateful to her for granting me permission to reproduce her inventory, and to Arthur Ness and Brigadier Michael W .

Fantasie Fantasie Fantasie Fantasie de mon triste de F. de Milan = 1547 2, no. 8 De mon triste F . de Milan = 15472, n o · 7- Richafort Vivre ne puis content = i54610, no. 1 7 : Sermisy Jay mis le euer — 1546 m, no. 18: " J a y m e le cueur," Sermisy (?) De vous servir = 154610, no. 19: Sermisy Amours ont changes = 1546m, no. 20: Mahiet Elle lara = i546 1 0 , no. 22: " J e le laray" (?) Ho la he = 154610, no. 25 Et don bon soir = 154610, no. 26 Bayse moy tant = 15461», no. 27 Mon amy = 154610, no. 28 El neye plaisir [in table: " E l nye plaisir"] = 1546m, no. 29: " II nest plaisir," Janequin (?) Puis ce que = 154610, no. 30 =

" M a i s quest c e " (?) Allons, allons = 1546m, no. 3 1 : Willaert Helas mon dieu = 154615» no. 13 A qui me doit je retirer = 1S46 15, no. 14: Maille Malheureux suis fortune = I546 1 5 , no. 16: Meigret Fringotes uenes filettes = 1546m, no. 1 7 : Payen Le dur travail = 15465, no. 20: Willaert Que voules vous dire de moy = 1 5 4 7 2 , n o . 23

24

E4 v

25

Fi

26

Fiv

Par ton regard = 15465, no. 19: Sermisy Cest grand pitie = 15465.no. 16: Certon Amour crainte & esperance sont ensamble

109

15481 27 28 29

30 31 32 33 34 35

F2v f3v F4v G2 G3 Hi Hiv H2 H2v H3 H3v

A demy mori A dieu vous dit In ilio tempore = 154615, no. 19: Mouton 2a pars Propter hoc relinquet Si bona suscepimus (04) = 1546m, no. 35: Sermisy Gaiarda Passa mezo Gaiarda Gaiarda Passe e mezo a la Bolognese = 1546 m, no. 45 Saltarello a la Bolognesa

[ι 547]I2 PHALÈSE, PIERRE,

PUBLISHER

C a r m i n u m pro Testudine, in quo conti/ N E N T U R E X C E L L E N T I S S I M A CARM I N A , / Galliarda, Paduana, ac M o t e t a : Composita per Franciscum Mediolanensem, I A. Rota & Joannem Maria Cremens. ac alios in hac arte / praestantissimos, / L I B E R Q U I N T U S . / [Cut of ten performing musicians] / L O V A N I I / A p u d PETRUM PHALESIUM Bibliopolam Iuratum. / A N N O M. D. X L V I I . / Cum Gratia & Privilegio.

IS481 ABONDANTE, JULIO INTABOLATURA / DI LAUTTO L I B R O S E C O N D O . / Madrigali a cinque & a quattro. / Canzoni Franzese a cinque & a quattro / Motetti a cinque, & a quattro. / Recercari di fantasia, / Napolitane a quattro / Intabulati & accomodati per sonar di L a u t t o per lo Excellentissimo M . / Julio abondante. Novamente poste in luce, & per / lui medemo corretti. / In Venetia appresso Hieronimo Scotto. / M . D . X L V I I I. 4 + 28 fols. Italian lute tablature. Dedication on fol. # i v headed " A L N O B I L E E T G E N E R O S O S. A l e s s a n d r o Ramuino del Nobilissimo S. or Gian Antonio Genovese .S. mio osservandis." Fol. *ζ = fol. Α ι . SlimK I I , 511, contains a thematic index of the ricercares. All of the compositions are for solo lute. Copies i n : A : W n , C H : L c o r t o t .

ι

*3 2

32 fols. F r e n c h lute tablature. T h i s volume, n o w lost, was in D : Bds. Contents — [1547] 11. See there for f u r t h e r details. All of the compositions were for solo lute.

1547 DOUBTFUL

fol. *2

*4V

A2 3

A3

4

A4

WORKS A4

ι . PiciA, p. 197, lists the following volume of lute music b y Francesco da Milano: " L i b . I. Intavolatura di liuto. Venet. 1547." H e probably refers to 15460. 2. W o l f H I I , 256, mistakenly lists a 1547 edition of Jacques Buus, Intabolatura d'Organo di Ricercari . . . Libro Primo. T h e volume is listed in this bibliography as 15494·

5

Bi

6

B2V

7

B3V

8

B4 v

Qua! dolcezza giamai m. Adriano Vilaert ( W a g M P , P· 449) 2a pars [E la dole'armonia si fa serena l'aria] Amor che vedi ogni pensiero aperto m . Cipriano Rore (Vogel: Rore 2 [1544], nos. 31 and 32) 2a pars Ben veggio di lontano il dolce lume La pastorella mia che m'inamora Pre Nicola Vicentino (Vogel : Vicentino 1 [1546], no. 1) Se l'alto duol m'ancide M. Leonardus Barre ( R I S M 154018, P· 5) 2a pars [Ond'all'estremo passo pianto] Cantai mentre eh io arsi del mio fuoco (Vogel: Rore 2 [1544], no. 5: Rore) Qual anima ignorante (RISM 154317. P· 3: Nollet) Cosi mi guida amor (RISM I543i7, P· 9= Arcadelt) Da bei rami scendea (RISM 154317» P· 5= Arcadelt)

no

15481

9

Civ

10

C2V

11

C4

12

Div

13

D2 v

14

Ü3 V

15

Ei

16

E2

17

E3 E4 v

18 19 20 21 22 23

F2 v F3 F4 Gì Giv G2 v

24

G3

25

G3 V

26

G4

Con lei {mio ( R I S M 154317, p. 36: Arcadelt, Berchem, Corteccia, or Giaches de Ponte) Helas mamert ( R I S M 15722, fol. i v : "Helas ma mère helas maman," Willaert) Mia de lognon ( R I S M 153819, no. 24: " I l y a de longnon," Payen) Fringotes [jeunes fillettes] ( R I S M 153819, no. 2: Payen) Mais ma mignone ( R I S M 15381e, no. 16: Janequin) Preñes le galan ( R I S M 153819, no. 9 : Janequin or Sohier) Si dum pet de vetre bien ( R I S M 15381e, no. i : " S i dung petit de votre bien," Janequin) Cantantibus organis M . Cipriano Rorre (RoreO I, no. 16) 2a pars Biduartis ac triduanis Paternoster1 M.Adriano [Willaert] (WillO II, 1 1 ) Fantasia Julio abondante Fantasia Julio abondante Fantasia2 Julio abondante Fantasia Julio abondante Fantasia Julio abondante Madonna mia fami bona offerta3 ( R I S M 154520, no. 6: Willaert) A quando a quando havea4 ( R I S M 1545 20, no. 1 1 ; Willaert) Vechie retrose ( R I S M 154520, no. 5 : Willaert) Madonna io non lo so perche lo sai (CW V i l i , 18: Willaert)

O G N I / diligentia corretta, opera perfettissima sopra qualunche altra Intavolatura / che da qua indrieto [sic] sia stampata. / L I B R O [Printer's mark] O T T A V O / Venetiis apud Hieronymum Scotum. / M . D. X L V I I I . 36 fols. Italian lute tablature. Contents are almost identical with 15483 (see there for details). See 15633 (which is available in a modern edition) for a partial reprint of 15482. MoeDM contains a thematic index of the dances (p. 386) and concordances for them (p. 248). SlimK II, 517, contains a thematic index of the ricercares. For other volumes in the same series, see 15462, note 1. All of the compositions are for solo lute. Copy in: I i V n m . 1

ι

fol. Aiv

2

A3 A4 A4V Biv B2 v B3 v

3

B4 v Civ C2V C4 Di

4

D2

1

Mod. ed. in ChilP, p. 469. Mod. ed. in ChilLI, p. 247. Mod. ed. in ChilLI, p. 249, and E C , pt. I, vol. II, p. 654 (with title "Napolitana"). 4 Mod. ed. in ChilLI, p. 250. 2

D3 D4

3

15482 BORRONO, P I E T R O P A O L O INTAVOLATURA / DI LAUTO / D E L L ' E C C E L L E N T E P I E T R O PAOLO BORRONO / D A M I L A N O , N U O V A M E N T E P O S T A I N L U C E , E T CON

5 6 7 8 9 10 11 12 13

Ei E2 E4 v Fiv F2 F3 F3 v F4 F4 v Gì

Pavana detto la bella Andronico dell'eccell. P. P. Borrono Saltarello primo Saltarello Secondo Saltarello Pavana detta la Lacrimosa [P. P. Borrono] Saltarello primo Saltarello secondo detto la Laurina Saltarello terzo detto il Penono Pavana novissima detta la Lucretia [P. P. Borrono] Saltarello primo Saltarello secondo detto la bella Bianca ha hauto torto Saltarello terzo detto O chel me tira il brazo Saltarello secondo detto [recte: Pavana chiamata] la bella Bianca Margarita2 Saltarello primo Saltarello secondo detto Se la passasse Saltarello terzo dell Duchessa3 Fantasia Francesco da Milano Fantasia Francesco di Milano Fantasia Francesco da Milano Fantasia4 Francesco da Milano Fantasia Francesco da Milano Fantasia5 Francesco da Milano Fantasia Francesco da Milano Fantasia Francesco da Milano Fantasia Francesco da Milano = 156311, no. 12

III

15484 14

Giv

16

G3

Fantasia6 P. Paolo Borrono = 156311, no. 13 Fantasia Francesco da Milano = 156311, no. 14 Fantasia7 Francesco da Milano

15

Gzy

17

G4 v

Fantasia

18

H2

Le content est riche Canzon Franzese ( A t t a i n C K III, no. 9: Sermisy)

19

H2 v

Gemi mon cur Canzon Francese ( A t t a i n C K III, no. 16: " J ' a y mis mon e u e r " )

20

H3

Ale venture Canzon Francese ( C M II, no. s : " A l'aventure," Willaert)

21

H4

Mala Se nea Canzon Francese Josquino a 5

22

Ii

23

Iiv

Bon Juor mamye ( R I S M 15311, no. 18) Noe noe noe psallite noe Hierusalem Jo. M o t o n a 4 ( S m i j T II, 8)

24

l3 T

P. Paolo Borrono

Noe noe noe puer nobis nascetur Jo. M o t o n a 4

A c o p y was in the W o l f f h e i m library W o l f f C I, no. 1187). 2 M o d . ed. of no. 4a in C h i l L I , p. 260. 3 M o d . ed. in M o e D M , p. 342. 4 M o d . ed. in C h i l F , no. 9. 5 M o d . ed. in S l i m K II, 628. 6 M o d . ed. in S l i m K I I , 618. 7 M o d . ed. in C h i l F , no. 8. 1

opera, ne Impressa vendere fino ad / anni dieci sotto pena como in esst Privilegii si contene. / M . D . X L V I I I . / L I B R O SECONDO. 40 fols. Italian lute tablature. O n fol. A i v : dedication " A L L ' I L L U S T R E E T G E N E R O S O S. I L S. C O N T E H I P P O L I T O D E L M A Y N O . Jo: Battista Borrono." O n fol. A 2 : " Regola per quelli che non sanno la Intavolatura." O n fol. A2 V : table of contents. O n fol. 4o v : colophon, " S t a m p a t o nella Inclita Citta de Milano per G i o : Antonio da Castilliono ad Instantia de . M . G i o : Bap. Borrono." Contents = 15483, with the addition of one more fantasia b y Francesco da Milano between 15483, nos. 17 and 18. T h i s fantasia is reprinted in 15741, no. 2. A l l of the compositions are for solo lute. C o p y in: F:Pthibault (imperfect).

15484 FRANCESCO DA

MILANO

(see

15483 FRANCESCO DA MILANO AND PIETRO PAOLO BORRONO I N T A V O L A T U R A DI / L A U T O DEL DIVI/NO F R A N C E S C O D A MILANO, ET DELL'/ECCELLENTE PIETRO P A U L O BOR/rono da Milano nuovamente posta in luce: & con ogni diligentia cor/retta, opera novissima & perfettissima sopra qualunche altra In/tavolatura che da qua indreto sia stampata facendo certo a / tutto il mondo che più non si poter a imprimere de meglio. / C O N G R A T I A E T P R I V I LEGII CONCESSI DAL / SANTISSIMO P A P A P A U L O .III. D A L SE/renissimo Imperatore, Et Illustrissima Signoria di Venetia che niuno / possa Imprimere tale

INTABOLATURA / DE LAUTTO L I B R O S E T T I M O . / Recercari novi del Divino M . Francesco da Milano. Estratti da li soi / proprii Esemplari li quali non sono mai più stati / visti ne stampati. / A G G I O N T O V I A L C U N I A L T R I R E C E R C A / r i di Julio da Modena intabulati & acomodati per so/nar sopra il Lautto da M . Jo. Maria da Crema so/natore Excelentissimo opera veramente di/vina como a quelli che la sonarano & / udiranosara palese / Apresso di Hieronimo Schotto. / M . D . X L V I I I . 23 fols. Italian lute tablature. S l i m K II, 512, and W i e M II both contain a thematic index of the volume. T h e compositions followed b y an asterisk are headed by a plus sign printed in red. For other volumes in the same series, see 15462, note 1. All of the compositions are for solo lute. Copies in: A : W n , G B : L b m h . fol. A2 A2v

Recercarlo primo1 Francesco da Milan = 15634, no. 14 Recercar secondo Francesco da Milan = 15634, no. 15

112 3

A3

4

A3 V

5

A4

6

A4 v

7

Βι

8

Biv

9

B2 v

10

B3V

11

B4 v

12

Ci

13

Civ

14

C4

15

C4V

16

Di

17

D2

18

D3t

19

D4 v

20

Ei

21

E2 v

22

E3 v

23

Fi

24

F2

25

F3

154^4 Recercar terzo Francesco da Milan = 15634, no. 16 Recercar quarto2 Francesco da Milan (compare 15363, no. 10) = 15634, no. 17 Recercar quinto Francesco da Milan Recercar sesto Francesco da Milan Recercar settimo Francesco da Milan Recercar ottavo Francesco da Milan Recercarlo nono Francesco da Milan Recercario decimo3 Francesco da Milan Recercario undécimo Francesco da Milan Recercario duodecimo Francesco da Milan Recercar terzo decimo Francesco da Milan Recercar primo Julio da Modena [Giulio Segni] (compare 1546^, no. 1) Recercar secondo [Julio da Modena] = i546 1 0 , no. 5 Recercar terzo* [Julio da Modena] Recercario quarto [Julio da Modena] = 15524, no. 1 Recercar quinto [Julio da Modena] Recercar sesto [Julio da Modena] Recercar setimo* [Julio da Modena] = 1546 10» no. 7 Recercar ottavo [Julio da Modena] Recercar nono [Julio da Modena] Recercar decimo* [Julio da Modena] Recercario undécimo* [Julio da Modena] Recercar duodecimo [Julio da Modena]

^ o d . ed. in ChilB V i l i , no. 2; ChilLS, p. 53 (after 15634); and EC, pt. I, vol. II, p. 646. 2 Mod. ed. in SlimK II, 632. 8 Mod. ed. in SlimK II, 630. 4 Mod. ed. in SlimK II, 611.

15491 BARBERIIS, M E L C H I O R E

DE

INTABOLATURA DI LAUTO / LIBRO NONO INTITOLATO IL BEMBO, / DI FANTASIE, BALLI, PASSI E MEZI, E PADOANE G A G L I A R D E , / Composte per il Reverendo M . pre Melchioro de Barberis Padoano, Musico, & sonator / di Lauto eccellentissimo. Dedicato al Signor Torquato Bembo. / L I B R O [Printer's mark: an anchor decorated with the motto " I N T E N E B R I S F U L G E T , " and the initials " S O S " ] N O N O / Venetiis apud Hieronymum Scotum. / M . D . X L I X . 22 fols. Italian lute tablature. Dedication on fol. ai v headed " A L R E V E R E N D I S S I M O SIGNOR MIO IL SIGNOR TORQ U A T O B E M B O . " M o e D M contains a thematic index of the dances (p. 389) and concordances for them (p. 248). SlimK II, 519, contains a thematic index of the ricercares. T h e compositions identified by superior letters are reprinted as follows : ( a ) in ChilLI, pp. 242-245 ; (b) in M o e D M . Modern editions of a pavane and a saltarello are in P u j B G , no. 1061. T h e second dance in each of the paired dances except no. 24 is related to the first thematically. For other volumes in the same series, see 15462, note ι . All of the compositions are for solo lute. Copies in: A : W n , U S : W c . fol. a2 a2v »3 a3v 34 a4v bl 7 bl b2 8 b2 v b3 9 b4 10 b 4 v II CIV 12 C2V 13 c 3 14 c 3 15 C3V 16 C3V C4V I 2 3 4 5 6

Passo e mezo Passo e mezo Gagliarda Saltarello Saltarello La pavana del Ducab Saltarellob Pass'e mezo [antico] Saltarello Pass'e mezo Saltarello Saltarelloa Piva Pass'e mezo [antico] La Bertonziné1 Brando Franzese Vesentinob Saltarello gagliardo Pavana Saltarello

1

17 18 19 20 21 22 23 24

di di v di v d2 d3 d3v d4 eι ei v ez e2v e3 e3v

25 26

e4 e4v

27 28 29 30 31

fi fiv f2 v f3 Í4

32 1

gì

5492

31

Pavana Saltarelloal Pass'e mezo della Battala Saltarello del Pass'e mezo della Battaia Saltarello3 Pavana gagliarda Seconda parte Saltarello La cara cosah II vecchio da Conegian Saltarello La vilanella II Formigoto Saltarello del Formigoto: Madonna Tenerina II traditore Mia mare e anda al merco per comprarme un pignolob (compare R I S M 1569 24, no. 10: Azzaiolo) Fantasia2 Fantasia Piangete occhi miei lassi Fantasia Vray dieu damors Josquin (GB : Lbm, Add. M S 35087, fol. 84*: "Vray dieu damours confortez moy," anon.) Fantasia

Mod. ed. in E C , pt. I, vol. II, p. 654.

1 5492 BARBERI IS, MELCHIORE DE OPERA I N T I T O L A T A CONTINA, / I N T A B O L A T U R A D I L A U T O DI F A N T A S I E , M O T E T T I , / CANZONI, DISCORDATE A V A R I I MODI, FANT A S I E PER SONAR / uno solo con uno Lauto, & farsi tenore & soprano: Madrigali per sonar a dui Lauti : Fantasie per / sonar a dui Lauti : Fantasie per sonar sopra la Chitara da sette corde. / COMPOSTA PER I L REVERENDO M. PRE MELCHIORO / de Barberis Padoano, Musico, & sonator di Lauto eccellentissimo. / LIBRO [Cut of printer's mark of Girolamo Scotto] DECIMO. / Venetiis apud Hieronymum Scotum / M. D. X L I X . 30 fols. Italian lute and guitar tablature. Dedication on fol. Aai v headed " IMPERATORIE MAJESTATIS COMITI F I D E L I S S I M O AC CANONICO PATA-

"3

VINO R E L I G I O S I S S I M O H E R C U L I A SANCTO Bonifacio patrono suo observandiss. Melchior Barberius Sacerdos Patavinus, & humillimus servus S. P. D.," and dated " V I . Kal. Januarii. M. D. X L I X . " On fol. Hh2: table of contents. SlimK II, 520, contains a thematic index of the ricercares. For other volumes in the same series, see 15462, note i. Nos. 1 - 1 5 , 17, and 19-24 are for solo lute; nos. 16 and 18 are for two lutes ; and nos. 25-28 are for solo seven-course guitar. Copies in: A:Wn, CH:Lcortot, D:W, F : Pthibault.

2

fol. Aa2v Aa3 Aa4

3

Aa4v

4

Bb2

I

Bb 3 v 5 Bb4 6 CC2 v 7 Cc2v 8 Cc3 v 9 Cc4

IO II 12 13

Ddi Ddi Dd2 Dd2v

14

Dd 3 v

IS

Dd4

16

Eei v Ee3

17 18

Ee3v Ee4v

Ffi

Recercada Prima parte Fantasia Seconda parte Deul double deul (CW XV, no. ι : Lupi) Il est bel & bon (RISM 1534x2, n o · l : Passereau) Queramus cum pastoribus (RISM 1529!, fol. 9V: Mouton) 2a pars \Ubi pascas ubi cubes] Christi Corpus Ave Fantasia Fantasia Fantasia La volunte Canzon (RISM 154918» no- 15: Sandrin) Fantasia Fantasia Discorda Canzon Francese Canzon (AttainCK III, no. 9: " L e content est riche," Sermisy) Se mai provasti donna Madrigale (RISM 15379, no. 8: Verdelot) Fantasia sopra Se mai provasti donna Madonna guai certezza Soprano per sonare a dui Lauti (EinIM III, 21 : Verdelot) Tenor di Madonna quai certezza Pas de mi bon compagni1 Fantasia per sonar con dui Lauti in ottava. Soprano = 155211. n o · 8 5, and 1563x2, no. 1 1 2 Fantasia ante scritta per sonare con dui Lauti in ottava. Tenor

114

ι 5492 T

19 20

Ffi Ff2 v

21

FÍ3

22 23

24 25

Ff3 v Ff4 v Ggiv Gg3 Gg3 v Gg4 v

26

Gg4 v

27

Hhi

28

Hhiv

1 2

Fantasia Fantasia per sonar un Lauto, & fard Tenor & Soprano 2 Fantasia discordata per sonare solo uno Fantasia discordata Fantasia. Prima parte Fantasia. Seconda parte Fantasia. Terza parte Canzon Fantasia prima per sonar sopra la Chitara da sette corde. Canto3 = 15534, no. 23: "Branle" Fantasia seconda per sonar sopra la Chitara da sette corde. Canto3 Fantasia terza per sonare sopra la Chitara da sette corde. Canto3 Fantasia quarta per sonar sopra la Chitara da sette corde. Canto3

Marked " C a n z o n e " in table of contents. Facs. of fol. F f 2 v in E F I, 3 4 3 , and M G G I, col.

1233·

3 M o d . ed. of the four guitar fantasias in K o c z M , p. 16. See there, pp. 1 1 - 1 5 , f ° r further information about this volume.

I 549s BERMUDO, JUAN Comiença el libro / primero de la declaración de instrumentos, / dirigido al clementissimo y muy podero/so don Joan tercero deste nombre, Rey / de Portugal, &c. / [Coat of arms of the king and the inscription " Abjiciamus opera tenebrarum, et induamur arma lucis, ad ro. 13. d."] 12 + 145 fols. T h e title is placed within an ornamental border. On fol. * i v : royal printing privilege dated " Dado en Cigales a diez y ocho dias de noviembre año de el señor de mil y quinientos y quarenta y n u e v e " (November 18, 1549); this privilege is repr. in 1550!. On fol. *2: license from the ecclesiastical authorities allowing Juan Bermudo to publish his book, headed "Licencia. Fray Gómez de llanos de la orden de los frayles menores de observancia,

Ministro Provincial en la provincia del Andaluzía: a vos el venerando padre fray Joan Bermudo de la mesma orden," and dated " D a d a en el convento de madre de Dios de Ossuna primero de Agosto de. 1549. A ñ o s " ; this license is reprinted in Ι 5 5 ° ι · On fols· *2 v -*3 : letter from [Bernardino de] Figueroa, master of the Royal Chapel of Granada and official examiner of the book, to the King of Portugal giving Figueroa's approval headed " E s t a es una epistola que Figueroa maestro dignissimo de capilla de la Real de Granada, examinador de este libro embio al clementissimo Rey de Portugal." On fols. *3~*7V: dedication to King John I I I of Portugal. On fols. * 7 ν - * τ i v : preface explaining the purpose of the book headed "Prologo general de toda la obra para el lector." On fols. * i i v - * i 2 : a letter from Figueroa to Fray Gómez de Llanos in praise of the book, headed " E s t a es una carta de el excellente musico el maestro Figueroa, examinador de este libro, embiada al muy reverendo padre, el padre fray Gómez de llanos ministro provincial de la provincia del Andaluzía . . . " On fol. *I2 V : a list of authors cited by Bermudo. Fol. * i 3 = fol. ι. Colophon on fol. I 4 5 v : " F u e impressa la presente obra en la villa de Ossuna por el honrrado varón Juan de Leon impressor déla Universidad del illustrissimo señor don Juan Tellez Girón, Conde de Urveña, &c., Acabóse a diez y siepte dias del mes de Setiembre Año del señor de mil y quinientos y quarenta y nueve. Y fue la primera impression esta," followed by the printer's mark and his initials, J. L. This treatise begins with a general discussion of the merits of music, and continues with a study of plainsong and polyphony. Bermudo explains that since instrumentalists will have to intabulate music written in mensural notation, they should understand this notation thoroughly. T h e treatise is listed in this bibliography since it was a preliminary study for 15551; most of the material in it was reprinted in 1555! (for detailed concordances see StevnsnJB, especially p. 4)· 1 Copies in: D : B d s - T ü , D : M b s , E : M n (two copies), NL:DHgm, US:Cn, US:NYhs.2 1 Facs. of fol. a2 in Otto Haas Sales Catalogue no. 3 7 : " A Selection of Rare M u s i c from Boethius to W e b e r n , " London, 1 9 5 9 , p. 8 ; facs. of fols. * 4 and

1

c4 in S u b H M E , p. 2 8 2 ; and facs. of fol. 106 (02) in S u b H M I, 5 0 1 . 2 T h e volume was once in the Fugger library (see S e l i g G , p. 65).

1 5494 BUUS, JACQUES INTABOLATURA D'ORGANO / DI R E C E R C A R I D I M . G I A C H E S / Buus Organista Dell'illustrissima Signoria di Venetia in San Marco / Novamente stampata Con Carateri di stagno. / L I B R O [Printer's mark] P R I M O / In Venetia Apresso di / Antonio Gardane. / 1549 / C U M G R A T I A ET PRIVILEGIO 32 fols. Keyboard score. Dedication on fol. A i v headed " A l molto Nobile. & Vertuoso Giovane. M . Paolo di H a n n a , " reprinted in S a r t M S , p. 14. Printer's mark on fol. H4 v . S l i m K I I , 526, contains a thematic index of the volume. All of the compositions are for solo keyboard. Copy i n : G B : L b m . 1

ι 2 3 4

fol. A2 Di Fiv G2 v

JI

5 49β

tion on fol. i of each part book headed " A L MOLTO MAGNIFICO MESSER HIER O N I M O U T I N G H E R , " reprinted in S a r t M S , p. 14. On the verso of the last folio of soprano and bassus: printer's mark. SlimK I I , 524, contains a thematic index of the volume. All of the compositions are for instrumental ensemble 0 4 (or for keyboard). Copies i n : D : R p (SAT), and G B : L b m (SAB).

ι 2 3 4 5 6 7 8

fol. A2 A4 B2 B3v C2 C3 C4 C5V

Recercar Primo1 (15494, no. ι) Recercar Secondo Recercar terzo Recercar quarto Recercar quinto Recercar sesto Recercar settimo Recercar ottavo

1 Incomplete mod. SchlechtG, no. 5 5 .

ed. in

Recercar Primo (15495, no. ι) Recercar Secondo Recercar Terzo3 Recercar Quarto3

1 W o l f H I I , 2 5 6 , mistakenly lists a 1 5 4 7 edition of this volume. 2 M o d . ed. in K i n O , p. 2 4 5 , and S c h l e c h t G , no. 5 5 . Facs. of fol. A 2 in M G G X I , col. 4 3 5 . 3 M o d . ed. in B u u s R .

1 549s BUUS, JACQUES SUPERIUS / IL SECONDO LIBRO DI RECERCARI / DI M. JAQUES B U U S O R G A N I S T A / I n San Marco di Venetia da Cantare, & sonare d'Organo / & altri Stromenti Novamente Posti in Luce. / A Q U A T R O [Printer's mark] V O C I / In Venetia Apresso di / Antonio Gardane. / 1549 F o u r part books in mensural notation ( S A T , each of 16 fols.; Β, 14 fols.). Dedica-

KinO,

p.

245,

and

1 549e NEWSIDLER,

2

5

v

HANS

Das Ander Buch / Ein new künstlich Lauten Buch, erst yetzo von newem ge/ macht, f ü r junge u n d alte Schüler, die auss rechtem g r u n d u n d kunst, nach der T a / bulatur, gantz leicht u n d ring zu lernen, durch ein leicht Exempel diser pünctlein / , wohin man mit einem yeden finger recht u n d ordenlich greyffen soll, u n d / wie m a n die T a b u l a t u r u n n d die M e n s u r gantz leichtlich lernen u n n d verstehen / soll, mit vil schönen lieblichen Teutschen, Welschen, Frantzösischen u n n d La/teynischen Stücken, Tentzen, u n d Preambeln, u n n d die Schlacht vor Pavia, die seind mit allem fleyss gemacht, durch mich Hansen / Newsidler Lutinisten u n d Burger zu N ü r n b e r g / zusamen gebracht u n d offenlich / aussgangen. / M . D . X L I X . / M i t Römischer Key. u n d König. May. freyheit, / inn Fünff Jaren nicht nach zu drucken, / begnadet. 100 fols. 1 G e r m a n lute tablature. O n fols. a2-a2 v : the same printer's privilege as in 15360. O n fols. a3-a3 v : preface (same as in 1 5 4 4 2 ) headed " D e m Leser glück u n d heyl."

1

ιι6 On fol. a3 v : the same Newsidler's other books fols. a4~c2: instructions lute; the subdivisions are fol. a4

bi biv b2 b3v CI C2

note advertising as in 15474. On for playing the headed:

" W i e sich erstlich einer zur Lauten schicken, und die bezeycheten Buchstaben darauss lernen soll." " W i e man die Tabulatur lernen sol." " W i e man die Lauten sol lernen ziehen." " W i e man applicieren und recht greyffen sol." " V o n der Mensur." " V o n dem einigen pünctlein über den buchstaben." " H i e volget das erst Fundament der Lauten."

On fol. b i v : an untitled musical example. On fols. 9-3 v and 9 - 4 : table of contents. Colophon on fol. 9 - 4 : " Z u Nürnberg truckts Jul. Paulus Fabritius Laub, durch Verlegung Hansen Newsidlers Lutinisten. M . D . X L I X . " On fol. 9-4*: the same cut of the neck of a lute with a brief explanation of the tablature as appears in 15365 and later volumes by Newsidler. SlimK II, 527, contains a thematic index of the preambles. This is a revised second edition of 15442· All of the compositions are for solo lute. Copy in : D : Ngm.

ι

fol. C3

C3V c3T 2

C4V

3

di di div

4

d3

5

d3v

549β

Die Erst Regel, und ist ein gering Fundament der Lauten = 1536e, no. 2 Die Ander Regel und ist ein ander art Die Drit Regel, und ist auch ein andere art Das klein Fundament mit dem einigen pünctlein = 1536a, no. 3 Die Ander Regel Die Drit Regel Nun volgt ein anders fundament, dz vil kunstreycher ist, aber ein wenig schwerer dann dz erst = 1536e, no. 4 Unser Köchin kan wol kochen = 1540L no. 2 Maduna Katherina = 1540^ no. 3

6

d4

7

d4v

8

ei eiv

9

e2

10

e2v

11

e3

12 13 14 15

e3v e4 e4v fi

16

f iv

17 18

Í2V f3v

19 20

Í4 f4 v

21

giv

22

g2 v

23

g3 v

24

g4 v hi

25

hiv h2v

26 27

28

h3 I14 h4v ii iiv Ì2V i3v

Ich klag den tag und alle stundt = 15442, n o · 5 : Stoltzer Der recht alt Hofftantz mit zweyen stymmen (compare 1536,, no. 10) Volgt der Hupff auff Artlich und schön gantz wol gestalt = 15442, no. 1 1 : Casparus Bohemus Willig unnd trew ich mich ergib = 15441, no. 6: Forster Ich schwing mein horn2 — 15442, no. 15: Senfl Sant Merten bringt der gesellschafft vil3 (SenflW V , no. 39: "Jetz bringt Sankt Marten Gsellschaft viel," Senfl) Ich het mir ein feines beumelein Dein hübsch und schön Ich bin ein fischer auff einem see Ein gut Preambl für junge Schüler Mein fretid allein in aller weit ( D T O XIV/28, p. 17: Isaac) Was unfals qual Untrew ist yetz gewachsen (compare R I S M [c. i55o] 2 2 , no. 24) Voigt ein gut Preambl* Nach willen dein (MosPH, p. 74: Hofhaimer) Von edler art ein frewlein zart (MosPH, p. 180: Schönfelder or Hofhaimer) Tröstlicher lieb ich mich stets üb (MosPH, p. 86: Hofhaimer) Ein guter geringer Hoff tantz 5 = 15442, no. 22 Voigt der Hupff auff Der Hoff tantz auff ein andere art (compare 15442, no. 10) Volget der Hupff auff Hie volget der recht artlich Hoff tantz, wie man an den Fürsten Höfen pflegt. Im abzug = 1536e, no. 68 Der Hupff auff Der recht Studenten Tantz Der Hupff auff Wie möcht ich frölich werden, Tantz weyss Voigt der Hupff auff Der Bentzenawer, Tantz weyss Voigt der Hupff auff

117

ΐ549τ 29

Í4V ki v k2v

Der Beyrisch Bot, Tantz weyss Voigt der Hupff auff 30 Ich stund an einem morgen, Tantz weyss (compare BridgmE, p. 160, and SenflW VII, nos. 3, 4) k3v Voigt der Hupff auff 31 k4v Ein artlicher rechter Fürstlicher Hofftantz, wie an Fürsten Höfen der gebrauch ist 11v Voigt der Hupff auff 32 l2v Ein geringer welscher tantz8 13 Hupff auff 33 l3v Königs Ferd.ina.ndus Tantz 14 Voigt der Hupff auff 34 l4v Sospiri amorosi 35 m i " Saltar eia 36 m2v Passa mesa [Ein Welischer tantz] = Ι540χ, no. 30 37 m3v Passa mesa mit vier stimmen 38 n i Ein gut PreambeV 39 n i v Laiarosa 40 n2v Folpechi8 = 15442, no. 49 41 n3v Con lachrime sospir (EinIM III, 319: Verdelot) 42 n4 v Lodar voi 43 oi v Quando cor dolce 44 θ2ν La bella Donna 45 o3v Benedetur 46 04v Questa piagha 47 ρ ι ν O voi che sospicai 48 p2v Signor de amor 49 p3v Alma perche 50 q i Vous mi faictes [tant rire]9 (RISM 1535s, no. 21) 51 q2v Plus je la vois (RISM 153915, no. 8 : Mittantier) 52 q3v Lamar narite = 15442, no· 42 : " L a Marguaritt" 53 q4v Rosignolet 54 r2 Mon cuor [mon] corps (RISM [c. 1528] 9, fol. 5: Willaert) 55 i"3v Vostre beautle [sic] (PubAPTM II, no. 79: Gombert) 56 r4v O dulcis memorie (PubAPTM XXIII, no. 50: "Doulce memoire," Sándrin) 57 S2 Si par sonfre = 15442, n o · 36 : "Si par souffrir" 58 s2v Fors seulement (ObrWW, p. 90: Josquin or Févin) 59 s4v Le content [est riche] (AttainCK III, no. 9: Sermisy) 5 +B.P.I.M.

60

ti v

61 62

t2 v t3v

63

t4 v

64

vi"

V3v 65

X3V

66

y2v y4v

67 68

Z3 7-1 7_3 7~4V

69

9-1 v 9-2 v

Ami sonfre (AttainCK III, no. 7: "Amy souffrez," Moulu) Amour lassio Cest a grant [tort] (AttainCK II, no. 18: Sermisy) Cest faschaux (AttainCK II, no. 25: "Ces fascheux sotz") Hie volget die Schlacht vor Pavia. Der Erste Teyl = 15442, n o · 52: " L a Bataille," Janequin 2a pars [Fan frere le le lan fan] Apparens Christi10 (RISM !539β> n o · "Apparens Christus post passionem," Joan. Lupi) 2a pars [Et convescens precepit] Vita in Ugno (RISM 1537! no. 20: Senfl) 2a pars [Qui prophetice] 3a pars [Qui expansis] Wass will doch drauss werden Ein guter Welscher Gassenhawer = 15474, no. 24 Hupff auff Ein gut Preambel mit fugen

1 The signatures run from a to ζ (23 gatherings), plus two gatherings signed with symbols that resemble " 7 " and " 9 , " which are used in this inventory. 2 Mod. ed. in SenflW V I I , no. 49a. » Mod. ed. in SenflW V I I , no. 48a. 4 Mod. ed. in MolzHN, no. 1 1 . 5 Heading on fol. g3 v : " Nun volgen die Teutschen Tentz." 6 Heading on fol. l2 v : "Hienach volgen etlich Welsch Tentz." 7 Mod. ed. in MolzHN, no. 16. 8 Heading on fol. n2 v : " N u n volgen die Welschen Stück." 9 Heading on fol. qi : " N u n volgen die Frantzsösichen Stück." 10 Heading on fol. X3 V : "Hienach volgen die Lateynischen Stück."

1 5497 TIBURTINO, GIULIANO FANTASIE, E T RECERCHARI / A T R E VOCI, ACCOMODATE / DA CANTARE E T SONARE PER O G N I IN/strumento, Composte da M. Giuliano

118

1

5497

Tiburtino / da Tievoli, Musico Eccellentiss. / C O N L A G I U N T A D I A L C U N I / altri Recerchari, & Madrigali a tre Voce, Composti / da lo Eccellentiss. Adriano Vuigliart, / Et Cipriano Rore suo / Discepolo. / C O N SOMMA DILIGENTIA STAMPATI, / Et da gli proprii exemplari estratti, / Novamente posti in luce. / BAS [Printer's mark] S U S / V E N E T I I S , A P U D / Hieron y m u m Scottum. / M D X L I X . Three part books in mensural notation, each of 20 fols. On the last verso of each part book: table of contents. T h e volume was partly reprinted in 1551 and later (see 1551 β for details). 1 T h e Willaert ricercares are reprinted in WillR (after 15599; see there for details). SlimK II, 528, contains a thematic index of the ricercares (nos. 1 - 1 2 , 22-29). T h e titles of nos. 1 - 1 2 in the inventory below are taken from the table of contents; the compositions are labeled with slightly different solmization syllables in each part book. T h e foliation is from the bass part book. Nos. 14-21 are vocal music; each voice is fully texted. T h e other compositions are for instrumental ensemble a 3. Copies in: E : B i m (B), E : M m c (T), GB : Lbm, I : Be (S). fol. I 2

AIV

A2

3

A2v

4 5 6

A2v A3 A3V

7 8 9 10

A3V A4

II

BI

12 13 14 15

BIV

16

B3V

17

B4V

A4V BI

B2 B2 v B3

18

Ci

19

CIV

21

C2 C2V C3 C3V

22

C4V

23

DIV

24

D2V

25

D3V

26

D4V

27

EIV

28

E2v

29

E3V

20

Sur le joly joly jonc Adriano Vuigliart Tutt'il di piango Cipriano Rore 2a pars Lasso che pur Ite caldi sospiri Nadal 2a pars Dir si può ben Amor che ved'ogni pensier aperto Nadal [Ricercar] Adriano Vuigliart (see no. 29 below) [.Ricercar]2 Adriano Vuigliart = i 5 5 i e , no. 8 [Ricercar] Adriano Vuigliart = i 5 5 i 6 , no. 6 [Ricercar] Adriano Vuigliart = i 5 5 i e , no. 10 [Ricercar] Adriano Vuigliart = i 5 5 i e , no. 5 [Ricercar] Adriano Vuigliart = i 5 5 i e , no. 4 [Ricercar] Adriano Vuigliart = I 5 5 i e , no. 9 [Ricercar] Adriano Vuigliart ( = no. 22 above, transposed) =

1 2

1551E, n o . 7

F é t B I V , 1 7 , erroneously dates this volume 1 5 7 9 . M o d . ed. in P e e t M I, no. 1 0 (arr. for organ).

I 5498 Ut re mi fa sol la [Tiburtino] La solfa mi fa re la [Tiburtino] Fa re mi re sol mi fa mi [Tiburtino] Fa mi fa re ut [Tiburtino] Sol sol sol ut [Tiburtino] Ut mi fa ut fa mi re ut [Tiburtino] Re ut fa re fa sol la [Tiburtino] Re ut re fa mi re [Tiburtino] Ut fa mi ut mi re ut [Tiburtino] Re fa mi re la [Tiburtino] Ut re mi ut fa mi re ut [Tiburtino] La solfa re mi [Tiburtino] Fantasia [Tiburtino] O felice colui Baldesar Donato Grave periin Amor Cipriano Rore Se'l veder voi Adriano Vuigliart Io dico & dissi Cipriano Rore

PHALÈSE, PIERRE,

PUBLISHER

CARMINUM QUAE / CHELY VEL T E S T U D I N E C A N U N T U R , / Liber primus. / Cum brevi Introductione in usum Testudinis. / [Cut of ten performing musicians] / L O V A N I I / Apud P E T R U M P H A L Y S I U M Bibliopolam iuratum, Anno M . D. X L I X . / Cum gratia & Privilegio. 36 fols. French lute tablature. On fol. A i v : cut of a lute. On fols. A 2 - A 4 : a Latin version of the instructions for playing the lute printed in 15453. On fol. I4 V : cut of a lute. This is a third, revised edition of 15453. All compositions reprinted from the first edition are followed by an asterisk in the inventory below. See there for the sources of the intabulations. In almost every case the ornamentation has been slightly modified for this edition. Titles in brackets have been trimmed off the unique copy. Attributions

119

I S4 ?1 in brackets are from 15453. All of the compositions are for solo lute. Copy in: G B i L b m . 1

ι 2 3

fol. Βι Biv Biv

4

B2

5

B2 v

6 7

B3 B3

8 B3V 9 B4 10 B4v h Ci 12 C i v 13 C2 14 C2V 15 C3V 16 C4V 17 D i 18 D i v 19

D2

20

D2 v

21 22

D3 D3 v

23 24 25

D4 v Ei Eiv

26 27

E2 v E3 v

28

E4v

29

Fiv

30

F2 v

31

F3 v

Fantasie* Fantasie* Fantasie = 1546m, no. 6: Giovanni Maria da Crema Fantasie = 1546 io» no. 11 : Giovanni Maria da Crema Fantasie = I546 10 , no. 9: Giovanni Maria da Crema Si vous estes belle Ryckgodt (compare LenN, p. 79: "Rick God wien sal ick clagen") [Die lustelycke May]* II me souffit* [Sermisy] Fortune helas [Dont vient cela]* [Sermisy] Languir* [Sermisy] [Amis souffrez]* [Moulu] Du bon du cueur* Cest doncq pour moy* Tant que vivray* [Sermisy] [Ces fascheux sotz]* Vivray je tousjours en soucy = 15293, no. 15a: Sermisy [Destre amoureux] = 15293, no. 32a Si vostre cueur ( R I S M [c. i528] 5 , no. 30) [Le dur regret] — 15293, no. 27 Si mon travail ( P u b A P T M X X I I I , no. 52: Sandrin) VOUS perdez tamps* [Sermisy] [Auprès de aows]* Je prens en gre* [Clemens non Papa] Damour me plains* [Pathie] Toutte le nuict ( R I S M i57o 8 , p. 12: "Toutes les nuycts," Crecquillon) Or combien est [malheureux] (ClemensO VII, 156: Sandrin or Sermisy) Vivray je tousjours en soucy ( R I S M 155422, P· 21: "Vivray je tout jour en telle peyne," Petit Jehan de Latre) Doulce memoire (PubAPTM X X I I I , no. 50: Sandrin) Faid on failly (compare 15332, no. 20: Bridam)

32 33

F4 F4V

34 35 36

GÌ GIV G2

37 38 39 40

G2 V G3 G3V G4V

41

HIV

42 43 44 45 46 47

HIV H2 V H2 V H2 V H3 H3v

48 49 50 51 52 53 54 55 56

H3V H4 H4V

57 5« 59

L3V I4 I4

II IIV

I2 I2V IS

I3V

[Unidentified] jfamays jaymera* ["Jamais n'aymeray masson"] [Auprès de vous]* Helas amy* [Sandrin] Amy helas ( R I S M ΐ540 1 2 , fol. 2V) = 155211, no. 42 Tant que vivray* [Sermisy] [Il me suffit]* [Sermisy] Ung gay bergier* [Crecquillon] Ronde Currende Quatre brant Fago Brant de champaigne Six brant [Le pied cheval] Passemezo [d'Angleterre] (compare 15715, no. 14) Gallarde [Gaillarde?] Alemaigne Paduana* Gaillarde* Paduana* Gallairde* Gallairde* [Traditora] (compare 15453, no. 51) La bella franciskina Factie2 Si vous estes belle

1 Manuscript addition on fol. I4: " L o v a n i i Excudebat Jacobus Bathenus M . D . X L I X . " Manuscript addition on fol. I4 V : " J . S. S. 1.5.51," and " B : . D . Lan. 5.51." 2 M o d . ed. in B r o w n M , p. 154.

I 54?I BIANCHINI, FRANCESCO T A B U L A T O R E D E L U T Z , / En diverses formes. / de / Fantasie, Bassedances, /Chansons, Pavanes, /Pseaulmes, Gaillardes. / Composées par divers Musiciens, & / Entablées, selon le Jeu du Lutz. / par / M . F R A N C E S C H O Bianchini / Venetiano. / [Cut of a lute] / Imprimées nouvellement a Lyon, par Jacques Moderne. 16 fols. Italian lute tablature. On fol. A i v ( = p. 2): table of contents. 1 Dedication on p. 3 headed " A Illustre, & reverendissime

120

I 54?1

Seigneur Francois G O U F F I E R Evesque de Beziers," and signed "Francois Blanchin présente humble Salut." M o e D M contains a thematic index of the dances (p. 395) and concordances for them (p. 254). All of the compositions are for solo lute. Copy in: D : M b s .

ι 2

P· 4 6

3 4

8 10

5 6 7

12 14 16

8

9

10

18

20

22

11

24

12 13 14 15 16

25 26 28 30 31

Fantasia F . Bianchini 2 Quant tu vouldras Isaac Lheritier Est il regret G . Bichenet Si jay lamour Croquillon ( R I S M [1552] 9 , fol. 1 6 : Crecquillon) Ung grand désir Maillard Dame sante Entaygues Vous semble t il G . de la Moeulle In domino confido [Psalme XI: Veu que du tout] A . Mornable (MornableP II, fol. 4) 3 Domini est terra [Psalme XXIV: La terre au Seigneur] A . Mornable (MornableP II, fol. 2 V ) 3 Benedic anima mea dominum, [Psalme CHI: Sus, louez Dieu, mon cueur] [Certon] ( L e s L R B , no. i7bis, fol. 2ÓV) Bassedance. Quand je congneu (compare R I S M 153920. n ° · 18 : Sandrin) Bassedance. La mestresse Pavane. La Millanese Pavane. La favorita Gaillarde. El Peschadore Gaillarde. El mulinare

' T h e table of contents lists a "Bassedance. Fortuna alors" as being on p. 16 and omits no. 12. 2 Incipit in SlimK I I , 509. 3 On MornableP see PidP. I have been unable to check these concordances.

I 54?2

CAVAZZONI,

GIROLAMO

I N T A B U L A T U R A / DORGANO, / CIOÈ MISSE HIMNI M A G N I F I C A T / COMPOSTI PER HIERONIMO / D E MARCANTONIO DA / BOLOGNA D E T T O I D'URBINO. / LIBRO SE-

C O N D O . / Col privilegio dell'Illustrisimo Senato Veneto, Per anni .X. 40 fols. Keyboard score. On fol. Α ι ν : table of contents. Dedication on fol. A 2 headed " A L L O I L I U S T R I S S I M O E T REVERENDISSIMO MONSIGNOR, IL C A R D I N A L DI R A V E N N A ETC. SIGNORE E T PATRONE COLENDISSIM O , " reprinted in GaspaC I V , 37, and SartMS, p. 1 1 . There is a modern edition of the entire volume in CavazzO II (which includes the dedication), and CDMI, quaderni 23—27. T h e three Masses (nos. 1 - 3 ) are reprinted in IS4? 3 . All of the compositions are for solo keyboard. Copy in: I : B e (imperfect). fol. A2V A2V A3 A4 A4V

BI

BIV BIV B2V

B3

B3V

B3V B3V B4 B4V

CI CIV C2 C2V C3

c3v c3 C3V

c4 c4 C4VV C4 DI DIV D2V

D3 D3 D 3V D3

MISS A APOSTOLORUM1 Chirie primus. Iterum repetitur Christe Christe Quartus. Iterum repetitur Et in terra pax Benedicimus te Glorificamus te Domine deus rex Domine deus agnus dei Qui tollis Quoniam tu solus sanctus Tu sol \u\s altis. a tre voce Amen CREDO CARDINALIS. Patrem Et ex patre natum Genitum non factum Crucifixus a tre voci Et ascendit in celum Et in spiritum sanctum Et unam sanctam catholicam Et expecto Amen Sanctus primus Sanctus secundas Agnus Dei MISS A DOMINIC ALIS Chirie primus. Iterum repetitur Christe eleyson Chirie eleyson Et in terra pax Benedicimus te Glorificamus te Domine deus rex Domine deus agnus dei

1

3

D4 Ü4V Ei Ei Eiv E2 E2 Ea v E3 E3V E4 E4V E4V Fi Fi Fi Fi" Fiv F2 F2 v F3 F3 v F3 v F3 v F4V Gì Gì Giv G2 G2 G2 G2v G2 v G3 G3 G3 V

4

G4

5

G4 v

6

Hiv

7

H2 v

8

H3 V

9

H4

10

li

11

I2

121

54'Í

Qui tollis a tre voce Quoniam tu solus sanctus Tu solus altissimus Amen CREDO DOMINICAL. Patrem Et ex patre natum Genitum non factum Crucifixus Et ascendit in celum Et in spiritum sanctum Et unam sanctam catholicam Et expecto Amen Sanctus primus Sanctus secundus a tre voce Agnus dei MISS A DE BEATA VIR. Chirie primus. Iterum repeti tur Christe leyson Chirie eleyson Et in terra pax Benedicimus te Glorificamus te Domine deus rex Spiritus & alme Primo genitus Qui tollis a tre voce Qui sedes Mariam sanctificans Mariam gubernans Mariam coronans Amen Sanctus primus Sanctus secundus a tre voce Agnus dei In hac missa dicitur Credo Cardinalis IN DIE PENTHECOSTES. Hymnus Veni creator spiritus IN DIE APOSTOLORUM. Hymnus Exultet caelum laudibus IN FESTO CORPORIS CHRISTI. Hymnus Ponge Lingua gloriosi 2 INFESTO CONFESSORUM: Hymnus Iste confessor IN ASCENSIONE DOMINI. Hym. Jesu nostra redemptio 3 IN SOLIMNITATE VIRGINUM. Hymnus Jesu corona virginum IN FESTO UNIUS MAR. Hymnus Deus tuorum militum 4 IN EPIPHANIA DOMINI. Hym. Hostis Herodes impie

12

13

I3 13 14 I4V I4V Kiv K.2 K2 V K3

Magnificat. Quarti Toni Quia respexit Deposuit Suscepit a tre voce Gloria patri Magnificat Sexti Toni Quia respexit DePosuit Suscepit DUO

1 Mod. ed. of a part of the " G l o r i a " in A p e l M I, 21 ; mod. ed. of the " Kyrie " in A p e l M K , p. 52 ; mod. ed. of the "Patrem," " Et unam sanctam catholicam," and " E t expecto" in DallaL, no. 7 1 ; mod. ed. of the " K y r i e " in DallaLO I, no. 1, and FuserC, no. 5; and mod. ed. of the " K y r i e " and " G l o r i a " in H A M , no. 117. 2 Mod. ed. in DallaLO I, no. 2, and T a g A I, no. io. 3 Mod. ed. in DallaLO V I , no. 29. 4 Mod. ed. in T a g A I, no. 9.

I 54?3

CAVAZZONI, GIROLAMO DI HIERONIMO D'URBINO / IL PRIMO LIBRO DE I N T A B O L A T U R A / D'organo dove si contiene tre Messe Novamente da Antonio Gardano / Ristampato & da molti errori emendato. / M I S S A Apostolorum / M I S S A Dominicalis / M I S S A D e Beata Virgine / L I B R O [Printer's mark] P R I M O / In Venetia apresso di / Antonio Gardano 1 29 fols. Keyboard score. Contents = iS4?ü, nos. 1-3. A l l of the compositions are for solo keyboard. Copy in : I : Be. 1 Antonio Gardane called himself Gardano from about 1557 on. T h u s this volume was more apt to have been printed after 1557 than in the 1540's.

ΐ54·'ι

FRANCESCO DA

MILANO

INTABOLATURA DA LEUTO / DEL DIVINO FRANCISCO / DA MILANO N O V A M E / N T E S T A N P A T A / [Cut of a crown] 36 fols. Italian lute tablature. W i e M II contains a thematic index of this volume.

1

122

54'Í

Contents = 15363· All of the compositions are for solo lute. 1 Copy in: A: Wn.

I S4?e

M O D E R N E , J A C Q U E S , PUBLISHER

1

There is no evidence to suggest that this volume was printed during the 1540's. It is included here only because the majority of volumes devoted to Francesco da Milano's music were brought out during that decade.

I 54?s PALADIN, JEAN PAUL T A B U L A T O R E D E L U T Z / En diverses Sortes. / C O M M E / Chansons, Pavanes. / Fantaisies. Gaillardes. / E T / L A B A T A I L L E / Le tout Compose Par M . Jean Paulo Paladin Milanoys. / [Cut of a lute] / Imprimées nouvellement a Lyon, par Jacques Moderne. 16 fols. Italian lute tablature. T h e title is placed within an ornamental border. M o e D M contains a thematic index of the dances (p. 400) and concordances for them (p. 256). SlimK II, 532, contains a thematic index of the ricercares. All of the compositions are for solo lute. Copy in: D i M b s . 1

ι

P3

2

4

3

6

4

8

5 6 7 8 9

9 il 13 15 17

10

18 19 21 21 23

11 12

27 1

De trop penser ( R I S M I532 12 , no. 24: Jacotin) Vous perdez temps ( R I S M I S38i7, fol. 3 1 : Arcadelt) Le content est riche (AttainCK I I I , no. 9: Sermisy) Si mon travail (PubAPTM X X I I I , no. 52: Sandrin) Fantasia Fantasia Pavane Pavane Pavane = 15369, no. sa: "Pavana ditta la Malcontenta" Gaillarde La Reprise Gaillarde La Reprise La Bataille = 15363, no. 34: Janequin (intab. Francesco da Milano) 2a pars [Fan frere le le lan fan]

There is a manuscript date, 1549, on the parchment cover of this volume.

M U S I C Q U E D E JOYE. / Appropriée tant a la voix humaine, que pour apprendre a sonner Espinetes, / Violons, & fleustes. Avec Basses Danses, eleves Pavanes, Gail/ lardes, & Branles, ou Ion pourra apprendre, & scavoir / les mesures, & cadences de la Musicque, / & de toutes danses. / Composées par divers aucteurs Musiciens tresparfaictz / & excellents, en leur siecle. / [Cut of a fleur-de-lis] / On les vend à Lyon chez Jacques Moderne diet grand Jacques. 1 Four part books in mensural notation, each of 20 fols. On fol. A i v of each part book: table of contents listing nos. 1-22 only. Each composition is numbered beginning with no. 3 ; the dances are numbered in a separate series, no. 26 being omitted. T h e compositions identified by superior letters are reprinted as follows: ( a ) in GiesIF; (b) in BS, vols. 6, 8, 19, 27, and 38. SlimMN, pp. xxvi and xxxi, contains facsimiles of the title page and fol. C4V. All of the dances are reprinted in M o d F . Eighteen of the ricercares (nos. 1-4, 6-11, and 13-21) and the cantus firmus setting (no. 12) are reprinted in 154O3 (see 154O3 for further details). All of the compositions are for instrumental ensemble 04, except no. 8 which is a 3. Copy in: D : M u . fol.

I A2 2 A2V 3 A3 A3V A4V 6 BI V 7 BI 8 B2 V 9 B2 10 B 4 II B4V 12 C I 4 5

13 14

CIV

C2V

R\icercare\ Adrianus Willart R Adrianus Willart R' Julius de Modena [ = Giulio Segni] (15572, no. 46) R Julius de Modena R3b 2 Adrianus Willart R Julius de Modena Rb Julius de Modena R Julius de Modena R'b Guilielmus Colin R 3 Hieronimus Parabosco R" Julius de Modena R. Da pacem domine 4 Hieronimus Parabosco R Julius de Modena Rsb Julius de Modena (1557a. n o . 45)

1

15

c

3

R3b

5

Julius de M o d e n a

(I5572, n o . 52: A n t o n i o [de 16

C3V

17 18

c4v DI

19

DIV

20

D2V

21

D3V

22

D4V

23

Ei

24

EI

25

EI

26

EI

27

Eiv

28

EIV

29

EIV

3D

EIV

31

E2

32 33

E2

34 35

E2 v E2 v

36 37 38 39

E2t

40

E3 E3

41 42 43 44 45

E2

E3 E3 E3

E3V E3V E3V

47

E4 E4 E4

48

E4V

49

E4V

50 51

E4V

46

E4V

Cabezón?]) R Nicolaus Benoist R Julius de M o d e n a Rb Adrian Willart R3b Adrian Willart i? a b Julius de M o d e n a R Hieronimus de Bononia [ = Girolamo Cavazzoni?] R6 G . Coste Bassedance. Ta bone grace (compare SeayFC, p. 16: Roquelay) Tordion Bassedance = 15475, no· 2 Tordion = I 5 4 7 E , no. 8 Bassedance. Hellas Amy (compare R I S M i 5 4 i 8 . fol. 4: Sandrin) Tordion = i547 e , no. 7 Bassedance Tordion Moytie de Bassedance. Il me suffit (compare A t t a i n C K I, no. 9 : Sermisy) Tordion (compare i547 e , no. 9) Pavane. La Bataille (compare 15573. no. 4) = 15552, no. 63 Pavane Pavane. La Gaiette (compare LesAC, no. 10: " I l estoit une fillette," Janequin) = 15552, no. n i Pavane Gailarde Gailarde Branle de bourgoigne = 1 5 5 5 5 , no. 17: " B r a n l e de champaigne Branle de bourgoigne Branle de bourgoigne Branle simple — 1547e, no. 37 Branle simple (compare 1 5 3 0 5 , no. i l , and i547 e , no. 17) Branle simple Branle de bourgoigne Branle de bourgoigne Branle de bourgoigne = i547 e , no. 2 4 Branle gay nouveau Branle gay (compare 1 5 5 2 3 , no. 21 : " B r a n s l e gay Je ne serais jamais b e r g e r e " ) Branle nouveau [Unidentified]

123

5 5 °ι

Facs. of title page in MischR, opp. p. 74. Incipit in S l i m K II, 477. M o d . ed. in ParaC, no. 8. 4 M o d . ed. in ParaC, no. 9. 5 Nos. 15 and 18 are identical. 6 Incipit in S l i m K II, 477; mod. ed. ibid., p. 639. Heading on fol. D4 V : " F i n de Phantaisies Instrumentales. Et Commencent Dances Musicales." 1

2 3

I 55°ι BERMUDO, JUAN Comiença el arte Tripharia dirigida / a la ylustre y m u y reverenda señora / D o ñ a ysabel pacheco, abadessa en el mo/nesterio de sancta Clara de Montilla, / compuesta por el Reverendo padre Fray / Joan Bermudo, religioso de la orden de / los frayles menores de observancia en la / provincia del Andaluzia. / [Cut of two saints : " Sancta Clara " and " Sancta Ynes " ] 1 40 fols. O n fol. i v : the same printing privilege as in 15493. O n fol. 2: the same ecclesiastical license as in 15493. On fol· 2 V : a letter f r o m Francisco Cervantes de Salazar addressed to the dedicatee in praise of Bermudo's book; the letter is headed " C a r t a . A la yllustre y m u y reverenda señora doña Ysabel Pacheco abadessa del monasterio de sancta Clara de montilla, Francisco cevantes de Salazar, Cathedrático de rethórica de la Universidad de Ossuna," and dated " d e ossuna. a 4. de febrero. 1550." O n fol. 3: dedication headed " P r ó l o g o epistolar del autor." O n fol. 4: preface headed " P r ó l o g o al Lector." Colop h o n on fol. 4ov: " F u é impresso en la villa de Ossuna en casa de Juan de León, impresor. Siendo primeramente visto y examinado por el consejo real. Acabóse el dia del bienaventurado sanct Bernardino el mes de mayo año de .1550.," followed by the printer's mark with the m o t t o " S o l i D e o H o n o r et Gloria," and, at the bottom of the page, " S o l a fides sufficit." T h i s treatise is an introduction to plainsong (canto llano), polyphony (canto de òrgano), and keyboard performance. Most of the material in the volume is reprinted in I555i (for detailed concordances see StevnsnJB, especially p. 5). O n fol. 38* Bermudo includes one short composition α 2, the romance Donde son estas serranas in mensural

1

124

5 5 °ι

notation and in a number tablature for keyboard (reprinted in StevnsnJB, p. 83). Copy in: E : M n . 2 1

Facs. of title page in VinS, p. 95. Fifteen copies of a facs. ed. of this volume were prepared by Francisco Asenjo Barbieri (see A n g C M II, 2 2 2 , and KinO, p. 9). 2

[1 5 5 ° ] 2 MORLAYE, G U I L L A U M E Guillaume Morlaye. Tabulature de guiterne où sont chansons, gaillardes, pavanes, bransles, allemandes, fantaisies, etc. Paris, Michel Fezandat, 1550.

dem günstigen Läser." On fol. 2 V : instructions for the lute headed "Erklärung der Mensur und anderer hierin gebruchten zeychen." On fol. 3 : cut of a lute with the heading " D e r ussgerissen Luttenkragen mit der Tabulatur." On fol. 47 v : table of contents. All of the compositions in this volume are transcriptions of those in 1546 g; they were originally in Italian lute tabulature, and Wyssenbach here prints them in German tablature. Contents = 1563 m. All of the compositions are for solo lute except no. 6, which is for two lutes. Copies in: A : W n , D i L E m . 1

ι

5V

This volume, now lost, is mentioned in FétB VI, 205. It is probably a first edition of one of the series of guitar books published by Fezandat between 1551 and 1553 (for further information see 15525).

[ ι S 50 ]3

fol. 4

7

10 2

io v

SEGNI, GIULIO nv Giulio Segni da Modena. Ricercari, intabulature da organi et da tocco.

3

A volume of Segni ricercares is listed in DoniL, 1550 edition, fol. 66. T h e above title is taken from CafS I, 105. For further information, see SlimK I, 139. T h e volume does not survive.

1

S S

0

WYSSENBACH, R U D O L F ,

14 15 I7V 4

4

47 fols. German lute tablature. T h e title is placed within an ornamental border. On fol. 2: preface headed " Rüdolff Wyssenbach

18 i8v

PUBLISHER

Tabulaturbiich uff die Lut/ten, von mancherley Lieplicher Italienischer / Dantzliedern mitsampt dem Vogelgsang und einer Fäld/schlacht, uss Wälhscher [MC] Tabulatur, flyssig / in Thütsche gesetzt. / Getruckt zü Zürych by Rüdolff Wyssenbach / Formschnyder, Im M. D. L. Jar.

I2V

I9V 5

20 22 23

Pavana genant La Barroncina = 1546g, no. i a Der erst Sprynngerdanntz. Saltarello Primo = 1546g, no. i b Der annder Sprynngerdanntz [Saltarello della Duchessa] = 1546 g, no. ic Der dritt Springerdanntz genannt La Barbarina = 1546 g, no. i d Pavana genannt Moniardina P[ietro] P[aolo] B[orrono] = 1546g, no. 2a Der erst Sprynngerdanntz* = 1546g, no. 2b Pavana genant La Rinoldina = 1546g, no. 3a Der erst Springerdanntz = 1546g, no. 3b Der ander genant La meza gamba = 1546g, no. 3c Der dritt Springerdanntz genant Madonna Zoanna = 1546g, no. 3d Pavana genannt La Centoria = 1546g, no. 4a Der erst Spryngerdanntz volgt hernach — 1546 g, no. 4b Der annder Spryngerdanntz el Scaravelino gennant3 = 1546g, no. 4c Pavana genannt La Pianzolenta Pfietro] P[aolo] Β [orrono] = 1546g, no. 5a Der erst Spryngerdanntz — 1546g, no. 5b Der annder Springerdantz genant La Rocha el fuso ec. = 1546g, no. sc

1

24v 6

25 v 26 27 27 v 28 28v

7

29 30

8

30 v 3iv 32 33v

9

34v

35 v 37 10

39 4ov 43

1

125

5 S °5

Der drift Sprynngerdantz genant Le el Martello che tel fa dire = 15469, no. sd Pavana Milanesa P[ietro] P[aoIo] B[orrono] = 1546 g, no. 6a [A second lute part for the preceding pavane] Der erst Spryngerdanntz = 1546g, no. 6b [A second lute part for the preceding saltarello] Der annder Sprynngerdantz genant Non dite mai ch'io habia il torto = 1546g, no. 6c Der dritt Spryngerdanntz genant Le pur bon 0 Ruschina = 1546 g, no. 6d Pavana genannt La bella Ugazzota = 1546 g, no. 7a Der erst Springer danntz1 — 1546g, no. 7b Pavana genannt La bella Judea &c. = 1546g, no. 8a Der erst Spryngerdanntz = 1546g, no. 8b Der annder Sprynngerdanntz genant el Vercelese = 1546g, no. 8c Der dritt Sprynngerdanntz genannt Deh Leva su Bruneta = 1546g, no. 8d Revillez vous ceur. Das vogelgesang ( " L e chant des oiseaux," Janequin) = 1546g, no. 25 2a pars Vous orrez a mon advis. &c. 3a pars Rossignol du boys, jfoly. &c. 4a pars Arriéré Maystre coque Ein Franntzösische fäldschlacht. Imabtzug ( " L a Bataille," Janequin) = 1546g, no. 26 2a pars [Fan frere le le lan fan]

A copy was in D : Bds (formerly owned by Wilhelm Tappert). At the end of this copy were 29 fols, of manuscript music in German lute tablature (for a description of the contents see BoettB, art. " B e 5 1 0 " and DieL, pp. 89-91), including German, Italian, and French dances, and intabulations of secular compositions. T h e following compositions from this manuscript appendix are pr. in T a p S : p. 26 : Issbruck ich muss dich lassen ; 32 : Les Bouffons ; 3 3 : Der Bockstanz·, 54: Der Prinzen-Tanz (with Proporz; repr. in ParrishM, no. 22); 56: Aus tiefer Not schrei'ich zu dir, Conrad Neusidler. A facs.

page from the manuscript is pr. in W o l f M S , no. 59 (with one dance, " C h o r e a " ) . 2 Note on fol. 1 2 : " F ü r den anndern unnd dritternn Sprynngerdanntz mag man nämen die zwen so fornen stand nechst nach der Pavana genannt die Barroncina." 3 Note on fol. 20: " F ü r den drittenn Sprynngerdanntz nim den. 3. uss der Pavana Rinoldina." 4 Note on fol. 3o v : " F ü r den andern unnd 3. spring dantz nim die uss der Pavana Milanesa."

IS50i G E R V A I S E , C L A U D E , EDITOR Quart livre de danceries, A quatre parties / Contenant xix pavanes & xxxi gaillardes. / E N U N G L I V R E S E U L , V E U E T C O R R I G E PAR / Claude gervaise scavant Musicien. Et imprimez par Pierre Attaingnant / Imprimeur du Roy en musique. Demeurant á Paris En / la Rue de la Harpe près lesglise S. cosme. / 19. Augusti 1550. / Avec privilege du Roy pour 32 fols. Mensural notation. Fol. i v = fol. A i v . The compositions identified by the superior letter a ( a ) are reprinted in M M R F X X I I I , which includes a facsimile of the title page. There are modern editions of some of the dances in this volume and in 1550, in B F S , 1931 (no. 8); B F S , 1932 (nos. 2, 8); and B S , vol. 5 1 . For further concordances see HeartzSF, p. 337. For other volumes in the same series, see i547e. note 2. All of the compositions are for instrumental ensemble 04 except nos. 2, 3, 6, and 1 1 - 1 3 , which are n ° · 6: Certon) Gaillarde Pavane. Vous qui voulez1 Gaillarde Pavane a 5 Gaillarde

1

I2Ó

7

7V

9

7V 8V 8V 9V

10

9V io v

8

v

11 12 13 14 15 16 17 18

ii I2V i3 v i4 v i5 v i6 v i7 v i8 v

19 20 21 22 23 24 25

I9V 20 v 21v 22 v 23 v 24 v 24v

26 27 28

25 v 25 v 2ÓV

29 30

26 v 27 v

31 32 33 34 35 36 37 38 39 40

27 v 27v 28 v 28v 28 v 29 v 29 v 29 v 3ov 30v

41 42

3iv 3i v

1

S S °5

Pavane. Qui souhaitez (compare R I S M 154925, p. 24: Janequin) Gaillarde Pavane. Plus revenir2 Gaillarde. Plus revenir Pavane. Mamye est tant honneste & saigea (compare R I S M 154921, no. 10: Sandrin) Gaillarde Pavane. O foyble esprit* (compare R I S M 1 5 4 9 2 2 , no. 2 2 : Gentian) Pavane. Le bon vouloir*3 a5 Pavane34 a5 Pavane. Pour mon plaisir a 5 Pavane Pavane Pavanea Pavane Pavane DELLESTARPE = 155S2, no. 204 Pavanea Gaillarde I Gaillarde II Gaillarde III Gaillarde IUI Gaillarde V Gaillarde VI (compare 1568 e, no. 82: "Gaillarde Si pour t'aymer") Gaillarde VII Gaillarde VIII Gaillarde Ia 5 (compare LesLRB, art. 3, fol. 9: " L ' E n n u y qui me tourmente," Certon) Gaillarde IP Gaillarde III (Manuscript addition: " S i congneu") Gaillarde HIP Gaillarde Va Gaillarde VI Gaillarde VII Gaillarde VIII Gaillarde IX Gaillarde X Gaillarde XI Gaillarde XII Gaillarde XIII (compare 15715, no. 45 : " Gaillarde. Mon plaisir") Gaillarde XIIII Gaillarde XV

Not related musically to R I S M Ι 5 3 4 1 1 ; no. 10: " V o u s qui voulez scavoir mon nom," Sermisy, nor to R I S M 154919, no. 4 : " V o u s qui voulez avoir contentement," Mornable.

2 Not related musically to P u b A P T M X X I I I , no. 3 7 : Lupi. 3 Facs. of fols. IIV and 1 2 in M M R F X X I I I ; mod. ed. of no. 1 1 in T w i t t T I I I , no. 3. 4 Mod. ed. in T w i t t T III, no. 2. 5 Mod. ed. in Z f S M X I , no. 3.

ISS°e GERVAISE, C L A U D E ,

EDITOR

Cinquiesme livre de danceries, A quatre / P A R T I E S , C O N T E N A N T D I X BRANSL E S GAYS, / Huict bransles de poictou, Trentecinq bransles de Champaigne, Le tout / en ung livre seul, Veu & corrige par Claude gervaise scavant / Musicien. Nouvellement imprimez par Pierre / Attaingnant Imprimeur du Roy en mu/sique. Demeurant á Paris En la / Rue de la Harpe près / lesglise S. cosme. / 28. Augusti / 1550. / [Table of contents] / Avec privilege du Roy pour six ans 32 fols. Mensural notation. Fol. i v = fol. I i v . T h e compositions identified by the superior letter a ( a ) are reprinted in M M R F X X I I I , which includes a facsimile of the title page. For other modern editions see 155O5. For further concordances see HeartzSF, p. 340. For other volumes in the same series, see 1547 e, note 2. All of the compositions are for instrumental ensemble 04. Copy in: F : P n .

I 2 3 4

fol. Iv Iv 2V 2V

S 6 7 8 9 IO II

3V 3V 4V 4V 5V 5V 6V

12

6V

13

7V

Bransie Bransle Bransle Bransle no. 33 Bransle Bransle Bransle Bransle Bransle Bransle Bransle no. 72 Bransle no. 73 Bransle no. 74

gay gay gay gay

I II III IUI = 15555,

gay V gay VI gay VII gay VIII gay IX gay Χ de poictou Ia = 1583,, de poictou IIa = 1583,, de poictou IIIa

= 1583,,

127

155*1 14

7V

15

8V

16

9V

17

io v

18

io v

19

nv

20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43

i2 v I2V I3V I3V I4V i5 v I5V i6 v I7V i7 v i8 v iç v I9V 20v 2i v 2i v 22v 23 v 24 v 24v 25v 25 v 2ÓV 26V

44 45 46 47 48 49 50 51 52 53

27v 28 v 28 v 29 v 29 v 30v 30v 3i v 3iv 3i v

1 2

Br ansie de poictou IUIa = 1583,, no. 75 Brande de poitou Va = 15837, no. 76 Bransie de poictou VI = 1583,, no. 77 Br ansie de poictou VII = 1583,, no. 78 Br ansie de poictou VIII = 1583,, no. 79 Br ansie de champaigne I = 1583,, no. 80 Br ansie II = 1583 7, no. 01 Bransle III = 1583,, no. 82 Bransle IUI = 15837, no. 83 Bransle V = 1583,, no. 84 Bransle VI = 1583,, no. 85 Bransle VII = 1583,, no. 86 Bransle VIII = 1583,, no. 87 Bransle IX = 15837, no. 88 Bransle X Bransle XI Bransle de champaigne Bransle II Bransle III Bransle IUI Bransle V Bransle VI Bransle VII Bransle VIII Bransle IX Bransle X Bransle XI Bransle XIIa ßrans/e XIIIa 1 Bransle XIIIIa = i547 6 , no. 24: [Branle de bourgoigne] Bransle de champaigne Branlse II Bransle IIIa 2 Bransle IIII Bransle V Bransle VI Bransle VII Bransle VIII Bransle IX Bransle X

Mod. ed. in BarthaZ, no. 50e. Mod. ed. in Z f S M X I , no. 9.

IS5I1 GORLIER, SIMON LE / TROYSIEME LIVRE / CONTEN A N T P L U S I E U R S D U O S , E T / Trios, avec la bataille de Janequin a trois, nouvellement / mis en tabulature de Guiterne, par Simon / Gorlier, excellent joueur. / [Cut of a guitar lying on an open book] / A PARIS. / D e l'Imprimerie de Robert G r a n j o n & Michel Fezandat, au M o n t / S. Hylaire, à l'Enseigne des Grandz Jons. / 1551. / Avec privilege du Roy. 1 26 fols. French guitar tablature. Dedication on fol. a i v headed " S i m o n Gorlier, a Francoys Pournas Lyonnois, seigneur de la Pimente son singulier amy, Salut." On fol. 2ÓV: excerpt from the royal privilege granting Robert Granjon permission to print music for six years, signed and dated "Paris le 12. jour de Febvrier 1549. & signees Bassourdi." T h e same excerpt is printed in 15525. T h e foliation given here follows the manuscript foliation in the unique copy (fol. 1 = fol. a2). For other volumes in the same series, see 15525» note 2. For further information see HeartzP. All of the compositions are for solo four-course guitar. Copy in: C H : S G v . 2

ι

fol. ι

2

2V

3

4

4

5V

5

7V

6

9V

7

io v

8

12

Mamie un jour ( R I S M 15491g, no. ι : Certon) Qui souhaitez (compare R I S M I 5492o> no· ι : Sandrin, and R I S M [c. i555] 2 4, fol. 5: Gardane) Ce qui est plus en ce monde amy ( R I S M 15437, no. 3: Sandrin) Sy jay du bien (compare R I S M 15479, no. 10: Sandrin) II ne se treuve en amytié ( R I S M 15483, no. 14: Sandrin) Je suis desheritée Jacotin ( R I S M 15457, no. 22: anon.) Le duo de Benedicta. Per illud Ave prol. (JosqMT, no. 46 : from Josquin, "Benedicta es coelorum regina") Je n'ay point plus d'affection (LesAC, no. 14: Sermisy)

128 9 1 3 10

14

11

ιs I5V

12 13 14 15

i6v 17 i8 v 20

2iv

ISS La voulonté (RI S M i549i S> no. 15: Sandrin) Estants assis aux rives aquatiques (Psalm 137; compare L e s L R B , art. 17 bis, no. 14; and MornableP I, fol. 6) Celuy mestne en duo Pourquoy font bruit fef s'assemblent les gens (Psalm 2 ; compare L e s L R B , art. 17 bis, no. 11) Canon. In subdyapenté Autre Canon Duo La premiere partie de la Bataille de Janequin à trois ( M M R F V I I , 31) 2a pars [Fan frere le le lan fan]

Facs. of title page in HeartzP, opp. p. 452. 2 Preceding the title page in the unique copy is a manuscript table of contents and two manuscript compositions in keyboard tablature: " F u g a in subdiapason di Fabricio Facciola," and "Fantasia: Giovanni di Antiquis."

1

!

except no. 14 are modeled on the ensemble dances in 15505 and 15573. All of the compositions are for solo lute. Copy in: D : M b s . fol. 2 4

6V 8V

5

10

6

13

7

i5 v

8

i7v

9

19

10

i9 v 21

1

155I2 LE ROY, ADRIAN PREMIER LIVRE DE / T A B U L A TURE DE LUTH, CONTENANT / plusieurs Motetz, Chansons, Fantasies, Pavanes, Gaillardes, / Almandes, Branles, tant simples qu'autres: / L e tout composé / Par / A D R I A N L E R O Y . / [Table of contents] / A P A R I S , / D e l'imprimerie, d'Adrian le Roy, & Robert Ballard, rue Saint Jean de / Beauvais, à l'enseigne Sainte Genevieve. / 29. d'Aoust. 1551. / A v e c privilege du Roy, pour neuf ans. 40 fols. French lute tablature. O n fol. i v : excerpt from the royal privilege granting L e Roy and Ballard permission to print music for nine years, signed and dated: "Données à Fontainebleau. L e quatorziesme jour d'Aoust. L'an de grace Mil cinq cens cinquante & un. Et de nostre regne le cinqyesme. Signées Par le Roy en son conseil. Robillart." T h e same excerpt

2I V 22v 23 11

25 2ÓV 27 12

28 28v

13

29 29 v

14

3ov

31

appears in 15513, 15533, ΐ553β, 15544. a n d

1556g. L e R o y F is a modem edition of the entire volume, and includes concordances. See also HeartzSF, p. 385. All of the dances

24

15

3I V 3iv

Fantasie premiere1 Fantasie seconde2 Domine si tu es Maillard ( L e s L R B , art. 16, fol. 11) Dignare me laudare Maillard ( R I S M 15537, fol. 19) Preparate corda vestra domino Maillard ( R I S M 1553,, fol. 4) Helas mon dieu ton yre s'est tournee Maillard ( R I S M i553i9, fol. 6) Voulant honneur Sandrin ( R I S M i 5 4 5 i 2 , no. 8) Je n'ay point plus d'affection Claudin [de Sermisy] ( L e s A C , no. 14) = i563 1 2 , no. 79 N'ayant le souvenir ( R I S M Ι5542β, η ° · ι : Entraigues) N'ayant le souvenir plus diminuée Pavane sy je m'en vois (compare L e s L R B , art. 3, fol. 9: " L ' E n n u y qui me tourmente," Certon) La pavane precedente plus diminuée Gaillarde sy je m'en vois La gaillarde precedente plus diminuée Pavane est il conclud (compare L e R o y F , p. xix) La pavane precedente plus diminuée Gaillarde est il conclud La precedente gaillarde plus diminuée Gaillarde La precedente gaillarde plus diminuée Gaillarde La gaillarde precedente plus diminuée Gaillarde (compare 15369, no. 4d: "Saltarelo chiamato bel Fiore") La gaillarde precedente plus diminuée Almande L'almande precedente plus diminuée

I 5 5 I3 16

32 v 33

17 18 19

34 34v 35 35 v

20

36

Almande L'almande precedente plus diminuee Branle simple Le branle precedent plus diminué Branle gay Branle gay la ceinture que je porte Premier Branle de bourgongne —

privilege as in 15512· On fol. 24 v : diagram for tuning the guitar. For some dance concordances see HeartzSF, p. 392. All of the compositions are for solo four-course guitar. 1 Copies in: F : P m , G B : L b m . fol. 2 3V 4V

1 5 6 8 , , no. 154, and I57i no. 13: Maillard) = 15629, no. ι, and 15747, no. 13 28v Un jour [le temps] 30v Plus n'est mon bien 32v II ne se treuve en amytié (RISM 15483, no. 14: Sandrin) = 15629, no. 3, and 1574,, no. 16 35 Möns & vaulx ( R I S M 15483, no. 21: Sandrin) = 1562 g, no. 15, and 15747, no. 24 3ÔV Quel bien parler ( R I S M 154512, no. 9: Sandrin) 37v Voulant honneur ( R I S M 1 54512, no. 8: Sandrin) = 15629, no. 4, and 15747, no. 17 39v L'aveugle Dieu (JanT, no. 22: Janequin) 41 v Celle qui ha le coeur haultain 43 v Plus ne peut [mon coeur] estre = 15629, no. 13

1 Six volumes of lute music by Albert de Rippe were edited by Guillaume Morlaye, and published by Michel Fezandat: I (iS52 8 and ISS3 8 ); I I (iSS4e); I I I (1554,); IV (1554s); V (1SSS1); and V I (1558g). See 1562g for the series of volumes of music by De Rippe published by Le Roy and Ballard. 2 Facs. of fol. ι in E F I I I , 577. 3 Facs. of fols. 20 v and 21 in L i u M , p. 82, incorrectly dated 1554.

143

I 5 5 2ll [

1

S S 2]9

W E C K E R , H A N S JACOB Discant Lautenbuch vonn mancherley schönen u n d lieblichen stucken mitt zwey lauten zusamen zu schlagen. Basel, Ludwig Lück, 1552. This volume, now lost, must have existed, since the tenor book is known (see 155210).

9

23

10 II

27 28

12

29

13 14 15

30 33 34 ρ

16

?

[i5S2]n

Le forze de Ercule = 15623, no. 35 Der Bentzenawer dantz Der schwartz knab dantz = 15624, no. 60 Dantz = 15623, no. 36a: "Hofftantz" Hupff auff = 15623, no. 36b Paduana = 15623, no. 37 Les Buffons = 15623, no. 38 Ach Jupiter ( M o s L . n o . 38: Fulda) Was würt es doch des wunders noch Senil (SenflW IV, no. 26)

W E C K E R , H A N S JACOB ι 552χ! Tenor/Lautenbuch vonn mancherley schönen / u n d lieblichen stucken mit zweyen lauten zusamen zu schlagen, Italienische lieder, Pass'emezi, Saltarelli, Paduane. Weiter Frantzösische, Teütsche, / mit sampt / mancherley däntzen, durch Hans Jacob Wecker von Basel auffs aller fleissigest auff zwo lauten / züsamen gesetzt. Gedruckt zu Basel, durch Ludwig Lück, im M D L I I . Jar. German lute tablature. This volume, now lost, was in D : B d s (formerly in D : W E s ) . It contained 34 compositions. T h e dances listed below are cited in DieL, p. 1 1 5 , with concordances. Nos. 15 and 16 listed below are cited in R a L (nos. 19 and 403). T h e title is taken f r o m RaL, p. 289. Since nos. 15 and 16 also appear in 15623 (nos. 18 and 27) perhaps the later volume contains other Wecker intabulations. For a companion volume see [i552] 9 . All of the compositions were for two lutes.

ι 2 3 4 5 6 7 8

no. 5 6 7 10 12 13 14 18 19 20 21 22

Pass'emezo Cornuti II suo saltarello Padouana común Pass'emezo antiquo Gentil madonna, Padouana Santo Herculano, Padouana La traditora, Saltarello Pass'emezo = 15623, no. 32a II suo saltarello — 15623, no. 32b Pass'emezo = 15623, no. 33a II suo saltarello = 15623, no. 33b La gamba = 15623, no. 34

PHALÈSE, PIERRE,

PUBLISHER

HORTUS MUSARUM / IN QUO T A N Q U A M F L O S C U L I / quidam selectissimorum carminum collecti sunt ex optimis / quihusque autoribus. / Et primo ordine continentur αυτόματα, quae Fantasiae dicuntur. / Deinde cantica quatuor vocum. / Post, carmina graviora, quae Muteta appellantur, eaque quatuor, / quinqué, ac sex vocum. / D e m u m addita sunt carmina longe elegantissima duabus testudinibus / canenda, hactenus nunquam impressa. / C O L L E C T O R E / Petro Phalesio. / [Cut of ten performing musicians] / Concessum est Petro Phalesio Cae. Ma. privilegio ad triennium, ne quis hune librum imprimât, / aut alibi impressum divendat, sub poena vigintiquinque florenorum, / ut latius patet in literis illi concessis. / Signato à Philippo de Lens. / L O V A N I I / apud Petrum Phale/sium bibliopolam iuratum. / M . D . LII.1 56 fols. French lute tablature. On p. 2 : table of contents. Fol. A i = p. 3. On p. 112: cut of a lute and the colophon, " L O V A N I I Sub praelo Reyneri Velpii Diestensis, An. M . D. L I I . " For further information see QuittM and W o t q H M . Nos. 1-84 are for solo lute; nos. 85-105 are for two lutes. Copy in: B:Bc. 2 MUSIC FOR SOLO LUTE

ι

P· 3

Fantasia3 = 15475, no. 89: Valderrábano

155211 Fantasia = 15475, no. 90: Valderrábano Fantasia Rota = i 5 4 6 1 5 , no. 31 : Rotta Fantasia Simon Sentlerus = 15473, no. 5: Gintzler Conque la lavare = 15475, no. 43 : Valderrábano Fantasia Jo. Jacobi Albutti = 15369, no. 10: Albutio Fantasiai = 1546,,, no. 1 1 : Francesco da Milano Fantasia = 15369, no. 1 7 : Marco d'Aquila Fantasia = 15475, n o · i ° o : Valderrábano

26

Fantasia Simon Sentier = 15473» no. 4 : Gintzler Fan\tasia\ Francisci Medióla. = 1536 9, no. ι : Francesco da Milano Fantasia Pauli Baroni = 1546g, no. 10: Borrono Fantasia Simon Sentier = 15473, no. 3 : Gintzler Fantasia Rota = 1 5 4 6 ^ , no. 3 2 : Rotta Fantasia Simon Sentier = i 5473> no. 6: Gintzler Fantasia Rota = 1 5 4 6 ^ , no. 28: Rotta Fantasia Rota = 1546x5, no. 30: Rotta Soneto = 15475, no. 1 4 9 : Valderrábano Fantasia Pauli Baroni = !5369, no. 1 1 : Borrono Toute la nuyt Thomas Crequillon ( R I S M i57o 8 , p. 1 2 : "Toutes les nuycts") Quest il besoingne (Response) ( R I S M i57o 8 ) p. 1 3 ) Vivray je tout jour en telle peyne 5 Petit Jehan de Latre ( R I S M 155422. P· 2 1 ) = 156312. no. 39

32 33

Sans plourer (Response) ( R I S M 155422, P· 2 2 : Latre) = 156312, no. 40 Oncques amour me fut Thomas Crequillon Je prens en grez = 15479, no. ι : Clemens non Papa

27 28 29

30 31

34 35 36 37 38 39 40 41 42 43 44

45 46 47 48 49 50

Morir mi fault ( R I S M !57°8, P· 1 1 : "Response de Je prens en gre") 24 n o · Sandrin) = 15704, no. 9 Je cherche autant amour ( R I S M 154512, no. 2: Boyvin) = 15701, no. 10 Au temps heureux (SCMA V, no. 1: Arcadelt) = 15704, no. 11 Qui souhaitez3 (RISM 1 549 2o> n o · 1 : Sandrin) = 15704, no. 12 Un mesnagier vieillard recru d'ahan ( R I S M 154214, no. 22: Sohier) = 15701, no. 13 L'Alouette ( M M R F VII, 105 : Janequin) = 15704, no. 53 La guerre, faitte à plaisir 4 = 15704, no. 54

1

Mod. ed. in BrayF. The vocal models of the four psalms, nos. 7 and 9 - 1 1 , may probably be found in [Livre premier contenant XXXI. pseaulmes] (Paris, Attaingnant, 1546), of which only a defective superius is extant, and in Cinquante Pseaulmes . . . par M. Pierre Certon (Paris, Le Roy and Ballard, 1555), of which only the tenor is extant; see 15545, a n d PidP for further information. 3 In R I S M 1554^5, n 0 · IO> this chanson is attributed to De Bussy. 4 Pr. in the margin: "Veldt Schlacht Wieder loblicher Churfurst herzogk Johans Friderich Von sachsen Vor Mulberg gefangen ist Worden." 2

I 5 5 3i

MORLAYE, G U I L L A U M E L E / SECOND L I V R E D E / CHANSONS, G A I L L A R D E S , PADUANES, / Bransles, Almandes, Fantasies, reduictz en tabulature de Guiterne, / par Maistre Guillaume Morlaye joueur de Leut. / [Cut of a guitar lying on an open book] / A PARIS. / De l'imprimerie de Michel Fezandat, au mont sainct Hilaire en l'hostel d'Albret. / 1553. / Avec privilege du Roy, pour dix ans. 1 31 fols. French guitar tablature. On fol. 31 : excerpt from the royal privilege granting

149

1 5 53« Michel Fezandat permission for ten years to print music, signed "Signé par le Roy en son conseil, Et seelé du grand sel, en cire jaune. Coignet." T h e same excerpt appears in 15545. Preceding title page: manuscript table of contents. The foliation given here follows the manuscript foliation in the unique copy. Fol. a2 = fol. 1. For other volumes in the same series, see 15525, note 2. All of the compositions are for solo guitar. Copy in: C H : S G v . fol. I Fantasie 3V Fantasie 5V Robin (RISM 155O5, no. 12: Certon) 6V Regretz soucy & peine (RISM 4 154I13, P· 38: Janequin [?]) 5 7V Ce qui m'est deu & ordonné (RISM 154311, no. 18: Sandrin) 6 9 Au temps heureux (SCMA V, no. ι : Arcadelt) v 7 IO Je ne sfay pas comment (AttainCK I, no. 7) 8 II V Mais pourquoy (RISM I543n, no. 4: Sandrin) V Vous estes la personne (LesLRB, 9 I2 art. 3, no. 12: Certon) 10 13 Ma bouche rit (AttainCK III, no. 21: Duboys) Branle. Tin que tin tin (compare II H 15593, no. 11: "Tintelore") Tin que tin tin 12 H Pavanne 13 W I5V Gaillarde v H i6 v Paduanne Gaillarde i8 15 20 Gaillarde 16 21 Gaillarde 2IV Gaillarde 17 18 22 Gaillarde v 19 22 Gaillarde 20 23 Gaillarde 21 23v Gaillarde 22 24v Bransle 23 24v Bransle = 15492, no. 25: "Fantasia" 24 25 Bransle 25V Ce mesnte a corde avallée 25 25Vv Bransle 26 2Ó Bransle (compare 15513, no. 12: " Branle simple. N'aurez vous point de moy pitié") 6 + b.P.I.M. I 2 3

27 28 29 30 31 1 2 3

27v 28* 29 29v 3ov

Hornepipe d'Angleterre2 Villanesque Conteclare3 Conte clare Allemande

Facs. of title page in HeartzP, opp. p. 452. Mod. ed. in HeartzP, p. 465. Mod. ed. in HeartzP, p. 464.

I 5 S 3s ORTIZ, DIEGO DE DIEGO / ORTIZ / TOLLE/DANO / L I B R O / P R I M E R O / [Portrait of the author] / T R A T T A D O / de Glosas sobre / Clausulas y otros / generös de puntos / en la Musica de / Violones nueva/mente puestos / en luz. 1 62 fols. Mensural notation. T h e title is placed within an ornamental border. On fol. 2: printing privilege from Pope Julius III. Dedication on fol. zv headed "Al Illustriss. Senor Don Pedro D'Urries Comendador de Santyago Señor d'Ayerbe y Baron de Riesi, &c. Diego Ortiz Toledano," and dated " D e Ñapóles. X. de Diziembre. Ι 553·" Ο η f°l· 3 : preface headed " A Los Lectores." Colophon on fol. Ó2V: printer's mark with the motto "Nulla est via invia virtuti," followed by the legend " E n Roma por Valerio Dorico, y Luis su hermano a χ. de Dezemb. 1553." This volume is divided into two books. Book I is designed for the performer of consort music for viols; it presents systematically various ways of ornamenting cadences and of filling in ascending and descending intervals from a second to a fifth.2 Book II presents several different kinds of compositions for one viol and keyboard ("címbalo"). 3 On fol. 3, after the preface: a note headed " E l modo que se ha de tener para glosar," explaining that each individual player must choose his ornaments according to his ability. On fol. 3V: a note headed " M o d o de glosar sobre el Libro," explaining several ways of ornamenting a given part. On fol. 4: a note headed "Regla de como se ha de glosar una boz para tañer, o cantar," explaining how to use this volume in order to ornament a given composition. On fol. 4V: table of

1 553s

15°

contents for Book I. On fol. 25 : title page of Book II within the same ornamental border as the first title page: " D E D I E G O / ORTIZ / TOLEDANO / LIBRO S E G U N D O . " On fol. 2SV: table of contents for Book II. On fol. 26: a note headed "Declaration! de las maneras que ay de tañer el Violon y el Címbalo," explaining various ways to play the viol with a keyboard instrument, followed by a note headed " E l Orden que se ha de tener en templar el Violon con el Cymbalo," explaining how to tune a viol to a keyboard instrument. Ortiz gives three ways for a viol player to perform with a keyboard player (fol. 26: " l a primera es fantasia la segunda sobre canto llano la tercera sobre compostura"). The first way is to play fantasias, that is, for both players to improvise. Ortiz gives no examples of this technique. On fol. 30: a note headed " D e la seconda manera de tañer el Violon con el Cymbalo que es sobre canto llano," explaining the second way : the viol plays over a cantus firmus. On fol. 35: a note headed " L a tercera manera de tañer el Violon con el Cymbalo que es sobre cosas compuestas," explaining the third way: the viol player adds an ornamented line to a polyphonic composition. Following fol. 47 are further examples of the second way of playing (over a cantus firmus). OrtizT is a modern edition (partly in facsimile) of the entire volume. In the inventory below page numbers for Book I I are taken from OrtizT. Contents = 1553 e· Copy in: D : B d s - T ü . Book I : Method of adding diminutions to a given part for viol players fol. 5 20v

Examples of ornamented cadences Examples of filled-in intervals (ascending and descending seconds to fifths)

Book I I : Compositions for viol and keyboard R I C E R C A R E S FOR SOLO V I O L

ι 2

P· 52 S3

Recercada primera Recercada segunda1

3 4

54 55

Recercada tercera Recercada quarta

R I C E R C A R E S F O R V I O L A N D K E Y B O A R D ON " L A S P A G N A " (COMPARE [ I 4 8 ? ] 1 ( NO.

5 6 7 8 9 10

56 57 59 62 65 67

Recercada Recercada Recercada Recercada Recercada Recercada

RICERCARES

FOR

VIOL

JACQUES ARCADELT S II

69

12

73

13

76

14

79

15

83

AND

FOR

VIOL

AND

PIERRE SANDRINE "DOULCE 86

17

90

18

94

19

98

20

103

RICERCARES

KEYBOARD

0 F E L I C I OCCHI

ON

MIEI

[Original version a 4]7 Recercada primera sobre O felici occhi miei7 Recercada segunda sobre el mismo madrigal ' Recercada tercera sobre el mismo madrigal Recercada quarta que es quinta boz sobre el mismo madrigal

RICERCARES

16

10)

primera5 segunda6 tercera quarta quinta sesta

KEYBOARD

ON

MEMOIRE"8

[Original version a 4] Recercada prima sobre Doulce memoire Recercada segonda sobre la misma canción9 Recercada tercera sobre la misma canción Recercada quarta que es una quinta boz sobre la misma canción FOR

VIOL

AND

KEYBOARD

ON

VARIOUS G R O U N D S 1 0

21

107

22

no

23

113

24 25

117 120

26 27

124 126

28 29

130 134

Recercada primera11 ( = passamezzo antico) Recercada segunda1* ( = passamezzo moderno) Recercada tercera ( = passamezzo moderno) Recercada quarta13 ( = folia) Recercada quinta14, ( = passamezzo antico) Recercada sesta (— romanesca) Recercada settima ( = romanesca) Recercada ottava ( = folia) Quinta pars15 ( = Ruggiero)

1 5 5 3a 1

Facs. of title page in KinsP, p. 145, and M G G X , col. 422. 2 Some of these examples are repr. in K u V , p. 92. 3 The viol parts are notated mostly in the bass clef, although there are several examples using treble or tenor clefs. 4 Mod. ed. in EinZ, no. ib. 5 Mod. ed. in E C , pt. I, vol. IV, p. 1966. The beginnings of nos. 5 - 1 0 are printed, one above the other, in BukMR, p. 208, and the recercadas are discussed there, pp. 207-209. 6 Beginning pr. in SchneidA, p. 47. 7 The vocal model and the first two ricercares are repr. in K u V , p. 94. The first ricercare is repr. in R o y M , p. 40. 8 All four ricercares on "Doulce memoire" are repr. in FerandIM, no. 1 1 , along with the chanson

The colophon of 15603 reads: "Stampato in Lione per Giovan Pullon de Trino, à l'instantia di M . Giovan Paulo Paladino, l'Anno 1 5 5 3 . " Evidently Gorlier reissued the volume in 1560 simply by adding a new title page. See 15603 for contents; all of the compositions are for solo lute, in Italian lute tablature.

a 4.

PREMIER LIVRE DE / TABULAT U R E D E L E U T , / contenant plusieurs Chansons & Fantasies, / Composées par feu messire Albert de Rippe de Mantoue, Seigneur du Carois, / joueur de Leut, & varlet de chambre du Roy nostre sire. / [Printer's mark with motto " N E L A MORT, NE L E V E N I M " ] / A PARIS, / De l'imprimerie de Michel Fezandat, au mont sainct Hilaire, a l'hostel d'Albret. / Et en la rue de Bievre, en la maison de maistre Guillaume Morlaye. / 1553. / Avec privilege du Roy pour dix ans.

9

Mod. ed. in OrtizR. Nos. 20-26 and 28 have a written-out chordal keyboard accompaniment. The identification of the Italian tenors was made with the help of the table in R e M R , p. 524; almost all of the Ortiz basses differ in details from the prototypes listed by Reese. See also BukMB, p. 41 ; G o m F ; and ReR. 11 Mod. ed. in SchneidA, p. 1 1 0 . 12 Mod. ed. in E C , pt. I, vol. IV, p. 1967. Partial transcription in S u b H M E , p. 220. 13 Mod. ed. in FischV, no. 4. 14 Mod. ed. in BarthaZ, no. 52. 15 Mod. ed. in SchneidA, p. 1 1 3 . 10

I 5 5 3β ORTIZ, DIEGO E L PRIMO / LIBRO / DE DIEGO / O R T I Z / T O L L E / T A N O / [Portrait of the author] / Nel quai si tratta / delle Glose sopra / le Cadenze & al/tre sorte de punti / in la Musica del / Violone novamen/te posti in luce. 1 62 fols. Mensural notation. Contents = 1553s, except that here all of the prefatory material and textual commentary has been translated into Italian. Copy in: E : M n . 1

Facs. of title page in SubM, pl. I I I .

[ISS3]7 PALADIN, JEAN PAUL Premier livre de tablature de luth de M . Jean Paule Paladin.

ΐ 5 5 3β RIPPE, A L B E R T D E

48 fols. French lute tablature. Contents = I552 8 . The two volumes are identical except for the date on the title page. For other volumes in the same series, see i552 8 , note 1. All of the compositions are for solo lute. Copy in: Β ¡ B r . 1 1

A copy was in F : V E .

15539 RIPPE, A L B E R T DE QUART LIVRE DE TABU/LATURE D E L U T H , C O N T E N A N T / plusieurs Fantasies, Chansons, & Pavanes: / Composées par feu Maistre Albert de Rippe de Mantoue, Seigneur du Carois, / joueur de Luth, & varlet de chambre du Roy nostre sire. / [Table of contents] / A P A R I S . / De l'imprimerie, d'Adrian le Roy, & Robert Balard, Imprimeurs du Roy, rue / saint Jean de Beauvaus, à l'enseigne sainte Genevieve. / 4. Novembre. / 1553. / Avec privilege du Roy, pour neuf ans.

1 5 53»

152

24 fols. French lute tablature. On fol. i v : printer's mark. On fol. 24: diagrams for "Accordz au c o m m u n " and for "Accordz à corde avalée" (lute in normal tuning and scordatura). On fol. 24 v : the same excerpt f r o m the printer's privilege as in 15512. BuggR contains a modern edition of the entire collection. SlimK II, 563, contains a thematic index of the ricercares. For other volumes in the same series, see 15625, note 1. All of the compositions are for solo lute. Copies in: B : B r , D : M b s , D : R O u .

I 2 3 4 5 6

7 8 9 10

fol. 2 Fantasie = 1574,, no. 4 (compare 15381, no. 1) 5 Fantasie = 15369, no. 16: Francesco da Milano 8 Fantasie — 15747, no. 5 IOv Fantasie = 15747, no. 6 I3 T Fantasie i5 v Quando pens'io el mártir ( R I S M 15419, p. 54: Arcadelt) = ΐ 5 7 ΐ β , no. 144 (LesLRB, art. 17, ι 8 Elle voyant fol. 14: Certon) I9V Pavane La romanesque = 15747. no. 55 22 Pavane, Est il conclud 23 Pavane, J'ay du mal tant tant (compare LesAC, no. 18: " J ' a y le rebours," Certon)

16 fols. Superius in mensural notation, and lute accompaniment in French lute tablature. On fol. A i v : table of contents. T h e compositions identified by the superior lettera ( a ) are reprinted in LauC, pp. 52-131. For further information see W o t q H M . All of the compositions except no. 24b are for solo voice and lute. Copy in: Β ¡Be. 1

ι

fol. A2

2

Az v

3

A3

4

Ä3V

5

A4

6

A4 v

7

Βι

8

Biv

9

Β2

10

B2 v

11

Β3

12

B3 v

13

Β4

14

B4 v

15

Ci

16

Civ

17

C2

18

C2V

19

C3

( R I S M 155520, n o . 17)

ι S 5 3io PHALÈSE, PIERRE,

PUBLISHER

HORTI MUSARUM SE/CUNDA PARS, C O N T I N E N S S E L E C T I S S I M A / QUAEDAM AC IUCUNDISSIMA CARMINA / T E S T U D I N E S I M U L E T V O C E H U M A N A , V E L / alterius instrumenti Musici admmiculo modulanda. / Iam recens collecta & impressa. / A D L E C T O R E M . / Praefiximus unicuique carmini literam nervuque / secundum cuius in Testudine tonum, seu soni in/tentionem, erit prima nota partis canende, id te / ignorare nolebam lector candide, Vale. / [Cut of ten performing musicians] / L O V A N I I . / Apud Petrum Phalesium bibliopolam iuratum. / Anno. M . D. L I I I . / Cum gratia & Privilegio. C.M.

Cessez mes yeulx? Crequillon ( R I S M i558 1 0 , no. 1) En esperan? Cauleray Quand me souvienta 2 Crequillon ( R I S M 155810, no. 17) Ung triste coeur (Response)* Crequillon ( R I S M 1558m, no. 1 8 ) Or puis quii est3 3 Clemens non Papa (ClemensO X, 173) Misericordea 4 Clemens non Papa (ClemensO X, 140) Cesses mon yeul3 Rogier [Pathie] ( R I S M i 5 5 8 1 0 , no. 23) Cest α grant tort3 Crequillon ( R I S M i558 1 0 , no. 24) Venes mes serfs3 Clemens non Papa (ClemensO X, 149) Puis que voulez3 Clemens non Papa (ClemensO X, 152) Puis que malheura Crequillon ( R I S M 1 5 5 5 2 1 , no. 1 0 ) Lardant amourΛ Crequillon ( R I S M 1 5 5 5 2 1 , no. 22) Si purte guardo Rogier [Pathie] ( R I S M i57o s , p. 46) A vous en est3 Crequillon ( R I S M 1555 20, no. 1) Je suis ayme de la plus belle3 5 Crequillon ( R I S M I545 1 4 , fol. 3) Je ne desire que la mort3 Chastelain ( R I S M 1 5 5 3 2 4 , fol. 8) Le bon espoir3 Josquin bastón ( R I S M 155324, fol. 9) Aymer est ma vie3* Clemens non Papa ( R I S M 155324, fol. 3 ) Le souvenir que jay de ma maistresse3

153

1 5543 20

C3V

21

C4

V

22

C4

23

Div

24

D2 v Ö3V D4 v D4 v

Plaisir nay plusa Crequillon ( R I S M [i543]i6. fol. 9: anon.) Incessament mon povre cueur lamentea ( R I S M 15722, fol. 52 v : D e La Rue) In te domine speravi = 15475, no. 53 : L u p u s Stabat mater (JosqMT, no. 36: Josquin) 2a pars Eya mater Benedicta es celorum Regina ( J o s q M T , no. 46: Josquin) 2a pars Per illud ave [for solo lute] 3a pars Nunc mater

reprinted in L e f L . All of the compositions are for solo lute. Copies i n : A : W n , U S : W c . 1

ι 2 3

4 7 5 7V 6 7

1

A copy was in F : D U (see CouN, p. 162). Mod. ed. in BruS III, no. ιοί ; QuittM, p. 280, and ScherG, no. 1 1 8 . 3 Mod. ed. in QuittM, p. 283. 4 Mod. ed. in W o t q H M , opp. p. 70. 5 Facs. of fol. C i in CoUaerAH, p. 66. 6 Mod. ed. in NoskeS, p. 20. 2

1553

fol. 2 3 4 6

8 9 10 11

8V 10 I2V 16 16 17 18 i9v

Padoana [prima] Saltarelo primo 7/ sgazotto Non ti partir da me2 (compare AzzaiV, no. 12: " T i parti, cor mio caro," Filippo Azzaiolo) La meza gamba 3 La Favorita ( = romanesca) (15681, no. 6) La Rocha il Fuso La moretta Repr[e]se Tocata Padoana [seconda] Saltarello secondo La Gamba Ciel turchino

1 T h e Washington copy was in the Landau-Finaly library in Florence (see HillM, pp. 1 4 - 1 6 ) . 2 Mod. ed. in M o e D M , p. 335. 3 Mod. ed. in M o e D M , p. 345.

DOUBTFUL WORKS ι . M G G IV, col. 561, erroneously dates H a n s Gerle, Tabulatur auff die Laudten, I 553· T h e volume is listed in this bibliography as 1533!.

15541 BALLETTI,

BERNARDINO

INTABOLATURA / DE LAUTO / DI B E R N A R D I N O B A L L E T T I / Di varie sorte de Balli Novamente data in Luce. / L I B R O [Printer's mark] P R I M O / In Venetia Apresso di / Antonio Gardane. /

1 5 542 BIANCHINI,

DOMINICO

INTABOLATURA / DE LAUTO / DI DOMINICO BIANCHINI / Ditto Rossetto Di Recercari Mottetti Madrigali Canzon Francese Napolitane / Et Balli Novamente Ristampati. / L I B R O [Printer's mark] P R I M O / In Venetia Apresso di / Antonio Gardane. / 1554. 20 fols. Italian lute tablature. On fol. E4V : table of contents. Contents = 15465. All of the compositions are for solo lute. Copies in: A : W n , F : P n , F : P t h i b a u l t .

1554 20 fols. Italian lute tablature. Dedication on fol. i v headed "All'Illustre Signore II Conte Honorio Scotto," and signed " D i Piacenza alii 24 di Decembrio 1554 D i V. S. servidor Bernardino Balletti." O n fol. 20 v : table of contents. M o e D M contains a thematic index of the volume (p. 396) and concordances (p. 255). T h e entire volume is

15543 FUENLLANA, MIGUEL DE [The royal coat of arms of Spain] / L I B R O D E M U S I C A PARA / Vihuela, intitulado Orphenica lyra. E n el / quai se

154

ι 554s

contienen muchas y diversas obras. / Compuesto por Miguel de Fuenllana. / Dirigido al muy alto y muy poderoso se/ñor don Philippe principe de España, / Rey de Ynglaterra, de Ñapóles &c. nuestro señor. / C O N P R I V I L L E G I O REAL. / I S54 / Tassado en veynte y ocho reales. 1 i o + 175 fols. T h e title is placed within an ornamental border. Italian lute tablature, Italian guitar tablature, and mensural notation. On fol. *2 : royal printing privilege signed " F e c h a en Valladolid a onze de Agosto de mil y quinientos y cincuenta y tres años. Yo el principe. Por mandado de su alteza, Juan Vazquez." On fol. *2V: dedication " A l Muy Alto Y M u y Poderoso señor don Philippe principe de España, Rey de Inglaterra, y de Ñapóles. &c. Nuestro señor." On fols. *3~*4: preface headed "Prologo al lector." On fols. *4 v -*8: an introduction to the volume headed " Siguense los avisos y documentos que en este libro se contienen," including an explanation of the organization and contents of the volume, and of the tablature used. T h e headings of the various parts of this introduction follow : " D e l orden y fantasias que en este libro se ponen." *5V " D e los redobles." # 6 " D e l tañer con limpieza." *6V " D e los tonos." *7 " A l lector." On fols. *8 v -*9 v : table of contents for the entire volume. On fols. * i o - * i o v : five poems, the first in Spanish, the others in Latin, headed "Sonetto de Benedito Arias Montano," " M a r t i n i a Montesdoca carmen in laudem Michaelis a Fuenllana artis musicae, & lyrae peritissimi, qui Divinam potius, quam Orphaeam condidit lyram," "Aliud eiusdem ad músicos," "Joannis Chirosii prasbyteris Carmen," and "Joannis çumetae patricii Hispalensis. C a r m e n . " 2 Fol. * i i = fol. ι. T h e volume is divided into six books, each of which has its own title page, reproduced below. Colophon on fol. i75 v : printer's mark with the initials " . M . .D. .M.," followed by " F u e impresso en Sevilla, en casa de Martin de Montesdoca. Acabóse a dos dias del mes de Octubre de mill y quinientos y cincuenta y quatro años."

T h e compositions identified by superior letters are reprinted as follows : ( a ) in BalR, pp. 16-37; C) in M o r L II, 196-225; (c) in PedC II, 132-190; (") in PedCP I I I , 148-181. For a possible later edition of this volume see 15643. For further information see A n g M F , BalF, and RieMF. T h e compositions marked with an asterisk are for solo voice (notated either in mensural notation or in red ciphers in the tablature) and vihuela. Nos. 151-158 are for fivecourse vihuela. Nos. 159-167 are for fourcourse guitar. All of the other compositions are for solo six-course vihuela. Copies in: A : I u , A : W n , D : W I , E : B d , E : E , E : M n (four copies in various states), 3 F:Pc, F:Pn, GB:Lbm, US:Cn, US:Wc.4 fol.

fol. *5

6

3

7

3V

8

4

9 10

4 5

II

5V

12

6

13

7

14

7V

Pieni sunt celi. Duo de la missa de Hercules Josquin (JosqMS, no. 7 : Missa Hercules Dux Ferrariae) Benedictas. Duo de la missa pange lingua Josquin (JosqMS, no. 18: Missa Pange Lingua) Suscepit Israel Duo. Morales ( P : C , M S M . M . 9, fol. i20 v ) Si amores me han de matarc 5 D u o de flecha (MitU, no. 51) Duo contrapunto del author sobre el tiple deste villancico Fuenllana Suscepit Israel Duo de Guerrero Fecit potentiam D u o de Francisco Guerrero Fecit potentiam6 D u o de Josquin Duo de Fuenllana7 Fecit potentiam D u o de Morales (MoralesO IV, 43) Et ascendit in celum de la Missa Benedicta es coelorum regina* Morales a 3 (MoralesO I I I , 15) Fantasia del author 8 Fuenllana a 3 Benedictus de la missa de gaude barbara* Morales a3 (MoralesMS II [1551]) Fantasia del author Fuenllana a3

1 5 5 4a V

15

8

Et resurr exit de la missa de lomme arme* Morales a 3

16

9

Fantasia del author9

17

10

18

io v

Fantasia del author

19

ι iv

Agnus dei de la missa de ave maria* Morales a 3

20

12

Fantasia del author a3 Deposuit* Morales

(MoralesMS II [1551]) Fuenllana

a3

Crucifixus de la missa tu es vas electionis*10 Morales a 3

(MoralesMS II [1551])

13

Fuenllana

I4V I5 V

24

17

Fuenllana

a3

Fantasia del author a3

Fuenllana

Inter natos mulierum*

34

3iv

35

32 v

Fantasia del author Fuenllana 04 D O regem coeli* Andres de

33v

D

a4 D

Morales II, 69)

Fuenllana

(MoralesO

silva a 4 F (RISM 153210, no. 1) 2a pars Salvator qui est Christus ( R I S M 153210: "Natus est nobis")

Fantasia del author Fuenllana 04 F Ave maria* Adrian villar.

36

34

37

35

38

36

Fantasia del author remedando esta ave maria Fuenllana

39

37

Super flumina babilonis*

a 4 D (WillO II, 14: 2a pars of "Pater noster")

04

D

Gombert no. 118)

a4 D

(HAM,

39

Fantasia del author

41

40v

Benedictus de la missa de Lome arme* Morales a 4

42

4iv

43

42

Fantasia del author Fuenllana 04 F Ave sanctissima Maria*

44

44

Fantasia del author

Fuenllana

45

45

O quam pulchra es*

Gombert

46

4ÓV

(RISM 1532 11, no. o : "Letetur omne seculum")

47

47 v

04

48

48 v 49 v

Hodierna lux*

Lupus

[Hellinck] a 4 (RI S M 155310, fol-3) D »

2a pars Ave domina coelurum Fantasia del author Fuenllana

a4

D

Lirithier 04 (RISM 153210, no. 21: anon.)

27

23

2a pars Benefac domine Fantasia del author Fuenllana 04 D Letentur omnes* L u p u s a 4

28

24 24v

2a pars Hec maria fuit Fantasia del author Fuenllana

25v

a4

40

20 2IV

31

3ov

(MoralesO IV, 4)

26

30

33

D

Gascon [Mathieu Gascongne?] a 4 F

2ÓV Fantasia del author Fuenllana 04 F 27v Parce domine* Gombert a 4 D (GombertO V, 6: 2a pars of "Miserere pie Jesu")

D

Fuenllana

(MoralesMS II [1551])

Gombert a 4 F (GombertO V, 77)

a4

D

a4 F

(GombertO V, 73)

Fantasia del author Fuenllana 04 F Sancta et inmaculata*

Morales a 4 F MoralesO II, 17) 2a pars Benedicta tu

Fantasia del author 0.4

13

Cum appropinquasset*

a4 F

Qui confidunt in domino*

25

29

Fantasia del author

a3

ORPHENICA LYRA / LIBRO SEGUNDO, / en que se ponen motetes a / quatro, de famosos autho/res. Assi mismo, fantasias a / quatro de el author, por / el orden ya dicho. / Labor omnia vincit. (fol. 14) 23

29

11

(MoralesO III, 61)

13

32

F

49

50

Domine pater*

50

5iv

Fantasia del author

51

52 v

52

54

a4 F

04

Fuenllana

Gombert

(GombertO V, 1)

F

Sánete Alfonse*

Fuenllana

Gombert

a 4 F (GombertMT II [1541], no. 8)

Fantasia del author14

Fuenllana

04

F

I 5 543 53

55

54

55v

55

57

56

58

Benedictus de la missa Benedicta es coelorum regina* Morales a 4 D (MoralesO I H , 24) Fantasia del author Fuenllana 04 F Veni domine* Morales a 4 D Fantasia del author va remedado a este motete Fuenllana a 4

L I B R O T E R C E R O . / En el quai se contienen mote/tes a cinco y seys bozes / de muy excellen/tes authores. / [Woodcut] / Laudate Deum in cithara: / laudate D e u m chordis, & organo, (fol. 59) 57 58 59 60 61 62 63 64 65 66

67 68 69

70

Aspice domine* Jaquet [da Mantua] a 5 D (MonteO X X V I , app.) 6i v Si bona suscepimus* Verdelot a 5 D (MoralesO I, 274: Verdelot) 63 Verbum inicuum* Morales a 5 D (MoralesO II, 122) 64 Lamentabatur Jacob* Morales a 5 D (MoralesO II, 102) 65" Lauda syon* Gombert a 5 F 67 Virgo Maria* Morales a 5 D 68v 2a pars Virgo Maria 70 O beata Maria* Gombert α5 D ( R I S M 15383, fol. 18) 71 Germinavit radix Jesse* Gombert a 5 D 72 O felix Anna* Gombert a 5 F ( G o m b e r t M T II a 5 [1541], no. 15) 73v Credo [de la missa\ de beata virgine* Josquin a 5 D (JosqMS, no. 16) 76 Crucifixus (ibid.) 77 Lamentación* Morales a 5 8 i v Jubilate deo* Morales a6 D (MoralesO II, 184) 82 v 2a pars O felix etas 83 v Agnus dei de la missa de si bona suscepimus* Jaquet a6 (I:Rvat, Cappella Sistina M S 13, fol. 79v) 85 Benedicta es coelorum regina* Josquin a 6 D (JosqMT, no. 46) 59 v

71

86v

72

88

Manus tue domine* Morales α6 ( E : E , M S Plut. S3, fol. 73) Preter rerum* Josquin a 6 D (JosqMT, no. 33)

L I B R O Q U A R T O / en el quai se ponen algunas / partes de Missas, Hym/nos, Fantasias, Favor/dones con otras / obras compue/stas. / Delphinas mulsit vocalis Arion in undis. / Hec Orphea chelys pectora nostra rapit. 1 5 (fol. 89*) 73

90

74

91

75

9i v

92 92v 76

93 93 93v

77

94

78

94 v

79

95 v

80

96

81

9ÓV

82 83 84 85 86 87 88

98 v 99 99 v ioo v ioiv 102 i02 v

Qui tollis peccata. Segunda parte de la gloria de [la missa de] la solfa re mi* Josquin a 4 F (JosqMS, no. 2) Agnus dei de la missa Lomme Arme* Morales a 4 D (MoralesMS I I [1551]) Et in terra. Primera parte de la gloria de la missa de Faysan regres* Josquin a 4 D (JosqMS, no. 13) Primero kyrie de la missa de Faisan regres Josquin a 4 D Postrero kyrie de la missa de Faysan regres Josquin 0 4 F Primero kyrie de la missa de la sol fa re mi* Josquin a 4 D (JosqMS, no. 2) Christe de la missa de la solfa re mi Josquin a 4 F Postrero kyrie [de la misma missa] Josquin a 4 F Pange lingua* Guerrero a 4 D Pange lingua* Guerrero a 3 F Sacris solemniis* Guerrero a3 F Sacris solenniis. Una boz de contrapunto sobre el canto llano* Fuenllana Pater noster* [Francisco] Guerrero a 4 D (GuerrM, no. 1) Fantasia Fuenllana D Fantasia16 Fuenllana D Fantasia Fuenllana D Fantasia Fuenllana F Fantasia Fuenllana F Fantasia17 Fuenllana F Fantasia Fuenllana F

I 5543 89 90 91 92

103 i03 v io4v 105

93 94 95

106 io6 v io7 v

96

108

97

io8 v

98

109

99

109

100

io9 v

101

i09

v

102

110

103

IIOV

104

in

105

in

Fantasia Fuenllana F Fantasia Fuenllana F Fantasia Fuenllana Fantasia sobre un passo forçado ut re mi fa sol la18 Fuenllana D Fantasia Fantasia Fuenllana D Ave maris stella* Fuenllana 04 D Benedictus de la missa de Mila regres* Morales a 3 (MoralesO I, 266) Donec pottam inimicos tuos. Los ochos tonos en fabordon. Primero tono* Francisco Guerrero a 4 Donec ponam. Segundo tono* Guerrero a 4 Donec ponam. Tercero tono* Guerrero a 4 Donec ponam. Quarto tono* Guerrero a 4 Donec ponam. Quinto tono* Guerrero a 4 Donec ponam. Sexto tono* Guerrero 0 4 Sicut erat in principio. Este verso es a cinco* Guerrero Magna opera domine. Setimo tono* Guerrero a 4 Quoniam confortavit. Octavo tono* Guerrero a 4

ORPHENICA LYRA / LIBRO Q U I N T O / e n el quai se contienen estram/botes a cinco y a quatro. / Sonetos y Madrigales, en lengua Ca/stellana: villancicos a tres y a / quatro. Villanescas: y Ro/mances viejos, (fol. 11 i v ) 106

112

112 107

108

6*

113

114

Come havro dunque* Verdeloth Strambote a 5 D ( R I S M i S 4 2 i e , p. 16: Denis Brumen) 2a pars Deh deh vi faise sin notta Se le interna mia* Archadelt Strambote a 5 ( R I S M T 54 2 ie> P- 17: Arnoldo [de Bruck?]) Amor far me* Strambote a 5 Con. Festa ( R I S M p. 23: " A m o r ben puoi tu h o r m a i " )

157 v

109

ii4

110

116

m

ii6v

112

II7 V

113

118

II8V

114

119

115

ii9v

ιι6

ΐ2θν

117

121

118

121 v

119

122 122v

120

i23 v

121

i24 v i25 v

122

126

123

127

124

128

125

I28 v

126

i29 v 130

Signora Julia* Verdelot Strambote α 5 D (RISM ΐ542ιβ, ρ. 13: Jean Conseil) Madonna per voi ardo* L a u r u s Strambote a 4 D (ScherG, no. 98: Verdelot) Liete madonne* L a u r u s Strambote 0 4 D (RI S M i537io. no. 1: Verdelot) Quanto sia liet'il giorno* Verdeloth Strambote a 5 D ( R I S M 1537», no. 27) Tan que vivray*19 Strambote a 4 F (AttainCK I I , no. 10: Sermisy) Glosa sobre la misma canción O sto potessi dona* Archadelt Strambote 0 4 F ( R I S M i 5 4 i 9 , Ρ· 1 9'· Berchem) Bella fioretta* Archadelt Strambote a 4 F ( R I S M 154I9, Ρ· 45) O felici occhi miei* Archadelt Strambote a 4 ( C W V, 19) II bianco e dolce cigno* Archadelt Strambote a 4 D ( B u H I I , 244) Occhi miei lassi* Archadelt Strambote 0 4 F ( R I S M 15419, p. 8) 2a pars Morte può chiuder O io mi pensai* Arcadelt Strambote 0 4 D (RISM 15419, p. 46: " I o mi p e n s a i " ) O mas dura que marmol*b Pedro Guerrero Soneto a 4 F ( M M E V I I I , 112) 2a pars Tu dulce habla Quien podra creer* Pedro Guerrero Soneto a 3 F Passando el mar leandro* Pedro Guerrero Soneto a 4 D ( M M E IX, 96: anon.) Por do començare mi triste* Pedro Guerrero Soneto 0 4 F ( M M E V i l i , 100) Dun spiritu triste* Pedro Guerrero Soneto a 4 F Amor es voluntad* Pedro Guerrero Soneto 0 4 F Mi coraçon fatigado* Pedro G u e r r e r o Madrigal a 4 F 2a pars Agora cobrando acuerdo

1

15« 127

131

128

131

5 5 43

Oyme oyme dolente* Villanesca a3 (CW V i l i , 11: Nola) Quando ti vegio* Villanesca

146

145

147

145

a3

129

i3iv

130

132

131

133

132

I33 v

J

33

134

134

i34 v

135

i35v

136

136

137

137

138

138

139

i38 v

140

i39 v

141

140

142

i4iv

143

142

144

143

145

144

Madona mia la vostra* Villanesca a 3 (Vogel: Fontana [1545], no. 15: Vincenzo Fontana) Como quereys madre*aìx ΐ593β· Nos. ι and 2 are fully texted ; the other compositions are for instrumental ensemble a 3. Copies i n : D : Mbs, E:Mmc (T), I : Msartori (SB), I : P u (Β).

I 5 5 9 D. w . auttori. / [Printer's mark] / In Venegia, Appresso Girolamo Scotto. 1560.

1559 DOUBTFUL

WORKS

I. DraudiusBC, p. 1651, dates a volume of lute music by Valentin Bakfark 1559. Draudius probably refers to 1569!.

T w o part books in mensural notation, each of 20 fols. Contents = 1559«. All of the compositions are for instrumental ensemble α 2. Copy in : I : Be.

[1 55 ?]1

15603

VILA, PEDRO ALBERCH P A L A D I N , JEAN P A U L Tentos Doctor.

de

Organo.

De

Petro

Villa

This volume, now lost, was in the library of King John I V of Portugal; see VasJ, p. n o , no. 443. For further information on the composer see R e M R , p. 615.

[1560]! GORLIER,

SIMON

Premier Livre de Tabulature d'Espinette, contenant Motets, Fantasies, Chansons, Madrigales & Gaillardes. Lyon, Simon Gorlier. This volume, now lost, is listed in Du Verdier III, 473. A copy of this work was once in the library of Raimund Fugger the Younger (see SchaalM, art. 113: " L i v r e de Tabalature d'Espinette, Contenant, M u tettor., Fantasies, Chansons, Madrigales et Gaillardes Imprimes, a, Lion A 1560."). See also M G G V , col. 533.

PREMIER / LIVRE DE T A B L A T U R E DE / L U T H DE M. JEAN PAULE P A L A D I N , / contenant Fantasies, Motetz, Madrigales, Chansons / Françoises, Pavanes & Gaillardes: avec une brié/ve instruction de la Tablature dudit instru/ment, de nouveau adjoutee. / A L Y O N , / De l'Imprimerie de Simon Gorlier. / Avec Privilege / du Roy pour dix ans. / 1560. 4 + 40 fols. Italian lute tablature. Colophon on fol. 40": "Stampato in Lione per Giovan Pullon de Trino, à l'instantia di M . Giovan Paulo Paladino, l'Anno 1553" (see E1553]7)· On fol. * i v : excerpt from the royal privilege granting Simon Gorlier permission to print music and books on music for ten years, signed and dated " à Paris le dixseptieme jour de Fevrier, 1557. P A R L E R O Y . Moyen. L e Seigneur de Royssy maistre des requestes ordinaire de l'hostel, present." On fol. *2 : instructions for reading lute tablature headed " Instruction de la tablature de luth." On fol. *4 V : table of contents. Fol. *s = fol. 1. M o e D M contains a thematic index of the dances (p. 399) and concordances for them (p. 255). For further information see LesP. All of the compositions are for solo lute. Copies in: A : W n , C H : Z z .

15603 LUPACCHINO, BERNARDINO, A N D JOAN MARIA T A S S O DI BERNARDINO LUPACCHINO / E T DI JOAN MARIA TASSO, / IL PRIMO LIBRO / A DUE VOCI. / Novamente con ogni diligentia ristampato, & da molti errori emendato. / Aggiontovi ancora alcuni canti a Due voci de diversi

ι

fol. ι

2

2V

3

4

4 5

6 7

Fantasia = 1563x2, no. 17; 1568,, no. 9; 15715, no. 10 Fantasia = 15585, no. 2: Morlaye Fantasia = 1568,, no. 6, and I 57 I e> no. 23 Fantasia = 1563 12» ΠΟ. 15 Fantasia = 1563 12> no. 13

15604 6 7

8V 10

8

iiv

9

I2V

10 11

13 I4V

12 13

16 I7V

14

i8 v

15

20

16

21

17

22

18

23

19

24

20

25

21

26*

22 23

27v 30

24 25

3i v 33v 35 36" 37v 38 39v

26 27 28 1

Fantasia senza canto Madrigal primo. Qual anim' ignorante ( R I S M 154317, p. 3: Nollet) = 156312. no. 73, and 15687, no. 102 Anchor che col partir (SCMA V I , no. 13: Rore) = 156312, no. 90 Alcun'non po saper' ( R I S M i543i7, Ρ· 37) Fantasia sopra al detto Madrigal Quan'io penso al mártir' ( R I S M 15419, p. 54: Arcadelt) Fantasia sopra al detto Madrigal S'io credesse per morte essere scarcho ( R I S M 154317, p. 16: Anselmo de Reulx) = 156312, no. 89 Ver'inferno al mio petto (Vogel: Arcadelt 15 [1566], no. 43: Arcadelt) = 156312, no. 86 M'amy e un jour (RISM 1549is, η ° · Ι : Certon) La palme doulce ( R I S M 15447, no. 17: Gardane) = 156312, no. 57 Un jour passé avec Collete ( R I S M i540 1 7 , fol. 29: Le Hugier) = 156312, no. 64 Las on peut susier clerement ( R I S M 15447, no. 21: " L a s on peut juger clerement," Janequin) Or vien sa vien m'amy e ( R I S M I540 17 , fol. 7 : Janequin) = 1562m, no. 5; 15687, no. 100; 15747. no. 26 Si jay du bien ( R I S M 15479, no. 10: Sandrin) Ave sanctissima ( R I S M 15653, fol. 10: Sermisy) Fantasia sopra al detto Proba me Domine ( R I S M I535i> fol· 8: Jacotin) Fantasia sopra al detto Pavana chiamata la Milanesa Gagliarda sopra la detta Gagliarda [Gaillarde Italienne]1 Pavana chiamata la Paladina Gagliarda sopra la detta Gagliarda [Gaillarde nouvelle']

Mod. cd. in M o e D M , p. 327.

191 I 5 601 VINCI, PIETRO

DI PIETRO VINCI / SICULO / IL PRIMO LIBRO D E L L A MUSICA / a Due Voce, / Nuovamente stampato & dato in luce. / [Printer's mark] / In Venegia, Appresso Girolamo Scotto. 1560 T w o part books in mensural notation, each of 16 fols. Dedication on fol. i v headed " A L L ' I L L U S T R I S S . SIGNOR DON FRANCISCO S A N C T A PAR." and signed "Pietro Vinci de Nicosia," reprinted in SartMS, p. 23. On fol. i 6 v : table of contents. For a later edition see 15869. All of the compositions are for instrumental ensemble a2. Copy in : I : Be.

ι 2

fol. 2 2V

3 4 5 6

3 3V 4 4V

7 8

5 5V 6 6V

9 10 11 12 13 H 15 16 17 18 19 20 21 22

7 Τ 8 8V 9 9V 10 IOv

11 I I

v

12 I2V

24 25 26

13 I3V Η I4V

27 28 29

15 I5V 16

23

La marencha Lo canallotto Vinci Castro Joanni & muxa Fontana di chiazza Xumo sanzo Con Mastro Joanni & Mastro Antoni1 Piro con lo fumo Barr essi2 Coccocino Chiuda Lo cayordo Spinello cundo Antonino d'allena 3 Panuso Le gorre con lo paschiero Mal portuso Paravola Pe Martino Gallina ratto rattonis4 La vaccarra con le buscaglie 5 Spatta folco con lo gobbette6 La murada Sper lingua E presti paulo Bono San Bastili Senza octava Planzuni Il gambaro con denaretto ( = " L a Spagna"; see 148?!, no. 10) Xiri che senza Xiri starno male La danzulina E luchia peri Le poletine

ι 5604

IÇ2 1

Title in tenor part book: " X u m o sanzo Con li garbi." 2 Title in tenor part book: "Barressi e scalisi." 3 Title in tenor part book: "Spinello e Don Antonino d'allena." 4 Title in tenor part book: "Gallina con lo corvo." 6 Title in tenor part book: " L a vaccarra." 6 Title in tenor part book: "Spatta soleo."

fol. As *i

As v As v

*2

A6

*3

A6 A6V

I S 6 11 AGRICOLA, MARTIN D U O L I B R I / M U S I C E S , CON/ T I N E N T E S COM/pendium artis, & illustra / exempla. / S C R I P T I A M A R T I / NO A G R I C O L A SILE/sio Soraviensi, in gratiam eorum, / qui in Schola Magdeburgensi / prima elementa artis disce/re incipiunt. / W I T E B E R G A E / Ex Officina Haeredum Georgii / Rhaw. / Anno salutis 1561. 1 1 2 fols. Mensural notation. Dedication on fols. A 2 - A 4 v headed " O R N A T I S S I M I S V I R I S P R U D E N T I A & pietate praestantibus D. Ebelingo Alemanno Consuli, M . Gregorio Willichio Scabino, Matthaeo Baur, & Petro Backmeister Senatoribus, Martini Agricolae testamentariis S. D . , " and signed "Datae Magdeburgi 10. Junii, anno 1559. quo die ante annos tres Martinus Agrícola vesperi ante noctem intempestam ex hac mortali vita ad coelestem consuetudinem evocatus est. Siegfridus Sacus." Colophon on fol. θ 7 ν : " W I T E B E R G A E H A E R E D E S G E O R G I I Rhaw excudebant. A N N O M. D. L X I . " The volume is an introduction to music theory written for classroom use. On fols. E8 to the end are 54 textless pieces (mostly a 3 and some a 4) for use in connection with instrumental instruction. There is one piece for each week of the year, except for two weeks, which have two pieces each. All of them are two- or three-voiced canons each with a free voice. AgricolalG is a mod. ed. of all of these instrumental compositions. The compositions identified by the superior letter a ( a ) are reprinted in Z f S M II. The following inventory includes chapter and division headings of the theoretical part and all of the complete compositions included as examples. Other examples (tables, graphs, and incomplete pieces) in the theoretical part are not listed here. Copies in: D : B d s - T ü , D : H B , D : H V 1 .

A7 Bi

*4

Biv Biv B3 B3 B3V B4

*5

B4V B4 v B5 B6V B7V Ci

*6

Ci Civ Civ C2 C3V C3V C4 C4V Cs v C6 C6 C7V C8

Caput Primum. De Musices Descriptione De Divisione Musicae Fuga in subdiapent. post 2. Tactus (canon a 2 over "Veni sánete Spiritus") Fuga post Tempus unisonans (canon a 2 over a bass) De Figurali Musica Fuga post Tempus unisonans (canon a 2 over a bass) De Musica Instrumentali Caput II. De Clavibus Vocibusque Musicalibus De Scala De Characteristicis Clavibus De Sex Vocibus Musicalibus De Vocum Divisione Fuga unisonans post Tempus (canon a 2 over a bass) Caput Tertium. De Vocum Mutatione & Solmisatione Fuga in Epidiapa. post tempus unum (canon a 2 over a bass) De Solmisatione De Cantus Divisione [De Cantu bmollis] De Cantu t| Duro De Ficto Cantu Caput I U I . De Transpositione Clavium De Elevatione De Submissione Fuga in Epidiapa. post 4. Tactus (canon a 2 over a bass) De Modis Musicalibus De Intervallis prohibitis Caput VI. De Tonis De Quatuor Tonorum Sedibus De Tonorum Repercussionibus & Tenoribus De Tono Imperfecto De Mixto Tono De Tonorum Transpositione De Certa Cantionum inceptione SEQUITUR SE/CUNDUS H U I U S COM/pendii Liber, omnium praeceptorum / hactenus traditorum exempla, & pro / primis Tyronibus

I 56

C8 V

C8

Div D2 *7

D3 v

D6V

*8

D6V D7 D7 D7 v

Ει E2

*9

E2 v E2 v E3 E3 v

E4

*io

E4 v E5 Es E7

E8 i

E8

exercitia composita, / quae in singulas quae totius anni Sep/timanas digesta sunt, / complectens. / Per / M A R T . S O R E N MUSI/cum & Symphonistam Magde/ burgensis Scholae. / P L I N I U S . / Et quatenus negatur nobis diu vivere, relin/quamus aliquid, quo, nos vixisse testemur. Caput I. Breve, ad cantum mensuratum, introductorium De Notulis Simplicibus mensurati concentus De Pausis Caput II. De Notularum colligatione Paradigma omnium regularum rationem explicans [textless composition a 4 ] Caput III. De Punctis et Colore De Perfectionis Puncto De Alterationis Punctulo De Puncto Additionis De Additionis Puncto aliud, quatuor vocum, Exemplum [textless composition 04] De Colore Caput I U I . De Tribus Tactibus De Tactu Maiore De Semitactu De Tactu Proportionato De Integro et Semitactu Exemplum. Fuga in Epidiapas. post 2. Temp. (canon a 2 over a bass) Caput V. De Tribus Gradibus generalis institutio De Modo Minore De Tempore De Prolatione Fuga, post tres Breves, unisonans (canon a 2 over a bass) De VI. Vocibus Musicalibus, ut, re, mi, fa, sol, la. Fuga unisonans post Tempus unum [a 3 ] In Septimana Paschatis, exercitium tj durum

1

1

193 2

E8

3

Fi

4

Fiv

5

F2

6

F2 v

7

F3 v

8

F5

9

F6V

10

F7v

11

F8V

12

G2

13

G3

14

G4 v

15

Gsv

16

G6V

Fuga duum ex Epidiapent. post Tempus [a3] In Sept. prima post Pasch. de tertiis exemplum 1 Fuga post Semib: in Epidiapen. [1a3] In 2. Sept. post Pasch. de tertiis aliud Paradigma Fuga in Epidiapent. post Temp. [«3] In 3. Sept. post Pasch. de Quartarum nomenclatione exercitium Fuga in Subdiapent. post Tempus [α 3 ] In 4. Sept. post Pasch. de Quartis aliud exemplum Fuga post 3. Temp, unisonans [a3] In 5. Sept. post Pasch. Christ ist erstanden (compare ZahnM, no. 8584) Fuga in Epidiapent. post Temp. [a 3 ] In 6. Sept. post Pasch. 2 Jhesus Christus unser Hei[land] (compare ZahnM, no. 1576) Fuga in Epidiatess. post Semibrevem [a3] In Sept. Pentecos. de Cantu bmol, exercitium Fuga ex eadem Clave post 2. Temp, [a3] In Sept. Trinitatis exercitium bmolle Fuga duorum Temp, unisonans [a3] In prima Sept. post Trinitatis exemplum bmolle Fuga in eadem Clave post 2. Temp, [a 3 ] In secunda Sept. post Trinitatis Fuga post Temp, unisonans*3 [a 3 ] In 3. Sept. post Trinit. exemplum bmolle. Wol dem der in Gottes furchten steht (compare ZahnM, no. 305) Fuga ex eadem clave post Tem. unum. [a 3] In 4. Sept. post Tri. exerci. bmol. 4 Fuga in Epidiapent. post Temp. unum, [a 3 ] In 5. Sept. post Trinit. exemplum bmolle Cancrissat vox altera [03] In 6. Sept. post Trinit. exercitium bmolle Fuga in eadem clave, post 3 Temp? [α 3 ] In 7. Sept. post Trinitatis. Vater unser (compare ZahnM, no. 2561)

194

ι 5

17

G8

18

Hiv

19

H3

20

H4 v

21

H6 V

22

H8 V

23

I2

24

I3

25

l4 v

26

I5V

27

I7V

28

29

30

31

I8V

Κι

K.2V

K4

Fuga trium. Temp, unisonans [β j ] In 8. Sept. post Trinit. Wir gleuben [all an einem Goíí] (compare ZahnM, no. 7971) Fuga, post Temp, unum, unisonans [a J ] In 9. Sept. post Trinit. exemplum \\ durum Fuga post Temp, unum in ¡ubdiapente [a 4] In 10. Sept. post Trinit. t) duri cantus paradigma Fuga ex eadem Clave post 2. Temp, [a3] In 11. Sept. post Trinit. fc| dur. exercitium Fuga 2. Temp, in Subdiapent. [a3] In 12. Sept. post Trinit. exercitium t| durum Fuga in Epidiapent. post Temp. unum [a3] In 13. Sept. post Trinit. paradigma t] dur Fuga in eadem Clave post 2. Temp. [a3] In 14. Sept. post Trinit. exercitium t¡ duri cantus Fuga, post 3. Temp, unisonans [ a j ] In 15. Sept. post Trinit. t| dur. paradigma Fuga duum Epitono post Temp. unum [a3] In 16. Sept. post Trinit. exercitium t\ durae cantionis 5 Fuga, post Temp, unum unisonans [ a j ] In 17. Sept. post Trinit. t] dur. exercitium Fuga post Temp, unum in Epidiapente [ no. 26 Branle = 15512, no. 22 Branle = 15512» no. 23 Brant Champaigne = 15687, no. 153 Linkens hoven

1 T h e unique copy has a manuscript note on the title page reading: " V a u t e 6 pataxes L e 17 de Novembre en Amiens 1569." Bound in at the end of this copy are two pages of manuscript music in French lute tablature : p. 1 : Almande D'egmont, Almande poussinge, Almande Nonette, and Almande baviere; 2 : Aultre Almande and Almande court. 2 Heading on fol. 1 : " T H E A T R U M M U S I C U M Selectissimis optimorum artificum Carminibus instructum atque exornatum." 8 T h e initials C. G . may stand for Claude Gervaise (but see no. 56). 1 Heading on fol. 55: " S E Q U U N T U R DEINCEPS C A R M I N A D U A B U S TESTUDInibus Accommoda."

1563

= 15683, n o . 2 7

122

6i

v

62 123 124

Ó2V 62" 63 63

Pavana desperata = 15369, no. 14a Galliarde = 15369.no. 14b: " Saltarello" [Passomezo] La Milaneza Gaillarde Passomezo vaccas Salterello

DOUBTFUL WORKS ι. M o r L I, xliii, lists "Antonio di Becchi. Intavolatura di lauto. Libro Io. Veneria, !563," as having been in the library of King John IV of Portugal. T h e volume is otherwise unknown T h e only volume of music by Becchi that survives is 1568!

I

5

2. DraudiusBC, p. 1651, lists "Petri Teghii. Cantionum Gallicarum & mutetorum liber. Lov. 1563. 4." He probably refers to 15735· 3. LumS, p. 22, and SteeleE, p. 101, list an otherwise unknown 1563 edition of Adrian le Roy's lute instruction book, translated into English by John Alford. T h e volume is listed in this bibliography as 15683.

15641 BAKFARK, VALENTIN PREMIER LIVRE DE T A B E L A T U R E /DE L U T H C O N T E N A N T P L U S I E U R S / fantasies, motetz, chansons françoises, et madrigalz. / Par Vallentin baciare / [Printer's mark] / A P A R I S . / De l'Imprimerie d'Adrian le Roy, & Robert Ballard, Imprimeurs du Roy, ruë / saint Jean de Beauvais, à l'enseigne du mont Parnasse. / 1564. / Avec privilege du Roy, pour dix ans. 24 fols. French lute tablature. On fol. A i v : portrait of Henry II. On fol. F4 V : table of contents. All of the compositions are reprinted from I553J. See there for the sources of the intabulations. All of the compositions are for solo lute. Copies in: B:Br, D : M b s .

ι 2 3

fol. A2 A3* B2 B4V

4 5

C3 Div D3

6 7

D4 Ei

8 9 10

E4V F2 F3

Fantasie1 15531. no. ι Fantasie = 15531, no. 2 Aspice domine Ν. Gombert a 4 2a pars [Muro tuo] Benedicta L . Piéton a 6 2a pars [Per illud ave] Le cors absent T . Crepuillon [sic] a 4 Or vien ça vien C. Janequin D'amour me plains 2 Roger [Pathie] Si grande la pietà Archadet Il ciel che rado Arcadet Che pui foe al mio feco [sic] Arcadet

1 Facs. of fol. A 2 in D T O X V I I I / 3 7 , pi. ix. M o d . ed. in N e e m A M II, no. 7. 2 Mod. ed. in KosackL, app. III.

6

211

4 a

15642 E S T R É E S , JEAN D ' Q U A R T LIVRE DE DANSERIES, / Contenant 5 Pavanes, avec leurs Gaillardes a 4. & a 5. parties ι Gaillarde ditte la Visdame ι Autre a 5. ditte la Milannoise ι Autre Gaillarde a 5. ι Le Bal de Calais a 5. parties ι La basse Gaillarde a 4.

3 Bransles des contrainctz 4 Bransles de Poictou, simples & legeirs ι L e Bransle de Guillemette ι Le Bransle du petit homme ι Bransle legeir double du p. h. 4 Alemandes

Le tout mis en Musique à 4. à 5. & à 6. parties (appropriés tant à la voix humaine, / que pour jouer sur tous instruments musicaulz) Par Jean d'Estrée, / joueur de Hautbois du Roy. / De l'imprimerie de Nicolas du Chemin, a l'enseigne du Griffon / d'argent, rue Sainct Jean de Latran à Paris. 1564. / Avec privilege du Roy, pour dix ans. Four part books in mensural notation, each of 22 fols. (?). On fol. i v : the same excerpt from the printer's privilege as in i 556i· Colophon on fol. 22 v : " F i n du Quatriesme Livre de Danserie, achevé d'imprimer le 15. Juillet. 1564," followed by the printer's mark. For some concordances see HeartzSF, p. 372. All of the compositions are for instrumental ensemble, a4, a5, or a6. Copy in: G B : L b m (imperfect B).

I 2 3 4 5 6 7 8 9 10 II

12

fol. 2 2V 3 3V 4 4V 5V 6V 7V 8 8V 9V

I. Pavane a5 I. Gaillarde a5 2. Gaillarde a5 3. Gaillarde a5 2. Pavane la Mignonne a5 4. Gaillarde a5 5. Gaillarde a5 6. Gaillarde La Millannoise a5 3. Pavane α5 7. Gaillarde a5 8. Gaillarde a5 9. Gaillarde as

212 13 14 15 16 17 18 19 20 21

io v il iiv 12 I2V I3V 14 I4V I4V

22 23 24 25

15 I5V i6 v 17

26

i7 v

27

18

28

i8 v

29

19

30 31

I9V 20

32 33

20 20v

34

20v

35

20v

36-38 [fol. 21] 39 22

I 5642 4. Pavane a 6 10. Gaillarde a6 il. Gaillarde a5 12. Gaillarde a 5 5. Pavane a5 13. Gaillarde a 5 14. Gaillarde a 5 15. Gaillarde a 4 16. Gaillarde la Visdame 04 = 15715, no. s i 17. Gaillarde a 5 18, Gaillarde la Milannoise a 5 Le Bal de Calais La basse Gaillarde 04 = 15715, no. 52 ι. Bransle du contraint = 15715, no. 57, and 1583,, no. 99 2. Bransle de la suitte du contraint 3. Bransle legeir de la suitte du contraint = 15715, no. 58, and 1583,, no. 100 I. Bransle de Poictou, simple = 15715, no. 53, and 1583,, no. 103 2. Bransle de Poictou simple 3. Bransle de Poictou, legeir = 15715, no. 54, and 1583,, no. 104 4. Bransle de Poictou, legeir Bransle de Guillemette = 15715, no. 103 Bransle Le petit homme = 15715, no. 55, and 1583,, no. 98a Bransle legeir double, du petit homme = 15715, no. 56, and 1583,, no. 98b [Alemandes 1-3]1 4. Alemande courante = 15715, no. 32

1 Probably these three allemandes are among the five pr. in 15715, nos. 27-31.

[I 5 6 4 ] 3

mui poderoso / Sr. D. Phelipe Príncipe de Espana / Rei de Inglaterra / de / Nápoles, &c. / Con Privilegio Real. / En Madrid por Francisco / Sánchez. Ano de 1564. One of the four copies of Miguel de Fuenllana's Orphenica Lyra (15543) >n Ε : Μ η is lacking the original title page. A manuscript title page added at an unknown date is reproduced above (after A n g C M III, 97). Before this can be taken as proof that there was a second edition of Fuenllana's tablature, corroboration is necessary. Francisco Sánchez is not known to have been active as a printer in Madrid before 1572. Furthermore according to Professor Robert Stevenson (quoted in WardV, p. 365) the " 1 5 6 4 " edition is identical with that of 1554.

ι S644 GORZANIS, GIACOMO DE IL TERZO LIBRO / DE INTABOLAT U R A DI L I U T O / DI MESSER GIACOMO GORZANIS / Pugliese, Hab[i]tante nella Citta di Trieste. Novamente / da lui composto & per Antonio Gardano stampato. / [Printer's mark] / In Venetia Apresso / di Antonio Gardano. / 1564. 40 fols. Italian lute tablature. Dedication on fol. A i v headed " A L M O L T O M A G NIFICO E T CLARISSIMO SIGNOR IL SIGNOR V I T O DE DORIMBERGO B E N E M E R I T O Cavalliero Aureato, & de sua Cesarea Maesta Consigliero & dignissimo Logotenente dello Illustrissimo Contado di Goritia. Signor mio Gratiosissimo." On fol. K4 V : table of contents. M o e D M contains a thematic index of the volume (p. 410) and concordances (p. 261). For other volumes in the same series, see 15612, note ι . All of the compositions are for solo lute. Copies in: A : W n , F:Pthibault.

FUENLLANA, MIGUEL DE Libro de música pa/ra Vihuela intitulado Orphe/nica Lira: en el qual se contienen / muchas y diversas obras, comp. t0 / por Miguel de Fuenllana, diri/gido al mui alto y

ι

fol. A2 A4 v B2 v

Pass'e mezo antiche primo Padouana del ditto prima Saltarello ditto primo

213

15645

2

B3v Czv

C3V 4

3

Dl Div

5 6

Dz D3V

7

D4v

8

9 10

11

Ei Ea v E3v

E4 F2 v

12

13

F3

F4

Gl G2

14 15 16 17 18

G2v G3v G4v

Ha Hz v H3

H3v

H4 H4v

IIV

19

20 21 22 23

l2 v I3

I4 Ki Ki v K2 K2 K.2V

24 35

K2V K3 K3

26 1 2

K4

Pass'e mezo moderno primo Padoana del ditto Saltarello ditto Gallarda alla Milanesa L'herba fresca (compare I : Vnm, M S S It. Cl. IV, 1795-98, no. 92: " L a via de la Sumera") Saltarello dito il palvelo Saltarello dito Dimel su presto Saltarello dito II mal contento Saltarello dito II bergamasco Caccia la vechia fuora del campo Saltarello dito L'imperiai Pass'e mezo della bataglia Padoana del ditto Saltarello del dito Pass'e mezo del Imperator1 Pass'e mezo moderno Padoana del dito Pass'e mezo dito il Cavalier Saltarello del ditto Pass'e mezo del Todeschin Padoana del dito Pass'e mezo Antico Padoana del dito Saltarello del ditto Saltarello ditto amor mio bello Pass'e mezo antico sul quarto ton Padoana del ditto Saltarello ditto Pass'e mezo del Gorzanis Saltarello ditto Tantara Pass'e mezo ditto il Giordano Bai Boemo dito la Filippina Padoana del dito Bai Todescho2 Padoana del dito 2 Bai Todescho Padoana del dito Recercar Primo Recercar secondo

l'intelligence de la tabulature, & accords, dudict instrument / P A R A D R I A N L E R O Y . / [Printer's mark] / A P A R I S . / Par Adrian le Roy, & Robert Ballard / Imprimeurs du Roy. / 1564. / Avec privilege dudit Seigneur. 24 fols. French cittern tablature. On fol. i v : instructions for reading the tablature, headed "Briefve et facile introduction pour l'intelligence de la tabulature, & accord du Cistre"; these instructions include some musical examples. On fol. 24 v : table of contents. For some concordances see HeartzSF, p. 402. T h e compositions followed by an asterisk are based on the monophonie melodies in Pseaulmes de David (Paris, L e Roy and Ballard, 1562); see MorcouA and PraM. All of the compositions are for solo cittern. Copy in: D : T R . fol.

2

6 6V

7V

Mod. ed. in M o e D M , p. 326. Mod. ed. in M o e D M , p. 346.

8V 9 IS645

15825, no. 81 Gaillarde la Lionnoise = 15703,

LE ROY, ADRIAN SECOND LIVRE DE CISTRE, / CONTENANT LES COMMANDEM E N S / de D I E U : Six Pseaumes de D A V I D , & autres oeuvres faciles, avec / 8 +B.P.I.M.

Les commandemens de Dieu. Leve le cueur* Psaume [CXXXVIII] Il faut que de tous mes esprits* Psaume [XXXIII] Reveillés vous chacun fidelle* Psaume [/] Qui au conseil* Psaume [III] O Seigneur que de gens* Psaume \LXXIX~\ Les gens entrés* Psaume [LXXII] Tes jugemens* Pavane J'ay du mal tant tant (compare Les A C , no. 18: "J'ay le rebours," Certon) Gaillarde de la precedente pavane Pavane Si je m'en vois (compare L e s L R B , art. 3 , fol. 9: " L ' e n n u y qui me tourmente," Certon) Gaillarde de la precedente pavane Gaillarde la Morette = 15703, n o · 53; 15784, no. 68; and

no. 56; 15784, no. 66; and 15825, no. 78 12

10

Gaillarde la Buratc = 1564,, no. 19, and 15695, no. 84: "Marchese de Gasto Gaiarda"

i 5

214 13

14

IO

II

15

11

16

12

17

I2 V

18

12V i3v

i3v 19

Gaillarde Puisque vivre en servitude (compare L e s L R B , art. 3, no. 10: Certon, and L e s L R B , art. 171, fol. 2 : L e Roy) Gaillarde Puisque nouvelle affection (compare R I S M 155426, n o · 2 : Certon) = 157O3, no. 55; 15784. no. 65; 15825, no. 88 Gaillarde de la Gaye = 15703» n o . 57, a n d 15825, n o . 83

Gaillarde O combien est heureuse (compare L e s L R B , art. 3, no. 16: Certon) = 15703, no. 58 Gaillarde Romanesque = 15703, n o . 37, a n d 15825, n o . 52

Plus diminuée Gaillarde J'aymeroys myeulx dormir seulette1 (compare 1589!, no. 12) La precedente Gaillarde plus diminuée Les Bouffons = 15784. no. 56 Plus diminuée Les Matachins2 = 157O3, no. 130,

20

I4 V I4 V i5v

21

16

22

i6v

23 24 25

17 i7v 18

26

i8v

27

19

28

I9 V

29

20

Branle de Champagne = 15703 no. 101 Branle de Champagne = 15703, no. 102 Branle de Champagne

30

20 v

Branle de poictou — 15703,

31 32

21 2I V

33

22

Branle de poictou Branle de Poictou Branle [courant] (compare

34 35 36

22 v 23

a n d 15825, n o . 140

Les forces d'Hercules = 15703, no. 131 Branle simple N'aurés vous point de moy pitié = 15703, no. 108 Branle gay = 15703. n o · I 0 9 Branle gay = 15825, no. 129 Branle gay (compare I547 e , no. 22: " B r a n l e [gay]. Mari je songeois laultre j o u r " ) Branle de Champagne — 15703, no. 100

=

15703, n o . 103

no. m ,

a n d 15825, n o . 139

i547e, n o . 28)

23v

Branle des Cordeliers Passepied [Branle d'Escosse] Almande

6

4s 37

24

Almande = 15703, no. 6 8 : "Almande de L o r a i n e "

1 N o t related musically to R I S M 15542e, Certon. 2 M o d . ed. in T a p S , p. 38.

η°·

11 :

[ l 5 64]e OCHSENKUN,

SEBASTIAN

Sebastian Ochsenkun. Tabulaturen auft die Lauten inhaltendt Moteten, welsche und teutsche geystliche und weltlich Lieder, sampt iren Texten, mit vier, fünff und sechs Stimmen, &c. ordinirt durch Sebastian Ochsenkun irer Churfürstlichen Gnaden Musicum und Lautenisten. Gedruckt in der Churfürstlichen Statt Heidelberg durch Joannem Maier, inn Verlegung und kosten Matthaei Harnisch. M . D L X I I I I . 88 fols. This volume of solo lute music, in German lute tablature, once owned by the Pfarrbibliothek in Bingen ( D : B I N ) , is now lost. T h e contents were probably the same as those in 15585. See RothGH, p. 235, and M G G I X , col. 1824.

15647 VIAERA,

FREDERIC

NOVA E T E L E G A N T I S S I M A / IN CYTHARA LUDENDA CARMINA QUAE / VIDELICET IN SOLA C Y T H A R A V E L E T I A M C U M / tribus Testudinibus exhibita, mira dulcedine auditorum possunt / oblectare, eaque omnia facilitate quam fieri potuit / summa in tyronum usum composita. / E t Primo quidem libro Passomezi, Padoani, Saltarelli, ad Joannis Pacoloni tabulaturas / (ut vocant) trium Testudinum, apprime congruentes, ut etiam sola Cythara ex/hibendi. Deinde etiam Alemandae Branles & similia. E t Secundo quidem / libro habes Cantiones Musicales quantum Cythara rei admittit / Musicae habes & iam non minus jucundas. / AUTORE FREDERICO VIAERA F R I S I O . / [Fleuret] / L O V A N I I . / Apud Petrum Phalesium Bibliopol. Jurat. Anno 1564. / Cum Gratia & Privilegio.

215

15 6 4 7 36 fols. French cittern tablature. Dedicatory poem in Latin on fol. * i v headed "NATALIUM SPLENDORE AC MORUM INTEGRITATE PRESTANTI V I R O D. J O A N N I A Z U L E N M E T R O POLITANAE ECCLESIAE APUD V I T R A J E C T I N O S C A N O N I C O . Fredericus Viaera Frisius. S. D . " Fol. *2 = fol. 1. For information about Pacolini's [ite] music for three lutes mentioned on the title page see [is87] 6 . All of the compositions are for solo cittern. Copy in: U S i C n . 1

18 i8v

Galiarda

19

Chi passa per questa strada (compare AzzaiV, no. 2: Azzaiolo) = 1570 3, no. 47

IV

i9v

La Caracossa = 15703, n o . 66 ( c o m p a r e 15703, n o . 170)

l8

20 20 v

21 2IV

Gaiarda L. Milleri Marchese de Gasto Gaiarda = 15645, no. 12: "Gaillarde la Burate" Gaiarda 2 Gaiarda = 15703, no. 50, and

22 22v

Gaiarda Gaiarda == 1569e, no. 85; 15703,

13 H IS l6

19 ι

fol. ι iv iv

2

2

Passemezo Milanese — 15703, no. 3 6 a Padoana Milanese II suo Saltarello = 15703, no. 36b: " G a i l l a r d e " Passemezo Commune = 15703, n o . 40a, a n d 1 5 8 2 5 , n o . 4 5 a

2V 3V 3

4 4V 5

4 5 6

5V 6 6V 7V 8V 9

9

9V 10 io v iiv 12V 13V I4V 15 I5V

10

16

7

8

i6 v 17

Madona Zohanna Passemezo D'Italie = 15703, no. 39a Gaiarda = 15703, no. 39b Gaiarda La forza de Hercule

11 12

20 21

i7 v i7 v

1 5 8 2 5 , n o . 89 22

23

n o . 5 1 ; 1 5 8 2 5 , n o . 80

Padoana Commune Saltarello Commune = 15703,

24

n o . 40c, a n d 1 5 8 2 5 , n o . 4 5 b :

25 26

23 23 v 24 24 v

27

25 v

28

29

26 2ÓV

30

27 v

31 32

28

33 34

29 v 29v

35 36

30 30

"Gailliarde C o m m u n e " Passemezo de Zorzi = 15703, no. 4 1 a Padoana de Zorzi = 15703, no. 4 1 b Saltarello de Zorzi = 15703, no. 4 1 C Passemezo Ungaro = 15703, no. 4 2 a II suo Saltarello = 15703, no. 42b Passemezo de la Rocha el Fuso Padoana de la Rocha el Fuso II suo Saltarello Passemezo Tuti por ti core mio caro (compare AzzaiV, no. 12: " T i parti, cor mio caro," Azzaiolo) Padoana II suo Saltarello Passemezo Desperata Padoana Desperata II suo Saltarello Passemezo Ducessa Padoana II suo Saltarello Passemezo II est jour (compare R I S M 153I2, no. 14: Sermisy) Passemezo Batalgia [sic] = 1 5 7 0 3 , n o . 44a, a n d 1 5 8 2 5 , no. 49a

= 15703, n o . 48

28 v

= 15703, n o . 49

La Milanesa

Alio modo Era di Maggio

= 15825, n o . 151a

Languir me fault (AttainCK II, no. 12: Sermisy) Den lustelijcken mey (compare R I S M 1572U, no. 25: Clemens non Papa, and D u y L I, 356) = 15703, no. 132, and 15825, no. 1 4 2 Jamais n'aymeray D'ont vient cela (AttainCK I I I , no. 22: Sermisy) La pastorella mia (SCMA V, no. 5 : Arcadelt) O bella sopra tutte altre bella Susanne ung jour (LevyS, p. 403 : Didier Lupi Second) Jay acquis ung serviteur Te mey als alle die voghelen singen (compare D u y L II, 1024) Het was een aerdich vrauken lek had een gestraedich minneken (ClemensO II, 11: "Psalm X V I I I , " Clemens non Papa) = 15703, n o . 133, a n d 15825,

no. 1 4 3 37 38

3° v 31

39

3iv 32 32v

Branle Branle

= 15703, n o . 1 1 6 — 15703, n o . 115:

"Branle tu disois" 40

41

Quatrebrant

= 15703, n o . 1 1 7

Gaiarda du Roy = 15703, no. 52 Almande d'amours

2i6 42

43

15647

33

33 v

45

33v 33v 33v 34

46 47

34v 35

44

Gaiarda de la Roy ne de Eschosse (compare 15574, no. ib) = 1569e, no. 81; 15703, no. 63; 15825, no. 77 Almande du Prince = 15703, no. 71a Reprinse = 157O3, no. 71b Almande = 15703, no. 70a Reprinse = 15703, no. 70b Gaiarda La Moretta — 15696, no. 82 Almande du Court La brunette (compare 1569 e, no. 79: "Gailliarde o ma gente brunette ' ')

A copy was in D : T R . A series of solmization syllables is added in manuscript on fol. 21 of the unique copy. 1

2

I 5648 RUFFO, VICENZO C A P R I C C I IN M U S I C A / A T R E VOCI, / DI VICENZO RUFFO MASTRO / DI C A P E L L A N E L D O M O / DI M I L A N O . / Nuovamente dati in luce, à commodo de virtuosi. / [Cut of two figures.] / Formati da Francesco Moscheni / IN M E L A N O [sic]. / M D L X I I I I . Three part books in mensural notation, each of 16 fols. Dedication on title page verso headed " A L L ' I L L U S T R E S. or I L S. or C O N T E M A R C A N T O N I O M A R T I N E N G O , D E V I L L A C H I A R A , S. mio singularissimo," and dated " D i Milano alli 24, di Marzo. 1564." Table of contents on the last page of each part book. All of the compositions are for instrumental ensemble a3. Copies in: I : P S (imperfect Tenor only), and L R v a t . 1 I 2 3 4 5 6 7

fol. La, Sol, Fa, Re, Mi I I v Quand'io penso al martire (compare 15419, p. 54: Arcadelt) 2 El Chiocho La Brava 3 3V La Gamba in Tenor Ut, Re, Mi, Fa, Sol, La 4 4V Il Capriccioso

8

5

g 10

6 6V

11

8

12 13 14

9v io v il

15 16 17

iiv I2V 13

18 19 20

I3V 14 I4V

21 22 23

15 I5V 16

O Felici occhi mei (compare C W V , 19: Arcadelt) La disperata Martin minoit son portiau au marche (compare C M II, 79: Janequin) Dormendo un giorno (compare WagMP, p. 461 : Verdelot) El Travagliato La Gamba in Basso, & Soprano Hor ch'I cielo e la terra (compare Vogel Rore 6 [1562], no. 2: Rore) La Danza El Perfidioso Da bei rami scendea (compare R I S M 154317, p. 5: Arcadelt) El Pietoso El Malenconico Trinitas in unitate (Headed " Resolutione ") El Trapelato El Cromato La Piva

1 SartMS, p. Ï05, lists the Pistoia copy (the only one known to him), under " 1600?" D o n a S M , p. 47, lists the volume under 1566. Earlier, Kroyer, in K r I , p. 77, n. 2, had called attention to a complete copy of the work in the Biblioteca Rossiana, Vienna, but for some reason had dated it 1589. L o c k V R , P· 357, properly dates the work and points out that the copy Kroyer saw is now in I : Rvat. I am indebted to Professor John Ward for telling me about the existence of this volume.

15651 BAKFARK, VALENTIN VALENTINI GREFFI / BAKFARCI PANNONII, HARMONIARUM / MUSIC A R U M IN U S U M TESTUDI/NIS F A C T A R U M , / T O M U S P R I M U S . / Ad Potentissimum totius Sarmatiae Principem, ac Dominum S I G I S / M U N D U M A U G U S T U M , Poloniae Regem, et caet. Patrem / Patriae, et omnium Musicorum Patronum beneficentissimum, / Dominum suum clementissimum. / [Latin quatrain, followed by: ΑΓΑΘΗ ΤΥΧΗ] / Cautum est Privilegiis Imperatoriae Majestatis, et Serenissimi POLoniae Regis, ne quis / intra decursum duodecim annorum, hoc opus invito Authore recudere audeat. / C R A C O V I A E , / Impensis Authoris L A Z A R U S A N D R E A E

VALENTIN I GREFFI BAKFARCI PANNONII, HARMONIARYM MV5ICARVM IN VSVM TESTVDI' Ν IS FACTARVM,

TOMVS PRIMVS fcUntijiimMm

tet'ms S*rm*tU

Vrincijrcm,

*c

Dominum S I G I S '

MVNDVM ¿ÍVGVSTVM,P*W* ^ « . « ^ . I V » * P«ttr(*,it cmmum

P«fro«nm

ç^fitjicoruiι»

Dcmnumjimm

*

iittcjictntißn

((cmtntijìumm.

*

*

A V G V S T I pita· toto ein tibi tur orbe, Donee crune nitidisflammeaiìgna polii. Omnia aim pofsu longzua abolire vetulias, Virtutù (amam nunquam abolerepotefL Arien

m

i

SS C*tktvm «fi Priu¡lr>¡/t TrapirittrÌÈ Mti rftitù, er Sertti/ìmi foLimt iiurt dtturjum luodicim tniurum, bx of m nu» to Authort rtcuim

AS

W

AS

m

tuds jr.

#f

CRACOVI/E, Impends Authoris L A Z A R V S A N D R H . Ç « c u l t , «filino 1 virgíneo partu, M· D· LXV» Menfe Oftobri. z'f à ¡i,

Title page of 1565! excudit. / Anno à virgíneo partu, M. D. L X V / Mense Octobri. / Συμ Θεω, και ευτυχώζ. 4 + 24 fols. Italian lute tablature. On fol. a i v : arms of Sigismund August II, king of Poland, with the motto "Armiger adversos Jovis iste ut proterit hostes, Subjectos placido sic regit imperio. A. T . " Dedication on fol. a2 headed " S E R E N I S SIMO AC P O T E N T I S S I M O PRINCIPI, AC DOMINO, DOMINO S I G I S M U N -

DO A U G U S T O , DEI GRATIA R E G I POLONIAE, MAGNO DUCI LITWANIAE, RUSSIAE, PRUSSIAE, MAZOVIAE, SAMOGITIAE, LIVONIAE, & caet. DOMINO AC HAEREDI, DOMINO C L E M E N T I S S I M O , " and signed on fol. a3v "CRACOVIAE, die XV. Octobris, Anno à restis tuta salute humano generi, post sesquimilles simum sexagesimo quinto. S E R E N I S S I M A E M A J E S T A T I S VESTRAE, Perpetuus & fidelis Cliens, & subditus. V A L E N T I N U S B A K F A R K PANNO-

2i8

15651

N I U S , " printed in GaspaC IV, 166. On fol. 04: the arms of Bakfark with the motto " V I R T U T I C E D U N T O M N I A " and a Latin device headed " S Y M B O L U M E I U S D E M " (facsimile in D T O XVIII/37, pi. ix), followed by a Latin poem headed " D E I N SIGNIBUS EIUSDEM, CARMEN ANDREAE T R I C E S I I E Q U I T I S P O L O N I . " On fol. a4 v : two Latin poems, headed " A D E U N D E M " and " A D SODALES M U S I COS." Fol. b i = fol. ι. On fol. 24: Psalm 118, verse 105, followed by the printer's mark. For further information, see GomVB (which reprints all of the prefatory matter) and D T O XVIII/37. For a later edition, see I5Ó9!. 1 All of the compositions are for solo lute. Copies in: D : M b s , I:Be. 2 fol. ι Fantasia3 a3 = 15747, no. 12 i v Fantasia4 a 4 3 Fantasia6 a 4 5 Jesu nomen sanctissimum Clemens non Papa a 4 (ClemensCS V, no. 14) = 1571 e , no. 145 6 2a pars Sit nomen Domini 5 6V benedictum Erravi sicut Ovis quae periit Cle. non Papa 04 (RISM 1553e. fol· 7) = ΐ57ΐβ. no. 146 7 2a pars Delicto iuventutis meae 6 8 Circumdederunt me viri mendaces Clem, non Papa 04 (RISM 15539, fol. 4) = ΐ57ΐβ, no. 147 9 2a pars Quoniam tribulatio próxima est 7 9V Cantibus Organias, Christi Cecilia sponsa Nicol. Gomberth 04 (RISM 1553U, fol. 5V) n v 2a pars Fundite Cantores dulci 8 12V Domine si tu es, jubé me venire ad te Nicolaus Gomberth a 4 (GombertO V, 101) I3V 2a pars Cumque vidisset ventum 9 I4V Venite filii audite me Nie. G[ombert] a 4 (GombertO V, 10) 16 2a pars Servite Domino cum timore 10 17 Exaltabo te Domine Archadelth 04 ι 2 3 4

18 11

19 21

12

23

2a pars Domine in voluntae tua praestitisti decori meo Qui habitat in adjutorio altissimi Josquin Depres· a 4 (JosqMT, no. 52) 2a pars Non accedat ad te malum Faulte dargent Cest douleur non pareille Josquin De Pres α 5 (JosqWW, no. 15) = 1574?, no. 51

1 FétB I, 184, says that a second volume in this series was published in Cracow in 1568, but this volume does not survive. 2 A copy was in D : B d s . 3 Mod. ed. in D T O X V I I I / 3 7 , P· 83, and in GomVB, no. 5 ; facs. of fol. 5 in D T O X V I I I / 3 7 , pi. χ. 1 Mod. ed. in D T O X V I I I / 3 7 , p. 84, and GomVB, no. 6. 6 Mod. ed. in D T O X V I I I / 3 7 , p. 87, and GomVB, no. 7.

15652 GORZANIS, G I A C O M O D E I L S E C O N D O LIBRO / D E I N T A B O LATURA DI L I U T O / DI MESSER G I A C O M O G O R Z A N I S / Pugliese, Habitante nella Citta di Trieste. Novamente / da lui revisto & per Antonio Gardano ristampato. / [Printer's mark] / In Venetia appresso di / Antonio Gardano / 1565. 38 fols. Italian lute tablature. On fol. K.2V: table of contents. Contents — 15^3 8• For other volumes in the same series, see 15613, note ι. All of the compositions are for solo lute. Copy in: A: Wn.

15653 L E ROY, ADRIAN, A N D R O B E R T BALLARD BREVE E T F A C I L E I N S T R U C T I O N / P O U R A P P R E N D R E LA T A B L A T U R E , / A B I E N ACCORDER, C O N D U I R E , E T / DISPOSER L A M A I N S U R / L E CISTRE. / [Printer's mark] / A PARIS. / Par Adrian le Roy, & Robert Ballard, / Imprimeurs du

219

15654 Roy / 1565. / Avec privilege de sa magesté pour dix ans.

14

i8 v

24 fols. French cittern tablature. On fol. i v : cut of a cittern. Beginning on fol. 2: instructions for playing the cittern, including tuning diagram, and other musical examples. On fol. 24 v : table of contents. For some concordances see HeartzSF, p. 401. All of the compositions are for solo cittern. Copy in: D : T R .

15

19

16

i9v

17

20

18

2θν

19 20 21

21 21 v 22

22

22v

23 24 25

23 23v 24

fol. 8 8V 9 9V

12 I2V

12 13 I3 V

6

I4V

T4

15 I5V 16

10

i6 v

II

17

12

I7 V

13

18

Prelude = 15703, no. 2 Les Bouffons1 = 15703, no. 32c; 15784, no. 57; 15825, no. 90 Bouffons plus diminuée Pavane des Bouffons = 15703, no. 32e, and 15784, no. 55a Gaillarde des Bouffons = 15703, no. 32g, and 15784, no. 55b Pavane Romanesque = 157O3, no. 38a, and 15784, no. 45a: " Passemezo " Plus diminuée Gaillarde Romanesque = 15703, no. 38b, and 15784, no. 45b: "Saltarello" Autrement Autrement Gaillarde J'aymeroys mieux dormir seullette2 (compare 1589!, no. 12) = 15703, no. 46c; Γ 5784, no. 60; and 15825, no. 72c: "Gaillarde Caracossa Bassus" L'espagnolle = 15703, no. 34; r 5784, no. 49: "Pavane L'espagnolle"; 15825, no. 50 Autrement Gaillarde Hely = 15703, no. 54 Gaillarde des cornus Premier Bransle de bourgongne = 15703, no. 88, and 15825, no. 130 Second Branle De Bourgongne = 15703, no. 89, and 15825, no. 131 Troisième Branle de Bourgongne = 15703, no. 90, and 15825, no. 132 Quatrième Branle de Bourgongne = 157O3, no. 91, and 15825, no. 133 Cincquieme Branle de bourgongne = 15703. no. 92, and 15825, no. 134

Sisieme Branle de Bourgongne = 15703, no. 93, and 15825, no. 135 Setieme Branle de Bourgongne = 15703, no. 94, and 15825, no. 136 Huitième Branle de Bourgongne = 15703 no. 95, and 15825, no. 137 Neuvième Branle de bourgongne = 15703, no. 96, and 15825, no. 138 Branle le beau Robert = 15825, no. 123 Branle de la becasse Branle sont des poix La muniere de vernon (compare R I S M 15542e, no. 18: Maillard) Branle & tant plus = 15703, no. 110 Branlle de la nonnette II a brûle la hotte 3 Une m'avoit promis (compare L e s L R B , art. 3, no. 6: Certon)

M o d . ed. in T a p S , p. 36. Unrelated musically to R I S M Certon. 3 Unrelated musically to R I S M Mithou. 1

2

I55426)

15542a,

no. 1 1 : n0·

7:

IS654 LUPACCHINO, BERNARDINO, A N D JOAN MARIA TASSO IL PRIMO LIBRO A N O T E NEGRE / A D U E V O C I , C O M P O S T O PER B E R N ARDIN / LUPACHINO DAL VASTO, CON A L C U N I / DI GIAN MARIA T A S S O . / Con la nuova giunta di alcuni Canti di nuovo ristampati. / [Printer's mark] / In Veneria appresso Girolamo Scotto. / M D L X V . T w o part books in mensural notation, each of 16 fols. Fol. i v = p. 2. T h e six pieces followed by an asterisk are fully texted; the others are without text or title; all are a 2. Copy in: I : B e (T). 1 P· 2 3

Lupacchino 2 = 1559e, no. 1 Ancidetemi pur* (compare R I S M 15419, p. 9: Arcadelt) [Joan Maria Tasso] = i559 6 , no. 3

220

15654

4 5 6

4 5 6

7

7

8

7

9

8

IO

9

II

IO

12

11

13 14

12 12

IS l6 17 l8 19

13 14 15 16 17

20 21 22

17 18 19

23

20

24

21

25

22

26

23

27 28

24 24

29

26

30

27

31

28

33 33 34

28 29 31

35

32

[Lupacchino] = I5S9 6 , no. 4 Lupacchino = 1559e, no. 5 Pungente dardo* (compare RI S M 15419, p. 3: Berchem) [Joan Maria Tasso] = 1559 e, no. 7 [Joan Maria Tasso] = 1559e, no. 8 . Gian Maria Tasso = i559 6 , no. 15 Gian Maria Tasso = 1559e, no. 9: Lupacchino Gian Maria Tasso = 1559e, no. 16 Ragion'e ben* (compare RI S M I 54 I 9> P- 4' Berchem) Lupacchino = 1559e, no. 13 Il bianch' & dolce Cigno* (compare BuH II, 244: Arcadelt) Lupacchino Lupacchino = 1559e, no· I7 Lupacchino = 1559e, no. 11 [Anon.] Gian Maria Tasso = 1559 e, no. 18 [Lupacchino] = 1559e, no. 19 Lupacchino = 1559e, no. 23 Gian Maria Tasso = 1559e, no. 24 Voi ven'andat'al Cielo* (compare C W V, no. 4: Arcadelt) Occhi miei lassi* (compare R I S M 15419, p. 8: Arcadelt) Gian Maria Tasso = i559e, no. 21 Lupacchino = 1559 e , no. 25 : Joan Maria Tasso Lupacchino = 1559e, no. 26 Lupacchino = 1559e, no. 27: Joan Maria Tasso Gian Maria Tasso = i559 e , no. 29 Gian Maria Tasso = 15595, no. 3 0 Gian Maria Tasso = 1559g, no. 31 L u p a c c h i n o = I559 6 , no. 32

Lupacchino = 1559e, no. 33 Lupacchino Sopra la battaglia I559e, no. 37 Gian Maria Tasso Sopra la

=

A copy was in D : Bds. T h e compositions are numbered beginning with no. 2 (that is, no. 1 of this inventory = no. 2 of the original). 1

2

15655 S A N C T A MARIA, T O M Á S DE Libro llamado / Arte de tañer Fantasia, assi para Tecla / corno para Vihuela, y todo instrumento, en que se pudiere / tañer a tres, y a quatro vozes, y a mas. Por el quai en breve tiempo, y / con poco trabajo, facilmente se podría tañer Fantasia. El quai / por mandado del muy alto consejo Real fue examina/do, y aprovado por el eminente musico de su / Magestad Antonio de Cabeçon, y / por Juan de Cabeçon, / su hermano. / Compuesto por el muy Reverendo padre Fray Thomas de Sancta / Maria, de la Orden de los Predicadores. Natu/ral de la villa de Madrid. / Dirigido al Illustrissimo Señor don Fray B E R N A R D O de Fresneda, / Obispo de Cuenca. Comissario general, y Confessor de su Magestad, &c. / [Coat of arms of the dedicatee] / Impresso en Valladolid, por Francisco Fernandez de / Cordova, Impressor de su Magestad. Con licencia, / y privilegio Real, por diez años. / En este año, de 1565. / Tassado por los Señores del Consejo Real, a veynte reales, cada cuerpo en papel. 1 218 fols. (94 in Book I and 124 in Book II). On fol. * i v : royal printing privilege signed "Fecha en el monasterio de Guisando a onze dias del mes de Abril de mill y quinientos y sesenta, y tres Años. Y o El Rey. Por mandado de su Magestad, Francisco de Erasso." Dedication on fol. *2 headed " A l Illustrissimo y Reverendissimo. S. Don F. Bernardo de Fresneda, Obispo de Cuenca, Comissario general, y Confessor de su Magestad, &c. Fray Thomas de sancta Maria, de la orden de sancto Domingo. S. P. D . " On fols. *2 v -*3·· preface headed "Prologo. A l pio Lector." On fols. *3 v -*4: table of contents for both books. Fol. *5 = fol. ι . Fol. 91 = fol. ι of Book II. Title page of Book II: "Comien/ça la segunda parte de/sta Obra, la qual tra/cta del arte de / tañer fan/tasia." The title is placed within an ornamental border. On fol. i v of Book I I : preface headed " E l Auctor al pio Lector." On fols. 123-124* of Book II: author's corrections. Colophon on fol. i24 v of Book II: " A gloria y alabança de Dios, y augmento de su culto divino. Fenesce el libro llamado, Arte de tañer fantasia. Compuesto, por el

I 5 muy reverendo padre, fray Thomas de sancta Maria, de la orden de los predicadores. Impresso en Valladolid con licencia de su Magestad, por Francisco Fernandez de Cordova su impressor. Acabóse a veynte dias del mes de Mayo, de este año de mil y quinientos y sesenta y cinco. Laus D e o . " Book I of this treatise (containing 27 chapters) begins with an introduction to the rudiments of music. T h e main part of this book, however, is a detailed discussion of the technique of playing a keyboard instrument. Sancta Maria explains such things as hand position, fingering, ornaments, and the qualities of good performance (for example, playing cleanly, with steady rhythm, and with taste). Book II (containing 53 chapters) is concerned with the technical knowledge required to be able to improvise. Among other things Sancta Maria treats intervals, counterpoint in two, three, and four voices, how to write imitative entries, how to play fantasias, and how to tune keyboard instruments and the vihuela. T h e table of contents of both books and a detailed summary of much of Book I is given in KinO, pp. 25-55. T h e table of contents of Book II is given in SchneidA, pp. 31-33. Chapters 13-20 of Book I (those chapters especially concerned with the details of performance) are translated into German in SaV. See also HarZ and R e F S , no. 45. T h e treatise is copiously supplied with musical examples (most of them are headed " Exemplo ") ; some of them are reprinted in DallaL, nos. 9 and 43 (two fantasias); DallaLO IV, no. 2, and V I , no. 21 (two fantasias); FerandIM, no. 19; FroideA I, 44-55; K a l l L O III, 44-51 (eight fantasias from Book I, fol. 67ÎÏ.); KinO, pp. 236-244; KleinO, p. 121; MusetS, p. 8; PedH V I , xii; PeetA, no. 4; RiessO, p. 2Íf. ; RitZ II, 91; SaA; SainzF, no. 3; and SchneidA, pp. 37-38 and 110. All of the examples are in mensural notation; some are for solo keyboard and others are included to make some theoretical point without reference to actual performance. Copies in: CH:Lcortot, E : B u , E : E , E : Mme, E : V , G B : Ge, G B : Lbm, U S : C n , US:R, US:Wc.2 Facs. of title page and fol. K 2 in Maggs28, p. 88; S u b H M I, 633; and S u b H M E , p. 2 1 6 ; facs. of title page only in V i n S , p. 99. Facs. of fol. 56 of 1

8*

6 6

221

1

Book I in A n g M E , pi. 4 7 ; B o n n O V I , 1 6 ; and S u b H M I, 499. 2 A copy was in D : Bds, and one was in the Ëcorcheville library (see É c o r C , no. 82).

[1 565]β ALDE, JOHN T h e Sequence of lutynge. Licensed to John Aide (see A r b e r T I, 298). This volume, now lost, is listed in DeakinMB, p. 4; DeakinO, p. 35; and SteeleE, p. 99. DartHL, p. 14, lists the title as "Science of Lutyng."

1566! FRANCESCO DA MILANO AND PERINO FIORENTINO I N T A B O L A T U R A / DE L A U T O / DI .M. F R A N C E S C O M I L A N E S E E T .M. P E R I N O / F I O R E N T I N O / Ricercate Madrigali, & Canzone Franzese: / L I B R O [Printer's mark] P R I M O . / In Roma per .M. Valerio Dorico, & Lodovico / Fratello. / M . D . L X V I . / C u m privilegio summi Pontificie ad quinquenium. Unknown number of fols. Italian lute tablature. On fol. A i v : preface headed "Valerio Dorico a quelli se dilettano de la musica de lauto," reprinted in O s G , p. 6, and translated in WieP, p. 3. T h e preface is followed by the table of contents: Fantasia di M . Francesco Milanese Fantasia di .M. Pierino Fiorentino

Numero X I I Numero I U I

MADRIGALI

Quanta beltà di M . Francesco Quando io penso al mártir di Francesco O felici ochi mei di M . Pierino Quanti travagli di M . Pierino C A N Z O N I FRANCIESE

De mon triste di Vignon vignetta di

M . Francesco M . Francesco.

M.

222

i 5 66J

T h e volume was apparently a new edition of 15472· All of the compositions were for solo lute. Copy in: F : C V (fols. 1-4). 1

4

5

5

7

6

8

7

9

8

11

9

12

10

14

11

15

12

17

13

18

14 15

19 20

16

22

17

23

fol. ι

Az

2

A2 v

3

A3 v

Fantasia Milanese Fantasia Milanese Fantasia Milanese

di M. Francesco — 15472, no. 2 di M. Francesco = 15472, no. 1 di M. Francesco — 15472, no. 5

A copy was in D : Bds (formerly in the Wolffheim library; see W o l f f C I, no. 1189). 1

15662 NEWSIDLER,

MELCHIOR

IL / PRIMO I LIBRO / INTABOLAT U R A / DI L I U T O / DI MELCHIOR N E Y S I D L E R / Alemano, Sonatore di Liuto in Augusta, / ove sono Madrigali, Canzon Francesi, / Pass'e mezi, Saltarelli & alcuni / suoi Ricercari, Novamente / da lui posti in luce. / [Printer's mark] / In Venetia appresso di Antonio Gardano. / 1566. 20 fols. Italian lute tablature. Dedication on fol. * i v headed " A L M O L T O M A G N I FICO E T GENEROSO SIGNOR, IL SIGNOR GIOVANNI LANGNAUER Patritio Augustano, mio Signor osservandissimo," and signed "Melchior Neysidler." T h e music begins on fol. # 2 = p. 1. On p. 38: table of contents. T h e contents are listed in M f M G III (1871), 152. For a later edition of the same music see 15731. M o e D M contains a thematic index of the dances (p. 417) and concordances for them (p. 263). All of the compositions are for solo lute. Copies in: D : Mbs, G B : L b m , S i U u . 1

25 18

28 19 20 21 22 1 2

ι

P· ι

2 2

3

4

Deh ferma amor [costui] [Lasso] (CW L V I I I , no. 6: D . Ferabosco) = i 5 7 i e , no. 99 O s'io potessi donna (RI S M 15419, p. 19: Berchem) = ΐ 5 7 ΐ β , no. ι ο ί 1° mi son giovinetta (Ein I M III, no. 30: Domenico Ferabosco) = 15719, no. 100

27

31 33 35 37

Con lei fuss'io ( R I S M 1543 1 7 , p. 36: Arcadelt, Berchem, Corteccia, or Giaches de Ponte) = 1571,, no. 107 Vita de la mia vita ( R I S M i537e> no- 25: Verdelot) = 1571«, no. 104, and 1572^ no. 9 Perche la vita breve = 1571e, no. 113 Signor mio caro ( S C M A V I , p. 25 : Cipriano da Rore) = i 5 7 i „ , no. n o , and 1572!, no. 8 Ca[r]ità di Signore ( S C M A V I , p. 28: Rore) = i 5 7 i e , no. 112 Avecq[u]e vous (LassoW X I I , 37: Lasso) (compare 1571e, no. 77) Suspirs ardans ( S C M A V , p. 70: Arcadelt) = i 5 7 i e , no. 73 Mo[n]sieur Labe ( R I S M 15705, p. 18: "Maistre Robin," Lasso) = 1571,, no. 81 Hellas quel jour (LassoW X I I , 47: Lasso) Un doulx nenny (LassoW X I I , 45: Lasso) = i 5 7 i e , no. 78; 15721, no. 19; 15732, no. 12 Content ou non = ΐ 5 7 ΐ β , no. 62 Vray dieu disois (LassoW X I I , 72: Lasso) = i57ie, no. 74 Petite folle (LassoW X I I , 78: Lasso) = i 5 7 i e , no. 80 Pass'e meso antico = i57ie, no. 173a: "Passomezo la Milanese" II suo saltarello con la ripresa = 1571,, no. 173b Pass'e mezo la Milanese = 15747, no. 56a II suo saltarello con la ripresa = 1574?, no. 56b Ricercar Primo* = 15719, no. 28 Ricercar Secondo — i 5 7 i e , no. 29 Ricercar Terzo = i 5 7 i e , no. 30 Ricercar Quarto = i 5 7 i 6 , no. 32

A copy was in D : Bds. Mod. ed. in N e e m A M II, no. 8.

15663 NEWSIDLER,

MELCHIOR

IL / SECONDO / LIBRO / INTAB O L A T U R A / DI L I U T O / DI MEL-

223

[ I 5 67] 2 NEYSIDLER / Alemano, di L i u t o in Augusta, / ove sono Canzon Francesi, / Pass'e mezi, & alcuni / suoi Ricercari, N o v a da lui posti in luce. / [Printer's In Venetia appresso di Antonio / 1566

10

24

11

26

12

28

26 fols. Italian lute tablature. Dedication on fol. * i v headed " A L M O L T O M A G N I FICO E T GENEROSO SIGNOR, IL S I G N O R M E L C H I O R L I N C K Patritio Augustano, mio Signor & compadre mio osservandiss.," and signed " M e l c h i o r N e y sidler." T h e music begins on fol. *2 = ρ. ι . O n p. 49 : table of contents. T h e contents are listed in M f M G I I I (1871), 152. For a later edition of the same music see 15731M o e D M contains a thematic index of the dances (p. 418) and concordances for them (p. 263). A l l of the compositions are for solo lute.

13

29 32 34

CHI OR Sonatore Motetti, Saltarelli mente I mark] / Gardano.

Copies in: D : M b s , G B : L b m , S i U u . 1

ι

Deus canticum novum (LassoW V I I , 164: Lasso) = 1571«, n o . 149a, and 15865, no. 15a

2

2a pars

Quia delectasti = ΐ 5 7 ΐ β ι

n o . 149b, a n d 15865, no. 1 5 b

2

3

3

6

4

8

5

10

Omnia que fecisti (LassoW V I I , 127: Lasso) = 15716, n o . 150, a n d 15865, no. 10

12

In me transierunt (LassoW I X , 49: Lasso) = i 5 7 i „ , no. 151 Surrexit Pastor bonus (LassoW V , 57: Lasso) = i 5 7 i e , no. 152, and 15865, no. 13 Benedicam Dominum (LassoW I X , 174: Lasso) = i 5 7 i e , no. 155a, and 15865, no. 17a 2a pars In domino — 15719, n o . 1 5 5 b , and 15865, no. 1 7 b

6

14

Gustate & videte (LassoW V , 7 3 : Lasso) = 1571«, no. 153a, a n d 15865, n o . 20a

16 7

18

8

21

9

22

37 15 16 17 18 1 2

39 40 43 46

A copy was in D : Bds. Mod. ed. in NeemAM II, no. 9.

[I 5 6 7 ] i BALLARD,

P· ι

14

Oncques amour ( R I S M [1544L1, fol. 16: Crecquillon) = i57i e > no. 116 Dung petit [mot] = i 5 7 i 6 , no. 143 Le departir (LassoW X I V , 1 1 6 : Lasso) = 1571e, no. 133, and 15721, no. 17 Pass'e mezo = 1 5 7 1 , , no. 172a El suo saltarello = ΐ 5 7 ΐ β , no. 172b Pass'e mezo La paranzino = 1 5 7 1 , , no. 175a El suo saltarello2 = Ι57ΐβ> no. 175b Recercar primo = 1571», no. 24 Recercar secundo = ΐ57ΐ β > no. 26 Recercar Terzo = 1571e, no. 34 Recercar quarto = Ι 5 7 ΐ β , no. 27

2a pars Divites eguerunt = i57 I e> no. 153b, and 15865, no. 20b Susanne ung jour (LassoW X I V , 29: Lasso) = i 5 7 i e , no. 132 Secoures moy (LassoW X V I , 163: Lasso) = i 5 7 i e , no. 120 Jouissance [vous donneray] ( R I S M 154514, fol. 2: Willaert) = 15721, no. 18

ROBERT

A n Exortation to all K y n d e of M e n how they shulde learn to play of the lute. Printed by Robert Balla[r]de. T h i s volume, now lost, is listed in A r b e r T I, 343 ; D a r t H L , p. 14; D e a k i n M B , p. 4; and SteeleE, p. 99.

[1 5 6 7 h MERULO,

CLAUDIO

RICERCARI / D ' I N T A V O L A T U R A / D ' O R G A N O DI C L A U D I O / M E R U L O DA CORREGGIO / ORGANISTA DELL'ILLUSTRISS. / SIGNORIA DI V E N E T I A / Nella Chiesa di S. M a r c o : / Nuovamente da lui dati in luce, & con ogni diligentia corretti / A L M O L T O ILL U S T R E S I G N O R E / I L S. C O N T E M A R C A N T O N I O / Martinengo Villachiara. / L I B R O [Fleuret] P R I M O . / I N V E N E T I A , / 1567. T h i s volume, now lost, was in D : B d s . T h e title and description are taken from S a r t M S , p. 26. 42 fols. Keyboard sçare.

224

[1 5 6 7 ]

Dedication on fol. 2 headed " A l Molto Illustre et Magnanimo Signore II Signor Conte Marcantonio Martinengo Villachiara, ' ' and signed " D i Venetia il primo di Luglio 1567," reprinted in SartMS. On fol. 2 V : printer's privilege. On fol. 42: table of contents. T h e volume also contained a list of works announced for publication by Merulo. T h i s list is reprinted in I M A M I II, xliiixliv. A second edition of this volume, in 1605, is described in SartMS, p. 134. Transcriptions of the 1567 edition may be found in the Alfred Einstein Collection at Smith College in Northampton, Massachusetts, Instrumental Music, vol. V I I I ( U S : Nf, Einstein MSS). All of the compositions are for solo keyboard. fol. 3 9 I3V 19 22 v 26 3i v 37 v

ι ζ 3 4 5 6 7 8 1 2

Ricercar Ricercar Ricercar Ricercar Ricercar Ricercar Ricercar Ricercar

del primo tuono del secondo tuono1 del terzo tuono del quarto tuono dell'undecimo tuono del duodecimo tuono del settimo tuono dell'ottavo tuono2

Mod. ed. in FrotOI, no. 2. Mod. ed. in EinSH, app., no. 22.

in Strasbourg in 1567 as being in B:Br. Morphy probably refers to 15624 (see 15624, note 1).

1568! BECCHI, A N T O N I O DI LIBRO PRIMO / D'INTABULATURA DA LEUTO, / DI M. A N T O N I O DI BECCHI PARMEGIANO. / COMPOSTA DA LUI NOVAMENTE, E T DATA IN L U C E , C O N A L C U N I / Balli, Napolitane, Madrigali, Canzon Francese, Fantasie, Recercari / [Printer's mark] / I N V I N E G I A , / APPRESSO GIROLAMO SCOTTO. / M D LXVIII. 46 fols. Italian lute tablature. Fol. i v = p. 2. L e f L contains a m o d e m edition of the entire volume. M o e D M contains a thematic index of the dances (p. 419) and concordances for them (p. 264). On Becchi see also Doubtful Works for 1546 and 1563. All of the compositions are for solo lute. Copies in: A : W n , U S i W c . 1 P· I

[i 5 6 7 h L E ROY, A D R I A N Instruction d'asseoir toute musique facilement en tablature de luth. Paris, Adrian le Roy et Robert Ballard. This volume, now lost, is mentioned in D o m Caffiaux's notes for a history of music (F: Pn, M S fonds fr. 2 2 5 3 7 , fol- 1 3 7 ) . For other editions, see [i557]i, [i57o] 2 , and [1583] 3 . F o r E n g l i s h translations, see 15683

2

S 2

8 II

3

14 19

4

22

5 6

30 35 38

7

40

39 8

41

9

42

10 II

43 44 45

1567

12

46

DOUBTFUL WORKS

13

ι . M o r L , xliii, lists an anonymous Lautenbuch, published by Christian Müller

14

and 15742. For further information see LesLRB, art. 130.

48

49 50 51 52

Pass'e mezzo alia Millanesa Il suo saltarello Pass'e mezzo alia Millanesa Il suo saltarello Pass'e mezzo alia Millanesa Il suo saltarello Pass'e mezzo alia Millanesa Il suo saltarello Romanesca Favorita ( = romanesca) (15541, no. 5) La sua Rotta Madama mi domanda [Aria] Da cantar Tre damme alla Francesa Fantinella aria da cantar Pavana La sua gagliarda Pavana La sua gagliarda Pass'e mezzo dalla Saracena Il suo saltarello Pass'e mezzo della bella donna La sua gagliarda

i 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45

Pavana della Francesa La sua gagliarda Moresca La Moretta Seguii'amor donna gentil'e bella ( R I S M 15669, no. 7: Nola) 61 Occhi che date al sole & alle stelle 61 Nicola mia gentil 62 Poiché pietà non ha di me pietade 62 O voi che in mille in mille pene sete 63 Questa questa crudel 63 Madonne se volete doi sorti de lemosine farete 64 Le cortegiane se ne vane via 64 Gratiosa se mai 65 Non mi pensava mai ( R I S M i566 1 0 , no. 10: Don Francesco Celano) 65 Faccia mia bella ( R I S M is66 1 0 , no. 1 1 : Giov. Domenico da Nola) 66 Madrigale Nasce la pena mia (MonteO X V I , app. : Striggio) 68 O d'amarissim'onde (LassoW V I I I , 97: Lassus) 70 Occhi facci d'amor (SCMA 71 Ancor che col partire V I , no. 1 3 : Rore) = 15687, no. 63 no 72 Un gai bargier = 15479, · 8: Crecquillon 74 Pour quoi voles vous [cousturier] ( R I S M 153412 : Janequin [Passereau?]) 76 Une bergere 77 Reveiles = 1546e, no. 1 3 : "Reveillez moy," Garnier 77 Fantasia 80 Fantasia = i 5 7 i e , no. 18 81 Fantasia Fantasia per accordar il lauto in 82 altro modo Recercare = 15072, no. 42: 82 Spinacino Recercare = 15073, no. 4 1 : 84 Spinacino 85 Recercare = 1546e, no. 10: Francesco da Milano 87 Recercare accorda il lauto in altro modo = 15072, no. 39: Spinacino 88 Recercare 54 56 57 58 60

1 This copy was in the Landau-Finaly library in Florence (see RoedigC I, 497).

5

68

225

2

I 5682

GALILEI, VINCENZO FRONIMO DIALOGO / DI VINCENTIO GALILEI FIORENTINO, / N E L QUALE SI CONTENGONO L E VERE, / Et necessarie regole del Intavolare la Musica nel Liuto, / Posto nuovamente in luce, & da ogni errore emmendato. / [Printer's mark] / I N V I N E G I A , / APPRESSO GIROLAMO SCOTTO. / M D LXVIII. 82 fols. Italian lute tablature. Dedication on p. 3 headed " A L L ' I L L U S T R I S S . m o E T E C C E L L E N T I S S . S. P R I N C I P E I L S. G U L I E L M O C O N T E P A L A T I N O D E L RENO, E T DUCA D E L L ' U N A E T l'altra Baviera, signor mio semper osservandiss.," and signed " D i Venetia il di 20. Ottobre 1568. Di V. Illustriss. & Eccellentiss. signoria Humiliss. & devotiss. servitor Vincentio Galilei," printed in SartMS, p. 28, and I M A M I IV, lxxxiv-lxxxv. On p. 5: preface headed "L'Autore ai lettori," printed in I M A M I IV, lxxxv. On p. 6: poem in Italian headed " M . Gasparo Torello All'Auttore." On p. 1 6 1 : table of contents. On p. 163 : table of composers and colophon: " I n Vinegia, Appresso Girolamo Scotto. M D L X I X [sic]."1 This treatise on playing the lute is in the form of' a dialogue with musical examples. In the following inventory only complete pieces with titles are given. Certain of the shorter untitled examples are printed in ChilLS, p. 54, and I M A M I IV, 19. 3 Nos. 65-95 are reprinted in 15699. 15845 is a revised and expanded edition. Attributions to composers and number of voices in the vocal model are given here in brackets after the table of contents of the 1584 edition. All of the compositions are for solo lute unless otherwise noted. Copies in: G B : L b m h , I : PAc, I:Rsc. 4 P· 7

13

I:Fn,3

I:Fr,

Si puor hivir ardiendo5 [Pedro Guerrero 04] Biviendo sin amar 5 [P. Guerrero 04] Dun spiritu triste [P. Guerrero 0 4 ] (compare 15543, no. 124)

F 11 Ο Ν I Μ O D I A L O G O DI V I N C E N T I O NEL

GALILEI

FIORENTINO-

Q V A L E SI C O N T E N G O N O

LE VERE,

Erncccflàric regole del Immolare la Muficancl Liuto,

nife njmumntc in lut, & it ofni irrori rmmtndit*.

I N

V I Ν E G I A»

APPRESSO

GIROLAMO

M

D

SCOTTO.

L Χ V I ÎT

"

Title page of 15682

ι5 16 23

24 26

Vestiva i colli6 [Palestrina e j ] (PalO IX, 117) 2a pars Cosi le chiome mie Questi ch'inditio fan del mio tormento [Alessandro Striggio a 6 ] (Vogel: Striggio 12 tiS79], no. 2) Nasce la pena mia [Striggio a 6 ] (MonteO X V I , app.) Nasce la gioia mia [Giovanni Animuccia a 6]

8

27

9

29

10

29

11

31

Io mi son Giovinetta7 [Domenico Ferabosco a 4] (EinIM III, no. 30) Lieti felici spirti* [Vincenzo Ruffo a3] ( R I S M 1561 n , P· 14) II vostro gran valore' [Ruffo a3] ( R I S M 1561 1 1 ( p. 15) Se tra quest'herb'è fiore10 [Palestrina IV, 49)

λ 5]

(IMAMI

568, 12

34

13

so

14

54

15

55

16 17

59 62

18

63 64 64 65 66 66

19

67

20

68

21

68

22

69

23

70

24

71

25

72 73 73 74 74 75

26

76 76

11

Io mi son Giovinetta (another version of no. 8 above) Duo tutto di fantasia1* (mensural notation) = 15844, no. 4, and 15845, no. 20 [O envieulx qui de mon infortune] (mensural notation and lute tablature; PhalCh V I [1555], no. 14: Latre) Crainte & spoir13 [P. Guerrero a4] (mensural notation and lute tablature; R I S M 155520. no. 22: "Crainte & espoir," Baston) Ricercar primo Alla dole'ombra Cipriano de Rore a 4 ( S C M A VI, 12) 2a pars Non vide il mondo 3 a pars Un lauro mi difese 4a pars Però più ferm'ogn'hor 5 a pars Selve sassi campagne 6a pars Tante mi piacque Anchor che col partir1* ( S C M A VI, 45 : Rore) Come ha[v\ran fin le dolorose tempre [Rore 04] (SCMA V I , 51) Spesso in parte del ciel [Marc'Antonio Ingegneri 04] (Vogel: Ingegneri 6 [1578], no. 6) Non mi tolga il ben mio [Ingegneri a 4] (Vogel: Rore 33 [1569], p. 5: Rore) Appariran per me le stelle in cielo Orlando [Lasso] (LassoW V i l i , 27) Ma di che debbo lamentarmi hai lassa [Vincenzo] Ruffo (Vogel: Ruffo 16 [1556], no. 29) A qualunque Animale15 Annibale Padovano ( I M A M I IV, 65) 2a pars Et io da che comincia 3 a pars Quando la sera 4a pars Non credo che pascesse 5a pars Prima ch'io torni a voi 6a pars Con lei fuss'io Dal laccio d'oro Constanzo Porta (Vogel: Porta 4 [1555], no. 1) Regal donna cortese (Vogel : Porta 4 [1555], nos. 2 - 3 : Porta) 2a pars O virtute, o beliate

227

27

77

28

78

29

79

30

79

31

80

32

81

33

82

34

82

35

83

36

84

37 38 39 40 41 42 43 44

84 85 87 88 89 90 91 92

45

94

46 47 48 49 50 51 52

96 96 97 98 98 99 100

53

102

54

102 103

55

104

Il chiaro sol (Vogel : Porta 4 [1555], no. 6: Porta) Spontando lieto fuora (Vogel: Porta 4 [1555], no. 1 2 : Porta) Viva fiamma d'amor (Vogel : Porta 4 [1555], no. 16: Porta) In bianco letto Gian Nasco (Vogel: Nasco 5 [1554], no. 22) Nel'odorato e lucido oriente Giaches de Ponte (Vogel : Ponte 2 [1554], no. 1) A cui più ch'altri mai [Ponte 04] (Vogel: Ponte 2 [1554], no. 2) La qual in somma e questa [Ponte a4] (Vogel: Ponte 2 [1554], no. 3) A questo confortando (Vogel : Ponte 2 [1554], no. 4: Ponte) Fedeli miei [Ponte 04] (Vogel: Ponte 2 [1554], no. 5) Non scorse occhio giamai Vincenzo Galilei Ricercar Secondo Ricercar Terzo Ricercar Quarto Ricercar Quinto Ricercar Sesto Ricercar settimo Ricercar ottavo, & ultimo Fantasia Prima. Sopra, Nasse la pena mia (compare no. 6 above) Fantasia Seconda. Sopra, Anchor che col partire (compare no. 18 above) Fantasia Terza Fantasia Quarta Fantasia Quinta Fantasia sesta Fantasia Settima Fantasia ottava, & ultima16 I begli occhi ond'io fui Adriano Villahert a 5 (Vogel: Willaert 1 [1559], nos. 56-57) 2a pars Questi son que begli occhi Quando fra l'altre donne (Vogel: Willaert 1 [1559], nos. 46-47 : Willaert) 2a pars Da lei ti vien Madonna s'io v'amai (RI S M Ι 559ιβ> no. ι : Willaert) Cantai mentre ch'io arsi Cipriano de Rore (Vogel : Rore 2 [1544]» no· 5)

i io S

133

106 107

133 134

108 108

135

109 no no

136

137

m 112 113 113 114 HS 116

117 118 118 119 120 122 122 123 123 124 125 125 126

137 138 139 140 141

141 142 143

144 144

145 146

147

126 127 128

148

129

149

129 130

150 151

130 131 132

152 152

Candid'e richa vela Francesco Portinaro (Vogel: Portinaro S [iSS7]» no. 9) 2a pars Piacciati com'i tuoi Chi può fuggir amor [Alessandro] Striggio (Vogel: Striggio 22 [1571], no. 26) Caro dolce ben mio (Vogel: Striggio 20 [1585], no. 6: Striggio) Invidioso amor (Vogel: Striggio 20 [1585], no. 4: Striggio) Alla dole'ombra Annibale Padovano (Vogel: Padovano [1564], nos. 19-20) 2a pars Non vid'il mondo Io piango Solo, e pensoso Gioan Nasco ( R I S M ΐ559ιβ. P· 9) 2a pars Si ch'io mi credo homai Ohe porgi mano alla mia fragil barca [Vincenzo] Ruffo (Vogel: Ruffo 3 [1555], p. 24) 2a pars Sdegno regge il timon O dolci sguardi [Ruffo 05] Tanto co'lieti suoni Claudio da Coreggio [ = Merulo] (Vogel: Merulo 1 [1566], nos. 4-5) 2a pars Che vaghi suoni Guidommi in parte il ciel [Francesco] Rosello ( R I S M 156110, P· 10) 2a pars Da indi in qua Io son ferito hai lasso11 Giannetto da Palestrina (PalW X X V I I I , 179) Se ben non veggion gl'occhi (PalW X X V I I I , 215: Palestrina) Voi cadaci ligustri Vincenzo Galilei ( I M A M I IV, 215) Aspro core e selvaggio Adriano Villahert a 6 (Vogel: Willaert 1 [1559]. P· 96) 2a pars Vivo sol di speranza I dolci colli [Alessandro] Striggio (Vogel: Striggio 3 [1566], nos. 1-2) 2a pars E qual cervo ferito Se ogni mio bene havete (Vogel: Striggio 3 [1556], no. 20: Striggio)

22Ç

15683

8ç

90

91

92

93

94 95 96

153

Anchor ch'io possa dire (Vogel: Striggio 3 [1566], no. 3: Striggio) 154 Là ver l'aurora (Vogel: Striggio 3 [1566], no. 14: Striggio) 155 Quando vede'il pastor (Vogel: Striggio 3 [1566], no. 10: Striggio) 156 Dolce ritorno amor (Vogel: Striggio 12 [1579], no. 6: Striggio) IS7 Voglia mi sprova (Vogel: Striggio 3 [1566], no. 13: Striggio) 158 Ultimi miei sospiri [Philippe] Verdelotto (MonteO V, app.) 159 Beltà si com'in mente [Francesco] Rosello ( R I S M 1561 10 , p. 27) 160 Pien d'un vago pensier Orlando Lasso

1 DraudiusBC, p. 1650, and DraudiusBE, p. 267, both date this volume 1569. 2 One composition repr. after Chilesotti in K l a e m M II, no. 7. 3 T h e copy now in Florence was formerly in the Landau-Finaly library; see RoedigC I, 522. T h e manuscript appendix to this copy is inventoried in BecherC, p. 132. 4 A copy was in D : Bds (formerly in the Wolffheim library; see W o l f f C I, no. 656). A copy was also in the Écorcheville library (see ÉcorC, no. 33). 6 Incipits pr. in I M A M I I V , lix. * M o d . ed. in C h i l L S , p. 58; both the vocal model and the intabulation are repr. in I M A M I IV, 33; facs. of no. 4 after 15845 in PalW X X X I I I , 7 1 . 7 M o d . ed. in I M A M I I V , 89. 8 M o d . ed. in C h i l L S , p. 92. » M o d . ed. in C h i L S , p. 56. 1 0 M o d . ed. in I M A M I IV, 49; facs. of no. 11 after 15845 in PalW X X X I I I , 73. 1 1 M o d . ed. in C h i l L S , p. 90. 12 There are four counterpoints a 2 against a cantus firmus on p. 49 in mensural notation. 1 3 M o d . ed. in ChilS, no. 12. 1 4 Mod. ed. in C h i l L S , p. 60. 1 5 Mod. ed. in I M A M I IV, 65. 1 6 Mod. ed. in C h i l L S , p. 62. 1 7 Facs. of no. 83 after 15845 in PalW X X X I I I , 74.

printed at London by Jhon Kyngston for James / Roubothum and are to be solde at hys shop in paternoster rowe / Lycensed accordynge to the order apoynted in the queenes maiestes iniuntions / 1568 39 fols. French lute tablature. On fol. 2: author's preface headed " T h e Author to the Reader." On fol. 2 V : translator's preface headed " T h e Transllatour to the Reader," and dated "Farewell this .xxiiij. Daye of Septembre. M . ccccc. lxviii." Fols. 3-14 contain instructions for playing the lute, an English translation of Adrian Le Roy's lost volume (see [i557] i and [156713; see 15742 for a more complete translation). 1 Nos. 1 - 5 below are musical examples illustrating the text. Beginning on fol. 14*: tuning diagrams. All of the compositions except nos. 1-5 are reprinted in Le RoyFD. For further information see CaseyP. All of the compositions are for solo lute. Copy in : G B : L b m .

ι

fol. 7

2

7V

3

8

4

il

5

I2V

6

16

7 8 9

17 I7V i8v I9V

10 11 12 13 14 15

20 20v 21 2iv 22v 23 2JV

IS683 L E ROY, A D R I A N A Briefe and easye i n s t r u c t i o n to learne the tableture / to conducte and dispose thy hande unto the Lute / englished by J. Alford Londenor. / [Cut of a lute] / Im-

The χ. Commaundementes [Leve le cueur] (compare P r a M , no. 140) = 15742, no. 13 Je ne veux plus a mon mal consentir (compare LesLRB, art. 3, no. 13: Certon) = 15742, no. 14 [Musical example] = 15742, no. 15 [Musical example] = 15742, no. 16 Ce n'est bien ne plaisir (SCMA V, no. 7 : Arcadelt) = 15742, no. 17 Petite fantasie dessus l'accord du Leut = 15742, no. 18 [Fantasie] Passemeze Passameze more shorter The Paduane (compare i556 8 , no. 18: " U n e m'avoit promis [Paduane]") Otherwise Passe velours La tintalore La souris La tirantine Le petit gentilhomme La volte de Provenez

230

15683 v

16

24 First Branle of Malte 24v Otherwise 17 25v The seconde Branle of Malte 26 Otherwise 18 26v The third Branle of Malte 19 27v The fowerth Branle of Malte 20 28v Pavane si je m'en voy (compare LesLRB, art. 3, fol. 9: "L'Ennuy qui me tourmente," Certon) 29v Shorter tyme 30v Gaillarde of the precedent Pavane 21 3i v Gaillarde Romanesque 32v Fredon sur la Romanesque 22 33v J'aymeroye mieux dor[mir seulette]2 (compare 1589!, no. 12) 2 3 34v The first Gaillarde Milanaise 2 4 35v The seconde Milanoise 25 36* The thirde Milanoise (compare 1564,, no. 42: "Gaiarda de la Royne de Eschosse") = 1563x2, no. 120 26 37v Fowerth Milano (compare 15642, no. 2 1 : "Gaillarde la Visdame") 27 38v The fift Milanoise (compare 15715, no. 37: "Gaillarde Si pour t'aymer") = is63 1 2 , no. 121 28 39v Branle de Poictou 1

L u m S , p. 22, and SteeleE, p. 1 0 1 , list a 1563 edition of this volume, a dating probably based on a misreading (see DartHL, p. 14). 2 Unrelated to R I S M 15542e. n o · 1 1 : Certon.

1

5 6 84

LUPACCHINO, BERNARDINO, AND JOAN MARIA T A S S O DI BERNARDINO / LUPACCHINO E T DI / GIO: MARIA TASSO, I L / PRIMO LIBRO A D U E VOCI. / NUOVAM E N T E RISTAMPATO / E T AGIONTOVI ANCHOR A L C U N I / C A N T I A D U E VOCI D E / diversi Auttori. / A DUE [Printer's mark] VOCI / IN VENETIA, Appresso Claudio da Correggio. / MDLXVIII. Two part books in mensural notation, each of 20 fols. Contents = i559 e . All of the compositions are a 2 and without text or title. Copy in: S : U u (T).

1

S 685

MERULO, CLAUDIO MESSE / D'INTAVOLATURA / D'ORGANO D I CLAUDIO / MERULO DA CORREGGIO / O R G A N I S T A D E L L ' I L L U S T R I S S . / SIGNORIA DI V I N E T I A / Nella Chiesa Di San Marco: / Nuovamente da lui date in luce, et con ogni diligentia corrette. / A L REVERENDISS. MÖNS. I L S. ANTONIO / A L T O V I T I ARCIESCOVO DI FIORENZA, / CON G R A T I A , E T PRIVILEGIO. / LIBRO [Printer's mark] QUARTO / IN VINETIA, / 1568. 74 fols. Keyboard score. Dedication on fol. A i v headed " A l Reverendiss. Möns, il S. Antonio Altoviti Arciescovo di Fiorenza," and dated " D i Vinetia il primo d'Aprile. M D L X V I I I , " reprinted in SartMS, p. 27. Fol. A2 = ρ. ι. On p. 146 : table of contents. MeruO is a modern edition of the entire volume. All of the compositions are for solo keyboard. Copies in: B:Br, I:Be, I:Rsc. P· I Missae Apostolorum I Kyrie Kyrie 2 Christe 4 Kyrie 5 Kyrie 7 11 Et in terra pax Benedicimus te 13 Glorificamus te IS Domine deus rex celestis 16 18 Domine deus agnus dei 20 Qui tollis Quoniam tu solus sanctus 21 2 Tu solus altissimus 3 2 Amen 5 Sanctus 26 28 Sanctus Agnus dei 31 33 Missae In Dominicis Diebus Kyrie 33 Kyrie 34 Christe 35 Kyrie 36 Kyrie 39 Et in terra pax 41 Benedicimus te 42

ι 5686 Glorificamus te 43 Domine deus rex celestis 45 Domine deus agnus dei 46 Qui tollis 47 Quoniam tu solus sanctus 49 Tu solus altissimus 5° Amen 5i Sanctus 53 Sanctus 54 Agnus dei 55 57 Missae 1 Virginis Mariae Kyrie 57 Kyrie 59 Christe 6o Kyrie 6ι Kyrie 63 Et in terra pax 64 Benedicimus te 66 Glorificamus te 67 Domine deus rex celestis 68 Spiritus et alme 70 Primo genitus 73 Qui tollis 75 Qui sedes 77 Mariam sanctificans 79 Mariant gubernans 80 Mariam coronans 82 In gloria 83 Sanctus 86 Sanctus 87 Agnus dei 89 92 [Patrem] In Dominicis Diebus Patrem 92 Et ex patre 93 Genitum non factum 94 Crucifixus 96 Et ascendit 98 Et in spiritum 100 Et unam sanctam 103 Et expecto 105 107 Amen 109 [Patrem] Angelorum 109 Patrem III Et ex patre 113 Genitum non factum 116 Crucifixus 118 Et ascendit 120 Et in spiritum 122 Et unam sanctam 123 Et expecto 125 Amen 127 [Patrem] Cardinalium 127 Patrem 128 Et ex patre

231 130 132 134 136 138 140 143

Genitum non factum Crucifixus Et ascendit Et in spiritum Et unam sanctam Et expecto Amen

1 Mod. ed. of four versets of the Kyrie in O L X I I , i l , and of three versets in DallaL, no. 40.

1568, VREEDMAN, SEBASTIAN NOVA / L O N G E Q U E E L E G A N T I S / SIMA CITHARA LUDENDA CARMINA, / CUM G A L L I C A T U M E T I A M GERMANICA: FANTASIAE ITEM, / Passomezi, Gailliarde, Branles Almandes etc. Nunc primum ex Musica in usum Ci/tharae traducía per Sebastianum Vreedman / Mechliniensem. / His accessit luculenta quadam & perutilis institutio qua quisque citra alicuius / subsidium artem Citharisandi facillimè percipiet. / [Fleuret] / L O V A N I I . / Excudebat Petrus Phalesius Bibliographus Iuratus. / Anno 1568. 56 fols. French cittern tablature. On fol. A i v : a poem in Latin headed " A D L E C T O R E M C A R M E N . " On fols. A 2 - A 4 : instructions for playing the cittern headed "IN USUM CITHARAE INTRODUCTION' The instructions include a cut of the neck of a cittern and two subdivisions in the text : " D E T E M P O R E E T P A U S I S " (on fol. A3) and " M O D U S T E N D E N D I N E R V Ö S I N C I T H A R A " (on fol. A4). The same instructions appear in 15703 and 15825. Fol. A4V is blank. Fol. B i = fol. ι . All of the compositions are for solo cittern. Copy in : A : Wn.

ι

fol. ι

2

iv

3

2 2 2V 2V

4

Fantasia = 15703, no. 3, and 15825, no. 4 Fantasia — 15703, no. 1, and 15825, no. 3 Les Bouffons Autrement Era di magio = 15703, no. 135a Autrement = 15703, no. 135b

I 5686

232 5

3

6

3V

7

3V

8 9

10

4 4V

5

11

5V

12 13

6 6

14

6V

15

6V

16 17 18 19

7 7 7V 7V

20

8

21 22

8 8V

23 24

25

26 27

28

29

9 9V

10

io v Ii nv

12

Een venus dierken (compare D u y L I, 556) = 15703, no. 136, and 15825, no. 145 Een amoureux fiereghelate = 15703, no. 137, and 15825, no. 146 Het wasser te nacht (compare D u y L I, 292, and 490) = 15703, no. 138, and 15825, no. 147 Vreucht es ons toeghecomen Ick segge adieu1 (compare BridgmE, p. 162, and L e n N , P. [108]) Ick hadde een ghestadich minneken (ClemensO II, 11: "Psalm X V I I I , " Clemens non Papa) Te mey als alle die voghelkens singhen (compare D u y L II, 1024) Een schilderken fraey En het was een aerdich vrouken (compare L e n N , p. 58: " I c sach een aerdich vrouken") Het sadt een schipperken op sijn schip Een meysken op een ryuierken sadt Wijsheyt edel vrouwe O edel bloem der vrouwen La bella franciskina Le souffre passion2 ( = " J e souffre passion"?) Robin c'est un galland = 15703, no. 141 Valla de la roma Si pay me ou non (LesLRB, art. 171, fol. 3: " S i j'ayme ou non," Le Roy) Je sonne la retrátete [Certon] En fut il oneque (RI S M 1545 e, no. 4: Certon) = 15703, no. 21, and 15784, no. 20 Un advocat dist a sa femme ( R I S M i545xo, no. 19: Delafont) = 15703. no. 12, and 15825, no. 10 lek sach vrou venus burseken Den lusteleken mey (compare R I S M 1572H, no. 25: Clemens non Papa, and D u y L I, 356) Voor ia qui tu me canta ( R I S M I 557ie, no. 12: "Vorrei che tu cantassi," Azzaiolo) Ma man ia

30

31 32

33

34

35

36

37 38 39 40 41

42 43 44 45 46 47 48 49 50 51 52

53 54

I2V

La pastorella mia ( S C M A V, no. 5: Arcadelt) = 15703, no. 10, and 15784, no. 19 13* Languyr me fais (AttainCK II, no. 12: Sermisy) (AttainCK I4V Tant que vivray II, no. 10: Sermisy) = 157O3, no. 8, and 15825, no. 9 15 Pis ne me peult venir (compare R I S M 15722, fol. 25: Crecquillon) = 15703, no. 9, and 15825, no. 25 I5V D'où vient cela (AttainCK I I I , no. 22: Sermisy; another version of no. 39 below) = 15703, no. 6, and 15825, no. 7 jf'ay veu le cerf (compare 16 ClemensO VI, 140: Manchi court) 16 Autrement i6 v jf'ay trop aymer (AttainCK I, no. 12) = 15703, no. 11; 15784, no. 21 ; 15825, no. 20 17 Jamais n'aymeray 17" lek hebbe wel alsoo langhen tijt I7V D'où vient cela autrement (another version of no. 34 above) i8 v Sur le pont (compare ClemensO II, 61 : Clemens non Papa) 19 Een vrolijck beelt (compare ClemensO II, 55: Clemens non Papa) I9V Meisken wildiv 20 Het soude een proper meisken (compare D u y L I, 780) 20v Het was een aerdisch vrouken = 15703, no. 140 20 v Edel bloem bouen alle vrouwen 20 v Het was een macht — 15703» no. 139 21 Cupido triumphant (compare D u y L II, 899) 2 i v Le petit Bataille 22 v Fous perdez temps ( P u b A P T M X X I I I , no. 56: Sermisy) 23 v Auprès de vous (AttainCK I, no. 16: Sermisy or Jacotin) 24 N'oseroit on dire (compare D u y L II, 1090) 24 v Si partì guardo ( R I S M ΐ57θ β , p. 46 : " Si pur ti guardo," Pathie) 25* Or puis qu'amour 26 Ghepeis ghij doet mij trueren (compare D u y L II, 1685)

I 5 687 55

2ÓV

Niet dan druck en lijden (compare LenN, p. 75) 56 27 Sloef sloef waer hebdi gheweest = 15703, no. 134, and 15825, no. 144 57 27 v Allegez moy (BrownTC, no. 1) = 15703, no. 4, and 15825, no. 5 58 28 v Misericorde (ClemensO X, 140: Clemens non Papa) 59 29 v Vivre ne puis ( R I S M 15363, no. 9: Sermisy) 60 3θ ν Content désir ("Response") (BrownTC, no. 13: Sermisy) 61 3 i v Susanne ung jour (LevyS, p. 403 : Didier Lupi Second) 62 32" Dames qui au plaisant ("Response") (LesDC, art. 69, fol. 22 : Didier Lupi Second) 63 33 Un doulx nenny (LassoW X I I , 45: Lasso) 64 34v Doulce memoire ( P u b A P T M X X I I I , no. 50: Sandrin) = 15703, no. 16, and 15825, no. 12 65 35 v Finy le bien ("Response") ( R I S M 15409, no. 8: Certon) = 15703, no. 17 66 3ÔV O combien est [malheureux] (ClemensO VII, 156: Sandrin or Sermisy) = 15703, no. 14, and 15784, no. 27 67 37 v Le mal [qui senti (RISM I 57°8» P· S'· " R e s p o n s e " to " O combien est") = 15703, no. 15 68 38 Je prens en gré (ClemensO X, 14: Clemens non Papa) 69 39v Morir me fault (" Response") ( R I S M 1570e, p. 11) 70 4o v Si mon traveil (PubAPTM X X I I I , no. 52: Sandrin) = 15703, no. 19, and 15825, no. 16 71 4 i v Le dueil yssu ("Response") ( R I S M 15409, no. 14: Villiers) = 15703, no. 20, and 15825, no. 17 72 42 v Je suis desheritée (CW XV, no. 2: Lupus or Cadéac) 73 43 v Hors envieulx (EngL, p. 51 : Gombert) 74 44 v Godt es mijn licht ( V N M X X V I , 51 : Clemens non Papa) = 15703, no. 18; 15784, no. 40; and 15825, no. 24 (?) 75 45 v Toutes les nuyct ( R I S M 15703, p. 12: Crecquillon)

233 46 v

76

77

78 79 80 81

82 83 84 85 86 87

Ce mois de may (PubAPTM X X I I I , no. 25 : Godard) = 15703, no. 13; 15784, no. 22; and 15825, no. 11 47 v Ne pense plus M . Simon Levrart = 15703, no. 29, and 15784, no. 17 48* Angelus Domini 49 v Chorea Dianae3 M . Simon Levrart 50 Passomezo d'ytalye 5ov Gaill[arde] Wij sal mij troetelen (compare 15687, no. 132: " Gaillarda la Royne d'escosse ") 5o v Gaill [arde] Si pour t'aymer 51 Almande damours 5 i v Almande de lignes = 157O3, no. 86 5 i v Almande a deux pas = !5703> no. 87 52 Brande d'artois 52 Brande de Bataille = 15703, no. 118

1

Mod. ed. in T a p S , p. 37. Not related musically to R I S M I549 2 0 , fol. 9 V : Gentian. 3 Heading on fol. 49 v : "Huiusmodi e [that is, an e with a diagonal slash through it] dénotât istum semitonium quod est inter d & e . " 2

1 568, P H A L È S E , P I E R R E , PUBLISHER LUCULENTUM / THEATRUM M U S I C U M , / I N Q U O ( D E M P T I S VETUSTA/TE TRITIS CANTIONIBUS) SELECTISSIMA OPTIMO/RUM QUOR U M L I B E T A U T O R U M , AC E X C E L LEN/tissimorum artificum tum veterum, tum praecipuè recentio/rum carmina, maiore quam unquam diligentia & / industria expressa, oculis / proponuntur. / Et primo ordine continentur αυτόματα quae Fantasiae dicuntur, / Secundo Cantilenae quatuor & quinqué Vocum. / Postea Carmina difficiliora quae Muteta appellantur, eaque quatuor, / quinqué & sex Vocum. / Deinde succedunt Carmina longe elegantissima duabus Testu/ dinibus ludenda. / Postremo habes & eius generis Carmina quae tum festivitate, / tum facilitate sui discentibus, primo maximè satisfacient ut sunt / Passomezo, Gailliardes, Branles etc. / [Cut of ten performing

1 5 68,

234

musicians] / L O V A N I I. / Ex Typographia Petri Phalesii Bibliopolae Iurati. / A N N O M. D. LXVIII.

18

10

19

io v

92 fols. French lute tablature. On fol. A i v : a poem in Latin headed " I N L A U D E M T H E A T R I Musici, Frederici Viaere Frisii Carmen." Fol. A 2 = fol. ι . A t the bottom of each page from fol. 1 to fol. I2V appears an epigram from a classical author in Greek or Latin. O n fol. 91 : table of contents. S l i m K II) SSO, contains a thematic index of the ricercares. Nos. 1 1 5 - 1 2 2 are for two lutes; the other compositions are for solo lute. Copies in: A : W n , D : R O u , G B : O b , NL:DHgm.

20

il

21

il

22

iiv

23

12

24

I2V

MUSIC FOR SOLO LUTE

25

13

26

I3V

27

14

28

I4V

29

15

30

i5 v

31

16

32

i6 v

2

Iv

3

2

4

2V

5

3

Fantasia

6

3V

Fantasia

7

4V

Fantasia

8

S

Fantasia

5V

Fantasia

6

Fantasia

II

6

Francesco da Milano Fantasia = i546 1 0 , no. 8: Giovanni Maria da Crema

12

6V

Fantasia

13

7

Fantasia

14

7V

Fantasia

15

8V

10

Fantasia prima1 = is6312, no. 16: Raphael Viola, and i57 I 6, no. 22 Fantasia Simon Sentier = 15473, no. 3: Gintzler Fantasia a Rota = i546 1 5 , no. 31 : Rotta Fantasia Pauli Baroni = 1536 no. 11 : Borrono = 15524, no. 6:

Morlaye = 15603, no. 3 :

Paladin — 15584, n o . 2:

Morlaye = 15363, no. 16:

Francesco da Milano = 15603, no. 1 :

Paladin = 15363, n o . 7 :

= 15363, no. 1 :

Francesco da Milano

16

17

9 9V

= 15363, no. 4:

Francesco da Milano Fantasia = 15363, no. 15: Francesco da Milano Fantasia — 1546^, no. 30: Rotta Fantasia = i538 1 ( no. 9: Narváez O combien est [malheureux] (ClemensO V I I , 156: Sandrin or Sermisy) Le mal qui sent ("Response")2 = 156312, no. 20, and 1571«. no. 36 Vous per dés temps ( P u b A P T M X X I I I , no. 56: Sermisy) = 1571 e, no. 37 Telz en mesdict ("Response") = 15479, n o · 4·: M i t t a n t i e r

I

fol. I

9

Fantasia

= 15584, no. 3 :

Morlaye = 15363, n o . 5 :

Francesco da Milano Fantasia Francisci Milan = Ϊ5369, no. ι : Francesco da Milano Fantasia = i 5 7 i e , no. 20 Fantasia — 15531, no. 2: Bakfark

Doulce memoire ( P u b A P T M X X I I I , no. 50: Sandrin) = 156312, no. 28, and ΐ 5 7 ΐ β , no. 39 Finy le bien ("Response") = Ι547β> no. 12: Certon C'est a grand tort ( R I S M 1 55810, no. 24: Crecquillon) = 156312, no. 36, and 1571«, no. 41 Languyr me fais (AttainCK II, no. 12: Sermisy) = i s 6 3 1 2 , no. 30, and i S 7 i e , no. 42 Si mon traveil = 15479, no. 30: Sandrin Le dueilyssu ("Response") ( R I S M 15409, no. 14: Villiers) = 156312, no. 27, and 1571«, no. 44 Toutes les nuyct (RISM i 57°8,

33

17

34

I7 V

35 36

18 i8 v

37

19

Ρ- 12: Crecquillon) = 156312, no. 23, and 1571«, no. 45 Mais languyray-je = i552u, no. 55: Clemens non Papa Qu'est il besoing ("Response") ( R I S M i57o 8 , p. 13) Fault il qu'il soit Cessez mes yeux (RISM 155422, P· 1: Crecquillon) = *S(>3i2, no. 31 Le content est riche (AttainCK III, no. 9: Sermisy) =

38

i9 v

1571e,

no. 69 Je prens en gré = 15479, no. 1 : Clemens non Papa

i 39

20

5

Un gay bergier = 1545g, no. 38: Crecquillon 2oT Un gay bergier. Alio modo = 1547», no. 8 40 21 Dolci suspiri 41 21 Pour un plaisir = 15461g, no. 30: Crecquillon 2i v Pour un plaisir. Alio modo = 1571«. no. 46 42 2i v Si de present ("Response") ( R I S M 154514, fol. 16": Susato) 43 22v Venez venez[mon bel amy\ = 156312, no. 58 44 23 Je suis desheritée = i5528, no. 7 : Lupus or Cadéac 45 23v Damour me plains3 = 15479, no. 2: Pathie 46 24 Ce mois de may ( P u b A P T M X X I I I , no. 25: Godard) = I5 6 3i2. no. 65 24* Ce mois de may. alio modo = i 5 7 i e , no. 65b 47 24v Canzon Mapolitano [sic] in tolledo ( R I S M 15665, p. 6: " I n Toledo una donzella") 48 25 Sur la verdure ( R I S M 1570g, p. 29) = 156312, no. 62 49 25 Or demeurez — is63 1 2 , no. 85 50 25v M amye un jour ( R I S M 1 549 is, no. 1: Certon) = 156312, no. 75 51 26 Si purti guardo ( R I S M 1570$, P· 46: Pathie) = 156312, no. 76; 157 i e , no. 105; 15747, no. 36 52 2ÓV Godt es mijn licht ( V N M X X V I , 51 : Clemens non Papa) = 156312, no. 74, and 15716, no. 54 53 2ÓV Responce 54 27v Susanne ung jour a 4 (LevyS, p. 403 : Didier Lupi Second) = Ι57ΐβ, no. 53 55 28 Que pleust a dieu Verius ( R I S M 1578,, fol. 8) = 1571e, no. 64 56 28v Si de nouveau Verius 57 2 8 v Fortune allors ( R I S M 153915, no. 2: Certon) = 15715, no. 117 58 29 Pour une helas Cricquillon 04 = 15715, no. 56 59 29 Tutta tutta saressa = 1571«, no. 97 60 29v Quando ie penso al martire = 154617, no. 3: Arcadelt

687

235

61 62

30 3ov

63

31

64 65

31 3i v

66

32

67

32v

68 69

33 33v

70

34

71

34v

72

35

73

35v

74

36

75

36

76

37

77

37v

78

37v

79

38

80

38

81

38v

v

39

O faccia puita mia Martin menait Clemens non Papa = 15715, no. 58 Anchor che col partire = 1568!, no. 32: Rore Si tu non mi voi O sio potessi donna ( R I S M Ι 54 Ι β» P· 19 : Berchem) La pastorella mia ( S C M A V , no. 5: Arcadelt) = 15715, no. i n Frisque et gaillard (ClemensO X , 17: Clemens non Papa) = 15715, no. 55 Adieu madame par amour A demy mort (ClemensO X , 32 : Clemens non Papa) Amour au ceur ( R I S M [1552],, no. 25: Crecquillon) = 156312, no. 35, and 1571e, no. 67 Si me tenez a 3 (compare R I S M 154514, fol. 14: Crecquillon, a 6) = 15715, no. 61 Or il ne m'est possible ( R I S M I5532i> fol· 9 V : Clemens non Papa) = 15715, no. 50 Misericorde (ClemensO X , 140: Clemens non Papa) = 156312, no. 68 Avecque vous Orlando [Lasso] (LassoW X I I , 37) Ardant amour Orlando [Lasso] (LassoW X I I I , 25) = 15715, no. 83 Vray dieu disoit Orlando [Lasso] (LassoW X I I , 72) = 15715, no. 74b Du corps absent Orlando [Lasso] (LassoW X I I , 55) En espoir vis Orlando [Lasso] (LassoW X I I , 52) = 15715, no. 88 En un lieu Orlando [Lasso] (LassoW X I I , 83) = 15715, no. 79 Bon jour mon ceur (LassoW X I I , 100: Lasso) Las voulez vous Orlando [Lasso] (LassoW X I I , 3) = 1571,, no. 76a Las voulez vous. Alio modo Orlando [Lasso]

i

236 82

83

84

85

86 87

88 89

90 91

92 93

94 95 96 97 98 99 100

101

102

39 v

5

Un doulx nenny Orlando [Lasso] (LassoW X I I , 45) = 156312» no. 59 40 Ce faux amour Orlando [Lasso] (LassoW X I I , 103) = 15742. no. i l 40 v O comme heureux ("La Responce d'un doux nenny") Orlando [Lasso] (LassoW XVI, 160) 41 La giustitia immortate (SCMA VI, 41: " L a giustitia immortale," Rore) 41" Donna ch'ornata sete (SCMA VI, 63 : Rore) 42 L'inconstantia channo (SCMA VI, 60 : " L'inconstantia che seco han le mortali cose," Rore) 42 v Se'l mio sempre per voi (SCMA VI, 72: Rore) 43 Non gemme non fin oro Cypriano [de Rore] (SCMA VI, 75) 43 v Souspirs ardans Arcadet (SCMA V, no. 30) 44 Si la dureza Orlando (Vogel : Arcadelt 7 [1544], p. 36: " S e la dura durezza," Arcadelt) 44 v Carita di signore (SCMA VI, 28: Rore) 44 v Per pianto la mia carne Orlando [Lasso] (LassoW V i l i , 13) 45 Io cantarei d'amor (SCMA VI, 31: Rore) 45 v Di tempo in tempo (SCMA VI, 67: Rore) 46 Signor mio caro (SCMA VI, 25: Rore) 46* Qual e più grand'o amore (SCMA VI, 78: Rore) 47 Non e ch'il duol mi scena ( S C M A VI, 34: Rore) 47 v A'i trepida (SCMA V, no. 21: Arcadelt) 48' Or vien sa matnye — 15603, no. 19: " O r vien sa vien m'amye," Janequin) 49 La bella mita (SCMA VI, 38: " L a bella netta ignuda," Rore) = 15741, no. 16 49 v Qual anima [ignorante] = 15603, no. 7: Nollet

687 103

50

104

5ov

105 106

51 5iv

107

52

108

52 v

53 53v

109

54

no

54v

in 112

55 55v

113

56 5ÓV

114

57v 58v S8V

Non at sua amante — 15524, no. 17: " N o n al sua amante," Tromboncino Vita della mia vita (RI S M 1537e. no. 25: Verdelot) Pensa domi quel giorno Dormiendo i giorno = 15475, no. 66: Verdelot Pis ne me peult venir ( R I S M 15722, fol. 25: Crecquillon) Susanne un jour Orlando [Lasso] a S (LassoW XIV, 29) Susanne un jour. [Alio modo] 05 Susanne un jour, a5. plus diminuée Orlando [Lasso] = 1571e, no. 130, and 15721. no. 13 Je ne desire aymer (RISM [1556L7, p. 6: Crecquillon) Tristitia obsed.it me = 15562, no. 35: "Tristitia [vestra]," Isaac Descendit angelus Pater peccavi = 1563^, no. 103: Clemens non Papa 2a pars Quanti mercenarii Stabat mater dolorosa = 15473. no. 13: Josquin Benedicta es = 15473, no. 8a: Josquin 2a pars Per illud ave = 15473, no. 8b 3a pars Nunc mater = 15473, no. 8c

MUSIC FOR TWO LUTES

115

116 117 118

119

Canti di voi le ladi4 (RISM I543i7, P· 12: Naich) = 1571„, no. 160 59T Amor e gratioso = is63 1 2 , no. 116, and i 5 7 i e , no. 161 59* Burato = 1571 e , no. 162 6ov La Bataille ( M M R F VII, 31: Janequin) = i563 1 2 , no. 115, and 1571«, no. 163 6 i v Passomezo = 1563x2, no. 117; 59

62v 62*

i57ie, no. 164a; 15733, no. 32a II suo saltarello — i57*e. no. 164b, and 15733, no. 32c Chi passa (AzzaiV, no. 2: Azzaiolo) = 1571e, no. 165

i 121

122

63 v

64"

O combien est [malheureux] (ClemensO V I I , 156: Sandrin or Sermisy) = 1563 l 2 ) no. 118, and 1571 e, no. 166 (compare 154618. no. 39) Passomezo d'ytalye

5

688 149 150 151 152 153

237 87' 87' 87' 88 88 88 88'

MUSIC FOR SOLO LUTE

123

65v

124 125

66 v 67 v 70 72 v 76 76" 77 v 78 v 78 v 79

126 127

128 129

132

79 v 79 v 80 8o v 81 82

133 134 135 136 137 138 139 140

82 82 v 83 83v 83 v 84 84 v 84 v

141

85

130 131

142

85 v

143

8SV

144

86

145 146

86 86 v 86 v 86 v 87 87

147 148

Passomezo D'italye = is63 1 2 , no. 119 Passomezo Passomezo [Nicolas] Rans Gailliarda de Ν. de Rans Passomeso de Marek Antoine Passomezo D'italye Gailliarda Gailliarda Passemezo d'ytalye La Gailliarde Passomezo D'italye. Contratenor Gailliarda Passemezo. Bassus La Gailliarda Padoana Romanisca La Gailliarda Gailliarda la Roy ne d'escosse (compare no. 142 below) Gailliarda de Melier Chi passa Gailliarda la Massengier e5 Gailliarda Gailliarda La Vergiliana Gailliarda Si pour t'aymer Gaillar[da] Morette Gailliarda la Varionessa = 15732, no. i l Gailliarda Brunette (compare 15695, no. 79: "Gailliarde 0 ma gente brunette") = 1573. no. 10 Gaill[arda] Wij sai mij troe te (compare no. 132 above) Gailliarda Baisons nous belle i 5 7 i 6 , no. 185 Almande [de Ungrie]6 = 156^ no. 137 Almande de Spiers Almande Noseroit on dire Reprime Almande Philippine Reprime Almande de la rocha el fuso

154-162 89 163

90

Almande smeechdelijn Reprime Almande Almande Nonette Almande Pouloingne Reprime Brandt Champaigne = 1563 12) no. 141; 15732. no. 16; 159113, no. 131 Branles des Bourgoignes = ϊδδΓδ» n o s · 20-28 Branles de Ν. Rans = 157321 no. 17

1 Heading on fol. 1 : " T H E A T R U M M U S I C U M , SELECTISSIMIS OPTIMORUM ARTIFICUM CARMInibus instructum atque exornatum." 2 In R I S M i57o f i , p. 5, a chanson beginning " L e mal que sent" follows " O combien est" and is called a "response." However it is unrelated musically to this intabulation. 3 Mod. ed. in KosackL, app. III. 4 Heading on fol. 59: " S E Q U U N T U R D E I N CIPS C A R M I N A D U A B U S T E S T U D I N I B U S ACCOMMODA." 5 Mod. ed. in StaakS, p. 7. 8 T h e information in brackets is a manuscript addition.

I 5688 VAN G H E L E N , JAN Dit is een seer Schoon / Boecxken, om te leeren maken alderhande tabulatueren / wten Discante. Daer duer men lichtelijck mach / leeren speien opt Clavecordium Luyte end Fluyte. / [Cut of a man playing the lute, with two recorders and a clavichord forming a border] 1 42 fols. Colophon on fol. L 3 : " G h e p r i n t Thantwerpen op die Lombaerde veste inden witten Hasewint, by Jan van Ghelen Ghesworen Boeckprinter der C. M . Anno .M. C C C C C . L X V I I I . " On fol. L4 V : printer's mark with two dogs and a hare, an elaborate monogram, and the motto " F r a n gitres pontio mollis cauda canis hominem." This is a Flemish translation of Vorsterman's French translation ( 1 5 2 9 2 ) of Virdung's Musica getutscht (15113). T h e same musical examples occur here as in Vorsterman. 2 Contents = 15549. Copy in: N L : D H k .

I 568„

238

1 Facs. of title page in C e s M and S t r a M II, opp. p. n o . 2 Vorsterman repeats the superius only of " E e n vrolic w e s e n " at the end of the volume. Van Ghelen omits this.

[1568], R O W B O T H A M , J A M E S , PUBLISHER T h e breffe and playne instruction to lerne to play on the gyttron and also the Cetterne. London, James Rowbotham. This volume, now lost, is listed in A r b e r T I, 380, and DeakinMB, p. 4. This may have been a translation of one of the treatises by Adrian le Roy, either [i55i]i, or 15653. MaunC, p. 18, lists " A briefe & plaine instruction for to learne the Tablature, to Conduct & dispose the hand unto the Gitterne. Pri. for James Rowbotham," which may be identical with this. See also D a r t H L , p. 14; L e s L R B , art. 2 bis; and SteeleE, p. 99.

1568 DOUBTFUL

WORKS

ι. M o r L I, xliii, lists: "Flecha, Mateo. II Io libro di madrigali . . . novamente da liuto composti. Ven. Antonio Gardane. 1568." This is probably the volume listed in EitQ III, 475, as "Flecha, Mateo. II Io libro de Madrigali 04 et 5 voci con uno sesto & un dialogo a 8 novamente da lui composti & per Ant. Gardano stampati & dati in luce. Primo libro. Ven. 1568 Gardane." 2. FétB I, 184, lists a 1568 volume of lute music by Valentin Bakfark published in Cracow. T h e volume, otherwise unknown, is supposed to be a second volume to 1565!.

15691 BAKFARK,

VALENTIN

VALENTINI GREFFI / BAKFARCI PANNONII, HAR/MONIARUM MU-

S I C A R U M IN / U S U M T E S T U D I N I S / F A C T A R U M / T O M U S PRIMUS. / [Fleuret] / A N T V E R P I A E , / Apud Viduam Joannis Latii, sub, intersignio Agricolae. / 1569· 51 fols. Italian lute tablature. Fol. i v : blank. On fol. 2: the same dedication to Sigismund August II, King of Poland as in 1565 j. On fol. 4: arms of Bakfark with Latin couplet below. On fol. 4 V : poem in Latin headed " D e Insignibus Eiusdem, Carmen Andreae Tricesii Equitis Poloni." On fol. 5 : two Latin poems, one headed " A d Eundem," and the other " A d Sodales Músicos." Colophon on fol. 5 i v : " T y p i s Viduae Latii." DraudiusBC, p. 1651, lists this for 1559. Contents = 1565!. All of the compositions are for solo lute. Copy in : A : Wn.

15692 BARBETTA, GIULIO

CESARE

IL PRIMO LIBRO / DELL'INTAV O L A T U R A / DE L I U T O DE JULIO / CESARE BARBETTA PADOVANO / NUOVAMENTE DA LUI COMPOSTO, / E T D A T T O I N L U C E . / [Printer's mark] / I N V I N E G I A , / Appresso Girolamo Scotto. / M D L X I X . 16 fols. Italian lute tablature. Dedication on fol. i v ( = p. 2) headed " N O B I L I S S . A C GENEROSO, DOMINO JOANNI HUGOLDO A SCHLEINITZ MISNENSI." O n p. 32: table of contents. M o e D M contains a thematic index of the dances (p. 424) and concordances for them (p. 265). T h e compositions identified by the superior letter a ( a ) are reprinted in ChilLS, pp. 64-81. All of the compositions are for solo lute. Copies in : F : Pthibault, G B : L b m , I : Vnm.

ι 2

P· 3 3

3 4

3 4

Pavana prima Detta la Barbarina Pavana Seconda Detta la Borgognotta1 Pavana Terza Detta la Porcelino Pavana Quinta [sic] Detta la Fiamengina

1

5

4

6

5

7

s

8 9

6 7

10

7

11

8

12

8

13

9

14 15

9 10

16

il

17

12

18

13

19

15

20

16

21

17 19

22

20 23

23 24 25 26 27 28

24 25 26 27 29 30

5 6 9β

Pavana Quinta Detta la Beloncina Pavana Sesta Detta la Schiavonetta Pavana Settima Detta la Todeschina* Pavana Ottava Detta la Favorita Galgiarda prima detta ol Zacarii = i57i„, no. 179 Gagliarda seconda Detto il Barbetino = 1571,,, no. 180 Galgiarda terza Detta li Mazocho = 1571e. no. 178 Galgiarda quarta Detta la Franctiaa = 1571 e, no. 182 Gagliarda quinta detta la Imperialea = 1571 e, no. 181 Gagliarda Sesta detta la Grave Settima Gagliarda di Franctiaa = i57i„, no. 183 Gagliarda ottava De Franctia — 1571 β) no. 186 Passo e mezo, ficto = ΐ57ΐβ, no. 169, and 15865, no. 51 Passo e mezo, Sopra la Battaglia3 2 = 15716, no. 170 Passo e mezo, detto il Nobile33 = i57i e , no. 168 Passo e mezo, detto il Bachigliene" 4 Pass'e mezo, detto il moderno5 = I571e> no. 167a, and 15865, no. 49a Gagliarda de Passo e mezo antescrittoa = I57i e , no. 167b, and 15865, no. 49b Passo e mezo, detto l'anticho = I57 1 «. no. 171a Gagliarda del Passo e mezo antescritto = i57i e , no. 171b Fantasia Prima a3 Fantasia seconda a 4 Fantasia Terza 04 Fantasìa quarta a 46 Fantasia Quinta, ficta 04 Fantasia Sesta, ficta

239

s

Heading on p. 1 7 : " A l molto magnifico & generoso Signor, il Signor Giovanni Hugoldo Ascleinitz." 6 Heading on p. 27: " A l molto Magnifico & Illustrissimo Signor, il S. Contramtonio de Hortemburgi."

[I 5 6 9 h KARGEL, SIXT Carmina Italica, Gallica & Germanica ludenda cythara, Moguntiae, 69. This volume, now lost, is listed in DraudiusBC, p. 1622. This may be a first edition of 15753.

[i569]4 KARGEL, SIXT Nova & elegantiss. Italica & Gallica carmina pro testudine, Moguntiae, 69. This volume, now lost, is listed in DraudiusBC, p. 1622. Probably the contents = 1574!·

[1 569]S KARGEL, SIXT Renovata Cythara . . . Moguntiae, 1569. in fol. This volume, now lost, is listed in DraudiusBC, p. 1622. Probably the contents = 15784. The dedication of 15784 is dated 1575, however, suggesting that year as the date of the first edition. Perhaps this entry for 1569 was a mistake by Draudius.

1

Mod. ed. in MoeDM, p. 332. Heading on p. 1 3 : " A l Molto Magnifico et Prudentissimo Signor, il Signor Melchioro Adiebes, dignissimo Consigliero della Illustre nation Alemana." 'Heading on p. 1 5 : " A l Valoroso Signor Constantino Marombra." 4 Heading on p. 1 6 : " A l molto magnifico, & Eccellentissimo Dottor di legie, il Signor Sicheo Salietr." 2

1569e VREEDMAN, S E B A S T I A N CARMINUM QUAE CY/THARA PULSANTUR LIBER SECUNDUS: /

240

I

I N QUO S E L E C T I S S I M A Q U A E Q U E E T J U C U N D A CARMI/na continentur: ut Passomezi, Gailliardes, Branles, Alemande & alia eius generis per/multa quae sua dulcedine auditorum ánimos mire oblectant. / Nunc primum summa qua fieri potuit facilitate in tyronum usum / per Sebastianum Vreedman Mechliniensem / composita. / [Fleuret] / L O V A N I I . / Excudebat Petrus Phalesius Typographus Juratus. / Anno M . D. L X I X . 47 fols. French cittern tablature. Fol. *2 = fol. ι . The compositions identified by the superior letter a ( a ) are reprinted in WardDVM, pp. 46-51. See [1563],, for a possible earlier edition. All of the compositions are for solo cittern. Copies in: A:Wn, U S : S M (fol. 44 only, laid into a copy of 15964).

4 S 6 7 8 9 10 II 12 13 14

iS 16

00 o\

17

fol. ι Almande du Prince3 1 Le Reprinse I v Almande Frison = 157O3, no. 78 I v Le reprinse a 2 Almande bruynsmedelijn = 15703, no. 69 2 Le reprinse 2V Almande hertoch Mauritius 3 Almande Malines = 15703, no. 79 3V Almande des Oosterlings 4 Le Reprinse 4V Almande de worms S Le Reprinse 5V Almande switsers 6 Almande gerre gerre" = 15703, no. 76 6 Almande Bruynswijck = 15703, no. 77 6V Almande Jolie 7 Almande de Spiers = 15703, no. 74: "Almande de Philippine" Almande deux trois aes = 15703, 7 no. 75 7V Almande = 15703, no. 72a: "Almande Poussinghe," and 15825, no. 102 8 Le reprinse = 15703, no. 72b 8 Almande bisarde = 157O3, no. 73, and 15825, no. 108 8V Almande dambrugghes = 15703, no. 81 Almande dousame Le reprinse

5

6

9 β

18

9

19 20 21 22

9V 10 10 io v

23

IOv

24

II

25

II

26 27

IIIIVv

28 29

12 12V 12V 13 I3 V I3 V H I4V I V S

30 31 32 33 34

16

35 36 37 38 39

16 i6 v 17 i7 v 18

40

18

41

i8 v

42

19 I9V 20

43 44 45 46 47 48 49 50 51 52 53

20 20 v 20v 21 2I V 3I V 33 22 22 v 23 23 v 23 v

Almande la tour — 15703, no. 80 Almande de deux dames Almande rouwane Almande nivelle = 15703, no. 82 Almande Brusselles = 15703, no. 83 Almande Coloigne Almande Loreyne = 15825, no. 92 Almande = 15703, no. 85: "Almande Lieve gheburen" Almande d'anvers Almande de Spaigne = 157O3, no. 84 Branle Berghes = 15703, no. 1 2 1 Branle del duc = 15703, no. 120a Le saltarelle = 15703, no. 120b Le courante = 15703, no. 120c Le reprinse = 15703, no. i2od Branle d'anvers Branle troij Branle damours = 15825, no. 122 Branle hobokerP = 15703, no. 122 Den reij = 15703, no. 123 Coucquelecock L'homarméa = 15703, no. 127 Branle Loreyne Branle de bourgoingne Le courante (unrelated thematically to no. 38) Branle coupe = 15703, no. 124 (compare 1547e, no. 1 1 : "Branle simple") Branle Champaigne = 15703, no. 125 Branle de coloingne Le saltarelle Les 6. branles de bourgoinne = 15835, no. 125 Branle 2 = 15825, no. 126 Branle 3 = 15825, no. 127 Branle 4 = 15825, no. 128 Branle 5 Branle 6 Branle d'angleterre Branle de Brusselles Le saltarelle Quaterbrant Le fagot Branle rebecca = 15703, no. 126a, and 15825, no. 124a Le saltarelle = 15703, no. 126b, and 15825, no. 124b

241

I 569s 24 241 24' 25

25 26

1

26 27 27' 28 28 28'

29 29' 3o 30' 31 31' 32 32 32' 33 331 34 34' 35 35' 36 36' 37 371 38 38' 39 391 40 4° λ 4ΐ 4i' 42 42' 43 43'

Branle toutes les nuyct (compare R I S M 1570g, p. 12: Crecquillon) Branle simple Branle de Spiers = 15703, no. 119 Calleken van nieupoorte = 15703, no. 128, and 15825, no. 141 Passomezo de haultbois La gailliarde Passomezo d'angleterre = 15703, no. 43a, and 15825, no. 47a Le reprinse = 15703, no. 43b, and 15825, no. 47b La gailliarde (unrelated thematically to no. 59) Padoana de vaecas La gailliarde Passomezo Padua La gailliarde Passomezo Loreyne Le reprinse Passomezo Jolye Le reprinse Passomezo la douce = 15703 no. 45a, and 15825, no. 48a Le reprinse = 15703, no. 45b, and 15825, no. 48b La gailliarde Padoana de esperance = 15703, no. 33a La gailliarde = 15703, no. 33b Padoana de Prince Le gailliarde Passomezo Coloigne Le gailliarde Padoana le brave La gailliarde Passomezo d'Italye La gailliarde = 15825, no. 67 Paduana damours Le gailliarde Passomezo de Bruynswijck Le gailliarde Passomezo Frison La gailliarde Caracossa1 Autrement Chi passa (compare AzzaiV, no. 2 : Azzaiolo) Gailliarde elle ma faict ceste grace = 15703, no. 65 Gailliarde Berghentine Gailliarde Botert ν koecxkens wel Gailliarde o ma gente brunette

80 81

44 44 v

82

45

83

45 v

84

46

85

46'

1

La gailliarde del due Gaiarda la royne d'Escosse — 1564,, no. 42 Gaiarda la Moretta = 15647, no. 45 Gailliarde de Battaille = 1570; no. 44b, and 15825, no. 49c Marchese de gasto gailliarda = 15645, no. 12: "Gaillarde la Burate" Gailliarda = 15647, no. 23

Quasi-facs. and mod. ed. in W o l f H II, 133.

15697 G A R D A N E , A N T O N I O , PUBLISHER MOTECTA TRIUM VOCUM / AB PLURIBUS AUTHORIBUS COMPOSITA / QUORUM NOMINA SUNT / Jachetus Gallicus Morales Hispanus Costantius Festa Adrianus Wigliardus. / T R I U M [Printer's mark] V O C U M / Venetiis Apud / Antonium Gardanum. / 1569 Three part books in mensural notation, each of 16 fols. (?). On fol. i6 v : table of contents. Contents = 15433 and 15517. T h e volume contains 20 vocal pieces with Latin text, and four textless pieces, presumably for instrumental ensemble; all are a3. Copy in: I : P u (B). 1 1 The unique copy has a name, "Franciscus Murraninus," in manuscript on the title page.

15698 GALILEI,

VINCENZO

LA SECONDA PARTE / DEL D I A L O G O / DI V I N C E N T I O G A L I L E I FIORENTINO, / DELLA INTAVOLAT U R A D I L I U T O . / Posto nuovamente in luce, & corretto. / [Printer's mark] / I N VINEGIA, / APPRESSO G I R O L A M O SCOTTO. / M D LXIX. 20 fols. Italian lute tablature. Fol. i v = p. 122. On p. 160: table of contents. Contents = 15683, nos. 65-95. All of the compositions are for solo lute. Copy in: I : B e .

242

[156?]!

[156?]! GORLIER,

SIMON

Livre de Tabulature de Cistre. Simon Gorlier, n.d.

Lyon,

T h i s volume, now lost, is listed in D u Verdier I I I , 473. See also M G G V , col. 533.

3 4 5 6

A4 BI B2 B2 v

7

B3V D2 v D4

8

E2V

9 XO

F2 F3V F4V GIV

[156?],

GORLIER,

SIMON

Livre de Tabulature de Guiterne. Lyon, Simon Gorlier, n.d. T h i s volume, now lost, is listed in D u Verdier III, 473. See also M G G V , col. 533.

Ι 5 6 ?3

GORZANIS, GIACOMO

40 fols. Italian lute tablature. Dedication on fol. A i v headed " A L L A I L L U S T R I S SIMA SIGNORA LA SIGNORA RACHEL MALVASIA BARONESSA DE DORINBEG ADORNECH AMBASCIATRICE CESAREA E T CAPITANIA DI TRIESTE SIGNORA ET PATRONA M I A S E M P R E C O L E N D I S S I M A . " On fol. K 4 V : table of contents. MoeDM contains a thematic index of the dances (p. 429) and concordances for them (p. 266). Contents = 15791- For other volumes in the same series, see 15613, note 1. A l l of the compositions are for solo lute. C o p y in: A : W n . fol. A2

2

A3

G2 G3V

12

HI

13

H2

14

H2 v

IS

H3V

L6

H4V

I?

II

L8

IIV

19

I2 I4 ΚΙ KI V

DE

OPERA N O V A DE L A U T O / COMPOSTA DA MISIER JACOMO GORZ A N I S C I T A D I N O / Della Magnifica Città di Trieste messa in L u c e da suo Figliolo Massimiliano. / L I B R O [Printer's mark] Q U A R T O / I N V E N E T I A Apresso Alessandro Gardane.

ι

II

20 21

22 23 24 25

K2 K2 V KZV K3 K3 K3V K3V K4 K4V

Fantasia Terza del ditto Fantasia Quarta del ditto Fantasia Quinta del ditto Fantasia Sesta del ditto Pass'e mezo Antiche Primo Padoana del Ditto Saltarelo del Dito Pass'e mezo antico primo Tenori Saltarello del ditto Saltarello detto il Bors Pass'e meso antico Padoana del deto Saltarello del detto Saltarello detto tu me dai pena Saltarello detto porgi aiuto al mio core Saltarello detto quando sara Madonna Saltarello ditto cavarne ormai daffani Saltarello detto dona mi fai morire Pass'e mezo sopra Je presigne del Gorzanis (compare ClemensO X , 14: " J e prens en gré," Clemens non Papa) Pass'e mezo sopra gie vo deser d'un bois ah. del Gorzanis Pas'e mezo sopra una Canzon Francese Pas'e mezo Moderno Saltarello del ditto primo Saltarello detto varia picca Pas'e mezo detto loisa core per el mondo Padoana del ditto Saltarello del detto Baio Tedesco La sua gallarda Balo Todesco La sua galiarda Baio Todesco1 La sua gagliarda Baio Todesco

1 M o d . ed. in M o h r A II, no. 61.

[1 5 6 ? ]4

LE ROY, Fantasia Prima di Misier Jacomo Gorzanis Fantasia Seconda del ditto

ADRIAN

[Troisième livre de cistre par Adrian le Roy.]

1

S7°3

T h i s volume, now lost, is listed in an inventory of the firm of Plantin in Antwerp. See StellMB, p. 24.

[1 S 6 ?] 5 R O D R I G U E Z D E MESA, GREGORIO SILVESTRE Libro de cifra para tecla. T h i s volume, now lost, is mentioned in P e d H I I I , ν, and in AngO, p. 24.

DE

IL PRIMO LIBRO DI NAPOLITANE / C H E SI C A N T A N O E T S O N A N O / I N L E U T O . / N u o v a m e n t e composte da Jacomo Gorzanis Leutanista / Cittadino della Magnifica Città di Trieste. / [Printer's mark] / I N V I N E G I A , / A P P R E S S O GIROLAMO SCOTTO, / M D LXX. 14 fols. Superius in mensural notation; accompaniment in Italian lute tablature. Dedication on fol. i v ( = p. 2) headed " A L MOLTO MAGNIFICO SIGNORE IL S. G I O R G I O K I S D E K O L T E M P R U N , Figliuolo del Clariss. & Generoso S. Gio. Kisl benemerito Cavalliero aureato Hereditario epifaro dell'Illustre Contado de Goritio, & Cesareo Arciducale consegliero, & vicecapitanio della provincia del Cragno, Patron, & Signor mio osservandissimo." O n p. 28: table of contents. For other volumes in the same series, see 1561 2 , note 1. All of the compositions are for solo voice and lute. Copy in : I : F n .

I 2 3 4 5 6 7 8

Ρ· 3 4 5 6 7 8 9 IO

I I Lassai d'amar un tempo 12 Amor tu m'hai ferito 13 Che giova far morir 14 Tu m'hai gabbato IS S'io veglio dormo l 6 Alma perche t'affliggi 17 Sta vecchia canaruta l 8 Non fu mai donna 19 Chiara più che'l chiar sol 20 Tu m'amast'un temp'affé 21 Se ben mi parto donna 22 Ti parti e qui mi lasci 23 O quant'affann'o quanti aspri 24 La manza mia 25 La turturella 26 Se scior si ved'il laccio Pitio Santucci Anon. 27 S'aprest' indovinar

25 1 Facs. of p. 9 in MGG V, col. 535.

IS701 GORZANIS, GIACOMO

9 IO II 12 13 14 IS l6 17 l8 19 20 21 22 23 24

243

Da che si part'il sol Guerra non hò da far Questi capelli d'or'e Donna gentil non so Di berettino Lo fio lo fior che mi donasti Duca vi voglio dir1 Lasso dal primo giorno

[1 S 70 ] 2 L E ROY, A D R I A N Instruction de partir toute m u s i q u e des huits divers tons en tablature de luth. Paris, Adrian le Roy et Robert Ballard. T h i s volume, n o w lost, is mentioned in FétB V, 280, as a later edition of [1557] χ.

ι S7°3 PHALÈSE, PIERRE, AND JEAN B E L L È R E , PUBLISHERS

H O R T U L U S CYTHARAE, IN / D U O S DISTINCTUS LIBROS, QUORUM PRIOR / CANTIONES MUSICAS LONGE PULCHERRIMAS, PASSOM E Z O , / Paduanas, Gaillardes, Alemandes, Branles, ad U s u m vulgaris Cythara : Posterior similiter / Cantiones Músicas Passomezo, Almandes aliaque n o n nulla in tabulaturam / Cytharae, Italicae vulgo dicta, convenientem re/dacta, continet. / Q u a e d a m denique inserta s u n t passim carmina, pulsanda tribus Cytharisita inter se / coaptatis, u t T e n o r , diatessaron, id est per quartam, Bassus vero diapen/te id est per q u i n t a m à Superiore distet. / Accessit praeterea brevis

1

244

5 703

& dilucida in Cytharam Isagoge, qua sua marte quilibet / artem pulsanda Cytharae addiscere possit facilime. / [Fleuret] / Lovanii apud Petrum Phalesium, Antwerpia apud Joannem Bellerum. Anno M . D . L X X . 4 + n o fols. French tablature for a four-course cittern (nos. 1-147 in French tuning and nos. 148-182 in Italian tuning). On fol. A i v : the same poem in Latin as in 15685 headed " I N L A U D E M H O R T U L I CYTHARAE, C A R M E N . " On fols. Aa-A4 : the same instructions for playing the cittern as in 15685. Fol. Bi = fol. 1. For a later edition see [1575]7. All of the compositions are for solo cittern. Copy in: D : R O u .

I 2 3 4 5

fol. I Iv 2 2V 3V

6

4V

7

5V

8

6V

9

7

10

7V V

II

8

12

9 V

13

9

14

IOv

15

II V

16

I2V

17

I3V

18

I4V

Fantasia = 15685, no. 2 Fantasia = 15653, no. 1 Fantasia = 15685, no. 1 Alleges moy = 15685, no. 57 Susanne ung jour (LevyS, p. 403 : Didier Lupi Second) = 15825, no. 6 D'où vient cela = 15685, no. 34: Sermisy Languyr me fais (AttainCK II, no. 12: Sermisy) = 15825, no. 8 Tant que vivray = 15685, no. 32: Sermisy Pis ne me peult venir = 15685, no. 33 La pastorella mia = 15685, no. 30: Arcadelt J'ay trop aymer = 15685, no. 36 Un advocat dist a sa femme = 15685, no. 25 Ce mois de may = 15685, no. 76: Godard O combien est [malheureux] = 15685, no. 66: Sandrin or Sermisy Le mal [qui sent] ("Response") = 15685, no. 67 Doulce memoire = 15685, no. 64: Sandrin Finy le bien ("Response") = 15685, no. 65: Certon Godt es mijn licht = 15685, no. 74: Clemens non Papa

19

I5V

20

i6 v

21

17

22

i7 v

23

18

24

i8 v

25

i9 v

26

20

27

20v

28

21

29

2IV

30

22

31

22v

32

23V 23v 24v 24V 25 25V 25v

33

26 26v 27

Si mon traveil = 15685, no. 70: Sandrin Le dueïl yssu ("Response") = 15685, no. 71 : Villiers En fut il oncque = 15685, no. 24: Certon Dames qui au plaisant son (LesDC, art. 69, fol. 22: Didier Lupi Second) = 15784, no. 14, and 15825, no. 26 Je ne veux plus (compare LesLRB, art. 3, no. 13: Certon) = 15784, no. 5, and 15825, no. 27 Helas mon Dieu [ton yre s'est tournée'] (RISM 1553 19 , fol. 6: Maillard) J'ay bien mal choisi (RISM 1564g, fol. 7: Nicolas) = 15825, no. 29 Bon jour mon coeur (LassoW XII, 100: Lasso) = 15784, no. 16, and 15825, no. 28 Quand mon mary vient de dehors (LassoW X I I , 23 : Lasso) = 15784, no. 15, and 15825, no. 30 Amour est un grand maistre (RISM 155713, fol. 16: Arcadelt ; another version of no. 164 below) = 15825, no. 31 Ne pense plus M. Simon Levrart = 15685, no. 77 Si ce n'est amour qu'est-ce (S C M A V, no. 20: Arcadelt) Si purti guardo (RISM i57°e> P· 46: Pathie) = 15784, no. 30, and 15825, no. 14 Les Bouffons. Superius Plus diminuée Les Bouffons. Bassus = 15653, no. 2 Plus diminuée Pavane des Bouffons = 15653, no. 3a Autrement Gaillarde des bouffons = 15653, no. 3b Autrement Padoana de esperance = 15695, no. 66a La gaillarde = 15695, no. 66b

I5703 34

27

v

35

27v 28

36

28v 29

37

29v 29v

38

30 3ov 3ov

39

31 3i T 32

40

32 32v 33v

41

34 34 34v

42

35 35T

43

36 36

44

v

36v 37v

45

38

46

38v 39 39v 40

9 + B.P.I.M.

Pavane L'espagnolle = 15653, no. 6 Autrement Passemezo ditalye. Super[ius] = 15825, no. 57 Passemezo milanese. Superius = 15647, no. ia Gaillarde de la precedente = 15647, no. ic: " I l suo Saltarello" Autrement Gaillarde Romanesque = 15645, no. 17 Plus diminuée Passemezo. Bassus = 15653, no. 4a: "Pavane Romanesque" Gaillarde de la precedente = 15653, no. 4b Autrement Passemezo D'Italie. Tenor = 1564,, no. 12a Gaillarde. Tenor = 15647, no. 12b Autrement Passemezo commune = 15647, no. 2a Gaillarde Commune = 15647, no. 2c: "Saltarello Commune" Passemezo de Zorzi = 15647, no. 3a Padoana de Zorzi = 1564,, no. 3b Saltarello de Zorzi = 15467, no. 3c Passemezo Ungaro = 1564,, no. 4a Gaillarde Ungaro = 15647, no. 4b: " I l suo Saltarello" Passemezo d'angleterre — 1569,, no. 59a Le reprinse = 1569e, no. 59b Passemezo Bataglia = 15647, no. 10 Gaillarde de Bataille = 15693, no. 83 Passemezo la douce = 15693, no. 65a Reprinse = 15693, no. 65b Gaillarde Caracossa. Sup[erius] = 15825, no. 72a Plus diminuée = 15825, no. 72b Gaillarde Caracossa Bassus = 15653, no. 5: "Gaillarde J'aymeroys mieux dormir seulette"

245 v

47

48 49 50 51 52 53 54 55 56 57 58 59 60 61 62 63 64

65 66 67 68 69 70 71 72

73

Autrement = 15825, no. 72d Chi passa per questa strada (another version of no. 171 below) = 15647, no. 16: Azzaiolo 4 j V Gaillarde = 15647, no. 15 4i v La Milanesa = 15647, no. 24 42 Gaillarde = 15647, no. 21 42v Gaillarde = 1564,, no. 23 43 Gaillarda du Roy = 15647, no. 40 43v Gaillarde la Morette = 15645, no. 10 43v Gaillarde Hely = 15653, no. 7 44 Gaillarde Puisque nouvelle affection = 15645, no. 14 44v Gaillarde la Lionnoise = 15645, no. i l 45 Gaillarde ¿le la Gaye = 15645, no. 15 45v Gaillarde O combien est heureuse = 15645, no. 16 46 Gaillarde Baisons nous belles = 15784, no. 67, and 15825, no. 79 46" Premiere milanoise 47 Seconde milanoise 47v Troisième milanoise 48 Quatrième milanoise = 1564,, no. 42 : " Gaiarda de la Royne de Eschosse" 48v Cinquième milanoise La brunette (compare 15693, no. 79: "Gaillarde O ma gente brunette") = 15825, no. 87 49 Gaillarde elle ma faict ceste grace = 1569,, no. 76 49v Gaillarde Caracossa diminuée Superius = 1564,, no. 17 5° v Passe pied 51 Almande de Loraine = 15645, no. 37 5i v Almande bruynsmedelijn = 15693, no. 3 5i v Almande = 15647, no. 44a 5i v Reprinse = 15647, no. 44b 52 Almande du Prince = 15647, no. 43a 52 Reprinse = 1564,, no. 43b 52v Almande Poussinghe = 15693, no. 14a 53 La reprinse = 1569e, no. 14b 53 Almande de Bisarde = 15693, no. 15

4° 41

246

1

57

ΙΟΙ

62v Branle de Champagne = 15645, no. 26 62v 2. Branle de Champagne =

1569,, no. 13

102

63

3. Branle de Champagne =

1569e, no. 9

103

63 v

4. Branle de Champagne =

104 105 106 107 108

63" 64V

5. Branle de Champagne Sisiéme Branle de Champagne 7. Branle de Champagne 8. Branle de Champagne Branle simple N'aures vous point de moy pitie = 15645,

109 IIO

65 v 65 v

Branle gay = 15645, no. 23 Branle & tant plus = 15653,

III

66

Branle de Poictou = 15645,

74

53v

Almande de Philippine

75

53v

Almande deux trois aes =

76

54

Almande guerre guerre =

77

54

Almande Bruijnswijck

=

78

54 v

Almande Frison = 1569 e,

79

54 v

Almande Malines =

80

55

Almande la tour = 1569e,

1569«, no. 12: " A l m a n d e de S p i e r s "

1569 e, no.

no. no. no.

=

10

2

1569e,

5

18

81

55

Almande dambrugghes =

82

55v

Almande nivelle =

83

55v

Almande Brusselles =

84

56

1569e, no. 16

no. no.

21

1569e,

22

1569e,

Almande de Spainge = no.

27

1569e,

85

56

Almande Lieve gheburen =

86

56"

Almande de lignes = 1568e,

87

S6V

Almande a deux pas =

88

57

Premier Branle de Bourgongne

89

57v

Seconde Branle de Bourgongne

90

57v

Troisième Branle de Bourgongne = 15653, no. 11 Quatrième Branle de Bourgongne = 1565 3, no. 12 Cinquième Branle de Bourgongne = 15653, no. 13 Sisteme Branle de Bourgongne =

1569e, no. 25

58

92

58"

93

59

94

59

95

60

96 97 98

99

no.

84 85

is68e,

= 15653, no. 1 0

15653, no. 14 v

6o

Setiéme Branle de Bourgongne = 15653, no. 1 5

Huitième Branle de Bourgongne v

61 61 6iv

62

no.

= 15653. no. 9

91

°3

= 15653, no. 16

Neufiéme Branle de Bourgongne

= 15653» «o. 17

Premier Branle de malte Plus diminuée Seconde Branle de malte

(compare 15645, no. 22: "Branle simple N'aurés vous point de moy pitié")

Troisième Branle de malte

100

112 113 114

15645, no. 27

64

64 v

65

15645, no. 28 15645, no. 29

no. 2 2

no.

22

no. 30 66 Branle cent escus 66v Branle des Bergers 67 Branle Las il n'a nul mal

(compare L e s A C , no. 1 9 : D e Bussy)

115

67 v

116 117 118

68 Branle = 1564,, no. 37 68v Quatrebrant = 1564,, no. 39 69 Branle de Bataille = 1568e, no. 87 69 Branle de Spiers = 1569e, no. 56

119 120

Branle tu disois = 15647, no. 38

6g v

Branle ciel duc = 1569 e, no. 29a

69* La saltarelle = 1569e, no. 29b 7°v 7o v

La courante = 1569e, no. 29c La reprinse = 1569e, no. 29d

121

71

Branle de Berghes = 1569e,

122

7iv

Branle hoboken =

72 72

Den raij = 1569e, no. 34 Branle coupe = 1569e, no. 40

123 124 125 126

72 v

no.

28

no.

33

1569e,

Branle = 1569e, no. 41: "Branle Champaigne"

73

Branle rebecca =

1569e,

127 128

73 73v 74

L'homarmé = 1569e, no. 36 Calleken van nieupoorte =

129

74v

no. 53a

Le saltarelle = 1569e, no. 53b 1569e, no. 57

Tant vous alez doux guillemette ( R I S M 1 5 7 1 ! , fol. 1 1 : Abran)

1

13°

75

131

75v

132

76

133

76v

134

76v

135 136

77 77 77v

137

77v

138

78

139

78"

140

78-

Les Matachins = 15645, no. 20 Les forces d'Hercules = 15645, no. 21 Den lustelijcken mey = 15647, no. 27 lek had een gestadich minneken = 15647, no. 36: Clemens non Papa Sloefst ef waer hebdi gheweest =

79

142

79v

143 144

79v 8ov

247

°3

86 86v

156 157 158 159

87 87v

160

88v

161

89v

162 163

90

164

91

1568,, no. 56

Era di magio = 1568e, no. 4a Autrement = is68 e , no. 4b Een venus dierken = 1568,, no. 5 Een amoureux fireghelate = 1568 e , no. 6 Het wasser te nacht = 1568,, no. 7 Het was een macht = 1568,, no. 46 Het was een ardich vrauken = 1568,, no. 44

141

57

Robin c'est un galland = 15685, no. 20 Linkens houen es bestouen = 15825, no. 148

9ov

a n d 15825, no. 43

80 8ov 8ov

149

82 v

I50

83

151

83v

8i v

9i v

166

92v

Nun fahr hin alle mein trauren = 15784, no. 39, and

167

93v

Passemezo Commune — 15784,

152

84

153

84v

94v 168

154 155

85

95v g6v

v

85

no. 37, and 15825, no. 35

n o . 53a, a n d 15825, no. 5 1 c :

"Passomezo de Haubois" Saltarello Commune = 15784, no. 53b, a n d 15825, n o . 5 i d :

"Saltarello de Haubois" Passemezo dytalye = 15784, no. 51a, and 15825, no. 54a

Gaillarde dytalie = 15784, no. 51b: "Saltarello," and 15825, no. 54c

169

97V Passemezo dytalye Superius = 15784, no. 52a: "Passomezo Milanese," and 15825, no. 44a 98 Padoana milanese = 15784, no. 52b, a n d 15825, no. 44b

98*

Gaillarde dytalye = 15784, no. 52c: "Saltarello Milanese,'

170

99

171

99v

172

IOOv

173 174 175

101

La Caracossa Superius (compare 15647, no. 17) Chy passa (another version of no. 47 above) = 15784, no. 61b Gaillarde Gaillarde Gaillarde Branle del duc = 15784,

a n d 15825, n o . 44c

15825, n o . 36

Sto Core mio (LassoW X, 69: Lasso) = 15784, no. 34, and 15825, no. 37 Le vechie per invidia Sia sia maladetta = 15784,

n o . 58, a n d 15825, n o . 49b

15825, n o . 42

n o . 32, a n d 15825, no. 38

Tu traditora (LassoW X, 68 : Lasso) Mia mari ando al maria (compare RISM 156921, no. 10: "Mia mari andò al marco," Azzaiolo) = 15784, no. 35 La Cortesia (LassoW X, 66 : Lasso) = 15784, no. 33, and

no. 40 Passemezo Bataglia = 15784,

165

Thyenette venestost Veriubileert ghij venus dierkens (compare DuyL III, Entre vous gentilz galans II estoit ung lourdault La veille ¿les roys Si purti guardo1 (RI SM 15708, p. 46: Pathie) Madona mia pietà (LassoW X, 61: Lasso) = 15784,

Die liebe ist meisterin (another version of no. 28 above) = 15784, no. 42, a n d 15825,

2574) = 15825, no. 149

145 146 147 148

Era di maggio Chy voi vedere Vita mia bella E me levai (RISM i557 18 , no. 8: Azzaiolo) = 15784, no. 31 Tribulatje ende verdriet (compare DuyL I, 581) De mesa nui (RISM 15675, fol. 10: " D e mes ennuis," Arcadelt) = 15784, no. 11 Amour partez Gross lieb hat mich umbfangen (compare ScanL, no. 5: Scandello) = 15784, no. 41,

IOIv 102

no. 8ia, and 15825, n o .

m a

248

I57°3 102 103

176 177 178 179 180 181 182

ιο3 ν 104 i04 v 105 io v 5 106 io6 v 107 io7 v 108 io8 v 109 io9 v 110

La Courante = 15784, no. 81b: " L a Saltarelle," and 15825, no. 1 1 i b Le saltarelle = 15784, no. 81c: " L a courante," and 15825, no. ι l i e Branle La courrante La reprise Almande La reprinse Almande = 15784, no. 71 La reprinse Almande Reprinse Almande = 15784, no. 72 La reprinse Almande Reprinse Gheloost sy Codt

Pausis" (on fol. *3V), and " M o d u s tendendi nervös in Guitema" (on fol. *4 T ). 1 Fol. *5 = fol. ι. For a second edition see C 1 573] 7· AH of the compositions are for solo guitar. Copy in: D : R O u (two copies). 1 2 3a

fol. I Iv 2V

3b 4 5 6 7

3V 4 5 6 6V

8

8

9

9V

10

io v

II

I Iv

12

13

13

i4 v

H

16

iS

i6 v

16

17

17

i7 v

18

18

19

i8 v

20

I9V

21

20v

22

21

23

2I V

24

22 v

25

23

1

Heading on fol. 81 : " L i b e r Secundus. Continens cantiones músicas, Passomezo. Gailliardas, Almandes aliaque non nulla in tabulaturam Cythare Italicae vulgò dictae redacta. Cytharum autem hoc modo aptabis [Table of tuning]." The compositions following are for four-course cittern with Italian tuning.

i 5704 PHALÈSE, PIERRE, AND JEAN B E L L È R E , PUBLISHERS SELECTISSIMA ELEGANTIS/SIMAQUE, G A L L I C A , I T A L I C A E T LATI/ NA IN G U I T E R N A L U D E N D A CARM I N A , Q U I B U S ADDUN/tur & Fantasie, Passomezzi, Saltarelli, Galliardi, Almandes, Branles & similia, ex optima / elegantissimaque collecta, & iam cum omni diligentia recens impressa. / His abeessit luculenta quaedem & perutilis Institutio qua quisque citra / alicuius subsidium artem facillimè percipiet. / [Fleuret] / Lovanii apud Petrum Phalesium, Antwerpiae apud Joannem / Bellerum. Anno M . D . L X X . 84 fols. French guitar tablature. On fol. * i v : cut of a guitar. Beginning on fol. *2: instructions for playing the guitar headed "BREVIS AC PERUTILIS INSTIT U T I O QUA Q U I S Q U E F A C I L E E A P E R C I P I E T QUA A D U S U M Guiternae cognoscendum spectant." The instructions have two subdivisions: " D e Tempore &

Fantasie = 15533, no. 3 Fantasie = 15533, n o · 2 Fantasie, des Grues = 15533, no. ι Fantasie = 15533, no. 5 Fantasie = 15533, no. 4 Fantasie = 15533, η ° · 6 Fantasie = 15523, no. 2 Helas mon Dieu [ton ire s'est tournée] = 15533.no. 1 2 : Maillard O passi sparsy = 15533, no. 1 3 : S. Festa Voulant honneur = 15533, no. 14: Sandrin Je cherche [autant amour] = 15533» no. 1 5 : Boyvin Au temps heureux - 15533, no. 16: Arcadelt Qui souhaitez = 15533, n o · 17'· Sandrin Un mesnagier viellard — 15533» no. 18: Sohier J'ay le rebours = 1556e, no. 2: "Pavanne," L e Roy Je ne veux plus a mon mal consentir = i556 8 , no. 9 J'ay cherché la science = 1556g, no. 16 Vous estes la personne = 1556g, no. 1 7 : L e Roy La la je ne l'ose dire = 15523, no. 4: Certon Jean de lagni — 15523, no. 5: Berchem Pour un plaisir = 15523, no. 6: Sermisy Au jour au jour = 15541, no. 4: Bonard Quand viendra la clarté = 15544, no. 5: Arcadelt Que te sert amy d'estre ainsi = 15544, no. 7: Arcadelt Je ne sçay que c'est qu'il me faut = 15544, no. 6: Arcadelt Ce n'est bien ny plaisir = 15544, no. 10: Arcadelt

249

157O4 26

27 28 29 3° 3i 32 33 34

35 36

37 3«

39 4o

4i 42 43

44 45 46 47

48

23 v J'ay tant bon credit qu'on voudra = 15541, no. 8: Arcadelt Si ce n'est amour qu'est se = 24 15541, no. 13: Arcadelt 24V Amour ha povoir sur les dieus = 15541, no. 11: Arcadelt Sij'ayme ou non = 15544, 25 no. 14: Le Roy 25T Nous voyons que les hommes = i554 4 , no. 15: Arcadelt 2ÓV La pastorella mia = 15541, no. 16: Arcadelt 27 Margot labourez les vignes = 15541, no. 17: Arcadelt 27 v Jamais femme ne sera = 15541, no. 18: Certon 28 Amour ne sçauriez vous aprendre = 15541, no. 19: Arcadelt 28 v Je sonne la retraitte = 15541, no. 20: Certon 29 Pour m'eslongner = 1556g, no. 4a: Le Roy 29 Autrement = i556 8 , no. 4b 29 v Mes pas semez = 1556g, no. 7 : L e Roy 30 Plus neulx estre a la suite = 1556g, no. 10a: "Branle gay," Le Roy 30 Autrement — 1556g, no. 10b v Oyez tous amoureux = 1556g, 3o no. 20 31 Mon dieu vostre pitié = 1556g, no. 23a 31 Autrement = 1556g, no. 23b 3 i v Un advocat = 15523, no. 3: Delafont 32v Laissez la verte couleur = 1556g, no. ι 33 Je ne me confesseray point d'avoir aymé = 15541, no. 3: Arcadelt 33 v Escoutez ma complainte = I 554á> no. ι : D e Bussy v Qui pourra dire la douleur = 34 15541, no. 12: Arcadelt 35 Lesté chault bouilloit = 15541, no. 2: Le Roy 35v Je cherche autant amour = 15513, no. 5a: Boyvin 36 La chanson precedente plus diminuée = 15513, no. 5b 36 v Verba mea ( " M o t e t " ) = 1553s. no. 7

49 50 51 52 53 54 55

56

57

58 59

60 61

62 63 64 65 66 67 68 69 70 71 72 73 74 75

37 v

In exitu Israel de Aegypto = 15533» no. 8: Josquin Cum invocar em — 15533, η ° · 9 41 42 v Beati quorum = 15533, no. 10 43 v Super flumina = 15533, no. 11 44 v L'alouette = 15533, no. 19: Janequin 47 v La guerre, faitte a plaisir = 15533, no. 20 51 Pavane si je m'envois = 15513, no. 6a 5 i v Gaillarde si je m'envois — 155I3, no. 6c 52 Pavane de la gambe = 15513, no. 7a 52v La Pavane predecente plus diminuée = 15513, no. 7b 53 v Gaillarde de la gambe = 15513, no. 7c 54 Pavane J'ay du mal tant tant = 15523, no. 9a 54 v Gaillarde de la precedente pavane = 15523, no. 9b Tourdion = 15523, no. 8 55 55 v Pavane de la guerre = 15523, no. ioa 56v Gaillarde de la precedente pavane = 15523, no. i o b 57Y Pavane des Bouffons Gaillarde des Bouffons 58 58 Pavane Romanesque 58* Gaillarde de la precedente pavane 59 Passemese 59 v Almande. Les Bouffons 59 v Plus diminuée 60 Almande. Loreyne = 15523, no. 17: " A l m a n d e t o u r n é e " 6o v Almande. Le pied de cheval2 = 15523, no. 16 61 Almande 6 i v Almande 6 i v Almande3 = 15513, no. 15 62 Almande. La mon amy la = 15513, no. 16 62 v La toulouzane gaillarde = 15523, no. h Gaillarde la Lionnoyse — 63 15523, no. 12 63 v Caracossa gaillarda 63 v Plus diminuée 64V Gaillarde = 15523, no. 14 Gaillarde la Roque elfuze 65 65 v L'ennuy qui me tourmente. Gaillarde = 1556g, no. 11

250 76 77 78

1

66 66v 67

79

67"

80

67* 68

81 82

83

68v 68v 69

84

69 t 69v 70

85

7o v

86

71

87

7iv

88

72

89

72 v

9°

73

91

73

92

73"

93

74

94

74 v

95

75

96 97 98 99 100

75 v 76 76 76" 77

101 102

77 77 v 77 v

Premiere gaillarde milanoise Seconde gaillarde milanoise Troisième gaillarde milanoise (compare 1564 7, no. 42 : " Gaiarda de la Royne de Eschosse") Gaillarde la Romanesque = 15523, no. 15 Plus diminuée Gaillarde La Peronnelle = 15513, no. i l Gaillarde = 15513, no. 8a Autrement = 15513, no. 8b Gaillarde Milanoise (compare i568 e , no. 82: "Gaill[arde] Si pour t'aymer") Gaillarde = 15523, no. 13 Plus diminuée Gaillarde Milanoise (compare 15715, no. 33: "Gaillarde A u joly bois") Gaillarde par deppit — 1551 3 , no. 9 Gaillarde (compare no. 84 above) Premier Branle de Bourgongne = 15513, no. 17 Seconde Branle de Bourgongne = 15513, no. 18 Troisième Branle de Bourgongne = 15513, no. 19 Quatriesme Branle de Bourgongne = 15513, no. 20 Cinquiesme Branle de Bourgongne = 155I3, no. 21 Sixiesme Branle de Bourgongne = 155I3, no. 22 Septiesme Branle de Bourgongne = 15513. no. 23 Huitiesme Branle de Bourgongne = 15513, no. 24 Neufyesme Branle de Bourgongne = iSSi 3, no. 25 Branle de la nonneste Branle des Lavendieres Branle de la Bergerre Branle d'ecosse Branle gay = 15523, no. 21: "Bransle gay Je ne seray jamais bergere" Plus diminuée Branle moresque Branle à la fontaine du pré (compare ClemensO V I I , 43: Willaert)

5 Toi 103 104 i°S

78 78v 79

106 107 108

79 v 80

79V

Branle de la torche Branle du beau Robert Branle. Tenez vos amours secrettes Matachins 4 Branle Branle des Bergers

1 These instructions are reproduced in facsímile and translated into English in HeartzE, where the suggestion is made that they are by Adrian le Roy and were originally printed in [ 1 5 5 1 h . 2 M o d . ed. in M o h r A II, no. 35. 3 Mod. ed. in M o h r A II, no. 34. 4 M o d . ed. and quasi-facs. in T a p S , p. 38.

I 5706 ANTONELLI,

CORNELIO

IL T O R T U R I N O / IL PRIMO LIBRO DELLE / NAPOLITANE ARIOSE DA CANTARE / ET SONARE NEL LEUTO, / Composte da diversi Eccellentissimi Musici, & novamente / per il Rever. P. F. Cornellio Antonelli da Rimino / detto il Turturino, acomodate sul leuto. / [Printer's mark] / I N V I N E G I A , / A P P R E S S O GIROLAMO SCOTTO / M D LXX. 18 fols. Solo voice in mensural notation and accompaniment in Italian lute tablature. Dedication on p. ζ headed " A L L ' E C C E L LENTE ET ILLUSTRE SIGNOR MIO O S S E R V A N D I S S I M O , I L S. G A S P A R O PIGNATTA DA RAVENNA DOTTORE E T C A V A L L I E R E , " and signed " D a Veneria il 20. di Maggio. M D L X X . D . V . S. Illustre & Eccellente, Devotissimo Servitore, Frate Cornelio Antonelli da Rimino Eremitano." On p. 36: table of contents. AU of the compositions are for solo voice and lute. Copy in: I : F n .

ι

P· 3

2

4

3

5

4

6

All'apparir dell'alba (RISM I57i»> Ρ· 17: Anselmo Perugino) S'io dormo haggio gran male ( R I S M i 5 7 o l e , p. 4: Meo) Poi che pietà non trov'al mio ( R I S M 157019. p. 6: Anselmo Perugino) Sospira core sospira core ( R I S M W O « , P- 18: Nola)

251

I 5 7 11 $

η

6

8

7 8 9

9 10 il

10

12

11 12

13 14

13 14 15

15 16 17

16 17

18 19

18

20

19

21

20

22

21

23

22

24

23

25

24

26

25

27

26

28

27

29

28 29

30 31

30

32

31

33

32

34

33

35

Da poi ch'io viddi (RI SM ïsyoïe» ρ· 32: Mazzone) Correte tutti quanti (RI SM iS70ie» Ρ- 26: Arpa) Andand'un giorn'a spasso Date la strad'o voi Gioia ch'avanzi tanto (RISM 157031. P· 28: anon.) Come farò cor mio (RISM 156930, no· 5: Nola) Tutta sei bella donna Io vo cercando (RISM i57o 31 , p. 27: anon.) Cosi vuol mia chiara stella Le donne belle eh'a Venetia stanno Dolci colli fioriti (compare Vogel: Ferretti 4 [1575], P- 5) Tanto v'ha fatt'il ciel Quando miro'i capelli (RISM I 57°3i. P· 2: Primavera) Amor sia benedetto (RISM 157031. P· 5= Primavera) Bella che tieni li capigli d'oro (RISM 1566e, p. 29: Scotto) Gli occhi la bocc'e la tua leggiadria (RISM 157031, p. 11: Primavera) Non mi date tormento (compare Vogel: Ferretti 11 [1569], p. 6) Pascami sol di pianto (RISM I 57°i8, P- 12: Mazzone) Dole'amorose e leggio (RISM 156517, P- 13: anon.) Bellezza ch'emp'il ciel (RISM 156517, P· 8: Arpa) Ditemi o diva mia (Vogel: Trojano 4 [1569], p. 25: Trojano) Donne leggiadr'e voi vaghe citelle (RISM 1565 17, P· 6: Primavera) Deh lasciatemi star tanti (RISM 156517, P· 7: Primavera) Cassandra mia gentil Amor lasciami stare (RISM 156517, P· 15: Arpa) Quando mirai sa bella faccia d'oro (RISM i57o 18 , p. 6: Mazzone) Se scior si ved'il laccio (RISM 157019, p. 12: anon.) O core di diamante (RISM I570i8, p. 40: Arpa) Credeva che la fiamma (RISM 157018, P· 46: Arpa)

15711 AMMERBACH, ELIAS N I C O L A U S Orgel oder In/strument Tabulatur. / Ein nützliche Büchlein, in welchem notwendige erklerung der / Orgel oder Instrument Tabulatur, sampt der Application, Auch froliche / deutsche Stücklein unnd Muteten, etliche mit Coloratura abgefasst, Desgleichen schöne / deutsche Tentze, Galliarden unnd Welsche Passometzen zubefinden, etc. Desglei/chen zuvor in offenem Druck nicht ausgangen. / Jetzundt aber der Jugend und anfahenden dieser / Kunst zum besten in Druck vor/fertiget, Durch / Eliam Nicolaum, sonst Ammerbach genandt, Orga/nisten zu Leipzig in S. Thomas Kirchen. / Mit fleis vom Autore selbs ubersehen und Corrigirt. / Anno, 1571. 1 m fols. German keyboard tablature. On fol. i v : cut of musicians performing, with the legend: "Psal. 150. Laudate Dominum in tympano & choro: laudate eum in chordis & organo." Preface and dedication on fol. 2 headed " D e n Hochgelarten und Achtbarn, hoch und wolweisen Herrn, Bürgermeister unnd Rath der Churfürstlichen Stadt Leipzig, Meinen grosgünstigen gebietenden lieben Herren," and signed on fol. 5V: " D a t u m Leipzig, den 20. Septemb. nach Christi unsers Erlösers und Seligmachers Geburt, nu 1571. Jahr. E. A. h. und w. W. Gehorsamer und Dienstwilliger Elias Nicolaus, sonst Ammerbach genandt, Bürger daselbst und Organista zu S. Thomas." On fol. 6 : instructions for playing the organ headed " K u r t z e anleitung und Instruction für die anfahenden Discipel der Orgelkunst." 2 On fol. i2 v : poem in Latin headed "Lectori Musices Organicae Studiosos," and signed "Gregorius Bersmanus." Colophon on fol. ι ι ι τ : "Gedruckt zu Leipzig, Durch Jacob Berwalds Erben. [Printer's mark] Anno, 1571." T h e compositions identified by superior letters are reproduced as follows: ( a ) in AntoniK, pp. 5 - 1 3 ; (b) in BöhT II, nos. 143-146; (c) in D T O XXXVII/72; (d) in EhmL, nos. 6, 9, 10, and 14; (e) HalbK, pp. 9-10; (0 in MerT, pp. 76-78; (8) in WustM, pp. 239-262. For further information see RitZ, p. 113, and WustA. T h e

252

1

S7

second edition, 15832, is revised and expanded. T h e compositions followed by an asterisk in the following inventory are identical with those in 15832. All of the compositions are for solo keyboard. Copies in: D :HAu, D : L E m , D : R O u , D K : K k , G B : Cu, G B : L b m (imperfect). 3 fol. ι

13

i3 v i3 v

i4 v

i5 v i5 T i6 v

8

17

9

I7 V

10

i7v

11

i8 v

12

I9V

13

20v

14

21

15

32

16

22v

17

33

18 19 20

23v 24v 25 v

Wo Gott der Herr nicht bey uns helt (compare BäumK II, 276, and Z a h n M III, no. 4441a) Herr Gott nu sey gepreiset (Le M a i G , no. 33: L e Maistre) Ein ander Herr Gott nu sey gepreiset (Le M a i G , no. 34: L e Maistre) Also sehr jammert Gott des Sünders grosse not (compare BraunS, p. 49, no. 81) Aller äugen warten auff dich Matthias L e Maistre Alio modo [Aller äugen] Dancket dem Herren denn er ist sehr freundlich.* (AmeH, vol. I, pt. 2, p. 236: anon.) Dancket dem Herren inn Ewigkeit Ehr lob und Danck mit hohem fleis* Gantz sehr betrübt ist mir mein Hertz Dieweil umbsonst jetzo alle kunst ( E D M R X X , no. 120: Forster) Allein nach dir Herr Jhesu Christ verlanget* (RI S M ΐ570β. Ρ· 46: " S i pur ti guardo," [Pathie]) Ein Henlein weis mit grossen fleis* (compare ScanL, no. 14: Scandello) Ich habs gewagt* Ich setze dahin* ( E D M R X X , no. 88) Gros lieb hat mich umbfangen* 4 (compare ScanL, no. 5 : Scandello) Frisch auff gut Geselle, las dz Gleslein*d (compare BöhA, no. 321) Zartfreuntlichs M* Ach du edler Rebensqfft* Sophia spanne das Füllein inn den wagen* ( R I S M c. 155O23, no. 58: Buchner)

1

1

21

2ÖV

22

2ÓV

23

28v

24

29v

25

30v

26

3iv

27 28 29

32v 33v 34v

30

35 v

31

3ÓV

32

37

33

37 v

34

38v

35

39v

36 37

39v 40v

38

41

39

41 v

40

42v

41

43v

42

55

43

44v

44

45 v

Schön unnd zart von edler art ( R I S M c. [i55o] 2 2 , no. 8) Ich bitt dich Megdelein hab mich hold* ( P u b A P T M X X I X , no. 53 : anon.) Mit lust thet ich ausreiten* ( P u b A P T M I, no. 25 : Senfl) Ich armes Megdlein klag mich sehr*6 * (SenflW V I , no. 8: Senfl) Vergangen ist mir glück und heil* ( E D M R X X , no. 15: Forster) Ach unfahls neid* (EDMR X X , no. 39: Wolff) Fuchswilde bin ich* Ian Ian Iadrian Elend ich rieff und seuffs so tieff* Gehabt euch wol zu diesen Zeiten*

Mein fleis und mühe (SenflW IV, no. 19: Senfl) Ein Meidlein sprach mir freundlich zu* (SenflW V I I , no. 15: Malchinger or Senfl) Tröstlicher lieb stets ich mich ube*c' (MosPH, no. 19: Hofhaimer) Ich sage Ademi (LenN, p. [108]) Ich bin vorsagt ( E D M R X X , no. 40) Paule lieber Stallbruder mein* Vor Zeiten war ich lieb unnd werth* ( R I S M [c. i55o] 2 2 , no. 42) Wenn wir in höchsten nöten sind7 Johan. Baptista Ich rew und klag* (another version of no. 33 above) Mein gemüth unndgblüt* ( E D M R X X , no. 85: Wenck) 1spruck ich mus dich lassen* s ( D T O XIV/28, p. 15: Isaac) Mein Man der ist in Krieg gezogen (compare BöhA, no. 235) Ach edler Hortc (DTO X X X V I I / 7 2 , p. 3 1 : Hofhaimer) So wünsch ich ir ein gute nacht*cd ( D T O XXXVII/72, p. 74: Stoltzer)

253

I 57 II 45

46

47

48

49

50

51 52

53

54

55 56

57

58 59

60 61 9*

46V [j. Bruder Cunrads Tanzmaass]*"bsa (= 15832, no. 121) Proportion 47 46" 2. Wer das Töchterlein haben w»7* a b e f (= 15832, no. 122: "Heckerling unnd Haberstro") (compare 15624, no. 53: " D e s Printzen T a n t z " ) 4 6 ' Proportio*a6ef 8 47 v 3. Der Allmeyer Dantz Proportio, Tripla, oder 48" Nachtantz* 3 [sic]. Hertzog Moritz 50 dantz*»'*10 Proportio*™1 50 v 4. Pastorum Dantz*zbtí ( = 5° 15832, no. 127) 5° v Proportio**™ 5° v 5. Ein kurtzer Dantz* ( = 15832, no. 118) 5° v Proportio* e 5 i v 6. Sol ich denn nu sterben* e v Proportio* 5i 5 i v 7. Die Megdlein sind von Flandern****111 (= 15832, no. 120) 52 v Proportio**™ 52 v 8. Ein ander Dantz* (= 15832, no. 116: " E i n kurtz Schlesisch D e n t z l e i n " ) 52 v Proportio* 53 v 9. Ein sehr guter Dantz (compare 15832, no. 124) 54 v Proportio 54 v 10. Ein kurtzer Dantz 55 v Proportio 55 v Ii. Ein ander hübscher Dantz* ( = 15832, no. 119) 56 v Proportio* 56 v 12. Ein ander Dantz* (= 15832 no. 115: " S a l v e puella, G o t t grüs") 56" Proportio* 57 v 13. Ein ander hübscher Dantz 58 v Proportio 5» v 14. Ein ander Dantz* ( = 15832, no. 114: " S i n d denn die Bürgers Söhne so leiden wol g e h ö r t " ) 59 v Proportio* 59 v 15. Ein ander Dantz 59T Proportio 6o v Passametzo j * 8 1 2 ( = 15832, no. 98a)

La Reprisa* ( = 15832, no. 98b) Gaillarde*8 ( = 15832, no. 98c: "Saltarella") 6 i v 2. Passametzo* ( = 15832, no. 94: "Passamezo antico") (15515, no. ι ) 62 v 3. Passametzo* ( = 15832, no. 95: "Passamezo antico") (15515, no. 2) 8 62 v 4. Passametzo* (= 15832, no. 96: "Passamezo antico") (15515, no. 3) (15515, 63 v Catachio Gaillarde no. 4) Gaillarde*8 ( = 15832, no. m ) 64 64V Gaillarde* ( = 15832, no. 106) 64 v Gaillarde* ( = 15832, no. 110; compare i s 6 8 e , no. 82: "Gaill[arde] Si pour t ' a y m e r " ) 66 Passametzo Dangleterre*e 13 ( = 15832, no. 99a: " D e r Englische Passamezo") 66 v La Reprisae Proportio Oder Gaillard*e ( = 67 15832, no. 9 9 b : " S a l t a r e l l a " ) 67 v Passametzo* ( = 15832, no. 97: "Passamezo n o v a " ) 68 v La Gaillarde 69* Passametzo Itali, auff den langen duplen Tact 7 η°· Γ7· "Ronde. Wo bistu" Bransle = ΐ55 Ι β> no. 18 Bransle - 155Je» no. 21 Premier Bransle Communee = 15591, no. 7 2. Branslee = 1559!, no. 9 Premiere Bransle Gay* = i5591( no. 19

15642, n o . 15642, n o .

31 34

72 73

22 22

74 75

22 22v

76 77 78 79 80 81 82 83

22v 22v 33 23 23 v 23 v 23 v 24

84 85 86 87 88 89 90 91 92 93 94 95 96 97 98 99 100 ΙΟΙ

24 24 v 24 v 24 v 25 25 25V 25V 25 v 26 26 26v 26v 26v 27 27 v 27 v 28

102

28

I03

28

Mod. Mod. Mod. no. 39. 1 Mod. no. 40. 1

2

3

2. Bransle Gaye = 15591, n o · 28 Premier Bransle de la guerree = 1559a, no. 46 2. Branslee = 15592, no. 47 Premier bransle de Champaigne = 15591, no. 31 2. Bransle = 15591, no. 32 3. Bransle = 15591, no. 33 4. Bransle = 15591, no. 34 5. Bransle = 15591, no. 35 6. Bransle = 15591, no. 36 7. Bransle = 15591, no. 37 8. Bransle = 15591, no. 38 Premier Bransle de Bourgoigne = 15592, no. ι 2. Bransle = 15592, n o · 2 3. Bransle = 15593, no. 3 4. Bransle = 15592, no. 4 5. Bransle = 15592, no. 5 6. Bransle = 15592, no. 6 7. Bransle = 15592, no. 7 8. Bransle = 15592, no. 8 9. Bransle = 15592, no. 9 10. Bransle = 15592, no. 10 a. Bransle = 15592, no. 11 12. Bransle = 15592, no. 12 13. Bransle = 15592, no. 13 14. Bransle = 15592, no. 14 15. Bransle = 15592, no. 15 16. Bransle = 15592, n o · J 6 17. Bransle = 15592, no. 17 18. Bransle = 15592, no. 18 Bransle des Lavandieresä = 15591, no. 58 Bransle Hauberrois = 15593, no. 45 Bransle Guillemettea = 15642, no. 33

ed. in ScherG, no. 134. ed. in M F H II, 9. ed. in WolfHM, p. 529, and WolfME, ed. in WolfHM, p. 529, and WolfME,

1571« PHALÈSE, PIERRE, A N D J E A N B E L L È R E , PUBLISHERS THEATRUM / MUSICUM, LONGE AM/PLISSIMUM CUI (DEMPTIS QUAE / V E T U S T A T E VILVERANT) AUTHOREM PRAE/STANTISS. T U M

1

5 71 β

VETERUM, TUM RECENTIORUM CARMINA SE/LECTISSIMA SUNT INSERTA, MAIORI QUAM ANTE/ H A C FIDE E T D I L I G E N T I A IN U S U M P U B L I / C U M C O M P A R A T A . / Et Primo quidem ordine αυτόματα quae Fantasiae, vel Praeludia nuncupantur. / Secundo Cantilenae vulgares, sed exquisitae tum 4. tum 5. vocum. / Tertia classis eorum Carminum quae ex lingua G a l : Italica Latina à praestan/tissima artificibus instituía (ut Clemente non papa, Orlandoque di Lasso, / & pluribus aliis) Moteti nomen 4. 5. aut 6. vocum promerentur. / Quibus succedimi alia quae duabus Testudinibus concini soient. / Postremo & eius generis Carmina, quae tum facilitate tum lepore discentes, / pariter ac audientes rapiunt, ut sunt Passomezo, Gaill. Branles etc. / Universa propemodum nunc recenter à peritissimis quibusque; translata in T e s t u dinis usum, velut / Julio Cesare Paduano, Melchiore Nenslyder Germano, & Sixto Kargl / ac nonnullis aliis quorum industria prae cateris / hodiè celebratur. / [Cut of ten performing musicians] / L O V A N I I . / Excudebat Petrum Phalesius sibi & Joanni Bellero Bibliopolae Antverpiensi. / A N N O M.D. LXXI. 126 fols. French lute tablature. O n fol. A i v : table of contents. Fol. A 2 = fol. ι . S l i m K II, 553, contains a thematic index of the ricercares. Nos. 160-166 are for two lutes; the other compositions are for solo lute. Copies in: D : M b s , G B : O b , P L î K j . 1 MUSIC FOR SOLO LUTE

ι

fol. ι

2

iv

3 4

2 2V

5 6

3 3V

7 8

4 4V

9

5

Fantasia Prima2 = 15733, no. 3, and 15865, no. 6 Fantasia Pauli Baroni = 15369, no. 1 1 : Borrono Fantasia Fantasia = 15584, no. 2: Morlaye Fantasia = 15733, no. 1 Fantasia = 15363, no. 1: Francesco da Milano Fantasia Fantasia = 15363.no. 1 5 : Francesco da Milano Fantasia = 15584.no. 3: Morlaye

259

10

5

II

6

12

6V

13 14 15 16 17 18 19

10 IOv

20

II

21 22

I Iv 12

23

I2V

24

I3 V

25

H

26

I4 V

27

ISV

28

i6 v

29

I7 V

30

i8 T

31

19

32

I9V

33

20

34

2ov

35

2iv

36

22

37

22 v

38

23

Fantasia = 15603, no. 1 : Paladin Fantasia = 1 5 3 6 3 , no. 1 6 : Francesco da Milano Fantasia Francisci Milan = 1 5 3 6 9 , no. ι : Francesco da Milano Fantasia = 1546™, no. 5: Giovanni Maria da Crema Fantasia Francisco da Milan — I547 2 , no. 5 Fantasia = 15363, no. 7 : Francesco da Milano Fantasia Prima Sixti Kargl Fantasia 2 = 1574X, no. 3: Kargel Fantasia = 1568^ no. 38 Fantasia 3 Fantasia = 15687, no. 16 Fantasia 4 Fantasia = 15687, no. 1 : Raphael Viola Fantasia = 15603, no. 3: Paladin Fantasia 1. Melchior [Newsidler] = 15663, no. 15 Fantasia = 154610, no. 4: Giovanni Maria da Crema Fantasia 2 = 15663, no. 16: M . Newsidler Fantasia = 15663, no. 18: M . Newsidler Fantasia 4 = 1 5 6 6 2 , no. 1 9 : M . Newsidler Fantasia 5 = 15662, no. 20: M . Newsidler Fantasia 6 = 1 5 6 6 2 , no. 2 1 : M . Newsidler Fantasia = 1 5 5 2 4 , no. 6 : Morlaye Fantasia 7 = 1 5 6 6 2 , no. 2 2 : M . Newsidler Fantasia = 1 5 4 6 5 , no. 1 1 : Francesco da Milano Fantasia 8 = 1566 3, no. 17: M . Newsidler O combien est [malheureux] (ClemensO V I I , 156: Sandrin or Sermisy) Le mal qui sent ("Response") = 15687, n o .

23

Vous perdés temps = 15687, no. 24: Sermisy Telz en mesdict ("Response") — ΐ547βι no. 4 : Mittantier

2Ó0

1

39

23 v

4o

24

4i

24V

42

25

43

25 v

44

26 V

45

2Ó

46

27

47

27 v

48

28

49

28v

50

29

51

3° v

52

31

53

3iv

54

32

55

32 v

56

33

57

33 v

58

34

59

34v

60

35

61 62

35 v 36

63

36

v

5 7 16

Doulce memoire = 15687, no. 26: Sandrin Finy le bien ("Response") = 15479, no. 12: Certon C'est à grand tort = 15687, no. 28: Crecquillon Languir me fais = 15687, no. 29: Sermisy Si mon traveil = 15479, no. 5: Sandrin Le deuilyssu ("Response") = 15687, no. 31 Toutes les nuyct — 15687, no. 32: Crecquillon Pour un plaisir = 15687, no. 41b: Crecquillon Je prerts en gre (ClemensO X, 14: Clemens non Papa) Mon cueur chante joyeusement a 4 Damour me plains = I547 e , no. 2: Pathie Or il ne m'[e\st possible = 15687, no. 72: Clemens non Papa Ung gay bergier. Alio modo = 15479, n o · 8: Crecquillon Je suis desheritée = 1552g, no. 7 : L u p u s or Cadéac Susanne ung jour a 4 — 15687, no. 54: Didier Lupi Second Godt es mijn licht = 15687, no. 52: Clemens non Papa Frisque & gaillard = 15687, no. 67 : Clemens non Papa Pour une helas a 4 = 15687, no. 58: Crecquillon A demy mort 04 (ClemensO X, 32: Clemens non Papa) Martin menait Clemens non Papa = 1568,, no. 62 Un doulx nenny Cricquillon a 4 (LassoW X I I , 45 : Lasso) Tant vous allez doux guïllemette ( R I S M 1564H, fol. 11: Abran) = 15747, no. 42 Si me tenez = 15687, no. 71 Content ou non = 15662, no. 14 En regardant la beaulté Verius

64

37

65

37v 38

66

38v

67

39

68

39v

69

40

70

4° v

71 72

41 4iv

73

42 v

74

43 v 44

75

44 v

76

45 45 v

77

46

78

46 v

79

47

80

47 v

81

48

82

83 84

Que pleust à dieu Verius = 15687, no. 55 Ce mois de may ( P u b A P T M X X I I I , no. 25: Godard) Ce mois de may. Alio modo = 15687, no. 46b Alix avoir ( R I S M 1545 1β , fol. I2 V : "Alix avoit aux dens la malerage," Crecquillon) Amour au cueur = 15687, no. 70: Crecquillon) Amour partez (compare 15865, no. 25) Le content est riche = 15687, no. 37: Sermisy Rossignollet qui chantez Clemens [non Papa] a 4 (ClemensO X, 41) Au fait damour a 4 D'amour me plains Vallentin Bacfarc = 15531, n o · 1 1 : Pathie Souspiers ardans = 15662, no. 10: Arcadelt Vray dieu disoit Orlando [Lasso] = 15662, no. 15 Vray dieu disoit. Alio modo Orlando [Lasso] = 15687, no. 76 Je l'ayme bien Orlando [Lasso] (LassoW X I I , 41) Las voulez vous Orlando [Lasso] = 15687, no. 81 Las voulez vous. Alio modo = 15741. no· 5 Avecque vous Orlando [Lasso] (LassoW X I I , 37) (compare 15662, no. 9) Ung doulx nenny Orlando [Lasso] = 15662, no. 13 En un lieu = 15687, no. 79: Lasso Petite folle Orlando [Lasso] = 15662, n o . 1 6

Monsieur Robbin Orlando [Lasso] = 15662, no. 11 48* Je ne veux riens Orlando [Lasso] a4 (LassoW X I I , 98) (compare 15742, no. 10) 49 Ardant amour Orlando [Lasso] = 15687, no. 75 49 v Ce faux amour Orlando [Lasso] a4 (LassoW X I I , 103)

1

85

50

86

5° v

87

51

88

51

89

5iv

90

52

91

52

92

52 v

93

52 v

94

53

95

53

96

53 v

97 98

53v 54

99

54v

100

55 v

IOI

55

102

56 v

103

57

104

57 v

105

58

106

58v

Helas quel jour Orlando [Lasso] (LassoW X I I , 47) Bon jour mon coeur Orlando [Lasso] (LassoW X I I , 100) Quand mon mary Orlando [Lasso] (LassoW X I I , 23) En espoir vis Orlando [Lasso] = 15687, no. 78 Tout ce qu'on peut Cyprian Rore = 15591, n o · 1 Madonna mia pietà Orlando [Lasso] (LassoW X, 61) Tu sai madona (LassoW X, 63 : Lasso) La cortesia Orlando [Lasso] (LassoW X, 66) = 15741, no. 21 Sto core mio Orlando [Lasso] (LassoW X, 69) Tu traditore Orlando [Lasso] (LassoW X , 68) Bern para che dame ("Vilanesche") Sife Cristallo (LassoW V i l i , 7: 4a pars of " D e l freddo rheno," Lasso) = 15865, no. 40 Tutta saressi — 15687, no. 59 Chilcre il sole (LassoW V i l i , 4: 2a pars of " D e l freddo rheno," Lasso) = 15721, no. 12 Deh ferma amor Orlando [Lasso] = 15662, no. 1 : D . Ferabosco Io mi son giovenetta Orlando = 15662, no. 3: D . Ferabosco O sto potessi donna = 15662, no. 2 : Berchem Se ben tempia mia sorte (LassoW V i l i , 17: Lasso) = 15865, no. 39 Per pianto Orlando [Lasso] (LassoW V i l i , 13) = 15865, no. 37 Vite della mia vita = 15662, no. 5 : Verdelot Si purti guardo = 1568,, no. 105 : Pathie Del freddo rhenno ("Madrigali") (LassoW V i l i , 3: Lasso) = i572 1 ( no. l i

2ÓI

57 1β 107

108 109 110

III

112 "3 114 "5 116 117 118

119

120 121 122

123

124

125 126 127

128

Con leifussio Orlando = 15663, no. 4 : Arcadelt, Berchem, Corteccia, or Giaches de Ponte 59 v Et io qualfui (LassoW V i l i , 9: Lasso) = 15741, no. 18 60 Vatena lieta homani (LassoW V i l i , 21 : Lasso) 6ov Signor mio caro = 15662, no. 7: Rore 61 La pastorella mia = 15687, no. 66: Arcadelt 6i T Carita di signore = 15662, no. 8: Rore 6z Perche la vita breve = 15662 no. 6 6a v Anchor quel partir (SCMA VI, 45= Rore) 63 Che più foco Baciare = 1553!, no. 17: Arcadelt Ó3T Oncques amour Cricquillon = 15663, no. 10 64 Fortune allors = 15687, no. 57: Certon 64* Le rossignol Orlando [Lasso] a 5 (LassoW XIV, 107) = 1572!, no. 22 65 Vous qui aymez les dames Orlando [Lasso] (LassoW XIV, 45) 65* Secourez moy Orlando [Lasso] a 5 = 15663, no. 8 66 Jattens le temps Orlando [Lasso] (LassoW X I V , 48) 66T Ardant amour Orlando [Lasso] a 5 (LassoW XIV, 84) 67 Un triste cueur Orlando [Lasso] a 5 (LassoW XIV, 80) Ó7V Mon cueur ravi d'amour Orlando [Lasso] (LassoW XIV, 22) 68 De tout mon cueur Orlando [Lasso] (LassoW XIV, 33) 68 v Veulx tu ton mal Orlando [Lasso] (LassoW X I V , 7 1 ) 68 v Le voulez vous ("Response") Orlando [Lasso] (LassoW XIV, 74) 69 Mon cueur se recommand3 Orlando [Lasso] (LassoW XIV, 15) 69" Mon cueur se recommand. Alio modo Orlando 59

26 2 129

13° 131 132 133 134 135

136

137 138 139

Ι40

141

142

143 144 145

146

147

1

57

Sur tous regres Orlando [Lasso] a 5 (LassoW XIV, 26) 7ο τ Susanne un jour Orlando [Lasso] = 15687, no. io8c Est il possible a 5 (LassoW 7ΐ XIV, 112: Lasso) 7 ΐ ν Susanne un jour. Alio modo = 15663, no. 7 : Lasso 72 ν Le departir Orlando [Lasso] = 15663, no. 12: Lasso 73 Elle s'en va Orlando [Lasso] (LassoW XIV, 105) 73 ν Et d'où venez vous Orlando [Lasso] a 5 (LassoW XIV, 68) 74 Las me fault il Orlando [Lasso] a 5 (LassoW XIV, 76) 74 ν La vita fuge Orlando [Lasso] (LassoW IV, 44) Mon amy. Alio modo = 75 154610, no. 28: Gascongne 75 ν Pis ne me peult venir a 5 ( R I S M 15722, fol. 25: Crecquillon) Aymer est ma vie Clemens 76 non Papa a 5 ( R I S M 155324, fol. 3) 76 ν Musiciens regardez devant vous Clemens non Papa «5 Adieu mon esperance 77 Clemens non Papa a 6 (RISM 155324» fol. 13) 77 ν Dung petit mot a5 = 15663, no. i l 78 ν Quando pens'io el mártir' = 15539, no. 6: Arcadelt 79 ν Jesu nomen sanctissimum Clemens non Papa 0 4 = 15651. no. 4a 8ο 2a pars Sit nomen domini benedictum Clemens non Papa a 4 = 15651, no. 4b 8ο ν Eravi sicut ovis Clemens non Papa a4 = 15651, no. 5a 8ι 2a pars Delieta juventutis meae — 15651, no. 5b 8 ι ν Circundederunt me viri mendaces Clemens non Papa 14 = 15651» no. 6a 82 2a pars Quoniam tribulatio próxima est = 15651, no. 6b

70

1

β

148

149

150 151 152

153

154

155

156

157

158 159

Heu mihi domine Orlando [Lasso] a 5 (LassoW IX, 6) 83 v Deus canticum novum Orlando [Lasso] a 5 = 15663, no. i a 84 2a pars Quia delectasti = 15663, no. i b 84 v Omnia quae fecisti Orlando [Lasso] a¡ — 15663, no. 2 85 v In me tranúerunt Orlando [Lasso] a¡ = 15663, no. 3 86 v Surrexit pastor bonus Orlando [Lasso] a 5 = 15663, no. 4 87 v Gustate & videte Orlando [Lasso] a5 = 15663, no. 6a 88 v 2a pars Divites eguerunt = 15663, no. 6b Veni in hortum meum 89 Orlando [Lasso] (LassoW V, 120) 89v Benedicam Dominum « 5 = 15663, no. 5 : Lasso 90" 2a pars In Domino = 15663, no. 5b 9 i v Aspice Domine a 5 (MonteO XXVI, app., ρ. 1 : Jachet) 92 v In te Domine speravi ( R I S M i535i» fol· 6 V : Lupus) v 2a pars [Quoniam fortitudo 93 mea] 94 v Stabat mater dolorosa a 5 = 15473, no. 13: Josquin 95 v Benedicta a 6 (JosqMT, no. 46 : Josquin) 96* 2a pars Per illud ave g6 v 3a pars Nunc mater 82v

MUSIC FOR TWO LUTES Canti di voi le ladi1 — 1568,, 160 97 no. 115: Naich 161 97v Amour e gratioso = 15687, no. 116 162 97 v Burato = 15687, no. 117 163 98* La Bataille = 15687, no. 118: Janequin 99V Passomezo = 15687, no. 119a 164 IOOv Il suo saltarello = 15687, no. 119b v Chi passa = 15687, no. 120: 165 I00 Azzaiolo 166 IOI v O combien est = 1568,, no. 121: Sandrin or Sermisy

263

157*1 1

MUSIC FOR SOLO LUTE

Copies were in D : Bds and D : KA. Heading on fol. 1 : " T H E A T R U M MUSICUM, SELECTISSIMIS OPTIMORUM ARTIFICUM CARMINIBUS INSTRUCTUM ATQUE EXORNATUM." 3 Facs. of fol. 69 in MGG VII, col. 689. * Heading on fol. 97: " SEQUUNTUR DEINCEPS CARMINA DUABUS TESTUDINIBUS ACCOMMODA." 2

I02V

Passomezo il Moderno =

I03V

Gaillarde del Moderno =

168

104

Passomezo detta il nobile =

169

IO4 V

Passomezo ficta =

167

1 5 6 9 2 , NO. 2 1 A

1 5 6 9 2 , NO. 2 1 B 1 5 6 9 2 , NO. 1 9

15692,

NO. 1 7 170

I05V

Passomezo de la Bataille =

171

106

Passomezo antico =

15721

1 5 6 9 2 , NO. 1 8

15692,

JOBIN, BERNHART,

NO. 2 2 A IO7 V

Gaillarde antico =

15692,

NO. 2 2 B 172

IO8

V

IO9 V

Passomezo = 1 5 6 6 3 , NO. Il suo saltarello = 1 5 6 6 3 ,

13A NO.

13B

173

IIOV

Passomezo la Milanese = 1 5 6 6 3 , NO. 1 7 A : " P A S S ' E MEZO ANTICO"

1 1 IV

Il suo saltarello con la represa =

174

II2V

I7S

H5V

Passemezo Marek Antoine Passemezo La parazino =

II6V

Il suo saltarello =

1 5 6 6 2 , NO. 1 7 B

1 5 6 6 3 , NO. 1 4 A

15663,

NO. 1 4 B 176

H7V

177

II7V

178

118

179

II8V

Gailliarde Milanese Gailliarde de la battaille Gailliarde Mazocho = 1 5 6 9 2 ,

NO. I L

Gailliarde il zacarii =

15692,

NO. 9 180

II8V

Gailliarde il barbetino =

181

119

Gailliarde la Imperale =

182

H9V

Gaillarde la Francia

1 5 6 9 2 , NO. 1 0 1 5 6 9 2 , NO. 1 3

=

15692,

NO. 1 2 183

120

Gaillirade [SÌC] 2.frantia

=

1 5 6 9 2 , NO. 1 5

184

I20V

185

I20V

Chi passa Gaillarde Baisons nous =

186

121

Gailliarde 3. frantia

1 5 6 8 7 , NO. 1 4 3 =

15692,

NO. 1 6 187-195

121v

196

123 124

Branles des Bourgoignes [nos. 1-9] = 15512, nos. 20-28 La Bataille = 15363, no. 34: Janequin 2a pars [Fan frere le le lan fan]

PUBLISHER

Das Erste Büch / Newerlessner / Fleissiger ettlicher viel / Schöner Lautenstück, von artlichen / Fantaseyen, lieblichen Teütschen, Frantzösischen / unnd Italiänischen Liedern / künstlichen Lateini/schen Muteten, mit vier und fünff stimmen, Auch / lustigen allerhand Passomezen: in die Teutsche / Tabulatur, zü nutz und gefallen allen diser Kunst / lehrbegirigen, fürnämlich den jenigen, so der fremb/den Welschen Tabulatur etwas unerfahr/ner, auff das verständtlichest und rich/tigest zusamen getragen, geord/net, und auch selber / getruckt, / Durch Bernhard Jobin, / Burger zü Strassburg. / M. D. L X X I I . 1 50 fols. German lute tablature. The title is placed within an ornamental border (the same border as in i577 e ). Dedication on fol. *2 headed "Dem Ehrenhafïten, Wolgeachten, und Kunstreichen Herr Thobie Stimmer von Schafïhausen, meinem lieben Gevattern, und besonders günstigen freündt," and signed "Geben in Strassburg den 17. Martii, Anno 72. E.Gütwilliger Compere Bernhard Jobin, Burger zü Strassburg," partly reprinted in EitK, p. 93. Beginning on fol. # 2 V : a poem in German headed "Ein Artliches lob der Lauten," and signed on fol. *6 " J . F. G. Mentzer," a pseudonym for Johann Fischart.2 On fol. *6: "Ein kurtze Verwarnung vom verstand diser Tabulatur." On fol. *6V: table of contents. Fol. *7 = fol. Α ι . All of the compositions are for solo lute.3 Copies in: A:Wgm, A:Wn, CH:Zz, D : Dl, D : KA, 4 D : Ngm (imperfect), D : ZW, GB : Lbm, PL:WRu. 5 ι 2

fol. Ai A2 v

Fantasia 1 Fantasia 2

264 3 4 5

Ä3 V A4 Βιν

6

B2 v

7

B3 v

8

B4 v

9

Civ

10

Czv

11

C3 V

12

C4

13

C4V

14

D2

15 16

17

D3 D4

Ei

18

E2V

19

E3V

20

E4 v

21

Fi

22

F2

23

F3

24

F3 v

25

Gì

26

G2

1

Fantasia 3 Fantasia 4 ι. Si pur ti guardo Ferrabosco ( R I S M i57o 8 ) p. 46: Pathie) 2. O sio potessi donna Arcadelt ( R I S M 1541,, p. 19: Berchem) 3. Quand Io pens a la martire Arcadelt ( R I S M 15419, p. 54) 4. Signor mio Caro Orland. = 15662, no. 7 : Rore 5. Vita de la mia vita Verdelot = 1566 2, no. 5 6. Io mi son giovinetta Ferrabosco (EinIM III, no. 30: D . Ferabosco) 7. Del freddo rhenno Orlandfo Lasso] = 1571e, no. 106 8. Chil ere il sole Orlandfo Lasso] = 1571e, no. 98 ι. Susanne ung Jour Orlandfo Lasso] = 15687, no. io8c 2. Je prens en gre Crecquillon (ClemensO X , 14: Clemens non Papa) 3. Pour parvenir Crecquillon 4. Puis ne me peult venir Crecquillon ( R I S M 15723, fol. 25: " P i s ne me peult venir") 5. Le departir Orlandfo Lasso] = 15663, no. 12 6. Joyssance [vous donneray] Adrian Villart = 15663, no. 9 7. Un doulx nenny Orlandfo Lasso] (LassoW X I I , 45) 8. Vray dieu disoit une fillette Orlandfo Lasso] (LassoW X I I , 72) 9. Helas quel jour Orlandfo Lasso] (LassoW X I I , 47) 10. Le rossignol Orlandfo Lasso] = i 5 7 i e , no. 118 11. De plusieurs choses Orlandfo Lasso] (LassoW X V I , 72) I. Bewar mich Herr Steffan Zirler (D : Rp, M S A R 855, no. 19) 2. Ich weiss mir ein vest gebautes Hauss Scandellfo] (ScanL, no. 6) 3. Der wein der schmackt mir also wol Orlandfo Lasso] (LassoW X V I I I , 11)

57 21 27

G3

28

G4

29

G4

30

Hiv Hä v

31

H3 v

32

H4 v Iiv

33

l2 v l3 v

34

Ki

35 36 37

Kiv K2 V K4 Li L2 L2 v L3 v

4. Ist keiner hie der spricht zu mir Orlandfo Lasso] (LassoW X V I I I , 8) 5. Im Meyen Orlandfo Lasso] (LassoW X V I I I , 24) ι. Legem pone mihi Domine Orlando [Lasso] (LassoW I X , 73) 2a pars Da mihi intellectum 2. Sicut mater consolatur Orlandfo Lasso] (LassoW V I I , 97) 3. Confundantur Orlandfo Lasso] (LassoW I X , 155) 2a pars Fiat cor meum 4. Confitemini Domino Orlandfo Lasso] (LassoW V I I , 131) 2a pars Narrate 5· Veni in hortum Orlandfo Lasso] (LassoW V , 120) 6. Nuncium vobis fero Orlandfo Lasso] (LassoW V , 9) 2a pars Thus do myrrham 1. Passemezo Saltarello 2. Passemezo Saltarello 3. Passemezo [Zorzy]8 Saltarello

Facs. of title page in K i n s P , p. 134. F o r a discussion of the poem see P e t e r M . 3 T h e c o p y of 15732 (the second v o l u m e of this series) in A : W n is defective. 1572!, fols. E 2 V - E 3 V and E4V-L3V are pr. there in place of 15732, f°l s E2V-E3V and E4V-H4. 4 The Karlsruhe c o p y (which is b o u n d w i t h 15585 and 15732) contains 43 fols, of manuscript music in G e r m a n lute tablature including dances ("Pavan," "Galliarde," "Allmandt," "Passamezo") and intabulations of G e r m a n lieder. S e e D i e L , pp. 95-96, for a full list of the contents w i t h c o n cordances. 6 Copies w e r e in D : B d s and the W o t q u e n n e library (see T h i b a u l t C ) . T h e Berlin c o p y contained an appendix of manuscript dances in G e r m a n lute tablature, including " P a s s a m e t z o , " "Saltarello," " I n t r a d a , " and " M a t a z i n a . " 6 M a n u s c r i p t addition in British M u s e u m c o p y : " Z o r z y " after Passemezo. 1

2

I 5722 VICENTINO,

NICOLÒ

MADRIGALI A CINQUE VOCI. / DI L'ARCIMUSICO / DON NICOLA

265

1 573a VICENTINO / PRATICO ET THEORICO E T / INVENTORE DELLE N U O V E A R M O N I E . / Nuovamente posti in luce, da Ottavio Resino / suo Discepolo. / LIBRO QUINTO. / IN MILANO. / Appresso Paolo Gottardo Pontio. M D LXXII. Five part books in mensural notation, each of 12 fols. Dedication on p. 2 of each part book headed " A L M O L T O M A G N I F I C O E T H O N O R A T O Signor il S. Lucilio Cavenago. S. mio osservandissimo," and signed "Ottavio Resino." On p. 24 of each part book: table of contents. Vogel: Vicentino 2 gives a complete list of the contents. Contains Italian madrigals and one instrumental piece a 5. Copy in: I : M O e .

index of this volume is pr. in KosackL, pp. 102-104. T h e volume is described in GrimmM, pp. 97-98. Contents = 15663 and 15663. Drusina has transcribed Newsidler's pieces from Italian into German tablature. On fol. F2 V : table of contents for the first half of the volume ( = 15662). On fol. M 3 : table of contents for the second half of the volume ( = 15663). All of the compositions are for solo lute. Copies in: B : B r , D : D O . a Facs. of title page in M G G III, col. 1190. A copy was in D : Bds (formerly in the Wolffheim library; see W o l f f C I, no. 1205). 1

2

ι 573a J O B I N , B E R N H A R T , PUBLISHER

P· 22

ι 1

La bella. Canzone da sonare1

M o d . ed. in I M A M I I I , xlvi, and VicenO, pp.

119-122.

1

S731

NEWSIDLER,

MELCHIOR

TABULATURA / CONTINENS / PRAESTANTISSIMAS E T / SELECT I S I M A S Q U A S Q U E CAN/tiones, in usum Testudinis, à Melchiore Neusydler Italicè / invulgatas, Nunc typis germanicis redditas : / P E R / Benedictum de Drusina. / [Cut of a lutenist] / F R A N C O F O R D I A E C I S V I A D R U M , I N / O F F I C I N A JOA N N I S EICHORNI : / M. D. LXXIII. / C u m gratia & Privilegio Caesareae Maiestatis. 1 47 fols. German lute tablature. On fol. A 2 : printer's privilege from the Emperor Maximilian II, dated from Prague, April 29, 1571. Dedication on fol. A3 headed "Illustrissimo Illustrissimique Generis Principi ac Domino, D . Augusto Electori, Duci Saxoniae, Lantgravio Turingiae, Marchioni Misniae, Sacri Romani Imperii Archimarschalco, Domino suo clementissimo," and signed " D a t u m Wittebergae in die Pentecostes, Anno 1573. Illustriss. Celsitud, subjectis. Benedictus de Drusina." A thematic

Das Ander Buch / Newerlessner / Kunstlicher Lauten/stück, von allerhand Musicartlichen / Passomezo, Gailliarden, Branlen, und ange/nemen Teutschen Däntzen, zü dienst unnd ge/fallen den diser Kunst übenden, inn die / Teutsche gebräuchliche Tabulatur / gericht und züsammen ge/truckt durch / Bernhard Jobin, Burger / zü Strassburg. / M . D . L X X I I I . 30 fols. German lute tablature. T h e title is placed within an ornamental border (the same border as in i577 6 ). On fol. *2: preface and dedication headed " D e m Ehrenhaflten, Wolachtbarn und Fürnemmen Herrn Samson Liechtensteigern, meinem viel günstigen Herrn, und geliebten Gevattern," and signed " A c t u m Strassburg, den ersten Martii. Anno 1573. E. A . Dienstwilliger Compere, Bernhard Jobin, Burger daselbest," partly reprinted in EitK, p. 93. Fol. #3 = fol. B i . All of the compositions are for solo lute. Copies in: A : W g m , A : \ V n , 1 C H : Z z , D : Dl, D : K A , 2 D : N g m (imperfect), D : Z W , PL: WRu.3

ι 2 3

fol. Βι B2 v Β4 Ci Civ C2V

Passemezo Antiquo Saltarello Antiquo Passemezo Ungaro Saltarello Ungaro Passemezo comun Saltarello comun

266 4 5 6 7

C3T C4V Div D2 v D3 D4

8 9 10

D4 v Ει Eiv

11

E2

12 13

E2 v E3

14 15

E3V E4

16

E4

17

E4 v

18

FiT

19

F2 F2t F3 F3v F4 F4v Gi Giv Giv G2 G2v G2t G3 G3v G3 v G4 G4 v G4v Hi Hi Hiv

20 21 22 23 24 25 26 27 28 29

30

H2 H2 H2v

1

Passemezo zorzy Saltarello zorzy Passemezo Saltarello Gailliarde Chi passa Gailliarde (compare 15687, no. 133: "Gailliarda la Royne d'escosse") Gailliarde Gailliarde Gailliarde brunette = 15687, no. 141 Gailliarde la Varionessa = 15687, no. 140 Gailliarde Branle de Bourgoingne = I59ii3> no. 129 Branle 2 Branle 3 = 159113. no. 130: "Branle de Bourgoigne" Branle de Champaigne = 15687, no. 153 Branles de N. Rans = 15687, no. 163 Les quatres Branles = 159113, no. 134 Teutscher Dantz Nach dantz Teutscher Dantz Nach dantz Dantz Proficiat Nach dantz Deutscher Dantz Nach dantz Dantz Nach dantz Dantz Nach dantz Dantz Nach dantz Dantz Nach dantz Dantz Nach dantz Dantz Nach dantz Dantz (compare 1540^ no. 6: " Ich weiss mir ein stoltze Müllerin") Nach dantz Dantz Nach dantz

5 73 2 h

3

h

3

32

h

3

33

h3v h4

31

h

4

Dantz Nach dantz Dantz Nach dantz Dantz Nach dantz

T h e copy in the Österreichische Nationalbibliothek is defective. Fols. E2V-E3» and E4 V -L,3 V of 1572! are pr. in place of 15732, fols. E2 V -E3 V and E4V-H4. 2 For information about a manuscript appendix in the Karlsruhe copy see 1572!, note 4. 3 A copy was in D : Bds. 1

I 5733

WAISSEL,

MATTHÄUS

T A B U L A T U R A / C O N T I N E N S INSIGNES ET I SELECTISSIMAS Q U A S Q U E / Cantiones, quatuor, quinqué, et sex Vo/cum, Testudini aptatas, ut sunt: Praeambula: Phan/tasiae: Cantiones Germanicae, Italicae, Gallicae, & / Latinae: Passemesi: Gagliardae: & Choreae. / In lucem aedita / P E R / M A T T H A E U M WAISSELIUM / BARTSTEINENSEM B O R U S S U M . / [Cut of a lutenist] / F R A N C O F O R D I A E A D V I A D R U M , IN OFFICINA / JOANNIS EICHORN. A N N O M . D . L X X I I I . / C u m gratia, & Privilegio Caesareae Majestatis. 48 fols. German lute tablature. On fol. A i v : table of contents. Dedication on fol. A2 headed " I L L U S T R I S S I M O P R I N C I PI A C D O M I N O , D O M I N O A L B E R T O FRIDERICO, MARCHIONI BRANDENBURgensi, Prussiae, Stetinensi, Pomeraniae, Cassubiorum, Wandalorumque Duci, Burggravio Norinbergensi, ac Principi Rugiae: Principi, & Domino suo clementissimo," and signed "Matthaeus Waissel, Scholae Schippenbellensis moderator." On fol. A3 : poem in Latin headed " In Gratiam Matthaei Waisselii Elegia," and signed " M . Valentinus Schreckius." A thematic index of the volume is printed in KosackL, pp. 104-107. T h e volume is described in GrimmM, pp. 98-100, which includes a facsimile of the title page. There are modern editions of several compositions in WaissT. A l l of the compositions are for solo lute. Copies in: B : B r , D : M b s , D : W , H ^ n . 1

267

1 5733 ι 2 3 4 5

fol. A4 A4 v Bi Biv B2

6

B2 v

7

B3V

8 9

B4 B4 v

10

Ci

11

Civ

12

C2

13

C2V

14 15

C3V C4

16

C4V

17

Div

18

D2

19

D2 v

20

Ö3 V

21

Ü4 V

22

Eiv

23

E3

24

E4 v F2

25

F3 v

26 Praeambulum = i 5 7 i 6 , no. 5 Praeambulum Phantasia = i57i e > no. 1 Phantasia Beware mich Herr (D : Rp, M S A R 855, no. 19: Zirler) Gott ist mein licht ( V N M X X V I , 51: " Godt es mijn licht," Clemens non Papa) Was wird es doch2 (SenflW IV, no. 26: Senfl) Zarth freundtlichs M Le content est riche B[enedikt] D[e] D[rusina] = 15563, no. 8: Sermisy Cest à grand tort (AttainCK II, no. 18: Sermisy) La battaglia (compare 15442, no. 32) Languir me fais (AttainCK II, no. 12: Sermisy) Doulce memoire ( P u b A P T M X X I I I , no. 50: Sandrin) Quanto è madonna mia Si pourti guardo ( R I S M 1570«. P· 46: Pathie) Damour me plains3 (PubAPTM X X I I I , no. 49: Pathie) Ung gay bergier Gfuillaume] M[orlaye] (?) (RieH II, 462: Crecquillon) Je prens engrè = 15479, no. I : Clemens non Papa O sio potessi donna ( R I S M iS4i»> P· 19: Berchem) Frisque & gailliard (ClemensO X , 17: Clemens non Papa) Quand, io pense ( R I S M 1541 9 , p. 54: Arcadelt) Susanne ung jour ["Orlandi" in table] (LassoW X I V , 29 : Lasso) Dum transisset Sabbathum Christian: Piate ["Hollandi" in table] ( R I S M 1555e, fol. 8: Christian Hollander) 2a pars Et valde mane Non est bonum hominem esse solum ["Dressleri" in table] (DressSC, no. 2: Dressler) Veni in hortum meum soror mea Valentin: Backvart ["Orlandi" in table] (LassoW V , 120: Lasso)

27

28

29

30

31 32

33 34 35 36 37 38 39 40

41 42

43 44 45 46

Gì

Ave Jesu Christe rex regum ["Verdelot" in table] g3 Pass e, mezo g 3 v La sua Padoana El suo Saltarello g4 g 4 v Le Represe HI Pass e, mezo La sua Padoana HIV H2 El suo Saltarello H2 v Le Represe Pass e, mezo h3 h 3 v La sua Padoana El suo Saltarello H4 h 4 v Le Represe LI Pass e, mezo Ii v La sua Padoana El suo Saltarello I2 Le Represe I2V Passe, mezo IS La sua Padoana I4 I4V El suo Saltarello Ki Passe, mezo = 1568,, no. 119a La sua Padoana K.2 K2V El suo Saltarello = 15687, no. 119b Pass e, mezo K3 K 3 V La sua Padoana K4 El suo Saltarello Li Pass e, mezo LIV La sua Padoana El suo Saltarello L2 La Gamba. Gagliarda1 L2 v v La Rocha el fuso. Gagliarda L2 La Traditora. Gagliarda L3 Chi passa. Gagliarda L3 L 3 v Belfiore. Gagliarda l4 Non dite mai. Gagliarda L 4 v Val cerca. Gagliarda (compare 15687, no. 132: " Gagliarda la Royne d'escosse") L4V Il Ciel turchino. Gagliarda MI Gagliarda Cypriana 5 MI Gagliarda Tedesca (compare 15505, no. 28: "Gaillarde L'ennuy qui me tourmente ") MI* Tantz MIV Sprunck Ma Tantz (compare 15745, no. 29 : " I c h gieng ein mal spacieren"] M2 Sprunck

47 M2v Tantz = i59i 13 , no. 22a M2v Sprunck = i59i 13 , no. 22b 48 M2v Tantz = i 5 9 i 1 3 , no. 41a M2v Sprunck = I 5 9 I , no. 41b 13

268 49 50 51 52

Ms M3 M3 M3 M3v M4

1 573a Tantz Sprunck Tantz = Ï59113> no. 3^a Sprunck = 159113, no. 32b Tantz. Almande damour Tantz. Matazina

This copy was in H : B A (see GomM, p. 38). Mod. ed. in SenflW VII, no. 32h. 3 Mod. ed. in KosackL, app. III. 4 Tablature and transcription in SchlechtG, no. 67. 5 Mod. ed. in DieL, p. 37; on this piece see SchraG. 1

36 fols. French lute tablature. On fol. A a i v : table of contents. DraudiusBC, p. 1651, dates this 1563. In the unique copy fols. Dd2 and Dd3, and all folios after Ee4 are missing. Contents = 1547». All of the compositions are for solo lute. Copy in: F : T (imperfect).

2

[1573]« P H A L È S E , P I E R R E , PUBLISHER

1 5734 FIORINO,

GASPARO

L A N O B I L T À D I R O M A . / V E R S I IN LODE DI CENTO / GENTILDONNE R O M A N E / Et le vilanelle à tre voci di Gasparo Fiorino, della Città di Rossano, / Musico dell'Illustrissimo & Reverendissimo Signore / Cardinale di Ferrara. / Intavolate dal Magnifico M . F R A N C E S C O di Parise / Musico eccellentissimo in Roma. / [Fleuret] / NUOVAMENTE RISTAMPATE. / [Printer's mark] / I N V I N E G I A , / A P PRESSO G I R O L A M O SCOTTO, / M D LXXIII. 44 fols. Each piece is written in mensural notation and, on the facing page in a version for solo lute, in Italian lute tablature. Contents = 15714· 1 Copies in: G B : L c m , I : F n , I : R c . 1 The single difference between this volume and 15714 (aside from minor changes in the title page) is the deletion of the qualifying "mio Signore" after the dedications to nos. 6, io, and 11.

I 5735

Petit trésor des danses et branles à quatre et cinq parties des meilleurs autheurs propres à jouer sur tous les estrumenz. A Louvain, chez Pierre Phalèse, libraire juré, l'an 1573. This volume, now lost, is mentioned in GoovH, no. 221. FétB I, 241, names Maître Antoine Barbe as composer of the pavanes and courantes. T h e volume contained music for instrumental ensemble a 4 and 05.

[ 1

S 7

3 ] 7

PHALÈSE, PIERRE, A N D JEAN B E L L È R E , PUBLISHERS

Selecti ssima carmina ludenda in Quinterna, cum tripudis & institutione ad arte in eandem. Lovanii apud Petrum Pha[lesiu]s & Antverp. apud Bellerum. 70. & 73. These two volumes of music for guitar are listed in DraudiusBC, p. 1625; the later volume, presumably a second edition of 15704, is now lost if it ever existed. Draudius may have been confused by the similarity between the titles of 15704 and 1573g.

T E G H I , PIERRE D E CANTIONUM GALLICARUM, / ET M O T E T T A R U M LIBER, AB EXCELLEN/TISSIMO MUSICO PETRO TEG H I O P A T A V I N O / A d usum Testudinis elegantissimo concinnatus. / Indicem pagina sequens exhibet. / [Cut of ten performing musicians] / L O V A N I I . / Excudebat Petrus Phalesius, sibi & Joanni Bellero Bibliopolae Antverpiensi. / M . D . L X X I I I .

ι 573e PHALÈSE, PIERRE, A N D JEAN B E L L È R E , PUBLISHERS

SELECTISSIMORUM PRO / T E S T U D I N E C A R M I N U M L I B E R . / Continens optimus aliquot Fantasias, Paduanas, Passo-

269

i574i mezos & Gaillardas, a Francisco & / Petro Paulo Mediolanensibus, aliique praestantissimis divine Musices / auctoribus, composites. / [Cut of ten performing musicians] / L O V A N I I. / Excudebat Petrus Phalesius, sibi & Joanni Bellero Bibliopolae Antverpiensi. / M . D . L X X I I I . 1 40 fols. French lute tablature. Contents = 154620. This is probably the volume listed in DraudiusBC, p. 1651, as " P e t r i Pauli pro testud. Lovanii 73." T w o of the compositions are for two lutes ; the others are for solo lute. Copies in: F : T , G B : L b m h . 1

Facs. of title page in L i u M , p. 90.

[1573]. PHALÈSE, PIERRE, AND JEAN B E L L È R E , PUBLISHERS THESAURUS MUSICUS CONTINENS SELECTIS SIM A ALBERTI RIPAE, V A L E N T I N I BACFARCI, E T A L I O R U M Praestantissimorum Carmina, ad usum Chelys, vel Testudinis accommodata. Quibus adjecta sunt ingeniosae quaedam Fantasiae, Passomezi, Alemandes, Galliardae, Branles, atque id genus caetera, recens in lucem edita. Lovanii. Excudebat Petrum Phalesius, sibi & Joanni Bellero, Bibliopolae Antverpiensi M . D . L X X I I I . GoovH, no. 223, lists this as a first edition of 15747 (in French lute tablature, for solo lute). N o copies of the volume are known to exist.

ι 574i KARGEL, SIXT NOVAE, E L E / G A N T I S S I M AE, G A L LICAE, / I T E M E T ITALICAE CANT I L E N A E , / Mutetae & Passomezo, adjunctis suis Sal/tarellis, mira dulcedine in Testudine ca/nendae: in Tabulaturam per M . Six/tum Kaergel Lautenistam, in no/ bilissimae huius artis Ama/toribus gratiam, trans/latae, & typis ex/cusae. / Newe, schöne, u n d / liebliche Tabulatur auff der

Lau/ten zu spilen, von Fantasien, Frantzösi/ sehen, auch Italianischen stucken, Muteten, Passome/zen : mit ihren angehenckten Saltarellen: durch / M . Sixtum Kärgil Lautenisten, allen di/ser edlen Kunst liebhabenden zu eh/ren u n d gefallen, in truck / gegeben. / Getruckt zu Strassburg durch Bernhard / Jobin. Anno 1574. 30 fols. Italian lute tablature. T h e title is placed within an ornamental border. Dedication on fol. *2 headed " D e m Hochwürdigen Fürsten und Herren, Herrn Johan, Erwölten Bischoven zu Strassburg, und Landgraven im Elsass, ec. Meinem gnädigen Fürsten u n d Herren," and signed " Geben Elsass Zabern, den ersten Januarii, Anno 1574. E. F. G., Underthäniger gehorsamer Diener Sixtus Kargel Lautenist." On fol. *2V : a coat of arms with the heading "INSIGNIA REVERENDISSIMI PRINC I P I S AC D O M I N I , D . J O H A N N I S , E P I S C O P I ARGENTOretensis, ac L a n d gravii in Alsatia, &c. Mecoenatis mei clementissimi." Fol. *3 = fol. A i . On fol. G3 v : cut of a lutenist. On fol. G 4 : table of contents. M o e D M contains a thematic index of the dances (p. 428) and concordances for them (p. 266). For a possible earlier edition, see [ΐ509] 4 . All of the compositions are for solo lute. Copies in: D : M b s , D : T R , S : U u . fol. Αι A2

Fantasia Fantasia (compare 15483, no. 18) Fantasia = ΐ 5 7 ΐ β ) no. 17 3 A3 4 A 4 V Fantasia V Las Voulez Vous = ΐ 5 7 ΐ β , 5 BI no. 76B: Lasso Fleur de quinze ans (LassoW 6 B2 X I I , 43: Lasso) V Je ne Veulx rien (LassoW 7 B2 X I I , 98: Lasso) 8 B 3 V Bon Jour mon Ceur (LassoW X I I , 100: Lasso) Le temps pult bien (LassoW 9 B4 X I I , 76: Lasso) 10 Quant mon mary (LassoW B4T X I I , 23 : Lasso) Jay Un mary II CI Civ Susann Ung Jour (LassoW 12 XIV, 29: Lasso) V 13 C2 Jattens le temps (LassoW XIV, 48: Lasso) I

2

ζηο

ΐ574ι

14 c 3 15 16

17 18 19

20 21

22

23

24 25

26 27 28 29

Est il possibile (LassoW XIV, 112: Lasso) C3V Non e lasso martire (CW V, no. 8: Rore) DI La bella netta [ignuda e bianca mano] = 15687, no. 101 : Rore D2 Si grande la pietà (RI S M I S39ai> P· 4 : Arcadelt) Et io qualfui = I57i e , no. 108: D3 Lasso Napoletanae, Sio Canto D3V Madonna mia pietà (LassoW D4 X, 61 : Lasso) La cortesia = i57i e , no. 92: D4V Lasso EI Quanto debbe allegrasse (compare Vogel: Fontana [1545], no. 20: Fontana) Ei Letaentur Coeli (LassoW III, 76: Lasso) E2 2a pars Tunc Exultabunt Tu ¿leus noster E3 Nuncium vobis fero de supernis E3V (LassoW V, 9 : Lasso) 2a pars Thus Deo mirrham E4V Fi Titire tu patulae (LassoW XIX, 68: Lasso) F2 v Pasemezo la bella donsella Il suo saltarello F3 Passemezo Zorzy F3V F 4 Vv Il suo saltarello Gi Pasemezo G2 Il suo saltarello

1

5 74»

L E ROY, A D R I A N A briefe and plaine Instruction to set all Musicke of eight / divers tunes in Tableture for the Lute. / With a briefe Instruction how to play on the Lute by Tablature, to conduct and dispose thy / hand unto the Lute, with certaine easie lessons for that purpose. / And also a third Booke containing divers new / excellent tunes. / A L L F I R S T W R I T T E N I N F R E N C H BY / A D R I A N L E ROY, A N D N O W T R A N S / L A T E D I N T O E N G L I S H BY I. Ki. / G E N T E L M A N . / Imprinted at London by James Rowbothome, and are to be / sold in Paternoster row at the signe of the Lute. / A N N O . 1574. 1

90 fols. French lute tablature and mensural notation. On fol. i v : poem entitled " T h e Bookes verdict." Dedication on fol. 2 headed " T o the Right Honorable and my very good Lord the Lord Edward Seamour, Viscount Beauchamp, Erie of Hertford. I. R. wisheth long lyfe, perfect helth, encrease of honour, and endles Felicitie." Dedication on fol. 2V headed " T o my very good Ladie my Ladie the Countesse of Retz," and signed "Your humble servant, Adrian le Roy," reprinted in LauC, p. Ivi. On fol. 3 : " T h e Preface of Jacques Gohory. unto the curteous Reader," reprinted in LesLRB, p. 33. On fol. 3V: " T h e Preface of the Author." Colophon on fol. 9o v : "Imprinted at London by Jhon Kyngston, for James Robothome. Anno. 1574." This is an English translation of Adrian le Roy's lost instruction book for the lute (see [1557] 1 and [i5Ó7]3). It is divided into three parts: (1) fols, ι-61, explaining how to set all music of the eight modes in tablature 2 ; (2) fols. 62-74, explaining how to play the lute by tablature (part 2 = 15683); and (3) fols. 75-90, a collection of compositions in lute tablature (nos. 19-36 and 44 are arranged as songs for solo voice and lute in 15712). See below, fols. 62 and 75, for the title pages of the second and third parts. T h e compositions identified by the superior letter a ( a ) are reproduced in Le RoyP. For further information on the volume see CaseyP. Nos. 1 - 4 are discussed at length in the volume. First the "reche or compass" of each of the voices of the vocal model is given. Then the treble alone is printed in mensural notation and in tablature, followed by the treble with the countertenor, the treble and countertenor with the tenor, and finally all four voices together. Each example concludes with an intabulation " m o r e finelier handeled." Nos. 5-12 are given in tablature only, first in a simpler version, then in a version " m o r e finelier handeled." All of the other compositions are for solo lute. Copies in: F : P n , G B : L b m (imperfect), G B : Ob.

ι

fol. 4V

214

Quand mon mary Orlande [Lasso] (LassoW X I I , 23) Si le bien qui au plus grand bien (RISM 15711, fol. 2: Arcadelt)

ζηι

1574a 3

22 ν

4

29*

5

38*

6

41

7

43 v

8

46

9

49

10

52

11

55

12

57 62

Ó2V 13

66v

14

67

15 16

Ó7V 70

17

71

18

72 v 74 75

19

76

20

76*

Je l'ayme bien Orlande (LassoW X I I , 41) Un doux nennin Orlande (LassoW X I I , 45) En espoir vy Orlande (LassoW X I I , 52) Du corps absent Orlande (LassoW X I I , 55) Trop endurer Orlande (LassoW X I I , 70) Vray dieu disoit Orlande (LassoW X I I , 72) En un lieu Orlande (LassoW X I I , 83) Je ne veux rien Orlande (LassoW X I I , 98) (compare 1571 e , no. 82) Ce faux amour Orlande (LassoW X I I , 103) = 1568,, no. 83 Las voulez vous Orlande (Lasso X I I , 3) Title page: " A brief instruction how to plaie on the Lute by Tablatorie, with / certaine easie lessons for the purpose : gathered together: to the greate commoditie / and pleasure of the learner of the same. By A[drian le] R[oy] [Cut of a lute] " [Cut of L e Roy playing the lute.] The χ. Commaundementes [Leve le cueur] = 15683, no. 1 Je ne veux plus a mon mal consentir = 1568 3, no. 2 [Musical example] = 15683, no. 3 [Musical example] = 15683, no. 4 Ce n'est bien ne plaisir = 15683, no. 5 : Arcadelt [Tuning diagrams] A little fantesie for the tunyng of the Lute = 15683, no. 6 Title page: " T h e thirde booke for the Lute, conteinyng diverse Psalmes, / and many fine excellente Tunes, sette forthe by Afdrian le] R[oy] the aucthour thereof. [Cut of a Iute]" Le ciel qui fut (LesLRB, art. 140, fol. 10: L a Grotte) Quand ce beau [printems je voy] (ExF, p. 60: L a Grotte)

21

77

22

77 v

23

78

24

78 v

25

79

26

79 v

27

80

28

8ov

29

81

30

8i v

31

82

32

82t

33 34 35

83 83* 84

36 37

84* 85

38

85*

39

86

40

86v

41

87

42

87v

43

88

44

88v

45

89

Las que nous [sommes misérables] (LesLRB, art. 140, fol. 7: L a Grotte) Quand j'esto [libre] (LesLRB, art. 140, fol. 2 V : L a Grotte) Mais voyez [mon cher esmoy] (LesLRB, art. 140, fol. 8: L a Grotte) Quand le [gril chante] ( L e s L R B , art. 140, fol. 9: L a Grotte) Or voy je bien (LesLRB, art. 140, fol. 5 V : L a Grotte) Has tu [point veu ce grand vilain] (LesLRB, art. 1 7 1 , fol. 17 : L e Roy) La terre [nagueres glacée] (LesLRB, art. 140, fol. 4: L a Grotte) Ah dieu [que c'est un estrange] (LesLRB, art. 140, fol. 17": L a Grotte) Las je neusse [jamais pensé] (LesLRB, art. 140, fol. 1 5 : La Grotte) Autant qu'on void [aux deux] (LesLRB, art. 140, fol. 14* : La Grotte) Tant que j'estoy s (LesLRB, art. 132, fol. 19: La Grotte) Demandes tu [douce ennemie]3 (ExF, p. 52: L a Grotte) Douce maitresse touche4 J'estoy s [près de ma maistresse]5 J'ay bien mal choisi6 (RI S M 1564g, fol. 7: Nicolas) Ce n'est point [pour t'estrener] D'un grosier [machelaurier] (LesLRB, art. 56, fol. 10: Cléreau) The xi. Psalme. I truste in Goda (compare PraM, no. 1 1 ) The xvii. Psalme. O Lorde give eare toa (compare PraM, no. 17) The XXV. Psalme. I lift my harte to thee? (compare PraM, no. 25) The xxxvi. Psalme. The wicked with his* (compare PraM, no. 36) The Cvii. Psalme. Give thanked (compare PraM, no. 107) The Cxxx. Psalme. Lorde to thee? (compare PraM, no. 130) Mon coeur, [ma chère vie] (LesLRB, art. 254, fol. 27: Thessier) Harte opprest

ζηζ

1

46

8gv

47

90

1 2 3 4 5 6

Facs. Facs. Mod. Mod. Mod. Mod.

5 742

The Cxxxvi. Psalme. Praise ye the lordea (compare PraM, no. 136) The Cxxxvii. Psalme. When as we sat in Babilona (compare PraM, no. 137) of title page in L M I, 541. of fol. 8 in SteeleE, fig. 24. ed. in LauC, p. lxvi. ed. in LauC, p. lxvii. ed. in LauC, p. lxviii. ed. in LauC, p. lxxi.

14 15 16 17 18 19

20 22 23 24 26 28

1

Ricercar Ricercar Ricercar Ricercar Ricercar Ricercar

Quintodecimo Sestodecimo Séptimo decimo Octavodecimo Nonodecimo Vigésimo

There is no "Ricercar Quarto."

[ I 5 7 4] 4 METZLER,

I S 7 4s MERULO,

CLAUDIO

IL PRIMO LIBRO / DE RICERCARI DA CANTARE, A Q U A T T R O VOCI / DI CLAUDIO MERULO DA CORREGG I O / Organista in San Marco dell'Illustrissima Signoria di Venetia. / Novamente composti & dati in Luce. / C O N P R I V I L E G I O . / L I B R O [Printer's mark] P R I M O / In Venetia Appresso li Figliuoli / di Antonio Gardano. / 1574 Four part books in mensural notation, each of 16 fols. Dedication on fol. A i v of each part book headed " I L L U S T R I B U S W O L F G A N G O BARONI A STUBMBERG, ET GEORGIO KHISL A K H A L T E M P R U N , " and dated "Venetiis X . K l . Decembris. M D L X X I I I I , " reprinted in SartMS, p. 31. Fol. A2 = p. 1. On p. 30: printer's mark. All of the compositions are for instrumental ensemble a 4. Copies in: F : P n (SAB), I : A (T), I : V E a f (B).

I 2 3 4 S 6 7 8 9 IO II 12 IS

Ρ· I 3 4 6 8 9 11 12 13 IS 16 18 19

Ricercar Ricercar Ricercar Ricercar Ricercar Ricercar Ricercar Ricercar Ricercar Ricercar Ricercar Ricercar Ricercar

primo secondo Terzo Quinto1 sesto séptimo Octavo Nono Decimo Undécimo Duodecimo Terzodecimo Quartodecimo

BARTHEL

Galliarden. In 1574 Barthel Metzler received a threeyear privilege from Duke Albrecht of Prussia, for whom he was court lutenist. This privilege (see F e d M , p. h i ) stated that Metzler wanted "etzliche Gallarda so er selbst Componirt, auch neben andern unsern Musicis ein Zeit hern für uns geubet und gebraucht auf anhalten etzlicher gutter leutte den Musicis zum besten uf seinen Unkosten in druck verfertigen." T h e volume, if it was ever printed, has been lost.

ι 5 74s NEWSIDLER,

MELCHIOR

Teutsch Lauten/buch / Darinnenn / kunstliche Muteten, lieb/liche Italianische, Frantzösische, Teüt/sche Stuck, fröliche Teütsche Täntz, Passo e / mezo, Saltarelle, und drei Fantaseien Alles mit / fleiss aussgesetzt, auch artlich und / zierlich Coloriert, / durch / Melchior Newsidler, Bur/ger und Lautenist in / Augspurg. / Getruckt zü Strassburg, durch / Bernhart Jobin, Im Jar. / 1574. / M i t Rom. Key. May. Freyheit, / auff zehen Jar. 56 fols. German lute tablature. T h e title is placed within an ornamental border (the same border as in i577 e ). Dedication on fol. *2 headed " D e r Durchleuchtigsten Hochgebornen Fürstin und Frawen, Frawen Dorothea, Pfalzgräfin bei Rein, Hertzogin in Beiern, Wittiben, der Königreich Denmarck, Schweden und Norwegen, geborne Princessin und Erbin, meiner Genedigsten

273

1 574s Fürstin und Frawen," and signed " U n t e r thänigst Dienstwilliger, Melchior N e w sidler," partly reprinted in E i t K , p. 102. On fol. *2 T : preface headed "Vorred an den Günstigen Leser," and signed on fol. *3 : " G e b e n und in Truck verfertigt, auch durch mich selbsten Corrigiert, inn der hochlöblichen Keyserlicher Reichs und Freystat Strassburg, D e n 20. Julii, Im Jar nach Christi Jesu unsers lieben Herrn und Heylands Geburt gezelet. 1574., Melchior Newsidler." On fol. *3 V : table of contents. On fol. *4V : portrait of Newsidler, with the legend: "Melchior Newsidler. Aetatis suae X X X X I I I , " and beneath, "Lautenschlagen du edle Kunst, Erfröwest s Hertz und machest g u n s t . " 1 Fol. * s = fol. Α ι . For later editions see [i576] 2 , [1595],, and [1596] 10 . A l l of the compositions are for solo lute. Copies in: A : W n , D : D 1 , D : H E u (imperfect), D : M b s , D : W , U S : B p .

ι

fol. Αι

A3 A4 2

A4V

3

BiT

4

B2 v B3 B4

5

Ci

C2V

6

C4

7

D2 V

8

D4 v

Eiv

Benedicta es coelorum Josquin de près a 6 (JosqMT, no. 46) 2a pars Per illud ave a 2 3a pars Nunc Mater exora natum Tua est potentia Joannes Mouton a s ( R I S M 15213, no. 14) Vita in Ugno moritur Ludwig Senfel 05 ( R I S M 1537!, no. 20) 2a pars Qui prophetice 3a pars Qui Expansis Creator omnium Adrianus Willart a 5 ( R I S M 15573, no. 15) In te domine speravi Johan Lupus a 5 ( R I S M 15351, fol. 6V) 2a pars Et propter nomen tuum (compare i57i e > no. 157b: "[Quoniam fortitudo mea]") Si bona suscepimus Verdalot «5 (MoralesO I, 274) Aspice Domine Jacquet 05 (MonteO X X V I , app.) Hierusalem luge Adrianus Kein a s ( R I S M 1532», p. 49 : Richafort or Lupus) 2a pars Deduc quasi torrentem

9 E3 FI

10

F2V

II

F3V

12

F4

13

GI

14

G2

15

G3

16

G4

17

G4V

18

HIV

Maria Magdalenae Clemens non Papa a5 ( R I S M 1546,, fol. 15) 2a pars Cito euntes Domine quinqué talenta tradidisti mihi Orlando Lassus a 5 Du fond de ma pensee Orlando di Lassus a 4 (LassoW X V I , 159) Damour me plauis [sic]3 Rogier [Pathie] a 4 ( P u b A P T M X X I I I , no. 49) Frais & galiarte Clemens non Papa a 4 (ClemensO X , 17) Ung gai Bergier Tomas Qriquilon 04 (RieH II, 462: Crecquillon) Si natem presces Thomas Quequilon a 4 ( R I S M 155422, n o · 25: " S i nattem près ces yeulx": Crecquillon) Bon Juor mon Cour Orlando Lassus 04 (LassoW X I I , 100) Quando io Penso al martire Archadelt 04 ( R I S M 1541,,

P- 54)

19 H3 20

H3V

21

H4

22

II

23 I i v 24

I2V

25

I3V

26

I3V

27

L4V

Non so per qual cagion Archadelt a 4 (Vogel: Arcadelt 31 [1539], p. 19) Il ciel che rado virtù Archedelt 04 ( R I S M 15419, p. 49) O felici oichi miei Archadelt 04 (CW V , 19) Anchor che col partire Cipriano Rore 04 ( S C M A V I , 45) Quanto il mio duol senza conforto sia Orlando Lassus a4 (LassoW V I I I , 31) Bewar mich Herr Stefïan Zirler (D:Rp, M S A R 855, no. 19) Was wirt es doch des wunders nocW Ludwig Senfel a 4 (SentiW IV, no. 26) Mein fleiss und müh5 Ludwig Senfel a 4 (SenflW IV, no. 19) Tröstlicher lieb, ich mich stets yeb6 Paulus Hoffhamer 04 (MosPH, p. 86) Ich reüw und klag, das ich mein tag Gregorius Brack a 4 ( E D M R X X , no. 121)

274

1 574B

28

KI

29

KIV KZ

V

30 K 2 K2 V

31 32

K K

3 3

K3 K3V K3V

33

K3V

K4 K4 K4

34 35

K4V 36

K4V LI

37

LIV

38

L2 LZ L2V L2V

LIV

39

40

L

3

L

3

41

L3V

42

MI

L4

M2

M3

43 44

M4v NZ

45

N2V

46

N3V

Wo Gott der Herr nicht bey uns helt Orlando Lassus a 4 Ich gieng ein mal spacieren7 Volget der Hupffauff Ein lieblicher und sehr guter Tantz Volget der Hupffauff Der Fuggerin Dantz8 Volget der Hupffauff Die alt Schwiger Volget der Hupffauff Wann ich des morgens frü auffsteh9 Volget der Hupffauff Der alten Weiber Tantz10 Volget der Hupffauff Wie möcht ich frölich werden Volget der Hupffauff Proficiat ir lieben herren Volget der Hupffauff Mein hertz ist frisch, mein gmüt ist frey Volget der Hupffauff Beschaffens glück ist unversammpt Volget der Hupffauff Der Dorisanen Dantz11 Volget der Hupffauff Mir ist ein feins brauns mägetlin gefallen in meinen sin Volget der Hupffauff Passa é mezo La millanesa12 II saltarelle Passa é mezo Antiche Il saltarelle Passa é mezo comune Il saltrelle Fantasia M[elchior] Nfewsidler] Fantasia M[elchior] Nfewsidler] Fantasia super anchor che col partire M[elchior] N[ewsidler] (compare S C M A V I , 45: Rore)

Facs. of cut in KinsP, p. 134; M G G IX, col. 1407; and ReissmA, p. 205. 2 The Wolfenbüttel copy once belonged to the organist Christian Erbach (1573-1635). His signature appears on the title page. Bound in with this copy is a manuscript appendix of 33 fols, in German keyboard tablature containing music for solo keyboard: 14 ricercares, five introits (each with a Versus) and one toccata, all by Erbach. 3 Mod. ed. in KosackL, app. III. 4 Mod. ed. in SenflW V I I , no. 321. 5 Mod. ed. in SenflW V I I , no. 30g.

«Mod. ed. in D T O XXXVII/72, p. 88, and MosPH, p. 89. 7 Mod. ed. in L B , no. 12, and Die Laute V (1921-22), p. 38. Heading on fol. K i v : "Hernach volgen etliche Teutsche Täntz." 8 Mod. ed. in BruAL, no. 7, and TapS, p. 40. 9 Mod. ed. in BruS III, no. 103. 1 0 Mod. ed. in AntoniK, p. 21, and BöhT II, no. 133. 1 1 Mod. ed. in BöhT II, no. 134; melody only in BruD, no. 2. 1 2 Heading on fol. L3V: "Hernach volgen Passa è mezo."

Ι 574Β

VIRCHI, PAOLO IL PRIMO LIBRO DI T A B O L A T U R A / DI CITTHARA DI RICERCATI MADRIGALI / CANZONI NAPOLITANE ET SALTARELLI. / DI PAOLO VIRCHI ORGANISTA BRESCIANO, / All'Illustrissimo & Eccellentissimo Signore, il Signor Ottavio Farnese / Duca di Parma, & di Piacenza. / N O V A M E N T E P O S T A IN L U C E . / [Printer's mark] / I N V I N E G G I A , / Appresso l'Herede di Girolamo Scotto. / M D L X X I I I I . 22 fols. Italian tablature for the six-course cittern, 1 and mensural notation. Dedication on fol. i v ( = p. 2) headed " A L L ' I L L U S T R I SS. mo E T E C C E L L E N T I S S . m 0 S I GNORE IL SIGNOR O T T A V I O FARNES E Duca di Parma & di Piacenza," and signed " D i Brescia il di 20. Agosto. 1574. D . V . Eccellenza Illustrissima, devotissimo servitore, Paolo Virchi." On p. 4: preface headed " A I L E T T O R I . " On p. 44: table of contents. T h e compositions followed by an asterisk are for solo voice (notated in mensural notation) and cittern. No. 12 is for a cittern with 14 strings. T h e other compositions are for solo six-course cittern. Copy in : A : Wn.

1

P·

ι 2 3

5 7 9

4

10

Fantasia del primo Tono Fantasia del quinto Tuono Non mi tolga il ben mio Cipriano [de Rore] a 4 (Vogel: Rore 33 [1569], P- S) Dolce Signoria mia Lelio Bertani a 4

275

1 5747 5

12

6

13

7

15

8

15 16

9

18

10

20

11

23

12

26

13

28

14

29

15

30

16

31

17

32

18

33

19

34

20

36 38 39 41 42

zi 22 1

Apparir an per me Orlando lasso a 4 (LassoW V I I I , 27) Quale più grand'amore Cipriano Rore a 4 (SCMA VI, 78) Io mi son giovinetta Ferabosco a 4 (EinIM I I I , no. 30) 2a pars \Io vo per verdi prati] Io son ferit' hai lasso Gianetto da Palestina 0 5 (PalW X X V I I I , 179) S'ogni mio ben havete Striggio a6 (Vogel: Striggio 3 [1566], no. 20) Canzone di Florentio Maschera a 4 (1584x0, no. 2: "Canzon seconda La Martinenga") Canzone di Florentio Maschera 0 4 (158410, no. 4) Ma tu prendi a diletto Orlando di lassus ("Per sonar con la citthara da quattordeci corde") (LassoW II, 52: 2a pars of "Fiera stella") Amor mi sforza amar una crudela* Lelio Bertani Come son vivo oime* Paolo Virchi Io vidi solo il fare trato Amore* Lelio Bertani Donna non trovo pace in alcun loco* Lelio Bertani Claudia gentil col tuo si dolce riso* Lelio Bertani Se si vedesse fuor e* Paolo Virchi ( I57 r 4, no. 21: Fiorino) Chi vuol veder gigli rose e viole* Lelio Bertani Padouana de la Milanesa Saltarello de la Milanesa Saltarello novo Saltarello del Mangiavino La volta in tenore

R I P A E , V A L E N T I N I BACFARCI, E T A L I O / r u m Praestantissimorum Carmina, ad usum Chelys, vel / Testudinis accommodate. I Quibus adiecta sunt ingeniosae quaedam Fantasiae, Passomezi, Alemandes, Galliardae, Branles, / atque id genus caetera, recens in lucem edita. / [Cut of ten performing musicians] / L O V A N I I . / Excudebat Petrum Phalesius, sibi & Joanni Bellero, Bibliopolae Antverpiensi / M . D . LXXIIII.1 84 fols. French lute tablature. On fol. i v : table of contents. For an earlier edition see [i573] 9 . All of the compositions are for solo lute. Copies in: F : T , G B : L b m .

1 2

fol. 2 4

3

5

4

6V

5

9

6

II

7

13

8

14

9 10 11 12

I5Vv

13

I9V

14

21

15 i6

18

15 22

This cittern is tuned D F b g d e.

16

23

17 25 15747 PHALÈSE, PIERRE, AND JEAN B E L L È R E , publishers THESAURUS MUSICUS / CONTINENS SELECTISSIMA ALBERTI /

18

26 v

19

28

20

29

Fantasie = 15369, no. 2: Rippe Fantasie 2 — 1562H, no. 7 : Rippe Fantasie 3 (compare i552 8 , no. 5 Rippe) Fantasie 4 = 15539, no. 1: Rippe Fantasie 5 = 15539, no. 3: Rippe Fantasie 6 = 15539, no. 4: Rippe Fantasie Bacfarc = 15531, no. ι : Bakfark Fantasie = 1556^ no. 4: Belin Fantasie = ΐ550 1 ( no. 7: Belin Fantasie = 1556^ no. 9: Belin Fantasie* Fantasie a3 = 1565!, no. 1: Bakfark Si comme espoir = 15525, no. 10: Maillard Je suis déshéritée = 15525, no. 7 : Lupus or Cadéac Douce memoire = i562 1 0 , no. 6: Sandrin Il ne se trouve en amytyé = 1552g, no. 13: Sandrin Voulant honneur = 15525, no. 16 Sandrin Fors seullement = 15629, no. 5: Josquin or Févin Damour me plains = 15547, no. 4 : Pathie Mon pensement = 15547, no. 5: Gombert

1 5 7 4 7 30

La volonté ( R I S M i549le, no. 1 5 : Sandrin)

3i'

Mais pourquoy = 1562,, no. 1 1 :

32 v 34 35 36

Sandrin

D'un seul soleil = I552 8 , no. 9: Janequin

57 58

51

59

Adieu Anvers Adieu celle Faulte d'argent

52

6o v

Pater peccavi = 1562H, no. 4:

Sandrin

O passi sparsi = 15554, no. 4:

6iv 53

S . Festa

Or vien ça vien = 15603, no. 19: Janequin

Ayant cognu = 1562™, no. 7:

38

Pleurés mes yeux = 15453,

39

Martin menoit =

54

Certon no. 4 1 : Sandrin

55

i56210,

no. 1 1 : Janequin

56

Na vous point veu = 1554e,

Au temps heureux — 1562m, On en dira ce qu'on voudra Si grande la pietà

45

Il ciel che rado

46

L'homme qui n'est point amoureux Si purti guardo* = 1568,,

Archadet =

1 5 5 3 1 , no. 1 5

Arcadet =

1 5 5 3 1 , no. 1 6

46'

no. 5 1 : Pathie 47 1

Soyons yoieulx

48'

Le temps peult bien

49'

Dieu qui conduis =

5o'

Soyons plaisons 04 Cest de vous 6 ma valentine Tant vous ailes douce guillemette

51 Si1 52 1

[Lasso] [Lasso]

Orlando

( L a s s o W X I I , 20) a4

Orlando

( L a s s o W X I I , 76)

1562x0,

no. 4 : Gentian

= 1 5 7 1 6 , no. 60: A b r a n

Tout doulcement Bon jour mon coeur

(LassoW

53

X I I , 1 0 0 : Lasso)

53'

4 5 : Lasso)

54' 55'

Sus prens ton lut Quant mon mari (LassoW X I I ,

Un doux nenny

56

64

Conseil 2a pars [ . S e r a « tuus ego sum] 1 5 5 4 7 , no. i o b

65v

Benedicta

(LassoW X I I ,

2 3 : Lasso) Pis ne me peult ( R I S M 15722, fol. 25 : Crecquillon)

69 7°

v

72 57

=

156220, no. 1 5 : Sermisy 44

2a pars [Quanti mercenarii] Adiuva me = 15547, no. ioa:

L . Piéton

=

a6 =

1 5 5 3 1 , no. 7 a

2a pars

[Per illud ave] =

1 5 5 3 1 , no. 7 b

no. 1 3 : Arcadelt 43

62 v

67"

no. 6 : " N ' a v o n s point veu mal assenée," L e Brun 42

α 5 = 1565!,

no. 1 2 : Josquin Conseil

Möns & vaux — ΐ552 β , no. 14*

37

4θ
fol. 14) Divitias & paupertatem ne dederis mihi Jachet ( R I S M 15584, no. 15) Nos autem gloriari oportet a 6 ( R I S M 15684, p. 267: Wilhelmus Formellis) Sussanna [se videns] a 6 (compare CH:Bu, M S F.X. 21, fol. 73) Sequitur praeambulum primi thoni in G b molle 5 Justus non conturbabitur Mathias Gastritz a 5 (GastN, no. 2) 2a pars Noli aemulari in malignantibus a 5 Non est bonum Dresleri (DressSC, no. 2) Dum complerentur dies Pentecostés ( R I S M 15382, fol. 23: Arcadelt) Cum sancto spiritu in gloria DEI patris, Amen Venit vox de coelo Cle. non pa. ( R I S M 15591, no. 49) 2a pars Respondit miles Vater unser im Himelreich Orlan. (LassoW X V I I I , ι) Frölich zu sein Orlandi (LassoW X V I I I , 38) Im Meyen hört man die Hanen kröen Orlan. (LassoW X V I I I , 24) Der Mey bringt uns die Blümlein viel Orlan. (LassoW X V I I I , 75) Vor Zeiten war ich lieb und

werd Orlan. (LassoW X V I I I , 16) Willig und trew Orlan. (LassoW X V I I I , 80) Ich weis ein hübsches Frewlein Orlan. (LassoW X V I I I , 91) ES jagt ein Jeger vor dem Holtz Orlan. Di las. (LassoW X V I I I , 88) Ich weis mir ein festes gebawtes Hauss [Antonio] Scandel[lo] = 1 5 7 1 L no. 85 Den liebsten Buhlen den ich hab Scan. (ScanL, no. 2)

37

80

38

8ov

39

82

40

83

41

83 v

Gros lieb hat mich umbfangen Scandel. (ScanL, no. 5) Kein lieb ohn leid, mag mir nicht wiederfahren Antho. Scandelli (ScanL, no. 7) Von deinet wegen bin ich hie Scan. (ScanL, no. 12) Ich stund an einem Morgan Ivonis de vento (VentoN, no. 26) Es flog ein kleines Waldvögelein Ivo de vent. (VentoN, no. 25)

1

Facs. of title page in FrotO, after p. 144. A copy was in D : B d s . Most of the prima pars is pr. with the vocal model in W u s t M , p. 370. 4 Composer named in table of contents as " O r l a n [ d o di L a s s o ] . " 6 M o d . ed. in W u s t M , p. 220. N o . 2 1 is not numbered in the original; therefore nos. 2 2 - 4 1 in this inventory do not correspond with the original numeration. 2 3

[ I 5 7 5 ] 2

KARGEL, SIXT. Renovata Cythara . . . Argentorati 1575. This volume, now lost, is listed in DraudiusBC, p. 1622. Probably the contents = 15784 (for solo cittern).

ι 5753

K A R G E L , SIXT, AND JOHAN DOMINICO LAIS Toppel Cythar. / N O V A E A Q U E A R T I FICIOSA E T V A L D E / COMMODA RATIO LUDENDAE CYTHARAE, / quam inventores sive compilatores Duplam Cytharam vocant: aliquot ele/gantissimis, Italicis, Germanicis, & Gallicis cantionibus & sal/tationibus, exempli vice ornata. / Neue und Künstliche, und noch nie vil ersehene oder übliche / Tabulatur auf die Lautengemäse Toppel Cythar mit sechs Cohren, von etlichen / Italianischen, Teutschen und Frantzösischen Lidern und Tänzen: baides für sich selbs volkommen/ lieh, und auch zu andern Instrumenten dinstlich zuspilen und / zugebrauchen :

îoppdÇnt^ar. N O V A E A a V E A R T I F I C I O S A E T V A L D E C O M M O D A R A T I O L V D E N D Ä C Y T H A R A i , q u a m i n v e n t o r e s f i v e c o m p i l a t o r c s D u p l a m C y t h a r a m v o c a n t : a l i q u o t clc* gantifsimisiltaiicis,Gcrmanicis,5i Galliciscantionibus&fali tationihus, extinpli v i « orniti. ^ c u c

mb

ftunfUtcfcc

/

mt> n o c f r nie t n l e r f r Ç c K c o b e r ttàUée

3íaliant|(^cn(' ^cuefcfjcn t>nt>ftranjtfftfcftfn¿»DmivjnbídHjm: fsaiiy» fQr fic^ fclbe pptfotfkrv Itfij / »n&auífj ju andern 3n(ìrummtm ôinfîftd} jufpií* tt wit) íugrtraudjmrgffídt

Cum Priuilcgío. ' S c i 35cr«§ P· 46: Pathie) Di Bona sera D i v Audieu singnora D2 Madonna mia pietà (LassoW Χ, 61 : Lasso) D3 Tu sai madonna (LassoW X, 63: Lasso) D3 v La Cortesia9· (LassoW X, 66: Lasso) D4 Chi Vol vedere D4 v Bewar mich Herr (D :Rp, M S AR 855, no. 19: Zirler) E i v Ach Herre Got, meins Heils ein Horn E2v Ich schwing mein horn ins Jamerthal (SenflW V, no. 44 : Senfl) E3 Gelobet sei Gott E4 Pass e mezo milanese E4 II suo saltarello E4v Passemezo Italiae Fi II suo saltarello F i v Pass e mezo altra modo F2 v II suo saltarello F3 Pass e mezo Zorzy F3 v II suo saltarello F4 Pass e mezo comune F4 v II suo saltarello Gì Gaiarde chi passa per questa strada (compare AzzaiV, no. 2 : Azzaiolo) Gì Chi Passa altra modo G i v Gaiarda Era di magio G2 Gaiarda la Caracossa G2v Gaiarda Milanessa G3 Secunda milanesse G3 v Tertia milanessa5 G4 Quarta Milanessa G4v Quinta milanesa Hi Almanda Teutscher Tanz Hi Reprinse. Der nach Tanz H i v Almanda Teutscher Tanz Hiv RePrinse. Der nach Tanz H2 Almanda Teutscher Tanz H2 v Reprinse. Der nach Tanz

43 44 45 46 47 48

H3 h3 H3 H3v H4 H4v H4V 11 Iiv Iiv Ii v 12

Almanda RePrinse. Almanda Reprinse. Almanda Reprinse. Almanda Reprinse. Almanda Reprinse. Almanda Reprinsa.

Imperiala Der nach Teutscher Der nach Teutscher Der nach Teutscher Der nach Teutscher Der nach Teutscher Der nach

Tanz Tanz Tanz Tanz Tanz Tanz Tanz Tanz Tanz Tanz tanz

1

This cittern is tuned Β G D g d e. Not related to R I S M I5 5 427, fol. 7: " O y e i amants," Entraigues. 3 Not related to R I S M 154512, no. u . 4 Facs. of fol. D3V in WolfMS, no. 7 1 . 5 Pseudo-facs. and mod. ed. in W o l f H N Π 1 4 1 - 1 4 2 , after 1578 ed. 2

[1 5 7 5 ] i VIOLA, RAPHAEL Raphaelis Violae Carminum pro Testudine liber, continens fantasia mutetas, Gallicas & Italicas Cantiones. Lovanii. 1575. This volume of music for solo lute, now lost, is listed in BasseC; DraudiusBC, p. 1651; and GoovH, no. 257. See also [i5'8°] 4 .

1 575s R O D I O , ROCCO LIBRO / DI RICERCATE A / Q U A T T R O VOCI D I ROCCO R O D I O / CON A L C U N E F A N T A S I E SOPRA / VARII C A N T I F E R M I N O V A M E N T E / P O S T I I N L U C E . / [Printer's mark] / I N N A P O L I , Con Privilegio, Appresso Gioseppe Cacchio / dall'Aquila. M D LXXV. 49 fols. Keyboard partitura. Dedication on fol. ι ν ( = p. 2) headed " M O L T O MAGNIFICO SIGNOR IL SIGNOR G I O Battista Turbolo da Napoli." T h e compositions identified by the superior

15761 letter a ( a ) are reprinted in RodioR. All of the compositions are for solo keyboard. Copy in : I :Fc.

I 2 3 4 5 6

P· 3 16 29 47 57 64

7

75

8

83 90

9

Ricercata prime? Seconda ricercataa Terza ricercate? Quarta ricercataa Quinta ricercatiia Iste confessor (compare L U , ρ. 1177) Ave maris Stella (compare L U , Ρ· 1259) Salve Regina (compare L U , p. 276) La mi re fa vii rea (compare 148?!, no. 10: " L a Spagna")

[1 57 S ] β PHALÈSE, PIERRE, A N D J E A N B E L L È R E , PUBLISHERS Des chansons réduitz en tabulature de lut à deux, trois et quatre parties avecq une briève et familière introduction pour entendre et apprendre par soy-mesmes à jouer dudict lut. Livre premier. A Louvain chez Pierre Phalèse libraire juré. Et en Anvers chez Jean Bellere. L'an M D L X X V . This volume of music for solo lute (in French lute tablature), now lost, is listed in GoovH, no. 237. DraudiusBE, p. 212, dates it 1576. Probably the contents = 15453.

[1 S 7 S ]7 PHALÈSE, PIERRE, Hortulus Phalèse.

cytharae.

PUBLISHER

Louvain,

Pierre

This volume of music for solo cittern (in French cittern tablature), now lost, is listed in an inventory of the firm of Plantin in Antwerp. See StellMB, p. 24. T h e contents were probably the same as 157O3. T h e same inventory enters for this year a "Jardinet de cistre" which is apparently a different work, perhaps the same as [1592] 1 5 .

1575 DOUBTFUL

WORKS

I. SeiffG, p. 35, erroneously dates Andrea Gabrieli, Ricercati . . . Composti & Tabulati per ogni sorte di Stromenti da Tasti . . . Libro Secondo, 1575. T h e volume is listed in this bibliography as 15953.

15761 DAZA, ESTEBAN L I B R O D E M U S I C A / en cifras para Vihuela, intitulado el / Parnasso, en el qual se hallara toda diversidad de Musica, assi Mo/tetes, Sonetos, Villanescas, en lengua Castellana, y otras cosas, / como Fantasias del Autor, hecho por Estevan Daça, ve/zino de la muy insigne villa de Valladolid, diri/ gido al muy Illustre señor Licenciado / Hernando de Habalos de Soto / mayor del Consejo su/premo de su Ma/gestad, &c. / Impresso por Diego Fernandez de Cordova, Impressor / de su Magestad. Año de M . D . Lxxvii. / Esta tassado en [in manuscript in Madrid copy: 130] Maravedís. 120 fols. Italian lute tablature. On fol. * i v : royal printing privilege signed " F e c h a en S. Lorenço a xxix. dias del mes de Junio, de mil y quinientos y setenta y cinco años. Y o el Rey. Por mandado de su Magestad Antonio de Erasso." Dedication on fol. # 2 headed " A l muy Illustre Señor, el Señor Licenciado Hernando de Habalos de Soto mayor del Consejo supremo Estevan Daça su servidor. P. F. & S. desea." On fol. *2 V : poem in Latín headed " D e Stephano Dazza Colloquium inter Mussas & Appollinem," followed by a note stating that the easy pieces will be marked with an F (Jacil), and the difficult ones with a D (dificil). On fols. *3~*4 : instructions for reading the tablature. On fols. *4~*4 V : author's corrections. Fol. *5 = fol. ι. On fols. i i 4 v - i i s v : table of contents. Colophon on fol. 116: " F u e impresso el presente Libro hecho por Estevan Daça en la muy Noble villa de Valladolid por Diego Fernandez de Cordova Impressor de su Magestad, acabóse a doze dias del mes de Abril año de mil y quinientos

15761

282

y setenta y seys." T h e volume is divided into three books, each of which has its own title page, reproduced in the inventory below. T h e compositions identified by the superior letter a ( a ) are reprinted in M o r L II, 230-251. T h e compositions in Book I and the last two compositions in Book III are for solo vihuela. T h e compositions in Book II and all but the last two in Book I I I are for voice (notated in ciphers in the tablature) and vihuela. Copies in: D:Mbs, E : M n (two copies), PiPm.1 Comiença el libro primero, el quai / trata de muchas Fantasias de Estevan Daça, / a tres y a quatro. Van al principio los ochos tonos a quatro, por su or/den, y despues van otras fantasias por différentes tonos, y en to/das las de a quatro va señalada la voz del Tenor con / unos puntillos, para que si quisieren la can/ten : y en las de a tres va señalada la voz del Contra alto.

I 2 3 4 5 6 7 8 9

fol. I 2V 4 6 7 9 10 II I2V

10 11 12 13

H I5V i6 v i8 v

H

20

15

2IV

16

23

17

24V

18

26

19

27

[Fantasia por el primer tono] Fantasia por el segundo tono Fantasia por el tercero tono Fantasia por el quarto tono Fantasia por el quinto tono Fantasia por el sexto tono Fantasia por el séptimo tono Fantasia por el octavo tono Fantasia a tres, por el primer tono 2 Fantasia a tres, por el quinto tono Fantasia a tres, por el séptimo tono Fantasia a tres, por el octavo tono Fantasia por el primer tono a quatro3 Fantasia por el primero tono, por Gsolreut a quatro Fantasia por el segundo tono a quatro por G sol re ut Fantasia a quatro por el quarto tono por a la mi re Fantasia por el sexto tono [a quatro] Fantasia por el primero tono a quatro Sígnense unas fantasias que llevan ciertos passajes para desemvoluer las manas. [por el primer tono]4

20

29v

21

31

22

33

Fantasia de passes largos para desemvoluer las manos, [por el mismo tono] Fantasias de passos largos, para desemvoluer las manos, [por el quinto tono] Fantasias de passos largos, para desemvoluer las manos, [por el octavo tono]

Comiença el segundo Libro de Mu/sica en Cifras para Vihuela, el qual contiene / Motetes a quatro y a cinco, de diversos Autores, en todos los quales / se canta la voz que se señala con unos puntillos, y también / se señalan las Claves en los trastes que se re/quiere conforme al termino. / M. D. LXXVI. (fol. 35) 23

35 v

24

38

25

4ov 43

26

45v

27

47 49

28

52

29

54v

30

57

31

59v 62

32

64v

33

66v

34

69

35

71

Nigra sum sed formosa Crecquillon a 5 (RI SM ΐ555β, fol. 6) Dum deambularet dominus Crecquillon a 4 (RISM 15645, no. 1 1 ) 2a pars Vocem tuam audivi In me transierunt Maillard a 4 (RISM 15592, no. 26) O beata Maria Pedro Guerrero a 4 (ElúsA, p. 83) 2a pars Accipe quod Ave Maria5 Francisco Guerrero a 4 (GuerrM) Deus Deus meus Simon Buleau a 4 2a pars of "Domine ne longe facias" (BoylM, no. ib) Genuit puerpera Simon Buleau 04 2a pars of " O magnum mysterium" (BoylM, no. 2b) Absterget Deus Simon Buleau a 4 (BoylM, no. 7) 2a pars Non esurient Turba multa Simon Buleau a 4 (BoylM, no. 8b: 2a pars of "Occurrunt turbe") Respexit Helias Simon Buleau a 4 (BoylM, no. 10) Tulerunt ergo fratres Simon Buleau a 4 (BoylM, no. 4b: 2a pars of "Videns Jacob") Angelus domini Vasurto ( = Basurto) 04 Quem dicunt homines Richafort a 4 (RISM i532 10 , no. 19)

283

[ 1 5 7 6]2 Comiença el Libro tercero de Mu/sica en cifras para Vihuela, el quai con/tiene un Romance, y algunos Sonetos y Villanescas en letra / Castellana, y Villancicos, en todo lo quai se señala / la voz con unos puntillos : y al cabo del / ay dos canciones Francesa: / tañidas sin can/tar. / M . D . L X X V I . (fol. 74) 36

74 v

37

75

38

77 v

39

78 79 8ov

40

41

8i v

83

42

84

43

85v

44

87*

45

89

46

90v

47

9iv

93

49

94

50

95v

51

g6v

Enfermo estaba Antioco6 Romance a 4 Ay mudo soy hablar no puedo Pedro Ordonez Soneto a 4 Ay fortuna crudel Pedro Ordonez Soneto 04 2a pars Lebantaron muy alto Escrito esta en mi alma Soneto a 4 (text by Garcilaso) 2a pars Yo no nasci sino para querer Quan bienaventurado Canción a 4 ( M M E IX, 54: Rodrigo de Cevallos; text by Garcilaso) Prado verde37 Francisco Guerrero Villanesca a 4 ( M M E V I I I , 104) Pues ya las claras fuentesa Zaballos ( = Cevallos) Villanesca a 4 Ay de mi sin venturo 1574e. i582 1( 15865, and 15895). Dedication on fol. *z headed " D e m Ehrwirdigen Wolgebornen Herren, Herrn Christoffen Ladisslao, Graven zu Nellenburg, Herren zu Thengen, Hoher Stifft Strassburg Dohm Brobst, der Dohmkirchen zu Collen Affter Dechant, und Churfürstlichem Rhat daselbst, meinem gnädigen Herren," and signed on fol. *3 " D a t u m Strassburg. Den iz. Martii, Anno. 77. E. Gnaden. Untertäniger Dienstwilliger. Bernhart Schmid Organist und Burger daselbs." On fol. *3V: poem in Latin headed " I n honorem et commendationem musicae. Carmen," and signed "Sigis. Sultzpergerus, Argentorati p. Vigilia Epiphaniae anni M D . lxxiiix" (reprinted in 15865). Also on fol. *3V: a cut of Phoebus and the three Charities with lyra, tibia, and syrinx (reprinted in 1589e). On fols. *3V—*4: a brief instruction on the tablature headed " Kurtzer Bericht an den Günstigen Leser." On fol. *4: table of contents. On fol. *4V: cut of Bernhard Schmid with a quatrain in

Book One fol. ι Αι Pater noster Orlandi [Lasso] a.6 (LassoW XIII, 81) 2 A4 lam non Dicam Orlandi a 6 (LassoW XIII, 38) Bi v 2a pars Acápite Spiritimi Sanctum 3 B3 Surge propera Orlandi a 6 (LassoW XIII, 158) B4v 2a pars Surge arnica mea 4 C2 Ego sum qui sum Orlandi a 6 (LassoW XIII, 4) C3 2a pars Ego dormivi 5 C4V In te Domine Speravi Orlandi a 6 (LassoW XVII, 87) D2 2a pars Quoniam fortitude mea 6 D4 v Si me tenes* Crequillon a 6 (RISM 154511, fol. 14) 7 E3 Confitemini Domino Orlandi a 5 (LassoW VII, 131) E4 2a pars Narrate omnia 8 F i v Deus noster refugium Orlandi a 5 (LassoW IX, 131) 9 F2 v Surrexit Pastor bonus Orlandi a 5 (LassoW V, 57)

288 10

F4 v

11

G2 G3 v

12

Hi

13

H2 v H4 v

14

J2V

15

Ki

16

K3

17

K4 Li

18

L3 L4T

19

Mi"

20

M3 V

1

5 7 7β

Non vos me elegistis Orlandi a S (LassoW V , 141) Benedicam Dominum Orlandi α 5 (LassoW IX, 174) 2a pars In Domino Laudabitur anima mea Hierusalem Luge* Richafurt 05 ( R I S M 15329, p. 49: Richafort or Lupus) 2a pars* Deduc quasi Veni in hortum meum Orlandi a 5 (LassoW V , 120) In me transierunt irae tuae Orlandi a 5 (LassoW I X , 49) Tribus miraculis5 Orlandi a 5 (LassoW V , 25) Legem Pone mihi Domine Orlandi a 5 (LassoW IX, 73) 2a pars Da mihi intellectum Gustate et videte Orlandi a5 (LassoW V , 73) 2a pars Divites eguerunt Sicut mater consolatur Orlandi a 5 (LassoW V I I , 97) Angelus ad Pastores ait Orlandi a 5 (LassoW III, 139) Quia vidisti meThoma Orlandi 04 (LassoW I, 137)

Book T w o 21 N 2 Vater unser im Himelreich? Orlandi α 5 (LassoW X V I I I , 1) 22 N3 v Ich Rüf zu dir Herr Jesu Christ* Orlandi 04 (recte: α 5) (LassoW X V I I I , 4) 23 N4 v Susanne ung Jour* Orlandi a 5 (LassoW X I V , 29) 24 θ 2 ν Frölich zu sein* Orlandi a 4 (recte : 05) (LassoW X V I I I , 38) O4 2a pars Wer frisch will sein, der sing mit mir* 25 P i Im Meyen hört man die Hanen krehen* Orlandi a 5 (LassoW X V I I I , 24) 26 P i v Trit auff den Rigel von der Thürc Orlandi a 5 (LassoW X V I I I , 35) 27 P2V Ein guter Wein ist lobenswerdt* Orlandi a 5 (LassoW X V I I I , 44)

28

P3

29

P4V

30

Q2

31

Q3

32

Q3 v

33

Q4 v

34

Riv

35

R3

36

Si

37

S2T

38

S3

39

S4

40

Ti

41

T2

42

T2 V

43

T3 V

44

T4 V

45

Viv

46

V2 T

47

V3 v

Der Wein der schmackt mir also wol* Orlandi a 5 (LassoW X V I I I , 11) Puis ne me peult venir* Crequillon a 5 ( R I S M 15723, fol. 25: "Pis ne me peult venir") Bezvar mich Herr* Zirlerus 04 ( D : R p , M S A R 855, no. 19) Hertzlich lieb hab ich dich O Herr** a 4 (compare ZahnM, no. 8326) Vray dieu disait une fillette* Orlandi 04 (LassoW X I I , 72) Damours me Plains* Roger [Pathie] 04 ( P u b A P T M X X I I I , no. 49) Je prens en gre* Clemens non Papa a 4 (ClemensO X , 14) Quand to pens al martire* 04 ( R I S M 15419, p. 54: Arcadelt) Osio Potessi Donna* Giachet Berhem a 4 ( R I S M 154I9, p. 19) Io mi son giovanetto* Fr. à Bosco a 4 (EinIM III, no. 30: D . Ferabosco) Avecque vous Amour finira* Orlandi a 4 (LassoW X I I , 37) Ung gaii bergier* Crequillon a 4 (RieH II, 462) Pour ung plaisier* Claudin a4 (ParrishM, no. 20: Crecquillon) Bon Jour mon euer* Orlandi a 4 (LassoW X I I , 100) Ce moys de may* Godardum 04 ( P u b A P T M X X I I I , no. 25: Godard) Anchor che col partir* Ciprianus de Rore a 4 ( S C M A V I , 45) Las voules vous* Orlandi a 4 (LassoW X I I , 3) Monsieur labbe* Orlandi 04 (LassoW X I I , 16) Allein nach dir Herr, oder Si Pur ti Quarto* a 4 ( R I S M 15605, p. 46: Pathie) Wol auf gut Gesel von hinnen* Meilandus a 4 ( R I S M 1597,, no. 52)

289

ΐ 577τ 48

V4

49

54

v4v Xiv X2 X3 X3 X3V X3V Yi Yiv Y3 V Zi

55 56 57

Ziv Ziv Z2

50 51 52 53

59

Z2V Z2V Z3 Z3

60

Z3 Z3V

61

Z3V Z4

58

62 63 64 65

Z4 Z4V Z4V Z5 Z5 Z5V Z5V Z6

Z6

Wie schön Blüet uns der Mayec7 Jacobus Meiland a. ( R I S M 1597 7) no. 50) Passomezo 1* III suo saltarello* Passomezoc 8 III suo saltarelloc Passomezo Comun 3* ab III suo Saltarello* Passomezo Ungaro* a 4" Saltarello suo* Passomezo Antiche* III suo Saltarello* Galliarde Des Admirals auss Franckreichc 10 (compare 15715, no. 46) Galliarda Françoise·* Ein schöner Englischer Dantz'ic 1 Ein Fürstlicher schöner Hofdantz J c l 2 Hupfauffc Ein guter Hofdantz 7/ abc Nachdantzzbi Bruder Cunrad Dantzmass

IUP13 Proportz darauf Der Imperial. Ein Fürstlicher Hofdantz ΙΙΙΓ Der Hupf auf Ein guter Dantz. Man ledt uns zu der Hochzeit freud Ve 14 Volget der Hopeldantz darauf Marggraf Caroli Dantz VIe Hupfauffc Alemando novelle. Ein guter neuer Dantz VIIbc 15 Proportz daraufbc La volte du roy VIIIe La corante du roy3ix 16 Ein guter neuer Dantz. Du hast mich wollen nemmen^17 I[acob] P[aix] Ofrganista] (compare 15834, no. 75) Hopeldantz darauf*

Facs. of title page in E F III, 657; KinsP, p. 83 ; and Z u r M , p. 19. 2 O n this portrait see EnglertBS and H i r t h K . 3 T h i s copy is dated 1576. 1 Copies were in D : Bds and F : Pm. T h e Washington copy was in the Landau-Finaly library in Florence (see H i l l M , pp. 14-16). 6 M o d . ed. in K r a u s C O I, no. 18. • M o d . ed. in FaisstH, Beilage, and Ritz II, 103. O n the vocal model see BodeH and FaisstH. 7 M o d . ed. in E h m L , no. 18. 8 M o d . ed. in AulerS I, 10. " M o d . ed. in H a l b K , p. 12.

M o d . ed. in ScherG, no. 136. M o d . ed. in A n t o n i K , p. 10, and BeckH, app., no. 18. 1 2 Superius in B ö h T II, 39; h u p f a u f f i n ForkA II, 753. Compare the allemande in M G G I, col. 351. 1 3 N o . 59a has no musical relation to 15711, no. 45. 1 4 M o d . ed. in G e o r g K , p. 13. 1 6 M o d . ed. in D o l D E , p. 157; M o h r A I, 15; and T a p S , p. 42. 1 8 M o d . ed. in A n t o n i K , p. 6. 1 7 M o d . ed. in K r i e g e r M E , p. 134. 10

11

1 577T GARDANO, ANGELO,

PUBLISHER

MUSICA / DE DIVERSI / AUTORI / LA BATAGLIA / FRANCESE / ET C A N Z O N D E L L I U C E L L I / Insieme alcune Canzoni Francese, / Partite in Caselle per sonar d'in/stromento perfetto: Nova/mente Ristampate. / [Printer's mark] / In Venetia apresso di Angelo Gardano. / 1577· 27 fols. Keyboard partitura. The title is placed within an ornamental border. T h e texts of the chansons are not included in this edition. Fol. *z = fol. 1. On fol. 27 v : table of contents. All of the compositions are for keyboard solo. Copy in: I:Bc.

ι

fol. *iv

2

2V 6V

3

8V 9V ι iv I2V

4

I3V

5

I5V

6

i6 v

7

i8 v

1

Bataglia Francese di Clemens Janecquin. Prima parte ( M M R F VII, 31) 2a pars [Fan frere le le lan fan] Canzon delli Uccelli [di Clemens Janequin], Prima parte ( M M R F V I I , 1) 2a pars [Vous orrez a mon advis] 3a pars [Rossignol du boys jolt] 4a pars [Arriere maistre coqu] Ung gay bergier ("Canzon Francese") Crequillon (RieH II, 462) Petite Fleur coincte Crequillon (RI S M i549 29 , no. 28) Mais languiraige Clemens non Papa (ClemensO X , 77) Frais & gaillart Clemens non Papa (ClemensO X, 17) Petit jacquet Curtois (I:Bc, M S Q 26, no. 27 : Courtois)

290 8

i9 v

9

2ov

10

22 v

11

23 v 25 v

13

2ÓV

1

Rossignolet que cantes Clemens non Papa (ClemensO X , 41) Je prens en gre Clemens non Papa (ClemensO X , 14) Doulce memoire Rogier (PubAPTM X X I I I , no. 50: Sandrin) Martin Menoit C[lement] Janecquin (CM II, 79) Je layme bien Orlando di Lassus (LassoW X I I , 41) Avecque vous Orlando di Lassus (LassoW X I I , 37)

[ΐ 578]χ BESSON, JACQUES THEATRUM / INSTRUMEN/TORU M E T MA/chinarum Jacobi Bessoni / Delphinatis, Mathemati/ci ingeniosissimi. / Cum F R A N C . B E R O A L D I / Figuram declaratione de/monstrativa. / L U G D U N I , / Apud Barth. Vincentium / Cum Privilegio Regis. / M . D. L X X V I I I . According to FétB I, 397, this volume deals with percussion instruments, with special emphasis on bells. In fact the copy in U S : Cn contains a number of plates illustrating various mechanical devices (a screw-cutting lathe, 1 a machine for fighting fires, designs for fountains and carriages, and so forth), with descriptions of them by François Béroald. The only musical instrument reproduced is a bowed stringed instrument (pi. 29). The volume belongs not in a bibliography of instrumental music, but in one dealing with the mechanical arts. For further information, including notices of later editions, see B U IV, s.v. "Besson," and G E VI, s.v. "Besson." 1 Reproduced in CromM I, pi. xxxv (where the volume is incorrectly dated 1568).

[ I 5 7 8]2 BRUNET, PIERRE Tablature de Mandorre. A Paris, Adrian le Roy et Robert Ballard, 1578.

5777 This volume of mandora music, now lost, is listed in BrunetML, Supplément, col. 178; DraudiusBE, p. 208; and Du Verdier I I I , 256. See also L e s L R B , art. 228.

ι S783 CABEZÓN, ANTONIO D E OBRAS D E MUSI/CA PARA T E C L A A R P A Y / vihuela, de Antonio de Cabeçon, Musico de / la camara [«'e] y capilla del Rey Don Phi/lippe nuestro Señor. / R E C O P I L A D A S Y P U E S T A S E N C I F R A POR H E R N A N D O / de Cabecçn su hijo. Ansi mesmo Musico de camara y capilla de su Magestad. / D I R I G I D A S A L A S. C. R . M . D E L R E Y D O N / Philippe nuestro Señor. / [Coat of arms of the royal family of Spain] / CON P R I V I L E G I O . / Impressas en Madrid en casa de Francisco Sanchez. Año de M . D. L X X V I I I . 1 213 fols. Spanish keyboard tablature using numbers. Dedication on fol. *2 headed " A L A S. C. R. M . E L R E Y D O N P H I L I P P E N U E S T R O S E Ñ O R . Hernando de Cabeçon su criado." On fol. *2 V : excerpt from the royal printing privilege signed "Fecha en el Pardo a veynte y un dias del mes de Septiembre, de mil y quinientos y setenta y cinco años. Y o El Rey. Por mandado de su Magestad. Antonio de Erasso." On fols. *3-*6: preface in praise of music headed "Proemio al lector en loor de la musica," ending with some biographical information about the editor's father (and composer of the music), Antonio de Cabezón. On fols. *6v-*y : a poem in Latin headed "Joan. Christophori Calveti Stellae. De Antonio Cabeçone Musico Regio. Encomium." On fol. * J : a poem in Spanish headed " D e Pedro Laynez. Soneto." On fol. # 7 V : two poems in Spanish, the first headed " A Antonio Cabeçon, El Licenciado Juan de Vergara," the other headed "Alonso de Morales Salado, en alavança del author. Soneto." On fols. *8-*8 v : table of contents. On fols. * 9 - # i i v : an explanation of the tablature used in the volume headed "Declaración de la cifra que en este libro se usa." On fols. * i i v - * i 2 : a note on fingering headed " E l orden que se ha de tener para

15783 subir y baxar en la tecla." On fol. * i 3 : a note on éditorial practices headed " A d vertimientos." Some of the prefatory material is reprinted in PedH I I I , xxi. Fol. *I2 = fol. ι . All of the compositions except those followed by an asterisk are reprinted in P e d H I I I , IV, V I I , and V I I I . T h e compositions identified by superior letters are reprinted as follows: ( a ) in ApelM II, 17-20; ( b ) in CabezonC; (c) in CabezonT; (") in KallLO I I I , 5-43 ; (e) in O L X X X and X X X I V ; ( f ) in PedAO I (selected versos only) ; (g) in Jacobs T N , pp. 110-121. T h e contract between Hernando de Cabezón and Francisco Sanchez for printing this volume is printed in full in PastorE and in part in P e d H V I I I , xvi. For further information on the volume see CarpAC, which includes English translations of the prefatory material. All of the compositions are for solo keyboard. Copies in: B:Br, D : B d s , D : R p , E : B u , E : E , E : M n , G B : L b m (imperfect), I : N c , US:Wc.2 Los duos para principiantes 3 fol. I Duo1 I v I 2 Duoa v a I Duo 3 2 Ave Maristella 4 2V Ave Maristella. Duo 5 6 3 Ave Maristella. Duo 7 3V Ave Maristella. Duo Te Lucis Ante Terminum. Duo 8 4 ("Creator alme siderum") 4V Duo 9 Las obras de a tres para principiantes IO 5 Kyrie de Nuestra Señora [sobre el canto llano de rex virginum\5 II 5V Segundo Kyrie 12 5V Tercer Kyrie Ave Maristela Hernando de 6 13 Cabeçon 6V Ave Maristella 14 Pange lingua = 15572, no. 78 15 7 8 Fange lingua 16 Las obras de a quatro Quatro versos del primer tono 17 9 [sobre el seculorum]ä{ 6 d7 18 9V Versos del segundo tono IO Versos elei tercero tono" 19

20 21 22 23 24

291 io v II I Iv 12 I2V

Versos Versos Versos Versos Versos

del del del del del

sexto tonoi VII tonoá 8 quarto tono3i quinto tonod octavo tonoä

Los favordones de todos los ocho tonos Quatro fabordones del primero 13 25 tono 26 14 Fabordones del segundo tono 27 15 Fabordones del tercer tono 28 16 Fabordones del quarto tono · i6 v Fabordones del quinto tono 29 30 i7 v Fabordones del sexto tono 19 Fabordones del séptimo tono 31 a i 9 v Fabordones del octavo tono 32 Los Hymnos 21 Ave maris stella 33 21 Ave maris stella 34 2I V Ave maris stella 35 22 Ave maris stella! = 15572, 36 no. 85 Veni creatore 23 37 v Christe redemptor 3» 23 Ut queant laxis"10 ("Iste 24 39 confessor") Christe redemptorB 40 25 26 Pange lingua 41 11 26 v Pange lingua 42 12 Urreda 28 Pange lingua 43 ( E : T Z , M S 2, fol. 9V) Los versos ochos tonos 44 29 45 30 46 3i v 47 33 48 34v 49 35v 50 37 v 51 39

de magnificat sobre todos los Versos del primer tono3*13 Versos del segundo tonoäc Versos del tercero tono1" Versos del quarto tono3*1* Versos del quinto tonoite Versos del sexto Tono^"15 Versos del séptimo tonoade 16 Versos del octavo Tonoäi

Quatro Kiries de cada tono 52 4o v Quatro Kyries de nuestra señora. Rex virginume 53 42 v Quatro Kyries del primero Tono 54 43 v Kyries del segundo tonof 55 45 Kyries del tercero tonoe 56 46 Kyries del quarto tono"'17 57 47 Kyries del sexto tono 58 48 Kiries del séptimo tonoes 59 49 v Kyries del quinto tono

292

157«:

Los tientos 60 5ov Tiento. Segundo tono 61 52 Tiento. Quarto tono 62 53 Tiento. Primer tono 63 SS Tiento sobre qui la dira (compare R I S M 15722, fol. 2: " Q u i la dira la peine," Willaert) 64 56 Tiento del segundo tonoœl 18 65 57 Tiento del tercero Tono. [Fugas al contrario]019 66 59 [Tiento del] quarto tonocefB 20 67 61 Tiento del octavo [tono]cf 21 68 62" Tiento del quinto tono0 22 69 64 Tiento del primer tonoaí 23 V 70 Ó4 Tiento del sexto tono** 66v Segunda partec 71 68 Tiento sobre Cum Sancto Spiritu [de beata virgine de Jusquiri]c2i (compare JosqMS, no. 16: Missa de Beata Virgine) Las canciones glosadas y motetes a quatro 72 69 Preñes pitie* Criquillon ( R I S M [1544hl, fol- 9V) 73 70v Ye près en grey* Criquillon (ClemensO X , 14: " J e prens en gré," Clemens non Papa) 74 72 v Ye près en grey glossado de Hernando de Cabeçon (another version of no. 73) 75 74v Si par suffrir* Criquillon 76 76 v Cancion Francesa* Clemens non Papa 77 77 v Ancol que col partire25 ( S C M A VI, 45: Rore) 78 79 Por un plasir* Criquillon (ParrishM, no. 20) 79 80 Un gay bergeir* Criquillon (RieH II, 462) 80 82 Dulce memoriae1 Hernando de Cabeçon (PubAPTM X X I I I , no. 50: Sandrin) 81 84 Fuga a quatro todas las bozes por una sexto tonoc 26 82 85 Quaeramus [cum pastoribus]* Moton ( R I S M 1529!, fol. 9 V ; another version of no. 83 below) 86 2a pars [Ubi pascas ubi cubes] 87 3a pars

83

89

84

90 91 v

85

96'

86

98v

87 88 89

99v 102 103

Quaeramus [cum pastoribus] Moton. con differente glossa (another version of no. 82 above) 2a pars [Ubi pascas ubi cubes] Clama ne cesses* Jusquin (JosqMS, no. 1 : Missa L'homme armé super voces musicales, "Agnus Dei I I I " ) Osanna de la missa de lome arme* (JosqMS, no. ι ) Benedictus de la missa de lome arme* Jusquin (JosqMS, no. 1) Ave maris stella a 3 Beata viscera mariae a 3 Cum sancto Spiritu* Jusquin (JosqMS, no. 16: Missa de Beata Virgine)

Los motetes y canciones de a cinco glosados 90 105 Stabat mater dolorosa* Jusquin (JosqMT, no. 36; another version of 98 below) io7 v 2a pars [Eya mater] 91 n o v Inviolata [integra]* Jusquin (JosqMT, no. 42; another version of no. 99 below) 112 2a pars [Nostra ut pura] i i 3 v 3a pars [O benigna] 92 i i 4 v Si bona suscepimus* Verdelot (MoralesO I, 274: Verdelot) 93 1 1 8 Aspice Domine* Jaquet (MonteO X X V I , app.) 94 1 2 1 Sana me Domine* Clemens non Papa ( R I S M i s s ó j , no. 2) 95 i23 v In te Domine speravi* Lupus ( R I S M 1535!, fol. 6V) 126 2a pars [Quoniam fortitude mea] 96 128" Tercera parte de virgo salutífera*27 Jusquin (JosqMT, no. 35: " A v e Maria") 97 129 Hierusalem luget*27 Ricafort ( R I S M 15329, p. 49 : Richafort or Lupus) 98 1 3 1 Stabat mater dolorosa* Jusquin (another version of no. 90 above)

293

1 5 7 8 3

99

134

Inviolata*

Jusquin

(another version of no. 91 above) 100

136

101

137

102

i38 v

Ye fille qua ni le me dona de que* Adrian Villarte (BrownTC, no. 34: "Je fille quant Dieu me donne de quoy," Vuildre) Pis ne me pulvenir* Criquillon ( R I S M 15722, fol. 25 ; another version of no. 109 below) Aiuli vous sola verdura* L u p u s ( R I S M ï54413,

fol. 3 : "Au joly bois sur la verdure," Jo. Lupi) 103

140*

104

i42 v

105

i44 T

106

146

107

148

108

i49

109

15 i v

v

no

153

in

155

112

156*

113

i57 v

Ayme qui voldra* Gombert ( R I S M 154413, fol- 5V) Durmendo un jorno* Verdelot (WagMP, p. 423) Triste de par* Gombert ( R I S M 154413, fol. 5: "Triste depart") Je suis ayme* Criquillon ( R I S M 154514, fol. 3) Susana un jur glossada de Hernando de Cabeçon (LassoW X I V , 29 : Lasso another version of no. 108 below) Susana (another version of no. 107 above) Pis ne me pulvenir glossado de Hernando de Cabeçon (another version of no. 101 above) Qui la dira* Adrian Villart ( R I S M 15722, fol. 2) Ad Dominum cum tribularer. Fuga en .4. con el tipleœ Pues ami desconsolado tantos males me rodean*28 Juan de Cabeçon Quien llamo al partir partir

Los motetes y canciones a seys 114 159 Benedicta es regina celorum* [Jusquin] (JosqMT, no. 46; another version of no. 115 below) 115 164 Benedicta es caelorum Regina (another version of no. 114 above) 168 2a pars Duo [Per illud ave] 170 3a pars [Nunc mater]

116

171

117

i75 v

118

i78 v

119

I8IV

Discantes 120 185 121

i86 v

122

188

123

189

124

i90 v

125

192

126

I93T

127

197

128 129

199 200

Sancta Maria* Verdelot ( R I S M 15383, p. 52) Ave Maria*b Jusquin (JosqMT, no. 50b: 2a pars of "Pater noster") Ultimi mei suspiri*M Verdelot (MonteO V , app.) Ardenti mei suspiri*b Verdelot ( R I S M 154I1,, no. 4)

Diferencias sobre las Vacas. = [Guardarne las vacas] [Discante sobre] Pavana Italianabf30 Diferencias sobre la Gallarda Milanesae 31 Diferencias sobre el canto llano del Cavalleroh{ 32 Diferencias sobre la Pavana Italiana33 Diferencias sobre el canto de la dama le demanda Diferencias sobre el Villancico, de quien te me enojo Isabe. Diferencias sobre las Vacas. [Guardarne las nacas]6 Otras diferencias de Vacas Duvienselab (compare AttainCK III, no. 22: " D o n t vient cela," Sermisy)

1 Facs. of title page in A p e l S M , p. 294; M G G II, col. 597; and S u b H M E , p. 262. 2 A copy was in D : W . a T h e headings in the inventory are taken from the table of contents of the volume. Seven of the duos are repr. in PierO, p. 42. 4 Facs. of fol. ι in Maggs28, p. 95. 5 Facs. of fol. 5 and mod. ed. of no. 10 in W o l f H II, 268. 6 Mod. ed. of a section in DallaL, no. 19. 7 Facs. of fol. 9V in A p e l S M , opp. p. 295. 8 Mod. ed. of a section in DallaL, no. 58. 9 Mod. ed. of the first fabordon in P u j B G , no. 1072, and T a p S , p. 44. 1 0 Mod. ed. in BonnO V I , 14. 1 1 Mod. ed. in T a g A I, no. 23. 1 2 On the vocal model see A n g P L , and G e r b H , p. 182. T h e identification of the model is made after StevnsnS, p. 203. 1 3 Mod. ed. in PeetA, no. 5. 1 4 Mod. ed. in FroideA I, 67. 1 5 Facs. of fol. 37 in A p e l N , pi. 17. Mod. ed. of no. 49 in A p e l M K , p. 50, and H A M , no. 133. 1 6 Mod. ed. in KleinO, p. 80. 1 7 Mod. ed. in RauQ, p. 9. 1 8 Mod. ed. in DallaLO V, no. 4. 1 9 Mod. ed. in ScherG, no. 113.

15783

294

20 Mod. ed. in DallaLO V , no. 6; E C , pt. I, vol. IV, p. 1990; HawkeO V, 1 ; and StraubeM I, no. 9. 21 Mod. ed. in CabezonF, no. 4. 22 Mod. ed. in CabezonF, no. 1. 23 Facs. of fol. 64 in KinsP, p. 1 1 5 ; S u b H M I, 494; and S u b H M E , p. 222. Mod. ed. of no. 69 in FroideA I, 38. 24 Mod. ed. in O L I X I V , 16. 25 Mod. ed. in T a g A I, no. 24. 26 Mod. ed. in BonnO V I , 1 1 , and T a g A I, no. 25. " Facs. of fols. 128V and 129 in W o l f M S , pis. 63 and 64. 28 Facs. of fol. 156* in KommaM, p. 102, and M G G II, col. 603. 29 Facs. of fol. 178V in WolfH II, opp. p. 268. 80 Mod. ed. in AulerS I, 6, and CabezonP. On this dance see PoulN. 31 Mod. ed. in AulerS I, 4; BonnO V I , 6; and PedCP I I I , 57. 32 Facs. of fol. 189 in LliuQ, opp. p. 606, and S u b H M E , p. 263. Mod. ed. of no. 123 in AulerS I, 1 ; BonnO I, 5 ; DallaLO V, no. 5 ; H A M , no. 1 3 4 ; O L II, 7 ; and PedCP I I I , 61. 33 Mod. ed. in A p e l M K , p. 46 (who compares it with 1589!, no. 3), and HalbK, p. 16.

IS784 KARGEL,

mantel von B r u m m a t , baiden Schwägern, meinen Grosgönstigen J u n g h e r r n , " a n d signed on fol. 2V " G e b e n inn Strasburg, den ersten Septembris. A n n o M . D . L X X V . E . E. Veste. Willig geflissener Diner. Sixt Kärgel, Lautenist." Beginning on fol. 3 : instructions in Latin and G e r m a n for playing the cittern. Fol. 5 - fol. Α ι . F o r other editions see [1569L, [1575L·» a n d 15802. All of the compositions are for solo cittern. Copy i n : D í B d s - T ü . 1

I

fol. Αι

2 3

Αιν A2

4

A2 v

5 6 7

A3 a3v A4

8 9

A4V a4v

10

BI

II

Biv

12 13

B2 v b3

14

b4

IS

b4v

16

CI

17

Civ

18 19

C2 C2V

20

C3

21

C3V

22

C

SIXT

R E N O V A T A C Y T H A R A : / H o c est / NOVI E T COMMODISSIMI EXER/ CENDAE CYTHARAE MODI: CONSTANTES / CANTIONIBUS MUSICIS, P A S S O M E Z O , P A D O A N I S , / Gaillardis, Allemanicis, & aliis eiusmodi pulchris exemplis : / ad T a b u l a t u r a m c o m m u n e m redactis. / Q U I B U S A C C E S S I T DI LUCIDA IN CYTHARAM ISA/GOGE, QUO SUO MARTE QUILIBET EAM L U D E R E D I S C A T . / Neugestalt Cytharb u c h . I D a r i n n vilerlai art Gesang, Lider, Passomezo, Padoana, / Gaillarde, Branle u n d T e u t s c h e T ä n t z , nach gemainer T a b u latur, auf / die T e u t s c h Cythar, sehr bekömmlich: Samt ainem Unterricht, wie solche / leichtlich zu lernen, begriffen sind: / D u r c h Sixt Kärgel, Lautenisten. / [Cut of the neck of a cittern] / G R A T I A P R I V I L E G I O Q U E . / Bei Bernhart Jobin / zu Strassburg, A n n o M . D . L X X V I I I . 50 fols. T a b l a t u r e for the four-course cittern with French tuning (the tablature uses n u m b e r s ; the highest line represents the highest string). Dedication on fol. 2 headed " D e n Edelen u n d Ehrnvesten, Philips Böcklin, u n d H a n s Waldraf Zug-

4

Plus que jamais = 15825, no. 22 Oye saman Quand je cogneu (compare R I S M [iS39l2o, fol- 20: Sandrin) En esperance j'endure = 15825, no. 19 Je ne veux plus = 157O3, no. 23 Par bien servir Lennuy qui me tourmente (compare L e s L R B , art. 3, fol. 9: Certon) = 15825, no. 23 Est il possible Puisqu'une mort (RI S M i550 8 , fol. 3 1 : Sohier) Susan ung jour (LevyS, p. 403 : Didier L u p i Second) De me sanui = 157O3, no. 161 : " D e mes ennuis," Arcadelt J'ay bien mal Allegez moy (BrownTC, no. 1) Dames qui au plaisant son = 15703, no. 22: Didier L u p i Second Quand mon mary = 15703, no. 27: Lasso Bonjour mon coeur = 15703, no. 26: Lasso Ne pense plus'' = 1568e, no. 77 : M . Simon Levrart Entre vos gentils galans La Pastorella mia = 15685, no. 30: Arcadelt En fut il oncques = 1568 e, no. 24: Certon J'ay trop ayme = 1568 e, no. 36 Ce mois de may = 1568«, no. 76: G o d a r d

15784 23

c

4 v

Un Advocat dist à sa femme 1545:0, no. 19: Delafont) La Jeune dame Le coeur l'esprit = 15825, no. 33 C'est a grand tort = 15825, no. 18 Or combien est [malheureux] = 1 5 6 8 E , no. 66: Sandrin or Sermisy Doulce memoire (PubAPTM X X I I I , no. 50: Sandrin) Helas mon Dieu (RISM I 5 5 3 I 8 , fol. 6 : Maillard) Se purti guardo = 15703, no. 31 : Pathie E me levai = 15703, no. 159: Azzaiolo Madona mia pietà = 15703, no. 149: Lasso La Cortesia = 15703, no. 152: Lasso Sto core mio = 157O3, no. 153: Lasso Mia mari ando al Marco 1570,, no. 151: Azzaiolo Le vecchie per invidia = 15825, no. 39 Sia sia maladetta = 15703, no. 155 Donna Crudeli = 15825, no. 34 Nun fahr hin alle mein trauren — 15703, no. 166 Got ist mein Licht = 1568,, no. 74 : Clemens non Papa Gros lib hat mich umfangen = 15703, no. 163 Die Lib die ist ain Maister = 15703, no. 164 So wünsch ich dir ain gute Nacht (compare BöhA, no. 435) = 15825, no. 41 Passomezo Italye Il suo saltarello Passomezo Bassus = 15653, no. 4a: "Pavane Romanesque" Il suo saltarello = 15653, no. 4c: "Gaillarde Romanesque" Gaillarde autrement Passomezo commune = 15825, no. 51a Gaillarde commune = 15825, no. 51b Pavane Gaillarde la precedente pavane

295

49

H2v

50

H2v

(RISM

24

DIV

25 26

D2

27

D2V

D3V

28

D4V

29

EIV

30

E2V

31

E3V

32

E4V

33

FI

34

FIV

35

FZ

36

FZV

37

F3

3»

F3V

39

F4

4°

F4V

4I

GIV

42

G2

43

G2v

44

G3

45

G4

G3

V

G4V 6

G4

47

HI

4

V

HIV 48

HIV H2

H3 51

H3V

H4 52

H4V

II II

53

I2 L2 V

54

I3 I4

55

I4V I4V

56

KI

57

KI

58

KIV

59

K2

60

K2V

61

K2V K

3

62

K3V

63

K3V

64

K

4

65

K

4

66

K4V

67

Li

Pavane L'espagnolle = 15653, no. 6: "L'espagnolle" Passomezo Zorzi = 15825, no. 46a Saltarello de Zorzi = 15825, no. 46b Passomezo Italye altro modo = 15703, no. 168a Il suo saltarello = 157O3, no. 168b: "Gaillarde" Passomezo Milanese3 = 15703, no. 169a: "Passemezo dytalye Superius" Padoana Milanese3 = 15703, no. 169b Saltarello Milanese3 = 1 5 7 O 3 , no. 169c: "Gaillarde dytalye" Passomezo commune plus diminue = 15703, no. 167a Il suo saltarello = 15703, no. 167b Passomezo Mit Lib bin ich umfangen Il suo saltarello Mit Lib bin ich umfangen Pavane des Bouffons = 15653, no. 3a Gaillarde des Bouffons = 15653, no. 3b Les Bouffons superius = 15645, no. 19 Les Bouffons Bassus = 15653, no. 2 Passomezo Bataglia = 15703, no. 165 Gaillarde La Caracossa superius La Caracossa Bassus = 15653, no. 5 : "Gaillarde J'aymeroys mieux dormir seullette" Chi passa per questa strada (AzzaiV, no. 2: Azzaiolo) Chi passa altra modo = 157O3, no. 171 Gaillarde Era di magio = 15825, no. 84 Gaillarde = 15825, no. 85 Gaillarde Ich kan und mag nicht frölich sein = 15825, no. 82 Gaillarde puisque nouvelle affection = 15645, no. 14 Gaillarde la Lionnoise = 15645, no. i l Gaillarde Baisons nous belles = 15703, no. 59

296 68

Li

69

Liv

70

Liv

71

L2 L2

73

L2 v L2 v L.2v L3

74

L3 Lr3v

72

75 76 77 78

79 80 81

L3V L/3V L4 L4 L4 L>4v L.4v Mi Mi Mi Mi* Mi" MiT M2 M2 M2 v

15784 Gaillarde la Morette = 15645, no. 10 Gaillarde M. Sixto = 15825, no. 73 Almande Teutscher Tanz = 1 5 8 3 5 , n o . 99

Reprime. Der Nachtantz Almande Teutscher Danz = 15703, no. 178 Reprinse. Der nach Tantz Almande = 15703, no. 180 Reprinse Almande nova = 15825, no. 109 Reprinse Almande = 15825, no. 103: "Almande de lignes" Reprinse Almande nova Reprinse Almande nova Reprinse Almande nova Reprinse Almande Ich ging ainmal spaciren = 15825, no. 93: "Almande de la Nonette" Reprinse Almande du Prince = 15825, no. 1 1 0 Reprinse Almande nova Reprinse Branle del due = 15703, no. 175a La Saltar elle = 15703, no. 175b: " L a Courante" La courante — 15703, no. 175c: " L e saltarelle"

1 This copy was in the Wolffheim library (see WolffC I, no. 1195). A copy was in the WotquennePlattel library (see ThibaultC, p. 55). 2 Facs. of fol. Civ in WolfMS, no. 72. 3 Quasi-facs. and partial transcription in WolfH II, 136.

15785 K A R G E L , S I X T , AND JOHAN DOMINICO L A I S Toppel Cythar. / NOVA EAQUE A R T I FICIOSA RA/TI O L U D E N D A E CY THARAE, QUAM COMPI/LATORES

DUPLAM CYTHARAM VOCANT: ALIQUOT / E L E G A N T I S S I M A , ITAL I C I S , GERMANICIS, E T G A L L I C I S / cantionibus & saltationibus, exempli vice ornata. / Neue, Künstliche Tabulatur, auf die Lautengemäse Toppel / Cythar mit sechs Cohren, von etlichen Italiänischen, Teutschen und Fran/zösischen Lidern und Täntzen: baides für sich selbs volkommenlich, und auch zu andern / Instrumenten dinstlich zuspilen und zugebrauchen: gestellet / Durch / Sixt Kargel Lautenist, Und Johan Dominico Lais. / [Cut of the neck of a cittern] / Cum Privilegio. / Bei Bernhart Jobin zu Strasburg, Anno M. D. lxxviii. 1 36 fols. Italian tablature for the six-course cittern. On fol. 2: the same dedication to "Herrn Eberharden und Arnolden, baiden Gebrüdern, Graven zu Manderscheid und Blankenheim" as in 15753. On fol. 2V: the same rules for tuning as in 15753. On fol. 3ÓV: table of contents. Contents = 15753. All of the compositions are for solo cittern. Copies in: D:Bds-Tü, F:Ssc, PL:WRu. 2 1

Facs. of title page in E F II, 659. A copy was in the Wotquenne-Plattel library (see ThibaultC, p. 55). GolosT, p. 127, refers to a copy in P L : T m . 2

I 578e LASSO, ORLANDO DI MODULI / D U A R U M VOCUM / NUNQUAM H A C T E N U S EDITI / MONACHII BOIOARIAE COMPOSITI / ORLANDO LASSO / AUCTORE. / L U T E T I A E PARISIORUM. / Apud Adrianum le Roy, & Robertum Ballard, / Regis Typographòs sub signo / montis Parnassi. / M D L X X V I I I . / Cum privilegio Regis ad decennium. Two part books in mensural notation, each of 20 fols. On fol. ι Ϋ of each part book: the coat of arms of William V, Duke of Bavaria, with the motto " V I N C I T U I M V I R T U S " and the initials " W Η I B . " On fol. 2 of each part book: the same dedication as in 15772, but dated "Monaci 2. Januarii. Anno 1578." The music begins on fol. 2V of each part book. On fol. 2θν of each part book : table of contents. Contents = 15772. Nos.

297

I 57^8 1-12 have Latin text; nos. 13-24 are without text (labeled "fantasies"); all of the compositions are a 2. Copies in: F : 0 (imperfect Τ), I : B e . 1 1

In the Bologna copy the last folio is missing in the tenor part book, and the first and last folios of the superius part book are damaged.

ι

P· τ

2

ι 2

3 4

[1578], L E ROY, A D R I A N Briefve & facile instruction pour apprendre la tabulature à bien accorder, conduire & disposer la main sur la Guiterne. Paris, Adrian le Roy et Robert Ballard. This volume, an instruction book for the guitar, is now lost ; it is listed in D u Verdier I, 25. For an earlier edition, see [1551] 4 . For a possible English translation, see [I568]9.

I S788

3

4 5

5 6

5 6 6 6 7

7 8 9

8 9 10

10

10 il

11

12

4

MAINERIO, GIORGIO 13 I L PRIMO LIBRO DE BALLI / A Q U A T R O VOCI, / A C C O M M O D A T I PER CANTAR E T SONAR D ' O G N I / Sorte de Istromenti. Di D . Giorgio Mainerio Panneggiano / Maestro di Capella della S. Chiesa d'Aquilegia, / Novamente stampati & dati in luce. / [Printer's mark] / In Venetia Appresso / Angelo Gardano / 1578. Four part books in mensural notation, each of 12 fols. Dedication on fol. i v headed " A L L I M O L T O MAG. c l SIG. r I ACCADEMICI PHILARMONICI DEL NOBIL CASIN DEL REVERENDO MONSIGNOR ORATIO BILLIARDO DIGNISSIMO CANONICO DI P A R M A , " reprinted in SartMS, p. 34. Fol. 2 = p. ι . On p. 23: table of contents. MainB is a modern edition of the entire collection. DraudiusBC, p. 1621, dates this 1576. All of the compositions are for instrumental ensemble a 4. Copies in: G B : L b m (AT), I : B e (T), I:Tn.

14

12

14 14

13

15

14

15 16 16

15

17

16

17

17

18 18 19

18

19

La Billiarda = 1583 7, no. 32*1* "Almande" Saltarello = 15837, no. 32b Pass'e mezzo antico in cinque modi = 1583,, no. 2a (15834, no. 57a) Represa in tre modi = 1583,, no. 2b Saltarello in quattro modi = 1583,, no. 2c (15834, no. 57b) Represa = 1583,, no. 2d Pass'e mezzo della Paganino = 1583,, no. 7a Saltarello = 1583,, no. 7b Caro Ortolano = 1583 7, no. l a Saltarello = 1583,, no. i b Gagliarda Putta Nera Ballo Furiano = 1583,, no. 48 La Zanetta Padoana La Saporita Padoana Todescha = 15837, no. 34a: "Almande Bruynsmedelijn" Saltarello = 15837, no. 34b La Lavandara Gagliarda = 15837, no. 29 Pass'e mezzo Moderno in cinque modi = 15837, no. 3a Represa in quattro modi = 15837, no. 3b Saltarello in tre modi = 1583,, no. 3c Represa = 15837, no. 3d Schiarazula Marazula = 15837, no. 49 (15834, no. 88) Tedescha = 1583,, no. 36a: "Almande" Saltarello = 15837, no. 36b Zingaresca = 15837, no. 46a (15834, no. 74a) Saltarello = 15837, no. 46b (15834, no. 74b) L'arboscello ballo Furiano = 15837, no. 44 (15834, no. 86) Ballo Millanese = 15837, no. 28 (15834, no. 87) La Parma = 15837, no. 47a Saltarello = 15837, no. 47b Ballo Francese in doi modi = 15837, no. 39a: "Almande Loreyne" (15834, no. 82a) Saltarello = 15837, no. 39b (15834, no. 82b)

298 19

1

20

S7 88

Ballo Anglese = 1583,, no. 45a (15834, n o . 8 3 a )

20 20

21

21

21 22

Saltarello = 1583,, no. 45b (15834, no. 83b) Todescha = 1583 7, no. 30^· "Almande Poussinghe" Saltarello = 1583,, no. 30b La fiamenga = 1583,, no. 97

[ 1 5 7 8 ]9 PHALÈSE, PIERRE,

PUBLISHER

Carmina in Testudine. Louvain, Pierre Phalèse. This volume of lute music, now lost, is listed in an inventory of the firm of Plantin in Antwerp. See StellMB, p. 24.

ι 579i GORZANIS, GIACOMO

DE

OPERA N O V A DE L A U T O / COMPOSTA DA MISIER JACOMO GORZ A N I S C I T A D I N O / Della Magnifica Città di Trieste messa in Luce da suo Figliolo Massimiliano. / L I B R O [Printer's mark] Q U A R T O / I N V E N E T I A Apresso Alessandro Gardane 1579. 40 fols. Italian lute tablature. On fol. A i v : same dedication as in is6? 3 . On fol. K4 V : table of contents. M o e D M contains a thematic index of the dances (p. 429) and concordances for them (p. 266). Contents = i56? 3 . For other volumes in the same series, see 15612, note 1. All of the compositions are for solo lute. Copy in : I : Be.

iS79a

I N F A N T A S / Patritii Cordubensis / PLURA M O D U L A T I O N U M GENERA / quae vulgo contrapuncta appellantur / SUPER EXCELSO GREGORIANO C A N T U , / omnibus musicam profitentibus utilissima. / Venetiis Apud heredemi Hieronimi Scoti. / M D L X X I X 74 fols. Mensural notation. T h e title is placed within an ornamental border. Dedication on fol. A i T headed " F O E L I C I S S I M O PUBLICAE L A E T I T I A E A U C T O R I . D. N . J A C O B O , P H I L I P P I .II. R E G I S .F. HISPANIARUM POTENTISSIMO P R I N C I P I , " and signed "Venetiis Klendis [sic] Aprilis. 1579. Tuae Altitudini deditissimus cliens, Don Ferdinandus de las Infantas." T h e volume contains 100 canons over the cantus firmus "Laudate Dominum omnes gentes." 1 Nos. 1-47 (pp. 3-37) are a3; nos. 48-57 (pp. 38-41) are a2; nos. 58-91 (pp. 42-103) are a4\ nos. 92-95 (pp. 104-105) are a 5 ; nos. 96-98 (pp. 1 1 6 131) are a6; no. 99 (pp. 132-137) is ay, and no. 100 (pp. 138-147) is a8. All of the canons are without text except for nos. 75-84 and 100.2 Copy in: U S : B E . 3 1 O n the last page (p. 148) L a s Infantas has a d d e d three additional canons: Ave Maria ( " C a n o n super Excelso Gregoriano C a n t u " ) ; Tu es Petrus ( " C a n o n super Excelso Gregoriano C a n t u " ) ; and Duo (without text). 2 The fully texted canons are: no. 75, p. 7 0 : Veni sánete spiritus; no. 76, p. 72 : Veni pater pauperum; no. 77, p. 7 4 : Consolator optime; no. 78, p. 76 : In labore tequies; no. 79, p. 78 : O lux beatissima; no. 8o, p. 80: Sine tuo nomine; no. 81, p. 82: Lava quod est sordidum; no. 82, p. 84: Flecte quod est rigidum; no. 83, p. 86: Da tuis fidelibus; no. 84, p. 88: Da virtutis meritum; no. 100, p. 138: Laudate Dominum omnes gentes. T h e text for the cantus firmus is given only for no. 1 and for the fully texted canons. 3 I a m grateful to V i n c e n t Duckies, music librarian of the University of California at Berkeley, for telling m e of the existence of this v o l u m e . A m a n u script c o p y b y Ephraim K e l l n e r , amanuensis to D r . Pepusch, of this v o l u m e is listed in the Catalogue of the Library of the Sacred Harmonic Society, revised ed. (1872), item 1936.

LAS INFANTAS, FERNANDO DE N O N LIBERA MUSIS NON HIC / AB APOLLINE, N O N A FLORE, / SED A SANCTO FLAMINE / NOMEN HABET. I [Cut depicting the Holy Ghost encircled by a canon α 2 on the text "Veni creator spiritus"] / D O N F E R D I N A N D I D E L A S

I 5 793 INGEGNIERI,

MARCANTONIO

IL SECONDO LIBRO DE' MADRIGALI / DI M A R C A N T O N I O IN-

299

I S8O2 GEGNIERI A Q U A T T R O / VOCI, CON D U E A R I E D I C A N Z O N FRAN/cese per sonare. Novamente composti, & dati in luce. I [Printer's mark] / In Venetia Appresso / Angelo Gardano. / 1579. Four part books in mensural notation, each of 12 fols. Dedication on fol. i v of each part book headed "ALL'ILLUSTRISSIMO SIGNOR E T PADRON M I O O S S E R V A N D I S S I M O , Il Signor Barone Sfondrato," and signed " D i Cremona il di 25. Genaro. 1579. D . V . Sig. Illustriss. Obligatissimo Ser. Marc'Antonio Ingegnieri," reprinted in SartMS, p. 35. Fol. 2 = ρ. ι . On p. 22 of each part book: table of contents. Vogel: Ingegnieri 8 gives a complete list of the contents. Contents = 1584,. Nineteen of the 21 compositions have Italian text; two are for instrumental ensemble 04. Copies in: D : Mbs, G B : L b m (T), I: Be ( T and imperfect S), I:Fn, and I : V n m AB). 1 Ρ· 20

ι

2

21

Aria di Cansón sonar ciel primo no. 84) Aria di Canzon sonar del ottavo no. 85)

Francese per tono* (15834, Francese per tono2 (15834,

1579 DOUBTFUL

WORKS

i . FétB IV, 17, erroneously dates Giuliano Tiburtino, Fantasie, et Recerchari a tre voci, 1579. T h e volume is listed in this bibliography as 1549,.

[ι 5 7 ?]i TROMBONCINO,

IPPOLITO

Intabolatura de Tromboncino da Cantar in Liuto. Venezia, Angelo Gardano. This volume of music for solo voice and lute, now lost, is listed in GardI, fol. 8V (see ThibaultD). T h e composer is probably Ippolito Tromboncino (see EitQ IX, 461, and MacC, p. 181).

[1580]! CROCE, GIOVANNI DALLA, D E T T O IL C H I O Z Z O T T O Sonate a cinque. Venzia. 1580.

Copies were in D : Bds, D : C , and P L : L . Mod. ed. in I M A M I II, 1 and Iii. M o d . ed. of no. ι in DallaA, no. 11. See E i n N for the thesis that these compositions are not instrumental but are intended as models to which various narrative chanson texts might be set.

This volume of music for instrumental ensemble, now lost if it ever existed, is listed in FétB II, 393. T h e volume is not mentioned in TorriC, which includes a list of Croce's works.

ι 5 794

ι 5 8o¡¡

1

2

LASSO, O R L A N D O DI M O T E T T I E T RICERCARI / D'ORL A N D O LASSO A DUE VOCI, / Novamente Composti & dati in luce. / L I B R O [Printer's mark] P R I M O . / In Venetia Appresso / Angelo Gardano / 1579 T w o part books in mensural notation, each of 12 fols. Contents = 15772· Nos. 1 - 1 2 have Latin text; nos. 13-24 are without text (labeled "ricercares ") ; all of the compositions are α 2. Copy in: F:Pc (S).

KARGEL,

SIXT

R E N O V A T A C Y T H A R A : / Hoc est / N O V I E T C O M M O D I S S I M I EXER/ CENDAE CYTHARAE MODI: CONSTANTES / CANTIONIBUS MUSICIS, P A S S O M E Z O , P A D O A N I S , / Gaillardis, Allemanicis, & aliis eiusmodi pulchris exemplis : / ad Tabulaturam communem redactis. / Q U I B U S A C C E S S I T D I L U CIDA IN C Y T H A R A M ISA/GOGE, QUO SUO MARTE QUILIBET EAM L U D E R E D I S C A T . / Neugestalt Cythar-

300

1

5

buch. / Darinn vilerley art Gesang, Lider, Passomezo, Padoana, / Gaillarde, Branle u n d Teutsche Täntz, nach gemeyner Tabulatur, auf / die Teutsch Cythar, sehr bekömlich: Sampt eynem Unterricht, wie solche / leichtlich zu lernen, begriffen sind: / Durch Sixt Kärgel, Lautenisten. / [Cut of the neck of a cittern] / G R A T I A P R I V I L E G I O Q U E . / Bei Bernhart Jobin zu Strassburg, Anno M . D. L X X X . 50 fols. Tabulatore for the four-course cittern with French tuning (the tablature uses numbers; the highest line represents the highest string). T h e same dedication on fol. 2 as in 15784. Beginning on fol. 3: the same instructions for playing the cittern as in 15784. Contents = 15784. All of the compositions are for solo cittern. Copy in: F:Ssc.

15803 VALENTE, ANTONIO VERSI SPI/RITUALI SOPRA / T U T T E LE NOTE, CON DIVERSI C A / N O N I S P A R T I T I PER S O N A R N E / G L I O R G A N I , M E S S E , / VESPERE, E T A L T R I O F / F I C I I D I V I N I . / Di. M . A N T O N I O Valente Cieco, Libro secondo, Novamente da lui / composto, & posto in luce. / [Printer's mark] / I N N A P O L I . / Appresso gli Eredi di Mattio Cancer. / M . D. LXXX. 56 fols. Keyboard partitura. Dedication on fol. *i v headed " A L L A I L L U S T R E SIGNORA MIA OSSERVANDISSIMA la Sig. Donna Elionora Palmiera," and signed " D i Napoli, il dì .10. di Settembre. 1580. Di V. S. 111. Divotissimo & affettionatissimo Servitore, Antonio Valente," reprinted in GaspaC IV, 38, and SartMS, p. 36. On fol. * i T : "Sonetto del Signor Angelo di Costanzo all'Autore," repr. in GaspaC IV, 68, and SartMS, p. 37. T h e music begins on fol. *2( = p. ι). On p. 109: the imprimatur and colophon: "Paulus Regius vidit. Idem. f. 27. Imprimatur. V. Quatrimanus Vic. Ge. Neap. N E A P O L I . Apud Haeredes Matthiae Cancri. 1580." T h e entire volume is reprinted in ValVS,

which includes a facsimile of the title page and of p. 41. T h e r e is a m o d e m edition of one verso in M F H VII, 10. T h e compositions identified by the superior letter a ( a ) are reprinted in FuserC, nos. 1 3 - 1 7 . All of the compositions are for solo keyboard. Copies in: G B ¡Lem, 1 I : Be.

I 2 3 4 5 6

P· I 3 5 7 9 II

7 8 9 10 II 12

H 17 20 23 27 30 2

13 H IS 16 17 18

33 36 37 41 44 47

19 20 21 22 23 24

50 53 54 56 60 63

25 26 27 28 29 30

67 69 71 74 76 78

31 32 33 34 35 36

82 84 86 88 90 94

37

97

38 39

98 100

Verso primo sopra dell'Ut Verso Secondo Verso Terzo Verso Quarto Verso Quinto Verso Sesto. Canon in Diapente superius Sopra il Re verso primoa Verso Secondo Verso Terzoa Verso Quartoa Verso Quinto3 Verso Sesto. Canon in diapente superius Sopra il Mi verso primo3 Verso sesto [recte: secondo] Verso Terzo Verso Quarto Verso Quinto Verso Sesto. Canon in diatesaron inferius Sopra il Fa verso primo Verso Secondo4 Verso Terzo Verso Quarto Verso Quinto Verso Sesto. Canon in diatesaron inferius Sopra il Sol verso primo Verso Secondo Verso Terzo Verso Quarto Verso Quinto Verso Sesto. Canon in diatesaron superius Sopra il La verso primo Verso Secondo Verso Terzo5 Verso Quarto Verso Quintoa Verso Sesto. Canon in Diapente superius Verso primo sopra il fa di be fa be mi Verso Secondo Verso Terzo

I 5» Il 40 41 42 43

ιοί 103 105 107

Verso Quarto Verso Quinto Verso Sesto Verso sopra il .b. molle di e la mi

1 T h i s copy has manuscript Italian verses between the staves on the first 14 pages. 2 Page 29 is incorrectly numbered " ly," so that all subsequent page numbers are consequently one number too low. T h e incorrect pagination is maintained in this inventory. 3 Mod. ed. in T o r A III, 45. 4 Mod. ed. in T o r A III, 46. 5 Mod. ed. in T o r A III, 48.

[ ι 5 8 o ]4 V I O L A , [RAPHAEL] Lautenbuch. Leuven. 1580. This volume of music for solo lute, now lost, is listed in GoovH, no. 257. It may be the same as [1575]«·

ΐ58ΐ! CAROSO,

FABRITIO

IL B A L L A R I N O / DI M. FABRITIO C A R O S O / D A S E R M O N E T A , / Diviso in due Trattati; / Nel primo de' quali si dimostra la diversità de i nomi, che si danno à gli / atti, & movimenti, che intervengono nei Balli: & con / molte Regole si dichiara come debbano farsi. / Nel secondo d'insegnano diverse sorti di Balli, & Balletti sì / all'uso d'Italia, come à quello di Francia, & Spagna. / Ornato di molte Figure. / Et con l'Intavolatura di Liuto nella Sonata di ciascun Ballo, & / il Soprano della Musica alla maggior parte di essi. / Opera nuovamente mandata in luce. / A L L A SEREN. M A S. R A B I A N C A C A P P E L L O D E M E D I C I , / GRAN DUCHESSA DI TOSCANA. / C O N P R I V I L E G I O . / [Printer's mark] / I N V E N E T I A , / Appresso Francesco Ziletti. M D L X X X I . 1 24 + 188 fols. Italian lute tablature and mensural notation. Dedication on fol. *2 headed " A L L A S E R E N I S S . M A S I G . R A L A SIG.RA B I A N C A C A P E L L O D E M E D I C I ,

301

Gran Duchessa di Toscana," and signed on fol. *3 " D i Venetia, a 16. d'Ottobre, M . D . L X X X I . D i V . Altezza Sereniss. Humilissimo, & Devotissimo Servitore Fabritio Caroso da Sermoneta." On fol. *3 V : poem in Italian headed " A l l a Seren. ma Sig. ra L a Sig. ia Bianca Capello de Medici, Gran Duchessa di Toscana." On fol. *4: poem in Italian headed " A l l a Medesima Sereniss. Signora Gran Duchessa." On fol. *4 V : preface headed " A i Lettori." On fol. * s v : poem in Italian headed "Sonetto in Lode dell'Autore. Del Sig. Quintilio Romoli." On fol. *6: poem in Italian headed " A l Medesimo. Di. M . Marco Sofronio." On fol. *6 V : poem in Italian headed " A l Medesimo. Di M . Francesco Guglia." On fol. *η: poem in Italian headed " A l Medesimo. D i M . Vincenzo Mucci." On fol. *7 V : poem in Italian headed " A l Medesimo." Fol. *8 is blank. On fol. *8 V : portrait of Caroso with legend "Fabritio Caroso da Sermoneta nell'età sua d'anni X X X X V I . " T h e trattato primo, containing instructions for dancing, comprises fol. *g (numbered fol. 1) to fol. *24 v . On fol. *2s: a second title page that reads : T R A T T A T O SECONDO / DEL B A L L A R I N O / DI M. FABRITIO C A R O S O / D A S E R M O N E T A , / Nel quale s'insegnano varie sorti di Balletti, Cascarde, Tordiglione, / Passo e mezo, Pavaniglia, Canario, & Gagliarde all'uso / d'Italia, Francia, & Spagna. / Con molte Figure, & con l'Intavolatura di Liuto, & il / Soprano della Musica à ciascuno di essi Balli. / Nuovamente mandato in luce. / A L L A SERENISS. SIG.RA L A SIG.RA / BIANCA CAPPELLO DE' MEDICI / Gran Duchessa di Toscana. / C O N P R I V I L E G I O . / [Printer's mark] / I N V E N E T I A , Appresso Francesco Ziletti. / M. D. LXXXI. Fol. *2Ó = fol. 2. On fol. 185: table of contents for the trattato primo headed " T a v o l a delle Regole, Che si contengono nel primo Trattato." Beginning on fol. i 8 s v : table of contents for the trattato secondo headed " T a v o l a dei Balli, del Secondo Trattato, coi nomi delli persone, à chi sono dedicati." O n fol. i88 v : a list of errata followed by the table of signatures and the colophon: " I n Venetia, Appresso Francesco Ziletti, M D L X X X I . " Later editions

302

I 58 i !

appeared in 1600, 1605 (selections are reprinted in ChilB I), and 1630. These later editions, revised and expanded, have the title Nobiltà di Dame. M o e D M contains a thematic index of the volume (p. 434) and concordances (p. 270). For a discussion of several of the dances and a selection of cuts and music from the volume see D o l D S . For most of the dances Caroso includes a dedicatory poem, a cut of a couple dancing, 2 choreography, and the music. In this inventory the complete heading over the music is given only for nos. 1-5. Nos. 1-22 are arranged for an instrument capable of playing a single line (printed in mensural notation) and lute; nos. 23-83 are arranged for solo lute. Copies in: A : W n , A : W u , CH:Lcortot, D : Bds-Tii, D : Mbs, E : Mme, F : Pc, F : P n , F:Pthibault, G B : Gu, G B : Lbm, I : B c , I :FEc, I:Rsc, NL:DHgm, US:Bp, U S : C A (three copies, one of them imperfect), U S : N Y h s , U S : Wc, U S : W s . 3

ι

fol. 2

5V

6 2

6V

9

9 3

9V

Alba Novella, Balletto; In Lode Della Sereniss. Sig. L a Sig. Bianca Cappello D e ' Medici, Gran Duchessa di Toscana : four dedicatory poems (two called "madrigale"), cut of a couple dancing, and choreography "Intavolatura di Liuto con la Musica della Sonata del Balletto Alba Novella." [La sua sciolta] Alta Regina, Cascarda; In Lode Della Sereniss. Sig. L a Sig. Bianca Cappello D e ' Medici, Gran Duchessa di Toscana: two dedicatory poems (one called "madrigale"), cut of a couple dancing, and choreography "Intavolatura di Liuto con la Musica, della Sonata della Cascarda Alta Regina, fatta in sei T e m p i . " = nos. 14, 60, and 64 [La sua sciolta] Este Gonzaga, Balletto; In Lode Della Sereniss. Sig. [Margarita Gonzaga de Este], Duchessa di Ferrara : dedicatory poem, cut of a couple dancing, and choreography

IIV

12 4

13

15

15

5

i5 v 16

18

6

19

21 7

21 21 v

24 8

24v

" Intavolatura di Liuto, con la Musica, della Sonata del Balletto Este Gonzaga, fatta in quattro T e m p i . " L a Sciolta della Sonata, farassi à un T e m p o solo Austria Gonzaga, Balletto; In Lode Della Sereniss."13 S i g . " [Leonora d'Austria Gonzaga], Duchessa di Mantova: dedicatory poem, cut of a couple dancing, and choreography " Intavolatura di Liuto, con la Musica, della Sonata del Balletto Austria Gonzaga, fatta in quattro T e m p i . " L a Sciolta della Sonata, farassi à un Tempo solo Sonata del Canario = no. 22c Ardente Sole, Balletto; In Lode Dell'Illustr. ma et Ecc. ma Sig.' a [Lucretia da Este], Duchessa di Urbino : dedicatory poem, cut of a couple dancing, and choreography " Intavolatura di Liuto, con la Musica della Sonata del Balletto Ardente Sole, fatta in cinque T e m p i . " = no. 15 Bassa Colonna, Balletto; Di. M . Andrea da Gaeta. In Lode Dell'Illustr. ma et Ecc. ma Sig. [Felice Orsina Colonna], Duchessa di Tagliacozzo, et di Paliano, [Vice Regina di Sicilia] : dedicatory poem, cut of a couple dancing, and choreography Music for lute and one instrument La Sciolta della Sonata Gagliarda di Spagna, Balletto; In Lode dell'Illustr. ma et Ecc. ma Signora [Donna Anna de Mendozza], Duchessa di Medina Cidonia, Governatrice di Milano : dedicatory poem, cut of a couple dancing, and choreography Music for lute and one instrument Amor Costante, Balletto ; In Lode dell'Illustr. ma et Ecc. ma Sig. ra [Costanza Sgorza Buoncompagni], Duchessa di Sora: two dedicatory poems, cut of a couple dancing, 4 and choreography

1

5 8 11

27

9

ίο

11

12

13

14

Music for lute and one instrument 27 v L a Sciolta della Sonata = no. 56 28 Fulgente Stella, Cascarda ; In Lode della Sereniss. ma Sig. l a L a Sig. Leonora de Medici, Principessa di Toscana: dedicatory poem, cut of a couple dancing, and choreography 30 Music for lute and one instrument 3θν Florido Giglio, Cascarda; In Lode della Principessa di Mantova [Margherita Farnese Gonzaga] : dedicatory poem, cut of a couple dancing, and choreography 32v Music for lute and one instrument = no. 39c 33 Occhi Leggiadri, Balletto; In Lode della Illustrissima, et Eccellentiss. Signora [Lavinia della Rovere], Principessa d'Urbino: dedicatory poem, cut of a couple dancing, and choreography 35 Music for lute and one instrument 35v L a sua Sciolta 36 Pavaniglia, Balletto d'Incerto; In Lode dell'Illustr. ma et Ecc. ma Signora [Isabella della Rovere Sanseverina], Principessa di Bisignano : dedicatory poem, cut of a couple dancing, and choreography 39v Music for lute and one instrument 5 40 Villanella, Balletto d'Incerto; In Lode dell'Illustrissima et Eccellentissima Signora Principessa di Selmona: dedicatory poem, cut of a couple dancing, and choreography 42 Music for lute and one instrument 6 = no. 45 42" Squilirta, Cascarda; In Lode dell'Illustrissima et Eccelentissima Signora Principessa di Squillace: dedicatory poem, cut of a couple dancing, and choreography 44v

Music for lute and one instrument = nos. ζ, 6o, and 64

15

3°3 45

49 49v

51 5iv

53

l8

53v 54

56 -¡g

5ÓV

58v

20

59 59v

Passo e mezo d'Incerto; Con le Mutanze, & Passeggio nuovo, dell'Autore dell'Opera: In Lode della Illustrissima, et Eccellentiss.ma Signora [Donna Hieronima Colonna], Duchessa di Monte Lione: dedicatory poem, cut of a couple dancing, and choreography Music for lute and one instrument = no. 5 II Conto dell'Orco, Balletto D'incerto ; In Lode della Illustrissima et Eccellentiss. ma Signora D u chessa di Traetto: dedicatory poem, cut of a couple dancing, and choreography Music for lute and one instrument Bassa Ducale, Balletto; In Lode deirillustr. ma et Ecc. ma Signora L a Signora [Madama Dorothea], Duchessa di Branswich, [& Lunemburc, nativa Duchessa di Lorena, & Bar, Contessa di Cleremonte]: dedicatory poem, cut of a couple dancing, and choreography Music for lute and one instrument La sua Sciolta Se Pensand'al Partire, Balletto di M . Bastinao; In Lode della Signora Costanza Colonna Sforza, Marchese di Caravaggio: dedicatory poem, cut of a couple dancing, and choreography Music for lute and one instrument Copia Felice, Balletto; In Lode dell'Illustrissima Signora Clelia Farnese Cesarina, Marchese di Cività Nuova: dedicatory poem, cut of a couple dancing, and choreography Music for lute and one instrument La sua Sciolta Contentezza d'Amore, Balletto di M . Battistino; In Lode della Illustrissima Signora Portia Ceri dell'Anguilara Cesi, Marchesa di Riano: dedicatory poem, cut of a couple dancing, and choreography

I 58 I I Music for lute and one instru- 27 ment La sua Sciolta Le Bellezze d'Olimpia, Balletto; In Lode della Illustriss. Sig. Padrona et Benefattrice mia, sempre osservandissima, la Signora Olimpia Orsina Cesi, Marchesa di Monticelli: three 28 dedicatory poems, cut of a couple dancing, and choreography Music for lute and one instrument = no. 32 Cesia Orsina, Balletto; In Lode della Medesima Illustrissima Signora Olimpia Orsina Cesi, Mar- 29 chesa di Monticelli: two dedicatory poems, cut of a couple dancing, and choreography Music for lute and one instrument La Sciolta in Saltarello Il Canario = no. 4c Alta Orsina, Balletto; In Lode 30 dell'Illustrissima Signora Donna Cornelia Orsina Altemps, Marchese di Gallese: dedicatory poem and choreography Music for lute La sua Sciolta Bassa Savella, Balletto ; In Lode 31 dell'Illustrissima S. ra la Signora Virginia Savella Vitella, Marchesa d'Andridoca : dedicatory poem and choreography Music for lute Bassa Honorata, Balletto di M. Battistino; In Lode dell'Illus- 32 trissima Signora Donna Agnesina Colonna Caetana : dedicatory poem and choreography Music for lute = no. 49 La Sua Sciolta Barriera, Balletto di M. Battis- 33 tino; In Lode dell'Illustr.ma Sig.ra Mia et Patrona Osserv a n d o la Signora Beatrice Caetana Cesi : two dedicatory poems and choreography Music for lute [" Questo farassi sette volte"] La rotta grave farassi due volte 34 La rotta in Saltarello farassi una volta La rotta in Gagliarda

80

81 8i v 82

83v 83v 84

8sv 86 86T

87v 87v 88

89v 89v 90

91 9i v

93 93v 94

Bassa Romana, Balletto di M. Battistino ; In Lode dell'Illustr.ma Signora et Patrona Mia Osservand.ma la Signora Giovanna Caetana Orsina: dedicatory poem and choreography Music for lute La sua Sciolta in Gagliarda Gratia d'Amore, Balletto; In Lode deH'Illustr.ma Signora, la Signora Beatrice Orsina Sforza Conti: dedicatory poem and choreography Music for lute = no. 79a [La sua sciolta] = no. 79b Lucretia Favorita, Balletto di M. Battistino; In Lode deirillustr.ma Signora, la Signora Lucretia Salviati Orsina : dedicatory poem and choreography Music for lute La sua Sciolta in Gagliarda, farassi due volte Bentivoglio, Cascarda; In Lode dell'Illustr.ma Signora la Signora Pellegrina Cappello Bentivogli: dedicatory poem and choreography Music for lute Riprese due Pungente Dardo, Balletto; In Lode delFIllustr.ma Signora la Signora Costanza Conte Cuppis : dedicatory poem and choreography Music for lute La Sciolta va due volte Coppia Cappelli, Balletto; In Lode deH'Illustr.ma Signora la Signora Elena Cappello Cappelli : dedicatory poem and choreography Music for lute = no. 21 Amor Felice, Balletto d'Incerto; In Lode deH'Illustr.ma Signora la Signora Virginia dell'Anguillara Bordugiera: dedicatory poem and choreography Music for lute [" Questo primo tempo farassi dieci volte"] La sua Sciolta Bella Gioiosa, Cascarda ; In Lode deU'Illustr.ma Signora la Signora Giulia Savella Orsina: dedicatory poem and choreography

I S8 I I T

95

95v 35

96

36

97 97v

37

g8v 99

100 100 38

39

ioo v

102 io2 v

i04 v i04 v 105 105 40

41

i05 v

107 io7 v

109

Music for lute ["farassi duoi Tempi senza li Ritornelli"] Questo ritornello farassi tre volte Nobiltà, Balletto; In Lode dell'Illustrissima Signora, la Signora Giulia Nobile Ricci: dedicatory poem and choreography Music for lute Fiamma d'Amore, Cascarda; In Lode deH'Illustr.ma Signora la Signora Cornelia Teodola Orsina: dedicatory poem and choreography Music for lute Saporita, Balletto; In Lode dell'Illustrissima Signora, la Signora Portia Orsina Celsi : dedicatory poem and choreography Music for lute [La sua sciolta] Leggiadria d'Amore, Balletto; In Lode dell'Illustre Signora la Signora Lucretia Crescenza Frangipane, Gentildonna Romana: dedicatory poem and choreography Music for lute Alta Vittoria, Balletto di M . Oratio Martire; In Lode dell'Illustre Signora, la Sig. Vittoria Accorambona, Gentildonna Romana: dedicatory poem and choreography Music for lute L a sua Gagliarda L a Sciolta = no. 10 II Canario Amor Mio, Balletto di M . Paolo Amandes; In Lode dell'Illustre Signora la Signora Giulia Matthei de Torres : dedicatory poem and choreography Music for lute Allegrezza d'Amore, Cascarda di M . Oratio Martire fatta in terzo ; In Lode dell'Illustre Signora la Signora Lavinia Cavalieri Carducci, Gentildonna Romana: dedicatory poem and choreography Music for lute

3°S v

42

109

43

no" III 11 Iv

44

113 H3 V 114

45

H5 V "6

46

ii7v 118

47

119 ii9v 120 I20 v

48

121 122

123 49

I23v

125

Coppia Matthei, Balletto di M . Battistino; In Lode dell'Illustre Signora la Signora Claudia Matthea Matthei, Gentildonna Romana: dedicatory poem and choreography Music for lute La sua Sciolta in Gagliarda Pavana Matthei, Balletto di M . Battistino; In Lode dell'Illustre Signora, la Signora Giulia Bandina Matthei, Gentildonna Romana : dedicatory poem and choreography Music for lute 7 La sua Sciolta 7 Chiara Stella, Cascarda; In Lode dell'Illustre Signora la Signora Olimpia Cuppis de' Massimi, Gentildonna Romana : dedicatory poem and choreography Music for lute 8 Gentilezza d'Amore, Cascarda; In Lode dell'Illustre Signora, la Signora Costanza Castra Scalinci, Gentildonna Romana : dedicatory poem and choreography Music for lute = no. 13 Rustica Palina, Balletto di M . Battistino; In Lode dell'Illustre Signora, la Signora Laura Palina Rustici, Gentildonna Romana : dedicatory poem and choreography Music for lute La Rotta [La sua sciolta] = no. 57 Alta Sergarda, Cascarda; In Lode dell'Illustre Signora, la Signora Martia Rustici Sergardi, Gentildonna Romana : dedicatory poem and choreography Music for lute Gloria d'Amore, Cascarda; In Lode dell'Illustre Signora, L a Sig. Virginia Mancina Glorieri, Gentildonna Romana : dedicatory poem and choreography Music for lute Candida Luna, Cascarda; In Lode dell'Illustre Signora la Sig. Laura Lanti Cenci, Gentildonna Romana : dedicatory poem and choreography Music for lute = no. 25

3O6

15811

50

I2SV

51

127 127 i37 v

52

S3

54

55

56

57

129 I29 v

13° 131 I I 3 *

133 i33 v

135 135 I 35ï

I36 v 137

i38 T 139

i40 v

Rustica Amorosa, Balletto di M. Battistino; In Lode dell'Illustre Signora la Signora Vittoria Rustici della Corvara, Gentildonna Romana: dedicatory poem and choreography Music for lute La sua Sciolta Ombrosa Valle, Balletto ; In Lode dell'Illustre Signora la Signora Clelia Pontana della Valle, Gentildonna Romana : dedicatory poem and choreography Music for lute Alta Ragonia, Balletto di M. Battistino; In Lode dell'Illustre Signora la S. Giulia Stalla Ragonia, Gentildonna Romana: dedicatory poem and choreography Music for lute L a Sciolta in Gagliarda Gracca Amorosa, Cascarda; In Lode dell'Illustre Signora, la Sig. Margherita Gracca Boccamazzi, Gentildonna Romana : dedicatory poem and choreography Music for lute Alta Morona, Balletto; In Lode dell'Illustre Signora la Signora Angela Morona Palazzuola Gentildonna Romana : dedicatory poem and choreography Music for lute L a sua Sciolta Giunto m'ha amore, Cascarda ; In Lode dell'Illustre Signora la Signora Quintilla Gloriera Ferreri, Gentildonna Romana: dedicatory poem and choreography Music for lute Maraviglia d'Amore, Cascarda; In Lode dell'Illustre Signora, la Sig. Francesca Turini Bufalini: dedicatory poem and choreography Music for lute = no. 8b La Castellana, Cascarda; In Lode dell'Illustre Signora, la Sig. Isabella Castella Malvasia, Gentildonna Bolognose : dedicatory poem and choreography Music for lute = no. 46c

58

141

59

142 i42 v

60

144 i44 v

146 61

i46 v

62

147 147 i47 v

63

148* 149 150 i5°v i5°v i5°v

64

151 i5iv

65

152

66

i53 v 154 i54 v i55 v

Laccio d'Amore, Cascarda; In Lode dell'Illustre Signora la S i g . " Giulia Colloreta di Valvasone: dedicatory poem and choreography Music for lute Nuova Fenice, Balletto; In Lode dell'Illustre Signóra la Signora Flaminia Americi Giacomelli, Gentildonna Romana : dedicatory poem and choreography Music for lute Leggiadra Ninfa, Cascarda; In Lode della Molto Mag. ca Madonna Margherita della Torre, Gentildonna di Saravezza in Toscana: dedicatory poem and choreography Music for lute = nos. 2, 14, and 64 Fedeltà, Cascarda; In Lode dell'Illustre Sig. ra L a Sig. Artemitia Ruberti Binzona, Gentildonna Romana: choreography Music for lute Ritornello farassi due volte Contrapasso nuovo, Balletto in sesto; In Lode dell'Illustre Signora la Signora Silvia Crispi Cardana: choreography Music for lute Furioso, Balletto d'Incerto, da farsi in sesto: choreography Music for lute ["farassi in dieci tempi gravi"] La Sciolta farassi in tre Tempi In questa Sonata si faranno le due Riverenze gravi Fatto questo, faranno un'altro Tempo della Rotta Cesarina, Balletto d'Incerto: choreography Music for lute = nos. 2, 14, and 60 Felice Vittoria, Balletto di M . Ippolito Ghidotti da Crema; In Lode dell'Illusi. ma et Ecc. ma Sig. ra la Sig. ra Vittoria D'Oria Gonzaga: dedicatory poem and choreography Music for lute L a sua Sciolta Bassa et Alta, Balletto d'Incerto: choreography Music for lute

i 582i 67

157

68

159 i59 v

i6o v 161 161 69

I6IV

70

IÓ2V 162" 163 i63v I6 4 v

71

72

i6sv 166 i66 v

73

167

74

i6g v 170

171 i7iv

76

173

BaZZo del Fiore, D a farsi in due; In L o d e della Clarissima Sig. r a la Sig. ra Laura M o r o Contarmi, Gentildonna Venetiana : dedicatory poem and choreography Music for lute Torneo Amoroso, Balletto di M . Battistino; In L o d e dell'Illustre Signora, la Sig. Lilia Crescenza Frangipane : choreography Music for lute [La sua sciolta] [La sua sciolta] Bassa Toscana, Balletto di M . Battistino; In L o d e dell'Illustre Signora la Sig. Panta Crescenza Patritii, Gentildonna Romana : choreography Music for lute Sciolta della Sonata Spagnoletta: choreography Music for lute Spagnoletta Nuova, da farsi in terzo; In L o d e della Molto Mag. c a Madonna Giulia Paulina de' Rossi: choreography but no music (at end: "Farassi la medesima Sonata della Spagnoletta") Bassa Pompilio, Balletto d'Incerto: choreography Music for lute L a sua Gagliarda Tordiglione, C o n la Mutanze nuove dell'Auttore : choreography Music for lute Vita, e quanto haggio, Cascarda ; In L o d e dell'Illustre Signora la Signora Virginia Bruna Donati, Gentildonna Romana : choreography Music for lute Barriera, Balletto D a farsi in sesto; In L o d e dell'Illustre Signora la Sig. Francesca Giunta Mannucci : choreography but no music Contrapasso, Balletto d'Incerto, da farsi in due; In L o d e della Molto Mag. c a Madonna Felicita Ziletti : choreography but no music (at end: "Farassi la medesima Sonata del Contrapasso")

3°7

77

174

78

175

79

80

176 176 176 i76 v i78 v I78 v 179

81

i8o v 181

I83V

82 83

I83 v 184

Dolce Amoroso Foco, Balletto da farsi in sesto; In Lode della Molto Mag. c a Madonna Marta Rampazetti : choreography but no music (at end: "Farassi la medesima Sonata del Passo e mezo") Alta Ruissa, Balletto; In L o d e dell'Illustre Signora la Signora Virginia Crivella Ruissa, Gentildonna Romana Music for lute L a sua Sciolta Canario = nos. 8o, 81 Chiaranzana: choreography Music for lute 9 = no. 28a L a sua Sciolta 9 = no. 28b Il Canario; In Lode dell'Illustre Sig. r a la Sig. Vittoria Santacroce Borghese, Gentildonna Romana : choreography Music for lute = nos. 78, 81 Ballo del Piantone; In L o d e della Molto M a g . " Madonna Gratiosa Bembo, Gentildonna Venetiana: dedicatory poem and choreography Music for lute = nos. 78, 80 La Gagliarda detta Cesarina La Gagliarda detta Meza notte

Facs. of title page in M a g B , p. 42. S o m e of these cuts are repr. in H e y e r V I I , no. 1 1 ; K i n s P , p. 1 1 6 ; R o s s i M , pp. 27, 43, and 51 ; and Z o n t a S , vol. I I , pt. 2, p. 319. 3 Copies were in the libraries of W . H . C u m m i n g s (see C u m m C , no. 409), Jules Ëcorcheville (see Ë c o r C , no. 367), Wilhelm Heyer (see H e y e r V I I , no. n ) , Horace Landau-Finaly (see R o e d i g C I, 122), and A . H . Littleton (see L i t t C , p. 22, and M L E , 1904, p. 17), and in P L : W R u . 4 Facs. in M a g n i S M I, 259. 5 O n this dance, sometimes called the Spanish Pavan, see P o u l N . Facs. of fols. 36* and 39 v in ZontaS, vol. I I , pt. 2, pp. 321—322. 6 M o d . ed. in B e h l , p. 5 ; C h i l L S , p. 82; and K l a e m M I I , no. 10. 7 M o d . ed. in StaakS, p. 4. 8 M o d . ed. in B e h l , p. 5 ; C h i l L S , p. 82; and K l a e m M I I , no. 1 1 . 9 M o d . ed. in C h i l L S , p. 83. 1

2

15821 BARBETTA, GIULIO

CESARE

NOVAE / TABULAE MU/SICAE T E S T U D INA/RIAE H E X A C H O R D A E / E T H E P T A C H O R D A E . / Julii Caesaris

3o8

1582!

Barbetti Paduani. / N e u / Lautenbuch auff sechs / und Siben Chorseyten gestellt / D u r c h / Julium Caesarem Barbettum / von Padua. / Getruckt z u Strassburg, durch Bern/hart Jobin, I m Jar. 1582. 1 42 fols. Italian lute tablature. T h e title is placed within an ornamental border (the same border as in iS77 6 )· O n fol. * i v : cut of a man holding a lute with the legend " H a u d Libenter Testudinem Ignaris A u t Invidie, Sed Flammis Satius Commisero. Id Q u o d N e c Invidia Ñeque Ignorantia Praestare Poterit." O n fol. *2 : coat of arms and dedication to "ILLUSTRISSIMO PRINCIPI A C DOMINO, DOMINO PHILIPPO MARCHIONI BADENSI, Corniti Spanheimensi, &c. D o m i n o suo Clementissimo," signed " Devotissimus, addictissimus & humilis Servitor. Julius Caesar Barbetta Patavinus." O n fol. *2 V : table of contents. Fol. *3 = fol. Α ι . M o e D M contains a thematic index of the dances (p. 454) and concordances for them (p. 278). A l l of the compositions are for solo lute. Copies in: D : D O , P L : W R u , U S : W c .

2

fol. Αι Αιν

3 4 5 6

Αιν A2v A3 A3V

7

A4

8

A4V

I

9 10

BI

12 13 H 15

BIV BIV B2 B2 v B2 v B3

16

B4

17

CIV

II

C3

Pavana Prima ditta la Molinara Pavana seconda detta la bella ragazzona Pavana tercia detta la Contarina Pavana quarta detta la reale Galgiarda prima detta il toscanelo Galgiarda seconda detto il mato Galgiarda terctia detto Aria de Comedia Galgiardo quarto ditto salta Marino Preambulo Primo Preambulo secondo Preambulo tertio Preambulo quarto Preambulo quinto Preambulo sesto Passo'e mezo Primo detto il bachffart Passo'e mezo secondo musicale detto il milanese 2 Passo'e mezo tertio detto il Comune in 4. modi3 = I592 1 2 , no. 20a Galgiarda del Passo e mezo ut supra3 = 159212, no. 20c

18

C4 V Div

19 20 21

D2 V D3v D4

22

D4v

23

Eiv

24

E2 v

25

E3

26

E3 v

27

E4 v

28

Fi Fi Fiv F2

29

F3

30 31 32 33 34 35 36 37 38

F3v F4 v Giv G2 G3 G3v G4v Hiv H2 v

39

H3 V

40

H4

41 42

H4 v 11

43

I2

44

I2V

Passo'e mezo detto la paganina Galgiarda del Passo'e mexo ut supra Passo e mezo detto il .N. Passo e mezo deto il ponderoso Gioveneta real Archadelt a 4 ( R I S M I S 4 I 9 , p . 19)

Non mi duol il morir 4 Barbetta padoan a 4 Amar un solo amante Jachet Berchen a 4 (RI S M i546 1 5 , no. 29) In dubio de mio stato Orland de laso 04 (LassoW V i l i , 35) Liquide perle L u c a merentio a 5 (MarenW I, 1) Piangi Cor mio Sabino a5 (Vogel: Hippolito Sabino 3 [1570], no. 24) Che giova posseder Giacohes W e r t a 4 (Vogel: W e r t 31 [1564], no. 1-4) 2a pars Mache non giov'haver 3a pars Quant esser Vid'car 4a pars Pero che voi vose te Bastami vita mia Bfaldesar] donato (Vogel: Donato 6 [n.d.], p. 24) Dolce Fiai mortir P. A . penesstrina a 5 Fantasia 1 Fantasia 2 Fantasia 3 04 Fantasia 4 04 Fantasia 5 a 4 Fantasia 65 04 Fantasia 7 Fantasia lesti 86 04 Un gay Bergier C . Janequin a 4 (RieH II, 462: Crecquillon) Martin menait C . Janequin a4 ( C M II, 79) II nest plaisir C . Janequin a 4 ( C M II, s i ) II me conviet paserau a 4 Je cherche autant Amour Boyvin a 4 (RI S M 154512, no. 2) Du may de may Rogier a 4 ( P u b A P T M , no. 25 : " C e mois de m a y , " Godard) Petit giachet Crequillon a 4 (compare I : B e , M S Q 26, no. 27: Courtois)

1 5 8 2 3

45

l3 v

46

l4 v

47

Kiv

48

K2 V

49

K3 V

Susanne ung jour Orlando [Lasso] a 5 (LassoW X I V , 29) Domine Jesu Christe P. demonte a 4 Quasi Cedrus Exaltata Sum Orlando [Lasso] a 4 (LassoW I, 93) Bewar mich Herr C . non Papa a 4 ( D : R p , M S A R 855, no. 19: Zirler) Tua est Potentia Joh. mouton a 5 ( R I S M 15213, no. 14)

Facs. of title page in M G G I, col. 1239. Heading on fol. B4: "Nobilissimo ac Praeclarissimo Domino Nicasio Magensreuter a Tensing, &c. Illustrissimi Principis Philippi Marchionis Badensis ac Comitis Spanheimensis aulae praefecto, &c. Domino meo colendissimo." 3 Mod. ed. in M o e D M , p. 315. 4 Heading on fol. D4V: " A d m o d u m Reverendo ac Excellentissimo Domino Francisco Bornio a Madrigal Hispano S. S. Theologiae Licentiato Illustrissimi Principis Philippi Marchionis Badensis ac Comitis Spanhaimensis &c. Concionatori aulico ac in Spiritualibus à consiliis fautori meo amantissimo." 5 Heading on fol. G3 V : "Magnifico ac Excelentissimo Domino Wolfgango Hungeroi. V . D . Peritissimo, Illustrissimi Principis Philippi Marchionis Badensis ac Comitis Spanheimensis consiliario intimo & Domino meo summo amoris studio prosequendo." 6 Heading on fol. H i : " A l a Molto Magnifica et Virtuosissima Amatrice de Vertuosi La Magnifica Signora Chiara Pisani Gientildona padona." 1

2

[

1

5 8 2 ]2

BRAMBILLA, AMBROSIUS Anleitung die Zither zu spielen, nebst Noten eines Psalmes. Ambrosius Brambilla fecit 1582, gr. qu. fol. This work, now lost, is listed in N a g M I, no. 946. It was probably a set of instructions for playing the cittern similar in scope and format to 15855 (instructions for playing the lute).

15823 BEAUJOYEULX, BALTHASAR

DE

BALET COMIQUE / DE LA ROYNE, F A I C T / A U X N O P C E S D E MON/sieur le Duc de Joyeuse & / madamoyselle de Vau/ demont sa soeur. / P A R / B A L T A S A R D E 11 +B.P.I.M.

309

BEAUJOYEULX, / V A L E T DE CHAMB R E D U / Roy, & de la Royne sa mere. / [Printer's mark] / A P A R I S , / Par Adrian le Roy, Robert Ballard, & Mamert / Pâtisson, Imprimeurs du Roy. / M . D. L X X X I I . / AVEC PRIVILEGE. 84 fols. Mensural notation. Dedication on fol. *2 headed " A U R O Y D E F R A N C E E T D E P O L O N G N E . " On fol. * 4 V : a poem in Latin headed "Henrico III. Regi Francorum et Polonorum Christianissimo," and signed " A . Pogoesaeus." On fol. *5: a poem in French headed " A u Sieur de Beaujoyeux, sur le Balet Comique de la Royne," and signed "Billard." On fol. *5 V : a poem in French signed "August. Costé, Dunoisien." Beginning on fol. *5 V : a poem in French signed (on fol. *η)\ "Volusian." Beginning on fol. *7 V : preface. On fol. *8 V : the coat of arms of the king. T h e libretto begins on fol. *9 ( = fol. 1). On fol. 76: printer's privilege. T h e volume contains a description of, and excerpts from, the theatrical entertainments for the wedding of the Duke de Joyeuse. Illustrations of scenes from the first performance are included, as well as some but not all of the music. 1 Instruments are specified for some of the pieces printed with text (and consequently omitted from the following list). T h e music from the volume is reprinted in a modern edition with piano accompaniments in WeckB. BeauB is a facsimile of the entire volume. For further information see CellerO; PruB, pp. 82-94; and Y a F . All of the compositions listed below are for instrumental ensemble a 5 except no 3, which is ai2. Copies in: A : W n , CH:Lcortot, F : A m e yer, F : B , F : N d , F : P a , F : P c , F : P m , F : P n (seven copies), F : P o , F:Pthibault, F:RO, G B : Lbm, GB:Lbmh, I:Tn, NL:DHgm, US:CA, US:NYp,2 US:SM, US:U, US:Wc.3

ι 2

fol. 27v 3ov

3

42v

La premiere entrée4 Le son de la clochete, auquel Circé sortie de son Jardin5 Response [to the " C h a n t des quatre vertus" on fol. 4i v ] de la voûte dorée aux vertus: à chaque couplet c'estoit une Musique de douze instrumens sans voix6

15823 4

5&ν

5

5ÓV

La petite entrée du grand balet 15 La grand'entrée

1 Some of the cuts illustrating the performance are repr. in E F I, 3 6 2 ; HarmM, pi. 1 8 ; L i u M , p. 120 (including title page and fol. *5) and pis. 9 - 1 1 ; MagB, p. 138 (title page); Maggs28, p. 101 (title page) and pis. 14 and 1 5 ; M G G I, pi. 4 2 and col. 1 1 6 6 ; PinchlH, p. 4 2 ; PruB, pi. 3 ; SharpD, pi. 2 5 ; and S u b H M I, 533. 2 This copy once belonged to Ben Jonson. 8 Copies once belonged to J . E . Matthew (see M L E , 1904, p. 105), and Henry Prunières (see ThibaultC). * Mod. ed. of the beginning in A m b G IV, 173, and E C , pt. I, vol. I l l , p. 1208. 6 Mod. ed. in A m b G IV, 175. 6 Mod. ed. in A m b G IV, 180, and E C , pt. I, vol. I l l , p. 1209; facs. of a part of fol. 42* in P N , p. 76.

m u m in lucem elegan/tiore modo ac ordine edita. / Accessit praeterea brevis & dilucida in Citharam Introducilo, qua suo marte / quilibet artem pulsanda Citharae addiscere possit facillime. / A N T V E R P I A E / Excudebat Petrus Phalesius sibi & Joanni Bellero. / 1582. 4 + 100 fols. French cittern tablature. T h e title is placed within an ornamental border. On fol. A i v : a poem in Latin beginning " Forte parens Citharae, Citharam pulsabat Apollo," and signed " L U C A E B E L L E R I I. F . " Beginning on fol. A2: the same instructions for playing the cittern as in I568 e , headed " I n usum citharae brevis introducilo." Fol. Βι = fol. ι . On fols. 9 9 v - i o o : table of contents. All of the compositions are for solo cittern. Copy in: P L : W R u .

[ ι 582]4 MASCHERA, FIORENZO LIBRO P R I M O DE CANZONI DA SONARE, A Q U A T T R O VOCI, D I F L O R E N T IO M A S C H E R A O R G A N I S T A N E L D U O M O D I BRESCIA. T h e 1584 edition of this volume " c o n diligenza ristampate" has a dedication dated March 2, 1582. It therefore seems likely that the first edition was printed in that year. T h e entire collection is transcribed into keyboard partitura in B:Bc, M S 26660 (dated 1582); for a discussion of the manuscript see LowE, p. 135. 1 Contents = 1584m. 1 Facs. of one page of the manuscript in L o w E . pi. 7.

I 2 3 4 5 6 7 8 9 10 II

12 IS825

13

PHALÈSE, PIERRE, AND JEAN

14

B E L L È R E , PUBLISHERS

15 HORTULUS CITHARAE / VULGARIS CONTINENS OPTIMAS / FANTASIAS, CANTIONES QUE MUS I C A S P U L C H E R / R I M A S , E T PASSOMEZOS IN VARIOS T O N O S CON/ cinné variatos atque deducios: Paduanas, Gailliardas, Almandes, Branles: / aliaque nonnulla jucundissima in Tabulaturam Citharae conve/nienter redacta, nunc pri-

16 17 18 19

fol. I Fantasia Prima I v Fantasia 2 2V Fantasia 3 = i568 e , no. 2 3 Fantasia 4 = 15685, no. 1 3V Allegez moy = 1568«, no. 57 4V Susanne un jour 04 = 15703, no. 5 : Didier Lupi Second 5V D'où vient cela = 15684, no. 34: Sermisy 6V Languir me faut = 157O3, no. 7: Sermisy 7V Tant que vivray = is68 6 , no. 32 Sermisy 8 Un Advocat diet à sa femme = 1568e, no. 25: Delafont 8V Ce mois de may = 1568e, no. 76 Godard 9V Douce memoire = 1568e, no. 64: Sandrin IO v Damour me plains (PubAPTM X X I I I , no. 49: Pathie) IIV Si pur ti guardo = 15703, no. 31 : Pathie (ClemensO X, I 2 V Je prens en gré 14: Clemens non Papa) I3V Si mon traveil = 1568e, no. 70: Sandrin X V 4 Le dueil yssu ("Response") = 1568e, no. 71 : Villiers 15 C'est à grand tort — 15784, no. 26 i6 v En esperance j'endure = 15784, no. 4

3 "

Mí ZO i 7 21 22 23 24 25 26 27 28 29 3° 3i

32 33 34 35 36 37 38 39 4o 4i 42 43 44

45

J'ay trop aymer = 1568e, no. 36 i7 v Si me tenez ( R I S M 15451.3, fol. 14: Crecquillon) 19 Plus que jamais = 15784, no. 1 I9V L'ennuy qui me tourmente = 15784, no. 7 20 Godt es mijn licht1 21 Pis ne me peult venir = 1568 e, no. 33: Crecquillon 2I V Dames qui au plaisant = 15703, no. 22: Didier Lupi Second 22 Je ne veux plus = 157O3, no. 23 22 v Bonjour mon coeur = 15703, no. 26: Lasso 23 J'ay bien mal choisi = 15703, no. 25: Nicolas 23 v Quand mon mary = 157O3, no. 27: Lasso 24 Amour est un grand maistre = 15703, no. 28: Arcadelt (compare no. 40 below) 24V Susanne un jour Orlando [Lasso] (LassoW XIV, 29) 26 Le coeur l'esprit = 15784, no. 25 26 v Donna crudel = 15784, no. 38 Sia sia maladetta = 157O3, no. 27 155 27 v La cortesia = 15703, no. 152: Lasso Sto core mio = 15703, no. 153: 28 Lasso 28" Madonna mia pietà = 15703, no. 149: Lasso 29 Le vecchie per invidia = 15784, no. 36 2 9 v Die lieb ist ein maister = 15703, no. 164 (compare no. 31 above) So wünsch ich dir gute nacht = 30 15784, no. 43 3° v Nun fahr hin alle mein trauren = 15703, no. 166 3i v Gros lieb hat mich ombfanghen = 15703, no. 163 32 Passomezo Milanese = 15703, no. 169a: "Passomezo dytalye Superius" 32 v Padoana Milanese = 157O3, no. 169b 32 v Saltarello Milanese = 157O3, no. 169c: "Gaillarde dytalye" 33 v Passomezo Commune = 15647, no. 2a 34v Gailliarde Commune = 15647, no. 2c: "Saltarello C o m m u n e "

46

47

48

49

50 Si

52 53

54

55 56 57 58 59 60 61 62 63 64 65 66

Passomezo de Zorsi = 15784, no. 50a 35 v Gailliarde de Zorsi = 15784, no. 50b 36 v Passomezo d'Angleterre — 1569g, no. 59a 36 v Reprinse = 1569e, no. 59b 37 Passomezo la douce = 1569 e, no. 65a 37 v Reprinse = 1569,, no. 65b 37 v Passomezo de la Bataille = 1564,, no. 10 3»v La precedente diminuée = 15703, no. 165 39 v Gailliarde de la Battaille = 1569 e, no. 83 40 Padoana Espanolle = 15653, no. 6 4° v Passomezo de Haubois — 15784, no. 47a: "Passomezo c o m m u n e " Gailliarde de Haubois = 15784, 41 no. 47b 4 i v Passomezo de Haubois, diminuée = 15703, no. 167a: "Passemezo Commune" 42 v Saltarello de Haubois diminuée = 15703, no. 167b: "Saltarello Commune " 43 v Gailliarde Romanesque = 15645, no. 17 44 Bassus de Passomezo d'Italye 44 v Gailliarde d'Italye. Bassus 44 v Autre {gailliarde d'Italye] Passomezo d'Italye. Tenor = 45 15703, no. 168a 45 v Plus diminuée 46 v Gailliarde de Passomezo. Tenor — 15703, no. 168b 47 v Passomezo d'Italye. Contratenor 47 v La Gailliarde 48 Prima Passomezo d'Italie. Superius 48" Secunda Passomezo = 15703, no. 35 Tertia Passomezo 49 49 v Quarta Passomezo Quinta Passomezo 50 5° v Sexta Passomezo 5i v Séptima Passomezo Octava Passomezo 52 52v Nona Passomezo 53 Reprinse de la Passomeze 53v La Premiere Gailliarde de Passomezo Gailliarde 2 54 35

15825

312 67

54 v

68 69 7° 7i

55 55v 56 56v 57 57 v 58v 59 59 v 60

72

6o v 61 6iv 73

6iv

74 75 76 77

62 62 v 63 63v

7»

64

79

64 v

8o 81

65 65 v

83

65v

83

66

84

66 v

85 86 87

66 v 67 67 v

88

68

89 90 9i 92

68 v 69 69v 70

Gailliarda Tertia = 1569,, no. 70b Gaittiarde Quarta Quinta Gailliarda Sexta Gailliarda Chy Passa Superius Autre Gailliarde Chy Passa autrement Plus diminuée Tenor eiusdem Bassus eiusdem Caracossa Superius = 15703, no. 46a Caracossa Gailliarde diminuée = 15703, no. 46b Caracossa Bassus = 15653, no. 5: "Gaillarde J'aymeroys mieux dormir seulette" Caracossa Contratenor = 15703, no. 46d Gailliarde = 15784, no. 69: "Gaillarde M . Sixto" Si pour t'aymer Gailliarde Gailliarde La Gailliarde roche el fuso Gailliarde de la Royne d'Ecosse = 1564,, no. 42 Gailliarde la Lionnoyse = 15645, no. i l Gailliarde Baisons nous = 15703, no. 59 Gailliarde — 1564,, no. 23 La Morette gailliarde = 15645, no. 10 Gailliarde = 15784, no. 64: " Gaillarde Ich kan und mag nicht frölich sein" Gailliarde la Gaye — 15645, no. 15 Era di maio Gailliarde = 15784, no. 62 Gailliarde = 15784, no. 63 Volte Gailliarde Brunette (compare 15693, no. 79: "Gaillarde O ma gente brunette ") = 157O3, no. 64 Gailliarde Puisque nouvelle affection = 15645, no. 14 Gailliarde = 1564,, no. 21 Bouffons Bassus = 15653, no. 2 Si vous estes belle Almande Almande Loreyne — 1569e, no. 24

93

94 95 96 97 98 99 100 101 102 103

104 105 106 107 108 109 no

III

112 US II4 US lió II7 I18 II9 120 121 122 123 124

Almande de la Nonette = 15784, no. 78: "Almande Ich ging ainmal spaciren" Reprinse 71 71 Almande Philippine 7 i v Almande Fleur 72 Almande d'Amour Almande guerre guerre 72 72 v Almande Bruynswyck 72 v Reprinse Almande = 15784, no. 70 73 73 v Almande en truert nyet meer 73 v Almande d'Anvers 74 Almande Poussinghe = 1569,, no. 14 74 v Almande de lignes = 15784, no. 74 74 v Reprinse Almande Guillemette 75 75 v Almande d'Egmont 75 v Almande de don Frederico Almande France 76 76 v Almande Bisarde = 15693, no. 15 76 v Almande = 15784, no. 73: "Almande n o v a " 77 Almande Prince = 15784, no. 79 77 Reprinse 77 v Branle de Lovain = 15703, no. 175a: "Branle del d u c " 77 v Autrement 78" Le Saltarelle = 15703, no. 175b: " L a Courante" 78" LaCouraante = 157O3, no. 175c: " L e saltarelle" Hoboken 79 79 v Den boerendans 80 Branle Bombirole 8ov Branle de Champagne 81 Branle de Malta 8 i v Branle de Berghes 82 Branle de Battaille 82 Branle d'Angleterre 82v L'Homme armé 82v Autrement 83 Branle duecht en iuecht 83v Branle d'amour = 15693, no. 32 84 v Branle le beau Robert = 15653, no. 18 85 Branle de Rebecca = 15693, no. 53a 85 Autre = 1569,, no. 53b 7° v

3T3

1 5 83a 135

8sv

126 127 128

86 86 86v

129 130

87 87 87*

131 132 133 134

87v 88 88v 88v

135 136 137 138 139

89 89v 8gv 90 9ov

140 141

9ov 91

142

9i v

143

92

144

92

145 146

92v 96*

147

93

148 149 150

93v 93 v 94

151

94v

152

94v 95 95 95v 97v 97v

Branle de Bourgoigne — 1569e, no. 43 2. Branle = 1569 g, no. 44 3. Branle = 1569e, no. 45 Quatriesme branle = 1569e, no. 46 Branle le Gay = 15645, no. 24 Autre Premier Branle de Bourgoigne = 15653, no. 9 2. Branle = 15653, no. 10 Troisiesme branle = 15653, no. 1 1 Quatrième branle = 15653, no. 12 Cinquiesme branle = 15653, no. 13 6. Branle = 15653, no. 14 Setiesme branle = 15653.no. 15 Huitiesme branle = 15653, no. 16 Neufiesme branle = 1565 3, no. 17 Branle de Poictou = 1564 5, no. 30 Les Matachins = 15645, no. 20 Calleken van nieu poorte = 1569e, no. 57 Den lustelycken mey = 1564,, no. 27 lek had een ghestadich minneken = 1564,, no. 36: Clemens non Papa Slouf slouf [waer hebdi gheweest] = 1568«, no. 56 Een venus dierken = 1568e, no. 5 Een amoureux fiereghelaete = 1568e, no. 6 Het wasser te nacht = 1568,, no. 7 Linkens hoven = 15703, no. 142 Verjubileert = 15703, no. 144 Int soetste vanden mey (compare D u y L I, 149 [different melody]) Era di maggio. Superius = 15647, no. 25 Tenor eiusdem Bas sus eiusdem Contratenor eiusdem Battaille Victoire La Gailliarde de la bataille

1 Fol. 20 is missing from the unique copy of the volume. The title is taken from the table of contents. T h e piece may have been identical with

1568,, no. 74.

IS831 AGOSTINI, LODOVICO I L N U O V O E C H O / A ' cinque voci / D E L R . ° ° MONS. O R D O N / L O D O V I C O A G O S T I N I / F E R R A R E S E , / Protonotario Apostolico, Capellano, & Musico / Del Sereniss. & Invittissimo Signor / D U C A D I F E R R A R A . / Libro Terzo. Opera Decima. / A C I N Q U E [Cut of the coat of arms of Ferrara] VOCI. / I N F E R R A R A , / Nella Stamperia di Vittorio Baldini, / Con Licentia de' Superiori. / M D L X X X I I I . Five part books in mensural notation, each of 14 fols. The title is placed within an ornamental border. Dedication on fol. i v ( = p. 2) of each part book headed " A L SERENISS.M0 E T INVITTISS.MO PRENCIPE SIGNOR, I L SIGNOR DONNO ALFONSO DA E S T E DUCA DI F E R R A R A M I O SOMMO, E T S O L O S I G N O R E C O L E N D I S S I M O . " On p. 28 of each part book: two anonymous sonnets to Agostini, the table of contents, and the colophon: " I n Ferrara, Nella Stamperia di Vittorio Baldini, Con licentia de' Superiori, M D L X X X I I [iî'c]." The dedication and the sonnets are reprinted in SartMS, pp. 38-39. All of the contents are listed in SartMS, p. 39, and Vogel: Agostini 5 (1583), which includes a part of the dedication. Contains 25 compositions with Italian text, and two pieces for instrumental ensemble a 5. Copies in: I : M O e , I : T n .

ι

P· il

2

13

FANTASIA da Sonar con gli Istromenti. Ad imitatione del Sig. Alessandro Striggio (compare Vogel : Striggio 3 [1566], no. 20 : " S'ogni mio ben havete ") INTRAMEZZO

15832 AMMERBACH, ELIAS NICOLAUS Orgel oder In/strument Tabulaturbuch, in sich / begreiffende eine notwendige unnd kurtze anlai/tung, die Tabulatur unnd application zuverstehen, / auch dieselbige auss

15832 gutem gründe recht zu lernen. / Darnach folgen auffs allerleichtest gute Deutsche La/teinische, Welsche und Frantzösische stücklein, neben etlichen Pas/somezen, Galliarden, Repressen, unnd deutschen Dentzen, dessglei/chen zuvor in offnem druck nie aussgangen. / Jetzund aber, der Jugend und anfallenden diser kunst zu gutem, / mit fleiss zusammen gebracht, und in druck verfertigt, / Durch / Eliam Nicolaum Ammerbach, Burgern und Orga/ nisten inn Leipzig, zu S. Thomas. / Mit Rom: K e i : Maiestat Freiheit, nit nachzudrucken. / Nürmberg. 116 fols. German keyboard tablature. Dedication and preface ( " V o r r e d e " ) on fol. A2 headed " D e m Durchleuchtigen, Hochgebornen Fürsten und Herrn, Herrn Joachim Ernst, Fürsten zu Anhalt, Grafen zu Ascanien, Herrn zu Zerbst und Bernburgk &c. Meinem genedigen Fürsten und Herrn," and signed on fol. A4 T " D a t u m Leipzig den 21. Martii, nach Christi unsers Erlösers und Seligmachers geburt, im 1583 Jar. E. F. G . Untertheniger gehorsamer Elias Nicolaus Ammerbach inn Leipzig, Burger und Organist zu S. Thomas." On fol. B i : instructions for playing the organ headed " K u r t z e anleitung oder Instruction für die anfallenden Discipel der Orgelkunst." On fol. B i : poem in Latin headed " E p i gramma," and signed " M . Michael Schumlerus, Misnens." Fol. B4V = p. 1. On p. 214: table of contents. Colophon on p. 216: " T y p i s Gerlachianis." This is a second revised and expanded edition of 15711Pieces followed by an asterisk are identical with those in 15711. See there for concordances. All of the compositions are for solo keyboard. Copies in: D : M b s , S:Sk. ι

P· ι

2 3

ι ι

4

3

5

3

D:W,

PL:WRu,

Allmechtiger gütiger Gott (AmeH, vol. I, pt. 2, p. 235 : L e Maistre) Dancket dem Herren denn er ist* Herr Gott nu sey gepreyset (compare 15711, no. 2, and nos. 4-6 below) [Herr Gott] Aliud Idem in Altu (compare no. 3 above) [Herr Gott] Aliud idem, in Tenore (compare no. 3 above)

6

7

8 9 10

τ r

13 H IS

13 15 15

16 17 18 19

18 17 19 21

20

23 24

22 23 24

25 25 25

25 26 27 28 29 30 31

27 28 29 31 33 33 35

32 33 34 35

37 39 41 43

36

46

37

48

[Herr Gott] Aliud idem & ultimum in Bassu (compare no. 3 above) Danck sagen noir alle (compare B ä u m K I, no. 31, and Z a h n M V , no. 86i9b-d) 2a pars Den sollen wir alle Lobet den Herren (ScanN, no. 5: Scandello) Ehr lob und danck* Gelobet seistu Jesu Christ (compare B ä u m K I, no. 30, and Z a h n M I, no. 1947) Puer natus in Bethlehem (compare B ä u m K I, no. 52, and ZahnM I, no. 192b) Joseph lieber Joseph mein (compare B ä u m K I, 303, and Z a h n M I, no. 8573a) Moisi Ex legis observantia Surrexit Christus hodie Spiritus sancti gratia (compare BäumK, 657, and Z a h n M I, no. 370) Ich bin zu lang gewesen Zart freundlichs M.* Schönes lieb was hab ich dir Schein uns du liebe sonne (ScanL: Scandello) Scheiden von der lieb das thut wehe Wie schön bliit uns der Meye ( R I S M 15977, no. 50: Meiland) Mir liebet im grünen Meyen Gros lieb hat mich* Venus du unnd dein Kindt (compare P u b A P T M X I X , no. 8: Regnart) Viel strick und Seil Paule lieber Stalbruder* Elend ich rieff* Stannote, oder Cantate Sio Canto Die schöne Sommerzeit Mit lust thet ich ausreifen* [Senfl] Gehabt euch wol zu diesen* Die mich erfrewet Ecce Maria genuit Gott ist mein liecht ( V N M X X V I , 51 : " G o d t is mijn licht," Clemens non Papa) Tröstlicher liebe* [Hofhaimer] Petercken [sprack tho Petercken]

•2 38

50

39

52

4° 41

52 52 53

42

53

43

55

44 45 46

57 59 61

47 48

63 63

49

65

5° 5i 52 53

67 69 71 73

54 55 56

75 76 77

57

77

5« 59

79 81

6o

83

6ι

84

62

85

63 64

88 89

65

92

66

93

67 68

93 96

Mein fleis und müh (SenflW IV, no. 19: Senfl) Ein Megdlein sprach mir* [Malchinger or Senfl] Dantz Megdelein dantz Proportio tripla Mit lieb bin ich umbfangen1 (SenflW VI, no. 25: Senfl) Isspruck ich mus dich lassen* [Isaac] Ich rezve und klage* ["Tröstlicher lieb," Hofhaimer] Fuchs wild bin ich* Ach unfals neid* [Wolff] Vergangen ist mir glück und heil* [Forster] Ach du edler Rebensafft* Sophia spanne das füllein* [Buchner] Ich bitte dich Megdlein hab mich holdt* Ich armes Megdlein* [Senfl] Ich sag ade* Ein Henlein weis* Allein nach dir Herr* ["Si pur ti guardo," Pathie] Ich habs gewagt* Ich setz dahin hertz* Mein gemüht unnd blüt* [Wenck] Ich schwing mein hertz2 (SenflW V, no. 44: " I c h schwing mein H o r n , " Senfl) Frisch auff gut Gesel* So wündsche ich ir eine gute nacht* [Stoltzer] Gar hoch auff jenem berge ( P u b A P T M X I X , no. 21 : Heintz) Was wird es doch 3 (SenflW IV, no. 26: Senfl) Von Edeler art (MosPH, p. 180: Schönfelder or Hofhaimer) Vor Zeiten war ich lieb* Wenn ich des Morgens frü auff steh 4 (SenflW IV, no. 47 : Senfl) Wolauff gut Gesell ( R I S M 1597,, no. 52: Meiland) Das nessel kraut (compare SenflW V, no. 28b) Contingat Ulis Bewar mich Herr (D : Rp, M S AR 855, no. 19: Zirler)

SIS

69

97

70

ΙΟΙ

71

103

72

105

73

107

74 75

109 III

76 77

114 116

78

117

119

79

122

80 81 82

124 125 I29 132

83

I34

84

I35

85 86 87 88

138 ISS I42 I44

89 90

I45 HS

91 92 93

147 149 151

94

ISS

Frais & galiart (ClemensO X, 17: Clemens non Papa) Cum sancto spiritu (JosqMS, no. 16: Missa de Beata Virgine, Josquin) Dulce Memoriae (PubAPTM X X I I I , no. 50: " D o u l c e memoire," Sandrin) Ade mi mort (ClemensO X, 32: " A demy mort," Clemens non Papa) Anchor che col partier (SCMA VI, 45: Rore) Dame par ta Rudesse Alix Avvos ( R I S M 15451e, fol. i2 v : "Alix avoit aux dens," Crecquillon) Paneine languir damour Ces faux (AttainCK II, no. 25: " C e s fascheux sotz") Ge prens (ClemensO X, 14: " J e prens en gre," Clemens non Papa) 2a pars More me fuit (RISM i 57°8> P- i i : " M o u r i r me fault," response to " J e prens en gre") Damour me plain (PubAPTM X X I I I , no. 49: Pathie) 2a pars De vous me plain Ung jour advint Blanque clairet Gemois de mai ( P u b A P T M X X I I I , no. 25: " C e mois de may," Godard) jfo Mison jovenette (EinlM I I I , no. 30: " I o mi son giovenetta," D . Ferabosco) Ossia potessi dona ( R I S M 15419, p. 19: Berchem) Quiso gramin questo Lecetur Amour & moti Orsus a cop ( R I S M i57o 8 , P· 39) Ochi lucent Le deportier (ClemensO X, 3 : Clemens non Papa) Ung hug de ugs Vivous Io jeu Quantiopens ( R I S M 15419. p. 54: " Q u a n d o io penso al martire," Arcadelt) Passamezo antico primo* (= 157Ii> no· 62)

IS832 155 156 157 159 ι6ι ι6ι i6I 164 164 165 167 168 169 169 170 171 173 176

176 177 177

178

180

179

181 181 183 185 186

Passamezo antico Secundo* ( = 15711, no. 63) Passamezo antico Tertio* ( = 15711. no. 64) Saltarella cum Reprisa Passamezo nova* ( = 15711, no. 70) Alia passamezo*5(= 15711, no. 61a) La Reprisa* ( = 157I1, no. 61b) Saltarella vel tripla proportio* ( = 15711, no. 61c: "Gaillarde") Der Englische Passamezo*6 ( = 157 i i , no. 69a) Saltarella* ( = 15711, no. 69c: "Proportio Oder Gaillard") Alia Passamezo Saltarella ut proportio Alia Passamezo italica Aliud Passamezo Alia & ultima Passamezo La Reprisa prima Secunda & ultima Reprisa Chi passa per quaesta strada [Galliarde]' (compare AzzaiV, no. 2: Azzaiolo) Ein ander Galliart (compare 15645, no. 18: "Gaillarde J'aymeroys myeulx dormir seulette") Ein ander Galliarth* (= 15711, no. 67) Eben derselbige Galliart auff ein ander art Ein ander Galliarth (compare 15687, no. 132: "Gaillarda la Royne d'escosse") Ein ander Galliart (compare i55°6, no. 28: "Gaillarde L'ennuy qui me tourmente") Ein ander Galliarth (compare 15715, no. 39: "Puisque vivre en servitude Gaillarde") Ein ander Galliart* ( = 15711, no. 68: compare is68 e , no. 82: "Gaillfarde] S i pour t'aymer") Ein ander Galliarth* ( = 15711, no. 66) Der Wittembergische Galliart mit folgendem nachtantz Proportio oder nachtantz Studenden Dantz Proportio tripla

114

185

115

185 187

116

188 187

117

187 189

118

189 189

119

189 191

120

192 191

121

193

122

194 193

123

193 194

124

196 196

191

125 126 127

128 129 130 131 132

195 197 197 197 199 200 200 20I 202 202 202 203 203 206 205 207 208

Sind denn die Bürgers Söhne so leiden wol gehört* (— 15711, no. 59) Proportio tripla* Salve puella, Gott griis ( = 157 ii» no. 57) Proportio Ein kurtz Schlesisch Dentzlein* ( = 15711. no. 53) Proportio* Hertzog Moritz Dantz* = 157li, no. 48 Proportio tripla* Ein ander kurtzer Dantz* ( = 157I1, no. 50) Proportio* Ein ander lustiges Dentzlein* ( = 15711. no. 56) Proportio* Aber ein ander Dentzlein* ( = 15711. n o · 52: " D i e Megdlein sind von Flandern") Proportio* Ein ander kurtz Dentzlein* ( = 15711, no. 45: "[Bruder Cunrads Tanzmaass] " ) Proportio* Heckerling unnd Haberstro* ( = 15711, no. 46: " W e r das Töchterlein haben w i l " ) Proportio tripla* Sol ich denn nu sterben* ( = 15711. no. 51) Proportio tripla* Ein ander kurtz Dentzlein (compare 157I1, no. 54) Proportio tripla Ein Schlesier Dantz Proportio Margrefische Dantz Proportio tripla Ein ander Dantz* (= 15711, no. 49: "Pastorum D a n t z " ) Proportio tripla* Ein österreichischer Dantz Der nachtantz Ein Pollnischer Dantz, pator Der nachtantz Gut gsell du muss wandern Proportio tripla Des Käysers Dantz Proportio tripla Der Magister Dantz Proportio tripla

15834 133 134 135 1

208 210 209 210 209 212

Mod. Mod. 3 Mod. 4 Mod. 5 Mod. " Mod. ' Mod. 2

ed. ed. ed. ed. ed. ed. ed.

Augustus Dantz Proportio tripla Ennelein von Torgau Proportio tripla Proficiat Ir lieben Herren Proportio tripla in in in in in in in

SenflW V I I , no. 25a. SenflW V I I , no. 23. SenflW V I I , no. 19. SenflW V I I , no. 20. ApelM I, 12. ApelM I, 1 1 , and SachsPM, p. 15. ChilJ, p. 91.

[ I 5 8 3 ]3 L E ROY, A D R I A N Instruction de partir toute musique des huits divers tons en tablature de luth. Paris, Adrian le Roy et Robert Ballard, 1583. This volume, now lost, is mentioned in FétB V, 280, as a later edition of [iS57]i-

15831 PAIX, J A K O B Ein Schön / Nutz unnd Ge/breiichlich Orgel Tablaturbuch. / Darinnen etlich der beriimbten Componi/sten, beste Moteten, mit 12. 8. 7. 6. 5. / und 4. Stimmen ausserlesen, dieselben auff / alle fürneme Festa des gantzen Jars·, und zü / dem Chormas gesetzt. Zü letzt auch aller/hand der schönsten Lieder, Pass'è mezzo / und Täntz, Alle mit grossem fleiss Coloriert. / Zü trewem dienst den liebhabern diser / Kunst, selb Corrigiert und in / Truck verwilligt. / Von / Jacobo Paix Augustano, diser zeit / Organist zu Laugingen. / In Verlegung Georgen Willers. / Getruckt bey Leonhart Reinmichel, / Fürst: Pfaltz: Büchtrucker zü Laugingen. / Cum gratia & Privilegio. / M . D. X X C I I I . 1 176 fols. German keyboard tablature. The title is placed within an ornamental border. Dedication on fol. 2 headed " CLARISSIMO DOCTISSIMOQUE VIRO, D. J O H A N N I L O B B E T I O I. V.

3J7

DOCTORI CELEBERRIMO, DOMINO E T P A T R O N O S U O , " and signed on fol. 3V "Lauingae secunda Dominica post Pascha, quae nomen habet ex Psalmo X X X I I I . Misericordia Domini plena est terra: Anno partae salutis M. D. X X C I I I . " On fol. 4 : preface headed " A n den Käuffer," signed (on fol. 4V) "Geben zü Laugingen den 22. Februarii Anno 1583. Auff welchen Tag vor 16. Jaren, mein lieber Vatter Peter Paix, Organist zü Augspurg bey S. Anna in Gott seligklich entschlaffen," followed by a poem in Latin headed " In Zoilum." On fol. s : Latin poem headed " In laudem Musicae Johan. Ortelius Cycnocomaeus." On fol. 5 V : Latin poem by the same man headed " In librum D. Jacobi Paixi," followed by another headed " I n eundem librum epigramma Michaëlis Fendii Monhem." On fol. 6: table of contents. On fol. 176: list of printing errors. Attributions to composers are taken from the table of contents. The prefatory material and thematic incipits for all of the pieces from no. 30 to the end are printed in MerT, pp. 1 1 4 129. The compositions identified by superior letters are reprinted as follows: ( a ) in EitT, nos. 48-52; (b) in KrausCO I, nos. 4, 10, 15, and 20, and II, no. 10; (c) in MerT, pp. 130-166. In the following inventory composers' initials or abbreviated names are resolved the first time they appear only. All of the compositions are for solo keyboard. 2 Copies in: A:Wgm, B : B c , CH:Lcortot, D:HEu, D:Mbs, D:ROu, D:W, F:Pn (imperfect), G B : L b m h . 3 ι

fol. 7

2

8V il

3

I3V

4

i6 v I9V

5

2iv

Certa fortiter, oraferventer Orlandus [Lasso] a 6 (LassoW X V , 82) Congratulamini mihi omnes Orlandus a 6 (LassoW X I I I , 10) 2a pars Tulerunt Dominum meum Angelus Domini Aloysius [Palestrina] 05 (PalO V I I I , no. s) 2a pars Et introeuntes Surgens Jesus Orlandus a 5 (LassoW V, 60) Viri Galilei Aloysius a6 (PalO V, no. 25)

I1

34

2a pars Ascendit Deus in Jubilatione 25V Jubilate Domino Gilis Paix «5 4 Josquin 27T Veni sánete Spiritus a 6 (JosqMT, no. 49) 30v 2a pars O Lux beatissima 33v Dum complerentur Aloysius α 6 (PalO, no. 26) 35v 2a pars Dum ergo essent 5 37v O beata et gloriosa Trinitas Aloysius a 5 (PalO V, no. 8) 40 2a pars O vera summa sempiterna Trinitas 42 v Jerusalem plantabis vinearrfi Orland. a 5 (LassoW III, 134) Gaude et Laetare 44 2a pars Jacobb Hodie Christus natus est" 46 Aloysius a8 (PalO V I I I , no. 3 2 ) 49 Laudate Dominum omnes gentes Orlandus a 12 (LassoW XXI, 152) 53 Haec dies quam fecit Dominus Aloysius a6 (PalO V I I I , no. 2 2 ) 54v Nuncium vobis Orlandus a 5 (LassoW V, 9) 55v 2a pars Thus Deo mirrham b 56" Lapidabant Stephanum Aloysius a 5 (PalO V, no. 19) 59v Valde honorandus est Aloysius a4 (PalO III, no. 3) 6 i v Senex puerutrü' Aloysius a 5 (PalO V, no. 4) 64 2a pars Hodie Beata virgo Mariai' 66 v Tribus miraculis Aloysius a 4 (PalO III, no. 5) Ave Maria Riccius a 6 69 7ov Vita in Ligno Senflius α 5 (RISM i559 1( no. 31) 72v 2a pars Qui Prophetice 74 3 a pars Qui expansis 75v Cantantibus Organis Aloysius a5 (PalO V i l i , no. 3) 77v 2a pars Biduanis ac triduanis 79v Beati omnes Orlandus a 5 (LassoW VII, 136) 2a pars Ecce sic benedicetur 82 83v Decantabat populus in Israel Clemens a S (RISM 15545, fol. 11)

24

86

25

87 t

26

88 v

27 29

91 93 95

30

97

31

99

32

101

33

103

34

io4 v

35

105

36

107

37

io8v

38

no

39

ι I2V 116

40

ii7v

41

ι i8 v

31 ö 23v

6 7 8

9

IO

II

12

13

H

IS l6 17

l8 19 20

21

22

23

28

120 42

i22 v

43

i23 v I24v

44

125 v

45

126

Da pacem Domineb Orlandus α6 (LassoW X I I I , 72) Domine quid multiplicati sunt Jac. Paix a 5 Pater noster Aloysius a 5 (PalO V i l i , no. 1) Phantasia primi toni6 \a4] Phantasia septimi toni [a 4] Benedictio, et Claritas, et Sapientia' Orland. a 6 (LassoW XI, 139) Alma de amor Phil, de monte α η (Vogel: Monte 14 [1580], no. 7) Nasce la pena mia Strigio a 6 (MonteO, XVI, app.) Le departir Orlandus α 5 (LassoW XIV, 116) Resonet in laudibus Waltherus a5 Erhalt uns Herr Jacobus Paix a 4 (compare BöhA, no. 632; BraunS, p. 64, nos. 314-315; and ZahnM, no. 350) Susanna frumm Orlandus a 5 (LassoW X V I I I , 109) Non elasso martire Cyprianus [de Rore] a 5 (CW V, no. 8) Onques amour Crequilon a 5 (RISM [15441H, fol- 16) La battaille. Escoutez Janequin 04 ( M M R F V I I , 31) 2a pars Fan Fan Feyne Ist keiner hie Orlandus as (LassoW X V I I I , 8) Im Mayen Orlandus α 5 (LassoW X V I I I , 24) Mein Man der ist in Krieg zogen. [Die alte Schwiger] Utentaler a 8 (UtenF, no. 13) 2a pars In welchs Hauss wölt ir dann ziehen Elle s'en va de moy Orlandus 05 (LassoW XIV, 105) Der Liendel alle tag, trat zii der Ivo [de Vento] a 5 (VentoN, no. 10) 2a pars Lauff mein lieber Liendel lauff (VentoN, no. 11) Es was ein mal eins Baurn Dö[chterlein] Uten [taler] a 4 (UtenF, no. 5) Der Liendel alle tag, der war Jac. Paix a 4 (PaixZ)

3X9

15834 46

127

47

128

48

i28 v

49

130

50

131

51

132

52

133

53

134

54 55

135 136

56

i37 v

57

139

58

140* i4iv

62 63 64 65 66 67

144* I4ÓT 147 148 149 I49T 151 152 153 i53 v 154 I54T 155

68

156

69

156* 157

70

i57 v 158

59 60 61

159

Auff gnad so wil ichs heben an Jac. Paix a 4 (compare BraunS, p. 50, no. 99) Recht so man acht unnd wol Jac. Paix a 4 (PaixZ) Je ne veulx rien Orlandus a 4 (LassoW X I I , 98) Monsieur Lobbe Orlandus a 4 (LassoW X I I , 16) Bon jour mon [coeur] Orlandus 04 (LassoW X I I , 100) Alix avoit Crequilon 04 ( R I S M i545ie, fol. 12) Ich armes Medlein klag mich* Senflius 04 (SenflW VI, no. 8) Da bei rami Clem, de Bourges a4 ( R I S M 1543 17) P· 5 · Arcadelt) Schöne zucht Jac. Paix a4 Bewar mich Herr, und sey Cirlerus 04 (D : Rp, M S A R 855, no. 19: Zirler) Zucht Ehr unnd Lob ir wohnef 9 Hofheimer a 4 (PubAPTM I X , 61 : Hofhaimer) Pass'è mezzo Antico in Cinque modic (1578g, no. 2a) Saltarelloc (15785, no. 2c) Der Pass'è mezzo Coloriert (compare no. 57) Saltarello Pass'è mezzo novo Saltarello Pass'è mezzo La parenzina Saltarello Un altro Pass'è mezzo novo Saltarelloa Padoana Venetiana?10 Galliarda nova Branle commune Branle Galliarda Branle gay11 (compare 15645, no. 24) Ein guter gar Newer T[eutscher] Tantif- Ifacobo] P[aix] 0[rganista] Nachtantz Ein guter newer Teu. Tantzc A[egidius] P[aix] Ofrganista] NachtantzfEin guter newer Teu. TantzQ E. M[ertel] Organista] Nachtantz

71 72

I59 v 160 i6o v

74

161 162 I62 v 163

75

163 I63 v

73

77

164 iÓ4v 165 I65 v

78

166 i66 v

76

82

167 168 i68 v 169 I69v 170 i7o T 171 i7iv

83

172 I72 v

84

173 i73 v

85

174

86

175

87

175

88

175V

79 80 81

Der Keyserin TantzK Nachtantz Ein guter newer Teu. Tantzc I. P. O. Nachtanta? Auss frischem f rey em müthc Nachtantz UngareschaK 1 2 (1578e, no. 14a) Saltarelloac (1578g, no. 14b) Du hast mich wollen nemmenc I. P. O. Nachtantzc Ein guter newer Teu. Tantzc Nachtantz Ein guter newer Teu. Tantzc A. P. O. Nachtantzc Ein gar güter newen T. Tantzc A. P. O. Nachtantzc Ein güter newer Teu. Tantzc Nachtantzc Ist mir ein fein braun Megc 13 Nachtantz Es wolt ein Med. ein Schr.c Nachtantsf Proportio invers.c Ballo Francese (1578 g, no. i8a: "Almande Loreyne") Saltarello (1578g, no. 18b) Ballo Anglesec (1578g, no. 19a) Saltarelloc (1578g, no. 19b) Aria di Canzon francese per sonar del' primo tono14 (15793, no. ι : Ingegnieri) Aria di Canzon francese per sonar del'ottavo tono (15793, no. 2: Ingegnieri) L'arboscello ballo Furianoc (1578g, no. 15) Ballo Millanesec (15789, no. 16) Schirazula Marazula3C 15 (1578g, no. 12)

1 Facs. of the title page in KinsP, p. 83, and Z u r M , p. 20. 2 DraudiusBC, p. 1 6 5 1 , lists "Jacobi Paix Tabulatura organi fistularum, Lauing. 87. fol." He probably refers either to this volume or to an otherwise unknown second edition of 1587. 3 Copies were in D : Bds and D : K Z g . 4 Quasi-facs. and mod. ed. in ForkA II, 7 3 1 . 5 Mod. ed. in SchlechtG, no. 63. * Mod. ed. in SchlechtG, no. 64.

320

15834

Facs. of fol. 95 in H i r K III, pi. 12. M o d . ed. in E h m L , no. 8, and SenflW V I I , no. 24. 9 M o d . ed. in D T O X X X V I 1 / 7 2 , p. 90. 1 0 Mod. ed. in H a l b K , p. 19. 1 1 M o d . ed. in H a l b K , p. 20. 1 2 Mod. ed. in L e i H , p. 102. 1 3 Mod. ed. in E h m L , no. 12. 1 4 Mod. ed. in AulerS I, 12. 1 5 Mod. ed. in B ö h T II, no. 153. 7

8

IS835 PEETRINO,

JACOBO

DI JACOBO PEETRINO / DE MALINES / IL PRIMO LIBRO DE MAD R I G A L I A Q U A T R O V O C I /Novamente composti, & dati in luce. / [Printer's mark] / In Venetia Appresso Angelo Gardano / M D LXXXIII. Four part books in mensural notation, each of 12 fols. Dedication on fol. i v ( = p. 2) of each part book headed " A L L ' I L L U S T R I S S I M O S I G N O R E I L SIG N O R C O N T E D E B O S S U ' E T C . Signor mio sempre osservandissimo," and signed " D i Milano l'ultimo d'Aprile 1583. D i V . S . Illustrissima Devotissimo Servitore Jacobo Peetrino de Malines," reprinted in S a r t M S , p. 38. A l l of the contents are listed in S a r t M S , p. 38, and V o g e l : Peetrino 1 (1583). Contains 20 compositions with Italian text, and one piece for instrumental ensemble 04. C o p y in: I : V n m ( S T B ) . ι

P· 21

Aria Francese per sonare

1 583e RÜHLING,

JOHANNES

Tabulaturbuch, / A u f f / Orgeln und Instrument / Darinne auff alle Sontage / und hohen Fest durchs gantze Jhar auserlesene, liebliche und künst/liche Moteten so mit den Evangeliis, Episteln, Introitibus, Responsoriis, Antiphonis, / Oder derselben Historien uberein kommen unnd eintreffen, der Fürnembsten unnd be/rümbsten Componisten, verfasset, und also geordnet, wie dieselben von den / Autoribus im Gesang ohne Coloraturen gesetzt worden, damit ein

/ jeglicher Organist solche Tabulatur auff seine Applica/tion bringen, und füglich brauchen kan. / M i t sonderlichem fleiss auserlesen, in eine richtige Ordnung / bracht, abgesatzt, und in Druck vorfertiget, / D u r c h / Johannem Rühling, von Born, Organist / zu Döbeln. / D e r Erste Theil. / [Printer's mark] / P S A L M U S C L . / L a u date D o m i n u m in tympano & Choro, / Laudate eum in Chordis & Organo. / Gedruckt zu Leipzig, bey Johan: Beyer, / I m Jahr unserer Erlösung, / M . D . Lxxxiii. 143 fols. German keyboard tablature. Preface ( " V o r r e d e " ) and dedication on fol. *2 headed " D e n Durchlauchtigen, H o c h gebornen Fürsten und Herrn, Herrn Fridrich Wilhelm, Herrn Johansen, Herrn Johan Casimirn, und Herrn Johan Ernsten, Gebrüdern und Vettern, Hertzogen zu Sachssen, Landgrafen in Düringen, und Marggrafen zu Meissen, etc. Meinen genedigen Fürsten und Herrn.," and signed on fol. *3V " D a t u m Döbeln den 10. Decemb. A n n o 1582. E. F . G . Unterthenigster Johannes Rüling, Organist daselbst." O n fol. *4¡ a note on performance practice headed " A d Organistam." O n fol. *4 V : poem in Latin headed " A d Juventutem Organicae Musices studiosam. Petrus A l b i nus Nivemontius. Profess. Pubi, in academia Witebergensi." Fol. *s = fol. 1. O n fol. 1 : poem in Latin headed " I n Analysin Harmoniarum Ecclesiasticarum Organicam, ut vocant: ab Johanne Rulingo Bornensi editam: M . Martinus Hayneccius Bor. ad Lectorem," and signed " A d Muldam Faciebat. V I . D e c e m b : 82," followed b y another poem in Latin signed " A . Siberus." O n fol. 138": table of contents. Colophon on fol. i 3 9 v : " G e d r u c k t zu Leipzig, bey Johan: Beyer. A n n o M . D . L X X X I I I . " In the following inventory composers' initials or abbreviated names are resolved the first time they appear only. All of the compositions are for solo keyboard. Copies in: C H : B u , D : M b s , D i W . 1 Dominica Prima Adventus fol. ι iv Intuemini quantus sit istae Jacobus Regnart a 6 (RegnS, no. 1) 2V 2a pars Occurrite illi

1583. 2

3V

4V 3

5V

Hierusalem surge Clemens Non Papa α 5 ( R I S M ISS9 1( no. 69) 2a pars Leva in Circuitu oculos tuos Ecce Dominus veniet a 5 (D : Rp, M S S B. 211-215, no. 42; see MohrH)

Dominica Secunda Adventus 4 6V Ecce apparebit Dominus Jacobus Vâet a 5 ( R I S M 15644, no. 12) 7V 2a pars Jerusalem gaude

321

De Innocentibus A b Herode Trucidatis 15 23v In Bethlehem Herodes iratus Joach: a Burgk β 5 24v 2a pars O mira novitas facinoris Trium Regum 16 25v Ab oriente Venerunt magi Clemens Non papa a 5 ( R I S M 1559!, no. 58) 26v 2a pars Videntes autem Stellam

Dominica III. Adventus 5 8V Populus qu ambulai in tenebris Joseph Schlegel a 5

De Baptismo Christi 17 27 v Super ripam Jordanis Clemens non Papa a 5 ( R I S M 1555,, fol. 3) 28v 2a pars Vox de coelo sonuit

Dominica III I. Adventus 6 9V Vox Clamantis in deserto Clemens N. P. 05 ( R I S M 15591. no. 41) io v 2a pars Vox dicentis

Dominica Prima Post Epiphaniorum 18 29v Deus qui sedes Orlandi a 5 (LassoW IX, 12)

In Die Nativitatis Jesu Christi 7 i i v Castae parentis viscera Cornelius Canis a 6 ( R I S M 15643, no. 45) 13 2a pars Enixa est Puerpera 8 14 In Principio erat Verbum Orlandus [Lasso] a 6 (LassoW X V , 8) 15 2a pars Consulto omismus2 I5V 3a pars In propria venit & sui eum 9 i6 v Verbum Caro Factum est Orlandus a 6 (LassoW X I , 158) 10 i8v Angelus ad Pastores ait Orlandus 05 (LassoW III, 139) 11 19* Ecce Maria genuit nobis Salvatorem Orlandus a 5 (LassoW V , 15) i9 v 2a pars Ecce Agnus Dei 12 20v Nascitur in mundi promissus gaudia Christus M . Wolffg. Thalman a 5 13 2 i v Ein Kindelein so löbelich M . Wolffgangus Thalman a 5 (compare BraunS, p. 63, no.

Dominica III. Post Epiphaniorum 20 33v Nolite esse prudentes apud vos met ipsos Jaches Werth α 5 (WertM, no. 6) 33v 2a pars Non vos met ipsos defendentes diarissimi fratres 35 3 a pars Sed si esurierit inimicus tuus ciba ilium da

293)

In Die Circumcisionis Domini 14 22v Postquam consummati a Burgk a 5

Joachi:

Dominica II. Epiphaniorum 19 30v Nuptiae factae sunt in Cana Galilaeae Orlandus a 6 (LassoW X V , 30) 3i v 2a pars Dixit mater eius ministris 3i v 3a pars Trium: Et dicit ei Jesus 32v 4a pars Omnis homo Primum bonum vinum ponit

Dominica I U I . Post Epiphaniorum 21 35v Ingressus erat Jesus navim Paulus Schedius a 4 36 2a pars Domine serva noö perimus Dominica V . Post Epiphaniorum 22 3ÓV Domine nonne bonum semen seminasti in agro tuo Homero Herpols a 5 (HerpN, no. 11) 37v 2a pars Colligite primum Zizania

322

1

Dominica Septuagésima 23 38" Deus Virtutum convertere Crequillonis a 5 (RI S M 155411» no. 23) 39 v 2a pars Et per fice earn quam plantavit dextera tua Dominica Sexagésima 24 40 v Servus tuus ego sum Clemens n o n Papa a¡ ( R I S M 155411, no. 4) 41 v 2a pars Ego vero egenus & pauper sum Dominica Quinquagesima 25 42 v Transeunte Domino Clamai ad eum Jaches W e r t h a 5 ( R I S M 15683, p. 193) 43 v 2a pars Et ait illi Jesus Dominica Quadragesima 26 44 v Adiuva nos Deus Salutaris noster Crequillonis a¡ (RISM 155411. no. 14)

583β 53 v

2a pars Videns Dominus fientes Sorores Lazari

D e Passione Christi 32 54 v Vita in Ugno moritur a 5 ( R I S M 15371, no. 20: Senfl) 2a pars Qui Prophetice 55 55 v 3 a pars Qui Expansis 56" Nos autem gloriari oportet 33 15 34 57 v O Jesu Christ dein Nahm der ist a5 58 v Tristis est anima mea M a t t h : 35 Lemais[tre] a 4 2a pars Ecce appropinquabit 59 hora 36 59 v In nomine Jesu omne genuflectatum 04 6o v 2a pars Rogamus te 0 clementissime Jesu D e Resurrectione Christi 6i v Maria Magdalena Clemens N . P. a5 ( R I S M 1546,, fol.

37

15)

Dominica Reminiscere 27 45v Dixit Jesus Mulieri Cananeae Gallus Dreslerus a 5 (DressSC, no. 25) Dominica Oculi 28 4ÓV Dixit Joseph Undecem fratribus suis Orlandus a 6 (LassoW V, 76) 47 v 2a pars Nunciaverunt Jacob Dominica Letare 29 48* Dancket dem Herren denn er ist freundtlich David Köler a S (KölZ, no. 2) 48 v 2a pars Der Herr hat nicht lust an der stercke des Rosses 50 3a pars Der Herr hat gefallen an denen die ihn fürchten Dominica Judica 30 50" Cerne meos esse gemitus Dominicus F i n o t h a 6 ( R I S M [ 1 5 5 6 k no. 39) 5ov 2a pars Non licet aflictas Dominica P a l m a r u m 31 52 v Fremuit Spiritu Jesus Clemens n o n Papa a 6 ( R I S M 15542, fol. 15)

62V

38

39

40

41 42

43 44

2a pars Cito euntes dicite discipulis suis 63" Dum transisset Sabbathum Joan de Cleve β 6 ( M a l d R X I V , 8) Ó4V 2a pars Et valde mane una Sabbathorum 65* Congratulamini mihi omnes Orlandus a 6 (LassoW X I I I , 10) 66v 2a pars Tulerunt Dominum meum 68 Dum Transisset Sabbathum Michael T o n s o r 68v 2a pars Et valde mane 6g v Mane nobiscum Domine Meilandus a 5 ( M e i C . n o . 11) 70 Christus excitatus est a mortuis Joachimus á Burgk a 5 7 i v 2a pars Christus traditus est proper delieta nostra 72 v Domine quid multiplicati sunt qui tribulant me Binellus a 5 73 v Christ lag in Todesbanden M . Wolffgangus T h a l m a n a 5 (compare Z a h n M , no. 7012)

Quasimodo Geniti 45 74 v Surgens Jesus Orlandus (LassoW V, 60)

a5

1583e Misericordias Domini 46 75 v Oves mea vocem meam audiunt Gallus Dreslerus 04 (DressSC, no. 67) 76 2a pars Pater meus qui dédit mihi Jubilate 47 76"

77 v

Cantate 48 78v

Jubilate Deo omnis terra Petri Colin a ¡ (ColinM II, no. 7) 2a pars Populus eius & oves pascuae

Cantate Domino canticum novum Michael Tonsor 04 ( R I S M 15804, no. 10)

Domini Cunditatis 49 79 v Domus mea domus orationis vocabitur 04 De Ascensione Domini 50 8ov Ascendit Deus in Jubilatione Leonhardt Panninger a 6 ( R I S M 15584, no. 42) 81 2a pars Et Dominus in voce Tubae 8i v 3a pars Gloria Patri & filio & Spiritui sancto 51 82v Tempus est ut revertar Orlandus a 6 (LassoW X I I I , 25) 83v

2a pars

Nisi ego abiero

Exaudi 52

In 53

54

55

84*

Paracletus autem Spiritus Sanctus Jaches Werth a 5 (WertM, no. 18) 85v 2a pars Non Turbetur, cor vestrum Die Pentecostes 86v Veni sánete Spiritus Josquin de près a 6 (JosqMT, no. 49) 88 2a pars O lux beatissima 89" Dum complerentur dies pentecostes Archadelt a 5 ( R I S M 15382, fol. 23) 90v Also hat Gott Paulus Prescherus a5 (PL:L MS)3 9 i v 2a pars Gleiche wie Moisés eine Schlange erhöhet hat

56

323 92v

93v

Sic deus dilexit Mundum Scheifler a6 ( R I S M 15643, no. 22: Franciscus de Rivulo) 2a pars Venite ad me omnes qui laboratis

De Sancta Trinitate 57 94v Te Deum patrern in genitum Holland a6 ( R I S M 15584, no. 53) 95v 2a pars Quoniam magnus es tu 58 q6v Tibi laus tibi gloria Orlandus a s (LassoW III, 130) 97 2a pars Da gaudiorum proemia Dominica I. Post Trinitatis 59 97 v Homo quidam erat dives Leonhardus Schröter a 5 (D : L O , M S s.n.) 4 98* 2a pars Accidit autem dum moreretur Lazarus Dominica II. Post Trinitatis 60 99v Homo quidam fecit magnam Jacobus ( R I S M 15542, fol. ioo v 2a pars Venite &

coenam Bultel a 6 3) comedite

Dominica III. Post Trinitatis 61 IOIV Pater peccavi in coelum & coram, te a 4 (ClemensO IX, no. ι : Clemens non Papa) i o i v 2a pars Quanti mercenarii in domo patris mei Dominica I U I . Post Trinitatis 62 i02 T Estote miséricordes Herpolensis α5 (HerpN, no. 33) io3 T 2a pars Nolite Judicare Dominica V . Post Trinitatis 63 I04T Mirabilia testimonia tua Domine Joan de Cleve α6 ( R I S M 15584, no. 47) Dominica V I . Post Trinitatis 64 io5 v Legem pone mihi Domine Orlandus a 5 (LassoW IX, 73) 106 2a pars Da mihi intellectum Dominica V I I . Post Trinitatis 65 io6 v Gustate & videte Orlandus a 5 (LassoW V , 73) io7 v 2a pars Divites eguerunt

324

ΐ 5 83β

Dominica V i l i . Post Trinitatis 66 io8 v Non vos me elegistis Orlandus α 5 (LassoW V, 1 4 1 ) Dominica I X . Post Trinitatis 67 io9 v Divitias & paupertatem Jaches Werth a 6 (RI S M 15584, no. 1 5 : Jachet) Dominica X . Post Trinitatis 68 i i o v Hierusalem luge Richafort α 5 ( R I S M 15329, p. 49: Richafort or Lupus) i i i v 2a pars Deduc quasi torrentem lachrimas

Dominica X V I I I . Post Trinitatis 76 i22 v Congregati sunt inimici nostri Crequillonis a6 ( R I S M 15554» fol· 12) I23 v 2a pars Tua est potentia Dominica X I X . Post Trinitatis 77 i24 v Salus populi ego sum Joan Walther a 5 (WalthW, no. 47) Dominica X X . Post Trinitatis 78 i25 v Omnia quae fecisti nobis Domine Orlandus [Lasso] a 5 (LassoW V I I , 127)

Dominica X I . Post Trinitatis 69 i i 2 v Emendemus in melius Arnoldus Feisius a 5 (MaldR X X V I I I , ι : A. Feys) i i 3 v 2a pars Peccavimus cum patribus nostris

Dominica X X I . Post Trinitatis 79 i2Öv O bone Jesu Clemens non Papa a 5 ( R I S M 15543, fol. 4) i27 v 2a pars Eya dulcissime Jesu

Dominica X I I . Post Trinitatis 70 II4 V Deus in adiutorium meum intende Clemens non Papa a6 ( R I S M 1555,, fol. 26) i i 5 v 2a pars Ecce in tenebris sedeo

Dominica X X I I . Post Trinitatis 80 i28 v De profundis Clamavi Ludovicus Senffel a 5 (SenflW III, no. 1 1 ) i29 v 2a pars A custodia matutina uscque ad noctem

Dominica X I I I . Post Trinitatis 71 i i 6 v Tua est Potentia Crequillonis 05 i i 6 v 2a pars Creator omnium Deus terribilis & fortis Dominica X I I I I . Post Trinitatis 72 i i 7 v Cum transiret Jesus quoddam castellum Gombert a 5 Dominica X V . Post Trinitatis 73 118 V Nolite quaerere Gallus Dreslerius a 4 (DressSC, no. 44) 119 2a pars Quia potius quarito regnum Dei Dominica X V I . Post Trinitatis 74 i i 9 v Si bona suscepimus Verdeloth a 5 (MoralesO I, 274) Dominica X V I I . Post Trinitatis 75 i20 v Discite à me cuia mitu sum Clemens Ν. P. a S ( R I S M 155312, fol. 2) i 2 i v 2a pars Quia qui se exaltat humiliabitur

Dominica X X I I I . Post Trinitatis 81 i30v Magister scimus quia verax ea Herpolensis a 5 (HerpN, no. 52) 13 i v 2a pars Reddite ergo quae sunt Caesaris Caesari Dominica X X I I I I . Post Trinitatis 82 i32 v Si bona suscepimus a6 ( R I S M 15493, p. 6) Dominica X X V . Post Trinitatis 83 i33 v Virgines prudentes ornate Lampades vestras a 4 (ClemensCS V, no. 1 1 : Clemens non Papa) 134 2a pars Media autem node Clamor factus est Dominica X X V I . Post Trinitatis 84 134 v Sint lumbi vestri precincti Crequillon a 5 ( R I S M 1554s, fol· 9) i35 v 2a pars Vigilate ergo

15837 Dominica X X V I I . Post Trinitatis. De clarificatione Christi 85 I3ÓV Assumpsit Jesus Petrum & Jacobum Clemens Ν. P. a 5 ( R I S M 1SSS1Î, no. 7) I37 v 2a pars Et ecce vox de nube dicens A copy was in D : Bds. Only the title appears in this volume, not the music. 3 See EitQ V I I I , 62. 4 See EitQ I X , 74.

325 2

2V

3

3V 3V 4 4V

4

5V 6 6 6V

5

6V 6V

6

7

7

7 7V

8

7V 8

1

2

IS837 PHALÈSE, PIERRE, A N D JEAN B E L L È R E , PUBLISHERS CHOREARUM / MOLLIORUM COLLECTANEA, / OMNIS FERE GENERIS TRIPUDIA COMPLECT E N S : / U T P O T E PADOANAS, PASS'E MEZOS, ALEMANDAS, GALLIARDAS, / Branles: atque id genus quaecunque alia, tam vivae Voci, quam Instrumentis Musicis / accommoda: nunc demum ex variis Philoharmonicorum / libris accuratè collecta. / RECUEIL DE DANSERIES, / CONT E N A N T PRESQUE T O U T E S SORTES D E D A N S E S , / comme Pavanes, Pass'e mezes, Allemandes, Gaillardes, Branles, & plusieurs autres, accommodées / aussi bien a la Voix, comme à tous Instrumens Musicaux, nouvellement amassé d'aucuns / sçavans maistres Musiciens, & autres amateurs de toute sorte d'Harmonie. / S U P E R I U S . / E N A N V E R S . / Chez Pierre Phalese au Lyon Rouge, & chez Jean Bellere à l'Aigle d'Or. / 1583. Four part books in mensural notation, each of 35 fols. On fol. i v of each part book: table of contents. T h e compositions identified by superior letters are reprinted as follows: (a) in BlumeS, app. B; (b) in MohrA, nos. 21-26; (c) in R e y D ; (d) in PhalAT. All of the compositions are for instrumental ensemble a 4. Copies in: D : K N u , D : Mbs, S : U u (STB).

ι

fol. 2 2

Caro Ortolano = 1578g, no. 4a Saltarello = 1578g, no. 4b

8V 9

9

10

9 9V

11

10 io v

12

io v

13

il

14

il

15

nv

16

nv

17

12

18

i2 v

19

I2V

20

13

21

I3V

22

14

Pass'e mezzo d'Italie^1 = 1578g, no. 2a Represa = 1578g, no. 2b Saltarello = 1578g, no. 2c Represa = 1578 g, no. 2d Pass'e mezzo Modernoac = 1578g, no. ι ia Represa = 15789, no. l i b Salterello = 1578g, no. n e Represa = 1578g, no. l i d Passomezo d'Angleterrec = 15715, no. 14a La Reprinse = 15715, no. 14b Passomezo d'Anvers = 15715, no. 15 Passomeso la doulcec = 15715, no. 16a La Reprinse = 15715, no. 16b Pass'e mezzo della Paganinoc = 1578g, no. 3a Salterello = 1578 g, no. 3b Pavane Ferrareze — 1 5 7 i 5 . n o . 6a Gaillarde Ferrareze = 157I5, no. 6b Pavane J'ay du malc = 15715, no. 10a La Gaillarde = 15715, no. 10b Pavane de la Bataille = 1551g, no. 41 Gaillarde de la Battaillec Gaillarde Au joly bois = 15715, no. 33 Gaillarde [du ton de la guerre]d = 15573. no. 5 Gaillarde Ce qui m'est deu = 15715, no. 41 Gaillarde La Peronelle = 15715, no. 34 Gaillarde Mais pourquoi = 15715, no. 35 Gaillarde Traditore = 15715, no. 36 Gaillarde Si pour t'aymer — 15593. no. 35 Gaillarde L'esmerillonne = 15715, no. 38 Gaillarde Puisque vivre = 15715, no. 39 Gaillarde La fanfare = 15715, no. 40 Gaillarde La roque el fuso = 15715, no. 43 Gaillarde Françoise = 15715, no. 44

326

15837

23

14

24

i4 v

25

15

26 27

15 I5V

28 29

is v 16

30

i6 v

31 32

i6 v 17 17 i7 v

33

I7V 18

Saltarello11 = 1578 g, no. ib Almande d'Amour = 15715,

34

i8 v

Almande Bruynsmedelijn3i =

i8

Gaillarde Mon plaisir — 15715, no. 45

Gaillarde l'Admiralle = 15715,

no. 46

Gaillarde d'Escosse = 15715,

v

no. 47

Gaillarde = 15593, no. 32 Gaillarde Brunette — 15593,

no. 36: "Gaillarde o ma gente brunette"

Ballo Milanese·1 = 1578 g, no. 10 Gaillarde la Lavandarä1 = 1578g, no. 10

Almande Poussingheba 2 = 1578g,

no. 20a: " T o d e s c h a "

Saltarellod = 1578g, no. 20b Almande = 1551g, no. 29a La Reprinse = 1551g, no. 29b Almanded = 1578 g, no. lai " L a Billiarda"

no. 26

1578g, no. 9a: " T o d e s c h a " Saltarelload = 15789, no. 9b

35

19

Almande de Liege = 15715,

36

I9V

37 38 39

I9V Saltarello4 = 1578g, no. 13b 20 Almande = 15593, n o · τ7 20 Almande = 15715, no. 30 2θν Almande Loreyne3 = 1578g,

no. 23 AlmandeM = 1578g, no. 1 3 a : "Tedescha"

no. i8a: " B a l l o Francese"

40 41

2ov 21 21 v

42 43 44

22 22v 23

Saltarello = 1578g, no. i8b Almande Bisarde**13 Almande Fortune helas pourquoyb Almande de Don Frederick Almande Spiersb L'arboscello ballo Furianod 4 =

45

48

23v 23v 24 24 24v 24v 25

Ballo Anglesed = 15789, no. 19a Saltarellod = 1578g, no. 19b Zingaresca11 = 15789, no. 14a Saltarellod = 15789, no. 14b La Parma = 15789, no. 17a Saltarello — 1578g, no. 17b Putta Nera Ballo Furiano —

49

25

Schiarazula Marazulaä

50 51

25v 25v

Branle simpled = 15573, n o · 7 Branle 2d = 15573, no. 8

46 47

15789, no. 1 5

15789, no. 6

1578g, no. 1 2

=

52 53 54 55 56

25 v 25 v 26 26 26 v

Branle 3ä = 1557s» no. 9 Branle 4 = 15573, no. 10 Branle 5 d = 15573, no. 1 1 Branle 6 = 15573, no. 12 Premier Branle de Gayä =

57 58 59 60 61 62

26 v 26 v 27 27 27 27 v

Branle Branle Branle Branle Branle Branle

63 64 65 66 67 68 69 70 71 72

27 v 27 v 28 28 28 v 28 v 28 v 29 29 29 v

Branle Branle Branle Branle Branle Branle Branle Branle Branle Branle

v

15573, no. 13

2d = 15573, no. 14 3 = 15573, no. 15 4 = 15573, no. 16 5 = 15573, no. 17 6 = 15573, no. 18 [commun]d = 15573, no.

27: "Bransle [de Bourgongne]"

2d = 15573, no. 28 3a = 1557s, no. 29 4 = 15573, no. 30 5d = 1557s, no. 31 6d = 15573, no. 32 7d = 15573, no. 33 8 = 15573, no. 34 9 = 15573, no. 35 10 = 15573, no. 36 de Poictoua = 1550,,

no. i l

2 = ΐ55θ β , no. 12 3d = ΐ550 β , no. 13 φ = ΐ55θ β , no. 14 5 = i55o e , no. 15 6ad = 15509, no. 16 7ad = i55o e , no. 17 8Λ = i55o e , no. 18 de Champaigneá = ΐ55οβ,

73 74 75 76 77 78 79 80

29 29v 30 30 30 3°v 3°v 31

Branle Branle Branle Branle Branle Branle Branle Branle

81 82 83 84 85 86 87 88 89

31 31 3iv 3iv 3iv 32 32 32 32 v

Branle Branle Branle Branle Branle Branle Branle Branle Branle

90

32 v

Branle mon amy — 155*8» no.

91 92

33 33

Branle 2 = 1551g, no. 21 Premier Branle de la guerre =

93 94 95 96 97

33 33 v 33 v 34 34

Branle 2 — 15592, no. 47 Quatre branles = 155I3, no. 23 Les Fagots — 1551 g, no. 24 Hoboken dans = 1551g, no. 25 Autre = 1578g, no. 2 1 : " L a

no. 19

2a ΐ55°β, no. 20 3 = ΐ55θ β , no. 21 4ä = 1550,, no. 22 5 = 1550,, no. 23 6d = i55o e , no. 24 7d = ΐ55θ β , no. 25 8Λ = ΐ55°β, no. 26 çâ = ΐ55ο β , no. 27 pourquoy = 15519, no·

13 14

15592, no. 46

fiamenga"

327

15841 98

34 ν

99

34 ν 34 ν

ΙΟΟ 35 ΙΟΙ 102

35 35

103

35 ν

Ι04

35 ν

1

Mod. ed. Mod. ed. III, no. 4. 8 Mod. ed. 4 Mod. ed. 2

Branle de petit hommeä = 15642, no. 34 Branle legtet = 15642, no. 35 Branle du contraint = 15642, no. 26 Branle de la suite du contraint legtet = 15642, no. 28 Branle d'Escosse = 15592, n o · 44 Branle des Sabots = 15592, n o · 45 Branle de Poitou simple = 15642, no. 29 Branle de poitou legier = 15642, no. 31 in ParrishT, no. 35. in M U IV, app., p. 49, and T w i t t T in T w i t t T II, no. 2. in T w i t t T I, no. 4.

IS841 D A L L A CASA, G I R O L A M O I L V E R O MODO / D I D I M I N U I R , CON T U T T E / L E S O R T I DI STROM E N T I / Di fiato, & corda, & di voce humana. / D I G I R O L A M O D A L L A C A S A / D E T T O D A U D E N E / Capo de Concerti delli Stromenti di fiato, / della Illustriss. Signoria di Venetia. / L I B R O P R I M O . / A L M O L T O I L L U S T R E / Sig. Conte Mario Bevilacqua. / CON P R I V I L E G G I O . / [Printer's mark] / In Venetia Appresso Angelo Gardano. / M D L X X X I I I I . 26 fols. Mensural notation. The title is placed within an ornamental border. Dedication on fol. i v headed " A L M O L T O ILLUSTRE SIGNOR IL SIGNOR CONTE MARIO BEVILACQUA MIO S I G N O R E O S S E R V A N D I S S I M O , " and signed "Servitore Girolamo dalla Casa detto da Udene," reprinted in GaspaC I, 3 3 1 , and SartMS, p. 49. On fol. 2: preface headed " A i Lettori," reprinted in GaspaC I, 331. On fol. 2 V : rules for tonguing ("Delle Tre Lingue Principali"), followed by a short notice on the cornetto. Fol. 3 = ρ. ι . On p. 48: table of contents. Pp. 1 - 7 contain examples of ornaments and schemes for filling in various intervals with passaggi. Beginning on p. 7 Dalla Casa presents excerpts from compositions, with elaborate

ornamentation added. Only sections of the superius parts of these compositions are included. For the second volume in this series, see 15842. For a discussion of this work see Hors S. In the following inventory, short forms of composers' names are expanded the first time they appear only. Copy in: I : B e . Essempii de Crome & Semplici Ρι 7 Io canterei d'Amor Cipriano [daRore] 04 ( S C M A V I , 31) 2 8 Non e ch'el duol Cipriano a 4 ( S C M A VI, 34) Essempii de Crome 3 9 La bella netta ignuda £f bianca mano Cipriano a 4 ( S C M A VI, 38) Essempii de Semicrome 4 i l Signor mio caro1 ( S C M A V I , 25) 5 1 2 Carita di Signore ( S C M A V I , 28)

Cipriano

a4

Cipriano

04

Passi & cadenze de Croma & semicroma 6 13 Nasce la pena mia Striggio a 6 (MonteO X V I , app.) 7 14 I dolci colli Striggio a 6 (Vogel: Striggio 3 [1566], nos. 1-2) 14 2a pars {Et qual cervo ferito] 8 15 La prima vergine Cipriano a 5 (RoreO I I I , 1 : "Vergine bella") 9 15 Cantai un tempo Filippo de Monte a6 (Vogel: Monte 10 [1576], no. 1) 10 16 La nona Vergine Cipriano a 5 (RoreO III, 25: "Vergine, in cui ho") 1 1 16 Se la gratia divina Adriano [Willaert] a S (Vogel: Rore 17 [1548], Ρ· 26) 1 2 16 La ver l'aurora Striggio a 6 (Vogel: Striggio 3 [1566], p. 1 1 ) 13 17 La quarta vergine Cipriano a 5 (RoreO I I I , 10: "Vergine santa") 14 18 La quinta vergine Cipriano a 5 (RoreO I I I , 1 2 : "Vergine sol'al mondo") 15 19 Di tempo in tempo Cipriano a 4 ( S C M A V I , 67) 16 20 Dall'estremo Orizonte Cipriano a S (Vogel: Rore 31 [1574], Ρ· 23)

328 17

2o

18

21

19

21

20

22

21

22 22 23 23 23

22

24

23

25

24

25

15841 La sesta vergine Cipriano a 5 (RoreO I I I , 16: "Vergine chiara") S'amor la viva fiamma Cipriano a 5 (RoreO I I I , 84) Dale belle contrade Cipriano a s ( H A M , no. 1 3 1 ) Alla dole'ombra Cipriano 04 ( S C M A V I , 12) 3a pars [Un lauro mi diffese] 4a pars [Però più ferm'ogn'hor] 5a pars [Selve, sassi, campagne] 6a pars [Tanto mi piacque]2 La seconda vergine Cipriano a 5 (RoreO I I I , 4: "Vergine saggia") La terza vergine Cipriano a 5 (RoreO I I I , 7: "Vergine pura") La seconda parte De quando fra l'altre donne [ = " Io benedico'l loco"] Cipriano a 5 (RoreO I I I , 64) Dolce ritorn'amor Striggio a 6 (Vogel: Striggio 1 2 [1579], P· 6)

Passe & cadenze de semicrome & de treplicate 25 27 [Il n'est plaisir] Canzon a 6 di Martin Peu d'Argent (RI S M 155325. no. 24) 26 29 Helas ma mere Adriano a 5 ( R I S M i S 7 2 a , fol. i v ) Passi & cadenze de le treplicate sole 27 32 Si me tenez a6 ( R I S M 154514, fol. 14: Crecquillon) Passi & cadenze delle quadruplicate sole 28 34 Rossignolet Clemens non Papa a 4 (ClemensO X , 4 1 ) Passi & cadenze delle treplicate & quadruplicate 29 36 Voules ouiir Adriano a 5 ( R I S M i 5 7 2 2 , fol. 27) Passi & cadenze de le quattro figure 30 39 Ancor ch'io possa dire Striggio a6 (Vogel: Striggio 3 [1566], no. 3) 3 1 40 Amor mi struggie il cor Andrea Gabrieli a 6 (Vogel: Gabrieli 3 [1587], P· 12) 32 40 Ringratto & lodo il ciel Andrea Gabrieli a 6 (Vogel: Gabrieli 3 [1587], P· 1) 41 2a pars [Amor rimanti in pace]

33

42

34

44

35

46

1 2

Alla fontaine Adriano α 6 ( R I S M 15722, fol. 53) Lar ose Gombert a 6 (compare BrownM, p. 198, art. 49: " L a rousée du moys de m a y " ) Di virtù di costumi Cipriano α 5

Mod. ed. in FerandIM, no. 14. Mod. ed. in FerandIM, no. 13.

I 5842 D A L L A CASA, GIROLAMO I L VERO MODO / DI DIMINUIR, CON T U T T E / L E SORTE DI STROM E N T I / Di fiato, & corda, & di voce humana. / D I G I R O L A M O D A L L A C A S A / D E T T O D A U D E N E / Capo de Concerti delli Stromenti di fiato, / dalla Illustriss. Signoria di Veneria. / L I B R O S E C O N D O . / A L M O L T O I L L U S T R E / Sig. Conte Mario Bevilacqua. / C O N P R I V I L E G G I O . / [Printer's mark] / In Veneria Appresso Angelo Gardano. / M D L X X X I I I I . 26 fols. Mensural notation. T h e title is placed within an ornamental border. On fol. i v : preface headed " A l i i Lettori," reprinted in GaspaC I, 332, and SartMS, p. 50, followed by a notice on the importance of playing passaggi in time ( " D e l Portar L a Minuta a T e m p o " ) and notices on the "viola bastarda" and the human voice. Fol. 2 = p. ι . On p. 50: table of contents. Nos. 1 - 9 present an ornamented version of the superius part only of the compositions listed. Nos. 1 0 - 1 9 present a single ornamented line for "viola bastarda" taken from the various voices of each of the compositions listed. Nos. 20-24 present an ornamented version of the superius part only of the compositions listed, with the text included. No. 25 presents all four voices of the Rore madrigal with ornamentation added. For the first volume in the series see 1584!. In the following inventory short forms of composers' names are expanded the first time they appear only. Copy in : I : Be. ι

ι

Canzon delli Ocelli Clemens Janequin ( M M R F V I I , 1 : " L e Chant des Oiseaux")

329

I 5843

2

2 3 4 5

3

6 7

4

8

5

9

6

10

7

11 12

8

13 14

9

16

2a pars [ Vous orrez] 3 a pars [Rossignol] 4a pars [v4mere] Frais gaillart Clemens non Papa a 4 (ClemensO X , 17) Frais & gaillart. Alio modo Petite fleur coincte Tomas Crequillon 04 ( R I S M 154929, no. 28) Alix avoit Tomas Crequillon a4 ( R I S M I S 4 S 1 „ fol. i 2 v ) Petit Jacquet Curtois a 4 (I :Bc, M S Q 26, no. 27: Courtois) Oncques amour Tomas Crequillon a s ( R I S M [i544]u> fol. 16) Oncques amour. Alio modo Susana un giur Orlando Lasso a 5 (LassoW X I V , 29) Susanna un giur. Alio modo Joyssance Adriano [Willaert] a 5 ( R I S M 154s 14. fol. 2) Content Tomas Crequillon a 4

Madrigali da cantar in compagnia, & anco co'l Liuto solo 20 30 Beato a me direi Cipriano a 4 ( S C M A VI, 102) 31 2a pars Datemi pace 21 32 O sonno Cipriano a 4 ( S C M A V I , 106) 33 2a pars Ove'l silentio 22 34 Non gemme non fin oro Cipriano 04 ( S C M A VI, 75) 23 35 Ancor che co'l partire Cipriano a4 (SCMA V I , 45) 24 36 Vestiva i colli1 Palestina a 5 (PalO I X , 1 1 7 ) 37 2a pars Cosi le chiome Canzon di Cipriano tutte le quattro parte diminuite 25 38 Alla dole'ombra Cipriano a 4 ( S C M A VI, 12) 40 2a pars Non vidde'l mondo 42 3a pars Un lauro mi diffese 44 4a pars Pero più ferm'ogn'hor 46 5a pars Selve sassi campagne 48 6a pars Tanto mi piacque2 1 2

Canzoni & Madrigali da Sonar con la Viola Bastarda 10 17 Mais languiraige Clemens non Papa a 4 (ClemensO X , 77) 11 18 Qual e più grand'0 amore Cipriano [da Rore] 04 ( S C M A VI, 78) 12 19 Ung gay ber gier Tomas Crequillon a4 (RieH II, 462) 13 20 Ancor che co'l partire Cipriano 04 ( S C M A V I , 45) 14 22 Petit Jacquet D'incerto 04 (compare I : Be, M S Q 26, no. 27 : Courtois) 15 24 Ben qui si mostra'l ciel Cipriano a4 ( R I S M i 5 6 i 1 5 ) no. 1) 16 25 Martin Menoit Clemens Janecquin a 4 (CM II, 79) 17 26 Non gemme non fin oro Cipriano a4 (SCMA VI, 75) 18 28 Doulce Memoire Rogier 04 [Delle Treplicate sole] (PubAPTM X X I I I , no. 50: Sandrin) 19 29 Come havran fin Cipriano a 4 [Delle Quadruplicate sole] ( S C M A VI, 51)

Mod. ed. in PalW X X X I I I , 70. Mod. ed. in FerandlM, no. 13.

I 5843 FALLAMERO,

GABRIEL

I L PRIMO LIBRO DE INTAVOL A T U R A / DA L I U T O , D E M O T E T T I RICERCATE MADRIGALI, / E T CANZONETTE ALLA NAPOLITANA, / A T R E , E T Q U A T T R O VOCI, P E R C A N T A R E , E T / Sonare composte per Gabriel Fallamero Gentilhuomo Allessandrino, / N O V A M E N T E POSTO IN LUCE. / [Printer's mark] / I N V I N E G I A . / Appresso l'Herede di Girolamo Scotto. / M D LXXXIIII.1 40 fols. Italian lute tablature and mensural notation. Dedication on p. 2 headed " A L L A MOLTO I L L U S T R E SIGNORA LIVIA G U A S C A POZZA D A M M A N O B I L I S S I M A A L E S S A N D R I N A Signora mia Osservandissima," and signed "D'Allessandria il dì primo di Febraro. M D L X X X I I I I . V. S. M . Illustre. Affectionnatissimo Servitore. Gabriello Fallamero." On p. 80: table of contents. All of the

33°

ι 5843

compositions are for solo lute except nos. 17-36, which are for solo voice (in mensural notation) and lute (in tablature). Copies in : A : Wn, G B : L b m h (imperfect), I : G u (imperfect), U S : B p .

19 20 21 22

MUSIC FOR SOLO LUTE

χ

P· 4

2

S

3

7

4

8

5

9

6

10

7

12

8

13

9

14

10

15

11

17

12

18

13

19 20

14

22 23

15

16

25

26

23 In me tanto l'ardore Filippo de Monte a 4 (Vogel : Monte 7 [1592], no. 1) Apariran per me le stelle in cielo Rolando [Lasso] a 4 (LassoW V i l i , 27) La Ver l'aurora Rolando [Lasso] a 5 Tirsi morir volea Luca Marentio a 5 (MarenW I, 12) Madona mia gentile Marentio a 5 (MarenW I, 25) Ma di chi debo lamentarmi [Vincenzo] Rufo a 4 (Vogel: Ruffo 16 [1556], p. 29) Sapi Signor che Lilia son io [Pietro] Vinci a 5 (Vogel: Vinci 10 [1579], p. 10) Per pianto la mia carne Rolando [Lasso] a 4 (LassoW V i l i , 13) Quando la sera scai a il chiaro giorno Rolando [Lasso] a 5 (LassoW II, SS) Liquide perle amor Luca Marentio a5 (MarenW I, 1) Partirò donque Marentio a5 (MarenW I, 31) Fera Gentil Cipriano [da Rore] e d. Macario Santiago Kastner, 1957. The Collected Works of William Byrd, ed. Edmund H. Fellowes, 20 vols., 1 9 3 7 - 1950. Cabezón, Antonio de, Claviermusik. Obras de Musica para Tecla, Arpa y Vihuela, ed. Macario Santiago Kastner, 1951. Cabezón, Antonio de, 4 Tientos für Orgel, mit oder ohne Pedal, ed. Max Drischner, 1953. Cabezón, Antonio de, Pavana italiana, ed. José de Azpiazu, n.d. Cabezón, Antonio de, Tientos und Fugen aus den Obras de Musica para Tecla, Arpa y Vihuela, ed. Macario Santiago Kastner, 1958. Caffi, Francesco, Stòria della musica sacra nella già Cappella Ducale di S. Marco in Venezia dal 1318 al 1797, 2 vols., 1854-1855; reprinted, 1931·

446 Caravl CarlH CarpAC CarrB Carrai CasSV CaseyP CatM CatulP CauO CauT CavazzO CavazzR CDMI CEK C E K II CellerO CesF CesM

ChaillFM Chase A ChaseG ChilB ChilB I ChilB V ChilB V I I I ChilC ChilCI ChilCM ChilCS ChilF ChilHN ChilJ ChilL ChilLI

LIST

OF W O R K S

CITED

Caravaglios, Nino, " U n a nuova 'Intavolatura di Címbalo' di Antonio Valente Cieco," Rivista musicale italiana, X X I I I (1916), 491. Cari, William C., ed., Historical Organ Collection, 1919. Carpenter, Hoyle, " T h e Works of Antonio de Cabezón," unpub. diss., University of Chicago, 1957. Carruth, John Robert, " T h e Organ Works of Sperindio Bertoldo," unpub. thesis, Cornell University, 1948. Intavolatura di Liuto di Michele Carrara MDL XXXV, facsimile ed. by Benvenuto Disertori, n.d. Casimiri, Raffaele, "Simone Verovio da Hertogenbosch," Note d'archivio, X (1933), 189. Casey, William S., "Printed English Lute Instruction Books, 1 5 6 8 - 1 6 1 0 , " unpub. diss., University of Michigan, i960. Catelani, Angelo, Memorie della vita e delle opere di Claudio Merulo, 1859, revised by G. Benvenuti, 1931. The Poems of Gaius Valerius Catullus, ed. and trans. F. W. Cornish, Loeb Classical Library, 1935. Cauchie, Maurice, "L'Odhecaton, recueil de musique instrumentale," Revue de musicologie, V I (1925), 148. Cauchie, Maurice, " A propos des trois recueils instrumentaux de la série de l'Odhecaton," Revue de musicologie, I X (1928), 64. Cavazzoni, Girolamo, Orgelwerke, ed. Oscar Mischiati, 2 vols., 1958. Cavazzoni, Girolamo, Ricercare, ed. Pieter Fischer, n.d. I Classici della musica italiana (Raccolta nazionale), ed. Gabriele d'Annunzio, 36 vols. (152 quaderni), 1 9 1 8 - 1 9 2 1 . Quaderni 2 3 - 2 7 : Girolamo Cavazzoni, Composizioni, ed. G . Benvenuti, 1919. Corpus of Early Keyboard Music, ed. Willi Apel, 1963—. Marco Facoli: Collected Works, ed. Willi Apel, 1963. Celler, Ludovic, Les Origines de l'opéra et Le Ballet de la Reine (1581), 1868. Cesari, Gaetano, Raffaello Monterosso, and Benvenuto Disertori, eds., Le Frottole nell'edizione principe di Ottomano Petrucci, 1954. Cesari, Gaetano, "Musica e musicisti alla corte sforzesca," in F. Malaguzzi Valeri, La Corte di Lodovico il Moro, I V (1923), 183. Printed previously, with fewer musical examples and the like, in Rivista musicale italiana, X X I X (1922), ι . References are to Valeri's volume. Chaillon, Paule, " L e s Fonds musicaux de quelques bibliothèques de province," Fontes artis musicae, I I (1955), 154. Chase, Gilbert, America's Music, from the Pilgrims to the Present, 1955. Chase, Gilbert, "Guitar and Vihuela: A Clarification," abstract, Bulletin of the American Musicological Society, no. 6 (1940), 13. Chilesotti, Oscar, ed., Biblioteca di rarità musicali, 9 vols., 1884-1915. "Nobiltà di Dame" del.. . Caroso .. . "Legratie d'amore" . . . di ... Negri ...,[1884?]. Arie, Canzonette e Balli . . . di Horatio Vecchi . . . , [1892]. Musica del Passato (da intavolature antiche), [1914]. Chilesotti, Oscar, " U n a Canzone celebre nel Cinquecento: Ί ο mi son giovinetta' del Ferabosco," Rivista musicale italiana, I (1894), 446. Chilesotti, Oscar, "Chansons françaises du X V I e siècle en Italie (transcrites pour le luth)," Revue d'histoire et de critique musicales, I I (1902), 63, 202. Chilesotti, Oscar, Claudio Merulo nelle intavolature di liuto, 1904. Chilesotti, Oscar, ed., Canzonette del secolo XVI a voce sola con accompagnamento di pianoforte ricostrutte sull ' intavolatura di liuto, n.d. Chilesotti, Oscar, "Francesco da Milano," Sammelbände der Internationalen Musikgesellschaft, I V (1903), 382. Chilesotti, Oscar, " D i Hans Newsidler," Rivista musicale italiana, I (1894), 48. Chilesotti, Oscar, "Jacomo Gorzanis, liutista del Cinquecento," Rivista musicale italiana, X X I (1914), 86. Chilesotti, Oscar, ed., Da un codice Lauten-Buch del Cinquecento, 1890. Chilesotti, Oscar, " N o t e circa alcuni liutisti italiani della prima metà del Cinquecento," Rivista musicale italiana, I X (1902), 36, 233.

LIST ChilLS ChilLV ChilP ChilPF ChilR ChilS ChrysS ClemensCS V ClemensCS V I ClemensO ClosBD CM CM II CMI

CMI I

ColinM I I

CollaerAH CombDF ConfB CoopI CortP CorteA CortotC CouN Cremai CremaR CrockerC CromM CummC CurtisD CW CzerG CzerT

OF W O R K S

CITED

447

Chilesotti, Oscar, ed., Lautenspieler des i6. Jahrhunderts, 1891. Chilesotti, Oscar, " I l primo Libro di liuto di Vincenzo Galilei," Rivista musicale italiana, X V (1908), 753. Chilesotti, Oscar, " I l Pater noster di Adriano Willaert," Sammelbände der Internationalen Musikgesellschaft, I I I (1902), 468. Chilesotti, Oscar, "Perino Fiorentino, liutista del secolo X V I , " Rivista fiorentina, I (1908), 23. Chilesotti, Oscar, " ' L a Rocca e'I f u s o , ' " Rivista musicale italiana, X I X (1912), 363. Chilesotti, Oscar, Saggio sulla melodia popolare del Cinquecento, 1889. Chrysander, Friedrich, " A Sketch of the History of Music Printing," Musical Times, X V I I I (1877), 265, 324, 375, 470, 524, 584. Clemens non Papa, Jacobus, Liber Quintus Cantionum Sacrarum, Louvain, Pierre Phalèse, 1559. Clemens non Papa, Jacobus, Liber Sextus Cantionum Sacrarum, Louvain, Pierre Phalèse, 1559. Jacobus Clemens non Papa: Opera omnia, ed. Karel P. Bernet Kempers, 1951—· Closson, Ernest, ed., Le Ms. dit des Basses Danses de la Bibliothèque de Bourgogne, 1912. Facsimile edition with commentary. Collegium Musicum, ed. Milos Velimirovic, Yale University, New Haven, i960—. Thirty Chansons for Three and Four Voices from Attaingnant's Collections, ed. Albert Seay, i960. I Classici musicali italiani, 1924—. M. A. Cavazzoni, J . Fogliano, J . Segni ed Anonimi: Composizioni per organo, ed. G . Benvenuti, 1941. Colin, Pierre, Petri Colin, Apud Insignem Haeduorum Ecclesiam Pueris symphoniacis praefecti, Modulorum (quos vulgo Moteta vocant) in quatuor, & quinqué voces partitorum Liber Secundus, Paris, Nicolas Du Chemin, 1561. Collaer, Paul, and Albert van der Linden, Atlas historique de la musique, i960. Combarieu, Jules, "Danses françaises et musique instrumentale du X V I e siècle," Revue d'histoire et de critique musicales, I (1901), 138. Giovanni Luca Conforto: Breve et facile maniera d'essercitarsi afar passaggi, τ 593 ?), facsimile ed. with German trans, by Johannes Wolf, 1922. Cooper, Gerald M., "Italian Instrumental Music of the 16th Century," Proceedings of the Musical Association, L V I (1929), 55. Cortés, Narciso Α., " D i e g o Pisador, algunos datos biográficos," Boletín de la Biblioteca Menéndez y Pelayo, I I I (1921), 3 3 1 . Corte, Andrea della, Scelta di musiche per lo studio della stòria, 5th ed., 1949. Cortot, Alfred and Frederick Goldbeck, Bibliothèque Alfred Cortot. Première partie: Théorie de la musique. Traités et autres ouvrages théoriques des XVe, XVI', XVIIe et XVIIIe siècles, n.d. Coussemaker, Charles Edmond H. de, Notice sur les collections musicales de la Bibliothèque de Cambrai, 1843. Crema, Joan Maria da, Intavolatura di Liuto Libro Primo, ed. Giuseppe Gullino, 1955. Crema, Giovanni Maria da, Recercar Undécimo y Recercar Tredecimo, ed. José de Azpiazu, i960. Crocker, Eunice C., " A n Introductory Study of the Italian Canzona for Instrumental Ensembles," unpub. diss., Radcliffe College, 1943. Crombie, A. C., Medieval and Early Modern Science, 2 vols., 1959. Catalogue of the Famous Musical Library . . . the Property of the Late W. H. Cummings, Mus. Doc., 1917. A Sotheby auction catalogue. Curtis, Alan, ed., Dutch Keyboard Music of the 16th and 17th Centuries, 1961. Das Chorwerk, ed. Friedrich Blume, 1929—. For titles of individual volumes see Gustave Reese, Music in the Renaissance (1954), P· 897. Czerwinski, Albert, Geschichte der Tanzkunst, 1862. Czerwinski, Albert, Die Tänze des 16. Jahrhunderts und die alte französische Tanzschule vor Einführung der Menuett, 1878.

448 DallaA DallaL DallaLO DannMO DartC DartCL DartHL DartM DavB DavC DazaE DDT

DeakinMB DeakinO DeffU DegenB DehnC DehnS DevP DieL Die Laute

DisK DiseC DiseCT DiseF DiseM DoA DoL DoflS DolDE DolDS DonaSM

LIST

OF W O R K S

CITED

Dalla Libera, Sandro, ed., Antología organistica italiana, 1957 Dalla Libera, Sandro, ed., Il Libro dei versi, 1955. Dalla Libera, Sandro, ed., Liber organi, 7 vols., 1955-1961. Dannreuther, Edward, Musical Ornamentation, n.d. Dart, Thurston, " T h e Cittern and Its English Music," The Galpin Society Journal. An Occasional Publication, I (1948), 46. Dart, Thurston, "Morley's Consort Lessons of 1599," Proceedings of the Royal Musical Association, L X X I V (1947), 1. Dart, Thurston, " A Hand-List of English Instrumental Music Printed before 1681," The Galpin Society Journal. An Occasional Publication, V I I I (1955), 13. Dart, Thurston, "Simone Molinaro's Lute-Book of 1599," Music & Letters, X X V I I I (1947), 258. Davidsson, Ake, Bibliographie der musiktheoretischen Drucke des 16. Jahrhunderts, 1962. Davidsson, Ake, and Rafael Mitjana, Catalogue critique et descriptif des imprimés de musique des XVIe et XVIIe siècles, conservés à la Bibliothèque de Γ Université royale d'Upsala, 3 vols., 1911-1951. Daza, Esteban, Enfermo estaba Antioco. Romance, ed. José de Azpiazu, 1958. Denkmäler deutscher Tonkunst, ed. R. von Liliencron, H. Kretzschmar, H. Albert, and A. Schering, ser. 1, 65 vols., 1892-1931. For the titles of individual volumes, see Gustave Reese, Music in the Renaissance (1954), p. 898. See also Denkmäler deutscher Tonkunst, ser. 2 (DTB). Deakin, Andrew, Musical Bibliography, 1892. Deakin, Andrew, Outline of Musical Bibliography, 1899. Deffner, Oskar, Über die Entwicklung der Fantasie für Tasteninstrumente, 1927· Degen, Dietz, Zur Geschichte der Blockflöte in den germanischen Ländern, n.d. Dehn, Siegfried W., " Compositionen des X V I . Jahrhunderts zu weltlichen Texten," Caecilia, eine Zeitschrift für die musikalische Welt, X X V (1846), 29. Dehn, Siegfried W., ed., Sammlung älterer Musik aus dem 16. und i j . Jahrhundert, 1837. Devoto, Daniel, "Poésie et musique dans l'oeuvre des vihuelistes," Annales musicologiques, I V (1956), 85. Dieckmann, Jenny, Die in deutscher Lautentabulatur überlieferten Tänze des 16. Jahrhunderts, 1931. Die Laute. Monatsschrift der Musikantengilde zur Pflege des deutschen Liedes und guter Hausmusik, ed. Fritz Jöde, 5 vols., 1917-1922. Succeeded by Die Musikantengilde (MU) in 1922. Dischner, Oskar, ed., Kammermusik des Mittelalters. Chansons der 1. u. 2. niederländischen Schule für drei bis vier Streichinstrumente herausgegeben, 1927· Disertori, Benvenuto, " L ' U n i c a Composizione sicuramente strumentale nei codici tridentini," Collectanea historiae musicae, II (1957), 135. Disertori, Benvenuto, "Contradiction tonale dans la transcription d'un ' Strambotto ' célèbre," in Le Luth et sa musique, ed. Jean Jacquot (1958), P· 37· Disertori, Benvenuto, Le Frottole per Canto e Liuto Intabulate da Franciscus Bossinensis, 1964. Disertori, Benvenuto, " L e Canzoni strumentali da sonar a quattro di Claudio Merulo," Rivista musicale italiana, X L V I I (1943), 305. Dodge, Janet, " L e s Airs de cour d'Adrien Le Roy," Revue musicale de la Société internationale de Musique, III (1907), 1132. Dodge, Janet, " L u t e Music of the X V I t h and X V I I t h centuries," Proceedings of the Musical Association, X X X I V (1908), 123. Doflein, Erich, ed., Spielmusik für Violine: Alte Musik, vol. II, 1932. Dolmetsch, Mabel, Dances of England and France from 1450 to 1600, 1949. Dolmetsch, Mabel, Dances of Spain and Italy from 1400 to 1600, 1954. Dona, Mariangela, La Stampa musicale a Milano fino all'anno 1700, 1961.

LIST DoniL DorezM DorfS DowlL DowlLM DowlS DowlSS DowlTS DraudiusBC

DraudiusBE DraudiusBLG

DraudiusV DressSC DrozT DTB DTO Du Verdier DuyL EC EcorC EcorL EDMR EF EggeT EhmL EI EinAR EinIM

OF W O R K S

CITED

449

Doni, Antonio Francesco, La Libraria del Doni, fiorentino, Venice, G. Giolito de' Ferrari, 1558. Dorez, Léon, "Francesco da Milano et la musique du Pape Paul I I I , " Rivista musicale italiana, X I (1930), 104. Also in Dorez's La Cour du Pape Paul III, I (1932), 221. Dorfmüller, Kurt, "Studien zur Lautenmusik in der ersten Hälfte des 16. Jahrhunderts," unpub. diss., Ludwig-Maximilian Universität, Munich, 1952· Dowland, John, 18 Lieder bearbeitet für Singstimme und Gitarre, ed. Siegfried Behrend, i960. Dowland, John, The Lute Music of John Doviland, transcr. and ed. for piano by Peter Warlock, 1927. Dowland, John, The First Set of Songs, in Four Parts, ed. William Chappell, Musical Antiquarian Society, 1844. Dowland, John, Six Songs, ed. Desmond Dupré, 1954. Dowland, John, Three Songs for Voice and Guitar, ed. Karl Scheit, 1955. Draudius, Georg, Bibliotecha classica, sive Catalogus officinalis, in quo philosophici artiumque adeo humanicorum, poetici etiam et musici libri omnes . . . continentur, Frankfurt, 1 6 1 1 . References are to the edition of 1625. Draudius, Georg, Bibliotheca exotica, sive Catalogus officinalis librorum peregrinus Unguis usualibus scriptorum, Frankfurt, 1610. References are to the edition of 1625. Draudius, Georg, Bibliotheca librorum germanicorum classica, das ist: Verzeichniss aller und jeder Bücher, so fast bey denckltchen Jaren, bis auffs Jahr nach Christi Geburt 1625 in teutscher Spraach von allerhand Materien hin und wider in Truck aussgangen, Frankfurt, 1 6 1 1 . References are to the edition of 1625. Draudius, Georg, Verzeichnisse deutscher musikalischer Bücher, 1611 und 1623, ed. Konrad Ameln, 1957. Dressler, Gallus, Opus sacrarum cantionum, quatuor, quinqué etplurium vocum, Nuremberg, Catherine Gerlach, 1577. Droz, Eugénie, Geneviève Thibault, and Yvonne Rokseth, eds., Trois chansonniers français du XVe siècle, 1927. Denkmäler deutscher Tonkunst, ser. 2 : Denkmäler der Tonkunst in Bayern, ed. Adolf Sandberger, 36 vols., 1900-1931. For titles of individual volumes, see Gustave Reese, Music in the Renaissance (1954), p. 900. Denkmäler der Tonkunst in Österreich, ed. Guido Adler, 1894—. For titles of individual volumes, see Gustave Reese, Music in the Renaissance (i9S4). P· 900· Du Verdier, Antoine, sieur de Vauprivas, and François L a Croix du Maine, Les Bibliothèques françoises, 6 vols., Paris, 1 7 7 2 - 1 7 7 3 . Van Duyse, Florimond, ed., H et oude Nederlandsche Lied, 3 vols., 19031907· Encyclopédie de la musique et Dictionnaire du Conservatoire, ed. A. Lavignac and L . de la Laurencie, 1 9 1 3 - 1 9 3 1 . Vols. I - V : Partie I: Histoire de la musique·, vols. V I - X I : Partie II: Technique, pédagogie et esthétique. Catalogue des livres rares et précieux composant la collection de feu M. Jules Écorcheville, 1920. Ecorcheville, Jules, " L e Luth et sa musique," Sammelbände der Internationalen Musikgesellschaft, V i l i (1907-08), 1 3 1 . Das Erbe deutscher Musik, Reichsdenkmale, 1935—. For titles of individual volumes, see Gustave Reese, Music in the Renaissance (1954), p. 901. Encyclopédie de la musique, 3 vols., Paris, Fasquelle, 1958. Eggebrecht, Hans H., "Terminus 'Ricercar,"' Archiv für Musikwissenschaft, I X (1952), 137· Ehmann, Wilhelm, ed., Alte Liedsätze für Orgel oder Klavier, 1939. Enciclopedia italiana di scienze, lettere ed arti, 36 vols., 1929-1939. " D i e Aria di Ruggiero," Sammelbände der Internationalen Musikgesellschaft, X I I I (1912), 444. Einstein, Alfred, The Italian Madrigal, 3 vols., 1949.

45° EinN EinSH EinVG EinZ EisenV EitGA EitK EitQ

EitS EitSW EitT EL ElúsA EMS Eni EngL EnglertBS EP ExF FaisstH FedM FelWB FellJ FerandB FerandIM FerandM

LIST

OF W O R K S

CITED

Einstein, Alfred, "Narrative Rhythm in the Madrigal," The Musical Quarterly, X X I X (1943). 475· Einstein, Alfred, A Short History of Music, 1938. Einstein, Alfred, "Vincenzo Galilei and the Instructive Duo," Music & Letters, X V I I I (1937), 360. Einstein, Alfred, Zur deutschen Literatur für Viola da Gamba im 16. und 17. Jahrhundert, 1905. Eisenberg, Jacob, "Virdung's Keyboard Illustrations," The Galpin Society Journal. An Occasional Publication, X V (1962), 82. Eitner, Robert, "Giulio Abondante's Lautenbücher," Monatshefte für Musikgeschichte, V I I I (1876), 1 1 9 . Eitner, Robert, and Otto Kade, "Katalog der Musik-Sammlung der Kgl. öffentlichen Bibliothek zu Dresden (im japanischen Palais)," Monatshefte für Musikgeschichte, X X I , Supplement (1890). Eitner, Robert, Biographisch-bibliographisches Quellenlexikon der Musiker und Musikgelehrten der christlichen Zeitrechnung bis zur Mitte des 19. Jahrhunderts, 10 vols., 1899-1904. Additions and corrections published from 1 9 1 2 to 1914 in a quarterly, Miscellanea Musicae Bio-bibliographica, ed. H. Springer, M. Schneider, and W. Wolffheim. A new edition, including the Miscellanea, with other additions and corrections was published in 1947. Eitner, Robert, Bibliographie der Musik-Sammelwerke des XVI. und XVII. Jahrhunderts, 1877. Eitner, Robert, "Schulwerke von 1535 etc.," Monatshefte für Musikgeschichte, X X (1888), 17. Eitner, Robert, " Tänze des 15. bis 17. Jahrhunderts," Monatsheft für Musikgeschichte, V I I , Supplement (1875). The English School of Lutenist Song Writers, ed. Edmund H. Fellowes, ser. ι and 2, 16 vols., 1920-1932. For titles of individual volumes see Gustave Reese, Music in the Renaissance (1954), p. 903. Elústiza, Juan B. de, and G. C. Hernandez, eds., Antología musical, siglo de oro de la música litúrgica de España, polifonia vocal siglos XV y XVI, 1933· English Madrigal School, ed. Edmund H. Fellowes, 36 vols., 1914-1924. For titles of individual volumes see Gustave Reese, Music in the Renaissance (1954), p. 904. Engel, Egon, Die Instrumentalformen in der Lautenmusik des 16. Jahrhunderts, 1915. Engel, Hans, ed., Das mehrstimmige Lied des 16. Jahrhunderts in Italien, Frankreich und England, n.d. Englert, Anton, "Bernhard Schmid und Johann Fischart," Zeitschrift für deutsche Philologie, X X X V I I I (1906), 245. Encyclopédie de la Pléiade: Histoire de la musique, Vol. I: Des origines à JeanSébastien Bach, ed. Roland Manuel, i960. Expert, Henry, ed., La Fleur de musiciens de Pierre de Ronsard, 1923. Faisst, Immanuel, "Über die Entstehung der Melodien 'Herzlich lieb hab ich dich, O Herr, etc.' und 'Innsbruck, ich muss dich lassen, etc.,'" Monatshefte für Musikgeschichte, VI (1874), 26, 33, 49. Federmann, Maria, Musik und Musikpflege zur Zeit Herzog Albrechts: zur Geschichte der Königsberger Hofkapelle in den Jahren 1525-1578, 1932. Fellowes, Edmund H., William Byrd, 1936; 2nd ed., 1948. Feilerer, Karl G., "Josquins Missa Faisant regrets in der Vihuela-Transkription von Mudarra und Narváez," Gesammelte Aufsätze zur Kulturgeschichte Spaniens, X V I (i960), 179. Ferand, Ernst T . , " D i e Motetti, Madrigali, et Canzoni Francese . . . Diminuiti . . . des Giovanni Bassano ( 1 5 9 1 ) , " in Festschrift Helmuth Osthoff zum 65. Geburtstage (1961), p. 75. Ferand, Ernst T . , ed., Die Improvisation in Beispielen aus neun Jahrhunderten abendländischer Musik, 1956. Ferand, Ernst T . , Die Improvisation in der Musik, 1938.

LIST FétB FétC FétT FinschC FischV FlechaE FlowerG ForkA Forti

FoschA FoxA FoxED FoxP FranF FrerA FroideA FrotO FrotOI FuenD FuenF FunA FuserC Gabr(A)C

Gabr(A)CF Gabr(A)CR Gabr(A)I Gabr(A)R Gabr(A)RDT Gabr(A)RO Gabr(A)RST Gabr(G)C Gabr(G)CO Gabr(G)CS Gabr(G)S Gabr(G)SP Gabr(G)W GalR GallLP GanB

OF W O R K S

CITED

Fétis, François J. Biographie universelle des musiciens, 2nd ed., 8 vols., 18601865. Two-volume supplement by A . Pougin, 1878-1880. Catalogue de la bibliothèque de F. J. Fétis acquise par l'état belge, 1877. Fétis, François J., Traité complet de la théorie et de la pratique de l'harmonie, 4th ed., 1849. Finscher, Ludwig, "Loyset Compère and His Works," Musica disciplina, X I I (1958), i o S . Fischer, Kurt von, ed., Die Variation, 1955. Mateo Flecha: Las Ensaladas (Praga, 1581), ed. Higinio Anglés, 1954. Flower, John Α., "Giovanni Gabrieli's Sacrae Symphoniae (1597)," unpub. diss., University of Michigan, 1956. Forkel, J. Nicolaus, Allgemeine Geschichte der Musik, 2 vols., 1788-1801. Fortner, Wolfgang, ed., Instrumentalspielbuch. Alte Originalsätze feierlichen Charakters, Festmusiken und deutsche Tänze (16.-18. Jahrhundert), 2 vols., 1939. Foschini, Gaetano F., ed., Antologia classica italiana, 1931. Fox, Charles Warren, "Accidentals in Vihuela Tablatures," abstract, Bulletin of the American Musicological Society, no. 4 (1938), 22. Fox, Charles Warren, " A n Early Duet for Recorder and Lute," The Guitar Review, I X (1949), 24. Fox, Charles Warren, " A Pleasant and Very Useful Book (1529)," abstract, Bulletin of the American Musicological Society, no. 2 (1937), 22. Francesco da Milano, 3 Fantasien für Gitarre, ed. Siegfried Behrend, i960. Frerichs, Elly, " D i e Accidentien in den Orgeltabulaturen," Zeitschrift für Musikwissenschaft, V I I (1924-25), 99. Froidebise, Pierre, ed., Anthologie de l'orgue des primitifs à la Renaissance, 2 vols., 1957. Frotscher, Gotthold, Geschichte des Orgelspiels und der Orgelkomposition, vol. ι, 1935· Frotscher, Gotthold, ed., L'Organo italiano. 7 Pezzi, n.d. Fuenllana, Miguel de, De antequera sale el moro. Romance viejo, ed. Emilio Pujol, n.d. Fuenllana, Miguel de, Fantasia, ed. Graciano Tarrago, 1957. Funck, Heinz, Martin Agricola, ein frühprotestantische Schulmusiker, 1933. Fuser, Ireneo, ed., Classici italiani dell'organo, 1955. Andreae Gabrielis Sereniss. Rep. Venetiarum in Templo S. Marci Organistae Ecclesiasticarum Cantionum Quatuor Vocum . . . Liber primus, Venice, Angelo Gardane, 1576. Gabrieli, Andrea, Canzoni alla francese, ed. Pierre Pidoux, 1952. Gabrieli, Andrea, Canzonen und ricercari ariosi, ed. Pierre Pidoux, 1952. Gabrieli, Andrea, Intonationen, ed. Pierre Pidoux, n.d. Gabrieli, Andrea, Three Four Part Ricercari, ed. Hans T . David, 1940. Gabrieli, Andrea, Ricercar del duodecimo tuono, ed. A. Lumsden, 1957. Gabrieli, Andrea, Ricercari für Orgel, ed. Pierre Pidoux, 2 vols., 1941-1952. Gabrieli, Andrea, Ricercar del sesto tuono, ed. A. Lumsden, 1957. Gabrieli, Giovanni, Canzoni per sonar a quattro, Antiqua, eine Sammlung alter Musik, ed. Alfred Einstein, 1933. Gabrieli, Giovanni, Composizioni per organo, ed. Sandro dalla Libera, 3 vols., I9S7-I9S8. Gabrieli, Giovanni, II. Canzone für acht Instrumentalstimmen in zwei Chören (-¡"597), ed. Paul Winter, i960. Gabrieli, Giovanni, Sonata pian e forte, ed. Fritz Stein, 1932. Gabrieli, Giovanni, Sonata pian'e forte, ed. Reginald Johnson, 1961. Gabrieli, Giovanni, Werke für Tasteninstrumente, ed. Gerald S. Bedbrook, 1957· Galilei, Vincenzo. Zwölf Ricercari zu vier Stimmen, ed. Franz J. Giesbert, 1959· Gallico, Claudio, Un libro di poesie per musica dell'epoca d'Isabella d'Este, 1961. Gandolfi, Riccardo, "Biblioteca," in Annuario del R. Istituto musicale di Firenze e atti dell'Accademia (1899).

LIST

452 Gana F GanaOF

GanaR GardI GaspCM GaspaC GastN GaussO GE GeorgK GerbH GerbS GéroB GhiA

GhiFM GiazMG GiesA GiesIF GiesK GiesS GlarDE GodB GoldV

OF

WORKS

CITED

Silvestro Ganassi: Opera intitulata Fontegara . . . 1535, facsimile ed., 1934. Silvestro Ganassi: Opera intitulata Fontegara, ed. Hildemarie Peter, 1956; 2nd ed. with English trans, by Dorothy Swainson, 1959. T h e second edition is referred to in this book as G a n a O F E . Silvestro Ganassi: Regola Rubertina, 1542-1543, facsimile ed. with preface by M a x Schneider, 1924. Indice detti libri di musica che si trovano nelle stampe di Angelo Gardano, 1591. Gasperini, Guido, Nestore Peliceli:, Pompeo Molmenti, and others, Claudio Merulo da Correggio, 1533-1604, 1904. Gaspari, Gaetano, Catalogo della biblioteca del Liceo musicale di Bologna, 5 vols., 1890-1943; reprinted 1961. Gastritz, Mathias, Novae harmonicae cantiones, Nuremberg, 1569. Gauss, Otto, ed., Orgelkompositionen aus alter und neuer Zeit, 4 vols., 19091913· La Grande Encyclopédie, inventaire raisonné des sciences, des lettres et des arts, 31 vols., 1886-1902. Georgii, Walter, ed., 400 Jahre europäischer Klaviermusik, 1950. Gerber, Rudolf, "Spanische Hymnensätze um 1500," Archiv für Musikwissenschaft, X (1953), 165. Gerber, Rudolf, ed., Spanisches Hymnar um 1500 (Das Chorwerk, vol. 60), 1957· Gérold, Théodore, ed., Le Manuscrit de Bayeux, 1921. Ghisi, Federico, " U n Aspect inédit des Intermèdes de 1589 à la cour médicéenne," in Les Fêtes de la Renaissance, ed. Jean Jacquot (1956), p. 145· Ghisi, Federico, ed., Feste musicali della Firenze medicea (1480-158g), 1939. Giazotto, Remo, La Musica a Genova netta vita pubblica e privata dal XIII al XVIII secolo, n.d. Giesbert, Franz J., ed., Pierre Attaingnant: Pariser Tanzbuch aus dem Jahre 1530, 195°· Giesbert, Franz J., ed., Instrumental-Fantasien des 16. Jahrhunderts für vierstimmigen Blockflöten-, Violen- oder Fidelchor, 1954. Giesbert, Franz J., ed., Klassiker des Lautenspiels, Vol. I: Fantasien und Tänze aus der Blütezeit der Lautenmusik, 1925. Giesbert, Franz J., ed., Ein altes Spielbuch, Liber Fridolini Sichery, 1936. Miller, Clement Α., " T h e Dodecachordon of Heinrich Glarean," unpub. diss., University of Michigan, 1951. Godman, Stanley, " B a c h ' s Copies of Ammerbach's 'Orgel oder Instrument Tabulatur' (1571)," Music & Letters, X X X V I I I (1957), 21. Goldschmidt, Hugo, "Verzierungen, Veränderungen und Passagien im 16. und 17. Jahrhundert," Monatshefte für Musikgeschichte, X X I I I (1891), III.

GolosT GomCF

GomF GomH GomI GomM GomO GomRF

GomVB

Golos, G . S., " T r e intavolature manoscritte di musica vocale rintracciate in Polonia," L'Organo, III (1962) 123. Gombosi, Otto, " T h e Cultural and Folkloristic Background of the Folia," Papers Read by Members of the American Musicological Society, 1940 (1946), 88. Gombosi, Otto, " Z u r Frühgeschichte der Folia," Acta musicologica, V I I I (1936), 119. Gombosi, Otto, " D e r Hoftanz," Acta musicologica, V I I (1935), 50. Gombosi, Otto, " Italia, patria del basso ostinato," La rassegna musicale, V I I (1934). 14· Gombosi, Otto, " D i e Musikalien der Pfarrkirche zu St. Ägidien in Bártfa," in Festschrift für Johannes Wolf (1929), 38. Gombosi, Otto, Jacob Obrecht, eine stilkritische Studie, 1925. Gombosi, Otto, " A la recherche de la forme dans la musique de la Renaissance: Francesco da Milano," in La Musique instrumentale de la Renaissance, ed. Jean Jacquot (1955), p. 165. Gombosi, Otto, Bakfark Bálint élete és müvei (Der Lautenist Valentin Bakfark, Leben und Werke), Musicologia Hungarica, vol. II (Hungarian and German text), 1935.

LIST GomVC GombertMT I GombertMT I I GombertMT I I 35 GombertO GoovH GostL GottA GottronMM GrandT GravA GressE GreuB GrimmM GuerrM GuerrO GuilC GumpelzKF GiinthB GurB HaasA HahnelL HalbK HalfT HAM HamC HambF Hammerl HarZ HaraD HaraL

OF W O R K S

CITED

453

Gombosi, Otto, ed., Compositione di Meser Vincenzo Capitola. Lute-Book (circa 1517), 1955. Gombert, Nicolas, Del primo Libro de i motteti a quattro voci, Venice, Girolamo Scotto, 1539. Gombert, Nicolas, Nicolai Gomberti, Musici Imperatorii, Motectorum, nuperrime maxima diligentia in lucem aeditorum Liber secundus. Quatuor vocum, Venice, Girolamo Scotto, 1 5 4 1 . Gombert, Nicolas, Nicolai Gomberti, Musici Solertissimi, Motectorum Quinqué vocum, Maximo studio in lucem editorum Liber secundus. Quinqué vocum, Venice, Girolamo Scotto, 1 5 4 1 . Nicolas Gombert: Opera omnia, ed. Joseph Schmidt-Görg, 1951—. Goovaerts, Alphonse, Histoire et bibliographie de la typographie musicale dans les Pays-Bas, 1884; reprinted, 1963. Giovanni Battista della Gostena : Intavolatura di Liuto, ed. Giuseppe Gullino, 1949. Gottschalg, A. W., ed., Historisches Album für Gesang, Pianoforte, Harmonium, Pedalflügel oder Orgel, 1884. Gottron, Adam, Mainzer Musikgeschichte von 1500 bis 1800, 1959. Grand-Carteret, John, " L e s Titres illustrés et l'image au service de la musique," Rivista musicale italiana, V (1898), 1. Gravisi, Anteo, "Andrea Antico da Montana," in Atti e memorie della Società istriana di archeologia e stòria patria, I (1885), 141. Gress, Richard, Die Entwicklung der Klaviervariation von Andrea Gabrieli bis zu Johann Sebastian Bach, 1929. Greulich, Martin, Beiträge zur Geschichte des Streichinstrumentenspiels im 16. Jahrhundert, 1934. Grimm, Heinrich, Meister der Renaissancemusik an der Viadrana, 1942. Guerrero, Francisco, Francisci Guerrero Hispalensis sacrae cantiones, vulgo moteta nuncupata quinqué vocum, Seville, Martin a Montesdoca, 1555. Guerrero, Francisco, Opera omnia, ed. Miguel Gavaldá and Vicente García, Monumentos de la música española, vols. X V I , X I X , 1955—. Guilmant, Alexander, ed., Concert historique d'orgue, 1896. Gumpelzhaimer, Adam, Zwölf kleine Fantasien, ed. Franz J . Giesbert, n.d. Günthert, Ernst, ed., Beiträge zur Klaviermusik (Sudetendeutsche Monatshefte. Im Auftrag des Musikwissenschaftlichen Institutes der deutschen Universität, Prague), 1936-1937. Gurlitt, Willibald, "Burgundische Chanson und deutsche Liedkunst," in Bericht über den Musikwissenschaftlichen Kongress in Basel (1925), p. 153· Haas, Robert, Aufführungspraxis der Musik, 1930. Hahne-Overmann, Elisabeth, "Ikonographie der Lautengriffe," Zeitschrift für Musikwissenschaft, X I I (1929-30), 527. Halbig, Hermann, ed., Klaviertänze des 16. Jahrhunderts, 1928. Halfpenny, Eric, " T a n t i v y : an Exposition of the 'Ancient Hunting Notes,' " Proceedings of the Musical Association, L X X X (1953-1954), 43· Davison, Archibald T . , and Willi Apel, eds., Historical Anthology of Music, vol. I, 1946; rev. ed., 1949. References are to the first edition. Hambraeus, Bengt, Codex Carminum Gallicorum. Une étude sur le volume Musique vocale du manuscrit 87 de la Bibliothèque de l'Université d'Upsala, 1961. Hamburger, Povl, " D i e Fantasien in Emanuel Adriansens Pratum Musicum (1600)," Zeitschrift für Musikwissenschaft, X I I (1929-30), 148. Hammerstein, Reinhard, "Instrumenta Hieronymi," Archiv für Musikwissenschaft, X V I (1959), 1 1 7 . Harich-Schneider, Eta, and Ricard Boadeila, " Z u m Klavichordspiel bei Tomás de Santa Maria," Archiv für Musikforschung, I I (1937), 243. Haraszti, Emile, " Les Rapports italo-transylvains de II Transilvano de Girolamo Diruta," in Mélanges de musicologie offerts à M. Lionel de la Laurencie (1933), p. 73. Haraszti, Emile, " U n Grand Luthiste du X V I e siècle: Valentin Bakfark," Revue de musicologie, X (1929), 159.

454 HarmM HawkH

HawkeO HeartzBD HeartzC HeartzE HeartzP HeartzS HeartzS F HeartzSM HenzeG HeronF HerpN HewO HeyerV HillM HirK HirthK HM HolF HolP HolPG HolQ HolSE HolTQ HolzTVC HorsE

HorsS HorsV HorsWT HuntR

LIST

OF W O R K S

CITED

Harman, Alec, Anthony Milner, and Wilfrid Meilers, Man and His Music: The Story of Musical Experience in the West, 1962. Hawkins, Sir John, A General History of the Science and Practice of Music, S vols., 1776; new ed., 3 vols., 1853, 1875; mod. ed., 2 vols., 1963. References are to the first edition. Hawke, H. William, ed., Elkan-Vogel Organ Series, 5 vols., n.d. Heartz, Daniel, " T h e Basse Dance," Annales musicologiques, V I (19581963), 287. Heartz, Daniel, " L a Chronologie des recueils imprimés par Pierre Attaingnant," Revue de musicologie, X L I V (1959), 176. Heartz, Daniel, " A n Elizabethan Tutor for the Guitar," The Galpin Society Journal. An Occasional Publication, X V I (1963), 3. Heartz, Daniel, "Parisian Music Publishing under Henry I I : A Propos of Four Recently Discovered Guitar Books," The Musical Quarterly, X L V I (1960), 448. Heartz, Daniel, " L e s Styles instrumentaux dans la musique de la Renaissance," in La Musique instrumentale de la Renaissance, ed. Jean Jacquot (i9SS). Ρ· 6ι. Heartz, Daniel, "Sources and Forms of the French Instrumental Dance in the Sixteenth Century," unpub. diss., Harvard University, 1957. Heartz, Daniel, " A Spanish 'Masque of Cupid,'" The Musical Quarterly, X L I X (1963), 59· Henze, Bruno, Das Gitarrespiel, 14 vols., 1950. Heron-Allen, Edward, De fidiculis bibliographie, 2 vols., 1890-1894. Herpol, Homer, Novum et insigne opus musicum, Nuremberg, 1565. Hewitt, Helen, ed., Harmonice Musices Odhecaton A, 1942. Versteigerung von Musikbüchern, praktischer Musik und Musiker-Autographen des 16. bis 18. Jahrhunderts aus dem Nachlass des Herrn Kommerzienrates Wilhelm Hey er in Köln, 4 vols., 1927. Hill, Richard S., " Music from the Collection of Baron Horace de Landau," in LCQA, V I I (1950), 14· Hirsch, Paul, and Käthi Meyer, Katalog der Musikbibliothek Paul Hirsch, Frankfurt am Main, 4 vols., 1928. Hirth, Georg, Kulturgeschichtliches Bilderbuch aus drei Jahrhunderten, 3 vols., 1881-1890. Hortus Musicus. Small volumes of music published by Bärenreiter Verlag, Kassel and Basel, 1941—. Holborne, Antony, Two Fantasias (1597), ed. Thurston Dart, 1948. Holborne, Antony, Two Pieces: "The Fruit of Love" and "Heigh Ho Holiday," ed. Harvey Sartorius, 1940. Holborne, Antony, Pavans, Gaillards, Almaines and Other Short Airs in Five Parts for Viols, Violins or Wind Instruments, ed. Sydney Beck, 1940. Holborne, Antony, Two Quintets, ed. Edgar Hunt, 1959. Holborne, Antony, Suite for an Ensemble of Brass or Other Instruments, ed. Thurston Dart, 1959. Holborne, Antony, Three Quintets, ed. Edgar Hunt, 1961. Holzmann, Klaus, "Hieronymus Formschneyders Sammeldruck Trium Vocum Carmina. Nürnberg 1538," unpub. diss., Albert-LudwigsUniversität, Freiburg in Breisgau, 1956. Horsley, Imogene, "Improvised Embellishment in the Performance of Renaissance Polyphonic Music," Journal of the American Musicological Society, IV (1951), 3. Horsley, Imogene, " T h e Solo Ricercar in Diminution Manuals: New Light on Early Wind and String Techniques," Acta musicologica, X X X I I I (1961), 29. Horsley, Imogene, " T h e Sixteenth-Century Variation and Baroque Counterpoint," Musica disciplina, X I V (i960), 161. Horsley, Imogene, " W i n d Techniques in the Sixteenth and Early Seventeenth Centuries," Brass Quarterly, IV (i960), 49. Hunt, Edgar, The Recorder, 1957.

LIST HuntingC HuskC HutchV IISM IISM I IMAMI IMAMI I I M A M I II I M A M I IV ImelS JachetMT I JackBD JacobsTN JanT JepK JepO Josq JosqMS JosqMT JosqWW KallLO Kastnl KastnMM

KastnP KastnR KastnSI KastnV KatzF KemE KenN KiesS KiesT KinDT KinO KinsAP

OF W O R K S

CITED

455

Huntington, Archer, Catalogue of the Library of Ferdinand Columbus. Reproduced in Facsimile from the Unique Manuscript in the Columbine Library of Seville, 1905. Husk, W. Η., Catalogue of the Library of The Sacred Harmonic Society, 1872. Hutchinson, Loving, " The Vihuela Music of Diego Pisador," unpub. thesis, Eastman School of Music, Rochester, N.Y., 1937. Istituto italiano per la stòria della musica, Rome. Villanelle alla napolitana a tre voci di musicisti Baresi del secolo XVI raccolte da Giovanni de Antiquis per le stampe del Gardano del 1574> ed. S. A. Luciani, 1941. Istituzioni e monumenti dell'arte musicale italiana, 6 vols., 1931-1939. Andrea e Giovanni Gabrieli e la musica strumentale in San Marco, I, ed. G. Benvenuti, 1931. Andrea e Giovanni Gabrieli e la musica strumentale in San Marco, II, ed. G. Benvenuti with preface by G. Cesari, 1932. La Camerata fiorentina: Vincenzo Galilei, ed. F. Fano, 1934. Imelmann, Rudolf, " Z u r Kenntnis der vor-Shakespeare'schen Lyrik," Jahrbuch der deutschen Shakespeare-Gesellschaft, X X X I X (1903), 168. Jachet of Mantua, Celeberrimi Maximeque delectabilis musici Jacket, chori Sancti Petri urbes Mantuae magistri: Motecta Quatuor vocum . . . Liber primus, Venice, Girolamo Scotto, 1539. Jackman, James L., ed., Fifteenth Century Basse Dances (The Wellesley Edition, no. 6), 1964. Jacobs, Charles, Tempo Notation in Renaissance Spain, 1964. Janequin, Clément, Trente chansons à trois et quatre voix, ed. Maurice Cauchie, 1928. Jeppesen, Knud, ed., Der Kopenhagener Chansonnier, 1927. Jeppesen, Knud, Die italienische Orgelmusik am Anfang des Cinquecento, 1943; rev. ed., 2 vols., i960. References are to the first edition. Josquin des Prés: Werken, ed. Albert Smijers, 1921—. Missen, 1931—. Motetten, 1926—. Wereldlijke Werken, 1925—. Kaller, Ernst, ed., Liber organi, 7 vols., 1931-1935. Kastner, Macario Santiago, " U n a Intavolatura d'organo italiana del 1568," Collectanea historiae musicae, II (1956), 237. Kastner, Macario Santiago, " L o s Manuscritos musicales n° 48 y 242 de la Biblioteca general de la Universidad de Coimbra," Anuario musical, V (1950), 78. Kastner, Macario Santiago, "Parallels and discrepancies between English and Spanish Keyboard Music of the Sixteenth and Seventeenth Century," Anuario musical, V I I (1952), 77. Kastner, Macario Santiago, "Relations entre la musique instrumentale française et espagnole au X V I e siècle," Anuario musical, X (1955), 84. Kastner, Macario Santiago, ed., Silva ibérica de música para tecla de los siglos XVI, XVII y XVIII, 1954. Kastner, Macario Santiago, ed., Altitalienische Versetten in allen Kirchentonarten für Orgel oder andere Tasteninstrumente, 1957. Katz, Erich, ed., Fantasias & Ricercares of the i6th and 17th Centuries, 1954. Kempers, Karel P. Bernet, " D i e Messe 'En Espoir' des Jacobus Clemens non Papa," in Festschrift für Joseph Schmidt-Görg (1957), p. 10. Kendali, Raymond, "Notes on Arnold Schlick," Acta musicologica, X I (1939). 136. Kiesewetter, Raphael, Schicksale und Beschaffenheit des weltlichen Gesanges, 1841. Kiesewetter, Raphael, Die Verdienste der Niederländer um die Tonkunst, 1829. Kinkeldey, Otto, "Dance Tunes of the Fifteenth Century," in Instrumental Music, ed. David Hughes (1959), p. 3. Kinkeldey, Otto, Orgel und Klavier in der Musik des 16. Jahrhunderts, 1910. Kinsky, Georg, "Allessandro Piccinini und sein Arciliuto," Acta musicologica, X (1938), 103.

456 KinsP KlaemM KleinO Knapp C KoczD KoczJ KoczM KÖ1Z KörL KörnO KommaM KosI KosackL KrI KrausCO KrebsD KriegerME KuV LangL LassoCDV LassoF LassoW LauC LauLL LB LCQA LCReport LechM LechN LechW LefL LeiH LeMaiG LenK LenN LenneC Le RoyF Le Roy F M

LIST

OF W O R K S

CITED

Kinsky, Georg, A History of Music in Pictures, 1930. Klaembt, Fritz, ed., Musik für Liebhaber des Gitarrenspiels, i960. Klein, John, ed., The First Four Centuries of Music for the Organ, 2 vols., 1948. Knapp, J. Merrill, " T h e Canzone Francese and Its Vocal Models," unpub. thesis, Columbia University, 1941. Koczirz, Adolph, " D i e Gitarrekompositionen in Miguel de Fuenllana's Orphénica lyra (1554)," Archiv, für Musikwissenschaft, IV (1922), 241. Koczirz, Adolph, " D e r Lautenist Hans Judenkünig," Sammelbände der Internationalen Musikgesellschaft, V I (1905), 237. Koczirz, Adolph, " D i e Fantasien des Melchior de Barberis für die siebensaitige Gitarre," Zeitschrift für Musikwissenschaft, IV (1921), 11. Köler, David, Zehen Psalmen Davids, Leipzig, 1554. Körte, Oswald, Laute und Lautenmusik bis zur Mitte des 16. Jahrhunderts, 1901. Körner, G. W., and A. G. Ritter, eds., Der Orgel Freund. Vor- und Nachspiele, figurirte Choräle, Trio's, Fughetten, Fugen, Fantasien u.s.w. in allen Formen, n.d. Komma, Karl Michael, Musikgeschichte in Bildern, 1961. Kosleck, J., ed., Instrumentalsätze älterer Zeit, n.d. Kosack, Hans-Peter, Geschichte der Laute und Lautenmusik in Preussen, 1935. Kroyer, Theodor von, Die Anfänge der Chromatik im italienischen Madrigal des XVI. Jahrhunderts, 1902. Kraus, Eberhard, ed., Cantantibus organis, 3 vols., 1958-1959. Krebs, Carl, "Girolamo Diruta's Transilvano," Vierteljahrsschrift für Musikwissenschaft, V I I I (1892), 307. Krieger, Ferdinand, Musica ecclesiastica catholica, 1872. Kuhn, Max, Die Verzierungs-Kunst in der Gesangs-Musik des 16.-ij. Jahrhunderts {1535-1650), 1902. Langius, Gregorius, Newer deudscher Lieder, mit dreyen Stimmen, Breslau, Johannes Scharffenberg, 1584. Lasso, Orlando di, Cantiones duarum vocum. Magnum opus I-XXIV, ed. by Paul Boepple, Dessoff Choir Series, 2 vols., 1941-1942. Lasso, Orlando di, Fantasien aus Magnum opus musicum, ed. Gerd Ochs, n.d. Lasso, Orlando di, Sämtliche Werke, ed. F. X . Haberl and A. Sandberger, 1894—. Laurencie, Lionel de la, A. Mairy, and G. Thibault, eds., Chansons au luth et airs de cour français du XVIe siècle, 1934. Laurencie, Lionel de la, Les Luthistes, 1928. Lose Blätter der Musikantengilde. Small volumes of music published by G. Kallmeyer Verlag, Wolfenbüttel, [ca. 1930—]. Library of Congress. Quarterly Journal of Current Acquisitions, 1943—. Library of Congress. Annual Report, 1866—. Lechner, Leonhard, Motectae sacrae, quatuor, quinqué, et sex vocum, Nuremberg, Catharine Gerlach and the heirs of Johannes Montanus, 1576. Lechner, Leonhard, Der erst und ander Theil der teutschen Villanellen . . . mit 3 Stimmen, Nuremberg, Catharine Gerlach, 1590. Lechner, Leonhard, Werke, ed. Konrad Ameln, 1954—-. Lefkoff, Gerald, ed., Five Sixteenth Century Venetian Lute Books, i960. Leichtentritt, Hugo, ed., Deutsche Hausmusik aus vier Jahrhunderten, 1907. L e Maistre, Matthaeus, Geistliche und weltliche teutsche Geseng, Wittemberg, 1566. Lenaerts, René Β., ed., Die Kunst der Niederländer, 1962. Lenaerts, René Β., Het Nederlands polifonies Lied in de i6ie Eeuw, 1933. Lenneberg, Hans, " T h e Critic Criticized: Sebastian Virdung and His Controversy with Arnold Schlick," Journal of the American Musicological Society, X (1957), 1. Le Roy, Adrian, Fantaisies et danses extraites de A brief e and essaye Instruction (1568), ed. Pierre Jansen and Daniel Heartz, 1962. Le Roy, Adrian, Premier Livre de Tabulature de luth (1551), ed. André Souris and Richard de Morcourt, i960.

LIST L e RoyP LesAC LesD LesDC LesE LesGF LesLRB LesP

LevyS LiliH LitaDP LiuM LittC LLiuQ LM LockVR LowE LowG LowT LSM LU LütkeF LumE LumS MacC MagB Maggs28 Maggss8 MagniSM MainB MalAR MalR

OF W O R K S

CITED

457

Le Roy, Adrian, Psaumes (Tiers livre 1552—Instruction 1574), ed. Richard de Morcourt, 1963. Lesure, François, Nanie Bridgman, Isabelle Cazeaux, M . Levin, Kenneth Levy, and D. P. Walker, eds., Anthologie de la chanson parisienne au XVIe siècle, 1952. Lesure, François, "Danses et chansons à danser au début du X V I e siècle," in Recueil de travaux offerts à M. Clovis Brunei (1955), p. 176. Lesure, François, and Geneviève Thibault, "Bibliographie des éditions musicales publiées par Nicolas du Chemin (1549-1576)," Annales musicologiques, I (1953), 269. Lesure François, "L'Épitome musical de Philibert Jambe de Fer (1550)," Annales musicologiques, VI (1958-1963), 340. Lesure, François, " L a Guitare en France au X V I e siècle," Musica disciplina, I V (1950), 187. Lesure, François, and Geneviève Thibault, Bibliographie des éditions d'Adrian Le Roy et Robert Ballard (1551-1598), 1955. Lesure, François, and Richard de Morcourt, " G . P. Paladino et son 'Premier Livre' de luth (1560)," Revue de musicologie, X L I I (1958), 170. Levy, Kenneth. "'Susanne un jour': The History of a i6th Century Chanson," Annales musicologiques, I (1953), 375. Liliencron, Rochus von, " D i e Horazischen Metren in deutschen Kompositionen des 16. Jahrhunderts," Vierteljahrsschrift für Musikwissenschaft, III (1887), 26. Litaize, Gaston, and Jean Bonfils, eds., Da Pacem Domine, Versets de Schlick, Sweelinck, Raison, n.d. Liuzzi, Fernando, I Musicisti in Francia (L'Opera del Genio Italiano all'Estero), 1946. Littleton, Alfred H., A Catalogue of One Hundred Works Illustrating the History of Music Printing, 1911. LLiurat, Q., "Quelques erreurs sur Cabezón 1510-1566," Revue musicale de la Société internationale de Musique, V I (1910), 604. Larousse de la musique, 2 vols., 1957. Lockwood, Lewis, "Vincenzo Ruffo and Musical Reform after the Council of Trent," The Musical Quarterly, X L I I I (1957), 357. Lowinsky, Edward, "Early Scores in Manuscript," Journal of the American Musicological Society, X I I I (i960), 126. Lowinsky, Edward, " T h e Goddess Fortuna in Music," The Musical Quarterly, X X I X (1943), 45. Lowinsky, Edward, Tonality and Atonality in Sixteenth-Century Music, 1961. Le Luth et sa musique, ed. Jean Jacquot, 1958. Liber usualis. References are to the 1947 Belgian edition. Liitkeman, Paul, Fantasien über Kirchenmelodien der pommerschen Reformationszeit, ed. Erdmann Werner Böhme, 1931. Lumsden, David, "English Lute Music, 1540-1620, An Introduction," Proceedings of the Royal Musical Association, L X X X I I I (1956-57), ι . Lumsden, David, " T h e Sources of English Lute Music (1540-1620)," The Galpin Society Journal. An Occasional Publication, V I (1953), 14. MacClintock, Carol, " A Court Musician's Songbook: Modena M S C 3 1 1 , " Journal of the American Musicological Society, I X (1956), 177. Magriel, Paul, A Bibliography of Dancing, 1936. Maggs Brothers Catalogue. Music, Early Books, Manuscripts, Portraits and Autographs, catalogue no. 512, London, 1928. Maggs Brothers Catalogue. Florence and Tuscany, Music, catalogue no. 849, London, 1958. Magni Dufflocq, Enrico, Stòria della musica, vol. I, 1933. Mainerio, Giorgio, Il primo Libro de balli, ed. Manfred Schuler, 1963. Malecek, Anton R., "Anton Rotta, eine biographische Skizze," in Festschrift Adolph Koczirz zum 60. Geburtstag (1930), 20. Malecek, Anton R., " D e r Paduaner Lautenmeister Antonio Rotta (ca 14951548)," unpub. diss., University of Vienna, 1930.

45« Maid MaldP MaldR MarenW

MaryO MaunC MB MB I M B VI MB XVIII McKeeM MeM MeiC MeiN MendP MerT MeruC MeruCan MeruO MeruT MeyeM MeyerC MFH MfMG MGG MI MilanC MilanF MilanFa MilanL MilanM MilanSP MilanT M i l a n T (Puj) MIR MischR MitU M L E , 1904

MLI MME

MMFTR

L I S T OF W O R K S

CITED

Maldeghem, Robert van, ed., Trésor musical, 1865-1893. Musique profane, 29 vols., 1865-1893. Musique religieuse, 29 vols., 1865-1893. Marenzio, Luca, Sämtliche Werke, ed. Alfred Einstein, Publikationen älterer Musik . . . der Deutschen Musikgesellschaft, vol. I, Jahrgang IV 1 , 1929; vol. II, Jahrgang VI, 1931. Mary, André, " ' L ' O r c h é s o g r a p h i e ' de Thoinot Arbeau," Les Trésors des bibliothèques de France, V (1935), 85. Maunsell, Andrew, The Seconde Part of the Catalogue of English Printed Books, 1595. Musica Britannica. A National Collection of Music, 1951—. The Mulliner Book, ed. Denis Stevens, 1951 ; 2nd ed., 1954. John Dowland: Ayr es for Four Voices, ed. E d m u n d H . Fellowes, T h u r s t o n Dart, and Nigel Fortune, 1953. Music at the Court of Henry Vili, ed. John Stevens, 1962. McKee, William E., " T h e Music of Florentio Maschera (1540-1584)," unpub. diss., N o r t h Texas State College, 1958. Meyer, Käthi, " M i c h e l de Toulouze," The Music Review, V I I (1946), 178. Meiland, Jacob, Cantiones sacrae, Nuremberg, 1569. Meiland, Jacob, Newe ausserlesene teutsche Liedlein, Nuremberg, 1569. Mendel, Arthur, " P i t c h in the 16th and Early 17th Centuries," The Musical Quarterly, X X I V (1948)» 2 8 . I99> 336, 575. Merian, Wilhelm, Der Tanz in den deutschen Tabulaturbüchern, 1927. Merulo, Claudio, Canzonen, 1592, ed. Pierre Pidoux, 1941. Merulo, Claudio, Sei Canzoni da Sonar a 4, ed. Benvenuto Disertori, 1950. Merulo, Claudio, Livre IV des Oeuvres d'Orgue . . . Venise, 1568, ed. J. B. Labat, [1865?]. Merulo, Claudio, Toccate per organo, ed. Sandro Dalla Libera, 3 vols., 1959. Meyer, Ernst H., Die mehrstimmige Spielmusik des 17. Jahrhunderts in Nordund Mitteleuropa, 1934. Collection Musicale André Meyer, ed. François Lesure, 1960. Musikalische Formen in historischen Reihen, ed. Heinrich Martens, 20 vols., 1930-1937. Monatshefte für Musikgeschichte, 1869-1905. Die Musik in Geschichte u n d Gegenwart, ed. Friedrich Blume, 1949—. Musica Instrumentalis, ed. Helmut Mönkmeyer, 6 vols., i960. Milán, Luis, Con pavor recordó el moro. Romance, ed. José de Azpiazu, 1958. Milán, Luis, Fantasia 4 & Fantasia 14, ed. Pieter van der Staak, 1958. Milán, Luis, Fantasia, ed. Graciano Tarrago, 1962. Milán, Luis, Levayme amor d'agnesta terra, ed. José de Azpiazu, n.d. Milán, Luis, Musikalische Werke, ed. Leo Schrade, Publikationen älterer Musik . . . der Deutschen Musikgesellschaft, vol. II 1 , 1927. Milán, Luis, 6 Pavanes and a Fantasia, ed. Alexander Bellow, 1961. Milán, Luis, Toda mi vida os amé, ed. Fernandez Lavie, 1955. Milán, Luis, Toda mi vida os amé. Villancico, ed. Emilio Pujol, n.d. La Musique instrumentale de la Renaissance, ed. Jean Jacquot, 1955. Mischiati, Oscar, " T o r n a n o alla luce i ricercari della 'Musica N o v a ' del 1540," L'Organo, I I (1961), 73. Mitjana, Rafael, Jesús Bal y Gay, and Isabel Pope, eds., Cancionero de Upsala, 1944. An Illustrated Catalogue of the Music Loan Exhibition held. . .by the Worshipful Company of Musicians at Fishmonger's Hall, June and July, 1904, 1909· Music Libraries and Instruments, ed. Unity Sherrington and G u y Oldham, 1961 ("Hinrichsen's Eleventh Music Book"). Monumentos de la música española, ed. Higinio Anglés, 1941—. For titles of individual volumes see Gustave Reese, Music in the Renaissance (i9S4), P· 923· Les Monuments de la musique française au temps de la Renaissance, i o vols., ed. Henry Expert, 1924-1930. For titles of individual volumes see Gustave Reese, Music in the Renaissance, p. 923.

L I S T OF W O R K S MMRF ModF MoeDM MohrA MohrH MolinL MolinS MollM MolmS MolzHN MOM MonkS MonteO MorL MoralesMS I I MoralesO MorcouA MorcouB MorlCB MorlCU MorlF MorlFV MorlTL MorlayeC MornableP

MorrA MosGR MosL MosPH MU MUB MUB 6 M U B io M U B 19

CITED

459

Les Maîtres musiciens de la Renaissance française, 23 vols, plus supplementary vols., ed. Henry Expert, 1894-1908. For titles of individual volumes see Gustave Reese, Music in the Renaissance (ReMR), p. 923. Jacques Moderne: Fröhliche Musik (Musique dejoye), ed. Franz J . Giesbert, 1934· Moe, Lawrence H., "Dance Music in Printed Italian Lute Tablatures from 1507 to 1 6 1 1 , " 2 vols., unpub. diss., Harvard University, 1956. Möhr, Ernst, Die Allemande, 2 vols., 1932. Möhr, Peter, Die Handschrift B.211-215 der Proske-Bibliothek zu Regensburg, Schriften des Landesinstituts f ü r Musikforschung Kiel, vol. V I I , 1955· Molinaro, Simone, Intavolatura di Liuto, Lib. primo., ed. Giuseppe Gullino, 1940. Molinaro, Simone, 2 Saltarelli, ed. Reginald Smith-Brindle, 1957. Moll Roqueta, Jaime, "Músicos en la corte del Cardenal J . Tavera ( 1 5 2 3 1545): Luis Venegas de Henestrosa," Anuario musical, V I (1951), 155. Molmenti, Pompeo, La Stòria di Venezia nella vita privata dalle origini alla caduta della repubblica, 5th ed., 2 vols., 1 9 1 1 . Molzberger, Ernst, ed., Lautenstücke von Hans Nezvsidler, 1939. Masterpieces of Organ Music. Selected Compositions of the Old Masters, ed. Norman Hennefield, 1944—. Mönkemeyer, Helmut, ed., Hans Gerle. Spielstücke, 2 vols., 1964. Monte, Philippe de, Opera, ed. Charles van den Borren and J . van Nuffel, 1927— Morphy, Guillermo, ed., Les Luthistes espagnols du XVIe siècle, 2 vols., 1902. Morales, Cristóbal de, Missarum Liber II, Lyons, Jacques Moderne, 1 5 5 1 . Morales, Cristóbal de, Opera omnia, ed. Higinio Anglés, 1952—. Morcourt, abbé Richard de, "Adrian le Roy et les psaumes pour luth," Annales musicologiques, I I I (1955), 179. Morcourt, abbé Richard de, " L e Livre de tablature de luth de Domenico Bianchini (1546)," in La Musique instrumentale de la Renaissance, ed. Jean Jacquot (1955), p. 177. Morley, Thomas, Two Part Canzonets for Voices and Instruments, ed. D. H. Boalch, 1950. Morley, Thomas, Canzonets for Two Voices, facsimile ed. by John E. Uhler, 1954. Morley, Thomas, Nine Fantasies for Two Viols, ed. Edmund H. Fellowes, 1928. Morley, Thomas, Neun Fantasien für zwei Viola da Garnba, ed. Nathalie Dolmetsch, 1956. Morley, Thomas, Two Consort Lessons Collected by Thomas Morley, ed. Thurston Dart, 1957. Morlaye, Guillaume, Psaumes de Pierre Certon réduits pour chant et luth, ed. François Lesure and Richard de Morcourt, 1957. Mornable, Antoine, Livre second contenant XVII. pseaulmes de David traduictz de Latin en Francois par Clement Marot et naguères mis en musique en quatre parties separees par maistre Anthoine de Mornable, Paris, Pierre Attaingnant, 1546. Morrow, Michael, " A y r e on the F $ String," The Lute Society Journal, I I (i960), 9. Moser, Hans J., ed., Gassenhawerlin und Reutterliedlin (1535), facsimile ed. (with missing discant supplied by the editor), 1927. Moser, Hans J . and Eduard Bernoulli, eds., Das Liederbuch des Amt von Aich, 1930. Moser, Hans J., Paul Hofhaimer, 1929. Die Musikantengilde, 7 vols., 1922-1929. This journal succeeded Die Laute. Music for Brass. Small volumes of music published by the Robert King Music Co., North Easton, Mass., ca. 1950—. Antony Holborne: Two Pieces Giovanni Gabrieli: Sonata Octavi Toni. Giovanni Gabrieli: Canzon quarti toni.

460 MUB MUB MUB MUB MUB MUB MUB MUB MUB MUB MUB MudF MudG Mudi MudR MudT MiilleG MurphF

L I S T OF W O R K S 22 28 34 45 S3 gì 93 401 406 408 415

MusetS NagM NaglerT NarC NarG NarT

NarV NeemAM NeemL Nef I NefV NettlE NeuP NewmM NiemOL NijM NixB NM NoskeL

NoskeS NowakH

Obr ObrMS ObrMT ObrWW OHM

CITED

Tielman Susato: Three Dances. Giovanni Gabrieli: Canzon Septimi Toni. Giovanni Gabrieli: Canzon Duodecimi Toni. Giovanni Gabrieli: Sonata pian'e forte. Giovanni Gabrieli: Canzon Noni Toni. Giovanni Gabrieli: Canzon Primi Toni. Antony Holborne: Five Pieces. Giovanni Gabrieli: Canzon Duodecimi Toni. Giovanni Gabrieli: Sonata pian'e forte. Giovanni Gabrieli: Canzon Noni Toni. Giovanni Gabrieli: Canzon Primi Toni. Mudarra, Alonso de, Fantasia X, ed. Graciano Tarrago, 1957. Mudarra, Alonso de, Gallarda, ed. G r a d a n o Tarrago, 1957. Mudarra, Alonso, Isabel, perdiste la tu faxa, ed. José de Azpiazu, 1958. Mudarra, Alonso de, Romanesca, ed. Andrés Segovia, n.d. Mudarra, Alonso de, Triste estaba el Rey David, ed. José de Azpiazu, 1958. Müller-Blatau, Joseph, Grundzüge einer Geschichte der Fuge, 1931. M u r p h y , Richard M . , "Fantasia and Ricercare in the Sixteenth Century," unpub. diss., Yale University, 1954. Muset, Joseph, ed., Early Spanish Organ Music, 1948. Nagler, Georg, Die Monogrammisten, 5 vols., 1879-1919. Nagler, A. M . , Theatre Festivals of the Medid, 1539-1637, 1964. Narváez, Luis de, Con que la lavare, ed. José de Azpiazu, 1958. Narváez, Luis de, Siete Variaciones (Diferencias) sobre " Guardarne las Vacas," ed. Graciano Tarrago, 1957. Narváez, Luis de, Tema y Variaciones sobre un Aire popular, Clásicos españoles de la música, publicados por la Asociación patriótica española, vol. I, ed. Ernesto Barreda, 1938. Narváez, Luis de, Ventidos Variaciones sobre " Conde Claros," ed. Graciano Tarrago, 1962. Neemann, Hans, ed., Alte Meister der Laute, 4 vols., n.d. Neemann, Hans, ed., Alte deutsche Lautenlieder, n.d. Nef, Karl, " D i e Intraden von Alexander Orologio," in Gedenkboek aangeboden aan Dr. D. F. Scheurleer (1925), p. 219. Nef, Karl, " S e b . Virdungs Musica getutscht," in Bericht über den musikwissenschaftlichen Kongress in Basel (1925), p. 7. Netti, Paul, " D i e Tänze Jean d'Estrées," Musikforschung, V I I I (1955), 437· Neusidler, Hans, Präambulum und Tanz, ed. Karl Scheit, n.d. Newman, Joel, " Francesco Canova da Milano, A Lutenist of the Sixteenth Century," u n p u b . thesis, New York University, 1942. Niemöller, Klaus, " O t h m a r Luscinius, Musiker u n d H u m a n i s t , " Archiv für Musikwissenschaft, X V (1958), 41. Nijhoff, W., " E e n merkwaardig Muziekboek te Antwerpen nij Vorsterman uitgegeven, 1529," Het Boek, X X I I (1934), 267. Nixon, H . M., " T h e Book of X X Songs," British Museum Quarterly, X V I (i9Si). 33· Nagels Musikarchiv. Small volumes of music published by Adolph Nagel Verlag, Hanover, 1927—. Noske, Frits, " R e m a r q u e s sur les luthistes des Pays-Bas (1580-1620)," in La Musique instrumentale de la Renaissance, ed. Jean Jacquot (1955), p. 179. Noske, Frits, ed., Das ausserdeutsche Sololied, 1958. Nowak, Leopold, " P a u l H o f h a y m e r s ' N a c h willen d e i n ' in den Lautentabulaturen des 16. Jahrhunderts. Ein Vergleich," in Festschrift Adolph Koczirz zum 60. Geburtstag (1930), p. 25. Obrecht, Jakob, Werken, ed. Johannes Wolf, 1912-1921. Missen, 24 vols. Motetten, 4 vols. Wereldlijke Werken, 2 vols. Oxford History of Music, ed. Sir Henry Hadow, 7 vols. 1901-1934.

LIST OL OL OL OL OL OL OL

2 5 8 12 14 30

O L 34 OLI O L I 14 O L I 21 OpieD OppelF

OrtizR OrtizT

OsG OsM OsN PadovanoR PaixZ PalO PalW PanS ParaC ParisC ParrishM ParrishT PastorE PedAO PedB PedC PedCP PedH PedOL PeetA PeetM PeterM PetrO PhalAT PhalCh VI

OF W O R K S

CITED

461

Orgue et liturgie, ed. Norbert Dufourcq, Félix Raugel, and Jean de Valois, ca. 1945— L'Orgue en Europe aux XVIe et XVIIe siècles, ed. Norbert Dufourcq, n.d. Ricercati de Luzzaschi à Antoine Reboulot, ed. Norbert Dufourcq, n.d. Hymnes et antiennes, ed. Norbert Dufourcq, n.d. Notre Dame, ed. Jean de Valois, 1951. A la vierge, ed. Norbert Dufourcq, 1952. Antonio de Cabezón, I, ed. Norbert Dufourcq, Félix Raugel, and Jean de Valois, 1956. Antonio de Cabezón, II, ed. Norbert Dufourcq, Félix Raugel, and Jean de Valois, 1957. L'Organiste liturgique, ed. Gaston Litaize and Jean Bonfils, ca. 1945—. Ascension Pentecôte, 1956. Salve Regina, n.d. Opienski, Henryk, ed., Dawne Tánce Polskie ζ XVI i XVII wieku (Altpolnische Tänze aus dem XVI. und XVII. Jahrhundert), 1911. Oppel, Reinhard, "Einige Feststellungen zu den französischen Tänzen des 16. Jahrhunderts," Zeitschrift der Internationalen Musikgesellschaft, X I I (1911), 213. Ortiz, Diego, Recercada (no. 2). Verzierungen über den Sopran der Chanson "Doulce memoire," ed. Christian Döbereiner, 1936. Ortiz, Diego, Tratado de glosas sobre clausulas y otros generös de puntos en la música de violones (1553), ed. Max Schneider, 1913; 2nd, revised ed., 1936; 3rd, revised ed., 1961. Osthoff, Helmuth, Der Lautenist Santino Garsi da Parma, 1926. Osthoff, Helmuth, "Magnificat bei Josquin," Archiv für Musikwissenschaft, X V I (1959), 230. Osthoff, Helmuth, Die Niederländer und das deutsche Lied (1400-1640), 1938. Padovano, Annibale, 13 Ricercari for Organ, 1556, ed. N . Pierront and J. P. Hennebains, 1934. Paix, Jakob, Zway neue teutsche Liedlein mit 4 Stimmen, n.d. [ca. 1580]. Palestrina, Pierluigi da, Le Opere complete, ed. Raffaele Casimiri, 1939—. Palestrina, Pierluigi da, Werke: Erste kritisch durchgesehene Gesammtausgabe, ed. F. Espagne, F. X. Haberl, and others, 33 vols., 1862-1907. Panum, Hortense, The Stringed Instruments of the Middle Ages, English ed., rev. and ed. Jeffrey Pulver, n.d. Parabosco, Gerolamo, Composizioni a due, tre, quattro, cinque e sei voci, ed. Francesco Bussi, 1961. Paris, Gaston, and Auguste Gevaert, eds., Chansons du XVe siècle, 1875; reprinted 1935. Parrish, Carl, and John F. Ohl, Masterpieces of Music before 175°, I95 1 · Parrish, Carl, A Treasury of Early Music, 1958. Pastor, Perez, "Escrituras de concierto para imprimir libros," Revista de archivos, bibliotecas y museos, I (1897), 363. Pedrell, Felipe, ed., Antología de organistas clásicos españoles, 2 vols., 1908. Pedrell, Felipe, e d . , J u a n Bermudo: Versillos de salmos e interludios de himnos, n.d. Pedrell, Felipe, Catàlech de la Biblioteca musical de la Disputació de Barcelona, 2 vols., 1908-1909. Pedrell, Felipe, ed., Cancionero musical popular español, 4 vols., 1919-1920. Pedrell, Felipe, ed., Hispaniae schola musica sacra, 8 vols., 1894-1898. Pedrell, Felipe, ed., El Organista litúrgico español, 1905. Peeters, Flor, ed., Anthologia pro organo, 2 vols., 1949. Peeters, Flor, ed., Oudnederlandsche Meesters voor het Orgel, 1945. Peter de Vallier, Otto, " D i e Musik in Johann Fischarts Dichtungen," Archiv für Musikwissenschaft, X V I I I (1961), 205. Petrucci, Ottaviano, Odhecaton (Venice, 1501), facsimile ed., 1932. Phalèse, Pierre, "Antwerpener Tanzbuch" Galliarden, Balli, Allemanden zu vier Stimmen (1583), ed. Helmut Mönkemeyer, 2 vols., 1962. Phalèse, Pierre, pubi., Sixiesme livre des chansons a quatre parties nouvellement composez et mises en musique par maistre Jehan de Latre, Louvain, 1555·

462 PhalLT PiciA PidP PierO PinchlH PirC PirF PirH PisG PisM PisMA PisQ PisS PlamEC

PlamF PlamML PlamSC PN PoulN PraM ProdM

PruB PubAPTM

PujA PujBG PujHC Quel QuittH

RaL

RadiA RadiL

L I S T OF W O R K S

CITED

Phalèse, Pierre, "Löwener Tanzbuch." Fantasien, Pavanen, Gaillarden zu vier Stimmen (7571), ed. H e l m u t Mönkemeyer, 2 vols., 1962. Picinelli, Filippo, Ateneo dei letterati milanesi, 1670. Pidoux, Pierre, " L e s Psaumes d'Antoine de Mornable, Guillaume Morlaye et Pierre Certon," Annales musicologiques, V (1957), 179. Piersig, Johannes, ed., Europäische Orgelmusik. Ausgewählte Orgelmusik des 16.-18. Jahrhunderts, 1958. Pincherle, Marc, An Illustrated History of Music, trans. Rollo Myers, 1959. Pirro, André, Les Clavecinistes, 1925. Pirro, André, " L e s ' F r o t t o l e ' et la musique instrumentale," Revue de musicologie, I I I (1922), 3. Pirro, André, Histoire de la musique de la fin du XIVe siècle à la fin du XVIe, 1940. Pisador, Diego, Guarte guarte el Rey don Sancho. Romance viejo, ed. José de Azpiazu, 1958. Pisador, Diego, La Mañana de San Juan. Romance viejo, ed. José de Azpiazu, 1958. Pisador, Diego, Madonna mia fa (Villanesca), ed. Pieter van der Staak, 1959 Pisador, Diego, Quien tu viese tal poder ( Villancico), ed. Pieter van der Staak, 1958. Pisador, Diego, Si la noche hace oscura ( Villancico), ed. Pieter van der Staak, 1958. Plamenac, Dragan, ' " E x c e r p t a Colombina': Items of Musical Interest in Fernando Colon's ' R e g e s t r u m , ' " in Miscelánea en homenaje a Monseñor Higinio Angles, II (1961), 663. Plamenac, Dragan, ed., Facsimile Reproduction of the Manuscripts Sevilla 5-1-43 and Paris N.A.Fr. 4379 (Part I), 1962. Plamenac, Dragan, " M u s i c Libraries in Eastern Europe: A Visit in the Summer of 1961," Music Library Association Notes, X I X (1962), 217. Plamenac, Dragan, " T h e ' S e c o n d ' Chansonnier of the Biblioteca Riccardiana (Codex 2356)," Annales musicologiques, II (1954), 105. The Printed Note. 500 Years of Music Printing and Engraving, T h e Toledo M u s e u m of Art, Toledo, Ohio, 1957. Poulton, Diana, " N o t e s on the Spanish Pavan," The Lute Society Journal, I I I (1961), 5. Pratt, Waldo S., The Music of the French Psalter of 1562, 1939. Prod'homme, Jacques-Gabriel, " G u i l l a u m e Morlaye, éditeur d'Albert de Ripe, luthiste et bourgeois de Paris," Revue de musicologie, VI (1925), IS7Prunières, Henry, Le Ballet de cour en France, 1914. Publikation älterer praktischer u n d theoretischer Musikwerke, ed. Robert Eitner, 29 vols., 1873-1905. For titles of individual volumes see Gustave Reese, Music in the Renaissance (1954), p. 930. Pujol, Emilio, " J o a n Carlos Amat en la historia de la guitarra." Anuario musical, V (1950), 125. Pujol, Emilio, ed., Bibliothèque de musique ancienne et moderne pour guitare, n.d. Pujol, Emilio, ed., Hispanae citharae ars viva, 1955. Querol-Garalda, Miguel, " I m p o r t a n c e historique et nationale de romance," in Musique et poésie au XVIe siècle (Paris, 1954), p. 306. Quittard, Henri, ' " L ' H o r t u s M u s r a u m ' de 1552-53 et les arrangements de pièces polyphoniques pour voix seule et luth," Sammelbände der Internationalen Musikgesellschaft, V I I I (1907), 254. Radecke, Ernst, " D a s deutsche weltliche Lied in der Lautenmusik des 16. Jahrhunderts," Vierteljahrsschrift für Musikwissenschaft, V I I (1891), 285. Radino, Giovanni Maria, Il primo Libro di Balli d'Arpicordo, 1592, ed. Rosamond E. Harding, 1949. Radino, Giovanni Maria, Intavolatura di Balli per sonar di Liuto, ed. Giuseppe Gullino, 1949.

LIST RanR RauM RauQ ReFS ReMR ReO ReR ReaneyMS ReedC RegnC I R e g n C II RegnS RehA ReissmA ReyD

ReynaB RibF RiccS I RieH RieM RieMF RieT RiessO RISM

RitZ RodioR RoedigC RoksM

RoksMO RoksO RoksT RoncM

OF W O R K S

CITED

463

Ranke, Friedrich, and Josef M . Müller-Blattau, " D a s Rostocker Liederbuch," Schriften der Königsberger Gelehrten Gesellschaft, I V (1927), 193. Raugel, Félix, ed., Les Maîtres français de l'orgue aux XVIIe et XVIIIe siècles, n.d. Raugel, Félix, ed., Quarante-six pièces pour orgue ou Harmonium d'anciens auteurs français et étrangers, n.d. Reese, Gustave, Fourscore Classics of Music Literature, 1957. Reese, Gustave, Music in the Renaissance, 1954; rev. ed., 1959. References are to the first edition. Reese, Gustave, " T h e First Printed Collection of Part-Music : T h e Odhecaton," The Musical Quarterly, X X (1934), 39. Reese, Gustave, " T h e Repertoire of Book II of Ortiz's Tratado," in The Commonwealth of Music, G . Reese and R. Brandel, eds., 1965, p. 201. Reaney, Gilbert, " T h e Manuscript Oxford, Bodleian Library, Canonici Misc. 213," Musica disciplina, I X (1955), 73. Reed, Edward B., Christmas Carols Printed in the 16th Century, 1932. Regnart, Jakob, Il primo Libro delle canzone italiane à cinque voci, Vienna, 1574· Regnart, Jakob, Il secundo Libro delle canzone italiane a cinque voci, Nuremberg, 1581. Regnart, Jakob, Sacrae aliquot cantiones quas Moteta S et 6 voci, Munich, Ι 575· Rehberg, Willy, ed., Alte Hausmusik für Klavier (1350-1780), 2 vols., 1934. Reissmann, August, Allgemeine Geschichte der Musik, 3 vols., 1863-1864. Reysschoot, Dorsan van, ed., " D a n s e s du X V I e siècle d'après le recueil 'Chorearum Molliorum Collectanea' (1583) conservé à la Bibliothèque I. et R. de Berlin," La Revue musicale, supplements to vols. V I (1906), V I I (1907), and V I I I (1908). Reyna, Ferdinando, Des origines du ballet, 1955. Ribeiro, Sampayo, " S o b r e o fecho do 'Auto da Cananeia,'" Brotéria, X X V I I I (1938). Riccio, Theodore, Sacrae cantiones, quas vulgo motecta vocant, quinqué, sex, et octo vocum, Nuremberg, 1576. Riemann, Hugo, Handbuch der Musikgeschichte, 4 vols., 1901-1913 ; 2nd ed., 1920-1923. References are to the first edition. Riemann, Hugo, Musikgeschichte in Beispielen, 1912. Riemann, Hugo, " D a s Lautenwerk des Miguel de Fuenllana (1554)," Monatshefte für Musikgeschichte, X X V I I (1895), 81. Riemann, Hugo, " T ä n z e des 16. Jahrhunderts à double emploi," Die Musik, X X I (1906-07), 140, plus musical supplements. Riess, Carl, ed., Old Spanish Organ Music, i960. Répertoire international des sources musicales publiés par la Société internationale de musicologie et l'Association internationale des bibliothèques musicales. Recueils imprimés, XVIe-XVIIe siècles, Vol. I: Liste Chronologique, ed. François Lesure, i960. Ritter, August G., Zur Geschichte des Orgelspiels, 1884. Rodio, Rocco, Cinque Ricercate, Una Fantasia, ed. Macario Santiago Kastner, 1958. Roediger, Karl E., Catalogue des livres, manuscrits et imprimés composant la bibliothèque de M. Horace de Landau, 2 vols., 1885-1890. Rokseth, Yvonne, " U n Motet de M o u l u et ses diverses transcriptions pour orgue," in Bericht über den musikwissenschaftlichen Kongress in Basel (1925), p. 7. Rokseth, Yvonne, La Musique d'orgue du XVe siècle et au début du XVIe, 1930. Rokseth, Yvonne, ed , Deux livres d'orgue édités par Pierre Attaingnant (I531), 1925· Rokseth, Yvonne, ed., Treize motets et un prélude pour orgue, édités par Pierre Attaingnant (1331), 1930. Roncaglia, Gino, " Simone Molinaro," Rivista musicale italiana, X L V (1941), 184.

464 RoreMT RoreO RossiM RothB

RothGH

RoyM Rubio RubsS

SaA SaV

SachsPM SachsRD SachsW SainzF SaliM SalmL SalvaC SartC SartD SartFB

SartMS SartN SartP SartUD ScanL ScanN SchaalM ScherG ScheurC ScheurCM SchlechtB

SchlechtG

LIST

OF W O R K S

CITED

Rore, Cipriano de, Cypriani Rore musici excellentissimi Moietta . . . Quinqué votum, Venice, Antonio Gardane, 1545. Rore, Cipriano de, Opera omnia, ed. Bernhard Meier, 1 9 5 g — . Rossi, Giacomo, Il Minuetto, 1896. Roth, F. W . E., " Z u r Bibliographie der Musikdrucke des 15.-17. Jahrhunderts in der Darmstädter Hof bibliothek," Monatshefte für Musikgeschichte, X X , Supplement (1888). Roth, F. W . E., " Z u r Geschichte der Hofmusik zu Heidelberg im 16. Jahrhundert," Neues Archiv für die Geschichte der Stadt Heidelberg, V I (190s), 103. Roy, Otto, ed., Musik des Mittelalters und der Renaissance, 2nd ed., i960. Rubio, Samuel, ed., Polifonía española, 1955. Rubsamen, Walter, "Scottish and English Music of the Renaissance in a Newly-Discovered Manuscript," in Festschrift Heinrich Besseler zum sechzigsten Geburtstag (1961), p. 259. Santa Maria, Fray Tomás de, Oeuvres transcrites de l'Arte de tañer fantasia {Valladolid 1565), ed. Pierre Froidebise, 1961. Santa Maria, Fray Tomás de, Wie mit aller Vollkommenheit und Meisterschaft das Klavichord zu spielen sei, 1937. T h i s volume is a German translation by Richard Boadella and Eta Harich-Schneider of the theorist's Libro llamado Arte de tañer fantasia (1565). Sachs, Curt, The Evolution of Piano Music, 1350-1700, 1944. Sachs, Curt, " Der Rhythmus der basse danse," Acta musicologica, III (1931), 107. Sachs, Curt, World History of the Dance, 1937. T h i s volume is an English translation of Eine Weltgeschichte des Tanzes, 1933. Sainz de la Maza, Regino, ed., Cuatro fantasias del siglo XVI, 1954. Salinas, Francisco, De Musica libri Septem i1577), facsimile ed. by Macario Santiago Kastner, 1958. Salmen, Walter, Das Lochamer Liederbuch, 1951. Salvá y Mallen, Pedro, Catálogo de la Biblioteca de Salvá, 2 vols., 1872. Sartori, Claudio, "Precisazioni bibliografiche sulle opere di Girolamo Cavazzoni," Rivista musicale italiana, X L I V (1940), 359. Sartori, Claudio, Dizionario degli editori musicali italiani, 1958. Sartori, Claudio, " A Little K n o w n Petrucci Publication: T h e Second Book of Lute Tablatures by Francesco Bossinensis," The Musical Quarterly, X X X I V (1948), 234. Sartori, Claudio, Bibliografia della musica strumentale italiana stampate in Italia fino al 1700, 1952. Sartori, Claudio, " N u o v e conclusive aggiunte alla 'Bibliografia' del Petrucci," Collectanea historiae musicae, I (1953), 175. Sartori, Claudio, Bibliografia delle opere musicali stampate da Ottaviano Petrucci, 1948. Sartori, Claudio, " U n a Dinastia di editori musicali," La bibliofilia, L V I I I (1956), 178. Scandello, Antonio, Nawe und lustige weltliche deudsche Liedlein, Dresden, 1570. Scandello, Antonio, Newe teutsche Liedlein mit vier und fünf Stimmen, Nuremberg, 1568. Schaal, Richard, " D i e Musikbibliothek von Raimund Fugger d.J.," Acta musicologica, X X I X (1957), 126. Schering, Arnold, ed., Geschichte der Musik in Beispielen, 1931. Scheurleer, Daniel F., Catalogus der Muziekbibliotheek van D. F. Scheurleer, 1893. Muziekhistorisch Museum van Dr. D. F. Scheurleer. Catalogus van de Muziekwerken en de Boeken over Muziek, 1923. Schlecht, Raymond, " E i n Beitrag zur Musikgeschichte aus dem Anfange des 16. Jahrhunderts nach dem ' Spiegel der Orgelmacher und Organisten von Arnold Schlick,' 1 5 1 1 , " Monatshefte für Musikgeschichte, II (1870), 165, 181, 197. Schlecht, Raymund, Geschichte der Kirchenmusik, 1879.

LIST SchlechtK SchlickS (Eitner)

SchlickS (Flade) SchlickS (Miller) SchlickS (Smets) SchlickT (Eitner) SchlickT (Harms) SchmidOP SchmidT SchmidtgG SchneidA SchneiderV SchraG Schral SchraLM SchraTI SCMA

SeayFC SeiffG SeligG SenflW SermM SharpD SlimCA SlimK

SlimMN SmijO SmijT Smith F C SmithL

OF W O R K S

CITED

465

Schlecht, Raymund, " E i n Beitrag zur ältesten Klavier-Literatur," Monatshefte für Musikgeschichte, II (1870), 122. Schlick, Arnold, Spiegel der Orgelmacher und Organisten, ed. Robert Eitner and W. Bethge, published in Monatshefte für Musikgeschichte, I (1869), 77Schlick, Arnold, Spiegel der Orgelmacher und Organisten, ed. Ernst Flade, 1932; second printing, 1951. Schlick, Arnold, Spiegel der Orgelmacher und Organisten, English trans, by Frank S. Miller, published in Organ Institute Quarterly, V I I (1959), 13. Schlick, Arnold, Spiegel der Orgelmacher und Organisten, ed. Paul Smets, 1959· Schlick, Arnold, Tabulaturen etlicher Lobgesang und Lidlein (Mainz, 1512), ed. Robert Eitner, published in Monatshefte für Musikgeschichte, I (1869), HSSchlick, Arnold, Tabulaturen etlicher Lobgesang und Lidlein (Mainz, 1512), ed. Gottfried Harms, 1924. Schmid, Anton, Ottaviano dei Petrucci da Fossombrone, 1845. Schmid, Ernst Fritz, ed., Tänze des 16. Jahrhunderts für vier Instrumenten, 1926. Schmidt-Görg, Joseph, Nicolas Gombert, Kapellmeister Kaiser Karls V.Leben und Werk, 1938. Schneider, Max, Die Anfänge des Basso Continuo und seiner Bezifferung, 1918. Schneider, Marius, " U n Villancico de Alonso de Mudarra procedente de la mùsica popular granadina," Anuario musical, X (1955), 79. Schrade, Leo, "Eine Gagliarde von Ciprian de Rore," Archiv für Musikwissenschaft, V I I I (1926), 385. Schrade, Leo, Die handschriftliche Überlieferung der ältesten Instrumentalmusik, 1931. Schrade, Leo, " Luys Milan the Vihuelista," The Guitar Review, I X (1949), 19. Schrade, Leo, " T ä n z e aus einer anonymen italienischen Tabulatur, 1551," Zeitschrift für Musikwissenschaft, X (1928), 449. Smith College Music Archives, ed. Ross L . Finney, 1935—. For titles of individual volumes see Gustave Reese, Music in the Renaissance (1954), P· 937· Seay, Albert, ed., French Chansons. Early Chansons with English and French Texts, 1957. Seiffert, Max, Geschichte der Klaviermusik, vol. I, 1899 (based on Karl Weitzmann's Geschichte des Klavierspiels und der Klavierliteratur, 1863; 2nd ed., 1879). Selig, Karl-Ludwig, " A German Collection of Spanish Books," Bibliothèque d'humanisme et Renaissance, X I X (1957), 51. Senfl, Ludwig, Sämtliche Werke, ed. E. Löhrer and O. Ursprung, 1937—. Sermisy, Claudin de, Nova et prima motettorum editto 6.5.4. et 3 voc., Paris, Pierre Attaingnant and Hubert Juliet, 1542. Sharp, Cecil, and A . P. Oppé, The Dance: An Historical Survey of Dancing in Europe, 1924. Slim, H. Colin, "Keyboard Music at Castell'Arquato by an Early Madrigalist," Journal of the American MusicologicaI Society, X V (1962), 35. Slim, H. Colin, " T h e Keyboard Ricercar and Fantasia in Italy, ca. 15001550, with Reference to Parallel Forms in European Lute Music of the Same Period," unpub. diss., Harvard University, 1961. Slim, H. Colin, ed., Musica Nova (Monuments of Renaissance Music, vol. 1). 1964· Smijers, Albert, ed., Van Ockeghem tot Sweelinck, 7 vols., 1939-1956. Smijers, Albert, and A. Tillman Merritt, eds., Treize livres de motets parus chez Pierre Attaingnant en 1534 et 1535, 1934—. Smith, Margaret Dean, " A Fifteenth Century Dancing Book," Journal of the English Folk Dance and Song Society, III (1937), 100. Smith, Carleton Sprague, "Religious Music and the Lute," The Guitar Review, I X (1949), 31.

466 SolA SolMus SommL SonnD

SpencerT SpiessA StaakF StaakS StarkeHGL SteeleE SteinitA StellMB StevnsnJB StevnsnS Stoll StraM StraubeM SubHM SubHME SubM SumnO SusaD SutherR SutherS SzmolyanAL TagA TapL TapS TautA TBI TebAP ThibaultC ThibaultD

LIST

OF

WORKS

CITED

Solerti, Angelo, Gli albori del Melodramma, 3 vols., 1905. Solerti, Angelo, Musica, ballo e drammatica alla corte Medicea dal Seicento al 1637, i9°5· Sommer, Hermann, Die Laute, 1920. Sonneck, O. G., "A Description of Alessandro Striggio and Francesco Corteccia's Intermedi 'Psyche and Amor' 1565," The Musical Antiquary, III (1911-1912), 40. Spencer, Robert, " T w o Missing Lute Parts for Morley's Consort Lessons," The Lute Society Journal, IV (1962), 31. Spiessens, Godelieve, "Emmanuel Adrianssen et son Pratum musicum," Acta muúcologica, X X X V I (1964), 142. Staak, Pieter van der, ed., Four Royal Dances, 1957. Staak, Pieter van der, ed., 7 Easy 16th Century Pieces, 1959. Starke, Reinhold, "Hieronymus Gregorius Langius Havelbergensis," Monatshefte für Musikgeschichte, X X X I (1899), 116. Steele, Robert, The Earliest English Music Printing, 1903. Steinitzer, Max, Musikgeschichtlicher Atlas, 1908. Stellfeld, Jean-Auguste, " H e t muziekhistorisch Belang der Catalogi en Inventarissen van het Plantinsch Archief," Vlaamsch Jaarboek voor Muziekgeschiedenis, X X I I I (1940), 5. Stevenson, Robert, Juan Bermudo, i960. Stevenson, Robert, Spanish Music in the Age of Columbus, 1960. Stoltzer, Thomas, Ich klag den Tag und Entlaubet ist der Walde, ed. Wilhelm Twittenhoff, n.d. Straeten, Edmond van der, La Musique aux Pays-Bas avant le XIXe siècle, 8 vols., 1867-1888. Straube, Karl, ed. Alte Meister des Orgelspiels. Neue Folge, 2 vols., 1929. Subirá, José. Historia de la música, 2nd ed., 2 vols., 1951. Subirá, José, Historia de la música española e hispano americana, 1953. Subirá, José, La Música en la Casa de Alba, 1927. Sumner, William L., The Organ, Its Evolution, Principles of Construction and Use, 3rd ed., 1962. Susato, Tielman, Danserye zeer lustich . . . om spelen op alle musicale instrumenten (1551), ed. Franz J. Giesbert, 2 vols., 1936. Sutherland, Gordon, " T h e Ricercari of Jacques Buus," The Musical Quarterly, X X X I (1945), 448. Sutherland, Gordon, "Studies in the Development of the Keyboard and Ensemble Ricercare from Willaert to Frescobaldi," unpub. diss., Harvard University, 1942. Szmolyan, Walter, " D a s Archiv für alte Lautenmusik in Maria Enzersdorf bei Wien," Österreichische Musikzeitschrift, X V I (1961), 538. Tagliapietra, Gino, ed., Antologia di musica antica e moderna per pianoforte, 14 vols., 1931-1932. Tappert, Wilhelm, " D i e Lautenbücher des Hans Gerle," Monatshefte für Musikgeschichte, X V I I I (1886), ι ο ί . Tappert, Wilhelm, ed., Sang und Klang aus alter Zeit, 1906. Taut, Kurt, Die Anfänge der Jagdmusik, n.d. Tresors des bibliothèques d'Italie, IVe—XVIe siècles. Bibliothèque nationale, Paris, 1950. Tebaldini, Giovanni, L'Archivio musicale della Cappella Antoniana in Padova, 1895. Thibault, Geneviève, " L e s Collections privées de livres et d'instruments de musique d'autrefois et d'aujourd'hui," Fontes artis musicae, V I (1959), 55· Thibault, Geneviève, " D e u x catalogues de libraires musicaux: Vincenti et Gardane (Venise, 1591)," Revue de musicologie, X (1929), 177, and X I (1930), 7·

TischA TomasA

Tischer, G., and K . Burchard, " A u s einer alten Bibliothek," Sammelbände der Internationalen Musikgesellschaft, II (1900-01), 158. Tomasin, Don Pietro, and G. Piber, Andrea Antico, chierico di Montona nell'Istria, primo calcografo musicale, 1880.

LIST TorA TorM

TornC TornCM TorriC TouA TreB TreBM TreL TreM TrichT TwittT UtenF ValVS ValdeA ValdeY ValentinTo ValleA VasE VasJ VasquezVC VentoM VentoN VerA VernO VicO VicenO VillalbaCE VinS VincenI VirdungM (Schrade) VNM Vogel Vogel Einstein

WagMP WaissP WaissT

OF W O R K S

CITED

467

Torchi, Luigi, ed., L'Arte musicale in Italia, 7 vols., 1897-1908. Torchi, Luigi, " L a Musica ¡strumentale in Italia nei secoli X V I , X V I I e X V I I I , " Rivista musicale italiana, V (1898), 64, 281, 455; V I (1899), 255» 693; V I I (1900), 233; V i l i (1901), ι . Torner, Eduard M . , ed., Colección de vihuelistas españoles del siglo XVI, 1923. Torner, Eduard M., ed., Cancionero musical, 1928. Torri, Luigi. " N e l terzo centenario della morte di Giovanni Croce detto il Chiozzotto," Rivista musicale italiana, X V I (1909), 550. Toulouze, Michel, L'Art et instruction de bien dancer (i4q6), facsimile ed. with commentary by Victor Scholderer, 1936. T r e n d , John B., "Musikschätze auf spanischen Bibliotheken," Zeitschrift für Musikwissenschaft, V i l i (1926), 499. T r e n d , John B., "Catalogue of the Music in the Biblioteca Medinaceli, M a d r i d , " Revue hispanique, L X X I (1927), 485. T r e n d , John B., Luis Milan and the Vihuelistas, 1925. T r e n d , John B., The Music of Spanish History to 1600, 1926. Trichet, Pierre, Le Traite des instruments de musique, ed. François Lesure, published in Annales musicologiques, I V (1956), 175. Twittenhoff, Wilhelm, ed., Tanzsätze des 16. Jahrhunderts, 3 vols., n.d. Utendal, Alexander, Fröhliche newe teutsche unnd frantzösische Lieder . . . mit vier, fünf} und mehr Stimmen, Nuremberg, 1574. Valente, Antonio, Versi spirituali per organo, ed. Ireneo Fuser, 1958. Valderrábano, Enriquez de, Ay de mi! Romance viejo, ed. José de Azpiazu, 1958. Valderrábano, Enriquez de, Ya cavalga calamos, ed. José de Azpiazu, 1958. Valentin, Erich, ed., The Toccata, 1958. Valle de Paz, Giacomo del, Annibale Padovano, 1933. Vasconcellos, Josquim de, El Rey D. jfoäo o 410, 1900. Vasconcellos, Josquim de, Primeira parte do index da Livraria de musica do Rey Domjoäo IV, 1873. Vásquez, Juan, Villancicos i canciones de Juan Vasquez a tres y a quatro, Ossuna, 1551. Vento, Ivo de, Liber Mottetorum quatuor vocum, nunc primum in lucem editus, Munich, 1571. Vento, Ivo de, Newe teutsche Liedlein, mit fünff Stimmen, Munich, 1569. Verchaly, André, ed., Airs de cour pour voix et luth (1603-1643), 1961. Vernarecci, Augusto, Ottaviano de' Petrucci da Fossombrone, 2nd ed., 1882. Victoria, Tomás Luis de, Opera omnia, ed. Felipe Pedrell, 8 vols., 1902-1913. Vicentino, Nicola, Opera omnia, Henry K a u f m a n , ed., 1963. Villalba Muñoz, P. Luis, ed., Diez canciones española, 1914. Vindel, Francisco, Solaces bibliográficos, 1942. Vincenti, Giacomo, Indice di tutte l'opera di musica che si truova alla stampa della pigna, Venice, 1591. Virdung, Sebastian, Musica getutscht (1511), facsimile ed. by Leo Schrade, 1931· Vereeniging voor Nederlandsche Muziekgeschiedenis. Uitgaven. 1869-—. For titles of individual volumes see Gustave Reese, Music in the Renaissance (1954), p. 943. Vogel, Emil, Bibliothek der gedruckten weltlichen Vocalmusik Italiens aus den Jahren 1500-1700, 2 vols., 1892; reprinted, 1962. Bibliography of Italian Secular Vocal Music Printed between the years 15001700, by Emil Vogel, revised and enlarged by Alfred Einstein, in Music Library Association Notes I I (1945), 185, 275; I I I (1945), 51, (1946), 154. 256, 363; IV (1946), 41. (i947)> 201, 301; V (1947), 65, (1948), 277, 385, 537. Einstein's revisions are also printed at the end of the 1962 reprinting of Vogel. Wagner, Peter, " D a s Madrigal u n d Palestrina," Vierteljahrsschrift für Musikwissenschaft, V i l i (1892), 423. Waisselius, Matthaeus, Phantasia und deutscher Tanz, ed. Karl Scheit, n.d. Waisselius, Matthaeus, Meisterwerke alter Lautenkunst: Matthäus Waissel, Tänze, Fantasien, Präambeln, ed. Walther Pudelko, 1925.

468 WalS WaldC Walkerl WalkerM WalthW WarA WarEA WardDVM WardH WardL WardLM WardM WardP WardU WardV WardVH WasG WasI WasV WeckB WeckC WeitzG WertM WhythA WhythFD WieM WieP WillO WillR WintG WinterR WohlT WolfEA

LIST

OF W O R K S

CITED

Wallner, Bertha Α., " Sebastian Virdung von Amberg," Kirchenmusikalisches Jahrbuch, X X I V (1911), 8 S . Waldbauer, Ivan F., " T h e Cittern in the Sixteenth Century and Its Music in France and the Low Countries," unpub. diss., Harvard University, 1964. Walker, D . P., ed., Musique des Intermèdes de "La Pellegrina," 1963. Walker, D. P., " L a Musique des intermèdes florentins de 1589 et l'humanisme," in Les Fêtes de la Renaissance, ed. Jean Jacquot (1956), p. 133. Walther, Johann, Wittembergisch deudsch geistlich Gesangbüchlein, Wittemberg, 1 5 5 1 . Warlock, Peter, The English Ayre, 1926. Warlock, Peter, and Philip Wilson, eds., English Ayres, Elizabethan and Jacobean, 6 vols., 1 9 2 7 - 1 9 3 1 . Ward, John, ed., The Dublin Virginal Manuscript, 1954. Ward, John, " L e Problème des hauteurs dans la musique pour luth et vihuela au X V I e siècle," in Le Luth et sa musique, ed. Jean Jacquot (1958), p. 1 7 1 . Ward, John, " T h e Lute in i6th-Century Spain," The Guitar Review, I X (1949), 27. Ward, John, " T h e Lute Music of M S Royal Appendix 58," Journal of the American MusicologicaI Society, X I I I (i960), 1 1 7 . Ward, John, " Music for A Handefull of Pleasant Delites," Journal of the American Musicological Society, X (1957), 1 5 1 . Ward, John, " Parody Technique in i6th-Century Instrumental Music," in The Commonwealth of Music, G . Reese and R. Brandel, eds., 1965, 208. Ward, John, " The Use of Borrowed Material in i6th-Century Instrumental Music," Journal of the American Musicological Society, V (1952), 88. Ward, John, " T h e Vihuela da mano and Its Music (1536-1576)," unpub. diss., New York University, 1953. Ward, John, " T h e Editorial Methods of Venegas de Henestrosa," Musica disciplina, V I (1951), 105. Wasielewski, Joseph von, Geschichte der Instrumentalmusik im XVI. Jahrhundert, 1878. Wasielewski, Joseph von, ed., Instrumentalsätze vom Ende des XVI. bis Ende des XVII. Jahrhunderts, 1874. Wasielewski, Joseph von, Die Violine im I J . Jahrhundert, 1874. Balet comique de la royne (Paris, 1582), ed. with piano reduction by JeanBaptiste Weckerlin, 1882. Weckerlin, Jean-Baptiste, Bibliothèque du Conservatoire national de musique et de déclamation: Catalogue bibliographique, 1885. Weitzmann, Karl, Geschichte des Klavierspiels und der Klavierliteratur, 1863 ; 2nd ed., 1879. See also S e i f f G . Wert, Giaches de, Musices, vel (ut dicunt) Motectorum Quinqué vocum Liber primus, Nuremberg, 1569. The Autobiography of Thomas Whythorne, ed. James Osborn, 1961. Whythorne, Thomas, Fifteen Duos in Canon (1590) for divers Recorders, ed. Walter Bergmann, 1955. Wienandt, Elwyn Α., " Musical Style in the Lute Compositions of Francesco da Milano (1498-1543)," unpub. diss., University of Iowa, 1951. Wienandt, Elwyn Α., "Perino Fiorentino and His Lute Pieces," Journal of the American Musicological Society, V I I I (1955), 2. Willaert, Adrian, Opera omnia, ed. Hermann Zenck and Walter Gerstenberg, 1950—. Willaert, Adrian, Ricercari 03 voci, ed. Hermann Zenck, 1933. Winterfeld, Carl von, Johannes Gabrieli und sein Zeitalter, 3 vols., 1834. Winternitz, Emanuel, "Alcune rappresentazioni di antichi strumenti italiani a tastiera," Collectanea historiae musicae, I I (1956), 466. Wohlgemuth, Gerhard, ed., Tänze des 16. Jahrhunderts, n.d. Wolf, Johannes, " E i n alter Lautendruck " Zeitschrift der Internationalen Musikgesellschaft, I (1899), 29.

LIST WolfH WolfHM Wolf M E WolfMS WolffC WotC WotHM WustA WustM YaF YoungBS YoungKM ZahnM ZanG ZfSM

ZontaS ZurM ZuthH

16 + B.P.1.M.

OF W O R K S

CITED

469

Wolf, Johannes, Handbuch der Notationskunde, 2 vols., 1913, 1919. Wolf, Johannes, Historia de la música, Spanish translation and additions by Higinio Angles and José Subirá, 4th ed., 1957. Wolf, Johannes, ed., Music of Earlier Times (,13th Century to Bach), 1946 (American reprint of Sing- und Spielmusik aus älterer Zeit, 1930). Wolf, Johannes, ed., Musikalische Schrifttafeln, 1923. Versteigerung der Musikbibliothek des Herrn Dr. Werner Wolffheim, 4 vols., 1928-1929. Wotquenne-Plattel, Alfred, Chansons italiennes de la fin du XVIme siècle, n.d. Wotquenne-Plattel, Alfred, "Étude sur l'Hortus Musarum de Pierre Phalèse," Revue des bibliothèques et archives de Belgique, I (1903), 65. Wustmann, Gustav, "Elias Ammerbach," Sammelbände der Internationalen Musikgesellschaft, X I (1909), 137. Wustmann, Rudolf, Musikgeschichte Leipzigs, vol. I, 1909. Yates, Frances Α., The French Academies of the Sixteenth Century, 1947. Young, Clyde W . , " T h e Keyboard Tablatures of Bernhard Schmid, Father and Son," unpub. diss., University of Illinois, 1957. Y o u n g William, " Keyboard Music to 1600," Musica Disciplina, X V I (1962), U S , and X V I I (1963), 163. Zahn, Johannes, Die Melodien der deutschen evangelischen Kirchenlieder, 6 vols., 1889-1893. Zanoskar, Hubert, ed., Gitarrespiel alter Meister, 2 vols., 1955. Zeitschrift f ü r Spielmusik. Small volumes of music published by Hermann Moeck Verlag in Celle, ed. Helmut Mönkemeyer, Felix Oberborbeck, Gerd Ochs, and Wilhelm Twittenhof, ca. 1930—. Zonta, Giuseppe, Storia della letteratura italiana, 3 vols., 1928-1932. Zur Westen, Walter von, Musiktitel aus vier Jahrhunderten, 1921. Zuth, Josef, Handbuch der Laute und Gitarre, 1926.

INDEX I : LIST OF LIBRARIES AND THEIR HOLDINGS T h e sigla are t a k e n f r o m R I S M ; similar sigla h a v e b e e n d e v i s e d f o r t h o s e libraries n o t i n R I S M . " L " ( i n p a r e n t h e s e s ) f o l l o w i n g a n entry m e a n s that the v o l u m e is n o w lost. " D . W . " f o l l o w i n g a n e n t r y refers t o t h e " D o u b t f u l W o r k s " listed at the e n d of t h e year i n q u e s t i o n . F o r r e f e r e n c e s t o v o l u m e s that w e r e i n private libraries s e e I n d e x I V ( I n d e x o f N a m e s ) u n d e r : C. P . E . B a c h , J. S . B a c h , C . F . Becker, G e o r g Becker, J o h n Bull, Charles B u r n e y , A l b e r t C o h n , W . H . C u m m i n g s , J u l e s É c o r c h e v i l l e , F r a n ç o i s J. F é t i s , F u g g e r library, G a e t a n o Gaspari, W i l h e l m H e y e r , B e n J o n s o n , H o r a c e L a n d a u - F i n a l y , A l f r e d L i t t l e t o n , J. E . M a t t h e w , H e n r y Prunières, E d w a r d F . R i m b a u l t , D a n i e l F . S c h e u r l e e r , J. F . R . Stainer, T . W . T a p h o u s e , W i l h e l m T a p p e r t , W a g e n e r library, W e r n e r W o l f f h e i m , A l f r e d Wotquenne-Plattel, and Friedrich Zelle. AUSTRIA

A : G u Graz, Universitätsbibliothek, 15895 A : I u Innsbruck, Universitätsbibliothek, 15113, 1554» A : W g m Vienna, Gesellschaft der Musikfreunde, I51I3, 1523 2 , 1529J, 1553 2 , 1572^ 15732, 1575^ 15834 A : W n Vienna, Österreichische Nationalbibliothek, 1504!, 15082, 1509!, 1511 3 , 151?i, 1521i, 15232, 1529!, 15302, 1532i, 1536„ 15364, 15368) 1536 9) [1538]j (L), 1539i, 1540^ 1543 s , 1546i, 1546 e , 1546„ 1546 9) 1546i 0) 1546H, 1546i S , 1546 15) 1546 17j 1546H,, 154 6 20 , 154 72> 1547 s , 15475> 15478, 1547», 1547 10) 1548i, 15484, 1549^ 15492> 154?4, ISSO!, 1552!, 1554^ 15542, 1554 s , 15S51( 1560„, 1561 a , 1562 l , 15623> 15624, 15632, 1563„, 15636, 1563,, 1563„ 1563h, 1564 4 , 15652) 1568 1; 1568,, 1568,, 1569^ 1569β) 156?8) 1572!, 1573 2 , 15746, 1574 e , 1581!, 15823) 1584 s , 15865, 1587i, 1587„ 15884, 15896, 1591„, 15922> 1592 s , 1594 s , 1595!, 1596i, 1597 5 , 1599i„ A : W u Vienna, Universitätsbibliothek, 1581i

CH : BEsu Bern, Stadt- und Universitätsbibliothek, 1536, C H : E Einsiedeln, Stiftsbibliothek, 1529i, 1591, CH : Lcortot Lausanne, Bibliothèque Alfred Cortot, 1533 2 , 1536 4 , 1542i, 1546„, 1546„ 154610> 1546i S , 1546 15 , 1548i, 1549 2 , 1555i, 1565 s , 1581!, 1582 a , 1583 4 , 1584 6) 1589i, 1594 2 CH : SGv St. Gall, Stadtbibliothek (Vadiana), 15511( 1552B, 1552g, 15534 C H : Z z Zürich, Zentralbibliothek (and Bibliothek der Allgemeinen Musikgesellschaft), 15603, 1572i, 15732> 1575 3 C H : Z O Zofingen, Stadtbibliothek, 1536 e CZECHOSLOVAKIA

C S : Β Brno, Hudebnl oddëlenf Zemského Musea, 1523 2 C S : O s Olomouc (formerly Olmütz), Studienbibliothek, 15364 (L) CS : Pdobr Prague, Bibl. Josef Dobrovsky, 1517, GERMANY

BELGIUM

Β: Be Brussels, Bibliothèque du Conservatoire royal de musique, 15422> 1543 2) 1552 n , 1553 10) 15834) 1591 e B:Br Brussels, Bibliothèque royale de Belgique, 15082, 15232, 1529i, 1536 4 , 15367, 1546i 6 , 15524, 15538, 1553j, 1554 4 , 1554„ 15548> 15554, 15583> 1558 4i 1558 e , 15624, 1564i, 1567 D.W., 15686> 15718, 1573i, 15733) 1577«, 1578 3 , 15845, 1586 6 , 1586β, 1589,, 1590 2 , 1590 8 , 15923> 15928, 15936, 15942, 1597 12 , 15989> 1598i„, 15994 SWITZERLAND

C H : B u Basel, Universitätsbibliothek, 1511 3 ,1562 4 , 1577„ 1583„ 1588 e , 1589 3i 15913, 15914, 1592„ 15934> 1595,, 1595 e , 1596,

D : A s Augsburg, Staats- und Stadtbibliothek, 1529i, 1545i, 1555 2 , 15553> 1584„ 15873, 1589 6i 1590 12 , 1592j, 1594,, 1595 e , 1597 ? , 159714> 1598 6 D : B d s Berlin, Deutsche Staatsbibliothek, 1507 t (L), 15072 (L), 1537i (L), 1538i (L), 15462 (L), [15471h (L). [1547]I2 (L), ISSO, (L), ISSI, (L), 1552! (L), [1552] 10 (L), 1554, (L), 1556 s (L), 15586 (L), 1559, (L), 15624, [1562] la (L), 1565! (L), 1565 4 (L), 1 565 s (L), 1566i (L), 15662 (L), 1566a (L), 15672 (L), 1568 2 (L), 1571, (L), 1572i (L), 1573i (L), 15732 (L), 1575i (L), 15776 (L), 1577, (L), 1578 s , 1579 3 (L), 15834 (L), 1583, (L), 1584, (L), 1585 3 (L), 15866 (L), 15868, 15885 (L), 1589 3 (L), 15896 (L), 1589 8) 15908 (L), 1592, (L), 1592, 2 (L), [1592], 3 (L), 1594, (L), 1595, (L), 15975 (L), 1597, 4 (L), [1598], (L), 1598„, 15996 D : B d s - T ü Stiftung Preussischer Kulturbesitz, Tübinger Depot der ehemaligen Preussischen

472

INDEX

ι:

Staatsbibliothek, 1511 3 , 1512 l t 1529 1; 1529 3 , 1530 2 , 1532!, 1532 2 , 1533^ 1535j, 1536 4 , 1536 6 , 1536,, 1542 3 , 1545 l f 1546„, 1549 3 , 1553 6 , 1555 x , 1561!, 1578 4 , 1578 6 , 1581 1( 1584 5 , 1597 3 D:Bgk Berlin, Bibliothek zum Grauen Kloster, 15912 (L), 1592 1 0 (L), 1598 χ (L) D : B h m Berlin-Charlottenburg, Bibliothek der Hochschule für Musik, 1538 2 , 1556 2 (L), 1597 1 2 , 1598 e D : B I N Bingen, Pfarrbibliothek, [1564] e (L) D : C Celle, Kirchen- und Ministerialbibliothek, [1562],2 (L), 1579 3 (L) D : D 1 Dresden, Sächsische Landesbibliothek, 1528i, 1562 3 , 1562 4 , 1563 1 0 , 1572^ 1573 2 , 1574 6 , 1589 5 D : DO Donaueschingen, Fürstlich Fürstenbergische Hofbibliothek, 1558 5 , 1573 1( 1582 1 ; 1586 s D : D S Darmstadt, Hessische Landes- und Stadtbibliothek, 1529!, 1545i, 1589 5 (L), 1590 e , 1597 1 2 (L) D:DT Detmold, Lippische Landesbibliothek, 1586 6 D : E Eichstätt, Staatliche Bibliothek, 1530 4 D : E L Elbing, Marienkirchen-Bibliothek, [1590] 3 (L) D : F Frankfurt am Main, Stadt- und Universitätsbibliothek, 1587 s , 1597 1 2 D : F L s Flensburg, Bibliothek des Staatlichen Gymnasiums, 1589 6 D : F R Freiburg i. B., Universitätsbibliothek, 1589 6 D : G Göttingen, Niedersächsische Staats- und Universitätsbibliothek, 1529i, 1545^ 1588 6 D : H s Hamburg, Staats- und Universitätsbibliothek, [1556] e (L), 1589 5 , 1591 2 , 1592 e (L), 1594 5 (L), 1594,, 1597 1 2 , 1598 1 0 (L), 1599 5 D : HAmk Halle/Saale, Bibliothek der Marienkirche, 15112 D : H A u Halle/Saale, Universitätsbibliothek, 1536 6 , 1536,, 1571! D : H A L Halberstadt, Dombibliothek, 1529 t (L) D : H B Heilbronn, Musiksammlung, Stadtarchiv, 1561 15715 D : H E u Heidelberg, Universitätsbibliothek, 1574 ä , 1583 4 , 1584 e D:HV1 Hannover, Niedersächsische Landesbibliothek, 1545i, 1561i D : J Jena, Universitätsbibliothek, 1535,, 1538 2 D : K 1 Cassel, Landesbibliothek, 1589 5 , 1590 8 , 1595i, 1595 2 , 1597 ? , 1 5 9 7 μ , 1597 1 2 D : Km Cassel, Musikgeschichtliches Archiv, 1592 1 0 (film) D : KA Carlsruhe, Badische Landesbibliothek, 1511 3 , 1544!, 1544 2 , 1558 5 , 1571 6 (L), 1572^ 1573 2 D : KNu Cologne, Universitäts- und Stadtbibliothek, 1577 e , 1583,, 1584 e , 1594 5 D : KZg Constance, Heinrich Suso-Gymnasium, 1583 4 (L) D : Lr Lüneburg, Ratsbücherei und Stadtarchiv, 1595 4 D : L E m Leipzig, Musikbibliothek, 1512!, 1529i, 1536 6 , 1536 e (2 copies), 1542i (L), 1545i, 1546 3 , 1550 4 , 1552 x (2 copies), 1556„, 1558 ä , 1571i, 1577 e , 1584 5 , 1586 8i 1591„, 1594 5 D : LÜh Lübeck, Bibliothek der Hansestadt, [1592] 13 (L) D : Mbs Munich, Bayerische Staatsbibliothek, 1511 3> 151?!, 1523 2 , 1529^ 1530 s , 1530 4 , 1530 6 ,

LIBRARIES 1531t, 15312, 1531 3 , ISSU, 1531 6 , 1531„, 1531,, 1532!, 1533 3 , 1536 4 , 1536„, [1538] 3 (L), 1542i. 1545 2 , 1546i 2 , 1546I 5 , 1546ι β , 1546i„ 1547^ 1547 2 , 1549 3 , 154?i, 154? 6 , 1551 2 , 1551„ 1552 2 , 1552 4 , 1553 2 , 1553 9 , 1554 s , 1556i, 1558 3 j i s s a ! , 1558 5 , 1559 4 , 1559 e , 1562 s , 1562 e , 1562 1 0 , 1 5 6 2 u , 1564!, 1565!, 1566 2 , 1566 3 ,1571 6 , 1573 3 , 1574!, 1574 5 , 1575i, 1576i, 1577 2 , 1577 e , 1579 3 , 1581!, 1583 2 , 1583 4 , 1583 e , 1583„ 1584„, 1586 s , 1587 3 , 1588 5 , 1589 s , 1589 e , 1589 8 , 1 5 9 1 n , 1594 6 , 1594i 0 , 1595 4 , 1595i 0 , 1597 1 2 , 1598 4 , 1598 9 D : M u Munich, Universitätsbibliothek, 1546 s , 154? e D : MMs Memmingen, Stadtbibliothek, 1591, D : M ü s Münster, Santini-Bibliothek, 1595 9 D : M Z Mainz, Stadtbibliothek, 1542j D : Ngm Nürnberg, Bibliothek des Germanischen National-Museums, 1511 3 , 1536„ 1544 3 , 1546 s , 1546 6 , 1546,, 1546 1 0 , 1546i e , 1546i„ 1547 2 , 1547 3 , 1547 4 , 1549 6 j 1572i, 1573 2 , 1591 1 3 D : P A Paderborn, Erzbischöfliche Akademische Bibliothek, 1577 6 D : R p Regensburg, Proskesche Musikbibliothek, 1536 4 , 1547i, 1549 5 , 1577 6 , 1578 3 , 1587 3 , 1589 5 , 1594io, 1595i, 1597 5 D:ROu Rostock, Universitätsbibliothek, 1553 e , 1559 4 , 1562 8 , 1562 9 , 1562i„, 1562H, 1568„ IS?!),,, 1570 4 , 1571!, 1583 4 D : S Stuttgart, Württembergische Landesbibliothek, 1589 e D : SCHLO Schlobitten, Schlossbibliothek, 1592 X2 (L), [1592] 13 (L), 1592 1 4 (L) D : T u Tübingen, Universitätsbibliothek, 1597 3 D : T R Trier, Stadtbibliothek, 1562 3 , 1564 5 , 1564„ 1565 3 , 1574 t , 1594 s D:Usche Ulm, Von Schermar'sehe Familienstiftung, 1544 2 , 1552i D:W Wolfenbüttel, Herzog-August-Bibliothek, 15113, 1529i, 1532 2 (L), 1535 1 ; 1536 4 , 1536 e , 1536,, 1543 2 , 1545i, 1546 2 (L), 1546 4 , 1546I„ 1549 2 , 1558j, 1563 1 0 , 1573 3 , 1574 5 , 1577 e , 1578 3 (L), 1583 2 , 1583 4 , 1583„, 1589 3 , 1590i, 1592 6 , 1592 1 2 , 1592 1 4 , 1593„ 1594 s , 1597„ 1598i 0 , 1599 x 1 D : WEs Wernigerode, Stolbergische Bibliothek, 1530 4 (L), 1533 2 (L), 1533 3 (L), [1552] 10 (L), 1562 4 (L) D : W I Wiesbaden, Nassauische Landesbibliothek, 1554 3 D : Z Zwickau, Ratsschulbibliothek, 1589 5 D : Z W Zweibrücken, Bibliotheca Bipontina, 1572j, 1573 2 DENMARK

D K : K k Copenhagen, Det kongelige 1536 4 , ISSÒ,;, 1571!, 1597n

Bibliotek,

SPAIN

E : B d Barcelona, Biblioteca central, 1536 s , 1554 3 , 1555i E : B i m Barcelona, Biblioteca del Instituto español de musicologia, 1549, E : B u Barcelona, Biblioteca de la Universidad, 1547 6 , 1565 5 , 1578 3 E : E Biblioteca de San Lorenzo del Escorial, 1546 1 4 , 1552,, 1554 3 , 15656, 1576i, 1578 3 E : M m e Madrid, Biblioteca de la Casa Ducal de Medinaceli, 1504 2 , 1536 4 , 1549„ 1551 e , 1559 8 , 1565 5 , 1581!

INDEX

ι:

Ε : Μ η Madrid, Biblioteca nacional, 15364, 1536ä, 1538t (2 copies), 1546^, 15475 (2 copies), 15493 (2 copies), 1550t, 1552, (2 copies), 1553β, 15543 (4 copies), 1555,, 15572 (2 copies), [1564]3, 1570!, 15783 Ε: S Seville, Biblioteca Colombina, 1502Α (L), 1503!, 1504! (L), 1507i (L), 15072 (L), 15082 (L), 1509!, 1511i (L), 15113 (L), 1517i (L), 15292, 15306 E : T p Toledo, Biblioteca provincial, 1538i E : V Valladolid, Archivo de la Catedral, 1555t, 15655, 1596 n E:VAc Valencia, Catedral, 1547s

IRELAND

E I R : D m Dublin, Marsh's Library, 1595„ EIR: Due Dublin, University College, 15974

FRANCE

F:Ameyer Abbeville, Collection Musicale André Meyer, 15823 F : A S Arras, Bibliothèque municipale, 15926 (L) F : B Besançon, Bibliothèque municipale, 15453, 15823 F : C A Cambrai, Bibliothèque municipale, 1552t! (L) F : C V Charleville, Bibliothèque municipale, 15364, 156Ó! F : D U Dunkirk, Bibliothèque municipale, 1552Χ1 (L), 155310 (L) F : G Grenoble, Bibliothèque municipale, 1577e F : M D Montbéliard, Bibliothèque municipale, 1584„, 1589« F : N d Nantes, Bibliothèque du Musée Dobrée, 15823 F : O Orléans, Bibliothèque municipale, 1578„ F : P a Paris, Bibliothèque de l'Arsenal, 15823 F : P c Paris, Bibliothèque du Conservatoire, 15041( 15042> 1509i, 1511 a, 1532x, 15364, 15365, 1537t, 15432, 15442, 1546e> 15528i 15543, 1556„ 15613i 15794, 1581t, 15823, 15846, 1589i, 15898, 15908, 1590 12i 15934, 15942, 15943i 15959, 1596t, 15989 F : P m Paris, Bibliothèque Mazarine, 15513, 15523, 15533, 15544, 15568, 1577e (L), 1582 3 ,1592 e , 15954 F : P n Paris, Bibliothèque nationale, 1507t, 15072, 1512h 15365, 15369, 15423, 1547«, 15505, 1550e, 1552,, 15542, 15543> 1554„, 1555t, 1555δ, 15573, 15574, 1562i, 1574 2 ,1574 3 , 1S811( 15823 (7 copies), 15834> 15845, 1585e, 1589t, 1592β, 1595β F : P o Paris, Bibliothèque de l'Opéra, 15823 F : Pthibault Paris, Bibliothèque G. Thibault, 1546,, 154610, 1546 u , 15472, 15483, 15492, 15524, 15528, 15542, 1554e, 1554„ 15548> 15554, 15563, 15565, 15583, 1559,, 15612, 15623, 15638, 15644, 15692, 1581t, 15823, 15846, 15934 F:Psg Paris, Bibliothèque Sainte-Geneviève, 1558t, 1559t, 15592, 15593 F : R O Roanne, Bibliothèque municipale, 15823 F:Ssc Strasbourg, Séminaire catholique, 15785, 15802 F : S s p Strasbourg, Séminaire protestant, 1536e, 1536, F : T Troyes, Bibliothèque municipale, 15735, 15738, 1574, F : V E Vesoul, Bibliothèque municipale, 1553x (L), 1553e (L), [1586]a (L)

LIBRARIES

473 GREAT B R I T A I N

GB : Ctc Cambridge, Trinity College, 15882, 15892 GB:Cu Cambridge, University Library, 1571t, i s a s , , 15892, 15976, 1599„ 159?2 GB : En Edinburgh, National Library of Scotland, 1597io, 1599t GB: Eu Edinburgh, University Library, 15113, 159?2 GB:Ge Glasgow, Euing Musical Library, 15655, 15845, 15882, 15892 G B : G u Glasgow, University Library, 1545t, 1581t GB : Lam London, Royal Academy of Music, 1589¡¡ GB:Lbm London, British Museum, 15113, 1523t, 1529t, 1532t, 1S322, 1533t, 15364> 15365, 1538t, 15402, 1543a, 1545t, 15462, 15466, 1546e, 1546„ 154610, 1546i3, 154610, 15473, 1547s, 15484, 15494) 15495, 1549„ 1549s, 15513, 15523, 1552„ 15532) 15533, 15543, 15544, 1555t, 15568, 1558t, 1558B, 1559t, 15592, 15593, 1562t, 15642, 15656, 15662, 15663, 15683, 15692, 1571t, 15714, 1572t, 15742, 1574,, 1575t, 15783, 15788, 15793, 1581t, 15823, 15845, 1585t, 15853, 15856, 1586e, 15873, 15882, 1588e, 1589t, 15892, 15893, 15896, 1589s, 158?2 (2 copies), 1590„ 1590n, 1591e, 1591„ 1591n, 1592t, 15923, 1592e, 15932, 15938, 1595«, 15958, 15959, 1595io, 15964, 15965, 1596», 15973, 15974, 15975, 159710, 159714, 15982, 1598„, 15989, 1599t, 1599e, 1599,, 15998, 159?2 GB : Lbmh London, British Museum, Paul Hirsch Collection, 15112, 15113, 15322, 1533t, 1546t 8 , 154 6 20 , 1547,, 154 7 9 , 15 5 9 6 , 15 6 2 3 , 15 6 8 2 , 15 7 3 8 , 1577e, 15823, 15834, 15843, 15932, 15942, 15994 GB:Lem London, Royal College of Music, 1556β, 1558t, 15623, 15734, lesos, 1589a, 1595e, 15964, 15965, 1596„, 15976, 159?2 GB:Lk London, King's Music Library, 15892, 15893, 1590,, 159?2 GB:Lrc London, Royal College of Physicians, 148?t, 1597t GB:Lsc London, Sion College, 158?2 (L) G B : L u London, University Library, 15882, 15892 G B : L I Lincoln, Cathedral Library, 15882 G B : M p Manchester, Public Library, 15882 G B : O b Oxford, Bodleian Library, 156312, 1568„ 15716, 15742, 15882, 15892, 1590n, 15916, 15934, 159710, 15998 GB:Och Oxford, Christ Church, 15892, 1599e, 15998, 159?2 G B : Τ Tenbury, St. Michael's College, 15892, 15984 GB:Y York, Minster Library, 15882 HUNGARY

H:Ba Budapest, Magyar Tudományos Akadémia Konyvtára, 15933 H : B n Budapest, Országos Széchényi Konyvtár, 15733 Η : Β Α Bártfa, St. Aegidius Church, 1573 3 (L) ITALY

I : A Assisi, Biblioteca comunale, 15743, 15776, 15968 I: Be Bologna, Biblioteca comunale annessa al Conservatorio musicale G. B. Martini, 1501 1502t, 1535t, 15364, 15403, 15422, 1543j (2 copies), 15432, 1546te, 1547t, 1549„ 154?2, 154?s, 1551 s ,

474

INDEX

ι:

1558!, 1559«, 1559,, 1560 2 , 1560 4 , 1565^ 1565 4 , 1 5 6 8 „ 1569 8 , 1571 4> 1577 1 ( 1577 5 i 1577,, 1578 e , 1578 e , 1579!, 1579,, 1580,, 1581ι, 1584 1 ; 1584¡¡, 1584 6 , 1584 β> 1584 1 0 > 1585 4 , 1 5 8 6 „ 1586 e , 1587!, 1587 3 , 1587 4 , 1588t, 1 5 8 8 „ 1 5 8 9 „ 1589 4 , 1589„ 1589 e , 1 5 9 0 „ 1590i O , 1591 4 , 1591», 1 5 9 1 u , 1592!, 1592h, 1593¡¡, 1593 4 , 1593 β , 1 5 9 3 „ 1594i, 1594 2 , 1594 a , 1594 e , 1595 2 , 1595,, 1595„, 1595i 0 , 1596 2 , 1596 3 , 1596,, 1597 a , 1597 3 , 1597„, 1597i 4 , 1598 3 , 1598,, 1 5 9 8 n , 1599 4 , 1599 e , 1 5 9 9 u I : B s p Bologna, Archivio di S. Petronio, 1584ι 0 , 1 5 8 7 „ 1590 e I : B R d Brescia, Archivio del Duomo, 1587 3 , 1597, I : F c Florence, Biblioteca del Conservatorio di Musica, 152?!, 1535^ 1536„, 1542 2 , 1543 2 , 1575,, 1 5 9 2 „ 1594 4 I : F m Florence, Biblioteca Marucelliana, 1551 e I : F n Florence, Biblioteca nazionale centrale, 1542 2 , 1568 2 , 1570!, 1570 6 , 1571 4 , 1573 4> 1579 3 , 1584 4 , 1584 6 , 1585 6 , 1587 4 i 1 5 9 0 „ 1591», 1591 1 4 , 1591 l s > 1591 ! „ 1 5 9 3 „ 1596 e , 1598^ 1598„, 1599, I : F r Florence, Biblioteca Riccardiana, 1568 2 , 1 5 8 4 „ 1590 4 , 1595„, 1597i 4 I : F E c Ferrara, Biblioteca comunale Ariostea, 1571 4 , 1581!, 1587 s , 1595 2 I : G u Genoa, Biblioteca universitaria, 1547 3 ,1561 2 , 1563 4 , 1563 β , 1563 β ) 1584 3 I : M a Milan, Biblioteca ambrosiana, 1584i 0 (L) I : M b Milan, Biblioteca nazionale di Brera, 1511 1 ( 1584, I : Msartori Milan, Biblioteca C. Sartori, 1559 8 , 1562, I : M O d Modena, Archivio del Duomo, 1587 3 I : M O e Modena, Biblioteca Estense, 1547 5 , 1572 2 , 1583!, 1584 6 , 1596, I : N c Naples, Biblioteca del Conservatorio, 1578 a I : Nn Naples, Biblioteca nazionale, 1576 3 I : P c a Padua, Archivio della Cappella Antoniana, 1586 s , 1589 e , 1591n, 1595 1 0 I : P u Padua, Biblioteca universitaria, 1559 e , 1569, I : P A c Parma, Biblioteca del Conservatorio, 1536 5 , 1568 2 I : P C d Piacenza, Archivio del Duomo, 1597 6 I : P I u Pisa, Biblioteca universitaria, 1584, I : PS Pistoia, Archivio capitolare della Cattedrale, 1564, I : R c Rome, Biblioteca Casanatense, 1573 4 , 1586 e I : R l a Rome, Biblioteca Lancisiana, 1593 s I : R p o l Rome, Biblioteca Polesini, 1517i I : Rsc Rome, Biblioteca S. Cecilia (Conservatorio), 1536 4 , 1568 2 , 1568 6 , 1581 χ , 1584 s , 1588 3 , 1589„, 1590, I : R v a t Rome, Biblioteca Apostolica Vaticana, 1564 8 I : S d Siena, Archivio del Duomo, 1587 3 I : T n Turin, Biblioteca nazionale, 1578 8 , 1582 3 , 1583! I : T V c a p Treviso, Biblioteca capitolare, 1504i, 1504 2 , 1587 3 , 1592 2 (L) I : V n m Venice, Biblioteca nazionale Marciana, 1539 1 ( 1548 2 , 1569 2 , 1579 3 i 1583 6 , 1587 3 i 1591i 2 , 1595„, 1598, I : V E a f Verona, Accademia filarmonica, 1574 3 , 1590 2 , 1592 3 I : V E c a p Verona, Biblioteca capitolare, 1599 2 MEXICO

M:M

Morelia, private library, 1554,

LIBRARIES NETHERLANDS

N L : D H g T h e Hague, Paul Gottschalk library, 1504 2 N L : DHgm T h e Hague, Gemeentemuseum, Music Department, 1511 3 , 1529i, 1536 4 , 1536,, 1545i, 1549 s , 1551 e , 1552,, 1568„ 1 5 8 1 „ 1 5 8 2 „ 1 5 8 4 „ 1589t N L : D H k T h e Hague, Koninklijke Bibliotheek, 1568 8 PORTUGAL

P : P m Porto, Biblioteca pública municipal, 157Ö! Ρ : V Viseu, Biblioteca, 1536, POLAND

P L : G D Gdañsk, Biblioteka Polskiej Akademii Nauk, 1584, (L), 1589 6 , 1597i 2 P L : K j Cracow, Biblioteka Jagiellonska, 1571, P L : L Legnica (formerly Liegnitz, Biblioteca Rudolfina der Rittersakademie), 1536, (L), 1577 2 (L), 1579, (L), 1589, (L), 1589, (L), [1590], (L), 1591h (L). 1597H (L) P L : S Sorau, Bibliothek der Marienkirche, 1546! (L), 1546 6 (L), 1546, (L), 1 5 4 6 i , (L), 1546i, (L), 154Ó!, (L), 1546i, (L), 1547„ (L), 1547, (L), 1554, (L), [1562], (L) P L : T m Toruñ, Ksiaznica Miejska (formerly Thorn, Gymnasialbibliothek), 1542 t (L), 1578, P L : W n Warsaw, Biblioteka Narodowa, 1589, P L : W R u Wroclaw, Biblioteka Uniwersytecka, 1555 2 , 1555„ 1558, (L), 1 5 7 2 „ 1573 2 , 1578 6 , 15811, 1582i, 1582 6 , 1583 2 , 1584, (L), 1 5 8 6 „ 1 5 8 8 „ 1594,, 1 5 9 4 , , (L), 1598 1 0 SWEDEN

S : S k Stockholm, Kungl. Biblioteket, 1583 2 S : U u Uppsala, Universitetsbiblioteket, 1529 l t 1546,, 1546n, 1546i 6 , 1566 2 , 1566„ 1568 4 , 1574i, 1583,, 1589 6 , 1 5 9 0 l a UNITED STATES

U S : B p Boston (Mass.), Public Library, 1574 ä l 1581!, 1584,, 1597 4 U S : B E Berkeley (Calif.), University of California, 1552,, 1579 2 , 1591, U S : B U Buffalo (Ν.Y.), Grosvenor Library, 1597 1 2 U S : C n Chicago (111.), Newberry Library, 1508 2 , 1509i, 1523i, 1536 4 , 1536,, 1546 e , 1546„ 1547 2 , 1549 a , 1554,, 1564,, 1 5 6 5 „ 1 5 8 7 „ 1594 2 , 1597 6 , 1 5 9 9 „ 1599, U S : C A Cambridge (Mass.), Harvard University Library (and Houghton Library and Theater Collection), 1529i, 1553i, 1555i, 1 5 8 ^ (3 copies), 1582, 158?ü 1591H, 1598„ U S : NYhs New York (N.Y.), Hispanic Society, 1547,, 1 5 4 9 „ 1555i, 1581i U S : N Y p New York (N.Y.), Public Library, 1536 4 , 1 5 4 6 „ 1558,, 1582 a , 1593, U S : R Rochester (N.Y.), Sibley Music Library, Eastman School of Music, 1532ι, 1536 4 , 1552,, 1 5 6 5 „ 1584,, 1 5 9 1 n U S : S M San Marino (Calif.), Henry E. Huntington Library, 1 5 6 9 „ 1 5 8 2 „ 1589i, 1589 2 , 1595„ 1596 4 , 1597 4 , 1597 1 0 , 1 5 9 8 „ 1599i, 1 5 9 9 „ 159? 2 U S : U Urbana (111.), University of Illinois Library, 1582,

INDEX US:Wc 1504,, 1538!, 1549!, 15655, 15846,

ι:

Washington, D.C., Library of Congress, 1523,, 15301( 1535!, 15364, 15366, 1536„, 1542i, 15422, 15432, 15466) 15467, 15472, 1554i, 15543, 1555!, 1563I, 15633, 1563 u , 1568i, 15714, 1577,, 15783, 1581i, 1582^ 1585!, 15865, 15906, 15933, 1594a

LIBRARIES

475

U S : W s Washington, D.C., Folger Shakespeare Library, 1581^ 1595, U.S.S.R.

USSR: Κ Kaliningrad (formerly Königsberg, Stadtbibliothek), 1546„ (L), [1594]12 (L)

INDEX II : VOLUMES DESCRIBED, ARRANGED BY TYPES OF NOTATION French tablatures use letters to represent frets (a = open string, and b = first fret) ; Italian tablatures use numbers to represent frets (O = open string, and ι = first fret). Further details about the notation of instrumental music may be found in ApelN, part I, and WolfH II. Bandora tablature (French tablature for the 7-course bandora, tuned F' B|> C F bb d g'), 1S96C Cittern tablature, French (French tuning: a g d e), 1552 e , 1564 5) 1564„ 156S3> 1568 β , 1569 β) 1570 3 [1575],, 1S82 5 Cittern tablature, French (Italian tuning: b g d e), 15703> 15976> 15991; a n d

1599s

Cittern tablature, Italian (French tuning : a g d e ; the highest line represents the highest string), [ 1 5 7 5 ] 2 , 15784,

mois

Cittern tablature, Italian (6 courses, tuned D F b g d e), 1574, Cittern tablature, Italian (6 courses, tuned B G D g d e), 1575 3 , 1578 5 Guitar tablature, French, [1550] 2 , 1551!, 1551 3 , 15523,

15525>

1552e,

1553a,

15534>

15544,

1556a,

15704

Guitar tablature, Italian, 1 5 4 6 1 4 , 1 5 4 9 2 , 1 5 5 4 3 Harp or organ tablature, 1 5 4 6 1 4 Keyboard partitura, see Partitura, keyboard Keyboard score (two staves: one for the right hand and one for the left), 1 5 1 7 1 ; 1 5 2 3 ^ 1 5 3 1 ! , 1 5 3 1 2 , 15313,

15314>

154?„

154?3, 1551s, 15672,

15883j

15316,

1589s,

1531«,

[1590]„,

15927, 15928j 1 5 9 2

u

,

1531,, 15685,

1543„ [1586]2,

1591„

15914,

15933, 15934i 15953,

1 5 9 6 „ 1597a> 15989, 1 5 9 8

u

,

15494, 1586s, 1591

u

,

159510,

1599,

Keyboard tablature (using numbers), 1550!, 15511, 1555i, 15572, 15763,

1517!,

154614,

15783

Keyboard tablature, German, 151l 3 , 1512 t , 1529 2 , 15364,

1571!,

1583e, 15890,

15745,

1575i,

1577e,

15832,

15834,

[1594]9

Lute tablature, French, 1546i8,

154619,

154710,

[1547]u,

15292, 15293, 15303,

154 620i

1547„

[1547]12,

1547e,

15498,

15512,

15453, 15479, 1552,,

15524, 15528, 1552n, 1553a, 15539, 155310,

15546,

1554e,

15584,

1554„

15548,

15554,

15561;

15583,

1558e, 15594, 15628, 15629, 156210, 1562n, 1564!,

15683,

1568„

15713,

1571e,

15736,

1563!,, 15738,

[1573]9, 15742, 1 5 7 4 „ [1575],, 1584e, 1585s,

1592e,

15946, 15964, 15974, 159710, 15982i 159810,

1599i,

15998

Lute tablature, German,

159212,

1592i4

[1508]2, 1509i, 1511i, 15369,

1538t,

152?!, 15363, 1536s,

15402,

1546i,

15462,

1546s, 1546e, 1546„ 15468, 154610, 1 5 4 6 1546h,

154615,

15475,

1548I,

154?i,

154?4,

15542,

15543i

1546ιβ,

15482,

154617,

15483,

154?5, 1 5 5 2 „ 15551(

15484, 1553!,

15563,

15368,

1546s,

15464,

,

154613,

15472,

15473,

n

1549^

15492,

[1553],,

1554i,

1559„

15603,

15612, 15613, 1562i, [1562]2, 1563i, 15632,

15595,

15633,

15634,

15635,

1563e,

1563,,

15644,

1565!,

15652,

1566i,

15662,

15663,

1568i,

1569i,

15692,

1569s,

156?3,

1570^

15705,

1571«,

15734,

1563s,

1563u,

1574t, 1576i, [1576]2, 1579t, 15811;

15821(

15843,

15845,

15898,

15908,

1585!,

[1590],, 15929,

1585s,

1591H, 1592n,

1586e,

159114, 1593„

1587i,

159115,

1594„

1591le,

1 5 9 5 9 , 1595IO, 1 5 9 7 I 4 , 1 5 9 8 e , 1 5 9 9 „

Mensural notation, 1 4 8 ? i ,

1592i,

[1594]n,

[1595],,

1599„

15011, 1 5 0 2 ! , 1 5 0 3 i , 1 5 0 4 i ,

1509!,

1511!,

15113,

15121(

1521!,

15292,

15293,

152?„

15303,

15304,

15305j

15322,

15332,

15333,

15364, 15368, 1537t, 15382, [issala, 1539t,

15402,

15403, 15422, 15432, 15433, [1543]4, 15452,

15469,

1546t», 154614, 1547t, 15475, 1547e, 1549s,

1549,,

154?„" 1550t,

1550s,

1550e,

1551„

1551„

15518,

15522,

1552,, 15532,

15535,

1553e,

155310,

15543,

15544,

15545,

1555t,

15552,

15553,

15555,

15568,

15569,

15573i

15574,

1558t,

1559t,

15592,

15593,

15596, 15598, 15602, 15604, 1561t, 1562e, 15642,

15648>

1565s,

15684,

1569,,

[1562]12i

1570x,

15706,

15713, 15714, 15715, 15722, 15734, [1573],,

15742,

15743, 15746, 15772, [1577]3, 15774

1578e,

1578s,

15792,

15793,

15794,

1581t,

15823,

1583t,

1583„

1584t, 15842,

15843,

15844,

1584„,

1584„

15849,

1585s, 1585e>

158410, 15853, isas!,

1586„

1586e,

1586e,

15873, 15874, [1587],, 1588t, 15882,

15884,

15885,

1588e,

1588,,

15888,

1589t,

15892,

15893,

15894,

15896,

1589„

15898,

158?2,

1590i,

15902,

[1590],,

15904,

1590i„,

1590u,

1591,,

1 5 9 1 β,

159115,

1591

le

1590e, 15919, ,

1590„

1590i2,

1591,,

1591u,

1592t,

15922,

1590,, 1591„ 159112, 15923,

[1590]9, 1591„, 1591t4, 1592„

15232,

159210, 1 5 9 2 n , 15932, 15936, 1593«, 1593«,

1594t,

1529!,

15322,

1533^

15364,

1536e,

1536,,

1537i,

1594,, 1594,, 1594«, 1 5 9 4 „ 1594«, [1594],,

1594t„,

1540i,

1544!,

15442,

15443,

15469,

15474,

1549e,

[1594]12,

15504,

1552i,

15113, 1512^ 151?!,

15732, 15733, 1574s, 1584e, 1586s, 1591ls, [1592]1S>

Lute tablature, Italian (including vihuela tablature; the highest line represents the lowest string except in 1 5 3 6 5 , where the reverse is true), 1 5 0 7 ! , 1 5 0 7 2 ,

[1552]i„,

15562,

15565,

15585, 1 5 6 2 „ 15624, 156310, [1564],, 1572χ,

[1556],, 1573!,

15950,

1595t,

15952,

159510, 1596t,

15954,

[1595]«,

15963, 1596«, 1 5 9 6 „

1595«, 1596„

INDEX

Ii:

1596 U ) 1597!, 1597 2 , 1S974> 1S97 6 , 1597„ 1597 8) 1597„, 1597 10 , 1597^, 1597 12 , 1 5 9 7 u , 1598^ 1 S98 a , 15983> 1598 4 , 1598 s , 1598 e , [1598],, 1598 8) 1599!, 1599 2 , 1599 s , 1599e> 1599 a , 1599 10 , 159?2 Organ tablature, see Harp or organ tablature; Keyboard tablature Orpharion tablature, French (7 courses, tuned C ' G C F a d g'), 1596 5

ι6*

NOTATION

477

Pandora tablature, French (6 courses, tuned C D g c e a'), 1599 8 Partitura, keyboard, 1556 9 n. 1, 1575 5 , 1577 6 , 1577„ 1580 a , [1582] 4 , 1590 6 , 1595 2 , 1598 4 Score, 1585 5 , [158?] 5 , 1591 9 . See also Partitura, keyboard Vihuela tablature, see Lute tablature, Italian Viola da gamba tablature, 1532¡¡, 1537Χ) 1542 2 ,1543 2 ) 1546»

INDEX III : VOLUMES DESCRIBED, ARRANGED BY PERFORMING MEDIUM W h e n s i x t e e n t h - c e n t u r y editors a n d p u b l i s h e r s p r e p a r e d their v o l u m e s f o r the press t h e y took into a c c o u n t the great f r e e d o m of choice left to p e r f o r m e r s in d e c i d i n g o n the i n s t r u m e n t a t i o n of a specific c o m p o s i t i o n . M a n y v o l u m e s of instrumental m u s i c are a r r a n g e d in s u c h a w a y that v a r i o u s c o m b i n a t i o n s of i n s t r u m e n t s can p l a y f r o m the s a m e p r i n t e d m u s i c . T h i s characteristic flexibility c o m p l i c a t e s the task of p r e p a r i n g this index, w h i c h clearly c a n n o t indicate e v e r y possible instrumentation. J o h n D o w l a n d ' s first book of ayres ( 1 5 9 7 4 ) , f o r e x a m p l e , includes one lute p a r t a n d f o u r v o i c e parts. T h e v o l u m e is listed in this i n d e x u n d e r " L u t e s o l o , " " L u t e a n d solo v o i c e , " " L u t e a n d several v o i c e s , " a n d " V o c a l m u s i c . " A l t h o u g h these entries b y n o m e a n s e x h a u s t the possibilities f o r the p e r f o r m a n c e o f these D o w l a n d ayres, this e x a m p l e w i l l help the reader to u n d e r s t a n d the scope a n d limitations of this i n d e x . " D . W . " f o l l o w i n g an e n t r y refers to the " D o u b t f u l W o r k s " listed at the e n d of the y e a r in question. T r e a t i s e s a n d instructions f o r a d d i n g ornamentation are i n c l u d e d in this i n d e x even t h o u g h these entries d o n o t r e f e r to p e r f o r m i n g m e d i u m . Bandora, instructions for playing, 1596 e Bandora and solo voice, 1596 6 Bandora solo, 1596, Bells, see [1578]! Chitarrone, see [ 1 5 9 4 ] n Cittern, flute, lute, pandora, and two violas da gamba, 1597, Cittern, instructions for playing, 1564 5 , 1565 s , 1568„, [1568],, [1569],, [1569] 4 , [1569] 5 , 1570 3 , 1575 s , 1578 4 , 1578 5 i 1593 D . W . Cittern and one bass instrument, 1597» Cittern and several voices, 1599 t Cittern and solo voice, 1574 e Cittern and three other instruments, 1597» Cittern solo, 1552«, [1563],, 1564 s , 1 5 6 4 „ 1565 3 , 1568», [1568] 9 , [1569] 3 , [1569] 6 , 1569», [156?]!, [156?]i, 1570 3 , 1574 e , [1575] 2 , 1575 3 , [1575],, 1578 4 , 1578 5 , 1580 2 i [1582] 2 , 1582 5 , [1592] 1 5 , [1593]i, 1597», 1599i Cornemuse, see in Index V Branle de Poitou en mode de cornemuse Cornetto, see 1539^ 1597g Crumhorn, see 1539! Dancing, instruction book, 148?!, 1581i, 1589i, 1596!, 1597! D u o , see Ensemble a 2 Ensemble a 2 , music for instrumental, 1 5 2 1 1 5 4 5 2 , 1546 1 2 , 1559 e , 1560,, 1560 4 , 1562», [1562] l a , 1565 4 , 1568 2 , 1568I, 1577 2 , [1577] 3 , 1578g, 1579 2 , 1579i, 1584 4 , 1584 5 , 1584 9 , 1585 5 , 1585 β , [1586] e , 1586,, 1586 9 , 1587 4 , [1587],, 1 5 8 8 4 , 1 5 8 9 4 , [1590] 3 , 1590 4 , 1590», 1 5 9 0 n , 1590 1 2 , 1591 e , 1 5 9 1 „ 1591 8 , 1591 D . W . , 1594i„, 1595 4 , [1595] 6 , 1595 β , 1597 e , 1598 3 , 1598 5 , 1598 8 Ensemble a3> music for instrumental, 15011, 1503i, 1504], 1504 2 > 1538 2 , 1543 3 , 1 5 4 9 „ 154? e , 1551», 1 5 5 1 „ 1556h, 1559 8 , 1561i, 1564 e , 1569 7 , 1579 2 ,

1579 D . W . , 1584 6 , 1585 3 j 1585 6 i [1587],, 158? 2 , 1590«, 1591 6 , 1591», 1591i 2 , 1592 2 , 1593 e , 1594I 0 , 1595 4 , 1597», 1599 2 , [1599] s Ensemble 0 4 , music for instrumental, 1501!, 1502i 1503!, 1504i, 1504 2 , 1530 4 , 1530 6 i 1532 2 , [1538] 3 , I54O3, 1547i, 1547», 1549 5 j 154? e , 1550 6 , 1550», 1551 8 , 1553 2 , 1555 2 , 1555 3 , 1555 6 , 1 5 5 6 „ 1557 a , 1557 4 , 1558i, 1559i, 1559 2 , 1559 3 , 1561i, 1564 2 , 1568 2 , 1571 5 , [1573] e , 1574 3 , 1576 D . W . , 1577 4 , 1578 8 , 1579 2 , 1579 3 , [1582] 4 , 1 5 8 3 „ 1584 2 , 1584 5 , 1 5 8 4 „ 1584i 0 , 1585g, [1587],, 1588i, 1588 5 , 1588», 1588,, 1588 e , 1589i, 1589 a , 1589g, 1 5 8 9 „ [158?] 4 , I59O1, 1590 e , 1 5 9 0 „ 1590 8 , 1590 1 0 , 1591 e , 1593g, 1593 e , 1593 D . W . , 1594i, [1594] s , 1594 1 0 , [1594]i 2 , 1595i, 1595 2 , 1595 4 , 1595 8 , 1595 9 , 1596!, 1596 3 , 1596 8 , 1596„, 1 5 9 6 n , 1597i, 1597 2 , 1598 4 , [1598],, 1599 2 , 1599 6 , 1599I 0 . See also under Grossgeigen; K e y b o a r d ; Kleingeigen Ensemble 0 4 , music for instrumental, and several voices, 1588 2 , 1589 2 , 159? 2 Ensemble as, music for instrumental, 1530 4 , 1547 e , 1550g, 1555 2 , 1555 3 , 1555 6 , 1557 3 , I S S ? ! , 1559 3 , 1564 2 , 1572 2 j [1573],, 1579 2 , [1580]i, 1582 3 , 1583 χ , 1584 5 , 1585 s , 1585 D . W . , [1586] 4 , [1587],, 1588 s , 1 5 9 0 „ 1590 8 , 1591«, 1591 e , [1594] 9 , 1595 4 , 1595», 1597,, 1 5 9 7 ü , 1599» Ensemble a6, music for instrumental, 1530 4 , [1543] 4 , 1555 2 , 1555 3 , 1559 3 , 1564 2 , 1579 2 , 1585 6 , [1587],, 1588 s , 1590», 1591g, 1591 9 , 1595 4 , 1597,, 1 5 9 7 n , 1599g Ensemble ay, music for instrumental, 1579 2 , 1591», 1595 4 Ensemble a 8, music for instrumental, 1579 2 , 1587 s , 1590 2 , 1591», 1592 3 , [1594],, 1595 2 , 1595 4 , 1 5 9 6 h , 1597g, 1597 1 2 Ensemble aio, music for instrumental, 1597 6 Ensemble a 12, music for instrumental, 1582 s , 1596h, 1597 s , 1597„

INDEX

i n :

PERFORMING

Ensemble a 15, music for instrumental, 1597 8 Ensemble, music for instrumental, various combinations of specific instruments, 1539^ 1597 g 1599, Flute à neuf trous, see Recorder Flute, instructions for playing the transverse, 1556 7 , [1558] a Flute, lute, pandora, two violas da gamba, and cittern, see under Cittern Flute, transverse, see 1533 2 , 15333> 1535,, 1539„ 1556,, [1558] 2 , and 1599 e . See also Recorder Grossgeigen, four, 1532 2 , 1537 1( 1546 9 . See also Viola da gamba Grossgeigen, instructions for playing, 1532 2 Guitar, instructions for playing, [1550] 2 , 1551 3 , [1551] 4 , [1568],, 1570 4i [1578], Guitar, instructions for playing Spanish, [1586]! Guitar and solo voice, 1554 3 , 1554 4 , 1556 e Guitar solo, 4 course, 1546, 4 , [1550] 2 , 1551,, 1551., [1551] 4 , 1552„ 1552 6 , 1552 e , 1553„ 1553 4 , 1554„ 1561 D.W., [1568] 9 , [156?] 2j 1570 4 , [1573],, [1578],, [158?], Guitar solo, 7-course, 1549 2 H a r p solo, 1546 14 Harpsichord, see 1539„ [1560],, 1592 s . See also Keyboard Harpsichord, instructions for playing, [1536] 2 , [1560]!, [1597],,. See also Keyboard instruments Keyboard and solo voice or several voices, 1586 e , 1589 e , [1590]„, 1591h, 1 5 9 2 , „ 1595 2 , 1595 10 Keyboard instruments, instructions for playing, 1555!, 1565 6 , 1571i, 1575!, 1576 a , 1577„ 1578 s , 1593„ 1597, Keyboard part in ensembles, [1586] 2 , 1598 4 Keyboard solo, 1512i, 1517i, 1523i, 1531 χ , 1531 2 , 1531 s , 1531 4 , i s s i s i 1531 e , 1531,, [1536]i, [1536] 2 , 1543i, 1547i, 1547 D.W., 1549 4) 1549 6 , 154? 2) 154?3, [1550],, 1551!, 1551 s , 1555i, 1556„, 1557 2) [155?]i, 1561 D . W . , 1565 s , 1567 2 , 1568 5 , [156?] 5 , 1571i, [1571] 2 , 1574 5 , 1575i, 1575,, 1575 D.W., 1576 a , 1576 D.W., [1577]i, 1577 5 , 1577„, 1577„ 1578,, 1580,, 1583 2 , l e e s ! , 1583 e , [1585] 2 , 1585 D.W., [1586] 2 , 1586g, 1587 D.W., 1588,, 1589 e , 1589,, 1590 6 , fisgóle, 1591„ 1591„ 1591,„ 1592., 1592 e , 1592u, 1593 3 , 1593 4 , [1594],, 1595 3 , 1595io, 1596,, 1597„ 1597 D.W., 1598n, 1599 e , [159?]i, [159?] 4 . See also Harpsichord; Organ Keyboards, two, 1557 2 Kleingeigen, four, 1532 a , 1537,, 1546 9 Kleingeigen, instructions for playing, 1532 2 K r u m h o r n , see Crumhorn Lute, four hands, 1597 4 Lute, instructions for playing, 1507i, 1507 2 , 1508 2 , 1509i, 1511t, 151?i, 1523 2 , 1529 a , 1S2?1( 1530 2 , 1532 2 , 1536„ 1540i, 1544i, 1545„ 1546 2 , 1546„ 1546.1, 1547 3 , 1547 4 , 1547„ 1547 8 , 1548 3 , 1549 e , 1550 4 , 1552,, 1553„, [1557],, 1559 δ , 1560 3 , 1562 3 , 1562 4 , 1563, 0 , 1563 D.W., [1565],, [1567],, [1567],, 1568 2 , 1568 a , [1570],, 1572„ 1574 2 , [1583] s , 1585 6 , 1592«, 1592 12 , 1594 4 , [1594],,, 1596 4 Lute, pandora, two violas da gamba, cittern, and flute, see under Cittern L u t e and one melody instrument, 1530„ 1581, L u t e and several instruments, 1589 8 , 1590,, 1592 e , 1593,, 1595 e , 1599„ 1599,, L u t e and several voices, 1584 e , 1586,, 1590,, [1590]», 1 5 9 1 „ , 1591 14 , 1591 15i 1591 l e , 1592 x ,

M E D I U M

479

[1592] 4 ,1592„ 1592,,. 1594,, 1594„ 1595„, 1595 10 , 1597 4 , 1597 10 , 1597 14 , 1598,, 1598„, 1599, 1589, L u t e and solo voice, 1509,, 1511„ 1512„ 1529„ 152?,, 1536,, 1540 2 , 1552 2 , 1553, 0 , 1554 6 , [156?],, 1570„ 1750 6 , 1571„, I S ? ! , , 1573 4 , [157?]„ 1584 3 , 1586„ 1590,, 1595„, 1597 4 , 1597, 0> 1598 2 . See also Bandora and solo voice; Cittern and solo voice; Guitar and solo voice; Keyboard and solo voice; Vihuela and solo voice L u t e solo, [1505] 2 , 1507„ 1507 2 , [1508],, 1508j, 1509,, 1511„ 1511 s , 1512„ 151?„ 1523 2 , 1529„ 1530„ 1530 D.W., 1532 2 , 1533„ 1536,, 1536 e , 1536,, 1536 8 , 1536 D.W., 1537!, 1540„ 1540 D.W., 1544„ 1544 2 , 1544 s , 1545„ 1546„ 1546 2 , 1546 3 , 1546 4 , 1546 5 , 1546„ 1546„ 1546„ 1546 9) 1546 10 , 1546,!, 1546 13 , 1546 16 , 1546 l e , 1 5 4 6 „ , 1546,,, 1546, 9> 1546 20 , 1547 2 , 1547„ 1547 4 , 1547„ 1547„ 1547», 1547 10 , [1547],,, [1547] 12 , 1547 D . W . , 1548„ 1548 2 , 1548„ 1548 4 , 1549„ 1549 2 , 1549„ 1549,, 154?„ 154? 4 , 154? 6 , ISSO!, 1551 2 , 1552„ 1552 4 , 1552 8 , 1552,,, 1553„ [1553],, 1553„ 1553 9 , 1553,0, 1553 D.W., 1554„ 1554 a , 1554„ 1554„ 1554,, 1555 4 , 1556„ 1556 2 , 1556„ 1556,, [1556],, 1556 D.W., 1558„ 1558 4 , 1558 e , 1559 4 , 1559,, 1559 D . W . , 1560„ 1561 2 , 1561„ 1562„ [1562] 2 , 1562 3 , 1562 4 , [1562] 6 , [1562],, 1562„ 1562 e , 1562, 0 , 1562,„ 1563„ 1563 2 , 1563 a , 1563 4 , 1563 6 ,1563 e , 1563,, 1563„ 1563 10 , 1 5 6 3 „ , 1563 12 , 1563 D . W . , 1564„ 1564 4 , [1564],, 1565„ 1566„ 1566 2 , 1566 3 , 1567 D.W., 1568„ 1568 2 , 1568„ 1568,, 1568 D.W., 1569„ 1569 2 , [1569] 4 , 1569„ 156? 3 , [1570],, 1571 4 , 1571 e , 1572„ 1573,, 1573 a , 1573 3 , 1573 4 , 1573 s , 1573 e , [1573] 9 , 1574„ 1574 2 , 1574 6 , 1574„ [1575] 4 , [1575] e , [1576] 2) 1576 D . W . , [1578],, 1579,, [1580] 4 , 1581„ 1582„ [1583] s , 1584 3 , 1584 6 , 1584«, 1585„ [1586] 3 ,1586 s , 1586,, 1586 D.W., 1587„ [1587],, 1587 D.W., 1589 8 , [158?]„ 1590 8 , [1590] 9 , 1 5 9 1 „ , 1591, 3 , 1591 14 , 1591,5, 1 5 9 1 „ , 1592„ [1592] 4 , [1592] 5) 1592β> 1592 e , 1592, 2> [1592], s> 1593„ 1594 5 ,1594„ [1594],,, [1595],, 1595 e> 1595 10 , 1596 4 , [1596],„, 1597, 4> 1598 e , 1598,„, 1599„ 1599„ 1599,„ [159?] 3 . See also Vihuela solo Lutes, two, 1507„ 1507 2 , 1508 2 , 1546„ 154 6 2 0 , 1549 2 , 1550 4 , [1552],, [1552], 0 , 1552„, 1556 s , [1556] e , 1559,, 1562 3 , 1562 4 , 1563 12 , 1568„ 1571„, 1573 8 , 1584 6 , 1584 6 , 1584„ 1585„ 1592, 4> 1593,, 1599,, » Lutes, three, 1539„ 1584„, [1587],, [1591], 0 Lutes, four, 1584„, 1599,, Lutes, two, three, and four, and several voices, 1584, Mandora, instructions for playing, [1585], Mandora solo, [1578] 2 , [1585], Monophonie music, 148?,, 1542 2 , 1543 2 , 1553 s , 1553 e , 1584„ 1584 2 , 1585 4 , 1589„ 1591 2 , 1596„ 1597,, 1598, Organ, instructions for playing, 1511 2 , [1591],. See also Keyboard instruments Organ basses, 1598 4 Organ solo, 1511„ 1546 14 , [1599], 2 . See also Keyboard; Organetto Organetto, see 1539, Ornamentation, instructions for adding, 1535,, 1553&, 1553 e , 1584„ 1584 2) 1585 4 , 1591 2 , 1592, 0 ) 1593 2 , 1594 3 , 1598, Orpharion, instructions for playing, 1596B Orpharion solo, 1596,, 1599, Pandora, see 1599,

480

INDEX

m :

PERFORMING

Pandora, two violas da gamba, cittern, flute, and lute, see under Cittern Percussion instruments, [1578]! Plainchant, for organists, 1596 2 Portative organ, see Organetto Recorder, see 1533 2 , 1533 3 , 1556 ; . See also Flute Recorder, instructions for playing, 1535!, 1556, Storte, see Crumhorn Stringed instruments, ensemble music for, 1590 8 Treatises (including surveys of instruments), 15113, 1528J, 1529i, 1529 2 , 1530i, 1532i, 1532 a , 1536 4 , 1542!, 1542 a , 1545i, 1549 s , 1550i, 1554„, 1555i, 1556,, 1568 s , 1594 2 , 1595 4 , 1599 4 Trio, see Ensemble a 3 Trombones, see 1539i, 1597 6 Vihuela, instructions for playing, 1536 5 , 1538^ 1546n, 1547 6 , 1552,, 1554 3 , 1555i, 1576i Vihuela and solo voice, 1536 6 , 1538i, 1546i 4 , 1547 6 , 1552,, 1554 a , 1555i, 1576i Vihuela solo, 1535 D.W., 1536 6 , 1538^ 1546 14 , 1547 s , 1552,, 15543, [1564]3, 1576i. See also Lute solo Vihuelas, two, 15475 Viola a mano, see 1559 5 Viola bastarda, see 1584 2 , 1 5 9 9 u Viola da gamba, see [1556] 4 , 1556,, 1599 χ , 1599 s . See also Grossgeigen Viola da gamba, instructions for playing, 1542 a , 1543 2 , 1553 δ , 1553«, [1556] 4 , 1556, Viola da gamba and keyboard, 1553 6 , 1553„ Viola da gamba solo, 1542 2 , 1543 2 , 1553 δ , 1553 e Violas da gamba, two, cittern, flute, lute, and pandora, see'under Cittern

MEDIUM

Violas da gamba and solo voice or several voices 1543 2 , 1588 2 , 1589 2 , 159?2 Violin, see 1556,, 1597 s Violin, instructions for playing, 1556, Violone, see 1539 t Virginals, see Harpsichord Vocal music, 1530 4) 1533 2 , 1533 3 , 1539^ 1543 3 , 1549,, 1551 e , 1551,, 1556,, 1559 8 , 1569„ 1571 4 , 1572 2 , 1573 4 , 1574 2 , 1577 2 , [1577] 3 , 1578 e , 1579 3 , 1579 4 , 1583J, 1584i, 1584 2 , 1584 4 , 1584„ 1585 4 , 1585 β , [1586],, 1586„, 1587 3 , [1587],, 1588,, 1588 6 , 1589 2 , 1589 3 , 1589 4 , 1589 5 , 1589 e , 158?,, 1590!, 1590 2 , [1590] 3 , 1590„ 1590„ 1590 8 , [1590]„, 1590io, 1590,i, 1590i 2 , 1591 2 , 1591 e , 1591,, 1591 e , 1591,i, 1591i 2 , 1591i 4 , 1591 16 , 1591 l e , 1592i, 1592 2 ,1592 3 , [1592] 4 , 1592h, 1593 e , 1593 s , 1594 3 , [1594],, 1594„ [1594]», 1594i„, 1595!, 1595 2 , 1595 4 , 1595 e , 1595 s , 1595i„, 1596 3 , 1596n, 1597 2 , 1597 4 ,1597 8 ,1597 9 , 1597 10 , 1597 12 , 1597 14 , 1598!, 1598 2 , 1598 3 , 1598 4 , 1598 e , 1598 8 , 1599i, 1599 2 , 1599fi, 159?2 Voice, solo, and one accompanying instrument, see under Bandora; Cittern; Guitar; Keyboard; Lute ; Vihuela Voices and one accompanying instrument, see under Cittern; Keyboard; Lute Voices and several instruments, 1539 1( 1588 2 ,1589 2 , 1591 e , 15976, 1598 4 , 15998, 159? 2 . See also under Lutes; Violas da gamba Wind instruments, ensemble music for, 1584!, 1584 2 , 1590 2 , 1592j, [1594]„

INDEX IV : NAMES Abondante, Julio, detto dal Pestrino (Giulio dal Pestrino, Pestrin), p. 5, 1536 D . W . , 1546^ 1548J, 1563 1 ; 1587j, [158?]! Abran, 1570 3 , 1571 e , 1574„ 1584 e Accorambona, Vittoria, 1581! Acquaviva, Marcello, 1591 2 . See also Aquaviva A d a m von Fulda, see Fulda Adiebes, Melchior, 1569 a Adorno, 1533 2 Adrian V I , Pope, 1523i Adriano, see Willaert Adriansen (Hadrianus), Emanuel, 1584 e , 1585 D . W . , [1592] 6 , 1592, Agostini, Lodovico, 1583! Agricola, Alexander, 1507i, 1507 2 , 1511 3> 1536 e , 1536,, 1538¡¡ Agricola, M a r t i n (Martin Shor), 1511 s , 1528i, 1529i, 153Û!, 1532 x , 1542i, 1545i, 1561! Aichinger, Gregor, 1595i Albert, see R i p p e Albert V, D u k e of Bavaria, 1577 2 , 1598„ Albert Friderich, Margrave of B r a n d e n b u r g , 1573 3 Albertinello, Carolo, 1589 6 Alberto da M a n t u a , see Rippe Alberto, Luys, 1557 2 Albinus, Petrus, 1583 e Albrecht, D u k e of Prussia, [1574],, Albrecht von M a n t u a , see Rippe Albutio, Giovanni Jacobo ( H a n s Jacob von Mailandt) 1536 e , 1552!, 1 5 5 2 n , 1 5 6 3 u , 1563 1 2 Aide, J o h n , [1565], Aldobrandini (Aldobrandino), Cardinal Cinzio, 1599 4 Alemanni, Giovanni Maria, see Giovanni Maria Alemanni Alemanno, Ebeling, 1561 x Alessandro R o m a n o , see R o m a n o , Alessandro Alexandre, 1546i 4 Alford, J o h n , 1563 D . W . , 1568 3 Allena, A n t o n i o d', 1560 4 Allison, Richard, 1599i, 1599 e Aloysius, see Palestrina Altan in G o l d b u r g and Murtserlen, Barons of (Adolf Wolfgang, Giorgio, Giovanni Wolfgang, Quintino, a n d Teterico), 1592 8 Altemps, Cornelia Orsina, 1581! Altoviti, Antonio, Archbishop of Florence, 1568 6 Amadino, Ricciardo, 1584„, 1585 a , 1585 4 , [1586] β , 1587 4 , 1588 β , 1 5 8 9 „ 1590i 0 , 1592 2 , 1593„ 1594 2 , 1594„ [1594] 1 2 , 1596 3 , 1597 s , 1598 e , 1 5 9 9 „ 1599i 0 A m a t , J u a n Carlos, [1586]i Ambrogio, R . P., 1599 2 A m m e r b a c h , Elias Nicolaus, 1571i, 1575i, 1583 2 Ana, Francesco d ' ( F . V.), 1509i Anclam, town council of, 1597, Andreae, Lazarus, see Andrisowycz Andrisowycz, Lazar (Lazarus Andreae), 1565i

Anerio, Felice, 1589„, 1 5 9 1 n , 1 5 9 1 i 5 , 1 5 9 1 l e , 1 5 9 2 u , 1S95 1 0 Angosciola, Alessandro, 1594,, 1598 β Anhalt, Prince of, see Joachim Ernst Animuccia, Giovanni, 1568 2 , 1584 5 Anne, Countess of Warwick, 1599 t Annibale Padovano, see Padovano Anrriquez, see Valderrábano Anselmo Perugino, 1570 6 Antegnati, Costanzo, p. 2 Antico, Andrea, 1517! Antinori, Onofrio, 151 l i Antiquis, Giovanni de, 1551i, 1584 3 , 1590 l 2 , 1591,, 1595 4 Antonelli, Cornelio, 1570 5 Antonio, see Cabezón Antonio, Mastro, 1560 4 Aquaviva, Vittoria della Noiia, Countess of Caserta, 1571 4 . See also Acquaviva Aquila, Gioseppe Cacchio dall', see Cacchio dall'Aquila Aquila, Marco d' (Marx v o m Adler), [1505]i, 1 5 3 6 „ 1552h 1552II, 1563H Arbeau, T h o i n o t , see T a b o u r e t , Jehan Arcadelt (Arcadet, Archadelt), Jacques, 1544 2 , 1546 1 0 , 1546i5, 1546 1 7 , 1547 2 , 1547 3 , 1547 6 i 1547„, 1548!, 1 54?5p 1552 4 , 1 5 5 2 „ 1 5 5 2 u , 1553!, 1553 a , 1553 4 , 1553 5 , 1553 9 , 1554 s , 1554 4 , 1 5 5 4 „ 1554 8 , 1556i, 1556 2 , 1558 a , 1558 4 , 1558 s , 1559 4 , 1560„ 1562 3 , 1562 l 0 , 1563„ 1563i 2 , 1564„ 1564,, 1565i, 1565 4 , 1566 2 , 1568 3 j 1568„, 1568,, 1570 3 , 1570 4 , 1571 e , 1572i, 1573 3 , 1574^ 1574 2> 1574 s , 1574„ 1575i, 1575 3 , 1577 e , 1578 4 , 1582i, 1582 6 , 1583 2 , 1583 4 , 1583 6 , 1586 5 Arcangelo da Bergamo, see Bergamo Arcaro, Andrea 1', 1571 4 Arcos, D u k e of, 1555 χ Arena, Antonio, p. 2 Arias M o n t a n o , Benedito, 1554 3 Arion, 1538i Ariosto, Lodovico, 152?i, 1557 a A m a n d e s , Paolo, 1581i A r n o l d , C o u n t of Manderschaid and Blankenheim 1575 3 , 1578 6 , 1594 5 Arnoldo, see Bruck Arnone, Guglielmo, A p p e n d i x : 1595, 1599 Arpa, Giovanni Leonardo de 1', 1570 5 , 1571 4 Arratia, Joao de, see Joao de Arratia Arrivabene, Andrea, 1540 3 Ascleinitz, Giovanni Hugoldo, see Schleinitz Ashwell, T h o m a s , 1530 e Asola, Giovanni Matteo (Matteo Asola), 159Í „, 1596 2 Attaingnant, Pierre, p . 3, 1529 s , 1530!, 1530 s , 1530 4 , 1530 6> 1531i, 1531 2 i 1531 3i I S S I ! , 1531 6 , 1531 e , 1531,, 1533 2 , 1533 3 , [1538] 3 , [1543] 4 , 1 5 4 7 „ 1550 6 , 1550 e , 1553 s , 1554 s ; widow of, 1555 s , [1556] 4 , 1557„ 1557 4

482

INDEX

iv:

A u g u s t , D u k e of Saxony, 1573 x , 1575χ Austria, A r c h d u k e of, see F e r d i n a n d Avallaneda (Avellaneda), Señor de la casa de, see Çuniga Axleben, B e r n h a r d ab, 1584, Azzaiolo, Filippo, 1546ι, 1549 χ , 1554^ 1561 2 , 1563 8 , 1 5 6 4 „ 1568 e , 1 5 6 8 „ 1569 e , 1 5 7 0 „ 1571 e , 1 5 7 5 „ 1578 4 , 1583,

Β. M . , 1S84 5 Β. M . F., 1509! Β. T . , see T r o m b o n c i n o , Bartolomeo Bacan, Señor de la casa de, see Çuniga Baccusi (Bachusi), Hippolito, 1584 6 Bacfarc, Valentin, see Bakfark Bach, C . Ρ. E., 1571χ Bach, J . S., 1571,. Bachffart, Valentin, see Bakfark Bachusi, Hippolito, see Baccusi Backmeister, Peter, 1561i Backvart, Valentin, see Bakfark Baden, M a r q u i s of, see Philip, M a r q u i s of Baden Baena, Gonçalo, [1536]! Baglione, Francesco, 1598, Baglioni, Girolamo, 1598 6 Baïf, J e a n - A n t o i n e de, 1571 3 Bakfark (Bacfarc, Bachffart, Backvart), Valentin, 1553j, 1556 2 , 1559 D . W . , 1564!, 1565i, 1 5 6 8 „ 1568 D . W . , 1569i, 1571„, 1573 3 , [1573],, 1 5 7 4 „ 1582! Balbi, Luigi, 1585 4 Baldini, Vittorio, 1583ι Baldis, S i m o n de, 1590I 2 Ballard, R o b e r t , 1 5 5 1 „ 1 5 5 1 „ 1552 2 ) 1 5 5 2 „ 1552 8 , 1553 3 , 1553 e , 1554 4 , 1554 5 i 1556 8 , [1557]i, 1559 4 i 1562 8 , 1562„, 1562 1 0 , 1 5 6 2 „ , 1564i, 1564 s , 1565 3 , [1567]!, [1567] 3 ) [1570],, 1571 3 , [1578] 2 , 1578», [1578] 7 , 1582 3 , [1583],, [1585], Balletti, Bernardino, 1554i Banchieri, Adriano, [1591] l s 1595 2 , 1596 3 Barbadico, Francesco, [1505]i Barbadico, Girolamo, 1509i, 1 5 1 ^ Barbato, Angelo, 1 5 9 9 η Barbe, Antoine, [1573], Barberiis, Melchiore de, p. 5, 1546 2 , 1546 s , 1546 4 , 1549i, 1549 2 , 1 5 5 2 H , 1S63 1 2 Barbetta, Giulio Cesare, 1569 2 , 1 5 7 1 „ 1582i, 1585i Barbieri, Francesco Asenjo, 1550! Barbio, Eustache, 1589, Barbireau, Jacob, 1529 2 , 1533i, 1538 2 , 1545 3 , 1 5 4 7 „ 1562, Bardi, G i o v a n n i de, 1577 4 Barera, R h o d i a n o , 1 5 9 1 H Bargaglia, Scipion, [1587] 2 Barges, Antonio, 1551, Bariolla, Ottavio, [1585] 2 , 1594i Barley, William, [1593]i, 1593 D . W . , 1596 4 , 1596 B , 1596,, 1599i, 1599 e , 1 5 9 9 „ 1599 D . W . Baron, Wolfgang, 1574, Barre, L e o n a r d , 1548i Bashurto, J u a n Garcia de, see Basurto Bassano, Giovanni, A p p e n d i x : 1598, 1599, 1585 3 , 1585 4 , 1588i, 1591 2 , 1598! Bastiano, 1581! Baston, Josquin, 1 5 5 2 n , 1S53 1 0 , 1568 2 , 1584 s Basurto (Bashurto, Vasurto), J u a n Garcia de, 1552 ? , 1576i

NAMES Bathe, William, 1584 D . W . , 158? 2 , 1596 D . W . Bathen, Jacques, see Batius Batius, Jacobus (Jacques Bathen), 1545,, 1546 2 0 , 1547,, 1547 8 , 1547 e , 1547 1 0 , 1549, Battistino, 1581! Battori, Sigismondo, 1 5 9 3 „ 1597, Bauldewyn (Bauldoin), Noël, 1547, Baumgartner, Nicolaus H i e r o n y m u s , 1591, Baur, M a t t h ä u s , 1561i Bavaria, D u k e of, see Albert V ; William V B e a u c h a m p , Viscount, see S e a m o u r Beaujoyeulx, Balthasar de, 1582, Becchi, A n t o n i o di, 1545 D . W . , 1563 D . W . , 1568i Becker, C. F., 1558, Becker, Georg, 1597I 4 Belenczki, Andreas, 1554, Belin, Julien, 1552 6 , 1556i, 1574, Bellagamba, Gioambattista, 1599 4 Bellanda, Lodovico, 1599 2 Bellasio, Paolo, 1 5 9 1 u , 1592i, 1594, Bellaver, Vicenzo, see Bell'haver Bellère, Jean, 1 5 7 0 „ 1570 4 , 1571 6 , 1571 e , 1 5 7 3 „ [1573],, 1573 8 , [ 1 5 7 3 ] 9 , 1 5 7 4 „ [1575],, 1576 D . W . , 1582 6 , 1583,, 1590i 2 , 1 5 9 2 „ [ 1 5 9 2 ] l s Bellère, Lucas, 1582 5 Bell'haver (Bellaver), Vicenzo, 1593 3 , 1 5 9 9 n Bembo, Gratiosa, 1581! B e m b o , Pietro, Cardinal, 1543i B e m b o , T o r q u a t o , 1549 t Bendusi, Francesco, 1553 2 Benedictus, 1533 2 , 1 5 5 2 H , 1558,. See also D u c i s Benelli, A l e m a n n o , see Bottrigari Benoist, Nicolo (Nicolaus), 1540 3 , 154?, Bentivogli, Pellegrina Cappello, 1581ι Berchem, Giachet (Giachet), 1546 3 , 1546,, 1 5 4 6 i „ 1547 a , 1548i, 1 5 5 2 „ 1 5 5 2 n , 1 5 5 4 „ 1556 2 , 1559 3 , 1562,, 1563i 2 , 1565 4 , 1566 2 , 1 5 6 8 „ 1570 4 i 1 5 7 1 „ 1572!, 1573„ 1 5 7 5 „ 1 5 7 7 „ 1582^ 1583 2 , 1584 e , 1586 s , 1591,, 1596,. See also J a c h e t Berg, A d a m , 1577 2 , [1590], Bergamo, Arcangelo da, 1 5 9 9 Ü Beringen, G o d e f r o y a n d Marcelin, 1552 2 Berloher, Johannes, 1595 4 B e r m u d o , J u a n , p. 3, 1 5 4 9 „ 1550 χ B e m a l , J u a n , 1554, B e r n a r d i n o di Vitali, 1543 x B e r n a r d i n u s Vercelensis, 1543! B e r n a r d o de F r e s n e d a , see Fresneda Béroald, François, [1578]i B e r s m a n n , Gregorius, 1571i, 1575! Bertani, Lelio, 1574, Bertoldo, Sperindio, 1561 D . W . , 1 5 9 1 „ 1591 4 Berwald, Jacob, heirs of, 1571! Besozzo (Besozzi), Giovanni Francesco (Jo. Francisc o Bisutius), 1 5 9 8 „ A p p e n d i x : 1598, 1599 Besson, Jacques, [1578]! Bevilacqua, Mario, 1 5 8 4 ^ 1584 2 , 1585, Beyer, Johannes, 1575i, 1583, Bèze, T h é o d o r e de, [1562], Beziers, Bishop of, see Gouffier Bianchini, Dominico, ditto Rossetto, p. 5, 1546 s , 1552i, 1563 2 Bianchini, Francesco, 154? x Bicci, Antonio, 1 5 9 9 n Bichenet, G., 154?! Billard, Cl., 1582, Billiardo, Oratio, 1578, Binchois, Gilles, 148?ι Binellus, 1583,

INDEX

IV:

Binzona, Artemitia Ruberti, 1581! Bisan, Zanin, 1509! Bisutius, Jo. Franciscus, see Besozzo Blankenheim (Blanckenheim), C o u n t of, see A r n o l d ; Eberhard Blondeau, Pierre, 1530 3 Bocca, Ascanio, 1559 s Bocca, Giovanni Michele, 1559 ß Boccamazzi, Margherita Gracca, 1581 ! Boccapadule, Antonio, 1 5 9 2 n Böcklin, Philip, 1578 4 Bohemus, Casparus, see Casparus Bohemus Bologna, H i e r o n y m o (Jeronimo) da, see Cavazzoni, Girolamo Bonard, 1554 4 , 1570 4 Bonarelli, Girolamo, 1588! Bono, Paulo, 1560 4 Bordugiera, Virginia dell'Anguillara, 1581i Borghese, Vittoria Santacroce, 1581i Borgo, Cesare, 1594 6 , [1599] a Bornio, Francesco, 1582, Borrono, Giovanni Battista, 1548 s Borrono, Pietro Paolo, 1536„ 1546 2 , 1546 e , 154 6 20> 1548 2 , 1548 3 , 1550 4 , 1552!, 1552H, 1563 s , 1 5 6 3 n , 1563i2, 1 5 6 8 „ 1571», 1573 8 Boscán, J u a n , 1546 1 4 , 1554 3 Bosco, F r . à, see Ferabosco, Dominico Bossinensis, Franciscus, 1509i, 1511! Bossü, C o u n t of, 1583, Bottrigari, Ercole (Alemanno Benelli), 1590 D . W . , 1594 a , 1599 4 Bourges, Clemens de, see Clemens de Bourges Bourguignon, 1533 2 Bovicelli, Giovanni Battista, 1594 3 Boyleau (Buleau), Simon, 1576i Boyvin, 1 5 5 1 „ 1552 6 , 1553 s , 1556 2 , 1558 e , 1559 4 , 1562 9 , 1570 4 , 1582! Brack, J ö r g (Gregorius Brack), 1556 2 , 1574 5 Brackfelt, Paul, 1592i 2 Braitengrasser, Wilhelm, see Breitengraser Brambilla, Ambrosius, [1582] 2 B r a n d e n b u r g , Margrave of, see Albert Friderich Brandt, Jobst von, 1558 s Β ratei, H u l d r i c h , 1536, Braunschweig, see Brunswick Brayssing, Gregoire, 1551 s , 1553 3 Brayssingar, Guillaume de, [1536] 2 Breitengraser (Braitengrasser), Wilhelm, 1533ι, 1558, Briant, Denis, 1558 B Bridam, 1533 2 , a n d 1549 8 Bridgett, Countess of Sussex, 1596 4 Brocar, Joan de, 1557 2 Brossard, Sébastien de, [1556] 4 Bruck, A r n o l d u s d e (Arnoldo da), 1533^ 1538 2 , 1554, Brumel, Antoine, 1507^ 1507 2 , 1 5 3 1 „ 1536,, 1538 2 , 1590, B r u m e n , Denis, 1554, Brunet, Pierre, [1578] 2 Brunswick, see Dorothea, Duchess of Brunswick; Philipp ; W o l f g a n g Büchner, Johannes, 1538 2 , 1571 x , 1583 2 Büdingen, C o u n t of, see Heinrich von Eyssenburg Budrio, Bartolomeo, 1501 χ Bufalina, Francesca T u r i n i , 1581! Buleau, Simon, see Boyleau Bull, John, 1597, Bultel, Jacob, 1583,

NAMES

483

Buona, Valerio, 1592 2 Buonarroti, Michelangelo, 152?i Buoncompagni, Costanza Sforza, 1581! Buoncampagni, Giacomo, 1594, Burgh, T h o m a s Lord, Baron Gainsburghe, 1597, Burgk, Joachim a, 1583, Burney, Charles, 1571! Busca, Lodovico, 1571 4 Busnois, Antoine, 1507 2 Buus, Jacques, 1547^ 1547 D . W . , 1549 4 , 1549 5 Buyten, M a r t i n van, 1586 8 , 1 5 9 2 n Byrd, William, 1588 2) 1589 2> 1590H, 1596 ä , 1597 1599 β , 159? 2

Caballos Rodrigo de, see Cevallos Cabeçon, see Cabezón Cabezón, Antonio de (Antonio), 154? e , 1557 2 , 1565 1578a Cabezón, H e r n a n d o de, 1578 s Cabezón, J u a n de, 1565,, 1578 3 Cacchio dall'Aquila, Gioseppe, 1575 6 , 1576 3 Cadéac, Pierre, 1546 e , 1546 1 8 , 1552 8 , 1562,, 1562, 1 5 6 8 „ 1568 7 , 1571., 1574, Caen, Adrian (Adrianus Kein), 1558 5 , 1574 5 Caetana, Agnesina Colonna, 1581! Caffiaux, D o m , [1567], Calori, Paolo, 1597 1 4 Calveti Stella, Joannes Christophore, 1578 a Calvo, Andreas, 1536 4 , 1542 a Campion (Campian), T h o m a s , 1597 4 Cancer, Matthio, 1559,; heirs of, 1580 3 Canis, Cornelius, 1583, Canton, Serafín (Serafino Cantone), 1598 δ , A p p e n d i : 1599 Çapata (Zapata), Luys, 1546 1 4 Capece, Giovanni Geronimo, 1576 3 Capi, L u p i , Gemignano, 1597i 4 Capoani, Giovanni Francesco, 1591 7 Capon, Neri, 1543 2 Cappelli, Elena Cappello, 1581 χ Caprioli, Antonio, 1509^ 1511! Cara, M a r c o ( M . C.), 1509^ 1511„ 1517^ 152?, Cardana, Silvia Crispí, 1581, Carducci, Lavinia Cavalieri, 1581! Carelli, Giulio Cesare, 1592 2 Carey, Sir George, Baron of H u n s d o n , 1597 4> 1597, Carey, Sir H e n r y , Baron of H u n s d o n , 1589 2 Cariteo, 1511 x Caron, F i r m i n or Philippe, 1507 1 Caroso, Fabritio, 1581! Carpentras (Elzéar Genet), 1544,, 1546 2 Carrara, Michele, 1585 β , 1586 D . W . , 1594 4 Carretto, Galeotto del, 1511! Cartolaio, Giovanni del, 1563 7 Carye, Sir H e n r y , see Carey, Sir H e n r y Caserta, see Aquaviva Casparus Bohemus, 1544 2 ) 1546 e , 1549, Casteliono, Giovanni Antonio, 1536 s , 1548, Castelnovate, Lucio, Appendix: 1599 Castiglione, Baldesar, 152?, Castileti, Jean (Jean Guyot), 1589, Castillo, Diego de, [159?]i Castro, Jean de, 1560 4 Catullus, 151?! Caulery (Cauleray), Jean, 1553 1 0 Cavaccio, Giovanni Maria, 1585 D . W . , 1 5 9 3 „ 1597, 1599ü Cavalieri, Emilio de', 1591 β

484

INDEX

IV:

Cavaliero, Maestro di R o m a , 1546 5 Cavazzoni, Girolamo (Hieronimo de Marcantonio da Bologna detto d ' U r b i n o , H i e r o n y m o da Bologna, Jeronimo da Bologna), 1540 3 , 1543 χ , 154? 2 , 154?„ 154?„ 1551, Cavazzoni, Marco Antonio, 1523 x Cavenago, Lucilio, 1572 2 Cavendish, Michael, 1498 2 Celano, Francesco, 1568 t Celano, Giacomo, 1592 e Celsi, Portia Orsina, 1581i Cenci, L a u r a Lanti, 1581! Cepeda, 1547 5 Cera, Hippolita, 1563, Cerone, D o m e n i c o Pietro, ISSSj Certon, Pierre, p . 6, 1530 4 , 1S33¡¡, 1544^ 1546 s , 1546», 1546 1 0 , 1546 1 8 , 1547 9 , [ 1 5 4 7 ] , 1 5 4 ? , , 1550 6 , 1551 1 , 1551 2> 1551,, 1552 3 , 1552 4 , 1552 6 , 1552 e , 1552H, l a s s a , 1553 4 , 1553», 1554 4 , 1554 6 , 1554 e , 1556J, 1556 e , 1557 3 , 1558„ 1559 4 , 1560 3 , 1562 1 0 , 1563 1 2 , 1564 5 , 1565 3 , 1568 3 , 1568», 1568„ I57O3, 1570 4 , 1571 b , 1571,, 1 5 7 4 „ 1578 4 , 1591, Cervantes de Salazar, Francisco, 1550i Cesarina, Clelia Farnese, 1581, Cesena, Pelegrino, 1511 χ Cesi, Agnolo da, 1571 4 Cesi, Beatrice Caetana, 1581! Cesi, Olimpia Orsina, 1581 1 Cesi, Portia Ceri dell'Anguilara, 1581! Cevallos (Caballos, Zaballos), Rodrigo de, 1576 t C h a m p e r n o w n e , Sir Richard, 1599 e C h a m p i o n , T h o m a s , see M i t h o u Chastelain, 1553 1 0 Chiozzotto, see Croce Chirosius, Joannis, 1554 3 Christelius, Christopher, 1595 4 Christian IV, K i n g of D e n m a r k and Norway, 1597,ι Christine of Lorraine (Christiana di Lorena), 1591 β Chrysander, Friedrich, 1591 2 Cima, Giovan Paulo, 1598, Cimelio Giovanthomaso, p . 4 Cini, Carsare, 1592, Cipriano da Veneria, Padre, 1590 6 Claudin de Sermisy, see Sermisy Claudio da Correggio, see M e r u l o Clavijo, Bernardo, [159?] x Clemens de Bourges, 1583 4 Clemens n o n Papa, Jacobus, 1531 2 , 1544!, 1545 3 , 1546 l 8 , 1547 4 , 1547 9 j 1549 e , 1 5 5 2 l t , 1553i„, 1556 2 , 1557 2 , 1562 s> 1 5 6 3 l a , 1 5 6 4 „ 1565!, 1568„, 1568,, 156? 3 , 1570 3 i I57I1, 1571,, 1572i, 1573 3 , 1574 5 , 1575!, 1570!, 1577,, 1577„ 1578 3 , 1578 4 , 1582i, 1582 5 , 1583 2 i 1583 4 , 1 5 8 3 „ 1584i, 1584 2 , 1589„ 1591 2 , 15913, 1599, Cléreau, Pierre, 1571 3 , 1574 2 Clermont, Catherine de, Countess of Retz, 1571 3 , 1574 a Cleve, J o h a n n e s de, 1583, Coattino, [1592] 4 Cochet, 1529, Cohn, Albert, [1594], Coignet, 1552 4 , 1552 8 , 1553 4 Coler, Paul, 1591, Colin, Guillaume (Guilielmus Golin), 1540 3 , 154?, Colin, Pierre, 1583, Colón, Fernando, [1508!], 1529 2 Colonna, Felice Orsina, 1581! Colonna, Hieronima, 1581 χ Colonna, Isabella, 1571 4

NAMES

Colonna, Marc'Antonio, 1593, Compère, Loyset, 1507 2 ) 1531„ 1536„ 1 5 3 6 „ 1538 2 1544!, 1546io, 1547 5 , 1562, Conforti, Giovanni Battista, 1558! Conforto, Giovanni Luca, 1593 2 Conseil, J e a n (Consilium), 1530„ [1543] 4 , 1544 2 , 1554,, 1554,, 1 5 6 2 u , 1574, Contarini, Laura M o r o , 1581ι Conti, Beatrice Orsina Sforza, 1581i Contino, Giovanni, 1584 5 Contrantonio de H o r t e m b u r g , see H o r t e m b u r g Conversi, Girolamo, 1584,, 1592,, 1599, Coradello, Pompeo, 1584i 0 Cornare, Francesco, 1523! Corneis, Balthasar de, 1598 4 Cornuel, Jean (Verius, Verjust), 1568,, 1571, Cornysh, William, 1530, Correa de Arauxo, Francisco, [159?]!, [159 ?]4 Correggio, Claudio da, see M e r u l o Corsi, Jacopo, 1584 5 Corteccia, Francesco, 1539!, 1548!, 1S66 S , 1571,, 1586, Cortese, L a u r a Calori, 1597 1 4 Corvara, Vittoria Rustici della, 1581i Costa, Gasparo, 1589 8 , 1 5 9 1 l s , 1594 6 Costanzo, Angelo di, 1580, Costé, August., 1582, Coste, G., 154?, Costeley, Guillaume, 1584,, 1599, Courtois (Curtois), Jean, 1546 4 , 1546 e , 1551 8 , 1562 s , 1577,, 1582i, 1584 2 , 1592„ 1593, Covos, Francisco de los, 1538! Cowper, Robert, 1530, Craen, Nicolas, 1 5 3 6 „ 1538 2 Crecquillon (Crequillon, Criquillon, Croquillon), T h o m a s , 1 5 4 5 „ 1546i 8 , 1 5 4 7 „ 1547„, 1549 8 , 154?i, 1552H, 1553i, 1553 1 0 , 1557 2 , 1558,, 1 5 6 2 „ 1563 1 2 , 1564i, 1 5 6 6 „ 1568i, 1 5 6 8 „ 1568„ 1 5 6 9 „ 1571,, 1572!, 1573 3 , 1574 6 , 1575i, 1575 3 , 1576i 15763, 1577„ 1577„ 1578 a , 1582i, 1582 6 , 1583 2 , 1583 4 , 1583,, 1584i, 1584 2 , [1586] 2 , 1586 6 , 1588 s , 1 5 8 9 „ 1591 2 , I59I3, 1592 1 0 , 1599, Crema, Giovanni Maria da, see Giovanni Maria da Crema Crema, Ippolito Ghidotti da, see Ghidotti da Crema Crequillon (Criquillon), T h o m a s , see Crecquillon Cristoff Ladisslav, C o u n t of Nellenburg, 1577, Crivello, Archangelo, 1589„, 1591I 4 Croce, Giovanni dalla, detto il Chiozzotto, [1580],, Appendix: 1594, 1596 Croquillon, T h o m a s , see Crecquillon Cretto, Galeazzo, C o u n t of Vinzaglio, 1592 2 Ç u m e t a e (Zumetae), Joannis, 1554, C u m m i n g s , W . H . , 1511„ 1581i, 1 5 8 4 „ 1596 4 , 1597i„ Çuniga (Zuniga), Francisco de, C o u n t of M i r a n d a , Señor de las cases de Avallaneda y Baçan, 1547 5 , 1555! Cuppis, Costanza Conte, 1581, Curtois, Jean, see Courtois Cutting, Francis, 1596 4 , 1596,, 1596, Czeykys, A d a m , Johannes, Karl, and Nicolaus, 1598 1 0

D . M . , see Pesenti; Vicentino, Michael D . Mi., see Pesenti D a Crema, Giovanni Maria, see Giovanni Maria da Crema

INDEX

iv:

Daça, Esteban, see Daza Dadda, Raynaldo, 1536, Dalla Casa, Girolamo, p. 4, 1584,, 1584 2 Dalza, Joanambrosio, 1508 2 Danter, John, 1593 D . W . Dantiscano, Georg Knoph, 1591 e Danzig, town officials of, [1592], 3 Darud, Jehan, 1556, Daser, L u d w i g , 1589 6 , 1590 β Daza (Daça), Esteban, 1576, D e Bussi (De Bussy), 1554 4 , 1559 4 , 1570 a , 1570 4 Delafont, 1552 a , 1568 e , 1570 3 , 1570 4 , 1578 4 , 1582 6 D e L a Rue, 1 5 5 2 , , , 1553 1 0 , 1 5 5 6 „ 1562 3 Demmin, town council of, 1597, Demonte, Philippe, see Monte Demophon, Alexandra, 1 5 1 1 , Denmark, K i n g of, see Christian I V Denss, Adrian, 1594 6 D e porta, 1546, 5 Des Portes, Philippe, 1 5 7 1 3 Des Prez, Josquin, see Josquin des Prez Diaz, Francisco, 1536 s Diedo, Pietro Antonio, 1588 e Dietrich, Sixt, 1523 2 , 1532 2 , 1536 e , 1538 2 , 1 5 4 0 „ 1 5 4 4 „ 1547 4 Diruta, Girolamo, 1593 3 , 1597 3 Donati, Virginia Bruna, 1581, Donato, Baldesar, 1 5 4 9 „ 1568 2 , 1 5 8 2 „ 1584 5 , 1594 6 Donato, Girolamo, 1501, Donne, Francesco dalle, 1598 3 , 1599 2 Doria, Cesare, 1571 4 Dorico, Lodovico (Luis), 1553 5 , 1566, Dorico, Valerio, 1553 5 , 1558,, 1 5 5 9 „ 1563,, 1566, Dorimbergo, Vito de, see Vito de Dorimbergo Dorothea, Duchess of Brunswick, 1 5 8 1 , Dorothea, Pfalzgräfin bei Rhein, 1574 6 Dowland, John, 1595 D . W . , 1596 4 , 1596 5 , 1597 4 , 1599,, 1599 8 Drach, Peter, 1 5 1 1 2 Dragoni, Giovanni Andrea, 1584 6 , 1 5 9 1 , „ 1 5 9 9 , , Draudius, Georg, pp. 2, 5 Dressler, Gallus, 1573 s , 1 5 7 5 „ 1583 e Drusina, Benedikt de, 1556 2 , 1573,, 1573 3 D u Bois (Duboys), Michel, 1531 s , 1553 4 , 1556, D u Chemin, Nicolas, 1 5 5 6 „ 1 5 5 9 „ 1559 2 , 1559 3 , 1564 2 Ducis, Benedictus, 1523 2 Dufay, Guillaume, 148?, Dupre, Helias, 1 5 1 1 , D u Tertre, Ëtienne, 1557 4

East (Este), Thomas, 1584 D . W . , 1588 2 ,1589 2 ,158? 2 , 1590,1, 1591 β, 1595 e , 1598 s , 159? 2 Eberhard, Count of Manderschaid and Blankenhaim, 1575 3 , 1578 6 Ebran (Ebram), 1558 s Echel, Matthias, 1544 2 , 1546 8 Ëcorcheville, Jules, 1 5 4 6 „ 1546 1 0 , 1547 2 , 1556 3 , 1562 3 , 1565g, 1568 2 , 1 5 8 1 , Ehemiis, Franco, Mattheus, and Tobias, 1595 4 Ehinger, David and Hieremias, 1595 4 Eichorn, Andreas, 1584„, 1 5 9 1 , 3 , 1592, 2 ) [1592], s , 1592, 4 Eichorn, Johannes, 1556 2 , 1573,, 1573 a Elbing, town officials of, 1 5 9 1 1 3 Entraigues (Entaygues), 154?,, 1551 2 , 1575 3 Erasso, Antonio de, 1 5 7 6 „ 1578 3 Erasso, Francisco de, 1565 6

NAMES

485

Erbach, Christian, 1574 5 Eric Gustav, Prince, 1556¡¡ Escobar, Pedro de, 1546, 4 Este, Alfonso d', 1583, Este, Filippo da, 1571 4 Este, Lucretia da, 1 5 8 1 , Este, Margarita Gonzaga da, 1 5 8 1 , Este, Thomas, see East Estrées, Jean de', 1 5 5 9 „ 1559 2 , 1559 3 , 1564 2 Eustachio Romano, 1 5 2 1 , Eyssenburg, see Heinrich von Eyssenburg

F. A . P., [1586] 2 F. V., see Ana Faber, Heinrich, 1591 β , 1595 4 Fabricio, Georg Sigismund, 1591 β , 1595 4 Fabricius, Bernhard, [1577], Fabritius, Julius Paulus, 1549„ Facciola, Fabricio, 1 5 5 1 „ 1590, 2> 1 5 9 1 , Facoli, Marco, [1586] 2 , 1588 a Faignient, Noël, 1584 β , 1592 β Falconi, Placido, Appendix: 1575 Fallamero, Gabriel, 1584 s Fanelli, Cola Vincenzo, 1591,, 1595 s Fantuccio, Camillo, 1 5 7 1 4 Farmer, John, 1591 6 Farnese, Cardinal, 1598 e Farnese, Ottavio, Duke of Parma and Piacenza, 1574, Farnese, Ranuccio, 1592, Favereo, Joannes, 1594 6 Fayrfax, Robert, 1530 e Feisius, Arnold, see Feys Felis, Stefano, 1590, 2 , 1 5 9 1 „ 1592 e , 1595 4 Fendius, Michael, 1583 4 , 1589 e Ferabosco, Alfonso, 1584 6 Ferabosco (Fr. à Bosco), Domenico Maria, 1563,, 1566 2 , 1568 2 , 1 5 7 1 e , 1572,, 1574«, 1577 e , 1583 2 , 1584 3 , 1584 6 , 1584 e , 1596, Ferabosco, Matthia, 1594 6 Ferdinand, Archduke of Austria, 1555 3 Ferdinand I, Emperor, 1536 β Fernandez, Diego, 1576, Fernandez, Francisco, 1547 s , 1565 s Ferrara, Cardinal of, 1571 4 , 1573 4 Ferreri, Quintilla Gloriera, 1 5 8 1 , Ferretti, Giovanni, 1570 5 , 1584 3 , 1584 6 , 1592, Ferro, Vincenzo, 1563, Festa, Costanzo, 1539,, 1543 3 , 1546 3 , 1546„, 1546, 5 , 1 5 5 1 , , 1554 3> 1555 2 , 1555 4 , 1569, Festa, Sebastian, 1533 2 , 1552,, 1553 3 , 1562, 0 , 1570 4 , 1574, Fétis, François J., 1598 9 Févin, Antoine de, 1 5 3 1 , , 1536 3 , 1536,, 1538 2 , 1 5 4 0 „ 1546 2 , 1546, 4 , 1546, 8 ) 1547 2 , 1549 6 , 1554 e , 1558 s 1562 9 , 1574, Feys (Feisius), Arnold, 1583 e Fezandat, Michel, [1550] 2 , 1 5 5 1 , , 1552 4 , 1552 6 , 1552 e , 1552 8 , 1553 4 , 1553 8 , 1554 6 , 1554 6 , 1 5 5 4 „ 1554 8) 1555 4> l e s e a , 1558 4 , 1558 e , 1562, Figueroa, Bernardino de, 1549 3 , 1555, Finck, Heinrich, 1523 2 , 1 5 3 6 „ 1538 2> 1546g. Finé, Oronce, 1530 2 , 15714 Fino, Bartolomeo, 1593, Finoth (Finot), Dominique, see Phinot Fiorentino, Perino, see Perino Fiorino, Gasparo, 1571 4 , 1573 4 , 1574 6> 1584 3 Fischart, Johann (pseudonym: J. F. G . Mentzer), 1572,

4 86

INDEX

iv:

Fischer, Lucas, 1591 e Flaccomio, Giovanni Pietro, Appendix: 1591 Flecha, Mateo, 1S46 11( 1547 5 , 1552,, 1554 3 , 1568 D.W. Florence, Archbishop of, see Altoviti Fonghetti, Paolo, 1598 s , 1599 2 Fontana, Vincenzo, 1552,, 1554 s , 1574 1 Fontego, Marcandanti di, 1546 5 Formellis (Formelius), Wilhelm, 1575i, 1589, Formschneider, Hieronymus, 1532 2 , 1533 l5 1537 lf 1538 2 , 1546„, 1552, Forster, Georg, 1512„ 151?!, 1540 1( 1544„ 1544 2 , 1546„, 1547 4 , 1549 e> 1571„ 1583 2 Foscareno, Nicolò, [1505], Fouilloux, Jacques du, p. 4 France, King of, see Henry I I ; Henry I I I Franceschi, Giovanni Antonio, 1596,, Francesco da Milano, p. 5, 1536 3 , 1536 e , 1540 D . W . , 1546 2) 1546 e , 1546„ 1546„, 1546„, 154 6 2 0 , 1547 2 , 1547 6 , [1547],,, [1547] 12) 1547 D.W., 1548 2 , 1548 a, 1548 4 , 154? 4 , 1552„ 1552 4 , 1552 11( 1553 b , 1556,, 1559,, 1561 3 , 1562„ 1562 4 , 15634> 1563 5 , 1563 e , 1563„ 1 5 6 3 „ , 1563 12 , 1566„ 1568 1( 1568,, 1571,, 1573 e , [1586] s , 1586, Francesco di Parise, 15715> 1573 4 Franchinus, see Gafori Franck, Michael Abel, [1592] l a Frangipane, Lilia Crescenza, 1581t Frangipane, Lucretia Crescenza, 1581! Fresneda, Bernardo de, 1565 s Friedrich Wilhelm, Duke of Saxony, 1583, Froberger, Paul, 1598 10 Fronmiller, Christopher, 1595 4 Fuccari, see Fugger Fucharis, see Fugger Fuenllana, Miguel de, 1546 1 4 , 1547 s , 1554„ [1564], Fugger family, p. 2 Fugger library, 1549, Fugger (Fuccari, Fucharis), Albert, Antonio, Georg, and Philipp, 1597 s Fugger, Jacob (Giacomo Fuccari), 1587,, 1590 e , 1595, Fugger, Johann (Giovanni), 1590 8 Fugger, Raimund the Younger, 1511 3 , [1560], Fulda, A d a m von, 1536„, [1552] 10 , 1562 3 Fumée, Martin, 1556 x Furer, Joannes Sigismund, 1591, Furter, Michael, 1511,

Gabrieli, Andrea, [1571]¡¡, 1575 D.W., 1584„ 1584„ 1585 D . W . , [1586] 4 , 1587 3 , 1589 3) 1590„ 1590 2 , 1591 2 , 1592„ 1593 3 , 1593 4 , 1593„ 1594 5( [1594] e> 1595 3 , 1595 8 , 1596„ 1599,, Gabrieli, Giovanni, 1587 s , 15933> 1593 4 , 1595,, 1596 3 , 1597 6 , 1597 12 , 1599 10 , 1599,, Gabucci, Giulio Cesare, 1594, Gaeta, Andrea da, 1581, Gafori, Franchino (Franchinus), 1589, Gainsburghe, Baron, see Burgh Galilei, Michelangelo, 1584 4 Galilei, Vincenzo, 1563„ 1568 2 ,1569«, 1584 4 , 1584, Gallo, Giovanni Pietro, 1595 4 Gallo, Sulpitio, 1559, Gallus, Jacob, 1586 5 Gallus, Joseph, 1598 4 Ganassi, Silvestro di, p. 2, 1535! 1542 2 , 1543 2 Garcilaso de la Vega, 1546i 4 , 1552,, 1576i

NAMES Gardane, Alessandro, 156? 3 , 1579, Gardane (Gardano), Antonio, p. 4, 1539i, 1543,, 15452> 1546„ 1546,, 1546„ 1546„ 1546 10 , 1546 12 , 1546 13 , 1546 l e , 1546 1 7 ,1547„ 1547 2 , 1547 3 ,1549 4 , 1549 5 , 154? 3 , 1551!, 1551 5 , 1551 e , 1551„ 1553 2 , 1554!, 1554 2 , 1556 3 , 1556 e , 1559,, 1559„ 1560„ 1561 2 , 1561 3 , 1562i, 1563!, 1563i 2 , 1564 4 , 1565 2 , 1566 2 , 1566,, 1568 D.W., 1569„ [1576] 2) [1586],, Appendix: 1575; sons of, 1574 3 Gardano, Angelo, [1571] 2 , 1577 6 , 1577,, 1578 e , 15793> 1579 4 , [157?]!, l 5 8 3 s . 1 5 8 4 i . 1 5 8 4 2 . 1 5 8 4 7 . 1585!, 1585 e , [1586] 4 , 1587i, 1587 3 , 1587 D . W . , 1588„ 1588 4 , 1588„ 1589 3 , [ISS?]!, 1590i, 1590 2 , 1590 e , 1592i, 1592 3 , 1592„ 1593 4 , 1593 b , 1593,, [1594]„, 1594,, 1595i, 1595„ 1595„ 1596,, 1597„ 1597i 4 Gardano, Antonio, see Gardane, Antonio Garisendi, Gratia Lodi, 1599 4 Gamier, 1546„, 1546i S , 1568 x Gascon, 1554, Gascongne, Mathieu, 1531„ 1546i 0> 1554„ 1571„ Gaspar, see Weerbecke Gaspari, Gaetano, 1535 χ , 1558„ 1598 β Gasser, Johannes, 1595 4 Gastoldi, Giovanni Giacomo, 1594 6 , 1594„ 1598 6 , 1598„, 1599,i Gastritz, Mathias, 1575, Genet, Elzéar, see Carpentras Genova, Marcantonio da, see Marcantonio da Genova Gentian, 1550 6 , 1552 4 , 1554 e , 1557„ 1556i, 1562», 1562 l 0 , 1563 12 , 1568 e , 1574„ 1586, Gerlach family, printers, 1583 2 , 1593 D . W . Gerlach, Catherine, 1589 6 , 1591, Gerlach, Dietrich, 1575, Gerle, Hans, 1530 D.W., 1532 2 ,1533 x , 1537i, 1546„, 1552i, 1553 D . W . Gero, Jhan, 1563, Gervaise, Claude, 1550 s , 1550 e , 1555 5 , [1556] 4 , 1557„ 1563 12 Gessner, Jacob, 1563 10 Ghidotti da Crema, Ippolito, 1581 x Ghiselin, Johannes (Verbonnet), 1501„ 1502i, 1507i, 1507 2 , 1536,, 1538 2 Ghizeghem, Hayne van, see Hayne van Ghizeghem Giachet, see Berchem; Jachet Giacomelli, Flaminia Americi, 1581i Giacomini, Bernardo, 1584, Gigas, Christophoro Piero, 1507! Gintzler (Sender), Simon, 1547 3 , 1552i, 1552n, 1563 12 , 1568, Giovanelli, Ruggiero, 1589,, 1591 2 , 1591n, 1591 14 , 1591,5, [1592] 4 , 1592,„ 1594„ 1595, 0 , 1599,, Giovanni Maria Alemanni (Joannis marie alemani), [1508], Giovanni (Joan) Maria da Crema, 1540,, 1546 2 , 1546,0, 1546n, [1547]n [1547] 12 , 1548 4 , 1549„ 1552i, 1559,, 1568„ 1571, Girón, Juan Tellez, Count of Urveña, 1549 a , 1555i Giuliani, Girolamo, [158?], Giulio dal Pestrino, see Abondante Glanner, Caspar, 1558, Glareanus (Heinrich Loris), 1590 β Gloriera, Virginia Mancini, 1581, Godard, 1544„ 1544 2 , 1546 9 , 1547 4 , 1563, 2 ) 1568», 1568,, 1570„ 1571 β , 1577 e , 1578 4 , 1582„ 1582 6 , 1583 2 Gohory, Jacques, 1574 2 Goldburg, see Altan, Barons of Golin, Guilielmus, see Colin, Guillaume

INDEX iv: G o m b e r t , Nicolas, p . 4, 1530 4 , 1533¡¡, 1533„, 1538 x , 1546 4 , 1546 6 , 1546 β) 1546„, 1S46 10 , 1S46 1 4 ,1S46 1 5 , 1546 1 8 , 1547 s , 1547 b , 1549,, 1SS2„ 1552H, 1553!, 1554 s , 1554„ 1557 2 , 1558 δ , 1562 9 , 1564!, 1565i, 1568,, 1574,, 1 5 7 8 „ 1583», 1584i, 1588 e , 1589„ 1 5 9 1 „ 1592, Gombosi, Otto, 1536, G ó m e z de Llanos, Fray, 1549 3 Gonzaga, Leonora d'Austria, 1581! Gonzaga, Margherita Farnese, 1581i Gonzaga, Vittoria D ' O r i a , 1581 x Gonzaga. See also under Este Gorlier, Simon, 1551i, 1552,, [1558] 2 , [1560]i, 1560„ [1562],, [156?] 1( [156?] 2 Gorretti, Antonio, 1596 e Gorzanis, Giacomo de, 15612» [1562] 2 , 1563J, 1564 4 , 1565 2 , 156? s , I57O1, 1579 x Gorzanis, Massimiliano, 156?,, 1579 x Gosse, I 5 2 I 1 Gosswin, A n t o n , 1591, Gostena, Giovanni Battista dalla, 1599, Goudimel, Claude, [1562] 5 Gouffier, François, Bishop of Beziers, 154?i Gracia Baptista, 1557 2 Gräfinger, Wolfgang, see Grefinger G r a n j o n , Robert, 1551i, 1552 6 Grefinger (Gräfinger), Wolfgang, 1523 2 , 1536, G r e v e n b r u c h , G e r a r d , 1594, Griffi, Horatio, 1 5 9 1 u Grillo, Aggapito, 1571 4 Gritti, Andreas, [1505]i, 1535! Gryphswald, t o w n council of, 1597, Guarnì, Francesco, p. 7, 1588 4 , 1 5 9 9 u G u a m i , Gioseffo (Josepho), 1588 s , 1591 2 , 1 5 9 1 „ 1593 3 , 1595 2 , 1596 3 , 1599, G u a r n a , Benedetto, 1546 1 2 Guerrero, Francisco, 1554 s , 1576i Guerrero, Pedro, 1554 3 , 1568 2 , 157ÓJ, 1584 e Guglia, Francesco, 1581 χ Guilielmo, Corniti Palatino Rheni, see William V G u l d e n m u n d t , H a n s , 1540j Gumpelzhaimer, A d a m , p. 3, 1591,, 1595, G ü n t h e r , Hans, 1544^ 1544 2 , 1544, G u t k n e c h t , Christoff, 1547 4 G u y o n , Jean, 1533 a G u y o t , Jean, see Castileti G w y n n e t h , J o h n , 1530,

Habalos de Soto, H e r n a n d o de, see Soto, H e r n a n d o de Habalos de Hadrianus, see Adriansen H a f n e r , Christophor, 1591„ 1595 4 Halberstadt, Bishop of, see Heinrich Julius Haller, Bartholomaeus and Wilhelm, 1591, H a n d e l , Jacob, 1591, H a n n a , Paolo di, 1549 4 Hannover, C o u n t of, see Philip the Younger H a n s Jacob von Mailandt, see Albutio Harnisch, M a t t h ä u s , [1564], Harsdorfer, Andreas, Bartholomaeus, and Christopher, 1591, Haskins, William, [1597] 1 3 Hassler, H a n s Leo, 1594 5 Hastings, Francis, 1 5 9 0 u H a t t o n , Sir Christopher, 1588¡¡, 159? 2 H a u s s m a n n , Valentin, [1598],, 1599 5 Hauteclerc, Geoffroy de, 1556,

NAMES

487

H a y n e van Ghizeghem, 1507!, 1507 2 , 1533!, 1538 2 Hayneccius, Martinus, 1583, Heckel, Wolff, 1556,, [1556],, 1562 a , 1562 4 H e i d e n r i c h Misnicus, Sebastian, see Misnicus H e i n r i c h Julius (Henrico Julio), Bishop of H a l berstadt, 1597 β Heinrich von Eyssenburg, C o u n t of Büdingen, 1562 4 Heintz, Wolff, 1571i, 1583 2 Heinzel, J o h a n n Baptist, 1595 4 Heller, Philipp, 1595 4 Hellinck, L u p u s , 1533!, 1592,. See also L u p u s Henestrosa, L u i s Venegas de, 1557 2 Henisch, Philipp, 1591», 1595 4 H e n n i n g , Matthaeus, 1591, 1595 4 Henrico Julio Bishop of Halberstadt see Heinrich Julius H e n r y I I K i n g of France 1552 e 1562„ 1562„ 1562io, 1562i!, 1564i H e n r y I I I , K i n g of France, 1582 3 H e r n á n d e z , Diego, 1538! Herpol, H o m e r , 1583, H e r t f o r d , Earl of, see Seamour H e r w a r t , Hieronymus, 1591,, 1595 4 Hesdin, 1547, Hessen, Bartholomeus and Paul, 1555 2 , 1555 3 H e u r t e u r , Guillaume, see L e H e u r t e u r Heyer, Wilhelm, 1532 2 , 1533i, 1559,, I S 8 I 1 1584 6 , 1591 H Heynreich, G., 1562, Hieronimo de Marcantonio da Bologna detto d ' U r bino, see Cavazzoni, Girolamo H i e r o n y m o da Bologna, see Cavazzoni, Girolamo H i n d e r m a r i u s , Georg, 1595 4 Hirsch, Paul, 1532 2 H o b r e c h t , Jacob, see Obrecht Hoechstetter, Philipp, 1595 4 H o e r m a n n , Conrad, 1595 4 H o e r m a n n , J o h a n n e s Georg, 1591,, 1595 4 Hoeschlius, Wolgang, 1595 4 H o f , G e o r g I m , see I m H o f . H o f h a i m e r (Hofheimer), Paul, 1512^ 151?!, 1523 2 , 1532 2 , 1536„, 1 5 3 6 „ 1538 2 , 1540^ 1544i, 1544 2 , 1546 1 4 , 1547 4 , 1549„ 1558 6 , 1562 3 , 1571!, 1574 s , 1583 2 , 1583 4 H o f m a n n , H a n s , 1556 2 Holandrinus, 1589, Holborne, Antony, 1596„ 1597«, 1599, Holborne, William, 1597, Holland, 1583, Hollander, Christian, p . 7, 1573 3 , 1589, Horace, 151 ?i, 1546i 4 H o r t e m b u r g , Contrantonio de, 1569¡> Howet, Gregorius, 1594 6 Hungeroi, Wolfgang, 1582i H u n s d o n , Baron of, see Carey H u n t i n g t o n , Earl of, 1 5 9 0 η

I. L . R., 1594 6 I m H o f , Georg, 1591, Ingegneri, Marc'Antonio, 1568 2 , 1579 3 , 1584 5 , 1584,, 1592 e , 1 5 9 3 „ 1 5 9 9 n Iranco, J u a n , 1554 3 Isaac (Yzac), Heinrich, 1501 χ , 1507i, 1507 2 , 1529 2 , 1532 2 , 1533i, 1 5 3 6 „ 1 5 3 6 „ 1538 2 , 1545 3 , 1547,, 1549„ 1556 2 , 1558 6 , 1562 3 , I57I1, 1583 2 , 1589„ 1597,

1583 4 ,

1512^ 1544 3 , 1568„

488

INDEX

IV:

Jachet (Jachetus Galicus, Jacquet de M a n t u a , Jaquel), 1543 3 , 1546 1 5 , 1547 3 , 1547 s , 1551,, 1553!, 1554 3 , 1557 2 , 1S69 7i 1571 e> 1574 s , 1575 1 ; 1578J, 1591,. See also Berchem Jacotin, 1530 4 , 1531!, 1531 a , 1533 2 ) 1533 3 , 1546 4> 1546 6 , 1547 6 , 154? 5 , 1551^ 1 5 5 2 n , 1560 3 , 1562 3 , 1563 1 2 , 1568 e Jacquet de Mantua, see Jachet J a m b e de Fer, Philibert, 1556, J a n , Maistre, see J h a n Janequin, Clément, 1530 3 , 1530 4 , 1531 2 , 1533,, 1536 a , 1544 2 j 1545 3 j 1546 6 , 1546 8 , 1546 1 0 , 1546 13> 1546 l e , 1547 e , [1547] n > 1548 1 ; 1549 β , 154? ä , 154?β, i s s a i , 1550 5 , 1551^ 1551 s , 1551 β , 1552 3 , 1552 4 , 1552 6 , 1552 β , 1553^ 1553 3 , 1553 4 , 1554», 1557 2 , 1558 4 , 1560 3 , 1562 3 , 1562„, 1562 1 0 , 1563 1 2 , 1564!, 1564 8 , 1568!, 1 5 6 8 „ 1570 4 , 1571 β , 1574„ 1577,, 1 5 8 2 „ 1583 4 , 1584 2 , 1591 3> 1 5 9 9 n Janin, 1546 ô Japart, Johannes, 1512t Jaquet, see Jachet Jeffes, Abell, 1584 D . W . Jenisch, Salomon, 1595 4 Jeronimo da Bologna, see Cavazzoni, Girolamo J h a n (Jan), Maistre, 1521 l t 1546 3 . See also Joan Jo. Pie. M a n . , 1511 χ Joachim Ernst, Prince of Anhalt, 1583¡¡ Joan, Mastro, 1560 4 . See also J h a n Joan Maria da Crema, see Giovanni Maria da Crema Joanambrosio Dalza, see Dalza, Joanambrosio Joannis marie alemani, see Giovanni Maria Alemanni Joao de Arratia, [159?]! Joao, K i n g of Portugal, see J o h n I I I ; J o h n I V Jobin, Bernhart, 1572^ 1573 2 , 1574^ 1574 6 , 1575 3 , [1577]!, 1577 e , 1578„, 1578 5 , 1580 2 , 1582i, 1586 6 , 1589 e J o h a n L u p u s , see L u p u s J o h a n n , Bishop of Strasbourg, 1574i, 1586 5 J o h a n n , C o u n t of Nassaw, 1562 4 J o h a n n , D u k e of Saxony, 1583 β J o h a n n Casimir, D u k e of Saxony, 1583 β J o h a n n Ernst, D u k e of Saxony, 1583 β J o h a n n Friedrich, D u k e of Saxony, 1553 3 , 1554 6 J o h a n n e s Baptista, 1571i J o h n I I I , K i n g of Portugal, [1536]!, 1536 5 , 1549 3 J o h n IV, K i n g of Portugal, p. 2, [155?] χ , 1563 D . W . , [1594]!!, [159?],, [159?] 3 , [159?] 4 Johnson, Edward, 1596 5 Jones, Robert, 1530„ Jonson, Ben, 1582 3 Josquin des Prez, 1504!, 1507^ 1507 2 , 1509 1 ; 1517!, 1532 2 , 1533!, 1533 2 , 1536 3 , 1536», 1 5 3 6 „ 1538!, 1538 2 , 1540J, 1543t, 1544 1 ; 1546 4 , 1546„ 1546 1 0 , 1546 1 4 , 1546 1 8 , 1547 2 , 1547 3 , 1547 4 , 1547 6 , 1547 9 , 1548 2 , 1549!, 1549 e , 1551^ 1551 8 , 1552„ 1 5 5 2 u , 1553 3 j 1553 10 , 1554 3 , 1554 e , 1555 4 , ISSÒ,,, 1557 2 , 1558 6 , 1558 6i 1562 3 i 1562 9 , 1562H, 1563 1 2 , 1565 1 ; 1568,, 1570 4 , 1571„, 1574 6 , 1574„ 1578 3 , 1583 2 , 1583 4 , 1583 β , [1587] 6 , 1589 β , 1590 e , 1 5 9 1 „ 1592 e Joyeuse, D u c de, 1582 3 Judenkiinig, Hans, 151?!, 1523 2 Julio (Julius) da M o d e n a , see Segni Julius I I I , Pope, 1553¡¡

K a l t e n b r u n n , see under Khisl Kannacher, Hector and Melchior, 1592 1 4 Kargel, Sixt, [1569] 3 , [1569] 4 , [1569] 5 , 1571 e , 1574i, [1575] 2 , 1575 3 , 1578 4 , 1578 6 , 1580 2 , 1586 5

NAMES K a u f m a n n , Paul, 1597i 2 , 1597i 4 , [1598],, 1599 s Kein, Adrianus, see Caen Kellner, Andree, heirs of, 1597, Keiner, E p h r a i m , 1579 2 K h a l t e m p r u n , see under Khisl Khisl (Khisi, Kis, Kisl), Giorgio, detto da K a l t e n b r u n n ( K h a l t e m p r u n , Kolten Pruen), 1570i, 1574 3 Khisl (Khisi, Kis, Kisl), Giovanni, detto da Kaltenb r u n n ( K h a l t e m p r u n , Kolten Pruen), 1561 2 ,1570i Kholen, Johann, 1558 s Kilian, J o h a n n , 1558 s Kingston (Kyngston), J o h n , 1568 3 , 1574 2 Kis, Kisl, see Khisl Klingenstein, Bernhard, 1586 6 K n o p h Dantiscano, Georg, see Dantiscano Köler, David, 1583„ Kolten P r u e n , see under Khisl Königsberg, t o w n officials of, 1592 1 2 Kosmvsky, Joannis, 1554 δ Krengel, Gregorius, 1584 s Kyngston, J o h n , see Kingston

L a Caille, Jean de, [1551] 4 Laet, Jean, widow of, 1569! Lafage, 1531„ 1546 4 , 1558 6 L a Grotte, Nicolas de, 1571 3 , 1574 2 . See also Nicolas Lais, Johan Dominico, 1575 3 , 1578 s L a Moeulle, G . de, 1546 e , 154? t L a n d a u - F i n a l y , Horace, 1542 2 , 1543 2 , 1561 2 , 1563!, 1563 3 , 1563H, 1568i, 1568 2 , 1581!, 1584 4 , 1585 s , 1590 8 , 1597 3 Langius, Gregorius, 1584 e , 1597, Langnauer, Giovanni, 1566 2 Lapicida, Erasmus, 1546 e L a Rue, Pierre de (Petrus Platensis), 1523 2 , 1532 2 , 1536,, 1538 2 , 1556!, 1590 e Las Infantas, F e r n a n d o de, 1579 2 Lasso, Orlando di, 1563,, 1563 1 2 , 1566 2 , 1566 3 , 1568!, 1568 2 , 1568 e , 1568„ 1570 3 , 1571 1( 1571 e , 1572 1( 1573 s , 1574^ 1574 2 , 1574 5 , 1574 e , 1 5 7 4 „ 1575i, 1575 3 , 1577 2 i [1577] 3 , 1577 6 , 1577„ 1578 3 , 1578 4 , 1578 6 j 1579 4 , 1582^ 1582 5 , 1583 4 , 1583 e , 1584 2 , 1584 3 , 1584 6 , 1584 e , 1584 s , 1585 e , 1586 6 , [1586] 6 , 1589 4 , 1589 e , [1590] 3 , 1590 1 2 , 1591 2 , 1591,, 1592», 1593,, 1594 6 , 1597„ 1598 s , 1599, Lasso, Rodolpho di, 1591, Lasson, M . , 1530 4 , 1533 t L a T o r r e , Francisco de, 1552, Latre, Petit Jean de, 1549 8 , 1 5 5 2 n , 1563 1 2 , 1568 2 Laubius, Hieremias, 1595 4 L a u r u s , see Verdelot Laynez, Pedro, 1578 3 Layolle, François de, 1546 4 , 1546 e , 1546 9 , 1546ι β , 1547 5 L e Brun, 1554 8 , 1574, Lechner, L e o n h a r d , 1589 e , 1594 6 Lederer, Frantz, 1552, Ledesma, Francisco de, 1547 6 L e Gendre, Nicolas, 1533 2 Legge, Giovanni da, 1556 fl L e H e u r t e u r (Heurteur, Lehorteur), Guillaume, 1533 2 , 1533 s , 1546 2 , 1558 ? Lehndorff, Bastian and Fabian von, 1592 1 4 L e h o r t u r , Guillaume, see L e H e u r t e u r L e Hugier, 1560 3 , 1563 1 2 Leighton, William, 1599 χ Leipzig, town council of, 1571t

INDEX

iv:

Le Jeune, Claude, 1592 β L e Maire, Jean, 1533 2 L e Maistre, Matthaeus, 1533!, 1571!, 1583 2 , 1583, L e Mans, Archdeacon of, see Saint Françoys L e Moisne, 1546 β L e n g e n b r u n n e r , J o h a n n , p. 21 Lens, Philippe de, 1547,, 1547 β , 1 5 5 2 n L e o X , Pope, 1517 1 ; 1521!, 152?i, 1546 3 León, J u a n de, 1 5 4 6 u , 1549 3 , 1550i, 1555i Leonora of Toledo (Leonora da Tolleto), p. 3, 1539i L e Peletier, 1546 1S L e Roy, Adrian, 1551 2 , 155l 3 , [1551] 4 , 1552 2 , 1552 3 , 1552 e , 1553 3 , 1553g, 1554 4 , 1S54 5 , 1556 e , [1557]!, 1559 4 , 1561 D . W . , [1562] s , 1562 e , 1562 9 , 1562 1 0 , 1 5 6 2 n , 1563 D . W . , 1564i, 1564 s , 1565 3 , [1567] a , 1568 3 , 1568 6 , [1568] g , [156?] 4 , [1570] 2 , 1570 4 , 157I3, 1574 2 , [1578] 2 , 1578 e , [1578],, 1582 3 , [1583] 3 , [1585],, 1589i, 1596 4 Leschenprandius, Adolph, 1595 4 Leuchsner, J o h a n n , 1591„, 1595 4 Levrart, Simon, 1568 e , 1570 3 , 1578 4 L'Héritier, Isaac, 154?! L ' H é r i t i e r (Lhiretier, Lirithier), Jean, 1530 4 , 1554 3 Lhiretier (Lirithier), see L'Héritier, Jean Licino, Agostino, 1545¡¡, 1546 1 2 , 1586, Licino, Sillano, 1 5 9 9 n Liechtensteigern, Samson, 1573 2 Lieto Panhormitano, Bartholomeo, 1559 s Linck, Johannes Huldarico, 1591 6) 1595 4 Linck, Melchior, 1566 3 L i n d n e r , Friderich, 1589 6 , 1591, Liégeois, Nicolas, see Nicolas Liégeois Listenius, Nicolaus, p. 2 Littleton, Alfred, 1511 3 , 1529^ 1536 4 , 1581 x , 1589 2 , 1598, Llanos, Fray G ó m e z de, see G ó m e z de Llanos Lobbetio, Johannes, 1583 4 Locatello, Giovanni Battista, 1589 β , 1591 1 6 Lodi, Pietro da, see Pietro da Lodi Loiset, see Loyset L o m b a r d u s , Franciscus, 1576 3 Lorena, see Lorraine Loris, Heinrich, see Glareanus Lorraine, Cardinal of, 1 5 9 1 u Lorraine, see Christine of Lorraine Loys, Jehan, 1 5 5 2 η Loyset, 1547 s . See also Compère ; Piéton Lucio, Jacobo (Jacobus Lucius), 1588 g , 1597 8 ,1597Ü L ü c k , L u d w i g , [1552] 9 , [1552] 10 Ludovico Milanese, 151 l i Luduvico, harpist, 1546 1 4 Lupacchino, Bernardino, 1559 6 , 1560 2 , 1562 e , 1565 4 , 1568 4 , 1584 9 , 1587 4 , 1590 4 , 1590 1 2 , 1591„, 1594 8 L u p i , 1533 2 , 1533 s , 1546 9 , 1549 2 , 1549„, 1550¡¡, 1 5 5 2 h , 1556 2 j 1558 4 , 1562 3 , 1562 1 0 , 1563 1 2 ,1591,. See also Hellinck; L u p u s L u p i , Second, Didier, p. 6, 1564,, 1568 β , 1568,, 1570 s , 1571 j, 1575 3 , 1578 4 , 1582 5 , 1586 6 L u p r a n o , Philippo de, 1509! L u p u s (Johan L u p u s ) , 1533 2 , 1544 2 , 1544 3 , 1546 2 , 1546 4 , 1546 β , 1546 1 β , 1547 3 , 1547 5 , 1547„, 1552 s , 1 5 5 2 u , 1553i, 1553i 0 , 1554 3 , 1558 4 , 1558 6 , 1562 a , 1562„, 1563 1 2 , 1568 e , 1 5 6 8 „ 1571 e , 1574 5 , 1574„ 1577 e , 1578 3 . See also Hellinck; L u p i Luscinius, O t t o m a r (Ottmar Nachtgall), 1536 4 , 1542 3 L ü t k e m a n , Paul, 1597, Luzzaschi, Luzzasco, [158?] 4 , 1593 3 Lyons, Archbishop of, see T o u r n o n

NAMES

489

M . C., see Cara M . G . M . G., 1594 5 Macque, Giovanni de, 1584 e , 1595 1 0 Madrucio, Christophoro, 1547 3 Maffonio, Hieronimo, 1544 3 , 1556 2 Magdelain, 1552 4 , 1563 1 2 Magensreuter, Nicasio, 1582! Mahiet, 1546i„, [ 1 5 4 7 ] u M a h u , Stephen, 1558 6 Maier, Georg, 1590„ Maier, Johannes, [1564] β Mailandt, H a n s Jacob von, see Albutio Maillard, Jean, 1544 2 , 1546„, 154?i, 1551 2 , 1551 3 , 1552 8 , 1553 3 , 1562 9 , 1565 3 , 1570 3 , 1570 4 , 1574„ 1576i, 1578 4 Maille, 1546 9 , 1546 15 , [ 1 5 4 7 ] u Mainerio, Giorgio, p. 5, 1576 D . W . , 1578, Maio, Gulielmo, 1594 6 Mal'ombra, Constantino, 1569 2 Malchinger, 1532 2 , 1544i, 1571i, 1583 2 Malvasia, Isabella Castella, 1581! Malvasia, Rachel, 156? 3 , 1579i Malvezzi, Christofano, 1577 4 , 1591 9 Manchicourt, Pierre de, 1533 2 , 1533 s , 1568 6 , 1584, Mancinus, T h o m a s , 1588 5 , 1597 e Manderscheid (Manderscheidt), C o u n t of, see Arnold; Eberhard Mannucci, Francesca Giunta, 1581 x M a n r i q u e , Jorge, 1546 1 4 Mansaro, Dominico dello, 1590I 2 Mantoa, Marco, 1546 4 M a n t u a , D u k e of, 1594, Marcantonio da Genova, 1546 3 Marcantonio del Pifaro, see Pifaro, Marcantonio del Marchetti, Silvestre, [1591]i Marcolini, Francesco, 1536 3 Marenzio (Marentio), Luca, 1582!, 1584 3 , 1589 e , 1591 2 , 1591 9 , I59I11, 1591 l e > 1592„, 1 5 9 2 u , 1593„ 1594 6 , 1597 4 , 1 5 9 9 n , [159?] 3 Marescotti, Giorgio, 1584 4 Maria, Princess, 1546 1 4 Marieri, Giacomo, 1571 4 Marino, Alessandro, 1597 9 Marot, Clément, 1552 2 , [1562] s Martin, Nicolas, 1 5 9 1 ^ Martinengo, Ascanio, 1597 e Martinengo Villachiara, C o u n t Marcantonio, see Villachiara Martini, Johannes, 1538 2 Martino, Oratio di, 1590i 2 Martire, Oratio, 1581i M a r x v o m Adler, see Aquila, M a r c o d ' Masacconus, Johannes Petrus, 1539i Maschera, Fiorenzo, 1574„, [1582] 4 , 1584 1 0 , [1586] 2 , 1588 e , I59O5, 1593 5 , 1 5 9 3 „ 1596 8 , 1 5 9 9 n Massaino, Tiburtio, 1591, Massimi, Olimpia Cuppis de', 1581! Matelart, Jean, 1559, M a t h u r i n , 1504, Mattei, Fabio, 1571 4 Matthei, Claudia Matthea, 15811 Matthei, Giulia Bandina, 1581 x Matthew, J. E., 1511 3 , 1535^ 1582 3 , 1589! Mauritio de Metriehstein, 1563 8 Maximilian II, E m p e r o r , 1555 2 , 1573, Mayno, Conte Hippolito, 1548 3 Mazza, Alberto, 1576 3 Mazzi, Luigi, 1596 9 Mazzone, Marc'Antonio, 1570 5

49°

INDEX

Medici, Alessandro de', 1563 7 Medici, Bianca Cappello de', 1581! Medici, Cosimo de', p. 3, 1539 χ Medici, Fernando de', 1591 β Medici, Leonora de', 1581! Meigret, 1546 1 6 , [ 1 5 4 7 ] η , 1552 4 Meiland, Jacob, 1571ι, 1575!, 1577», 1583 2 , 1586 6 Mei, Rinaldo del, 1 5 9 2 u , 1595 1 0 Mendozza, Anna de, 1581i Menhart, Matthaeus, 1591 e , 1595 4 Mentzer, J . F . G., see Fischart Meo, Fiorentino, 1570 6 Mertel, E., 1583 4 Merulo, Claudio (Claudio da Correggio), 1568 2 , 1568 4 , 1568 6 , 1574 s , 1588 e , 1 5 8 9 „ 1592,, 1593„ 1 5 9 3 „ 1594 a , 1597 D.W.,

iv:

1583 β ,

1567 2 , 1591 2 , 1598»,

Mesa, Gregorio Silvestre Rodriguez de, see Rodriguez de Mesa Metallo, Grammatico, 1591 D.W., [1594],, [1595] 6 Metriehstein, Mauritio de, see Mauritio de Metriehstein Metzler, Barthel, [1574] 4 Mezzabarba, Carlo, 1571 4 Mi. C., 1511! Michelangelo, see Buonarroti Milán, Luis, 1535 D.W., 1536 s Milano, Francesco da, see Francesco da Milano Miller, Matthaeus, 1595 4 Millis, Guillermo, 1552, Miranda, Count of, see Çuniga Misnicus, Sebastian Heidenrich, 1595 4 Mithou, Thomas Champion dit, 1552 4 ,1556 s , 1563 12 , 1565 8 Mittantier, 1546„, 1547 9 , 1 5 4 9 „ 1 5 5 2 n , 1563 12 , 1568,, 1571 e Moderne, Jacques, p. 2, [1536]», 154?!, 154? 6 , 154 ?e, 1553i Molinaro, Simone, 1599, Molino, Marco de, [1505]! Moneada, Francesco, 1591 1 2 Montano, Benedito Arias, see Arias Montano Monte (Demonte), Philippe de, 1576„, 1582i, 1583 4 , 1584!, 1584 3 , 1584 s , 1584 β , 1589 e , 1593,, 1594, Monte Pontici, Giovanni Maria de, 1521i Montesdoca, Martin a, 1554, Morales, Cristóbal de, 1543 3 , 1544 3 , 1546 1 4 , 1547 s , 1551,, 1552,, 1 5 5 2 n , 1554 a , 1554 8 , 1555i, 1557 2 , 1559,, 1569,, 1584 6 Morales Salado, Alonso de, 1578 3 Morel, Clément, 1547 4 Morlaye, Guillaume, [1550] a , 1552 4 , 1552 s , 1552„, 1552 8 , 1553 4 , 1553 e , 1554 5 , 1554„ 1554 8 , 1558 3 , 1558 4 , 1563 12 , 1568„ 1571 e , 1573 a Morley, Thomas, p. 2, 1595 e , 1597i 0 , 1599!, 1599 6 , 1599 e Mornable, Antoine de, 1546 e , 154?j, 1550 6 , 1551^ 1552 4 Mortaro, Antonio, 1599n, Appendix: 1598, 1599 Morton, Robert 1507 2 Moscheni, Francesco, 1564 8 Moschini, Baccio, 1539! Mosto, Bernardo, 1594 6 Moulu, Pierre, 1529 a , 1530 4 , 1531 3 , 1531,, 1540i, 1544 2 , 1545 s , 1546 e , 1546i 0 , 1547 s , 1 5 4 7 „ 1549 e , 1549 8 , 1557 3 , 1562 3 Mouton, Jean, 1536 a , 1536,, 1546i 0 , 1546I 5 , 1547„ 1547 6 ,1547„, [1547]n, 1 5 4 8 2 , 1 5 4 9 2 , 1 5 5 2 „ 1 5 5 2 i „

NAMES 1557 2 , 1558 6 , 1 5 6 2 u , 1563 12 , 1574 5 , 1578 s , 1582, 1589 e Mudarra, Alonso, 1546i 4 Müller, Christian, 1562 a , 1562 4 , 1567 D . W . Murranino, Francisco, 1569, Murtserlen, see Altan, Barons of Musei, Vincenzo, 1581!

Ν. P., see Pifaro Nabarro, Juan, see Navarro Nachtgall, Ottmar, see Luscinius Nachtrub, Christopher, 1595 4 Nadal, 1549, Naich, Hubert, 1 5 6 8 „ 1571, Nanino, Giovanni Bernardino, 1595 1 0 Nanino, Giovanni Maria, 1584 6 , 1589 a , 1591 2 , 1591h, 1591 1 4 , 1592 e , 1592u, 1 5 9 3 „ 1594,, 1595i„, 1599ii Narváez, Luis de, 1538ι, 1546ι β , 1552 4 , 1563 l a , 1568, Nasco, Giovanni, 1 5 6 3 „ 1568 2 , 1591, Nassaw, Count of, see Johann, Count of Nassaw Navarro (Nabarro), Juan, 1576i Nellenburg, Count of, see Christoff Ládisslav Nenna, Pomponio, 1590 J 2 , 1595 4 Neogeorg, Laurentius, 1595 4 Newsidler, Conrad, 1550 4 Newsidler, Hans, p. 7, 1 5 3 6 „ 1536,, 1540i, 1544i, 1544 2 , 1544 a , 1547 4 , 1549,. 1562 4 Newsidler, Melchior, 1566 2 , 1566,, 1571„ 1573i, 1574 6 , [1576] 2 , [1587],, [1595],, [1596],„ Nicolas (Nicolas de La Grotte?), 1558 3 , 1570 a , 1571 3 , 1574 2 , 1582 6 Nicolas Liégeois, 1546i 8 , 1552i, Nicolini, Camillo, 1597 2 Noiia, Beatrice della, 1571 4 Noiia, Horatio di, 1571 4 Noiia Aquaviva, Vittoria della, see Aquaviva Nola, Giovane Domenico da, 1552 β , 1554 3 , 1568ι, 1570,, 1 5 8 4 „ 1595 6 Nollet, 1548i, 1560 3 , 1563i 2 , 1568, Norway, King of, see Christian I V Obrecht (Hobrecht), Jacob, 1 5 0 1 1 5 0 7 2 , 1512i, 1523 2 , 1529 2 j 1531„ 1533^ 1536„ 1538 2 , 1545 3 , 1547,, 1562j, 1590, Ochsenkun, Sebastian, 1558 5 , [1564], Ockeghem (Okenheim), Johannes, 1507!, 1507 2 , 1538., 1 5 5 7 „ 1590, öglin, Erhard, 1 5 1 ? ! Okenheim, see Ockeghem Olivier, I., 1552 4 Oppenrider, Daniel, 1 5 9 1 „ 1595 4 Ordonez, Pedro, 157Ó! Orlandino, Antonio, 1589 8 , 1591 1 5 Orologio, Alexander, 1597n Orsina, Beatrice, 1571 4 Orsina, Cornelia Teodola, 1581! Orsina, Giovanna Caetana, 1581i Orsina, Giulia Savella, 1581i Orsina, Lucretia Salviati, 1581i Ortelius, Johannes, 1583 4 Ortiz, Diego, 1553,, 1553, Ortiz, Miguel, 1547, Othmayr (Otmair), Caspar, 1558, Ottheinrich, Pfalzgraf, 1558, Otto, Jeronimo, 1585i

INDEX Ovid, m è i ! Oxford, Earl of, see Vere

iv:

NAMES

491

Pesenti, Michele (D. M . , D . Mi.), 1509,, 1511 x Pestrin (Pestrino), see Abondante Petraloysius, Joh., see Palestrina Petrarch, Francesco, 152 ?x, 1546i 4 Pace, Antonio del, 1584 6 Petreius, Johann, 1536„, 1536, Pace, Giovanni Battista, 1591, Petrucci, Ottaviano de', 1501^ 1502 1( 1503,, 1504i, Pacheco, Doña Ysabel, 1550! 1504 2 , 1507i, 1507 2 , [1508] 1 , 1508 2i 1509i, 1511i Pacolini (Pacoloni), Joan (Giovanni Pacoloni), 1564,, Petrucci, Pietroiacomo, 1577 4 Petschin, Gregor, see Peschin [1587],, [1591] 10 Peu d'Argent, Martin, 1584i Padovano, Annibale, 1556 g , 1568 2 , 1584 a> 1584 6 , Pevernage, Andries, 1592 e 1588,, 1590 2 , 1591 4) 1592 3 , [1594] e , 1 5 9 9 u Phalèse, Pierre, p. 6, 1545 3 , 1546, 8 , 1546 1B , 1546 20 , Paduani, Giovanni, p. 2 1547,, 1547 8 , 1547 e , 1547 10 , [1547],,, [1547] 12 , Pagnier, Nicolas, 1571 3 1549 8 , 1552,,, 1553 10 , [1563]„, 1563 12 , 1564„ Paix, Aegidius, 1583 4 1568 e , 1568„ 1569 e , 1570 3 , 1570 4 , 1571 6 , 1571 e , Paix, Gilles, 1583 4 , 1590 β 1573 s , [1573] e , [1573],, 1573 β , [1573] e , 1574„ Paix, Jakob, 1577 β , 1583 4 , [1587],, 1587 D.W., [1575]», [1575],, 1576 D.W., [1577] 3) [1578] 9 , 1589„ 1590 β , 1594 10 1582 s , 1583,, 1584 e , 1590 12 , [1591] 10 , [1592] 6 , Paix, Peter, 1583 4 1592 e Paladin, Antoine François, [1562], Paladin, Jean Paul, 154? 5 , [1553],, 1560 3 , 1563, 2 ) Philip, Marquis of Baden, 1582, Philip the Younger, Count of Hannover, 1562 4 1568,, 1571 e Palazzuola, Angela Morona, 1581 j Philip II, King of Spain, 1547 5 , 1552,, 1554 3 , 1564 3 , Palero, Francisco Fernandez, 1557 2 1578 3 , 1579 2 Palestina, Gianetto da, see Palestrina Philipp, Duke of Brunswick, 1588 5 Palestrina, Pierluigi da (Aloysius, Gianetto da PalesPhilippo de Luprano, see L u p r a n o tina, Giovanni de Pellestrina, P. A. Penesstrina, Philips, Peter, 1599 e Joh. Petraloysius, Joan Petri Aloysii Prenestini), Phinot, Dominique, 1583 e , 1591, 1568¡¡, 1574 β , 1582 t , 1583 4 , 1584 2 , 1584 6 , 1584 β , Piacenza, Duke of, 1598 e . See also Farnese, Ottavio [1586] 2 ,1589«, 1 5 8 9 8 , 1 5 9 1 2 , 1 5 9 1 „ , 1591 1 4 ,1592„ Piccinini (Picini), Alessandro, [1594],, 1 5 9 2 η , 1593,, 1594 3 , 15963> 1599,, Piccioli, Giacomo Antonio, 1585, Palmiera, Elionora, 1580 a Picini, Alessandro, see Piccinini Palumbo, Giovanni Francesco, 1591, Pico, Alessandro, 1590 10 Paminger (Panninger), Leonhard, 1583„ Pieton, Loyset, 1547 5 , 1553„ 1558 3 , 1564„ 1574, Pannon, C., 1556 2 Pietro da Lodi, 1511, Papa, Christoffaro, 1599, Pifaro, Marcantonio del, 1546, 4 Papa, Terquinio (Tarquinio), 1590 l s , 1591, Pifaro, Nicolò, (N. P.), 1509, Parabosco, Girolamo, 1540 3 , 154 ?„ Pignatta, Gasparo, 1570 5 Paratico, Juliano, 1 5 9 9 n Pimentel, Pedro, [1599], 2 Paris, see Francesco di Parise Pipelare, Matthaeus, 1531, Parma, Duke of, 1598 9 . See also Farnese, Ottavio Pisador, Diego, 1552, Pasewalch, town council of, 1597, Pisani, Chiara. 1582, Pasotis, Johannes Jacobus de, 1521 x Pisani, Francesco, 1546 2 Passereau, 1530 3 , 1533„, 1543„ 1546„, 1546 13 , 1549 2 , Pizziolis, Cola Maria, 1591, Planson, Jean, 1592 e 1551 8 , 1568!, 1582, Pathie, Rogier, 1545 3 , 1546„, 1546, 5 , 1547 6 , 1547„, Plantin, Christophe, [1563] 9 , [156?] 4 , [1578]„ 1549 8 , 1 5 5 2 „ , 1553 χ , 1553 10 , 1554„ 1556„ 1556 2 , Platensis, Petrus, see La Rue 1558 6 , 1562 3i 1563 8 , 1563 12 , 1564„ 1568 e , 1568,, Playford, John, 1595, 1570 3 , 1571!, 1571», 1572i, 1573 s , 1574 s , 1574„ Pogoesaeus Α., 1582 3 1575 3 , 1577 e , 1577„ 1578 4 , 1582 1; 1582 δ , 1583 2 . Poland, King of, see Sigismund August I I See also Rogier Pontano, Giovanni, 152?, Pâtisson, Mamert, 1582 3 Ponte, Giaches de, 1546 6 ,1548„ 1566 2 , 1568 2 ,1571 e , Patritii, Panta Crescenza, 1581! 1584 5 , 1586 6 Paul I I I , Pope, 1548, Pontifen, Johannes, 1589, Paulis, Joan Antoni de, 1594 4 Pontio, Pacifico, 1594, Payen, Nicolo, 1546 16 , [1547],,, 1548i Pontio, Paolo Gottardo, 1572 a Peetrino, Jacobo (Jacomo), 1583 6 , 1589 8 , 1591 1 4 . Pordenone, Marco Antonio, 1584 5 Porta, Costanzo, 1568 2 , 1584 ä , 1593, 1592ü Portinaro, Francesco, 1568 2 , 1584 s Peletier, see L e Peletier Portugal, King of, see Joao; John I I I ; John IV Pellegrini, Vincenzo, 1599 e Pournas, Françoys, 1551, Pellestrina, Giovanni de, see Palestrina Pozza, Livia Guasca, 1584 3 Penesstrina, P. Α., see Palestrina Prenestini, Joan Petri Aloysii, see Palestrina Penet, Hilaire, 1547 6 , 1558 3 Prescher, Paul, 1583„ Pepusch, D r . J o h a n n Christoph, 1579 2 Preyz, Jehan des, 1589„ 1596„ 1597, Pereza, Francisco de, [159?] 4 Primavera, Giovanni Leonardo, 1570 5 , 1584 5 Peri, Jacopo, 1591 9 Prinner, Joachim, 1591 e , 1595 4 Periam, Lady, 1595 e Priorata, Isabella, 1571 4 Perino Fiorentino, 1547 2 , 1562 1( 1563 e , 1566 x Prioris, Johannes, 1529 3 , 1531„ 1538 2 Perugino, Anselmo, see Anselmo Perugino Prunières, Henry, 1582 3 Peschin (Petschin), Gregor, 1544 2 , 1558 ä

492

INDEX

IV:

Prussia, see Albrecht, D u k e of Prussia Pullon de T r i n o , Giovan, [1553],, 1S60 3 P u r a u n e r , Hieremius, 1591 e , 1595 4 Puteo, Amadeo, Appendix: 1598 Pygott, Richard, 1530,

Quagliati, (Quagliato), Paulo, 1589 β , 1 5 9 1 n , 1591 1 5 , 1593 a Quintiani, Lucretio, A p p e n d i x : 1598, 1599

Radino, Giovanni Maria, 1592„, 1592 9 Ragonia, Giulia Stalla, 1581i Ramo, Paulo, 1591„ 1595 4 Rampazetti, Marta, 1581 χ Rampolini, Mattio, 1539! Ramuino, Allessandro, 1548 χ Ramuino, Gian Antonio, 1548! Ranier, 1517, Rans, Nicolas de, 1568,, 1573 2 Raval, Sebastian, 1593«, 1 5 9 6 ^ Ravenada, 1554 s Ravenna, Cardinal of, 154 ?2 Reese, Gustave, 1553 5 Regius, Paulus, 1580 3 Regnart, Jacques, 1583 2 , 1583 β , 1584„ 1584 s , 1592i 2 , 1597, Reiner, Jacob, 1591, Reinmichel, L e o n h a r d , 1583 4 , 1590 e , 1594 1 0 Reisner, A d a m , 1595 4 Renaldi, Giulio, 1591 2 , 1593,, 1594 s , 1 5 9 9 n Resino, Ottavio, 1572 2 Retz, Countess of, see C l e r m o n t Reulx, Anselmo de, 1560 3 , 1563 1 2 Reusner, N . , 1586 6 Reymann, Matthaeus, 1598 1 0 Reytter, Oswald, 1546 9 Rhaw, Georg, 1529j, 1 5 4 5 i ; heirs of, 1561i Ribrochus, Aurelius, 1598 4 Ricci, Giulia Nobile, 1581 χ Ricciardelle, Caterina and Cecilia, 1599 2 Riccio (Riccius), T h e o d o r o , 1583 4 , 1589 e , 1594 5 Richafort, Jean, 1533 2 , 1538^ 1538 2 , 1544 3 , 1545 3 , 1546 2 , 1546 9 , 1547 2 , 1547 5 , 1547„ 1547 9 , [ 1 5 4 7 ] u , 1 5 5 2 η , 1553!, 1557 2 , 1558 4 , 1558 s , 1562i 0 , 1563 1 2 , 1574 6 ) 157ÓJ, 1577 e , 1578 s , 1583 6 Ricordi, Jacomo, 1589 e , 1591 1 5 Rid, Christopher, 1591 e Rimbault, Edward F., 1597, Rippe, Albert de (Albert, Alberto da M a n t u a , Albrecht von Mantua), 1536 9 , 1547 s , 1552^ 1552 e , 1552 e , 1553j, 1553 9 , 1554«, 1554,, 1554 8 , 1555 4 , 1558,, 1562„, 1562 1 0 , 1 5 6 2 u , 1 5 6 3 n , [1573] 9 , 1574, Rivulo, Franciscus de, 1583, Rizzi, Quiricio, 1590, Robiano, Baltasaro di, 1584, Robillart, 1551 2 Rodio, Rocco, 1575 5 Rodriguez de Mesa, Gregorio Silvestre, [156 ?]5 Rogier, 1553 1 0 , 1584 2 . See also Pathie Rogniono, Richardo, 1592 1 0 , 1598 5 Rognoni, Giovanni Dominico, 1598 5 Romanini, Antonio, 1593 s Romano, Alessandro, 1563, R o m a n o , Eustachio, see Eustachio R o m a n o Romoli, Quintilio, 1581! Ronsard, Pierre de, 1571 3

NAMES Roquelay, 154?,, 1547, Rore, Cipriano de, 1548 χ , 1549„ 1551„ 1559 4 ,1559 8 , 1560 3) 1563 1 2 , 1564 s , 1566 2 i 1568!, 1568 2 , 1568„ 1571„ 1572!, 1574i, 1574 5 , 1574„ 1575 3 j 1577 s , 1577,, 1578 3 , 1583 2 , 1583 4i 1584^ 1584 2 ) 1584 3 , 1584 5 , 1584,, 1585 4 , 1586 6 , 1589«, 1591 2 , 1592,, 1592j 0 , 1593,, 1593 e , 1594 3i 1596„ 1 5 9 9 u Rosselli (Rosseilo), Francesco, 1568 2 , 1584, Rosseter, Philip, 1596 s Rossetto, see Bianchini, Dominico Rossi, Giulia Paulina de', 1581! Rotenhan, Wilhelm a, 1589, Rotta, Antonio, 1546 2 , 1546ι 6 , 1546ι„, [1547]ι,, [1547]i2, 1552!, 1552H, 1563I 2 , 1568, R o u b o t h u m , James, see R o w b o t h a m Rovati, Cipriano, 1596 3 Rovere, Lavinia della, 1581! Rovere, Livia della, 1599 9 R o w b o t h a m ( R o u b o t h u m ) , James, 1568 3 , [1568] 9 , 1574 2 Royssy, Seigneur de, 1560 3 Ruberti, Ector, 1594 4 R u d e n , J o h a n n , 1598 1 0 Rühling, Johannes, 1583, Ruffo, Vincenzo, 1547 5 , 1563„ 1564 8 , 1568 2 ) 1584 3 , 1584 6 , 1591, Ruissa, Virginia Crivella, 1581! Rumler, J o h a n n Jacob, 1595 4 Rustici, L a u r a Palina, 1581!

Sabbio, Vincenzo, 1584 1 0 Sabino, Hippolito, 1582, Sacus, Siegfried, 1561! Sadoletus, Jacobus, 1517i Saint Clara, 1550 t Saint Françoys, René de, Archdeacon of L e M a n s , 1556ι Saint Jerome, 1511 3 Saint Ynes, 1550i Salado, Alonso de Morales, see Morales Salado Salagar, Francisco Cervantes de, see Cervantes de Salazar Sale, Francisco, p. 4 Saliceis, Frideric, 1591„ 1595 4 Saliceis, Johannes, Frideric, 1591,, 1595 4 Salietr, Sicheo, 1569 2 Sampson (Samson), 1538 2 , 1546 9 , 1584, Sánchez, Francisco, [1564] 3 , 1578 3 Sancta, Francisco, 1560 4 Sancta Maria, T o m á s de, 1565 6 Sancto Bonifacio, Herculi a, 1549 2 Sandrin, Pierre, 1545 3 , 1546 9 , 1546i 8 , 1547 3 , 1547„ 1547,, 1547 9 , 1549 2 , 1549 e , 1549 8 , 154?i, 154? 5 , 1 5 4 ? „ 1550 6 , 1551!, 1551 2 , 1552 6 , 1552«, 1552 8 , 1 5 5 2 u , 1553 3 , 1553 4 , 1553 6 , 1554«, 1 5 5 4 „ 1554 8 , 1555 4 , 1556i, 1556 2 , 1559», 1559 4 , 1560 3 , 1562 3 , 1562 9 , 1562 1 0 , 1563i 2 , 1568«, 1568„ 1570 3 , 1570 4 , 1571 6 , 1571«, 1573 3 , 1574„ 1575 3 , 1577,, 1578 3 , 1578 4 , 1582 6 , 1583 2 , 1584 2 , 1586 6 San M a r t i n , Leonardo de, [1586]! Sannazaro (Sannazar), Jacopo, 152 ?„ 1546i 4 Sanseverina, Isabella della Rovere, 1581! Santucci, Pitio, 1570 4 Santucci, Sulpicio, 1571 4 S a m o , C o u n t of, see Tuffavilla Saxony, D u k e of, see A u g u s t ; Friedrich W i l h e l m ; J o h a n n ; J o h a n n Casimir; J o h a n n E r n s t ; J o h a n n Friedrich

INDEX Scabino, Gregorio Willichio, 1561 j Scaletta, Orazio, 1 5 9 0 „ 1591 1 6 , 1 5 9 9 u Scalinci, Costanza Castra, 1581! Scandello, Antonio, 1570 3 , 1571i, 1572 χ , 1578 4 , 1583 2 , 1591, Schaller, Frideric David, 1591 6 , 1595 4 Schaller, Lucas, 1595 4 Schaller, Marc Antonio, 1591«, 1595 4 Scharffenberg, Crispin, 1555 2 , 1555 3 Scharschmid, Joannes, 1595 4 Schedius, Paul, 1583 e Scheifler, 1 5 8 3 , Scheller, Andreas, 1595 4 Scheurleer, Daniel F . , 1589 x Schieti, Cesare, Appendix: 1599 Schlegel, Joseph, 1583 e

iv:

1575^

Schleinitz, Johannes Hugoldo a (Giovanni Hugoldo Ascleinitz), 1569 2 Schlick, Arnolt, p. 3, 1511 2 , 1512 1 Schlick the Younger, Arnolt, 1512 x Schmid, Bernhard, 1576 D . W . , 1577 e Schöffer, Peter, 1511 2 , 1512t Schönfelder, Jörg, 151 ? 1 ; 1 5 3 2 2 , 1 5 3 6 β , 1 5 3 6 „ 1544,, 1549 β , 1562 a , 1583 2 Schönig, Valentin, 1591 e , 1595 4 Schot, Heinrich, 1591 6 , 1595 4 Schottus, Johannes, 1536 4 , 1542 3 Schram, Melchior, 1586 5 , 1 5 9 1 , Schreck, Valentin, 1573 3 Schröter, Leonhard, 1583 β Schulenburg, Joachim Johann-Georg von der, 1599 5 Schumier, Michael, 1583 2 Scotti, Paulo, l S l l j Scotto, Bernardino, 1590, Scotto, Girolamo, 1540 2 , 1546 2 , 1548^ 1548 2 , 1548 4 , 1549j, 1549,, 1 5 4 9 „ 1560 2 , 1560 4 , [1562] 2 , 1562 e , [1562] 1 2 , ISM,,, 1563 3 , 1563 4 , 1563 6 , 1563„, 1563 8 , 1 5 6 3 h , 1565 4 , 1568^ 1568 2 , 1569 2 , 1569 e , 1570^ 1570 ä , 1571 4 , 1 5 7 3 4 ; heirs of, 1574 β , 1579 2 , 1584 3 , 1584 5 , 1586,, 1586 9 , 1 5 9 0 „ 1591 1 2 Scotto, Honorio, 1554^ Scotto, Ottaviano, 1536 s Seamour, Edward, Viscount Beauchamp, Earl of Hertford, 1574 2 Sebastiani, Claudio, p. 2 Segae, Philippo, 1595 2 Segni, Giulio (Julio, Julius da Modena), 1540 3 , 1546 1 0 , 1548 4 , 154? e , [1550] 3 , 1552 4 , 1557 2 Seitz, Antonio, 1591 e , 1595 4 Seitz, Magnus Jacob, 1591 e , 1595 4 Selmona, Principessa di, 1581! Senfl, Ludwig, 1523 2 , 1532 2 , 1533^ 1536 6 , 1536,, 1538 2 , 1540J, 1544!, 1544 2 , 1544 a , 1546 0 , 1547 3 , 1547 4 , 1549 e , [1552] 1 0 , 1558 ä , 1562 3 , 1571i, 1573 3 , 1574 s , 1575 3 , 1583 2 , i s a s ! , 1583 β , 1589 e , 1590 6 Sentier, Simon, see Gintzler Sepulveda, 1547 s Sergardi, Martia Rustici, 1581 χ Sermisy, Claudin de, 1529 3 , 1530 3 , 1530 4 , 1530 5 , 1531!, 1531,, 1 5 3 1 „ 1533i, 1533 3 , 1536 3 , 1540i, 1544i, 1544 2 , 1545 3 , 1546 3 , 1546 6 , 1546 β , 1546 8 , 1546 9 , 1546i„, 1546i S , 1547 2 , 1547 4 , 1547 5 , 1547 e , 1547,, 1547 9 , [ 1 5 4 7 ] n , 1548 2 , 1549 e , 1549„, 154? 5 , 154?„, 1550 s , 1551i, 1551 2 , 1551 e , 1552 3 , 1552 s , 1 5 5 2 n , 1553!, 1554 3 , 1554 e , 1556 2 , 1558 5 , 1559 3 , 1560 3 , 1562 3 , 1562i„, 1 5 6 2 u , 1563I 2 , 1 5 6 4 „ 1 5 6 8 „ 1568,, 1570 3 , 1570 4 , 1571 e , 1573 a , 1 5 7 4 „ 1577 e , 1578 3 , 1578 4 , 1582 5 j 1589i Sermoneta, Cardinal, 1558!

NAMES

493

Sessa, Laelio, 1576 3 Severino, Giulio, 1 5 9 9 , Sfondrato, Baron, 1579 3 Sforza, Costanza Colonna, 1 5 8 1 ! Sforza, Federico, 1571 4 Shor, Martin, see Agricola, Martin Short, Peter, 1597 4 , 1597«, 1597i 0 , 1598 2 Siberus, Α., 1583 β Sigismund August I I , King of Poland, 1565!, 1569ι Sillac, 15713 Silva (Sylva), Andreas de, 1 5 3 6 „ 1536 e , 1546 3 , 1546 4 , 1546i„, 1 5 5 4 , Silvanus, Andreas, 1536 4 , 1542 3 Simeonis, Brabantici, 152 Singriener, Hans, 151 ?!, 1523 2 Soderino, Agostino (Augustino Soderinus), Appendix: 1598 Sofronio, Marco, 1 5 8 1 ! Sohier, Matthieu, 1548i, 1553 3 , 1570 4 , 1578 4 Some, Sir Stephen, 1599 s Soriano, Francesco, 1589 e , 1 5 9 1 n , 1591 1 5 , 1 5 9 2 n Soto, Francisco de, 1557 2 Soto, Hernando de Habalos de, 1 5 7 6 ! Soto, Pedro de, 1557 2 Spain, King of, see Philip I I Spinacino, Francesco, 1 5 0 7 l t 1507 2 , 1568i Sponga, Francesco, 1595 8 Spontone (Spontoni), Bartolomeo, 1584 6 Sporer, Thomas, 1536 e Squillace, Principessa di, 1 5 8 1 ! Stabile, Annibal, 1589„, 1591 2 , 1 5 9 1 n , 1591 1 4 Stabile, Pompeo, 1 5 9 1 Ü Stainer, J . F . R . , 1599i Stella, Joannes Christophore Calveti, see Calveti Stella Stella, Vincenzo, 1589 β Stevenson, Robert, [1564] 3 Stimmer, Tobias, 1572 χ Stivori, Francesco, 1 5 8 9 „ [1594] 1 2 , 1599i 0 Stockamer, Paul, 1591, Stokhem, Johannes, 1507 2 , 1536, Stoltzer, Thomas, 1532 2 , 1536„, 1540i, 1544i, 1544 2 , 1547 4 , 1549„, 1558 5 , 1562 3 , 1571 i, 1583 2 Straelsund, town council of, 1597, Strasbourg, Bishop of, see Johann, Bishop of Strasbourg; Wilhelm Stretton, Thomas, 1530 e Striggio, Alessandro, 1568i, 1568 2 , 1574 β , 1583 1 ( 1583 4 , 1584i, 1584 3 , 1584 6 , 1584 e , 1591 2 , 1593,, 1599ϋ Strogers, Nicholas, 1599 s Strozzi, Ruberto, 1542 2 Stuart, Arbella, 1598 2 Stiirzel, Matthaeus, 1591 e , 1595 4 Suevius, Joannes, 1598 1 0 Sultzperger, Sigismund, 1577 6 , 1586 5 Susato, Tielman, 1545 3 , 1546 1 8 , 1551 e , 1 5 6 8 , Sussex, see Bridgett Sylva, Andreas de, see Silva Τ . Β., 1511ι Tabourot, Estienne, 1589i Tabourot, Guillaume, 1589ι, 1596ι, 1597 χ Tabourot, Jehan (pseudonym: Thoinot Arbeau), p. 2, 1589i, 1596!, 1597i Tadinghen, 1507 2 Taglia, Pietro, 1584 s Taphouse, T . W . , 158 ? 2

494

I N D E X

iv:

T a p p e r t , Wilhelm, 1 5 5 0 4 T a s s o , J o a n Maria, 1 5 5 9 , , 1560 2 , 1 5 6 2 „ 1565 4 , 1S68 4 , 1584„, I S S ? ! , 1S90 4 , 1 5 9 0 1 2 , 1 5 9 1 8 , 1 5 9 4 s Tavera, Diego, 1 5 5 7 2 T a v e r n e r (Tavernar), J o h n , 1530 6 Tedaldi, Federigo, 1 5 8 4 4 T e g h i , Pierre de, 1547„, 1 5 4 7 1 0 , 1563 D . W . , 1573 5 T e l l e z Girón, J u a n , see G i r o n Terranova, Duke of, 1 5 9 2 1 0 T e r z i , Giovanni Antonio, p. 7, 1 5 9 3 „ 1 5 9 9 u T h a l m a n , Wolffgang, 1 5 8 3 e Thennius, Marco, 159410 Theodorico, Marcello, 1591 β , 1S9S 4 Thessier, G . , 1 5 7 1 s , 1 5 7 4 2 T i b u r t i n o , Giuliano, 1 5 4 9 „ 1579 D . W . T i g n a c , I., 1553| T i g r i n i , Orazio, p. 2 T i n i , Francesco, [1587] e , 1590 4 > 1 5 9 4 ^ 1594 3 , 1596 e , 1 5 9 8 4 , Appendix: 1596 T i n i , S i m o n , heirs of, [ 1 5 8 7 ] , , 1590 4 , 1 5 9 4 ^ 1594 3 , 1 5 9 6 8 , 1 5 9 8 4 , 1598 6 , Appendix: 1596, 1598, 1599 T o l e d o , Leonora of, see Leonora of T o l e d o T o n s o r , Michael, 1 5 8 3 , Torello, Gasparo, 1 5 6 8 2 T o r r e , Margherita della, 1581ι T o r r e s , Giulia Matthei de, 1581 x T o r t i , Lodovico, 1 5 9 4 s Toulouze, Michel de, p. 2, 148 T o u r n o n , Count of, Archbishop of Lyons, 1553 1 Tradate, Augusto, Appendix: 1598 Traetto, Duchess of, 1581t Tricesius, Andreas, 1565 1 ( 1569 β T r i c h e t , Pierre, [1551] 4 T r i n o , Giovan Pullon de, see Pullon de T r i n o Tritonius, Peter, 151 15232 T r o j a n o , Massimo, 1 5 7 0 5 T r o m b o n c i n o , Bartolomeo ( Β . T . ) , 1 5 0 8 2 , 1 5 0 9 ^ 1 5 1 1 ! , 1517!, 1 5 2 ? ! , 1 5 4 7 6 , 1552 4 , 1 5 6 3 i 2 , 1 5 6 8 , T r o m b o n c i n o , Ippolito, [157 ?] x T u c h e r , Hieronymus, 1 5 9 1 , Tufïavilla, Vincenzo, Count of Sarno, 1 5 8 5 5 Turberville, George, p. 4 T u r b o l o , Giovanni Battista, 1 5 7 5 s T u s c a n y , Grand Duke of, 1 5 7 7 4 T u s t i , Paolo, 1 5 9 9 u

Uggiero, Antonio Maria, 1 5 8 4 1 0 Ugonio, Pompeo, 1 5 9 5 1 0 U r b i n o , Hieronimo de Marcantonio da Bologna detto d', see Cavazzoni, Girolamo Urrede, J u a n , 1 5 0 7 i , 1557 2 , 1 5 7 8 a Urries, Pedro d', 1 5 5 4 6 Urveña, Count of, see Giron Usper, Lodovico, 1595 β Utendal (Utentaler), Alexander, 1583 4 , 1 5 8 9 , Utingher, Hieronymus, 1 5 4 7 i , 1 5 4 9 8

V. R., 1589, Vaet, J a c o b , 1 5 8 3 , Valderrábano, Enriquez de (Anrriquez), 1552n Valente, Antonio, 1 5 7 6 , , 1 5 8 0 s Valle, Clelia Pontana della, 1581t Valvasone, Giulia Colloreta, 1 5 8 1 i Van Ghelen, J a n , 1554 β , 1 5 6 8 s Vanlemens, Giacomo, 1 5 9 2 ! Vargnano, Scipione, 1598 3 , 1599¡¡

1547 5 ,

N A M E S Vásquez (Vasquez), J u a n , 1547 6 , 1 5 5 2 , , 1 5 5 4 3 Vasurto, J u a n Garcia de, see Basurto Vaudémont, Mademoiselle de, 1 5 8 2 a Vaux, T h o m a s L o r d , 1 5 9 6 , Vazquez, see Vásquez Vecchi, Orazio, 1 5 8 4 s , 1590„, 1592„, 1 5 9 2 1 2 , 1593 D . W . , 1594 6 , 1595 e , 1 5 9 7 1 4 , 1 5 9 9 , i Vecchi, Orfeo, 1598 5 , Appendix: 1596, 1598 Velpen, Reynier, 1545 3 , 1 5 5 2 „ Venegas de Henestrosa, Luis, see Henestrosa Vento, Ivo de, 15711, 1 5 7 5 1 ; 1583 4 , 1 5 8 9 e , 1594 6 Verbonnet, see Ghiselin Vercelensis, Bernardinus, 1 5 2 3 i Verdelot, Philippe (Laurus), 1536 e , 1 5 4 0 2 , 1 5 4 4 i , 1546 a , 1 5 4 6 i 0 , 1547 3 , 1547 5 , 1547 9 , 1549 2 , 1 5 5 2 u , 1 5 5 3 i , 1 5 5 4 s , 1 5 5 6 2 , 1557 2 , 1558 3 , 1558 s , 1 5 6 4 e , 1566 2 , 1568 2 , 1 5 6 8 „ 1 5 7 1 „ 1 5 7 2 i , 1 5 7 3 , , 1 5 7 4 6 , 1 5 7 8 s , 1 5 8 3 , , 1584 6 , 1 5 8 9 , Vere, Edward de, Earl of Oxford, 1591¡¡ Vergara, J u a n de, 1 5 7 8 , Verità, Gasparo and Marcantonio, 1 5 8 9 3 Verius (Verjust), see Cornuel Vermont, 1 5 3 1 s , 1533., Verovio, Simone, 1586 β , 1 5 8 9 e , [ 1 5 9 0 ] , , 1 5 9 1 n , 1592h, 15951?, 1598e Verso, Antonio il, 1 5 9 1 1 2 Vertoa, Agostina, 1 5 9 9 n Vesconte, Baptista, 1 5 3 6 e Vespa, Girolamo, 1 5 9 4 6 Viadana, Ludovico Grossida, 1 5 9 0 1 0 Viaera (Vidrae), Frederic, 1 5 6 3 J 2 , 1 5 6 4 „ 1 5 6 8 , Vicentino, Michael ( D . M . ) , 1 5 1 7 J Vicentino, Nicolò, 1 5 4 8 ^ 1 5 7 2 2 Victoria, T o m á s L u i s de, p. 4, 1 5 9 4 a , 1 5 9 4 6 Vidrae, Frederic, see Viaera Vila, Pedro Albereti, 1 5 5 7 2 , [ 1 5 5 ? ] ! Villachiara, Count Marcantonio Martinengo, 1 5 6 4 8 , 15672 Villalar, Andrés de, 1576 x Ville F o n t , 1 5 7 5 ! Villiers, Pierre de, 1546„, 1547 a , 1547», 1 5 5 2 u , 1 5 6 3 1 2 , 1 5 6 8 , , 1 5 6 8 „ 1570 3 , 1 5 8 2 6 Vincent, Barthélémy, [ 1 5 7 8 ] ! Vincenti, Giacomo, 1584 e , 1 5 8 5 3 , 1 5 8 5 4 , [ 1 5 8 6 ] , , 1 5 8 8 1 ; 1588g, 1 5 8 9 4 , [ 1 5 8 ? ] ! , [ 1 5 8 ? ] 3 , [ 1 5 8 ? ] 6 , 1 5 9 0 6 , 1 5 9 1 s , 1 5 9 1 3 , 1591 4 , 1 5 9 1 8 , 1591 e , 1 5 9 1 i 4 , 1 5 9 1 1 6 , 1 5 9 1 i „ 1591 D . W . , [1592] 4 , 1592 8 , 1592„, 1 5 9 2 1 0 , 1 5 9 3 a , 1 5 9 3 „ 1 5 9 4 „ 1 5 9 5 2 , [1595] 5 , 1 5 9 5 „ 1596 2 , 1 5 9 6 „ 1 5 9 7 s , 1 5 9 8 „ 1 5 9 8 n , 1 5 9 9 , , 1 5 9 9 n , Appendix: 1594, 1596, 1598, 1599 Vinci, Pietro, 1 5 6 0 4 , 1 5 8 4 s , 1 5 8 4 6 , 1586 e , 1 5 9 1 1 2 , 1599 Χ 1 Vindella, Francesco, p. 5, 1 5 4 6 i „ 1556 D . W . Vintimillia, Giovanni, 1 5 9 6 Ü Vinzaglio, Count of, see Crotto Viola, Raphael, 1 5 6 3 I 2 , 1 5 6 8 „ 1 5 7 1 „ [1575] 4 , [1580] 4 Virchi, Paolo, 1 5 7 4 , Virdung, Sebastian p. 2, 1511 a , 1 5 1 2 ^ 1 5 2 9 ^ 1 5 2 9 2 , 1536 4 , 1542 a , 1 5 5 4 e , 1 5 6 8 s Virgil, 1 5 4 6 , , Visconte, Giovanbattista, 1 5 4 6 1 7 Vistarini, Alessandro, 1 5 9 4 t Vitali, Bernardino di, see Bernardino de Vitali Vitella, Virginia Savella, 1 5 8 1 , Vito de Dorimbergo, 1 5 6 4 4 Voegelin, printer, 1 5 9 8 ] 0 Vogelhuber, Georg, 1 5 1 ? ! , 1523 2 , 1 5 3 2 2 Volusian, 1 5 8 2 a

INDEX

iv:

Vorsterman, Guillaume, 1529 2 , 1 5 5 4 „ 1568, Vreedman, Sebastian, [1563]„, 1568 β , 1569 β Waelrant, Hubert (Hubertus Walrant), 1584, Wagener library, 1594 4 Wagner, David, 1595 4 Waissel (Waisselius), Matthäus, 1573 3 , 1591 1 3 , 1592h, [15921H, 1592 1 4 Walther (Waltherus), Johann, 1532 2 , 1533 1( 1583 4 , 1583, Warwick, see Anne Wecker, Hans Jacob, [1552]„, [1552] 1 0 Weerbecke (Werbach), Gaspar van (Gaspar), 1501H 1 5 0 7 „ 1507¡¡, 1536,, 1S38 2 Weiss, Urban, see Wyss Weitmoser, Johannes, 1590, Welser, Jacob, 1591, Welton, John, 1599! Wenck, Johann, 1540^ 1544 1 ; 1562 8 , 1571!, 1583 2 Werbach, see Weerbecke Wert, Giaches de, 1582i, 1583„ 1584 5 , 1584„ 1 5 8 9 „ 1 5 9 3 „ 1599u Whythorne, Thomas, 1 5 9 0 u Widemann, Magnus, 1591, Wigliart, see Willaert Wilde, Hans, 1556 2 Wilhelm, Bishop of Strasbourg, 1511 s Wilkinson, Richard, 1591 s Willaert, Adrian (Adriano, Wigliart), 1530 4 , 1531 2> 1533 x , 1536,, 1536,, 1540 2 , 1540 3 , 1543 3 , 1546 6 , 1546„, 1546 1 0 , 1546 14> 1546 I 5 , 1547„ 1547 6 , [15471h, 1548!, 1548 2 , 1549„ 1 5 4 9 „ 1 5 4 ? „ 1551«, 1551,, 1552,, 1552H, 1554 3 , 1557 2 , 1559 8 , 1566 3 , 1568 2 i 1 5 6 9 „ 1570 4 , 1572i, 1574 6 , 1576 s , 1578 3 , 1584!, 1584 2 , 1584 6 , 1588 e , 1591 2 , 1593,, 1599H Willers, Georg, 1583, William V, Duke of Bavaria (Gulielmo, Corniti Palatino Rheni), 1568 2 , 1577 2 , 1578„ 1592 1 0 Winsimann, Henning, 1584, Wolff, Martin, 1571i, 1583 2

495

NAMES Wolffheim, Werner, 1504 2 , 1523 2 , 1536 e , 1538 1 ( 1546 6 , 1547 2 , 1554 s , 156Ó!, 1568 2 , 1573i, 1578 4 , 1586,, 1597 a Wolfgang, Duke of Brunswick, 1588, Wolgast, town council of, 1597 7 Wörde, Wynken de, 1530, Wotquenne-Plattel, Alfred, 1523 2 , 1578 δ Wüst, Paul, 1536, Wyss (Weiss), Urban, 1556 5 , [1556],, Wyssenbach, Rudolf, 1550 4 , 1563i 0

1533i, 1 5 3 6 „ 1555^ 1559 s , 1592„ 1594 2 ,

1572!,

1578 4 ,

1562 4

Yomans, Francis, 1591 B Yzac, Heinrich, see Isaac Zaballos, Rodrigo de, see Cevallos Zaehiis, Hieronimus, 1591,, 1595 4 Zaehiis, Tobias, 1 5 9 1 „ 1595 4 Zapata, Luys, see Çapata Zarlino, Gioseffo, p. 3, 1594i 0 Zassenus, Servatius, 1546i 8 , 1546 1 9 Zazzerino, 1577 4 Zeilner, Andreas, 1595 4 Zelle, Friedrich, 1598 4 Zesso, Joan Battista, 1511 ! Ziletti, Felicita, 1581 x Ziletti, Francesco, 1581i Ziliolo, Scipion, 1587! Zilte, Martin, 1558 s Zirler, Steffan, 1558 6 , 1562„ 1571i, 1572i, 1573 s , 1574 5 , 1575 3 ) 1577,, 1582^ 1583 2 , 1583 4 Zirn, Johannes a, 1584, Zoilo, Annibale, 1584, Zucchelli, Giovanni Battista, 1589,, 1591 15 , 1591 l e Zugmantel, Hans Waldraf, 1578 4 Zulen, Johannes a, 1564, Zumetae, Joannis, see Çumetae Zuniga, Francisco de, see Çuniga

INDEX V : FIRST LINES AND TITLES Titles are entered under the first main word, omitting any initial article ; first lines are entered under the initial article (for example, both La Alfonsina and A tirannie not lasting long are entered under A). In view of the casual attitude of the sources toward consistent spelling it seemed needlessly pedantic to record every variant. Variant spellings are entered only when they affect the alphabetic order, or cause ambiguity (for example "A bien gran tort" is ignored as a variant of "A bien grant tort," but "Amour ne scauriez vous aprendre" is cross-referenced to "Amour me scauriez vous aprendre"). Names of dances have been standardized; for example, all dances called Padoana, Padouana, Paduana, Pavana, Pavenne, Pavin, and so on are entered under Pavane. Each entry includes, after the title or the first line, the last name of the composer (not the intabulator) if he is known, and the second and later parts of longer compositions. Second and later parts are entered separately and cross-referenced. One entry has been made for each composition (that is, if two composers made settings of the same text, there will be two separate entries in this index). For various titles of abstract compositions, see the entry "Abstract Compositions." For combinations of dances, see the entry "Suite." Since second and later editions of volumes are not inventoried, references to individual compositions in this index are to first editions only. A bien grant tort, 1531], 1546 3 A casa u n giorno (Fonghetti) (2a pars: Vaga d ' u d i r ; 3a pars : Con quel poco di spirto ; 4a pars : Mentre ch'ella), 1598 s A casa u n giorno (Wert), 1584 5 A cui più ch'altri mai (Ponte), 1568 2 , 1584 6 A custodia matutina uscque ad noctem, see De profundis clamavi (Sentì) A demy mort (Clemens non Papa), [ 1 5 4 7 ] n , 1557«, 1568„ 1571,, 1583 2 A desjuner la belle, 1531! A deux pas, see under Allemande A Dieu de Lion, see Adieu de Lion A la. See also Ala A la fama si va per varie scale (Tromboncino), 1509! A la fontaine du pré (Willaert), 1584^ 1588 β , 1591 2 . See also under Branle A la ho, 1551 5 A l'acqua a l'aria (Capi Lupi), 1597 14 A las armas moriscote (Bernal), 1552 7 , 1554 3 A l'aventure l'entrepris (Willaert), 1530 4 , 1533!, 1548 2 A le regretz, see Allez regretz A lerm à lerm (Regnart), 1584 8 A los montes de dia, see A monte sale el amor A l'ultimo bisogno, see Là ver l'aurora (Lasso) A lumbra al caldo al gello, 1546 3 A mes ennuys, 1531 a A mes peines & ennuiz, Branle gay, 1556 8 A mi sufle, see Amy souffrez A monte sale el amor (2a pars: A los montes de dia), 1547 6 A Paris prez des billettes, see Gentil mareschal A qualunque animale (Padovano) (2a pars: Et io da che comincia; 3a pars: Quando la sera; 4a pars:

N o n credo che pascesse ; 5a pars : Prima ch'io torni a voi; 6a pars: Con lei fuss'io), 1568 2) 1584 s A quando a quando haveva (A quand'a quand' haveva) (Willaert), 1548i, 1552, A questo confortando (Ponte), 1568 2 , 1584 5 A qui me doibz je retirer (Maille), 1546 15) [1547]n A tierras agenas, 1576 l A tirannie not lasting long (Whythorne), 1590 χ 1 A toy me rendz, see Ough warder mount A vous en est (Crecquillon), 1553i 0 A vous point veu la peronnelle, see Gaillarde: Peronnelle Ab oriente Venerunt magi (Clemens non Papa) (2a pars: Videntes autem Stellam), 1538 e Absolon fili mi (Josquin), 1558 5 Absterget Deus (Boyleau) (2a pars: N o n esurient), 157Ó! Abstract compositions, see Baxa; Canon; Canzona; Capriccio ; Concerto ; Contrapunto ; Divertimento ; D u o ; Entrée ; Exemplum ; Fa ; Fa la sol ; Fa m i fa re ut ; Fa mi la mi sol la ; Fa re mi re sol mi fa mi ; Fantasia; Fuga; F u n d a m e n t ; Intonationi; Intramezzo; L a ; L a mi re fa mi r e ; La sol fa mi fa re la; La sol fa re m i ; M i ; M o d o ; Paradigma; Preambel ; Prelude ; Re ; Re fa mi re la ; Re ut fa re fa sol la; Re ut re fa mi re; Regel; Ricercare; Sinfonia; Sol; Sol sol sol u t ; Sonata; Tastar de corde; Tiento; Toccata; T r i o ; U t ; U t fa mi ut mi re ut ; U t mi fa u t fa mi re ut ; U t re mi fa sol la; U t re mi ut fa mi re u t ; U t sol sol la sol Acceptable is nothing more (Whythorne), 1 5 9 0 n Accidit autem d u m moreretur Lazarus, see H o m o quidam erat dives Accio chel tempo e il cieli (Tromboncino), 1509! Accipe quod, see O beata Maria (P. Guerrero)

INDEX

v:

FIRST

Accipite Spiritum Sanctum, see Iam non dicam Accompany the food (Whythorne), 1 5 9 0 u Acendi p u r tutte le faci (Fiorino), 1571 4 Ach d u edler Rebensafït, 1571 j, 1583¡¡ Ach edler Hort (Hofhaimer), 1571! Ach gott von hymel sich dar eyn, 1529! Ach Gott was sol ich singen (Vento) (2a pars: Auff dich setz ich mein grund u n d all mein Zuversicht), 1571! Ach Gott wem soll ichs klagen, das heimlich leiden mein (Greilinger), 1536 e Ach Gott wie schwere pein (Haussmann) (Nach T a n t z : Wolan Gottin schön), 1599 6 Ach Herre Gott, meins Heils ein Horn, 1575 3 ,1586 5 Ach herre Gott wie syndt meiner feyndt so vil, 1532 2 (2 intabulations) Ach hett ich die, so je begert mein hertze (Haussmann) (Nach T a n t z : Was Gott beschert), 1599 5 Ach hilff mich leid (Fulda), 1536 e Ach Juppiter (Fulda), [1552]i 0 , 1562 3 Ach lieb mit leid (Hofhaimer), 1529 x , 1536 6 (2 intabulations), 1536,, 1544i, 1547 4 , 1558 5 Ach meidlein rein, ich hab allein, mich dir eigen ergeben (Greffinger), 1536 e Ach möcht es doch gesein (Langius), 1584 e (2 intabulations) Ach unfahls neid (Wolff), 1571 !, 1583 2 Ach Unfall wes zeihest d u mich, 1536 e , 1536 7 Ach werde frucht (Senfl), 1532 a Aconitano, L ' , see under Saltarello Ad coenam agni providi (Cavazzoni), 1543 χ Ad D o m i n u m cum tribularer, 1 5 9 2 n Ad D o m i n u m cum tribularer (A. Cabezón), 1578 3 Ad dominum c u m tribularer (Cavacelo), 1593 7 Ad fugam, see Missa Ad fugam Ad te clamamus (Schlick), 1512 x Ade mi mort, see A demy mort Adesto dolori meo (Clemens non Papa) (2a pars: Interiora mea), 1575 χ Adieu amours de vous suys las trop (Adieu amours de fons suis lus trop), 1544^ 1574 4 Adieu Anvers, 1574, Adieu celle, 1574, Adieu de Lion, 1586 5 Adieu fillette de regnon (Isaac), 1538 2 Adieu l'espoir (response to Misericorde), 1563 12 Adieu madame par amour, 1568, Adieu mes amours (Josquin), 1507!, 1533 1( 1536 e , 1536„ 1547 s , 1556 2 Adieu mon esperance (Clemens non Papa), 1 5 5 2 n , 1571, Adieu qui par façon honneste, 1554 6 Adieu vous dit, [1547]ϋ Adiew adiew adiew you kind and cruel (Morley), 1597i„ Adiós verde ribera (F. Guerrero), 1576! Adiu mes amours, see Adieu mes amours Adjuva me domine (Conseil) (2a pars: Servus tuus ego sum) 1554, 1 5 6 2 n 1574, Adjuva nos Deus Salutaris noster (Crecquillon), 1583„ Admiral, L', see under Gaillarde; Pavane Admirais auss Frankreich, see under Gaillarde Adonis zart (Lechner), 1594 δ Adoramus te (Banchieri), 1595 a Adormido se a el buen viejo, 1547 5 Aegra currit ad medicum (Lasso), 1591, Aero, L o (Fonghetti), 1598, Affaciati uno poco (Fiorino), 1571 4

LINES

AND

TITLES

497

Affections strong that doe move us (Whythorne), 1590n Afflitti spirti miei (Tromboncino), 1509! Afflitti spirti miei (Verdelot), 1536, Agimus tibi gratias (Paix), 1590, Agnus dei, 1531 5 ; (Heurteur or L'Héritier), 1546 2 ; (Jachet), 1543,; (Lupus), 1546 2 ; (Morales), 1547 6 ; (Valderrábano), 1547 s ; (Vinci), 1591 12 . See also Missa Apostolorum; Missa Ave Maria; Missa de beata Virgine ; Missa Dominicalis ; Missa Gaudeamus ; Missa In Dominicis Diebus ; Missa L ' H o m m e armé; Missa L ' H o m m e armé super voces musicales; Missa Malheur me bat; Missa Si bona suscepimus ; Missa T u a est potentia ; Missa U t re mi fa sol la ; Missa Virginis Mariae Agnus dei sobre mi fa re sol fa mi (Valderrábano), 1547 6 Agnus Voi clamo ne cesses, see Missa L ' H o m m e armé Agora cobrando acuerdo, see Mi coraçon fatigado Agora viniesse, 1536 5 Agosta, L ' (Cavaccio), 1597 2 A h Dieu que c'est u n estrange (La Grotte), 1571,, 1574 2 Ahi bella liberte (Romano), 1563, Ahi che faro ben mio (Giovanelli), 1591 2 Ahi che m i tiene (Gastoldi), 1594 5 , 1 5 9 9 n Ahi che quest'occhi miei (Palestrina), 1589 s , 1591 14 Ahi chi mi da consiglio (Romano), 1563, Ahi chi mi rompe il sonno (Monte) (2a pars: Di ch'ella mossa), 1593, Ahi chi mi tien'il core, see Ahi che mi tiene Ahi filli (Gastoldi), 1594 5 Ahi Filli, anima mia (Scaletta), 1591 l e Ahi quanti passi (Bellasio), 1592! Ahimè. See also Aime ; Haime ; Ohimè ; Oime ; Oyme Ahimè, ahimè dov'e'l bel viso (Arcadelt), 1547,, 1558 6 Ahimè lasso ahimè dolente (Pesenti), 1511! Ai ceco e crudo amore (Dupre), 1511! Ai dolci e vaghi accenti (G. M . Nanino), 159S 10 Ai trepida (Arcadelt), 1568, Aim the fatal arrow (Morley), 1597i„ Aime. See also Ahimè ; Haime ; Ohimè ; Oime ; Oyme Aime ch'io moro (Pesenti), 1509! Aime qui vouldra (Gombert), 1578, Aimer est ma vie (Clemens non Papa), 1553 10 , 1571, Ain niderlendisch runden dantz, see Branle : Runden dantz Aiuli vous sola verdura, see Au joly bois sur la verdure Al amor quiero vencer, 1536 s Al di partir (Costa), 1594 5 Al fin vid'io (Al fin ud'io), see Standomi un giorno solo alla fenestra Al mein m u t (Isaac), 1538 2 Al revuelo de una garça, 1557 2 Al suon di Cornamusa (Anerio), 1 5 9 5 ^ Al suon non posa il core (Anerio), 1589 e , 1591 15 Al tremend'e potente (Vecchi), 1597 14 Al tremolar de l'onde (Anerio), 1595 10 Ala. See also A la ; Alla Ala fe per la mia fe (Cesena), 1511! Ala guerra ala guerra (Tromboncino), 1509i Alaventure, see A l'aventure Alba Novella, Balletto, 1 5 8 ^ Albergata, L ' (Merulo), 1592, Alcenagina, L', Canzon sopra Vestiva il colli (Banchieri), 1596 3 . See also Vestiva i colli Alcun' non po saper', 1560 3 Alcun non può saper (Galilei), 1563,

498

INDEX

v:

FIRST

LINES

Aide, 1S62, Ale venture, see A l'aventure Alegrías, alegrías, 1576 x Alemaigne (Alemando), see Allemande Alemande, see Allemande and under Ballo Alemano, see under Ballo Alenchon, 148?! Alermifault, see Aller m y fault Ales regres, see Allez regretz Alexandre, see under Pavane. Alfonsina, La (Ghiselin), 1504^ 1536„ 1538¡¡ Aliot novelle, 148 Alisons knell, see Allisons knell Alix avoit aux dens (Alix Avvos), (Crecquillon), 1557 2 , 1571«, 1583 2 , m s ! , 1584 2 AU as a sea (Byrd), 1588 2 All ding auff erd zergencklich ist (Glauner), 1558 δ All ding mit radt, 1512, All'hor che di bei fiori (Giovanelli), 1S95 10 AH laud & praise with hart and voice, 1599 x All my beliefe and confidence ( T h e Creede), 1599, All ye, whom Love or Fortune (Dowland), 1597 4 Alia. See also A la; Ala Alia dolc'ombra (Animuccia) (2a pars: N o n ved'il mondo), 1584 5 Alia dolc'ombra (Padovano) (2a pars: N o n vid'il mondo), 1568 2 Alia dolc'ombra (Rore) (2a pars : N o n vide'l mondo ; 3a pars: U n lauro mi difese; 4a pars: Però più ferm'ogn'hor; Sa pars: Selve sassi campagne; 6a pars: T a n t o mi piacque), 1568 2 , 1577 5 , 1584,, 15842 Alla fontaine, see A la fontaine All'apparir dell'alba (Anselmo Perugino), 1570 6 Alle fiorite sponde, 1584 6 AUegez moy, 1568„ 1570 3 , 1578 4 , 1582 6 Allegez moy (Josquin), 1552 x l Allegrezza d'Amore, Cascarda (Martire), 1581 x Allein nach dir H e r r Jhesu Christ, see Si p u r ti guardo Alleluia, see Missa Alleluia Alleluia confitemini (Mouton), 1SS8 5 Alleluia m y fault (Gombert), 1530 4 Alleluia prae gaudio, see Alleluia vox laeta Alleluia vox laeta (Lasso) (2a pars: Alleluia prae gaudio), 1584 s Alleluja (Alleluya), see Alleluia Allemande. See also Ballo: Alemande; Ballo: Alemano; Ballo: Todescho; Suite; T a n t z Allemande : (Alemaigne, Alemande, Alemando, Allemaingne, Almaine, Almanda, Almayne), 154 6 5 , 154 6 2 0 , 1549 e , t a s ó l a , 1551 2 ,1551„ 1551 e , 1552 6 ,1553 4 , 1557 3 , 1559 3 , 1563 12 , 1564 2 , 1564 6 , 1564„ 1568-, 1570 8 , 1570 4i 1571 5 , 1572,, 1574„ 1575 s , 1577,, 1578 e , 1582 s , 1583„ 1584„ 1589,, 1592 6 , 1594 6 , 1596 4 , 1596 6 , 1597 β , 1599 e A deux pas, 1568,, 1570 3 Alliance, Allemande d', 1594 s Ambrugghes, Allemande d', 1569 e , 1570 3 Amours, Allemande d', 1564„ 1568 β , 1571 6 , 1573 3 , 1582 5 , 1583,, 1594 5 Anvers, Allemande d', 1569„ 1571 5 , 1582 s Baviere, 1563 12 , 1574, Billiarda, Allemande La, 1578 8 , 1583, Bisarde, 1569 e , 1570 3 , 1582 5 , 1583„ 1584, Bouffons, Allemande Les, 1570 4 Brunette, 1594 6 Brusselles, 1569„ 1570,

AND

TITLES

Bruynsmedelijn, 1569„ 1570„ 1578 e , 1583, Bruynswijck, 1569„ 1570 s , 1582 5 Coloigne, 1569 e Courante, 1559„ 1564 2 , 1571 6 Court, 1563 12 Court, Allemande du, 1564„ 1584„ 1592 e Deux dames, Allemande de, 1569 e Deux trois aes, 1569,, 1570, Don Frederico, Allemande de, 1582 5 , 1583,, 1584, Dousame, 1569, D u e Mathias, Allemande de, 1584, Egmont, Allemande d', 1563 12 , 1574„ 1582, E n truert nyet meer, 1582 s Et d'où venez vous ma dame Lucette, 1557, Fleur, 1582 5 , 1594 5 Fortune helas pourquoy, 1583,, 1584, France, 1582 δ Frison, 1569 β , 1570 3 Guerre guerre, 1569„ 1570 3 , 1582, Guillemette, 1582 s Hertoch Mauritius, 1569, Ich dancke Gott, 1594 5 Ich ging ain mal, see Allemande : Nonnette Imperiala, 1575 3 , 1594 6 Jolie, 1569, La mon amy la, 1551 3 , 1551,, 1570 4 Liege, Allemande de, 1571,, 1583, Lieve gheburen, 1569,, 1570, Lignes, Allemande de, 1568„ 1570 3 , 1578 4 , 1582 6 Loreyne (Loraine), 1552 3 , 1557„ 1563 12 , 1564,, 1569,, 1570 3 , 1570 4 , 1571 5 , 1578 8 , 1582 5 , 1583 4 , 1583,. See also Ballo: Francese Malines, 1569„ 1570 3 Mounsiers Almayne, 1597,, 1599 8 Nivelle, 1569„ 1570 3 Nonette, 1563 12 , 1568„ 1574„ 1578 4 , 1582 6 , 1584, Noseroit on dire, 1568, Nova, 1578 4 , 1582 5 Oosterlings, Allemande des, 1569, Oulde, 1597, Philippine, Ì568,, 1570 3 (see Allemande: Spiers, 1569,), 1582 δ Pied de cheval, Allemande Le, 1549 e , 1552 3 , 1570 4 Pouloingne, 1568, Poussinghe, 1563 12 , 1569„ 1570 3 , 1574„ 1578 e , 1582 8 , 1583,, 1584„ 1588, Prince, Allemande du, 1551 8 , 1564„ 1569„ 1570„ 1571 6 , 1578 4 , 1582 6 , 1584, Rocha el fuso, Allemande La, 1568, R o u w a n e , 1569, Savoye, 1571, Si vous estes belle, 1582 6 Slaepen gaen, 1584, Smeechdelijn (Smedelijn), 1551 8 , 1568„ 1571 5 Son Altezze, Allemande de, 1592, Spainge, Allemande de, 1569„ 1570, Spiers, Allemande de, 1568„ 1569«, 1570„ 1574,, 1583, Switsers, 1569, T o u r , Allemande La, 1569„ 1570, Tournée, see Allemande: Loreyne Ungrie, Allemande de, 1563 12 , 1568, Worms, Allemande de, 1569, Aller äugen warten auff dich (Le Maistre), 1571 χ Aller my fault sur la verdure (Janequin), 1531 2 , 1599lt Allez dire a C. D'Amboyse, see under Branle

INDEX

v:

FIRST

LINES

Allez regretz (A. Agricola), 1507 2 Allez regretz (Hayne), 1533 X) 1538 2 Allez souspirs (Sermisy), 1533 s Alliance, see under Allemande Allisons knell (Allison), 1599„ Allmechtiger gütiger G o t t (Le Maistre), 1583 2 Allmeyer, see under T a n t z Allons allons gay gayement (Willaert), 1546 1 0 , [1547]!! Allons u n g p e u plus avant (Heurteur), 1533 a Alma de amor (Monte), 1583 4 Alma perche, 1549 β Alma perche t'affliggi (Gorzanis), 1570 t Alma redemptoris, 1533 x Alma Susanna, 1568 2 Almaine (Almanda, Almayne), see Allemande A l m e n vedesti el cor mio (Tromboncino), 152?! Alouetta, I / , see under Passamezzo ; Saltarello Alouette, C h a n t d e 1' (Janequin), 1544 2 , 1S53 3 Als ick winde (Waelrant), 1584, Also hat G o t t (Prescherus) (2a p a r s : Gleich wie Moisés eine Schlange erhoehet hat), 1583 e Also sehr j a m m e r t G o t t des Sünders grosse not, 1571i A l s o w e r d o n o n t / A toy m e rendz, see O u g h warder mount Alt T a n d e r n a c k , D e r , see T a n d e r n a c k e n Alta. See also Bassa et Alta ; Spagna Alta, 1552„ 1557 2 Alta Morona, Balletto, 1581 χ Alta Orsina, Balletto, 1581! Alta Ragonia, Balletto (Battistino), 1581! Alta Regina, Cascarda, 1581! Alta Ruissa, Balletto, 1581i Alta Sergarda, Cascarda, 1581! Alta Vittoria, Balletto (Martire), 1581 1 Alte Schwiger, Die, see Mein M a n der ist in Krieg gezogen (Utentaler) Altera j a m bellis (Tritonius), 151?! Altezze, see Allemande : Son Altezze Altro n o n é el mio amore (C. Festa), 1546 3 A m a n d o e desiando (Cariteo), 1511! A m a n t i Corrette tutti quanti (Capi Lupi), 1597 1 4 A m a n t i miei, 1584 3 , 1584, A m a r donna che bella, 1584, A m a r D o n n a che strugge (Capi Lupi), 1597 14 A m a r u n solo amante (Berchem), 1582! Ambrugghes, see under Allemande A m e n , 1531 B . See also C u m sancto spiritu in gloria Dei patri; Missa A p o s t o l o r u m ; Missa de beata Virgine; Missa Dominicaiis; Missa I n Dominicis Diebus ; P a t r e m Angelorum ; Patrem Cardinalium ; P a t r e m I n Dominicis Diebus A m e n dico vobis (Lasso), 1575t A m e n i colli (Ludovico Milanese), 151 l i A m e n i colli vaghi (Soriano), 1589 s , 1591 1 5 A m e u r wait trop, see A m o u r vault trop Ami sofre (Ami son fre), see A m y souffrez Amica mea (Senfl), 1562 3 Amici mei & proximi mei (Reiner), 1591, Amiralle, L ' , see under Gaillarde Amis souffrez (Amissofre), see A m y souffrez A m o r ben m i credevo (Rore), 1577, A m o r ben puoi t u hormai (C. Festa), 1554 3 A m o r che nel mio pensier, 1536, A m o r che vedi ogni pensiero aperto (Rore) (2a p a r s : Ben veggio di lontano il dolce lume), 1548i A m o r che ved'ogni pensier aperto (Nadal), 1549. A m o r Costante, Balletto, 1581!

AND

TITLES

499

A m o r deh dimmi come (G. M . Nanino), 1591 2 , 1594, A m o r è fatto (Costa), 1594 s A m o r e gratioso, 1563 1 2 , 1568,, 1571, A m o r es voluntad (P. Guerrero), 1554 3 A m o r fa q u a n t o sai (Bellasio), 1592! A m o r far me, see A m o r b e n puoi t u hormai A m o r Felice, Balletto, 1581i A m o r io sento (Renaldi), 1591 2 A m o r lasciami stare (Arpa), 1570 6 A m o r lasciami stare (Regnart), 1584, A m o r l'aspre catene (Fiorino), 1571 4 A m o r m ' h a posto (Vinci) (2a p a r s : I pensier son saette), 1584 6 A m o r m i sforza amar u n a crudela (Bertani), 1574, A m o r m i strugge il cor (Lasso), 1568 2 A m o r m i struggle il cor (A. Gabrieli), 1584i A m o r Mio, Balletto (Arnandes), 1581i A m o r m i o bello, see under Saltarello A m o r m o n vede (Jhan), 1546 3 A m o r opra che più, Aria (Vecchi), 1590, A m o r q u a n d o fioriva mia speme ( T r o m b o n c i n o ) , 1517! A m o r q u e tan bien, 1536 6 A m o r rimanti in pace, see Ringratto e lodo il ciel A m o r se d ' h o r in hor la doglia cresce (Verdelot), 1536g A m o r se dora in h o r (Cara or T r o m b o n c i n o ) , 152 ?i A m o r se giusto, 1584 3 A m o r sia benedetto (Primavera), 1570 B A m o r s'io mai sprezzai (Fiorino), 1571 4 A m o r s'io posso (Costa), 1594 6 A m o r t u m ' h a i ferito (Gorzanis), 1570i A m o r t u say (Arcadelt), 1547 s A m o r t u t t e le leggi (Scaletta), 1591i, Amoretta, 1599, Amorosa Fenice (Cavaccio), 1 5 9 9 ü Amoroso, L o (Fonghetti), 1598 3 A m o u r au cueur (Crecquillon), 1563I 2 , 1568,, 1571, A m o u r crainte & esperance sont ensamble, [ 1 5 4 7 ] u A m o u r e gratioso, see A m o r e gratioso A m o u r est bien (Certon), 1546, A m o u r est u n grand maistre (Arcadelt), 1570 3 , 1582 6 . See also Die Liebe ist Meisterin A m o u r et moi, 1583 2 A m o u r ha pouvoir sur les dieus (Arcadelt), 1554 4> 1570 4 A m o u r je suis, see D ' a m o u r s je suis desheritée A m o u r lassio, 1549, A m o u r m e poingt (Sermisy), 1533 3 A m o u r m e scauriez vous aprendre (Arcadelt), 1554 4 , 1570 4 A m o u r m e voyant (Sermisy), 1533„ A m o u r n e scauriez vous aprendre, see A m o u r m e scauriez vous aprendre A m o u r partes (Sermisy), 1531! A m o u r partez (Amour partes), 1570 s , 1571,, 1586 6 A m o u r t u le scais bien (Arcadelt), 1558 3 A m o u r vault trop, 1529 3 , 1531 s , 1544 2 , 1545 3 , 1547, A m o u r s , see under Allemande; Branle; Gaillarde; Pavane A m o u r s amours (Hayne), 1507 2 A m o u r s amours vous m e faictes grant tort (Gombert), 1533, A m o u r s ont change (Mahiet), 1546i 0 , [1547] 1χ A m o u r s partes, see A m o u r partez Amy helas, 1549 8 , 1 5 5 2 u Amy je n y veulx plus aymer, see under Basse dance A m v souffrez (Moulu), 1529 3 , 1531,, 1540^ 1544¡¡, 1545 3 , 1546 e , 1546 1 0 , 1547 s , 1 5 4 7 „ 1549„ 1562,

5°°

INDEX

v:

FIRST

A n dich h a b ich ergeben mich, 1533 2 A n earthly tree (Byrd), 1589 2 A n c h o r che col partire (Fiorino), 1571 4 , 1584 3 Anchor che col partire (Mancinus), 1597 8 Anchor che col partire (Rore), 1560 2 , 1563 1 2 , 1568 1 , 1568 2 , 1568,, 1571 e , 1574 6 , 1577 5 , 1577 6 , 1578 3 , 1583 2 , 1S84 2 , 1584 6 , 1591 2 , 1592 6 , 1592 1 0 , 1594 3 , 1596,. See also 1568 2 , no. 45, and 1574 5 , no. 46 Anchor ch'io possa dire (Striggio), 1568 2 , 1584^ 1584 3 , 1591 2 , 1593, Anchor quel partir, see Anchor che col partire Ancidetemi pur, 1565 4 Ancidetemi p u r (Arcadelt), 1546 17 Ancol q u e col partire, see Anchor che col partire Ancor che col partire, see Anchor che col partire Ancor ch'io possa dire, see Anchor ch'io possa dire Ancora che tu m ' o d i (Quagliato), 1589 β , 1591 1 5 And I will walke at libertie (Whythorne), 1590 l x A n d wyl ye serve m e soo, 1530 e A n d a n d ' u n giorn'a spasso, 1570 5 A n d e r nacken op den Rhin, see T a n d e r n a c k e n Andreas Christi Sánete Andrea (Morales), 1547 5 Angelica tua mano, 1571 4 Angelus ad pastores ait (Banchieri), 1595 2 Angelus ad pastores ait (Lasso), 1575!, 1577 6 , 1583 6 , 1586 6 Angelus ad pastores ait (Liitkeman), 1597, Angelus ad pastores ait (Palestrina), 1593, Angelus ad pastores ait (Rore), 1594 3 Angelus ad Pastores ait (Vinci), 1591 1 2 Angelus domini, 1568 6 Angelus domini (Basurto), 1552 7 , 1576j Angelus domini (Palestrina) (2a pars: Et introeuntes), 1583 4 Anglese, see under Ballo; Saltarello Angleterre, see H o r n e p i p e d'Angleterre and under Branle ; Gaillarde ; Passamezzo ; Pavane ; Tintelore Angolesmes, see under Gaillarde Anima mea liquefacta est, see Ego dormio et cor m e u m vigilai A n i m a m m e a m dilectam (Lasso) (2a pars: Congregamini), 1584 s Animoso (Bendusi), 1553 2 , 1555 2 Animoso mio desire (Tromboncino), 1517 χ Annelein von T o r g a u , see under T a n t z A n t e q u a m comedam (Ruffo), 1547 5 . See also N o m i n e disimulavi Antico, see under Gaillarde; Passamezzo; Pavane; Saltarello Antoinette, see under Gaillarde Antonola, see under Saltarello Anvers, see under Allemande ; Branle ; Passamezzo Aparens Christus discipulis suis (Gombert), 1547 5 Apariran per m e le stelle in cielo, see Appariran per m e le stelle in cielo Apostolorum, see Missa Apostolorum Apparens Christus post passionem (Lupi) (2a pars: E t convescens precepit), 1549 e Appariran per m e le stelle in cielo (Lasso), 1568 2 , 1574„ 1584 3 , 1584 6 A q u a aqua aiutai foco (Tromboncino), 1509 χ A q u a n o n el h u m o r (Tromboncino), 152?! A q u e l cavallero, madre, 1536 5 Aquellas sierras madre, 1552 7 Aquila, L ' , see under Saltarello Aquila, L ' , Chiarenzana, 1546 1 3 Arboscello, L ' , see under Ballo Archangiola, L ' , 1599, Archolano, L ' , see under Saltarello

LINES

AND

TITLES

Archolano, L ' , Chiarenzana, 1546 1 3 A r d a n t a m o u r (Lasso), 1568 7 , 1571 β Ardente Sole, Balletto, 1 5 8 ^ Ardenti mei suspiri (Verdelot), 1578 3 Ardenti miei sospiri (Peetrino), 1589 e , 1591 1 4 Ardina, L ' (Banchieri), 1596 3 Aresia, L ' (Cavaccio), 1597 2 Argimina n o m b r e le dio (Valderrábano), 1547 s Argo son le miserie (Cavaccio), 1597 2 Aria. See also A m o r opra che p i ù ; Io sper'e t e m ' e a r d ' ; N o n vuò pregare; S'egli è vero; So ben mi c'hà b o n t e m p o Aria (Barbetta), 1585 χ Aria à la Italiana, see Vola vola pensier Aria da cantar (Becchi), 1568 2 Aria da cantar, Fantinella (Becchi), 1568 x Aria da Cantar T e r z a Rima (Facoli), 1588 3 Aria de Comedia, see under Gaillarde Aria della Battaglia per sonar, see under Bataille (La Bataglia Chiarenzana) Aria della Comedia (Facoli), 1588 3 Aria della Comedia N o v o (Facoli), 1588 3 Aria della Marcheta Saporita (Facoli), 1588 3 Aria della Marcheta Schiavonetta (Facoli), 1588 3 Aria della Signora Cinthia (Facoli), 1588 3 Aria della Signora Fior d ' A m o r (Facoli), 1588 3 Aria della Signora Livia (Facoli), 1588 3 Aria della Signora Lucilla (Facoli), 1588 3 Aria de la Signora Michiela (Facoli), 1588 3 Aria della Signora M o r e t t a (Facoli), 1588 3 Aria della Signora Ortensia (Facoli), 1588 3 Aria di canzon francese (Aria francese, Aria Francese per sonare), see Canzona Aria per sonar, see Chiar' Angioletta Aridan, see Branle: Coupé A r m a del mio valore (Cara), 1509 χ Armes, Les, see Missa Les armes Arousez voz v i d i e r (Benedictus), 1552H Arras, see under Branle Arriere Maistre Coqu, see Chant des Oiseaux Artlich u n d schön gantz wol gestalt (Bohemus), 1544 2 , 1546 9 , 1549 e Artois, see under Branle As haughtie p r y d e oppresseth love (Whythorne), 1590u As I went to Walsingham, 1597 β . See also Walsingham As it fell u p o n a holie Eve (Holbourne), 1599 6 As t u point vu ce grand vilain, see H a s t u point veu ce grand vilain Ascendit D e u s in Jubilatione, see Viri Galilei Ascendit D e u s in Jubilatione (Paminger) (2a pars: Et D o m i n u s in voce T u b a e ; 3a pars: Gloria Patri et filio et Spiritui sancto), 1583 e Ascendit Deus in jubilo (Liitkeman), 1597, Aspettato, L o (Fonghetti), 1598 a Aspice domine ( G o m b e r t ) (2a pars: M u r o t u o inexpugnabili), 1553^ 1564j. See also 1547 5 , no. 95 Aspice domine (Jachet), 1547 3 , 1553,, 1554 3 , 1557 2 , 1571 e , 1574 5 , 1578 3 Aspice domine (Lafage), 1531,, 1558 s (attr. to Sermisy) Aspro core e selvaggio (Willaert) (2a pars: Vivo sol di speranza), 1568 2 Assai promette (Costa), 1594 5 Assiste parata (Gombert) (2a pars of O beata Maria), 1547 s , 1 5 5 2 n Assumpsit Jesus (Merulo), 1594 3

INDEX

v:

FIRST

LINES

Assumpsit Jesus Petrum et Jacobum (Clemens non Papa) (2a pars: Et ecce vox de nube dicens), 1583 β Attend m y people and give eare (Audi Israel), 1 5 9 ^ Attend m y people to my law, 1599 x Au desjuner, see A desjuner la belle Au fait damour, 1571 β Au joly bois, 1531 2 . See also under Gaillarde ; Pavane Au joly bois sur la verdure (Lupi or Lupus), 1578 3 Au jour au jour au jour (Bonard), 1554 4 , 1570 4 Au temps heureux (Arcadelt), 1553g, 1553 4 , 1554 e , 15594, 1562 l 0 , 15704> 1574 e Auchelina vel auchlina, 1547 5 Auctoritie most doe desier (Whythorne), 1 5 9 0 n Audi Israel, see Attend my people and give eare Audi tui meo dabis (Lasso), 1591 7 Audieu singnora, 1575 3 Audite obsecro, see O vos omnes qui transitis per viam Auff das von Hertzen können wir, see W e n n wir in höchsten nöten sein Auff dich setz ich mein grund und all mein Zuversicht, see Ach Gott was sol ich singen Auff erdt lebt nit eyn schöner weyb, 1532 2 , 15331> 1540J, 1544 x Auff gnad so wil ichs heben an (J. Paix), 1583 4 Auff mein Gsang und mach dich ring (Haussmann), 1599 5 Augustine lux doctorum (Willaert) (2a pars of Laetare sancta mater), 1547 5 Augustus, see under Tantz Aultre que vous de moyne (Gombert or Sermisy), 1533 2 Aunque me veys en tierra agena, 1555! Aunque mill años turases, see Quien me otorgase señora Auparavant que j'eusse congnoissance (Meigret or Olivier), 1552 4 Auprès de vous secretement (Jacotin or Sermisy), 1531!, 1545 3 , 1546 6 , 1547„ 1 5 5 2 u , 15623> 1563 12 , 1568 e . See also under Basse dance Aus tiefer N o t schrei'ich zu dir (C. Newsidler), 1550 4 Aus tieffer Not schrei ich zu dir (M. Agricola), 1561! Auss frischem freyem miith, see under Tantz Austria, Tedesca dita L', see Allemande: Poussinghe Austria Gonzaga, Balletto, 1581 x Autant qu'on voit aux cieux (La Grotte), 1571 3 , 1574 2 Aux parolles que je veulx dire (Verba mea), 1552 2 Aux parolles que je veulx dire (Verba mea) (Certon), 1553 3 , 1554 6 , 1570 4 Auxilium meum, 1592ü Ave Ancilla trinitatis (Silva) (2a pars: Ave cuius conceptio), 1546 4 Ave cuius conceptio, see Ave Ancilla trinitatis Ave domina, see O Maria mater Christi Ave Domine coelorum, see Hodierna lux Ave gloriosa, 1562 3 Ave Jesu Christe rex regum (Verdelot), 1573 3 Ave Maria (F. Guerrero), 1576 χ ; (Jachet), 1543 3 ; (Josquin), 1507i; (Josquin) (2a pars of Pater noster), 1536 3 , 1546„ 1547 3 , 1547 s , 1547 9 , 1552u, 1558 5 , 1561 a, 1563 5 , 1563i 2 , 1578 3 ; (Josquin) (3a pars of Virgo Salutifera), 1578 3 ; (Las Infantas), 1579 2 ; (Palestrina), 1591 2 ; (Pieton), 1547 s ; (Riccio), 1583 4 ; (Willaert), 1552„ 1554 3 . See also Missa Ave Maria 17 + B.P.I.M.

AND

TITLES

Ave Maria gratia plena, see Beata es Virgo Maria Ave maris stella (Bermudo), 1555 χ ; (A. Cabezón), 1557 2 , 1578 3 ; (H. Cabezón), 1578 3 ; (G. Cavazzoni), 1543!, 1554 a ; (J. Paix), 1589 β ; (Ave m u n d i stella) (J. Paix), 1590 β ; (Palero), 1557 2 ; (Rodio), 1575 δ ; (Valderrábano), 1547 δ . See also Missa Ave maris stella Ave maris Stella y Gaudeamus (Fuenllana), 1547 5 , 1554 3 Ave mundi stella, see Ave maris stella (Ave m u n d i Stella) Ave regina celorum (C. Festa) (2a pars: Gaude gloriosa), 1543 s Ave sanctissima, see O Maria mater Christi Ave sanctissima (A. Agricola), 1536 7 Ave sanctissima (Sermisy), 1554 e , 1560 3 , 1562ϋ. See also 1560 3 , no. 22 Ave sanctissima Maria (Gombert), 1546 5 , 1547 e , 1554 3 Ave santissima, see Ave sanctissima Maria Ave verum corpus (Palestrina), 1594 3 Ave virgo gratiosa (C. Festa), 1543 3 Ave Virgo Singularis (Lafage), 1546 4 Avecque vous mon amour finera (Avec que vous) (Lasso), 1566 2 , 1568„ 1571„ 1573 1( 1577 e , 1577,, 1584, Avecque vous mon amour finera (Mancinus), 1597 s Averolda, L ' , 1584 10> 1593, Avignon, 148 ?i Awake, sweet love, thou art returned (Dowland), 1597 4 Away with these selfe loving lads (Dowland), 1597 4 Ay arde coraçon arde, 1538!. See also Y arded coraçon arded Ay de mi dize el buen padre, 1547 5 Ay de mi sin ventura (Navarro), 1576i Ay fortuna crudel (Ordonez) (2a pars: Lebantaron muy alto), 157Ó! Ay, m u d o soy, hablar no puedo (Ordonez), 1576 x Ay que non oso (Vasquez), 1554 3 Ayant cognu (Certon), 1562i 0 , 1574, Ayme qui voldra, see Aime qui vouldra Ayme the fatali arrow, see Aim the fatal arrow Aymer est ma vie, see Aimer est ma vie

Bacco bacco evoe (Corteccia), 1539 t Bachffart, II, see under Passamezzo Bachiglione, II, see under Passamezzo Bacia mi vita mia (D. Ferabosco) (2a pars: Baciami mille volte'e mille anchora), 1563, Baciami mille volte'e mille anchora, see Baccia mi vita mia Baciami vita mia (Donato), 1582! Badoera, La, see under Pavane Bafia, Die Schlacht vor, see Bataille Bagino, see under Saltarello Baisez moy tant tant, 1546i 0 , [1547] u Baisons nous belle, see under Gaillarde Bal. See also Ballo Bal Boemo, see Ballo: Filippina Bal de Calais, Le, 1564 2 Bal Todescho (Bal Todesco), see Ballo: Todescho Baleto (Baletto), see Ballo Baletto Borgognese, see Ballo: Bizaro Baletto d'Inghilterra, see Ballo: Bufon Baletto de Ruscia (Baletto de Rusia), see Ballo: D u d a ; Ballo: Orso

502

INDEX

v:

FIRST

Baletto Francese, see Ballo: A l e m a n d e ; Ballo: C o r a n t e ; Ballo: Francese; Ballo: Volta Baletto Todesco, see Ballo : T o d e s c h o Baletto Polaco, see Ballo : Polaco Balle, see Ballo. See also 1530 3 , no. 56 Ballerino, II, see Sonatemi u n balletto Ballet, 1559 3 , 1582 3 Ballet, L a grand', 1582 3 Ballet, L e petit, 1559 3 Ballet d u Canat, 1559 3 Balletto, see Ballo Balletto Alemano, see Ballo: Alemano Balletto Gagliarda di Spagna, see Gaillarde: Spagna Balletto Italiano, see Ballo: T o r n e o amoroso Balletto Pavana Matthei, see Pavane : Matthei Ballo: (Bai, Baleto, Baletto, Balle, Balletto, Baio) Alemande, Baletto Francese detto, 1585! Alemano, 1 5 9 9 n . See also Allemande; Ballo: A l e m a n d e ; Ballo: T o d e s c h o ; T a n t z Anglese, 1578 8 , 1583 4 , 1583,. See also Ballo: Bufón Arboscello, L ' (Ballo Furiano), 1578¡>, 1583 4 , 1583, Bizaro, Baletto Borgognese deto il, 1585 x Bufon, Baletto d'Inghilterra deto il, 1585! Capello Cinganesco, Baletto detto del, 1585j Contadini Lombardi, Balletto de, 1585! Conte Orlando, Ballo detto il, 1599, Corante, Baletto Francese detto la, 1585! Court, L e grand Ballo du, 1592, D u d a , Baletto de Ruscia deto, 1585! Fantino, Balletto detto il, 1586, Favorita, Baleto, 1586 2 Filippina, Bai Boemo dito la, 1564 4 Fiore, Ballo del, 1 5 8 ^ Francese, Balletto, 1 5 9 9 u . See also Allemande: L o r e y n e ; Ballo: Alemande; Ballo: Corante; Ballo: Todescho, e Francese; Ballo: Volta Furiano, see Ballo: Arboscello; Ballo: Putta Nera Intorcia, L o ballo dell' (Valente), 1576 3 L o m b a r d o , 1576 3 Marino, Baletto detto il, 1586 2 Milanese, 1578 s , 1583 4 , 1583, Mostrav'in ciel, Tedesca, 1590 8 Orso, L ' , Baletto de Rusia deto, 1585i Piantone, Ballo del, 1581 χ Polaco, 1546 6 , 1585^ 1 5 9 9 u Putta Nera (Ballo Furiano), 1578,, 1583, Tedesca, see Ballo: Mostrav'in ciel Tedesco, see Ballo: Todescho T e r z o , Baletto Todesco ditto il, 1585! Todescho, 1561 2 , 1563 8 , 1564 4 , 156? 3 , 1585i, 1593,. See also Allemande; Ballo: A l e m a n d e ; Ballo: A l e m a n o ; Ballo: Mostrav'in ciel; Ballo: Terzo ; Tantz Todescho, e Francese, 1593,. See also Ballo: Francese T o r n e o Amoroso balletto Italiano, 1599Ü Volta, Baletto Francese detto la, 1585i See also Alba Novella ; Alta M o r o n a ; Alta Orsina ; Alta Ragonia ; Alta Ruissa ; Alta Vittoria ; A m o r Costante; A m o r Felice; A m o r M i o ; Ardente Sole ; Austria Gonzaga ; Barriera ; Bassa Colonna ; Bassa Ducale; Bassa et Alta; Bassa H o n o r a t a ; Bassa Pompilia; Bassa R o m a n a ; Bassa Savella; Bassa T o s c a n a ; Bellezze d ' O l i m p i a ; Cesarina; Cesia Orsina ; Contentezza d ' A m o r e ; Conto dell'Orce; Contrapasso; Contrapasso nuovo;

LINES

AND

TITLES

Copia Felice ; Coppia Cappelli ; Coppia Matthei ; Dolce Amoroso F o c o ; Este G o n z a g a ; Felice Vittoria; F u r i o s o ; Gaillarde: S p a g n a ; Gratia d ' A m o r e ; Leggiadria d ' A m o r e ; Lucretia Favorita; N o b i l t à ; N u o v a Fenice; Occhi Leggiabri; O m b r o s a Valle; Pavane: M a t t h e i ; Pavaniglia; Pongente D a r d o ; Rustica A m o r o s a ; Rustica Palina ; Saporita ; Se Pensand'al Partire ; T o r n e o A m o r o s o ; Villanella Baio Tedesco (Baio Todesco), see Ballo: T o d e s c h o Balowe, 1599„ Banchierina, La, 1596 3 Bandera, 1553 2 , 1555 2 Barbarina, Canzone detta la, 1599 e Barbarina, La, see under Pavane ; Saltarello Barbesieux, 148?! Barbetino, II, see under Gaillarde Barcelone, 148 Bariera, see Barriera Barressi (Barressi e scalisi), 1560 4 Barriera, Balletto (Battistino), 1581!, 1 5 9 9 u Bascia Flammignia, see Spagna Basiami vita mia, see Baciami vita mia Basine, La, 148 ?i Bassa Colonna, Balletto, 1581 1 Bassa Ducale, Balletto, 1581i Bassa et Alta, Balletto, 1546I 4 , 1581 1 Bassa Honorata, Balletto (Battistino), 1581i Bassa Pompilia, Balletto, 1581i Bassa Romana, Balletto (Battistino), 1581i Bassa Savella, Balletto, 15811 Bassa Toscana, Balletto (Battistino), 1581i Basse dance: (Bassadanza, Basse danse), 148 ? x , 1507i, 1507,, 1530 3 , 1530 5 , 1531 4 , 1547„, 154?!, 154?„, 1555"a A m y je ny veulx plus aymer, 1559 3 A u p r è s de vous secretement, 1547 e Benardine, 1559 s Bergeret sans roch, see Basse d a n c e : Sans roch Beure frais, 1530 a Brosse, La, 1530 3 , 1530 5 Celle qui ma le n o m damy donne, 1547 β Ce qui est plus, 1559 3 Content désir, 1547 e C u e u r angoisseux (Blondeau), 1530 a Foves, 1530 3 Gatta en italien, La, 1530 6 , 1555 2 Hellas amy, 154 ?β Il estoit u n e fillette, 1552 3 Il m e suffit, Moytie de Bassedance, 154? e Jouissance vous donneray, 1589i La scarpa m y faict mal, 1530 5 La volunte, 1547„ L ' A m o u r premiere, 1559 3 L e corps sen va, 1530 3 L e cueur est bon, 1530 3 L'espine, Basse dance de, 1530 s Magdalena, La (Blondeau), 1530 3 , 1530 5 , 1555 2 Mestresse, La, 154?i M o n désir, 1551 8 Par fin despit, 1547 e Patience, 1530 3 Puisquen deux cueurs (Blondeau), 1530 3 Q u a n d je congneu, 154 Roy, L a basse dance du, 148 ?i Sans roch, 1530 3 . See also Bergeret sans roch Sanserre, 1530 3 Si j ' a y d u mal et d u bien, 1559 3 Spagna, La, 1507i, 1507 2

INDEX

v:

FIRST

LINES

T a bone grace, 154 ?6 T o u s mes amys (Blondeau), 1530 s T r o p de regretz, 1547 6 Verdurant, 1530 6 Basse gaillarde, La, see under Gaillarde Bataglia Chiarenzana, La, see Bataille (La Bataglia Chiarenzana) Bataglia Francesa, La, see Bataille (La Bataglia Francesa) Bataille. See also Branle: Bataille; Branle: G u e r r e ; and under Gaillarde; Passamezzo; Pavane; Saltarello Bataille, La (La Bataglia Francesa, La Battaglia Francesa, Escoutez tous gentilz galloys, Die grosse Schlacht, Schlacht f ü r Pavia, Die Schlacht vor Baña) (Janequin) (2a pars: F a n frere le le lan fan), 1544¡¡, 1545 3 , 1546„, 1546 8 , 1546 1 8 , 1549„, 154?5, 1551!, 1554 s , 1556 3 , 1563 x „, 1571„ 1577„ 1583 4 Bataille, L a : (La Bataglia Chiarenzana, Sula Bataglia), 1544 2 , 1546 1S , 1563 1 8 , 1568„ 1571„ 1573 3 , 1582 5 Aria della Battaglia per sonar (A. Gabrieli), 1590 2 Aria della Battaglia per sonar (Padovano), 1590 s Battaglia, L a (Banchieri), 1596 3 Battaille, 1582 5 D u o , 1559 e Guerre, La, 1529 3 Guerre, La, faitte a plaisir, 1553 3 Petit Bataille, Le, 1568„ Singnori, Die Frantzösisch Schlacht die heist, 1544 2 Battaglia, La, see under Bataille (La Bataglia Chiarenzana) Battaglia Francesa, La, see Bataille (La Bataglia Francesa) Battaille, see under Bataille (La Bataglia Chiarenzana) Bauren T a n t z , see under T a n t z Baviere, see under Allemande Baxa, 1538!, 1547 5 , 1 5 5 2 n Bayonne, 148?! Bayrisch Bot, see under T a n t z Bayrischer Bauren T a n t z , see under T a n t z Bayse moy tant (Bayses moy), see Baisez moy tant tant Bean, 1546 β Beata, beata cuius brachiis (Lasso), 1591 7 Beata es Virgo Maria (2a pars: Ave Maria gratia plena), 1591 1 2 Beata q u o r u m agmina, 1547 5 Beata Virgine, see Missa de beata Virgine Beata viscera mariae, 1578 3 Beati omnes, see also Bien heureux Beati omnes, 1544 3 Beati omnes (Benedictus) (2a pars: Ecce sic benedicetur), 1558 B Beati omnes ( G o m b e r t ) , 1546 4 Beati omnes (Lasso) (2a pars: Ecce sic benedicetur), (homo), 1575!, 1583 4 Beati omnes (Vento) (2a pars: Ecce sic benedicetur homo), 1589, Beati q u o r u m , see O bienheureux celuy Beato m e direi (Rore) (2a pars: Ove'l silentio), 15 77 5 , 1584 2 Beatus autor seculi (Liitkeman), 1597 7 Beatus, beatus h o m o qui invenit (Lasso), 1591, Beatus h o m o qui invenit sapientiam (Rore), 1599H Beatus ille (Hofhaimer), 1546 1 4

AND

TITLES

5°3

Beatus vir, 1544 3 Beatus vir (Lasso), 1591 7 Beau Robert, Le, see under Branle Beaulté, 148 ?i Beaulte de castille, La, 148 Becasse, La, see under Branle Be faithful to thy friend (Whythorne), 1 5 9 0 u Bee light and glad in G o d rejoice, 1599 x Behold and se how byrds dothe fly, 1530„ Bel fior (Bel fiore), see under Gaillarde; Saltarello Bella, La, 1572 2 Bella, T h e (Taverner), 1530„ Bella Andronica, La, see under Pavane Bella bianca ha hauto torto, see under Saltarello Bella bianca Margarita, La, see under Pavane Bella che tieni li capigli d'oro (Scotto), 1570 s Bella d ' a m o r guerriera (Bellasio), 1 5 9 1 n Bella donna, La, see under Gaillarde ; Passamezzo Bella donsella, La, see under Passamezzo ; Saltarello Bella Dorotea, La, see under Pavane Bella Fioretta (Arcadelt), 1547 1 7 , 1554 3 Bella Foresta, 1553 2 , 1555 2 Bella Franceschina, La, see Franceschina; Pavane: Q u e la bella Franceschina Bella Gioiosa, Cascarda, 1581 x Bella Ragazzona, La, see under Pavane Bella Roncinetta, La, 1597 9 Bella Ugazzetta, La, see under Pavane Bella Zudea, La, see under Pavane Belle, La, 148?, Belle Bergere, 1592 e Belle qui tiens ma vie, see C o u r a n t e : Coranta and under Pavane Belle sans pere (Crecquillon), 1557 2 Belle sur toutes (A. Agricola), 1538 2 Bellezza ch'emp'il ciel (Arpa), 1570 5 Bellezze d'Olimpia, Le, Balletto, 1581, Beloncina, La, see under Pavane Beltà si com'in mente (Rossello), 1568¡¡, 1584 6 Bem para che dame, 1571 e Ben ch'amor m e facci torto (Tromboncino), 1509 t Ben ch'el ciel me t'habbi tolto (Tromboncino), 1509i Ben ch'el misero cor (Verdelot), 1536 8 Ben contenta, La, see under Pavane Ben m i credea passar mio t e m p o (Tromboncino), 152?i Ben mio chi m i ti toglie (Ruffo), 1584 5 Ben mio de dove sei n'ascolti, 1584 e Ben poss'amor, see Io cantero di quel'almo splendore Ben qui si mostra'l Cielo (Rore), 1577 6 , 1584 2 Ben sapevo io (Spontone) (2a pars: Io fuggia le tue mani), 1584 5 Ben veggio di lontano il dolce lume, see A m o r che vedi ogni pensiero aperto Benaglia, L a (Cavacelo), 1597 2 Benardine, see under Basse dance Benedetur, 1544 2 , 1549„ Benedic anima mea d o m i n u m , see Sus, sus m o n a m e Benedicam D o m i n u m (Lasso) (2a pars: I n D o m i n o laudabitur anima mea), 1566 3 ,1571 e , 1573i, 1577 e , 1586 5 Benedicamus patrem (Fuenllana), 1554 3 Benedicimus te, 1531 6 . See also Missa A p o s t o l o r u m ; Missa de beata Virgine ; Missa Dominicalis ; Missa In Dominicis Diebus ; Missa Virginis Mariae Benedicta es celorum (Piéton) (2a pars : Per illud ave), 1553i, 1564i, 1574, Benedicta es coelorum Regina. See also Missa Benedicta es coelorum Regina

S°4

INDEX

v:

FIRST

Benedicta es coelorum Regina (Josquin) (2a pars: Per illud ave; 3a pars: N u n c mater), 1547 3 , 15479> 1552h, 1553 10) 1554 3i 15S8 5) 1558 e , 1563 12i 1568,, 1571 e> 15745> 1578 3 , 1589, Benedicta sit sancta Trinitas (Palestrina), 1591 2 Benedicta tu, see Sancta et immaculata Benedictio, et Ciaritas, et Sapientia (Lasso), 1583 4 Benedicto sea el iorno, 1547 5 Benedictus: (anon.) (3 different settings), 1531 5 , 1546 2 , 1591,; (Gombert), 1591,; (Isaac), 1507^ 1536 e , 1538 2 , 1545 3 , 1562 3 ; (Jachet), 1543.,; (R. di Lasso), 1591,; (Ruffo), 1591, (2 compositions); (Scandello), 1591, (2 compositions); (Schlick), 1 5 1 2 i ; (Schräm), 1591,; (Valderrábano), 1547 5 , 1552 Χ1 ; (Vinci), 1591 12 . See also Fantasia (1547 5 ); Missa Ave Maria ; Missa Ave maris stella ; Missa Benedicta es coelorum Regina; Missa Fortuna desperata ; Missa Gaude Barbara ; Missa L ' H o m m e armé; Missa la sol fa re m i ; Missa Pange lingua; Missa T u a est potentia Benedictus dominus Deus Israel (Lupus) (2a pars: Honor virtus), 1547 3 , 1552 11 Benefac Domine, see Qui confidunt in domino Bentivoglio, Cascarda, 1581 x Bentzenawer, Der, see under T a n t z Benvenuta, La. See under Veni electa mea Benvenuta, Canzon dita la (Merulo), 1592, Berenice, Canzone detta La (Pellegrini), 1599 s Bergamasca, 1587^ See also under Moresca Bergamasco, II, see under Saltarello Bergeret sans roch, 1551 s . See also Basse dance: Sans roch Bergerette, 1551 8 . See also Bergeret sans roch; Dont vient cela, Bergerette ; Grands douleurs Bergerette savoisienne, 1507 2 Bergere, La, see Branle : Bergers Bergers, Les, see under Branle Berghentine, see under Gaillarde Berghes, see under Branle Bergirette savoyene, see Bergerette savoisienne Bernardina, La (Josquin), 1504^ 1507^ 1536,, 1538 2 Bertani, La (Cavaccio), 1597 2 Bertoncina, La, see under Saltarello Bertonzina, La, 1549 1 Beschaffene glück ist unversammpt, see under Tantz Bethler Tantz (Bettler Tantz), see under T a n t z Beure frais, see under Basse dance Bewar mich Herr (Zirler), 1558 5 , 1562 3 , 1571,, 1572„ 1573 2 , 15733> 1574 6 , 1575 3 , 1577 e , 1582 x (attr. to Clemens non Papa), 1583 2 , 1583 4 Beware my lytyll fynger, 1530 e Beyrisch Bot, see T a n t z : Bayrisch Bot Bianchetta, La, Chiarenzana, 1546 13 Bianchetto, see under Saltarello Bicinia, see Duo Biduanis ac triduanis, see Cantantibus organis Bien d ' u n vago pensier (Lasso), 1568 2 Bien heureux (Beati omnes qui timent dominum), 1552a Bignani, L a (Cavaccio), 1597 2 Billiarda, La, see under Allemande ; Saltarello Birds Galliard, Maister, see under Gaillarde Birds Pavan, Master, see under Pavane Bisarde, see under Allemande Biscia, La (Fonghetti), 1598 3 Biuma, La (Gallus), 1598 4 Biviendo sin amar (P. Guerrero), 1568 2 , 1584 s Bizaro, II, see under Ballo Blanque clairet, 1583 2

LINES

AND

TITLES

Bleib nicht lang auss, see Ein Fräulein zart hab ich mir ausserkorn Blessed are they that perfect are, 1599 t Blessed are those (Whythorne), 1 5 9 0 n Blessed is he that fears the Lord (Byrd), 1588 2 Blondeau, see under Pavane Bockingtons Pound (Cutting), 1596 s Bocks Tantz, see under Tantz Boemo, see Ballo : Filippina Boerendans, Den, 1582 5 Bolognese. See also under Passamezzo ; Saltarello Bolognese, La, Chiarenzana, 1546 13 Bomba, La (Flecha), 1554 3 Bombirole, see under Branle B o n j o u r mamye, 1548 2 Bon jour mon coeur (Lasso), 1568,, 1570 3 , 1571«, 1574J, 1574 5 , 1574„ 1575 3 , 1577 e , 1578 4 , 1582 6 , 1583 4 Bon Juor mamye, see Bon jour mamye Bona sera, 1575 s Bona Speranza, 1599 β Bone jesu dulcissime (Gascongne), 1531, Bonitatem fecisti (Carpentras) (2a pars: Manus tue Domine), 1544 3 Bonny sweet Robin, 1597« Borgognese, see Ballo: Bizaro Borgognona, La, see under Pavane Borroncina, La, see under Pavane Bors, II, see under Saltarello Botert ν koecxkens wel, see under Gaillarde Bouffons (Buffons), Les, 1550 4 , 1552 5 , 1552 e , 1559 3 , 1562 3 , 1564 6j 1565 3j 1568 e , 1570 3 , 1571 5 , 1578 4 , 1582 s , 1589!. See also under Allemande; Gaillarde; Pavane. Bourata, see El Burato Bourgogne (Bourgoigne, Bourgongne), see Branle de Bourgogne Bourgogne (Bourgoigne, Bourgongne), see under Branle Bovia, Canzone dita la (Merulo), 1592, Bramo morir per non patir più morte (C. Festa), 1546x5 Branle : (Brande, Brando, Brandt, Branlle, Bransle, Brant, Ronde, Runden danz), 1530 3 , 1530 6 , 1531 4 , 1547 e , 1549i, [1550] 2 , 1552 5 , 1552«, 1553 4 , 1557 4 , 1563 12 , 1564„ 1570 3 , 1570 4 , [1573]«, 1583 4 , 1583,, 1584«, 1592 e , 1594 5 A la fontaine du pré, 1570 4 Allez dire a C. d'Amboyse, 1530, Amours, Branle d', 1569 β , 1582 s Angleterre, Branle d', 1569 6 , 1582 5 , 1591 13 Anvers, Branle d', 1569 e Aridan, see Branle : Coupé Arras, Branle d', 1574, Artois, Branle d', 1568 6 Bataille, Branle de, 1568 e , 1570 3 , 1582 5 Beau Robert, Le, 1565 3 , 15 70 4 , 15 82 s Becasse, Branle de la, 1565 3 Bergers, Branle des (Branle de la Bergere), 1570 3 , 1570 4 Berghes, Branle de, 1569 e , 15703> 1582 5 Bombirole, 1582 s Bourgogne (Bourgoigne, Bourgoingne, Bourgongne), Branle de, 1547«, 1547„ 154?,, 1550«, 1551 2 ,15513,1557 3 ,1559 2 ,1563 1 2 , 1565 3 , 1568„ 1569«, 1570 3 , 1570 4 , 1571 5 , 1571«, 1573 2 , 1574„ 1582 5 , 1583,, lSeOj, 1591 13 Brusselles, Branle de, 1569«

INDEX

v:

FIRST

LINES

Campo, Branle del, 1592 e Cassandre, see under Branle: Coupé C'est m o n amy, see under Branle: Gay Cent escus, 1570 3 Champaigne (Champagne), Branle de, 1547 e , 1549 8 ,1550„, 15S2 3 , i s s a ! , 1555 6 , 1559^ 1563 1 2 , 1S64 5 , 1568„ 1569 e , 1570 3 , 1S71 6 , 1573 2 , 1S82 5 , 1583„ 1591 1 3 Chandeliers, Branle du, 1589! Charlotte, see under Branle: C o u p é Chevaux, Branle des, 1589 χ Coloingne, Branle de, 1569 e C o m m u n (Commune), 1531 4 , 1559^ 1571 5 , 1S83 4 , 1583-, 1584 e , 1591 1 3 Contraint, Branle du, 1564 2 , 1571 5 Cordeliers, Branle des, 1564 5 Cornemuse, Branle de Poitou en m o d e de, see under Branle: Poitou Coupé, 1569 6 , I57O3; Aridan, 1 5 8 9 ^ Cassandre, 1589!; Charlotte, 1589,; Guerre, Branle coupé de la, 1589i Courant, 1547„, 1555 5 , 1564 5 Double, 1547 6 , 1552 5 , 1589i, 1592 e , 1594 5 , 1 5 9 9 ^ D u c , Branle del, 1569 β , 1570 3 , 1578 4 , 1582 6 D u e c h t en iuecht, 1582 5 Escosse, Branle d ' (Passepied), 1557 4 , 1559 2 , 1564 5 , 1570 3 , 1570 4 , 1571 5 , 1583„ 1589 χ E t tant plus, 1565 3 , 1570 3 Furieux, see Branle: Malthe Gay, I53O3, 1531 4 , 1547„, 154? β , 1550 e , 1551 2 , I55I3, 1552 3 , 1555 5 , 1557 3 , 1559^ 1564 6 , 1570 3 , 1571 6 , 1582 5 , 1583 4 , 1583,, 1589i; C'est m o n amy, 1530 s ; Je ne serais jamais bergere, 154? β , 1552 3 , 1570 4 ; L a ceinture que je porte, 1551 2 , 1552 3 , 1557 3 ; Mari je songeois l'aultre jour, 1547 e , 1564 ä ; Q u e je chatoulle ta fossette, 1547 e . See also A mes peines & ennuiz; C'est de la peine d u r e ; Hélas m o n dieu y ha il en ce m o n d e ; J e n e suis moins aimable; Maintenant c'est u n cas estrange ; O combien est heureuse ; Plus ne veux estre a la suite; Q u a n d j'entens le perdu temps G r a n d bonnet large, see under Branle : Poitou Guerre, Branle de la, 1559 2 , 1571 6 , 1583,. See also Branle coupé Guillemette, Branle de, 1564 2 Hauberrois (Haulbaroys, Haulberroys, Hault Berrois), 1530 3 , 1552 3 , 1571 5 , 1589i; Jean de Lagny, 1559 3 Haye, Branle de la, 1589! Hermites, Branle des, 1589 χ Hoboken, 1569 e , 1570 3 . See also Hoboken Il estoit u n e fillette, 1551 s Je ne serais jamais bergere, see under Branle : Gay Jean de Lagny, see under Branle: Hauberrois L'espoir que j'ay, see under Branle: Simple L a ceinture q u e je porte, see under Branle : Gay L a s il n ' a nul mal, 1570 3 Lavandieres, Branle des, 1559^ 1570 4 , 1571 5 , 1589i Loreyne, 1569 e Lovain, Branle de, see Branle: D u c Malthe (Malte), Branle de, 1559 3 , 1568 3 , 1570 3 , 1582 5 , 1589I; Furieux, 1559 3 . See also N ' a u r e z vous point de moy pitié under Branle: Simple M a r i je songeois l'aultre j o u r , see under Branle: Gay Mille ducas, 1551 e M o n amy, 1551„, 1571 6 , 1583,

AND

TITLES

505

M o n t a r d e , Branle de la, 1589i M o n t i r a n d é , Branle de, 1559 3 Moresque, 1570 4 N . Rans, Branle de, 1568„ 1573 2 N ' a u r e z vous point de moy pitié, see under Branle : Simple Nicolas m o n beau frere, 1530 3 Nonette, Branle de la, 1565 a , 1570 4 Nouveau, 154? 6 Officiai, Branle de 1', 1589! Petit gentilhomme, Le, 1559! Petit h o m m e , Le, 1564 2 , 1571 6 , 1583, Pimontoyse, 1552 3 Pinagay, 1589i Pois, Branle des, 1589!· See also Branle: Sont des poix Poitou (Poictou), Branle de, 1530 3 , 1550 6 , 1552 3 , 1559 2 , 1564 2 , 1564 6 , 1568 3 , 1570 3 , 1571 s , 1582 6 , 1583,, 1584 e , 1589^ 1591 1 3 , 1594 6 ; Branle de Poitou en m o d e de Cornemuse, 1552 3 ; G r a n d bonnet large, 1552 3 . See also O ma d a m e per-je mon temps Pourquoy, 1551 β , 1571 5 , 1583, Quatre branles (Quatrebrant), 154 6 2 0 , 1549 β , 1551 8 , 1564,, 1569 β , 1570 3 , 1571 6 , 1573 2 , 1583,, 1591 1 3 Q u e je chatoulle ta fossette, see under Branle: Gay Rans, Branle de N . , see Branle: N . Rans Rebecca, 1569«, 1570 s , 1582 6 Ronde, 1545 3 , 1547„ 1549 β , 1551 e , 1594 5 . See also Branle: Il estoit u n e fillette; Branle: Mille ducas; Branle: M o n a m y ; Branle: P o u r q u o y ; Branle: W o bistu R u n d e n dantz, Ain niderlendisch, 1523 2 S'il est a m a poste, 1530 3 Sabots, Branle des, 1559 2 , 1571 6 , 1 5 8 3 „ 1589 χ Simple, 1530 ä , 1531 4i 1547 e , 154?„, 1551 2 , 1552 3 , 1552 5 , 1555 6 , 1557 3 j 1559i, 1569 e , 1583,, 1589i, 1 5 9 9 „ ; L'espoir q u e j'ay, 1530 s , 1547„; N ' a u r e z vous point de m o y pitié, 1551 3 , 1553 4 , 1557 3 , 1564 6 , 1570 3 Six brant, 1549 e Sont des poix, 1565 3 . See also Branle: Pois Spiers, Branle de, 1569„, 1570 3 T e n e z vos amours secrettes, 1570 4 T i n que tin tin, 1553 4 . See also Tintelore T o r c h e , Branle de la, 1559 3 , 1570 4 T o u t e s les nuyct, 1569, T r o i j , 1569„ T u disois, 1564,, 1570 3 W o bistu, 1551, Brava, L a , 1564 8 Brave, Le, see under Gaillarde; Pavane Brigientia, L a (Cavaccio), 1597 2 Brosse, La, see under Basse dance Brucelles, L e joyeulx de, see Joyeulx de Brucelles, L e Bruder C u n r a d s Tanzmaass, see under T a n t z Brüder Steffen, 1533! Bruna, La, 1553 2 , 1555 2 Brune, La, see Gaillarde: O ma gente b r u n e t t e Brunette, see under Allemande Brunette, La, see Gaillarde : O m a gente b r u n e t t e Brusselles, see under Allemande ; Branle ; Saltarello Bruynsmedelijn, see under Allemande ; Saltarello Bruynswick (Brunswijck, Bruynswyck), see under Allemande ; Gaillarde ; Passamezzo Buffone, see Bouffons Bufón, II, see under Ballo

5O6

INDEX

v:

FIRST

Burate. See also Burato Burate, La, see Gaillarde: Marchesa de gasto Burato, El, 1546 6 ,1546 2 0 , 1552^ 1 5 6 8 7 , 1 5 7 1 5 , 1 5 7 1 , . See also under Gaillarde ; Saltarello Burger T a n t z , Ein schöner, see under T a n t z Burst forth, m y teares (Dowland), 1597 4 But Solon sayd (Whythorne), 1 5 9 0 u But this and then no m o r e it is m y last of all, 1596 e By a banke as I ley, 1530 e By by (Pygot), 1530„

Caccia, La, Fantasia, 1595 e Caccia la vechia fuora del campo, 1S64 4 Cade ogni mio pensier (Tromboncino), 1509! Caecox (Cecus) (A. Agricola), 1536 β , 1536„ 1S38 2 Calais, see Bal de Calais Calami s o n u m ferentes (Rore), 1577 5 Calata: (Kalata), 1508 2 , 1523 2 Spagnola, Calata ala, 1508 2 , 1523 2 ; Terzetti, Calata ala Spagnola ditto, 1508, Strambotti, Calata de, 1508 2 Zigonze, Calata dito, 1508 2 Caldibi castigliano, 1508 2 Calleken van nieupoorte, 1569 β , 1570 3 , 1582 s Caliese ya Mercurio, 1576j Calvi vi calvi, calvi arravi, 1508 2 Camerina, L a (Canzon sopra Veni dilecte mi) (Banchieri), 1596 3 C a m p o , II, see under Branle Can gieto f u marie, see Q u a n d j'estoye à marier Can she excuse m y wrongs (Dowland), 1597 4 . See also under Gaillarde Canallotto, L o , 1560 4 Canarie, Le, see under Moresca Canaries, 1589! Canario, II, 1581i Canat, Ballet du, see Ballet d u Canat Canción, see Canzona Canción de sibivit, see O r suis je bien au pire C a n d i d ' e richa vela (Portinaro) (2a pars: Piacciati com'i tuoi), 1568 2 , 1584 5 Candida L u n a , Cascarda, 1581! Candide perle (Bicci), 1 5 9 9 u Canella, La, see under Gaillarde Cangia sperar mia voglia, 152?! Canon, 1545 2 , 1546I 2 , 1551i, 1579 2 , [1587],, 158?,, 1591 5 , 1591„, 1 5 9 2 n , 1595 4 , 1597 8 , 1598 5 . See also Fuga Cansón Englesa, see Canzona Englesa Cantai m e n t r e ch'io arsi (Cantai mentre ch'arsi) (Rore), 1548i, 1568 2 , 1592« Cantai m e n t r e nel core (Cara), 1517! Cantai u n tempo (Monte), 1584! Cantantibus Organis (Palestrina) (2a pars: Biduanis ac triduanis), 1583 4 Cantantibus organis (Rore) (2a pars: Biduanis ac triduanis), 1548! Cantate canticum, see Letare nova syon Cantate Domino, 1556! Cantate domino (A. Gabrieli), 1596, Cantate D o m i n o (Lasso), 1591 7 Cantate D o m i n o (Liitkeman), 1597, Cantate D o m i n o (Tonsor), 1583 e Cantate d o m i n o canticum n o v u m (Jachet), 1543 3 Cantate domino et benedicite (Jachet), 1543 3 Cantate ei, see Exultate justi in domino

LINES

AND

TITLES

Cantati hor piango (Lasso) (2a pars : T e n g a n d o n q u e ver me), 1584 a Cantati hor piango (Padovano) (2a p a r s : T e n g a d u n q u e ver me), 1584 5 Canti di voi le ladi (Naich), 1568,, 1571„ Cantibus Organicis, Christi Cecilia sponsa ( G o m bert) (2a pars: F u n d i t e cantores dulci), 1565 x Cantique de Simeon, see O r laisse createur Canzon, see Canzona Canzon, Fantasia sobre un, 1547 5 Canzon delli ucelli, see Chant des Oiseaux Canzon Mapolitano in toledo, see under Napolitana Canzona (Aria di canzon francese, Aria francese, Aria Francese per sonare, Canción, Canzon, Canzone, Canzun), 1538i, 1543„ 1546 3 , 1546i 5 , 1549 2 , [1571] 2 , 1572 2 , 1579 3 , [1582] 4 , 1583 4 , 1 5 8 4 „ 1584i 0 , 1588», 1588 e , 1S90 5 , 1590„ 1 5 9 0 i 0 , 1 5 9 1 1 4 , 1592,, 1593 6 , 1593„ 1594i, [1594] e , 1595 2 , 1596 3 , 1596,, 1596g, 1596„, 1597 2 , 1597 5 , 1597 9 , 1597 1 2 , 1598 4 , 1599 2 , [1599] 3 , 1599„ 1599 9 , 1599 l 0 , 1 5 9 9 „ Canzona Englesa, 1584 e Canzona Francese, 1546 3 , 1546i 5 , 1549,, 1578 3 . See also Carissima ; L e content est riche ; and under Passamezzo Canzone, see Canzona Canzonete d'amore, see Canzonetta d ' a m o r e Canzonetta, see Che fai Dori ; D a m o n e Filli insieme ; D e h prega A m o r Canzonetta d'amore (Vecchi), 1584 3 , 1592 1 2 Canzun, see Canzona Capello Cinganesco, see under Ballo Capitan H e r r e G o t t (Hellinck), 1533 x Capelli, see Coppia Capelli Capriccio (Caprici), 1564 8 , 1588 χ , 1594i, 1598 3 , 1599 10 Capricciosa, Canzon detta la (Pellegrini), 1599 e Capriccioso, II, 1564 e Caprici, see Capriccio Capriola, L a (Maschera), 1584 1 0 , 1586, Captarne Pipers Pavin, see Pavane : Pipers Pavin Captayne Pipers Galliard, see Gaillarde: Pipers Galliard Cara Cossa, La (Cara Cosa, Caracosa, Caracossa, Carra Cossa, Chara Cossa, Clira Cassa), 1546 5 , 1546 2 0 , 1549!, 1552i, 1552,!, 1564„ 1569 e , 1570 3 , 1582 5 . See also Gaillarde: J'aymerois mieulx dormir seulette and under Gaillarde ; Passamezzo ; Pavane; Saltarello Cara la vita mia (Wert) (2a pars : Poi che con gl'occhi), 1584 β , 1599,! Carabanca, Différencias de la, (1547 5 ) Caracosa (Caracossa), see Cara Cossa Care amorose (Capi Lupi), 1597 ί 4 Care fier homo, see under Passamezzo Care for thy soul (Byrd), 1588 2 Carissima, Canzon francese detta la (Banchieri), 1595 2 Carita di signore (Rore), 1566 2 , 1 5 6 8 „ 1571„, 1573i, 1577 6 , 1584! Caro dolce b e n mio (A. Gabrieli), 1591 2 , 1593, Caro dolce ben mio (Striggio), 1568 2 Caro fier homo, see under Saltarello Caro ortolano, see under Saltarello Caroli, see T a n t z : Marggraf Caroli D a n t z Caronte (Morales), 1584 6 Carra Cossa, see Cara Cossa Cascarda, see Allegrezza d ' A m o r e ; Alta Regina ; Alta Sergarda; Bella Gioiosa; Bentivoglio; Candida L u n a ; Castellana ; Chiara Stella ; Fedeltà ; F i a m m a

INDEX

v:

FIRST

LINES

d'Amore; Florido Giglio; Fulgente Stella; Gentilezza d'Amore ; Giunto m'ha amore ; Gloria d'Amore ; Gracca Amorosa ; Laccio d'Amore ; Leggiadra N i n f a ; Maraviglia d'Amore; Squilina; Vita, e quanto haggio Cassandra mia gentil, 1570 6 Cassandre, see under Branle: Coupé Cassiodora, Canzon detta la (Pellegrini), 1599 e Castae parentis viscerae (Canis) (2a pars: Enixa est puerpera), 1583 e Castellana, La, Cascarda, 1581 ! Castro joanni & muxa, 1560 4 Casulle la novele, 148?! Catachio (Cathacchio), see under Gaillarde Cavalier, II, see under Passamezzo ; Saltarello Cavallero, Différencias sobre el canto llano del, 1578 s Cavarne ormai daffani, see under Saltarello Cayordo, Lo, 1560 4 Ce faux amour (Lasso), 1568 7 , 1571 e , 1574 2 , 1586 s Ce fut amour (Passereau), 1546 9 Ce me semblent (Layolle), 1546 9 Ce mois de may (Godard), 1563 12 , 1568,, 1570 a , 1571„, 1577„, 1S78 4 , 1582! (attributed to Rogier), 1582 s , 1583 2 Ce n'est a vous (Certon), 1546 9 Ce n'est bien ne plaisir (Arcadelt), 1554 4 , 1568 3 1570j, 1574 2 Ce n'est pas (La Rue), 1532 2 Ce n'est point pour t'estrener, 1571 3 , 1574 2 Ce qui est plus en ce monde (Sandrin), 1547 3 , 1551 1( 1552 s , 1563 i 2 . See also under Basse dance Ce qui m'est deu et ordonné (Sandrin), 1553 4 , 1554 ? , 1562,. See also under Gaillarde Cecus, see Caecox Cedano le Piramide (Fiorino), 1571 4 Cédant, see Je suis infortune Cela sans plus (Pope Leo X), 1546 3 Celerius urbs sevecale, 1517! Celis asamplus, see Cela sans plus Celle qui fut (Sandrin), 1546 β Celle qui ha la coeur haultain, 1552 8 Celle qui m'a le nom d'amy donné (Sandrin), 1562 10 . See also under Basse dance Celle qui ma tant pourmene (Sermisy), 1531 x Celle qui ma tant pourmene (Hollander), 1589 β Celui qui fust (Mittantier), 1546 e Cenespas, see Ce n'est pas Cent escus, see under Branle Cent mil escus (Busnois), 1507 2 Centoria, La, see under Pavane Cerne meos esse gemitus (Phinot) (2a pars: N o n licet afflictas), 1583„ Certa fortiter, ora ferventer (Lasso), 1583 4 Certum est, see Si Deus pro nobis Ces fascheux sotz (Ces faux), 1529 3 , 1531 2) 1544,, 1545 3 , 1547„ 1549„, 1562 3 , 1583 2 Cesarina, see under Gaillarde Cesarina, Balletto, 1581j Cesia Orsina, Balletto, 1581! Cesses mon yeul (Pathie), 1553 10 Cessez mes yeux (Crecquillon), 1 5 5 2 n , 1553 10 , 1563 12 , 1568, Cest a faux (C'est a faux, Cest faschaux), see Ces fascheux sotz C'est a grand tort. See also under Saltarello C'est a grand tort, 1578 4 , 1582., C'est a grand tort (Crecquillon), 1553 10 , 1568,, 1571»

AND

TITLES

5°7

C'est a grand tort (Sermisy), 1531 2 , 1540i, 1544 a , 1546 l e , 1549„, 1562 3 , 1573 3 C'est boucane, 1529 3 , 1531 3 C'est de la peine dure, Branle gay (Le Roy), 1556 8 C'est de vous ô ma valentine, 1574, C'est donc pour moy, 1538 2 , 1545 3 , 1547, C'est grand pitié (Certon), 1546 5 , [1547]n C'est grand plaisir, 1531!, 1545 3 , 1547,. See also under Tourdion C'est mon amy, see under Branle : Gay C'est tout abus, 1530 4 C'est une dure departie (Sermisy), 1531 2 , 1546 l s C'est une dure departie (reprise), 1551 s Chamberiere allez tost (Planson), 1592 e Champaigne (Champagne), see under Branle Chandeliers, see under Branle Changeons propos (Sermisy), 1531 3 Changer ne puis (Lupi), 1533 2 Change then for lo she changeth (W. Holborne), 1597, Chant d'Orlande, see Pavane: Orlande Chant de l'Alouette, see Alouette Chant des Oiseaux, Le (Canzon delli ucelli ; Reveillez vous, cueurs endormis; Revellebu; Revuillis vous) (Janequin) (2a pars: Vous orrez a mon advis; 3a pars: Rossignol du boys joly; 4a pars: Arriéré Maistre Coqu), 1546 β , 1546 e , 1546 18 , 1556 3 , 1557 2 , 1577,, 1584 2 Chantons buvons, 1584fl Chara Cossa, see Cara Cossa Charlotte, see under Branle: Coupé Che debo far che me consigli (Che debbio fare) (Tromboncino), 1509^ 1517 x Che fa hogg'il mio sole (Marenzio), 1592 e Che fai Dori, Canzonetta (Vecchi), 1590 8 Che farà Donna (Bellasio), 1592 t Che farala che dirala (Tromboncino), 1517! Che gentil pianta, see Se voi potessi perturbati segni Che giova far morir (Gorzanis), 1570i Che giova posseder (Wert) (2a pars: Mache non giov'haver; 3a pars: Quant esser Vid'car; 4a pars: Pero che voi vosete), 1582i Che gioverebbe haver (M. Ferabosco), 1594 5 Che glian strazza la socha, see under Saltarello Che le el martello che tei fa dire, see under Saltarello Che mi giova servi (M. Ferabosco), 1594 s Che pensi tu (Il Risentito) (Gastoldi), 1594, Che più foco (Arcadelt), 1546i„ 1553,, 1564„ 1571 e Che vaghi suoni, see T a n t o co'lieti suoni Chevaux, see under Branle Chi brama di veder (Capi Lupi), 1597 14 Chi con eterna legge (Rore), 1577 5 Chi dira mai (Nola), 1552„ Chi farà fede (Striggio), 1 5 9 9 „ Chi fia che dal mio cor, see Vaghi leggiadri lumi Chi in pregion crede tornarmi (Tromboncino), 1509! Chi l'harebbe mai creduto (Cara), 1509! Chi la dirra, see Qui la dira Chi me dara più pace (Cara), 1509 t Chi mi dimandara (Hassler), 1594 5 Chi mira gl'occhi tuoi (Vecchi), 1584 3 , 1592„, 1592i 2 . See also under Pavane Chi ne l'arolr'oime (Corteccia), 1539 t Chi non crede (Tromboncino), 1517 χ Chi non ha martello, 1553 2 , 1555 2 Chi non sa (Rore), 1577 5 Chi non sa chi non intende (Tromboncino), 1511 ! Chi passa per questa strada (Chy passa) (Azzaiolo), 1564„ 1568-, 1569 6 , 1570 3 , 1571 e , 1578 4 , 1582 5 .

5

o8

INDEX

v:

FIRST

See also Passamezzo : O perfida che sei ; Pavane : O perfida che sei; Saltarello: O perfida che sei; and under Gaillarde; Pavane Chi per voi non sospira (Faignient), 1 5 8 4 , Chi per voi non sospira (Zoilo), 1584 6 Chi promete e debitore, 1 5 1 1 ! Chi può fuggir amor (Striggio), 1568 2 Chi salirà per me (Wert), 1584 6 Chi scuopr'hoggi fra noi (Vecchi), 1 5 9 7 1 4 Chi se po slegar damore (Tromboncino), 1 5 2 ? ! Chi vi dara più luce (Ana), 1509! Chi vi dara più luce (Tromboncino), 1 5 0 9 ! Chi voleno dir de moy, see Que voulez vous dire de moy Chi vol veder tutta (Rore) (2a pars: Vedrai biondi capei), 1 5 7 7 5 Chi vol vedere, 1570 3 , 1 5 7 5 3 Chi vol vedere (Contino), 1584 5 Chi vuol veder, see Chi vol vedere Chi vuol veder gigli rose e viole (Bertani), 1 5 7 4 , Chiamo la morte (Riccio), 1594 5 Chiara fontana, see Standomi un giorno solo alla fenestra Chiara più che'l chiar sol (Gorzanis), 1 5 7 0 ! Chiara Stella, Cascarda, 1 5 8 1 i Chiar'Angioletta (Aria per sonar) (G. Gabrieli), 1590 2 , 1597 2 Chiaranzana, Romanesca, 1 5 8 1 ! Chiare fresche e dolci acque (Arcadelt) (2a pars: S'egli e per mio destino; 3a pars: Tempo verra ancor forse; 4a pars: Da bei rami scendea; 5a pars: Quante volte dissi io), 1 5 6 3 , Chiarenzana (Ciarenzana), see Aquila; Archolano; Bataille (La Bataglia Chiarenzana); Bianchetta; Bolognese; Chiaranzana; Ciriolla; Geometrina; Il est bel et bon ; Lambertina ; Madalena ; Malveza ; Marsilia; Megio; Stampa Chiareta, La, see under Pavane Ch'il crederà (Chil ere il sole, Chilcre il sole) (Lasso) (2a pars of Del freddo rheno), 1 5 7 1 e , 1 5 7 2 ! · See also Si fe cristallo Ch'in fréta, [1594] 9 Chiocho, El, 1564 a Chiucia, 1560 4 Choise, The, 1 5 9 9 , Chorea, 1550 4 , 1598 1 0 . See also Dianae Christ is risen again, see Christ rising again Christ ist erstanden. See also Da pacem domine (Christ ist erstanden) Christ ist erstanden (Judenkünig), 1 5 1 Christ ist erstanden (M. Agricola), 1 5 6 1 i Christ lag in Todes banden (Liitkeman), 1 5 9 7 , Christ lag in Todes banden (Thalman), 1583 6 Christ rising again (Byrd) (2a pars: Christ is risen again), 1589 2 Christe, 1 5 3 1 s ; (Schlick), 1 5 1 2 ! . See also Missa Apostolorum; Missa de beata Virgine; Missa Dominicaiis; Missa In Dominicis Diebus; Missa L a sol fa re mi ; Missa Malheur me bat ; Missa Si dedero ; Missa Virginis Mariae Christe der du bist T a g (Liitkeman), 1 5 9 7 , Christe qui lux (M. Agricola), 1 5 6 1 i Christe redemptor (A. Cabezón), 1 5 7 8 3 Christi Corpus Ave, 1549 2 Christi Redemptor Omnium (G. Cavazzoni), 1 5 4 3 j Christum wir sollen loben schon (M. Agricola), 1 5 6 1 ! Christus excitatus est a mortuis (Burgk) (2a pars: Christus traditus est propter delieta nostra), 1583 β

LINES

AND

TITLES

Christus traditus est propter delieta nostra, see Christus excitatus est a mortuis Chy passa, see Chi passa per questa strada Chy vol vedere, see Chi vol vedere Ciarenzana, see Chiarenzana Ciel turchin, 1 5 5 4 ^ See also under Gaillarde; Saltarello Cinganesco, Capello, see Ballo : Capello Cinganesco Cinq pas, Les, see under Gaillarde Cinthia, Aria della Signora, see Aria della Signora Cinthia Circumdederunt me (Nimphes, nappés) (Josquin), 15473 Circumdederunt me viri mendaces (Clemens non Papa) (2a pars: Quoniam tribulatio próxima est), 1565!, 1 5 7 1 , Ciriola, La, see under Saltarello Ciriolla, La, Chiarenzana, 1 5 4 6 1 3 Cito euntes, see Maria Magdalena Clama ne cesses, see Missa L ' H o m m e armé super voces musicales Clamabat autem mulier, 1 5 4 6 1 4 Claros y frescos rios, 1546 1 4 Claudia gentil col tuo si dolce riso (Bertani), 1 5 7 4 , Clira Cassa, see Cara Cossa Coccocino, 1560 4 Cocquilicocq, see Coucquelecock Coeli en arrant glo, see Les cieulx en chascun lieu Colligite primum Zizania, see Domine nonne bonum semen seminasti in agro tuo Coloingne (Coloigne), see under Allemande; Branle; Gaillarde; Passamezzo; Saltarello Colonna, see Bassa Colonna Comadrina, La, see under Gaillarde Come againe : Sweet love doth now envite (Dowland), 1597 4 Come away, come, sweet love! (Dowland), 1597 4 Come che'l bianco cigno (Cara), 1509 χ Come da set'oppresso (Fiorino), 1 5 7 1 4 Come farò (Costa), 1594 5 Come faro cor mio (Mortaro), 1 5 9 9 Ü Come farò cor mio (Nola), 1570 5 Come feme, see Comme femme desconfortée Come haro donque ardire (Tromboncino), 1 5 2 ?! Come havran fin (Rore), 1568 2 , 1 5 7 7 5 , 1584¡¡, 1584 5 Come havro dunq'il frutto (Verdelot) (2a pars: Deh deh vi faise sin notta), 1 5 5 4 3 Come, heavy sleepe (Dowland), 1597 4 Come holy Ghost eternal God (Veni creator spiritus), 1599i Come lieto si mostra (C. Festa), 1 5 3 9 x Come non conosco io, see L a notte che segui l'horribil caso Come poss'io morir (Ferretti), 1 5 9 2 , Come son vivo oime (Virchi), 1 5 7 4 , Come vai mondo fior tu che beato (Tromboncino), 1511i Comedia, Aria della, see Aria della Comedia Comedia Novo, Aria della, see Aria della Comedia Novo Come'l sol fra le nuvole (Fiorino), 1 5 7 1 4 Coment peult avoir joye, see Comment peut avoir joye Com'havra vit'Amor (Ruffo), 1 5 6 3 , Commandemens de Dieu, Les, see Leve le cueur Commandements, T h e X . , 1596 4 . See also Harke Israeli and what I say Commaundementes, The X . , see Leve le cueur

INDEX

v:

FIRST

LINES

C o m m e f e m m e desconfortée (A. Agrícola), 1507 1( [1508]!, 1538 2 C o m m e la rose (Latre), 1 5 5 2 n , 1563 1 2 C o m m e la tourterelle (Monte), 1584, C o m m e n t peut avoir joye (Josquin), 1507 2 C o m m u n (Commune), see under Branle; Gaillarde; Passamezzo; Pavane; Saltarello C o m o p u e d o yo bivir que el remedio, 1547 6 C o m o quereys madre (Vasquez), 1554 3 Compasso, II, see under Passamezzo Complaint of a Sinner, They, see W h e r e righteousnes doth say C o n lacrime e sospiri (Con lachrime sospir, Con lagrime, e sospir) (Verdelot), 1536 s , 1546 3 , 1546 1 0 , 1549, Con l'angelico riso (Verdelot), 1536 g C o n lei fuss'io (Arcadelt, Berchem, Corteccia, or Ponte), 1546 6 , 1548i, 1566 2 , 1571, (attr. t o Lasso), 1573 1( 1586,. See also A q u a l u n q u e animale C o n le stelle, see Dell'auro crin C o n pavor recordo el moro (2a pars: Mi cama las duras peñas), 1536 5 C o n pianto e con dolore, 1509 l t 1 5 1 ^ C o n que la lavare, 1538^ 1547 5 , 1552„ 1552 x l C o n que la lavare (Vasquez), 1554 3 C o n quel poco di spirto, see A casa u n giorno (Fonghetti) Con quesse labra (Santuccio), 1571 4 C o n tue lusingh'Amore (Fiorino), 1571 4 Concerto, [1587],, 1587 3 , 1591 9) 1595 2 , 1596 3 Concordane musycall (Cornysh), 1530, C o n d e claros, 1538!, 1546 1 4 , 1547 5 , 1552 5 , 1 5 5 2 „ 1552,, 1 5 5 2 h , 1553 4 , 1557 2 Conditor alme (Gracia Baptista), 1552, Conditor alme siderum (Bermudo), 1555 χ Confitemini D o m i n o (Lasso) (2a pars: Narrate omnia mirabilia), 1572!, 1575 1( 1577,, 1586 6 Confitemini D o m i n o in Ecco (Banchieri), 1595 2 Confiteor tibi domine, see D e tout m o n coeur Conforme, Il (Fonghetti), 1598 a C o n f u n d a n t u r (Lasso) (2a pars: Fiat cor m e u m ) , 1572! Congratulamini mihi omnes (Lasso) (2a pars: T u l e r u n t D o m i n u m meum), 1583 4 , 1583, Congratulamini mihi omnes (Lütkeman) (2a pars: Recedentibus discipulis), 1597, Congregameli, see A n i m a m m e a m dilectam Congregate s u n t gentes (Raval), 1596Ü Congregati sunt inimici nostri (Crecquillon) (2a pars: T u a est potentia), 1583, Consolatur optime (Las Infantas), 1579 2 Constant Penelope (Byrd), 1588 2 Consulto omismus, see I n principio erat V e r b u m (1583,) C o n s u m m o la vita mia, 1531, Contadini L o m b a r d i , see under Ballo Contarina, La, see under Pavane Conte clare, see Conde claros Conte Orlando, II, see under Ballo Content (Crecquillon), 1584 2 , 1588 s Content desir (Sermisy), 1533 2 ,1568,. See also under Basse dance Content ou non, 1566 2 , 1571,, 1573! Contente vous amy, 1563i 2 Contentezza d'Amore, Balletto (Battistino), 1581! Contingat illis, 1583 2 Conto dell'Orce, II, Balletto, 1581i Contra rasun, see Contre raison Contraint, see under Branle 17*

AND

TITLES

Contrapasso, Balletto, 1581! Contrapasso nuovo, Balletto, 1581! Contrapunto, 1546 1 4 , 1547 5 , 1584 4 , 1584 5 , 1593„ 1593 8 Contrapunto sobre el tenor de la baxa, Fantasia, 1547 6 Contre raison, 1546 18 Contre raison (Sermisy), 1531 2 , 1546 3 , 1562 3 Contreclare, see C o n d e claros Copia Felice, Balletto, 1581i Coppia Cappelli, Balletto, 1581 x Coppia Matthei, Balletto (Battistino), 1581 χ Cor m e u m , see Exaudí D e u s Cor mio se per dolore (Vecchi), 1594 5 Corante, see under Ballo Coranto, La, see under Courante Cordeliers, see under Branle Cornemuse, Branle de Poitou en m o d e de, see Branle: Poitou Cornetto, see under Gaillarde Cornus, Les, see under Gaillarde Corona de mas hermosas, 1547 5 Corps s'esloigant (Certon), 1562 1 0 Corrente, see Courante Corrette tutti quanti (Arpa), 1570 s Corrette tutti quanti (Ferretti), 1584, Corriero, Il (Fonghetti), 1598 3 Corten espadas afiladas lenguas malas, 1547 s Cortesa, see under Pavane Cortesa, La, see G a u d e n t in coelis Cortese, Canzon dita la (Merulo), 1592, Cortese, Il (Fonghetti), 1598 s Cortigiana, La, see L a mia amorosa Cosa n o n vada (Vecchi), 1594 6 Cosa rara, see Toccata preludo sopra il liuto cosa rara Cosi confuso e il stato (Tromboncino), 151 Cosi le chiome mie, see Vestiva i colli Cosi m i guida amor (Arcadelt), 1548i Cosi moriro (Cosi morire), see Tirsi morir volea Cosi nel mio cantar (Galilei), 1563, Cosi soave stile (Anerio), 1 5 9 1 u Cosi sol d ' u n a chiara, see H o r ch'il cielo e la terra Cosi u n leggiadro canto ( G . M . Nanino), 1595i„ Cosi vuol mia chiara stella, 1570 5 Cosi vuol mia ventura, see Per pianto la mia carne (Baccusi) Costante, La, see under Pavane Costante, II, see Fin ch'avrò vita Coucquelecock, 1569, Countess of Sussex Galliard, T h e , see under Gaillarde Coupé, see under Branle Courant, see under Branle Courante : (Corrente, Courrante, Cuorrente, Currendo), 1549 8 , 1569,, 1570 3 , [1573],, 1584„ 1589,, 1592,, 1594 5 Coranta, La, 1599 e . See also Pavane: Belle qui tiens ma vie Duc, Courante del, 1569„ 1570 3 , 1578 4 , 1582 s Francese, 1546 5 , 1593,, 1599H Montbuisson, Courante de Victor de, 1594 s Roy, La courante du, 1577, Vesta, Corrente, 1586 2 See also Allemande: Courante; Ballo: C o r a n t e ; Branle: Courant Court, see under Allemande ; Ballo Covarde cavaliere (Vasquez), 1554 a Cradle, T h e , 1599,

INDEX

v:

FIRST

Crainte et espoir (Baston), 1568¡¡, 1585 4 (attr. to P. Guerrero) Creator omnium (Willaert), 1574 5 Creator omnium Deus terribilis et fortis, see T u a est potentia (Crecquillon) Credeva che la fiamma (Arpa), 1570 ä Credidi propter quod loquilut (Lasso) (2a pars : Vota mea), 1584 β Credo, see Missa de beata Virgine; Missa Faysant regrets; Patrem Credo Cardinalis, see Missa Apostolorum Credo dominicalis, see Missa Dominicalis Creede, T h e , see All my beliefe and confidence Cremonese, II, see under Saltarello Cromato, El, 1564 β Crucifixus (Crucifizus) (Berchem), 1591,; (Carpentras), 1546 2 ; (Certon), 1591,; (Fuenllana), 1554 3 ; (Guami), 1591,; (Lasso), 1591,; (Massaino), 1591,; (Scandello), 1591,. See also Missa Apostolorum ; Missa Ave Maria ; Missa de beata Virgine ; Missa Dominicalis; Missa Malheur me bat; Missa Quem dicunt homines; Missa T u es vas electionis; Patrem Angelorum; Patrem Cardinalium; Patrem In Dominicis Diebus Crudel come mai potesti (Tromboncino), 1509 1 Crudel fugge se sai (Cara), 1517 1 Crudel lascia sto core (Costa), 1594 5 Crudele accerba, see Mia benigna fortuna Cruell wilt thou persever (Morley), 1597 10 Cueur angoisseux, see under Basse dance Cuidez vous que dieu (Cuidez de dieu nous faille) (Richafort), 1552„ C u m appropinquasset (Gascongne), 1554 3 C u m dederit dilectis, see Nisi dominus (Le Heurteur, Senfl) C u m invocarem (Quand je t'invoque), 1553 3 Cum invocarem (Verdelot), 1547 s , 1557¡¡ (attr. to Henestrosa) C u m rides mihi (Tromboncino), 152 ?2 C u m sancto spiritu, see Missa Ad f u g a m ; Missa de beata Virgine C u m sancto spiritu in gloria Dei patri, Amen, 1575 x C u m transiret Jesus quoddam castellum (Gombert), 1583 e C u m q u e vidisset ventum, see Domine si tu es, jube m e venire ad te Cuorrente, see Courante Cupido hat, 1512! Cupido Triumphant, 1568 β Curioso, II, see Dimmi ch'è del mio core Currendo, see Courante Cursed be the time (Cavendish), 1598 2 Cuttings comfort (Cutting), 1596 5 Cypriano, see under Gaillarde

Da bei rami scendea (Arcadelt) 1548 1 , 1563, (4a pars of Chiare fresche e dolci acque), 1564 8 ,1583 4 (attr. to Clemens de Bourges) Da cantar, see Aria da cantar Da che si part'il sol (Gorzanis), 1570 1 D a cosi dotta man (Palestrina), 1589 β , 1591 14 Da gaudiorum praemia, see Tibi laus tibi gloria D a indi in qua, see Guidommi in parte il ciel Da Jesus an dem Creutze stundt (Lütkeman), 1597, Da lei ti vien, see Quando fra l'altre donne (Willaert) Da mihi intellectum, see Legem pone mihi Domine Da mille gravi affanni (Contino), 1584 5

LINES

AND

TITLES

Da pacem (Parabosco), 1540 a , 154?, Da pacem. See also Give peace in these our daies O Lord Da pacem (Schlick: 3 settings), 1512 χ Da pacem domine (Lasso), 1583 4 Da pacem domine (Raval), 1596 x l Da pacem domine (Christ ist erstanden), 1538 2 Da poi ch'io viddi (Mazzone), 1570 s Da quei bei crini (Donato), 1568 2 , 1584 5 Da tuis fidelibus (Las Infantas), 1579 2 Da virtutis meritum (Las Infantas), 1579 2 Dal di ch'io fei partita (Fiorino), 1571 4 Dal laccio d'oro (Porta), 1568 2 Dal più bel viso (Padovano) (2a pars: Dalle soavi), 1584 5 Dal primo giorno (Torti), 1594 6 Dal tempo che canta il Cucco (Il Proverbio) (Cavacelo), 1597 2 Dale belle contrade (Rore), 1584 l Dall'estremo Orizonte (Rore), 1584! Dalle soavi, see Dal più bel viso Dame acogida en tu hato, 1576 t Dame de Beaulte (Morel), 1544^ 1547 4 Dame par ta rudesse, 1583 2 Dame sante (Entraigues), 154 Dames d'honneur (Sandrin), 1547 3 , 1562 10 Dames qui au plaisant son (Lupi Second), 1568 β , 1570 3 , 1578 4 , 1582 β Damon and Phillis squared (Morley), 1597 10 Damon e Filli insieme, Canzonetta (Vecchi), 1590 β D ' a m o u r je suys, see D'amours je suis desheritée D ' a m o u r me plains (Pathie), 1545 3 , 1546 9 , 1547 9 , 1552h, 1553 : , 1554„ 1556!, 1556 2 , 1562 3 , 1562„, 1563 12 , 1564 1( 1568„ 1571 6 , 1573 3 , 1574 5 , 1577„, 1582 5 , 1583 2 D'amours je suis desheritée, 1529 3 , 1544 2 , 1545 3 , 1546„, 1547 4 D'amours me plein, see D'amour me plains Danck sagen wir alle (2a pars: Den sollen wir alle), 1583 2 Dancket dem Herren denn er ist freundtlich (Köler) (2a pars: Der Herr hat nicht lust an der stercke des Rosses; 3a pars: Der Herr hat gefallen an denen die ihn fürchten), 1583 6 Dancket dem Herren denn er ist sehr freundlich, 1571,, 1583 2 Dancket dem Herren inn Ewigkeit, 1571! Dansar vid'io (M. Ferabosco), 1594 5 Danse de Hercules, see Forze d'Ercole Danse du Roy, see Roy, Danse d u Dantz, see Tantz Dantz Megdelein Dantz, 1583 2 Danza, La, 1564 8 Danzulina e luchia peri, La (Vinci), 1560 4 Dapoi che sotto il ciel (Galilei), 1563, D a r u m b wünsch ich in zucht und ehren, see Ein hitzigs Feur mein hertz thut bringen Das Kind lag in der wiegen, 1538 2 Das lang (Senfl), 1538 2 Das mein betrübtes Hertz (Haussmann) (Nach T a n t z : Schau an mein gemüt), 1599 5 Das nessel Kraut, 1583 2 . See also Sih Paurenknecht lass Tröslein stahn Dass ich mein Leben dir gantz ergeben (Haussmann), 1599 6 Date la strad'o voi, 1570 6 Date siceram morentibus (Sermisy), 1558 5 , 1562 3 Datemi pace (Rore), 1577 5 De, El, see under Passamezzo

INDEX

v:

FIRST

LINES

De antequera sale el moro (Morales), 1554 3 De che parlera piu la lingua mia (Cara), 1509 l De donde venís amore (Vasquez), 15475 De fusse almen si nota (Tromboncino), 152 De hazer lo que jure, 15475 De la Tromba Pavin, see under Pavane De la Virgen que parió 1557 2 De leva su brunetta see under Saltarello De los alamos vengo madre (Vasquez), 1554 3 De Iyvres plains, see Je ne fay De mes ennuys (De me sanui, De mesa nui) (Arcadelt), 155Ó!, 1570 a , 1578 4 De mon triste, 1547,, 1563 12 De mon triste desplaisir (Richafort), 1547 2 , 1547,, [1547]j 1 . See also Fantasia de mon triste, 15472 De nos deux cueurs (Guyon), 15332 De ore prudentis (Lasso), 15865 De plusiers choses (Lasso), 1572! De Post, see Post, De De profundis clamavi. See also Du fond de ma pensée (Le Roy) De profundis clamavi, 1 5 9 2 n De profundis clamavi (Mouton), 1558 s De profundis clamavi (Senfl) (2a pars: A custodia matutina uscque ad noctem), 1583β De qui plus tost (Sandrin), 1554 e , 1559 4 , 1562 10 , IS865 De retourner, 15293, 1531 3 De tant de peine (Arcadelt), 1575 3 De tous biens. See also 1502! and Ricercare de tous biens, 1507, De tous biens, 1538 2 (attributed to Hayne) De tous biens (Ghiselin), 15367 De tous biens (Hayne), 1507, De tout mon cueur (Lasso), 1571 e De tout mon coeur (Confiteor tibi domine) (Le Roy), 1552 2 De toy me plains, 1529 s , 1531 2 De trop penser (Jacotin), 154 ?6 De vos sechurs, see De vous servir De vostre amours, 15562 De vous me plains (response to D'amour me plains) (Pathie), 1583 2 De vous servir (Sermisy), 1533 a , 15463, 1546 10 , [1547] u Deare, if you change (Dowland), 1597 4 Decantabat populis in Israel (Clemens non Papa), 15834 Decrevi, 1599 6 Deduc quasi torrente, see Hierusalem luge Deh cant'Aminta (Vecchi), 1597 14 Deh chi me sa dir novella (Pesenti), 1511 ! Deh deh vi faise sin notta, see Come havro dunq'il frutto Deh dove senza me (Fonghetti), 1598 a Deh ferma amor costui (D. Ferabosco), 1566 2 , 15716, 1573j (attr. to Lasso) Deh fugite o mortali (Arcadelt), 1546 17 Deh hor foss'io, 15682 Deh lascia l'antro ombroso (Donato), 15845 Deh lasciam dunque (Mei), 1 5 9 2 n Deh lasciatemi star tanti pensieri (Primavera), 1570 6 Deh non fuggir (Cera), 1563, Deh non piu deh non piu mo (Cara), 1509! Deh Pastorella cara, Napolitana (Facoli), 1588 3 Deh per dio non mi far torto (Tromboncino), 1511! Deh porgi mano alla mia fragil barca (Ruffo) (2a pars: Sdegno regge il timon), 1568 2 , 15845 Deh prega Amor, Canzonetta (Vecchi), 1590 e

AND

TITLES

5 "

Deh si deh no deh si (Cara or Tromboncino), 1509j Deh torna à me mio Sol, 1598 3 Dein freuntlichs gesicht (Finck), 1546, Dein hübsch und schön, 1549„ Dein murren macht, 1529A Del crud'amor, 1584, Del crud'amor (Regnart), 1584g Del freddo rheno (Lasso), 1571 β) 1572ι· See also Ch'il crederà ; Si fe cristallo Delieta inventutis meae, see Erravi sicut ovae quae periit Dell'auro crin (Lasso) (2a pars: Con le stelle), 1594 6 Delle vostre sciocchesse (Costa), 1594 s Dellestarpe, see under Pavane Demandes tu douce ennemie (Demander tu) (La Grotte), 15713, 1574 2 Demandez vous (Crecquillon), 15572 Den liebsten Buhlen den ich hab (Scandello), 1575! Den lustelijeken mey, 1545 3 , 1546 l e , 1547,, 1563 12 , 1564,, 1568 e , 1570 a , 15826 Den raij, see Raij, Den Den sollen wir alle, see Danck sagen wir alle Dentzlein, see Tantz Deo gratias, 1531 s Deposuit (Morales), 1554 3 . See also Magnificat Der Ehelich stand ist billichgenant (Snefl), 1558 6 Der Engel sprach zu den Hirten (Lütkeman), 1597, Der heilig herr S. Matheis schleust uns auff dy thür, 1546, Der Herr hat gefallen an denen die ihn fürchten, see Dancket dem Herren denn er ist freundtlich Der Herr hat nicht lust an der stercke des Rosses, see Dancket dem Herren denn er ist freundtlich Der hund (Isaac), 1538 ä Der hund mir vor dem Hecht umb gat, 1536 e , 1544 1( 1547 4 Der Liendel alle tag, der war (J. Paix), 1583 4 Der Liendel alle tag, trat zü der (Vento) (2a pars: Lauff mein lieber Liendel lauff), 1583 4 Der Mey bringt uns die Blümlein viel (Lasso), 1575! Der Wein der schmackt mir also wol (Lasso), 1572!, 1577, Der ziegler in der hecken (Der ziegler in der ave mit seiner hawen), 1540^ 1544x Des qu'adversité (Deus noster refugium) (Certon), 1554 s Des qu'adversité (Deus noster refugium) (LeRoy), 1552 s Descendi in ortum meum (Jachet), 1547 a Descendit angelus, 1568, Descendit Angelus (Morales), 1552, Desiderata (Bendusi), 1553 2 , 15552 Désir che tanto salii (Costa), 1594 s Désir m'assault (Manchicourt), 15332 Desperata (Despetata), La, see under Gaillarde; Passamezzo ; Pavane ; Saltarello. See also Disperata Desposose te tu amiga juan pastor, 1547 5 Dessus le marche d'arras (Willaert), 15304, 1531 2 D'estre amoureux, 1529 3 , 1549 8 Deul dobble duel, see Dueil double dueil Deus autem noster, see In exitu Israel de Egypto (Josquin) Deus canticulum novum (Deus cantionum novum), see Deus canticum novum Deus canticum novum (Lasso) (2a pars: Quia delectasti), 1566 3 , 1571«, 1573i, 15865 Deus canticum novum (Lupus), 15473, 1552n Deus deorum deo, see Le Dieu le fort

512

INDEX

v:

FIRST

LINES

Deus deus meus (Boyleau) (2a pars of Domine ne longe facias), 1576, Deus deus meus (Monte), 1589 β Deus deus meus ad te, see Revenge moy Deus in adiutorium m e u m intende (Clemens non Papa) (2a pars: Ecce in tenebrie sedeo), 1583 β Deus in adiutorium m e u m intende (Tromboncino), 1509, Deus judicium regi, see T e s jugementz Deus noster refugium (Lasso), 1577 e . See also Des qu'adversité Deus qui sedes (Lasso), 1583 β Deus qui sedes (Walther), 1533, Deus t u o r u m militum (G. Cavazzoni), 154 ?2 Deus Virtutum convertere (Crecquillon) (2a pars: Et perfice eam quam plantavit dextera tua), 1583 6 Deux dames, see under Allemande Deux trois aes, see under Allemande Deyn murren macht, see Dein murren macht Dezilde al cavallero que, 1552 7 D h e porgi mano alla mia fragil barca, see Deh porgi mano alla mia fragil barca Di berettino (Gorzanis), 1570, Di che cor mio (Nanino), 1591,, Di ch'ella mossa, see Ahi chi mi rompe il sonno Di che ti lagni Amante (Scaletta), 1591 l e Di men stupor saria (Contino), 1584 5 Di pensire (Regnart), 1584 8 Di pianti e di sospiri (Costa), 1594 6 Di pianti e di sospiri (Paratico), 1599,, Di tempo in tempo (Rore), 1568, Di tempo in tempo (Rore), 1577 5 , 1584, Di virtù di costumi (Rore), 1584, Diana, Canzon detta la (Pellegrini), 1599 d Dianae, Chorea (Levrart), 1568 e Dibedibedon la la la la laissons melancolie, 1592 e Die nobis Maria, Fabordon (A. Cabezón), 1557 2 Dich als mich selbs, 1532 ä , 1571, Dichosa fue mi ventura, 1547 5 Die aller holdseligkeit auff erden (Peschin), 1558 s Die alte Schwiger, see Mein Man der ist in Krieg zogen (Utentaler) and under Tantz Die Brunlein die da fliessen (Isaac), 1532 2 , 1536 e , 1536,, 1538 2 Die Brunlein die da fliessen (Senfl), 1562 3 Die Liebe ist Meisterin (Amour est u n grand maistre, Die Lib die ist ain Maister) (Arcadelt), 1570 3 , 1578 4 . See also Amour est un grand maistre Die Lustelyche Mey, see Den lustelijeken mey Die Megdlein sind von Flandern, see under T a n t z Die mich erfrewet ist lobenswerth, 1571,, 1583 2 Die not sucht weg (Senfl), 1540, Die prünlein die da fliessen, see Die Brunlein die da fliessen (Isaac) Die schöne Sommerzeit, 1583 2 Die weyber mit den flöhen (Senfl), 1558 s Dies est laetitiae (M. Agricola), 1561, Dies sanctificatus, see Hodie nobis de coelo Dieu inconstant (Arcadelt), 1554 4 Dieu qui conduis (Gentian), 1562, 0( 1574, Dieux, Les, see under Gaillarde; Pavane Dieweil umbsonst jetzo alle Kunst (Forster), 1571, Diffugere nives, 151 ?, Dignare m e laudare te (Gombert) (2a pars: O regina poli), 1546 4 Dignare me laudare te (Maillard), 1551 2 Dilectus meus, 1562 a Dilectus meus loquitur, 1586 2 Dilectus tuus, see Vado et circuibo

AND

TITLES

Dilexi quoniam (Maffus) (2a pars: O domine libera animam meam), 1544 s , 1556 2 Dilexi quoniam exaudiet (Briant) (2a pars : O domine libera animam meam), 1558 5 Diligam te Domine (A. Gabrieli), 1593, Dime a do tienes las mientes, 1546, 4 Dime manso viento (Cevallos), 1576, Dimel su presto, see under Saltarello Dimmi ch'è del mio core (Il Curioso) (Gastoldi), 1594, Dimmi donna crudel, 1584 e Dir si può ben, see Ite caldi sospiri Dirige nos Domine (Lasso), 1591, Dis fassnacht solt ich hoch auff springen (Sporer), 1536, Disant adiu madame (Compère), 1536, Disantal, 1544 2 Discedite à me (Lasso), 1591, Discite à me cuia mitu sum (Clemens non Papa) (2a pars: Quia qui se exaltat humiliabitur), 1583 e Dismonta del cavallo, see under Saltarello Disperata, La, 1546,, 1564 8 . See also Desperata Dispettosa, La, see under Pavane Dissi a l'amata mia (Marenzio), 1591 2) 1594 6 Dit le Burguygnon, 1501, Ditemi o diva mia (Trojano), 1570 5 Divertimento, [1587] 2 Diviencela, see Dont vient cela Divini occhi sereni (Verdelot), 1536 8 Divites eguerunt, see Gustate et videte Divitias et paupertatem ne dederis mihi (Jachet), 1575,, 1583 g (attr. to Wert) Dix Commandements, Les, see Leve le cueur Dixi sapientiae, see Super salutem Dixit dominus, 1558 s ; (Bovicelli) (text begins " S e d e a dextris meis"), 1594 3 ; Fabordon (Henestrosa), 1557 2 ; (Pisador), 1552, Dixit insipiens in corde, see Le fol maling Dixit Jesus Mulieri Cananeae (Dressler), 1583 β Dixit Joseph Undecem fratribus suis (Lasso) (2a pars : Nunciaverunt Jacob), 1583 e Dixit mater eius ministris, see Nuptiae factae sunt in Cana Galilaeae Doeul double doeul, see Dueil double dueil Doi stanchi, 1553 2 , 1555 2 Dolc'amorose e leggia, 1570 5 Dolce amorose (Ferretti), 1592 β Dolce amoroso foco, 1511, Dolce Amoroso Foco, Balletto, 1581, Dolce Fiai mortir (Palestrina), 1582, Dolce fiamella (Nanino), 1592 e Dolce ire dolce sdegni (Tromboncino), 1517, Dolce mio ben amor mio caro (Striggio), 1584 3 Dolce ritorno amor (Striggio), 1568 2 , 1584, Dolce Signoria mia (Bertani), 1574 e Dolci colli fioriti, 1570 5 Dolci rime leggiadri (Arcadelt), 1546,, Dolci rosate labbia (Renaldi), 1591 2 Dolci sospiri, 1568, Dolci sospiri (Regnart), 1584 e Dolci suspiri, see Dolci sospiri Dolent depart, 1529 3 , 1531„ 1545 3 , 1547, Dolermi sempre voglio (Tromboncino), 1511, Dolor se'l mio dolor (Donato), 1584 s Doloroso, Il (Morley), 1595„ Dolsi sospir, see Dolci sospiri Domine ad te confugi, 1594, 0 Domine da nobis auxilium (Crecquillon) (2a pars : Tibi subsecta sit), 1589 β

INDEX

v:

FIRST

LINES

AND

TITLES

513

Domine Deus (Certon), 1591, Donna se nel tuo volto (Marenzio), 1589 e , 1591 l e Domine Deus (Padoano) (2a pars: Exaudí), 1599 l x Donna si fiera stella (Verdelot), 1547 s Domine deus agnus dei, 1531 s ; (Lasso), 1591,. Donna s'io vi son lunge (Scaletta), 1591 1β See also Missa Apostolorum; Missa Ave Maria; Donna sol per voi, 152 Missa Dominicalis; Missa In Dominicis Diebus Donne leggiadr'e e voi vaghe citelle (Primavera), Domine Deus omnipotens (Arcadelt), 1547 3 , 1 5 5 2 n 1570 6 Domine deus rex coelestis, 1531 6 . See also Missa Dont vient cela (Dont vienzela), see also under Apostolorum; Missa de beata Virgine; Missa Gaillarde Dominicalis; Missa In Dominicis Diebus; Dont vient cela (Sermisy), 1529 s , 1530 6 ,1531 s , 1540^ Missa Virginis Mariae 1544i, 1544 2 , 1545 3 , 1546 9 , 1547 4 , 1547 6 , 1547„ Domine exaudí orationem, see Seigneur Dieu oy 1563j 2 , 1564,, 1568», 1570 s , 1578 3 , 1582 6 Dont vient cela, Bergerette, 1551 s l'oraison mienne Dopoi longhe fatiche et longi (Carretto), 1511 x Domine in voluntae tua praestitisti decori meo, see Dorisanen Dantz, see under T a n t z Exaltabo te Domine Dormendo u n giorno (Verdelot), 1547 6 , 1553!, Domine Jesu Christe (Monte), 1582 χ Domine miserere (Wilde), 15S6 2 1564 e , 1568„ 1578 a Domine ne in furore tuo, 1544 3 . See also Je te supplie Dormiva amor (Ferabosco), 1594 5 o Sire Dort niden an dem Rheyne (Peschin), 1558 s D'où vient cela, see Dont vient cela Domine ne longe facias, see Deus deus meus (BoyDouble, see under Branle leau) Douce, La, see under Gaillarde ; Passamezzo Domine nonne bonum semen seminasti in agro tuo Douce maistresse touche, 1571 3 , 1574 2 (Herpol) (2a pars: Colligite p r i m u m Zizania), Doulce memoire (Sandrin), 1547„, 1549„ 1549„, 1583 e 1552 11 , 1553 6 , 1556 2 , 1562 3 , 1562 10 , 1563 12 , Domine non sum dignus (Victoria) (2a pars : Miserere 1568 e , 1568,, 1570 3 , 1571„, 1573 a , 1574„ 1577, mei), 1594 5 (attr. to Rogier), 1578 3 , 1578 4 , 1582 5 , 1583 2 , 1584 2 Domine pater (Gombert), 1554 3 Dousame, see under Allemande Domine quando veneris, 1592 10 Dove tocca costei (Nasco), 1563, Domine quid multiplicati sunt. See also O Seigneur Down in a valley (Cavendish), 1598 2 que de gens (Domine quid multiplicati sunt) D r u m b ist mein hertz, see Venus hat mir gar vest Domine quid multiplicati sunt (Binellus), 1583 e gebildet ein Domine quid multiplicati sunt (J. Paix), 1583 4 Domine quincque talenta (Lasso), 1574 5 D r u m b kommen wir, see W e n n wir in höchsten Domine quis habitabit in tabernáculo tuo (Courtois), nöten sein 1546 4 D u bien que l'oeil (Sermisy), 1531 2 Domine serva nos perimus, see Ingressus erat Jesus D u bon du cueur, 1545 3 , 1547, navim D u corps absent (Lasso), 1568,, 1574 2 Domine si tu es, jube me venire ad te (Gombert) D u feu d'amours (Jacotin), 1530 4 (2a pars: C u m q u e vidisset ventum), 1565 1 D u Fíensela, see Dont vient cela Domine si tu es (Maillard), 1551 2 D u fond de ma pensée (Certon), 1554B Domini est terra (Clemens non Papa), 1563 12 . D u fond de ma pensée (De profundis clamavi) (Le See also La terre au Seigneur Roy), 1552 2 Dominicalis, see Missa Dominicalis D u fond de ma pensée (Lasso), 1574 6 Dominus custodii te, see Levavi oculos meos D u fons de ma pensée, see D u fond de ma pensée (Gombert) D u hast mich wollen nemmen, see under T a n t z Dominus memor fuit, see In exitu Israel de Egypto D u moy de may, see Ce mois de may (Josquin) D u wentzela, see Dont vient cela D o m u s mea domus orationis vocabitur, 1583 e Duc, II, see under Branle; Courante; Gaillarde; Don Frederico, see under Allemande Saltarello Dona, La, see under Gaillarde ; Pavane D u c Mathias, see under Allemande Dona mi fai morire, see under Saltarello Duca, II, see under Pavane Donde son estas serranas, 1547 5 , 1550 l Duca vi voglio dir (Gorzanis), 1570i Donee ponam inimicos tuos, Fabordon, 1554 3 Ducale, see Bassa Ducale Donna ben ch'io (M. Ferabosco), 1594 5 Duchessa (Ducessa), La, see under Passamezzo; Donna ben posso (Regnart), 1585 e Pavane; Saltarello Donna che sete tra le belle bella (Verdelot), 1536 β Duda, see under Ballo Donna ch'ornata sete (Rore), 1568,, 1577 s Duecht en iuecht, see under Branle Donna crudel, 1578 4 , 1582 5 Dueil double dueil (Lupi), 1546 18 , 1549 2 , 1 5 5 2 n , Donna crudel (Ferretti), 1584 β , 1592 e 1556 2 , 1562 3 , 1562 10 , 1563 12 Donna donna tue chiome (Stabile), 1589 β , 1591 14 Duelete de mi señora (Vasquez), 1554 3 Donna gentil (Nanino), 1584 s Dulces exuviae, 1546 14 Donna gentil non so (Gorzanis), 157ÛJ Dulcís amica dei (Prioris), 1529 3 , 1531, Donna gentil voi siete (Locatello), 1589 8 , 1591 l e D u m complerentur (Arcadelt), 1556 2 , 1575!, 1583 e Donna la bella mano (Arcangelo da Bergamo), 1 5 9 9 u D u m complerentur (Basurto), 1552, Donna leggiadra, e bella (Verdelot), 1536 8 D u m complerentur (Lütkeman), 1597, Donna leggiadr'e bella (Bellasio), 1592 x D u m complerentur (Palestrina) (2a pars: D u m ergo Donna nel vostro volto (Bellasio), 1 5 9 1 n essent), 1583 4 Donna non me tenete, 152 D u m deambularet dominus (Crecquillon) (2a pars: Donna non trovo pace in alcun loco (Bertani), 1574 e Vocem tuam audivi), 157ÓJ Donna se'l cor legasti (Anerio), 1589 8 , 1591 l e D u m ergo essent, see D u m complerentur

INDEX

v:

FIRST

LINES

D u m transisset Sabbathum (Cleve) (2a pars: Et valde mane una Sabbathorum), 1583 β D u m transisset Sabbathum (Hollander) (2a pars: E t valde mane), 1573 3 D u m transisset Sabbathum (Tonsor) (2a pars: Et valde mane), 1583, D ' u n coeur loyal, 1584, D ' u n gosier machelaurier ( D ' u n grosier) (Cléreau), 15 71 3 , 1574 2 D ' u n seul soleil (Janequin), 15S2 g , 1562 9 , 1574, D ' u n si bel foco (Wert) (2a pars: Scorgo tant'alto illume), 1584 β , 1593, D u n spiritu triste (P. Guerrero), 1554 3 , 1568 2 , 1584, D ' u n g amy, 1546 9 D ' u n g autre amer (Dung autramer) (Ockeghem), 1507 2 D ' u n g nouveau dart, 1531] D ' u n g petit mot, 1566 3 , 1571„ 1573! D ' u n g seul regard, 1563 12 Duo (Bicinia), 1521J, 1545 2 , 1546 2 , 1546 12 , 1546 14 , 1551!, 1554 3 , 1559 e , 1560 2 , 1560 4 , 1561 1; 1562 β , [1562] 12 , 1565 4 , 1568 2 , 1568 4 ,1577 2 , [1577],, 1578 3 , 1578„ 1579 4 , 1584 4 , 1584 5 , 1584 9 , 1585,, [1586],, 1586,, 1586 e , 1587 4 , 1588 4 , 1589 4 , [1590] 3 , 1590 4 , 1590u, 1590i 2 , 1591„ 1591 8 , 1594 e , 1595 4 , [1595] s , 1597 8 ,1598 3 , 1598 5 , 1598 8 , 1591 D.W. See also Ave maris stella, 1578 3 , and under Bataille (La Bataglia Chiarenzana) D u o de Benedicta, see Per illud ave Duo rogavi te, see Verbum iniquum Duo Seraphin (Lütkeman), 1597, Dura partita, La, see under Passamezzo Dura passion che per amor, 152?! Duranda, La, 1584 10 Durandarte (2a pars: Palabras son lisongeras), 1 S36 s Durch Adams Fall ist ganz verderbt, Fantasia, (Reymann), 1S98 10 D u r m e n d o un jorno, see Dormendo u n giorno Durmiendo yva el señor (2a pars: El agua, con la tormenta), 1546 ΐ 4 D u r o mal terrible llanto (Cevallos), 157ÖJ Duviensela, see Dont vient cela

E E E E

da verdi boschetti (Giovanelli), 1595 10 dove vastu o bon solda, 1553 2 , 1555 2 i travagliati amanti (Macque), 1595i 0 la dolc'armonia si fa serena l'aria, see Qual dolcezza giamai E le celesti sfere (Mei), 159S 10 E me levai (Azzaiolo), 1570 a , 1578 4 E ne la face (E nella face), see Era il bel viso suo E qual cervo ferito, see I dolci colli E quando andare tu al monte, see Quando andaratu al monte E se qualche pietà see Ite rime dolenti E se tal'hor affetti (G. M . Nanino), 1595i„ E sopra gl'arbuscelli (Macque), 1595i 0 E u n sol in cielo (M. Ferabosco), 1594 s E vivo a mio despetto (El Passionao) (Gastoldi), 1594, E voi muse gradite (B. Nanino), 1595 10 Earles Pavane, see under Pavane Ecce Agnus Dei, see Ecce Maria genuit nobis Salvatorem Ecce Angelus de coelo (Gallus), 1598 4 Ecce apparebit Dominus (Vaet) (2a pars: Jerusalem gaude), 1583 e

AND

TITLES

Ecce appropinquabit hora, see Tristis est anima mea Ecce Dominus veniet, 1583, Ecce in tenebris sedeo, see Deus in adiutorium m e u m intende (Clemens non Papa) Ecce Maria genuit, 1583 2 Ecce Maria genuit nobis Salvatorem (Lasso) (2a pars: Ecce Agnus Dei), 1583 e Ecce mysterium (Eustachio Romano), 1521! Ecce quam bonum (Daser), 1589 β Ecce quam bonum (Holborne), 1599 β Ecce quam bonum (J. Paix), 1589 β Ecce sacerdos magnus (Banchieri), 1595 2 Ecce sic benedicetur homo, see Beati omnes Ecce video celos apertos (Craen), 1536,, 1538 2 Ecco che pur dopo l'assentia amara (Pace), 1584 5 Ecco ch'io lass'il core (Striggio), 1584 6 Ecco colui che marde (Cara), 152?! Ecco del canto (B. Nanino), 1595 10 Ecco la fide ancella (Rampollini), 1539i Ecco signor il T e b r o (Moschini), 1539! Ecco signor Volterra (Masacconus), 1539! Ecosse, see Escosse Edel bloem bouen alle vrouwen, 1568 e Een aerdich trommelaerken (C. G.), 1563 12 Een amoureux fiereghelate, 1568 e , 1570 3 , 1582 5 Een frölic wesen, set Een vrolic wesen Een meysken op een ryuierken sadt, 1568 e Een schilderken fraey, 1568 e Een venus dierken, 1568„ 1570 3 , 1582 5 Een vrolic wesen (Barbireau, Isaac, or Obrecht), 1529 2 , 1533i, 1538 2 , 1545 3 , 1547„ 1562 3 Een vrolic wesen (Ghiselin), 1538 2 Een vrolijck beelt, 1568, Egmont, see under Allemande Ego autem semper sperabo (Handel), 1591, Ego dormio et cor m e u m vigilai (2a pars : Anima mea liquefacta est), 1575 χ Ego dormivi, see Ego sum qui sum Ego rogabo (A. Gabrieli), 1593, Ego sum qui sum (Lasso) (2a pars: Ego dormivi), 1577, Ego vero egenus, see Exultent et letentur Ego vero egenus et pauper sum, see Servus tuus ego sum Egressus Jesus (Wert), 1589, Ehr L o b und Danck mit hohem fleis, 1571!, 1583 2 Ein Abt den wöll wir weyhen (Senfl), 1558 5 Ein büler schmaycht, 1533 t Ein feste burg (M. Agricola), 1561J Ein Fräulein sprach ich freuntlich zu, see Ein Magd, die sagt mir freundlich zu Ein Fräulein zart hab ich mir ausserkorn (Haussmann) (Nach T a n t z : Bleib nicht lang auss), 1599, Ein frölich wesen, see Een vrolic wesen Ein glück ohn Neide (Mancinus), 1597, Ein guter Wein ist lobenswerdt (Lasso), 1577, Ein gut geselle, 1546 9 Ein Henlein weis mit grossem fleis, 1571 1583 2 Ein hitzigs Feur mein hertz thut bringen (Haussmann) (Nach T a n t z : D a r u m b wünsch ich in zucht u n d ehren), 1599 5 Ein Jungfrau mir gefällt (Haussmann), 1599 6 Ein Kindelein so löbelich (Thalman), 1583, Ein Magd, die sagt mir freundlich zu, 1532 2 Ein Magd, die sagt mir freundlich zu (Malchinger or Senfl), 1532 2 , 1544 v 1571i, 1583 ? Ein Maydt die sagt mir zu (Ein Meidlein sprach mir freundlich zu, Ein Meidleyn sagt mir freuntlich zu), see Ein Magd, die sagt mir freundlich zu

INDEX

v:

FIRST

LINES

AND

TITLES

SIS

Ein schönes weib erfreuet mich (Ich weiss ein schönes Enixa est puerpera, see Castae parentis viscerae weib) (Bruck), 1538 2 Ennelein von Torgau, see T a n t z : Annelein von El abismo del peccado, 1557 2 Torgau El agua, con la tormenta, see Durmiendo yva el Entlaubet ist der walde (Entlaubet is uns der walde) señor (Stoltzer), 1532 2 , 1536 e , 1544^ 1544 2 , 1547 4 El Burato, see Burato Entrada, see Intrada Entrada de una baxa, Fantasia, 1547 s El Ciel Turchin, see Ciel turchin Entre mes bras, 1546 10 El converrà ch'io mora (Tromboncino), 1509! Entre tous viellartz, 1546 1β , 1552ϋ, 1563i 2 El neye plaisir, see II n'est plaisir Entre vos gentils galans, 1578 4 El que sin ti bivir (Fuenllana), 1554 3 Entre vous gentils galants, 1570 3 Elend bringt peyn (Ducis), 1523 2 Entrée, 1582 3 . See also Ballet Elend du hast umbfangen mich, 1533 χ Entrée du fol, 1551 8 Elend ich rieff (Bruck), 1533 t Er setz, Fantasia, 1597, Elend ich rieff und seuffs so tieff, 1571!, 1583 2 Elisabet Zacharie (Lafage) (2a pars: Inter natos Era di maggio, 1564,, 1568 δ , 1570 3 , 1582 5 . See also mulierum) 1546 4 under Gaillarde Elle a bien ce ris gratieuls (Sermisy), 1552 s Era il bel viso suo (Rore) (2a pars: E ne la face), Elle lara (Je le laray?), [ 1 5 4 7 ] u 1577 5 , 1591 a Elle le veult donc, 1546 l e Eran si chiari (Dragoni), 1584 5 Elle me faict ceste grace, see under Gaillarde Erano i capei d'oro (G. M. Nanino) (2a pars: N o n Elle s'en va de moy (Lasso), 1571„, 1583 4 , 1594 5 era l'andar suo), 1 5 9 9 n Elle s'en va de moy (Sermisy), 1529 3 , 1531! Eravi sicut ovis, see Erravi sicut ovae quae periit Elle veult donc (Sermisy), 1533 3 Erbarm dich mein O Herre Gott, Fantasia (ReyElle voyant (Certon), 1553 e , 155Ó! mann), 1598 10 Eilend, see Elend Erbe oliose, see under Saltarello Erhalt uns Herr bey deinem Wort (Breitengraser), Elselein, Das (Elslein liebstes Elslein mein, Elssle 1558 g liebes Elselein, Elsslein liebes Elselein), see Elslein liebes Elselein Erhalt uns Herr bey deinem Wort (J. Paix), 1583 4 Elslein liebes Elselein (anon.), 1529i, 1532 2 , 1533!, Erhalt uns Herr bey deinem Wort, Fantasia, (Rey1538 2 mann), 1598 10 Elslein liebes Elselein (Dietrich), 1538 2 Eripe me Domine (Handel), 1591, Ero cosi dicea (Cavaccio), 1597 2 Elslein liebes Elselein (Senfl), 1523 2 , 1532 2 , 1536 e , Erravi sicut ovae quae periit (Clemens non Papa) 1544i, 1546„, 1547 4 Emendemus in melius (Feys) (2a pars: Peccavimus (2a pars: Delieta iuventutis meae), 1565i, 1571 β cum patribus nostris), 1583„ Erweit hab ich mir, 1523 2 En attendant (Gombert), 1 5 5 2 η Es flog ein kleines Waldvögelein (Vento), 1575 x En esperance j'endure, 15 78 4 , 15 82 s Es Aug ein kleynes wait vogelein, 1546 e En esperant en ceste longue attente (Sermisy), 1544,, Es ist nicht liebers (Lütkeman), 1597, 1547 4 , 1562, Es ist nit alles Golde, see under Tantz Es jagt ein Jager vor dem Holtz (Lasso), 1575! En esperant j'endure ce torment (Caulery), 1553 10 Es liegt ein Hauss im Oberlandt (Reytter), 1546 9 En espoir d'avoir mieulx (Gombert), 1533 2 , 1546¡ e , Es mag mein freud, 1533i 1552u En espoir vis (En espoir vy) (Lasso), 1568,, 1571 e , Es reyt ein armes Reuterlein auss, see under T a n t z 1574 2 Es rewet mich sehr, see Sih Paurenknecht Es sout ein meskin holen win (Sampson), 1546 9 En fut il oncque (Certon), 1568 e , 1570 3 , 1578 4 Es spricht der unweisen m u n d t wol, Fantasia, En het was een aerdich vrouken (le sach een aerdich vrouken), 1568 e (Reymann), 1598 10 En la ciudad de betulla, 1547 5 Es taget vor dem holtze (Es taget vor dem walde), E n la fuente del rosei, 1552, 1540i, 1544i, 1547 4 En languissant, 1 5 5 2 u , 1563 l a Es was ein mal eins Baurn Döcht (Utentaler), 1583 4 E n l'ombre d'ung buysonnet, 1538 2 Es woll uns Gottgenedig sein (Peschin), 1558 s En l'ombre d ' u n g buysonnet (Josquin), 1533! Es wolt ein jeger jagen, wolt jagen vor dem holtz E n l'ombre d ' u n g buysonnet (Lasson), 1530 4 , 1533 χ see under Tantz E n mes ennuis, see A mes ennuis Es wolt ein Med. ein Sehr., see under Tantz En poursuivant, 1546i 8 Es wonet lieb bey liebe, 1538 2 En regardant, 1530 4 Esclarecida Juana (F. Guerrero; attr. to Villalar), En regardant la beaulté (Verius), 1571 c 1576i En revenant, 1546 9 Escosse (Ecosse), see under Branle; Gaillarde En truert nyet meer, see under Allemande Escoutez. Die grosse Schlacht, see Bataille, La Escoutez ma complainte (De Bussi), 1554 4 , 1570 4 En un lieu (Lasso), 1568,, 1571„, 1574 2 Escoutez tous gentils galloys, see Bataille (La Bataglia En ung matin, see Vray Dieu d'amours (Brumel) Francesa) En vous voyant (Pathie), 155Ó! Enfans qui le Seigneur servez (Laudate pueri Escrito esta en mi aima (2a pars: Yo no nasci sino dominum) (Le Roy), 1552 2 para querer), 1576i Enfermo estava Antioco, 1576i Eslongné suys de mes amours, 1533 2 Englesa, see under Gaillarde ; Pavane ; Saltarello Esmerillonne, L ' , see under Gaillarde Englische Passamezo, see Passamezzo : Angleterre Espagne, see under Pavane Englischer Dantz, see under T a n t z Espagnolle, L ' , see under Pavane Engolesme, 148?! Espedito, Lo (Fonghetti), 1598 3

INDEX

v:

FIRST

LINES

Esperance, see under Gaillarde ; Pavane Esperance de bourbon, L', 148 ?! Esperance de bourbon, L', en pas de barbain, 148 ? t Espérant davoir, 1S86 5 Espoyr, L ' , 148?! Esquercarde, L', see under Pavane Est il conclud, see under Gaillarde ; Pavane Est il douleur cruelle (Arcadelt), 1558 3 Est il possible (Lasso), 1571 β) 1574ι, 1578 4 , 1594 5 Est il regret (Bichenet), 154 ?x Estans assis aux rives aquatiques, 1551! Estans assis aux rives aquatiques (Super ilumina), 1553„, 1570 4 Estans assis aux rives aquatiques (Super flumina Babilonis) (Certon), 1554 6 Estans assis aux rives aquatiques (Super flumina babylonis) (Le Roy), 1552 3 Estant assis aux rives (Estanz assis), see Estans assis aux rives aquatiques Este Gonzaga, Balletto, 1581, Estote miséricordes (Herpol) (2a pars: Nolite judicare), 1583 e Estravagante, Lo (Fonghetti), 1598 3 Et ait illi Jesus, see Transeunte Domino clamat ad eum E t ascendit in coelum, see Missa Apostolorum; Missa Benedicta es coelorum Regina ; Missa Dominicalis; Patrem Angelorum; Patrem Cardinalium; Patrem In Dominicis Diebus Et beata viscera Maria, see Regi seculorum Et convescens precepit, see Apparens Christus post passionem Et d'où venez vous madame Lucette (Lasso), 1571 6 , 1584 e . See also under Allemande Et dicit ei Jesus, see Nuptiae factae sunt in Cana Galilaeae Et Dominus in voce Tubae, see Ascendit Deus in Jubilatione (Paminger) Et don bon soir, 1546 10 , [1547]n Et ecce vox de n u b e dicens, see Assumpsit Jesus P e t r u m et Jacobum E t ex patre, 1531 6 . See also Missa Apostolorum; Missa Dominicalis; Patrem Angelorum; Patrem Cardinalium ; Patrem In Dominicis Diebus Et expecto, 1531 5 . See also Missa Apostolorum; Missa Dominicalis; Patrem Angelorum; Patrem Cardinalium; Patrem In Dominicis Diebus Et exulta vit (Giovanelli), 1594 s Et factus est, 1562 3 Et homo factus est, 1531 s Et in spiritum sanctum, see Missa Apostolorum; Missa Ave Maria; Missa Dominicalis; Missa Mille regretz; Patrem Angelorum; Patrem Cardinalium; Patrem In Dominicis Diebus Et in terra pax, 1531 6 . See also Missa Apostolorum; Missa Ave Maria; Missa Dominicalis; Missa de beata Virgine ; Missa In Dominicis Diebus ; Missa Virginis Mariae Et incarnatus est, 1531 5 . See also Missa Ave Maria; Missa Faysant regrets Et introeuntes, see Angelus domini (Palestrina) E t io da che comincia, see A qualunque animale Et io qual fui (Lasso), 1571„, 1574J Et iterum venturus est (Schram), 1591 7 . See also Missa Ave Maria Et Jesum, see Vita dulcedo Et laudamus, 1531 6 Et misericordia eius, D u o (Valderrábano), 1547 5

AND

TITLES

Et perfice eam quam plantavit dextera tua, see Deu Virtutum convertere Et propter nomen tuum, see In te domine speravi (Lupus) Et qual cervo ferito, see I dolci colli (Striggio) Et rege eos, 1531 β Et resurrexit (Certon), 1591,; (Gombert), 1591,; (Lupi), 1591,; Duo (Valderrábano), 1547 6 . See also Missa Ave Maria; Missa L ' H o m m e armé Et si omnes (Nasco), 1591, Et tant plus, see under Branle Et unam sanctam catholicam, see Missa Apostolorum ; Missa Dominicalis; Patrem Angelorum; Patrem Cardinalium; Patrem In Dominicis Diebus Et valde mane una Sabbathorum, see D u m transisset Sabbathum Eterna fac, 1531 β Eulalia borgonela vernan, 1547 5 Even from the depths (Byrd), 1588 2 Every bush new springing (Cavendish), 1598 2 Exaltabo te Domine (Arcadelt) (2a pars: Domine in voluntae tua praestitisti decori meo), 1565ι Exaudí, see Domine Deus (Padoano) Exaudí Deus (Liitkeman) (2a pars: Cor meum), 1597, Excelso Gregoriano Cantu, Canon super, see T u es Petrus (Las Infantas) Exemplum (Exemplo), 1561!, 1565 s , 1568 3 , 1574 2 , 1595 4 Expandi manus meas ad te (Lasso), 1591, Expandi manus meas ad te (Reiner), 1591, Expectatio justorum (Lasso), 1591, Expurgate (Crecquillon), 1586 5 Exultate justi, see Reveillez vous chascun fidele Exultate justi in domino (Liitkeman) (2a pars: Cantate ei), 1597, Exultet caelum laudibus (Cavazzoni), 154? 2 Exultet caelum laudibus (Sepulveda), 1547 5 Exultent et letentur (Meiland) (2a pars: Ego vero egenus), 1586 5 Exurge quare, 1546 14 Eva dulcissime Jesu, see O bone Jesu (Clemens non Papa) Eya ergo advocata (Schlick), 1512, Eya mater, see Stabat mater dolorosa Eyn Freylein sprach ich freuntlich zu, see Ein Magd, die sagt mir freundlich zu

Fa, 1543 3 , 1592 2 Fa la danza, 1536 9 Fa la sol, 1530 β Fa lai mina amor, 1536 5 Fa mi fa re ut, 1549, Fa mi la mi sol la, 1591 12 Fa re mi re sol mi fa mi, 1549, Fabordon (Favordon), 1554 3 , 1557 2 , 1578 3 . See also Die nobis Maria; Dixit dominus (Henestrosa); Donee ponam inimicos tuos; Falsobordone; In exitu Israel de Egypto; Magna opera domine; Nisi Dominus (Henestrosa) ; Quoniam consortavit ; Sicut erat in principio Faccia mia bella (Nola), 1568, Factie, 1549 8 Facto son per affanni (Tromboncino), 152 ?i Factum est silentium (Banchieri), 1595 2 Fago, 1549g Fagot, Le, 1551„, 1569„, 1571 5 , 1583, Faict ou failly (Bridam), 1533 2 , 1549 e

INDEX

v:

FIRST

Fair are those eyes (Cavendish), 1598 2 Fairie-round, T h e , 1599 e Falilela, La, 1553 2 , 1555 2 False L o v e did m e inveagle (Morley), 1597 1 0 Falsobordone, see also F a b o r d o n Falsobordone (Bovicelli), 1594 3 Falsobordone (Gabucci), 1594, Falsobordone (Giovanelli), 1594 3 Famela Pietr'Antonio, 1594! F a n frere le le lan fan, see Bataille, L a (La Bataglia Francesa) Fanfare, La, see under Gaillarde Fantasia (Fantaisie, Fantasey, Fantasias, Fantasie, Fantesia, Fantesie, Phantasia), 1547 2 , 1547 6 , [ 1 5 4 7 ] n , 1548!, 1548 2 , 1548 3 , 1549^ 1549 2 , 1 5 4 9 „ 1 5 4 9 8 , 1 5 4 ? i , 154? 6 , [154?]„ [1550].,, 1551i, 1551 2 , 1551 s , 1 5 5 1 „ 1552 2 , 1552 s , 1552 6 , 1 5 5 2 „ 1552 8 , 1 5 5 2 h , 1552 4 , i s s a i , 1553 s , 1553 9 , 1554 3 , 1554 e , 1554 7 , 1554g, 1555 4 , 1556^ 1556 2 , 1556 5 , [1556] e , 1557 2 , 1558 3 , 1558 4 , 1558 e , 1559,, 1559 e , [1560]!, 1560 s , 1562 4 , 1562 s , 1 5 6 2 u , 1563 3 , 1 5 6 3 n , 1563i 2 , 1564i, 1565!, 1566i, 1568i, 1568 2 , 1568 3 , 1568„, 1568 7 , 1569 2 , 156? 3 , 1570 3 , 1570 4 , 1571 5 , 1571 e , 1572!, 1573 3 , 1573 8 , [1573]„, 1574 χ , 1574 2 , 1574 5 , 1574 e , 1 5 7 4 „ 1575 3 , [1575] 4 , 1576i, 1576 3 , 1578 e , 1579 D . W . , 1582ι, 1582 5 , 1583i, 1583 4 , 1584 e , 1585 s , 1586 6 , 1587i, 1587 D . W . , 1588 5 , 1588 e , 1589 6 , 1590 8 , 1591,, 1592 e , 1592i 2 , [ 1 5 9 2 ] i 5 , 1 5 9 3 „ 1593g, 1594 s , 1595 4 , 1595 e , 1 5 9 6 „ [1596]ι„, 1597 2 , 1597 e , 1597,, 1598 1 0 , 1 5 9 9 „ 1 5 9 9 n . See also Abstract compositions Fantasia, L a , see under Saltarello Fantasias (Fantasie), see Fantasia Fantastico, Il (Fonghetti), 1598 3 Fantesia (Fantesie), see Fantasia Fantina, La, see under Gaillarde ; Saltarello Fantinella, see Aria da cantar, Fantinella Fantino, see under Ballo Farewell, T h e , 1597 e Farewell, despair (Cavendish), 1598¡¡ Farewell, false love (Byrd), 1588 2 Farfarella, La, see under Pavane F a t e b e n gente cortese ( T r o m b o n c i n o ) , 151 l i Fatigue, La, see under Gaillarde Fato son esca (Arcadelt), 1546 1 7 , 1552 4 Fault il qui soit m a doulce amye, 1568,, 1563i 2 Faulte d ' a r g e n t (Josquin), 1565!, 1574, F a u l t e d'argent, Canzon sopra (Cavazzoni), 1543 x F a v o r d o n , see F a b o r d o n Favorita, La, 1554!, 1568!. See also under Ballo; Pavane F a v u s distillane (Ghiselin), 1536, Faysant regrets, see Missa Faysant regrets Fecit potentiam (F. Guerrero), 1554 3 Fecit potentiam (Josquin), 1554 3 Fecit potentiam (Lasso), 1591, Fecit potentiam (Morales), 1554 3 Fedeli miei (Ponte), 1568 2 , 1584 δ Fedeltà, Cascarda, 1581 χ Feins L i e b dein günstig ohren w e n d zu ( H a u s s m a n n ) ( N a c h T a n t z : Solchs wil ich n u n von dir), 1599 5 Feins L i e b in e h r e n t h u ich m i c h kehren (Haussm a n n ) , 1599 s Felice, see Copia Felice Felice, II, see P e r voler d ' A m o r e Felice f u quel di felice il ponto, 1511! Felice sei Trevigi (Rore), 1577 6 Felice Vittoria, Balletto (Ghidotti), 1581 χ

LINES

AND

TITLES

517

Feliciana, La (Banchieri), 1596 s F e m e d u Bien, 1544 2 Ferabosco, see under Gaillarde Fera gentil (Rore) (2a p a r s : Perche si stretto è il nodo), 1584 3 , 1593, F e r d i n a n d , König, see T a n t z : König F e r d i n a n d u s Tantz Ferrara, see under Pavane Ferrarese, La, see under Gaillarde ; Pavane Ferrareza, see under Pavane F e t o n t e (Fonghetti), 1598 a Fiamenga freda, 1584 e Fiamenga, La, 1578 8 , 1583, Fiamengina, La, see under Pavane F i a m m a amorosa ( T r o m b o n c i n o ) , 1517 x F i a m m a d ' A m o r e , Cascarda, 1581i F i a m m e che da begl'occhi (Anerio), 1589 e , 1591 l s Fiat cor m e u m , see C o n f u n d a n t u r Fiat pax in virtute, see L e t a t u s s u m Ficto, see under Passamczzo Fiellette, La, see II estoit u n e fillette Fiera stella (Lasso) (2a pars : M a tu p r e n d i a diletto), 1568 2 Fili H o n o r a D o m i n u m (Schräm), 1586 s Filippina, La, see A l l e m a n d e : Philippine and under Ballo Fille qui p r e n d facieux mary, 1556 2 , 1563I 2 Filles a marier, 148 ?i Filles orsus, 1552Ü Fin ch'avrò vita (Il Costante) (Gastoldi), 1594, Fina, La (Cavaccio), 1597 2 Final, 1529i, 1546 5 , 1557 2 Finetta, La, see under Pavane Finetta, fair a n d feat (Cavendish), 1598 2 Fingo di n o n amare (Fonghetti), 1598 3 Fini le bien (response to Doulce memoire) (Certon), 1547„, 1 5 5 2 n , 1568», 1568,, 1570 3 , 1571, Fior d ' A m o r , Aria della Signora, see Aria della Signora Fior d ' A m o r Fiore, see under Ballo Fit porta Christi pervia, 1592„ Flecte q u o d est r i g i d u m (Las Infantas), 1579 2 Flerida para m i dulce y sabrosa, 1552, Fleur, see under Allemande Fleur de quinze ans (Lasso), 1574! Flie love, see Fly love Florentine, 148?! Floriana, La, see under Pavane Florido Giglio, Cascarda, 1581i Florida mia gentil, 1546i, Flow m y tears, see Pavane : Lacrimae Fly love that art so sprightly (Morley), 1597i 0 Foelix est p u e r p e r a (Handel), 1591, Folia, 1547 6 , 1553 s Folpechi, 1544 2 , 1549„ Folti boschetti (Bellasio), 1592! F o n d i , La, see under Pavane Fons perte, see Vous perdez t e m p s (Sermisy) F o n t a n a di chiazza, 1560 4 F o n t a n a di dolore (Rore), 1577 5 For to b e b o r n e as I n f a n t s be (Whythorne), 1 5 9 0 u Forces d ' H e r c u l e s , Les, see Forze d'Ercole Foresta, L a (Cavaccio), 1597 2 Foresta, L a (Maschera), 1584i 0 Formigoto, II, 1549 χ Formigoto M a d o n n a T e n e r i n a , II, see under tarello Fornerina, La, see under Gaillarde F o r s seulement, 1538 a

Sal-

INDEX

v:

FIRST

LINES

Fors seulement (Févin or Josquin), 1533,, 1536 3 , 1538 2 , 1540!, 1546 18> 1547 2 , 1549 e , 1554„, 1562„, 1574, Fors seulement (Ockeghem), 1538 2 Fors seulement (Pipelare), 1531! Forsi e ver forsi che non (Tromboncino), 152?! Fort selament, see Fors seulement Fortuna d'un gran tempo (Josquin?), 1507j Fortuna desperata. See also Missa Fortuna desperata Fortuna desperata, 1507 2 , 1531 7 Fortuna desperata (Isaac), 1538 2 Fortuna per te crudele, 1507! Fortunato, II, see Vo lodar Fortune (Dowland), 1596 4 Fortune a bien couru sur moy, 1529 3 Fortune alors (Certon), 1546„, 1546 s , 1546 l e , 1568„ 1571, Fortune helas, 1549 s , and 1563 13 Fortune helas pourquoy, see under Allemande Fortune laisse moy la vie, 1529 3 , 1531 3 , 1546 18 Fortze d'ercule, El (La Forza de Hercule), see Forze d'Ercole Forze, Le, see under Moresca Forze d'Ercole, Le (Forze d'erculle, Forze d'Hercole) 1546 6 , 1551 5 , 1551 8 , 1552^ [1552]i 0 , 1562 3 , 1564 6 , 1564,, 1570 3 , 1571 5 . See also under Gaillarde; Pavane Foves, see under Basse dance Fra più bei fiori (Arcadelt), 1546 t 7 Fra quante faccie ho visto (Arpa), 1571 4 Frais et gaillard (Fraus et galliard), see Frisque et gaillard France, see under Allemande ; Volte Francesa, see Bataille (La Bataglia Francesa) and under Gaillarde; Pavane Franceschina, La bella, 1546, 8 , 1549 e , 1568„. See also Pavane: Que la bella Franceschina Francese, see under Ballo; Courante; Saltarello; Volte Francia, La, see under Gaillarde Franciscana (Franciskina), see Franceschina Françoise, see under Gaillarde Franctia, La, see Gaillarde: Francia Frantzösisch Schlacht die heist Singnori, see under Bataille (La Bataglia Chiarenzana) Frasqui gallard, see Frisque et gaillard Fratres cito (Rore), 1589„ Fraw ich bin euch von hertzen hold (Lasso), 1571! Fraw ich bin euch von hertzen hold (Peschin or Senfl), 1544 2 , 1558 ä Frederico, see Allemande : D o n Frederico Fremuit spiritu Jesus (Fremuit spiritus) (Clemens non Papa) (2a pars: Videns Dominus flentes sorores Lazari, or Videns Jesus), 1583 β , 1589 e Frena donna i toi bei lumi, 1517, French Toy, A, 1597„ Freni Tirsi il desio see Tirsi morir volea Freud und muet hat mich verlassen (Peschin), 1558 6 Freundlicher gruss mit büss, 1523 2 , 1536 6 Freundlicher Held, ich hab erweit (Senfl), 1558 5 , 1562 3 F r e u n d l i c h e r , see Freundlicher Freuntlicher gruess, see Freundlicher gruss mit büss Fringotez jeunes fillettes (Fringotes uenes filettes) (Payen), 1546i 5 , [1547]u, 1548! Frisch auff gut Geselle, las dz Gleslein, 1571 1( 1583 2 Frisische Tritt, Der, see under Gaillarde Frison, see under Allemande; Gaillarde; Passamezzo

AND

TITLES

Frisque et gaillard (Clemens non Papa), 1556 a , 1557 s , 1563 12 , 1568„ 1571„ 1573 3 , 1574 6 , 1577„ 1583 2 , 1584 2 , 1591 2 , 1591 3 , 1599, Frog, see under Gaillarde Frölich zu sein (Lasso) (2a pars : Wer frisch will sein, der sing mit mir), 1575i, 1577 e F r o m virgin pure (Byrd), 1589 2 Fruit of love, T h e , 1599 β F u ben la prima donna (Bellanda), 1599 2 Fuchswilde bin ich, 1571!, 1583 2 Fuga (Fug), 1532 2 , ISSÒ,, 1547 6 , 1551^ 1557 2 , 1561i, 1562 4 , 1578 3 , 1584 4 , 1584 5 , [1587],, 1590„, 1591„ 1594 10 , 1595 4 . See also Abstract compositions; Canon Fugge da gl'occhi il sonno (Giovanelli), 1589 e , 1591» Fuggerin Dantz, see under Tantz Fuggi fuggi cor mio (Verdelot), 1536 8 Fuggi speme mia fuggi (Striggio), 1584 5 Fuggirò (Bellasio), 1594 5 Fuggirò tant'Amore (Marenzio), 1592 e Fuggit'amore, 1584 e Fuggit'amore (Nola), 1594 5 Fuggita amanti Amor (Stabile), 1591Ü Fuggitiva mia speranza (Cara), 1511 x Fugi fugi cor mio, see Fuggi fuggi cor mio Fugue, see Missa Ad fugam Fuit homo missus. See also Hic precursor et dilectus ; In principio erat V e r b u m ; Inter natos mulierum (Layolle) Fuit homo missus (Gombert), 1552, Fuit homo missus (Palestrina), 1591 2 Fulgebunt justi sicut Lilium (Lasso), 1591, Fulgente Stella, Cascarda, 1581 ! Fulvia, La, see under Pavane Fundament (Fundamentum), 1536 e , 1540!, 1^44,, 1544 2 , 1545 3 , 1547 4 , 1549 s , 1549„ Fundite cantores dulci, see Cantibus Organicis Funerals, T h e , 1599„ Furieux, see Branle: Malthe Furioso, Balletto, 1581! Furiano, see Ballo : Arboscello ; Ballo : Putta nera Fusi pavana piana, see under Pavane Fusta, 1553 2

Gabrielem archangelum, 1538 2 Gagiarda (Gagliarda), see Gaillarde Gagliarda, see under Pavane ; Saltarello Gagliardo, see under Saltarello Gaiarda, see Gaillarde Gaiette, La, see under Pavane Gaillarde : (Gagiarda, Gagliarda, Gaiarda, Gailarde, Gaillarda, Gailliarda, Gailliarde, Galgiarda, Gallarda, Gallairde, Gallarda, Gailarde, Galliard, Galliarde), 1530 3 , 1530 4 , 1530 5 , 1531 4 , 1545 3 , 1546i, 1546 5 , 1546 8 , 1546 14i 1546 16 , 154 6 20 , 1547„, [1547]ii, 1549I, 1549 8i 154? 6 , 154?„, [1550] 2) 1550 5 , 1551,, 1551 3 , 1551„, 1552,, 1552 3 , 1552 4 , 1552 s , 1552 e , 1552„, 1553 4 , 1555 2) 1555 4 , 1555 s , ISS?,, 1557 4 , 1558 3 , 1558 4i 1558 e , 1559 3 , [1560]^ 1560 3 , 1 5 6 3 n 1564 2 „ 1564„ 1568!, 1568„ 1569 e , 1570 s , 1570 4 , 1571i, 1571 s , 1572i, 1573 2 , [1574] 4 , 1574„ 15784> 1578„, 1582 5 , 1583 2 , 1583 4 , 1583„ 1584 e , 1585i, 1591 13) 1592 e , 1592 8 , 1592 e , 1592i 2 , 1593,, 1594 s , 1596 4 , 1596 5 , 1597 e , 1597„ 1598 l 0 , 1599 e , 1599,, 1 5 9 9 „

INDEX

v: F I R S T

LINES

Admiral, L ' (Admirals auss Frankreich, L ' A m i ralle), 1557 3 , 1558 β , 1 5 7 1 s , 1577 β , 1583, Amours, 1569, Angleterre, Gaillarde d \ 1S55 5 , 1 5 7 1 ! . See also under Gaillarde Englesa Angolesmes, Gaillarde d', 1574 7 Antico, 1569 2 , 1 S 7 1 „ 1 5 8 7 ! Antoinette, 1589! Aria de Comedia, Gagliarda detto, 1 5 8 2 j A u joly bois, 1570 4 , 1 5 7 1 5 , 1583, Baisons nous belle, 1568,, 1570 3 , 1 5 7 1 e , 1578 4 , 1582 6 , 1589! Barbetino, Gagliarda detto il, 1569 2 , 1571 β Basse gaillarde, L a , 1564 2 , 1 5 7 1 5 Bataille, Gaillarde de la (Gaillarde de la guerre, Gaillarde sur la bataille, Gaillarde sur la Battaglia), 1552 3 , 1557 3 , 1569 e , 1570 3 , 1570 4 , 15715, 1571 6 > 1582 5 , 1 5 8 3 „ 1 5 9 1 1 3 Bel fior (Bel fiore), 1546i, 1556 2 , 1573 3 Bella donna, 1568! Berghentine, 1569 e Birds Galliard, Maister, 1597„ Botert ν koecxkens wel, 1569 e Bouffons, Gaillarde des, 1565 3 , 1570 3 , 1570 4 , 1578 4 Brave, L e , 1569„ Brune, L a (Brunette), see Gaillarde: O ma gente brunette Bruynswick, 1569 β Burate, L a , see Gaillarde : Marchesa de gasto Burato, El, 1546ι C a n she excuse, 1599 8 Canella, L a , 1546i, 1 5 5 1 6 Captayne Pipers Galliard, see Gaillarde: Pipers Galliard Cara Cossa, L a (Cara Cosa, Caracossa, Chara Cossa), 1544 2 , 1546I, 1570 3 , 1570 4 , 1 5 7 4 „ 1 5 7 5 ? , 1578 4 , 1582 5 , 1592 1 2 Catachio (Cathacchio), 1 5 5 1 6 , 1 5 7 1 ! C e qui m'est deu et ordonné, 1 5 7 1 5 , 1583, Cesarina, 1581 α C h i passa, 1573 2 , 1573 3 , 1 5 7 4 „ 1 5 7 5 s , 1582 5 , 1583 2 , 1584 e , 1592 1 2 Ciel turchin, El, 1546,, 1573 3 Cinq pas, L e s , see Gaillarde Rocha el fuso Coloigne, 1569 β Comadrina, L a , 1546i, 1 5 5 1 ä C o m m u n e , 1570 3 , 1578 4 , 1582^ 1582 s Cornetto, 154Ó! Cornus, Gaillarde des, 1565 3 Countess of Sussex Galliard, T h e , 1596 3 Cypriano, 1573 3 Desperata, 1536 β , and 1563 1 2 D i e u x , Gaillarde des, 1555 6 , 1558 3 , 1 5 7 1 s , 1 5 9 1 1 3 Dona, L a , 1 5 5 1 e D o n t vient cela, 1530 5 D o u c e , 1569 e D u c , Gaillarde del, 1569 β Elle me faict ceste grace, 1569 0 , 1570 3 Englesa, 1592 e Era di maggio, 1575 3 , 1578 4 , 1582 6 Escosse, Gaillarde d', 1 5 7 1 s , 1583,. Royne d'Escosse, Gaillarde de la Esmerillonne, L ' , 1 5 7 1 5 , 1583, Esperance, 1569 β , and 1570 3 Est il conclud, 1 5 5 7 3 Fanfare, L a , 1 5 7 1 6 , 1583, Fantina, L a , 1 5 5 1 s Fatigue, L a , 1559 3 , 1589 χ

See

also

AND

TITLES

519

Ferabosco, Gallarda di, 1594 ß Ferrarese, L a , 1546i, 1 5 7 1 s , 1583,, 1 5 9 1 1 3 Fornerina, L a , 1546!, 1 5 5 1 5 Forze d'Ercole, L e , 1 5 5 1 6 Francesa, 1568i Francia, Gagliarda detta la (Gagliarda detta la Franctia), 1569 2 , 1 5 7 1 e Françoise, 1 5 7 1 5 , 1 5 7 7 e , 1583, Frisische Tritt, Der, 1571 x Frison, 1569 e Frog Galliard, T h e , 1599 8 G a m b e , L a , 1551 3 , 1 5 5 1 5 , 1570 4 , 1573 3 Garde, L a , 1 5 7 1 5 , 1 5 9 1 1 3 Gasparina, L a , 1546i Gasto, Marchesa de, see Gaillarde: Marchesa de Gasto Gaye, Gaillarde de la, 1564 5 , 1570 3 , 1582 6 Gequest bin ick (Ghequest bin ick), 1 5 5 1 8 Gonella, 1 5 5 1 ä Grave, Gagliarda detta la, 1569 2 Guerre, Gaillarde de la, see Gaillarde: Bataille Haubois (Haultbois), Gaillarde de, 1569„, 1582 6 , 1584 β Hely, 1565 3 , 1570 3 Herba fresca, L ' , 1546 1 ; 1 5 5 1 5 , 1564 4 Herdsona, Gagliarda detta, 1593, Ich kan und mag nicht frolich sein, 1578 4 , 1582 5 Imperiale, Gagliarda detta la, 1569¡¡, 1 5 7 1 6 Inspirita, L a , 1546 χ Italye, L a Gaillarde d' ( L a Gaillarde d'Italie), 1564,, 1568,, 1569 β , 1570 3 , 1 5 7 1 5 , 1578 4 , 1582 s J'aimerois mieulx dormir seulette, 1564 5 , 1565 3 , 1570 3 , 1578 4 , 1583 2 , 1589! J'ay du mal tant tant, 1552 3 , 1564 s , 1 5 7 1 5 , 1583, Kargel, Gaillarde Sixt, see Gaillarde: Sixto L a traditore m y fa morire, see Gaillarde : Traditore L a vien dal parti, 1 5 5 1 s Lavandera, L a , 1558 6 , 1578 a , 1583, L ' e n n u y qui me tourmente, 1550 5 , 1552 6 , 1556 8 , 1570 4 , 1573 3 , 1583 2 , 1589 x Lionnoise, L a , 1552 3 , 1564 5 , 1570 3 , 1570 4 , 1578 4 Lodesana, L a , 1 5 5 1 5 L'oeil près et loing, 1550 6 Lombarda, 1576 3 Mais pourquoy, 1 5 7 1 5 , 1583, Maister Birds Galliard, see Gaillarde: Birds Gaillard M ' a m y e est tant honneste et saige, 1550 5 Marchesa de Gasto, 1564 5 , 1 5 6 4 „ 1569 e Massengiere, La, 1568, Mato, Gagliarda detto il, 1582ι Mazocho, Gagliarda detta li, 1569 2 , 1571 „ Meiler, Gaillarde de, 1568, M e z a notte, L a , 1546i, 1546 5 , 1 5 5 1 s , 1 5 5 2 ^ 1 5 8 ^ Michels Galliard, 1599 8 Milanese (Gabarda alla Milanese, Gaillarde Milanese, Gaillarde Milanessa, Gaillarde M i l a neza, Gaillarde Milanoise, Gaillarde Millannoise), I5583, 1560 3 , 1563 1 2 , 1564 2 , 1564 4 , 1568 3 , I57O3, 1570 4 , 1571 e , 1 5 7 5 s , 1578 3 , 1589ι· See also Gaillarde: A u joly bois; Gaillarde: O ma gente brunette; Gaillarde: Royne d'Escosse ; Gaillarde : Si pour t'aimer : Gaillarde : Visdame Mille ducas, 1 5 5 1 8 Milleri, Gaiarda L . , 1564, Mirande, L a , 1559 3 Moderne, Gaillarde de, 1571 „ Moderno, 1569 2 , 1587i

520

INDEX

v:

FIRST

LINES

M o n plaisir, 1550 6 , 1571 6 , 1583, Moneghina, 1551 6 Moretta, La (La Morette), 1564 6 , 1564„ 1568„ 1569„ 1570 3 , 1S78 4 , 1582 ä Mulinaro, El, 154?! M y Lord Chamberlaine his galliard, 1597 4 N . de Rans, see Gaillarde: Rans Napolitana, 1576 3 N o n dite mai, 1573 3 Nova, 1583 4 , 1593, O combien est heureuse, 1552 6 , 15645> 1570 3 O la mal assignée, 1556 β O ma gente brunette, 1558 4 , 1559 3 , 1564,, 1568,, 1569 β , 1570 3 , 1571 5 , 1573 2 , 1582 5 , 1583, Offt wünsch ich ihr, 1597, Padua, 1569 β Paganina, 1582 χ Paladina, 1560 3 Par deppit, 1551 3 , 1570, Passemaize (Pessamezo), 1555 5 , 1597 e Peronnelle, La, 1551 3 , 1570 4 , 1571 5 , 1583, Peschatore, El, 154?! Phillips Galliard, 1599 e Pichardo, El, 1546i Piemontoise, 1558 3 Pipers Galliard, Captayne, 1599, Plus revenir, 1550 6 Poverin, El, 1551 5 Prince, 1569 β Puisque nouvelle affection, 15S2 s , 1556 8 , 15645> 1570 3 , 1578 4 , 1582 6 Puisque vivre en servitude, 1556 s , 1564 5 , 1571 5 , 1583 2 , 1583, Quadrelin, 154ÓJ Quadron (Quadro), 1596 β , 1599 β Qui souhaitez, 1550 s Rans, Gailliarda de N . de, 1568, Rocha el fuso, La, (La Rocha'l fuso, La rocha il fuso, La roche el fuso, La rocque, La rocque el fuzo, La roque el fuse), 1546 15 , 1551 3 , 1552 5 , 1554!, 1556 2 , 1559 3 , 1570 4 , 1571 5 , 1573 3i 1582 6 , 1583,, 1592 12 Romanesque, La (Romanesca), 1552 3 , 1553 9 , 1564 fi , 1565 3 , 1568 3 , 1568„ 1570 3 , 1570 4i 1574,, 1578 4 , 1582 5 Roy, Gaiarda du, 1564„ 1570 a Royne d'Escosse, Gaillarde de la, 1557 4 , 15631o, 1564,, 1568 3 , 1568 e , 1568,, 1569 e , 1570 3 , 1570¡, 1573 2 , 1573 3 , 1583 2 , 1592 i 2 Salta Marino, Gagliarda ditto, 1582! Si j'aime ou non, 1589! Si je m'en vois, 1551 2 , 1551 a , 1557„, 1564 6 , 1568„ 1570 4 Si pour t'aimer, 1550 5 ,1559 3 ,1563i 2 ,1568 3 > 1568 e , 1568,, 1570 4 , 1571J, 1571 5 , 1582 6 , 1583 2 , 1583, Sixto, Gaillarde M . , 1578 4 , 1582 5 Spagna, Gagliarda di, 1581ι Stradiot, Gaiarda ditto, 1546 15 Sussex, see Gaillarde: Countess of Sussex T a m b u r i n , Gagliarda detta, 1599 l t Todesca, Gagliarda, see Gaillarde L'ennuy qui me tourmente Todesco, El, 1546i, 156 ? 3 Toscanelo, Gagliarda detta il, 1582! Toulouzane, La, 1552 3 , 1570 4 T o u t , Le, 1551 β Traditora, La (El Traditor, La traditore mv fa morir), 1546i, 1571 5 ,1573 s , 1583„ 1589i, 1592i 2

AND

TITLES

T u te parti, 1551 s Ungaro, 1570 3 Vaccas, 1569„ Val cerca, see Gaillarde: Royne d'Escosse Varionessa, La, 1568,, 1573 2 Venetiana, 1546i, 1551 e Vergiliana, La, 1568, Visdame, La, 1564 2 , 1568 3 , 1571B Vous qui voulez, 1550 5 Wij sal mij troe telen, see Gaillarde: Royne d'Escosse Wittembergische Galliart, Der, 1583 2 Zacarii, Gagliarda detta il, 1569 2 , 1571 β Zorzi, 1546i, 1578 4 , 1582 s See also Ballo: Polaco; Ballo: Todescho; Pavane: Gagliarda; Saltarello: Gagliarda; Saltarello: Gagliardo Galante, 1553 2 , 1555 2 Gallina ratto rattonis (Gallina con lo corvo), 1560 4 Galluppa, Canzon francese detta la (Banchieri), 1595 2 , 1596 3 Gamba, La, 1564 8 Gamba, La mezza, 1554ι· See also Saltarello: Mezza gamba Gambe, La, [1552] 10 , 1554i, 1562 3 . See also under Gaillarde; Pavane Gambaro con denaretto, Il (La Spagna), 1560 4 Gantz sehr betrübt ist mir mein Hertz, 15711 Gar hoch auff einem Berge (Gar hoch auff jenem Berge) (Heintz), 1571i, 1583 2 Garde, La, see under Gaillarde ; Pavane Garisses moy (Compère), 1538 2 Gasparina, La, see under Gaillarde Gassenhawer, see under T a n t z Gasto, Marchesa de, see Gaillarde: Marchesa de Gasto Gastolda, La (Cavaccio), 1597¡¡ Gatta en italien, La, see under Basse dance Gaude Barbara (Vinci), 1591 12 . See also Missa Gaude Barbara Gaude et laetare Jacob, see Jerusalem plantabis vineam Gaude gloriosa, see Ave regina celorum Gaudeamus, see Missa Ave maris stella; Missa Gaudeamus Gaudent in celis (Arcadelt), 1547 3 Gaudent in coelis (La Cortesa) (Gallus), 1598 4 Gaudete filiae Jerusalem (Meiland), 1575i, 1586 s Gavotte, 1589j Gay (Gaye), see under Branle ; Gaillarde Ge prens, see Je prens en gré Gehabt euch wol zu diesen Zeiten, 1571 1583 2 Gelobet seist d u Jesu Christ, see Gelobet seistu Jesu Christ Gelobet seistu Jesu Christ, 1562 3 , 1583 a Gelobet seistu Jesu Christ (M. Agricola), 1561i Gelobt sey Gott in Himmelsthron, 1575 a , 1586 s Gemi mon cur, see J'ay mis m o n cueur Genitum non factum, see Missa Apostolorum; Missa Dominicalis; Patrem Angelorum; Patrem Cardinalium ; Patrem In Dominicis Diebus Gens qui parlez, 1546 e Gentil cavallero (Mudarra), 1546 14 Gentil cavallero (Pisador), 1552, Gentil donna (Tromboncino), 1517J Gentil galans, 1536 3 , 1547 5 Gentil galans compaignons du resin, 1544 2 Gentil madonna, 1546 15 , 1552ι· See also under Pavane

INDEX

v:

FIRST

LINES

Gentil mareschal, 1533 s Gentil mia donna, 1536 s Gentile, Canzon detta la (Pellegrini), 1599 β Gentilezza d ' A m o r e , Cascarda, 1581i G e n u i t p u e r p e r a (Boyleau) (2a pars of O m a g n u m misterium), MTb^ Geometrina, La, Chiarenzana, 1546 1 3 Gepeis ghij doet m i j trueren, see Ghepeis ghij doet m i j trueren G e q u e s t bin ick, 1547,, 1563 1 2 . See also under Gaillarde Germinavit radix Jesse (Gombert), 1554 3 Gesell, wis u r l a u b s a u m b dich nit u m b ein trit (Eckel), 1544 2 , 1546, Gheloost sy codt, 1570 3 Ghepeis ghij doet mij trueren, 1563 1 2 , 1568, G h e q u e s t bin ick, see Gequest bin ick Ghevaere Ghevaere hoe staet, 1584 e Già l'ond'e'l vento (Vecchi), 1597 1 4 Gie vo deser d ' u n bois ah., see Passamezzo: Je vous deser d ' u n bois ah. Gientil madonna, see Gentil m a d o n n a Giesu s o m m o conforto (Verovio), 1 5 9 2 u Gioia, 1553 2 , 1555 2 Gioia ch'avanzi tanto, 1570 5 Gioite tutti in suoni, see under Saltarello Giometuna, La, see under Saltarello Gionto m ' h a m o r , see G i u n t o m ' h a amor Giordano, II, see under Passamezzo Giorgia, El, see under Saltarello Giovani vaghi (Costa), 1594 5 Gioveneta real (Arcadelt), 1582i Giovenetta, La, 1553 2 , 1555 2 Girandolo, L a (Morley), 1595, Girella, L a (Maschera), 1584 1 0 Girotto, II, see under Saltarello Gitene Ninfe, see under Passamezzo G i u n t o m ' h a amor, 1563, (attr. to Lasso), 1592 e G i u n t o m ' h a amore, Cascarda, 1581! Give laude u n t o the Lord, 1599 t Give peace in these our daies O L o r d (Da pacem), 1599 x Give thankes, 1574 2 Gl'occhi (Costa), 1594, Gl'occhi in vaghiro al'hor' (Romano), 1563, G l a u b e nicht das ich köndt ein (Regnart), 1584 e Gleich wie Moisés eine Schlange erhoehet hat, see Also hat G o t t Gli e p u r cocente il fier (Tromboncino), 152?! Gli occhi la bocc'e la tua leggiadria (Primavera), I57O5 Glori armi, see Gloriar mi poss'io donne Gloria, see Missa Faysant regrets ; Missa La sol fa re m i ; Missa Panis q u e m ego dabo Gloria d'Amore, Cascarda, 1581! Gloria patri, see Magnificat Gloria patri et filio, see L a u d a t e d o m i n u m omnes gentes (Layolle) Gloria Patri et filio et Spiritui sancto, see Ascendit D e u s in Jubilatione (Paminger) Gloriar m i poss'io donne (Verdelot), 1536 8 , 1544j, 1547 5 Glorificamus te, 1531 6 . See also Missa Apostolorum ; Missa de beata Virgine; Missa Dominicalis; Missa I n Dominicis D i e b u s ; Missa Virginis Mariae Glück eer u n d gut, 1533i Glück mit der Zeit (Othmayr), 1558 5 Go, christall teares (Dowland), 1597 4

AND

TITLES

521

G o f r o m m y window, 1596 5 (attr. to Dowland), 1597,, 1599 8 (attr. to Allison) Gobo N a n , Il (Bariola), 1594j Godi p u r del bel sen (Costa), 1594 s G o d t es m i j n licht (Clemens n o n Papa), 1563 1 2 , 1568„ 1568,, 1570 3 , 1571i, 1571„ 1573 s , 1578 4 , 1582 5 , 1583 2 Goe f r o m m y window, see G o f r o m m y window Gofred, Canzon francese, 1 5 9 9 n Gombertina, La, see under Pavane ; Saltarello Gonella, see under Gaillarde G o r r e con lo paschiero, Le, 1560 4 Gorzanis, II, see under Passamezzo; Pavane; Saltarello G o t t alls in allen wesentlich (Senfl), 1558, G o t t ist mein licht, see G o d t es m i j n licht G o t t ist m e i n Schutz, 1586 s G o t t sey gelobet u n d gebenedeiet ( M . Agricola), 1561! Gracca Amorosa, Cascarda, 1581! Grace et vertu (Roquelay), 1547,, 1552H, 1563 1 2 Graciosa, La, see under Pavane Graff J o h a n von Nassaw dantz, see T a n t z : Wie kan ich frölich werden G r a n d bonnet large, see Branle : Poitou G r a n d Roysin, Le, see Roysin, L e grand G r a n d s douleurs, Les, Bergerette, 1551, G r a n t T h o r i n , Le, see T h o r i n , L e grant Grassa, La (Gallus), 1598 4 Gratia d ' A m o r e , Balletto, 1581i Gratiosa, Canzon dita la (Merulo), 1592, Gratiosa, Canzone detta la (Pellegrini), 1599, Gratiosa se mai, 1568! Grave, La, see under Gaillarde Grave pen'in A m o r (Rore), 1549, Grida te grida, 1584, Grillo, Il (Morley), 1595, Gritos dava la morenica, 1576i Gross lieb hat mich u m b f a n g e n , 1570 3 , 1571 1( 1578 4 , 1582s, 1583 2 Gross lieb hat mich u m b f a n g e n (Scandello), 1575! Grosse Schlacht, Die, see Bataille (La Bataglia Francesa) Guamina, L a (Guami), 1596 3 , 1599, Guarda fuera, see T o r n a M i n g o Guardarne las vacas (A. Cabezón), 1578 3 ; (Henestrosa), 1557 2 ; (Mudarra), 1546 1 4 ; (Narváez) 1538i; (Pisador), 1552,; (Valderrábano), 1547, Guardarne almo pastore (Corteccia), 1539! Guarte guarte el rey don Sancho, 1552, G u e r r a n o n ho da far (Gorzanis), 1570! Guerre, La, see Gaillarde : Bataille ; Pavane : Bataille ; and under Bataille (La Bataglia Chiarenzana); Branle Guerre, La, faitte a plaisir, see u n d e r Bataille (La Bataglia Chiarenzana) G u e r r e guerre, see under Allemande Gugel, Die, see N u n grüss dich G o t t (Senfl) G u i d o m m i in parte il ciel (Rosello) (2a pars: D a indi in qua), 1568 2 Guillemette, see under Allemande; Branle G u s h foorth m y teares (W. Holborne), 1597, Gustate et videte (Lasso) (2a pars : Divites eguerunt), 1566 3 , 1571,, 1573i, 1577„ 1583„, 1586,, 1594, G u t gsell d u m u s s wandern, see under T a n t z G u t singher (Lechner), 1594 5

H a quai t o u r m e n t (Godard), 1544 2 , 1546, H a traître amours (Stokhem), 1507 2 , 1536,

522

INDEX

v:

FIRST

Haec dies (Raval), 1 5 9 6 n Haec dies quam fecit Dominus (Palestrina), 15834 Haec est dies quam fecit dominus (Arcadelt), 1544 s Haec est vita aeterna (Gosse), 1521 1 Haec Maria fuit, see Laetentur omnes Haime. See also Ahimè ; Aime ; Ohimè ; Oime ; Oyme Haime per che mhai privo, 1509, Hanc tua Penelope, 1546, 4 Haray tre amours, see H a traître amours Harke Israeli and what I say (The X. Commandements), 1599, Harraytre amours, see H a traître amours Harte opprest, 1574 2 Has tu point veu ce grand vilain (Le Roy), 1571 3 , 1574 2 Hast d u mich genommen (Madonna Katerina), 151?!, 1540!, 1544i, 1547 4 , 1549, Hasté le pas, see La nuict le jour H a u hau le boys (Sermisy), 1531 x Hauberrois, see under Branle Haubois, see Hautbois Haulbaroys (Haulberroys, Hault Berrois), see Branle : Hauberrois Hault d'alemaigne, Le (Mathurin), 1504, Hault et bas, Le, 148 ?ι Hautbois (Haultbois), see under Gaillarde; Passamezzo; Saltarello Have I vowed and must not break it (Cavendish), 1598 2 Haye, La, see under Branle Hayne et amour (Vermont), 1533 3 He he, das neiiw jar, Gott geb der aller Liebsten, 1562 3 H e le nata colei (Lodi), 151 l i Hec est dies quam fecit dominus, see Haec est dies quam fecit dominus Heckerling unnd Haberstro, see T a n t z : Wer das Töchterlein haben wil Heere rest my thoughts (W. Holborne), 1597 β Heigh ho holiday, 1599 β Hellas amour (Heurteur), 1533 a Helas amy (Sandrin), 1545 3 , 1547„ 1 5 5 2 u , 1562 3 . See also Quant je cogneu and under Basse dance Helas helas madame (Moulu), 1530 4 Helas je suis mary (Helas que devera m o n cueur) (Isaac), 1538 2 Helas ma mere (Willaert), 1548„ 1584, Helas mamert, see Helas ma mere Helas mon dieu, 1546 15 , and [1547] n Helas mon dieu ton ire s'est tournée (Maillard), 1551 a, 1551 a , 1553 3 , 1570 3 , 1570 4 , 1578 4 Helas mon dieu y ha il en ce monde, Branle gay (Le Roy), 1556 s Helas que deverà mon cueur, see Helas je suis mary Helas quel jour (Lasso), 1566 2 , 1571„, 1572„ 1573 x Helena Tantz, see under T a n t z Hellas, see Helas Helogeron nous (Isaac), 1507 2 Help, Lord, for wasted are those men (Byrd), 1588 2 Helpe Lord for good and godly men, 1599, Hely, see under Gaillarde Henneur sons plus, see Honneur sans plus Herba fresca, L', see under Gaillarde Hercules, Danse de, see Forze d'Ercole Hercules Dux Ferrariae, see Missa Hercules Dux Ferrariae Herdsona, see under Gaillarde Heres paternus, 1599 6 Hermites, Les, see under Branle

LINES

AND

TITLES

Hermoza, 1599 e Herodes hostis impie, 1521! Herr Christ der eynig Gott (Walther), 1532¡¡ H e r r das d u mich so gestürtzet hat (Peschin), 1558 s H e r r durch Barmhertigkeyt u. Gnad (Peschin), 1558, Herr Gott lass dich erbarmen (Innsbruck ich muss dich lassen) (Isaac), 1558 5 H e r r Gott nu sey gepreyst, 1583 2 Herr Gott nu sey gepreyst (Le Maistre), 1571,, 1583» Herr Jesu Christ, 1586 s Herr thu uns hilff, 1533, Hertoch Mauritius, see under Allemande Hertzlich lieb hab ich dich O Herr, 1577, Hertzliebstes Bild (Hertzliebstes Biid, Hertzliebstes pild) (Hofhaimer), 1512,, 1571i Hertzog Moritz Dantz, see under T a n t z Het is soe goeden dinck, 1547, Het sadt een schipperken op sijn schip, 1568 β Het soude een meysken gaen om wijn, 1584, Het soude een meysken gaen om wijn (Sampson), 1584, Het soude een proper meisken, 1568 e Het voer een cuyper cuypen, 1584 e Het was een aerdisch vrauken, 1564 7 Het was een aerdisch vrouken, 1568 e , 1570 3 Het was een macht, 1568 e , 1570 s Het wasser te nacht, 1568„, 1570 3 , 1582 5 Heu mihi domine (Lasso), 1571 β Heureux seray, see J'ay pris amours Hic precursor et dilectus (Gombert) (2a pars of Fuit homo missus), 1547 s Hierusalem convertere ad dominum (M. Ortiz), 1547 5 Hierusalem luge (Lupus or Richafort) (2a pars: Deduc quasi torrente), 1544 3 , 1547 5 (attr. to Verdelot), 1547„, 1553„ 1558 4 , 1558 5 (attr. to Caen), 1574 6 , 1577 6 , 1578 3 , 1583 6 Hierusalem surge (Clemens non Papa) (2a pars : Leva in circuitu oculos tuos), 1583 e Hilff Herre Gott, 1562 3 His golden locks (Dowland), 1597 4 His mortali Lyfe doth lyttle see (Whythorne), 1590„ H o ch'ai me tira el brazo, see under Saltarello H o la he, see Hola ho par la vertu goy H o scoperto il tanto aperto (Tromboncino), 1509, Hoboken (Hoboecken dans), 1551 β> 1571 5 , 1582 6 , 1583 7 . See also under Branle Hodie beata virgo Maria (Palestrina), 1591«. See also Senex puerum Hodie Christus natus est (Liitkeman), 1597, Hodie Christus natus est (Palestrina), 1583 4 Hodie completi sunt (A. Gabrieli), 1599,, Hodie nobis de coelo (La Magia) (Gallus) (2a pars: Dies sanctificatus), 1598 4 Hodie nobis indignis (Gallus) (2a pars: Puer qui natus est), 1598 4 Hodierna lux (Lupus) (2a pars: Ave Domine coelorum), 1554 3 Hoe losteleck, 1512, Hoff Tantz, see under Tantz Hola ho par la vertu goy, 1546, 0 , [1547],,, 1552,, Holdseligs Bild mich nicht betrübe (Haussmann) (Nach T a n t z : Vil lügen die falschen Kläffer dichten), 1599 5 Holla be, see Hola ho par la vertu goy

INDEX

v:

FIRST

LINES

H o m o quidam erat dives (Schröter) (2a pars: Accidit autem d u m moreretur Lazarus), 1583 e H o m o quidam fecit coenam magnam (Bultel) (2a pars: Venite et comedite), 1583 e Honie-suckle, T h e , 1 S99 e Honneur sans plus (Lupus), 1544 2 Honor virtus, see Benedictus dominus Deus Israel Honorata, see Bassa Honorata Hor ch'e lungi il mio bene (Vecchi), 1597 14 H o r che vezzosa e bella (Anerio), 1 5 9 1 n H o r ch'el ciel e la terra (Tromboncino), 1517! Hor ch'el cielo (Galilei), 1584 4 Hor ch'el cielo e la terra (Rore) (2a pars: Cosi sol d'una chiara), 1564 e , 1568 2 H o r chi mai cantera (Corteccia), 1539 x H o r ch'il cielo e la terra (Rore), see Hor ch'el cielo e la terra (Rore) Hor ch'io son gionto quivi (Facoli), 1588 3 H o r pensat'al mio mal (Vento), 1594 5 H o r pensate al mio mal, see Per pianto la mia carne (Baccusi) Hor va canzona mia (Ferretti), 1592 e Hor venduto ho la speranza (Cara), 1509! H o r vien za vien, see Or vien ca vien Hora ch'ogn'animal (Vecchi), 1597 14 Hornepipe (Hornepype), 1597 e Hornepipe d' Angleterre, 1553 4 Hórrida tempestas (Tritonius), 151 ? 1 Hors de plaisir (Richafort), 1546 9 Hors envieux retires vous (Gombert), 1533 2 , 1546 β , 1546 8 , 1546i8, 1556 3 , 1568 e Hostis Herodes impie (G. Cavazzoni), 154?¡¡ How can the tree but waste and wither away, 1596, H o w pleasant is thy dwelling place, 1599 x H o w shall a young m a n ? (Byrd), 1588 2 H u m b l e sute of a Sinner, The, see O Lord of whom I do depend Humorista, L', see Si mi fai saltar Huomini, e Dei, see Là ver l'aurora (Lasso)

I begli occhi ond'io fin (Willaert) (2a pars: Questi son que begli occhi), 1568 2 I did in hart rejoyce, 1599 x I dolci colli (Pordenone) (2a pars: E qual cervo ferito), 1584 s I dolci colli (Striggio) (2a pars: E qual cervo ferito [Et qual cervo ferito]), 1568 2 , 1584^ 1584 3 I follow loe the footing (Morley), 1597i 0 I joy not in no earthly bliss (Byrd), 1588 2 I la mia cinta, see Y la mi cinta dorada I lift mine eyes to Sion hill, 1599 t I lift my hart to thee, 1599! I lift my harte to thee, 1574 2 I love the Lord because my voice, 1599 : I pensier son saette, see Amor m'ha posto I tene al ombra, 1546 14 I truste in God (Le Roy), 1574 2 Iam iam efficaci dominus (Tritonius), 151 Iam non dicam (Lasso) (2a pars: Accipite Spiritum Sanctum), 1577 6 Iam satis terris (Saphica) (Tritonius), 151 ? l t 1523 2 Ibis liburnis inter alta navium (Tritonius), 151 ?! Ic sach een aerdich vrouken, see En het was een ardich vrouken Ic seg adiu, 1544i, 1544 2 , 1547 4 , 1547„ 1562 3 , 1568„ 1571i, 1583 2 Ich armes keiitzlein kleine (Mahu or Senfl), 1558,

AND

TITLES

523

Ich armes Medlein klag mich sehr (Senfl), 1558 δ , 1571i, 1583 2 , 1583 4 Ich bin ein fischer auff einem see, 1549, Ich bin gen Baden zogen (Regnart), 1584, Ich bin ir lange zeit hold gewesen, 1523 2 Ich bin vorsagt, 1571! Ich bin zu lang gewesen, 1583 2 , 1592 12 Ich bitt dich Megdelein hab mich hold, 1571i, 1583 2 Ich clag den tag, see Ich klag den tag Ich dancke Gott, see under Allemande Ich ging ain mal spaciren, see Allemande: Nonette and under T a n t z Ich gieng wol bey der nacht, 1536 β Ich hab mein Sachen, 1558, Ich habs gewagt, 1571!, 1583 2 Ich habs gewagt (Forster), 1546 9 Ich het mir ein Annelein fürgenommen (Ich het mir ein Endlein fürgenommen) (Senfl), 1529!, 1532 2 , 1540!, 1544i, 1546„, 1574 4 Ich het mir ein feines beumelein, 1549 e Ich hört ein Jungfraw klagen (Langius), 1584 a Ich kan und mag nicht frolich sein, see Wie kann ich frölich werden and under Gaillarde Ich klag den tag (Stoltzer), 1532», 1536„ 1540t, 1544i, 1544 2 , 1546 9i 1547 4 , 1549 e , 1562 3 Ich rew und klag (Brack), 1556 2 , 1574 5 . See also Tröstlicher lieb Ich rith mir einmal spatzieren, 1571! Ich ruff zu dir Herr Jesu Christ (Lasso), 1571!, 1577, Ich ruff zu dir Herr Jesu Christ, Fantasia (Lütkeman), 1597, Ich ruff zu dir Herr Jesu Christ (Reymann), 1598 10 Ich ruff zu dir Hilff mir o trewer Gott, 1586 5 Ich sage Ade, see Ic seg adiu Ich schrei und rieff, 1512! Ich schwing mein Horn (Ich schwing mein Herz) (Senfl), 1544 2 , 1546 9 , 1549„ 1558 s , 1571h 15753> 1583 2 Ich setze dahin, 1571i, 1583 2 Ich stund an einem morgen, 1533ι· See also under Tantz Ich stund an einem morgen (Senfl), 1536 e , 1538 2 Ich stund an einem Morgen (Vento), 1575i Ich traw der lieben woll, 151 ? t Ich wais mir ain stoltze Mülnerin, see Ich weiss mir ein stolzte Müllerin Ich weiss ein hübsches Frewlein (Lasso), 1575! Ich weiss ein schönes weib, see Ein schönes weib erfreuet mich Ich weiss mir ein festes gebawtes Haus (Scandello), 1571i, 1572i, 1575i Ich weiss mir ein hübsch Paumgertelein, 1546 9 Ich weiss mir ein stolzte Müllerin (Ich weiss mir ein schöne Müllerin), 1540i, 1544i, 1547 4 , 1562 4 , 1573 2 . See also under T a n t z Ich weiss mir gar ein schönes Reis, 1571! Ich weiss nit, wie es kommen mag (Zilte), 1558 6 Ich weyss mir ein hübsch Paumgertelein, see Ich weiss mir ein hübsch Paumgertelein Ich weysz mir ein schöne Müllerin, see Ich weiss mir ein stoltze Müllerin Ick had een gestraedich minneken (Ick hadde een ghestadich minneken) (Clemens non Papa), 1564,, 1568 e , 1570 3 , 1582 6 Ick hebbe wel alsoo langhen tijt, 1568, Ick sach vrou venus burseken, 1568, Ick sag adieu (Ick sege adieu), see Ic seg adiu

524

INDEX

v:

FIRST

If m y complaints could passions move (Dowland), 1597 4 . See also Gaillarde: Pipers Galliard If that a sinner's sighs (Byrd), 1588 2 If t h o u wouldst know t h e swyftest t h i n g ( W h y t h o r n e ) , 1590,, I g n o soave (Verdelot), 1536 8 Il a b r u l é la hotte, 1565 3 Il b e n ti vegna, 1553 2 , 1555 2 Il b i a n c h ' e dolce Cigno (Lupacchino), 1565 4 Il bianco e dolce cigno (Arcadelt), 1554 3 , 1562 s Il b o n nochier, 1511! Il chiaro sol (Porta), 1568 2 Il ciel che rado (Arcadelt), 1547 3> 1553!, 1564i, 1574 6 , 1574, Il cor che m i rubasti (Mancinus), 1597 8 Il cor che m i rubasti (Vecchi), 1594 6 Il dolce s o n n o in cui sepolto giace (Palestrina), 1584 5 Il est bel et b o n (Passereau), 1549 2 Il est bel et b o n , C a n z o n sopra ( G . Cavazzoni), 1543, Il est bel et bon, Chiarenzana (Pifaro), 1546 1 3 Il est cellui, see II n'est celuy Il est j o u r , see under Passamezzo Il est j o u r dit l'alouette (Sermisy), 1531 3 Il estoit u n e fillette (La Fiellette) (Janequin), 1545 a , 1547 β , 1552 ä , 1562 3 , 1563 1 2 . See also under Basse d a n c e ; Branle; P a v a n e : Gaiette Il estoit u n g lourdault, 1570 3 Il f a u t q u e de tous m e s esprits, 1564 5 Il m a r m o fino (Vecchi), 1597 1 4 Il m e convient (Passereau), 1582! Il m e suffit (Sermisy), 1529 3 , 1531 „ 1545 3 , 1546 6 , 1 5 4 6 l e , 1 5 4 7 „ 1 5 5 2 n , 1563 1 2 . See also under Basse dance Il ne se trouve en amytié (Sandrin), 1551 1 ( 1552 s , 1559 4 , 1562„, 1574, Il n'est celuy (Cadéac), 1546 e Il n'est plaisir (Janequin), 1546 1 0 , [ 1 5 4 7 ] n , 1582, Il n'est plaisir (Peu d'Argent), 1584, Il n'est trésor (Lupi), 1546 β Il ont mesdit, 1562 3 Ille Dies Rediti (Klingenstein), 1586 6 Illumina oculos me, 1 5 9 2 n Il vostro gran valore (Ruffo), 1568¡¡, 1584 6 Il y a de lognon (Payen), 1548i I m friede dein, O H e r r e m e i n (Peschin), 1558 s I m M a y e n hört m a n die H a n e n krehen, 1571 j, 1572t, 1575J, 1577„, 1583 4 I m a g e of Melancholly, T h e , 1599» I m p e r a t o r , see under Passamezzo Imperial, see under Saltarello ; T a n t z Imperiala, see under Allemande Imperiale, L a , see under Gaillarde I m p e t u m inimicorum ( M o u t o n ) , 1558 δ I n Bethlehem H e r o d e s iratus (Burgk) (2a pars: O mira novitas facinoris), 1583 6 I n bianco letto (Nasco), 1568 2 I n conspectu angelorum. see Michael arcangello I n counsell be t h o u close ( W h y t h o r n e ) , 1 5 9 0 n I n D e o speravit cor m e u m (Merulo), 1599 L 1 I n dich h a b ich gehoffet H e r r , 1590 β I n diser welt, h a b ich kein gelt (Wüst), 1536 β I n Dominicis Diebus, see Missa I n Dominicis Diebus I n d o m i n o confido (Veu Q u e de tout) (Mornable), 154?, I n D o m i n o laudabitur anima mea, see Benedicam Dominum I n D o m i n o letabitur, 1 5 9 2 n

LINES

AND

T I T L E S

I n d u b i o di m i o stato (Lasso), 1582 1 ( 1584 6 I n d u b i o di m i o stato (Lasso, a n o t h e r setting), 1584 s I n exitu Israel de Egypto. See also Q u a n d Israel hors d ' E g y p t e sortit I n exitu Israel de Egypto, F a b o r d o n , 1552 7 , 1557 2 I n exitu Israel de Egypto (Galilei), 1584 6 I n exitu Israel de E g y p t o (Josquin) (2a p a r s : D e u s a u t e m n o s t e r ; 3a p a r s : D o m i n u s m e m o r fuit), 1558 b I n exitu Israel de E g y p t o (Pisador), 1552, I n fields abroad (Byrd), 1588 2 I n giustissimo A m o r e (Orlandino), 1589 β , 1591 1 6 I n gloria dei patris, 1531 5 . See also Missa Virginis Mariae I n gotes n a m e n faren wir ( H o f h a i m e r ) , 1538 2 I n hospitas per alpes (Pesenti), 1509 x I n ilio t e m p o r e (Benedictas), 1558 6 I n ilio t e m p o r e ( M o u t o n ) (2a p a r s : P r o p t e r h o c dimittet [Propter hoc relinquet]), 1533!, 1546i 5 , [1547]n I n labore requies (Las Infantas), 1579 2 I n lectulo m e o (Jachet), 1543 s I n liebes b r u n s t ( I n liebes prunst), 1536 e , 1540,, 1544j I n m e d o n n a il desio, 1546 1 5 I n m e tanto l'ardore (Monte), 1584 3 I n m e transierunt irae tuae (Lasso), 1566 3 , 1571 e , 1573!, 1575!, 1577„ I n m e transierunt irae tuae (Maillard), 157Ô! I n memoria aeterna erit justus (Lasso), 1591, I n nomine, see under Pavane I n n o m i n e Jesu o m n e genuflectatum (2a p a r s : Rogamus te o clementissime Jesu), 1583 β I n over c o m m i n g appetite (Whythorne), 1 5 9 0 n I n pace in i d i p s u m (Alberto), 1557 a I n pace in idipsum (Josquin), 1507 2 I n p a r t u dolor est (Liitkeman), 1597, I n pescod time, 1597, I n principio erat v e r b u m (Josquin), 1552, I n principio erat V e r b u m (Lasso) (2a p a r s : F u i t h o m o missus a D e o ; 3a p a r s : I n propria venit), 1575! I n principio erat V e r b u m (Lasso) (2a p a r s : Consulto o m i s m u s ; 3a pars: I n propria venit et sui eum), 1583» I n propria venit, see I n principio erat V e r b u m (15750 I n propria venit et sui e u m , see I n principio erat V e r b u m (1583„) I n quai j a r d i n (Contino), 1584 6 I n qual parte del cielo (Monte) (2a p a r s : P e r divina bellezza), 1584 6 I n rechter lieb u n d trew ( H o f h a i m e r ) , 1536 β I n rete accolgo l'aura, see Là ver l'aurora (Lasso) I n te d o m i n e speravi, 1531 e I n te D o m i n e speravi, 1 5 9 2 η I n te d o m i n e speravi (Josquin), 1509i, 1544i, 1547 4 I n t e D o m i n e speravi (Lasso) (2a p a r s : Q u o n i a m fortitudo mea), 1 5 7 7 „ 1586 5 , 1592„ I n te d o m i n e speravi ( L u p u s ) (2a pars: Q u o n i a m fortitudo mea [Et propter n o m e n tuum]), 1547 s , 1553i„, 1571 e , 1574 5 , 1578 3 , 1592 6 I n te d o m i n e speravi (Merulo), 1594 3 , 1 5 9 9 n I n T o l e d o u n a donzella vaga et bella, 1568, I n u n boschetto adorno (Arcadelt), 1546 1 5 I n u n boschetto novo, see S t a n d o m i u n giorno solo alla fenestra I n Weichs H a u s wölt ir d a n n ziehen, see M e i n M a n der ist in Krieg gezogen (Utentaler)

INDEX

v:

FIRST

LINES

In youth (Cowper), 1530 β Incessament mon pauvre coeur lamente (De La Rue), 1552h, 1553 10 , 1562 3 Incessament sans cesser je lamente (Mornable), 1546, Incognita, 1553 2 , 1555 2 Indi per alto mar, see Standomi un giorno solo alla fenestra Inferni claustra penetrans, see Jesu nostra redemptio (Lütkeman) Infernum, 1599 6 Infirmitatem nostram (Verdelot), 1547 6 , 1552h, 15583 Inghilterra, see Ballo : Bufón Ingiustissimo Amore, see In giustissimo Amore Ingredere (Corteccia), 1539! Ingressus erat Jesus navim (Schedius) (2a pars: Domine serva nos perimus), 1583 e Innsbruck ich muss dich lassen (Isaac), 1550 4 ,1571 j, 1583 2 . See also 1597 7 , no. 32; Herr Gott lass dich erbarmen Inspirita, La, see under Gaillarde Int soetste vanden mey, 1582 5 Integer vite scelerisque purus (Pesenti), 1509! Intellectum tibi dabo (Lasso), 1591, Inter natos mulierum. See also Elisabet Zacharie Inter natos mulierum (Layolle) (2a pars : Fuit homo missus), I5464 Inter natos mulierum (Morales), 1554 3 Interiora mea, see Adesto dolori meo Intermedio, 1591 β Intonation:, 1593 4 Intorcia, see uìider Ballo Intrada (Entrada), 1557., 1572^ 1597 l x Introduxit me (Palestrina), 1591 2 Intramezzo, 1583! Introit, 1574 5 Intuemini quantus sit istae (Regnart) (2a pars: Occurrite illi), 1583 e Invaghito, L ' , see O che diletto Invidioso amor (Striggio), 1568 2 , 1591 2 Inviolata Fantasia (Gombert), 1547 s Inviolata integra (Josquin) (2a pars: Nostra ut pura pectora; 3a pars: O benigna), 1533!, 1547 5 , 1558 6 , I5783 Invocabat autem (Peschin), 1558 6 Io ardo o Filli (Ricordi), 1589„, 1591 16 Io benedico'l loco, see Quando fra l'altre donne (Rore) Io canterei d'amor (Rore). 1568 7 , 1577 5 ,1584i, 1586 5 , 1591 2 Io cantero di quel'almo splendore (Conversi) (2a pars: Ben poss'amor), 1584 e Io cercho pur la insupportabil (Tromboncino), 1509! Io che tropp'alt'amor (Ferretti), 1592 e Io credea ch'I morire (Rore), 1577 5 Io dico e dissi (Rore), 1549, Io dissi e dico (Vecchi), 1597 14 Io fuggia le tue mani, see Ben sapevo io Io me n'avedo Amore (Crivello), 1589 e , 1591 14 Io me ne vò la notte (Fonghetti), 1598 3 Io mi pensai (Arcadelt), 1554 3 Io mi rivolgo indietro (Arcadelt), 1546 i 7 Io mi son giovinetta (D. Ferabosco) (2a pars: Io vo per verdi prati), 1563„ 1566 2 , 1568 2 , 1571 e , 1572t, 1573„ 1574 β , 1577 e , 1583,, 1584 3 , 1584 5 , 1584 6 , 1596, Io non compro più speranza (Cara), 1509 χ

AND

TITLES

525

Io Io Io Io Io Io

non minchai di fede (Zesso), 1511! non sò come vivo (Stabile), 1591ϋ piango, 1568 2 , 1584 6 son bell'e delicata (Ferretti), 1584 3 , 1584„ son fenice, 1584 3 son ferito hai lasso (Palestrina), 1568 2 , 1574 e , 1584 6 , 1591 2 , 1594 a Io son ferito e fuggo (Fiorino), 1571 4 Io sper'e tem'e ard', Aria (Vecchi), 1590 8 Io stanco e lasso (M. Ferabosco), 1594 5 Io t'ho donato il core (Zesso), 1511! Io ti vorria contare (Toti voria contar) (Fontana), 1552, Io vidi solo il fare trato Amore (Bertani), 1574 e Io visans, see Jouissance Io vo cercando, 1570 5 Io vo cogliendo, see under Saltarello Io vo gridando (Conversi), 1584 e Io vo morir (Fiorino), 1571 4 , 1584 3 Io vo per verdi prati, see Io mi son giovinetta Io voglio (Regnart), 1584 e Io voglio et Tisis, see under Saltarello Io vorei Dio d'amor (Ganassi), 1543 2 Io vorrei p u r hormai (Costa), 1594 6 Io vous, 1557 2 Ipsa te cogat (Lasso), 1591,. See also Jesu nostra redemptio (Lütkeman) Isabel, perdiste la tua faxa, 1546 14 Ispruck ich mus dich lassen, see Innsbruck ich muss dich lassen Israel mira tus montes, 1546 14 Issbruck ich muss dich lassen, see Innsbruck ich muss dich lassen Ist keiner hie der spricht zu mir (Lasso), 1572i, 1583 4 Ist keiner hie der spricht zu mir (Winsiman), 1584 e Ist mir ein fein braun Megdlein, see T a n t z : Mir ist ein fein braun Megdlein, Iste confessor (G. Cavazzoni), 154 ?2 Iste confessor (Rodio), 1575 6 It is a thing both good and meete, 1599! Itali, see Italie Italia mia (Verdelot), 1547 ä Italiae, see Italie Italiana, see under Passamezzo ; Pavane Italiano, see Ballo : Torneo Amoroso balletto Italiano Italica, see under Passamezzo Italie, see under Gaillarde; Passamezzo; Saltarello; Tantz Ite caldi o miei suspiri (Tromboncino), 1511! Ite caldi sospiri (Nadal) (2a pars: Dir si può ben), 1549, Ite in pace suspir fieri (Tromboncino), 1511! Ite rime dolenti (Rore) (2a pars : E se qualche pietà), 1568 a Itene al ombra, 1546 14 J'aime le cueur (Sermisy), 1546 10 , 1546ü, [1547]n· See also J'ay mis mon cueur J'aimeray que m'aimera (Gombert), 1533 2 J'aimeroys mieulx dormir seulette, 1568 s . See also under Gaillarde Jamais femme ne sera (Certon), 1554 4 , 1570 4 Jamais je n'aymeray grant homme, 1546 10 , 1 5 4 6 n Jamais n'aymeray, 1564,, 1568 e Jamais n'aymeray masson, 1545 3 , 1547,, 1555 2 , 1563,2 Jamais je n'euz tant de soulas (Gombert), 1538, Jamais ung cueur, 1533 3

526

INDEX

v:

FIRST

LINES

amas cosa que quisiesse (Valderrábano), 1547 6 amays naymeray masson, see Jamais n'aymeray masson an Jan Iadrian, 1571, an petit ian ian (L'Héritier), 1530 4 'attens le temps (Lasso), 1571 β , 1574, 'attens secours, (Sermisy), 1529 3 , 1531 2 , 1546 3 'ay acquis ung serviteur, 1564 7 'ay bien a heur (A. Agricola), 1536 7 'ay bien mal, 1578 4 'ay bien mal choisi (Nicolas), 1570 3 , 1571 3 , 1574 2 , 15825 'ay cherché la science (Certon), 1556 g , 1570 i 'ay contente ma volunté (Sermisy), 1531 2 'ay du mal tant tant, see under Gaillarde; Pavane 'ay faict pour vous (Sermisy), 1546 9 'ay le désir content (Sermisy), 1531 3f 1546 0 'ay le rebours, see under Pavane 'ay mis mon cueur, 1531 3 , 1545 3 , 1547,, [1547],, (J'ayme le cueur), 1548 3 'ay pris amours (Ghiselin?), 1507,,, 1507 2 , 1536, 'ay tant bon credit qu'on voudra (Arcadelt), 1554 4 , 1570 4 'ay tant souffert (Jacotin), 1533 2 'ay trop ayme, 1529 a , 1531!, 1546 1β , 1568 e , 1570 3 , 15784, 1582 s 'ay u n mary, 1574! 'ay veu le cerf, 1568 β , 1584 e 'ay veu que j'estois franc (Sandrin), 1547 3 , 1547 9 , 1552 s 'ay vien ahur, see J'ay bien a huer 'ayme le cueur, see J'aime le cueur 'aymeray que m'aymera, see J'aimeray que m'aimera 'aymeroye mieux dormir seulette, see J'aimeroys mieulx dormir seulette e cherche autant amour (Je cerche autant amour) (Boyvin), 1551 3 ,1552 5 , 1553 3 ,1556 2 ,1559 4 , 1570 4 , 1582t e cuide se ce tamps me dure, 1507 2 e demeure seule esgarée, 1529 3 , 1531 3 e fille quant Dieu me donne de quoy (Willaert), 1578 3 e l'aime bien (Lasso), 1571 e , 1574 2 , 1577, e l'ay aymé (Certon), 1533 2 e l'ayme bien, see Je l'aime bien e languis, 148 ?, e le disoies, 1531, e le feray, 1533 χ e le laray, 1546 10 , [1547],, (Elle lara) e me repens de vous avoir ayme, 1529 3 e me repute bien heureux (Arcadelt), 1558 4 e n'avoye point (Sermisy), 1533 a e n'ay point plus d'affection (Sermisy), 1551,, 1551 2) 1563 12 e n'en diray mot (Passereau), 1533, e ne cuide, see Je cuide se ce tamps me dure e ne demande (Busnois), 1507 2 e ne desire aymer (Crecquillon), 1546 I 8 , 1568 7 e ne desire que la mort (Chastelain), 1553, 0 e ne fais rien que requerir (Sermisy), 1531 3 e ne fay (2a pars: De lyvres plains), 1507, e ne fay cont damer, 1507 2 e ne la croy (Sandrin), 1546 9 e ne me confesseray point (Arcadelt), 1554 4 , 1570 4 e ne me puis tenir d'aimer (Josquin), see Respice in me Deus e ne puis bonnement penser (Sandrin), 1547 9 e ne puis pas (Heurteur), 1533 a

AND

TITLES

Je ne scay point comment (Je ne scay pas comment), 1531,, 1553 4 Je ne scay que c'est qu'il me faut (Arcadelt), 1554 4 , 1570 4 Je ne seray jamais bergere (Passereau), 1530 3 . See also under Branle: Gay Je ne suis moins aimable, Branle gay (Le Roy), 1556 a Je ne veux plus a m o n mal consentir (Le Roy), 1556 8 , 15683, 1570 3 , 1570 4i 1574 2 , 1578 4 , 1582 δ Je ne veux rien (Lasso), 1571 e , 1574„ 1574 2 , 1583 4 Je prens en gré (Barbion), 1589 e . See also Mourir me fault Je prens en gré (Bastón), 1552,, Je prens en gré (Clemens non Papa), 1545 3 , 1547 9 , 1552n, 1556 2 , 1557 2 , 1562 a , 1563 12 , 1568«, 1568„ 1571 e , 1572,, 1573 a , 1576„ 1577 6 , 1577„ 1578„ 1582 5 , 1583 2 Je presigne, see Passamezzo: Je prens en gré Je sens l'affection (Boyvin), 1551 3 , 1558 e , 1562 0 Je sonne la retraite (Certon), 1554 4 , 1568, Je souffre passion, 1568 e Je suis aime de la plus belle (Crecquillon), 1553, 0 , I5783 Je suis ami aux, see Je suis amy d u forier Je suis amour (La Grotte), 1571 3 Je suis amy d u forier (Je suis ayme), 1544,, 1547 4 , 1562, Je suis ayme de la plus belle, see Je suis aime de la plus belle Je suis d'amour deschredite, see D'amours je suis desheritée Je suis desheritée (Cadéac or Lupus), 1546 18 , 1552 s , 1562 3 , 1562 9i 1563, 2 i 1568 e , 1568„ 1571„, 1574, Je suis desheritée (Jacotin?), 1551, Je suis infortune (Cédant), 1538 2 Je suys, see Je suis Je te supplie o Sire (Domine ne in furore tuo) (Certon), 1554 5 Je veulx laysser melancolie (Richafort), 1538, Je vous deser d ' u n bois ah., see under Passamezzo Jean de Lagny (Berchem), 1552 3 , 1570 4 . See also under Branle: Hauberrois Jectés moy sur l'herbette (Lupi), 1533 2 J ' e n ay dueil (A. Agricola), 1538 2 . See also Vostre a jamais Jerusalem gaude, see Ecce apparebit Dominus Jerusalem luge, see Hierusalem luge Jerusalem plantabis vineam (Lasso) (2a pars: Gaude et laetare Jacob), 1583 4 J'estoys près de ma maistresse, 1571 3 , 1574 2 Jesu Christo hombre y Dios, 1557 2 Jesu corona virginum (G. Cavazzoni), 154 ?2 Jesu decus angelicus (Anerio), 1592,, Jesu flos matris (Palestrina), 1592,, Jesu nomen sanctissimum (Clemens non Papa) (2a pars: Sit nomen Domini benedictum), 1565, 1571, Jesu nostra redemptio (G. Cavazzoni), 154 ?2 Jesu nostra redemptio (Lütkeman) (2a pars: Inferni claustra penetrans; 3a pars: Ipsa te cogat; 4a pars: T u esto nostrum gaudium), 1597 7 Jesu Rex admirabilis (Palestrina), 1 5 9 2 u Jesu sole serenior (Giovanelli), 1 5 9 2 n Jesu sommo conforto, see Giesu sommo conforto Jesu spes penitentibus (G. M. Nanino), 1 5 9 2 u Jesu summa benignitas (Giovanelli), 1 5 9 2 ^ Jesum queritis (Loyset), 1547 5 Jesus Christus unser Heiland (M. Agricola), 1561! Jesus Christus unser Heiland (Walther), 1533 x

INDEX

v:

FIRST

Jesus in pace imperai (G. M . Nanino), 1592,, Jetz scheyden pringt mir schwer, 1536 β Jetzt bringt Sankt Marten Gsellschaft viel (Sentì), 1549 c , 15585 Jhesus Christus unser Heyland, see Jesus Christus unser Heiland Jig, A, 1597, Jo Mison jovenette, see Io mi son giovinetta Johan, Graff, von Nassaw, see T a n t z : Wie kan ich frölich werden Join hands, see Joyne hands Joli amours (Ghiselin), 1507!, 1536 7 . See also 1507 1) no. 23 Jolie, see under Allemande Joly felow Joly, 1530„ Jolye, see under Passamezzo Joseph lieber Joseph mein, 1583 2 Jouisans canzon Francesca, see Jouissance vous donneray Jouissance vous donneray. See also under Basse dance Jouissance vous donneray (Sermisy), 1529 3 , 1531 1546 18 Jouissance vous donneray (Willaert), 1566 3 , 1572!, 1573,, 1584 2 , 1588 e , 1599,, Jouyssance vous donneray, see Jouissance vous donneray Joyeulx de Brucelles, Le, 148 ?, Joyeulx espoyr, Le, 148 ?, Joyeusement, 148?! Joyne hands (See, mine own sweet jewel) (Morley), 1599 8 Joyssance, see Jouissance vous donneray Jubilate Deo (Flecha), 1554 3 Jubilate Deo (Morales) (2a pars: O felix aetas), 1547 6 , 1554„ Jubilate Deo omnis terra (Colin) (2a pars: Populus eius et oves pascuae), 1583 β Jubilate Domino (G. Paix), 1583 4 Juden Tanz, see under Tantz Judex crederis, 1531 e Juli amours, see Joli amours Jungfrau ewer wanckelmuth (Regnart), 1584 s Jungfrau ich wolt euch wol gern (Haussmann), 1599 6 Jungfrau von ewrent wegen (Regnart), 1584 s Jungfrau wenn wolt ir euch eins besinnen (Haussmann), 1599 6 Jungfrau wolt ir nicht mir mir ein tantz (Haussmann) (Nach T a n t z : So tantzen wir), 1599 6 Jungfraw, see Jungfrau Jusques a quand es establi (Usque quo Domine) (Certon), 1554 s Jussona, La (Merulo), 1592 7 Justa, La (Flecha), 1554 3 Justi tulerunt spolia (Lasso), 1591, Justus cor suum (Lasso), 1591 7 Justus dominus in omnibus, see Oculi omnium in te sperant domine Justus non conturbabitur (Gastritz) (2a pars: Noli aemulari in malignantibus), 1575, Jyg, see Jig

Kalata, see Calata Kargel, see Gaillarde: Sixto Kaysers Dantz, see under Tantz Kein ding uff erden (Sentì), 1562 3 Kein grösser freud (Regnart), 1584 s Kein lieb ohn leid, mag mir nicht wiederfahren (Scandello), 1575 χ

LINES

AND

TITLES

527

Kein Mensch auff Erden (Haussmann), 1599 s Keyserin Tantz, see under Tantz Kochelsperger Tantz, see under Tantz Königs Ferdinandus Tantz, see under T a n t z K u m b t her ir lieben gesellen, wir haben ein gans, 1544 2 Künigin Tantz, see under T a n t z K u n t ich schön reines werdes weyb (Sentì), 1536, Kyrie, 1531 B . See also Missa Apostolorum; Missa Ave Maria; Missa de beata Virgine; Missa Dominicaiis; Missa Faysant regrets; Missa In Dominicis Diebus; Missa La sol fa re m i ; Missa Les armes; Missa Pange lingua; Missa Virginis Mariae Kyrie cunctipotens, 1531 6 , 1556 9 Kyrie de Nuestra Señora (Rex virginum), 1578 3 Kyrie fons bonitatis, 1531 s La, 1592 2 L e barca del mio amor, 1546,, 1561 2 , 1563 8 La bella bianca mano (Stabile), 1591 2 La bella Donna, 1549 e La bella Franceschina, see Franceschina La bella mal maridada, 1538,, 1546, β , 1547 6 La bella mano (Giacomini), 1584 5 La bella netta ignuda e bianco mano (La bella mita) (Rore), 1568„ 1574,, 1577 5 , 1584!, 1591 2 La ceinture que je porte, see under Branle: Gay La content est rice, see Le content est riche La cortesia (Fontana), 1552, La cortesia (Lasso), 1570 3 ,1571„, 1574„ 1575 3 ,1578 4 , 1582 6 La dama le demanda, 1578 3 La dipartita e amara (Mancinus), 1597 e La dolce umbra, 1546 3 La dura partita, see under Pavane La fiamma che m'incende (Capi Lupi), 1597 14 La fiera vist'a (Marenzio), 1592 e La fortuna voi cosi (Cara), 1509i La giustitia immortale (Rore), 1568,, 1577 6 La gratia e la beltade (Borgo), 1594 5 La inconstantia, see L'inconstantia che seco han le mortali cose La jeune dame, 1578 4 La, la, la, je ne l'ose dire (Certon), 1552 3 , 1570 4 La mañana de sant Juan, 1552, La manza mia (Gorzanis), 1570, La Marguaritt, 1544», 1549, La mi re fa mi re (La Spagna), 1575 6 La mi sola (Vasquez), 1554 a La mia amorosa (La Cortigiana) (Gastoldi), 1594, La mignonne de fortune (A. Agricola), 1507 2 La mon amy la, see under Allemande La moretta, see Moretta, La L . Milleri, see Gaillarde: Milleri La morra, see Morra, La La Munière de Vernon, 1551 3 , 1565 3 La non voi esser (Tromboncino), 1517, La non voi perche (Cara?), 152?, La nona Vergine, see Vergine La notte che segui l'horribil caso (Lasso) (2a pars: Riconosce colei; 3a pars: Come non conosco io), 1568 2 , 1584 5 La nuict le jour (Pevernage) (2a pars: Hasté le pas), 1592„ La palme douce (A. Gardane), 1560 3 , 1563, 2 La pastorella mia (Arcadelt), 1554 4 , 1564,, 1568 6 , 1568,, 1570 3 , 1570 4 , 1578 4

528

INDEX

v:

FIRST

LINES

L a pastorella mia che m ' i n a m o r a (Vicentino), 1548! L a plus des plus (Josquin), 1536 7 , 1538 2 L a plus gorgiase d u m o n d e , 1533 2 , 1536 a , 1546,, 1561 2 , 1563 6 L a plus te plus, see L a plus des plus L a prima vergine, see Vergine L a pris la tient (Prions), 1538 2 L a qual in somma e questa (Ponte), 1568 2 , 1584 5 L a quarta vergine, see Vergine L a quinta vergine, see Vergine L a Rose, see L a rousée d u moys de may L a rousée d u joly mois de May (Planson), 1592 e L a rousée d u moys de may ( G o m b e r t or Willaert), 1584!, 1588 e , 1591 2 L a scarpa m y faict mal, see under Basse dance L a seconda vergine, see Vergine La sesta vergine, see Vergine La sol fa mi fa re la, 1549, La sol fa re mi, 1549,, 1564 s . See also Missa L a sol fa re m i L a speranza in tutto (Tromboncino?), 152?i L a terre au Seigneur (Domini est terra), 1552 2 L a terre au Seigneur (Domini est terra) (Mornable), 154?! L a terre les eaux (Costeley), 1584 β L a terre nagueres glacée (La Grotte), 1571 3 , 1574 2 L a terza vergine, see Vergine L a traditore m y fa morire, see Gaillarde: Traditora L a turturella (Gorzanis), 1570i L a veille des roys, 1570 3 L a velenosa vista (Scaletta), 1599Ü L a venenosa vista (Costa), 1594 5 L a Verginella è simile a la rose, 1591Ü L à ver l'aurora (Lasso) (2a pars: T e m p r a r potess'io in si; 3a pars: Quante lagrime; 4a pars: H u o m i n i , e D e i ; 5a pars: A l'ultimo bisogno; 6a pars: Ridon hor per le piagge ; 7a pars : I n rete accolgo l'aura), 1568 2 L à ver l'aurora (Lasso ?), 1584 a L à ver l'aurora (Striggio), 1568 2 , 1584i L a via de la fìuma, 1546 t L a via de la Sumera, see Gaillarde : H e r b a fresca L a vien dal parti, see under Gaillarde L a virginella (Donato), 1594 5 L a vita fugge, 1546I 4 L a vita fugge (Lasso), 1571, L a voi non perche (Cara), 152? x L a volunte (La volonte, L a voulonté) (Sandrin), 1549 2 , 1551i, 1552 5i 1552 e , 1554„ 1562„, 1574,. See also under Basse dance Labia tua, see Q u a m pulchra es (Mouton) Laccio d'Amore, Cascarda, 1581! Lacrimae, see under Pavane Lacrime e voi sospiri, 1509i Lacrimosa, La, see under Pavane L a d y you thinke you spite m e (Morley), 1597i 0 L a e t a n t u r coeli (Lasso) (2a pars: T u n c exultabunt), 1574i L a e t a n t u r omnes (Lupus) (2a pars : Haec Maria fuit), 1554, Laetare sancta mater, see Augustine lux doctorum L'affection si long t e m p s prisonniere (Arcadelt), 1558 a Lafranchina, La (Cavacelo), 1597 2 Lagrime mesti (Willaert), 1552, Laiarosa, 1549 e Laissez la verte couleur ( L e Roy), 1556 β , 1570 4 Lalafete, see Alouette L ' a l m a ch'errando (Fiorino), 1571 4

AND

TITLES

L'Alouette, see Alouette L a m a r Narite, see L a Marguaritt L ' a m a r a dipartita (Capi Lupi), 1597ι 4 L ' a m a t a N i n f a mia (G. M . Nanino), 1 5 9 9 n Lambertina, La, Chiarenzana, 1546 l a L a m e n t we should at childrens birth (Whythorne), 1509n L a m e n t a b a t u r Jacob (Morales), 1554 3 Lamentación (Morales), 1554 3 Lamentation, T h e , see O L o r d in thee is all m y trust ; O L o r d t u r n e n o t away thy face Lamento, Il (Morley), 1595, L ' a m o r o s o Delfino lascia i profondi, 1595 1 0 L ' A m o u r premiere, see under Basse dance L a n g u e u r en nul soit destresse, 148?i Languir m e fais, 1 5 5 2 u Languir m e fais (Languir m e fault), (Sermisy), 1529 3 , 1531 2> 1544i, 1545 s , 1546„ 1547 4 , 1547„ 1 5 5 2 n , 1562 3 , 1563 1 2 , 1564„ 1568„, 1568,, 1570 3 , 1571„, 1573 3 , 1582 5 Lapidabant S t e p h a n u m (Palestrina), 1583 4 L ' a r d a n t a m o u r (Crecquillon), 1553 1 0 Larose, see L a rousée d u moys de may Les bacas, see Guardarne las vacas L a s il fauldra, 1529 3 Las il n ' a nul mal, see under Branle L a s je cognois, 1563 1 2 Las je m ' y plains (Sermisy), 1531 3 , 1536 3 Las je n'eusse jamais pense (La Grotte), 1571 3 ,1574 2 Las las p o u r q u o y mestes vous si dure, 1529 3 Las m e fault il (Lasso), 1571 6 Las m e fault il tant de mal (Maille), 1546 β Las on peut juger clerement (Las on peut susier clerement) (Janequin), 1552 4 , 1560 3 , 1563i 2 Las q u e nous sommes misérables (La Grotte), 1571 3 , 1574 2 L a s si je n'ay autre secours (Clemens n o n Papa), 1552„ Las s'il convient (Las sil covent) (Certon), 1544, Las tristes lagrimas mías, 1547 5 Las vacas, see Guardarne las vacas Las voules, 1588 β Las voulez vous (Vermont), 1531 3 Las voules vous q u ' u n e personne chante (Lasso), 1568,, 1571 β , 1574!, 1574 2 , 1577„ Lasciar il velo (Lasciar il veh) (Arcadelt), 1546 1 0 , 1 5 4 6 n , 1547 3 Lassai d'amar u n t e m p o (Gorzanis), 1570i Lassato a il Tago, 1546 1 4 Lasso che p u r , see T u t t ' i l di piango Lasso dal primo giorno (Gorzanis), 157() l Lasso la speme, 1552 4 Last will and testament, 1599 β Lastangeta, see Stangetta L a u d a Syon (Gombert), 1554 3 L a u d a b u n t alii (Tritonius), 151 ?x Laudate D o m i n u m , 1 5 9 2 u L a u d a t e D o m i n u m (Banchieri), 1595 2 L a u d a t e D o m i n u m (Mosto), 1594 5 L a u d a t e d o m i n u m de celis (Brumel) (2a pars: L a u d a t e d o m i n u m in sanctis eius), 1536, Laudate D o m i n u m d e u m n o s t r u m (Layolle), 1547 s L a u d a t e d o m i n u m in sanctis eius (Lütkeman) (2a pars: L a u d a t e e u m in tympano et choro), 1597,. See also Laudate d o m i n u m de celis L a u d a t e d o m i n u m omnes gentes (Arcadelt), 1558 4 L a u d a t e d o m i n u m omnes gentes (Kilian), 1558 5 L a u d a t e d o m i n u m omnes gentes (Las Infantas), 1579 2

INDEX

v:

FIRST

Laudate dominum omnes gentes (Lasso), 1583 4 Laudate dominum omnes gentes (Layolle) (2a pars: Gloria patri et filio), 1547 ä Laudate dominum omnes gentes (Lütkeman), 1597 7 Laudate eum, 1S85 5 , 1S944 Laudate eum in tympano et choro, see Laudate dominum in sanctis eius Laudate pueri dominum, see Enfans qui le Seigneur servez Laudato dio, 1508 2 Lauff mein lieber Liendel lauff, see Der Liendel alle tag, trat zü der Lauffer Tantz, see under Tantz Laurina, La, see under Saltarello L'autre jour jouer m'aloie (L'autre jour janes) (Conseil), 1544 2 L'autre jour par u n matin (L'autre yor per un matin) (M. A. Cavazzoni), 1523 x Lava quod est sordidum (Las Infantas), 1579 2 Lavabit in vino stolam suam, see N o n auferetur sceptrum Lavandera, La, see under Gaillarde Lavandieres, Les, see under Branle L'aveugle Dieu (Janequin), 1552 8 L e bon espoir (Baston), 1553 10 Le bon vouloir, see under Pavane L e ceueur le corps, see Le cueur le corps Le ciel qui fut (La Grotte), 1571 3 , 1574 2 L e coeur l'esprit, 1578 4 , 1582 5 L e content est riche (Sermisy), 1531 3 , 1533!, 1545 3 , 1546 10 , 1547,, 1548 3 , 1549 2 , 1549 e , 154? 6 , 1551 2 , 1556 2 , 1563 12 , 1568„ 1571 6 , 1573 s L e corps absent cause en amoureux (Crecquillon) 1553! 1564, Le corps sen va see under Basse dance L e cortegiane se ne vane via, 1568i Le cueur de vous (Sermisy), 1531 2 Le cueur est bon, 1531 l t 1545 3 , 1547„ 1551 8 . See also under Basse dance; Saltarello Le cueur est myen, 1531 2 L e cueur le corps (Crecquillon), 1546 18 Le departir, 1531 3 Le departir (Clemens non Papa), 1544!, 1547,, 1562 3 , 1583 2 L e departir (Lasso), 1566 3 , 1571 6 , 1572i, 1573 1; 1583, Le desproveu infortune (Carón?), 1507i L e deuil yssu (Le deul yssu), see L e dueil yssu Le Dieu le fort (Deus deorum deo), 1552 2 Le donne bella ch'a Venetia stanno, 1570B Le dueil yssu (Villiers) (response to Si mon travail), 1547j, 1 5 5 2 u , 1563 12 , 1568 e , 1568„ 1570 3 , 1571«, 1582 5 Le d u r regret, 1529 3 , 1549 a L e dur travail (Willaert), 1546 5 , 1546„, [1547]n Le fol maling (Dixit insipiens in corde), 1552 2 Le jaulne et bleu (Le jaulne et blanc), 1529 a , 1531 2 Le joly boys, 1551 s Le le fairay, see Je le feray Le mal que j'ay (Le Moisne), 1546 8 L e mal qui sent (response to O combien est malheureux), 1552,,, 1563 12 , 1568„ 1571 e Le mal qui sent (response to O combien est malheureux; another setting), 1568 β , 1570 3 Le plus gorgias d u monde, see La plus gorgiase du monde L e printemps fait flourir (Benedictus), 1533 a L e pur bon o ruschina, see under Saltarello Le rose, see La rousée du moys de may

LINES

AND

TITLES

529

Le rossignol plaisant (Lasso), 1571 e , 1572!, 1584 e , 1592, L e souvenir (Morton?), 1507 2 Le souvenir que j'ay de ma maistresse, 1553 10 Le sovenir, see Le souvenir Le temps peult bien (Lasso), 1574!, 1574, Le vecchie per invidia, 1570 3 Le vecchie per invidia, 1578 4 , 1582 5 Le voulez vous (Lasso) (response to Veulx tu ton mal), 1571 β , 1594 6 L e vray amy (Le vray amour) (Sermisy), 1544 2 ,1546 8 Leaving, you lose, see Sly thief Lebantaron muy alto, see Ay fortuna crudel L'Eccho (Gentian), 1554 e Lecetur, 1583 2 Legem pone mihi Domine (Lasso) (2a pars : Da mihi intellectum), 1572^ 1577„ 1583 e Leggiadra Ninfa, Cascarda, 1581! Leggiadre Ninfe (Marenzio), 1 5 9 9 u Leggiadria d'Amore, Balletto, 1581 1 Lego questo mio core (G. M. Nanino), 1591 2 L'ennuy qui me tourmente, 1578 4 , 1582 s . See also Pavane : Si je m'en vois and under Gaillarde Leonora, Canzon dita la (Merulo), 1592, Les bien amore (Isaac or Martini), 1538 2 Les Bourguignons, 1556i Les cieulx en chascun lieu (Coeli en arrant glo), 1552 z Les gens entrés, 1564 5 Les yeulx bendez (Vermont), 1533 3 Les yeux ficez (Crecquillon), 15 5 2,, Les yeux qui me sceurent prendre (Arcadelt), 1559 4 , 1575 3 , 1586 s L'espine, see under Basse dance L'espoir que jay, 1531 3 . See also under Branle: Simple L'esté chault bouillot (Le Roy), 1554 4 , 1570 4 Let God arise and then his foes, 1599, Let thy loving mercie (Whythorne), 1590,, Letaentur coeli, see Laetantur coeli Letare nova syon (Silva) (2a pars : Cantate canticum), 1546 10 , and 1546,, Letatus sum (Silva) (2a pars: Fiat pax in virtute), 1536, Letetur omne seculum, see Laetantur omnes L'eure et venue, see L ' h e u r est venu Leva in circuitu oculos tuos, see Hierusalem surge Levavi oculos meos (Gombert) (2a pars: Dominus custodit te), 1546,5 Levavi oculos meos (J. Paix), 1590 β Levayme amor, 1536 5 Leve le cueur (Les Commandemens de Dieu, Les Dix Commandements, T h e X. C o m m a u n d ementes), 1564 5 , 1568 3 , 1574 2 L ' h e u r de mon bien, 1531 2 L ' h e u r est venu (A. Agricola), 1507 2 L ' h e u r et malheur (Villiers), 1546 9 L ' H o m m e armé (L'homarmé), 1569 e , 1570 3 , 1582 s . See also Missa L ' H o m m e armé L ' h o m m e banni (A. Agricola), 1507 2 L ' h o m m e qui n'est point amoureux, 1574, Liber fui un tempo in foco (Cara), 1511, Libero mentr'io fui (Bellasio), 1592! Licite m'est endurer pour mon mieulx (La Moeulle), 1546 9 Lieb hat mein Hertz auss freud (Haussmann), 1599 6 Lieb ist subtil, fürt gferlich spil (Sporer), 1536 e Lieblich hat sich gesellet, 1540,, 1544, Liebs meidlin gut, was hast im mut, 1536 β Liege, see under Allemande

53°

INDEX

v:

FIRST

Lieta per honorarte (Rampollini), 1539 t Liete m a d o n n e (Verdelot), 1554 3 Lieti felici spiati (Ruffo), 1568 2 , 1584 s Lieto cantai (Borgo), 1594 s Lieto godea, see Magnificat (Banchieri) Lieve gheburen, see under Allemande Lignes, see under Allemande Like as the birds that swallows hight (Whythorne), 1590H L'inconstantia che seco han le mortali cose (L'inconstantia channo) (Rore), 1568 7 , 1577 5 Linkens hoven es bestouen, 1563 1 2 , 1570 3 , 1582 5 Lionnoise, La, see under Gaillarde L i q u i d e perle amor (Mancinus), 1597 8 Liquide perle amor (Marenzio), 1582^ 1584 3 , 1591 2 , 1599,! Livia, Aria della Signora, see Aria della Signora Livia Livia gentil, 1584 s L o fior che mi donasti (Gorzanis), 157ÛJ L o q u e queda es lo seguro, 1547 6 L o where with floury head (Morley), 1597 1 0 Lobet den H e r r e n (Scandello), 1583 2 Lodar voi, 1549 β L'oeil gratieux, 1552 g L'oeil près et loing, see under Gaillarde; Pavane Lodesana, La (Lodisana), 1540^ 1544 2 , 1546 ä , 1551 2 , 1552H· See also under Gaillarde Loisa core per el m o n d o , see under Passamezzo; Pavane; Saltarello L o m b a r d a , see under Gaillarde Lombardi, Contadini, see Ballo: Contadini L o m bardi L o m b a r d o , see under Ballo L o m e bani, see L ' h o m m e banni L o n g t e m p s ya que je viz, 1531 2 Longi dal mio bel sol chiaro (Tromboncino), 152? x Loraine, see Loreyne L o r d give thy j u d g m e n t s to the King, 1599, L o r d G o d of health the hope and stay, 1599 x L o r d , in thy wrath (Byrd), 1588 2 L o r d in thy wrath reprove m e not, 1599 x L o r d Sowches Maske, T h e (Morley?), 1599„ L o r d to thee I make m y mone, 1599 x L o r d e to thee, 1574 2 L o r d s prayer, T h e , see Our Father which in heaven art Loreyne, see under Allemande ; Branle ; Passamezzo Los braços traygo, 1547 s L'ottava sfera (Costa), 1594 5 Lovain, see Branle: D u c Love is not blind (Cavendish), 1598 2 Love, the delight (Cavendish), 1598 2 L o v e t h o u t h y neighbour (Whythorne), 1590 1 1 Love tooke his bowe and arrow (Morley), 1597 1 0 Love wyll I (Taverner), 1530 e Loves follke in greene araying (Morley), 1597 1 0 Lubiana, La, see under Pavane Luchesino, II, see Vita mia per che Lucilla, Aria della Signora, see Aria della Signora Lucilla Lucilla io vo morire (Vecchi), 1594 δ Lucis creator optime ( G . Cavazzoni), 1543 x Lucretia, see under Pavane Lucretia Favorita, Balletto (Battistino), 1581! Lullabie, 1599„ Lullaby, T h e , 1597„ Lullabye m y sweet little baby (Byrd), 1588 2 L ' u l t i m a volta ch'io T i viddi (Vecchi), 1597 1 4 Lusinghiero desio (Vecchi), 1597 1 4

LINES

AND

TITLES

Lydiadic per omnes (Tritonius), 151? Lyke, see Like L'yver sera (Arcadelt), 1559 4

M a a che dolermi più, see Verra m a il di M a belle porée, 1555 4 M a bouche rit (Duboys), 1531 s , 1553 4 M a bouche rit (Ockeghem), 1507^ 1538 2 M a b u c h e rit, see M a bouche rit M a di che d e b b o lamentarmi (Ruffo), 1568 2 1584„ 1584 5 M a doulce amour, 148?! M a folle io spargo (Giacomini), 1584 s M a maistresse, 148?j M a maistresse est toute angelette (La Grotte), 1571 3 M a m a n ia, 1568 e M a poiché vostr'altezza (Rore), 1591 a M a souverayne, 148?! M a t u p r e n d i a diletto (Lasso), 1568 2 ; (2a pars of Fiera stella), 1574 6 M a c h e n o n giov'haver, see Che giova posseder Madalena, La, Chiarenzana, 1546I 3 M a d a m a mi domanda, 1568! M a d a m e vous aves m o n cuor ( M . A. Cavazzoni), 1523! M a d o n a , see M a d o n n a M a d o n a mala vostra, see M a d o n n a mia la vostra M a d o n a mia fan me, see M a d o n n a mia fami bona offerta M a d o n n a a r d o per voi (Verdelot), 1556 2 M a d o n n a di cucagna (Favereo), 1594 5 M a d o n n a il mio desio (Renaldi), 1591 2 M a d o n n a il t u o bel viso (Verdelot), 1536 β M a d o n n a io n o n lo so perche (Willaert), 1546 5 , 1548! M a d o n n a io sol vorrei (Verdelot), 1536 s , 1546 3 M a d o n n a io v'ho da dir u n a novella (Vecchi), 1592 1 2 M a d o n n a Katerina, see Hast d u mich g e n o m m e n M a d o n n a la pietade (Tromboncino), 152? x M a d o n n a mia fami bona offerta (Willaert), 1548i, 1552, M a d o n n a mia gentile (Marenzio), 1584 3 , 1591 2 M a d o n n a mia la vostra (Fontana), 1552,, 1554 3 M a d o n n a mia pietà (Lasso), 1570 3 , 1571 e , 1574i, 1575 a , 1578 4 , 1582 6 , 1584„ M a d o n n a mi consumo, 1546 3 M a d o n n a non so dir (Verdelot), 1547 s M a d o n n a per voi ardo, 1536 s M a d o n n a per voi ardo (Verdelot), 1536 β , 1554 s M a d o n n a poi ch'uccider (Marenzio), 1594 5 M a d o n n a qual certezza (Verdelot), 1536 β , 1546 s , 1547 5 , 1549 2 M a d o n n a s'il morire (Verdelot), 1547 3 M a d o n n a s'io v'amai (Willaert), 1568 2 M a d o n n a se volete (Vespa), 1594 5 M a d o n n a se volete doi sorti de lemosine farete, 1568! M a d o n n a t u mi fingi (Fiorino), 1571 4 M a d o n n a Zanna, see under Saltarello M a d o n n a Zohanna, 1564, Madrigale, De, 1551 8 M a g ich gunst han, Ì532 2 M a g ich hertzlieb erwerben dich (Senfl), 1532¡¡, 1546 9 , 1558 5 j 1571i M a g ich nicht Unglück widerstan ( M . Agricola), 1561! M a g ich Unglück nit widerstan (Senfl), 1523 2 , 1536 e , 1540i, 1544 2 Magdalena, La, see under Basse dance. See also Madalena

INDEX

v:

FIRST

Mägdlein j u n g d u edles Blut, see Mägdlein j u n g mein Sonnenschein Mägdlein j u n g m e i n Sonnenschein (Haussmann) (Nach T a n t z : Mägdlein j u n g d u edles Blut), 1599 5 Mägdlein was zeichst d u dich (Haussmann) (Nach T a n t z : W a s nicht bleiben wil), 1599 s Magia, La, see H o d i e nobis de coelo Maggia, La (Maschera), 1584 1 0 Magister scimus quia verax ea (Herpol) (2a p a r s : Reddite ergo quae sunt Caesaris Caesari), 1583 e Magister Dantz, see under T a n t z M a g n a opera domine, Fabordon, 1554 3 Magnificat, 1531,; (Banchieri), 1595 2 ; (Banchieri) (sopra Lieto godea) (2a pars: Suscepit Israel), 1596 3 ; (Cabezón), 1578 3 ; ( G . Cavazzoni), 1543!, 154? 2 ; (Gabucci), 1594 3 ; (Gallus), 1598 4 ; (Morales), 1 S47 6 ; (Valderrábano) (Fantasia sobre u n Quia fecit), 1547 6 . See also E t misericordia eius; M y soûle d o t h magnifie t h e L o r d M a g n u m hereditaris (Willaert), 1547 3 , 1 5 5 2 u M a i non le trovo, see under Saltarello M a i n o n vuò pianger più (Bellasio), 1592 1 M a i n t e n a n t c'est u n cas estrange, Branle gay (Le Roy), 1556 β Mais de quoy sert le desirer (Arcadelt), 1558 4 Mais languiray je tousjours (Mais languiraige, Mais languyray-je) (Clemens n o n Papa), 1 5 5 2 u , 1563 1 2 , 1568„ 1577,, 1584 2 Mais ma m i g n o n n e (Janequin), 1548! Mais pourquoy (Sandrin), 1547 3 , 1552H, 1553 4 , 1562 e , 1574,. See also under Gaillarde Mais que ce fust le plaisir d'elle, 1546 1 0 Mais que ce fust secretement, 1546 1 0 Mais que sert la richesse a l ' h o m m e (Costeley), 1599, Mais quest ce, 1546 1 0 , [ 1 5 4 7 ] u Mais voyez, m o n cher esmoy (La Grotte), 1571 3 ) 1574 2 Maister Birds Galliard, see Gaillarde: Birds Gaillard Maistre Robin, see Monsieur l'abbé Maistresse, see Mestresse M ' a i bel pensier, see Scarco di doglia Mal ferida va la garca, 1552, M a l portuso, 1560 4 Mala se nea (Josquin), 1548 2 Mala vecchia, La, 1553 2 , 1555 2 Malaya quien a vos caso (Flecha), 1554 3 Malcontenta, La, see under Pavane Malcontento, II, see under Saltarello Malenconico, ΕΙ, 1564 s M a l h e u r m e bat (Ockeghem?), 1507 2 , 1538 2 . See also Missa M a l h e u r m e bat M a l h e u r m e bat, T i e n t o , 1557 2 M a l h e u r me suit fortune (Meigret), 1546 15 Malheureux suis fortune, [ 1 5 4 7 ] u Malines, see under Allemande Malor m e bat, see Malheur m e bat Malthe (Malte), see under Branle Malveza, La, Chiarenzana, 1546 1 3 M'amie, 148?! M ' a m i e est tant honneste et sage (Sandrin), 1554„, 1559 4 . See also under Gaillarde; Pavane M ' a m i e Perrette (Janequin), 1533 2 M ' a m i e u n jour (Certon), 1551!, 1559 4 , 1560 3 . 1563 1 2 , 1568, M a m m a mia cara (Riccio), 1594 6 M ' a m o u r , 148?, M ' a m y e , see M ' a m i e M ' a m y e u x aymeye, 148?! M a n ledt u n s zu der Hochzeitfreud, see under T a n t z

LINES

AND

TITLES

531

M a n spricht waz gott zusamen fügt, 1562 a M a n c h e r wünschet i m grossen g u t (Brand), 1558 e M a n d a t u m n o v u m do vobis (Vinci), 1 5 9 9 n M a n e nobiscum D o m i n e (Meiland), 1583 e Mangiavino, see under Saltarello Mantegazza, L a (Gallus), 1598 4 Mantuanello, La, see under Saltarello M a n u s tue D o m i n e (Morales), 1554 3 . See also Bonitatem fecisti M a n u s tue D o m i n e fecerunt me, 1531, Maraviglia d'Amore, Cascarda, 1581 x Marchesa de Gasto, see under Gaillarde Marchetta, see under Pavane Marek Antoine, see under Passamezzo M a r e n c h a , La, 1560 4 Marggraf Caroli Dantz, see under T a n t z M a r g o t labourez les vignes (Arcadelt), 1554 4 , 1570 4 Margrefische Dantz, see under T a n t z Marguerit, 1507, Marguerite, La, 148?, Mari je songeois l'aultre jour, see under Branle: Gay Maria Magdalena (Clemens n o n Papa) (2a pars : Cito euntes), 1574 6 , 1575i, 1583„ Maria Zart, 1511 3 Maria Zart (Schlick), 1512 x M a r i a m coronane, see Missa de beata Virgine ; Missa Virginis Mariae M a r i a m gubernans, see Missa de beata Virgine; Missa Virginis Mariae M a r i a m sanctificans, see Missa de beata Virgine; Missa Virginis Mariae Mariana, Canzon detta la (Pellegrini), 1599 β Marie-golde, T h e , 1599„ Marina, L a (Cavaccio), 1597 2 Marino, II, see under Ballo Marsilia, La, Chiarenzana, 1546 1 3 Marsilio, II, see under Saltarello M a r t i n menoit (Clemens n o n Papa), 1568,, 1571 e M a r t i n menoit (Janequin), 1546 e , 1546 8) 1546i 8 , 1553 x , 15563, 1562 1 0 , 1564 8 , 1574„ 1577„ 1582^ 1584 2 M a r t i n m e n u y t (Sermisy), 1546 β , 1546 l e Martinella, La, 1538 2 Martinella, La (Martini), 1538 2 Martinenga, L a (Maschera), 1584i 0 Marucina, see under Pavane Maruscat T a n t z , see under T a n t z Maske, see L o r d Sowches M a s k e ; M y L o r d of Oxenfords Maske Mass, see Missa Massaina, L a (Cavaccio), 1597 2 Massengiere, La, see under Gaillarde Master Birds Pavan, see Pavane: Birds Pavan Master Earles Pavane, see Pavane : Earles Pavane Matachins, Les (Matasins, Matazina), 1552„, 1564 6 , 1570 3 , 1570 4 , 1572i, 1573 3 , 1582 6 . See also M a t t a cino; Matticine M a t e r Patris et Filia (Brumel), 1507 2 , 1536,, 1538 2 Mathias, Duc, see Allemande : D u c Mathias Mato, II, see under Gaillarde Maton, El, see under Saltarello Mattacino, II, see under Moresca Matthei, see Coppia Matthei and under Pavane Matticine, see Forze d'Ercole Mauldicte soit la m o n d a i n e richesse (Mauldit soye) (Sermisy), 1531!, 1562 3 Maulgre moy viz (Sermisy), 1531 2 Mauritius, Hertoch, see Allemande: Hertoch Mauritius

532

I N D E X v: F I R S T

L I N E S AND

Mazocho, II, see under Gaillarde Mazzolo, El, see under Saltarello Mazzona, La, see under Pavane M ' e forza (Ferretti), 1592 a M e lassera tu m o (Ranier), 1517! Mecoenas atavis (Tritonius), 151?! M e d i a autem nocte clamor factus est, see Virgines p r u d e n t e s ornate M e d o b t , see N e doibt on p r e n d r e Megdlein, see Mägdlein Megio. See also under Saltarello Megio, Ciarenzana de, 1546 1 3 M e i n einigs A (Hofhaimer), 1529j, 1536», 1536, M e i n fleiss und m ü h (Senfl), 1532 2 , 1536», 1536,, 1540!, 15442, 1571K 1574 6 , 1583 2 M e i n f r e u d allein in aller welt (Isaac), 1549», 1558 5 , 1562 s M e i n gmiit and blüt (Mein gemüd u n d blue, Mein gemíith u n n d gblüt, M e i n gmiid u n d plût) (Wenck), 1540^ 1544^ 1562 3 , 1571i, 1583 2 M e i n hertz all dit ( M e i n hertz alzeyt hat gross verlangen), see M i j n hert heest altijts verlanghen M e i n hertz hat sich mit lieb verpflicht (Hofhaimer), 1536 e , 1540„ 1562 3 M e i n hertz ist frisch, m e i n g m ü t ist frey, see under Tant ζ M e i n hertz t h u t ale zeit verlangen, see M i j n hert heest altijts verlanghen M e i n Hertzigs (Finck), 1523 2 M e i n h o f f n u n g stehet zu dir allein, 1586 5 M e i n lieb ist weg, 1512! M e i n M . Ich hab, 1512 x M e i n M a n der ist in Krieg gezogen, 1571! M e i n M a n der ist in Krieg gezogen (Die alte Schwiger) (Utentaler) (2a pars: I n Weichs H a u s s wölt ir d a n n ziehen), 1583 4 M e i n muterlin, mein muterlin, das fraget aber mich (Buchner), 1538 2 M e i n Seel erhebt den H e r r e n mein (Peschin), 1558 s M e i n selbs bin ich nit gwaltig m e h r (Senfl), 1533i, 1532 2 , 1558 δ M e i n selbs bin ich nit gwaltig m e h r (Zirler), 1558 s M e i n selbs bin ich nit meer, see M e i n selbs bin ich nit gwaltig m e h r Meisken wildiv, 1568 e Meiler, see under Gaillarde M e m o r esto (Josquin) (2a pars : Portio mea, Domine), 1536, M e m o r esto (Lechner), 1589» M e n s innovata, 1599» M e n t r e belle signore (Vecchi), 1597 1 4 M e n t r e campai contento, see under Pavane M e n t r e che il cor (Lasso) (2a p a r s : Quel fuoco è morto), 1568 2 M e n t r e ch'ella, see A casa u n giorno (Fonghetti) M e n t r e di pioggia (Primavera), 1584 5 M e n t r e il canoro cigno (G. B. Nanino), 1595 1 0 M e n t r e il mio miser core (Anerio), 1589,, 1591 l e M e n t r e io campai contento (Vecchi), 1584 s , 1592i 2 , 1594 6 M e n t r e io vissi (risposta to M e n t r e io campai contento), 1594 6 M e n t r e l'Aquila (Capi L u p i ) , 1597 1 4 M e n t r e l'Aquila sta m i r a n d o il sole (Zucchelli), 1589 e , 15911, M e n t r e la bella Dori (A. Gabrieli), 1584 3 M e n t r e la prima mia (Rore), 1577 6 M e n t r e lontan (Costa), 1594 6 M e n t r e mia stella (Cavaccio), 1597 a

TITLES

M e n t r e scherzava (Gastoldi), 1594 6 M e n t r ' i l canoro cigno, see M e n t r e il canoro cigno M e n t r ' i o campai, see M e n t r e io campai contento M e n t r ' i o fuggivo (Dragoni), 1 5 9 1 n Meraviglia d ' a m o r e ( M . Ferabosco), 1594 5 M e s pas semez (Le Roy), 1556» M e s pensées (Compère), 1536,, 1538 2 Mestresse, La, see under Basse dance Metzkin isaack, see T m e i s k i n was jonck M e y n eyniges a, see M e i n einigs A Meza gamba, La, see G a m b a Meza notte, La, see under Gaillarde Mezza gamba, La, see G a m b a and under Saltarello Mi, 1543j, 1592 2 M i cama las duras peñas, see C o n pavor recordo el moro M i coraçon fatigado (Ρ, Guerrero) (2a p a r s : Agora cobrando acuerdo), 1554 3 M i fa re sol fa mi, see Agnus dei sobre mi fa re sol fa m i ; Osanna sobre m i fa re sol fa mi M i parto ahi sorte (Giovanelli), 1 5 9 9 „ Mia benigna f o r t u n a (Rore) (2a p a r s : C r u d e l e accerba), 1577 6 Mia benigna fortuna el viver lieto, 1509! Mia de lognon, see II y a de lognon Mia mari a n d ò al marco (Mia m a r e e anda al merco per c o m p r a r m e u n pignolo, Mia mari ando al mario), 1549 1 ( 1570 3 , 1578 4 Mia ventura al venir (Tromboncino), 152? x Michael arcangello (Jacotin) (2a pars: In conspectu angelorum), 1546 4 Michels Galliard, see under Gaillarde Michiela, Aria della Signora, see Aria della Signora Michiela M i c h plagt ungluck (J. Paix), 1590 β M i c h zwingt dein lieb, 1533i Mignonne, La, see under Pavane Miins liefkins b r u y n oogen, 1545 3 , 1547, M i j n hert heest altijts verlanghen, 1533i, 1538 2 , 1545 a , 1547, M i j n hert heest altijts verlanghen (Obrecht or L a Rue), 1523 2 , 1536, Milan, see under Tintelore Milanesa, La, 1564, 1570, Milanesa (Milanese, Milanessa, Milaneza, Milanoise), see under Ballo; Gaillarde; Passamezzo; P a v a n e ; Saltarello Mile regres, see Mille regretz Millanese (Millannoise), see Milanesa Mille ducats (Mille ducas), see under Branle; Gaillarde; Pavane Mille regretz (Josquin), 1533i, 1533 2 , 1536,, 1538i, 1546i„, 1552j!, 1562 3 , 1563I 2 . See also Missa Mille regretz and under Pavane Miller, T h e , 1597» Milleri, L., see under Gaillarde M i n e eyes with fervency (Byrd), 1588 2 M i r hab ich gentzlich (Lechner), 1594 6 M i r ist ein fein b r a u n Megdlein, see under T a n t z M i r ist mein Pferd, 148?! M i r liebet im g r ü n e n Meyen, 1583 2 M i r w ü r t u n t r e w getheylet mit, 1536» M i r a J u a n lo q u e te dixe, 1576j Mira N e r o de tarpea, 1555 χ Mira N e r o de T a r p e y a (Palero), 1557 2 Mirabilia testimonia tua D o m i n e (Cleve), 1583» Miralo come llora, 1557 2 M i r a m i vita mia (Merulo), 1591 2 Mirande, La, see under Gaillarde

INDEX

v:

FIRST

Mirate che mi fa crudel (Regnart), 1584 g Mirelaridon don don (Heurteur), 1533 a Miserarum est (Tritonius), 151 ?x Miserere mei, see Domine non sum dignus Miserere mei Deus (Josquin), 1552 7 Miserere nostri, 1531 e Miserere pie Jesu, see Parce domine (Gombert) Misericorde (Clemens non Papa), 1553 10 , 1563 12 , 1568«, 1568, Misericordiam et judicium cantabo, see Vouloir m'est Misericordias domini (Lütkeman), 1597, Misit Dominus (Raval), 1 5 9 6 u Missa, Fantasia sobre un Pieni (Bauldewyn), 1547 6 Missa Ad fugam (Josquin), 1S47 5 , 1552, Missa Alleluia (Mouton), 1547 5 Missa Apostolorum (G. Cavazzoni), 154? 2 Missa Apostolorum (Merulo), 1568 6 Missa Ave Maria (Févin), 1531„ 1546 2 , 1 5 4 6 u Missa Ave Maria (Morales), 1554 3 Missa Ave maris stella (Josquin), 1547 5 , 1552,, 1552lt Missa Benedicta es coelorum Regina (Morales), 1546 14 , 1554 3 , 1559, Missa de beata Virgine (G. Cavazzoni), 154? 2 Missa de beata Virgine (Josquin), 1536,, 1546 14 , 1547 5 , 1552,, 15 5 2 n , 1554 a , 1557 2 , 1558 6 , 1562 a , 1578 3 , 1583 2 Missa de beata Virgine (Morales), 1547 5 Missa de la Fugue, see Missa Ad fugam Missa Dominicalis (G. Cavazzoni), 154? 2 Missa Faysant regrets (Josquin), 1538^ 1546 14> 1547 5 , 1552,, 1S54 3 Missa Fortuna desperata (Josquin), 1538¡¡, 1552, Missa Fortuna desperata (Obrecht), 1538 2 Missa Gaude Barbara (Morales), 1 5 4 6 u , 1554 3 Missa Gaudeamus (Josquin), 1547 δ , 1552, Missa Hercules D u x Ferrariae (Josquin), 1538 1 , 1552,, 1554 3 , 1590 e Missa In Dominicis Diebus (Merulo), 1568 s Missa La sol fa re mi (Josquin), 1546 14 , 1552,, 1554 3 Missa Les armes (Ghiselin), 1507 2 Missa L ' H o m m e armé (Morales), 1554 3 Missa L ' H o m m e armé super voces musicales (Josquin), 1517J, 1547 5 , 1552„ 1578 3 , 1590 6 Missa Malheur me bat (Obrecht), 1538 2 Missa Mille regretz (Morales), 1547 6 , 1 5 5 2 η , 1554 3 Missa Narayge (Ghiselin), 1538 2 Missa O Salutaris (La Rue), 1590, Missa Pange lingua (Josquin), 1546 14 , 1547 5 , 1554 3 , 1557 2 Missa Panis quem ego dabo (Lupus), 1547 6 Missa Paratum cor m e u m (Banchieri), 1595 2 Missa Quem dicunt homines (Mouton), 1547 5 Missa Si bona suscepimus (Jachet), 1554 3 Missa Si dedero (Obrecht), 1507 2 , 1538 2 . See also Si dedero Missa Sine nomine (Gallus), 1598 4 Missa Sine nomine (Josquin), 1538 x Missa T u es vas electionis (Morales), 1554 3 Missa T u a est potentia (Mouton), 1547 5 Missa U t re mi fa sol la (Brumel), 1507 2 Missa Virginis Mariae (Merulo), 1568 6 Mistris Winters J u m p (Dowland), 1596 5 Mit fried u n d freud (M. Agricola), 1561 1 Mit lieb bin ich umbfangen (Senfl), 1583 a See also under Passamezzo ; Saltarello Mit lust thet ich ausreiten (Senfl), 1571 j, 1583 2 Mitra d'hoggi (Gastoldi), 1594 5 18 + B.P.1.M.

LINES

AND

TITLES

533

M o mari ma defame, see M o n mari m ' a diffamée Möcht es gesein, 1512 1 Moderne, see under Gaillarde Moderno, see under Gaillarde ; Passamezzo ; Pavane ; Saltarello Modo, 1555J Moiola, La (Cavaccio), 1597 2 Moisi ex legis observantia, 1583 2 Molinara, La, see under Pavane Mollis inertia (Tritonius), 151?! M o n amy, see under Branle M o n amy n'a plus que faire (Gascogne), 1546i 0 , [1547]n, 1571, M o n coeur, ma chère vie (Thessier), 1571 3 , 1574 a M o n coeur se recommande a vous, see M o n cueur se recommande a vous M o n cueur chante joyeusement, 1571, M o n cueur en souvent bien marri, see M o n cueur est souvent bien marri M o n cueur en vous, 1531 2 M o n cueur est souvent bien marri (Sermisy), 1531 x M o n cueur gist tousiours, 1531 3 M o n cueur mon corps (Willaert), 1530 4 , 1549, M o n cueur ravi d'amour (Lasso), 1571, M o n cueur se recommande a vous (Lasso), 1571„ 1575 3 , 1586 5 M o n cuor, mon corps, see M o n cueur mon corps M o n désir, see under Basse dance M o n dieu vostre pitié (Le Roy), 1556 8 M o n doulx espoir (Binchois), 148?! M o n mari m ' a diffamée, 1507 2 M o n pensement (Gombert), 1554,, 1562 e , 1574, M o n pere aussi ma mere m ' a voulu marier (Mon per si ma marie), 1536 3 , 1552, M o n pere m'a tant batu (Janequin), 1558 4 M o n petit cueur (Mon petit Nose), 1544i, 1547 4 , 1562 3 M o n plaisir, see under Gaillarde M o n seul espoir (Maillard), 1546 e M o n souvenir (Hayne), 1507! Moneghina, see under Gaillarde Moniardina, La, see under Pavane Möns et vaulx (Sandrin), 1552„, 1562„, 1574, Monsieur l'abbé (Maistre Robin) (Lasso), 1566 2 , 1571,, 1573i, 1577„ 1583 4 Monsieur's Almayne, see Allemande: Mounsiers Almayne Monta su che son de velia, see under Pavane; Saltarello Montarde, La, see under Branle Montbuisson, Victor de, see under Courante Montirandé, see under Branle Mora, see Morra Morari, La (Cavaccio), 1597 2 Mordini questa lingua (Cartolaio), 1563, More m e fuit, see Mourir me fault Morenica dame u n beso (Vasquez), 1554 3 Moresca (Morisque, Mourisque), 1551 8 , 1568i, 1589i Bergamasca, Moresca deta la, 1585i Canarie, Moresca deta le, 1585! Forze, Moresca deta le, 1585i Mattacino, Moresca deta il, 1585! Orsa, Moresca deta 1', 1585! See also under Branle Moressi il vechiarel (Tromboncino), 152? χ Moretta, La, 1554 1; 1568ι· See also under Gaillarde Moretta, Aria della Signora, see Aria della Signora Moretta Morir mi fault, see Mourir me fault

534

INDEX

v:

FIRST

Morisque, see Moresca Moritz, Hertzog, see T a n t z : Hertzog Moritz Dantz Morona, see Alta Morona Morra, La (Isaac), 1501 x , 1507^ 1536„ 1S38 2 M o r t m ' a privé par sa cruelle, 1557 2 Mortalium preces (Utentaler) (2a pars: Qui non meretur), 1589 e Morte m ' h à teso il laccio (Bellanda), 1599 2 Morte può chiuder sola, see Occhi miei lassi (Arcadelt) Moschetta, 1553 2 , 1S55 2 Mostrav'in ciel, see under Ballo Mounsiers Almayne, see under Allemande Mourir me fault (response to Je prens en gré), 1 5 5 2 η , 1568 β , 1583g. See also Si mon languir Mourir me fault (response to Je prens en gré) (Barbion), 1589, Mourisque, see Moresca M o u r n , Marcus, m o u r n (Cavendish), 1598 2 Moys de may, Le, 148?! Moytie de Bassedance, see Basse dance: Il me suffit Muera en las hondas, 1547 6 Mulier cupido (Eustachio Romano), 1521 χ Mulinaro, El, see under Gaillarde Müller, D ' , see under Tantz Multi sunt vocati pauci vero electi, 1517 1 Munchos son d'amor per dicios (Tromboncino), 152? t M u n d o que me puedes dar, 1557 2 Murada, La, 1560 4 M u r o tuo inexpugnabili, see Aspice domine (Gombert) Musica dulci sono (Rore), 1577 5 Musica para discantar sobre un punto, 1547 6 Musiciens regardez devant vous (Clemens non Papa), 1571, Mutetlein, Ein, see Le content est riche M u y linda, 1599, M y harte m y mynde (Taverner), 1530, M y hartes lust (Fayrfax), 1530, M y Lord Chamberlaine his galliard, see under Gaillarde M y Lord of Oxenfords Maske (Byrd?), 1599, M y love mournyth (Gwynneth), 1530, M y mind to me a kingdom is (Byrd), 1588 2 M y n y m p h e the deere (Morley), 1597 10 M y selfe, 1599, M y soul oppressed with care (Byrd), 1588 2 M y soule cleaveth (Whythorne), 1590 1 1 M y soule doth magnifie the Lord (Magnificat), 1599 t M y soule give laud unto the Lord, 1599 t M y Soule praise the Lord, 1599 x M y thoughts are winged with hopes (Dowland), 1597 4 M y n hert heeft altyt verlangen, see Mijn hert heest altijts verlanghen Mynyon goo trym, 1530,

N , II, see under Passamezzo N . de Rans (N. Rans), see Gaillarde : Rans and under Branle N a volta m'hai gabbato (Fiorino), 1571 4 N a vu point veu, see N'avez point veu mal assenée Nach lust hab ich (Forster), 1512!, 151?i Nach meiner lieb (Regnart), 1584, Nach willen dein (Hofhaimer), 151?, 1523 2 , 1529i, 1532 2 , 1536,, 1536„ 1540i, 1544i, 1544 2 , 1546 9 , 1547 4 , 1549,, 1562 3

LINES

AND

TITLES

Napolitana (Neapolitana), 1592i 2 Canzon Mapolitano in toledo, 1568, T e n o r e grande alla Napolitana, 1576 3 See also Deh Pastorella cara; Occhi lucenti assai più che le stelle; S'io canto; S'io m'accorgo ben mio ; and under Gaillarde Narayge, see Missa Narayge Narrate omnia mirabilia, see Confitemini Domino N ' a s tu point veu mal assenée, see N'avez point veu mal assenée Nasce l'aspro mio tormento (Ana), 1509! Nasce la gioia mia (Animuccia), 1568 2 , 1584 6 Nasce la gioia mia (Nasco), 1563, Nasce la pena mia (Mancinus), 1597, Nasce la pena mia (Striggio), 1568^ 1568 2 , 1583 4 , 1584 1; 1584 3 , 1584 s , 1584„ 1591 2 , 1599n. See also 1568 2 , no. 44 Nascitur in m u n d i promissus gaudia Christus (Thalman), 1583, Nassaw, Graff Johan von, see T a n t z : Wie kan ich frölich werden Natus est nobis, see O regem coeli Naur acorgete, see N o n v'accorgete Amanti N'auray je jamais reconfort (Jacotin), 1531 a N'aurez vous point de moy pitié, see under Branle: Simple Navaroyse, La, 148? t N'avez point veu mal assenée (Richafort), 1538 2 N'avons point veu mal assenée (Le Brun), 1554 a , 1562i„, 1574, N'ayant le souvenir (Entraigues), 1551 2 N e doibt on prendre (Compère), 1536, N e m e lece ascoltar (Romano), 1563, N e pense plus (Levrart), 1568,, 1570 3 , 1578 4 N e proiicias nos (Willaert), 1547, Ne tempesta giamai (Fiorino), 1571 4 Neapolitana, see Napolitana N e c invideo, 1599, Nel'aria in questi di (Rore), 1577B Nel bel seno chiudesti (Bellanda), 1599 2 Nel foco tremo (Tromboncino), 152?i Nel'odorata e lucido oriente (Ponte), 1568 2 , 1584 5 Nel vago lume, 1584 3 Nella più verde piaggia (Cera), 1563, Nerrisch don ist meyn munier, see N u r nerrisch sein ist mein manier Nesciens mater (Mouton), 1589, New H u n t sundry waies, T h e (Cutting), 1596, New-yeeres gift, T h e , 1599, Nicht lass mich hart entgelten, 1533 x Nicola mia gentil (Becchi), 1568! Nicolas mon beau frere, see under Branle Nicolina, La (Cavaccio), 1597 2 Niderlendisch Tentzlein, see under T a n t z Nie noch nimmer, 1536, Niet dan druck en lijden, 1568, Night watch, T h e , 1599, Nigra sum sed formosa (Crecquillon), 1576i Nigra sum sed formosa (Gallus), 1598 4 N'il n'est plaisir (Isaac), 1538 2 Nimphes, nappés, see Circumdederunt m e Nisa dolce ben mio (Capi Lupi), 1597 14 Nisi Dominus, Fabordon (Henestrosa), 1557 2 Nisi dominus (Le Heurteur) (2a pars: Cum dederit dilectus), 1558 6 (attr. to Lupus) Nisi Dominus (Mudarra), 1546 14 Nisi dominus (Senfl) (2a pars: C u m dederit), 1533i Nisi ego abiero, see T e m p u s est ut revertar Nivelle, see under Allemande

INDEX

v:

FIRST

LINES

N o exercise can have (Whythorne), 1 5 9 0 u N o m e hableys conde (Vasquez), 1554, N o me lianes sega la erva (Vasquez), 1552, N o se q u e m e bulle (Vasquez), 15S4 3 Nobile, II, see under Passamezzo Nobilita, Balletto, 15811 N o c h weet ick een schoon vrouken (Nicolas Liégeois), 1546 1 8 , 1 5 5 2 „ N o e noe noe psallite (Mouton), 1548 2 , 1 5 6 2 n N o e noe noe p u e r nobis nascitur (Mouton), 1548 2 Noli aemulari in malignantibus, see J u s t u s n o n conturbabitur Nolite esse p r u d e n t e s a p u d vos met ipsos (Wert) (2a pars : N o n vos met ipsos defendentes charissimi fratres; 3a pars: Sed si e s u r i e n t inimicus tuus), 1583, Nolite judicare, see Estote miséricordes Nolite quaerere (Dressier) (2a pars: Quia potius quarito r e g n u m Dei), 1583 e N o m i n e disimulavi (Morales) (2a pars of A n t e q u a m comedam), 1547 5 N o n accedat ad te m a l u m (Alberto), 1557 2 . See also Qui habitat in adjutorio N o n al suo amante (Faignient), 1592 β N o n al suo amante (Tromboncino), 1SS2 4 , 1563 1 2 , 1568, N o n arse cosi (Fiorino), 1571 4 N o n at suo amante, see N o n al suo amante N o n auferetur s c e p t r u m (Meiland) (2a pars: Lavabit in vino stolam suam), 1575! N o n averías faciem t u a m (Lasso), 1591 7 N o n chi n o n voglio, 1562 3 N o n come fisti, 1558 5 N o n credo che pascesse, see A q u a l u n q u e animale N o n date fede amanti (Vecchi), 1597 1 4 N o n dite mai, 1556 2 . See also under Galliarde N o n dite mai ch'io habbia il torto, see under Saltarello N o n e ch'il duol mi scema ( N o n e ch'el duol) (Rore), 1568„ 1577 5 , 1584^ 1591 2 N o n è dolor (Regnart), 1584 8 N o n e lasso martire (Rore), 1574!, 1575 3 , 1583 4 N o n e pensier ch'el mio secreto (Pesenti), 1511 x N o n é pieu fede, 1552 e N o n e t e m p o d'aspetare (Cara), 1509^ N o n e b u r n e q u e aureu (Tritonius), 151?! N o n era l'andar suo, see Erano i capei d'oro N o n est b o n u m h o m i n e m esse solum (Dressler), 1573 3 , 1575i N o n esurient, see Absterget D e u s N o n f u mai donna (Gorzanis), 1570i N o n g e m m e n o n fin oro (Rore), 1568,, 1577 6 , 1584 2 , 1591, N o n hebbe tante foglie, 1599Ü N o n ho più vit'Amore (Capi Lupi), 1597 1 4 N o n licet afflictas, see Cerne meos esse gemitus N o n m e n ch'ogn'altra lieta (Moschini), 1539i N o n mi dar (Il T o r m e n t a t o ) (Gastaldi), 1594, N o n mi date tormento, 1570 5 N o n mi duol il morir, 1582! N o n mi pensava mai (Becchi), 1568i N o n mi toccare, see under Saltarello N o n m i toglia il ben mio (Ingegneri or Rore), 1568 2 , 1574 e , 1584 5 , 1592„, 1599, l N o n moriro (Lo Sdegnato) (Gastaldi), 1594, N o n occisor, see U n u m cole d e u m N o n opus h a b e n t (Eustachio Romano), 1521! N o n peccando altri che'l core (Cara or T r o m b o n cino), 1509!

AND

TITLES

535

N o n più lacci d ' A m o r e (Bellasio), 1592, N o n più morte al mio morire (Tromboncino), 1517i N o n più saette al core (Capi Lupi), 1597 1 4 N o n può sentir (Gastaldi), 1594 5 N o n resta in questa, 1517! N o n scorse occhio giamai (Galilei), 1568 2 N o n si po quel che si vole (Luprano), 1509, N o n si può più (Costa), 1594 5 N o n si sa d i m m i (Favereo), 1594 5 N o n si vedrà mai stanca ne satia (Caprioli), 1511! N o n so per qual cagion (Arcadelt), 1574 6 N o n som qual ch'io solea (Luprano), 1509! N o n sovenir, see M o n souvenir N o n tam p r o f u n d a (J. Paix), 1590 β N o n ti partir da me, 1554^ See also under Saltarello N o n ti sdegnar (A. Gabrieli), 158+ 3 , 1594 5 N o n t u r b e t u r , cor vestrum, see Paracletus autem Spiritus Sanctus N o n v'accorgete Amanti (Arcadelt), 1544 2 , 1546 1 7 N o n vad'affrica, 1571 4 N o n vai aqua al mio gran foco (Tromboncino), 1511! N o n ved hoggi'l mio sola (Giovanelli), 1 5 9 9 u N o n ved'il m o n d o , see Alla dolc'ombra (Animuccia) N o n vide'l mondo, see Alla dolc'ombra (Rore) N o n vid'il m o n d o , see Alla dolc'ombra (Padovano) N o n vos m e elegistis (Lasso), 1577 β , 1583 e N o n vos m e t ipsos defendentes charissimi fratres, see Nolite esse prudentes a p u d vos met ipsos N o n vuò pregare, Aria (Vecchi), 1590 8 N o n n e t t e (Nonette), La, see under Allemande; Branle Nos autem gloriari oportet, 1583 β Nos autem gloriari oportet (Formeliis), 1575 l t 1589 β Nos bergeres, see N o u s bergiers N o s Michael, see Virgo prudentissima (Isaac) N o s vez amor (Navarro), 157Ó! N'oseroit on dire, 1568 e . See also under Allemande Nostra u t p u r a pectora, see Inviolata integra Nota, Canzon detta la (Pellegrini), 1599, N o u s bergiers, 1536 3 , 1546„ 1561 3 , 1563 6 N o u s estions trois jeunes filles, 1592 β N o u s voyons que les h o m m e s (Arcadelt), 1554 4 , 1570 4 Nouveau, see under Branle Nova (Novo), see under Allemande; Gaillarde; Passamezzo; Pavane; Saltarello Nova, L a (Cavaccio), 1597 2 Nova angeleta, 1536 s Nova donna (Arcadelt), 1546 1 7 Novo consiglio, see S ' a m o r la viva fiamma N o w Israeli may say I that truely, 1599j Now, O now I needs m u s t part (Dowland), 1597 4 . See also Gaillarde: F r o g Galliard N u bin ich ein mahl frey (Regnart), 1592 1 2 N u bitten wir den heiigen Geist, see N u n bitten wir d e n heiligen Geist N u frewet euch lieben Christen gemein (Reymann), 1598 1 0 N u k o m m der H e i d e n Heilandt (Liitkeman), 1597, N u k o m m der heiden Heilandt (Reymann), 1598i 0 Nuestra Señora, Kyrie de, see Kyrie de Nuestra Señora N u n bitten wir den heiligen Geist, 1562 s N u n bitten wir den heiligen Geist (Liitkeman), 1597, N u n fahr hin alle mein trauren, 1570 3 , 1578 4 , 1582 6 N u n griiss dich G o t t (Die Gugel), (Senfl), 1532 2 , 1536 e N u n grüss dich G o t t d u mein drusserlein (Dietrich), 1532 2 , 1540!, 1544!, 1547 4

536

INDEX

v:

FIRST

N u n hab ich all mein tag gehört, 1512! N u n c dimittis. See also O L o r d , because m y harts desire; Or laisse createur N u n c dimittis (Henestrosa), 1557 2 N u n c dimittis (Lütkeman), 1597, N u n c mater, see Benedicta es coelorum Regina N u n c a mas verán mis ojos, 1576 l N u n c i a v e r u n t Jacob, see Dixit Joseph U n d e c e m fratribus suis N u n c i u m vobis fero (Lasso) (2a pars: T h u s D e o m y r r h a m ) , 1572^ 1574 1 ; 1583 4 N u n n e n T a n t z , see under T a n t z N u o v a Fenice, Balletto, 1581! N u n q u a m f u i t pena maior (Urrede), 1507t N u p t i a e factae sunt in Cana Galilaeae (Lasso) (2a pars: Dixit mater eius ministris; 3a pars: Et dicit ei J e s u s ; 4a pars: O m n i s h o m o p r i m u m b o n u m vinum ponit), 1583 e N u r nerrisch sein ist mein manier (Dietrich), 1523 2 , 1536 β

O admirabile commercium (Vinci), 1591 1 2 O all yee workes of G o d ( T h e Song of the three Children), 1599 χ O altitudo divitiarum (Lasso) (2a p a r s : Quis enim), 1589 e O beata et gloriosa Trinitas (Palestrina) (2a pars: O vera s u m m a sempiterna Trinitas), 1583 4 O beata Maria. See also Assiste parata O beata Maria (Gombert), 1554 3 O beata Maria (P. Guerrero) (2a pars : Accipe quod), 1576i O b e a t u m incendium (Anerio), 1 5 9 2 η O beatus vir n o n abiit see Qui au conseil O begli anni dell'oro (Corteccia), 1539! O bella N i n f a mia (Palestrina), 1 5 9 9 u O bella sopra tutte altre bella, 1564, O bene mio fa f a m m e u n o favore (Willaert), 1552, O benigna, see Inviolata integra O bienheureux celuy (Beati q u o r u m ) , 1553 3 , 1570 4 O bienheureux celuy (Beati q u o r u m ) (Certon), 1554 s O b o n egli e bon o b o n (Cara), 1511 x O bone Jesu (Clemens n o n Papa) (2a pars: Eya dulcissime Jesu), 1583 β O bone Jesu (Compère), 1536 3 O cara libertade, 1509! O che aiuto o che conforto (Cara), 1517! O che deoni, see under Saltarello O che diletto (L'Invaghito) (Gastoldi), 1594, O che dirala m o (Tromboncino), 1517i O che'l m e tira il brazo, see under Saltarello O chiome rilucenti (Costa), 1594 6 O Clemens (Jachet), 1543 a O combien en madereus, see O combien est malheureux O combien est heureuse, see also under Gaillarde O combien est heureuse, Branle gay (Le Roy,) 1556 s O combien est malheureux (Sandrin or Sermisy), 1546 1 8 , 1 5 4 9 8 , 1 5 5 2 n , 1553i, 1562 a , 1563 1 2 , 1568 e , 1 5 6 8 „ 1570„ 1571 e> 1578 4 . See also L e mal qui sent O combien je suis, 1563 1 2 O come and let us now rejoice (Venite exultemus), 1599i O c o m m e heureux (Certon), 1558 β , 1562 1 0 O c o m m e heureux (response to U n doulx nenny) (Lasso), 1568, O core di diamante (Arpa), 1570 5

LINES O O O O O O O

AND

TITLES

d'amarissim'onde (Lasso), 1568i del mio navigar (Porta), 1584 6 desloyalle d a m e (Bourguignon), 1533¡¡ despietato tempo (Zanin), 1509! do well u n t o thy servant (Whythorne), 1 5 9 0 u dolce e lieto albergo, 1509i dolce vita mia (Renaldi), 1594 6 . See also O dulce vita mea O dolcezz'amarissime d'amore (Capi Lupi), 1597 1 4 O dolci sguardi (Ruffo), 1568 2 , 1584 6 O dolorosi amanti (Dragoni), 1584 s O domine libera a n i m a m meam, see Dilexi quoniam ; Dilexi quoniam exaudiet O doulx reveoir (Godard), 1544i, 1546», 1547 4 O d u armer Judas, 1532 2 O dulce vita mea (Fontana), 1552,. See also O dolce vita mia O dulcís Jesu (sopra el Pater nostro), 1507 2 O dulcís Maria, 1512! O dulcís memorie, see Doulce m e m o i r e O dulcís virgo, see Vita dulcedo O dulx Roveoir, see O doulx reveoir O edel bloem der vrouwen, 1568 e O envieulx qui de m o n i n f o r t u n e (Latre), 1568 2 , 1584 5 O faccia che rallegri, 1584 3 O faccia puita mía, 1568, O famelice inique (Galilei), 1563, O felice colui (Donato), 1549, O felice Nocchiero (Vecchi), 1597 1 4 O felici occhi miei (Arcadelt), 1547 2 , 1553 6 , 1554 3 , 1564 8 , 1574 6 O felici pensier (C. Festa), 1546„ O felix aetas, see Jubilate Deo (Morales) O felix A n n a ( G o m b e r t ) , 1554 3 O flores rosa, 1502i O foible esprit (Gentian), 1552 4 , 1563i 2 . See also under Pavane O gelosia d'amanti, 1536 ß , 1546 1 4 O gloriosa dei genitrix (Gombert), 1547 5 O gloriosa domina (Henestrosa), 1557 2 O gloriosa domina (Narváez), 1538 χ O gloriosa donna (Soriano), 1592 Χ1 O G o d m y G o d , wherefore dost thou, 1599! O G o d m y strength and fortitude, 1599i O G o d that art m y righteousnesse, 1599! O griefe even on the B u d (Morley), 1597i 0 O guardarne las vacas, see Guardarne las vacas O haylige onbeflecte zart junckfrawschafft Marie, 1511 G, 1536 4 O H e r r ich ruefT dein n a m e n an (Senfl), 1546 9 O H e r r , mit ferr, sey dein genad (Peschin), 1558 s O herre Gott, 1533, O io mi pensai, see Io m i pensai O Jesu Christ dein N a h m der ist, 1583 e O Jesu m i dulcissime (Anerio), 1592Ü O jocunda, see O Maria mater Christi O la mal assigné, see under Gaillarde O la O la chi mi sa dar (Fiorino), 1571 4 O la vai cerca, see Saltarello : Royne d'Escosse O L a m b Gottes (Lütkeman), 1597, O L o r d , because m y harts desire ( N u n c dimittis), 1599i O L o r d consider m y distresse, 1599! O L o r d give ear, 1574 2 O L o r d give eare, 15991 O L o r d how are m y foes increast, 1599 x O L o r d how joyful is t h e King, 1599 t O Lord, how long wilt t h o u forget (Byrd), 1588 2

INDEX

v:

FIRST

O Lord in thee is all my trust (The Lamentation), 1599j O Lord in thee is all my trust (G. K.), 158?2 O Lord of whom I do depend (The humble sute of a Sinner), 1599! O Lord turne not away thy face (The Lamentation), 1599i O Lord upon thee doe I call, 1599 t O Lord, who in thy sacred tent (Byrd), 15882 O lux beata trinitas (A. Cabezón), 1557 2 O lux beata trinitas (Whythorne), 1 5 9 0 n O lux beatissima (Las Infantas), 1579 2 . See also Veni sánete Spiritus (Josquin) O ma dame per-je mon temps, Branle de Poitou (Le Roy), 1556 8 O ma gente brunette, see under Gaillarde O magnum mysterium, see Genuit puerpera O Maria Diana Stella, 1S4ÓJ O Maria mater Christi (Isaac) (2a pars: Ave domina; 3a pars: O jocunda; 4a pars: Ave sanctissima), 1533! O mas dura que marmol (P. Guerrero) (2a pars : T u dulce habla), 1554 3 O mia cieca e dura sorte (Cara), 1509! O mio soave foco (Stabile), 1591Ü O mira novitas facinoris, see In Bethlehem Herodes iratus O miser quel che spera (Bellasio), 1 5 9 1 u O mistresse mine (Morley), 1599 8 O Monti o fiumi (M. Ferabosco), 15945 O Musa tu (Bellanda) (2a pars: T u spira al petto mio), 15992 O passi sparsi (S. Festa), 1533 2 , 1552„ 1553 a , 1555 4 , 1562, 0 , 1570 4 , 1574, O patriarcha pauperum (Vinci), 1591 12 O perfida che sei, see under Passamezzo; Pavane; Saltarello O pia, 1512j O più bella del Sole (Bellanda), 1599 2 O più rara del Sole (Bellanda), 1599 2 O praise the Lord, 1599! O pulcherrima (Jachet), 1543 3 . See also Surge amica mea O quam gloriosum (Riccio), 1589β Ο quam pulchra es (Gombert), 1554 3 O quam suavis, 1547 6 O quant'affanni (Gorzanis), 1570! O que en la cumbre, 15475 O regem coeli (Silva) (2a pars: Salvator qui est Christus, or Natus est nobis), 1554 3 O regina poli, see Dignare me laudare te O sacrum convivium (Palestrina), 1589 e O sacrum convivium (Senfl), 1589 e O Salutaris, see Missa O Salutaris O Seigneur Dieu père des orphelins (Mithou), 1552 4 , 1563IJ

O Seigneur que de gens, 1564 5 O Seigneur que de gens (Domine quid multiplicati sunt), 1552 2 O seigneur que de gens (Domine quid multiplicati sunt) (Certon), 1554 5 O selve o sparse gregge (Antinori), 1511! O seul espoir, 1544 2 O s'io potessi donna (O sia potesi Tanna) (Berchem), 1546 3 , 1546 5 , 1546i„ 1547 3 , 1554 3 , 1556 2 , 1562 3 , 1563 12 , 1566 2 , 1568„ 1571„, 1572i, 1573I, 1573 3 , 1575 3 , 1577 6 , 1583 2 , and 1584„ O sole o stella o luna (Mancinus), 1597 8 O Sonno (Rore) (2a pars: Ove'l silentio), 1577 6

LINES

AND

TITLES

537

O Stella maris (M. A. Cavazzoni), 1523! O tempo o ciel volubil (Scotti), 1511! O that my wayes were made so direct (Whythorne), 1590n O triste adieu (Loys), 1552Ü O tu che vai (Vecchi), 1594 5 O T u r n e away mine eyes (Whythorne), 1590n O vago Endimione, 1584 5 O Venus banth (Josquin or Gaspar), 1507 χ O vera summa sempiterna Trinitas, see O beata et gloriosa Trinitas O verdemont, see Ough warder mount O vezzosetta (Il Prigioniero) (Gastoldi), 1594 7 O Vilanella (Waelrant), 1584 e O virtute, o beltate, see Regal donna cortese O voi che in mille in mille pene sete (Becchi), 1568! O voi che sospicai, 1549, O vos omnes qui transitis per viam (Compére) (2a pars: Audite obsecro), 15317 O weiblich art (Isaac), 1536 e O you that hear this voice (Byrd), 1588 2 Obsecro te domina (Josquin), 1547 s Occhi che date al sole e alle stelle (Becchi), 1568! Occhi facci d'amor (Becchi), 1568i Occhi Leggiadri, Balletto, 1581i Occhi leggiadri e cari (Antiquis), 1584 3 Occhi lucenti assai più che le stelle, Napolitana, 1561 2 , 1583 2 Occhi miei lassi, 1565 4 Occhi miei lassi (Arcadelt) (2a pars: Morte può chiuder sola), 1546i 0 , 15473, 1552u, 1554 3 , 1558 6 , 1563 12 Occhi miei lassi (Tromboncino), 15111, 1517i Occhi ridenti io moro (Vecchi), 1592i 2 , 1594 5 Occhio non fu (Azzaiolo), 1546i Occurrite illi, see Intuemini quantus sit istae Occurrunt turbe, see Turba multa Ochi lucent, see Occhi lucenti assai più che le stelle Ochi mei lassi mentre ch'io, see Occhi miei lassi Oculi omnium (Gombert) (2a pars: Qui edunt), 1589, Oculi omnium in te sperant domine (Lasso) (2a pars : Justus dominus in omnibus), 1575 1 Oculus non vidit (Lasso), 15917 Odi cielo el mio lamento (Tromboncino), 1517! Odite voi finestre, see Udite voi finestre Odo da tutti dire (Vecchi), 1597I 4 Of all the things that we find best (Whythorne), 1590Ü

Of needefull things that oft disgrace (Whythorne), 1590!! Official, L', see under Branle Offt wünsch ich ihr (Langius), 1584 s . See also under Gaillarde Ogn'un mi dice (Fiorino), 1571 4 Ogni beltà (Palestrina), 1592„ Ogni mal d'amor procede (Tromboncino), 152?1( 1547 s (attr. to Morales) Ogni vita (Torti), 1594 s Ognum fugga fugga amore (Capriola), 1509! Ohimè. See also Ahimè ; Aime ; Haime ; Oime ; Oyme Ohimè crudele Amore (Barrera), 1591 n Ohimè crudele Amore (Zucchelli), 1589 8 , 1591 15 Ohimè partito è'I mio (Stabile), 1589 e , 1591 J4 Ohn dich muss, see under Pavane Ohn dich muss ich mich aller Freuden massen (Lechner), 1594 6 Ohn dich muss ich mich aller freuden massen (Regnart), 1584 e , 1592I 2

S3«

INDEX

v:

FIRST

LINES

Oime. See also Ahimè ; Aime ; H a i m e ; O h i m è ; O y m e Oime il cor oime la testa (Cara), 1509! Ojos claros (F. Guerrero), 1554 3 Olica, L ' , (Merulo), 1588 e O m b r o s a Valle, Balletto, 1581i O m n e s gentes plaudite m a n i b u s (Banchieri), 1595 2 O m n i mal de amor procedi, see Ogni mal d ' a m o r procede O m n i a quae fecisti (Lasso), 1566 3 , 1571 e , 1573 1( 1575J, 1583„ 1586, O m n i s h o m o p r i m u m b o n u m v i n u m ponit, see N u p t i a e factae s u n t in Cana Galilaeae O n dit q u ' a m o u r (Vermont), 1533 s O n en dira ce q u ' o n voudra (Sermisy), 1562 1 0 , 1574, O n tugent freyd die leng nit wert (Dietrich), 1536 e Oncques a m o u r m e f u t (Crecquillon?), 1552Ü, 1563I2 O n c q u e s a m o u r m e f u t (Crecquillon), 1566 3 , 1571 e , 1573!, 1583 4 ,1584 2 i 1588„ 1591 2 (attr. to Clemens n o n Papa) Ond'all'estremo passo pianto, see Se l'alto duol m'ancide O n d e spieghin sue lodi ( G . M . Nanino), 1595 1 0 O n e joy of joyes I only felt, 1596, O n q u e s amour, see O n c q u e s a m o u r m e f u t Oosterlings, see under Allemande Oppressit reducem (Brandt), 1558 5 O r combien est, see O combien est malheureux O r demourez, 1563 1 2 , 1568 7 O r il ne m ' e s t possible (Clemens n o n Papa), 1568 7 , 1571, O r laisse createur ( N u n c dimittis: Cantique de Simeon) (Certon), 1554 5 O r puis q u ' a m o u r , 1568, O r puis qu'il est (Clemens non Papa), 1553 1 0 , 1563 1 2 O r suis je bien au pire (Willaert), 1547 5 , 1 5 5 2 n O r sus a coup, 1545 3 , 1547,, 1583 2 O r vien ca vien (Or vien sa vien m a mia Perretta) (Janequin), 1533 2 , 1553^ 1554„ 1560 3 , 1562H,, 1564i, 1568„ 1574„ 1591 3 O r voy j e bien (La Grotte), 1571 3 , 1574 2 Organistina Bella, L a (Banchieri), 1596 3 Orlande, Chant d', see under Pavane Orlando, Il Conte, see under Ballo : Conte Orlando Orlyans, 148?! O r n a v e r u n t faciem templi (Gallus), 1598 4 Orsa, L ' , see under Moresca Orsina, see Alta Orsina Orso, L ' , see under Ballo Ortensia, Aria della Signora, see Aria della Signora Ortensia Osanna, see Missa Alleluia; Missa Ave M a r i a ; Missa Benedicta es coelorum regina; Missa Faysant regrets ; Missa Hercules D u x Ferrariae Osanna sobre mi fa re sol fa mi, 1547 5 Ossia potessi dona, see O s'io potessi donna Österreichischer Dantz, see under T a n t z Ostinato vo seguire (Tromboncino), 1509! Oublier veuil tristesse (A. Agricola), 1538 2 O u g h warder m o u n t , 1529 3 , 1554, Oulde, see under Allemande O u r bony bootes could toote it (Morley), 1597i, O u r eares have heard our fathers tell, 1599 x O u r Father which in heaven art ( T h e L o r d s prayer), 1599j Ove'l silentio, see Beato m e direi ; O S o n n o Oves mea vocem m e a m audiunt (Dressier) (2a pars : Pater m e u s qui dédit mihi), 1583, Oxenford, see M y L o r d of Oxenfords Maske

AND

TITLES

Oy m é dolente, see O y m e oyme dolente Oyd oyd los bivientes, see Justa, L a Oyes a m a n (Oye samen), 1575 3 , 1578 4 Oyes tous amoureux (Le Roy), 1556 β O y m e . See also A h i m è ; Aime ; Haime ; O h i m è ; Oime O y m e oyme dolente (Nola), 1552,, 1554 a

Pacientiam müss ich han (Paciencia) (Senfl), 1532 2 , 1546 e , 1562 3 Padoana (Padouana), see Pavane Padouenne, La, 1559 3 Padua, see under Gaillarde ; Passamezzo Paduana (Paduane, Paduaner, Paduanne), see Pavane Paganina, La, see under Gaillarde; Passamezzo; Pavane Paine trabel (Mouton), 1547, Palabras son lisongeras, see D u r a n d a r t e Paladina, La, see under Gaillarde; Pavane Palle, palle (Pale) (Isaac), 1507¡¡ Palvelo, II, see under Saltarello Paneine languir d ' a m o u r , 1583 2 Pange lingua (Bermudo), 1555!; (A. Cabezón) (various settings), 1557 2 , 1578 3 ; ( G . Cavazzoni), 154? 2 ; (Guerrero) (2 settings), 1554 3 ; (Pisador), 1552,; (Urrede), 1557 2 , 1578 3 . See also Missa Pange lingua Panis q u e m ego dabo (Lupus), 1547 6 . See also Missa Pañis q u e m ego dabo Panuso, 1560 4 , Par bien servir, 1575 3 , 1578 4 P a r deppit, see under Gaillarde Par fin despit, see under Basse dance Par ton regard (Sermisy), 1546 6 , [ 1 5 4 7 ] n Par trop aymer (Benedictus), 1533 2 Par u n matin la belle s'est levée (Planson), 1592, Par u n g matin (Heurteur), 1533 a Para quien crié yo cabellos (A. Cabezón), 1557 2 Paracletus autem Spiritus Sanctus (Wert) (2a p a r s : N o n t u r b e t u r , cor vestrum), 1583, Paradigma, 1561! Paradizo, 1599, Paranzino, La, see under Passamezzo; Saltarello Paraqu'es dama tanto quereros, 1552 7 P a r a t u m cor m e u m (Banchieri), 1595 2 . See also Missa Paratum cor m e u m Paravola, 1560 4 Parce d o m i n e ( G o m b e r t ) (2a pars of Miserere pie Jesu), 1554 3 Parce domine (Obrecht), 1531 7 Pardonnez moi si folie ( M . A. Cavazzoni), 1523! Parle qui veult (Sermisy), 1533 a Parma, La, 1578,, 1583 7 . See also under Saltarello Partense partiendo yo, 1552, Partirò d u n q u e (Marenzio), 1584 3 Pas de m i b o n compagni, 1549 2 Pas meige, Le, 1559 3 Pasamezo, see Passamezzo Pascomi sol di pianto (Mazzone), 1570 5 Paseábase el rey M o r o , see Paseávase el rey M o r o Paseávase el rey M o r o (Fuenllana), 1554 3 Paseávase el rey M o r o (Narváez), 1538i, 1546 1 8 Paseávase el rey M o r o (Palero), 1557 2 Paseávase el rey M o r o (Pisador), 1552, Passa mezo, see Passamezzo and under Pavane Passamezzo : (Pasamezo, Pasemezo, Pass e mezo, Pass'e mezo, Pass'mezo, Passa é mezo, Passa mesa, Passa

INDEX

v:

FIRST

LINES

mezo, Passametzo, Passe e mezo, Passe et medio, Passemeso, Passemeze, Passemezo, Passo e mezo, Passo e mezzo, Passomeso, Wascha mesa), 1536„, 1540h 1544 2 , 1546^ 1546 5 , 1S46 15 , 154 6 20 , [1547]!!, 1549i, 1549„ 1551 s , 1552 χ , [1552] 10 , 1556 2 , 1562 3 , 1562 4 , 1563 8 , 1563,,, 1566 3 , 1568 3 , 1568,, I57O3, 1570 4 , 1571!, 1571„, 1572], 1573i, 1573 2 , 1573 s , 1574^ 1574„ 1577 e , 1578 4 , 15811, 1583 2 , 1584 β , 1586 δ , 1592 β , 1592 8 , 15929> 1593,, 1594 6 , 1598 10 , 1599,, 1 5 9 9 „ Alouetta, Passamezzo dell', 1546i 0 ) 1546i„ 1552! Angleterre, Passmezzo d', 1549 8 , 1563 12 , 1569 e , I57O3, 1571i, 1571 6 , 1582 5 , 1583 2 , 1583, Antico, 1546i, 1546 5 , 1546I 5 , 1551 5 , 1S52X> [1552]i„, 1553 5 , 1555 2 , ISSÒ.;, 1561 2i 1563 8 , 1564 4 , 1566 2 , 1569 2 , 156?3> 1571i, 1571 e , 1573i, 1573 2 , 1574 5i 1576 a , 1577 6 , 1578 8 , 1583 2 , 1583 4 , 1585!, 1586 2 , 1587i, 1591 13 , 1592i 2 , 1596, Anvers, Passamezzo d', 1571 5 , 1583, Bachffart, Passamezzo detto il, 1582i Bachiglione, Passamezzo detto il, 1569 2 Bataille, Passamezzo a la (Passamezzo della Bataglia, Passamezzo sopra la Battaglia), 15462O, 1549i, 1564 4 , 1564,, 1569 2 , 1570 3 , 1571„, 1578 4 , 1582 s , 1587! Bella donna, Passamezzo della, 1568j Bella donsella, La, 1574! Bolognese, Passamezzo ala, 1546i 0 , 1546u, [1547]ii, 1552i Bruynswick, Passamezzo de, 1569 e Canzon francese, Passamezzo sopra una, 156? s Cara cosa, Passamezzo della, 1563 8 Care fier homo, Passamezzo detto, 1563 s Cavalier, Passamezzo dito il, 1564 4 Coloigne, 1569 6 C o m m u n , Γ1552] 10 , 1564„ 1570 3 , 1573 2 , 1574 5 , 1575 3 , 1577 e , 1578 4 , 1582i, 1582 5 , 1591 13 , 1592 l 2 Compasso, Passamezzo ditto il, 1553 2 , 1555 2 De, Passamezzo ditto el, 1546 l ä Desperata, 1564, Douce, La, 1569 6 , 1570 3 , 1571 6 , 1582 s , 1583, Ducessa, 1564, D u r a partita, Passamezzo ditto la, 1561 2 Englische Passamezzo, see Passamezzo: Angleterre Ficto, 1569 2 , 1571 e , 1586 5 Frison, 1569, Gie vo deser d ' u n bois ah., see Passamezzo : Je vous deser d ' u n bois ah. Giordano, Passamezzo ditto il, 1564 4 Gitene Ninfe, 1590 s Gorzanis, Passamezzo detto il, 1561 2 , 1563 s , 1564 4 Hautbois (Haubois, Haultbois), Passamezzo de, 1569 6 , 1582 5i 1584 6 Il est jour, 1564, Imperator, Passamezzo del, 1564 4 Italiana, 1563 12 Italica, 1583 2 Italye (Itali, Italiae, Italie, Ytalye), Passamezzo d', 1563 12 , 1564,, 1568 e , 1568„ 1569 e , 1570 3 , 1571„ 1571 6 , 1575 s , 1578 4 , 1582 5 , 1583, Je prens en gré (Je presigne), 156? 3 Je vous deser d ' u n bois ah., 156? s Jolye, 1569„ La dura partita, Passamezzo ditto, 1561 2 Loisa core per el mondo, Passamezzo detto, 156? 3 Loreyne, 1569 6 Marek Antoine, Passamezzo de, 1568,, 1571 e

AND

TITLES

539

Milanese (Milaneso, Milaneza, Millanese), 1563 12 , 1564,, 1566 2> 1568 1 ; 1570 3 , 1571„, 1573i, 1574 6 , 1574,, 1575 a , 1578 4 , 1582 Ip 1582 5 Mit lib bin ich umbfangen, 1578 4 Moderno, 1546„ 1546i 5 , 1552i, 1553 6 , 1561 2 , 1563 e , 1564 4 , 1569 2 , 156? 3 , 1571 e , 1578 8 , 1583„ 1585i, 1586 6 , 1587i, 1588 s , 1 5 9 9 n N , Passamezzo detto il, 1582! Nobile, Passamezzo detto il, 1569 2 , 1571„ Novo (Nuovo), I55I5, 1583 4 O perfida che sei, Passamezzo detto, 1563 β Padua, 1569 β Paganina, Passamezzo detto la, 1582ι, 1578 β , 1583„ 1599n Paranzino, La, 1566 a , 1571„ 1573i, 1583 4 Pigna, Passamezzo della, 1563 g Pinge, Le, 1551g Ponderoso, Passamezzo deto il, 1582 x Rans, 1568, Rocha el Fuso (Roca el Fuso), Passamezzo de la, 1561 2 , 1564, Romano, Passamezzo ditto il, 1553 2 , 1555 2 Roy, Passamezzo du, 1571 5 Saracena, Passamezzo della, 1568! Sassinata, Passamezzo de la, 1546i 0 , 1546Ü Todeschin, Passamezzo detto il, 1563 8 , 1564 4 T u te parti cor mio caro ( T u t i por ti core mio caro), 1564, Ungaro, 1564„ 1570 3 , 1573 2 , 1577 e Vaccas, Passamezzo de, 1546 20 , 1563 12 Vilana, Passamezzo a la, 1546 1 5 Wascha mesa, see 1536 β , no. 66 Zorzi (Zorzy), Passamezzo de, 1564,, 1570 3 ,1572!, 1573 2 , 1574,, 1575 3 , 1578 4 , 1582 6 See also Gaillarde: Passemaize; Pavane: Passemaize Passando el mar Leandro (P. Guerrero), 1552,, 1554 3 Passato el tempo jocondo (Tromboncino), 1511! Passe e mezo (Passe et medio), see Passamezzo Passe rose, 148?! Passe velours, 1568 3 Passeávase el rey moro, see Paseávase el rey M o r o Passemaize, see under Gaillarde ; Pavane Passemeso (Passemeze, Passemezo), see Passamezzo Passepied, see Branle: Escosse Passionao, El, see E vivo a mio despetto Passo e mezo (Passo e mezzo, Passomeso), see Passamezzo Pasti, La (Cavaccio), 1597 2 Pastorum, see under T a n t z Pater a nullo est factus (Samson), 1538 2 Pater meus qui dedit mihi, see Oves mea vocem meam Pater noster (Cornysh), 1530„; (Formeliis), 1575!; (F. Guerrero), 1554 3 ; (Josquin) (2a pars: Ave Maria), 1536 3 , 1546„ 1547 3 , 1547„, 1552n, 1558 δ , 1561j, 1563 6 , 1563 1 2 ; (Lasso), 1577„; (Palestrina), 1583 4 ; (Pevernage), 1592 e ; (Willaert), 1546I 4 , 1547 6 , 1548I, 1552,. See also O dulcís Jesu Pater peccavi (Clemens non Papa) (2a pars: Quanti mercenarii), 1556 2 , 1563 12 , 1568,, 1583 e Pater peccavi (Conseil) (2a pars: Quanti mercenarii), 1562i„ 1574, Patience, see under Basse dance Patiencia, 1599 6 Patientia ognun me dice, 1508¡¡ Patrem, 1531 6 . See also Missa Apostolorum; Missa Ave M a r i a ; Missa Dominicalis Patrem Angelorum, 1568 6 Patrem Cardinalium, 1568 5

540

INDEX

v:

FIRST

LINES

Patrem Immense, 1531 e Patrem In Dominicis Diebus, 1568 5 Paule lieber Stallbruder mein, 1571 ι, 1583 2 Pauren Tantz, see T a n t z : Bauren Tantz Pavane : (Padoana, Padouana, Paduana, Paduane, Paduaner, Paduanne, Pavan, Pavana, Pavanne, Paven, Pavenne, Pavin), 1530 3 , 1530 4 , 1530 s , 15314> 1536 6 , 1536 9 , 1545 3 , 1546 5 , 1546 e , 1546 14 , 1546 16 , 1546 20 , 1547 6 , 1547 e , 1S49 1( 1549 8) 154?5, 154 ?„ [1550],, 1S50 5 , 1552 x , 1552 4 , 1552 6 , 15S2 e , 1552„ [15S2] 10 , 1553 4 , 1554 1( 1555 2 , 1555 4 , [ I s s e l s , [1556],, 1557 2 , 1557 4 , 1S58 4 ,1561 2 ,1562 3 ,1562 4 i 1563 12 , 1564 2 , 1564 4 , 1568!, 1572!, 1573 3 , [1573]«, 1578 4 , 1584 e , 1591 1 3 ,1592 s , 1592 e , 1596 4 , 1597 2 , 1597 e , 1597„ 1598 10 , 1599 e , and 1599n Admiral, L \ 1557 3 Alexandre, Pavana de, 1546 14 Amours, Pavane d', 1569 β Angleterre, Pavane d', 1555 2 , 1555B Antico, 15612, 1563 s , 1564 4 , 156 ? 3 Au joly bois, 1552 6 Badoera, Padoana dita la, 1587! Barbarina, Pavane detta la, 1569 2 Bataille, La (Pavane de la guerre, Pavana sur la battaglia), 154? β , 1551 s , 1552 3 , 1555 2 , 1557 3 , 1559 3 , 1564 4 , 1570 4 , 1S71„, 1583„ 1591 13 Bella Andronica, Pavana ditto la, 1548 3 Bella bianca Margarita, Pavana chiamata la, 1548 3 Bella Dorotea, Padoana deta la, 1585 χ Bella Franceschina, La, see Pavane·. Que la bella Franceschina Bella Ragazzone, Pavana detta la, 1582! Bella Ugazzetta, Pavana detta la, 1546 8 , 1546 20 Bella Zudea, Pavana detta la, 1546 8 , 1546 20 Belle qui tiens ma vie, 1589, Beloncina, Pavana detta la, 1569 2 Ben contenta, La, 154ÓJ Birds Pavan, Master, 1596 5 Blondeau, 1530 3 Borgognone, Pavana detta la, 1569 2 Borroncina, Pavana detta la, 1546 e , 1546 20 Bouffons, Pavane des, 1565 3 , 1570 3 , 1570 4 , 1578 4 Brave, Le, 1569„ Captaine Pipers Pavin, see Pavane: Pipers Pavin Cara Cosa, 1563 e Centùria, Pavana detta la, 1546 18 , 1546 20 Chant d'Orlande, see Pavane: Orlande Chi mira gl'occhi tuoi, Padoana deta, 1585! Chi passa per questa strada, Padoana detta, 1563 e Chiareta, La, 1588 3 C o m m u n (Commune), [1552] 10 , 1564, Contarina, Pavana detta la, 1582 x Cortesa, 1553 2 , 1555 2 Costante, Padoana dita la, 1587! D e la T r o m b a Pavin, 1599 8 Dellestarpe, 1550 5 , 1555 2 Desperata, Pavana dita la, 1536 s , 1536 9 , 1552!, 1563n, 1563 12 , 1564 7 Dieux, Pavane des, 1555 5 , 1558 3 , 1571 5 , 1591 13 Dispettosa, Padoana deta la, 15851 Dona, La, 1551 8 Duca, La pavana del, 1549! Ducessa, 1564 7 Earles Pavane, Master, 1597 e Englesa, Pavane a Γ, 1584 6 Espagne, Pavane d', 1589!

AND

TITLES

Espagnolle, L ' , 1565 3 , 1570 3 , 1578 4 , 1582 5 . See also Pavane: Spanish Pavane Esperance, Padoana de, 1569 e , 1570 3 Esquercarde, L', 1559 3 , 1571 5 Est il conclud, 1551 2 , 1553 9 , 1557 3 Farfarella, Padoana deta la, 1585i Favorita, La, 154?i, 1569 2 Ferrara, Padoana dita la, 1587 t Ferrarese, Pavana alla, 1508 2 , 1571 6 , 1583, Ferrareza, 1571 5 , 1591 13 Fiamengina, Pavana detta la, 1569 2 Finetta, La, 1588 3 Floriana, Padoana dita la, 1587! Fondi, Padoana dita la, 1587! Forze d'Ercole, 1546 t Francesa, Pavana della, 1568i Franceschina, La bella, see Pavane: Que la bella Franceschina Fulvia, Padoana dita la, 1587! Fusi pavana piana, 1551 s Gagliarda, 1546i 6 , 1549! Gaiette, La (Il estoit une fillette), 154? 6 , 1555 2 Gambe, Pavane de la, 1551 3 , 1570 4 Garde, La, 1571 5 , 1591i 3 Gentil madonna, [1552] 10 Gombertina, Pavana ditta la, 1536 8 , 1536 9 , 1552i, 1563ji Gorzanis, 1563 8 Graciosa, Padoana dita la, 1587! Guerre, Pavane de la, see Pavane : Bataille In nomine, 1599 8 Italiana, 1578 3 J'ay du mal tant tant, 1552 3 , 1553„, 1564 5 , 1570 4 , 1571 5 , 1583, J'ay le rebours, 1552 4 , 1555 2 , 1556 8 , 1570 4 La dura partita, 1561 2 Lacrimae, 1596 4 , 1599 e Lacrimosa, Pavana detta la, 1548 3 L e bon vouloir, 1550 s L'ennuy qui me tourmente, see Pavane: Si je m'en vois L'oeil près et loing, 1550 s Loisa core per il mondo, 156 ? 3 Lubiana, Padoana deta la, 1585i Lucretia, Pavana detta, 1548 3 Malcontenta, Pavana ditta la, 1536 9 , 154 ?5 M'amye est tant honneste et saige, 1550 s Marchetta, 1588 3 Marucina, 1588 3 Master Birds Pavan, see Pavane: Birds Pavane Master Earles Pavane, see Pavane: Earles Pavane Matthei, 1581 x Mazzona, Padoana dita la, 1587J Mentre campai contento, Padoana deta, 1585 x Mignonne, La, 1564 2 Milanesa, Pavana ditta la (Pavane Milanese, Pavane Millanese), 1536 9 , 1546„, 1546 20 , 154?i, 1560 3 , 1564,, 1570 3 , 1574 6 , 1578 4 , 1582 5 Milanoise, La, 155S 3 Mille ducas, 1551 8 Mille regretz, 1551 8 Moderno, 1561 2 , 1563 e , 1564 4 Molinara, Pavana ditta la, 1582i Moniardina, Pavana detta la, 1546 e , 1546 20 Monta su che son de velia, Pavana ditto, 1536 0 Nova, 1536„, 1563n O foible esprit, 1550 s O perfida che sei, 1563 8 O h n dich muss, 1597,

INDEX

v:

FIRST

LINES

Orlande, Chant d', 1552, Paganina, Pavana detta la, 1586 2 Paladina, Pavana chiamata la, 1560 3 Passemaize, 1555B Passamezo, 1597 e Phillips Pavin, 1599 8 Pianzolenta, Pavana detta la, 1546 8 , 1546 20 Picona, Padoana dita la, 1587! Pigna, Padouana della, 1563 β Pipers Pavin, Captarne, 1596 4 , 1599, Ploravit, 1599 β Plus revenir, 1550 6 Porcelina, Pavana detta la, 1569 2 Pour mon plaisir, 1550g Prince, Padoana de, 1569, Quadro (Quadron), 1596„ 1597 e , 1599 8 Que la bella Franceschina, 1536 s Qui souhaitez, 1550 6 Real, 1547 5 Reale, Pavana detta la, 1582i Rinoldina, Pavana detta la, 1546 e , 1546 20 Rocha el Fuso, Padoana de la, 1561 2 , 1564 7 Romanesque, 1553„, 1565 3 , 1568,, 1570 3 , 1570 4 , 1574„ 15784 Rossignolle, La, 1558 e Rote de rode, La, 1530 s Santo Herculano, [1552] 10 Saporita, La, 1578 8 Schiavonetta, Pavana detta la, 1569 2 Si j'ay d u bien, 1559 s Si je m ' e n vois, 1551 2 , 1551 a , 1557 3 , 1564 5 , 1568 3 , 1570 4 Si par souffrir, 1551 e Spanish Pavane, 1597,. See also Pavane: Espagnol le Squillitria, Padoana deta la, 1585! Todeschin, Il (La Todeschina, Il Todischino), 1561 2 , 1563 8 , 1564 4 , 1569 2 T u te parti cor mio caro (Tuti por ti core mio caro), 1564, U n e m'avoit promis, 1556 8 , 1559 3 , 1568 3 Vaccas, Padoana de, 1569 e Vecchio, La, 1597 e Venetiana, Pavana alla, 1508 2 , 1523 2 , 1583 4 Venisienne, La, 1550 6 Vica, La, 1587i Vincenti, Padoana dita la, 1587! Vous qui voulez, 1550 5 Zanetta, La, 1578„ Ziliola, Padoana dita la, 1587! Zo per la Brenta, Padoana deta, 1585! Zorzi, Padoana de, 1564„ 1570, Pavaniglia, Balletto, 1581i Pavia, Schlacht für, see Bataille Payne trabel, see Paine trabel Pe martino, 1560 4 Peccavi super numerum, 1538 2 Peccavi supra n u m e r u m (Willaert), 1547 5 Peccavimus cum patribus nostris, see Emendemus in melius Pecti nihil me sicut (Tritonius), 151 Pellegrina, Canzone detta la (Pellegrini), 1599 s Penono, El, see under Saltarello Pensa domi quel giorno, 1568, Penseroso, Il (Fonghetti), 1598 3 Pensif mari (Pensi che mai) (Tadinghen), 1507 2 Per che'l viso, 1533 2 Per divina bellezza, see In qual parte del cielo 18*

AND

TITLES

541

Per dolor me bagno il viso (Cara or Tromboncino), 1511!, 1517i Per fuggir d'amor le punte (Cara), 1511i Per fugir la mia morte alma (Cara), 152 Per illud ave (Duo de Benedicta) (Josquin) (2a pars of Benedicta es coelorum Regina), 1547 3 , 1547 6 , 1547g, 1551i, 1552n, 1553^ 1556,, 1562 3 , 1568„ 1571», 1574s, 1574β> 1591, Per l'ottavo miracolo (Vecchi), 1597 14 Per mio ben te vederei (Tromboncino), 1517 χ Per pianto la mia carne (Baccusi) (2a pars: Hor pensate al mio mal ; 3a pars : Si m ' è dolce il morire ; 4a pars: Cosi vuol mia ventura), 1584 5 Per pianto la mia carne (Lasso), 1568„ 1571 e> 1584 a , 1586 5 , 1594 6 Per voler d'Amore (Il Felice) (Gastoldi), 1594, Perche Barbara sia (Scaletta), 1591i„ Perche bramo morire, 1546 3 Perche fuggi anima mia (Bellasio), 1592 t Perche la vita breve, 1566 2 , 1571 e , 1573i Perche si stretto è il nodo, see Fera gentil Perdita tenyo la color (Vasquez), 1536 5 Perdone moi sie folie, see Pardonnez moi sie folie Perfidioso, El, 1564 8 Perludium, see Prelude Pero che voi vosete, see Che giova posseder Però più ferm'ogn'hor, see Alla dolc'ombra (Rore) Peronnelle, La, see under Gaillarde Perquoy ale vo soleta, see Pourquoy allez vous seulette Pescatore che va cantando, 1536 9 , 1 5 6 3 η . See also under Saltarello Peschatore, El, see under Gaillarde PessamezOj.see Gaillarde: Passemaize Pete quid vis, 1512 χ Petercken sprack tho Petercken, Ick hebbe so ein schon Kammirken, 1571 x , 1583 2 Petit, 1544, Petit Bataille, Le, see under Bataille (La Bataglia Chiarenzana) Petit fleur, see Petite fleur coincte Petit gentilhomme, Le, 1568 3 . See also under Branle Petit homme, Le, see under Branle Petit giachet, see Petit Jacquet Petit Jacquet (Courtois), 1577,, 1584 2 Petit Jacquet (Crecquillon), 1582„ 1584 2 , 1592„ 1593, Petit Rouen, Le, see Rouen Petit roysin, Le, see Roysin, Le petit Petit velours, Le, 1559 2 Petite camusette (Févin), 1538¡¡ Petite camusette (Willaert), 1547 5 Petite fleur coincte (Crecquillon), 1558 5 , 1577, 1584 2 , 1591 3 Petite folle (Lasso), 1566 2 , 1571», 1573i Petler Tantz, see T a n t z : Bethler Tantz Petre amas me (Gallus), 1598 4 Peysen ende trueren, 1546 l e Phantasia, see Fantasia Philarmonica, II (Fonghetti), 1598 3 Philipin, II, see under Saltarello Philippine, see Ballo : Filippina and under Allemande Phillips, see under Gaillarde ; Pavane Philips Zwölffpot aus not hilf mir, 1512 x Philomena, Tiento, 1557 2 Piacciati com'i tuoi, see Candid'e richa vela Piange'l T h e b r o (Fiorino), 1571 4 Piangea filli (Marenzio), 1592, Piangea la donna mia (Cara), 152 Piangete occhi miei (Capi Lupi), 1597 14

542

INDEX

v:

FIRST

Piangete occhi miei lassi, 1549j Piangi cor mio (Sabino), 1582 x Piantone, see under Ballo Pianzolenta, La, see under Pavane Pichardo, E], see under Gaillarde Picona, La, see under Pavane Pied de cheval, Le, see under Allemande Piemontoise, see under Gaillarde Pietà cara signora (Cara), 1509! Pietoso, 1553 2 , 1555 2 , 1564 s Pigna, La, see under Passamezzo; Pavane; Saltarello Pimontoyse, see under Branle Pinagay, see under Branle Pinge, Le, see under Passamezzo Piove da gli occhi della donna mia (Verdelot), 1536 β Pipers Galliard, Captayne, see under Gaillarde Pipers Pavin, Captaine, see under Pavane Piro con lo f u m o , 1560 4 Pis n e m e peult venir, 1568 e , 1570 3 , 1582 5 Pis ne m e peult venir (Crecquillon), 1 5 5 2 l l t 1563 1 2 , 1 5 6 8 „ 1571,, 1572!, 1574„ 1575 3 , 1576 3 , 1577„, 1578 3 , 1599, Pis ne m e pulvenir, see Pis ne m e peult venir Pissepot, D e r , see under T a n t z Più che mai vaga e bella (Capi Lupi), 1 5 9 7 u Più che mai vagh'et bella (C. Festa), 1539! Più n o n t ' a m o aibo aibo (Cara), 1 09, Più volte fra m e stesso (Tromboncino), 152?! Piva, 1508 2 , 1549i, 1564, Plaisir n'ay plus (Crecquillon), 1S53 10 Planzuni, 1560 4 Pleasure it is (Cornysh), 1530 β Pieni sunt coeli, 1538 2 ; (Berchem), 1591,; (Certon), 1591,; (Gosswin), 1591,; (Jachet), 1543 3 ; (Jachet), 1591,; (Phinot), 1591,; (Scandello), 1591,; (Valderrábano), 1547 5 . See also 1547 6 , nos. 98, 108; Missa (Bauldewyn); Missa Ave M a r i a ; Missa Faysant regrets; Missa Fortuna desperata; Missa Hercules D u x Ferrariae; Missa Malheur m e b a t ; Missa Narayge Pleurez mes yeux (Sandrin), 1545 3 , 1547,, 1552 6 , 1562 1 0 , 1574, Ploravit, see under Pavane Plourez mes yeulx, see Pleurez mes yeux Plus de regres (M. A. Cavazzoni), 1523! Plus je la vois (Mittantier), 1546„ 1549, Plus je le voy de beaucoup estimé (Plus le voy de beaucoup estimé) (Belin), 1552 fi Plus mile regres, see Plus nulz regretz Plus n'ay espoir (Certon), 1546 e Plus ne peut m o n coeur estre, 1552 8 , 1562 9 Plus n'est m o n bien, 1552 8 Plus ne veux estre a la suite, Branle gay (Le Roy), 1556 e Plus nulz regretz (Josquin), 1533i, 1536,, 1562 3 Plus oultre (Gombert), 1 5 5 2 u Plus que jamais, 1578 4 , 1582 -, Plus revenir, see under Gaillarde ; Pavane Plus revenir n e puis vers toy m a d a m e (response to Reviens vers moy) (Lupi), 1552Ü, 1558 4 Poi che con gl'occhi, see Cara la vita mia Poi che mesto e dolente (Peetrino), 1589 e , 1591 1 4 Poi che mia sincera fede (Caprioli), 1511! Poi che per fede mancha (Caprioli), 1509! Poi che pietà n o n ha di m e pietade, 1568i Poi che pietà n o n trov'al mio (Anselmo Perugino), 1570 6 Poi che sei cosi sorte, 1584 3

LINES

AND

TITLES

Poi che volse la mia stella (Tromboncino), 1508 a , 1509i Poi ch'el ciel contrario adverso ( T r o m b o n c i n o ) , 1508 2 , 1509 x Poi ch'el ciel e la f o r t u n a (Pesenti), 1511! Poi ch'el mio foco (Lo Spensierato) (Gastoldi), 1594, Poi ch'el mio largo pianto (Lasso), 1584, Poictou, see Branle: Poitou Pois, Les, see under Branle Poitou, see under Branle Polaco, see under Ballo Polentine, Le, 1560 4 Polia (Fonghetti), 1598 3 Polifilo (Fonghetti), 1598 a Pollacho, see Ballo: Polaco Polnisch T a n t z , see under T a n t z Pompilia, see Bassa Pompilia Pomponazza, L a (Banchieri), 1596 3 P o n freno al gran dolor (Lasso), 1568 2 Ponderoso, II, see under Passamezzo Pongente dardo, 1565 4 Pongente Dardo, Balletto, 1581i Pongente dardo (Berchem), 1546 5 , 1546 1 7 , 1 5 5 2 h , 1562 3 Pùngenti dardo, see Pongente dardo Populus eius et oves pascuae, see Jubilate D e o omnis terra Populus qu ambulai in tenebrie (Schlegel), 1583 e Por ásperos caminos, 1546i 4 Por do començare m i triste llanto (P. Guerrero), 1554 3 Por las mas altas montañas, 1557 2 Por que arte, see Sin d u d a r Por u n plasir, see Pour u n plaisir Por una vez (Vasquez), 1552, Porcelina, La, see under Pavane Porgi aiuto al mio core, see under Saltarello Porta chiascun nela fronte, 1536 ö Portingaloyse, La, 148 ? t Portio mea, Domine, see M e m o r esto (Josquin) Portugaler (Dufay), 148?! Pose u n gran foco (Palestrina), 1 5 9 1 ü Post, De, 1551,, 1571 5 Posthuma, 1599, P o s t q u a m consummati sunt (Burgk), 1583, P o s t q u a m consummati s u n t (Lupus), 1546 4 Pouloingne, see under Allemande Pour avoir paix (Layolle), 1546 β , 1546,, 1546ι,, 1556, Pour h e u r en a m o u r d e m a n d e r (Arcadelt), 1558, P o u r m'eslongner (Le Roy), 1556, Pour m o n plaisir, see under Pavane Pour parvenir (Crecquillon), 1572i Pour quoi voles vous, see P o u r q u o y voulez vous cousturier Pour quoy languir, see P o u r q u o y languir P o u r u n plaisir, 1562 a Pour u n plaisir (Crecquillon), 1546i,, 1 5 5 2 n , 1557 a 1558,, 1563^2, 1568,, 1571„ 1577 e , 1578, Pour u n plaisir que si peu d u r e (Sermisy), 1552 S) 1570 4 Pour u n e helas (Crecquillon), 1568,, 1571, Pour u n g helas (Crecquillon), 1558 s P o u r u n g petit coup, 1545 s , 1547, Pour u n g plaisir, see Pour u n plaisir Pourquoy, see under Branle P o u r q u o y allez vous seulette, 1536 3 , 1546,, 1561», 1563 5 P o u r q u o y donc ne fringuerons (Passereau), 1533 3

INDEX

v:

FIRST

LINES

Pourquoy font bruit (Quare fremuerunt gentes) (Certon), 15S4 5 Pourquoy font bruit et s'assemblent les gens, 1551 χ Pourquoy languir, 1 5 5 2 n Pourquoy voulez vous cousturier (Janequin or Passereau), 1568 x Pourtant si je suis brunette (Sermisy), 1546 e , 1546 8 , 1546 l a Poussinghe, see under Allemande Poverin, El (Il Poverin), 1546j. See also under Gaillarde; Saltarello Poverina, La, 1546 1 Poys dezeys que m e quereys, 1536 5 Poytevine, La, 148 Prado verde y florido (R. Guerrero), 1576 1 Preambulum, see Preambel Praeludium, see Prelude Praeter rerum Seriem (Josquin) (2a pars: Virtus sancii spiritus), 1547 3 , 1554 3 , 1555 4 , 1558 s Praise ye the L o r d for hee is good, 1599 x Praise ye the Lord for it is good, 1599j Praise ye the Lorde, 1574 2 Prande bis tecum (Meister Jan), 1 5 2 ^ Prayer, A, see Preserve us L o r d by thy deare word Preace not to heare others secrets (Whythorne), 1590n Preambel (Praeambulum, Preambl, Preambulo, Preambulum, Priambel, Priamel, Priamell), 1523 2 , 1529J, 1532¡¡, 1533i, 1536 β , 1536,, 1544,, 1546 5 , 1546 β , 1547 4 , 1549β> 1552ι, 1562 3 , 1573¡, 1582„ 1 5 9 1 1 3 , 1 5 9 9 η . See also Prelude and under Abstract Compositions Pregovi frondi fiori aque (Tromboncino), 1511! Prelude (Perludium, Praeludium, Preludio, Preludium), 1529!, 1529 s , 1531e> 1531„ 1545 3 ,1456i s , 1547,, 1552 3 , 1565„ 1592 β , 1596 β , 1597 e , 1598i„, 1 5 9 9 u . See also Preambel; Toccata; and under Abstract Compositions Prende bon cueur (Manchicourt), 1533 8 Preñes le galan (Janequin), 1548j Preñes pitié (Crecquillon), 1578 9 Preparate corda vestra domino (Maillard), 1551 2 Preserve us lord by thv deare word (A Prayer), 1599i Preso son io, 1584 s Preter rerum, see Praeter rerum Seriem Priambel (Priamel, Priamell), see Preambel Priegi qui mouia (Villiers), 1546 9 Prigioniero, II, see O vezzosetta Prima ch'io torni a voi, see A qualunque animale Primi Toni, 1512i Primo genitus, see Missa de beata Virgine; Missa Virginis Mariae P r i m u m potum bibebite (Faignient), 1584, Prince, see under Allemande ; Gaillarde ; Pavane Printzen Tanz, Der, see under T a n t z Proba me Domine (Jacotin), 1560 s Proficiat ir lieben Herren (La Proficia), see under Tantz Propter hoc dimittet (Propter hoc relinquet), see In ilio tempore (Mouton) Prostrate, Lord, I lie (Byrd), 1588¡¡ Provence, see under Volte Proverbio, II, see Dal tempo che canta il Cucco Psallite Deo nostro (J. Paix), 1590„ Puer natus est (Jachet), 1543 3 Puer natus in Bethlehem, 1583 2 Puer qui natus est (Jachet), 1547 3 , 1 5 5 2 u . See also Hodie nobis indignis

AND

TITLES

543

Pues ami desconsolado tantos males m e rodean (J. Cabezón), 1578 s Pues no m e quereys hablar (A. Cabezón), 1557 2 Pues te partes y te vas, 1552, Pues ya las claras fuentes (Cevallos), 1576i Puis ce que (Mais quest ce?), [1547]n Puis ne me peult venir, see Pis ne m e peult venir Puisqu'en amours (Sermisy), 1531, Puisqu'en deux cueurs, 1531 3 . See also under Basse dance Puisqu'une mort (Sohier), 1578 4 Puisque j'ay perdu (Lupi), 1533 2 Puisque malheur (Crecquillon), 1553 10 Puisque nouvelle affection, see under Gaillarde Puisque vivre en servitude, see under Gaillarde Puisque voulez (Clemens non Papa), 1553 10 , 1563 ΐ 2 Pulchra es amica mea (Palestrina), 1591 a Pungente darda, see Pongente dardo Pur mi consola (Romano), 1563, Puse mis amores (Ravaneda), 1554 3 Putruerunt et corruptae sunt (Lasso), 1591, Putta Nera, see under Ballo

Qu'est il besoing (response to Toutes les nuits) 1552!!, 1563 12 , 1568, Quadrelin, see under Gaillarde Quadro (Quadron), see under Gaillarde and Pavane Quaere fremuerunt, see Pourquoy font bruit Qual anima ignorante (Nollet), 1548i, 1560 3 , 1563,, 1568, Qual anima ignorante (Willaert), 1584 5 Qual dolcezza giamai (Willaert) (2a pars: E la dolc'armonia si fa serena l'aria), 1548 χ Qual e più grand'o amore (Rore), 1568,, 1574. 1577 5 , 1584¡¡ Qual miracolo Amore (Galilei), 1584 s Qual paura (Marenzio), 1592n Qual più crudel martire (Scaletta), 1599u Qual vive Salamandra (Marenzio), 1592, Quam dilecta tabernacula (Clemens non Papa) 1563 l 2 Quam gloriosum (Victoria), 1594 5 Quam pulchra es (C. Festa), 1543 a Q u a m pulchra es (Jachet), 1543 3 Quam pulchra es (Mouton) (2a pars: Labia tua) 1552ii, 1563 l a Q u a m pulchra est quam decora (Gallus), 1598 4 Quan bienaventurado (Cevallos), 1576! Quand ce beau printemps (La Grotte), 1571 a , 1574 2 Quand'il fido pastore (Mei), 1595i 0 Quand'io penso al martire, see Quando io penso al martire Quand Israel hors d'Egypte sortit (In exitu Israel de Egypto), 1552 2 Quand Israel hors d'Egypte sortit (In exitu Israel de Egypto) (Certon), 1554 s Quand Israel hors d'Egypte sortit (In exitu Israel de Egypto) (Josquin), 1553 3 Quand j'entens le perdu temps, Branle gay (Le Rov) 1556, Quand j'este, see Quand j'estoys libre Quand j'estoye à marier, 1536 2 Quand j'estoys libre (La Grotte), 1571 3 , 1574 2 Quand je congneu (response to Hélas amy) (Sandrin), 1547,, 1575j, 1578 4 . See also under Basse dance Quand je t'invoque, see Cum invocarem Quand le gril chante (La Grqtte),, 1571,, 1574¡¡

544

INDEX

v:

FIRST

LINES

Quand me souvient (Crecquillon), 1553 10 Quand mon mary vient de dehors (Lasso), 1570 3 , 1571 g, 1574J, 1574 2 , 1574,, 1S78 4 , 1582 6 Quand tu vouldras (L'Héritier), 154?! Quand u n chacun sort et commande (Ebram), 1558 3 Quand viendra la clarté (Arcadelt), 1554 4 , 1570 4 Quando amor i begli occhi (Verdelot), 1536 β Quando andaratu al monte (Zesso), 1511! Quando cor dolce, 1549 e Quando cor nostrum visitas (G. M . Nanino), 1592n Quando fra bianche perle (G. M . Nanino) (2a pars: Sentomi aprinsi), 1593, Quando fra l'altre donne (Rore) (2a pars: Io benedico'l loco), 1568 2 , 1584J Quando fra l'altre donne (Willaert) (2a pars: Da lei ti vien), 1568 2 Quando i piango e mecho amore (Tromboncino), 152?i Quando i vostri begli occhi (Marenzio), 1593, Quando i vostri ombrando copre (Marenzio), 1591 2 Quando io penso al martire (Arcadelt), 1546 17 , 1547 2 , 1552 4i 1553 1( 1553 0 , 1556 2i 1558 6 , 1560 a , 1562 3 , 1563i 2 , 1564 s , 1568„ 1571„ 1572^ 1573 3 , 1574 5 , 1577., 1583 2 Quando la sera, see A qualunque animale Quando la sera scai a il chiaro giorno (Lasso), 1584 3 Quando las desdichas mias, 157Ó! Quando lieta sperai (Rore), 1584 5 (attr. to Morales) Quando mirai (Ferretti), 1592 e Quando mirai sa bella faccia (Mazzone), 1570 5 Quando mirai sa bella faccia (Vecchi), 1 5 9 9 u Quando miro'i capelli (Primavera), 1570 5 Quando miro il bel volto (Quagliati), 1 5 9 1 u Quando ritrovo (C. Festa), 1555 2 Quando sara Madonna, see under Saltarello Quando signor lasciaste (Rore), 1591 2 Quando ti veggio, 1554 3 Quando vede'il pastor (Striggio), 1568 2 Quando vostri belli occhi, 1546 3 Quant. See also Quand Quant esser Vid'car, see Che giova posseder Quant'han già detto (Fiorino), 1571 4 Quant je cogneu, see Quand je congneu Quant tu vouldras, see Quand tu vouldras Quanta beltà (Arcadelt), 1547 2 , 1566i Quante lagrime, see Là ver l'aurora (Lasso) Quante volte dissi io, see Chiare fresche e dolci acque Quanti mercenarii (Morales), 1547 5 . See also Pater peccavi Quanti travagli (Arcadelt), 1547 2 , 1566i Quantio pens, see Quando io penso al martire Quanto debbe allegrarse (Quanto de vele) (Fontana), 1552,, 1574! Quanto è madonna mia, 1556¡¡, 1573 3 Quanto il mio duol (Lasso), 1574 5 Quanto o Madonna, see Quanto è madonna mia Quanto sia liet'il giorno (Quanto si aliet) (Verdelot), 1536β> 1546io, 1554, Quare fremuerunt gentes, see Pourquoy font bruit Quare tristes es (Lütkeman), 1597, Quasi Cedrus exaltata sum (Lasso), 1582! Quatre branles (Quatrebrant), see under Branle Que es ista (Gombert), 1546 10 Que faran del pobre Juan (Flecha), 1552,, 1554 a Que je chatoulle ta fossette, see under Branle : Gay Que la bella Franceschina, see under Pavane Que llantos son aquestos, 1546 14 Que me servent (Monte), 1594 s

AND

TITLES

Que pleust a dieu (Verius), 1568,, 1571, Que razon podeys vos tener (Navarro), 1576! Que te sert may d'estre ainsi (Arcadelt), 1554 1570 4 Que voulez vous dire de moy, 1536 3 , 1547 2 , [1547]u, 1562i, 1563 e , 1566i Quei che sempre han da penare (Cara), 151 l x Quel bien parler (Sandrin), 1552 8 Quel foco (Rore), 1577 6 Quel foco che, see Vita de la mia vita (1547 5 ) Quel fuoco è morto, see Mentre che il cor Quel lamp'esser vorei, 1584, Quel tristarel d'Amore (Bellassio), 1592! Quella bella e bianco mano (Caprioli), 1511 χ Quella che gl'occhi (Ferretti), 1592, Quem dicunt homines (Richafort), 1576 χ . See also Missa Quem dicunt homines Q u e m terra pontus (A. Cabezón), 1557 2 Q u e m vidistis (Vinci), 1591 12 Queramus cum pastoribus (Mouton) (2a pars: Ubi pascas ubi cubes), 1546 l 0 , 1547 6 (Fantasia), 1547,, 1549 2 , 1552,, 1557 2 , 1578 3 Quest son que begli occhi, see I begli occhi ond'io fin Questa piagha, 1549 e Questa questa crudel, 1568! Queste lachrime mie (Tromboncino), 152 ?i Queste non son più lachrime (Tromboncino), 152 ?x Queste non son più lagrime (Lasso), 1586fi Questi capelli d'oro (Bellasio), 1591ϋ Questi capelli d'oro (Gorzanis), 1570! Questi ch'inditio fan del mio tormento (Questi che indizio fan) (Striggio), 1568 2 , 1584 6 , 1591 2 Questi che la città, 1584 s Questi son que begli occhi, see I begli occhi ond'io fin Questi tuoi occhi (Bellasio), 1592 t Questo e troppo signora (Vecchi), 1597 14 Questo leggiadra (Galilei), 1563, Qui au conseil (O beatus vir non abiit), 1552 2 Qui au conseil, 1564 s Qui confidunt in domino (Lirithier) (2a pars : Benefac Domine), 1554 3 Qui edunt, see Oculi omnium Qui en la garde (Qui habitat in adjutorio), 1552 a Qui es tu (Gallus), 1598 4 Qui expansis, see Vita in ligno moritur Qui habitat in adjutorio (Josquin) (2a pars: N o n accedat ad te malum), 1533j, 1558 5 , 1565i. See also Qui en la garde Qui la dira (Willaert), 1547 5 (attributed to Verdelot), 1576 3 , 1587 3 . See also 1578 3 , no. 63 Qui me confessus (Merulo), 1593, Qui non meretur, see Mortalium preces Qui pacem, see 1556 9 , no. 10 Qui passi, 1596 6 . See also Chi passa per questa strada Qui peche plus luy (Sermisy), 1546 9 Qui pourra dire la douleur (Arcadelt), 1554 4 , 1570 4 Qui prophetice, see Vita in ligno moritur Qui sedes, see Missa de beata Virgine ; Missa Virginis Mariae Qui seminant in lachrymis (Gombert), 1552, Qui sequitur me (Lasso), 1591, Qui son héritier, see Qui souhaitez Qui souhaitez, 1551ι· See also under Gaillarde; Pavane Qui souhaitez (Sandrin), 1553 a , 1555 4 , 1556^ 1559 4 (attr. to De Bussy), 1562 3 , 1570 4 , 1586 s (attr. to Gentian) Qui tollis, 1531 s

INDEX

v:

FIRST

LINES

Q u i tollis (Richafort), 1546¡¡ Qui tollis. See also Missa A p o s t o l o r u m ; Missa Ave M a r i a ; Missa de beata Virgine; Missa D o m i n i calis; Missa I n Dominicis D i e b u s ; Missa Pange lingua; Missa Virginis Mariae Q u i veult d u ciel (Arcadelt), 1575 3 , 1S86 5 Qui vult venire (Lasso), 1591 7 Quia delectasti, see Deus canticum n o v u m (Lasso) Quia fecit, see 1547 6 , no. 112 Quia potius quarito r e g n u m Dei, see Nolite quaerere Quia qui se exaltat humiliabitur, see Discite à m e cuia mitu s u m Quia respexit, see Magnificat (Cavazzoni) Quia vidisti m e T h o m a (Lasso), 1577, Q u i c u n q u e vult, see W h a t m a n so ever he be Quid prodest, 1547 6 Quien amores ten a fin, 1536 ô Quien h u viesse tal ventura, see Quien tu viesse tal ventura Quien llamo al partir partir, 1578 3 Quien m e otorgase señora (Vasquez) (2a p a r s : A u n q u e mili años turases), 1S47 5 Quien podra creer (P. Guerrero), 1554 3 Quien te hizo J u a n pastor, 1576 l Quien te m e enojo Isabel, 1S78 3 Quien t u viesse tal poder, 1552 7 Quien t u viesse tal ventura, 1552 7 Quiero dormir (Vasquez), 1554 3 Quiricia, L a (Scaletta), 1590, Quis enim, see O altitudo divitiarum Quis multa gracilis (Tritonius), 151 Quiso gramin questo, 1583 2 Quoniam consortavit, F a b o r d o n , 1554 3 Q u o n i a m fortitudo mea, see I n te D o m i n e sperav (Lasso and L u p u s ) Q u o n i a m magnus es tu, see T e D e u m patrem in genitum Quoniam qui talia agunt (Lasso), 1591 T Quoniam tribulatio próxima est, see C i r c u m d e d e r u n t m e viri mendaces Q u o n i a m t u solus sanctus, 1531 5 . See also Missa Apostolorum; Missa de beata Virgine; Missa Dominicalis ; Missa In Dominicis Diebus

R, see Ricercare Ragion'e ben, 1565 4 Ragonia, see Alta Ragonia Raij, Den, 1569„, and 1570 3 Rans ( N . Rans, N . de Rans), see under Branle; Gaillarde; Passamezzo Ravanello, see under Saltarello Re, 1543 3 , 1592 2 . See also under Saltarello Re fa m i re la, 1549, Re u t fa re fa sol la, 1549, Re u t re fa m i re, 1549, Real (Reale), see under Pavane Rebecca, see under Branle; Saltarello Reccerchar, see Ricercare Recedentibus discipulis, see Congratulamini mihi omnes (Liitkeman) Recercada (Recercar, Recercare, Recercarlo, Recercata, Recercate, Recerchar), see Ricercare Recht so m a n acht u n n d wol (J. Paix), 1583 4 Recipe assis, 1563¡ 2 Recuerde el alma dormida, 1546 1 4 Reddite ergo quae sunt Caesaris Caesari, see Magister scimus quia verax ea

AND

TITLES

545

Regal donna cortese (Porta) (2a pars: O virtute, o beltate), 1568 2 Regarde O L o r d for I complaine, 1599 t Regel, 1536 β , 1540 1 ; 1544^ 1544 2 , 1545 3 , 1547 4 , 1549„ Regi seculorum (Sermisy) (2a pars: Et beata viscera Marie), 1554 e Regia qui mesto, 1546 1 4 Regina coeli (Rore), 1551 0> 1593 9 Regina coeli (Willaert), 1551 e , 1593„ Regretz soucy et peine (Janequin?), 1553 4 Reij, D e n , see Raij R e m e m b e r Davids troubles L o r d , 1599! Rendes le moy (Ghiselin), 1538 2 Reparate corda vestra domino, see Preparate corda vestra domino Repleti sunt q u i d e m spiritu sancto (Verdelot), 1547 5 Resjouissez vous bourgeoises (Resjouit) (Mouton), 1536 3 Resonet in laudibus (Walther), 1583 4 Respexit Helias (Boyleau), 1576 x Respice in m e D e u s ( = Je ne m e puis tenir d'aimer) (Josquin), 1546 1 4 (attr. to G o m b e r t ) Respondit miles, see Venit vox de coelo Response de la voûte dorée, 1582 3 Rest awhile, you cruell cares (Dowland), 1597 4 Resvillez moy, see Reveillez m o y Reveillez m o y (Garnier), 1546 β , 1546 8 , 1546 1 8 , 1556 3 , 1568! Reveillez vous chascun fidele, 1564 5 Reveillez vous chascun fidele (Exultate justi), 1552 2 Reveillez vous chascun fidele (Exultate justi) (Certon), 1554 5 Reveillez vous, cueurs endormis, see C h a n t des Oiseaux Revellebu, see Chant des Oiseaux Revenez vers moy, see Reviens vers m o y Revenge m o y (Deus deus meus ad te), 1552 2 Reviens vers moy (response to Plus revenir ne puis vers toy madame) (Lupi), 1 5 5 2 η , 1556 2 , and 1558 4 Revillez moy, see Reveillez m o y Revuillis vous, see C h a n t des Oiseaux Rex virginum, see Kyrie de Nuestra Señora Rex v i r t u t u m (Anerio), 1592Ü Rey d o n Alfonso Rey m e señor, 1508 2 Ricercare (R, Reccerchar, Recercada, Recercar, Recercare, Recercarlo, Recercata, Recercata, Recerchar, Ricercar, Ricercata, Ricercate), 1507!, 1507 2 , [1508]!, 1508 2 , 1509i, 1511!, 1523i, [1536] 2 , 1536 3 , 1540 3 , 1542 2 , 1543^ 1543 2 , 1546 s , 1546i„, 1546i 5 , 1547i, 1547 3 , 1547 D . W . , 1548 4 , 1549 2 , 1549 4 , 1549 5 i 1549„ 154? e , [1550] 3 , 1551«, 1553„ 1553 5 , 1554 2 , 1556 6 , [1556],, 1556,, 1558i, 1559,, 1559 e , 1561 2 , 1561 3 , 1561 D . W . , 1562 χ , 1562 3 , 1562 4 , 1563 2 , 1563 4 , 1563 s , 1563 e , 1563„ 1563 8 , 1564 4 , 1566 2 , 1566 3 , 1567 2 , 1568J, 1568 2 , 1574, 1574 6 , 1575 6 , 1575 D . W . , 1576 3 , 1577 4 , 1579 4 , 1579 D . W . , 1584 3 , 1584 5 , [1585] 2 , i s a s ! , 1585«, 1585 D . W . , [1586] a , 1587 3 , 1588 4 , 1 5 8 8 „ 1589 3 , 1589 4 , 1589,, [158 ?]4, 1590i, 1591 4 , 1591„ 1591 1 2 , 1591 D . W . , 1593», 1593 e , [1594] 1 2 , 1595!, 1595 3 , 1595 4 , [1595] s , 1 5 9 5 8 , 1 5 9 6 „ 1596 9 , 1 5 9 6 n , 1598^ 1599i„ Rick G o d wien sal ick clagen, see Ryckgodt Riconosce colei, see La notte che segui l'horribil caso Ridon di maggio (Hassler), 1594 5 Ridon hor per le piagge, see Là ver l'aurora (Lasso) Ringratto e lodo il ciel (A. Gabrieli) (2a pars: Amor rimanti in pace), 1584i

546

INDEX

v:

FIRST

Rinoldina, La, see under Pavane Risentito, II, see Che pensi tu Robert, L e beau, see Branle: Beau Robert Robin (Certon), 1553 4 Robin c'est u n galland, 1568 e , 1570 3 Rocha el fuso, La (Rocha'l fuso), 1530 a . See also under Allemande ; Gaillarde ; Passamezzo ; Pavane ; Saltarello Röchele, La, 148 ?! Rogamus te o clementissime Jesu, see In n o m i n e Jesu o m n e genuflectatum Rolanda, Canzon dita la (Merulo), 1592, Romana, see Bassa R o m a n a R o m a n e bella (Fiorino), 1571 4 Romanesca (Romanescha, Romanesque), 1S46 20 ; (Becchi), 1568!; (Hessen), 1555 2 (2 settings); (Ortiz), 1553; (Valente), 1576 3 . See also Chiaranzana; Favorita; Gaillarde: Cornetto; Gratia d ' a m o r e ; and under Gaillarde ; Pavane Romano, II, see under Passamezzo Roncinetta, L a bella, see Bella Roncinetta Ronde, see under Branle Rondinella, L a (Morley), 1595„ Roque, La, see Rocha el fuso Rosa, L a (Maschera), 1584i 0 Rose e viole, 1546I 5 . See also under Saltarello Rosignolet, 1549 e Rossignol d u boys joly, see C h a n t des Oiseaux Rossignolet qui chantez (Rossignolet q u e cantas) (Clemens n o n Papa), 1571 6 , 1577„ 1584„ 1599, Rossignolle, La, see under Pavane Rossina ain welscher dantz, see under T a n t z Rote de Rode, La, 1530 8 . See also under Pavane Roti bolli joieulx, 148 ?ι Rotta, 1581!. See also Favorita Roude, see R o n d e Rouen, L e petit, 148 ?i Rouvvane, see under Allemande Rovattina, L a (Banchieri), 1596 3 Roy, Danse du, 1551 8 Roy, Le, see under Basse dance ; Courante ; Gaillarde ; Passamezzo; Volte Royne d'Escosse, La, see under Gaillarde; Saltarello Roysin, L e grand, 148 ?, Roysin, L e petit, 148 ?! Ruggiero (Ortiz), 1553 5 Rugier (Cabezón), 1557 a Rugier qual sempre f u i tal, 1547 6 Ruissa, see Alta Ruissa R u n d e n dantz, see under Branle Ruscia (Rusia), see Bailo : D u d a ; Ballo : Orso Rustica, L a (Canzon sopra Vitam eternam) (Banchieri), 1596 3 Rustica Amorosa, Balletto (Battistino), 1581 x Rustica Palina, Balletto (Battistino), 1581i Ryckgodt (Rick G o d wien sal ick clagen), 1549 β

Sabioncelo, II, see under Saltarello Sabots, Les, see under Branle Sacris solemniis (Cabezón), 1557 2 ; (Fuenllana), 1554 8 ; (Guerrero), 1554 3 ; (Henestrosa), 1557 2 ; (Morales), 1557 2 ; (Narváez), 1538, (various settings); (Pisador), 1552, Sacro et santo H i m e n e o (Corteccia), 1539! Sagt mir J u n g f r a w rechter (Regnart), 1584 β Said I that Amarillis (Morley), 1597i 0 S'all'aparir, 1574 3 Salta Marino, see under Gaillarde

LINES

AND

TITLES

Saltarello : Saltarella, Saltarelle, Saltarelo, Sauterelle, S p r y n n gerdanntz), 1508 2 , 1530 3 , 1536„, 1546 6 , 1546 e , 1546 9 , 1546i3, 154 6 20 , 154 8 2 , 1548 3 , 1549„ 1549 e , 1550 4 , 1551 g, 1552„ [1552] 10 , 1554 χ , 1556 2 , 1556 6 , [1556]«, 1561 2 , 1562 3 , 1562 4 , 1563 8 , 1563i„ 1563 1 2 , 1566 3 , 1568„ 1571„, 1572!, 1573i, 1573 2 , 1573 a , 1574i, 1574„ 1577 e , 1578 4 , 1583 2 , 1583„ 1586 6 , 1591 1 3 ,1593,, 1597 2 , 1599, Aconitano, L ' , 1 5 4 6 l s Alouetta, Saltarello dell', 1546i 0 , 1 5 4 6 n , 1552, A m o r mio belle, Saltarello ditto, 1564 4 Anglese, 1578 8 , 1583 4 , 1583, Antico, 1 5 6 1 1 5 6 3 8 , 1564 4 , 1566 2 , 156? 3 , 1571 e , 1573i, 1573 2 , 1574 5 , 1577 e , 1578 8l 1583 4 , 1583,, 1591 1 3 , 1592i 2 Antonola, Saltarello ditto, 1536 9 , 1552 1( 1 5 6 3 n Aquila, Saltarello de 1', 1 5 4 6 u Archolano, L ' , 1546 1 3 Bagino, Saltarello ditto, 1536 e Barberina, Saltarello detto la, 1546 e , 1546 2 0 Bataille, Saltarello de la, 1549i, 1564 4 Bel fior (Bel fiore), 1536 e , 1546i 0 , 1 5 4 6 n , 1546i 3 , 1552, Bella bianca ha hauto torto, Saltarello detto, 1548 3 Bella donsella, 1574i Bergamasco, Saltarello dito il, 1564 4 Bertoncina, Saltarello ditto la, 1546, 0 , 1546,, Bianchetto, 1546, 3 Billiarda, 1578 8 , 1583, Bolognese, Saltarello a la, 1546 1 0 , 1 5 4 6 „ , [1547],,, 1552, Bors, Saltarello detto il, 156 ? 3 Brusselles, 1569 e Bruynsmedelijn, see Allemande: Bruynsmedelijn Burato, Saltarello ditto el, 1536 e Cara cosa, Saltarello detto, 1563 8 Caro fier homo, Saltarel detto, 1563 g Caro ortolano, 1578 8 , 1583, Cavalier, Saltarello dito il, 1564 4 Cavarne ormai daffani, Saltarello ditto, 156 ? 3 C'est a grand tort, 1551 8 Che glian strazza la socha, 1536 e , 1552,, 1563,, C h e le el martello che tei fa dire, Saltarello detto, 1546 8 , 1546 2 0 Ciel turchin, Saltarello ditto, 1561 2 Ciriola, La, 1546, 3 Coloingne, 1569 e C o m m u n (Commune), 1564„ 1570 3 , 1573 2 , 1574 6 , 1575 3 , 1577„ 1578 4 , 1591 1 3 , 15 92, 2 Cremonese, II, 1546, 3 D e leva su brunetta, Saltarello detto, 1546 8 Desperata, 1536„, 1552„ 1564, Dimel su presto, Saltarello ditto, 1564 4 Dismonta del cavallo, 1562 8 D o n a mi fai morire, Saltarello detto, 156 ? 3 D u e , Saltarelle del, 1569„, 1570 s , 1578 4 , 1582 s Duchessa (Ducessa), Saltarello della, 1546 8 , 1546 2 0 , 1548j, 1564, Englesa, 1584, E r b e oliose, 1585, Fantasia, Saltarello dito la, 1546, 5 Fantina, La, 1562 3 Formigoto M a d o n n a Tenerina, Saltarello del, 1549, Francese, 1583 4 Gagliarda, Saltarel cioè, 1546 I 5 Gagliardo, 1549,

INDEX

v:

FIRST

LINES

Gioite tutti in suoni (Saltarello detto il Vecchi), 1590„ G i o m e t u n a , Saltarello de la, 1546 1 3 Giorgia, Saltarello ditto el, 1546 1 0 , 1546,, Girotto, II, 1546 1 3 G o m b e r t i n a , 1536 9 , 1552! Gorzanis, 1561 2 , 1563 8 Haubois, Saltarello de, 1582 s Imperiai, Saltarello dito 1', 1564 4 Io vo cogliendo, 1585, Io voglio el Tisis, 1585! Italiae, 1575 3 Italy e (Italie), Saltarello d', 1570 3 , 1578 4 , 1583, L a u r i n a , Saltarello detto la, 1548 3 L e cueur est b o n , 1551 8 L e p u r b o n o ruschina, Saltarello detto, 1546 s , 1546 2 0 Loisa core per il m o n d o , 156 ? 3 Loreyne, see Allemande : L o r e y n e M a d o n n a T e n e r i n a , sec Saltarello: F o r m i g o t o Madonna Tenerina M a d o n n a Zanna, Saltarello detto, 1546 8 , 1546 2 0 M a i n o n le trovo, 1585, Malcontenta, La, 1536 9 Malcontento, Saltarello dito il, 1564 4 Mangiavino, Saltarello del, 1574 e Mantuanello, La, 1536 9 , 1552, Marsilio, II, 1546 1 3 M a t o n , Saltarello ditto el, 1546 1 0 , 1 5 4 6 n , 1552! Mazzolo, Saltarello ditto el, 1536 e Megio, 1546 1 3 Mezza g a m b a , Saltarello detto la, 1546 8 Milanese (Milanesa), 1536 9 , 1564,, 1566¡¡, 1 5 6 8 „ 1570 3 , 1573!, 1574 6 , 1574 β , 1 5 7 4 „ 1575 3 , 1578 4 , 1582 s M i t lib b i n ich u m b f a n g e n , 1578 4 M o d e r n o , 1561 2 , 1563 8 , 1564 4 , 156 ? 3 , 1578 s , 1583,, 1586 5 , 1588 3 M o n t a su che son de velia, 1536 9 N o n dite m a i ch'io habbia il torto, Saltarello detto, 1546 8 N o n m i toccare, 1585! N o n ti partir da me, 1546 1 3 N o v a (Novo), 1536„, 1 5 6 3 n , 1574„, 1583 4 O che deoni, 1585, O eh'el m e tira il brazo, 1548 2 O la vai cerca, see Saltarello: Royne d'Escosse O perfida che sei, Saltarello detto, 1563 s Paganina, Saltarello della, 1578 s , 1583, Pai velo, Saltarello ditto il, 1564 4 Paranzino, 1566 3 , 1 5 7 1 „ 1573i, 1583 4 P a r m a , L a , 1578 e , 1583, Penono, Saltarello detto el, 1548 3 Pescatore che va cantando, 1536 9 , 1563,, Philipin, Saltarello detto il, 1563 e Pigna, Saltarel della, 1563 8 Porgi aiuto al m i o core, Saltarello detto, 156 ? 3 Poussinghe, see under Allemande Poverin, Saltarello ditto il, 1561 2 Q u a n d o sara M a d o n n a , Saltarello detto, 156 ? 3 Ravanello, 1585, Re, Saltarello del, 1551 δ Rebecca, 1569„, 1570 3 Rocha el fuso, 1546 β , 154 6 2 0 , 15 6 4 , Rose e viole, Saltarello ditto, 1536 9 Royne d'Escosse (O la vai cerca), 1585, Sabioncelo, II, 1546 1 5 Saracena, 1568! Sassinata, Saltarello de la, 1546 1 0 , 1 5 4 6 , ,

AND

TITLES

547

Scharavelino, Saltarello detto el, 1546 s Se la pasasse, Saltarello detto, 1548 3 Sona baioni, Saltarello ditto, 1561 2 Stampa, Saltarello de la, 1546, 3 T a n t a r a , Saltarello ditto, 1564 4 T e t e m e , Saltarello ditto el, 1561 2 T o c h a tocha la canella, 1536 9 , and 1552, T o d e s c h i n , Saltarello detto, 1563 8 T o r c h i a , Saltarello ditto la, 1536„ T o r z a , 1546 s T r a d i t o r e , La, [1552], 0 Traditorella, Saltarello ditto la, 1536 9 , 1 5 6 3 n Trivella, Saltarello detto, 1590 s T u m e dai pena, Saltarello detto, 156 ? 3 T u te parti cor mio caro, 1564, Ungaresca, 1578 s , 1583 4 , 1583, U n g a r o , 1 5 6 4 „ 1573 2 , 1577, Vaccas, 1563, 2 Varia picca, Saltarello detto, 156 ? 3 Vecchi, II, see Saltarello: Gioite tutti in suoni Verceloso, Saltarello detto el, 1546 s Vilanella, La, 1549i Zorzi, Saltarello ditto il, 1561 2 , 1 5 6 4 „ 1570 3 , 1573 2 , 1574,, 1575 3 , 1578 4 , 1582 6 Salus populi ego s u m (Walther), 1583 6 Salvator qui est Christus, see O regem coeli Salve puella, G o t t grus, see under T a n t z Salve regina (Banchieri), 1595 2 Salve Regina (A. Cabezón), 1557 2 Salve Regina (Josquin), 1546 4 , 1552, Salve Regina (Padovano), 1556 9 Salve regina (Rodio), 1575 s Salve regina (Schlick), 1512, Salve regina (Valente), 1576 3 Salve s u m m e Pater (V. R.), 1589, Salve virgo ( M . A. Cavazzoni), 1523, Salvum m e fac D o m i n e , see Veni in altitudinem maris S ' a m o r la viva fiamma (Rore) (2a pars: N o v o consiglio), 1568 2 , 1584, Sampogna, La (Morley), 1595 c San Basilli, 1560 4 Sana m e D o m i n e (Clemens n o n Papa), 1578 3 Sancta et immaculata (Morales) (2a p a r s : Benedicta tu), 1554 3 Sancta M a r i a (C. Festa), 1543., Sancta Maria (Verdelot), 1558 s (attr. to G o m b e r t ) Sancta M a r i a (La Rue), 1538 2 Sancta M a r i a (Verdelot), 1547 3 , 1578 3 Sancta trinitas (Févin), 1531,, 1558 s Sancta trinitas (Liitkeman), 1597, Sancta trinitas ( M o u t o n ) , 1536, Sánete Alfonse ( G o m b e r t ) , 1554 3 Sánete paule apostole (Willaert), 1546 l ä , 1547 3 Sancii mei (Lasso), 1591, S a n c t u m quoque, 1531 e Sanctus, 1531 6 , 1531 6 . See also Missa A p o s t o l o r u m ; Missa Ave M a r i a ; Missa de beata V i r g i n e ; Missa Dominicalis; Missa Faysant regrets; Missa Hercules D u x F e r r a r i a e ; Missa I n Dominicis D i e b u s ; Missa Virginis Mariae Sans ceser ye lamente, see Incessament sans cesser je lamente Sans liberté (Magdelain), 1552 4 , 1563, 2 Sans plourer (response to Vivray-je tousjours en telle paine) (Latre), 1552Ü, 1563I 2 Sans roch, see Bergeret sans roch and under Basse dance Sanserre, see under Basse dance

54»

INDEX

v:

FIRST

LINES

Sant Merten bringt der gesellschafft vil, see Jetz bringt Sankt Marten Gsellschaft viel Santo erculano, 1546 5 Santo Herculano, see under Pavane Sapete amanti (Contino), 1584 5 Saphica, see Iam satis terris Sapi Signor che Lilia son io (Vinci), 1584 3 Saporita, Aria della Marcheta, see Aria della M a r cheta Saporita Saporita, Balletto, 1581! Saporita, La, see under Pavane S'aprest'indovinar, 1570! Saracena, La, see under Passamezzo ; Saltarello Sassinata, La, see under Passamezzo ; Saltarello Sauterelle, see Saltarello Save me O God and that with speed, 1599 t Savella, see Bassa Savella Savoye, see under Allemande Say, shepherds, say (Cavendish), 1598 2 Scalda signor (Peetrino), 1592u Scaramella, 1532 2 , 1544!, 1546 9 Scarco di doglia (Rore) (2a pars: Ma'l bel pensier), 1568 2 Scese dal ciel volando (Bellasio), 1592! Scharavelino, El, see under Saltarello Scharrer, D e r Welsch, see Tantz : Welsch Scharrer Schau an mein gemiit, see Das mein betrübtes Hertz Scheiden von der lieb das thut wehe, 1583 2 Schein uns d u liebe sonne (Scandello), 1583 2 Schiarazula Marazula, 1578 8 , 1583.,, 1583, Schiavonetta, Aria della Marcheta, see Aria della Marcheta Schiavonetta Schiavonetta, La, see under Pavane Schiet'arbuscel (Rore), 1577 s Schirazula Marazula, see Schiarazula Marazula Schlacht die heist Singnori, Die Frantzösisch, see under Bataille (La Bataglia Chiarenzana) Schlacht f ü r pavia (Die Schlacht vor Bafia), see Bataille (La Bataglia Francesa) Schlesier Dantz, see under T a n t z Schlesisch Dentzlein, see under Tantz Schön unnd zart von edler art, 1571! Schöne zucht (J. Paix), 1583 4 Schönes lieb was hab ich dir, 1583 2 Schwäbischer Tantz, see under Tantz Schwartz Knab, Der, see under Tantz Schweitzer Tanz, see T a n t z : Sibentaler Schwiger, Die alte, see Mein Man der ist in Krieg gezogen (Utentaler) and under Tantz Sciolta, 1581 j Sciolta in gagliarda, 1581! Scopri lingua el cieco ardore (Tromboncino), 1509i Scoprirò l'ardor mio (Nanino) (2a pars: Se voi sete'l mio ben), 1584 5 Scorg'il mio debil legno (Bellanda), 1599 2 Scorgo tant'alto illume, see D ' u n si bel foco Scribantur haec in generatione (Lasso), 1591, Scriberis vario (Tritonius), 151 Sdegnato, Lo, see N o n moriro Sdegno regge il timon, see Deh porgi mano alla mia fragil barca Se alcun tempo da voi (Cara), 152 ?x Se amor non e che adunque (Cara), 152?! Se ben il fin de la mia vita asento (Cara), 1509i Se ben io vo lontan, 1 S84 e Se ben l'empia mia sorte (Lasso), 1571 e , 1586 ä Se ben mi parto donna (Gorzanis), 1570 t Se ben non veggion gl'occhi (Palestrina), 1568 2 Se da quel vago viso (Fonghetti), 1598 3

Se Se Se Se Se Se Se Se Se Se Se Se

AND

TITLES

dal soave, e amoroso sguardo (Dragoni), 1 5 9 9 η dal tuo foco altiero (Soriano), 1591ϋ de fede vengo ameno (Cara), 1509! del mar si seccasser (Costa), 1594 s di dolor (Renaldi), 1599u di penne già mai (Taglia), 1584B dire laso, 1556 2 doppo mille manifeste prove (Costa), 1594 s d u n q u e il dolce canto (Macque), 1595 10 fredda è la mia donna (Costa), 1589 e , 1591 15 gliel dico che dira (Cara), 152 in me exstremo, 1547 s . See also Si come estremo ardore Se j'ay requis (Vostre a jamais) (Ghiselin), 1538 2 S e j e fais bien (A. Agricola), 1507 2 Se l'affannato cor in foco giace (Ana), 1509! Se l'alto duol m'ancide (Barre) (2a pars: Ond'all' estremo passo pianto), 1548 ί Se'l dolce sguardo, 1584, Se'l mio sempre per voi (Rore), 1568,, 1577 6 Se'l morir mai de gloria (Tromboncino), 1509! Se'l partir mincrebe e dolse, 1511! Se'l raggio de vostr'occhi (Marenzio), 1 5 9 1 ϋ Se'l tuo partir mi spiaque (Arcadelt), 1546 17 Se'l veder voi (Willaert), 1549, Se la dura durezza (Arcadelt), 1546i„ 1568, (attr. to Lasso) Se la gratia divina (Willaert), 1584 χ Se la lumacha che sabrusa (Tromboncino), 152?! Se la mia longa fede, 1584 e Se la natura, see Si la nature en la diversité Se la pasasse, see under Saltarello Se le interna mia (Arcadelt), 1554 3 Se mai il cielo (Martini), 1538 2 Se mai nei mei pochi anni (Tromboncino), 1511! Se mai per maraveglia, 1511i Se mai provasti donna (Verdelot), 1536 β , 1549 a . See also 1549 2 , no. 15 Se me grato il tuo tornare (Luprano), 1509! Se mi fai saltar (L'Humorista) (Gastoldi), 1594, Se not è giorno (Regnart), 1584 e Se'o pensasse madonna che mia morte (Verdelot), 1536 8 Se ogni mio ben'havete, see S'ogni mio ben'havete Se Pensand'al Partire, Balletto (Bastiano), 1581, Se per chieder merce gratia simpetra (Cara), 1509i Se per colpa di vostro fero, 151 Se p u r ti guardo, see Si p u r ti guardo Se qual e'1 mio dolore (Rore), 15776 Se quel T u r c o crudel (Fiorino), 1571 4 Se questa valle (Mei), 1592u Se qui m'est deu et ordonné, see Ce qui m'est deu et ordonné Se scior si ved'il laccio, 1570fi Se scior si ved'il laccio (Santucci), 157Û! Se si vedessi fuore (Fiorino), 1571 4 , 1574, Se tra quest'herb'è fiore (Palestrina), 1568 2 , 1584 s Se tu m'ami (A. Gabrieli), 1594 5 Se tu pensasti, 1586 5 Se tua beltà infinita (Fiorino), 1571 4 Se voi potessi perturbati segni (Rore) (2a pars : Che gentil pianta), 1568 2 Se voi sete cor mio (Contino), 1584 6 Se voi sete'l mio ben, see Scoprirò l'ardor mio Sea quando recordares, 1547 6 Sebahist on, see S'esbahist on se j'ay perdu Sechsisch Tantz, see under Tantz Secoures moy (Lasso), 1566 3 , 1571 e , 1573 x Secoures moy (Sermisy), 1529 a , 1531 2

INDEX

v:

FIRST

Secourez moy, see Secoures moy Seculorum, El (Cabezón), 1578 3 (various settings) Secundum verbum tuum, see N u n c dimittis Secures moy, see Secoures moy Sed et lingua mea (Handel), 1591, Sed si esurierit inimicus tuus, see Nolite esse p r u dentes apud vos met ipsos Sede a dextris meis, see Dixit dominus (Bovicelli) Sedet sola, 1599, See, mine own sweet jewel, see Joyne hands S'egli e per mio destino, see Chiare fresche e dolci acque S'egli è vero, Aria (Vecchi), 1590, Seguit'amor donna gentil'e belle (Nola), 1568, Sei tanto gratiosa (Ferretti), 1592, Seigneur Dieu oy l'oraison mienne (Domine exaudí orationem), 15S2 2 Seigneur Dieu oy l'oraison mienne (Domine exaudí orationem) (Certon), 1554, Selve sassi campagne, see Alla dole'ombra (Rore) Sempre me fingo, 1552, Send ayd and save mee from my foes, 1599j Senex puerum (Palestrina) (2a pars: Hodie beata virgo Maria) Señora si te olvidare (Valderrábano), 1547 6 Sentomi aprinsi, see Quando fra bianche perle Senz'octava, 1560 4 Sera forsi ripreso il pensier mio (Tromboncino), 1509, Serafina, Canzon detta la (Pellegrini), 1599, Seraphine, La, 1552 e Serena, La (Morley), 1595, Serpentina, Canzon detta la (Pellegrini), 1599, Serrana donde dormistes, 1576j Serve bone et fidelis (Lasso), 1591 7 Servite Domino cum timore, see Venite filii audite me Servite fedelment (Regnart), 1584, Servus tuus ego sum (Clemens non Papa) (2a pars: Ego vero egenus et pauper sum), 1583 β . See also Adjuva me domine S'esbahist on se j'ay perdu, 1546 l a Sette del mondo son (Bellasio), 1592 1 Sgazotto, II, 1554 χ S'hai tu, [1586] 2 She may be callyd (Ashwell), 1530, Short is my rest whose toyle is overlong, 1596, Si amores m e han de matar (Flecha), 1546 14 , 1554 3 Si ascenderò (Craen), 1536, Si bibero, 1538 2 Si bon amour (Jacotin), 1533 a Si bona suscepimus. See also Missa Si bona suscepimus Si bona suscepimus, 1547 s , 1583, Si bona suscepimus (Sermisy), 1531,, 1546 10 , [1547],1, 1558,, 1558, Si bona suscepimus (Verdelot), 1547 9 , 1554 a , 1557 2 , 1558 5 , 1574 6 , 1578 3 , 1583„ 1589, Si ce n'est amour qu'est-ce (Arcadelt), 1554 4 , 1570 s> 1570 4 Si ch'io me credo homai, see Solo e pensoso Si come estremo ardore, 1558,. See also Se in me exstremo Si comme espoir (Maillard), 1552 8 , 1562 s , 1574, Si d ' u n g petit de votre bien (Janequin), 1548, Si de beaucoup (Sandrin), 1547 a Si de nouveau (Verius), 1568, Si dedero (A. Agricola), 1507 2 , 1536, (attr. to Obrecht), 1538 2 . See also Missa Si dedero Si Deus pro nobis (2a pars: Certum est), 1533,

LINES Si Si Si Si

AND

TITLES

549

Dieu vouloit pour (Mornable), 1546, dire je l'osoye, 1563 12 dolce d'amar voi (Striggio), 1584 3 dormiero (A. Agricola, Isaac, or La Rue), 1533,, 1536, (attr. to Finck), 1538 2 Si dum pet de vetre bien, see Si d ' u n g petit de votre bien Si e debile il filo a cui (Si e debile el filio) ( T r o m boncino), 1509J, 1517! Si fays viey, see Se je fais bien Si fe cristallo (Lasso) (4a pars of Del freddo rheno), 1571„ 1586,. See also Ch'il crederà Si grand'e la pietà (Arcadelt), 1546i„ 1552 1 1 ; 1553,, 1564!, 1574i, 1574 4 Si ist meyn bull, 1529,, η. 3 Si j'aime ou non (Le Roy), 1529 a , 1554 4 , 1568,, 1570 4 . See also under Gaillarde Si j'ay ayme legierement (De Porta), 1546 16 Si j'ay du bien (Sandrin), 1551 1( 1552„ 1559 4 , 1560 a . See also under Pavane Si j'ay du mal et du bien (Si j'ay eu du mal), see under Basse dance Si j'ay l'amour (Crecquillon), 154?! Si j'ay pour vous (Sermisy), 1529 3 , 1531 3 , 1546 e , 1546,, Si j'ayme ou non, see Si j'aime ou non Si je m ' e n vois, see under Gaillard; Pavane Si je ne dors (Le Gendre), 1533 2 Si je regrette et m'y complains, 1546 a Si je vous ayme (Maillard), 1546 9 Si la dureza, see Se la dura durezza Si la fortune, 1562 3 Si la nature en la diversité, 1536 a Si la noche haze escura, 1552, Si le bien qui au plus grand bien (Arcadelt), 1574 2 Si lieta e grata morte (Verdelot), 1536, Si los delfines mueren de amores (Fuenllana), 1554 a Si m ' è dolce il morire, see Per pianto la mia carne (Baccusi) Si me llaman a mi (Mudarra), 1546 14 Si me llaman a mi (Pisador), 1552, Si me tenez, 1584j, 1588, Si me tenez (Crecquillon), 1568„ 1571„ 1575i, 1577„ 1582 5 Si mon amour, 1563 12 Si m o n languir (response to Mourir m e fault) (Baston), 1552,1 Si mon malheur (Le Peletier), 1546,, Si m o n travail (Sandrin), 1547 9 , 1549„, 154?„ 1552n, 1563i 2 , 1568„ 1568„ 1570 3 , 1571„ 1582,. See also Le dueil yssu Si mon vouloir (Maillard), 1546, Si n'attem près ces yeulx (Si natem presces) (Crecquillon), 1574, Si ne tenez, see Si me tenez Si oportuerit me teco mori (Cara), 1511 χ Si par fortune (Certon), 1533 2 Si par sofrir (Si par son fre), see Si par souffrir Si par souffrir. See also under Pavane Si par souffrir, 1544 2 , 1549, Si par souffrir (Courtois), 1546 9 , 1562 3 Si par souffrir (Crecquillon), 1578 3 Si par suffrir, see Si par souffrir Si par ti guardo, see Si p u r ti guardo Si pay me ou non, see Si j'aime ou non Si por amar el hombre, 1546, Λ Si pour t'aimer, see under Gaillard e Si pour ti guardo, see Si pur ti guardo Si puor bivir ardiendo (P. Guerrero), 1568 2l 1584,

550

INDEX

v:

FIRST

LINES

Si p u r ti guardo (Pathie), 1546 l 6 > 1547 s> 1 5 5 2 u , 1553 10> 1558 6) 1563 8 , 1563 1 2 i 1568„, 1S68„ 1570,, 1 5 7 1 „ 1571», 1572J, 1573 3 , 1 5 7 4 „ 1577 β ) 1578 4 , 1582 6 , 1583 2 Si q u e l q u e fois (Gentian), 1554,, 1562 9 Si quis m e diligit s e r m o n e m m e u m servabit, 1575! Si son esperit, 1552 e Si roi regret m i compiane, see Si j e regrette et m ' y complains Si suave, 1546, Si s u m p s e r o (Obrecht), 1536 7 ) 1538 2 Si tantos halcones, 1538!, 1546ι 8 Si tantos monteros, 1547 6 Si te quitasse los hierros, 1552, Si te vas a banar, Juanica, 1552 7 Si te vas conmigo en Francia, see Sospirastes, baldavinos Si traviato e'l folle (Padovano), 1584 5 Si tu n o n m i voi, 1568 7 Si u n g oeuvre (Sermisy), 1533 2 Si vaga e la fiamma (Giovanelli), 1589 β , 1591 1 5 Si viesse e m e levasse, 1546 1 4 Si vis laudari (J. Paix), 1594 1 0 Si vostre cueur, 1529 3 , 1549 e Si vous est belle, 1549 e (2 different settings). See also under Allemande Si vous estes m ' a m y e , 1530 4 Si vous voulez (Arcadelt), 1554, Sia sia maladetta, 1570 a , 1578 4 , 1582 5 Siamo voi d o n n ' e t io (Fiorino), 1571 4 Siate avertite, 1584 s Sibentaler, see under T a n t z Sibivit, Canción de, see O r suis j e bien au pire Sic D e u s dilexit m u n d u m (Scheifler) (2a pars : Venite ad m e omnes qui laboratis), 1583 e Sic s e m p e r soleo, 1599, Sic te diva potens Cypri (Tritonius), 151 Sicke sicke and very sicke, 1597 e Sicut erat in principio, F a b o r d o n , 1554 3 Sicut lilium (Brumel), 1531, Sicut locutus est (Lasso), 1591, Sicut malus (Moulu), 1531, Sicut m a t e r consolatur (Lasso), 1572 1 ( 1577 e Sie ist die sich heldt (Senfl), 1562 3 Sie ist m e i n gluck, w e n n ich m i c h schick (Wüst), 1536 e Sife cristallo, see Si fe cristallo Sighes, T h e , 1599, Signor de amor, 1549 e Signor m i o caro (Galilei), 1563, Signor mio caro (Rore), 1566 2 , 1 5 6 8 „ 1571 e , 1572^ 1573!, 15 77 6 , 15 84i, 1585 4 Signora Julia (Verdelot), 1554 s Signora u n che v'adora (Cara), 152 ?i Sih lieb ich m u s s dich lassen (Kilian), 1558 s Sih P a u r e n k n e c h t lass Tröslein stahn (Senfl) (2a p a r s : D a s Nessel k r a u t ; 3a pars: E s rewet m i c h sehr), 1558 5 S'il disi mai ch'io venga in odio ( T r o m b o n c i n o ) , 1509, S'il est a ma poste, see under Branle Simple, see under Branle Sin d u d a r (2a p a r s : Por q u e arte), 1546 1 4 S ' i n fede del m i o amore (Gastoldi), 1594 6 Since Bonny-boots (W. Holborne), 1597, S i n d d e n n die Bürgers Söhne so leiden wol gehört, see under T a n t z Sine nomine, see Missa Sine n o m i n e Sine tenez, see Si m e tenez

AND

TITLES

Sine tuo n o m i n e (Las Infantas), 1579 2 Sinfonia, 1591 β Singnori, D i e Frantzösisch Schlacht die heist, see under Bataille ( L a Bataglia Chiarenzana) Sint l u m b i vestri precincti (Crecquillon) (2a p a r s : Vigilate ergo), 1583 e S'io canto, Napolitana, 1574 l f 1583 2 S'io credesse per m o r t e essere scarcho (Reulx), 1560 3 , 1563 1 2 S'io d o r m o haggio gran male (Meo), 1570 5 S'io fusse, 1586 5 S'io gel dico che dira ( T r o m b o n c i n o ) , 1509! S'io m'accorgo b e n mio, Napolitana (Facoli), 1588 3 S'io sedo a l ' o m b r a a m o r (Cara), 1511i S'io son stato a ritornare (Pesenti), 1 5 1 ^ S'io veglio o d o r m o (Gorzanis), 1570 x Sire, 1588 8 Sirifina, Canzon francese detta la (Banchieri), 1595 2 Sit n o m e n D o m i n i b e n e d i c t u m , see Jesu n o m e n sanctissimum Sit still and sturre not (W. Holborne), 1597, Six brant, see under Branle Sixto, M . , see under Gaillarde Slaepen gaen, see under Allemande Sleep, wayward t h o u g h t s (Dowland), 1597 4 Sloef sloef waer h e b d i gheweest, 1568 e , 1570 3 , 1582 6 Sly thief (Cavendish) (2a p a r s : Leaving, you lose), 1598 2 Smeechdelijn (Smedelijn), see under Allemande So b e n mi c'hà bon tempo, Aria (Vecchi), 1590 8 So fayned friends (Whythorne), 1 5 9 0 n So great u n k y n d n e s (Cowper), 1530 e So tantzen wir, see J u n g f r a u wolt ir nicht mit mir ein tantz So Wunsch ich dir ain gute N a c h t , 1578 4 , 1582 5 So w ü n s c h ich ir ein gute nacht (Stoltzer), 1536 e , 1556 2 , 1558 5 , 1571 1 ; 1583 2 Soavissimi baci (Guarnì), 1591 2 S'ogni mio ben'havete (Striggio), 1568 2 , 1574 e , 1593,. See also 1583^ no. 1 Sol, 1543 a , a n d 1592 2 Sol ich d e n n n u sterben, see under T a n t z Sol sol sol ut, 1549, Sola soletta ( W h e n al alone my b o n y love was playing) (Morley?), 1599, Sola solette (Conversi), 1592 β Sola t u fosti eletta, see Vergine p u r a d'ogni parte Solchs wil ich n u n von dir, see F e i n s L i e b dein günstig ohren w e n d zu Solcia, La (Cavaccio), 1597 2 Soleil qui t o u t voit (Certon), 1554 β Soll ich dir m e i n L i e b nicht versagen (Haussmann), 1599 5 Solo e pensoso (Nasco) (2a pars: Si ch'io mi credo homai), 1568 2 Solus c u m Sola (Dowland), 1596 5 Solvitur acris hyems (Tritonius), 151 ?! Son Altezze, see under Allemande S o n de la clochette, Le, 1582 3 Son io quel che era quel di ( T r o m b o n c i n o ) , 1517! Son più tua che n o n son mia (Cara), 1509, S o n p u r congiùnto a tanto, 1511 x S o n questi i crispí crini (Vecchi), 1592 1 2 S o n T o r n a t o Diolosa, 1544 2 Sona baioni, see under Saltarello Sonata (Sonate), [1580]!, 1581 ; , [1586] 4 , 1597 6 Sonatemi u n balletto (Il Ballerino) (Gastoldi), 1594, Soneto (various settings), 1547 s , 1552Ü

INDEX

v:

FIRST

Song of the three Children, T h e , see O all yee workes of God Sonne scendesti in terra (Felis) (2a pars: T u la ritorn'a riva), 1592 β Sont des poix, see under Branle Sophia spanne das Füllein inn den Wagen (Buchner), 1571!, 1583 2 Sortemeplus (Monte), 1576 s Sortes mes pleurs (Mornable), 1552 4 Sospira core sospira core (Nola), 1S70 5 Sospirastes, baldavinos (2a pars: Si te vas conmigo en Francia), 1536 s Sospiri amorosi, 1549, Sospirò una señora, 1536 s Soto un verde e alto cupresso (Caprioli), 1511j Souspirs ardents (Arcadelt), 1559 4 , 1566¡¡, 1568„ 1571 6 , 1573! Souris, La, 1568, Souvent amour (Heuteur), 1533 2 Soveraigne of my delight (Morley), 1597 10 Sowches, see Lord Souches Maske Soyons joyeux (Lasso), 1574, Soyons plaisans, 1574, Soyons yoieulx, see Soyons joyeulx Spagna, La (Alta), 1504„ 1507 2 ; (Cabezón), 1557 2 ; (Ghiselin), 1502i; (La Torre), 1552,; (Ortiz), 1553 5 ; (Rodio), 1575 s ; (Toulouze), 148?i; Bascia Flammignia (Valente), 1576,. See also Gambaro con denaretto; T a n t z : Hoff T a n t z ; and under Basse dance; Gaillarde Spagnola, see under Calata Spagnoletta (choreography only), 1581! Spagnoletta Nuova, 1581! Spainge, see under Allemande Spanish Pavane, see under Pavane Spaniyelischer Hofftantz, see under T a n t z : Hoff Tantz Spargean per l'ariale annodate (Tromboncino), 1509! Sparsi sparcium, see O passi sparsi Spatta con lo gobetto (Spatta soleo), 1560 4 Spaventoso, Lo (Fonghetti), 1598 3 Spensierato, Lo, see Poi ch'el mio foco Spento m'hai del petto amore (Pesenti), 1511, Sper lingua e presti Paulo Bono, 1560 4 Speranza, 1553 2 , 1555 2 Spero, 1599, Spes salutis (Lupus) (2a pars: T u es enim), 1546 9 Spesso il canto (Macque), 1595i 0 Spesso il canto ad amare (Griffi), 1 5 9 1 n Spesso in parte del ciel (Ingegneri), 1568 2 , 1584 5 Spiega mondo maligno (Marenzio), 1592n Spiers, see under Allemande ; Branle Spinello cundo Antonio d'allena, 1560 4 Spingardo, 1508 2 Spiritus Domini (Mouton), 1558 6 Spiritus et alme, see Missa de beata Virgine; Missa Virginis Mariae Spiritus sancti gratia, 1583 2 Spontando lieto fuora (Porta), 1568 2 Springender T a n t z , see under T a n t z Sprynngerdantz, see Saltarello (1550 4 ) Squilina, Cascarda, 1581! Squillitria, La, see under Pavane Sta vecchia canaruta (Gorzanis), 1570i Stabat mater dolorosa (Josquin) (2a pars: Eya mater), 1536,, 1546,, 1547 3 , 1552,i, 1553i„, 1558 s , 1561, 1563 s , 1563, 2 , 1568„ 1571„ 1578, Stad pfeyffer tancz, Der, see under Tantz

LINES

AND

TITLES

551

Stampa, La, Chiarenzana, 1546,3 Stampa, La, see under Saltarello Standomi u n giorno solo alla fenestra (Lasso) (2a pars : Indi per alto mar ; 3a pars : In u n boschetto novo; 4a pars: Chiara fontana; 5a pars: Una strania fenice; 6a pars: Al fin vid'io), 1568 2 , 1584, Stanghetta, La (Obrecht or Weerbecke), 1501,, 1507 2 , 1536,, 1538 2 Stannote oder Cantata, 1583 2 Starala ben cussi (Zesso), 1511! Stavasi amor (Tromboncino), 1517! Stay, Glycia, stay (Cavendish), 1598¡¡ Stella crudel, 1584, Stillava perle (Bellasio), 1592i Sto core mio (Lasso), 1570„ 1571„ 1578 4 , 1582, Stocco, II, 1553 2 , 1555 2 Stradiot, see under Gaillarde Strambotti, see under Calata Studenten Tantz, see under T a n t z Su su su su ch'el giorno (Le Jeune), 1592, Such as in God the Lord doe trust, 1599i S'udia u n Pastor (Vecchi), 1597 14 Suite : (Suytte), 1557 4 Allemande-Nachtantz, 1575,, 1578 4 Allemande-Proportz, 1577, Allemande-Saltarello, 1578„ 1583, Ballo-Gaillarde, 156?„ 1585! Ballo-Pavane, 1563β> 1564 4 Ballo-Rotta, 1568 χ , 1581 χ Ballo-Rotta-Sciolta, 1581, Ballo (Bal, Baletto, Balletto)-Saltarello, 1561 2 , 1 S78 e , 1583 4 , 1583,, 1593,, 1599, Ballo-Sciolta, 1581i Basse dance-Recoupe-Tourdion, 1530, Basse dance-Tourdion, 1530 6 , 154?, Branle-Saltarello, 1569„ 1570, Branle-Saltarello-Courante, 1569„ 1570 3 , 1578 4 , 1582 6 Chiarenzana-Saltarello, 1546 13 Gaillarde-Proportio oder Nachtantz, 1583 2 Passamezzo-Gaillarde, 1563 12 , 1564,, 1568i, 1568,, 1569 2 , 1569„ 1570 3 , 15711, 1571,, 1571„ 1574,, 1578 4 , 1582i, 1582 6) 1584„ 1585,, 1587i, 1592 e , 1592 8 , 1593„ 1594 6 , 1599„ 1599n Passamezzo-Gaillarde-Gaillarde, 1546 15 , 1568, Passamezzo-Gaillarde-Pavane, 1546 16 , 1552, Passamezzo-Pavane, 1561 2 , 1564 4 Passamezzo-Pavane-Gaillarde, 1570, Passamezzo-Pavane-Saltarello, 1546,, 1552!, 1561 2 , 1563,, 1564 4 , 1564„ 156 ? 3 , 15703> 1573 3 , 1578 4 , 1582 5 Passamezzo-Saltarello, 1546i 0 , [1547]n, 1549i, 1552i, [1552]i„, 1556 2 , 1561 2 , 1562 3 , 1563 8 , 1563,2, 1564 4 , 1564„ 1566 2 , 1566„ 1568!, 1568„ 156 ? 3 , 1570 3 , 1571 i, 1571„ 1572,, 1573 2 , 1574i, 1574 5 , 1574„ 1575 3 , 1577„ 1578 4 , 1578 e , 1583 2 , 1583 4 , 1583,, 15866> 1588 3 , 1591 la> 1592 12 , 1593, Passamezzo-Saltarello-Pavane, 1546 15 , [1552] 10 Pavane-Gaillarde, 1531 4 , 1550,, 1551 2 , 1551 3 , 1552 3 , 1552 4 , 1552 6 , 1553 4i 1555 4 , l e s s a , 1557 3 , 1557 4 , 1558„ 1558 4 , 1560 3 , 1564 6 , 1565„ 1568i, 1568 3 , 1568,, 1569„ 1570„ 1570 4 , 1571 6 , 1578 4 , 1583,, 1591i„ 1596„ 1599 a Pavane-Gaillarde-Gaillarde, 1552 4 , 1563 12 Pavane-Saltarello, 1530„ 1546 8 , 1549i, 1550 4 , 1554t, 1562 4 , 1574„ 1597 2 Pavane-Saltarello-Piva, 1508 2

552

INDEX

v:

FIRST

LINES

Pavane-Saltarello-Spingardo, 1508 2 Pavane-Saltarello-Saltarello, 1546„, 1550 4 Pavane-Saltarello-Saltarello-Saltarello, 1536 β , 1546g, 1548 2 , i s s i l a 1552^ 1 5 6 3 η Pavane-Saltarello-Saltarello-Saltarello-Toccata, 1536 9 Romanesca-Rotta, 1568 χ Saltarello-Volte, 1574, Tantz-Gassenhawer, 1562 3 Tantz-Hopeltantz, 1577 e Tantz-Hupfauff, 1536», 1540,, 1544^ 1544 2 , 1547 4 , 1549 e , [1552] 10 , 1574 5 , 1577, Tantz-Nachtantz, 1523 2 , 15732> 1577„ 1583 2 , 1583 4 , 1599 6 Tantz-Proportz, 1562 s , 1562 4 , 1571!, 1577 e , 1583, Tantz-Sprungk, 1556 2 , 1573 3 , 1591 l s , 1592 12 , 1592 14 Tantz-Trippel, 1529, Tedesca-Saltarello, 1578 e Ungaresca-Saltarello, 1578„, 1583 4 , 1583, Volte-Courante, 1577, Sula Bataglia, see Bataille (La Bataglia Chiarenzana) Super ilumina babilonis (Gombert), 1546 4 , 1554 3 . See also Estans assis aux rives aquatiques Super ripam Jordanis (Clemens non Papa) (2a pars : Vox de coelo sonuit), 1583, Super salutem (Janin) (2a pars: Dixi sapientiae), 1546, Sur la verdure, 1563 12 , 1568 7 Sur le joly jonc (Willaert), 1549, Sur le pont, 1568, Sur tous regres (Lasso), 1571, Sur tous regres (Richafort), 1533 2 , 1545 3 , 1546„, 1547„ 1 5 5 2 u , 1563 12 Sur tous regretz, see Sur tous regres Sur toutes fleurs j'ayme la margarite (Sur toutes j'ayme la marguaritte, Sur toutes la margarite), 1546«, 1546„, 1546 1β , 1556 3 Surge amica mea (C. Festa) (2a pars : O pulcherrima), 1543 3 . See also Surge propera (Lasso) Surge propera (Gallus) (2a pars: Surge propera amica mea), 1586 5 Surge propera (Lasso) (2a pars: Surge amica mea), 1577, Surge propera amica mea, see Surge propera (Gallus) Surgens Jesus (Lasso), 1583 4 , 1583, Surrexit (Ingegneri), 1593, Surrexit Christus hodie, 1583 2 Surrexit pastor bonus (Lasso), 1566 3 , 1571,, 1573!, 1575!, 1577,. 1586, Surrexit pastor bonus (Vinci), 1591 12 Sus louez Dieu mon cueur, see Sus, sus mon ame Sus prens ton lut, 1574, Sus, sus mon ame (Benedic anima mea dominum), 1552, Sus, sus mon ame (Benedic anima mea dominum) (Certon), 154?i Susan ung jour (Susanna), see Susanne ung jour Susanna fair (Byrd), 1588 2 Susanna f r u m m (Lasso), 1583 4 Susanna se videns, 1575, Susanne ung jour. See also 1599,, no. 63 Susanne ung j o u r (Lasso), 1563, 2 , 1566 s , 1568,, 1571!, 1571,, 1572i, 1573i, 1573 3 , 1574i, 1575 3 , 1577,, 1578j, 1582,, 1582 5 , 1584 2 , 1584„ 1591 2 , 1592,, 1593,, 1599, Susanne ung jour (Le Jeune), 1592,

AND

TITLES

Susanne ung jour (Lupi Second), 1564„ 1568,, 1568„ 1570 3 , 1571,, 1575 3 , 1578 4 , 1582,, 1586 5 Susanne ung jour (Mithou), 1552 4 Suscepit Israel. See also Magnificat (1543i, 154? 2 , 1596 8 ) Suscepit Israel (F. Guerrero), 1554 3 Suscepit Israel (Morales), 1546i 4 , 1554 s Suspir io themo ma più theme il core (Tromboncino), 1511, Suspirs ardans, see Souspirs ardents Sussanna se videns, see Susanna se videns Sussex, Countess of, see Gaillarde: Countess of Sussex Galliard Suytte, see Suite Sweet I grant (W. Holborne), 1597, Switsers, see under Allemande Sy j'ay d u bien, see Si j'ay d u bien Sylvia is fair (Cavendish), 1598 2

T a bone grace, see under Basse dance T a privauté (Arcadelt), 1558 3 Take from mee the waie of lying (Whythorne), 1590n T a l da vostri occhi (Quagliati), 1 5 9 1 u Tamburin, see under Gaillarde Tancz, see Tantz Tandernack, see Tandernacken Tandernacken, 1533 1; 1536, Tandernacken (A. Agricola), 1507 2 , 1536,, 1538 2 Tandernacken (Hofhaimer), 1536, Tandernacken (Lapicida), 1536, Tandernacken (Obrecht), 1533!, 1536, T a n t est gentil plaisant et gracieulx, 1538 2 T a n t que j'estoys (La Grotte), 1571 3 , 1574 2 T a n t que vivray (Sermisy), 1529 3 , 1531 2 , 1545 3 , 1546 6 , 1547,, 1554 3 , 1563 12 , 1568„, 1570 3 , 1582 6 T a n t rentoereist, 1533, T a n t vous allez doux Guillemette (Abran), 1570 3 , 1571,, 1574,, 1584, Tantara, see under Saltarello Tantayne, La, 148 ?i T a n t o co'lieti suoni (Merulo) (2a pars: Che vaghi suoni), 1568 2 T a n t o mi piacque, see Alla dolc'ombra (Rore) T a n t o più grat'e chiaro, 1546 15 T a n t o tempore (Vinci), 1591 i 2 T a n t o v'ha fatt'il ciel, 1570 6 Tantz: (Dantz, Dentzlein, Tancz, Täntzlin, Tanz, Tentzlein), 1529i, 1540i, 1546 6 , 1556 2 , 1556 6 , [1556],, 1558 6 , 1562 4 , 1571,, 1573 2 ,1573 a , 1574 5 , 1583 2 , 1583 4 , 1S91, s> 1592, 2 , 1592i 4 , 1599 5 Allmeyer, 1571, Annelein von Torgau, 1583 2 Augustus, 1583 2 Auss frischem freyen miith, 1583 4 Bauren Tantz, 1594 s . See also T a n t z : Bayrischer Bauren T a n t z Bayrischer Bauren Tantz, 1562 4 Bayrisch Bot, D e r (Beyrisch Bot), 1549, Bentzenawer, Der, 1549„ and [1552],„ Beschaffens glück ist unversammpt, 1574, Bethler Tantz, Der (Der Bettler Tantz), 1540„ 1544,, 1547 4 , 1562 4 Beyrisch Bot, see T a n t z : Bayrisch Bot Bocks Tantz, Ein, 1550 4) 1562 4 Bruder Cunrads Tanzmaass, 1571,, 1577„ 1583 2 Burger Tantz, Ein schöner, 1562 4

INDEX

v:

FIRST

LINES

Caroli, see T a n t z : Marggraf Caroli Dantz Die Megdlein sind von Flandern, 1571 1583 a Dorisanen Dantz, Der, 1574 5 D u hast mich wollen nemmen, 1577 β , 15834 Englischer Dantz, 1577 β Ennelein von Torgau, see T a n t z : Annelein von Torgau Es ist nit alles Golde, 1540! Es reyt ein armes Reuterlein auss, 1540 1 Es wolt ein jeger jagen, wolt jagen vor dem holtz, 1544j, 15474 Es wolt ein Med. ein Sehr., 1583 4 Ferdinand, König, see T a n t z : König Ferdinandus Tantz Frantzösisch Tantz, 1562 4 Fuggerin Dantz, Der, 1574 5 Gassenhawer, 1536», 1544 2 , 1547 4 , 1549„ 1556 s , [1556],, 1562, Graff Johan von Nassaw Dantz, see T a n t z : Wie kan ich frölich werden G u t gsell du muss wandern, 1583 2 Heckerling u n n d Haberstro, see T a n t z : Wer das Töchterlein haben wil Helena Tantz, 1562 4 Hertzog Moritz Dantz, 1571!, 1583 2 Hoff Tantz, 1523 2 , 1536„ 1540^ 1544 1; 15442> 1547 4 , 1549„ [1552] 10 , 1562 3 , 1562 4 , 1577,; Schwarz Knab, 151 ? l t 1523 2 ; Spaniyelischer Hoffdantz, 1523 2 . See also T a n t z : Imperial Tantz Ich ging einmal spacieren, 1573,, and 1574 6 Ich stund an einem morgen, T a n t z weyss, 1549 e Ich weiss mir ein schöne Müllerin, see T a n t z : Ich weiss mir ein stoltze Müllerin Ich weiss mir ein stoltze Müllerin, 1540^ 1544 1 , 15624> 1573 2 Imperial Tantz, 1577, Ist mir ein fein braun Megdlein, see T a n t z : Mir ist ein fein braun Megdlein Italye, see Tantz : Welscher T a n t z Johan, Graff von Nassaw, see Tantz : Wie kan ich frölich werden Juden Tantz, Der, 1544 2 , 1562 4 Käysers Dantz, Der, 1583 2 Keyserin Tantz, Der, 1583 4 Kochelsperger Tantz, Der, 1562 4 Königs Ferdinandus Tantz, 1549 e Künigin Tantz, 1544 2 , 1562 4 Kurtz Schlesisch Dentzlein, see Tantz : Schlesisch Dentzlein Lauffer Tantz, Der, 1562 4 Magister Dantz, Der, 1583 2 M a n ledt uns zu der Hochzeitfreud, 1577, Marggraf Caroli Dantz, 1577, Margrefische Dantz, 1583 2 Maruscat Tantz, Der, 1562 4 Mein hertz ist frisch, mein gmüt ist frey, 1574 6 Mir ist ein fein braun Megdlein, 1574 s , 1583 4 Moritz, Hertzog, see T a n t z : Hertzog Moritz Dantz Müller, D ' , 1562 4 Nassaw, Graff Johan von, see Tantz : Wie kan ich frölich werden Niderlendisch Tentzlein, Ein, 1544^ 1547 4 N u n n e n Tantz, Der, 1540^ 1544„ 1547 4 Österreichischer Dantz, Ein, 1583 2 Pastorum Dantz, 1571H 1583 2 Pauren Tantz, see Tantz : Bauren Tantz Petler Tantz, see T a n t z : Bethler Tantz

AND

TITLES

553

Pissepot, Der, 1562 4 Polnisch Tantz, D e r (Ein Polnischer Dantz), 1544 2 , 1583 2 Prinzen Tantz, Der, 1550 4 . See also T a n t z : Wer das Töchterlein haben wil Proficiat ir lieben Herren (La Proficia), 1573 2 , 1574 6 , 1583 2 , 1588, Rossina ain welscher dantz, 1523 2 . See also T a n t z : Welscher T a n t z Salve puella, Gott gruss, 1571 j, 1583 2 Scharrer, Der Welsch, see T a n t z : Welsch Scharrer Schlesier Dantz, Ein, 1583 2 Schlesisch Dentzlein, Ein kurtz, 1571 lP 1583 a Schwäbischer Tantz, Ein schöner, 1536,, 1562 4 Schwartz Knab, Der, [1552] 10 , 1562 4 . See also under T a n t z : Hoff T a n t z Schweitzer Tantz, see T a n t z : Sibentaler Schwiger, Die alt, 1574 5 Sechsisch Tantz, 1562 4 Sibentaler, Ein Schweitzer T a n t z genannt der, 1562 4 Sind denn die Bürgers Söhne so leiden wol gehört, 1571J, 1583 2 Sol ich denn nu sterben, 1571!, 1583 2 Spaniyelischer Hoffdantz, see under T a n t z : Hoff Tantz Springender Tantz, 1562 4 S tad pfeyffer tancz, Der, 1529 t Studenten Tantz, Der recht, 1549,, 1583 2 Sula Bataglia, see Bataille (La Bataglia Chiarenzana) Ungaresca (Ein Ungerischer Tantz), 1562 4 , 1578., 1583 4 , 1583 7 Venecianer Tantz, Ein gutter, 1540 χ Wann ich des Morgens f r ü auffsteh, 1574, Weiber Dantz, Der alten, 1574 s Welsch Scharrer, Der, 1562 4 Welscher art, see T a n t z : Gassenhawer Welscher Tantz (Ein welisch Tanzlein, Ein Welischer Tantz), 1536„, 1540^ 1544 2 , 1549 e , 1562 4 . See also Cara Cossa; T a n t z : Rossina ain welscher Dantz Wer das Töchterlein haben wil (Heckerling unnd Haberstro, Des Prinzen Tantz), 1562 4 , 1571,, 1583 2 Westfäler Tantz, Der, 1562 4 Wie kan ich frölich werden (Graff Johan von Nassaw Dantz), 1562 4 Wie möcht ich frölich werden, 1549 e , 1574 5 Wo gehnd die Bamberger Meidlein hin, wo gehns sie hin nach gras, 1544¡ Zeuner Tantz, Der (Der Züner Tantz), 1540,, 1544„ 1547 4 , 1562 4 See also Allemande; Ballo; Alemande; Ballo: Alemano; Ballo: Todescho; Dantz Megdelein Dantz Tartara (Isaac), 1536, Tastar de corde, 1508 2 T e deprecamur (Lasso), 1591, T e deum laudamus. See also We praise thee God T e deum laudamus, 1531 β T e deum laudamus, 1586 g T e D e u m patrem in genitum (Hollander) (2a pars: Quoniam magnus es tu), 1583 β T e gloriosus, 1531, T e lucís ante terminum (A. Cabezón), 1557 2 (2 settings) T e martyrum, 1531, T e Matrem Dei laudamus, 1557 2

554

INDEX

v:

FIRST

LINES

T e mey als alle die voghelen singen, 1564,, 1568, T e o virgo virginum mater et filia, 1554 β T e parti cor mio caro, see T u te parti cor mio caro T e P r o p h e t a r u m (Lasso), 1591, T e a c h m e O L o r d the way of thy statutes (Whythorne), 1 5 9 0 n Teares of the Muses, T h e , 1599 e Tedesca, 1578 β . See also Allemande : Bruynsmedelijn; Allemande: Poussinghe; Ballo: Mostrav'in ciel; Ballo: T o d e s c h o ; T a n t z : Proficia Tedesca, La (Bariola), 1594^ Tedesco, see Ballo: Todescho Tedesco, e Francese, see under Ballo T e l en mesdict (response to Vous perdez temps) (Mittantier), 1547 e , 1 5 5 2 u , 1563 1 2 , 1568„ 1571„ T e m e r a r i o Fetonte (Capi Lupi), 1597 14 T e m p o verra ancor forse, see Chiare fresche e dolci acque T e m p r a r potess'io in si, see L à ver l'aurora (Lasso) T e m p u s est u t revertar (Lasso) (2a pars: Nisi ego abiero), 1583 e T e n Commandements, T h e , see C o m m a n d e m e n t s T e n e z vos amours secrettes, see under Branle T e n g a d u n q u e ver me, see Cantati hor piango (Padovano) T e n g a n d o n q u e ver me, see Cantati hor piango (Lasso) T e n o r e grande alla Napolitana, see under Napolitana T e n t o s , see Tiento Tentzlein, see T a n t z Teresica hermana (Flecha), 1547 6 , 1554 3 T e r z a Rima, Aria da Cantar, see Aria da Cantar T e r z a Rima Terzetti, see under Calata: Spagnola T e r z o , II, see under Ballo T e s jugemens, 1564 5 T e s jugementz (Deus judicium regi), 1552 2 T e t e m e , El, see under Saltarello T h e conditions of m a n doth change (Whythorne), 1590H T h e G o d of Gods the Lord, 1599i T h e great desire to get riches (Whythorne), 1 5 9 0 u T h e heart to r u e (Cavendish), 1598 2 T h e ill doe thou flye (Whythorne), 1 5 9 0 u T h e L o r d is our defence, 1599! T h e m a n is blest that carefull is, 1599 t T h e m a n is blest that hath not bent, 1599! T h e maydens of the Countrey, 1597 e T h e mighty G o d th'eternal hath thus spoke, 1599 t T h e m y n d of m a n doth change hourely (Whythorne), 1590^ T h e other if he to m i n d can call (Whythorne), 1 5 9 0 ^ T h e voyce, 1597 e T h e wicked with his, 1574 2 T h e worldlings j u d g e that man happie (Whythorne), 1590u T h e e will I laud m y G o d and King, 1599, T h e r e is no God as foolish men, 1599 t T h i n k ' s t thou then by thy fayning (Dowland), 1597 4 T h i s oft is f o u n d for to be true (Whythorne), 1 5 9 0 u T h o c a t a , see Toccata T h o r i n , L e grant, 148 Pj. See also T o r i n T h o s e eies which set my fancie on a fire, 1596, T h o s e that doe p u t their confidence, 1599, T h o u hast rebuked the p r o u d (Whythorne), 1 5 9 0 n T h o u g h Amaryllis dance in green (Byrd), 1588 2 T h o u g h many j u d g e and give sentence (Whythorne), 1590H T h u s D e o m y r r h a m , see N u n c i u m vobis fero

AND

TITLES

T h y Master feare (Whythorne), 1 5 9 0 n T h y Parents reverence (Whythorne), 1 5 9 0 ^ T h y e n e t t e venestost, 1570 3 T i chiamo e n o n rispondi (Capi Lupi), 1 5 9 7 l t T i par gran maraveglia (N. Pifaro), 1509, T i parti cor mio caro, see T u te parti cor mio caro T i parti e qui m i lasci (Gorzanis), 1570! T i b i laus tibi gloria (Lasso) (2a pars : D a gaudiorum praemia), 1583 e T i b i omnes angeli, 1531 e T i b i soli peccavi (Jachet), 1547 6 T i b i subsecta sit, see D o m i n e da nobis auxilium T i e m b l a de frió el calor, 1557 2 T i e n t o (Tentos), 1536 5 , 1 5 4 6 u , 1547 5 , 1554„, 1555,, 1557 2 , [155?]!, 1578„ [159?]i, [159?] 4 T i n q u e tin tin, see under Branle Tintelore (Tintalore), 1568 3 Angleterre, Tintelore d', 1559 3 Milan, Tintelore de, 1559 s See also Branle: T i n que tin t i n ; Passe velours, T i r a n t i n e ; Tireteinne Tirantine, La, 1568 3 Tireteinne, La, 1559 2 Tirsi morir volea (Marenzio) (2a pars: Freni Tirsi il desio; 3a pars: Cosi moriro [Cosi morire]), 1584 a , 1591 2 , 1592„ Titire tu patulae (Lasso), 1574 t T m e i s k i n was jonck (Isaac, Japart, or Obrecht), 1512i T o andernaken u p d e m Ryn, see T a n d e r n a c k e n T o give counsell to others is ryfe (Whythorne), 1590n T o G o d all h o n o u r give (Whythorne), 1 5 9 0 u T o use good for ill (Whythorne), 1 5 9 0 u Toccata (Thocata, Tocata, Tochata), 1536 9 , 1546 5 , 1554„ 1561 D . W . , 1574 5 , 1591 4 , 1593 3 , 1593 4 , 1597 D . W . , 1598 9 , 1 5 9 9 n Toccata preludo sopra il liuto cosa rara, 1594 4 T o c h a tocha la canella, see under Saltarello Tochata, see Toccata T o d a mi vida vos ame, 1536 5 Todescha, see under Allemande : Bruynsmedelijn Todeschin, II, see under Passamezzo; P a v a n e ; Saltarello Todeschina, La, see Pavane: Todeschin Todescho (Todesco), see under Ballo Todesco, Il (El Todesco, Todesca), see Viva viva Bacc'ogn'hor and under Gaillarde Todischino, II, 1561 2 . See also Pavane: Todeschin T o r c h e , La, see under Branle Torchia, La, see under Saltarello Tordiglione, 1581, T o r d i o n , see T o u r d i o n Torello, La (Morley), 1595„ T o r i n , 148 ? x . See also T h o r i n T o r m e n t a t o , II, see N o n m i dar T o r n a (Crecquillon), 1588 g T o r n a Mingo ( G u a r d a fuera) (Guerrero), 1554 3 T o r n e o Amoroso, Balletto (Battistino), 1581!. See also under Ballo Torza, see under Saltarello Toscana, see Bassa Toscana Toscanelo, II, see under Gaillarde T o d a die (Lasso), 1591, T o t a pulchra, 1523 2 (2 settings) T o t a pulchra es, 1538 2 T o t a pulchra es (Josquin), 1552, T o t a pulchra es (Langius), 1584 e

INDEX

v:

FIRST

LINES

T o t a pulchra es (Palestrina), 1591 2 T o t i voria contar, see l o ti vorria contare T o u l o u z a n e , La, see under Gaillarde T o u r , La, see under Allemande Tourdion : (Tordion), 1530 s , 1530 5 , 1547„, 154? e> 1S52 3 , 1555 2 , 1570 4 , 1589! C'est grand plaisir, 1547 β Vous aurez tout ce qui est myen, 1547 e T o u r n é e , see under Allemande T o u s amoureux (Passereau), 1533 a T o u s mes amis (Sermisy), 1545 3 , 1547 7 T o u s mes amys, see under Basse dance T o u s nobles cueurs (La Rue), 1538 2 T o u t , Le, see under Gaillarde T o u t bellement, 1563 1 2 T o u t ce q u ' o n peut (Rore), 1559 4 , 1571 e T o u t doulcement, 1574 7 T o u t e s les nuits (Crecquillon), 1546 1 8 ,1549 e , 1552H, 1563 12> 1568 e , 1 5 6 8 „ 1571 e . See also Qu'est il besoing and under Branle T o y , A French, see French T o y Traditora, L a (El Traditor), 1545 3 , 1546^ 1549 e . See also under Gaillarde; Saltarello Traditore, II, 1549 t Traditorella, La, see under Saltarello T r a n s e u n t e D o m i n o clamai ad c u m (Wert) (2a pars : E t ait illi Jesus), 1583„ T r a p o l a t o , El, 1564 8 Travagliato, El, 1564 g T r e d a m m e alla Francesca, 1568! T r e gratiosi A m a n t i (Macque), 1584, T r e s , see T r i o Treschoses, 1569 e Tresoriere de plaisir amoureux, 1529 3 Tribulatie en verdriet, 1546i 8 , 1563 1 2 , 1570 3 Tribulatio et angustia (Josquin), 1 5 5 2 u T r i b u l a t j e ende verdriet, see Tribulatie en verdriet T r i b u s miraculis (Lasso), 1577 e T r i b u s miraculis (Palestrina), 1583 4 T r i h o r y de Bretaigne, Le, 1589! T r i n i t a s in unitate, 1564 8 T r i o (Tres, T r i u m ) , 1523 2 , 1536 7 , 1538 2 , 1543 3 , 1549,, 1 5 5 1 „ 1551,, 1554 4 , 1556i, 1556 8 , 1557 2 , 1559 8 , 1569„ 1585 3 , 1590 e , 1591 1 2 , 1592 2 , 1593 e Tripla, 1545 a T r i s t e depart (Gombert), 1578 3 Triste estava el rey David, 1546i 4 T r i s t e estava m u y quexosa, 1536 5 T r i s t e playsir, 148 Tristes pensées, 1552 4 Tristis est anima mea (Le Maistre) (2a pars: Ecce appropinquabit hora), 1583 fl Tristitia vestra (Tristitia obsedit me) (Isaac), 1538 2 , 1544 3 , 1556 2 , 1568, T r i t auff den Rigel von der T h ü r (Lasso), 1577 β T r i u m , see T r i o Trivella, see under Saltarello T r o i j , see under Branle T r o i s jeunes bourgeoises (Heurteur), 1533 3 T r o m b a , see Pavane: D e la tromba Pavin T r o p de regretz, see under Basse dance T r o p endurer (Lasso), 1574 2 T r o p plus penser (Sandrin), 1554 8 T r o p plus secret (Tropolus secret) ( L a Rue), 1523 2 Tröstlicher lieb (Ich rew u n d klag) (Hofhaimer), 1532 2 , 1536„, 1536„ 1546 9 , 1549 e , 1558 6 , 1562 3 , 1571k 1574 6) 1583 2

AND

TITLES

555

T r o y s jeunes bourgeoises, see T r o i s jeunes b o u r geoises T u che l'interno effetto (Bellanda), 1599 2 T u deus noster, 1574 x T u devicto, 1531g T u dicois, see T u disois que je mourroye T u disois, see under Branle T u disois q u e j e m o u r r o y e (Sermisy), 1536 3 , 1546,, 1561 s , 1563 s T u dolc'anima mia (A. Ferabosco), 1584 6 T u dormi io veglio a la tempesta (Tromboncino), 1509! T u dulce habla, see O mas d u r a q u e m a r m o l T u es enim, see Spes salutis T u es pastor ovium (Palestrina), 1593, T u es P e t r u s (Canon super Excelso Gregoriano Cantu) (Las Infantas), 1579 2 T u es P e t r u s (Morales), 1543 a T u es vas electionis, see Missa T u es vas electionis T u esto n o s t r u m gaudium, see Jesu nostra r e d e m p t i o (Lütkeman) T u la ritorn'a riva, see Sonno scendesti in terra T u m'amasti u n temp'affe (Gorzanis), 1570 χ T u m'hai gabbato (Gorzanis), 1570i T u m e dai pena, see under Saltarello T u mentis delectatio (Giovanelli), 1 5 9 2 n T u ne quesieris (Tritonius), 151 ?! T u patris, 1531„ T u sai m a d o n n a (Lasso), 1571 e , 1575 3 T u solus altissimus, 1531 5 . See also Missa Apostol o r u m ; Missa Dominicalis; Missa I n Dominicis Diebus T u spira al petto mio, see O M u s a t u T u te parti, see under Gaillarde T u te parti cor mio caro, 1546 1( 1561 2 . See also under Passamezzo; Pavane; Saltarello T u traditora ( T u traditore) (Lasso), 1570 3 , 1571„ T u a est potentia. See also Congregati sunt inimici nostri ; Missa T u a est potentia T u a est potentia (Crecquillon) (2a pars: Creator o m n i u m D e u s terribilis et fortis), 1583 e T u a est potentia (Mouton), 1547 3 , 1552H, 1574 5 , 1582! T u a Jesu dilectio (Palestrina), 1 5 9 2 u T u l e r u n t D o m i n u m (Josquin), 1552,, 1592 e (attr. to G o m b e r t ) T u l e r u n t D o m i n u m m e u m , see Congratulamini mihi omnes (Lasso) T u l e r u n t ergo fratres (Boyleau) (2a pars of Videns Jacob), 1576i T u l l e r u n t D o m i n u m , see T u l e r u n t D o m i n u m T u n c amplexus (Anerio), 1592 x l T u n c exultabunt, see L a e t e n t u r coeli T u r b a m u l t a (Boyleau) (2a pars of O c c u r r u n t turbe), 1576! T u s biens, see D e tous biens T u t i por ti core mio caro, see T u te parti cor mio caro T u t t a gentile e bella (G. M . Nanino), 1589 S) 1591 1 4 T u t t a sei bella donna, 1570 6 T u t t a sete gentil (Bellasio), 1592 x T u t t a tutta saressi, 1568,, 1571, T u t t a tutta saressi (Fontana), 1552, T u t t ' i l di piango (Rore) (2a pars: Lasso che pur), 1549, T u t t o lo giorno (Regnart), 1584„ T u t t o lo t e m p o (Celano), 1592 e T w o comforts h a t h the unhappie m a n (Whythorne), 1590Ü

556

INDEX

v:

FIRST

U b i pascas ubi cubes, see Q u e r a m u s c u m pastoribus Uccellino bel uccelino, see Auchelina vel auchlina U d i t e ecco le t r o m b e see Bataille ( L a Bataglia Chiarenzana) : Battaglia U d i t e novi amanti (Costa), 1594» Udite udite amanti (Vecchi), 1597 14 U d i t e voi finestre (Cara), 1509! Uggiera, L ' (Maschera), 1584 1 0 Ultimi miei sospiri (Verdelot), 1553 1( 1568 2 , 1578 3 , 1584 6 U n ' a l t r a volte (Rore), 1577 6 U n advocat dit à sa f e m m e , 1552 3 , 1570 4 U n advocat dit à sa f e m m e (Delafont), 1568», 1570 a , 1578 4 , 1582 6 U n cuydado que mina, 1536 s U n doulx nenny ( U n doux nennin) (Lasso), 1563 1 2 l 1566 2 , 1568», 1568„ 1571», 1572^ 1573,, 1574 2 , 1574,. See also O c o m m e heureux (Lasso) U n gai berger (Crecquillon), 1545 3 , 1547 7 , 1547 e , 1552 1 1 ; 1553!, 1557 2 , 1558 6 , 1563 1 2 , 1568 1( 1568„ 1571«, 1573 s , 1574 6 , 1577», 1 5 7 7 „ 1578 a , 1582 χ (attr. to Janequin), 1584 2 , 1586 2 , 1591 2 , 1591 3 , 1592 1 0 , 1599, U n giorno passeggiando (Barbato), 1599 2 1 U n grand désir (Maillard), 154?! U n grand plaisir, 1531 3 U n grand plaisir (Sermisy), 1531! U n grant plaisir, see U n grand plaisir U n h u g de ugs, 1583 2 U n j o u r advint, 1583 2 U n jour le temps, 1552 e U n j o u r passé avec Collete (Le Hugier), 1560 3 , 1563 1 2 U n j o u r passé bien ascoutez (Clemens n o n Papa), 1552H U n jour Robin (Sermisy), 1531 2 U n lauro m i defese, see Alla dolc'ombra (Rore) U n mesnagier vieillard recru d ' a h a n (Sohier), 1553 3 , I57O1 U n petit coup (Passereau), 1533 3 U n t e m p o sospirava (Ferretti), 1592 β U n triste cueur (Crecquillon), 1553 10 , 1563 1 2 U n triste cueur (Lasso), 1571 β U n vostro si (Fonghetti), 1598 3 U n a fìamella viva (Bellasio), 1592! U n a maistres, see U n e maistresse U n a strania fenice, see Standomi u n giorno solo alla finestra U n d wer der Winter noch so kalt (Peschin), 1558 s U n d wer er nit erstanden, 151 U n e bergere, 1568! U n e bergerote (Sermisy), 1529 s U n e m'avoit promis, 1565 3 . See also under Pavane U n e maistresse (Brumel), 1507i U n e sans plus (Cadéac), 1546 β U n f a l l w a n n ist deins wesen gnug (Senfl), 1562 3 U n g , see U n Ungaresca, see under Saltarello ; T a n t z U n g a r o , see under Gaillarde; Passamezzo; Saltarello Ungerischer T a n t z , see T a n t z : Ungaresca Ungrie, see under Allemande U n q u i e t thoughts (Dowland), 1597 4 U n s e r Köchin kan auss der massen kochen, 1540!, 1544j, 1547 4 , 1549» U n s e r magdt kann aussdermassen, 1529!, 1540 t U n t r e w ist yetz gewachsen, 1549 β U n u m cole d e u m (Jachet) (2a pars: N o n occisor), 1546 1 5 U n u m colle d e u m , 1557 2

LINES

AND

TITLES

Uscio del ciel t u sei (Soriano), 1 5 9 2 u U s q u e quo Domine, see Jusques a q u a n d as establi U t , 1592 2 U t fa mi u t m i re ut, 1549, U t fidelium propagatione (M. Ortiz), 1547 6 U t m i fa ut fa m i re ut, 1549, U t queant laxis (Iste confessor), 1578 s U t re m i fa sol la, 1530 e , 1549,, 1564 e . See also Missa U t re m i fa sol la U t re m i u t fa m i re ut, 1549, U t sol sol la sol, 1554 3

Va mirelidroque va (Passereau), 1533 s Va tost m o n amoureux désir, 148 ?! Vacas, see Vaccas Vaccarra con le buscaglie, La, 1560 4 Vaccas, see Guardarne las vacas and under Gaillarde ; Passamezzo; Pavane; Saltarello Vado et circuibo (Victoria) (2a pars: Dilectus tuus), 1594 3 Vaga d'udir, see A casa u n giorno (Fonghetti) Vaghe bellezze (Torti), 1594 5 Vaghi leggiadri lumi (Renaldi) (2a pars: Chi fia che dal mio cor), 1591 2 Val cerca, La, see Gaillarde: Royne d'Escosse; Saltarello: Royne d'Escosse Valde honorandus est (Palestrina), 1583 4 Vale diva vale in pace (Tromboncino), 1511! Valla de la roma, 1568 e Valle, 154015 Varia picca, see under Saltarello Varionessa, La, see under Gaillarde Vatem m o n amoureux désir, 148 ?¡ Vatena lieta homani (Lasso), 1571 β Vater unser ( M . Agricola), 1561j Vater unser (Lasso), 1575!, 1577» Vater unser (J. Paix), 1590 β Vattene almo riposo (Corteccia), 1539 x Vatter unser, see Vater unser Vecchi, II, see Saltarello: Gioite tutti in suoni Vecchio, La, see under Pavane Vecchio da Conegian, II, 1549 t Vechie retrose (Willaert), 1548! Vedo ogni selva (Soriano), 1589 β , 1591 l s Vedrai biondi capei, see Chi voi veder tutta Vedrassi prima senza luce (Palestrina), 1591u Veggo dolce mia (Marenzio), 1594 6 Veillez vo' (Voules vous), 1562 3 Vel può giurar A m o r (Ferro), 1563, (attr. to Gero) Venecianer T a n t z , see under T a n t z Venetiana, see under Gaillarde ; Pavane Venez mes serfs (Clemens n o n Papa), 1553 1 0 Venez venez m o n bel amy, 1563 1 2 , 1568, Venga quel bel narciso, 1584», 1592» Veni creator spiritus. See also C o m e holy Ghost eternal G o d Veni creator spiritus (Bermudo), 1555! Veni creator spiritus (Cabezón), 1578 3 Veni creator spiritus ( G . Cavazzoni), 154 ?2 Veni creator spiritus (Las Infantas), 1579 2 Veni dilecte m i (Palestrina), 1591 2 . See also Camerina Veni domine (Morales), 1554 3 Veni electa mea (La Benvenuta) (Gallus), 1598 4 Veni in altitudinem maris (Jachet) (2a pars of Salvum me fac Domine), 1547 5 Veni in h o r t u m m e u m (Gallus), 1598 4 Veni in h o r t u m m e u m (Lasso), 1571 e , 1572], 1573 a , 1577», 1584», 1592», 1593,

INDEX

v:

FIRST

LINES

Veni pater pauperum (Las Infantas), 1579 2 Veni redemptor gentium (M. Agricola), 1561! Veni redemptor quaesumus (Palero), 1557 a Veni sánete Spiritus (M. Agricola), 1561i Veni sánete spiritus (Las Infantas), 1579 a Veni sánete Spiritus (Josquin) (2a pars: O lux beatissima), 1583 4 , 1583 6 Venimus e romería, 151 Venisienne, La, see under Pavane Venit magna (Lütkeman), 1597, Venit vox de coelo (Clemens non Papa) (2a pars: Respondit miles), 1575 L Venite ad m e omnes qui laboratis, see Sic Deus dilexit m u n d u m Venite et comedite, see Homo quidam fecit coenam magnam Venite exultemus, see O come and let us now rejoice Venite filii audite me (Gombert) (2a pars: Servite Domino cum timore), 1565 x Venite maghi (Costa), 1594 s Venons au poinct (Maillard), 1546» Venus du u n d dein Kind (Regnart), 1583 2 , 1592 12 Venus hat mir gar vest gebildet ein (Haussmann) (Nach T a n t z : D r u m b ist mein hertz), 1599 5 Venus par tout (Sermisy), 1546 9 Ver inferno al mio petto (Arcadelt), 1560 3 , 1563 12 Verament'in amore (Monte), 1594 5 Veramente madonna, 1546 3 Verba mea, see Aux parolles que je veulx dire Verbum caro factum est (Banchieri), 1595 2 Verbum caro factum est (Lasso), 1583 e Verbum iniquum (Morales), 1544 3 (2a pars: D u o rogavi te), 1554 3 , 1554 e Verceloso, El, see under Saltarello Verde]ete, La, 148 Verdurant, see under Basse dance Vergangen ist mir glück u n d heil (Forster), 1571!, 1583 2 Vergiliana, La, see under Gaillarde Vergine, La prima (La seconda, La terza, La quarta, La quinta, La sesta, La nona) (Rore), 1584! Vergine bella (Rore), 1584i Vergine chiara (Rore), 1584! Vergine, in cui ho (Rore), 1584i Vergine pura (Rore), 1584! Vergine pura d'ogni parte (Bellanda) (2a pars: Sola tu fosti eletta), 1599 2 Vergine saggia (Rore), 1584 χ Vergine santa (Rore), 1584i Vergine sol'al mondo (Rore), 1584 : Verità, La (Cavacelo), 1597 2 Verjubileert ghij Venus dierkens, 1563i 2 , 1570 3 , 1582 5 Verlorner dienst der sind gar viel (Buchner), 1571! Vermiglio e vago fiore (Giovanelli), 1589 β , 1591 14 Vernon, see La Munière de Vernon Verra ma il di (Porta) (2a pars: M a a che dolermi più), 1593, Verso (Versus) (various settings), 1557 2 , 1574 6 , 1580 3 ,1598! j. See Seculorum and under Magnificat Vesentino, 1549j Vesta, see under Courante Vestiv'i colli, see Vestiva i colli Vestiva i colli (Palestrina) (2a pars: Cosi le chiome mie), 1568 2 , 1584 2 , 1584 5 , 1584„, 1586 2 , 1591 2 , 1592 e , 1593,. See also Alcenagina Veu le grief mal, 1531 3 Veu le grief mal (Heurteur), 1533 2 Veu le grief mal (Villiers), 1547 3 , 1 5 5 2 η

AND

TITLES

557

Veu que du tout, see In Domino confido Veulx tu ton mal (Lasso), 1571 e , 1594 s . See also Le voulez vous Vexilla regis prodeunt, 1555! Vica, La, see under Pavane Victoire, see Bataille, La Victor Montbuisson, see Courante: Montbuisson Videns Dominus fientes sorores Lazari, see Fremuit spiritu Jesus Videns Jacob, see Tulerunt ergo fratres Videns Jesus, see Fremuit spiritu Jesus Videntes autem Stellam, see A b oriente Venerunt magi Viderunt te aque Deus (Raval), 1596n Vides ut alta stet (Tritonius), 151 Vidi da dui bei lumi (Fonghetti), 1598 3 Vidi hör cogliendo rose (Demophon), 151 I i Viel strick und Seil, 1583¡¡ Vientene almo riposo (Corteccia), 1539i Vigilate ergo, see Sint lumbi vestri precincti Vignon vignon vignette, 1531 2 , 1547 2 Vii hinderlist, 1512! Vii lügen die falschen Kläffer dichten, see Holdseligs Bild mich nicht betrübe Vilana, see under Passamezzo Vilanella, La, see under Saltarello Villachiara, La (Cavaccio), 1597 2 Villachiara, La (Maschera), 1584i 0 Villanella, Balletto, 1581 χ Villanesque, 1553 4 Vina parant ánimos (Langius), 1584 β Vincenti, La, see under Pavane Vinci, 1560 4 Violla, 1553 2 , 1555 2 Vion viette sommes nous (Sermisy), 1530 4 Virginalis flos, 148 ?i Virgine bella che del sol vestita (Tromboncino), 1517! Virgines prudentes ornate (Clemens non Papa) (2a pars: Media autem nocte clamor factus est), 1583 e Virginis Mariae, see Missa Virginis Mariae Virgo ante partum (Jachet), 1543 3 Virgo Maria (Morales) (2a pars: Virgo Maria), 1554 3 Virgo prudentissima (Isaac) (2a pars: Nos Michael), 1589„ Virgo prudentissima (Pieton), 1547 6 , 1558 3 Virgo prudentissima (Renaldi), 1593, Virgo salutifera, see Ave Maria (Josquin) Viri Galilei (Palestrina) (2a pars: Ascendit Deus in Jubilatione), 1583 4 Virtus sancii spiritus, see Praeter rerum Seriem Visdame, La, see under Gaillarde Visibilium omnium, 1531 s Vita de la mia vita (Verdelot), 1536 β , 1546 3 , 1547 5 (2a pars: Quel foco che), 1566 2 , 1568,, 1571 β) 1572!, 1573i Vita dulcedo (Lupus) (2a pars: Et J e s u m ; 3a pars: O dulcís virgo), 1547 5 Vita, e quanto haggio, Cascarda, 1581 ! Vita in ligno moritur (Senfl) (2a pars : Qui prophetice ; 3a pars: Qui expansis), 1544 3 ,1547 3 ,1549„, 1558 6 , 1574 6 , 1583 4 , 1583« Vita mia bella, 1570 3 Vita mia per che (Il Luchesino) (Gastoldi), 1594, Vitam eternam, see Rustica Vitta de la mia vita, see Vita de la mia vita Vittoria, see Alta Vittoria Viva fiamma d'amor (Porta), 1568 2 Viva la Margarita, 1547 5

558

INDEX

v:

FIRST

Vivamus mea lesbia atque amenus, 151 ?! Viva viva Bacc'ogn'hor (II Todesco) (Gastoldi), 1594, Vive le roy (Josquin), 1504! Vive pius (J. Paix), 1590 β Viver ne puis, 1588 β Viver non posso, 1584 3 Vivo sol contemplando (Fiorino), 1571 4 Vivo sol di speranza, see Aspro core e selvaggio Vivous Io jeu, 1583 2 Vivray-je tousjours en soucy (Vivrai-je) (Sermisy), 1529 3 , 15313, 1546„, 1549 e Vivray je tousjours en telle paine (Latre), 1549 8 , 1552 11( 1563 12 . See also Sans plourer Vivre ne puis content (Sermisy), 1533 2 , 1546 10 , [1547] n , 1562 3 , 1568, Vo lodar (Il Fortunato) (Gastoldi), 1594, Voce mero flammis (Mancinus), 1597, Vocem tuam audivi, see D u m deambularet dominus Voglia mi sprova (Striggio), 1568 2 Voi altre donn'havete (Fiorino), 1571 4 Voi bramate ben mio (Fonghetti), 1598 3 Voi caduci ligustri (Galilei), 1568 2 Voi che passate qui (Ana), 1509 χ Voi gentil alme accesse (Tromboncino), 152 Voi ven'andat'al Cielo, 1565 4 Vola vola pensier, Aria à la Italiana, 1584 e Volta, see Volte and under Ballo Volte (Volta, Lavolto), 1571 6 , 1574„ 1582 5 , 1584 e , 1589!, 1594 6 , 1599 8 France, Volte de, 1584, Francese, 1599n Provence, La volte de, 1559 3 , and 1568 3 Roy, Volte du, 1577, Von deinet wegen bin ich hie (Scandello), 1575! Von edler art (Hofhaimer or Schönfelder), 151 ?x, 1529!, 1532 2 , 1536„ 1536„ 1544 2 , 1549„ 1562 3 , 15832 Von Himmel hoch da komm ich her (Reymann), 1598i„ Von nöthen ist (Regnart), 1592 12 Voor ia qui tu me canta, see Vorrei che tu cantassi Vor Zeiten war ich lieb und werd, 1571!, 1583 2 Vor Zeiten war ich lieb und werd (Lasso), 1575 r Voria madonna fare, 1584 3 Vorrei che tu cantassi (Azzaiolo), 1568, Vorria morire (Mancinus), 1597 e Vorria saper, 1584 3 Vos me matastes nina en cabello (Vasquez), 1554 3 Vostra fui (Arcadelt), 1552, Vostre a jamais (J'en ay dueil, Vostre a maistres) (Ghiselin), 1507i, 1536„ 1538 2 . See also J'en ay dueil; Se j'ay requis Vostre beaulté (Gombert), 1546 9 , 1549, Vostre beaulté (Lupus), 1533 2 Vostre par heritage, 1563 12 Vostre rigueur (Crecquillon), 1576i Vostro raro valor, 1584, Vota mea, see Credidi propter quod loquilut Voulant honneur (Sandrin), 1551 2 , 1552,, 1553 3 , 1556i, 1562 9 , 1570 4i 1574, Voules oijr, see Voulez ouyr Voules vous, see Veillez vo' Voulez ouyr (Willaert), 1584, Voulez ouyr les cris de Paris (Janequin), 1530 4 Vouloir m'est (Misericordiam et judicium cantabo), 1552 2 Vous aurez tout ce qui est myen, see under Tourdion Vous estes la personne (Certon), 1553 4

LINES

AND

TITLES

Vous estes la personne (Le Roy), 1556 e , 1570 4 Vous Tarez s'il vous plaist (Adorno), 1533 2 Vous mi faictes tant rire, 1549, Vous orrez a mon advis, see Chant des Oiseaux Vous perdes temps, see Vous perdez temps Vous perdez temps (Arcadelt), 154 ?5 Vous perdez temps (Sermisy), 1544^ 1545 3 , 1547 4 , 1547 9 , 1549 e , 1552n, 1562 s , 1563i 2 , 1568„ 1568„ 1571,. See also Tel en mesdict Vous qui aymez les dames (Lasso), 1571, Vous qui voulez, see under Gaillarde; Pavane Vous semble-t-il (Moeulle), 154?! Vox clamantis in deserto (Clemens non Papa) (2a pars: Vox dicentis), 1583, Vox de coelo sonuit, see Super ripam Jordanis Vox dicentis, see Vox clamantis in deserto Voyant souffrir (Jacotin), 1533 3 Vray dieu, 1546 i 8 Vray dieu d'amours (En ung matin) (Brumel), 1538 2 Vray dieu d'amours (Josquin), 1549 t Vray dieu disoit (Lasso), 1563 10 , 1566 2 , 1568,, 1571,, 1572i, 1573i, 1574 2 , 1577„ 1594 5 Vreucht es ons toeghecomen, 1568, Vyses, 148?!

Walsingham (Cutting), 1596 s . See also As I went to Walsingham Wan ich lang klag, see Wann ich lang klag Wandering in this place (Cavendish), 1598 2 Wann ich des Morgens f r ü auffsteh, 1583 2 . See also under Tantz Wann ich gedencke der Stundt, see Wenn ich gedenk der Stund Wann ich lang klag, alle tag, u n d grüm mich ser (Brätel), 1536, Wanton, 1599, Wanton, come hither (Cavendish), 1598 2 Was Gott beschert, see Ach hett ich die, so je begert mein hertze Was nicht bleiben wil, see Mägdlein was zeichst du dich Was seltzam ist, man erlist (Senfl), 1558, Was unfals qual, 1549, Was wil doch drauss werden, 1549, Was wird es doch des Wunders noch (Senfl), 1532 2 , 1536,, 1536,, [1552], 0> 1562 3 , 1573 3 , 1574„ 1583 2 Wascha mesa, see Passamezzo Wass will doch drauss werden, see Was will doch drauss werden Wayss mir ein hiische Miilnerin, see Ich weiss mir ein stoltze Müllerin W e praise thee God (Te Deum), 1599i Weg wart dein art, 1512! Weiber Dantz, see under Tantz Weiblich art, 1523 a Weil mich deine Pfeil so schmerzlich plagen (Haussmann), 1599 ä Weit ghy, 1538 2 Welisch Tanzlein, Ein (Ein Welischer Tantz), see T a n t z : Welscher Tantz Welsch Scharrer, Der, see under T a n t z Welscher art, see T a n t z : Gassenhawer Welscher Tantz, see under T a n t z Welt gelt (Senfl), 1533i Welt hin, weit her (J. Paix), 1590, Wenn ich der Zeit, 1592i 2 Wenn ich des Morgens frü auff steh, see Wann ich des Morgens frü auffsteh

INDEX

v:

FIRST

LINES

W e n n ich gedenk der Stund (Regnart), 1584 s , 1592 12 W e n n mein stündlein verhanden ist (Reymann), 1598 10 W e n n wir in höchsten nöten sein (Lütkeman) (2a pars: Wir heben unser A u g n ; 3a pars: D r u m b kommen wir; 4a pars: Auff das von Hertzen können wir), 1597 7 W e n n wir in höchsten nöten sind (Johan. Baptista), 157U Wer das Töchterlein haben wil, see under T a n t z Wer frisch will sein, der sing mit mir, see Frölich zu sein Wer gnad durch klaff, 1512! Wer wenig behelt, und vil verthut (Sporer), 1536, Wer wird denn trösten mich (Regnart), 1592i 2 Wer wolt ihr in ehren nicht sein holt (Hofmann), 1556 2 Westfäler Tantz, see under Tantz Weyplich art, see Weiblich art What makes young folks simple in shew (Whythorne), 1590,! What man so ever he be (Quicunque vult), 1599 t What pleasures have great princes (Byrd), 1588 2 What thing more cruell (Cavendish), 1598 2 What you will, 1597, W h e n al alone my bony love was playing, see Sola soletta W h e n as we sat in Babilon, 1574 2 , 1599j W h e n speeches to much and out of frame (Whythorne), 1590n W h e n that the Lord againe his Sion, 1599 t Where fancy fond (Byrd), 1588 2 Where righteousnes doth say (The Complaint of a Sinner), 1599! Where withall shall a yong m a n (Whythorne), 1 5 9 0 n W h o doth not much esteeme of health (Whythorne), 1590„ W h o ever thinks or hopes of love for love (Dowland), 1597 4 W h o likes to love (Byrd), 1588 2 W h o made thee H o b (Byrd), 1589 2 W h o shall have my fayr lady (Jones), 1530 e W h o speake thee fayer unto thy face (Whythorne), 1590n W h y doest thou tyrant boast abroad, 1599i Why do I use my paper ink and pen (Byrd), 1588 2 W h y should m y muse (Cavendish), 1598 2 Widowes myte, T h e , 1599, Wie das glück wil (Senfl), 1533j Wie kan ich frölich werden, see under T a n t z Wie mag es in der karten sein (Breitengraser), 1533 x Wie möcht ich frölich werden, see under T a n t z Wie schön blüt uns der Meye (Meiland), 1577 e , 1583 2 Wij sal mij troe telen, see Gaillarde: Royne d'Escosse Wijsheyt edel vrouwe, 1568, Will nieman singen so sing aber ich, 1538 2 Willig und treu, see Willig und trew on alle rew Willig und trew (Lasso), 1575! Willig und trew on alle rew (Willig und trew ich mich ergib) (Forster), 1544i, 1544 2 , 1546„, 1547 4 , 1549, Wilt thou, unkind, thus reave me (Dowland), 1597 4 Wir gleuben all an einem Gott (M. Agricola), 1561 ! Wir heben unser Augn, see W e n n wir in höchsten nöten sein With hart I doe accord, 1599! With my lips have I beene telling (Whythorne), 1590,,

AND

TITLES

559

Wittembergische Galliart, Der, see under Gaillarde Wo bistu, see under Branle Wo gehnd die Bamberger Meidlein hin, wo gehna sie hin nach gras, 1544i, 1547 4 . See also under Tantz Wo Gott der Herr nicht bey uns helt, 1571i Wo Gott der Herr nit bei uns ist (Lasso), 1574 6 Wo ich mith leyb, 1529! Wo jemandt lust (Lechner), 1594 6 Wo sol ich mich hinkeren ich armes briiderlein (Vogelhuber), 151?!, 1523 2 , 1532 2 Wol auf gut Gesel von hinnen, see Wolauff gut gesell Wol dem der in Gottes furchten sieht ( M . Agricola), 1561, Wol dem die ubertrettung gross (Peschin), 1558, Wol kumbt der May, see Woll kumbt der May Wolan Gottin schön, see Ach Gott wie schwere pein Wolauff gut gesell (Meiland), 1577„ 1583 2 Woll kumbt der May (Grefinger), 1523 2 , 1536, Worms, see under Allemande Would my conceit (Dowland), 1597 4 W u , see Wo

Xiri che sanza xiri stamo male, 1560 4 X u m o sanzo Con Mastro Joanni e Mastro Antoni (Xumo sanzo con li garbi), 1560 4

Y arded coraçon arded, 1547 5 . See also Ay arde coraçon arde Y con que la lavare, see Con que la lavare Y la mi cinta dorada (Narváez), 1538i, 1546i 8 Ya cavalgo calaynos, 1547 5 Ya se asienta el rey Ramiro, 1538! Ye children which do serve the Lord, 1599! Ye fille que ni le m e dona de que, see Je fille quant Dieu me donne de quoy Ye près en grey, see Je prens en gré Yn exitu Israel, see In exitu Israel Yo no nasci sino para querer, see Escrito esta en mi aima You blacke bright starres (Morley), 1597 l 0 Ytalia mia, see Italia mia Ytalye, see Italie

Zacarii, II, see under Gaillarde Zagale ja la de lo verde, 1576i Zambeccara, Canzon dita la (Merulo), 1592 7 Zanetta, La, see under Pavane Zart freuntlichs M., 1571i, 1573 s , 1583 2 Zart schöne fraw (Zart schönste fraw), 151 ? 1; 1529j, 1536,, 1562 a Zeffiro torna (Galilei), 1563 7 Zefiro (Valente), 1576 3 Zephyro spira e il bel tempo rimena (Tromboncino), 1509! Zerata, La (Merulo), 1592 7 Zeuner Tantz, see under T a n t z Zigonze, see under Calata Ziliola, La, see under Pavane Zo per la Brenta, see under Pavane Zorzi (Zorzy), see under Gaillarde; Passamezzo; Pavane; Saltarello Zucht ehr und lob (Hofhaimer), 151 ? l t 1523 a , 1536„ 1583 4 Züner Tantz, see T a n t z : Zeuner T a n t