an introduction to crumhorn repertoire

8/19/2019 An Introduction to Crumhorn Repertoire

http://slidepdf.com/reader/full/an-introduction-to-crumhorn-repertoire 1/6

Oxford University Press is collaborating with JSTOR to digitize, preserve and extend access to Early Music.

http://www.jstor.org

An Introduction to the Crumhorn Repertoire

Author(s): Bernard ThomasSource: Early Music, Vol. 1, No. 3 (Jul., 1973), pp. 142-146Published by: Oxford University PressStable URL: http://www.jstor.org/stable/3126062Accessed: 22-11-2015 20:12 UTC

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of contentin a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.

For more information about JSTOR, please contact [email protected].

This content downloaded from 130.111.46.54 on Sun, 22 Nov 2015 20:12:40 UTCAll use subject to JSTOR Terms and Conditions

http://www.jstor.org/

http://www.jstor.org/action/showPublisher?publisherCode=oup

http://www.jstor.org/stable/3126062

http://www.jstor.org/page/info/about/policies/terms.jsp






http://www.jstor.org/stable/3126062

http://www.jstor.org/action/showPublisher?publisherCode=oup

http://www.jstor.org/



n introdu tion

t t h

rumhorn

repertoire

BERNARD

THOMAS

There are

quite

a

few

people

around

today

who

have

bought

crumhorns and learnt to

play

them

to

some

sort

ofstandard,

buthave

difficulty

in

finding

suitable

music,

chiefly

because

of

the

limited

range

of the

instruments.

This article aims to

define

the

repertoire

of

the crumhorn in

general

terms,

and to

try

and sort

out

what

types

of music

actually

might

have

been

played

on these instruments.

It is

worth

pointing

out, however,

two

important

differencesbetween the crumhorn of the Renaissance

and

the

reproductions

we use

today,

inasmuch

as

they

affect

the

repertoire.

The

first of these

is

the

actual

sound of the instrument.

All

modern

repro-

ductions

(with

the

possible exception

of those

by

Rainer

Weber,

which

I am

told are more

authentic,

though

I

have

unfortunately

been

unable

to

get

hold

of

any,myself)

tend

to

produce

a

rather

thin

buzzing

sound

with

little

resonance;

this

is

probably

due to

(a)

plastic

reeds,

(b)

very

small bell

flare

compared

to

the

originals,

(c)

very

small

finger

holes,

and

(d)

a

bore that

is

slightly

too

narrow

all the

way

down.

The

originals

that

I

have

played

(in

Berlin and

Vienna)

produce

a much

clearer,

stronger

and

more

resonant

sound,

with

much

less

buzzing

about

it

-

in

short,

they

sound

like musical

instruments,

rather

than the

failing

buzzers of

a

sick

intercom

system.

Thus

the

in-

adequacies

of modern instruments

combined with

the

inability

of

many

players

to

tongue

smoothly

when

required

has led

to the

concept

of the

crum-

horn as

a

'funny'

instrument

(I

have

never been able

to

see

the

joke myself).

Consequently

many

'early

musicians'

(musicians

with

alarm

clocks?)

regard

the

crumhorn as only suitable for dance music and what

one

might

call

16th

century patter-songs

like

Janequin's

'I1

estoit

une fillette'

(which

in fact could

not have been

played

on crumhorns without

several

alterations).

An

analysis

of

the

few

surviving

pieces

that

do

specify

crumhorns

shows

this

picture

to

be

anachronistic

to

say

the

least:

these

works

range

from a

fairly complicated

instrumental

piece

in

basse

danse

style

to

German

Tenorlied

nd sacred

works. So

it

is

clear

that

the

crumhorn,

if less

frequently

used

than

other

instruments,

was

regarded

as

a serious

instrument

capable

of

playing

solemn

motet-like

pieces

as

well as

dance

music,

and

was

only

limited

by

its

range.

This

brings

me to the

second

important

difference

between

the

renaissance

crumhorn

and its

20th

century

counterpart

-

the

actual

pitch

of

the various

sizes,

at

least

in

relation to

each

other.

It

seems

fairly

certain that

the

alto

instrument

(or

diskant,

as

it

seems to have been called)was in g, not in f. Neither

Virdung

nor

Agricola

mentions a

higher

instrument

in the

text,

and

it seems

fairly

certain

that the

standard

ensemble

(at

least

during

the first

half of the

16th

century,

and

possibly

considerably

later)

consisted of alto in

g,

two tenors

in

c,

and bass

in

F.

Praetorius

does mention a

soprano

(exilient)

though

it

seems to have

been

fairly

rare. On the

other

end

of

the scale

extended basses

(with

sliders

allowing

one

extra

note

thathad

to be

pre-set

-

e.g.

D

or

C

on

an

F

instrument)

and

even

extended

great-basses

in C

have

survived: this

somewhat

primitive

extension

system

may

seem

strange

to

us,

but in

fact

there are

many

16th

century pieces

in

which the bass

part

has a

range

of

about an

octave

plus

one other

(lower)

note,

often

turning

up

just

at the

main

cadences.

A

predominance

of

the

lower

sizes

among

the

surviving

instruments

together

with the relative

scarcity

of a crumhorn

that

could

go

above a' would

suggest

that

some

downward

transposition

might

have

been

common

practice,

and this

is

borne

out

by

the

surviving

pieces

that do

specify

crumhorns.

Before

going

into this

question

of

transposition

it

might be as well to list all the pieces that are known

to be

associated

with

the instrument:

1

Schein

included a

pavan

'a

4 Krumhorn'

at the

end of

his

Banchetto

Musicale

of

1626.

2

A

six-part

madrigal

Guardan

almo

pastore

was

performed

as

part

of a

dramatic entertainment

with

music

by

Corteccia

in

1539:

according

to

the

surviving

description

it

was

first

sung,

then

repeated

with

crumhorns

doubling

the

voices.

3

Thomas

Stolzer

composed

a

six-part psalm

142






setting,

Erzimrne

ich

nicht,

at

the

instruction of a

royal

patron

in

1526:

a

letter survives in

which

the

composer

mentions

that he

has

written

the

work

with

crumhorns

in

mind.

4 MS

1872

of the

Kongelige

Biblioteket in

Copenhagen

(which

was

in

fact

written

for a

royal

wind-band,

and

which

specifies

some

other

instruments as

well)

contains three

pieces

headed

'Krumbhdrner':

a)

T'Andernaken,

n

anonymous

five-

part

setting

of a

Dutch

popular

tune in

which

all the

parts

are

within

the

range

of

crumhorns,

(b)

ich klag

den

tag

und alle stund for a mixture of

crumhorns

and

trombones

(the

manuscript

does

not indicate

which

instrument

should

play

which

part),

and

(c)

Hor

largire,

probably

also

intended for a

mixture

of crum-

horns and trombones

also,

as

only

three

of

the

six

parts

are

within

the

range

(crumhorns

only

are

mentioned

in

the

manuscript).

5

MS

1873

from

the

same

library

(associated

with

the same band as 1872) contains three motets for

which

crumhorns are

specified;

unfortunately

none

of these

pieces

is

complete.

Apart

from

their

intrinsic

interest,

there

are

two

important points

about these

pieces.

One

is

that

they

cover

many

different

types

of

music

-

a

stylized

dance,

an instrumental

setting

of a

popular

tune,

a

fairly

elaborate

six-part

chanson

of

about

1540,

a

German

Tenorlied,

an

Italian

madrigal

and several

sacred

pieces.

This

alone

would

be

enough

to

dispel

the

myth

of the crumhorn

as a comic

figure.

The

other

point

is

that

in

several of

the

pieces

(for

instance Ich

klag

den

tag)

a

transposition

down a

fourth is

necessary

before crumhorns can be used.

I

would

suggest

that

transposition by

this interval

in

order to

bring

music

within the

range

of

crumhorns

must

have

been a

fairly

common

practice,

at least

during

the

first

half

of

the 16th

century.

Certainly

much

four-part

music of

around 1530

works

very

well this

way.

For a

piece

to fit

transposed

down

a

fourth

the

ranges

of

the

parts

must

be

written:

superius,

c'-d ,

tenor and

contratenor,

f-g',

bass,

B

flat

to c'

(with

occasional

optional

G

or

F).

Parts

with these

ranges

are

normally written in the follow-

ing

clefs in the

original:

superius

/

v

tenor

o

contratenor

,

bass

b,

Normally

this

transposition

will

only

work with

pieces

that

have

B flats in them:

pieces

without

flats,

but

fairly

frequent

sharps

(e.g.

in a

minor)

tend to

work better

down

a fifth.

Many

chansons

of the

so-

called 'Parisian'

type

work well this

way.

For

instance,

three of the chansons

published

as

suitable

for

recorders

or

flutes

in

1533

by

Pierre

Attaingnant

(for modern edition see bibliography) will fit,

Claudin's De vous

servir,

Vermont's Les

yeulx

bendez,

and

Jacotin's

Voyant

souffrir.

In fact a

fairly

high

proportion

of

the

chansons

of this

type

that

have the

bass

part

written

in

the baritone clef

in

the

original

(F

on the

middle

line)

will work

quite

well.

Many

of

the dances

from

the earlier

Attaingnant

collections

are

eminently

suitable

for

this treatment.

For instance

in

the

Neuf

basses

danses deux branles

.

. ,

(published

in

a

modern edition

under the

title

Pariser

Tanzbuch)

the

following

numbers

will

work

(numbering

according

to modern

edition,

different

from the original): 2, 5-7, 10, 12, 13, 18, 22, 32-35,

40, 42-49,

51.

The same

publisher's

Second

livre

(1547)

contains

the

following

numbers

to

which

the

same

applies:

3, 4, 6,

8, 12, 14-18,

20-22, 27, 32, 38,

45,

46. The

dance collection

that contains the

largest

number

of

pieces

suitable

for crumhorns is

Susato's

1551 book.

Curiously

enough

the

majority

of

the

dances in

this collection are

already

written

a

fourth

lower

than the

pitch

one

would

normally expect

to

find

them

in: for

instance the

Bergerette

D'ont

vient

cela

appears

in

d,

while

the

galliard

on

the

same

chanson in

Attaingnant's

Neuf

bassesdansesas

well

as

most

arrangements

of the chanson itself are in

g.

It is

possible

that

Susato

deliberately

printed

his

dances

down

a fourth

with

crumhorns

in

mind,

as

the fact

that

his

shop

sign

in

Antwerp

was

the crumhorn

might suggest

that

he

could

have had a

special

interest in

the instrument. Not

all

the dances are

written

in

the

low

key,

however,,

and

the

following

dances

will need the usual

transposition:

Entre

dufol,

Den

IIII.

ronde,

Den

V.

ronde.

Wo

bistu,

Den

VI.

ronde,

den

VIII

ronde.

Mille

ducas

en

vostre

bource,

Saltarelle.

Not

all the

pieces

in

Susato

are suitable for

crum-

horns

-

the following are out of range however they

are

transposed:

Reprise

C'est

une

dure

despartie,

Bergerette,

Danse du

Roy,

Lejoly

boys,

Mon

desir,

Reprise

Le cueur est

bon,

Reprise

C'est

a

grant

tort,

Den iersten

ronde.

Pourquoy,

Den

II

ronde. Mon

amy,

Den III

ronde,

Den hoboecken

dans,

Den

V

Allemaingne,

Den

VII

Allemaingne,

Recoupe,

Pavane Si

par

souffrir,

4.

Gaillarde,

Galliarde

1-15. All the

other

pieces

in

the

collection,

thirty-nine

in

all,

will work

perfectly

well

on

crumhorns as

written.

143






Italian

dance

music

of the 16th

century

is if

any-

thing

more

suitable

for crumhorns

than

French:

much of it

is

extremely

simple

harmonically

and

melodically.

Most

of the

dances

in Bendusi's

Opera

Nova

de Balli

(1553)

work

perfectly

well

on

the

standard

ATTB

combination,

though

in most cases

they

need downward

transposition

by

a

fifth

rather

than a fourth as many of them are written out in A

rather

than

G.

A

large

proportion

of Italian

dances

in

manuscript

sources

(for

instance

those

in British

Museum,

Royal App.

59-62,

some of

which

turn

up

in

the Hessen

collections

of

1555)

are

also

eminently

suitable.

Unfortunately very

little

of this

music

is

available

in

modern

editions

at

the

moment:

nine

pieces

have been

published

in

a

somewhat

dubious

edition

for recorders

(see

bibliography).

In the later

dance

collections

the number

of

pieces

that

will

work

on crumhorns

even

if

transposed

down

a fourth

or

any

other interval

decreases:

this

is

largely

because the

top

part

tends to go

up

to higher

notes

of the basic

scale,

for

instance

f

in

the

key

of

g,

as

against

the earlier

dances

in

which

the

superius

very

often

goes

up

to the

fifth and then down

again.

In

Claude

Gervaise's

Sixi'eme

Livre,

published

by

Attaingnant

in

1555,

only

ten

pieces

work

out

of a

total

of

50,

nos.

1, 4, 5, 9,

13, 21,

31, 32,

36,

50.

In

the

same

arranger's

Troisi'eme

Livre

(1557)

only

seven

pieces

will

work,

nos.

5,

7, 9,

17, 18, 39,

41.

In

Etienne

du

Tertre's

Septi'eme

Livre

(1557)

none

of

the

dances

will

respond

to

any

transposition

scheme.

Apart

from

the difference

in

the

modal

structure

of

the melodies

that

I have

already

mentioned,

an

important

reason

why

these

later

pieces

do

not

work

as do

the

earlier

ones

lies in

a

change

in the

spacing

of

the

parts:

those

of around

1530,

like the

chansons

of that

time,

tend

to

have

two

equal

inner

parts,

while

in

the

later ones

there is

normally

a

gap

between

these two

parts

(even

if

they

are

written

in

the same

clefs).

The

question

of

whether

these

mid-

century

dances

could

have

been

played

on

crum-

horns

depends

entirely

on

exactly

when

the

soprano

crumhorn

appeared

and

on

how

much it was

used

when it did arrive. As there is a long gap in

documentation

between

Agricola

and

Praetorius

it

is

impossible

to

say

with

any pretence

at

accuracy

when

the basic

ATTB

family

was

extended

upwards

(or

downwards,

for that

matter).

It seems

likely

that

during

the second

half

of the 16th

century

the

violin

family

must have

begun

to take on an

increasingly.

important

role

in

dance

music

as an

indoor

alter-

native

to the outdoor

shawm

band.

There

is some

documentary

and

iconographic

evidence

for

this,

but

it is

also

reflected

in

the music.

A

few

of

the

branles

in

Etienne du Tertre's

Septieme

Livre

(1557)

and some

of

the

pieces

in

Giorgio

Mainerio's

II Primo

Libro

de

Balli

(1578)

show

signs

of

being

particularly

suitable

for

strings.

By

the

time

Terpsichore

1612)

appeared,

fiddlers must

have had

something

of a

monopoly

in

indoor

ensemble

dance music:

certainly

all

the

dances in Praetorius' collection sound well on

strings,

and

many

are

unsuitable

for

any

other

instruments. An

analysis

of all the

dances

in

this

volume reveals

only

a

handful that could

conceivably

be

played

on

crumhorns. No

suite of

branles

will

work

complete

at a

single

transposition,

which

does

rather

suggest

that crumhorns should not

be used

in

these dances at all.

With German music

of the

16th

century

it is

really

quite

surprising

how

little there

is

that

will work

on

a

crumhorn

consort:

in

the

whole

repertoire

of

the

Tenorlied

there are

very

few

pieces

in

which

all

parts

are within the range, however they are transposed.

The

only

ones that

do

work

are

the

very simple

homophonic

pieces

like

Senfl's

Mit

Fleiss

und

Mi?h

(Samtliche

Werken,

IV,

no.

19)

or

the same

composer's

Patientiam

muss

ich

han

(IV,

64):

such

pieces

are

very

much the

exception

in

the

repertoire

of

the

Tenorlied,

which

typically

has

fairly lively

and

wide-ranging

'free'

parts

that

set off the

simple

tune in the tenor.

The

same

problem

exists

with

German sacred music

of

the time: this

too tends to

be

fairly

elaborate

rhythmically,

with

frequent

octave

leaps

that

bring

the

range

of

most

parts

well

over a

ninth. The

specification

n the Ich

klag

den

Tag

etting

n

Copen-

hagen

1872,

'krummhirner

und

posaun',

is

extremely

interesting

in

this

context: the

three

parts

in this

piece

that are

within

the

compass

of crum-

horns

are

cantis-firmus

parts, presumably

leaving

the

more

elaborate

'free'

parts

to the trombones.

This

may

come

as

a

surprise

to

us,

as the sackbut tends

to

be associated

in our

minds

with

slow-moving

parts

rather than

busy rhythmic

writing.

However,

setting

aside

the

question

of

the

sackbuts,

the fact that

we

are

left

with

the

crumhorns

playing

the

tune

is most

interesting,

and

suggests

an

important

use

of

the

instrument. This

type

of instrumentation

need

not be

limited

to German

music

-

the

six-part

French

piece

from

the same

source,

Hor

largire,

is similar

in

that the

only parts

that will

fit

on crumhorns

are the

fairly simple

top part

and

the two inner

parts

with

what

appears

to

be

a

borrowed

melody

in imitation.

Incidentally

it

is

worth

mentioning

that we

are

once

more

up

against

the

inadequacies

of most

modern

instruments

-

the

thin

buzzing

sound of

these makes

144






a

poor

cantus

firmus

instrument,

while the

more

resonant,

singing

sound of

the

originals

would

be

perfectly

satisfactory.

Assuming

for

the

moment

that

one

can

get

hold

of decent instruments

(or

at

least

doctor

the over-nasal

ones)

one can

usefully apply

this

sort

of instrumentation

to

many

other

pieces

that

are

similar to these

two

works,

that is to

other

Tenorliederfor example those of Senfl, Hofhaimer

and

Finck)

-

especially

those

in five or six

parts

with

more

than one

cantus-firmus

part

-

and

to

six-part

chansons of the 1540s

(for

instance,

those

by

Gombert,

Crequillon,

etc.).

The same

applies

to

sacred music of the

same

period

that is

similar

in

texture and

style.

To

go

back

,to

my

list

of

'original

crumhorn

music',

itzis

worth

noting

that

the

Italian

madrigal

Guardan almo

pastore

was

performed

with

crumhorns

doubling

voices,

partly

because

this

suggests

that

one

is

justified

in

performing

other

madrigals

this

way,

and

partly

for what it

says

about both the singing

styles

of the time

and

the actual sound of the

old

instruments:

it is

hard to

imagine

this

combination

being

effective

today.

In

fact

if

one

can

get

hold

of

crumhorns

that

sound

anything

like the old ones and

singers

who

are

capable

of

singing

in

a manner that

is

compatible

with

these

instruments,

the

combination can be most

effective.

This

can

of

course

be

applied

to

church music:

there

is

some

evidence that these

instruments

were used

in

churches,

especially

in

Germany.

In this

article

I

have

only

been

able to mention

specifically

a

small

proportion

of the

music that is

suitable for crumhorns. I

have

to

some

extent

concentrated

on

music

of the first half of

the

16th

century, partly

because

I

feel

it is in

many ways

more

suited to

the

instruments,

and

partly

because

the

translation of

Praetorius on the crumhorn

in this

issue is

fairly

detailed.

Rather

than

enlarge

on

late

16th

century

music I

think

it

might

be

more useful to

summarize

the

conditions that

make

good

crumhorn

music:

1

At

least

four

parts

-

there are

practically

no

three-part pieces (apartfrom a few Italian songs of a

popular type)

that

will

work

on

crumhorns.

2 Parts

that are

fairly

close

together:

a

large

gap

between the

top

two

parts

in

particular

usually

means

that a

work

is

unsuitable

for

crumhorns,

because the

necessary

downward

transposition

will

either

prove

impossible

anyway

or

result in a

muddy

texture from

the

lower

parts.

3 The

compass

of

the

top part,

which

normally

has

the

leading

note in

most

16th

century

music

should

have

the

tonic note somewhere

in the

middle

of its

range (e.g. g'

when the

compass

is c'-d )

other-

wise

important

leading

notes

will

be

impossible

(e.g.

C

sharp

on a

C instrument).

4 Pieces

with few

sharps

or flats

and

few

modulations.

5 Vocal music

(and

arrangements

of vocal

pieces

including dances)rather than idiomatic instrumental

music: most

instrumental

fantasies,

etc.,

have

ranges

of

considerably

more than a

ninth.

The

point

is that

a

ninth is

about

the

best

range

for

the

average

un-

trained voice.

I would like to end

by

emphasizing

that,

contrary

to what certain brochures

may

state,

the

crumhorn

was

not 'one of the most

popular

wind

instruments

of

the

Renaissance'.

It is

quite

clear from

surviving

pictures,

inventories and

descriptions

of

particular

performances

that

the main

wind

instruments

were

the

cornetts

and sackbuts

for

general

purpose

use

and the shawms for outdoor use. Even recorders

must

have

been

used

more

often

than

crumhorns.

I

hope

I

have

shown that these

instruments must have

been

used

for

a

fairly

wide

range

of

music,

but

I

would

suggest

*that

they

were

played

occasionally

only.

The fact that

the modern

instruments have

increased the

compass

to an

eleventh

is a

mixed

blessing,

as

the

extra

notes are

usually

unstable

intonationwise

and

hardly

ever

pleasant

to

listen

to.

Bibliography

MODERN EDITIONS OF MUSIC FOR

CRUMHORNS

I.

Music with

original

specification

or

crumhorns

1 Schein

Pavan in

Banchetto

Musicale

volume

9 in

the

new

complete

edition

published

by

Barenreiter

-

BA

4499)

2

Anon

(MS

Copenhagen

1872),

T'Andernaken,

or

five crumhorns

ATTBB

(London

Pro

Musica

Edition,

RB

1).

3

Thomas

Stolzer,

Erzirne dich nicht

(in

volume

VI

of Das

Chorwerk,

ublished

by

M6seler

Verlag).

4 Corteccia's

madrigal

Guardan

almo

pastore

is

found

in

Ghisi,

Feste

musicali delle

Firenze

Medicea

(1480-

1589),

1939.

II.

Modern

editions

of

music

for

crumhorns

without

original

specification

1

Moeck

publish

a

series

under

the

title Der

Blaserchor

intended

for

various

types

of

wind

instruments

including

crumhorns.

Alternatives are

provided

where notes

out of

the

range

appear,

but

145






note that

the

range

assumed is that of an eleventh -

soprano

crumhorns

are assumed to

have

top

fu

I

have

been

unable to

get

a

complete

list

-

the follow-

ing

five

volumes

have been added to:

Volume

1

Tinze

des

16.

Jahrhundert

u

vierStimmen

(selection

from

Phalese's 1583

book),

SATB.

Volume

2 Francesco

Bendusi,

Opera

nova

de

balli

(selections),SATB.

Volume 3

Pierre

Attaingnant:

Second livre de

Danceries

selections),

SATB.

Volume

4

Pierre

Attaingnant:

Quart

&

Cinqui'esme

Livrede

Danceries

selections),

SATB.

Volume 5

Tidnze

es

16Jahrhunderts

u

vierStimmen

(selections

from

Phalkse's

157

1

book),

SATB.

2

London

Pro

Musica Edition

publish

a

series of

music

designed

for

various

early

wind

instruments

including

crumhorns.

The

range

assumed is

the

authentic

one

of

a

ninth,

though

the

modern alto in

F is

assumed. So

far,

apart

from

the

T'Andernaken

setting

mentioned

above,

two

other

volumes

have

appeared:

RB2

Seven

Double

Canons,

or

four

instruments or

voices,

SATB.

RB3

Josquin

des

Pres,

La

Spagna,

or

five

instru-

ments,

ATTBB.

3

Crumhorn-consort

nthology,

olume

1

(Musica

Rara).

The

range

assumed

in

this

collection is

a tenth

for

soprano,

alto,

and tenor

crumhorns,

but basses are

expected

to

go

up

to b

flat.

III. Volumes

f

musicmentionedn the

text as

being

uitable

for

crumhorns,

utnot

published

pecifically

or

them.

1

Pierre

Attaingnant,

Pariser

Tanzbuch,

1530

(=Neuf

bassesdances

deux branles

. .

),

for four

instruments.

Two

volumes

(Schott,

3758-9).

2 Pierre

Attaingnant,

Second ivre

de

Danceries,

1547

(volume

9 of the series

Le

Pupitre

published

by

Heugel).

3 Claude

Gervaise,

Sixi'emeLivre

de

Danceries,

1555

(London Pro Musica

Edition,

AD6).

4

Claude, Gervaise,

Troisi'eme

ivrede

Danceries,

1557

(London

Pro Musica

Edition,

AD3).

5 Etienne

du

Tertre,

Septi'eme

ivrede

Danceries,

1557

(London

Pro Musica

Edition,

AD7).

6

Tielman

Susato,

Het

derde

musyck

boexken,

1551

(Schott,

2435-6).

7 Nine Sixteenth

Century

ances

arranged

for

recorders

from

pieces

in British Museum

Royal

App.

59-62

(Schott,

Arch

1-2).

8 Six SpanishDances in fact, Italian dances from the

same source

as

above),

arranged

for

recorders

(Alfred

Lengnick).

9

Pierre

Attaingnant,

FourteenChansons

1533)

for

four voices or

recorders

(London

Pro

Musica

Edition,

PC 1).

Two

further

articles n the

crumhorn

y

David

Munrow

and MichaelMorrow

have been

promised

or

the

January

1974

issue. Theseare

planned

to

cover

surviving

original

instruments,

vidence

of

the

original

oundsand

technique,

as well as their

general

istory,

seand

technique

oday.

146




an introduction to crumhorn repertoire

Documents