dissertation on rudentiu's (rude) book

8/19/2019 Dissertation on Rudentiu's (Rude) Book

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LOBAUGH, Harold Bruce, 1930- THREE GERMAN LUTE BOOKS: DENSS'S FLORILEGIUM. 1594; REYMANN’S NOCTES MUSICAE. 1598; RUDE'S FLORES MUSICAE.1600 [with] VOLUME H. APPENDIX, TRANSCRIPTIONS.

The University of Rochester, Eastman School of Music,

Ph.D„ 1968Music

University Microfilms, Inc., Ann Arbor, Michigan

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YITA

The writer was born at Toledo, Ohio, on February 19,

1930. He received his earlier education in schools in

Michigan and Colorado, receiving his high school diploma at

Loveland, Colorado, in 19*+7* He was graduated cum laude from

Muskingum College at New Concord, Ohio, in 1952, with the

degree Bachelor of Science.

He was discharged from the U. S. Army in-' 195^ after two

years of service as an electronics technician. Additional

study was undertaken at Kansas University, the University of

Kansas City, and Indiana University. The writer completed

requirements for the degree Master of Music Literature with

a major in clarinet at the Eastman School of Music in 1959*

His professional experience has included teaching in

school systems in Kansas and Ohio. He was formerly Assist

ant Professor of Music at Hartwick College, Oneonta, New York,

and at present is Assistant Professor of Music at the Univer

sity of Saskatchewan, Regina Campus, in Canada.

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PREFACE

The intent of this thesis is to present a thematic

index of the three hooks, full transcriptions of represen

tative pieces, and appropriate background and comment. All

three of the books are printed sources, two of which (those

by Reymann and Rude) were intended to appear as a combined

print in 1600, although we have not turned up any such copy.

The third book (Denss's) was included because it has, like

the others, not received much attention and is from the same

decade. The thematic index appears in Volume II. A concor

dance is listed separately in Chapter III.

In addition to the assistance provided by his advisor,

Dr. Charles Warren Fox, the writer acknowledges special help

given him by Miss Elizabeth Henderson and Dr. Klaus Speer of

the Sibley Musical Library staff, as well as that of Dr. Ri

chard Murphy of Oberlin College (who very kindly mailed his

precious transcriptions from Italy). Mr. F. Niles Bacon of

Rochester assisted with the Latin translations, as did

briefly Miss Virginia Moscrip, formerly of the University of

Rochester.

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ABSTRACT

Three well-known, hut relatively little discussed,

printed lute-books are presented in a thematic index, full

transcriptions of selected pieces (about one-fifth of the

purely instrumental ones), and comment. Rather extensive

Latin prefaces to the volumes have been perused for 'the few

biographical details they contain and these have been com

bined with other material from secondary sources.

The repertoire of the books consists of over ^-00 pieces

for solo lute (or in the case of the Denss book, for solo

lute and voices), of which well over half are intabulations

of well-known polyphonic vocal literature, both sacred and

secular.

Reymann1s book is notable for its large number of pre

ludes (23) and fantasias (16). Rude's book emphasizes the

pavan (20) and the galliard (21). Six of Rude*s pieces have

been identified here as appearing in English sources of the

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

their composers," Inland and Holborne. Reymann*s pieces are

evidently all his 'own, but Denss prints several pieces by

contemporary figures such as Victor de Montbuisson and Gregory

Howett.

All three of the books use the French tablature and are

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generally easily understood.

The quality of the music in the Denss hook is particu

larly high. His fantasias are emulations of the motet style

in which some type of imitative subject is usually maintained,

however brief'in nature. His codas are usually of subdominant

harmony with slowed rhythmic values. His dance pieces are

skillful blendings of modal and tonal procedures, sometimes

using popular tunes.

Reymann's pieces are remarkable for their rich low so

norities and particularly,.in the case of the passamezzos,

for their interesting harmony. His preludes are often dis

play pieces but some bear the imprint of the motet style.:>.

Nine of his fantasias use successive phrases of well-known

chorale melodies as subjects for imitative entries, while the

others have proved to be monothematic in structure. The pre

ludes are presented in a variety of keys, including one in

B-flat molle and one in E-flat durum. His dance pieces are

done on a larger scale in length and range than many others

of their time. Modal schemes are clearly seen in his fan

tasias, but in the dance pieces he leans toward quite modern-

sounding functional harmony, as well as toward wide-ranging

sequential melody.

Rude'shook is the least satisfying as to musical qual

ity. Many of the pieces have more modally-oriented harmony

and cadence points with a wandering melodic style. The better

pieces are those by persons other than himself. His galliards

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are quite conservative in their formal layout, but many of the

pavans have unusual interior sections in triple time.

Many of the vocal intabulations are rather literal rep

resentations of the original, but some have the scalar em

bellishment needed to fill in long note values. Rude has

evidently made some changes in the harmony of a few pieces.

Denss has included outer voice parts of the polyphonic vocal

original in his book, probably to make the book more suitable

for Hausmusik groups which might be lacking some voice parts.

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TABLE OF CONTENTS

VOLUME I

PREFACE ..............................................

LIST OF TABLES ........................................

CHAPTER I. INTRODUCTION ............................

CHAPTER II. THE LIVES OF THE COMPOSERS AND THEIR TIMES

CHAPTER III. THE BOOKS THEMSELVES ....................

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

CHAPTER IV. THE MUSICAL STYLE . . . . ................

A. The Intradas................. . .B. The Preludes ......................C-. The Fantasias ..............D. The Dance-Pieces ..................

' E. The Vocal Intabulations . . . . . .

CHAPTER V. SUMMARY ..................................

BIBLIOGRAPHY ............................ .............

VOLUME II

APPENDIX: TRANSCRIPTIONS ......................

Florllegium (Adrian Denss)Thematic Index ............

Complete Pieces ..........Noctes Musicae (Matthias Reymann)Thematic Index ............Complete Pieces .......... .

Flores Musicae II (Johann Rude)Thematic Index ............Complete Pieces . . . . . .

Vocal Intabulations ..........

iii

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LIST OF TABLES

Table

1. Florilegium: Table of Contents .2. Flores Musicae: Table of Contents3. Critical Notes ................

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VOLUME I



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CHAPTER I

INTRODUCTION

The three lute books we are discussing were printed in

Cologne and Heidelberg and mark the introduction into Germany

of the French system of tablature, in printed books. They

and their compiler-composers were known on into the seven

teenth century and are very often referred to in passing by

modern writers, but not in detail.

All of the pieces are for solo lute, to which, in the

case of the book by Denss, are added some voice parts. The

books together comprise 257 vocal intabulations and 198 inde

pendently conceived pieces such as intradas, preludes, fan

tasias, and dance pieces. The distribution of the contents

of the three books is as follows:

Intabulations Independent Pieces

Denss 86 6*t

Reymann 0 7^

Rude (Book I) 95 0

Rude (Book II)1 76 60

We have directed our attention, as far as musical style

is concerned, principally toward the independently conceived

^The two Rude books are hereafter referred to as Rude I andRude II.

1

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2

pieces. However, a few comments have been made about the

relatively few selections for which the vocal models are

easily available in editions of the collected works of their

composers. Tables of the contents of the groups of intabu

lations have been given (see Tables 1 and 2) including, in

the case of the Rude books, the earliest printed source in

which the individual piece appeared or its location, in the

2edition of the complete works of the composer.

As background, we have presented a summary of the infor

mation available on the compilers and on the lesser-known

composers who appear in the books.

In the evaluation of the importance of the books, writ

ers have not been particularly partial to them. Michael

Prynne, although listing them as being in the "Golden Age,"

says that at the time, "in Germany and the Low Countries

there was no corresponding production /to that of the

English/ of original work. "3 Kurt Dorfmliller has character

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

kcharacter." Wolfgang Boetticher has described the Denss

2Such information for the intabulations of the Denss collec

tion has already been given in Howard Brown's Instrumental

Music Printed Before 1600: A Bibliography (Cambridge, 1965)•

Michael W. Prynne', "Lute Music," Grove's Dictionary of Musicand Musicians. 5th ed., V, *+*+3.

^Kurt Dorfmtiller, "Johannes Rude," Die' Musik in Gesch.ich.teund Gegenwart (hereafter referred to as MGG), ed. FriedrichBlume, XI (Kassel and Basel, 1963), cols. 1057-1058.

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book at some length but says that an evaluation is still

lacking.

An older writer, Ernst Gottlieb Baron, ih his Histo-

risch-theoretisch und practische Untersuchung des Instruments

der Lauten (Nuremberg, 1727) devoted several pages to Rude's

book, mentioning the composers included and quoting several

of the prefatory sections, but quoting no music and making

nothing but a generally favorable comment without real ap

praisal. He also includes among his listing of the older

lute books our two other authors. He mentions Reymann and

his Psalmodie and Floribus Musicae. and Denss and his Flo-

rilegio. as well as Francisque, Hove, and others.

Rudolf Wustmann^ is the only modern writer to have

taken an interest in any of the collections. He quotes, in

part, or in full, several pieces from the Reymann and Rude

books, and although not making'much comment, is quite re

spectful of the scope of Reymann's pieces.

Our three books would have been included in Jenny Dieck-

mann's Die in deutscher Lautentabulatur ttberlieferten T8nze

des 16. Jahrhunderts except for the fact that they are a bit

more "progressive1' in using the French tablature. Her work

is the chief basis for our study of the style of the dance

pieces.

Very few of the pieces from these collections have

^Rudolph. Wustmann, Musikgeschlchte Leipzigs (Berlin. 1909) •

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appeared in modern editions. They are:

Denss:

No. 72, de Monte's Que me servent. in Phillip de

Monte Opera Omnia, edited by Charles van denBorren (Dttsseldorf, 1927, f.) XXV, 59.

No. 76, de Monte's Verament' in amore. in deMonte, Opera Omnia XXV, 66.

No. 86, Fantasia Prima. in Hans Neeman, AlteMeister der Laute (no date or place) II,No. 15.

No. 93, Fantasia alia eiusdem (Howett) in RobertDowland, Varietie of Lute Lessons (1610), edi

ted by Edgar Hunt (London, 1956), 11.

No. 118, Allemande. in Neeman, Alte Meister II,No. 16.

Rude I:

No. 17, de Monte's Ahi chi mi rompe, in de Monte,Opera Omnia XXV, 7*

No. 35, de Monte's Occhi vaghi amorosi. in de Monte,Opera Omnia XXVf 19.

No. 50, de Monte's Poi che il mio largo pianto.in de Monte, Opera Omnia XXV, 2*f.

Rude II:

No. 2, de Monte's Leggiadre Ninfe. in de Monte,Opera Omnia XXV, 27.

No. 35, de Monte's Amorosi Pensieri. in de Monte,Opera Omnia XXV, 32.

No. *+9, de Monte's Veramente in Amore. in de Monte,Opera Omnia XXV, 7*

No. 119, Entrata. in Wustmann, MusikgeschichteLeipzigs (Berlin, 1909), 268.

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Reymann:

No. 3? Praeludium. in Wustmann, Musikgeschichte.pp. 221-222.

No. 36, Fantasia, in Alter Meister der Laute II,No. 22.

We have included not only a thematic index of the purely

instrumental pieces but also a selection of some representa

tive items from this repertoire in full. Selected measures

from a few of the vocal intabulations are also given.

The study is based on the copy of the Reymann book in

the Sibley Musical Library and on films of the Denss and Rude

books supplied by the Deutsches Musikgeschichtliches Archiv

in^assel, which are evidently (according to the library

marks) reproductions of the copies in the Library of Duke

August at Wolfenbtittel. A film, of the copy of the Reymann

book in the Brussels Library was also available.

Copies of the Denss book are also in existence at the

Nationalbibliothek in Vienna, and at libraries in Cologne,

Leipzig, Munich, Trier, and Wroclaw (Poland); Reymann's book

is also to be-found in Wolf enbtittel and Wroclaw; copies of

Rude’s books are at Vienna, Braunschweig (Book I only),

Dresden, and Cologne.



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CHAPTER II

THE LIVES OF THE COMPOSERS AM) THEIR TIMES

No details are known, about Adrian Denss's life. One can

agree with Boetticher's suggestion^ that he could have been

resident in western Germany about the time that his lute

book (the only publication of his known) appeared in Cologne,

from a consideration of the places mentioned in its dedica

tory preface. The dedication reads:

REVEREND0, ILLUSTRI, AC GENEROSO DOMINO D. ARNOLD0 EXCOMITIBUS DE MANDERSCHEIDT ET BLANCKENHEIM, BARONI INIUNCKERAID ET DAUN, ET. METROPOLITANARUM ET CAthe-dralium Ecclesiarum Treviren, Praeposito Colonien, &Argentinensi Scholastico, nec non D. Andrea EcclesiaeColonien, Praeposito. . .2

The location of the towns mentioned is in an area south of

Cologne, and generally west of Coblenz.

Other than that, one can only speculate that he may

have been active into the second decade of the seventeenth

century, since his name appears in the prefaces of lute

books of that era, §..&.•, those of Fuhrmann (Testudo Gallo-

Germanica. published in Nuremberg in 1615) and Besard (Novus

^Wolfgang Boetticher, "Adrian Denss," MGG III (1952), col.197.

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

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Partus, published in Augsburg in 1617̂ ). However, the way

in which authors and titles are mixed up in the latter print

might lead one to suspect that Besard had less than first

hand acquaintance with the books he mentions.

A reply to an- inquiry of the writer directed to the

Historisches Archiv of the city of Cologne indicated nothing

further is available.

That Denss should direct his dedication to two rather

(evidently) minor officials of the extensive arch-bishopric

of Cologne is unusual. Most publications named either their

immediate superior, Ernest of Bavaria, the elector (1583-

1612), or his uncle, Maximilian I, the duke, as their patron.

More is known about Matthias Reymann. Kurt Dorfmtlller1*

has suggested a birth date of around 1565* Since he refers

to himself on the title page of his book as Mattheus Reymann

Toronensis Borussi.y the place of his birth is taken to be

Thorn (Torun), Poland, northwest of Warsaw, on the Vistula.

It was of some importance in the early Renaissance and also

boasts of Copernicus as a native son.

From the dedicatory poems prefacing his books, one is

3A translation of this portion of Besard's preface to hisNovus Partus appears in an article by Julia Sutton, "TheLute Instructions of Jean-Baptiste Besard," Music QuarterlyLI (1965), 359.

^Kurt Dorfmliller, "MatthSus Reymann," MGG XI (1963), col. 35*+.

^Matthias Reymann of Thorn in Borussia. a Latin name for thearea.

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able to gather that at least some part of his youth was

under the care of four brothers, John, Adam, Carol, and Ni

cholas Czeykey, of Cazow and Olbramovitz. Olbramovitz is

also known as Wolframitz and is in Bohemia, actually only

about 60 miles north of Vienna. There is a Russian town of

Kozowa, considerably to the east, beyond the Carpathians,

north of Romania, which may be the locale of the other town.

The poem mentions also a Lake Sazava, possibly the same lo

cale as a famous mediaeval monastery of Sazava, 25 miles

southwest of Prague, on a tributary of the Moldau. The lake

was mentioned as the site of their castle. The discussion

of the fame of the four brothers (known, says Reymann, in

France, Germany, and Italy) is of no help in placing them.

They were perhaps lords of Bohemian estates appointed by

Rudolph II, the Hapsburg emperor of Germany and Bohemia from

1576 to 1612.

Wustmann,^1 without identifying his sources, says that

Reymann was in Leipzig by 1582, the date at which Dorfmiiller?

says that he matriculated at the University of Leipzig. His

subject', to judge from his later activities, was the law,

like that of a good many other lutenists of the time.

At the time of the appearance of his book, Reymann tells

^Rudolf Wustmann, Musikgeschichte Leipzigs (Berlin, 1909)? I»195. He may have been quoting from Leipzig city records orother sources mentioned in his preface.

7k. Dorfmtiller, o p . clt.. XI, col. 35^*



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us that his fortunes have suffered (this may be posturing):

En more gessi & quidem coactus gessi, ut qui sciam,quam sit mihi curta supellex, atque hoc in negotiores angusta dom.°

Other details of his life may be listed as follows:

1609 He married, in the Nikolaikirche at Leipzig,Elisabeth Barthel Schmid of Leipzig, on July17. He is described as "the respectable andlearned Mattheus Reymann of Thorn in Prussia."

1610 He was described as "a lutenist" when hebrought his daughter, Elizabeth, for christening, on June 17.

1612 He may have been temporarily in Cologne.9

1616 He remarried, at Leipzig, on the twentiethSunday after Trinity. His bride was Magdalene Brochlitz, the daughter of a local farrier. He is described as an administrator ofjustice for the Wolfferdorf family— who in1612 were patrons of Schein at Weissenfels.

1623 A daughter was christened on April 11. Heis described as a lutenist.

1625 Another daughter was born on August 26. Heis described as a notary public.

8So, I have obeyed and indeed carried on under the compulsion of_realizing that I have decrepit home furnishingsand /am/ in straitened circumstances in this business.

^Wustmann suggests this (on. cit.. I, 3^9) • He describes thepreface of a second book of Reymann's printed in Cologne:"Reymann dated, I admit, the dedication of his Cvthara Sacrasive Psalmodiae Davidis ad usum Testudlnis accomodatae in

Cologne, on December 12, 161.2, where the work also appearedthe following year, /printed/ by Grevenbruch; yet he stayedat that time only temporarily on the Rhine . . . " The book isnow lost. It consisted of 152 settings of Psalm melodies,each with a variation, from the Goudimel Psalter. Wustmannquotes a few measures from one of the psalms and from itsvariation.

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What these items of information, provided by Wustmann'^

evidently from the records of the Nikolaikirche. prove is

that the article of Fetis-^ contains some details about an

other Matthias Reymann, who was born at Lowenberg in and

died in 1597* These details are intertwined with some of the

ones we have quoted above, resulting in the incorrect state

ment that Reymann's publications are posthumous.

A definite death date has not been determined. Reymann

is mentioned in the prefaces of the Fuhrmann and Besard books

referred to earlier. Three galliards and two choreae are

found in the Leipzig MS II. 6. 15, also known as the lute

book of Albert Dlugorai, from 1619. None of them are in the

Noctes.

The recorded details of Johann Rude's life are made

known to us from the same sources as those of Reymann's. -*-2

He stems from a family of musicians, his father having been

a Leipzig Stadtufeifer. Kurt Rude, in service from 1556 to

1593 (he died in 1596). Since he was married in 1555, the

date of Johannes's birth may be placed at some time after

that.

10Ibid.. p. 195, 196.

• F̂. J. Fetis, "Reimann," Biogranhie Universelle des Musi-ciens (2nd ed.; Paris, 186̂ -), VII, 213. What basis F£tis hadfor describing, in a separate article, ''Reymann jV (p. 237),the subject of our study, as being in the service of the Elector of Cologne, we do not know.

12R. Wustmann, op., cit.. I, 195*



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Johannes Rude is listed in a record of debtors among

the customers of Jacob Apel, a Leipzig publisher of the time.

The date by his name is 1592. He next appears as the recip

ient of ten florins on October 18, 1595? for having served

for a missing organist ("veil er sich in Manglung eines Or-

ganisten brauchen lassen").!^ His lute book has in its dedi

catory pages a statement which could be construed as evidence

that he was receiving some kind of scholar's stipend from the

Saxon electors:

. . . quam gratiam ego in me singularem, multis bene-ficiis, certis documentis testatam, omni harmoniarum ,& concentuum genere perpetuo celebrandam esse judico.f4'

Rude has dedicated his first book to the following

array of individuals:

. . . DOMINO FRIDERICO WILHELMO, DUCI SAXONIAE ETELECTORATES ADMINIstratori, Langravio Thuringiae,Marchioni Misniae, &c . . . DOMINO CHRISTIANO II."

ELECTURAE HAEREDI, DOMINO IOANNI GEORG10 ET DOMINOAUGUSTO, DUCIBUS SAXOniae, Landraviis Thuringiae, &Marchionibus Misniae, &c . . .15

l^Loc. cit.

I1*"! consider that this unusual regard for me as shownJbyyour many kindnesses and by specific evidence, ought to becelebrated forever with every kind of harmonious concord"(Flores Musicae /I/, folio ii, recto, line 1*+). Similar suggestions are found in the second book. Ibid.. p. 138.

•^"To Lord Friedrich Wilhelm, Duke of Saxony and Electoral Administrator, Landgrave of Thuringia, Marquis of Meissen,etc. . . Lord Christian II, heir to the Electorate, Lord Johan Georg, and Lord August, Dukes of Saxony, Landgraves ofThuringia, and Marquises of Meissen, etc."

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His second book is directed toward still other persons:

DOMINO JOHANNI ERNESTO ET DOMINO AUGUSTO, GERMANISFRATRIBUS, BRUNSUICENSIUM ET LUNEBURGENSIUM DUcibus. . .

Friedrich Wilhelm (born 1562, ruled 1573-1602) was of

the Ernestine branch of the Saxon dukes and electors. Their

lands were under the trusteeship of the Albertine branch

from 1573 until 1586. Accordingly, during this time a sepa

rate Kantorei was not maintained. Friedrich, however,

founded a small one in the 1590’s which stayed principally

in Altenburg and was, after his death, called to Weimar. Hewas intellectually gifted, entering the University at Jena

at age twelve. He was later a patron of the University,

around 1591? and certainly an appropriate individual for the

dedication of a publication. Rude even declares himself an

"eye-witness of . . . good will worthy of princes toward lit

erary men and musicians. . ." further along in the body of

the text.

Rude turns next to the Albertine branch of the Saxon

rulers at Dresden. Christian II, Johann Georg, and August

were the young (the eldest was seventeen in 1600) .sons of

Christian I.

Johann Ernest and August of Braunschweig and Ltlneburg

were young, too (August was twenty-one at the time). Their

particular branch of the family was not to ascend to the

16"To Lord Johann Ernest and Lord August, German brothers,

Dukes of Braunschweig and Ltineburg. . ."



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duchy until later, when August would be known as the most

learned prince of his time and the collector of the core of

the famous Wolfenbtlttel library. Rude mentions that they

were "busy at Leipzig promoting good literature" in this

dedicati on.

In addition to referring to himself as a student of law

on the title page of his first volume (LL. Studiosum), Rude

says, in his first book " . . . because I was able to extri

cate myself temporarily from the study of law, to which my

parents dedicated me, I devoted myself to the study of music."

In his second book he makes reference to an illness which

prevented him from pursuing his legal studies but gave him

an opportunity to complete the book. However, his name has

not been found in records of the University at Leipzig.

He was mentioned, along with his mother and sister, in

connection with the sale of the family house on April 20,

1601; there was a sale of another family house in 160^, but

his name does not appear after that.

The two books are his only publications, but Boetticher

mentions a prelude by Johan Rude Franckf. 1615. in a Hamburg

MS Scheie, folio 1.17

Of some interest in filling in the background of the

era in which these three books appeared are the histories of

some of the composers, other than the compilers themselves,

17w. Boetticher, Studien zur solistischen Lautenpraxis (Berlin, 19^3), 163.

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who are represented. We will summarize the information

available regarding them, although in the case of those who

are better known, we will not repeat what is easily available

elsewhere.

John Dowland (1562-1625), described as Dulandi Angli in

the table of contents of Rude II, is the composer of the

piece by his name, Pavana a. 5. voc., marked in writing on the

tablature Pavanna Lacrimae. He is also the composer of the

18Pavana I. D., No. 110. He is also mentioned in the Epi-

gramma ad ornatissimim virum in Rude I (see Chapter II).

Dowland1s fame, of course, was already international by

the time of the publication of Rude's book. The particular

impetus for interest in his pieces in Germany may be said to

spring from his European trip of 159 +̂-1595, during which he

stayed for a time at Wolfenbttttel (at the court of Heinrich

Julius), at Kassel (at the- court of Moritz of Hessia), and

at Nuremberg. His travelling companion for part of the time

was Gregory Howett, another lutenist who crosses the pages

of all three of our books. Dowland was approached with

offers of employment by both of the above-named dukes, but

he refused them and continued on to Italy.

Peter Philips (1561-1628) is well-known. Although born

-i 0

It is Mrs. Brigide Fleetwood * s Paven. See the Concordance.

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



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in England, he was on the continent (Douai) by 1582, and

after being located briefly in Rome, Paris, Antwerp, and

then Brussels, he settled in Antwerp in 1590. His English

ancestry is given its due, here, since his piece, in Rude II,

No. 92, is called Pavana Anglica. It is identified as an

intabulation of his. work by the writing on the Wolfenbtittel

copy of the tablature, Pavana Phillipi. The piece is one of

nearly twenty of his in the Fitzwilliam Virginal Book (see

Chapter III)..

Anthony Holborne (died in 1607? birth date unknown) is

represented in Rude II by his Decrevi (Nos. 80 and 88). Con

tinental collections contain a number of his pieces (Adri-

aensen's Novuum Pratum /1600/ and van den Hove's Delitiae

Musicae /T6127). Biographical details are not known. He20

has been the subject of a recent English dissertation.

The Mr. Johnson who is the composer of Rude II, No. 85,

is the well-known John Johnson, lutenist to Queen Elizabeth

from 1579 until his death in 1591+* He appears very fre

quently in English sources. His piece in Rude II is a paduana.

(called in English sources a pavin).

Matthia Ferrabosco (1550-1616) has been given the credit

for composing the Gagliarda di Ferabosco which appears after

the galliard of the second passamezzo suite in Denss's book.

^Brian Jeffrey, "Instrumentation in the Music of AnthonyHolborne," Galpin Society Journal XIX (April, 1966), 20.

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16

Although born at Bologna, he was for 35 years (beginning in

1581) an alto singer, and later master of the chapel at

Graz. The chapel travelled with the prince, Erzherzog Fer

dinand, to several ceremonies at such locales as Regensburg

21and Vienna. Also the composer of nine canzonettas which

Denss intabulated, he is not known for any other type of

work, nor for any other instrumental pieces. Works by other

Ferraboscos (Alfonso I and Alfonso II) of course appear in

Robert Dowland's Varietie of Lute Lessons (1610) and Besard's

Thesaurus (1603).

Diomedes Cato, a Venetian for whom definite dates are

not available, was active at Polish courts in the latter

part of the sixteenth and the beginning of the seventeenth

centuries. He is mentioned in the laudatory poem in Rude I,

mentioned earlier, as Diomedis Sarmata. obviously a classical

reference to the locale of his employment (the Sarmatians

were a Slavic tribe in classical antiquity, occupying the

area, generally, between the Vistula and the Don, .r.&ja modern

22Russia and Poland). According to Eitner, he was brought

to Cracow by the Polish minister of the treasury, Stanislas

Kostka, who left Diomedis a legacy of 10,000 guilders at his

death., and recommended him to the king, Sigismund III, as a

^Helmut Federhofer, "Matthia Ferrabosco," MGG IV (1955)?col. ^5.

^Robert Eitner, Biogranhisch-bibliographlsches Quellen-Lexicon (Leipzig, 1900), II, 207.



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17

musician. His salary was evidently considerable— 300 guil

ders a year and a weekly subsistence of six suilders. He

was evidently known both as a singer and lutenist and left

two books of lute songs, now lost, dated 1606 and 1607•

Maria Szczepanska has published his extant works,

which consist of the following lute pieces: five preludes,

six fantasias, two passamezzos, six galliards, a Favorito.

eight choreae nolonicae. and two vocal intabulations. The

greater portion of the pieces appears in Besard's Thesaurus,

together with a few others in Fuhrmann's Testudo. and one

piece in Rude II (No. 10 )̂ is his. It is called Galliarda

Diomedis and marked in writing on the tablature with what

looks like Galliarda StarnisV- (perhaps meaning "old style").

Other works for lute appear in various manuscripts, including

the Dresden MS B 1030, now lost.

Gregory Howett (Huwett) is a figure who is common to all

three of our books, and a good bit of information pertinent

to his activities can be assembled. Although Reymann in his

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

pl_LBelga. Eitner refers to him as an Englishman. So does a

recent writer, Martin Ruhnke: "in the following twelve

months . . . the English lutenist Gregorius Huwet, appointed

^According to Krystyna ¥ilkowska-Chominska, "A la recherchede la musique pour luth," La Luth et sa Musiaue. ed. JeanJacquot (Paris, 1958), 197*

2^Robert Eitner, op. cit.. V, 215

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on May 22, 1591, was newly assigned a position."2^ Neither

writer gives a source, although the fact that Howett was a

travelling companion of Dowland may have had something to do

with their decision. Thurston Dart, evidently relying on

the description of Robert Dowland in his Varietie ("the most

famous Gregorio Huwet of Antwerpe") says that he was born in

Pf)Antwerp. No definite date has been established. Howett

was in the service of Duke Heinrich Julius at Wolfenbtlttel,

who was born in 156b and ruled from 1589 until his death in

1613. According to Ruhnke,^ Howett began his employment

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

also listed in a pay register for Christmas of 1591* There

is a letter from a Johann Block of Kassel, dated November 5?

159^, which mentions the arrival of "etliche frembde Musici"

from Wolfenbtlttel, on the first day of that month. Dowland

and Howett are thought to have been among the group, sent

over to the court of Moritz of Hessia to display their skill.'

In a letter of March 21, 1595? the Landgrave (Moritz)

^Martin Ruhnke, Beitrgge zu einer Geschichte der deutschenHofmusikkollegien im 1 6 . Jahrhundert (Berlin. 1963), p. 65.

^Thurston Dart, "John Dowland," MGG III (195*+)) col. 717-

7 22.

^?M. Ruhnke, op., cit.. p. 65* He is working from court payrecords and other documents, such as those in the NiedersSch-sisches Staatsarchiv in Wolfenbtlttel.

2%uhnke (p. 65) credits E. Zulauf, in his Beitrgge zur Geschichte der Landgrgflich Hessischen Hofkapelle zu Cassel(Kassel, 1902) with, this assumption.



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19

thanked the Duke (Heinrich Julius) for having sent to him

the two lutenists and apologized for having kept them beyond

the time fixed for their stay. He was very outspoken in his

praise of their skill, praising Howett as a seasoned and

skilled lutenist. Howett was "was muteten und madrialn zu

29schlagenn anlangt, gar perfect und wohl passiert."

While Dowland soon moved on to Nuremberg and Italy,

Howett remained at the court at Wolfenbtlttel after returning

from Kassel. In the preface to his First Booke of Songes or

Ayres, published in London in 1597? Dowland acknowledged the

kindness of both Howett and Heinrich Julius:

Neither can I forget the kindnes of . . . Gregorio How-et Lutenist to the magnificent Duke of Brunswick, bothwhome I name as well for their love to me, as also fortheir excellency in their faculties.

Although there are gaps in the documents, pay registers

show Howett's wages at the court:

90 gulden in 1591; 1593, and 159*+.270 gulden in 1602 and 1603. oq32̂ gulden beginning in 1592 as board allowance.

In 1595, the Duke gave him 1,200 Talern for the acqui

sition of a house. Ruhnke has noted that it is a measure of

the increased importance given to instrumental music at this

court that Dowland and Howett enjoyed a remuneration equal to

that of the singers.^ The comparative social status

29Ibid.. p. 70.

3°lbid., pp. 71, io*f, 109.

31ibid.. p. 85.



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20

suggested by the amount of board allowance given to Howett

shows him ranked above the druggist, the cook, singers and

other instrumentalists,' but below the barber, the Hausmar-

schall. and the Kapellmeister.

Another pay register recorded by Chrysander^2 shows

Howett receiving for the year 1606-7 150 Talern and 30 more

for an allowance for strings. In Michael Praetorius's Memo

rial of 161̂ , which is a listing (and a kind of an attempt at

justifying the duties) of the musicians of the court to a

new, less musically inclined ruler at Wolfenbtlttel (Fried

rich Ulrich), Howett appears:

Dieweil Grego.rius, Lautenist /Chrysander inserts hereder Englander/, sich bisher in unser Music nicht ge-brauchen lassen, ich auch nicht gern wollte, dass erals numehr en alter Diener hierzu sollte genttthigetwerden: so w9re hoch vonnttthen, wie ich mit Gregorioselbste drauss geredet, dass auf einen Lautenisten,der die Concerten mit Tribbeln und Coloraturen zu

exorniren gut w9re, wie ich dann mich darnach bemtihenwill, auch etwas geordnet wlirde.33

Howett is here portrayed to the new ruler as an old ser

vant who has not been used, up to now, in music (meaning con

certed music employing the whole Kantorei). Praetorius

appears interested in using his manner in decorating such per

formances with coloraturas and trills. His name still appears

32Friedrich Chrysander, Jahrbiicher ftir Musikalische Wissen-schaft (Leipzig, 1863). I, 150 (from a court pay register forthe period from Trinity 1^06 through 1607, in the imperialarchive at Hannover).

33Ibid.. p. 15 .̂



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2 1

in pay records as late as 1616, but he cannot be traced after

3kthat, in materials now available.

He is known for the two fantasias which appear in the

Denss book, the second of which also appears in Robert Row

land' s Varietie, and for the two pieces attributed to "G. H."

in Rude II (marked on the tablature Galliarda Gregory and

Pavana Gregory). They are Nos. 97 and 109? respectively.

There is also an ensemble galliard in the Newe Kunstliche

Musicalische Intraden . . . of K. Hagius (Nuremberg, 1617).

There were also two fantasias in the Dresden MS B 1030 re

ferred to earlier.

Wustmann equates Howett with Gregory Huberti who has a

pavan and a galliard in Rude II (Nos. 90 and 93).

Tobias Kuhn (Kuen) is another figure at the Wolfenbtlttel

court, but of somewhat earlier appearance on the scene than

Howett. He was appointed on November 15? 1587? and is des

cribed as a tenor and lutenist, who was primarily engaged as

a singer but was to play on the lute upon special request.

He was originally from Halberstadt, and there is in existence

a document detailing his life history which was requested by

the Duke (Julius, who ruled from 1568-1589). The document

evidently is a pioneer example of personnel management: the

Duke's purpose was to discover ways in which he might employ

his musicians in areas other than music activity. Kuhn wrote

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



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2 2

it in both Latin and German, probably to impress his ruler35 *3 c.

with his erudition. He can be traced in pay lists*3 from

1587 to 1590, is missing in 1590, but appears for the last

time in 1591*

Rude II, Nos. 83 and 100 are both versions of the

Pavana T. K. and are thought to be Kuhn's. He appears in

Fuhrmann's Testudo (1615) with the following:

Pavan No. 7 (Respondens Lachrimae T.. K.)Galliarda T. K. 3Galliarda T. K. 5

He also had a Fuga on Verleih unsFried in the Dresden MS B

1030, and there is a galliard intheLeipzig MS II.16.5*

Johann Thysius was the owner of a library named after

him in Leiden, in which a large lute book in manuscript was

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

the contents given in the study by L a n d . I t dates from

around 1600. He appears in Rude II, No. 101, with the Pa

vana del Signor Thisio. and he also has a Paduana in the

Leipzig manuscript.

Victor de Montbuisson, according to Eitner38 fr0m Avi

gnon, was a lutenist (at least in 1598 and 1600) at the

3^Ibid.. pp. 29; 57-8.

36lbid.. p. 89.

37j. P. N. Land, "Het Luitboek van Thysius," Ti.idschrift derVereeniging voor Noord-Nederlands Muziekgeschiedenis I-III(I885-I89I), passim.

38R. Eitner, ojd. cit.. VII, 36.



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23

Kassel court, under Moritz (who ruled from 1592 to 1627).

The three couranteshy him in the Dresden MS B 1030 were pro

bably the same three which appeared in the Denss book (folios

91 and 92— see Chapter III). A Galliard de Victoris de Mont-

buisson appears in the Besard Thesaurus. and there is a Livre

de tablature . . . commence . . . le. dernier .ianvier 1611 in

the Landesbibliothek at Kassel by him.

Rude II, No. 107 is a Pavannadi Mauritio d'alto Monte.

Wustmann has equated Mauritio with Duke Moritz. Several

others have unidentified attributions: Rude II, No. 95:

Gagliarda B. F. L.; No. 102: Pavana Crisiana: Nos. 78, 87,

and 89 (marked Pavana Anglica): Nos. 96 and 131 (Galliarda

Anglica); and Nos. 8l and 82 (Padoana P. B.).

It can be seen from the foregoing that an important

part of the background of the culture of the times was that

generated at the courts, large and small, of the land.

Rude's dedications, in fact, are obviously directed at some

of them, in particular those at Altenberg, Dresden, and

Braunschweig. The first locale boasted only a handful of

musicians, since the Ernestine line of the Saxon dukes lost

a large part of their lands around 15^75 and their court

accordingly was not as well turned out as that of the Alber-

tine line at Dresden. The court there, around 1600, would

have boasted, under the Kapellmeister Rogier Michael, a

complement of sixteen singers, twenty instrumentalists (in

cluding two organists, tvro lutenists, a zink player, and

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2k

others) as well as a dozen trumpeters and a percussionist.39

The attention given to music depended, of course, on

the wealth of the court and also on the interest of the in

dividual rulers. One can discern the varying degrees of con

cern in the changing fortunes of music at Wolfenbtlttel.

There, the size of the Kantorei (meaning the entire force of

musicians, Kanelle and instrumentalists) under Julius (who

ruled from 1568 to 1589) actually was allowed to dwindle in

to almost nothing in 1579 and continued at a low state until

1585, when it was re-organized, under the Kapellmeister Man-

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

interest in arts and letters, as well as the theater. He not

only established a permanent theater, but imported English

players, around the turn of the century.

Rude's second book, in particular, with its selection of

intradas, may have been directed in part toward court or dra

matic activity such as that outlined above, to say nothing

of the fact that these cehters provided the means of support

for a large number of professional lutenists who might have

found all of these books useful in their duties.

Of more importance, perhaps, to the particular back

ground for these books is the middle class culture of German

cities, in particular that of Leipzig. The vigorous musical

activity around 1600 there is well-known, and we will only

sketch a few details. We have already noted that Rude was

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

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35/241

the son of a Stadtnfeifer. one of four maintained by the

city to play at banquets of the council, weddings, or other

functions, in addition to daily performance from the city's

towers. Wustmann1̂ records the squabbles of the council and

its Stadtnfeifern with two itinerant string players who e-

ventually had to be banished to the suburbs, since they were

competing for the income of the town employees.

Another part of the musical atmosphere was the contri

bution of student groups, both from the schools of St. Tho

mas and St. Nicholas, and from the University. They parti

cipated in various kinds of street serenades, in which the

lute would have played a part— almost insuring that Reymann

and Rude would have joined in them. Even the title, Noctes

Musicae. may be a reflection of this tradition.

As the inventories of several Leipzig citizens' estates

demonstratethe lute was a not uncommon possession among

those of the upper middle class. In addition, the city was

something of a center for the manufacture of lutes— the in

ventory of the possessions of a Stadtnfeifer Krause in 157^

showed him to have eighteen lutes on hand, parts for a good

many more, and all kinds of tools for their manufacture. Fur

ther records show the lute books of KSrgel, Newsidler, and

^R. Wustmann, op., cit., I, 156.

^Ibid., pp. 163-16^.

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36/241

Drusina to be current there.

The great weight of vocal intabulations in the Rude and

Denss books point to their use in such domestic situations—

a way of bringing into the home not only certain serious li

turgical favorites (.e.g.., the .0 quam glorioso of Victoria in

the Denss book), but also the lighter canzonas and canzonet-

tas of the day.

h2Ibid., pp. 165-172, passim.



37/241

OMNIS FERE GENERIS

CANTIONVM SVAVISSIMARVM A D T I i S T V D I N I S T A B V L A T V R A A 1 A C -C O M M O D A T A R V M , I.ONGE IVCVN-

D1S SIM V M.

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nia ad Teftudmis tzibulaturam ftdehter re da 61a, per

A d r i a n u m D e n f s .

Indiccm canrionum&chorxarum poftprxfarioncm *»dcrc licebit.

C . O L O N I . R A G R I P P I N A -

Excudcbat Gerardus Greitcnbmch. Anno rcdcmpttonis, .

M. D. X C I lr

Plate I. FlorlleglUTii Title Page

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38/241

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39/241

F L O R E S M V S 1 C A E ,feocrit.

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43/241

CHAPTER III

THE BOOKS THEMSELVES

A. The Contents: Prefaces and Music

Florilegium

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

prefatory folios. The latter, all in Latin, include the

title page, some laudatory poems and prose, the dedication,

and the table of contents. Beginning with folio lv of the

main body of the book, every other page is inverted (those

containing vocal parts) for practical performance purposes.

This inverting is not, of course, continued for the section

from folio 62v on, which contains the fantasias and the

dance pieces.

The title page reads:

FLORILEGIUM OMNIS FERE GENERIS CANTIONUM SUAVISSIMARUMAD TESTUDINIS TABULATURAM ACCOMMODATARUM, LONGE JUCUN-DISSIMUM. IN QUO PRAETER FANTASIAS LEPIDISSIMAS, con-tinentur diversorum Authorum cantiones selectissimae,utpote: Motetae, Neapolitanae, Madrigales trium, qua-tuor, quinque, sex vocum. Item Passemezi, Galiardae,Alemandi, Courantes Voltae, Branles, & eius generisChoreae variae: Omnia ad Testudinis tabulaturam fidel-iter redacta, per Adrian Denss.1

^A selection of the flowering of nearly every kind of themost delightful songs adapted to the tablature_of the lute,by far the most pleasant. In which /.selection/ are includedbesides most agreeable fantasias, the choicest songs of various composers, namely: Motets, Neapolitans, Madrigals, forthree, four, five and six voices; also passamezzos, galliardsallemands, courantes,, voltas, branles, and various dances of

27

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44/241

2 8

Just "below the center of the page is Grevenbruch1s

printer's mark, a design with curved scroll-work intertwined

with cherubs, surrounding a center picture of a sailing ves

sel, with a castle on the shore in the background (see Plate

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

above the picture, and below it is a shield, emblazoned with

what evidently is the colophon of the printer. Below this,

run the lines Coloniae Agrippinae. Excudebat Gerardus Gre

venbruch. Anno redemptionis. M. D. XCIV.

Folio ii has three items, the first of which is a prose

paragraph, Ad philomusen (To the Lover of the Muses). We

will only paraphrase the contents of material of this type.

Denss tells us that he is not really accomplished on the

lute, and has been forced into publishing these adaptations

of the work of greater artists by the demands of his friends.

The entire tone of such prefatory material is, in these times,

overly apologetic and self-deprecatory. He clearly states

that he is following the example of Emmanuel Adriaensen in

putting forward his collection. He says that he had intended

to make it larger, including the works of Luca Marenzio and

G. Maria Nanino, but that the book had grown to such size that

he "took in his sails.” He suggests in closing that a fur

ther book may be forthcoming.

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



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Following this, are two quatrains to Zoilus (a critic of

Homer, hence, any critic) in which the author, as the times

evidently demanded, attempts in flowery humanistic language

to dispel’in advance any unjust criticism of his work. An

other such reference is to Momus, likely implying again an

anonymous critic. The line Primitias rudibus nosui: hinc

mentem nrecor aauam Judicis . . .(I "have arranged the first

of my efforts for the unskilled; so I pray for a fair apprais

al by the discoverer) may be an admission of having directed

his work toward amateurs. The first is by M. G> M. G.., whom

we shall presently encounter, and the second is by I.. L. R.,

who remains unidentified.

Folio iiv has two items, the first a panegyric:

PANEGYRIS AD ORNATISSIMI ET MUSICES PERITISSIMI ADRI-ANI DENSS FLORILEGIUM SUAVISSIMUM. SCRIPTA A M. GUI-LIELMO MAIO GOTTINGENSI SAXONE MUSICES AMAT0RE.2

After discussing the way in which music and the lute

can charm,‘the author launches upon a kind of review of

mythological characters noted for their musical skill, among

whom, of course, he includes Denss.

The next poem, an "Exhortation to the Reader by the Same

Person," is an allegory, in which the selections Denss has

intabulated are spoken of as a variety of roses, among which

are found to be flourishing Lassus, Marenzio, Lechner, and

^Panegyric for the most charming Florilegium of the mosthonored and musically skilled Adrian Denss. ¥ritten by M.Gulielmus Maius of Gbttingen in Saxony, music lover.

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Vecchi.

Folio iii contains the lengthiest item, the dedication,

the opening of which we have already quoted in Chapter II.

The first part is a defense of the art of music, over which

we will not linger. The next area of interest discussed is

his "decision" to seek a sponsor for this, his first work.

The text closes with his request for patronage and vows of

his obedience. It is signed:

Datae Coloniae Agrippinae. *+. Nonar. Septemb. Anno

159*+: aera novata. Reverendae & Illustri Generositativestrae perpetua observante voluntate deditissimus.Adrianus Denssius.^

The table of contents begins on folio iiiv. The small

group of motets gives way to secular pieces, which Denss has

organized first by type, then by number of voices (see Table

1). It occupies folio ivr“v as well.

The tablature proper now begins. Two systems of folio

numbering occur, one using Arabic numerals printed in the

upper right-hand corners, the other having the usual scheme

of capital letters and number (in the lower right),

vFolio iv is inverted, since it contains the vocal parts

for Quam gloriosam. In his Instrumental Music Printed Before

1600: A Bibliography (Cambridge, 1965), Howard Brown has

called this folio 1, but Denss begins his numbering with the

■^Dated at_Cologne, on September 5, 159^, A.'D. /The l!l+” e-ludes us^y Willingly dedicated to your honored and famedExcellence in continuing regard. Adrian Denss.

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next folio (the one containing the lute parts). This means

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

numbers. We have ignored the complication proveded by

Brown, and used Denss's numbering, which is without error.

Brown's mention of headings (Neaoolitanae. Motetae. etc.)

supposedly occurring on various folios in the tablature is

evidently an error.

With the intabulations, Denss includes certain of the

original voice parts, evidently taken from the part-books

' ifWithout change. Outer parts from the original are always

included, and in about half of them an inner part is added.

The parts are called Canto. Tenore. and Basso, but this is

no indication of their respective ranges. The practice of

printing voice parts with lute tablatures was common in

Italian books of the time, but in Germany, only Schlick's

Tabulaturen of 1512 was designed this way (in this case,

only the soprano voice was given).

The attention given to the canzonettas of Gaspar Costa

is of interest. There are 23 by this composer, an organist

at Milan from 1581 to about 1590. He published several col

lections of canzonettas and one of motets and madrigals.

Only a scattered selection of his canzonettas is found in

other lute books. Clearly the 1580; and 158^ prints of Costa

LJigging from microfilms of two sets of part-books which areavailable, Canzonette di Gasnaro Costa (Venice, 1580) andCosta's II secondo libro di canzonette (Milan, 158H-).



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were among those which Denss had at hand in compiling his

book, and he intabulated most of the contents of the 1580

print. The emphasis on his works may mark a personal acquain

tance with the composer or merely mean that Denss hoped the

pieces would be accepted widely in amateur circles.-

Matthias Ferrabosco is represented with nine pieces,

Lassus with seven, and Gastoldi with six. All others have

fewer.

It is obvious that the canzona and the canzonetta were

in their heyday, since well over 60 percent of the intabula

tions are of pieces of these types. There are four motets,

five pieces with German texts, and five with French ones.

Most of the pieces with. French and German texts Denss has

classed as madrigals.

A table of contents appears in Howard Brown's Instru

mental Music Printed Before 1600: A Bibliography (Cambridge,

1965). There, the pieces are listed in the order in which

they appear in the print. For the present reader, the con

tents of the section containing the 6b purely instrumental

pieces can be deduced from our Appendix. We will summarize

the contents of all the collections' pieces of this type

later. We have reproduced the first section of Denss's

table of contents in our Table 1, It lists the first 85

pieces (those for lute and voice).



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33

TABLE 1

Index Cantionum et Choraearum Quae hoc in Libro compraehen-duntur.

MotetaeQuatuor Yocum

0 Quam gloriosumDomine non sum dignusMiserere me 2 pars

Laudate DominumQuinque Vocum

Gustate & videteDivites eguerunt 2 pars

NeapolitanaeTrium Vocum

Ogni vitaDal primo giorno

Vaghe belezzeDelle Vostre gciocchesseAssai prometteLa venenosa vistaSe del mar si seccasserCrudel lascia sto core0 Chiome relucentiAmore e fattoUdite novi amantiFuggiroFuggit' amoreNon puo sentir

Lieto cantaiLa gratia e la beltadeAhi filliS'in fede del mio amoreAhi che mi tieneMentre scherzavaNon si sa dimmiMadonna di cucagnaGut Singer und

Lodovvicus a VictoriaIdem

Bernardin Mosto

Orlandus Lassus

Lodovvicus TortiIdem

IdemGaspar CostaIdemIdemIdemIdemIdemIdemIdemPaulo BellasioGiov: Dominico danolaGio Giac: Gastoldi

Casar BorgoIdemGio: Giac GastoldiIdemIdemIdemJoannin FavereoIdemLeonardus Lechnerus

1

I

5

69

12

161717

18 1919

21

2 2



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3k

Adonis Zart IdemMitra d'hoggi Gastoldi

Neapolitanae et MadrigalesQuatuor Vocum

Cosano vada Orazio VecchiOcchl ridenti IdemMentre lo campai IdemRlsposta. Mentre lo vissl0 Tu che val Idem11 cor che ml rubasti IdemLucilla io vo morire IdemCor mlo se per dolore IdemDormlua amor Ferabosco0 Monto o flumi IdemChe glouerebbe hauer Idem

Dansar vld'lo IdemDonna ben ch'io IdemIo stanco & lasso IdemE uns sol in ciel IdemChe ml glova servir IdemMeraviglio d'amore IdemDesir che tanto salli Gaspar CostaGodi pur del bel sen IdemIo vorrei pur hormai IdemLottava sfera IdemGiovani vaghl IdemCome faro Idem

A1 dipartir IdemAmor s'lo posso IdemSe doppo mille manlfeste prove IdemDI piantl e dl sosplri IdemMentre lontan IdemNon si puo piu IdemPer planto la mia carne IdemLa virginella Baldasar DonatoGl1occhl Gaspar CostaVenite maghi IdemDlsse a 1'amata mia Luca MarenzoVeggo dolce mia Idem

Ridon di maggio HasslerusChi mi dimandara IdemMir hab ich gentzlich Leonardus LechmWo jemandt lust IdemVray_dieu disoit une fillette Orlandus

2231

23232k 2k 25252626272728

28 2929303031323233333^3*+

3535363738

,39>+0klk2 k2 k3

^5

k6 ^693

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51/241

35

MadrigalesQuinque Vocum

0 dolce vita miaVeux tu ton mal

Le voulez vous responceQue me serventEst il possibleDell' auro crinCon le stelle. Seconda parteHor pensat'al mio malVerement'in amoreElle s'en vaMadonna se voleteMadonna poi ch'ucciderAmor deh dimmiOhn dich muss ich dich

Chiamo la morteMamma mia cara

Giulio RenaldiOrlandus

Philip, de MonteOrlandusIdem

Ivo de ventoPhilip, de MonteOrlandusHieron. VespaLuca MarenzGio: Maria NaninoLechnerus

Theodor RicciusIdem

1+7!+8

*+85052525352555557585959

60 60

Sex Vocum

Se tu m'amiNon ti sdegnar

Andreas GabrielisIdem

6162

Caeterum ne quid sit quod candidum Philomusen in hoc libroremoretur, seiat hos, ubicunq; signum hoc ()■() occurit, prorepetitionis signo usurpatos esse.



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Noctes Musicae

The one hundred folios of the main body of Reymann's

book'’ are prefaced by four other folios which begin with the

following title:

NOCTES MUSICAE, STUDIO ET industria MATTHAEI REYMANITORONENSIS BORUSSI CONCINNATAE.6

A cut of a lutenist with his foot on a lion follows (see

Plate II), under the motto Non vi sed chely (not by force butby music). Below that are these lines:

Editio est VOEGELIANA. ANNO CHRISTI CD. 10. XCVIII.Cum privilegio S. Caes. Maiest. & Septemuir. Saxon.


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

more interest. From it we gain the impression that some, of

the pieces in this book had been in circulation for some

.time and that this publication has provided some alterations.

He says, "You will find some of the parts increased, others

curtailed, and others entirely eliminated.41

An explanation of the tuning of the seventh and eighth

courses and their advantages is included. This will be con

sidered in more detail later.

He then summarizes the contents of the book, giving the

number of pieces of each type to be found. A comparison

with the actual contents (see Appendix) shows two errors.

There are actually twenty-three preludes, not twenty-two.

Although he says there are nine choreae, only eight are pre

sent. The idea of providing preludes and passamezzos in a '

wide variety of keys is noted here:

Has deinde Passemezae, Yariationes triplae, cum Ripre-sis ut vocant, similiter ad notas Musicales dlstinctas,tarn in cantu B mollari quam B duruali num. XXII.°

The preface is dated June 13, 1598.

vOn folio iv three other laudatory poems occur, two by

a M. Joannes Suevius Annaemont, and the other by PaulFroberg,

whom Wustmann has identified as a Leipzig lawyer.9

^Then Passamezzos, triple variations with represas, as theycall them similarly on separate musical tones as much inminor as in major,22 in number.

9r . Wustmann, ojd. cit.. I, 195*

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38

The tablature itself begins on the following folio.

The foliation usual for the time takes over. Two further

folios, R /!/ and /R2/, contain the Errata. Folio R2V is

blank. Cuts with elaborate scrollwork and centered faces

are found below the closing lines of both the tablature and

the Errata. The four introductory folios, plus those men

tioned above, total 10'-+. The copy in the Sibley Musical Li

brary was not included in Howard Brown's Instrumental Music

Printed Before 1600: A Bibliography (Cambridge, 1965).10

Again, we refer the reader to the Appendix for a table

of contents of the 7^ pieces for solo lute which make up the

book.

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



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Flores Musicae

Rude 1s first book has six folios of prefatory material

including the title page, dedication and other items, before

the sixty-six folios of vocal intabulations begin.

The title page runs:

FLORES MUSICAE hoc est SUAVISSIMAE ET LEPIDISSIMAECANTIONES, MADRIGALIA, VULGUS NOMINAT, una cum variispavanis, Paduanis, Galliardis, Intradis, Fantasiis,

& Choreis, ex quam pplurimis autoribus Italicis, Gal-licis & Germanicis magna industria collectae, & nuncprimum ita descriptae, ut testudinis fidibus cani pos-sint, per IOANNEM RQDENIUM LIPSIENSEM LL. STUdiosum& QiXoj«y60v.

It continues with a statement that the book is being

sold with Reymann's book, which is. now Liber III of the Flo-

reseMusicae.

A cut of the old testament ark of the covenant is in the

center of the page (see Plate III). It is surrounded by

cherubs and topped by a sunburst in which the Hebrew inscrip

tion for Jehovah appears.

Below the cut, the date (1600), the place (Heidelberg),

and the printer (Voegel) are given.

r-vThe dedication which follows on folio ii is of the

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

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Ho

type with which we are already familiar. Rude places him

self in the footsteps of King David and others, including

"our great Luther."

The Autor ad lectorem on folio iiir adds littleltoiour

knowledge. Rude wants to assure the reader that these in

tabulations are not mere plagiarizing, but that they re

quired much work on his part. He tells us that he followed

the advice of "good men who both insisted upon my publishing

these melodies and promised the necessary expenses for it."

vThe Tvppgranhi admonitio which follows on folio iii

will be discussed in connection with the notation.

Immediately below the admonitio. the table of contents

of both Reymann's and Rude's books begins, taking up also

folios iv, and v, and part of vir. Each of Rude's selections

is assigned a number which appears in the tablature at the

beginning of each piece, framed in a box. Folio designations

are also given for each piece. The scheme is like Reymann's,

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

and verso, respectively. Book Two begins with double letters—

AA, BB, and so on.

The table of contents is given in Table 2. From the

sources, it can be seen that more attention is given to the

madrigal here than in Denss's collection. About Ho per cent,

or some 60 pieces, are in that category. About 30 per cent,

or slightly over ko pieces, are canzonas or canzonettas. There

are 27 German and 8 French texts. The pieces date mostly from

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


57/241


58/241

7. Sapp:'. Signior. a5- Vinci 10 (l579)?p10 Pietro Vinci A 6. a.8. Scopriro. a5* (prima partita) 1597 G. M. Nanino A 6.b.

Secunda parte ad madrigale Scopriro. B 1. a.9. Chi pervoi no sospira. a5* Noe Faignient B 2. a.

10.- Se pensando al partir. a6. Manenti 1 (157*0? 11 Giov. Pietro Manenti B 3-a.11 . Donna crudel. a5* Ferretti 7 (1568), 3 Giov. Ferretti B b. a.12. Comme posso io morir. a5* Ferretti 7 (1568), Giov. Ferretti B b.h.13. Vestivi Colli. a5* Gianetta Palaestina B ^.b.

Seconda parte. Cose le chiome. B 6. a.15. Morir puo vostro core. a5« Risposta C 2 . a .16. Ma se tempo. a5« Conversi 2 (1572)? 5 Girolamo Conversi C 2.b.17. Ahi chi mi rompe. a5* Monte 0 XXV, 51 Filippo do Monte C 3.a.

Seconda parte. C a.18. Sei tanto gratioso. a5* Ferretti 7 (1568), 5 Giov. Ferretti C 5. a.19. Madonna mia gentil ringratio amore. a5» P&M IV, 1, 25

Luca Marentio C 5* a.20. Basciami vita mia. a5- Ferretti 7 (1568), 12 Giov. Ferretti C 6. a.21. Torna amato mio bene. a5« Pomponio Nenna C 6. a.22. Non sos’ amor. a6. Felis 1 (1579)? 5 Stefano Felis D 1. a.

Seconda parte. D l.b.Tertia parte. D 2.b.

23. Mirate che mi. a6. Ferretti 7 (1568), 7 Giov. Ferretti D 3.a.2b. Moriro di dolor. a6. Macque 6 (1579)? 20 Giov. di Macque D b. a.*25. Io veggio che sei bella. a6. Madrigaletto all Napolitana D U-.b.26. Lieto godea. a8. A. Gabrieli 1 (1587)? 71 Giov. Gabrieli D 5-a.

27. Qual vive salamandra. a6. Marenzio 2 (158̂ -), 5 Luca Marentio D 5.b.28. Amor io sent’ respirar. _a6.. Macque b (1582), 3 Giov. di Macque D 6.b.29. Quando mirai. a6. 1585 . ' Giov. Ferretti E 1. a.30. Un tempo sospirava. a6. Ferretti 2 (1576), 20 Giov. Ferretti E 2.a.31. Io son bella e delicata. a6. Baccusi 3 (1579) , 8 Hippolito Baccusi E 2.b.32. Quando mi miri. a5. Conversi 2 (1572), 11 Girolamo Conversi E 3* a.33. Che fa hoggi. a5. P8M IV 1, 18 (1580) Luca Marentio E 3-a.3*+. Vorria morire. a6. 1585^ Uberto Warant E 3-b.35. Ochi vaghi amorosi. a5. Monte 0 XXV, 69 Filippo d© Monte E .b .36. Par mi vedere. a5* Faignient (1568), 36 Noe Faignient E 5. a.37. Questa fera gentil. a6. 1583^ Giov. Ferretti E 5.b.


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'38.

i+o!*+1.b2.>+3.bb.

b$.>+6.b7.

b9.50.51.52.

5b.55.

56.57.58.59.60.61.62.63.6b. 65.

Questa fera gentil. a6. 1583Seconda parte.Basclaml vita mia. a6. Macque *+ (1582), 6Mi voglio fare. a6. 1585Non romor si tamburi. a6. Strigio 12 (1579), 17Liete le muse all1 ombra. a6. 1597Gloria di amor dicea. a6. 1605Tirsi morir volea. a5* P9M IV, 1, 12 (1580)

prima parte.Seconda parte.Tertia parte. ,Ochi no ochi. a6. 1585 oCorete tutti quanti. a6. 1583Su, su, non piu dormir. a6. Ferretti *+ (1575)? 9Madonna io no so sar tante parole. a6.Seconda parte.Come il lauro non perde. a6. 15833Poi che il mio largo pianto. a6. Monte 0 XXV, 81Io vo gridando. a5.Facciasi lieti. a7.

Seconda parte.Vientene filli. a6.

Conversi 2 (1572), 3(prima parte)Sabino 5 (1582), 10

Manenti 1 (157b), 8Vieni flora gentil. a6. Gabrieli 4- (1580), 1*+Nova belta soma virtu compresi. a6.

Felis 1 (1579), 17Dolcissimo ben mio. a6. Gabrieli b (1580), 80 bella Ninfa mia. a5.Mi parto vita mia. a6. Pacie 2 (1575), 8Posso cor mio partire? a6. 1593Tirsi in ira. a6. Sabino 1 (1579), 12Partiro dunque. a6. Striggio 12 (1579), 7Tre gratiosi amanti. a6. Macque 4- (1582), b A1 vostro docie. a6. Felis 1 (1579), 10Amor deh dimi come. a5* G. M. Nanino.5 (1587),Bascianti vita mia. a6. Macque *+ (1582), 6

Dialogo Amante el Core

Giov. de MacqueUberto UuarantAllesantiro StrigioFrancesco RovigoAndrea GabrieliLuca Marentio

Giovanni FerrettiGiov. FerrettiGiov. Ferretti

Leandro MiraFilippo de Monte•Girolamo ConversiHippolito Sabino

EFFFFFFF

FFGGGGGGGGG

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

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

Giov. Pietro Manenti HAndrea Gabrielli HStefano Felis H

Andrea Gabrieli HGiannetta Palaestina HAntonio Pacie HLuca Marentio HHippolito Sabino HAllesandro Strigio I

Dialogo Giovanni di MacquelStefano Felis I

8 Giov. Maria Nanino- IGiov. di Macque I

l.a.1.b.2.b.

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


60/241

66. Sonno scendesti in terra. a5» Felis 4 (1585)? 6Di 'un si bel fuocho. a5- 1576

Stefano Tfelis I 4.a.67. Giache de Vuert I 4.b.68. Io cantero. a5. Conversi 2 (1572), 21

Chi ami la vita mia. a5- 1583Girolamo Conversi I 6.b.

69. Lelio Bertrani K l.b.70. Leggiadra giovinetta. a5* Ferretti 7 (1568), 8 Giovanni Gerretti K 2.a.71. E vivere e morire me fae quanti. a6. Oratio Vechio K 2.b.

Vecchi 12 (1587), 1272. Io voglio servirti dolcie mia vita. a6. Oratio Vechio K 3*a.

Vecchi 12 (1587), 873. Io son restato quo sconsolato. Vecchi 12 (1587), 7 Oratio Vechio K 3*a.74. Che fai Dori che pensi. ab. 1597 Oratio Vechio- K 3-b.75. Deh prego amor. a4. 1597 Oratio Vechio K 4.a.76. L'aqua cava la pietra. Sabino 5 (1582), 17 Hippolito Sabino K 4. a.77. Saltavani Ninfe e saturi e pastori. a6. Oratio Vechio K 4.b.

Vecchi 12 (1587), 278. 0 Sole, 0 stelle, 0 luna, 0 cielo, 0 terra, 0 mare, Oratio Vechio K 5* a.

0 mia fortune. a6. Vecchi 12 (1587), 1779. Nasce la pena mia. a6. Striggio 3 (1566), 4 Allesandro Strigio K 5.a.80. Mamraa mia cara. a5* Riccio 2 (1577), 6 Teodoro Riccij K 6.b.81. A monti. Vecchi 12 (1587), 10 Oratio Vechio K 6.b.*82. Dolci sospiri L l.a.83. Del crudo amor. Regnart 2 (1574), 4 Iacobino Regniardo L l.a.84. 0 tu che mi dai pene. Hassler W II, 31 Giov. Leo Hasler L 2. a.85. Chi gllochi vostri. Hassler W II, 43 Hassler L 2.a.86. Or va canzona mia. Hassler W II, 50 Hassler L 2.b.

87. Chiara e lucente stellae. Hassler W II, 53 Hassler L 2.b.88. Vivan sempre: Pastori. Hassler W II, 60 Hassler L 2.b.*89. Sin fede del mio Amor. L 3.a.90. Strino la bella mano. a5* B. Mosto (1588), 8 Bernardo Mosto L 4. a.91. Notte felice aventurosa. B. Mosto (1588), 4 Bernardo Mosto L 4. a.92. 0 chi creder deggio io? a5« Hassler (1596), 5 Hassler V. A. L 4.b.93. Dicea damet' a Clcride. a6. Vecchi 12 (1587), b Oratio Vecchio L 5-b.94. Itene a lombra. a5* PSM IV, 1, 64 Luca Marentio_ L 6.a.95. Io sequo sempre. a5* C. Ferrabosco (1590), 15 /_ Constantino/ L 6 .b.

Ferra boscho

-r-r


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Flores Musicae

Book II

1.2.

3-h.5.6. 7..8.9.10.11.12.13.lb.15.16.17.18.

19.20 . 21 . 22 . 23.2b.25.26.27.28.

Madonna piu che mai. Romano 3 (1572), 20Leggiadre Ninfe. a6. Monte 0 XXV, 27Seconda partita.

Gitene Canzonette al mio Signore.Veechi 12 (1587), 1De laccia figll i fiorl. Vecchi 12 (1587), 3Chi mi consola ahi me. Hassler W II, 20Delle vostre sciochezze. Costa b (158̂ -), 2Un ghiaccio. Neriti 1 (1593), 2Lieti fiori e felicii. Hassler W III, 1Seconda partita. 0 soave contrada.Mai non vo piu cantare. a*+. C. Ferrabosco(1590),Fa pour lamor. Riccio 2 (1573), **Piu non voglio servire. C. Ferrabosco (1590), 13Crudel per che mi fuggi. B. Mosto (1588), 3Al fiameggiar de bei vostri ochi. B. Mosto (1588),Amorosetti ugelli. a5* 1597^Seconda parte. Vaga girlanda.Tutto il glorno. Regnart 2 (157^), 3Ridon di Maggio. Hassler W II, 5

Chi vuol veder. a5« Riccio 2(1577), 7Privo son. Riccio 2 (1577), 8Deh lasciati basciar. Riccio 2 (1577), 1Felicie e lo mil core. B. Mosto(1588), 30 saette da amor. a5- 1583Come vuoi tu ch 'io viva. Gabrieli (1580), 3Sonno diletto. a6. Gabrieli (1580), 1Miracolo in natura. Gastoldi 8 (1581), 10Dou venez vous Madame. Lasso W XIV, 69Dardi da amor. a5* Riccio 2 (1577), 10

Alles. RomanoFilippo di Monte

Oratio VechioOratio VechioGiov. Leo HasslerGaspar CostaVincentio Nerito

Giovan. Leo Hassler

11 FerraboschoTeodoro RiccioFerraboschoBernardo Mosto

11 Bernardo MostoGrigolo Aichniger

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Giovanni Francesco ViolantiAndrea GabrielliAndrea GabrielliGiac. GastaldiOrlando di LassoTeodoro Riccio

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dissertation on rudentiu's (rude) book

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