Upload
daniel-guerola-benito
View
217
Download
0
Embed Size (px)
Citation preview
8/19/2019 Dissertation on Rudentiu's (Rude) Book
1/241
6 8 - 1 3 , 8 0 6
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
Re pro duc ed with perm ission of the copyright owner. Further reproduction prohibited without permission .
8/19/2019 Dissertation on Rudentiu's (Rude) Book
2/241
8/19/2019 Dissertation on Rudentiu's (Rude) Book
3/241
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.
prod uced with perm ission o f the copyright owner. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
4/241
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.
pro duc ed with permission of the copyright owner. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
5/241
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
ep roduc ed with pe rmission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
6/241
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
pro duc ed with perm ission of the copyright owne r. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
7/241
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.
pro du ced with permission of the copyright owner. Further reproduction prohibited without permission .
8/19/2019 Dissertation on Rudentiu's (Rude) Book
8/241
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
prod uced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
9/241
LIST OF TABLES
Table
1. Florilegium: Table of Contents .2. Flores Musicae: Table of Contents3. Critical Notes ................
p rodu ced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
10/241
VOLUME I
pro du ced with permission of the copyright owner. Further reproduction prohibited without permission .
8/19/2019 Dissertation on Rudentiu's (Rude) Book
11/241
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
prod uced with permission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
12/241
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.
p rodu ced with pe rmission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
13/241
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) •
pro duc ed with permissio n of the copyright owner. Further reproduction prohibited without permission .
8/19/2019 Dissertation on Rudentiu's (Rude) Book
14/241
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.
prod uced with permission of the copyright owner. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
15/241
5
Reymann:
No. 3? Praeludium. in Wustmann, Musikgeschichte.pp. 221-222.
No. 36, Fantasia, in Alter Meister der Laute II,No. 22.
We have included not only a thematic index of the purely
instrumental pieces but also a selection of some representa
tive items from this repertoire in full. Selected measures
from a few of the vocal intabulations are also given.
The study is based on the copy of the Reymann book in
the Sibley Musical Library and on films of the Denss and Rude
books supplied by the Deutsches Musikgeschichtliches Archiv
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.
p rodu ced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
16/241
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.
6
p rodu ced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
17/241
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.
p roduc ed with perm ission of the copyright owner. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
18/241
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^*
p rodu ced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
19/241
9
us that his fortunes have suffered (this may be posturing):
En more gessi & quidem coactus gessi, ut qui sciam,quam sit mihi curta supellex, atque hoc in 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.
pro du ced with perm ission of the copyright owner. Further reproduction prohibited without permission .
8/19/2019 Dissertation on Rudentiu's (Rude) Book
20/241
10
What these items of information, provided by Wustmann'^
evidently from the records of the Nikolaikirche. prove is
that the article of Fetis-^ contains some details about an
other Matthias Reymann, who was born at Lowenberg in 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*
prod uced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
21/241
11
Johannes Rude is listed in a record of debtors among
the customers of Jacob Apel, a Leipzig publisher of the time.
The date by his name is 1592. He next appears as the recip
ient of ten florins on October 18, 1595? for having served
for a missing organist ("veil er sich in Manglung eines 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."
pro duc ed with permissio n of the copyright owner. Further reproduction prohibited without permission .
8/19/2019 Dissertation on Rudentiu's (Rude) Book
22/241
12
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. . ."
pro du ced with permission of the copyright owner. Further reproduction prohibited without permission .
8/19/2019 Dissertation on Rudentiu's (Rude) Book
23/241
13
duchy until later, when August would be known as the most
learned prince of his time and the collector of the core of
the famous Wolfenbtlttel library. Rude mentions that they
were "busy at Leipzig promoting good literature" in this
dedicati on.
In addition to referring to himself as a student of law
on the title page of his first volume (LL. Studiosum), Rude
says, in his first book " . . . because I was able to extri
cate myself temporarily from the study of law, to which my
parents dedicated me, I devoted myself to the study of music."
In his second book he makes reference to an illness which
prevented him from pursuing his legal studies but gave him
an opportunity to complete the book. However, his name has
not been found in records of the University at Leipzig.
He was mentioned, along with his mother and sister, in
connection with the sale of the family house on April 20,
1601; there was a sale of another family house in 160^, but
his name does not appear after that.
The two books are his only publications, but Boetticher
mentions a prelude by Johan Rude Franckf. 1615. in a Hamburg
MS Scheie, folio 1.17
Of some interest in filling in the background of the
era in which these three books appeared are the histories of
some of the composers, other than the compilers themselves,
17w. Boetticher, Studien zur solistischen Lautenpraxis (Berlin, 19^3), 163.
pro du ced with permission of the copyright owner. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
24/241
lb
who are represented. We will summarize the information
available regarding them, although in the case of those who
are better known, we will not repeat what is easily available
elsewhere.
John Dowland (1562-1625), described as Dulandi Angli in
the table of contents of Rude II, is the composer of the
piece by his name, Pavana a. 5. voc., marked in writing on the
tablature Pavanna Lacrimae. He is also the composer of the
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-
prod uced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
25/241
15
in England, he was on the continent (Douai) by 1582, and
after being located briefly in Rome, Paris, Antwerp, and
then Brussels, he settled in Antwerp in 1590. His English
ancestry is given its due, here, since his piece, in Rude II,
No. 92, is called Pavana Anglica. It is identified as an
intabulation of his. work by the writing on the Wolfenbtittel
copy of the tablature, Pavana Phillipi. The piece is one of
nearly twenty of his in the Fitzwilliam Virginal Book (see
Chapter III)..
Anthony Holborne (died in 1607? birth date unknown) is
represented in Rude II by his Decrevi (Nos. 80 and 88). Con
tinental collections contain a number of his pieces (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.
pro du ced with perm ission of the copyright owner . Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
26/241
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.
prod uced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
27/241
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
pro du ced with permission o f the copyright owner. Further reproduction prohibited without permission .
8/19/2019 Dissertation on Rudentiu's (Rude) Book
28/241
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.
p rodu ced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
29/241
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.
p roduc ed with perm ission of the copyright owner. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
30/241
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 .̂
prod uced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
31/241
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).
prod uced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
32/241
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.
p roduc ed with perm ission of the copyright owner. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
33/241
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
pro duc ed with perm ission of the copyright owner . Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
34/241
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).
p rodu ced with p ermission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
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^.
p roduc ed with perm ission o f the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
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.
p rodu ced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
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.
A Y o j r o PR jE TE R F A N T A S U S LEP JD 1SSIMAS,cont mcntur dmcrjbrum /Inth or um cant touts felecl iftim&,rvtpote: A'loict£, Neapolitan*., Adadrigales triu, quatuor, qutnqpfex 'vocnm. Item Paftemêt, Gal/ard.*, Sllemandt, Courates Volt*, Branles, etas generis Chorea •varts.: Om-
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
ep rod uce d with perm ission of the copyright own er. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
38/241
N O C T E S
M V S 1 C J£,S T V D I O
.• E T
v.v induftria
-MAT THAEI REYMANIT O R O N E N S IS B O R V S S I
C O N C I N N ATAE,;
SEP Q j £ /#y >
I;«V,gC
.„,....
\ U \V ' ̂
JVyf V.. ..✓•>%
•V, JJltAK- ■ 5> li ^ •'.■■■,^\\c. < •
r. y^y -.-r;-,!̂;..,. -,Q , •f0
Edltio (ft V O E g E L I N / si Z ^ s l .
A n n o C h r i s t i
d o . J o . X C V l l l .
Cu m priuilegio S. Ca:f. Maied. & Scptcmuir. Saxon.i i
: \ i I
Plate II. Noctes Muslcae Title Page
ep roduc ed with p ermission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
39/241
F L O R E S M V S 1 C A E ,feocrit.
S V A V I S S I M i E E T L E -
P I D I S S I M A E C A N T I O
N E S , M A D R I G A L T A W L -
.& ( i c rn um ei sm .u yu m dui tn .uo l l e c’UvA mine
p u m u m u .u lcfcr ip ( . r ,v t t c r tu d in is r id i ln i i
cam jwif inr ,
P I
A1 OyA i V N E M K r D E S’ I y A t I. 1 T S I F. . V S F M ! S T V-
d u fm m & Q t A t fu i f.t .
U n i v c n c u ii : N U t t h i i R f Y j» a v \ i T t ' t ' n n r r . l n N m 'm M n t i c r p r r ^ u .i m .irtltu i n f e totH"
p c n i t a . i i i i j i j l ' u i ' j i u u I' i A i u i* i a A I’ v ' ■ ► »f i t ♦ t u r n I h i i n t v .n H i m >■ i< i . l n o u i m u i i i . ji - id il U * » . i j + m n h i t • i n i f R m .v H a r ij ti .n n B d n n h i V n j j i t ; n i I a \ T i •. I . >A*a-
V A N .1, I I ». L I I I K P • , Ji
8/19/2019 Dissertation on Rudentiu's (Rude) Book
40/241
FIOJLILEGIYM.
p r ^^r p m p r p
V— — — fc • *'M W ,f4V-*+
~ ± * t k M d“""" * Id-fVrts^5=1^2=;lSliAi«U,
r?M* p Bfi M > J
f c
p p r - p P P p
t
- -
p P prpfppp rprppp p r-prppp
-f-fW ̂ ... -. P-fa }** a)—
— ac-t— f—
m t >--- Vf . * ■ < * t a a t-
■J— -----
. . ---
f — .........- - — — a a t f -------
- v -------------- —
- a a t f - •
{*_■
P Bf P p P P P R P R C p p
- m/B WP h?— H t-a« -P-a-a-a-a— -■ g •> %12*—
■ ■ ■ a ■ ■■ ■•1 1 a - r -i a ------
P--tl--^
+ --- W - ------ :------------- ------------ - —
' i __ P•-”5 »*4. ------------!—
P P . B Pif ft i ’ft a ~ - -
......... .9 r — t V a a ■ .... 4 a -— *
• — - f a -------j — —
a — •— V f d l -------r4» —
P P B P P
A l l rm r io f t . Io. I j %», p«i b tu ol
P ^ _ _ _ _ _ _ _ _ _ _ B P P _ —— a— — a1' a— t>“ — *■-■" »-■«■ ■ ■■ J V* ' ■*
■ e » -
.*a-
P h P &
.... ... < .-< — — »---
> I
j Plate IV. Floriiegium, Galliard No. 10, f. 751, .'
pro du ced with perm ission of the copyright owner. Further reproduction prohibited wiwithout perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
41/241
f p •r rfc-----fd—c d -&—
---
Paflcmczr.
—a — ab— a ---af efe~c~c~•il-A £■■
. Variatio i.aunotarn D la fol rc,
Mcloi mollc.
C~d~£~A
l~d~a--c- h I — c — a— b — a — £ — f— !-tfr—£— t H i *
f f f p f ~d — —C—Ar
il d e d e d
, F F ‘F . £ ~ f - £ S - b ~ C a C £--b---£ — fl-'
—d~a—£-d- — d- t—n-c — --- a — £—d- f~ c ~ d- a—e — d- — c — a ~d — c — A — c — d -'— A~
■&-
c— ef— e f -C-f~-£-dr~A~£- *1J™
—£~
a
— £ •P 1 F
- d - c- A - -a-- d - £ -
A £ -~d-A —C—d d - £ -
7 F F FC f---C -—
-C -A —C- — -d -
F F F
■d-c—d -
e—c~
-Ar-
— a~£d — a b d- d --------a - b -
- f —it- *■— — — it" £' — d—
d d
a—
F F F F F F Fd
F F F---- a-f--------- d — e - c - A — d-----a - d -
A -£ ~d-----d~d~£~A~£~a----------a ----'f-
iW-~c A~ C-~d'-£~d-£------- d— — A—£—d— \~£ --- !
—*------
8/19/2019 Dissertation on Rudentiu's (Rude) Book
42/241
irf f i ft„ ft r t t m m m9e f*4 ft**
. i :. j .*• f
S j l 4[V**-4+Hh»\4
8/19/2019 Dissertation on Rudentiu's (Rude) Book
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
p rodu ced with permission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
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.
p rodu ced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
45/241
29
Following this, are two quatrains to Zoilus (a critic of
Homer, hence, any critic) in which the author, as the times
evidently demanded, attempts in flowery humanistic language
to dispel’in advance any unjust criticism of his work. An
other such reference is to Momus, likely implying again an
anonymous critic. The line Primitias rudibus nosui: hinc
mentem nrecor aauam Judicis . . .(I "have arranged the first
of my efforts for the unskilled; so I pray for a fair apprais
al by the discoverer) may be an admission of having directed
his work toward amateurs. The first is by M. G> M. G.., whom
we shall presently encounter, and the second is by I.. L. R.,
who remains unidentified.
Folio iiv has two items, the first a panegyric:
PANEGYRIS AD ORNATISSIMI ET MUSICES PERITISSIMI 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.
pr odu ced with perm ission of the copyright owner. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
46/241
30
Vecchi.
Folio iii contains the lengthiest item, the dedication,
the opening of which we have already quoted in Chapter II.
The first part is a defense of the art of music, over which
we will not linger. The next area of interest discussed is
his "decision" to seek a sponsor for this, his first work.
The text closes with his request for patronage and vows of
his obedience. It is signed:
Datae Coloniae Agrippinae. *+. Nonar. Septemb. Anno
159*+: aera novata. Reverendae & Illustri 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.
pro du ced with perm ission of the copyright owner. Further reproduction prohibited without permission .
8/19/2019 Dissertation on Rudentiu's (Rude) Book
47/241
31
next folio (the one containing the lute parts). This means
that Brown’s table of contents does not agree with Denss's
numbers. We have ignored the complication proveded by
Brown, and used Denss's numbering, which is without error.
Brown's mention of headings (Neaoolitanae. Motetae. etc.)
supposedly occurring on various folios in the tablature is
evidently an error.
With the intabulations, Denss includes certain of the
original voice parts, evidently taken from the part-books
' 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-).
pro duc ed with perm ission of the copyright owne r. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
48/241
32
were among those which Denss had at hand in compiling his
book, and he intabulated most of the contents of the 1580
print. The emphasis on his works may mark a personal acquain
tance with the composer or merely mean that Denss hoped the
pieces would be accepted widely in amateur circles.-
Matthias Ferrabosco is represented with nine pieces,
Lassus with seven, and Gastoldi with six. All others have
fewer.
It is obvious that the canzona and the canzonetta were
in their heyday, since well over 60 percent of the intabula
tions are of pieces of these types. There are four motets,
five pieces with German texts, and five with French ones.
Most of the pieces with. French and German texts Denss has
classed as madrigals.
A table of contents appears in Howard Brown's Instru
mental Music Printed Before 1600: A Bibliography (Cambridge,
1965). There, the pieces are listed in the order in which
they appear in the print. For the present reader, the con
tents of the section containing the 6b purely instrumental
pieces can be deduced from our Appendix. We will summarize
the contents of all the collections' pieces of this type
later. We have reproduced the first section of Denss's
table of contents in our Table 1, It lists the first 85
pieces (those for lute and voice).
p roduc ed with perm ission of the copyright owner. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
49/241
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
p rodu ced with perm ission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
50/241
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
pro du ced with permission o f the copyright owner. Further reproduction prohibited without permission .
8/19/2019 Dissertation on Rudentiu's (Rude) Book
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.
pro du ced with permission of the copyright owner. Further reproduction prohibited without permission .
8/19/2019 Dissertation on Rudentiu's (Rude) Book
52/241
36
Noctes Musicae
The one hundred folios of the main body of Reymann's
book'’ are prefaced by four other folios which begin with the
following title:
NOCTES MUSICAE, STUDIO ET industria MATTHAEI 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.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
53/241
37
The preface on folio iv, which follows, Lectoris. is of
more interest. From it we gain the impression that some, of
the pieces in this book had been in circulation for some
.time and that this publication has provided some alterations.
He says, "You will find some of the parts increased, others
curtailed, and others entirely eliminated.41
An explanation of the tuning of the seventh and eighth
courses and their advantages is included. This will be con
sidered in more detail later.
He then summarizes the contents of the book, giving the
number of pieces of each type to be found. A comparison
with the actual contents (see Appendix) shows two errors.
There are actually twenty-three preludes, not twenty-two.
Although he says there are nine choreae, only eight are pre
sent. The idea of providing preludes and passamezzos in a '
wide variety of keys is noted here:
Has deinde Passemezae, Yariationes triplae, cum 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*
pro du ced with permission of the copyright owner. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
54/241
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.
pro duc ed with perm ission of the copyright owne r. Further reproduction prohibited without perm ission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
55/241
39
Flores Musicae
Rude 1s first book has six folios of prefatory material
including the title page, dedication and other items, before
the sixty-six folios of vocal intabulations begin.
The title page runs:
FLORES MUSICAE hoc est SUAVISSIMAE ET 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.
p roduc ed with per mission of the copyright owner. Further reproduction prohibited without permission.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
56/241
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.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
57/241
8/19/2019 Dissertation on Rudentiu's (Rude) Book
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.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
59/241
'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
8/19/2019 Dissertation on Rudentiu's (Rude) Book
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
8/19/2019 Dissertation on Rudentiu's (Rude) Book
61/241
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
Iacomo RegnardoHasslero
Teodoro RiccioTeodoro RiccioTeodoro RiccioBernardo Mosto
Giovanni Francesco ViolantiAndrea GabrielliAndrea GabrielliGiac. GastaldiOrlando di LassoTeodoro Riccio
AA l.a.AA l.a.
AA •
& CM
AA 3*a*AA 3*b.AA b. a.A A *+. a.AA *+.b.AA 5. a.AA 5-b.A A 6. a.AA 6.b.B B l.a.B B l.a.B B l.b.B B 2.b.B B 3-b.B B *+. a.B B
b. a.B B *t.b.B B 5* a.B B 5-b.B B 6.a.B B 6.b.CC l.a.CC 2.a .CC 2.b.CC 3*a.
-rVJT.
8/19/2019 Dissertation on Rudentiu's (Rude) Book
62/241
29.
30.31.32.
3?‘3b.
35.*36.*37.*38.
?9**bo.*bi.b2.*+3«bb.b$,*b6.*1+7.*>+8.^9.*50.
*51.*52.*53.*5*+.*55.*56.57.
*58.*59.60.*61.
Blanchl giglij. (prima parte) Marenzio 70 (1610), 8 Luca Marenzo CC 3 .b.Seconda parte. CC *t-.a.Tertia parte. - CC M-.b.Da bei vostri ochi. B. Mosto (1