music printing, early modern Germany, history of the book

A transcription of a lesser known masterpiece from the early 16th century. The only known work by composer Johannes Mittner, this Mass, and particularly its Sanctus movement, demonstrates one of the largest mensuration canons from the Renaissance - five voices from one.

For a audio-visual animation with recording see the link here:
https://www.youtube.com/watch?v=FCe7WGoJVLI

Johannes Mittner: Missa Hercules Dux Ferrarae, Sanctus
Sanctus a4,
Pleni sunt coeli a2,
Osanna I a5 mensuration canon,
Benedictus a4
Osanna II a3

Lodovico da Viadana’s editorial production is paradigmatic in observing the complex phenomenon of lost music prints in early modern Europe. Information derived from preserved editions, historical inventories, booksellers’ listings, bibliographies and other documentary sources is here used to identify more than forty apparently lost editions by Viadana. Though not all the data is reliable, it nevertheless offers interesting new perspectives on some aspects of the composer’s activity, editorial success and reception.

ISBN 978-88-95908-10-6

Reviews:
– Early Music 47 (2019), pp. 411–412 (Michael Talbot)
– Rivista Italiana di Musicologia 54 (2019), pp. 197–203 (Francesco Passadore)

Primer volumen en la serie Estudios de música antigua, coordinada por Maricarmen Gómez. En la historia de la teoría musical, el Renacimiento español temprano representa una etapa crucial en la que se centra el estudio del presente volumen. A lo largo suyo son tres los puntos de vista que se entrecruzan: la relación de los teóricos españoles con el resto de sus colegas contemporáneos, la proliferación de tratados teóricos publicados en lengua castellana a finales del siglo XV y los aspectos de la práctica musical relativos a la teoría que se expone en ellos.
Presentamos aquí la primera edición crítica de la Sumula de canto de organo de Domingo Marcos, el primer tratado sobre polifonía impreso en español, brindando al lector la oportunidad de profundizar en el pensamiento de los músicos de la época, ejecutantes prácticos capaces tanto de improvisar contrapunto como de leer la polifonía al uso. Además y por vez primera, se aportan los datos necesarios para comprender las características de la producción teórica española del momento y así colocarla en justa correspondencia con la que se gestaba en paralelo en el entorno cultural europeo.

Reworking and review of my PhD Thesis. First volume in the series Studies on Early Music, edited by Maricarmen Gómez. In the history of musical theory, the early Spanish Renaissance represents a crucial stage in which the study of the present volume focuses. Throughout this work, there are three points of view that intersect: the relationship of Spanish theorists with the rest of their contemporary colleagues, the proliferation of theoretical treatises published in the Castilian language at the end of the 15th century and the aspects of musical practice related to the theory that is exposed in them.
We present here the first critical edition of the Domingo Marcos Sumula de Canto de Organo, the first treatise on polyphony printed in Spanish, giving the reader the opportunity to deepen the thought of the musicians of the time, practical performers capable of improvising counterpoint as well as to read polyphony. In addition and for the first time, the necessary data are provided to understand the characteristics of the Spanish theoretical production of the moment and thus place it in fair correspondence with that which was developed in parallel in the European cultural environment.

Delivered in 2012, published in 2015 [recte 2016].

In questo studio viene indagato il contesto nel quale sono stati pubblicati gli Offertoria e le Communiones totius anni di Mikołaj Zieleński. Attraverso un’analisi della produzione editoriale veneziana (oggi conservata e non) apparsa intorno al 1611, viene proposta una riflessione sulle strategie perseguite dalle diverse officine veneziane impegnate nel settore musicale, sulla tipologia del repertorio musicale pubblicato e sulla presenza di compositori foresti come Zieleński. L’obiettivo è quello di mettere a fuoco le peculiarità di un’operazione editoriale senz’altro fuori dal comune.

This study investigates the context in which Mikołaj Zieleński’s Offertoria and Communiones totius anni was published. Through an analysis of Venetian music editions produced around 1611 (today preserved or lost), it intends to reflect on the strategies pursued by the Venetian music publishers, on the typology of published music repertoire, and on the presence of foreign composers such as Zieleński. The purpose is to focus on the characteristics of an editorial project, which undoubtedly are out of the ordinary.

Review:
- Muzyka 3 (2017), p. 130-137 (Antonio Chemotti).
- Rivista Italiana di Musicologia 53 (2018), p. 255-259 (Roberta Mangiacavalli)

Cette contribution se propose d’aborder le phénomène des éditions de musique imprimées avec fausse adresse d’impression. Il s’agit d’un problème bien connu par les historiens du livre, qui toutefois dans le domaine de l’histoire de l’imprimerie musicale a été encore très peu considéré. L’analyse de quelques cas concernant des éditions publiées en France, aux Pays-Bas et en Allemagne pendant les XVIIe et XVIIIe siècles permettra d’enquêter un phénomène complexe qui pose différents problèmes au niveau historique, historiographique et bibliographique.

See paper: https://www.academia.edu/37840984/Stampate_a_Venezia_Edizioni_musicali_del_Seicento_con_false_indicazioni_di_stampa._forthcoming_

Within not much more than five years of the second decade of the 16th century there was an increase in the market for German song books. Six prints are still extant or traceable; half of them were produced by Augsburg based printers, who had no or rather limited experience in the new field of music printing. The conditions for organizing such an endeavour are investigated, with special interest in certain stages of the editorial production process. Bay way of example, two different aspects are now being examined: the orthographical decision of where to place semibreve pauses in the staff as well as the overall disposition of the collection, particularly the beginning and ending of the song book with a Marian and/or canonic song. Both case studies reveal a close connection between the assumed editor(s) of Erhard Öglin’s music prints and members of the Maximilian court chapel, possibly Heinrich Isaac.

Die relative Dichte von drei Publikationen mit deutschen mehrstimmigen Liedern in Augsburg in den Jahren ca. 1512/13 (die verschollene Vorlage zum Liederbuch des Arnt von Aich RISM [1519]5 und die zwei Liederbücher von Erhard Öglin RISM 15121 und [c. 1513]3 ) wirft die Frage auf, mit welchen Motivationen, Arbeitsbedingungen und konzeptionellen Ideen der Produzenten am Beginn der Geschichte des deutschen Lieddrucks zu rechnen war. Insbesondere werden Aspekte des Lektorats (hierbei exemplarisch die Punkte Notenorthografie und Gesamtdisposition der Sammlungen) behandelt, auch im Vergleich mit den Mainzer Lieddrucken Peter Schöffers (RISM 15133 und [c. 1515]3). Die besondere Rolle Augsburgs als Druckerstadt, vor allem auch für die Buchprojekte Maximilians I., war in Verbindung mit der Tatsache, dass sich die kaiserliche Kapelle und Heinrich Isaac hier häufig aufhielten, für die kurze Hochkonjunktur verantwortlich.

[ESP] Este trabajo ofrece una visión cronológica tanto de la técnica como de los materiales tipográficos utilizados en la impresión de música en España entre 1485 y 1550. Sugerimos otro punto de vista acerca del tratamiento de los fragmentos musicales, que lejos de ser meramente «ilustraciones» xilográficas, eran también objeto de composición tipográfica al igual que los textos que la acompañaban.

[ENG] In this paper we will offer a chronological vision of the techniques and typographic materials employed in the Spanish music printing between 1485 and 1550. We suggest another point of view about the treatment of the music fragments, far for being just xylographic «images», they were composed by types as the text they accompanied.

In the seventeenth century music printing was still an expensive enterprise. Nevertheless, the print media was attractive to composers when issuing music that they had
written for special occasions. The flexibility of print media allowed them to adjust publications to fit the exact purposes that they had in mind when issuing occasional
music. They could take advantage of the media for many different purposes and make their music accessible and attractive to a certain group of readers they wanted
to address. The paper investigates occasinal music published in Rostock in the first half of the seventeenth century. Here, composers that had their occasional works printed had different strategies when approaching potential readers. Some prints were not presented to the public, but circulated only privately around the composer and his acquaintances. Other prints were distributed widely to the public. Also the status of the music, whether occasional or not, could be controlled through the prints. In some cases, the composers put an effort in emphasizing the fact that a piece of music was composed for a certain occasion; in other cases, they tried to disguise it.

Am 15. September 1680 fand die feierliche Translation der Reliquien der Katakombenheiligen Sergius, Bacchus, Hyacinthus und Erasmus im Kloster St. Gallen statt. Als Director Musicae bekam der Stiftsorganist Pater Valentin Müller (Molitor) die Aufgabe, die Musik für die Feier zu verfassen. 1681 wurde ein Teil des dafür komponierten Repertoires unter dem Titel 'Missa una cum tribus mottetis in Solemni Translatione SS. MM. Sergio, Bacchi, Hyacinthi et Erasmi ab octo vocibus concertantibus, et 7. Instrumentis, sed tantium quatuor necessariis in Monasterio S. Galli decantata' herausgegeben. Der im Kloster St. Gallen produzierte Musikdruck enthält ein vollständiges Ordinarium missae (Kyrie, Gloria, Credo, Sanctus und Agnus Dei) sowie drei Motetten. Grandios ist die aufwendige Besetzung mit zwei vierstimmigen Chören sowie einem reichen, dem Festcharakter angemessenen Instrumentarium. Die Musik stellt damit ein wertvolles Zeugnis des benediktinischen Musikrepertoires dar, wie es im Kloster St. Gallen in der zweiten Hälfte des 17. Jahrhunderts gepflegt wurde. Der vorliegende Band enthält die vollständige kritische Ausgabe der 1681 erschienenen Werke von P. Valentin Müller (Molitor) sowie eine historische Einleitung.

Facsimile and Critical Edition by Luigi Collarile.
ISBN 978-88-271-3055-1

L’analisi di un’edizione musicale conservata oggi in un unico esemplare senza data e luogo di edizione, ha permesso di identificare una raccolta prodotta dall’editore veneziano Alessandro Vincenti. Tra il 1650 e il 1651, egli diede alle stampe due importanti raccolte postume di Claudio Monteverdi (1567-1643). Ad esse va ora aggiunta una terza edizione. Essa contiene quattro mottetti mariani, tre dei quali ancora completamente sconosciuti.

Il presente volume contiene un’introduzione storica, un’edizione critica dei mottetti e il facsimile della stampa musicale originale.

Reviews:
- Il Giornale della musica n. 291 (avril 2012), p. 32 (Fiorella Sassanelli)
- Early Music 41 (2013), p. 161-163 (Noel O’Regan)

Presentation of three newly discovered motets by Claudio Monteverdi.

See:
Claudio Monteverdi : Salve Regine del Sig. Claudio Monteverde, ed. by Luigi Collarile. Bologna: Arnaldo Forni Editore, 2011

https://www.academia.edu/21454025/Claudio_Monteverdi_Salve_Regine_del_Sig._Claudio_Monteverde._Bologna_Arnaldo_Forni_Editore_2011_with_three_newly_discovered_motets_

This paper investigates Giovanni Gabrieli’s role in the posthumous publication of his uncle’s music, a wide-ranging editorial project comprising eleven first editions of polyphonic music and eight reprints (several of them revised). Lost editions and ghost editions are examined in an attempt to establish the exact entity and chronology of the two Gabrielis’ printed output. The objectives and strategies of the posthumous production are reconsidered in this revised perspective.

In: Giovanni Gabrieli. Transmission and Reception of a Venetian Musical Tradition, edited by Rodolfo Baroncini, David Bryant, Luigi Collarile. Turnhout: Brepols, 2016 (Venetian Music – Studies, 1)

Reviews:
Rivista Italiana di Musicologia 53 (2018), p. 285–291: 286–287 (Michelangelo Gabbrielli)

The significance of the Fugger Family for 16th-century Augsburg and its cultural scene cannot be questioned: quite a few family members are important patrons for artists who depend on favour and support of a wealthy benefactor. Dedicatory prefaces are an essential part in patronage politics with benefit for both sides: The dedicatee is decorated by the reputation of being a benevolent patron of the arts while the author of the dedication takes advantage of the popularity and social network of the other. Yet there may exist more pragmatic reasons like expecting financial rewards.
The form, content and wording of dedicatory prefaces follow clearly defined conventions. The humble attitude expressed in the texts and their recurrent subject of the laus patroni have often been considered as meaningless rhetoric. That may also be a reason why musicology so far neglected preliminary epistles as a source for research. There are, however, good reasons to prove their relevance: In their nuances and creative modifications these courtesy phrases do indeed deliver instructive information concerning the relationship of author and addressee. The high level of humanistic education of their writers becomes visible in the citations and connotations of Greek and Roman authors in the texts. Numerous references to contemporary people and historic events make the dedications appear as interesting and authentic scientific sources containing hitherto unknown information.
The Fugger dedications offer a corpus of about 50 music prints. The list of composers ranges from Europe-wide operating and popular musicians like Giovanni Gabrieli, Orlando di Lasso or Philip de Monte to composers with a more regional background like Christian Erbach or Gregor Aichinger. Behind all convention the author’s motivation for the preface as well as the text’s style and form differs to some extent in every single case. This in turn raises the question of the relationship between the composer and his Fugger patron. The examination of these dedicatory texts reveals an insight to a dense social network of cultural life in early modern Augsburg.

The article opens with a discussion of the Italian and Italianate concertos that Johann Sebastian Bach transcribed for the organ and harpsichord (bwv592–96, bwv972–87). Hans-Joachim Schulze has suggested that Bach encountered these Italian instrumental works as a result of a trip by Prince Johann Ernst of Saxe-Weimar to the Netherlands. This article suggests an alternative route for Bach to have gained copies of Italian concertos, namely via the Halle and Leipzig bookseller Adam Christoph Sellius. He traded in sheet music published by Estienne Roger in Amsterdam and also in French printed music, probably imported through his contacts in the Netherlands.

A paper presented (in German) at Johannes Gutenberg Universität, Mainz, Germany, on December 13 2013. It asks whether the text of the dedication, and the person of the dedicatee, in Nikolaus Listenius' and Heinrich Faber's treatises (1st half of the 16th c.), should be taken into account when studying these works' musical theoretical content.

Estudio de la circulación de la obra de T.L. de Victoria en la región de Aragón (Zaragoza, Huesca y Teruel) a partir de fuentes conservadas, inventarios y noticias de envíos de libros. Especial atención merecen las adaptaciones de la Missa Quarti toni.
Se estudian cartas inéditas de Victoria, Francisco Guerrero, Alonso Lobo, Pedro Ruimonte y Antonio Mogavero dirigidas a la catedral de Zaragoza acompañando el envío de sendos libros.
Se restituye a autoría de la Missa Quinti toni atribuida en Calatayud a Victoria a Pier Luigi da Palestrina.

Nicht immer war die Augsburger Bevölkerung im 16. Jahrhundert erfreut darüber, dass (schon wieder) ein Reichstag in ihrer Stadt tagen sollte. Reichstage waren nicht nur ein gesellschaftliches Ereignis mit gigantischen Ausmaßen, sie stellten auch eine enorme finanzielle Belastung dar. Oft waren über viele Monate mehrere tausend Gäste in der Stadt. Im Jahr 1530 – die Religionskonflikte schwelten nicht nur im Reich, sondern auch innerhalb der freien Reichsstädte – drohte die Ankunft des Kaisers sogar in einer Katastrophe zu ändern. Ein Aufruhr stand kurz bevor.

Selten kam den politischen Symbolen, den Zeremonien und Ritualen des Reichs eine größere Bedeutung zu als in dieser gespannten Atmosphäre. Musik, ein integraler Bestandteil des Reichszeremoniells und des höfischen Lebens, gestaltete Politik. Das Forschungsprojekt zu der Musik bei den Augsburger Reichstagen des 16. Jahrhunderts beschäftigt sich mit der Wechselwirkung von Politik und Musik. Es untersucht die Rolle von Tonkunst und Klang im Rahmen von Ritualen wie Herrschereinzügen, Belehnungen und Huldigungen. Zum Frieden mahnende Motetten stehen dabei ebenso im Zentrum des Interesses wie die Rolle der schlachterprobten Hoftrompeter.

Der Vortrag »Musikkosmos Reichstag – Musik und Politik im 16. Jahrhundert« gibt einen Einblick in die Klangwelt eines Reichstags. Kaum ein anderes Ereignis der frühen Neuzeit brachte eine vergleichbare Zahl an Musikern und Musikinteressierten an einem Ort zusammen. Der Reichstag war eine der großen Bühnen des 16. Jahrhunderts.