Cambridge University Press 978-1-107-08229-8 - Music and Riddle Culture in the Renaissance Katelijne Schiltz Frontmatter More information

Music and Riddle Culture in the Renaissance

Throughout the Renaissance, composers often expressed themselves in a language of riddles and puzzles, which they embedded within the music and lyrics of their compositions. This is the first book on the theory, practice and cultural context of musical riddles during the period. Katelijne Schiltz focuses on the compositional, notational, practical, social and theoretical aspects of musical riddle culture c. 1450–1620, from the works of Antoine Busnoys, Jacob Obrecht and to ’s manuscript collection of Canoni musicali. Schiltz reveals how the riddle both invites and resists interpretation, the ways in which riddles imply a process of transformation, and the consequences of these aspects for the riddle’s conception, performance and reception. Lavishly illustrated and including a comprehensive catalogue by Bonnie J. Blackburn of enigmatic inscriptions, this book will be of interest to scholars of music, literature, art history, theology and the history of ideas.

katelijne schiltz is Associate Professor at the University of Regensburg. She is the author of a book on the of Adrian Willaert (2003), and her articles have appeared in a number of journals, including Early Music, Early Music History, Rivista italiana di musicologia, Archiv für Musikwissenschaft and the Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis. She is general editor (together with David J. Burn) of the Journal of the Alamire Foundation and a member of the editorial board of Analysis in Context. A Laureate of the Royal Flemish Academy of Belgium for Science and the Arts, she has won prizes from the Society for Music Theory and from the Lyrica Society for Word-Music Relations.

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Music and Riddle Culture in the Renaissance

katelijne schiltz with a catalogue of enigmatic canonic inscriptions by Bonnie J. Blackburn

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Library of Congress Cataloguing in Publication data Schiltz, Katelijne, 1974- author. Music and riddle culture in the Renaissance / Katelijne Schiltz ; with a catalogue of enigmatic canonic inscriptions by Bonnie J. Blackburn. pages cm Includes bibliographical references and index. ISBN 978-1-107-08229-8 (Hardback) 1. Music–15th century–History and criticism. 2. Music–16th century–History and criticism 3. Renaissance. 4. Riddles–History and criticism. I. Blackburn, Bonnie J., author. II. Title. ML172.S245 2015 780.90031–dc23 2014038630

ISBN 978-1-107-08229-8 Hardback

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For my parents

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Doch glaube keiner, daß mit allem Sinnen Das ganze Lied er je enträtseln werde! Johann Wolfgang von Goethe, Die Geheimnisse. Ein Fragment, ll. 9–10

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Contents

List of plates [page ix] List of figures [x] List of music examples [xiv] Acknowledgements [xv] List of abbreviations [xix] List of manuscript sigla [xxi] List of printed music [xxviii]

Introduction [1] 1. The culture of the enigmatic from Classical Antiquity to the Renaissance [22] Classical Antiquity and the Middle Ages [24] Riddles in the Renaissance [31] The discourse on obscurity [40]

2. Devising musical riddles in the Renaissance [65] The message of the notation [73] Why obscurity? The musical riddle in context [83] Techniques of transformation [93] Enigmatic inscriptions [130] Riddles and their resolutio [174]

3. The reception of the enigmatic in music theory [194] Theorists in favour of riddles [198] Critical voices [220]

4. Riddles visualised [273] Introduction: visual poetry – visual music [273] Geometrical figures: the circle [278] Religious symbols: the cross [301] Music and nature: the lunar cycle [326] Rebus, cryptography and chronogram [342]

Conclusion [359]

vii

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viii Contents

Appendix 1 A brief introduction to mensural notation [365] Appendix 2 Catalogue of enigmatic canonic inscriptions – Bonnie J. Blackburn [367] Index to the catalogue of enigmatic canonic inscriptions [460] Bibliography [478] Index of compositions [505] General index [509]

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Plates

The colour plates can be found between pages 226 and 227 2.1 Anon., Kain Adler in der Welt in Vienna 19237 4.1 Anon., En la maison Dedalus. Berkeley, University of California Music Library, MS 744 (olim Phillipps 4450), 62 4.2 Anon., Salve radix in London Royal 11 E.xi. © British Library Board 4.3 Tielman Susato, Puisqu’en janvier in Vingt et six musicales (Antwerp: Susato, 1543), Tenor. With permission from the Bibliothèque Royale Albert Ier/Koninklijke Bibliotheek Albert I in Brussels

ix

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Figures

1.1 The encoded voice of Josquin des Prez, Missa Fortuna desperata, Agnus Dei I in , Dodekachordon (Basel, 1547), 389: (a) enigmatic notation, (b) resolution. Munich, Bayerische Staatsbibliothek, 2 Mus.th. 215 [page 23] 1.2 Title page of Athenaeus, Banquet of the Learned (: Aldus Manutius, 1514). Munich, Bayerische Staatsbibliothek, 2 A.gr.b. 422 [33] 1.3 Title page of Symphosius’ Aenigmata (Basel, 1563). Munich, Bayerische Staatsbibliothek, Res/Ph.sp. 116#Beibd.2 [34] 1.4 Giovanni Francesco Straparola, Piacevole notti (Venice, 1586), fol. 52r (page with the riddle that is also cited in ’s El Melopeo y maestro). Munich, Bayerische Staatsbibliothek, P.o.it. 970 [37] 2.1 Tenor of Jacob Obrecht, Missa Fortuna desperata, from Misse Obreht (Venice: Petrucci, 1503), beginning of the Gloria, fol. 25. Munich, Bayerische Staatsbibliothek, 4 Mus.pr. 160#Beibd.1 [67] 2.2 Jacob Obrecht, Missa Fortuna desperata in the Segovia codex, beginning of the Gloria (with enigmatic Tenor and Tenor ad longum). With permission from the Archivo Capitular de la Catedral de Segovia [69] 2.3 Tenor of Jacob Obrecht, Missa Fortuna desperata in Concentus harmonici (Basel: Mewes, 1507), beginning of the Gloria. Basel, Universitätsbibliothek, kk III 23a [70] 2.4 Johannes Mittner, Missa Hercules dux Ferrariae; beginning of the Osanna. Staatliche Bibliothek Regensburg, 2 Liturg. 18, fol. 24v [77] 2.5 Scipione Cerreto, two-voice riddle in Pietro Cerone, El Melopeo y maestro (, 1613), Enigma no. 11. Regensburg, Bischöfliche Zentralbibliothek, Th 34 [80] 2.6 Anon., Avant, avant in Canti B (Venice: Petrucci, 1502). Reproduced from Ottaviano Petrucci, Canti B numero cinquanta, Monuments of Music & Music Literature in Facsimile, Series x I. Volume 23, by agreement with Broude Brothers Limited [96]

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List of figures xi

2.7 Marbriano de Orto, D’ung aultre amer in Canti B (Venice: Petrucci, 1502). Reproduced from Ottaviano Petrucci, Canti B numero cinquanta, Monuments of Music & Music Literature in Facsimile, Series I. Volume 23, by agreement with Broude Brothers Limited [97] 2.8 Anon., Languir me fais in Hermann Finck, Practica musica (Wittenberg, 1556), sig. Nniv–Nnijr. Regensburg, Bischöfliche Zentralbibliothek, Th 120 [99] 2.9 Leonhard Paminger, Cantus firmus ‘Mirificavit Dominus’ from XXIII. Psalmus, Ad te, Domine, levavi animam meam from Quartus tomus ecclesiasticarum cantionum (Nuremberg, 1580), Secundus Discantus. Munich, Bayerische Staatsbibliothek, 4 Mus.pr. 181 [104] 2.10 Anon., Dy kraebis schere in the Glogauer Liederbuch, Superius. With permission from the Preußische Staatsbibliothek zu Berlin [109] 2.11 Matthaeus Le Maistre, Magnificat sexti toni in Schwerin 3382/2: Sicut locutus, Altus primus. With permission from the Landesbibliothek Mecklenburg-Vorpommern in Schwerin [110] 2.12 Matthaeus Pipelare, Missa Pour entretenir mes amours in Vienna 11883, fol. 325v: final Agnus Dei, Altus [114] 2.13 Josquin des Prez, Vive le roy in Canti C (Venice: Petrucci, 1504), Tenor. Reproduced from Ottaviano Petrucci, Canti C numero cento cinquanta, Monuments of Music & Music Literature in Facsimile, Series I. Volume 25, by agreement with Broude Brothers Limited [115] 2.14 Anon., Ave mundi spes Maria in Munich 3154, Quintus (secunda pars), fol. 466v (olim 292) [116] 2.15 Written-out solution of the Quintus from Ave mundi spes Maria, separate leaf added between fols. 466 and 467 [117] 2.16 Leonhard Paminger, Philippe qui videt me in Secundus tomus ecclesiasticarum cantionum (Nuremberg, 1573), Tenor, fol. 100r. Munich, Bayerische Staatsbibliothek, 4 Mus.pr. 180#Beibd.1 [118] 2.17 Antoine Busnoys, Tenor of Maintes femmes in Canti C (Venice: Petrucci, 1504), fols. 117v–118r. Reproduced from Ottaviano Petrucci, Canti C numero cento cinquanta, Monuments of Music & Music Literature in Facsimile, Series I. Volume 25, by agreement with Broude Brothers Limited [124] 2.18 Grammatio Metallo, two-voice riddle in Pietro Cerone, El Melopeo y maestro (Naples, 1613), 1109 (detail). Regensburg, Bischöfliche Zentralbibliothek, Th 34 [125]

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xii List of figures

2.19 Antoine Busnoys, Maintes femmes in Canti C (Venice: Petrucci, 1504), secunda pars. Reproduced from Ottaviano Petrucci, Canti C numero cento cinquanta, Monuments of Music & Music Literature in Facsimile, Series I. Volume 25, by agreement with Broude Brothers Limited [130] 2.20 (?), Ut heremita solus in Motetti C (Venice: Petrucci, 1504) [131] 2.21 Anon., Missa O Österreich in Munich 3154, Agnus Dei II, fol. 213r [135] 2.22 Anon. (Noel Bauldeweyn?), Missa Du bon du cueur in Munich 5, Agnus Dei, [Tenor II], first two folios, fols. 162r and 163r [144] 2.23 Anon., Dy kraebis schere in the Glogauer Liederbuch, Tenor. With permission from the Preußische Staatsbibliothek zu Berlin. [149] 2.24 Josquin Baston, Languir me fais in the Vingt et six chansons musicales (Antwerp: Susato, 1543), Superius. With permission from the Bibliothèque Royale Albert Ier/Koninklijke Bibliotheek Albert I in Brussels. [158] 2.25 Jean Maillard, De fructu vitae, Quinta vox in Modulorum Ioannis Maillardi (Paris: Le Roy & Ballard, 1565). Chicago, Newberry Library, Case VM 2099/L1/K39 [159] 2.26 , Nigra sum sed formosa in Musici quinque vocum moduli (Venice: Gardano, 1555), Superius. , Biblioteca Casanatense, Mus. 682.2 [164] 2.27 Alexander Agricola, Salve regina in Brussels 9126, Benedictum fructum, Tenor and Bassus, fol. 141v [166] 2.28 Pietro Cerone, Enigma del espejo in El Melopeo y maestro (Naples, 1613), 1122 (detail). Regensburg, Bischöfliche Zentralbibliothek, Th 34 [168] 2.29 Jacob Obrecht, Missa Je ne demande in Misse Obreht (Venice: Petrucci, 1503), Agnus Dei II, fols. 22v–23r [180] 2.30 Jacob Obrecht, Missa Je ne demande in Munich 3154, Agnus Dei II, Altus and Tenor [181] 2.31 Anon., Magnificat sexti toni in Kassel 9, fol. 31ar, loose leaf added to the Altus [187] 2.32 Sanctus (Tenor) from Josquin des Prez, Missa de beata virgine in Liber quindecim missarum (Rome: Antico, 1516), fol. 123v, copy in Baden, Stadtarchiv, Stift Nr. 21 [190] 2.33 Josquin des Prez, Missa Hercules dux Ferrariae in Milan 2267, beginning of the Gloria, Tenor [191]

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List of figures xiii

3.1 Hermann Finck, Practica musica (Wittenberg, 1556): opening page from the Liber tertius. Regensburg, Bischöfliche Zentralbibliothek, Th 120 [206] 3.2 Pietro Cerone, El Melopeo y maestro, 1075 (including the motto of Book XXII and the first riddle – the Agnus Dei II of Josquin des Prez’s Missa L’homme armé super voces musicales). Regensburg, Bischöfliche Zentralbibliothek, Th 34 [213] 4.1 Baude Cordier, Tout par compas in the Chantilly Codex [280] 4.2 Ulrich Brätel, Ecce quam bonum. Munich, Bayerische Staatsbibliothek, 2 Mus.pr. 156#2 [287] 4.3 Anon., Miraris mundum in Prague DR I 21, p. 307 [293] 4.4 Thomas Morley, cross canon in A Plaine and Easie Introduction to Practicall Musicke (London, 1597), 174. © British Library Board [302] 4.5 Pieter Maessens, Per signum crucis. Munich, Bayerische Staatsbibliothek, 2 Mus.pr. 156#1 [309] 4.6 , Crucem sanctam subiit in Pietro Cerone, El Melopeo y maestro, 1138–9. Regensburg, Bischöfliche Zentralbibliothek, Th 34 [312] 4.7 Adam Gumpelzhaimer, Crux Christi – Quatuor evangelistae. Munich, Bayerische Staatsbibliothek, 2 Mus.pr. 156#19 [320] 4.8 Hermann Finck, Practica musica, sig. Cc2r. Regensburg, Bischöfliche Zentralbibliothek, Th 120 [333] 4.9 Scottish Anonymous (London Add. 4911), Fourteenth Canon, fol. 34r. © British Library Board [334] 4.10 Pietro Cerone, Enigma de la escala in El Melopeo y maestro, 1125. Regensburg, Bischöfliche Zentralbibliothek, Th 34 [335] 4.11 Resolutio of the Tenor from Cerone’s Enigma de la escala, 1126. Regensburg, Bischöfliche Zentralbibliothek, Th 34 [336] 4.12 Rebus in Paris, Bibliothèque nationale de France, fonds français 5658 [344] 4.13 Signature of Petrus Alamire. London, British Library, Cotton MS Galba B IV, fol. 203v. © British Library Board [345] 4.14 Gustav Selenus, Cryptomenytices et cryptographiae libri IX (Lüneburg, 162), 321–2. Munich, Bayerische Staatsbibliothek, Res/2 Graph. 39 [349] 4.15 Martin Agricola, Festina lente in Suavissimae et iucundissimae harmoniae (Nuremberg: Gerlach, 1567), sig. B2v. Munich, Bayerische Staatsbibliothek, 2 Mus.pr. 40 [351]

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Music examples

2.1 Scipione Cerreto, two-voice riddle: resolutio [page 81] 2.2 Marbriano de Orto, D’ung aultre amer, bb. 1–20 [98] 2.3 Anon., Languir me fais [101] 2.4 Matthaeus Le Maistre, Magnificat sexti toni, beginning of the Sicut locutus [111] 2.5 Anon., Kain Adler in der Welt [122] 2.6 Grammatio Metallo, two-voice riddle [126] 2.7 Anon., Missa Du bon du cueur, Agnus Dei, bb. 1–31 [145] 2.8 Anon., Dy kraebis schere [150] 4.1 Ulrich Brätel, Ecce quam bonum [288] 4.2 Anon., Miraris mundum [296] 4.3 Thomas Morley, cross canon [303] 4.4 Ghiselin Danckerts, Crucem sanctam subiit [314] 4.5 Adam Gumpelzhaimer, Quatuor evangelistae [322] 4.6 Adam Gumpelzhaimer, Crux Christi [324] 4.7 Biagio Pesciolini, Tu celi pandis abscondita [331] 4.8 Pietro Cerone, Enigma de la escala [337] 4.9 Tielman Susato, Puisqu’en janvier [354]

xiv

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Acknowledgements

Although writing as such is a solitary business, a book never comes into being without the help of friends, colleagues and institutions. It is my great pleasure to acknowledge their help here and to express my gratitude. The material conditions for my work were made possible through a generous grant from the Ideenfonds of the LMUexcellent programme of the Ludwig- Maximilians-Universität Munich. The project leader, Hartmut Schick, supported my research in every possible way, for which I am most grateful. The grant not only enabled the funding of a series of lectures I organised at the Department of Musicology in the years 2008–9, but also made possible the organisation of an international one-day conference on ‘Musik und Rätselkultur in der Renaissance’, of which the proceedings have appeared in the Journal of the Alamire Foundation. In 2012, I submitted an earlier version of this study as Habilitationsschrift at the University of Munich, and I am grateful to the members of the jury (Hartmut Schick, Dorit Tanay, Lorenz Welker and Claudia Wiener) for their constructive comments. In Renaissance musicology I seem gradually to have gained a reputation as a riddle aficionado. Several colleagues sent me material and challenged my mind with fascinating brain-teasers in Renaissance manuscripts and prints, some of which, alas, are still waiting for a satisfactory resolutio:my sincere thanks to Andrea Ammendola, Jaap van Benthem, David Burn, Antonio Chemotti, Denis Collins, Marc Desmet, Scott Edwards, David Fallows, Wolfgang Fuhrmann, Stefan Gasch, Clemens Goldberg, Franz Götz, Inga Mai Groote, Dieter Haberl, Martin Ham, Ulrike Hascher- Burger, Lenka Hlávková (Mráčková), Moritz Kelber, Franz Körndle, Hel- mut Lauterwasser, Christian Leitmeir, Andrea Lindmayr-Brandl, Mattias Lundberg, Patrick Macey, Grantley McDonald, Klaus Wolfgang Niemöller, Molly Ryan, Bernhold Schmid, Anne Smith, Cristina Urchueguía and Peter Urquhart – I apologise to those who no longer come to memory. Many thanks also to Michael Anderson, Denis Collins, Päivi Mehtonen, Zoe Saunders and Anna Zayaruznaya for sending me their unpublished material. xv

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xvi Acknowledgements

A special word of thanks goes to Bonnie J. Blackburn. Our common interest in riddles and canons finds expression in the book Canons and Canonic Techniques, 14th–16th Centuries that we co-edited in 2007, and has continued in numerous discussions, via e-mail, lectures and confer- ences. In the course of the years, I have learnt a lot from her, not only from her vast knowledge, but also about cooperativeness and willingly sharing knowledge with colleagues. There is no better way to illustrate this than with the catalogue of enigmatic inscriptions, which is presented in Appen- dix 2 of this book. Bonnie has been collecting such inscriptions for a long time and she generously offered to publish them here as a ‘joint effort’. Leofranc Holford-Strevens was helpful as always with translations, tracing sources and much more. We hope that the catalogue will provide a repertory to draw upon for other scholars as well. This book has greatly benefited from many conversations, e-mails and Skype sessions with friends, who have been accompanying me on my path for years: Camilla Cavicchi, Anne Smith, Dorit Tanay, Giovanni Zanovello and Vasco Zara. Our common musicological basis has grown into a friendship that far exceeds the purely professional character of contacts. Some of them read large portions of the manuscript and considerably improved the final version with their comments. Markus Böggemann, Jesse Rodin, Melanie Wald-Fuhrmann and Anna Zayaruznaya also provided many astute observations, which have found their way into this book. The final result has also greatly benefited from the comments of the anonymous readers, for which I am most grateful. In October 2013 I took up a position at the Musicology Department of the University of Regensburg, where I have the privilege to work with wonderful colleagues and students. I would especially like to mention Wolfgang Horn: I not only share with him a deep interest in the work of Adrian Willaert, but his humour, reliability and sincerity also make him a marvellous person to collaborate with. David Hiley and his wife Anne also did everything possible to make me feel welcome in Regensburg. Fabian Weber kindly set the music examples. I have also enjoyed the company and support of colleague-musicians in my native Belgium and my adoptive country , who wittingly or unwittingly always reminded me of the practical side of musical riddles. Anne Smith offered me the opportunity to approach the rich repertory of Renaissance musical riddles from the performer’s perspective. Together with the participants in a seminar at the Schola Cantorum in Basel, we experienced at first hand what it means to sing a melody in retrograde motion, what mental concentration is needed for a mirror canon, and how

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Acknowledgements xvii

eagle-eyed one must be in order to comply with a verbal instruction such as Jacob Obrecht’s ‘Digniora sunt priora’. This seminar considerably enlarged my vision on Renaissance musical riddles in general and the level of training that was demanded of performers in particular. The same goes for a workshop on riddles I was able to conduct at Indiana University, Jacobs School of Music in April 2013, to which I was invited by Giovanni Zanovello. The enthusiasm and curiosity of both students and faculty showed me once more how rich and rewarding it is to work on this topic, to talk about it and to experiment with it. Several of the most intriguing riddles, such as the anonymous ballade En la maison Dedalus, Ghiselin Danckerts’s chessboard Ave maris stella and Jacob Vaet’s Qui operatus est Petro, were performed by the Belgian ensem- ble Zefiro Torna under the direction of Jurgen de Bruyn. In 2007, they collaborated with Dance Company Zoo and turned the project ‘Puzzled’ into a fascinating multimedia performance, in which the visual and the auditory received equal attention. This project has been an important stimulus for my research. Philippe Vendrix invited me to speak about my research at several seminars and conferences at the Centre d’Études Supérieures de la Renais- sance in Tours. The relaxed and highly stimulating atmosphere that characterises the Centre is unique and unforgettable, and I am grateful to Philippe and his team for making this possible. Apart from that, I was fortunate to teach seminars on musical riddles at the Ludwig-Maximilians- Universität Munich and the University of Utrecht, where I spent some time as a visiting fellow. With a small but highly motivated group of students we explored the musical riddle in its cultural context and had long, fruitful discussions about obscuritas, enigmatic inscriptions, resolu- tiones and much more. This book has benefited from these lively conver- sations, and I want to thank the students most sincerely for their commitment and inquisitiveness. The Music Department of the Bavarian State Library, with its many treasures from the time of the Renaissance and other periods, created an ideal working atmosphere and has somewhat become my second home. Special thanks are due to the staff and their director Reiner Nägele, who has always done everything possible to put at my disposal the manuscripts and prints I needed. Other libraries generously supplied copies of materials for this book: the Österreichische Nationalbibliothek, the British Library, the Bischöfliche Zentralbibliothek Regensburg, the University of California Music Library at Berkeley, the Universitätsbibliothek Kassel, the Universi- tätsbibliothek Basel and the Stadtarchiv Baden.

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xviii Acknowledgements

The publication of this book has been made possible thanks to the generous support of two institutions. I am most grateful to the Martin Picker Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation, and to the University of Regensburg. At Cambridge University Press, thanks are due to Vicki Cooper, Fleur Jones, Emma Collison, Pat Harper and Christina Sarigiannidou for their excellent assistance and prompt help with all kinds of questions. A special word of thanks to my dear friends Anna Rankl and Isabelle Deleu and their families, who have closely followed the genesis of the book from its earliest stages to its completion. Thanks to them the long journey was alleviated by many pleasant moments. There is no easy way to describe the strong support I have been privileged to receive from my husband Sven Lorenz. In addition to his expert knowledge as a classical philologist, which has proved to be of immense help during the project, he has always taken care to provide a relaxed atmosphere, offer a listening ear and encourage me to go on writing, even at difficult moments. Despite the physical distance between us, my parents have always closely followed my research with great interest. They raised their three children with a good sense of openness towards the world and have done so with an empathy that goes beyond words. This book is dedicated to them.

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Abbreviations

2.p. second part / seconda pars A Altus AI Altus primus AMMM Archivium Musices Metropolitanum Mediolanense B Bassus BL British Library c.f. cantus firma CMM Corpus Mensurabilis Musicae CT Contratenor EM Early Music EMH Early Music History JAF Journal of the Alamire Foundation JAMS Journal of the American Musicological Society JM Journal of Musicology LU Liber Usualis MD Musica Disciplina MGG2 Die Musik in Geschichte und Gegenwart, 2nd edn, ed. L. Finscher, 29 vols. (Kassel: Bärenreiter, 1994–2007) ML Music & Letters MQ Musical Quarterly MRM Monuments of NG New Grove Dictionary of Music and Musicians, 2nd edn, ed. S. Sadie and J. Tyrrell, 29 vols. (London: Macmillan, 2001) NJE New Josquin Edition OO Opera omnia Q Quinta vox RRMMAER Recent Researches in the Music of the Middle Ages and Early Renaissance RRMR Recent Researches in the Music of the Renaissance RQ Renaissance Quarterly S Superius xix

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xx List of abbreviations

Schmidt Proverbia sententiaeque Latinitatis medii ac recentioris aevi/ Lateinische Sprichwörter und Sentenzen des Mittelalters und der frühen Neuzeit. Aus dem Nachlaß von Hans Walther herausgegeben von P. G. Schmidt, 3 vols. (Göttingen: Vandenhoeck & Ruprecht, 1982–6) SM Studi Musicali T Tenor TKVNM Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis Tosi R. Tosi, Dizionario delle sentenze latine e greche (Milan: Rizzoli, 1991) TVNM Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis V Quinta vox Walther H. Walther, Proverbia sententiaeque Latinitatis medii aevi/ Lateinische Sprichwörter und Sentenzen des Mittelalters,6 vols. (Göttingen: Vandenhoeck & Ruprecht, 1963–9)

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Manuscript sigla

Barcelona 5 Barcelona, Biblioteca Orfeó Català, MS 5 Basel F.IX.25 Basel, Universitätsbibliothek, MS F. IX. 25 Berlin 40021 Berlin, Staatsbibliothek Preußischer Kulturbesitz, MS Mus. 40021 (olim Z 21) Berlin theor. 1175 Berlin, Deutsche Staatsbibliothek, MS Mus. theor. 1175 Bologna B 57 Bologna, Museo Internazionale e Biblioteca della Musica di Bologna, MS B 57 (treatise by Cimello) Bologna B 140 Bologna, Museo Internazionale e Biblioteca della Musica di Bologna, MS B 140 Bologna Q 16 Bologna, Museo Internazionale e Biblioteca della Musica di Bologna, MS Q 16 Bologna Q 18 Bologna, Museo Internazionale e Biblioteca della Musica di Bologna, MS Q 18 Bologna Q 21 Bologna, Museo Internazionale e Biblioteca della Musica di Bologna, MS Q 21 Brussels 228 Brussels, Bibliothèque Royale Albert Ier/ Koninklijke Bibliotheek Albert I, MS 228 Brussels 5557 Brussels, Bibliothèque Royale Albert Ier/ Koninklijke Bibliotheek Albert I, MS 5557 Brussels 9126 Brussels, Bibliothèque Royale Albert Ier/ Koninklijke Bibliotheek Albert I, MS 9126 Cambrai 4 Cambrai, Médiathèque municipale, MS 4 Cambrai 18 Cambrai, Médiathèque municipale, MS 18 Cambridge Pepys Cambridge, Magdalene College, Pepys Library, 1760 MS 1760 Casale Monferrato M Casale Monferrato, Archivio Capitolare, MS M Chantilly Codex Bibliothèque du Château de Chantilly, MS 564 Chigi Codex Vatican City, Biblioteca Apostolica Vaticana, MS Chigi C VIII 234 Cividale del Friuli 59 Cividale del Friuli, Museo Archeologico Nazionale, MS LIX xxi

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xxii List of manuscript sigla

Coimbra 12 Coimbra, Biblioteca Geral da Universidade, MS M.12 Dijon Dijon, Bibliothèque municipale, MS 517 (olim 295) Escorial IV.a.24 Escorial, Palacio Real, Monasterio de S Lorenzo, MS IV.a.24 Florence 178 Florence, Biblioteca Nazionale Centrale, MS Magl. XIX. 178 Florence 229 Florence, Biblioteca Nazionale Centrale, MS Banco Rari 229 Florence Cons. 2439 Florence, Biblioteca del Conservatorio di Musica ‘Luigi Cherubini’, MS Basevi 2439 Florence Duomo 7 Florence, Duomo, Archivio Musicale dell’Opera di Santa Maria del Fiore, MS 7 Glogauer Liederbuch Berlin, Preußischer Staatsbibliothek zu Berlin, MS 40098 ’s-Hertogenbosch ’s-Hertogenbosch, Archief van de Illustre Lieve 72B Vrouwe Broederschap, MS 72B ’s-Hertogenbosch 73 ’s-Hertogenbosch, Archief van de Illustre Lieve Vrouwe Broederschap, MS 73 ’s-Hertogenbosch 75 ’s-Hertogenbosch, Archief van de Illustre Lieve Vrouwe Broederschap, MS 75 Jena 2 Jena, Thüringer Universitäts-und Landesbibliothek, MS 2 Jena 3 Jena, Thüringer Universitäts-und Landesbibliothek, MS 3 Jena 4 Jena, Thüringer Universitäts-und Landesbibliothek, MS 4 Jena 20 Jena, Thüringer Universitäts-und Landesbibliothek, MS 20 Jena 21 Jena, Thüringer Universitäts-und Landesbibliothek, MS 221 Jena 22 Jena, Thüringer Universitäts-und Landesbibliothek, MS 22 Jena 31 Jena, Thüringer Universitäts-und Landesbibliothek, MS 31 Jena 32 Jena, Thüringer Universitäts-und Landesbibliothek, MS 32

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List of manuscript sigla xxiii

Kassel 9 Kassel, Universitätsbibliothek–Landesbibliothek und Murhardsche Bibliothek der Stadt Kassel, 4 Mus. Ms. 9 Leipzig 51 Leipzig, Universitätsbibliothek, MS Thomaskirche 51 London Add. 4911 London, British Library Additional MS 4911 London Add. 31922 London, British Library, Additional MS 31922 London Add. 35087 London, British Library, Additional MS 35087 London Royal 8 G.vii London, British Library, Royal MS 8 G.vii London Royal 11 E.xi London, British Library, Royal MS 11 E.xi Mechelen Mechelen, Archief en Stadsbibliotheek, MS s.s. Medici Codex Florence, Biblioteca Medicea Laurenziana, MS Acq. e Doni 666 Milan 2266 Milan, Archivio della Veneranda Fabbrica del Duomo, Sezione Musicale, MS 2266 (Librone 4) Milan 2267 Milan, Archivio della Veneranda Fabbrica del Duomo, Sezione Musicale, MS 2267 (Librone 3) Modena IX Modena, Duomo, Biblioteca e Archivio Capitolare, MS Mus. IX Modena α.M.1.2 Modena, Biblioteca Estense e Universitaria, MS α.M.1.2 Montserrat 773 Montserrat, Biblioteca del Monestir, MS 773 Munich 5 Munich, Bayerische Staatsbibliothek, Mus. Ms. 5 Munich 6 Munich, Bayerische Staatsbibliothek, Mus. Ms. 6 Munich 7 Munich, Bayerische Staatsbibliothek, Mus. Ms. 7 Munich 37 Munich, Bayerische Staatsbibliothek, Mus. Ms. 37 Munich 260 Munich, Bayerische Staatsbibliothek, Mus. Ms. 260 Munich 274a Munich, Bayerische Staatsbibliothek, Mus. Ms. 274a Munich 322–25 Munich, Universitätsbibliothek der Ludwig- Maximilians-Universität, MS 8o 322–325 (olim Cim. 44a) Munich 1503b Munich, Bayerische Staatsbibliothek, Mus. Ms. 1503b Munich 3154 Munich, Bayerische Staatsbibliothek, Mus. Ms. 3154 (Leopold codex)

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xxiv List of manuscript sigla

Naples VI.E.40 Naples, Biblioteca Nazionale Vittorio Emanuelle III, MS VI.E.40 Occo Codex Brussels, Bibliothèque Royale Albert Ier/ Koninklijke Bibliotheek Albert I, MS IV.922 Padua A 17 Padua, Duomo, Biblioteca Capitolare, Curia Vescovile, MS A 17 Prague DR I 21 Prague, Královská kanonie premonstrátů na Strahově,DRI21 Regensburg Regensburg, Bischöfliche Zentralbibliothek, MS B 220–22 B 220–22 Regensburg C 100 Regensburg, Bischöfliche Zentralbibliothek, MS C 100 Rome Casanatense Rome, Biblioteca Casanatense, MS 2856 2856 Rome Vallicelliana Rome, Biblioteca Vallicelliana, MD SI 35–40 (olim Inc. 107bis; S. Borromeo E.II.55–60) Sankt Gallen 463 Sankt Gallen, Stiftsbibliothek, MS 463 Schedel Munich, Bayerische Staatsbibliothek, Cgm 810 (olim Mus. ms. 3232; ‘Schedel Liederbuch’) Schwerin 3382/2 Schwerin, Landesbibliothek Mecklenburg- Vorpommern, Mus. 3382/2 Scottish Anonymous London, British Library, Additional MS 4911 Segovia Segovia, Archivo Capitular de la Catedral, MS s.s. Seville 5–1–43 Sevilla, Biblioteca Capitular y Colombina, MS 5–1–43 Siena K.I.2 Siena, Biblioteca Comunale degli Intronati, MS K.I.2 Toledo B. 17 Toledo, Biblioteca Capitular de la Catedral Metropolitana, MS B. 17 Toledo B. 21 Toledo, Biblioteca Capitular de la Catedral Metropolitana, MS B. 21 Toledo B. 33 Toledo, Archivio y Biblioteca Capitulares de la Catedral Metropolitana, MS B. 33 Trent 105 Trento, Archivio di Stato, sez. tedesca, Misc. 105 Trent 283 Trento, Biblioteca Capitolare, MS 283 Trent 1375 (88) Trento, Museo Provinciale d’Arte, Castello del Buonconsiglio, MS 1375 (olim 88) Trent 1376 (89) Trento, Museo Provinciale d’Arte, Castello del Buonconsiglio, MS 1376 (olim 89)

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List of manuscript sigla xxv

Trent 1377 (90) Trento, Museo Provinciale d’Arte, Castello del Buonconsiglio, MS 1377 (olim 90) Turin I.27 Turin, Biblioteca Nazionale Universitaria, MS Riserva musicale I.27 Vatican CG XII, 2 Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Giulia XII, 2 Vatican CG XII, 4 Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Giulia XII, 4 Vatican CG XII, 5 Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Giulia XII, 5 Vatican CG XIII, 27 Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Giulia XIII, 27 Vatican CS 14 Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 14 Vatican CS 15 Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 15 Vatican CS 17 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 17 Vatican CS 18 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 18 Vatican CS 19 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 19 Vatican CS 21 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 21 Vatican CS 24 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 24 Vatican CS 26 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 26 Vatican CS 35 Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 35 Vatican CS 36 Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 36 Vatican CS 38 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 38 Vatican CS 39 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina, 39 Vatican CS 41 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 41

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xxvi List of manuscript sigla

Vatican CS 42 Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 42 Vatican CS 44 Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 44 Vatican CS 45 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 45 Vatican CS 46 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 46 Vatican CS 49 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 49 Vatican CS 51 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 51 Vatican CS 55 Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 55 Vatican CS 57 Vatican City, Biblioteca Apostolica Vaticana, MS Cappella Sistina 57 Vatican CS 64 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 64 Vatican CS 154 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 154 Vatican CS 160 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina 154 Vatican CS 197 Rome, Biblioteca Apostolica Vaticana, MS Cappella Sistina197 Vatican SP B 80 Rome, Biblioteca Apostolica Vaticana, MS S. Pietro B. 80 Verona 756 Verona, Biblioteca Capitolare, MS DCCLVI Verona 757 Verona, Biblioteca Capitolare, MS DCCLVII Verona 761 Verona, Biblioteca Capitolare, MS DCCLXI Vienna 1783 Vienna, Österreichische Nationalbibliothek, Handschriftensammlung, Cod. 1783 Vienna 4810 Vienna, Österreichische Nationalbibliothek, Handschriftensammlung, Cod. 4810 Vienna 11778 Vienna, Österreichische Nationalbibliothek, Handschriftensammlung, Cod. 11778 Vienna 11883 Vienna, Österreichische Nationalbibliothek, Handschriftensammlung, Cod. 11883 Vienna 15497 Vienna, Österreichische Nationalbibliothek, Musiksammlung, MS Mus. 15497

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Vienna 19237 Vienna, Österreichische Nationalbibliothek, Musiksammlung, MS Mus. 19237 Zwickau 119/1 Zwickau, Ratsschulbibliothek, Ms. 119/1

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Printed music

Antico, Liber 15 Liber quindecim missarum electarum (Rome: missarum A. Antico; RISM 15161) Antico, Motetti novi Motetti novi e chanzoni franciose a quatro sopra doi (Venice: A. Antico; RISM 15203) Attaingnant, Liber III Liber tertius; viginti musicales quinque, sex, vel octo vocum motetos (Paris: P. Attaingnant; RISM 15345) Attaingnant, Liber XI Liber undecimus XXVI. musicales habet modulos quatuor et quinque vocibus (Paris: P. Attaingnant; RISM 15353) Dorico, Libro I de la Madrigali novi ... Libro primo de la Serena Serena (Rome: V. Dorico; RISM 15302 and 153415) Dorico, Libro II de la Canzoni frottole et capitoli da diversi croce eccellentissimi musici ... Libro secondo de la croce (Rome: V. Dorico; RISM 15314) Gerlach, Suavissimae Suavissimae et iucundissimae harmoniae (Nuremberg: T. Gerlach; RISM 15671) Gombert, Motetta 5 Nicolai Gomberti ... Pentaphthongos harmonia v. (Venice: G. Scotto; RISM 15413) Grapheus, Missae Missae tredecim quatuor vocum (Nuremberg: tredecim H. Grapheus; RISM 15392) Kriesstein, Selectissimae necnon familiarissimae cantiones Selectissimae (Augsburg: M. Kriesstein; RISM 15407) Le Roy & Ballard, Modulorum Ioannis Maillardi (Paris: Le Roy & Modulorum Ioannis Ballard, 1565) Maillardi Moderne, Liber 10 Liber decem missarum (Lyon: J. Moderne; RISM missarum [1532]8 and 15401) Moderne, Tertius Tertius liber motettorum ad quinque et sex voces liber (Lyons: Moderne, RISM 1538s) Montanus & Neuber, Novum et insigne opus musicum (Nuremberg: Novum et insigne J. Montanus & U. Neuber; RISM 15584) xxviii

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List of printed music xxix

Montanus & Neuber, Secunda pars magni operis musici (Nuremberg: Secunda pars J. Montanus & U. Neuber; RISM 15591) Montanus & Neuber, Thesauri musici tomus tertius (Nuremberg: Thesauri T. III J. Montanus & U. Neuber; RISM 15643) Neuber, Liber II Liber secundus suavissimarum et iucundissimarum harmoniarum, RISM 15688) Obrecht, Concentus Concentus harmonici quattuor missarum ... Jacobi Obrecht (Basel: G. Mewes, [c.1507]) Petrucci, Canti B Canti B. numero cinquanta B (Venice: O. Petrucci; RISM 15022) Petrucci, Canti C Canti C numero cento cinquanta (Venice: O. Petrucci; RISM 15043) Petrucci, Misse Misse Brumel (Venice: O. Petrucci, 1503) Brumel Petrucci, Misse De Misse De orto (Venice: O. Petrucci, 1505) Orto Petrucci, Misse Misse Gaspar (Venice: O. Petrucci, 1507) Gaspar Petrucci, Misse Misse Ghiselin (Venice: O. Petrucci, 1503) Ghiselin Petrucci, Misse Misse Josquin (Venice: O. Petrucci, 1502) Josquin L. I Petrucci, Misse Missarum Josquin Liber secundus (Venice: Josquin L. II O. Petrucci, 1505) Petrucci, Misse Missarum Josquin Liber tertius (Fossombrone: Josquin L. III O. Petrucci, 1514) Petrucci, Misse Misse Obreht (Venice: O. Petrucci, 1503) Obreht Petrucci, Motetti A Motetti A numero trentatre (Venice: O. Petrucci; RISM 15021) Petrucci, Motetti B Motetti B (Venice: O. Petrucci, 1503; RISM 15031) Petrucci, Motetti C Motetti C (Venice: O. Petrucci, 1504; RISM 15041) Petrucci, Odhecaton Harmonice musices Odhecaton A (Venice: O. Petrucci; RISM 1501) Phalèse, Liber IV Liber quartus cantionum sacrarum (Louvain: P. Phalèse; RISM 155311)

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xxx List of printed music

Susato, 26 chansons Vingt et six chansons musicales (Antwerp: T. Susato; RISM [1543]15) Susato, Liber Liber secundus sacrarum cantionum ex optimis secundus huius aetatis musicis (Antwerp: T. Susato; RISM 15467) Zarlino, Gioseffo Zarlino, Modulationes sex vocum Modulationes (Venice: F. Rampazetto, 1566)

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