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VOCAL MUSIC 1 Medieval & Renaissance OMI - Old Manuscripts & Incunabula PO Box 6019 FDR Station, New York NY 10150 Facsimile Editions tel/fax 212/ 758-1946 • www.omifacsimiles.com • [email protected] 9 September 2021 [Vocal 1] Medieval & Renaissance Music: lyric song, polyphony & homophony, secular & sacred. Manuscript facsimiles, facsimiles of first and early editions, together with a selection of modern editions & studies. For ordering information go to: www.omifacsimiles.com/contactomi.html AARON, Pietro, c.1490-1545 ANTICO, Andrea, c.1480-d.? [publisher] Trattato della natura et cognitione di tutti gli tuoni di canto figurato non da Canzoni nove con alcune scelte de vari libri. Rom, 1510. 2595 altrui piu scritti. A Facsimile of the Venice, 1525 Edition. 9069 [Universitätsbibliothek Basel]. Monuments of Music and Music Literature in Facsimile, II/129. New York, 1979. Faksimile-Edition Rara, 59. Stuttgart, 2009. Oblong, 27 x 20 cm, 86, ivi pp. Line-cut 22 x 34 cm, 45 pp. Line-cut of the Venice, 1525 edition. Laid paper, clothbound. of the Rome, 1510 edition. A unique print—Andrea Antico’s first—in the possession of the Basel University Library, with title page in woodcut that immortalizes the purchaser and first owner of the volume: the humanist Bonifacius Amerbach. The collection, comprised of 41 motets for 4 voices is ACCADEMICO BIZZARRO CAPRICCIOSO, fl.1620-23 engraved with incredible skill on wood blocks. Tromboncino is the best represented composer in the collection (18 works). Afterword by Martin Secondo libro de trastulli estivi concertati à due, tre, & quattro voci con il basso Kirnbauer. Hardbound in decorative paper. $36 7658 continuo del bizarro Accademico capriccioso. [Österreichische Nationalbibliothek, Vienna]. Faksimile-Edition Rara, 22. Stuttgart, 1998. 14 x 21 cm, 4 partbooks, 92 pp. Line-cut of the Venice, 1621 edition. Vocal settings with basso continuo, ten a2, six a3 and Liber quindecim missarum electarum quae per excellentissimos musicos two a4 plus 2 violins. One piece is by Girolamo Avanzolini and one of the 8744 compositae fuerunt (Rom: Andrea Antico 1516) (RISM 1516[1]). [Stadtbibl. instrumental works is by Massimiliano Fredutii. Wrappers, with portfolio in Baden/Schweiz]. marbled paper. $59 Faksimile-Edition Rara, 52. Stuttgart, 2006. 29 x 42 cm, 326, iii pp. Line-cut of the Rome, 1516 edition. This exquisite choirbook—executed entirely with woodblock engraving—is the first sacred music printed in Rome. In the dedication to Pope Leo X Antico mentions he spent three years laborious preparing the woodcuts for AGUILERA DE HEREDIA, Sebastián de, 1561-1627 this publication. The graphic artist responsible for the cover page designs as well Canticum beatissimae Verginis Deiparae Mariae. as numerous illustrations that appear throughout the print was probably 4145 Zaragoza, 1990. 41 x 55 cm, iii, 397 pp. Beautiful line-cut of the Cabarte edition, Giovanbattista Columba. A gem for music historian and performer alike. The Zaragoza, 1618. Impressive collection of 32 Magnificats for 4 to 8 voices. Mensural volume contains 15 masses, 3 by Josquin, 3 by Brumel (including Missa de beata notation in the original 2˚ choirbook format. Special “Torreón” laid paper by virgine), 3 by Fevin, 2 each by de la Rue and Mouton, and 1 each by Pippelare and Guarro with binding in green linen. Limited edition of 500 copies. $383 Rossell. Afterword by Martin Kirnbauer. Hardbound in decorative paper. $190 http://www.omifacsimiles.com/brochures/liberquin.html AICH, Arnt von, b.?-c.1528 [publisher] Motetti novi e chanzoni franciose a quatro sopra doi. Liederbuch des Arndt von Aich Köln 1519. [In diessem Buechlein fynt mann 1316 Geneva, 1982. Oblong, 18 x 13 cm, 76 pp. Line-cut of the Venice, 1520 edition. 8331 LVVV. hübscher Lieder myt Discant, Alt, Bas, und Tenor lustick zu syngen. Antico printed these pieces with movable type in two impressions. Unique Auck etlich zu sleiten, schwegelen, und an deren musicalisch Instrumenten collection of canonic chansons and motets for four voices (notated in two) by artlichen zugebrauchten]. [Universitätsbibliothek, Basel]. Willaert, Mouton, Prioris, Divitis, Vassoris, de la Rue, etc. Wrappers. $25 Faksimile-Edition Rara, 4. Stuttgart, 1997. Oblong, 15 x 10 cm, 4 partbooks, 432 pp. Line-cut of the Cologne, 1519 print. Beautiful wood-block printed collection of 80 lieder, a4, appropriate for voices and/or instruments. The tenor partbook contains the complete texts of each lied. Composers include Hofhaimer, Isaac, Rener and ANTONIO DA TEMPO Grefinger. Hardbound in decorative paper with matching slipcase. $95 Delle rime volgari. Trattato de Antonio da Tempo, Giudice Padovano, 5389 composto nel 1332, dato in luce integralmente ora la prima volta per cura di Giusto Grion. AINSWORTH, Henry, 1570-c.1622 Bibliotheca Musica Bononiensis, V/14. Bologna, 1970. 8º, 384 pp. (Rpt. of Bologna, 1896 edition). Hardbound. $72 The Music of Henry Ainsworth’s Psalter (Amsterdam, 1612). Lorraine Inserra 1973 and H. Wiley Hitchcock. I.S.A.M. Monographs, 15. Brooklyn, 1981. 18 x 22 cm, vii, 128, with 45 illus pp. Line-cut of all the 39 tunes in the very psalter that the Pilgrims brought with them ATTAINGNANT, Pierre, c.1494-1552 [publisher] to Plymouth Colony in 1620. Historical introduction and transcriptions. Wrappers. [Chansons, voice, lute] $30 956 Très brève et familière introduction pour . jouer toutes chansons réduictes en la tablature de lutz. Introduction de François Lesure. Index. Geneva, 1988. Oblong, 15 x 11 cm, xi, 120 pp. Line-cut of the Paris, 1529 edition. ALISON, Richard, b.?-c.1609 Early French collection of instrumental music with preludes and transcriptions of The Psalmes of David in Meter 1599. Edited by Ian Harwood. [British Library, 35 Parisian chansons, in French lute tablature (mostly by Claudin de Sermisy). 2987 Many for voice & lute and lute solo. Begins with rules for playing the instrument. K.7.f.10]. Wrappers. $48 English Lute Songs, 1597-1632: A Collection of Facsimile Reprints, 1. London, 2/ 1980. 26 x 37 cm, iii, 152 pp. Line-cut. A much admired collection of pieces a4, mainly for voice and lute, but with alternative methods of performance possible. Notated in French lute tablature, cittern tablature and mensural notation and printed in table book format. Wrappers. $82 [Motet & magnificat collections, books 1-13] 8332 1) Liber primus quinque et viginti musicales... 2) Liber secundus... 3) Liber tertius... 4) Liber quartus... 5) Liber quintus... 6) Liber sextus... 7) Liber septimus... 8) Liber octavus... 9) Lib. nonus... 10) Lib. decimus... 11) Lib. ANERIO, Felici, c.1560-1614 undecimus... 12) Lib. duodecimus... 13) Lib. decimus tertius... Canzonette a quattro voci [libro primo]. [Bischöfliche Bibliothek, Regensburg]. [Universitäts-Bibl., Jena]. 9526 Faksimile-Edition Rara, 74. Stuttgart, 2016. 18 x 22 cm, 4 partbooks, 88 pp. Line-cut Faksimile-Edition Rara, 35. Stuttgart, 2003. Oblong, 21 x 16 cm, 4 partbooks, c.1700 of the Venice, 1586 edition partbook edition. 22 4-voice settings (canto I, canto II, pp. Line-cut of the Paris, 1534 edition. Fantastic motet & magnificat collection for 3 alto, basso). First ever facsimile of a publication solely dedicated to this important to 8 voices by a wonderful cross section of European masters including Gombert, Roman madrigalist. Wrappers, with portfolio in decorative paper. $42 Verdelot, Richafort, Mouton, De la Fage, Josquin, Certon, Manchicourt, etc. Over 260 works in choirbook format. Hardbound in decorative paper with matching slipcase. $379 OMI - Old Manuscripts & Incunabula • tel/fax 212/ 758-1946 • www.omifacsimiles.com • [email protected] vocal 1, p.2 ATTEY, John, b.?-c.1640 [La pazzia senile, book 1] [Ayres, a4, voices/voice + lute, book 1] 8347 La pazzia senile. Riproduzione dell`originale con prefazione e trascrizione in 2988 The First Book of Ayres 1622. Edited by David Greer. [British Library, notazione moderna di R. Bez. K.7.f.10]. Bibliotheca Musica Bononiensis, IV/96. Bologna, 2003. 8º, 3 partbooks, 140 pp. English Lute Songs, 1597-1632: A Collection of Facsimile Reprints, 2. London, 2/ Line-cut of the Venice, 1598 edition, together with new transcription by Renzo Bez. 1980. 26 x 37 cm, iii, 31 pp. Halftone. 14 songs in four parts which may be sung as “Madrigal comedy” consisting of 19 madrigals or canzonetti a3 in mensural solos with lute accompaniment (in Italian tablature) or as partsongs by four voices. notation. Portfolio. http://www.omifacsimiles.com/brochures/banchieri.html Wrappers. $37 [La pazzia senile, book 2] AVENARIUS, Philipp, c.1553-c.1610 7379 La pazzia senile [ragionamenti vaghi, et dillettevoli, a tre voci. Libro secondo]. Cantiones sacrae quinque vocum, accommodatae ad omnes usus, tam viva voce, [Schermar-Bibliothek, Stadtbibliothek, Ulm]. 7118 quam omnis generis instrumentis cantatu iucundae, iam recens in lucem Faksimile-Edition Schermar-Bibliothek Ulm, 12. Stuttgart, 1997. 16 x 20 cm, 3 editae. [Bayerische Staatsbibliothek, Munich]. partbooks, c.90 pp. Line-cut of the second edition, Venice, 1599, containing significant variants, additions & cuts. Hardbound, with slipcase. $53 Waiblingen, [1994]. Oblong, 20 x 15 cm, 5 partbooks, c.328 pp. Line-cut of the Neuber edition, Nuremberg, 1572. 30 pieces a5 with latin texts, written in mensural notation, for voices or instruments. Hardbound, with matching slipcase. $109 Il zabaione musicale [inventioine boscareccia et primo libro di madrigali a 7494 cinque voci]. [Staats- & Stadtbibliothek, Augsburg]. Faksimile-Edition Augsburg, 1. Stuttgart, 1997. 15 x 20 cm, 3 partbooks, c.128 pp. BABST, Valentin, fl.1540-1555 [publisher] Line-cut of the Simon Tini & Filippo Lomazzo edition, Milan, 1604. 17 settings a5, Das Babstsches Gesangbuch von 1545. Faksimiledruck mit einem Geleitwort for voices with or without instruments, based on the pastoral stories of Greek mythology. Wrappers, with handsome portfolio in marbled paper. $76 1295 herausgegeben von Konrad Ameln. Documenta Musicologica, I/38. Kassel, 3/ 1988. 11 x 16 cm, 560 facs, with 27 woodcuts, xvi pp. Coverboards in laid paper. $87 BARTLET, John, 16-17th c. A Book of Ayres 1606.
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    MENU — TRACKLIST P. 4 ENGLISH P. 5 FRANÇAIS P. 16 DEUTSCH P. 27 SUNG TEXTS & TRANSLATIONS P. 38 A coproduction of the Ensemble Céladon, the Université Paul Valéry – Montpellier, the Centre d’Études médiévales de Montpellier and the Centre international de Musique médiévale de Montpellier (CIMM . Du ciel aux marges.), with support from SPEDIDAM and ADAMI. Recording: church Notre-Dame de Centeilles, September 2015 Artistic direction, recording & editing: Jérôme Lejeune Illustrations: Cover: René Ier le Bon, Le livre du cœur d’amour épris, 1457 (enluminure) Paris, Bibliothèque nationale, ms français 24399 / © AKG images / Jérôme da Cunha Booklet, page 1: Paris, Bibliothèque nationale, ms. fr. 146, fol 57 r. / © BnF 2 English translations: Peter Lockwood Deutsche Übersetzungen: Silvia Berutti-Ronelt Research associate: Christelle Chaillou-Amadieu Th e Céladon Ensemble receives fi nancial support from the Région Rhône-Alpes, from the Ville de Lyon and the Super U Les Deux Roches in Prissé. Its projects are generally supported by the DRAC Rhône-Alpes, Spedidam and ADAMI. Th e Céladon Ensemble is resident at the Centre scolaire Saint-Louis - Saint-Bruno in Lyon and is a member of Fevis. JEHAN DE LESCUREL fl. 1320 Dame, Jehan de Lescurel vous salue — 3 ENSEMBLE CÉLADON Paulin Bündgen: artistic direction Anne Delafosse: soprano (AD) Clara Coutouly: soprano (CC) Paulin Bündgen: countertenor Nolwenn Le Guern: vielles Angélique Mauillon: harp Florent Marie: lute Gwénaël Bihan: recorders & fl ute Ludwin Bernaténé: percussions www.ensemble-celadon.net 01. Amour, voulés vous acorder (CC) 2'56 26. Dame, si vous vient a gré 1'57 02. A vous douce debonnaire 2'45 27.
  • The Origins of the Musical Staff

    The Origins of the Musical Staff

    The Origins of the Musical Staff John Haines For Michel Huglo, master and friend Who can blame music historians for frequently claiming that Guido of Arezzo invented the musical staff? Given the medieval period’s unma- nageable length, it must often be reduced to as streamlined a shape as possible, with some select significant heroes along the way to push ahead the plot of musical progress: Gregory invented chant; the trouba- dours, vernacular song; Leoninus and Perotinus, polyphony; Franco of Cologne, measured notation. And Guido invented the staff. To be sure, not all historians put it quite this way. Some, such as Richard Hoppin, write more cautiously that “the completion of the four-line staff ...is generally credited to Guido d’Arezzo,”1 or, in the words of the New Grove Dictionary of Music, that Guido “is remembered today for his development of a system of precise pitch notation through lines and spaces.”2 Such occasional caution aside, however, the legend of Guido as inventor of the staff abides and pervades. In his Notation of Polyphonic Music, Willi Apel writes of “the staff, that ingenious invention of Guido of Arezzo.”3 As Claude Palisca puts it in his biography of Guido, it was that medieval Italian music writer’s prologue to his antiphoner around 1030 that contained one of the “brilliant proposals that launched the Guido legend, the device of staff notation.”4 “Guido’s introduction of a system of four lines and four spaces” is, in Paul Henry Lang’s widely read history, an “achievement” deemed “one of the most significant in