Iconography Beryl Kenyon de Pascual Two contributions to dulcian iconography Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 i The dulcian and voices in Flanders1

LEMISH painting of the Golden Age is a rela- F tively fruitful source of dulcian iconography.1 One thematic group of paintings which sometimes include a dulcian, among many other instruments, is that comprising allegorical representations of the sense of hearing or of music. Since the musical in- struments were an important symbolic feature of these paintings an attempt was made to represent them (or at least those in the foreground) accurately, perhaps to the extent of using actual instruments as models.3 The dulcian is not found in versions of such subjects by Jan Brueghel de Velours and collabora- tors, but is present in three pictures of the sense of hearing attributed to his son Jan Brueghel the Younger (1601-78) and his grandson Jan van Kessel (1626-79), possibly with collaborators.4 A partial 1 Theodoor Rombouts, The five senses (detail) (Ghent; view of a dulcian can also be seen in the painting of Museum voor Scheme Kunsten) The five senses by Theodoor Rombouts (illus.i), who took the opportunity to exhibit his technical virtuos- dans, possibly the city waits, playing a dulcian, a cor- ity in the lifelike representation of the objects por- nett, three and a . A similar group trayed in the picture.5 Two other thematic groups features in at least four other paintings: a contempo- that include musical instruments as symbolic attrib- rary monogrammed painting, Archduchess IsabeUe utes are pictures of St Cecilia and of the Muses. The and Archduke Albert at the procession of the maids of painting of St Cecilia by Theodoor van Thulden, the Sablon, by Anthonis Sallaert (Turin, Galleria monogrammed and dated 1631 (illus.2),6 depicts Sabauda); an unsigned version of the latter (with cherub singers and instrumentalists, including a variations) in the Muse"e d'Art Anden, Brussels; an- dulcian player. other anonymous painting of the 1615 festivities, Perhaps the best-known example of Flemish dul- Archduchess IsabeUe knocking down the bird at the cian iconography, reproduced in the 5th edition archery ceremony of the Great Oath (Brussels, Muse'e (1954) of Grove's dictionary and in various histories d'Art Anden), attributed in the 18th century to of the , is Denis van Alsloot's 1616 picture of Sallaert; and another version of the latter in Gaas- the part of the Brussels 1615 Ommeganck procession beek Castle Museum. These procession paintings devoted to the religious orders and the clergy may be equated with the printed accounts of royal (Madrid, Prado). It contains a group of six musi- or noble festivities, sometimes illustrated with

Beryl Kenyon de Pascual is an organologist resident in Spain.

412 EARLY MUSIC AUGUST 1997 Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021

2 Theodoor van Thulden, St Cecilia (private colkction; photo: Sotheby's)

engravings, that were published in many European turning. It bears quite a close resemblance to an countries in the i6th to 18th centuries. The Flemish anonymous dulcian displayed in the Museum fiir paintings were executed on commission with the Hamburgische Geschichte (Hamburg) and suggests aim of providing a decorative record of the events, in which the participants were the major factor.7 All notable persons present would have to have been in- cluded as well as each of the institutional groups forming the procession, such as the guilds, the clergy and musicians. Although the resulting canvases were large, the numerous human figures were perforce small; this was not conducive to the reproduction of fine detail, which would not, in any case, have been the artist's major concern. Nevertheless, van Als- loot's dulcian is an acceptable likeness. Like the in- strument in van Kessel's painting from the Hoog- (a) (b) (c) steder exhibition (see n.4 below) it has a widely 3 Three types of dulcian bell: (a) widely flared;(b ) almost flared bell (see illus.3a) embellished with ornamental cylindrical; (c) gently flared

EARLY MUSIC AUGUST I997 413 asstca

Manchicourt Missa Veri Sancte Sj Motets • Chansons Eleven Concertos Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021

Anner Bylsma Taf'elmusik/Jcaunc'La mem

Vivaldi SK 62] SK 62694 i A delightful programme of World premiere recordings of the work including RV. 151 'Alia rusti Pierre de Manchicourt (c. 1510 -1564), < Guide Rosette winners Tafelmusik with master to Philip II of Spain and teacher of Jeanne Lamon. Featuring award winner Celmens non Papa. The highlight of this disc Anner Bylsma on violoncello. is the sublime 'Missa Veni Sancte Spiritus'.

Wilticlm '» Fricdcmann Bach

Gisbrv Uoniuidt

[Wclmusik

,»l SK 62731 Wifftehn Freitfman Bach istortc Onjans of Period performances of SK 62720 Austria SK'68262 \'ater Abralt Joseph Haydn's last A rare collection of the Gustav Leonhardt plays works of one of the Erbarme dicH Mem the music of Fischer, three string quartets by lesser known members S2K 68261 Pachelebel, Muffat, Lucy Van Dael, Jurgen One of the greatest Froberger and Kerll on of the Bach family choral works of the Kussmaul and Anner performed by Tafelmusik the organ of the seventeenth century Pramonstraten Abbey in Bylsma. with Charlotte Nediger here in a resplendent at the harpsichord Schlagel and the organ performance by La of the Augustinian keyboard. Capella Ducale, Musica monestary in Fiata and Roland Klosterneuburg. Wilson.

SCHEME... BATH - BATH COMPACT DISCS BEDFORD - CLASSIC MUSIC BOGNOR REGIS - THE WOODS BRISTOL BRISTOL CLASSICAL DISC, RAYNERS CAMBRIDGE - HEFFER SOUND, MILLERS MUSIC CHELTENHAM - SOUND GOOD CHRISTCHURCH - TRAX COLCHESTER - COMPACT DISCOUNT CENTRE CROYDON - H & R CLOAKE EASTBOURNE - SEAFORD MUSIC EDINBURGH - JAMES THIN, MCALISTER MATHISION EXETER - OPUS MUSIC, SOLO MUSIC FINCHLEY - ARCADE MUSIC GLOUCESTER - AUDIOSONIC GUERNSEY - NO. 19 HAY-ON-WYE - HANCOCK AND MONKS LONDON - FARRINGDONS LEADENHALL MARKET, FARRINGDONS ROYAL FESTIVAL HALL, LES ALDRICH, HARRODS, HMV 150 OXFORD ST. W1, HMV 363 OXFORD ST. W1, MDC CAMDEN TOWN, MDC ST. MARTINS LANE, MDC STRAND, MDC RATHBONE PLACE, MDC THURLOE ST., MDC CREED LANE, TOWER RECORDS PICCADILLY CIRCUS, TOWER RECORDS KENSINGTON, TOWER RECORDS WHITELEYS MILTON KEYNES - CHAPPELLS OF BOND STREET NEWCASTLE - WINDOWS NORWICH - PRELUDE RECORDS NOTTINGHAM - CLASSICAL CD OXFORD - BLACKWELLS MUSIC SHOP READING - HICKIES SALISBURY - COLLECTORS ROOM SOUTHSEA - ORPHEUS ST ALBANS - COMPACT DISCOUNT CENTRE TUNBRIDGE WELLS - CAMDEN CLASSICS, MUSIC CENTRE TRURO - CANTATA YORK - BANKS WINCHESTER - WHITWAMS the painter was acquainted with such instruments. The painter of the Brussels version of The maids of the Sablon, in contrast, merely 'borrowed' van Als- loot's group of instrumentalists, copying them with little skill or accuracy. The same applies to the paint- ing of the archery ceremony, where, for example, the dulcian is being played by remote control, i.e. with- out a crook! In the above-mentioned paintings of processions Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 the wind musicians form a self-contained band. Of greater interest from the point of view of perfor- mance practice is another painting of a procession, Nicolas van der Horst's The pilgrimage of the Infanta Isabelle to Laken in 1622 (1623; illus.4). This picture records a religious procession in which instrument- alists are shown playing with, and probably doub- ling, singers of sacred music. Three instruments are involved—a , a dulcian and a trumpet. One might have expected to find a sackbut—not a trum- pet—accompanying a choir, but the position of the front bow is that of a trumpet (the back bow is hid- 4 Nicolas van der Horst, The pilgrimage of the Infanta Isa- den). The possibility of ignorance on the part of the belle to Laken in 1622 (detail) (Brussels, Musle de la Ville) artist cannot be entirely excluded; van der Horst would not have been the first painter to have con- much longer than normal for a dulcian and is more fused the relative positions of bell and bow in these reminiscent of a bassoon's, but the thumb key one two instruments. The brass player, however, is not would expect on the upper part of a bassoon is actually playing but is singing from the same sheet of missing. On very close examination mere appears music as two choristers. Both the dulcian player and to be a dark line dividing the instrument lengthwise the cornettist are playing their instruments, the for- below the level of the crook, suggesting a jointed mer sharing a part with three choristers, the latter instrument Might this be a jointed dulcian or could with one. The group is completed by five more it even be the earliest attempt to depict a bassoon? singers sharing two parts. It is preceded by a group of Some organologists consider the initial features that tonsured clerics and choirboys, who are also singing, distinguished a bassoon from a dulcian to be not and is flanked by nuns with books. The use of sheets so much the sectional construction of the instru- of music supports the idea that singers and the shar- ment—examples of jointed dulcians were already to ing instrumentalist were performing the same part. be seen in late 16th-century iconography8—as the As in other procession paintings, the instrument- extension of the range down to Bl>' with the conse- alists are portrayed on a very small scale and van quent lengthening of the bell, which became a sepa- der Horst made no attempt to produce accurate rate joint, and the addition of a key for BH, among detail in the representation of the dulcian. It has no other developments. Although one must not always visible 'shoulder', although this may be concealed accept paintings as true to life, the idea of dividing under a hand, while the crook emerges from the the upper part of the dulcian into separate joints is side-wall of the instrument and, what is more, from not something that is likely to have occurred to an the 'wrong' side, namely, that corresponding to the upward . The lack of accuracy is unfortunate, 5 (overleaf) Sebastian Vranckx, Preparation for a feast and since we cannot now tell whether certain interesting carnival scenes in a park in Flanders (private collection; features are intentional. The bell, for example, is photo: Galerie De Jonckheere)

EARLY MUSIC AUGUST 1997 4*5 L Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021

416 EARLY MUSIC AUGUST 1997 Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021

EARLY MUSIC AUGUST 1997 417 early 17th-century artist unless he had already seen ways: it consists of both men and women; and something similar. voices are combined with both string and wind It is not entirely unexpected to find a bass dul- instruments. Furthermore, the three instruments cian portrayed supporting the voices in sacred being played are a rebec, a lute and a dulcian—a music. Its presence in a secular group combining most unusual combination, perhaps designed to voices and instruments is more surprising. It is stress the informality of the occasion. In the fore- worth drawing attention, therefore, to two other ground another lute (or lute case) and a cornett are early 17th-century Flemish paintings. The first of lying on the ground; the instrumentalists are read-

these is a feast and carnival scene in a park by ing the music over the singers' shoulders. In this Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 Sebastian Vranckx (1573-1647), which exists in at painting, in contrast to van der Horst's, the music is least two versions: (A) one displayed by the Parisian in the form of a book, not a sheet. This weakens the gallery of De Jonckheere at the Maastricht Fine argument that the instrumentalists were doubling Arts Fair in 1995 (illus.5); (B) one in Statens the voices, since there may have been more than Museum for Kunst, Copenhagen (illus.6).9 An one part printed on the open pages. The figures are informal group of music-makers occupies the bot- very small in the original painting and it may be dif- tom right-hand corner of the paintings. This group ficult for readers to discern the exact features of the differs from the processional musicians in two woodwind instrument in version A shown as illus.5.

6 Sebastian Vranckx, Fite in a palace garden (detail) (Copenhagen, Statens Museum for Kunst)

418 EARLY MUSIC AUGUST 1997 Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021

7 Sebastian'Vranckx and Jan Brueghel the Younger (attrib.), The Royal Palace at Brusseb (detail) (Madrid, Prado)

Having personally examined the picture, however, I sordun or dulcian. The painter of this musician in can report that the painter of version A produced a version B seems not to have been conversant with good likeness of a dulcian, although it differs con- the characteristics of the different woodwind instru- siderably from the models usually found in Flemish ments but merely to have reproduced the basic ele- art. This one has a thick rim of a lighter colour ments of a tenor or bass instrument, namely, a long (bone or ivory?) around an almost cylindrical bell tube and a crook. (see illus^b), instead of a wide, conical, completely The two pictures just considered may be com- wooden bell. The possibility that the thick rim rep- pared with an unsigned painting entitled The Royal resents a cap serving as a mute (compare later Palace at Brussels (illus.7), attributed by Matias Diaz instruments by J. C. Denner) cannot be excluded. Padr6n and others to Sebastian Vranckx with the Version A has the painter's monogram and may be collaboration of Jan Brueghel the Younger for the dated to the early decades of the 17th century after architecture and landscape.10 This, too, shows (bot- Vranckx had returned from Italy. In the unsigned tom left-hand corner) an informal group of musi- version B (illus.6), which diverges in a number of cians—singers, a double bass player and a lutenist, very minor details from version A, the dulcian has all male—enjoying themselves in the open air. On changed shape: the crook emerges from the top of a the ground near the group lie a bass dulcian (with bell-less instrument, which appears to have a more its crook and wide-tipped reed) and a flat-stayed cylindrical body and a labium. The instrument is sackbut. In this case the connection between dul- thus hard to identify since it does not correspond cian and voices is tenuous. It is not unusual in exactly to a bass recorder, column flute, , Flemish art to find singers and instrumentalists

EARLY MUSIC AUGUST 1997 419 8 Angel musicians by Antonio include informal groups of Viladomat in the church of people making music outdoors Santa Maria, Matar6 (Photo: with additional instruments Arxiu Mas) lying on the ground, there is a marked difference between the models of dulcian featured. It would be surprising if an artist who could depict a recognizable dulcian

(the Maastricht version), albeit not Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 in fine detail, were later to paint a replica of the picture replacing the dulcian by an unidentifiable in- strument of a different shape (the Copenhagen version). From this one might conclude that either (a) the Copenhagen picture was painted by a different hand, being perhaps a studio copy, or (b) the Maastricht version was painted some years later than the Copen- hagen canvas and that Vranckx had in the meantime become more closely ac- quainted with the dulcian. In the Prado painting the dulcian—which is well por- trayed, taking into account its reduced scale—has assumed yet another form. It features the usual wide bell (i.e. usual in Flemish art) as opposed to the narrow, thick-lipped 'foreign' one of the Maastricht painting or the absence of a distinct bell as in the Copenhagen version. In view of these divergent forms, organology cannot help to confirm the attribution of this picture either. With respect to all these paintings the question making music together. One has only to think of must be asked: 'Would the same artist have depicted the many illustrations of merrymaking both a specific type of instrument in such disparate ways?' indoors and outdoors. Iconographical evidence of a It seems unlikely. A rather similar situation, how- dulcian combining with voices in secular music at ever, arises in connection with two versions of the this date appears to be rare, however, and no depic- Nativity painted by G. B. Castiglioni (i6o9-c.i66s). tion other than the above-mentioned Vranckx One in the church of San Luca in Genoa shows a paintings is known to the author. shepherd in the foreground playing a dulcian. The Of the three 'Vranckx' paintings under discussion other, in the Louvre, includes an almost identical only one is signed (with a monogram). It would be a figure playing an implausible tenor double-reed feather in the cap of organology if it could help to instrument." Both instruments are painted in detail. confirm or definitely reject the attribution of the We can only guess at the reasons for this phenome- other two to Vranckx, but unfortunately it can only non, which is yet further evidence of the puzzles and raise more queries. One striking circumstance in this pitfalls that await musicologists and art historians context is the fact that, while all three pictures dealing with representations of music in art.

420 EARLY MUSIC AUGUST 1997 ently faithful detail, was made. The artist's keen ob- 2 The Virgin of Montserrat servation and attention to detail would also have ap- plied to his depiction of the musical instruments (a PANISH 17th- and 18th-century oil-paintings, cornett, two shawms, a sackbut and a dulcian). S carvings and frescoes incorporating large and Indeed, the dulcian corresponds in all aspects to small dulcians (bajones and bajoncillos) are quite surviving Spanish examples from the same period, common.12 This is not surprising in view of the in- including the shape of the bell (see illus.3c). Further- strument's widespread presence in Spanish cathed- more, the painter has taken care to portray the musi- rals during this period and its continued use even cians grouped according to a performance practice Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 later in some churches. In Spanish art they are usu- of his day. On the left he has shown an instrumental ally to be found in the hands of angels or of monks, ensemble comprising cornett, shawms and sackbut clerics and choirboys. Illus.8, for example, shows a The dulcian, however, which was frequently inte- detail of a fresco from the church of Santa Maria in grated into the choir to support or even replace the Matar6 that incorporates angel musicians. It was bass voices, is placed on the right together with the painted in the second quarter of the 18th century by singers. Antonio de Viladomat (1678-1755). Two more unsigned paintings of the Virgin of There is one thematic group of Spanish pictures, Montserrat, at one time attributed to Ricci on the in particular, that features the dulcian with some fre- basis of their compositional similarity to the work in quency: namely, paintings of the Virgin or Mare de Montserrat, may be mentioned. The first is to be Diu (Mother of God) of Montserrat. The shrine of found in San Millan de Cogolla; apart from some of the Virgin of Montserrat is to be found in the curi- the finer details this is identical to the Montserrat ously shaped mountain outcrop of Montserrat near Barcelona in Spain. It is centred around a statue of the Madonna and Child dating from the Roman- esque period, although tradition claims the statue was found in the ground at the end of the 9th cen- tury, where it had been buried centuries before to save it from the Moorish invaders. Montserrat be- came the site of a number of hermit cells and later the seat of a Benedictine monastery. The painting of the Virgin of Montserrat best known to musicolo- gists and now exhibited in the Montserrat museum is the Mare de Dhi de Montserrat (c.1639) attributed to Fray Juan Andres Ricci (or Rizi) de Guevara (illus.9).13 This shows members of the abbey's fa- mous choir school, the Escolania de Montserrat, singing and playing instruments before the statue of the Madonna and Child, which is flanked by two hermits and two monks (one of which is St Bene- dict), with the mountains and monastery of Montserrat in the background. Although the picture is unsigned, its quality and intimate knowledge of Montserrat have led art his- torians to attribute the work to Ricci in spite of dif- ferences in style. Ricci belonged to the abbey com- munity in 1637, when the richly jewelled crown (la 9 Fr. Juan Andres Ricci, The Virgin of Montserrat corona rica), reproduced in the painting in appar- (Montserrat Abbey Museum; photo: Arxiu Mas)

EARLY MUSIC AUGUST I997 421 Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021

io Antonio Arias Fernandez, The Virgin ofMontserrat with Stjohn the Baptist and St Margaret (Museu Frederic Mares; photo: AHC Arxiu Fotografic)

422 EARLY MUSIC AUGUST 1997 painting except that the Virgin is wearing the so- called 'Mexican' crown.14 The second, which belongs to the Real Academia de San Fernando in Madrid, has been attributed not only to Ricci but also, at dif- ferent times, to Viladomat and Alonso Cano. Nowa- days it is considered to belong to the second half of the 17th century and to have been painted by a pupil of Alonso Cano. It contains the same elements as the Montserrat painting but again includes the Mexican Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 crown and differences of detail. Some believe that it was the Ricci painting now in Montserrat that actu- ally initiated the centuries-long Catalan tradition of portraits of the Virgin of Montserrat accompanied by a small group of singers and instrumentalists. An exhibition of iconography of Santa Maria de Montserrat, entitled Nigra sum, was recently organ- ized by Montserrat abbey. It was based mainly on paintings, prints, sculptures and medals from its own collection. Fifteen of the items on display, dat- ing from the 17th to the 20th centuries, included musicians and further examples were reproduced in the catalogue.'5 The dulcian featured in three items in the exhibition. The first (catalogue no.25) was a relatively crude polychrome wood carving from the 17th century showing the Virgin against a back- ground of mountains and abbey and flanked by a violinist and a dulcian player. The second (no.32) was Ricci's famous painting and the third (no.36) was a small, anonymous, 17th-century oil-painting on copper, showing the Virgin with eight musi- cians—three singers, three players of shawms, a cor- nettist and a dulcian player. The arrangement of these musicians—four symmetrically disposed on either side of the statue—was probably dictated by artistic considerations. The instruments are mere approximations; the dulcian in particular is some- what fanciful. Apart from Montserrat abbey another rich source of Montserrat Marian iconography is the Museu Frederic Mares in Barcelona, which contains an en- Programme: tire room devoted to this subject. One painting in the collection is particularly striking for the full- 04 74 35 08 70 length and detailed depiction of the dulcian (see J_ illus.10). It shows the statue of the Virgin and Child with St John the Baptist on the left and St Margaret * France Telecom on the right against a backdrop of the mountains. In Fondation front of the Virgin a cornettist and a dulcian player

EARLY MUSIC AUGUST 1997 423 Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021

ii Anonymous, The Virgin of Montserrat (Museu Frederic 12 Joseph Flauger, The Virgin of Montserrat (1791) (Museu Mares) Frederic Mares; photo: AHC, Arxiu Fotografic)

are playing from a sheet of music held by a singer. It is interesting to observe how the composition of The dulcian is painted with great darit, and: one can the group of Montserrat instrumentalists evolved see that it has a lower, open-standing (right-hand) over time, reflecting the updating of the types of thumb key that produces E (not D, as in many dul- instruments in use at the monastery, which was less cians) when closed—a feature found without excep- reactionary in this respect than many ecclesiastical tion in the score of surviving Spanish dulcians. Un- establishments. A detailed study of this subject does fortunately the signature and date of the painting are not fall within the scope of this article but a few com- not completely legible. Many scholars have accepted ments may be welcome. The violin appears with the that it is by Antonio Arias Fernandez (b Madrid, dulcian in the previously mentioned 17th-century 1620; d 1684);16 thus it was probably painted a little carving. An anonymous oil-painting from the late later than that of Ricci. The presence of only two in- 17th or early 18th century (illus.11) still shows a strumentalists and the absence of choirboys, hermits shawm (?), a violin, a dulcian and a singer. Later in and monks distinguishes this painting (like the pre- the 18th century the dulcian was replaced by a bas- viously mentioned wood carving) from those in the soon, and towards the end of that century a French Ricci tradition but nevertheless indicates the import- horn was sometimes introduced. Since the Catalan ant rdle of music in Montserrat abbey. It should be term for dulcian, baixd, was also used in the 18th pointed out that the inclusion of musicians in the century to denote the bassoon, iconographical evid- Montserrat corpus of Marian paintings is in no way ence would be useful to date the changeover from a continuation of the Gothic practice of surrounding dulcian to bassoon in Montserrat. Unfortunately the Virgin with angel musicians, as exemplified in most of the relevant paintings and engravings show many paintings of the coronation of the Virgin. little concern for true-to-life detail. A typical Musicians do not appear in paintings of the Virgin of example is a 1791 engraving (illus.12) drawn by Montserrat before the 17th century and they are al- Joseph Flauger and engraved in Barcelona by ways choirboys or men, except in a few late 19th- and Agustin Sellent, which merely shows two parallel early 20th-century examples with angels. tubes without butt, finger-holes or keys. The tube

424 EARLY MUSIC AUGUST 1997 with a bell rim, however, is considerably longer than the other, confirming that this is a bassoon. Other il- lustrations show a featureless instrument with a bell of intermediate length, so that one is left wondering whether the artist overestimated the dulcian's bell or underestimated the bassoon's. A combination fre- quently found in the 19th and early 20th century was transverse flute, violin, bassoon and double bass, but the shawm was still to be seen in some 19th-century Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 pictures. It may be remembered that the Renais- sance-style shawm continued to be used in a few lo- cations in Spain as well as the shorter, more conical and of Moorish origin, still played in Spanish folk music. The number of instrumentalists rarely exceeded four in the later period and the range of instru- ments was limited. The clarinet, for example, was a notable absentee, while brass instruments other than the French horn rarely appeared. A whole orchestra is never depicted, although the monastery music archive contains orchestral works. The image of the Virgin of Montserrat accompanied by instru- 13 Early 20th-century tiled picture of the Virgin of mentalists eventually entered popular Catalan art Montserrat (author's collection) and was to be found, for example, decorating the label on a reel of cotton, featuring on postcards or as a training ground for renowned musicians as painted on decorative tiles (illus.13). It is perhaps well as providing a highly trained choir, that this thanks to the lasting fame and prestige of the mainly regional iconographical tradition has been abbey's choir school, which has for centuries served preserved.

I should like to thank the various library, ground, which may have been com- Hoogsteder exhibition of Musk and museum and gallery officials who have pleted by a different hand. See, for painting in the Golden Age (The Hague, been helpful to me, in particular Mrs example, the violins on the wall in the 1994)- M. Cirera (Museu Frederic Mares), Mrs third van Kessel painting mentioned in 5 Rombouts (Antwerp 1597?-1637) Solar (Musee de la Ville de Bruxelles) n.4. They have two identical /-holes probably painted this picture after and Mr P. N&rgaard Larsen (Statens instead of mirror images. coming into contact with Caravaggjo Museum far Kunst, Copenhagen). 4 Two of the three (one in the Musee in Italy, where he stayed from 1616 to municipal of Saint-Germain-en-Laye 1625. and an almost identical one—ex 1 The politically correct designation of Quifiones de Leon collection—sold to 6 See lot no.217 in the Sotheby cata- historical Flanders—the southern Low a private collector in Paris in 1955) are logue Fine old master paintings (16 Countries—has not been used here reproduced in A. P. de Mirimonde, April 1980). Also reproduced in J. de since it may not yet be familiar to all 'Les "Cabinets de musique"', Jaarboek Maere and M. Wabbes, Le dictionnaire English readers and is clumsy to use des peintres beiges du XIV siecle a nos adjectivally. van het Koninklijk Museum voor Schone Kunst teAntwerpen (1966), pp.141-80. jours, iii (Brussels, 1995). P-U74- 2 Nine examples are listed in R. D. The Saint-Germain picture is attrib- 7 Van Abloot was commissioned to Leppert, The theme of musk in Flemish uted by some art historians to Jeroom' paint a set of eight pictures showing paintings of the seventeenth century, van Kessel (1578-1636) and Hendrik different aspects of the 1615 festivities. Musik und Musiker in Bild, i (Munich van Balen( 1575-1632). The third ver- M. de Maeyer ('Albrecht en Isabella and Salzburg, 1970), but more have sion, attributed to Jan van Kessel, en de Schilderkunst', VerhandeHngen since come to light which differs from the other two, is van de Koninklijke Academie voor 3 The same care was not always also from a private collection and is Wetenschapen, Letteren en Schone devoted to instruments in the back- illustrated in the catalogue of the Kunsten van Belgie, Klasse I (de schone

EARLY MUSIC AUGUST 1997 4*5 Kunsten) (1955), Verh. Nr. 9, pp.164-5) further information on Spanish dul- BERLINERTAGEFUR states that two identical sets were prob- cians see B. Kenyon de Pascual, 'A brief ALTEMUSIK ably produced, one of which was sent survey of the late Spanish baj6n\ to the Spanish king in Madrid. Galpin Society journal, xxxvii (1984), 16.-19,Oktoberl997 pp.72-9, B. Kenyon de Pascual, 'El (unter der Schirmherrschaft des 8 It may be recalled that a jointed baj6n espafiol y los tres ejemplares de Senators Peter Radunski) dulcian features in the engraved la catedral de Jaca', Nassare, ii/2 (1986), frontispiece to Encomium musicae, pp.109-33, and K. Kreitner, 'Minstrels printed in Antwerp £1590, while plate 3 in Spanish churches, 1400-1600', Early of the same work contains an unidenti- music, xx (1992), pp.533-46. fiable double-bore instrument with a crook which is thought to be an inac- 13 J. A. Ricci (1600-1681), a Benedic- Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 curate portrayal of a jointed dulcian. tine monk, was the son of a minor See also the jointed dulcian painted Italian painter. He belonged to the c.1590-95 by Bernardo Bitti on a Peru- Montserrat community in his twenties vian organ case, reproduced in ]oU de and again in his late thirties. He left Mesa, 'Ensayo sobre los 6rganos en el Spain in 1662 and spent the rest of Virreinato del Peru', El drgano espanoL his life in Italy. (For more information Adas del II Congreso espafiol de drgano see J. Cam6n Aznar, Pintura espanola del siglo XVII, Summa Arris: Historia (Madrid, 1987), pp.357~44i- general del arte, xxv (Madrid, 1977), Konzerthaus Berlin 9 Version A has since been sold to a and D. Angulo Iniguez and A. Perez Franzosischer Dom private collector. A date of 1630-40 has Sanchez, Pintura madrilena del segundo been proposed for version B in M. H. tercio del siglo XVII (Madrid, 1983)). St. Hedwigskathedrale Takacs, 'Un tableau de Sebastian The painting previously belonged to Vranckx & la Galerie des Maitres the Benedictine monastery of San Musikinstrumentenmarkt Anciens', Bulletin du Musie National Placido in Madrid. Although the gen- Hongrois des Beaux-Arts, xviii (1961). eral subject of musical instruments and 17./18. Oktober the Virgin of Montserrat has not yet 10 M. DiazPadr6n, El siglo de Rubens been treated in detail in print, refer- en elMuseo del Prado (Catdlogo razon- ence has been made to this painting Konzerte ado de pintura flamenca del siglo XVII) by M. Remnant in Musical instruments Gustav Leonhardt (Barcelona, 1995). The picture has of the West (London, 1978) and by G. been dated between 1625 and 1630. It Barthold und Wieland Kuijken Estrada i Gamissans in Joan Cererols: was formerly attributed to Lucas Marion Verbruggen, Mitzi Meyerson Obres completes, v (Montserrat, 1981), van Valckenborgh. p.xviii. Huelgas Ensemble - Paul van Nevel Ensemble Organum - Marcel Peres 11 The Genoese painting is reproduced 14 Although the 'Mexican' crown was Currende - Erik van Nevel in New Grove dictionary of musical instruments (London, 1984), i, p.181, made ten years earlier than the 'rich' Dresdner Kammerchor and the picture from the Louvre in N. crown, this has no significance for the Eric Hoeprich, Paul Komen u.a. Lallemont and B. Devaux, 'Inventaire relative chronology of these paintings des tableaux a sujets musicaux du since the statue of the Virgin was Workshops musee du Louvre', Musique-images- frequently rearraigned in different Interpretationskurse Blockflote instruments, ii (1996), p.239. apparel. Viola da Gamba, Traversflote 12 Two illustrations are included in 15 Nigra Sum. Iconografia de Santa Cembalo: Unterhalt, Stimmung the introductory texts to the exhibition Maria de Montserrat, Abadia de Blockflotenpflege catalogue Instruments de musique Montserrat, Montserrat, 1995 (text Kinder bauen Instrumente espagnols du XVI' au XIX' siecle in Catalan). (Brussels, 1985), pp.96-7. A couple of Auskiinfte/Anmeldung examples were shown in the exhibition 16 The first name is clearly Las edades del hombre: La musica en la ANTONIUS; the short surname ars musica iglesia de Castilla y Ledn (Leon, 1991), ends in RIAS and is followed by FAZ Postfach 590111, 10419 Berlin although these instruments were not (= F[ERN]A[NDE]Z?). Curiously, Tel/Fax: (030) 447 60 82 described as bajones in the catalogue. A the date(?) appears to begin with a 5, few more are reproduced in B. Kenyon which had in the past led the museum Anmeldeschluli fiir de Pascual, "The dulcians (bajdn and to attribute the painting to the 16th Instrumentenbauer und bajoncitto) in Spain: an updated review' century. For information on Arias see (forthcoming in the proceedings of Angulo Ifiiguez and Perez Sanchez, Musikalienhandler: 1.09.97 the STIMU symposium on double- Pintura madrilena del segundo tercio del reed instruments, Utrecht, 1994). For siglo XVII, pp.13-34 and Ulus.27.

426 EARLY MUSIC AUGUST 1997 EDITIONS DE LOISEAU - LYRE

NEW RELEASES Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021

Christophe Rousset and Les Talens Lyriques rameau overtures mondonville including: les fetes de papho les indes galantes Piau/Gens/Mellon zais MO\'DONV1LL.E RAMEAU I I:\ I H tS I >K PAPHOS Fouchecourt les talens lyriques Ut HE '""" ROu'sSET Lallouette/Hantey pigmalion castor et pollux, etc 3CDs 455 084-2 CD 455 293-2 World Premiere Recording

Four new L'Oiseau-Lyre releases in the Budget Box series dufay dowland complete secular music the collected works The Medieval Ensemble The Consort of Musicke of London GUILLAUME I OHN Rooley Davies/Davies DUFAY DOWLAND iht CollrettJ 12CDs 452 563-2 5CDs 452 557-2 IVorkt

^^^B mozart beethoven * '-.--^ ••••••••• >^^^^^^^^^^^^^^^H the symphonies the symphonies ram egmont overture M/Schroder/Hogwood tft|fl|Mta| coriolan overture 19CDs 452 496-2 ^^^HH MOZART BEETHOVEN ^ Tk« SfmphnnU AAM/Hogwood H The Acxlcny 5CDs 452 551-2 M .( (..,„, Uuiir f i HRISTOPHER M f \M' j..p Seh.«d.t IIOCWOOI> • CHRISTOPHEI • HOGWOOD Profile:(2rt)

7 Y'A^T ... Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 Y OS V

o — 0

0 0 0 0 i 0

0 0 0 ! o 0

0 0 0 0 0 u

\ / i A flute made by Quantz for Frederick II (Dorothy and Robert Rosenbaum Collection): drawing by Katherine Mead von Huene after a sketch and measurements by Friedrich von Huene. (Friedrich von Huene's detailed measurements of this instrument are available free of charge from the Early music office.)

428 EARLY MUSIC AUGUST 1997