Book reviews

The 'Catalogus librorum musicorum'of Jan Evertsenvan Doom (Utrecht 1639). A facsimile edi- tion with an introduction by Henri Vanhulst. 't Goy-Houten: HES Publishers 1996, 102 pp., ISBN90 6194 2284, f 132.50.

JAN VANDooRN (1580/85-1651) was a successful bookseller in Utrecht. When the stock of his shop was auctioned in 1644, the catalogue included some 8000 titles. That did not include the ca. 650 music books that Van Doom had offered in a separate cata- logue printed in 1639. The present book is a facsimile edition of this last catalogue. This comprehensive music catalogue, previously unknown among musicologists, proves an important source for studying the distribution of music books in the . The hegemony of Italian music at that time is reflected in the first part of the cata- logue, which contains 480 music books printed in Italy. The second part contains only 168 publications from France, Switzerland, Germany, and the Northern and Southern . So Van Doom's stock contained nearly three times as much music from Italy as from all other countries combined. The Italian emphasis is actually even greater, because much of the material printed outside Italy is Italian music! The Antwerp pub- lisher Phalesius in particular published an enormous quantity of Italian music. It has always been assumed that Phalesius's publishing house was an important channel by which Italian music came to the Netherlands. It must have been quite a shock to Henri Vanhulst, who has specialized in Phalesius's publications, when Van Doom's music cat- alogue was brought to his attention. The catalogue shows that original Italian publica- tions were imported into the Netherlands, perhaps directly from Italy. In any case not via Frankfurt, because many of the titles do not appear in Goehler's catalogues. We unfortunately know nothing about Van Doom's clientele. Were they private indi- viduals in the Dutch Republic, or did Van Doorn sell imported Italian music books to foreign booksellers for resale? The large quantity of Latin - and therefore Roman Catholic - music seems to suggest the latter, according to Vanhulst. If we compare the material offered by Van Doom with what we know about the ownership of music books in the Republic, we see that this is not necessarily true. The chart below shows the percentages of music books in various languages in a few impor- tant inventories.' My count of the music books in Van Doorn's catalogue gives about 34% in Italian, 55% in Latin, 4% in French, and i% in Dutch. We find a similar pre- dominance of Latin music books in the inventories from Delft in 1653 and in 1661, with about 40% and 50% respectively. Italian is well represented in all the inventories. Van Doom had relatively little music in the French and Dutch languages, 73 for which the inventories average 10% and 6% respectively. All in all, Van Doorn's stock seems to correspond fairly well to what stood on the shelves of the average collegiummusicum of the Dutch golden age. The editing of the facsimile is exemplary. The editor has numbered the tides in the margins of the facsimile pages, which facilitates comparison with the following section where they are identified. With the aid of the RISM (RipertoireInternational de Sources Musicales) and other bibliographical works, it was possible to identify most of the titles. In his introduction, Vanhulst thoroughly evaluates the list of publications with respect to origin, date, etc. A large majority of the Italian editions comes from Venice, where the most important music publishers were located. Vanhulst notes that both operas and lute music are entirely absent, but he doesn't suggest a reason for the lacuna. The lion's share of the music printed outside Italy comes from Antwerp. There is litde point in reporting here all the retrospective-bibliographical news con- cerning litde-known Italians such as Belli, Bondioli, Buonamente, Cecchino, etc. I restrict myself to a few Dutch composers. Vanhulst counts 36 composers from the Netherlands, including a large number of Catholic church-music composers from the Southern Netherlands. Protestant music is represented by psalm arrangements by Jan Pietersz Sweelinck, Cornelis de Leeuw and Cornelis van Schoonhoven. Vanhulst's suggestion that the latter's Die 15o Psalmen (Haarlem 1624) was previously unknown is not entirely true: an undated edition was reported in TVNM 6 (i898-igoo), p. 142. The organist Cornelis Schuyt is represented by the collection Hollandschemadrigalen (1603), as well as his Il primo libro de madrigali (16oo). Other works in the Dutch language include Jan Ryspoort's Morale spreeckwoorden(1631 - a part-book from 1617 was already known) and Cornelis Tymnensz Padbrue's well-known Y?us?'es,a setting of Westerbaen's text. It's inter- esting that Van Doorn dates it 1624, for the oldest edition known to survive is from 1631. This is the first full-fledged madrigal cycle in the Dutch language, the starting point for a modest flowering of the Dutch madrigal. Should we now push back the date of this development by seven years? Westerbaen's collection of poetry, Ku4es (based on Joannes Secundus's Basia), was published at The Hague in 1624. Van Doorn's list, how- ever, gives the place of printing as Haarlem: 'Kusjens van Westerbaen met 3. ende 4. stemmen, met een basso continuo, tot Haerlem 1624' (fol. D3v, no. 31). The 1631 edi- tion with Padbrue's music does indeed come from Haarlem. Van Doorn omits the name of the composer, but the mention of the number of parts, matching that of the 1631 edition, shows that this is Padbrue's collection. The omission of Padbrue's name can be explained by the fact that it would have been reported only after the descrip- tion of the parts. Van Doorn's tide must have been transcribed from Padbrue's music book. Can we therefore conclude that Padbrue set Westerbaen's l?usjesto music in the very year of its publication? That is certainly possible, given the enthusiastic nature of the composer. But we cannot rule out the possibility that the description conflates two publications. Perhaps someone had added a manuscript date 1624 to the music book, in reference to the publication of the text of Westerbaen's Van Doorn's 1644 auction catalogue adds only five music titles to those of the 1639 music catalogue. As a lute player, I was intrigued by the entry, 'Nicolas Vallet, Composi- tien en inventien', which Vanhulst was unable to identify. This must be Vallet's collection, Apollinis siisse leyr (also known as Apolloossoete lier) for violin and bass (1642), whose first