IO ALv
'T UITNEMEND KABINET, VOL PAVANEN,
ALMANDEN, SARBANDEN, COURANTEN,
BALLETTEN, INTRADEN, AIRS .
VOLUME II
EDITION AND COMMENTARY
THESIS
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Barbara K. Wallace, B.M. Denton, Texas
December 1974 Wallace, Barbara K., '2 Uitnemend Kabinet. Vol Pavanen,
Almanden. .arbanden. Couranten. 3alletten. Intraden. Airs
Volume III Edition and Commentary. Master of Music
(Musicology), December, 1974, vii, 27 pp. text, vi, 170 pp. music, 11 examples, 4 facsimiles, bibliography.
' Uitniemend Kabinet is a two-volume collection of two- and three-part instrumental music from Germany, France, Italy, and Holland, published by Paulus Matthysz in Amster- dam (1646 and 1649). Volume I consists of 54 folios in the treble part book, and 19 in the bass part book; Volume II has 37 folios in the treble part book and 21 in the bass part book.
he main part of this edition consists of a transcription of the 103 pieces of Volume II, which is accompanied with a brief commentary on the composers represented, the styles and forms of the music, and evidences of significant developments in early seventeenth-century instrumental music. goo o H
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iii PREFACE
The availability of a collection like 'T UiLnemnd
Kjanet is of value in helping to show what stylistic in- fluences were carried over from the sixteenth century and how the newest Italian instrumental styles were being com- posed simultaneously in seventeenth-century Europe. This collection also reveals a number of national differences which are found in dance music and song settings.
The edition consists of a transcription of the 103 pieces contained in Volume II of 'T.UitneMend Kabinet as well as a brief commentary on the music and its composers.
The numbers in parentheses used throughout the commentary refer to the number of the piece. A section of Critical
Notes has been included to show changes in rhythm, notes, meter, etc. from the edition of 1649. Any accidentals that are editorial additions to the original edition have been placed above the staff. Redundant accidentals within the measure have been omitted. Ties and slurs are those found in the original edition. The transcription has been made as accurately as possible with changes made only to facilitate reading and performance.
iv TABLE OF CONTENTS
PART I
Page PREFACE . . . , , . , . . , , , , , , , ,0,0, S , iv
SS LIST OF EXAMPLES seeg...... e,,g, " S , .vi LIST OF FASIVIILES 0.,.,., a,0,0,. ,, , ,., " " , , C vii
COM6MENTARY ,0,0,0, ,0,0, , 0,0, , , , , , , 0 , , , C APPENDIXES
A. TRANSLATION OF PREFACE TO VOLUME II " " - C - 21
S B. DEDICATION - OF VOLUME II . . - - . " I C 22 BIBLIOGRAPHY - . . ------* . - -- " C - - - 24
PART II
TABLE OF CONTENTS . . . . , . .* , , , , , , , , ,,
TRANSCRIPTIONS , 0 , , , . , , , , , , , , , , , ,, i CRITICAL NOTES * - - - - * * - - - * - - - * * * -- 168
V LIST OF EXAMPLES
Example Page
1. "Capriosa" (42), measures 4 and 21 of upper I part .9.* .e.e .#.* .o.* ..- 9 ------5 2. "Nasce la pena mia" (91), measures 81-82 of upper part ...... 8
3. "Nasce la pena mia" (91), measure 83 of upper part ...... * . . . *. . 8 4. "Nasce la pena mia" (91), measure 120 of upper part ...... 8
5. [Untitled] (90), measures 6-7 of upper part . . 9 6. [Untitled] (90), measures 61-62 of upper *9 part ...... *
7. [Untitled](92), bass part ...... 9 8. "Frere Fraper, Piodo 2" (99b), measures 1-3 of upper part ...... 14
9. "Frere Fraper, Modo 3" (99c), measures, 21-24 of upper part ...... 14
10. "Derde Almande" (11), measures 5-7 ...... 18
11. "Seste Allemande" (14), measures 3-5 - - . . . 18
vi LIST OF FACSIMILES
1 Facsimile Page
1. Title Page of Volume II.. *...... iii
2. Preface to Volume II ...... 1 3. Dedication of Volume II ...... 2
40 "Concerto" (89), f. 24v ...... a 12
Translations of Facsimiles 2 and 3 appear in Appendixes A and B.
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COMMENTARY
During the first half of the seventeenth century, instru-
mental music underwent a complete reassessment of its techni-
cal and stylistic aspects, as well as expansion in functions.
The growth which began in Italy was soon taken up by Germany, but spread more slowly to England and France. Musical progress
in Germany was hampered -- almost terminated -- by the Thirty Years War (1618-1648), but even with this interruption the changes were picked up rather quickly from Italy. Holland did not foster this musical growth through native composers; there was really no strong, homogeneous style of music in the coun- try, nor did single personalities emerge as composers until
after the early 1630's.1 Instead, it was the site of an inter- national influx of music. Not only did music of Netherlands
composers show influence of various national styles,2 but by the 1640's, international music in the form of songs and in-
strumental music began to be collected and published in Holland.
Among the best known collections which appeared in the decade after 1645 are the two volumes of Paulus Matthysz'
'T UitneMend Kabinet (I, 1646, and II, 1649). Although his dance collections never rivaled van Eyck's Der Fluytn ILust-Hof
Ernst Hermann Meyer, Die Mghrstimm 321eMUSk 17. Jahrhunderts. in Nord- Und Mittaleurop (Kassel, 1934), 43. 2 4
(1648) and Euterpe (1654) in popularity, they nonetheless en- joyed a wide circulation. In his "Excellent Showcase" atthysz has displayed instrumental music from all over Europe -- England, France, Germany, Italy, and Holland -- , written presumably in the ten to twenty years preceding its publication. Around 1602,
Matthysz was known in Amsterdam primarily as a printer and pub- lisher, having established a publishing firm successful enough to still be extant in 1720.3 As an amateur musician he com- posed two pieces in 'T Uitnemend Kabinet (52 and 53) and authored a flute treatise in Der Fluyten Lust-Hof. He published a num- ber of vocal and instrumental collections including the two works by van Eyck, two collections of Italiaansche Balletten, and KonincklYCke Fantasien (music by Lupo, :Coparrario, Damon, and Gibbons).
The music of 'T Uitnemend Kabinet is written for two or 4 three violins, violas da gamba, "or other instruments," and continuo. The pieces vary in their technical and stylistic advancement; some are in the older style derived from sixteenth- century dances and utility music, while others show a marked use of the emerging interest in individual instruments. The newer style of violin music which emerged in Italy early in
3 Robert Eitner, "Matthysz," Bioaraphisch-Bibliraphisches QUellen-Lgxikon der Musik.Qr u d Ivulo-'1ele~hrten (Leipzig, 1898- 1904, reprinted in New York, 1946-47), VI, 390.
The title states, ". . . met 2 en 3 Fioolen, of ander Speel-tuigh te gebruiken. . . . Ook eenige stukken voor 2. Fioolen de Gamba. 5
the century began the development of the Baroque idiomatic
style for the instrument. This music is characterized by a
greatly extended range which used all four strings instead
of restricting it to only two. This produced instrumental
melodic lines that were difficult or impossible to sing. Rapid scale passages, series of repeated notes, and numerous patterns of sequential figures5 also began to appear because of the development of the instrument's capabilities.
Some of the pieces, though still bound to the older style,
begin to show the influence of these new features. For ex-
ample, "Capriosa" (42) has a slightly extended range in both
voice parts. It also has a disjunct, rapidly moving melodic
line built on a short figure of an eighth and-two sixteenth
notes which is imitated and extended throughout the piece.
Ex. 1. "Capriosa" (42), measures 4 and 21 of upper part.
The melodic lines of the first half of "Simphonie" (53) do not require great technical ability, but do have long passages
5 Francesco Rognoni illustrates many pages of such gassagj formulas in his treatise Selva de varii Dassaggi secondo l'uso Madarn (1620). He gives numerous possibilities for elabora- ting a given melody in a variety of patterns idiomatic to var- ious instruments. These are discussed and illustrated in David D. Boyden, T2e istorv of Violin Playing from its riin t9 L61 an, 1dI5n) 2Olin (Londoni 1965), 12?. 6
of sixteenth notes. Both of these pieces exhibit newer fea- tures that were beginning to appear in instrumental music.
The pieces in the Kabinet that show the greatest advance- ment in the new violin style are those by Johann Schop (g.
1590-1667). By far the most outstanding violin virtuoso of
Germany in the first half of the century, he was. one of the few performers who attained the proficiency of such Italian violinists as Marini and Farina. He also was a player of the lute, organ, trombone, and zink. Because of his unusual abil- ity as a performer and because he was one of the few composers remaining in Germany toward the end of the war, Schop was praised by historians, poets, and musicians such as Kunrad von Hovelen (1668), Johann Rist (1666), R. Praetorious (1615), G. Newmark, and Philip von Zesen. Schop received his early musical training from William Brade in Hamburg, then later was a member of the court orchestras at Wolfenbttel (1614), Copenhagen (1615, where he also received training from Chris- topher Simpson6), and elsewhere in Denmark (1618). During these years it is believed that he came into contact with the
Italian style and learned the modern developments in instru- mental music that his later compositions displayed.7 From
6 Kurt Stephenson, "Schop," Die Musik in GChichte ud Gegenwart, ed. by Friedrich Blume(Kassel-Basel,1965), XII, 41.
7Liselotte Krfger, Die Hamburgische Musikorganisation im XVII. Jah1hlundert. Vol. XII of 5ammlun MIkis ehaftlicher ed 4, by Karl Nef (Strassburg, 193) , 123. 7
1621 on, he lived in Hamburg, simultaneously holding the posi-
tions of director of Hamburg's Ratsmusik and organist at St.
Jacob. In spite of these duties he traveled widely and per-
formed once in Copenhagen with Schdtz (1634). He is known to
have played both Italian works as well as his own compositions
on the organ and violin.8 'T .Uitnemend Kabinet contains
dances, song variations, and fantasies by Schop for solo violin
with continuo and for three treble instruments; he probably
learned the technique of variation and of free fantasy from
Brade. Andreas Moser asserts that the skill and technique which
Schop displayed in his compositions is a style found only in
the violin playing of Hungarian gypsies, a characteristic
which seldom appeared at this time.9
Perhaps the most remarkable piece in the entire volume is
"Nascela pena mia" (91), a fantasy on Alessandro Striggio's madrigal of the same title (written before 1583). Schop's style of composition seen here is indeed advanced for this period in Germany and easily equals concurrent Italian developments.
The piece uses a wide range (g-c3 ), rapid passages of sixteenth and thirty-second notes, double stops (measures 15-16, 44, 52,
80-84, and 120-121), and several written-out ornaments.
8
9 Andreas Moser, "Johann Schop als Violinkomponist," Fgy- schrifQ Hermann KretZschmar zuM siebzigsten Geburtstage Aber- r:,eichtyon Kollegen. Schllern und rEgunden.ed. by Max Fried- laender . (Leipzig, 1918), 95. 8
Ex. 2. "Nasce la pena mia" (91), measures 81-82 of upper part.
The fact that Schop was a performer of uncommon ability is
substantiated by the written-out trills in sixths and in thirds which are found in this piece'
Ex. 3. "Nasce la pena mia" (91), measure 83 of upper part.
Ex. 4. "Nasce la pena mia" (91), measure 120 of upper part.
The Italian violinist and composer Marini included similar pieces in his Affetti Wusicali (1617). His non-dance pieces for two or more treble instruments are constructed on the sim- ple interplay of imitative figures, but in pieces for a single treble instrument and bass he found this method less suitable and invented a new idiom.io It is this style which Schop seems
C6Olaude V. Palisca, Baroque Music (Englewood Cliffs, 1968), 135. N.J. 9 to have learned and applied in several pieces in the Kabinet.
Like his "Nasce la pena mia" (91 above), the untitled piece (90) by Schop continues with passages that show the pro- gression of idiomatic violin composition toward lines that are totally non-vocalt
Ex. 5. [Untitled] (90), measures 6-7 of upper part.
Ex. 6. [Untitled] (90), measures 61-62 of upper part.
Number 92, an anonymous untitled piece, is a fantasy over an eight-measure ground and the only piece of this type in Vol- ume II. In the original edition the bass line appears as two repeated phrases
Ex. 7. [Untitled](92), bass part.
The repetitions of the sections of the ground are not indica- ted, but it is not difficult to complete the structure since both are not compatible with all sections of the melody. 10
The other three free, fantasy-like pieces in the collec- tion (88, 89, and 93) are imitative two-voice pieces. The first of these, "Capritie" by Peter Luidhens, is constructed of three large metrically contrasting sections (duple-triple- duple). It begins with a canon at the octave which gives way to series of short, imitative motives. The second section, in triple meter, is freely-composed and non-imitative. Imi- tative motives in the style of the first part return in the last duple section, but they are not motivically related to the earlier part. This method of construction was not uncom- mon in the first half of the seventeenth century; for example,
Giovanni Gabrieli composed a number of instrumental canzonas with a similar ABA form. Compositions of this type may have anticipated, although they did not establish, the general scheme of later violin sonatas which adopted the principle of three contrasted divisions.12
The "Fantasia" (93)13 of Dirk Pieterszon Pers also has three large sections. The first is in the usual imitative style and is followed by a section in 2 made up of two free canons at the octave (beginning in measures 41 and 51). In
Luidhens is also represented in the collection, Kusies, in It Latijn geschreven door Joannes Secundus . . . , 6 Vols. (Amsterdam, 1641). 12 C. Hubert H. Parry,The iusicof the Seventeenth Century, Vol. III of The Oxford History of Music (Oxford, 1902), 312.
piece bears an inscription which states that it is "Composed in the honor of" vanden Bergh. 11
contrast to the preceding piece, however, the last section
is freely constructed. Pers (gj. 1615-1655?) was a music
collector and composer in Amsterdam. His other contributions
to the K-Ainet are "Carileen" (56) and three songs (78-80).
He edited several books of sacred and secular songs, some of
which were settings of well-known tunes. 1 At least five works by Pers were published between 1656 and 1681.
The other fantasy (89), by Christiaen Herwig, has been
called "the oldest German violin concerto.''1 5 It consists of
six canonic sections (imitation at various intervals) ending
with a free eleven-measure section. Moser notes that the
last three measures pose the question of whether the compo-
ser indended a half cadence in the key of D-minor or a plagal 16 cadence in A-minor6 The latter possibility seems to be the most likely conclusion because of the obvious predominance of
A-minor and closely-related keys throughout the piece. Christiaen
Herwig (also spelled "Herwich" and "Herbig," but misprinted as
"Hervrich" in this collection ) was a violinist and lutanist who spent most of his life in Kassel, except for a period of time when he was a violinist in the court orchestra at Weimar.17
14 Robert Eitner, "Pers," Bio9raphisch-Bibliographisches Quellen-Lexikon der Mju.ikerungd iMuqisikeehrtn (Leipzig, 1898- 1904, reprinted in New York, L1946-4J), VII, 381. 1 5 Andreas Moser, Geschichte des Violinspiels (Berlin, 1923), 105. 16Lad
1 7 Hans Joachim Moser, Die Musik der deutschen Stdmme (Wien, 1957), 446. 12
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Besides the music by Herwig in the Kabingt, the Kassel library preserves sixty-one five-part pavans and four-part galliards 18 in manuscript. Herwig is also known as the copyist of some of the music which was collected by Ecorcheville, Vingt Suites d'0rchestre du XVII. si Qle francais.19
Similar to the fantasies, the several song variations in 20 the collection (99-103) are pieces that display the develop- ment of idiomatic violin figuration. Variation was an older form in which composers could draw on the old "division" tech- nique and apply many possibilities of figurations to the melody.
Two pieces (99-100) by Jakob van Noordt (born .a, 1619, died after 1679)21 are variations on existing tunes. The extremely disjunct melodic line of the first variation of "Frere Fraper"
(99b) and the continuous rapid movement of the second variation
(99c) show influences of the Italian style of composition
18 Robert Eitner, "Herwich," BiograDhisch-Bibliographisches Quellen-Lexikon ider MUgik er unad Wugielehrt en (Leipzig, 1898- 1904, reprinted in New ok 14-7) ,11
19 Christiane Engelbrecht, Di? Kasseler Iofkapelle im 17. Jahrhundert und1 ihre anQaymen Mugkhandschriften; aus der Kasseler Landesbibliothek (Kassel-Basel, 1958), 36. 20 The last pieces in 'T Uitnemend Kabinet (94-103) are not listed in the table of contents to Volume II. The titles do appear in the table of contents of De Fluyten Lust-Hof, Vol. I (1648), but the pieces themselved are not included. It seems probable that Matthysz added them to the Kabinet (1649) after having neglected to include them in the work for which they were scheduled a year earlier. 21 Van Noordt was a flutist, organist, harpsichordist, and composer, from a family of organists. He was probably the brother of Anthoni and the father of the musician Sybrandus. discussed previously.
Ex. 8. "Frere Fraper, Modo 2" (99b), measures 1-3 of upper part.
Ex. 9. "Frere Fraper, Modo 3" (99c), measures 21-24 of upper part.
No bass part is indicated for "Malle Symes" (100),22 and it is assumed that it is for a solo instrument. Moser expressed the following opinion of van Noordt's music "He is the most pretentious of the composers in the Kabint. His partiality to the use of sequential figures cause his compositions to have a character not unlike an early ancester of Czerny.",23 The poet
J. Dullaert praised his playing in the poem "Op't klokespel van Jakob van Oort" (1659).24
The last three variations (101-103) are by J. Dix. Although
22 Settings of this tune by van Eyck appear in both volumes of Der Fluyten Lust-kLU. He also wrote variations on the tune "Comagain" in Volume I, an anonymous setting of which is in Volume II of 'T Uitnemend Kabinet (57). 23A. Moser, Geschi hte, 157. 24 Arend Koole, "Noordt,"DieMuik in Geschichte und _Ggenwart, ed. by Friedrich Blume (Kassel-Basel, 1961), IX, 1556. 15
no lower part is given or indicated for these, the bass line of "La Royalle extraordinaire" (21) (f. 9 of the bass part book) is completely suitable to the melody of "Courant la Royalle" (101) and its variations. It has been included in the transcription of the courant and the first variation.
Most of the pieces in the Kabinet are dances, which, like the rest of the music in the work, could have been composed several decades before publication. The dances are distinctly different from the fantasies and the variations -- a stylistic difference due probably to the numerous roles of the violin in the early seventeenth century. Even as composers were exper- imenting with the new concepts of violin music, the traditional roles of the instrument were simultaneously continued.25 This continuation involved the violin in dance and entertainment, music which was frequently employed at feasts and dinners, festivals and weddings, and other special celebrations. 26 It is also clear that it was used not only at the court and in homes of the very wealthy, but in all classes of society.2 7
Such a post-sixteenth-century utilization required that the basically simple, unstylized Gebrauchsmusik and dances of the
2 5 Boyden, op cit., 98. 6Ibid.,103.
27 Dutch paintings of this time portray numerous scenes of daily life, thereby showing that the violin was found in the hands of peasants as well as in the music of the upper classes; it was used for both home dancing and at social gatherings. 16
earlier times be maintained. his simplicity and lack of stylization seem to characterize the dances in the Kabinet. Three courants by the French composer J. Foucart appear in this collection (2-4). These pieces, all in G-minor, are for three treble instruments. They have simple contrapuntal lines with little rhythmic or technical complexity. Little about Foucart's life is known, except that he was in Copen- hagen in 1634, where he was defeated by Johann Schop in a 28 violin competition.
A somewhat better known French composer and violinist represented in the Kabinet is Louis Constantyn (a. 1585-1657). Few facts exist about his early life and musical training ex- 29 cept that he learned the violin at an early age. He was a member of the Twenty-Four Violins of the King at the court of Louis XIII (1626) and later became "Roy et Maistre des
M1ngtriers," a position which he held until his death. Under his direction the orchestra seems to have reached its highest point artistically. 3 0 Mersenne describes him as one of the most significant virtuosos in France at this time.3 '
2 8Johann Rist, "Eine Lobrede auf die Musik aus der Mitte des 17. Jahrhunderts" (1665), reprinted and edited by Friedrich Chrysander in Allgemeine musikalische. Zeitune. XVI (1881), 664.
29 The only collected information on his life is by Cr. Thoinan, published in 1898. Wilhelm Joseph von Wasielewski, Die Violine und ihre Meister (Leipzig, 1910), 325. 30A. Moser, Geschichte, 153.
3t Marin Mersenne, fiarmonie Universelle, transl. by Roger E. Chapman (The Hague, 1957), 159. 17
Compositions by Constantyn included in Volume II of the
Kabinet are four three-part dances (5-8) and a two-part courant (33). Of the first four dances, all are allemandes except number 6, which bears no title on any of the parts.
Moser notes cursorily that it is peculiar that one "Allemande" of the set of four is in triple meter.3 2 He apparently over- looked the obvious listing of the title "Courant" in the ori- ginal table of contents. Besides these compositions, at least two pieces by Constantyn, including "La pacifique de Mr. Con- stantyn" (1636), are in Collection Philidor, Volume I (Paris
Conservatory Library.3 His work is also evident in Ecorche- ville's Vingt Suites d'Orchestre du XVIIesingle frangais
(164o-1670).
Johann Schop is again represented in the Kabinet with six three-part allemandes for treble instruments. These pieces exhibit an entirely different style of writing from
Schop's previously discussed compositions. They are evidence that composers were still supplying music for the traditional functions of dance-related entertainment. These dances re- main very uncomplicated in texture and style, yet they do ex- hibit more modern musical features than appear in those of his contemporaries. These new aspects include wider range, simple sequential figurations, and the occasional use of double stops.
3 2 A. Moser, Gggghichte. 155. 33 Wasielewski, p il . ,326. 18
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In addition to the allemandes and courants, several other types of dances are included in the Kabinet: airs, ballets, sarabandes, pavan and galliard, and branles.3 The branle was used at the French court from the late sixteenth century through the entire seventeenth century. It was usually performed as a series of branles danced in a definite order: first, the branle double, then the more lively branle simple, and finally
The following instructions are given at the beginning of the set of five branles (94-98) by van Noordt: "for the lower part, folio 13 in the bass part book can be played." 19
the rapid branle gay. Around 1636, this series was replaced
with a suite of six branles,35 one of which appears in this collection:
24. Brandes 25. Gay 26. Amener 26a. Double 27. Ivontirande 28. Gavotte
This suite "increases in liveliness and any solemnity that may be left, . . . is dispelled by the gavotte."J 6
Only a few other composers in the 6Abinet may be posi- tively identified. Cornelis Kist's name appears on the last of four "carileens" (58-61). Similar musical characteristics and like meter and key indicate his possible authorship of all four. "0 Kers-nacht" (51) was composed by B.F. de Bruin.
He is also responsible for "Eerste Ballet" (81) which stands as the first of four ballets, all of which share a common key and meter. Cornelis Jansz Helmbreecker, organist at Haarlem from 1625-1654, wrote the three-part prelude that begins this volume and "Courant" (47). The English composer Primrose (?-?) wrote the first branle (24) of the suite mentioned above. The identity of the remaining composers of the Kabinet is unknown except for a few who may be conditionally identi- fied by the initials that appear at the ends of each piece.
355 B Curt Sachs, Woruld History of the-i-ance, transl. by Bessie Schdnberg (New York, 1937), 384. 6b~i.,t 385. 20
"'T Hane en 't Henne gekray" (15) bears the initials "J.H.," which possibly denote Helmbreecker mentioned above. The letters "Bl," printed on pieces 46 and 50, have not been identified as to meaning or origin. 21
APPENDIX A TRANSLATION OF PREFACE TO VOLUME II
The Book Speaks The eye is pleased when it comes to behold Either woods, green with leaf, or stately buildings' But this pleasure is only for the eye, even though it may then be content, And no other part of the body shares in this pleasure.
But when the ear goes feasting then, through song and strings, The soul shall rise up, as if awakened, into heaven. He takes me into the palm of his hand because that is his wish, At least I tell myself this, in case it were not so.
Une me tire 22
APPENDIX B
DEDICATION OF VOLUME II
To the Honorable Artist,
Miss Adriana vanden Bergh
It is always the aim of my printing press to entertain the lovers of art, [and] it has dared to take the liberty of offering Your Honor the music book [of] the "Goden-Fluit-
Hemel" [The Heaven of the Flute of the Gods], and to glorify it with the brilliance of your honorable name. It was found that you have deserved the honor, not only so that others may rejoice in your honorable spirit, but also that others should be so sweetly entertained by your honorable wit.
The lovely pieces seem to receive their perfection from the beautiful sound with which Your Honor has elevated it. Your illustrious flute at present sounds so clear that the whole world speaks about it in amazement and praise, as though Your
Honor would add to nature. May your illustrious and pure ways never falter. One hears, as though they are beautifully clad, the sweet strings of your viola da gamba as it delights the ears of the Master iviusicians. They wish to have their best pieces selected by Your Honor, who is one of the goddesses
'This is a pun on the word "geestigheit' and is unfor- tunately lost in the translation. 23
of music from the Mountain of the Gods, 2 and they thereby consider themselves fortunate that they may please you. As I rely on the judgement of so many art lovers, I once again open the revised "Heavens," filled with the sound of the Holy Choir of the famous masters who search for the essence of pure souls. May Your Honor therefore not find it out of place that I only seek the favor of such a learned master to whom I shall [always] be highly indebted.
Your honorable, willing servant
Paulus Matthysz
2, . . . from the Mountain of the Gods" ("vanden Bergh Parnassus") is a word play on her name. 24
BIBLIOGRAPHY
Abraham, Gerald, ed. The Age of HumanisM: 1540-1630, Vol. IV of New Oxord History of MusIc, 6 Vols. to date, ed. by J.A. Westrup Qt&al. London: Oxford University Press, 1968.
Antcliffe, Herbert, "Noordt," Grove's Dictionary of Music and Musicians, 5th ed., ed. by Eric Blom. London: Macmillan, 1954, VI, 101.
Aschmann, Rudolf. Das deutsche plyphone Vilinspiel im 17. Jah1rhiundert: Eina Beitrag zur Etwickungsgeschichte des Violinsiel . Zurich: L. Speich, 1962.
Beckmann, Gustav. Das Violinapiel in Deutschland vor 1700. Leipzig: N. Simrock, 1918.
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. "Matthysz," Biographisch-Bibliographisches Quelen-Lexikon der Musiker und Musikgelehrten. Leipzig: Breitkopf & Hdrtel, 1898-1904; reprint, New York: Musur-s gia, [1946-473, VI, 390-91. . "Noord, " BiograDhiscr4-ibliographisches Quellen-Lexikon der Musiker und Mus ikgelehrten. Leip- zig: Breitkopf & Hdrtel, 1898-1904; reprint, New York: Musurgia, f1946-47], VII, 211. . "Pers," Biogra hisch-BiblioQraphisches Quellen- Lexikon der Musiker und iusik-elehrten. Leipzig: Brei*t- 16opf & Hdrtel, 1898-1904; reprint, New York: Musurgia, 1946-473, VII, 380-81. 25
Eitner, Robert. "Schop, " Quellen-Lejxkon der Musiker Und Musikelehrten. Leip- zig: Breitkopf & HArtel, 1898-1904; reprint, New Yorks Musurgia, E1946-473, IX, 64-65.
Engelbrecht, Christiane, DieKass.er Hojkape ira17 Jahrhundert und ihre anonyMen Musikhandschriften aus der Kasseler Lanesbuibliothek. Kassel-Basel: BAren- reiter, 1958.
Eyck, Jakob van.i-r Fluyten Lust-Hof. Vol PsAle.Paduan n Allemanden. Couranten. Ba4letten. Airs. etc., Parts I and II. Amsterdam: Paulus Matthysz, 1648, 1654. Farga, Franz. Violins and Violinists, transl. by Egon Larsen. New York: Frederick A. Praeger, 1969.
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"Rgghperchegs". sur la. lUsi u 01rn^0i19 classqu.Paris: Editions A. et J. Picard, 1960.
Rgpertpi e International de Litt6rature Musicale, III, 1969, 815dd and 969bi,
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* IT UITNEMEND KABINET, VOL PAVANEN,
ALMANDEN, SARBANDEN, COURANTEN,
BALLETTEN, INTRADEN, AIRS . ,.s
VOLUME II
EDITION AND COMMENTARY
PART II
TRANSCRIPTIONS AND CRITICAL NOTES TABLE OF CONTENTS
Page 1. Voorspel...... 1
2. I. Courante . . . 0 . . . . . 0 . . . . . 4
30 II. Courante
4. III. Courante * ...... * . . . . 10 5. I. Allemande
6. II. Courant ...... * . . . . * 12
70 III. Allemande
8. IV. Allemande ...... * ...... 17
9. Eerste Almande ...... 21
10. Tweede Almande ...... 22
11. Derde Almande ...... * . * 23
12. Vierde Allemande ...... * ...... 24
13. Vyfde Almande ...... * . . * 25
14. Seste Allemande ...... 27 15. 't Hane en 't Hen ne gekray...... 28
16. I. La Suedois .* ...... * * 29
17. II. Sarabande op la Suedoise ...... 30
18. III. Courant la Landgrave *. .*...... 31
19. IV. Courante d~e iMons. le Prince ...... 32
20. V. Courante 1 a Reyne ...... 33 VI. 21. La Royalle extraordinaire . . . . . * * 34 22. VII. La petite
23. VIII. La dernire Royalle .* ... e . .,. , 36 ii 24. Brandes ...... 9. . . . .9.a37
25. Gay o.o.*.*.o.o.o.o.o.*.s.o.*.0. ..0.0.a.6.0. 38
26a. Amener ...... 39
26b. Double .a...... 40
27. Montirande . . . . * * * ...... 41
28. Gavotte ...... 43
29. Intrada ...... * * * 44
30. I. Courante La novelle Royalle premiere . 45
31. II. Courante de la pay . .. 0.0. .0.... 46
32. III. Courante Madame de la Montagne . . .. 47
33. IV. Courant * ... ,s*as*.9 * .*. * * * 48
34. V. Courant novelle la graveline . . . . . 49
35. VI. Courant Iiardyck . . . . -.- -a o. . . . 50
36. VII. Courante Nova a.a..- a.-...... 51 37. VIII. Courant. Aen-hoort ghy Dochters en Jongh-mans al . .s.9.9.6.. . 9 a .0 52
38. Zeer moy . - - - e- - . - . . . - ...... 53 a 0. . . . 53 39. Paduana . - - - . . . . - . . .
40. Galliarda ...... 56
41. Pastorellarel*a* * - . - . . - 57
...... 58 42. Capriosa . . . - - - - - a
43. Garint ...... 60
44. Poliphemus ...... 61
. . - -...... 45.62 Aier - - 1
46. [Untitled] - .0.0 .4.. .0. 0. 0..0.a. 63
47a. Courant o- - ...... 64
iii 47b. Modo 2 ...... 65
48. Postileon .0...... 0.0. . . .*. .0. . 66
49. Dooden dans . g...... 0 . 67
50a Ajer .. 0. 0. 0 . 0 * 0* 0 0 0 0 68 51. OKers-na ...... 69
52. Allemande ...... 970
53. Simphonie ...... 71
54. Aier ...... o.a.0.0.0.a...... 73
55. Courant ...... 74
56. Carileen ...... 75
57, Comagain ...... 76
58. Eerste Carileen ...... 78
59. Tweede Carileen ...... 79
60. Derde Carileen ...... 80
61. Vierde Carileen ...... 81
62. Wie wil hooren een nieuw lied ...... 82
63. Les petits Brandes 1 ...... 0 . . 83
64. 2 0.0.0.6. 0.0.0. ..0.a.*.0.0.0.0.0.0.0.0. 84
65. 3 0 0. 0 0- 0.0.0-0-0-0-0-0-0-0.0.a-0-0-a-a-1 85
66o 41...... 86
670 5 ...... - - - . 0 0 0 0 6 0 0 87
68. 6 ...... 88
69.o?7 .0.0.0.0.a.0.0.0.0.0.6.a.a.0 .0.0.0.0.0. 89
70. 8 .a .0.0.0.0.0.0.0.0.0 .. a.0.0.0.a.0.a.0.0 . 90
71. 9 .0 . 0. S.0.0.6.0.0.0. .0.9 .0.0.0.0.0.a.0. 91
iv 72. 10. . .0 . . . . . S S . . . S S . . ..S . S 92 73. De 5 Balleten Eerste Ballet . 93 74. Tweede Ballet . 94 75. Derde Ballet 95 76. Vierde Ballet 96 77. Vyfde Ballet 97 78. 't Waren 2 Boerinnetj es 98
79. Frere Fraper . . 99
80. Als Boxvoerjes . 100 81. Vier Balletten Eerste Ballet 101
82. Tweede Ballet 102
83. Derde Ballet 103 84. Vierde Ballet 104
85. Wel Jan wat drommel 105 86. Courant ...... 106
87. Sarabanda . . . . 107 88. Capritie . . . . 108
89. Concerto ------115 90. Untitled . . . 119
91. Nasce la pena mia 125 92. Untitled . - 133 93. Fantasia . . . 136 94. Petite Branles
S S . , , S 1 . . . . .&.0a ......
95...... a 2 . . . . . S , , , . . . . 144
V 96 . r r3e .ra.r ...... 146 94. 4 ...... 148
98. 5 . . 0 0 0 0 0 0 0 0 0 0 0 0 . 0 0 150 99a. Frere Fraper . . . #.0.0.0.*.0.0.0.i...... 152
lO0a. Malle Symes *.*..0.0 .. a.* .. *.0..0.0157 199b. Modo 2 . -* * o - ...... * o* o . . . 158 19cO . Modo 3 . * * * * * o * * o * o ...... 159
101a. Courante la Royalle ...... 160
100 b. Modo 2 . . - . . . - . . . . . * -** . . . 161 Qc. l Modo 3 ...... 163
102a. Cranes Air *.y9* .o* ...... 164
102b. iviodo 2 ...... 0 . . . 0 0 . 0 0 0 . 0 . . 164
102c. Podo 3 . 0 0. . . 0 0 . 0a 0 0 . 0 . ,0 165
103a. Frans Air...... 166
103b. Modo 2 * * * . . 0 0 . . . . . 0 . 0 . . . . . 166
103c. Modo 3 * * . . * * ...... 167 CRITICAL NOTESOTES...*...... 168
vi I
Voorspe Cornelis Helmbreecker f. Ov-1r
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II. Courante de la pay
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CRITICAL NOTES
The notes below show the original readings for pas- sages which have been altered in the transcriptions. The abbreviated form employed gives the measure number, the voice (U[pperJ, M[iddleJ, L[oweri), the note or portion
of the measure, and the original version. For example, 8 L 5-6t indicates that in measure eight of the piece
the fifth and sixth notes of the lower part appear as eighth-notes in the manuscript.
4. 21 V 2:g2
6. 19-20 Us d2 a1 g1 f-natural1
7. 8 ivi 6: g-naturall / 31-33 U are a repetition of measures 28-30 and have been omitted in transcription. 8. 24 Ls ? 9. ?vi4: c2 12. 20 L: I
17. 11 U 1-2: g-sharp2 18. 14 L 2: 1 22. Ls "met 3 Hooge geluiden"
23, Beginning, L:
32. 15 La B
34. Beginning, Us: / 16 U 3' b-natural1 39, 13 L 3:G 41. 10 L 2: 169
44, Meter, L:2
52. Fermatas appear at the following places in the upper
part and seem to be of no significance to the piece:
measure 7: eighth rest on beat 1, measure 10i beat 3.
53. Fermatas appear at the following places and seem to be of no significance to the piece: measure 4, U & Li
before beat 3 / measure 8 U: beat 1 / measure 8 L: above bar line before beat 1. 54. 15 L 2:e 57. 7 L beat li 3 8's
70. U: two sharps appear in key signature / LI no sharps
in signature with f-sharps written in; the key of the
piece is obviously G-major. / 16 U 2 (second ending): f2 71. 5 L 5: f-natural / 9 L 6: f-natural 73. 4 L 3 (both endings): d2
790 Meter, LI 6 82, 10 U 2: e2'4 87, Meter, U:
88. 93 L 1: a-sharp / 96 L 2: a-sharp
89. 40U 10: e2 /62L: c::
90. 67 U 2: d' / 71 U-L:3 / 95 U 1:2 2 91. 15 U 2: f2 / 15 U 3 c-natural2 / 84 U first chorde
92. 28 U beat 4: / 29 U 2: g2 / 36 U-Li fermatas appear over the double bar. 93. 75 U 6: 94. 31-32 U: In these two measures there are ten beats; 170
the bracketed notes have been omitted in transcription
so that the upper part is compatible with the bass line,
and so that it agrees most logically as a written out
repeat of the corresponding measures (19-20). Measures 31-321
95. 17 L 4: c-natural
97. U: key signature has no sharps; most sharps for D-major are written in.
98. 14-15 Lo In these two measures there are ten beats; the bracketed notes have been omitted in transcriptions
16-17 U: There are only six beats in these two measures#
99a. Meter, L: 6 23 U 2: b
99b. 23 U 1: d2 / Meter, L 6 4 99c. Meter, Li6 4 102c. 9 - 10-11: b-natural2 a-flat2
103c. 7 - 6-7: b-natural2 a-flat2