A Collection of Georg Rhau’s Music Editions and Some Previously Unnoticed Works
Richard Charteris
Predictably the largest collections of mid-sixteenth-century music editions produced in Germany are found on the Continent, the main ones are located in the Staatsbibliothek zu Berlin Preussischer Kulturbesitz, the Biblioteka Jagiellonska Kraków, the Bayerische Staatsbibliothek München, the Österreichische Nationalbibliothek Wien and the Bischöfliche Zentralbibliothek Regensburg (those in the first two were once together in Berlin but became separated asa result of World War II). Apart from these libraries, the finest collection of such materials is to be found in the United Kingdom and encompasses sacred and secular compositions as well as instrumental works. Preserved in the British Library in London, the collection reflects the commitment of successive librarians to amassing early Continental materials, a policy at its most productive between the early to mid-nineteenth century and early twentieth century. In regard to the British Library’s mid-sixteenth-century music editions published in Germany, the majority originated from cities then long established as major centres of book publishing. The leading ones include: (1) Nuremberg, where its principal music publishers during this time were Johann Petreius (1497–1550), Hieronymus Formschneider (d. 1556), Johann vom Berg (b. c.1500–1515; d. 1563), Ulrich Neuber (d. 1571) and Katharina Gerlach (b. c.1515–1520; d. 1592); (2) Augsburg, where notable contributors were Philipp Ulhart the Elder (d. 1567 or 1568) and Melchior Kriesstein (b. c.1500; d. 1572 or 1573); and (3) Munich, where someone from a subsequent generation, Adam Berg the Elder (d. 1610), was active from 1564.
Two other German cities, Frankfurt am Main and Wittenberg, also gained prominence for music publishing during the mid-sixteenth century. In each one, most of the recognition
I would like to thank the Curators and Librarians of the British Library, especially Robert Balchin, Christopher Scobie, Steve Cork, Sandra Pearson and the staff of the Rare Book and Music Reading Room, for their assistance and support during my work in the library and for responding helpfully to my requests for information and photographic material. Also, I am grateful to the staff of the following institutions for their assistance while undertaking research in their libraries and for providing copies of selected materials and information, the Staatsbibliothek zu Berlin Preussischer Kulturbesitz, the Biblioteka Jagiellonska Kraków, the Bayerische Staatsbibliothek München, the Österreichische Nationalbibliothek Wien, the Bischöfliche Zentralbibliothek Regensburg, the Staats- und Stadtbibliothek Augsburg, the Bibliothèque Royale de Belgique (Bruxelles), the Sächsische Landesbibliothek – Staats- und Universitätsbibliothek Dresden, the Thüringer Universitäts- und Landesbibliothek Jena, the Landesbibliothek und Murhardsche Bibliothek der Stadt Kassel, the Herzog August Bibliothek Wolfenbüttel, the Biblioteka Uniwersytecka Wrocław and others. In addition I am much indebted to the late Geoffrey Cichero for his support and advice. Abbreviations are used for selected publications and electronic materials and are explained in the section ‘Abbreviations’ towards the end of this article, otherwise bibliographic details are recorded in the main text or footnotes. RISM references are included whenever early music editions or early books on music are cited; VD16 references accompany early editions published in Germany in Tables and Lists, and on selected occasions they accompany citations elsewhere.
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for issuing music publications during this period was achieved by a handful of individuals, such as Christian Egenolff (1502–1555) in Frankfurt am Main and Georg Rhau (1488–1548) in Wittenberg, and following their demise the tradition in these locations was continued by others.1 A number of these German music publishers were closely associated with the Reformation. Christian Egenolff in Frankfurt am Main had connections to well-known Protestant figures, and while music editions form a relatively small component of the 500 or so publications he produced,2 most with secular works, a handful are suitable for use in the Reformed Church, including one he produced in 1550 with hymn tunes by the Lutheran pastor and composer Johann Spangenberg (1484–1550).3 Another person linked to the Reformation was Philipp Ulhart the Elder in Augsburg, who published religious materials for Anabaptists, Lutherans and Zwinglians. He also published music editions containing hymns and other works suitable for Reformed Churches and Schools as well as liturgical compositions for Catholic Churches.4 As will become apparent in due course, one other publisher, Georg Rhau in Wittenberg, enjoyed even closer links to the Reformation.5 The individuals mentioned above were active at a time when publishing proliferated across Europe. Their endeavours were aided by technological advancements, the growth in the availability of paper, a lowering of its cost, an increase in the number of people able to read,
1 Information about these publishers appears in relevant articles in Grove Music Online and MGG2. Details also appear in Reske 2007, pp. 36 (Ulhart), 39 (Kriesstein), 224–6 (Egenolff), 624–5 (Adam Berg), 667–8 (Petreius), 669–70 (Formschneider), 676–8 (Johann vom Berg), 692 (Neuber), 697–8 (Gerlach) and 997–8 (Rhau). For more on early printing and publishers, including in Germany, see Donald W. Krummel and Stanley Sadie (eds), Music Printing and Publishing, The New Grove Handbooks in Musicology (Basingstoke, 1990); Stanley Boorman, Eleanor Selfridge-Field and Donald W. Krummel, ‘Printing and Publishing of Music’, Grove Music Online:
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and an escalation in collecting by individuals and institutions. Music publishers also benefited from a change in the process of printing, one which made it cheaper and better suited to meet the burgeoning demand for their products. At the beginning of the sixteenth century, the Italian music publisher Ottaviano Petrucci (1466–1539) pioneered the printing of polyphony using movable type, producing exquisite editions using three impressions, the first with the notes, the second with the staves, and the third with the text, initial letters, signatures and pagination.6 Petrucci’s method was too expensive for the broader market and subsequent printers refined his method using double and single impression music printing. The major advance occurred in Paris, where Pierre Attaingnant (c.1494–1552) cemented single impression music printing with his Chansons nouvelles en musique à quatre parties ... (Paris: Pierre Attaingnant, 1527/1528; RISM series B/I, 15283) and in many other similarly produced editions until 1550.7 Attaingnant’s technique was efficient, elegant and labour saving, and was widely emulated over the next two hundred years. German publishers also benefited from this development. In particular, Rhau progressed from multiple impression printing early in his career to the single impression method, using the latter technique in his music publications issued in the last few decades of his life. Georg Rhau’s music editions were especially significant and some in the British Library contain invaluable information which has not been revealed in print until now. One in particular deserves close attention, for I have discovered that it includes a sizeable amount of material which has hitherto been overlooked. There is no mention, for instance, of its new material in catalogues of the British Museum or British Library, nor in the inventories of Répertoire International des Sources Musicales (RISM), a body which has systematically documented early music editions around the world. The edition in question is preserved at British Library (BL) K.3.f.3. and comprises a set of four partbooks which Georg Rhau published in Wittenberg. As its main title page indicates, the edition was issued in 1543 and contains sacred vocal music by the German composer Balthasar Resinarius (c.1485– 1544). Some of the edition’s contents, however, have no connection to the music specified on its main title page. The new material in K.3.f.3 comprises more than thirty works and together with disclosures about other music editions substantially alters the view of Georg Rhau’s sources in the British Library. Before studying the edition at K.3.f.3. and commenting on the new information I have uncovered, more details are provided about the publisher Georg Rhau and his music editions in the British Library as well as about liturgical matters which help to place the new material into context.
Georg Rhau and his Music Editions in the British Library
Georg Rhau was a leading figure in the Reformed Church, publishing for the famous German theologian, author and teacher Martin Luther (1483–1546) and his circle a substantial body of literary and musical works, many of which enjoyed considerable popularity. Rhau’s accomplishments were complemented by those of other Wittenberg publishers who produced
5 The history of music in Wittenberg during this period is investigated in Marie Schlüter, Musikgeschichte Wittenbergs im 16. Jahrhundert: quellenkundliche und sozialgeschichtliche Untersuchungen (Göttingen, 2010). 6 For more on Ottaviano Petrucci and music printing, see Schmid 1845; Stanley Boorman, ‘Petrucci at Fossombrone: A Study of Early Music Printing with Special Reference to the Motetti de la Corona (1514–1519)’ (PhD thesis, University of London, 1976); Donald W. Krummel and Stanley Sadie (eds), Music Printing and Publishing; Stanley Boorman, ‘Petrucci, Ottaviano’, Grove Music Online:
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mostly literary materials for the Reformation, including Hans Lufft (1495–1584) who achieved fame as the first to publish the complete edition of Luther’s Bible in German in 1534,8 producing numerous copies thereafter;9 Joseph Klug (c.1490–1552) who published some important Lutheran hymnbooks between 1529 and 1545;10 and Melchior Lotter the Younger (b. c.1490; d. after 1544) and his brother Michael Lotter (d. c.1555), who were based for several years in Wittenberg when they published individually or collectively selected components of Luther’s German translation of the Bible, beginning with the New Testament, as well as other materials.11 But for Luther and his colleagues, including Rhau and his fellow publishers, their city of residence, Wittenberg, would hardly have become as well known as it did or attained recognition as one of Europe’s most important religious and publishing centres. Martin Luther and Georg Rhau were close friends, both studied at the University of Wittenberg (albeit a few years apart) and shared a love of music, both were singers and composers,12 and Luther was also a lutenist and Rhau was also a music theorist and teacher. Rhau was born in 1488 in Eisfeld an der Were near Suhl, 50 kilometres from Erfurt, and studied at Erfurt University from 1508. Some years later, in 1512, he moved to the University of Wittenberg where he graduated with a Bachelor of Arts degree in 1514. Thereafter he spent four years in Wittenberg working in the publishing workshop of a relative, Johann Rhau-Grunenberg (fl.1508–1527).13 In 1518 Georg Rhau became Kantor of the Thomaskirche in Leipzig, a position which Johann Sebastian Bach made
8 Biblia, das ist, die gantze Heilige Schrifft Deudsch. Mart. Luth. (Wittenberg: Hans Lufft, 1534; VD16 B 2694). Two copies are preserved in the British Library, see 1.b.9. and 1.b.10. Luther commenced his translation of the Bible from the original Greek and Hebrew in 1521. Besides the Old and New Testaments, the 1534 edition includes a translation of the Apocrypha. Before then, components of Luther’s German Bible were published separately, the first was the New Testament which Melchior Lotter the Younger published in Wittenberg in 1522, Das Newe Testament Deützsch (VD16 B 4318 and B 4319); a copy in the British Library is found at C.36.g.7. 9 For selected comments about this publisher, see Jakob Franck, ‘Lufft, Hans’, ADB, xix (1884), pp. 618–22; Wolfgang Mejer, Der Buchdrucker Hans Lufft zu Wittenberg, 2nd edn (Leipzig, 1923; reprinted Nieuwkoop, 1965), which includes a catalogue of his publications; Gottfried Krüger, Hans Lufft und die Anfänge des Wittenberger Buchdrucks (Wittenberg, 1936); Hans Volz, ‘Die Arbeitsteilung der Wittenberger Buchdrucker zu Luthers Lebzeiten’, Gutenberg-Jahrbuch, xxxii (1957), pp. 146–54; Hans Lülfing, ‘Lufft, Hans’,NDB , xv (1987), pp. 493–5; and Reske 2007, pp. 996–7. 10 Joseph Klug’s hymnbooks are mentioned later in this article. For details about this publisher, see Jakob Franck, ‘Klug (Kluge), Joseph’, ADB, xvi (1882), pp. 248–9; Hans Volz, ‘Die Wittenberger Gesangbuchdrucker Joseph Klug und Hans Lufft’, Jahrbuch für Liturgik und Hymnologie, iv (1958–1959), pp. 129–33; Hans Lülfing, ‘Klug (Kluck, Klöck, Sophos), Joseph’, NDB, xii (1980), pp. 136–7; and Reske 2007, p. 996. 11 More on the Lotter family appears in Jakob Franck, ‘Lotter, Melchior’, ADB, xix (1884), pp. 273–8; Hans Lülfing, ‘Lotter, Melchior’, NDB, xv (1987), pp. 246–7; and Reske 2007, pp. 580, 993–4 and 994–5. As mentioned in footnote 8, in 1522 Melchior Lotter the Younger published Luther’s German translation of the New Testament. In 1523, the first component of Luther’s German translation of the Old Testament, containing the Pentateuch, appeared in print. Entitled Das Allte Testament Deutsch. M. Luther or a variant thereof, the work was published many times in 1523 by different publishers in various cities (see VD16). The Lotter editions seem to have been the first and include (1) a version which lacks details of its publisher and date, though VD16 ascribes it to Melchior Lotter the Younger and indicates that it was published in Wittenberg in 1523 (VD16 B 2894); and (2) another version which cites Melchior and Michael Lotter as the publishers, names the place of publication as Wittenberg and indicates its date of publication as 1523 (VD16 B 2895 and B 2941). The British Library possesses three of the 1523 editions, including one published by Hans Lufft, see C.36.g.11., C.127.k.7.(3.) and C.51.aa.4. 12 For a modern edition of Martin Luther’s musical compositions, see Markus Jenny (ed.), Luthers geistliche Lieder und Kirchengesänge: vollständige Neuedition in Ergänzung zu Band 35 der Weimarer Ausgabe, Archiv zur Weimarer Ausgabe der Werke Martin Luthers: Texte und Untersuchungen, 4 (Cologne, 1985). Regrettably none of Georg Rhau’s compositions has survived, even though he would have been required to compose music when he was a Kantor in Leipzig and the Director of the Electoral choir in Torgau. Although no longer extant, Rhau composed a large-scale Mass in 1519 for a major gathering in Leipzig; see Victor H. Mattfeld’s dictionary article in footnote 14. 13 For more on this publisher, see Reske 2007, pp. 992–3.
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famous decades later. During his time in the city Rhau also taught music at Leipzig University. In 1523 Georg Rhau returned to Wittenberg where he operated his own publishing and bookselling business until his death in 1548, and he used various forms of his name in his publications, Jörg or Georg for his Christian name and more then ten versions of his surname, including Rau, Rhau, Raw, Rhaw and Ehaw, the last one mostly in colophons. Late in life he was appointed Director of the Electoral Choir in the nearby city of Torgau.14 A woodcut portrait of Georg Rhau aged 54, though now slightly smeared, appears in one of his early music editions in the British Library, K.4.d.14., and is reproduced in fig. 1.
Fig. 1. British Library K.4.d.14., Postremum vespertini officii opus ... (Wittenberg: Georg Rhau, 1544; RISM series B/I, 15444), [Tenor] Partbook, signature [Aa iiij] verso with a woodcut portrait of Georg Rhau, aged 54, and a Latin verse.
14 More information about Georg Rhau appears in Robert Eitner, ‘Rhaw: Georg R. (Rhau)’, ADB, xxviii (1889), pp. 372–4; idem, ‘Rhaw (Rhau), Georg’, Eitner 1900–1904, viii, pp. 204–5; Johannes Joachim, ‘Die Drucker Johannes Grunenberg und Georg Rhau in Wittenberg’, Zentralblatt für Bibliothekswesen, xxi (1904), pp. 433–9; Walter Wölbing, ‘Der Drucker und Musikverleger Georg Rhau: ein Beitrag zur Drucker- und Verlegertätigkeit im Zeitalter der Reformation’ (Dissertation, Friedrich-Wilhelms-Universität Berlin, 1922); Werner Gosslau, Die religiöse Haltung in der Reformationsmusik nachgewiesen an den ‘Newen Deudschen Geistlichen Gesengen’ des Georg Rhaw 1544. Ein Beitrag zur Musikanschauung des 16. Jahrhunderts, Erlanger Beiträge zur Musikwissenschaft, 1 (Kassel, 1933); Ronald Lee Gould, ‘The Latin Lutheran Mass at Wittenberg 1523–1545: A Survey of the Early Reformation Mass and the Lutheran Theology of Music, as Evidenced in the Liturgical Writings of Martin Luther, the Relevant Kirchenordnungen, and the Georg Rhau Musikdrucke for the Hauptgottesdienst’ (S.M.D. Dissertation, Union Theological Seminary, 1970); Victor H. Mattfeld, ‘Rhau, Georg’, Grove Music Online:
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Besides Luther, Rhau was close friends with other important figures of the period. One was Philipp Melanchthon (1497–1560), the Lutheran theologian, poet and writer about music and other subjects, and Professor of Theology at Wittenberg University, who organized the pedagogical principles used in Lutheran schools across Germany emphasizing the place of music in accord with Luther’s views.15 Another one was Johann Walther (1496–1570), the first LutheranKantor and a fine composer of Lutheran hymns and other works, as well as hymn texts, which were widely used in Lutheran Churches and Schools with Luther’s endorsement, many of which continue in the sacred repertoire. Walther also organized the music in Lutheran churches in Saxony and his music had a major impact on the development of Lutheranism.16 Rhau, Melanchthon and Walther were among Luther’s strongest supporters, and they collaborated with Luther on various projects and publications, and were frequent guests in his house where music was often performed around the dinner table. Indeed, music making in the Luther household was a subject that a number of his contemporaries remarked on, including his physician between 1538 and 1546, Matthäus Ratzeberger, who recorded that it was Luther’s custom following evening meals ‘to fetch from his study his partbooks and with his table companions, who delighted in music, made music together with them’.17 Writing in 1543 about his time in Wittenberg from 1540 to 1541, when he taught music at Wittenberg University, the composer Sixtus Dietrich (c.1493–1548) commented that ‘Luther has an especially great love for music, and I have sung much and often with him’.18 The close friendship of these individuals is suggested by the main title page of one of Dietrich’s music editions published by Rhau, for it includes
15 For a selection of the publications dealing with Philip Melanchthon, see Julius August Wagenmann, ‘Melanchthon, Philipp’, ADB, xxi (1885), pp. 268–79; Robert Stupperich, ‘Melanchthon, Philipp’, NDB, xvi (1990), pp. 741–5; Günter Frank, Die theologische Philosophie Philipp Melanchthons (1497-1560) (Leipzig, 1995); Ludwig Knopp, ‘Philipp Melanchthon in der Musik seiner Zeit’, Musik und Kirche, lxvii (1997), pp. 165–71; Martin H. Jung, Philipp Melanchthon und seine Zeit (Göttingen, 2010); Christine Mundhenk, ‘Rhetorik und Poesie im Bildungssystem Philipp Melanchthons’, Lutherjahrbuch, lxxviii (2011), pp. 251–75; and Ingo Neumann, Melanchthon und Luther als Väter: ein Beitrag zur Reformationsdekade (Leipzig, 2015). 16 Selected publications about Johann Walther consist of Wilhelm Ehmann, ‘Johann Walther, der erste Kantor der protestantischen Kirche’, Musik und Kirche, vi (1934), pp. 188–203 and 240–6; Walter E. Buszin, ‘Johann Walther, Composer, Pioneer and Luther’s Musical Consultant’, in Theodore Hoelty-Nickel (ed.), The Musical Heritage of the Church (Valparaiso, Indiana, 1944–1970), 7 vols, see vol. iii (1946), pp. 73–98; Carl Gerhardt, Die Torgauer Walter-Handschriften: eine Studie zur Quellenkunde der Musikgeschichte der Deutschen Reformationszeit (Kassel, 1949); Otto Schröder, Max Schneider, Werner Braun and Joachim Stalmann (eds), Johann Walther: Sämtliche Werke, 6 vols (Kassel, 1953–1973); Walther Blankenburg, Johann Walther: Leben und Werk (Tutzing, 1991); Carl Schalk, Johann Walter: First Cantor of the Lutheran Church (St Louis, Missouri, 1992); Werner Braun, ‘Walter, Johann (i)’, Grove Music Online:
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woodcut portraits of Luther and Melanchthon and a monogram with the initials of Georg Rhau. The same monogram also includes the initials ‘K K’, which probably belonged to the woodcutter. A further woodcut portrait on the same title page contains an image of Johann Frederick I, the Elector of Saxony (1503–1554),19 who was a firm ally of Luther and his colleagues. The edition is preserved at British Library A.175. and its main title page is reproduced in fig. 2.
Fig. 2. British Library A.175., Sixtus Dietrich, Novum opus musicum. Tres tomos sacrorum hymnorum continens ... (Wittenberg: Georg Rhau, 1545; RISM series A/I, D 3018), [Tenor] Partbook, Title Page, which includes three woodcut portraits and a monogram.
19 Johann Frederick I was based in Wittenberg where he ruled as the Elector of Saxony between 1532 and 1547. He was deposed at the end of the Schmalkaldic War of 1546–1547, when the administration of Wittenberg changed from the Ernestine line of the Electors of Saxony, who were strong Lutherans, to the Albertine line who by then were also Protestants. See Volker Leppin, Georg Schmidt and Sabine Wefers (eds), Johann Friedrich I: der Lutherische Kurfürst, Schriften des Vereins für Reformationsgeschichte, 204 (Gütersloher, 2006); and for more on the Schmalkaldic War, see James D. Tracy, Charles V, Impresario of War: Campaign Strategy, International Finance, and Domestic Politics (Cambridge, 2002).
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The faith to which Georg Rhau is so intimately connected had its beginnings in October 1517 when Martin Luther challenged the Catholic Church’s practice of selling indulgences by nailing his 95 Theses to the door of the Schlosskirche in Wittenberg. Luther’s Theses were promptly published and widely circulated causing the Church to lose much revenue and support. Although the Catholic Church made determined efforts to try and silence him, he continued to preach and disseminate his views. Luther published a number of works that served as the theological underpinnings of his Church, including ones that argued variously against the power of the papacy, against the sacramentalism and sacerdotalism of the Catholic Church, and against the laws of Roman Catholicism being binding; instead Luther proclaimed that Christians are free to serve Christ and humanity in accordance with the scriptures.20 Georg Rhau’s publications played a major role in the foundation of Lutheranism. The dimensions of his achievements can be determined from the materials in the British Library which owns a broad cross section of his publications. The largest component of Rhau’s printed books are devoted to religious subjects, including Luther’s sermons and doctrinal treatises, commentaries on biblical texts by Luther and his colleagues, editions of Luther’s Catechism and Melanchthon’s Augsburg Confession (written in close co-operation with Luther), as well as books with prefaces written by Luther. A sense, albeit limited, of the British Library’s publications by Rhau in this category may be ascertained from the selection in Table I below.
20 For a bibliography of Martin Luther’s works, see Josef Benzing, Lutherbibliographie: Verzeichnis der gedruckten Schriften Martin Luthers bis zu dessen Tod, 3 parts, Bibliotheca Bibliographica Aureliana, 10, 16 and 19 (Baden-Baden, 1966), Josef Benzing, Helmut Claus and Michael A. Pegg, Ergänzungen zur Bibliographie der zeitgenössischen Lutherdrucke im Anschluss an die ‘Lutherbibliographie’ Josef Benzings, Veröffentlichungen der Forschungsbibliothek Gotha, 20 (Gotha, 1982), and Josef Benzing and Helmut Claus, Verzeichnis der gedruckten Schriften Martin Luthers bis zu dessen Tod, Band ii, Bibliotheca Bibliographica Aureliana, 143 (Baden-Baden, 1994). There are many studies of Luther’s life and works, for a selection see Johannes Mathesius, Historien Von des Ehrwirdigen in Gott Seligen thewren Manns Gottes Doctoris Martini Luthers, anfang, lehr, leben und sterben, Alles ordendlich der Jarzal nach, wie sich alle sachen zu jeder zeyt haben zugretragen ... (Nuremberg, 1566; VD16 M 1490); Luther Weimarer Ausgabe; Julius Köstlin, ‘Luther, Martin’, ADB, xix (1884), pp. 660–92; Walter E. Buszin, ‘Luther on Music’, The Musical Quarterly, xxxii (1946), pp. 80–97; Paul Nettl (translated by Frida Best and Ralph Wood), Luther and Music (Philadelphia, Pennsylvania, 1948; reprinted New York, 1967); Luther American Edition; John M. Todd, Martin Luther: A Biographical Study (London, 1964); Gerhard Müller, ‘Luther, Martin’, NDB, xv (1987), pp. 549–61; Bernhard Lohse, Martin Luther: eine Einführung in sein Leben und sein Werk, 3rd edn (Munich, 1997); Robin A. Leaver, ‘Luther, Martin’, Grove Music Online:
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Table I: Selection of Georg Rhau’s Theological Editions in the British Library
The editions are arranged in date order. See ‘Abbreviations’ for an explanation of BLMC and VD16; the last one makes no mention of relevant copies in the British Library.
Nos Editions 1 Shelfmark: 698.e.23. Edition: Martin Luther, Deudsch Catechismus. Mart. Luther (Wittenberg: Georg Rhau, 1529). Selected references: VD16 L 4339 and other listings in VD16. BLMC. 2 Shelfmark: C.48.d.2. Edition: Philipp Melanchthon, Confessio fidei exhibita invictiss. Imp. Carolo V. Caesari Aug. in Comiciis Augustæ, Anno M. D. XXX. Addita est Apologia Confessionis. Beide, Deudsch vnd Latinisch ... (Wittenberg: Georg Rhau, 1531). Selected references: VD16 C 4709, M 2505 and other listings in VD16. BLMC. Commentary: This edition contains handwritten corrections and cancels and is reputed to be Melanchthon’s proof copy. 3 Shelfmark: 3090.bb.14. Edition: Martin Luther, Der CIX Psalm Deus laudem. Wider den Verrheter Juda. Und wider alle, die Judas art an sich haben, als da sind, alle Verfolger und Rotten, wider Christus wort. Ausgelegt ... (Wittenberg: Georg Rhau, 1535). Selected references: VD16 L 6975 and another listing in VD16. BLMC. 4 Shelfmark: 3908.aa.27.(1.). Edition: Johann Behem, Ein Christlich Radtbuchlin fur die kinder. Aus den büchern Salominis und Jhesu Syrach, vleissig zusamen bracht ... (Wittenberg: Georg Rhau, 1536). Selected references: VD16 B 1492. BLMC.
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Nos Editions 5 Shelfmark: RB.23.a.31221. Edition: Friedrich Myconius, Wie man die einfeltigen und sonderlich die Krancken im Christenthumb unterricheten sol ... (Wittenberg: Georg Rhau, 1539). Selected references: VD16 M 7353 and other listings in VD16. BLMC. Commentary: The edition includes a preface written by Luther. 6 Shelfmark: 3905.bb.54. Edition: Martin Luther, Zwo Predigt D. Martini Luthers, Die erste, Vom Reich Christi, aus dem viij. Psalm, Herr unser herrscher &c. Die ander, Vom Ehestand, aus dem Text, Hebr. iij. Die ehe sol ehrlich gehalten werden bey allen und das Ehebette unbefleckt. Gepredigt zu Mersburg ... (Wittenberg: Georg Rhau, 1546). Selected references: VD16 L 5711 and other listings in VD16. BLMC.
The British Library is also the owner of a substantial collection of Georg Rhau’s music publications, many of which enjoyed widespread appeal. One component comprises books on music theory, some of which include contemporary inscriptions consistent with their didactic function. Besides publishing works by his contemporaries, he also published two of his own music treatises. Some appreciation of Rhau’s British Library contributions in this area and their reception may be gleaned from the selection in Table II below.
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Table II: Selection of Georg Rhau’s Music Treatises in the British Library
The editions are arranged in date order. See ‘Abbreviations’ for an explanation of the references cited in this Table, one of which, VD16, makes no mention of the relevant copies in the British Library. In the references, details from RISM and VD16 appear first.
Nos Editions 1 Shelfmark: C.125.cc.9.(2.). Edition: Martin Agricola, [Musica Instrume[n]talis Deudsch, ynn welcher begriffen, wie man nach dem Gesange auff mancherley Pfeiffen lernen soll ... (Wittenberg: Georg Rhau, 1529)]. Selected references: RISM series B/VI, pp. 70–71. VD16 A 1066 and other listings in VD16. BLMC. Commentary: The British Library copy is imperfect, wanting the first forty-nine leaves; the volume only contains folios 50–56. Rhau issued four other editions of this work. The last one appeared in 1545.21 2 Shelfmark: K.8.c.3. Edition: Georg Rhau, Enchiridion utriusque musicae practicae and his second part Enchiridion musicae mensuralis (Wittenberg: Georg Rhau, 1531). Selected references: RISM series B/VI, pp. 699–700. VD16 ZV 30292. BLMC. Commentary: Initially the first part was published on its own in 1517 by Georg Rhau’s relative in Wittenberg and thereafter by Valentin Schumann in Leipzig, and from 1520 it was combined with the second part which appeared in twelve editions, most published by Rhau or his heirs. The last one appeared in 1553.22
21 The British Library also possesses copies of Georg Rhau’s 1532 and 1545 editions of Martin Agricola’s treatise, though both are missing some leaves, respectively at K.4.d.9. and T.1828.(1.). For a study of this treatise, see William E. Hettrick (trans. and ed.), The ‘Musica instrumentalis deudsch’ of Martin Agricola: A Treatise on Musical Instruments, 1529 and 1545 (Cambridge, 1994). A facsimile of four music treatises by Martin Agricola, all published by Georg Rhau, including a copy of the 1529 edition mentioned here, appears in Martin Agricola: Musica figuralis deudsch (1532), Musica instrumentalis deudsch (1529), Musica choralis deudsch (1533), Rudimenta musices (1539) (Hildesheim, 1969, reprinted 1985 and 2011). For comments about Agricola’s treatises, see Williams and Balensuela 2007, pp. 6–8. 22 The British Library possesses copies of other editions of Georg Rhau’s treatise, some of which are bound with other materials. They include his 1518 edition published by Valentin Schumann in Leipzig at K.8.c.1., the 1520 edition published by Valentin Schumann in Leipzig at K.8.c.2., the 1532 edition published by Rhau in Wittenberg at K.8.c.4., two copies of the 1536 edition published by Rhau in Wittenberg at K.8.c.5. and Hirsch I.503., the 1538 edition published by Rhau in Wittenberg at K.8.c.6., one copy of the 1546 edition published by Rhau in Wittenberg at K.8.c.7.(1.), and a copy of the 1553 edition published by Rhau’s heirs in Wittenberg at K.8.c.7*.(1.). For a facsimile of Rhau’s 1538 treatise, see Hans Albrecht (ed.), Georg Rhau: Enchiridion utriusque musicae practicae (Kassel, 1951), and for comments about Rhau’s treatise, see Williams and Balensuela 2007, pp. 162–3.
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Nos Editions 3 Shelfmark: Hirsch I.459. Edition: Venceslaus Philomathes, Venceslai Philomathis de noua domo musicorum libri quatuor, compendioso carmine elucubrati (Wittenberg: Georg Rhau, 1534). Selected references: RISM series B/VI, pp. 650–1. VD16 ZV 12453. BLMC. Commentary: This work was first published in 1512 in Vienna by Hieronymus Vietor and Johannes Singrenius, and thereafter was edited by Georg Rhau and published in 1518 in Leipzig by Valentin Schumann, after which four other editions were issued by other publishers, including Rhau’s one of 1534. The last one appeared in 1544. 4 Shelfmark: Hirsch IV.1544. Edition: Johann Spangenberg, Questiones musicae in usum scholae Northusianae (Wittenberg: Georg Rhau, [1536]). Selected references: RISM series B/VI, pp. 797–8. VD16 ZV 22201. BLMC. Commentary: This work was first issued separately by two different publishers in 1536, Georg Rhau in Wittenberg and Johann Petreius in Nuremberg. Thereafter it appeared in eighteen editions until the mid-1580s, variously published by Rhau, his heirs and other publishers.23 5 Shelfmark: K.8.c.8. Edition: Johannes Galliculus, Libellus de compositione (Wittenberg: Georg Rhau, 1538). Selected references: RISM series B/VI, pp. 345–6. VD16 G 228. BLMC. Commentary: The work was first issued in Leipzig in 1520 by Valentin Schumann and appeared in four other editions published by Rhau and his heirs. The last one appeared in 1553.24
23 The British Library also possesses a copy of Georg Rhau’s 1542 edition of Johann Spangenberg’s work at Hirsch I.561. For more on Spangenberg, see footnotes 3 and 42. 24 The British Library also possesses two copies of Georg Rhau’s 1546 edition of Johannes Galliculus’s treatise at K.8.c.7.(2.) and Hirsch I.203., and a copy of the 1553 edition published by Rhau’s heirs at K.8.c.7*.(2.). Information about Galliculus and his treatise appears in Arthur A. Moorefield, An Introduction to Johannes Galliculus, Musicological Studies, 18 (Brooklyn, New York, [1969]), and in Williams and Balensuela 2007, pp. 78–9.
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Nos Editions 6 Shelfmark: K.4.d.12. Edition: Nicolaus Listenius, Musica N. Listenii, ab authore denuo recognita multisque novis regulis et exemplis adaucta (Wittenberg: Georg Rhau, 1548). Selected references: RISM series B/VI, pp. 506–509. VD16 ZV 9776. BLMC. Commentary: This work was first published by Rhau in 1537 and appeared in more than forty editions, some issued by other publishers. The last one was published in Nuremberg in 1583.25
Another important group of Georg Rhau’s publications consists of music editions. Collectively their composers were active between the second half of the fifteenth century and the early to mid-sixteenth century. While some were Lutherans, the majority were Catholics, not least because their training and careers commenced before Lutheranism emerged, though after its rise some Catholics wrote music for its use demonstrating appreciation, if not support, of Luther and his ideals. Two leading composers who converted to Lutheranism from the Catholic faith include Balthasar Resinarius, whose edition is the main focus of this article, and Sixtus Dietrich.26 In comparison, two prominent composers who retained their adherence to Rome, the last of whom was on friendly terms with Luther, include Heinrich Finck (b. 1444 or 1445; d. 1527)27 and Ludwig Senfl (b. 1489–1491; d. 1543).28 The variety of composers reflects Luther’s embrace of established works from the Catholic Church as well as new genres, and is embodied in Georg Rhau’s music editions in the British Library, which together contain works set to Latin and German texts (for the editions, see Tables III and IV below). Georg Rhau seems to have been a reluctant producer of single composer editions, for they are dwarfed in number by his music anthologies. His single composer music editions comprise: (1) two by Sixtus Dietrich (RISM series A/I, D 3017 and D 3018; VD16 ZV 17160 and ZV 11802); (2) two by Johann Walther (RISM series A/I, W 171 and W 174; VD16 ZV 26824 and VD16 ZV 2915); and (3) one by Balthasar Resinarius which was subsequently reprinted (RISM series A/I, R 1196 and RR 1196, and RISM series A/I, R 1197 and RR 1197; VD16 R 1178, the reprint is not cited in VD16).
25 For more on Listenius’s treatise, see Williams and Balensuela 2007, pp. 132–3. 26 See footnote 18. 27 Further information about Heinrich Finck appears later in this article. 28 For more on this composer, see Jan Sicking, ‘Enige data betteffende het leven en de werken van Ludwig Senfl’, Tijdschrift voor muziekwetenschap, xvii (1948), pp. 2–17; Martin Bente and Clytus Gottwald, ‘Senfl, Ludwig’, Grove Music Online:
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A group of related items primarily comprise religious literary material with a relatively small amount of music. The music in Rhau’s editions in this additional category includes: (1) twelve hymn tunes by Johann Spangenberg published in 1545 (RISM series B/VIII, 154513; VD16 S 8096); (2) an unattributed German hymn tune with words by Erasmus Alberus (1500–1553) issued in 1546 without the name and place of the publisher, though others have ascribed it to Georg Rhau in Wittenberg (RISM series B/VIII, 154609; VD16 A 1501 and other listings in VD16); (3) a choral composition by Johann Walther with words by Erasmus Alberus published in 1548 (RISM series B/VIII, 154805; VD16 A 1548); (4) two hymn tunes by Martin Luther, released individually in 1534 and 1540, each one in a different edition (RISM series B/VIII, 153405 and 154002; for the first see VD16 L 4966 and another listing in VD16, and the second is not cited in VD16); (5) a composition by Johannes Brenz (1499–1570) published in 1537 (RISM series B/VIII, 153707; VD16 B 7987); and (6) a hymn tune by Johann Friedrich Petsch (fl.1540s) issued in 1546 (RISM series A/I, P 1658 and PP 1658; VD16 P 1942).
Rhau also published a number of religious books with plainchant, such as ones by Johannes Burgenhagen (1485–1558) and Antonius Corvinus (1501–1553; RISM series B/VIII, 154312; VD16 B 7287 and B 7302) and an unidentified writer (VD16 ZV 1595, dated 1544). He may also have published another one by Johannes Burgenhagen (RISM series B/VIII, 154214; VD16 P 4134). Table III cites the items in the British Library that fall into these categories, only two are traditional single composer editions on account of having almost all their space devoted to music by one composer, another one has twelve hymn tunes by a single composer in a volume that is mostly literary in nature, and each of the others has only a single composition or plainchant material in volumes mostly with literary material. Two of the editions lack imprint details ascribing them to Georg Rhau, and their connection to him is doubtful, especially since Rhau mostly names himself as the publisher in his editions. One of the items is listed in Table III, no. 7, and was published in 1548. It contains a four-voice hymn by Johann Walther, and others have ascribed this 1548 publication to Rhau because the music was included in a much larger collection of Walther’s works published by Rhau’s heirs in 1551 (RISM series A/I, W 173; a copy of the latter is preserved at British Library K.2.c.6.). The connection is no guarantee that Rhau was involved in its publication, particularly since publishers at this time frequently borrowed material from editions produced by others. The second item is an edition published in 1542 and is cited in Table III, no. 1. Once again others have ascribed its publication to Georg Rhau, though it is unclear whether he was its publisher and more evidence is needed.
Table III: Georg Rhau’s Single Composer Music Editions and Related Materials in the British Library
The editions are arranged in date order. See ‘Abbreviations’ for an explanation of the references cited in this Table, some of which make no mention of the relevant copies in the British Library. In the references, details from RISM and VD16 appear first and the remainder follow in chronological order. When a modern edition exists, it is mentioned below.
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Nos Editions 1 Shelfmark: 3478.cc.20. Compiler: [Johannes Burgenhagen]. Title and imprint: Karcken Or= | dening, | Wo sick die Par | ner vnnd Selensorger | inn vorreikinge der Sacrament | vnd ouinge der Cerimonien | holden scholen im | Land to Pam | mern. | M. D. XLII [1542]. [Colophon:] M. D. XLII [1542]. Single volume: Plainchant settings of Latin liturgical texts for one voice, though most of the volume contains literary material. Although not named in the edition, the volume was compiled by Johannes Burgenhagen. The name of the publisher and place of publication are unspecified; others, including VD16, have ascribed the edition to the publisher Georg Rhau in Wittenberg, though more evidence is needed to confirm whether the connection is valid. The volume includes handwritten material added by early scribes using black ink and red pencil, including annotations, an index dated ‘[15]54’ and plainchant on folios 50 verso and 51 recto. Selected references: RISM series B/VIII, 154214. VD16 P 4134. BLMC. 2 Shelfmark: K.3.f.3. Composer: Balthasar Resinarius. Title and imprint: [The title page of the Tenor partbook is the only one with the complete title and imprint:] RESPONSORIORVM | NVMERO OCTO= | GINTA DE TEMPORE ET FESTIS | iuxta seriem totius anni, Libri duo, Primus de Christo, & regno | eius, Doctrina, Vita, Passione, Resurrectione & Ascensione. | Alter, de Sanctis, & illorum in Christum fide & Cruce. | BALTASARE RESINARIO IECINO | Autore. | TENOR. | VVITTEMBERGAE APVD GEORGIVM RHAV ANNO M. D. XLIII [1543]. [Title page of each of the other partbooks:] [Part name]. | RESPONSORIORVM, DE TEMPORE ET DE | SANCTIS, PER ANNI CIRCVLVM. | LIBER PRIMVS DE CHRISTO. [The Liber Secundus in each partbook is preceded by another title page:] Liber Secundus Responsoriorum, | De Sanctis, et illorum in Chri= | stum fide et Cruce. | [Part name]. [Colophon in each partbook, though here wanting in the Altus:] Wittembergae apud Georgium | Ehaw: Musicae Typo= | graphum. Partbooks: Discantus, Altus, Tenor and Bassus; the partbooks include handwritten material added by early scribes (see Table VIII). Further comments appear in the main text of the present article.
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Nos Editions Selected references: RISM series A/I, R 1196 and RR 1196. VD16 R 1178. Schmid 1845: p. 198. Becker 1855: col. 164 (dated 1544). Eitner 1900–1904: viii, p. 192. Squire 1912: ii, p. 409. BUCEM 1957: p. 886. CPM 1981–1987: xlvii, p. 350. BLMC. Modern edition: Inge Maria Schröder (ed.), Balthasar Resinarius: Responsoriorum numero octoginta, 2 vols, in Georg Rhau Musikdrucke, vols i–ii (Kassel and St Louis, Missouri, 1955 and 1957). Commentary: For more on the 1544 date cited in Becker 1855, see later in the main text. 3 Shelfmark: K.3.g.1. Compiler: [Unidentified]. Title and imprint: Ettliche Psalm | sampt dem Symbo= | lo odder Bekentnis Sancti Athana= | sij, Den Christlichen Gemeinen zu | nutz, Und sonderlich auff bitte, der | Kirchen zu Hall: | jnn Gesang bracht vnd | zugericht. | Wittemberg. | 1544. [Colophon:] Gedruckt zu Wit= | temberg durch | Georgen Ehaw. Single volume: Plainchant settings of German Psalms for one voice; not covered by RISM. Selected references: VD16 ZV 1595. Squire 1912: ii, p. 349. BUCEM 1957: p. 843. CPM 1981–1987: xlvi, p. 257. BLMC. 4 Shelfmark: A.175. Composer: Sixtus Dietrich. Title and imprint: [The title page of the Tenor partbook is the only one with the complete title and imprint:] NOVVM OPVS | MVSICVM. | TRES TOMOS SACRORVM | HYMNORVM CONTINENS, NVNC PRI- | mum ab eximio huius aetatis Symphonista SIXTO | DIETRICH Augustano composi= | tum, & typis excusum. | VITEBERGAE apud GEORGIVM Rhau. 1545. [Title page of each of the other partbooks:] [Part name] | HYMNORVM. SIXTI DIET. | M. D. XLV [1545]. [The Secundus Tomus in each partbook is preceded by another title page:] SEQVITVR SECVN= | DVS TOMVS HYM= | NORVM. [The Tertius Tomus in each partbook is preceded by another title page:] SEQVITVR TERTI= | VS TOMVS HYM= | NORVM.
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Nos Editions [Colophon in the Discantus, Altus and Tenor (relevant leaf is missing from Bassus):] Wittembergae apud Ge= | orgium Ehaw Musi= | cae Typographum. Partbooks: Discantus, Altus, Tenor and Bassus (last one is imperfect); the title page of the Tenor partbook lacks its part name and its colophon is misbound. The partbooks include handwritten material added by early scribes (see Table IX). Selected references: RISM series A/I, D 3018. VD16 ZV 11802. Becker 1855: col. 85. Eitner 1900–1904: iii, p. 200. Squire 1912: i, p. 388. BUCEM 1957: p. 282. CPM 1981–1987: xvii, p. 34. BLMC. Modern edition: Hermann Zenck (ed.), with an introduction by Willibald Gurlitt, Sixtus Dietrich: Hymnen: Wittenberg, 1545 (St Louis, Missouri, 1960); the music was previously published in Das Erbe Deutscher Musik, Erste Reihe, 23 (Leipzig, 1942). Commentary: For more on Dietrich’s 1545 edition, see Richard Charteris, ‘Selected Early Music Editions ...’, in preparation.
5 Shelfmark: 3434.b.56. Compiler/Composer: Johann Spangenberg. Title and imprint: Zwölff Christ[-] | liche Lobgesenge vnd Leis= | sen, so man das Jar vber, | jnn der Gemeine Gottes | singt, auffs kürtzte aus= | gelegt, Durch | M. Johan. Spangenberg. | 15 [printer’s mark] 45. | Wittemberg. [Colophon:] Gedruckt zu Wittem= | berg, durch Geor= | gen Rhau. | M. D. XLV [1545]. Single volume: Twelve German hymn tunes, each one is accompanied by extensive literary material. Selected references: RISM series B/VIII, 154513. VD16 S 8096. Becker 1855: col. 142. Eitner 1900–1904: ix, p. 216. Squire 1912: ii, p. 522. BUCEM 1957: p. 967. CPM 1981–1987: liii, p. 298. BLMC.
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Nos Editions 6 Shelfmark: T.2167.(14.) Composer: Johann Friedrich Petsch. Title and imprint: Ein schön Christ= | lich Lied, Von dem Ehrwir= | digen Herren, | D: Mart[in]. Luth[er]. | vnd seiner Lere. | 15 [printer’s mark] 46. | Gemacht vnd Componiret, durch | M. Johan Fridrichen Petsch, | zu Wittemberg. [Colophon:] Gedruckt zu Wittemberg, | durch Georgen Rhaw. | M. D. XLVI [1546]. Single volume: A setting of a German hymn tune beginning ‘Seid from ihr lieben Christen Leut’; the volume includes handwritten annotations added by early scribes. Selected references: RISM series A/I, P 1658 and PP 1658. VD16 P 1942. Becker 1855: col. 142. Eitner 1900–1904: vii, p. 398. Squire 1912: ii, p. 262. BUCEM 1957: p. 776. CPM 1981–1987: xlv, p. 74. BLMC. 7 Shelfmark: C.107.bb.71. Composer: Johann Walther (literary text by Erasmus Alberus). Title and imprint: Von den Zeichen des | Jüngsten Tags: | Ein schön | Lied. | D. Erasmus Albe. | 1548. Single volume: A setting of a German hymn for four-voices beginning ‘Gott hat das Evangelium’. The name of the publisher and place of publication are unspecified; BLMC and Nehlsen 2008–2009, no. 297, ascribe the edition to the publisher Georg Rhau in Wittenberg, though more evidence is needed to confirm whether the connection is valid. The volume includes early handwritten material, such as an inscription in brown ink on the title page citing details of Alberus’s death, ‘1553. d. 5. Maj. | zu NeuBrandenb[urg]’. Selected references: RISM series A/I, WW 174a. RISM series B/VIII, 154805. VD16 A 1548. Eitner 1900–1904: x, p. 169. CPM 1981–1987: lix, p. 181. BLMC.
These seven editions were acquired over an extended period, six by the British Museum and one by the British Library. Six include details of when they were formally acquired, either in handwritten form accompanied by a red British Museum institutional stamp (Table III, no. 3), or in a stand alone red British Museum date stamp (Table III, nos 1, 2 and 4), or in a combined
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institution and date stamp in red added by the British Museum or British Library (Table III, nos 5 and 7).29 The exception is edition no. 6 which is bound with a series of Tracts that lack specific information about their date of purchase, but were part of a larger collection acquired by the British Museum between the mid-eighteenth century and 1845. The first dated item is edition no. 3 and was formally acquired on 19 June 1846, though no record survives of its supplier and nothing is known about its previous owner. A few decades later the British Museum purchased edition nos 1, 2 and 4 from the Berlin antiquarian bookseller Asher & Co., no 1 was formally acquired on 11 December 1861 and nos 2 and 4 on 19 July 1862, in each case the prior owner is unknown (for the invoices, see respectively BL, Archives DH5/15 and DH5/16). On 16 February 1885, the British Museum formally acquired the edition at Table III, no. 5 from the Berlin antiquarian bookseller Albert Cohn (for the invoice, see BL, Archives DH5/50); the book was formerly owned by Baron Wendelin von Maltzahn (1815–1889). The British Library formally acquired the edition at Table III, no. 7 on 15 June 1983, the agent involved on this occasion was the London antiquarian bookseller Bernard Quaritch, which listed it in a sale catalogue of that same year.30 Georg Rhau’s largest body of music editions are anthologies; each is devoted to works by multiple composers. One of the better known is a collection of four-voice Latin motets which Rhau both edited and published, Symphoniae iucundae atque adeo breves quatuor vocum, ab optimis quibusque musicis compositae ... (Wittenberg: Georg Rhau, 1538; RISM series B/I, 15388; VD16 S 10396). This edition contains motets by well-known composers associated directly or indirectly with the Franco-Flemish school, such as Antoine Brumel, Pierre de La Rue, Josquin des Prez, Ludwig Senfl and Claudin de Sermisy. As such it was assured of success, not least because Josquin was regarded as the finest composer of his period, a reputation which endures to this day. Chiefly, though, its inclusion of a preface written by Martin Luther, outlining his philosophy and understanding of music, gave it wide appeal and it continues to be of interest to Lutherans and scholars. Although the 1538 edition is not found in the British Library, Luther’s preface has been studied and edited over many years and is transcribed in publications that it owns.31 By providing the preface for the anthology, the Wittenberg reformer, underscored Rhau’s importance in the dissemination of early Lutheran Church music and ensured the ongoing demand for his editions. This was especially so for his anthologies, which are well represented in the British Library as shown in Table IV.
29 For information about British Museum and British Library book stamps in music editions and books, see an unpublished handlist entitled ‘British Museum Stamps’ at the reference desk in the Rare Book and Music Reading Room of the British Library; Christina Duffy, ‘A Guide to British Library Book Stamps’, online document at
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Table IV: Georg Rhau’s Music Anthologies in the British Library
The editions are arranged in date order. See ‘Abbreviations’ for an explanation of the references in this Table, some of which make no mention of the relevant copies in the British Library. In the references, details from RISM and VD16 appear first and the remainder follow in chronological order. When a modern edition exists, it is mentioned below.
Nos Editions 1 Shelfmark: K.4.d.15. Composers: Simon Cellarius, Loyset Compère, Matthias Eckel, Johannes Galliculus, Heinrich Isaac, Lorenz Lemlin, Jacob Obrecht, Ludwig Senfl, Ioannes Stoel and Johann Walther. Title and imprint: [The title page of the Tenor partbook, which is not part of this set, is the only one with the complete title and imprint:] TENOR. | SELECTAE HARMONIAE | QVATVOR VOCVM. | DE PASSIONE DOMINI. | [Four-line literary text in Latin]. | VITEBERGAE APVD GEORGIVM RHAV | ANNO. M. D. XXXVIII [1538]. [Each title page of the other partbooks in the original set:] [Part name]. | [Four-line literary text in Latin]. Partbook: Altus; the volume includes handwritten material with one work comprising markings and numerical totals of groups of rests in black ink added by an early scribe (see signatures [bb iiij] verso to cc [i] recto), as well as material added by much later scribes; lacking the Discantus, Tenor and Bassus partbooks. Selected references: RISM series B/I, 15381. VD16 S 5417. Schmid 1845: p. 195. Becker 1855: col. 109. Eitner 1877: 1538b. Eitner 1900–1904: viii, p. 205. Squire 1912: ii, p. 158. BUCEM 1957: p. 696. CPM 1981–1987: xl, p. 363. BLMC. Modern edition: Wolfgang Reich (ed.), Selectae harmoniae de Passione Domini, in Georg Rhau Musikdrucke, vol. x (Kassel, 1990). 2 Shelfmark: K.3.e.17. Composers: Joannes Alectorus, Georg Forster, Johannes Galliculus, Conrad Rein, Adam Rener, Ludwig Senfl, Thomas Stoltzer, Philippe Verdelot, Johann Walther and Johann Zacharias. Title and imprint: [The title page of the printed Tenor partbook, which is not part of this set, is the only one with the complete title and imprint:]
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Nos Editions OFFICIA PASCHALIA. | DE RESVRRECTIONE ET AS= | CENSIONE DOMINI. | TENOR | VITEBERGAE APVD GEORGIVM RHAVV. | Anno Domini M. D. XXXIX [1539]. [Each title page of the other partbooks:] [Part name]. [Colophon in the Discantus partbook:] VITEBERGAE APVD, | Georgium Rhau. [Colophon in the printed Tenor partbook, which is not part of this set, has a seven-line text addressed to the reader, not shown here.] Partbooks: Discantus, Altus and Bassus, and a nineteenth-century manuscript copy of the Tenor partbook; lacking the printed Tenor partbook. Selected references: RISM series B/I, 153914. VD16 ZV 26536. Schmid 1845: pp. 195–6. Becker 1855: col. 114. Eitner 1877: 1539l. Eitner 1900–1904: viii, p. 205. Squire 1912: ii, p. 412. BUCEM 1957: p. 887. CPM 1981–1987: xlvii, p. 395. BLMC. Modern edition: Robert L. Parker (ed.), Officia Paschalia de Resurrectione et Ascensione Domini, in Georg Rhau Musikdrucke, vol. viii (Kassel, 1988). 3 Shelfmark: K.4.d.13. Composers: Andreas Capellus, Johann Cellarius, Benedictus Ducis, Georg Forster, Johannes Galliculus, Heinrich Isaac, Adam Rener, Johann Stahel, Thomas Stoltzer and Johann Walther. Title and imprint: [The title page of the Tenor partbook, which is not part of this set, is the only one with the complete title and imprint:] VESPERARVM | PRECVM OFFICIA | PSALMI FERIARVM ET | DOMINICALIVM DIERVM TOCIVS AN= | NI, CVM ANTIPHONIS, HYMNIS, ET RESPONSORIIS | (vt vocant) quatuor vocibus ab optimis & celeberrimis | Musicis compositi, Quorum omnium Catalo= | gum in fine lector inueniet. | TENOR | VITEBERGAE APVD GEORGIVM RHAVV. | Anno M. D. XL [1540]. [Each title page of the other partbooks in the original set:] [Part name]. Partbook: Discantus (imperfect); the volume includes handwritten material added by early scribes (see Table XII) and by a much later one; BLMC makes brief mention of some of the early handwritten material; lacking the Altus, Tenor and Bassus partbooks.
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Nos Editions Selected references: RISM series B/I, 15405. VD16 ZV 26897. Schmid 1845: p. 196. Becker 1855: col. 114. Eitner 1877: 1540e. Eitner 1900–1904: viii, p. 205. Squire 1912: i, p. 703 and ii, p. 412. BUCEM 1957: p. 887. CPM 1981–1987: xxx, p. 218 and xlvii, p. 395. BLMC. Modern edition: Hans Joachim Moser (ed.), Vesperarum precum officia, in Georg Rhau Musikdrucke, vol. iv (Kassel and St Louis, Missouri, 1960). 4 Shelfmark: K.3.f.4. Composers: Antoine Brumel, Heinrich Isaac, Matthaeus Pipelare, Adam Rener, Pietro Roselli, Sampson, Ludwig Senfl and Johann Stahel. Title and imprint: [The title page of the Tenor partbook, which is not part of this set, is the only one with the complete title and imprint:] TENOR | OPVS DECEM MISSARVM | QVATVOR VOCVM, IN GRATIAM SCHOLARVM | ATQVE ADEO OMNIVM MVSICES STVDIOSORVM, | COLLECTVM A GEORGIO RHAVVO | Musico & Typographo Vuitem= | bergensi, | ANNO DOMINI. M. D. XLI [1541]. [Each title page of the other partbooks in the original set:] [Part name]. Partbooks: Discantus and Altus; the Discantus volume includes handwritten material comprising markings and a smudged inscription added by an early scribe, and the Altus includes material added by much later ones; lacking the Tenor and Bassus partbooks; not in VD16, Schmid 1845 and Becker 1855. Selected references: RISM series B/I, 15411. Eitner 1877: 1541. Eitner 1900–1904: viii, p. 205. Squire 1912: ii, p. 412. BUCEM 1957: p. 887. CPM 1981–1987: xlvii, p. 395. BLMC. Modern edition: Friedhelm Brusniak (ed.), Opus decem missarum, in Georg Rhau Musikdrucke, vol. xiii, in preparation. 5 Shelfmarks: K.4.d.16. and A.499.i. Composers: Wilhelm Breitengraser, Arnold von Bruck, Andreas Capellus, Simon Cellarius, Matthias Eckel, Heinrich Finck, Wolff Grefinger, Virgilius Haugk, Heinrich Isaac, Josquin des Prez, Nikolaus Kropstein, Jacob Obrecht, Thomas Pöpel, Adam Rener, Balthasar Resinarius (i.e. Balthasar Hartzer), Ludwig Senfl, Thomas Stoltzer and Johann Walther.
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Nos Editions Title and imprint: [The title page of the Tenor partbook is the only one with the complete title and imprint:] SACRORVM HYMNO= | RVM LIBER PRIMVS. | Centum & triginta quatuor HYMNOS continens, ex optimis | quibusq[ue] Authoribus musicis collectus, Inter quos primi artifices | in hac aeditione sunt, Thomas Stoltzer. Henricus Finck. | Arnoldus de Bruck. Et alij quidam. | TENOR. | VITEBERGAE APVD GEORGIVM RHAV ANNO M. D. XLII [1542]. [Each title page of the other partbooks:] [Part name]. [Colophon in the Discantus, Altus and Bassus partbooks:] Gloria in excelsis Deo. [Colophon in the Tenor partbook:] Gloria in excelsis Deo. | IMPRESSVM VITEBERGAE | apud Georgium Rhau. | Anno Domini | M.D.XLII [1542]. Partbooks: K.4.d.16.: Discantus, Altus, Tenor and Bassus (last one is imperfect); the volumes include handwritten material added by the British Museum. A.499.i.: Discantus (imperfect); the volume includes handwritten material added by early scribes (see Table X) and much later ones; lacking the Altus, Tenor and Bassus partbooks. Selected references: RISM series B/I, 154212. VD16 S 1237. Schmid 1845: pp. 196–7. Becker 1855: cols 83–4. Eitner 1877: 1542f. Eitner 1900–1904: viii, p. 205. Squire 1912: i, p. 703. BUCEM 1957: p. 534. CPM 1981–1987: xxx, p. 218. BLMC. Modern edition: Rudolf Gerber (ed.), Georg Rhau: Sacrorum hymnorum, 2 vols, in Das Erbe Deutscher Musik, Erste Reihe, 21 and 25 (Leipzig, 1942 and 1943). 6 Shelfmark: A.562. Composers: Alexander Agricola, Noel Bauldeweyn, Jhan de Billon, Arnold von Bruck, Loyset Compère, Sixtus Dietrich, Benedictus Ducis, Georg Forster, Johannes Ghiselin, Paul Hofhaimer, Hylaire, Heinrich Isaac, Pierre de La Rue, Francesco de Layolle, Jean Le Brung, Jean Mouton, Jacob Obrecht, Matthias Pipelare, Adam Rener, Jean Richafort, Claudin de Sermisy, Thomas Sporer, Thomas Stoltzer and Johann Walther. Title and imprint: [The title page of the Tenor partbook, which is not part of this set, is the only one with the complete title and imprint:] TRICINIA. | TVM VETERVM TVM RECENTIORVM | IN ARTE MVSICA SYMPHONISTARVM, LATINA, GER= | manica, Brabantica & Gallica,ante hac typis nunq[uam] excusa, | Obseruato in disponendo Tonorum ordine, | quo vtentibus sint accomodatiora. | TRIBVS [printer’s mark] TENOR. | VVITTEMBERGAE APVD Georgium Rhau. | ANNO M. D. XLII [1542].
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Nos Editions [Each title page of the other partbooks in the original set:] [Part name] | TRICINIO= | RVM. Partbook: Bassus; using brown ink, an early owner inscribed his/her name on signature [MM iiij] verso, ‘P. Tolbessere’; lacking the Discantus and Tenor partbooks; not in Schmid 1845. Selected references: RISM series B/I, 15428. VD16 T 1936. Becker 1855: col. 233. Eitner 1877: 1542g. Eitner 1900–1904: viii, p. 205. Squire 1912: ii, p. 596. BUCEM 1957: p. 1019. CPM 1981–1987: lvii, p. 173. BLMC. Modern edition: Thomas Noblitt (ed.), Tricinia, in Georg Rhau Musikdrucke, vol. ix (Kassel, 1989). 7 Shelfmark: K.2.c.4. Composers: Martin Agricola, Ulrich Brätel, Arnold von Bruck, Sixtus Dietrich, Benedictus Ducis, Georg Forster, Virgilius Haugk, Wolff Heintz, Lupus Hellinck, Stephan Mahu, Nicolas Payen, Balthasar Resinarius, Ludwig Senfl, Johann Stahel, Thomas Stoltzer, Georg Vogelhuber and Johann Weinmann. Title and imprint: [The title page of the Tenor partbook, which is not part of this set, is the only one with the complete title and imprint:] Newe Deudsche Geistliche | Gesenge CXXIII. Mit Vier vnd Fünff Stim= | men, Für die gemeinen SCHVLEN, Mit | sonderlichem vleis aus vielen erlesen, | Der zuuor keins im druck ausgangen. | Gedruckt zu Wittemberg, durch Georgen Rhau. | 1544. [Each title page of the other partbooks in the original set:] [Part name] | Der newen deudsch= | en geistlichen lieder. [Colophon in each partbook of the original set:] Gedruckt zu Wittemberg | dürch Georgen | Ehaw. Partbook: Discantus; the volume includes handwritten material added by an early scribe (see Table XI); lacking the Altus, Tenor and Bassus partbooks; the title page of the Tenor partbook lacks a part name. Selected references: RISM series B/I, 154421. RISM series B/VIII, 154413. VD16 N 569. Schmid 1845: p. 194. Becker 1855: col. 296. Eitner 1877: 1544c. Eitner 1900–1904: viii, p. 205. Squire 1912: ii, p. 411. BUCEM 1957: p. 887. CPM 1981–1987: xlvii, pp. 394–5.
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Nos Editions 7 BLMC. Modern edition: Joachim Stahlmann (ed.), Neue deudsche geistliche Gesenge für die gemeinen Schulen, in Georg Rhau Musikdrucke, vol. xi (Kassel, 1992). 8 Shelfmarks: K.4.d.14. and A.20. Composers: Antonius Divitis, Antoine de Févin, Jachet de Mantua, Johannes Galliculus, Pierre de La Rue, Tuttovale Menon, Cristóbal Morales, Loyset Piéton, Matthias Pipelare, Adam Rener, Jean Richafort and Philippe Verdelot. Title and imprint: [The title page of the Tenor partbook is the only one with the complete title:] POSTREMVM VESPERTINI OFFICII OPVS, | Cuius priores partes, iam antea typis nostris aeditae sunt. | MAGNIFICAT | OCTO MODORVM SEV TONORVM | NVMERO XXV. | Quae commendationem habebunt, cum ex Authoribus, | tum ex ipsa harmonia. [Each title page of the other partbooks:] MAGNIFICAT OCTO | TONORVM. | MORALIS HISPANI | ET ADAMI RE= | NERI. | [Part name]. [Colophon in Tenor partbook:] Wittembergae apud Geor= | gium Ehaw Musicae | Typographum. | ANNO. M. D. XLIIII [1544]. [Colophon in each of the other partbooks:] Wittembergae | apud Geor= | gium Ehaw. | ANNO D. M. XLIIII [recte M. D. XLIIII] [1544]. Partbooks: K.4.d.14.: Discantus, Altus, Tenor and Bassus; using brown ink in the Discantus volume, an early owner identified himself on the verso of the first rear fly leaf by writing his name several times, ‘Christophorus Lorentz’; the title page of the Tenor partbook lacks a part name; several volumes include handwritten material added by much later scribes. A.20.: Discantus and Bassus; using red ink, the Bassus volume includes handwritten material added by an early scribe, comprising a mark as well as ‘3’ with occasional notes and groups of rests in tempus perfectum (see signatures FF iij recto, HH [i] verso and HH ij recto); both volumes include handwritten material added by much later scribes; lacking the Altus and Tenor partbooks; not in Schmid 1845 and Becker 1855. Selected references: RISM series A/I, M 3593. RISM series B/I, 15444. VD16 ZV 26538. Eitner 1877: 1544b. Eitner 1900–1904: viii, p. 205. Squire 1912: ii, pp. 147, 412. BUCEM 1957: pp. 690, 888. CPM 1981–1987: xlvii, p. 395. BLMC. Modern edition: Paul Bunjes (ed.), Postremum vespertini officii opus,in Georg Rhau Musikdrucke, vol. v (Kassel and St Louis, Missouri, 1970).
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Nos Editions 9 Shelfmark: K.4.d.17. Composers: Arnold von Bruck, Nicolaus Copus, Sixtus Dietrich, Heinrich Finck, Johannes Galliculus, Lupus Hellinck, Heinrich Isaac, Cristóbal Morales, Adam Rener, Balthasar Resinarius, Johannes Reusch, Ludwig Senfl and Thomas Stoltzer. Title and imprint: [The title page of the Tenor partbook, which is not part of this set, is the only one with the complete title and imprint:] TENOR. | OFFICIORVM | (VT VOCANT) DE NATIVITATE | Circumcisione, Epiphania Domini, & Purificatione &c. | TOMVS PRIMVS | VITEBERGAE Apud Georgium Rhau. Anno 1545. [Each title page of the other partbooks in the original set (with a minor variation in the Discantus and Altus, where ‘Beatae’ appears as ‘beatae’):] PRIMVS TOMVS | NOVI OPERIS MVSICI, CONTI= | NENTIS OFFICIA DE NATIVITATE, | Circumcisione, Epiphania Domini, & de | Purificatione Beatæ Mariæ | Virginis. | [Part name]. [Colophon in each partbook of the original set:] Wittembergae apud Ge= | orgium Ehaw Musi= | cae Typographum. Partbook: Bassus; the volume includes handwritten markings, fragments of text underlay in Latin, musical emendations and numerical totals for groups of rests in red, black and brown ink added by early scribes (see signatures AA iij recto and verso, BB iij verso, DD iij recto and verso, EE iij verso, [GG iiij] verso, NN iij verso, [NN iiij] recto, PP ij recto, PP ij verso, PP iij recto and [QQ iiij] recto), as well as other material added by much later scribes; lacking the Discantus, Altus and Tenor partbooks; not in Schmid 1845 and Becker 1855. Selected references: RISM series B/I, 15455. VD16 ZV 25274. Eitner 1877: 1545b. Eitner 1900–1904: viii, p. 205. Squire 1912: ii, p. 412. BUCEM 1957: p. 887. CPM 1981–1987: xlvii, p. 395. BLMC. Modern edition: Franz Krautwurst (ed.), Officia de Nativitate: Wittenberg 1545, in Georg Rhau Musikdrucke, vol. xii (Kassel, 1999). 10 Shelfmark: K.2.c.3. Composers: Batra, Noel Bauldeweyen, Johann Brand, Antoine Bruhier, Antione Brumel, Pierre Certon, Sixtus Dietrich, Antonius Divitis, Antone Févin, Mathieu Gascongne, Heinrich Isaac, Jacotin, Josquin des Prez, Pierre de La Rue, Francesco de Layolle, Jean Maillard, Pierre de Manchicourt, Mittantier, Antoine Mornable, Jean Mouton, Jacob Obrecht, Johannes Prioris, Paul Rebhun, Girolamo Scotto, Claudin de Sermisy, Philippe Verdelot and Adrian Willaert. Title and imprint: [The title page of the Superior Vox:] SECVNDVS | TOMVS. | BICINIA, GALLICA, LATINA, | GERMANICA, ET QVAEDAM FVGAE. | SVPERIOR VOX. | 1545. [The title page of the Inferior Vox:]
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Nos Editions SECVNDVS | TOMVS | BICINIORVM, QVAE ET IPSA | SVNT GALLICA, LATINA, GERMANICA | ex praestantissimis Symphonistis collecta, et in | Germania typis nunquam | excusa. | ADDITAE SVNT QVAEDAM, VT | vocant, Fugae, plenae artis et | suauitatis. | INFERIOR VOX. [Colophon in each partbook:] Wittembergae apud | Georgium Ehaw | Musicae Ty= | pogra= | phu[m]. Partbooks: Superior Vox and Inferior Vox; not in VD16. Selected references: RISM series B/I, 15457. Schmid 1845: p. 199. Becker 1855: col. 233. Eitner 1877: 1545d. Eitner 1900–1904: viii, p. 205. Squire 1912: ii, p. 411. BUCEM 1957: p. 887. CPM 1981–1987: xlvii, p. 394. BLMC. Modern edition: Bruce Bellingham (ed.), Bicinia, Gallica, Latina, Germanica: Tomus I, II, 1545, in Georg Rhau Musikdrucke, vol. vi (Kassel and St Louis, Missouri, 1980).
All these Georg Rhau anthologies were in the British Museum by the end of the second decade of the twentieth century. Besides British Museum book stamps, the latter institution stamped its formal date of acquisition in each anthology and in the relevant invoice. The stamps are in red and range from stand alone date stamps to combined library stamps with a date. The earliest acquisitions were the editions preserved at A.562. and K.2.c.3., details of which appear in Table IV, respectively nos 6 and 10. As their British Museum date stamps indicate both were formally acquired on 19 July 1862. They were obtained from the Berlin antiquarian bookseller Asher & Co. and are cited in its invoice preserved in the British Library Archives (DH5/16). Regrettably the prior owner of each edition is unknown. Fortunately I have uncovered more information about the next edition. In late 1880, Dr Franz Gehring (1838–1884), a lecturer in mathematics at the University of Vienna, a writer on music, including Mozart, and a music collector, sold his music library using the Berlin antiquarian bookseller Albert Cohn. The Gehring sale catalogue lists 1671 music manuscripts, books on music and editions of music, the majority of which date from the sixteenth, seventeenth and eighteenth centuries, and originated from Germany, France and Italy.32 The sale also included some well-known English materials which until now have not been connected to Gehring in the scholarly literature, such as:
32 For the sale catalogue, see Katalog der musikalischen Bibliothek des Herrn Dr F. Gehring, Privatdocent an der Universität Wien, nebst Beiträgen aus einigen anderen Sammlungen. Die Versteigerung gegen sofortige baare Zahlung in Deutscher Reichswährung findet am Montag, den 29. November 1880 und folgende Tage, von 10—2 Uhr im Kunst-Auctions-Hause zu Berlin, S.W., Koch-Strasse 29, Saal I. durch Unterzeichneten statt Rudolph Lepke . . . Berlin: Albert Cohn W. Mohrenstrasse 53. 1880.
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(1) Lot 777, the early seventeenth-century English music manuscript, now in the British Library, Egerton 2971, with ornamented works for voice and bass viol by English and Italian composers;33 (2) Lot 845, a single volume with the six printed partbooks of Nicholas Yonge (ed.), Musica transalpina ... (London: Thomas East assignee of William Byrd, 1588; RISM series B/I, 158829), now in the Folger Shakespeare Library, Washington D.C., STC 26094, with Englished versions of Italian madrigals as well as manuscript compositions copied by Baron Conyers D’Arcy (1570–1653/1654);34 and (3) Lot 912, two early seventeenth-century sets of music manuscript partbooks, now in the Library of Congress, Washington D.C., M990 C66 F4, with instrumental consort music by the English composers John Coprario (c.1575–1626) and Thomas Lupo (1571– 1627).35
The British Museum purchased around 200 items from Gehring’s music library, and one of them was the solitary partbook from Georg Rhau’s music edition containing German hymn settings now preserved at British Library K.2.c.4. (see Table IV, no. 7, and Lot 588 in the Gerhing sale catalogue). The partbook and invoice are stamped with the British Museum’s formal date of acquisition, 5 January 1881 (for the invoice, see BL, Archives DH5/43). Towards the end of the same decade, the British Museum obtained a further two Rhau anthologies, ones which are now preserved at British Library K.3.e.17. and K.3.f.4. (see Table IV, nos 2 and 4). Like the relevant invoice, the British Museum stamped each edition with its formal date of acquisition, 18 April 1889 (for the invoice, see BL, Archives DH5/59). The British Museum purchased these editions from the Berlin antiquarian bookseller Leo Liepmannssohn which listed them in one of its sale catalogues of 1888.36
33 W ithout knowledge of its ownership by Dr Franz Gehring, the manuscript has been studied in Mary Cyr, ‘A Seventeenth-Century Source of Ornamentation for Voice and Viol: British Museum MS Egerton 2971’, Royal Musical Association Research Chronicle, ix (1971), pp. 53–72; Kenneth Kreitner et al., ‘Ornaments’, Grove Music Online:
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During the following decade, the British Museum obtained three of the partbooks of Rhau’s anthology preserved at British Library K.4.d.14., the Discantus, Altus and Bassus (see Table IV, no. 8). As their British Museum red date stamps and the relevant invoice indicate, these three partbooks were formally acquired on 13 June 1894. Their supplier was the Munich antiquarian bookseller Ludwig Rosenthal (see BL, Archives DH5/72). When in 1906 the British Museum made its largest purchase of Rhau’s anthologies, albeit incomplete ones, it secured a little-known connection to one of Germany’s leading musicologists, writers and music editors of the nineteenth century, Otto Kade (1819–1900). Besides being a prolific author, Kade was an expert on Renaissance music, especially on Lutheran Church music. It is fitting, therefore, to discover that he once owned no fewer than five ofRhau’s anthologies, all now in the British Library and the partbooks of which are distributed among seven shelfmarks: A.20. (Discantus and Bassus only) and A.499.i. (Discantus only), K.4.d.13. (Discantus only), K.4.d.14. (Tenor only), K.4.d.15. (Altus only), K.4.d.16. (Discantus only), and K.4.d.17. (Bassus only); the five editions they belong to are indicated in Table IV, nos 1, 3, 5, 8 and 9. After Otto Kade’s death in 1900, the partbooks were inherited by his son and periodic collaborator, the writer and music historian Reinhard Kade (1859–1936). Otto Kade and his son Reinhard added inscriptions in black ink and pencil to almost all the editions. Otto Kade inscribed selected title pages and one front cover, added his signature on several occasions, and annotated various works, identifying their composers or liturgical use, commenting on their presence elsewhere and on other matters, and marked some pieces (for an inscription with his signature, see fig. 3). Reinhard Kade, on the other hand, described most of the editions, largely drawing on the partbooks themselves and on an important bibliography of the time compiled by Robert Eitner and others, Eitner 1877 (for one example, see fig. 4). For a list of Otto Kade’s editions and for further details about the handwritten additions by Otto and his son Reinhard, see Appendix I.37 The bindings of the partbooks formerly owned by Otto Kade fall into two groups, the first group comprises the partbooks at A.20., A.499.i., K.4.d.13., K.4.d.15. and K.4.d.17., and the second group consists of the Tenor partbook at K.4.d.14. and the Discantus partbook at K.4.d.16. The bindings in the first group date from the nineteenth century and some include fragments from earlier bindings. All their half bindings are identical, consisting of light red corrugated buckram, but their other materials vary: the two partbooks at A.20. share black and turquoise marbled paper over boards, the partbooks at A.499.i. and K.4.d.15. have the same beige, black, brown and green marbled paper over boards, and the partbooks at K.4.d.13. and K.4.d.17. have the same brown paper over boards. The bindings were present during the Kade family’s ownership, since Otto Kade inscribed details about the edition on the front cover of the Bassus volume at K.4.d.17., and Reinhard Kade did the same on the front cover of the Discantus volume of K.4.d.13.,38 and in most editions Reinhard Kade inscribed details about their contents on the binder’s distinctive front fly leaves. The binding must have occurred after Otto Kade acquired the partbooks, because in some of them his inscriptions have been cropped, such as
37 Further information about Otto Kade and his son Reinhard Kade appears in Hans Erdmann, ‘Kade, Otto’, NDB, x (1974), pp. 720–1; Richard Schaal, ‘Kade, Otto’, Grove Music Online:
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those on the title page and on signature gg ii verso of the Altus partbook at K.4.d.15. In comparison the bindings of Otto Kade’s partbooks in the second group, the Tenor partbook at K.4.d.14. and the Discantus partbook at K.4.d.16., were added by the British Museum; each one is shelved with other partbooks obtained from another supplier, and the British Museum added fresh bindings after all their partbooks were together. The precise circumstances surrounding the sale of Otto Kade’s partbooks are unknown, and details of other early music editions that he may have owned have yet to be uncovered. Nevertheless, his partbooks now in the British Library and his annotations therein attest to a scholar with a deep interest in Lutheran Church music and in Rhau’s contribution to its dissemination. The British Museum purchased Otto (and Reinhard) Kade’s partbooks from the London bookseller Dulau & Co. which specialised in British and Continental materials. As the red date stamps in the partbooks confirm, the British Museum formally acquired them on 19 December 1906 and the same stamp appears in the relevant invoice (BL, Archives DH5/86).
Fig. 3. British Library, A.499.i., Sacrorum hymnorum Liber primus ... (Wittenberg: Georg Rhau, 1542; RISM series B/I, 154212), Discantus Partbook, Title Page, which includes Otto Kade’s inscription and signature in black ink.
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Fig. 4. British Library, K.4.d.13., Vesperarum precum officia ... (Wittenberg: Georg Rhau, 1540; RISM series B/I, 15405), Discantus Volume, recto of second front fly leaf, which includes Reinhard Kade’s inscription and signature in black ink.
Several years later, the British Museum made its final purchase of materials from a Rhau anthology when it obtained the Altus, Tenor and Bassus partbooks now preserved at K.4.d.16. (see Table IV, no. 5). The red date stamp in these partbooks and on the relevant invoice establishes that the British Museum formally acquired them on 12 April 1911. They were purchased from the London antiquarian bookseller Bernard Quaritch (BL, Archives DH5/90).
Brief Comments about Martin Luther’s Liturgical Reforms
Georg Rhau’s music editions reflect the new liturgy which Luther crafted for the Lutheran Church and promoted through his role as a religious figure and teacher and through his writings on music and theology.39 His reforms also have a direct bearing on the new material covered soon and the information here thus provides an important background.
39 A major study of Luther’s liturgical reforms and their musical significance appears in Leaver 2007, see also Robin A. Leaver, ‘Lutheran Church Music’, Grove Music Online:
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Luther’s liturgy retained major elements of the Catholic Church, he continued the celebration of the Latin Mass, retaining most, though not all, of its movements, and encouraged the use of Latin hymns, liturgical chants and polyphonic works, including settings of Antiphons, Responsories and Magnificats.40 However, Luther went beyond the then Catholic Church by encouraging the use of vernacular texts for selected portions of the service, and a compositional style that improved the intelligibility of the words. He outlined his liturgical reforms in two important publications which were widely circulated and reprinted. Luther published the first one in Latin but others in various cities soon translated it into German and it was mostly used in that form by his contemporaries. The initial publication appeared in 1523 and focuses on the Latin Mass, and a few years later, in 1526, Luther supplemented it with his book about the German Mass. Table V below contains details of these publications.
Table V: Martin Luther’s Books about the Mass
The editions are arranged in date order. See ‘Abbreviations’ for an explanation of the references in this Table; VD16 makes no mention of relevant copies in the British Library.
Nos Editions 1 Editions: (a) Initial edition about the Latin Mass in Latin: Martin Luther, Formula missae et communionis pro Ecclesia Wittembergensi (Wittenberg: [Nickel Schirlentz], 1523). (b) One of the subsequent German translations of Luther’s book about the Latin Mass: Martin Luther, Ein weyse Christlich Mess zu halten und zum tisch Gottes zu gehen (Wittenberg: [Lucas Cranach the Elder and Christian Döring], 1524). Selected references: VD16 L 4728 for the Latin version. VD16 L 4738 and L 4739 for two copies of the German translation. Commentary: German translations were published in various cities by different publishers in 1524 (see VD16 for details). The British Library possesses a copy of the Latin version at 3906.dd.8.(7.) and two copies of one of the German translations made by Paul Speratus at 3905.c.56. and 3905.c.57.41 2 Edition: Martin Luther, Deudsche Messe und ordnung Gottis dienst (Wittenberg, [Michael Lotter], 1526).
40 For more on the influence of Catholicism on Martin Luther and his Church, see Carl E. Braaten and Robert W. Jenson (eds), The Catholicity of the Reformation (Grand Rapids, Michigan, 1996). 41 The name of the publisher is unspecified in the British Library editions at 3905.c.56. and 3905.c.57. BLMC indicates the publishers editorially as ‘[G. Rhaw]’ for the former and ‘[Josef Klug]’ for the latter. Customarily Joseph Klug and Georg Rhau name themselves in their editions; the absence of their names from the latter editions creates uncertainty about whether they were involved in their publication. In fact VD16 names other publishers for the German translations of this work by Luther; some names are present in the original editions and others are editorial. John L. Flood, ‘Lucas Cranach as Publisher’, German Life and Letters, xlviii (1995), pp. 241–63, see esp. p. 256, ascribes the two British Library editions to the publishing house of Lucas Cranach the Elder (1472–1553), who was also a painter and printmaker, and Christian Döring (d. 1533). Moreover, VD16 names Cranach and Döring as the publishers for copies of the same British Library editions in German libraries.
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Nos Editions Selected references: RISM series B/VIII, 152617. VD16 M 4917 and other listings in VD16. Commentary: The music in this edition was the collaborative effort of Luther, Conrad Rupsch (1470–1530) and Johann Walther. The work was published in various cities by different publishers in 1526, and further editions followed in subsequent years; three copies of the 1526 edition are preserved in the British Library, see K.8.c.10., G.11895. and Hirsch III.1140.
Although Luther indicated that he was content for others to make different decisions about the liturgy, his approach to services in the Reformed Church in Wittenberg was relatively consistent. Here the Mass and other works, including motets and some hymns, were performed chorally and in Latin and they co-existed with congregational singing of hymn tunes and the Creed all in German. Even in his 1526 Deudsche Messe, Luther reminded readers about his preference for, and the importance of, using Latin for the Mass and other works, while encouraging that they be supplemented by German settings of certain texts, including hymns and the Creed, which involved the congregation. Additionally, in village churches where resources were limited, he sanctioned the use of German for the whole Mass, supplying a plainchant setting in his Deudsche Messe, and also allowed German hymn tunes to be substituted for individual Mass movements.42 Luther was the first to introduce congregational singing, for which he composed many hymn (chorale) tunes setting them to elegant literary texts of his own or using liturgical or biblical texts; ‘Ein feste Burg ist unser Gott’ or ‘A Mighty Fortress is Our God’, a paraphrase of Vulgate Psalm 46, is one of his most famous.43 He also produced polyphonic pieces and hymns as well as liturgical chants, at times collaborating with colleagues. Luther encouraged others to produce editions of
42 Luther ’s reforms were also embodied in the writings of his contemporary Johann Spangenberg. For further information, see Daniel Zager, ‘Music for the Lutheran Liturgy: Johannes Spangenberg’s Cantiones ecclesiasticae/Kirchengesenge Deudsch (1545)’, in James Freese (ed.), This is the Feast: A Festschrift for Richard Hillert at 80 (St Louis, Missouri, 2004), pp. 45–60; and Jonathan Wessler, ‘An Examination of the Relationship between Johann Spangenberg’s Cantiones ecclesiasticae/Kirchengesenge Deudsch and Martin Luther’s Formula missae et communionis and Deutsche Messe’ (D.M.A. Thesis, University of Rochester, 2011). For more on the subject of Luther’s liturgical reforms, see the writings of Robin A. Leaver cited in footnote 39 and Reinhard Messner, Die Messreform Martin Luthers und die Eucharistie der Alten Kirche: ein Beitrag zu einer systematischen Liturgiewissenschaft, Innsbrucker theologische Studien, 25 (Innsbruck, 1989). Detailed comments about Luther’s approach to the liturgy and how it was practised in Wittenberg and other centres appear in Joseph Herl, Worship Wars in Early Lutheranism: Choir, Congregation and Three Centuries of Conflict (Oxford, 2004). 43 In 1530, Johann Walther copied Luther’s hymn tune into a music manuscript, a relevant facsimile and study appear in Otto Kade, Ein feste Burgk ist unser Got: der Neuaufgefundene Luther-Codex vom Jahre 1530 . . . (Dresden, [1873]). A modern edition of Luther’s hymn tune and relevant comments appear in Markus Jenny (ed.), Luthers geistliche Lieder und Kirchengesänge, no. 28, pp. 100–1 and [247]–9. The first known printing of Martin Luther’s hymn tune and words occurred in 1529, when it appeared in an edition which no longer survives, Geistliche Lieder auffs new gebessert zu Wittemberg. D. Mart. Luther (Wittenberg: Joseph Klug, 1529; RISM series B/VIII, 152903); see Konrad Ameln, ‘Die älteste Überlieferung der Weise “Ein feste Burg ist unser Gott”’, Jahrbuch für Liturgik und Hymnologie, i (1955), pp. 110–12, and idem, ‘Das Klugsche Gesangbuch, Wittenberg 1529: Versuche einer Rekonstrucktion’, Jahrbuch für Liturgik und Hymnologie, xvi (1971), pp. 159–62.
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German hymns for Lutheran Churches and Schools though only a handful were associated directly with Luther. Initially the hymns were issued individually as broadsheets and then publishers and musicians assembled them and others subsequently produced new collections. Although Luther was not involved in its preparation, one of the earliest to appear in print was a small collection of eight German hymn tunes published in 1524. It was first published in Nuremberg by Jobst Gutknecht, who deceptively named Wittenberg as its place of publication, no doubt to ensure better sales by linking it to Martin Luther and his city of residence. The edition includes four German hymns by Luther, three by his associate Paulus Speratus (1484–1551) and an anonymous work. Commonly referred to as the Achtliederbuch, a copy of the first edition is preserved in the British Library at K.2.c.8. and bears the title Etlich Cristlich lider Lobgesang, un[d] Psalm, dem rainen wort Gottes gemess, auss der heylige[n] schrifft, durch mancherley hochgelerter gemacht, in der Kirchen zu singen, wie es dann zum tayl berayt zu Wittenberg in übung ist (title page: Wittenberg [recte Nuremberg]: [Jobst Gutknecht], 1514 [recte 1524], and colophon: Wittenberg [recte Nuremberg] 1524; RISM series B/VIII, 152412; VD16 L 4698). Such was its popularity that in the very same year, Jobst Gutknecht reprinted it twice (RISM series B/VIII, 152413 and 152414; VD16 L 4699 and L 4700), another publisher, Melchior Ramminger, issued it in Augsburg, again deceptively naming Wittenberg as its place of publication (RISM series B/VIII, 152407; VD16 L 4697), and two other publishers working separately in Erfurt produced three expanded editions using a different title, two were published by Johannes Loersfeld and one was issued by Matthes Maler. The first one published by Loersfeld appeared as Eyn Enchiridion oder Handbüchlein eynem ytzlichen Christen fast nutzlich bey sich zuhaben zur stetter ubung und trachtung geystlicher gesenge und Psalmen ... (Erfurt: Johannes Loersfeld, 1524; RISM series B/VIII, 152403; VD16 E 1151) and the other two were published with similar titles (RISM series B/VIII, 152404 and 152405; VD16 E 1152 and E 1153). All three of the Erfurt volumes are small handbooks and contain the same twenty-five hymns, though only around half have tunes, the remainder merely have literary texts; Maler added
The first extant edition with Luther’s hymn tune and words is a 1531 reprint of Joseph Klug’s edition issued in Erfurt by Andreas Rauscher, which survives in the Bibliothèque Nationale et Universitaire de Strasbourg (RISM series B/VIII, 153103; VD16 G 840); a facsimile of its copy of ‘Ein feste Burg ist unser Gott’ appears in Konrad Ameln, ‘Die rhythmische Notierung des evangelischen Gemeindeliedes’, Musik und Kirche, xi (1939), pp. 161–74, see esp. p. 170. Following Rauscher’s 1531 edition, the work appeared in Joseph Klug’s expanded reprint (of his own 1529 edition) published in 1533, which contains 107 musical works (RISM series B/VIII, 153302; VD16 ZV 6453); for a facsimile, see Geistliche Lieder auffs new gebessert zu Wittemberg. D. Mart. Luth. XXXiij., in Konrad Ameln (ed.), Das Klug’sche Gesangbuch 1533: nach dem einzigen erhaltenen Exemplar der Lutherhalle zu Wittenberg, Documenta musicologica, Series 1, no. 35 (Kassel, 1983). The hymn tune and words also appear in Joseph Klug’s reprint of 1535 (RISM series B/VIII, 153506; VD16 G 842), and in his new edition of 1543 (RISM series B/VIII, 154310; VD16 G 849) and in other reprints that he issued in Wittenberg in 1544 and 1545 (RISM series B/VIII, 154405, 154406, 154407 and 154506; VD16 G 850 only listing). Only one of the aforementioned editions is preserved in the British Library, Klug’s last one of 1545, which includes Luther’s hymn tune and words on folios 57 recto to 58 recto (see C.107.c.7.). Joseph Klug’s 1533 and 1535 reprints inspired other publishers to issue their works using the same or a similar title, such as Wolfgang Stürmer in Erfurt (RISM series B/VIII, 153901; not in VD16), Valentin Schumann in Leipzig (RISM series B/VIII, 153904, 154007 and 154209; VD16 ZV 6454, ZV 6455 and ZV 6434) and Michael Lotter in Magdeburg (RISM series B/VIII, 154101; not in VD16). Luther’s work also appeared in another 1529 edition, though on this occasion it was published without its music, only its text was printed. The edition is not covered by RISM, though it is cited in Wackernagel 1855, no. 281, and in Luther Weimarer Ausgabe, vol. xxxv (1923), pp. 350–1. Entitled Form und ordnung Gaystlicher Gesang und Psalmen, auch etlich Hymnus, welche Gott dem Herren zu lob gesungen werden ([Augsburg: Philipp Ulhart the Elder], 1529; VD16 D 1), the edition was in the Preussische Staatsbibliothek Berlin prior to the end of the Second World War but is now in Moscow. Philipp Ulhart the Elder issued an emended reprint in 1533 (VD16 D 3), which also lacks the music of Luther’s hymn; like its 1529 counterpart, it is not cited in RISM. A facsimile of the relevant page in the 1529 edition appears in Kulp 1935, p. 46.
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an extra work to bring the total to twenty six.44 Eighteen of the hymns are by Martin Luther and most of the remainder are by Elisabeth Creutziger, Erhart Hegenwald, Justus Jonas and Paulus Speratus. Although suitable for Lutheran Churches and Schools, the Erfurt hymn books were intended for personal practice and contemplation and for domestic and community use. The first edition of hymns with which Luther was directly involved was a majorone published that same year, 1524. The composer of its works was one of the leading proponents of Luther’s new liturgical style, Johann Walther, whose friendship with Luther and Rhau has already been mentioned. On this occasion, Walther produced the first Protestant choral hymnal for the church year, a music edition often referred to as the Chorgesangbuch. Published as the Geystliche gesangk Buchleyn (Wittenberg: [s.n.], 1524; RISM series A/I, W 167 and WW 167, and RISM series B/VIII, 152418; VD16 L 4776), the edition comprised five partbooks, each one for a different voice, though only a few have survived. The edition was intended for young singers and contains forty-three polyphonic works comprising thirty-eight German hymns and five Latin motets.45 Walther crafted a number of his hymns around pre-existing tunes which he placed in the Tenor, including ones composed by Luther, who also supplied some of the hymn texts. Luther also wrote the preface for the edition.46 Walther’s edition was particularly
Wackernagel 1864, no. 32*, RISM series B/VIII and Herbst and Seibt 2012, p. 63, mention a further edition of 1529 with Martin Luther’s hymn. However, their assertion about its date is problematic; Luther Weimarer Ausgabe, vol. xxxv (1923), p. 378, also mentions it, but makes no claim about its date. The edition itself is undated and includes both the tune and words of Luther’s work, it is entitled Der .Cxxx. Psalm, De profundis clamaui. Auss tieffer not schrey jch zu dir. Der .xlvj. Psalm, Deus noster refugium & virtus. Ein feste Burg ist unser Got (Nuremberg: Kunegund Hergotin, [s.a.]). RISM cites this edition at RISM series B/VIII, 152902, describes its date as ‘um 1529’ (about 1529), and indicates its location as the Staatsbibliothek zu Berlin Preussischer Kulturbesitz, and mentions that it is untraceable; no 1529 edition is cited in VD16. In fact the copy still exists in the Staatsbibliothek zu Berlin Preussischer Kulturbesitz; it is undated, but the Berlin Library describes it as ‘um 1535’ (about 1535) and ‘1535’. No 1535 edition is cited by RISM, though it is cited in VD16 (VD16 L 4529). 44 Loersfeld’ s first edition survives uniquely in the Marktkirchenbibliothek in Goslar, and his second edition exists solely in the Bibliothèque Nationale et Universitaire de Strasbourg; facsimile editions appear in (1) Konrad Ameln (ed.), Das Erfurter Enchiridion: gedruckt in der Permentergassen zum Ferbefass 1524, und der Ergänzungsdruck, Etliche Christliche Gesenge und psalmen wilche vor bey dem Enchiridion nicht gewest synd [Erfurt] 1525, Documenta musicologica, Series 1, no. 36 (Kassel, 1983), and (2) Christiane and Kai Brodersen (eds), Ein Enchiridion oder Handbüchlein geistlicher Gesänge und Psalmen (Erfurt 1524) (Speyer, 2008, reprinted 2011). Before its destruction during the Franco-Prussian War of 1870, the then unique copy of Maler’s 1524 edition existed in Strasbourg; fortunately a facsimile edition was published in 1848, two copies of which are found in the British Library at 3456.aaa.42.(1.) and 3456.aaa.64.(1.): Karl Reinthaler (ed.), Enchiridion oder eyn Handbuchlein: eynem yetzlichen Christen fast nutzlich bey sich zuhaben, zur stetter Ubung unnd Trachtung geystlicher Gesenge, und Psalmen, Rechtschaffen unnd kunstlich vertheutscht. M. CCCCC. XXIIII. (Erfurt, 1848). In recent years a copy of Maler’s original edition, though imperfect, has been uncovered in Trinity College Library Dublin at C. pp. 37 no. 6. 45 For a modern edition, including an editorial keyboard part, see Otto Kade (ed.), Johann Walther (1496–1570): Wittembergisch Geistlich Gesangbuch von 1524 zu drei, vier und fünf Stimmen. Neue Partitur-Ausgabe nebst Klavierauszug, Publikation aelterer praktischer und theoretischer Musik-Werke, 7 (Berlin, 1878; reprinted New York, 1966). 46 J ohann Walther’s 1524 edition cites Wittenberg as the place of publication but makes no mention of the publisher. Walter Blankenburg has connected its title page decorations to the Wittenberg publishers Lucas Cranach the Elder and Christian Döring; however, they may not have printed the edition because Cranach, who was also an artist, printmaker and engraver, created decorative materials which were used by other publishers. See Walter Blankenburg (ed.), Johann Walter: Das geistliche Gesangbüchlein ‘Chorgesangbuch’. Faksimile-Nachdruck des Zweitdruckes Worms 1525, Documenta musciologica, Series 1, no. 33 (Kassel, 1979), Discantus, p. 12. For details of Cranach’s publications, see John L. Flood, ‘Lucas Cranach as Publisher’. Like Luther Weimarer Ausgabe, vol. xxxv (1923), pp. 315–16, John L. Flood, VD16 and a number of others nominate the publisher of Walther’s 1524 edition as Joseph Klug in Wittenberg.
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popular, for he re-issued it in revised and enlarged formats until 1551, by the time the last one appeared it had increased so substantially in size that it contained seventy-four German hymns and forty-seven Latin motets. Two of Walther’s editions are preserved in the British Library, they comprise: (1) K.1.c.15., the 1534 edition published by Peter Schöffer and Mathias Aparius in Strasbourg (RISM series A/I, W 169, RISM series B/VIII, 153407 and VD16 ZV 26827); and (2) K.2.c.6., the final 1551 edition published by Georg Rhau’s heirs in Wittenberg (RISM series A/I, W 173, RISM series B/VIII, 155107 and VD16 ZV 10057).47
In 1526 another Wittenberg publisher, Hans Lufft, presumably with Luther’s blessing because he re-used his preface from Walther’s 1524 edition, reprinted Walther’s hymn settings, though not as choral compositions, but as works for one voice. The volume also contained other compositions and was issued with a new title.48 During Luther’s lifetime further editions appeared with Lutheran German hymns suitable for the church year. One is a substantial handbook of Luther’s hymn tunes published by Joseph Klug in Wittenberg in 1529. Subsequently in 1531 it was reprinted in Erfurt by Andreas Rauscher, and in 1533 and 1535 Klug reprinted it in Wittenberg with additional works in one voice and choral formats by various composers, including Walther. The latter editions also reprinted Luther’s
The 1524 edition makes no mention of Klug, and his involvement in its publication seems unlikely because he usually mentions his name in his publications. The main typeface in Walther’s 1524 edition is of no assistance in making a determination, for while Klug used it in various publications, other publishers in Wittenberg, such as Lucas Cranach the Elder and Georg Rhau, and ones in other cities, used the same typeface. The connection to Joseph Klug in Luther Weimarer Ausgabe, vol. xxxv (1923) might have been prompted by the fact that Klug’s 1529 hymn book and subsequent reprints re-use selected material from Walther’s 1524 edition, reprinting Luther’s preface and some of its hymn tunes. These links, however, are insufficient to give the edition to Klug, not least because before Klug’s 1529 publication appeared, another Wittenberg publisher, Hans Lufft, reprinted Luther’s preface and some of the music from Walther’s 1524 edition in a publication dated 1526; see footnote 48. Until further evidence emerges, the publisher of Walther’s 1524 edition should be treated as unknown, though it was almost certainly one or more of the individuals mentioned in this footnote. For more on Klug, see the main text and footnote 10. 47 Johann Walther’s choral hymnal appeared in seven known editions, they are listed here. (1) The 1524 edition (RISM series A/I, W 167 and WW 167, RISM series B/VIII, 152418 and VD16 L 4776), published in Wittenberg, publisher unspecified, though see the comments in footnote 46. (2) The 1525 edition (RISM series A/I, W 168, RISM series B/VIII, 152522 and VD16 L 4777), published in [Worms] by Peter Schöffer. For a facsimile edition, see footnote 46. (3) The 1534 edition (RISM series A/I, W 169, RISM series B/VIII, 153407 and VD16 ZV 26827), published in Strasbourg by Peter Schöffer and Mathias Aparius. (4) The 1537 edition (RISM series A/I, W 170, RISM series B/VIII, 153708 and VD16 ZV 10036), published in Strasbourg by Peter Schöffer and Mathias Aparius. (5) The 1544 edition (RISM series A/I, W 171, RISM series B/VIII, 154412 and VD16 ZV 26824), published in Wittenberg by Georg Rhau. (6) The 1550 edition (RISM series A/I, WW 171a and RISM series B/VIII, 155012, not in VD16), published in Wittenberg by Georg Rhau’s heirs. (7) The 1551 edition (RISM series A/I, W 173, RISM series B/VIII, 155107 and VD16 ZV 10057), published in Wittenberg by Georg Rhau’s heirs. A study of five of them appears in Emily Marie Solomon, ‘Tunes, Textures, and Trends: The Transformation of Johann Walther’s Geistliches Gesangbüchlein (1524, 1525, 1537, 1544, 1551)’ (M.A. thesis, Western Michigan University, 2014). 48 W ith some variations, the melodies of Walther’s 1524 works were printed with an extra ten pieces in Enchyridion geistlicher Gesenge und Psalmen fur die Leyen, mit viel andern, denn zuuor, gebessert (Wittenberg: [Hans Lufft], 1526; RISM series B/VIII, 152611; VD16 E 1148). For more on this publication, see Luther Weimarer Ausgabe, vol. xxxv (1923), pp. 317–18.
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preface from Walther’s 1524 hymnal,49 and they also included another preface by Luther, one which first appeared in a hymn book issued in Zwickau in 1528.50 Georg Rhau, too, published Lutheran hymns, including four major choral collections variously set to Latin or German texts. Together they contain 443 hymns and the editions are itemised in Table VI below.
Table VI: Georg Rhau’s Major Choral Collections of Lutheran Hymns
The editions are arranged in date order. See ‘Abbreviations’ for an explanation of the references in this Table; VD16 makes no mention of relevant copies in the British Library.
Nos Editions 1 Edition: Sacrorum hymnorum Liber primus ... (Wittenberg: Georg Rhau, 1542). Selected references: RISM series B/I, 154212. VD16 S 1237. BLMC. Commentary: This music anthology contains 134 Latin hymns. For the British Library copies, see K.4.d.16. and A.499.i. and Table IV, no. 5. 2 Edition: Sixtus Dietrich, Novum opus musicum. Tres tomos sacrorum hymnorum ... (Wittenberg: Georg Rhau, 1545). Selected references: RISM series A/I, D 3018. VD16 ZV 11802. BLMC. Commentary: This single composer edition contains 122 Latin hymns. For the British Library copy, see A.175. and Table III, no. 4. 3 Edition: Johann Walther, Wittembergisch Deudsch Geistlich Gesangbüchlein ... (Wittenberg: Georg Rhau, 1544). Selected references: RISM series A/I, W 171. RISM series B/VIII, 154412. VD16 ZV 26824. Commentary: This single composer edition contains 64 German hymns and 36 Latin motets. Although this edition is not in the British Library, it possesses two others, one published in 1534 at K.1.c.15. and the other issued in 1551 at K.2.c.6.
49 Further details about Klug’s editions appear in footnote 43, and for information about him, see footnote 10. 50 Enchiriridion [sic] geistlicher Gesenge und Psalmen fur die Leyen, mit viel andern, denn zuuor, gebessert. Sambt der Vesper, durch die gancze Woche auff einen iczlichen Tag Metten Complet und Messe (Zwickau: Hans Schönsperger the Elder, 1528; RISM series B/VIII, 152804; VD16 E 1149). For more on this publication, see Luther Weimarer Ausgabe, vol. xxxv (1923), p. 319.
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Nos Editions 4 Edition: Newe Deudsche Geistliche Gesenge ... (Wittenberg: Georg Rhau, 1544). Selected references: RISM series B/I, 154421. RISM series B/VIII, 154413. VD16 N 569. Commentary: This music anthology contains 123 German hymns. For the British Library copy, see K.2.c.4. and Table IV, no. 7.
By producing these music editions and the others mentioned above, Rhau was very probably fulfilling the wishes of Luther to document and disseminate suitable sacred vocal works for Lutheran use and to broaden the appeal of his new faith. There were other objectives as well, for they were designed to provide Lutherans with music for celebration of the Mass and Offices in their own congregations, to assist with the training and development of singers in city schools who in turn created the choirs in local churches, and to enable people who attended church to gain spiritual and musical benefit by being able to use the compositions at home.51 I shall now investigate the edition preserved at British Library K.3.f.3. and reveal its previously unnoticed material and reflect on how it alters the picture of Georg Rhau’s sources in the British Library.
British Library, K.3.f.3.
As mentioned earlier, until now important material has been overlooked in the British Library copy of Georg Rhau’s edition preserved at K.3.f.3., Balthasar Resinarius’s Responsoriorum numero octoginta de tempore et festis iuxta seriem totius anni, Libri duo ... (Wittenberg: Georg Rhau, 1543; see Table III, no. 2). Rhau published two editions of these works, the first, including the British Library copy, appeared in 1543 (RISM series A/I, R 1196 and RR 1196) and the other, a reprint, was issued in 1544 (RISM series A/I, R 1197 and RR 1197). Extant copies of the 1543 edition are more plentiful and comprise seven in total, whereas there are only three locations of the 1544 edition; all are preserved in European libraries.52 The British Library possesses all four partbooks of the 1543 edition, the title pages of which are labelled respectively, ‘DISCANTVS’, ‘ALTVS’, ‘TENOR’ and ‘BASSVS’. Like a number of other music editions produced by Rhau, the title page of the Tenor partbook is the only one with the complete title and imprint, whereas those in the other partbooks have abbreviated information (compare figs 5 and 6). Imprint details are omitted from the title pages of the Discantus, Altus and Bassus partbooks. However, three partbooks in the present set, the Discantus, Tenor and Bassus, have an undated colophon that specifies the place of publication, Wittenberg, and names Georg Rhau as the printer using one of the alternative versions
51 From time to time, the purposes of Georg Rhau’s music editions are revealed in prefaces and on title pages. Selected comments on this subject also appear in Victor H. Mattfeld, Georg Rhaw’s Publications for Vespers, see esp. pp. 137–59, and in J. Michael Raley, ‘Traversing Borders—Defining Boundaries: Cosmopolitan Harmonies and Confessional Theology in Georg Rhau’s Liturgical Publications’, Sixteenth Century Journal, xliii (2012), pp. 1079–105. The role of printing in promoting Luther’s new faith is explored in Mark U. Edwards, Jr, Printing, Propaganda, and Martin Luther (Berkeley, California, 1994; reprinted Minneapolis, Minnesota, 2005), and in Andrew Pettegree, Reformation and the Culture of Persuasion (Cambridge, 2005). 52 Copies of the 1543 edition, some complete and others incomplete, are preserved in the Staats- und Stadtbibliothek Augsburg, Stadtarchiv und Stadtbibliothek Braunschweig, British Library London, Bayerische Staatsbibliothek München, Bischöfliche Zentralbibliothek Regensburg, Bibliothèque Nationale et Universitaire de Strasbourg and Österreichische Nationalbibliothek Wien. In comparison, copies of the 1544 edition, all complete, are preserved in the Biblioteka Jagiellonska Kraków, Thüringer Universitäts- und Landesbibliothek Jena and Országos Széchényi Könyvtár Budapest (multiple copies of each partbook exist in the last location).
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of his surname, ‘Ehaw’ (see Table III, no. 2); the same colophon also appears in copies of the Altus partbook in other libraries, the reason for its absence from the British Library copy will become apparent soon. Two sets of woodcut images, mostly biblical or religious in nature, are printed on the title pages: one group appears on the title page of the Tenor partbook and the other group is found on each title page of the Discantus, Altus and Bassus partbooks (compare figs 5 and 6). Transcriptions of relevant material appear in Table III, no. 2.
Fig. 5. British Library, K.3.f.3., Balthasar Resinarius, Responsoriorum numero octoginta ... (Wittenberg: Georg Rhau, 1543; RISM series A/I, R 1196 and RR 1196), Tenor Partbook, Title Page.
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Fig. 6. British Library, K.3.f.3., Balthasar Resinarius, Responsoriorum numero octoginta ... (Wittenberg: Georg Rhau, 1543; RISM series A/I, R 1196 and RR 1196), Altus Partbook, Title Page.
As the title page in the British Library’s Tenor partbook declares, the edition is divided into two books, hereafter referred to individually as Liber Primus and Liber Secundus, terminology used in the edition itself. In each partbook, Georg Rhau supplied a title page for the Liber Secundus, one which is transcribed in Table III, no. 2. Each book contains a dedicated numerical sequence for its compositions, I–XLII in the Liber Primus, and I–XXXVIII in the Liber Secundus. Despite their use of discrete numbering, both books were issued as a composite unit, which is underlined by: (1) the mention of both on the title page of the Tenor partbook; (2) the colophon near the end of the Liber Primus in each partbook, ‘Finis Responsorium Libri Primi de Tempore, | hoc est, de Christo, et regno eius etc. | Sequitur Liber Secundi | De Sanctis’; and (3) the continuity of the signature designations in each of the original partbooks, designations which overlap somewhat; the signatures in the Discantus partbook for example comprise (omitting square brackets for implied ones): Liber Primus, aa i–iiij, bb i–iiij, cc i–iiij, dd i–iiij, ee i–iiij, ff i–iiij, gg i–iiij, hh i–iiij, ij i–iiij, kk i–iiij, ll i–iiij, mm i–iiij, nn i–iiij, oo i–ii, and Liber Secundus, oo i–iiij, pp i–iiij, qq i–iiij, rr i–iiij, ss i–iiij, tt i–iiij, vv i–iiij, xx i–iiij, yy i–iiij, zz i–iiij and aaa i–ii.
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Both books contain choral settings for four-voices of Lutheran liturgical texts, all in Latin. Together they contain 80 Responsories for the church year, one book is Temporal and the other is Sanctoral, and both sets were suitable for choirs in Lutheran Schools and Churches. The Liber Primus sets Responsories about Christ and his teachings, life, Passion, Resurrection and Ascension, whereas those in the Liber Secundus are about the Saints. Each book concludes with two indexes, the first lists the compositions in numerical order with details of their liturgical use and titles, and the second lists the titles of the works in alphabetical order, cross-referenced to their piece numbers, followed in some cases by errata. Two prefaces appear solely in the Tenor partbook. Each preface is labelled ‘Epistola ad Lectorem’, one is written by Johannes Burgenhagen and the other is by Georg Rhau; the British Library copy of the Tenor partbook lacks the last two leaves of Burgenhagen’s preface, ones which have been consulted in copies elsewhere. Burgenhagen was the pastor of Martin Luther’s local church in Wittenberg and later, together with others, assisted Luther in his translation of the Bible into German. Chiefly, though, Burgenhagen is remembered for his organization of the Lutheran Church in northern Germany and Scandinavia.53 Burgenhagen’s preface informs the reader that Resinarius dedicated the works to him, and expresses harsh criticism of Responsories: Burgenhagen questions their value in the Lutheran liturgy and their usefulness for young singers in Lutheran Schools, and reserves his most trenchant remarks for the Responsories in the second section dealing with the Saints, which he considers too removed from his preference for Biblical texts. Burgenhagen had a narrow view of items that were suitable for the Lutheran liturgy, one that was not universally shared by his contemporaries. In fact Burgenhagen’s sentiments were at variance with those of Rhau and Luther. Writing in 1523 Luther sanctioned the use of Responsories, commenting that ‘three Psalms for Matins may be sung and three for Vespers with one or two Responsories’.54 Moreover in 1542, the year before Rhau published Resinarius’s Responsories, Luther composed and published music for some Responsories, a confirmation that after nearly twenty years Luther was still favourably disposed towards them.55 Rhau, too, encouraged their use, for in 1540 he published some in an anthology he edited for Vespers for Feast Days and Sundays throughout the Lutheran Church year: Vesperarum precum officia psalmi feriarum et dominicalium dierum tocius anni, cum antiphonis, hymnis, et responsoriis ... (Wittenberg: Georg Rhau, 1540; RISM series B/I, 15405; see Table IV, no. 3). Resinarius also favoured the use of Responsories otherwise he would not have composed them for the church year and been involved in their publication in the edition preserved at British Library K.3.f.3. As a leading Lutheran clergyman, Resinarius must have organized the use of
53 More information about Burgenhagen appears in the following selected publications: Julius Köstlin, ‘Bugenhagen, Johannes’, ADB, iii (1876), pp. 504–8; Ernst Wolf, ‘Bugenhagen, Johannes’, NDB, iii (1957), pp. 9–10; Hans- Günter Leder, Johannes Bugenhagen Pomeranus—vom Reformer zum Reformator: Studien zur Biographie, ed. Volker Gummelt, Greifswalder theologische Forschungen, 4 (Frankfurt am Main, 2002); Hans-Günter Leder, Johannes Bugenhagen Pomeranus—Nachgelassene Studien zur Biographie mit einer Bibliographie zur Johannes Bugenhagen-Forschung, ed. Irmfried Garbe and Volker Gummelt, Greifswalder theologische Forschungen, 15 (Frankfurt am Main, 2008); and Norbert Buske, Johannes Bugenhagen. Sein Leben. Seine Zeit. Seine Wirkungen (Schwerin, 2010). 54 Martin Luther, Formula missae et communionis pro Ecclesia Wittembergensi (Wittenberg: [Nickel Schirlentz], 1523; VD16 L 4728), signature b iij recto, ‘tres psalmi pro ma= | tutinis, tres pro vesperis cum vno vel duobus responsorijs absoluantur’. In the same year, Luther also endorsed the use of Responsories during Vespers in his four-leaf pamphlet, Von ordenung Gottis diennst yn[n] der gemeyne (Wittenberg: [Lucas Cranach the Elder and Christian Döring], 1523; VD16 L 7305), signatures A ij verso to A iij recto, and A iij verso; the pamphlet was also issued in other cities (see VD16 L 7301 and 7302). 55 See Martin Luther’s settings of Responsories and Antiphons in Christliche Geseng Lateinisch und Deudsch zum Begrebnis D. Martinus Luther (Wittenberg: Joseph Klug, 1542; RISM series B/VIII, 154215; VD16 L 4199 and L 4200). For details about the 1542 edition, together with transcriptions of Luther’s melodies with German texts, see Markus Jenny (ed.), Luthers geistliche Lieder und Kirchengesänge, pp. [341]–342 and nos 3, 11, 19, 21, 24 and 40.
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his Responsories in Lutheran Churches and Schools, certainly early manuscript copies of them made by others indicate that they were widely used in Lutheran communities.56 Doubtless Resinarius and Rhau were unsettled by Burgenhagen’s criticisms especially after he was invited to contribute the preface. Resinarius and Rhau made a number of modifications in part to defend their position and in part to try and assuage Burgenhagen: (1) printed marginalia were included in the Tenor partbook emphasizing the connections of the Responsories to Biblical texts and to the Lutheran liturgy and to the Lutheran Church’s evangelical disposition towards the saints (see figs 7 and 8); and (2) small adjustments were made to selected texts in order to enhance their suitability for Lutheran use, something which Burgenhagen himself had the good grace to acknowledge in his preface. In summary, Resinarius’s Responsoriorum numero octoginta ... (Wittenberg: Georg Rhau, 1543; RISM series A/I, R 1196 and RR 1196) is intriguing because it sheds light on a disagreement among Luther’s colleagues about Lutheran observances.57
Fig. 7. British Library, K.3.f.3., Balthasar Resinarius, Responsoriorum numero octoginta ... (Wittenberg: Georg Rhau, 1543; RISM series A/I, R 1196 and RR 1196), Tenor Partbook, Liber Secundus, signature M [i] verso, which contains the conclusion of no. V and beginning of no. VI (includes early handwritten text underlay in black ink with the beginning of the ‘Repeticio’, ‘Et gloria Domini’).
Balthasar Resinarius was born around 1485, and as a boy he studied with Heinrich Isaac (b. c.1450–1455; d. 1517), the composer of Maximilian I’s chapel in Vienna and elsewhere.
56 Details of early music manuscript copies of Resinarius’s Responsories are indicated in the modern edition by Inge Maria Schröder cited in the main text in Table III, no. 2; specifically see ii, pp. 151–3. Sources of individual works are also traceable using RISM’s electronic inventory. 57 For a study of disagreements about liturgy and other matters within the early Lutheran Church, see Joseph Herl, Worship Wars in Early Lutheranism: Choir, Congregation and Three Centuries of Conflict; selected comments also appear in Marion Lars Hendrickson, Musica Christi: A Lutheran Aesthetic (New York, 2005).
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Fig. 8. British Library, K.3.f.3., Balthasar Resinarius, Responsoriorum numero octoginta ... (Wittenberg: Georg Rhau, 1543; RISM series A/I, R 1196 and RR 1196), Tenor Partbook, Liber Secundus, signature M ij recto, which contains the conclusion of no. VI (includes early handwritten text underlay in black ink with the ending of the ‘Repeticio’, ‘Et gloria Domini’) and the beginning of no. VII.
In 1515 Resinarius commenced his studies at Leipzig University, and in 1523 he returned to his birthplace Tetschen and became a Catholic priest. While there he converted to Lutheranism and eventually became a Lutheran Bishop in Bohemia. All the music Resinarius composed was for Lutheran Churches and Schools, it is characterized by a structural clarity that heightens the transparency of the words and often employs canti firmi, and met the burgeoning need of the early Lutheran Church for liturgical works. Rhau’s preface in the Tenor partbook of the 1543 edition at K.3.f.3. suggests that he commissioned Resinarius to compose its Responsories. Resinarius also composed 30 German choral hymns for Rhau’s 1544 anthology preserved at British Library K.2.c.4. (see Table IV, no. 7), by far the largest contribution by any of its composers. Additionally, Resinarius composed other polyphonic works, including four Latin hymns and several other pieces in two other Rhau anthologies preserved in the British Library respectively at K.4.d.16. and K.4.d.17. (see Table IV, nos 5 and 9). Resinarius was committed to Luther’s ideals and no doubt was viewed that way by Rhau and his contemporaries. Their high regard for him can be inferred from the fact that his music was widely disseminated in Rhau’s editions and in manuscript copies made after their appearance in print.58
58 For more on Resinarius, see Robert Eitner, ‘Resinarius, Balthasar’, ADB, xxviii (1889), pp. 245–6; Inge Maria Schröder, Die Responsorienvertonungen des Balthasar Resinarius, Schriften des Landesinstituts für Musikforschung Kiel, 2 (Kassel, 1954); Victor H. Mattfeld, ‘Resinarius [Hartzer, Harzer], Balthasar’, Grove Music Online:
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The four partbooks at British Library K.3.f.3. are bound separately and stored in a box covered with red buckram. Although the volumes are of similar dimensions, they vary slightly, and in the Tenor, for example, its covers measure 15.3 x 20.8 cm and its paper measures 15 x 20 cm. The British Museum covered each of the four volumes with limp, white vellum fragments from an eighteenth-century liturgical book with literary and music material in black and red ink. Individual letters in the fragments are of uniform size and shape and imitate printed letters. They were added using a stencil, a technique employed during the seventeenth and eighteenth centuries to produce some other liturgical books.59 The different size of the compiler’s handwritten neumatic music notation compared to its stencilled literary text seems disproportionate and occasionally results in the text underlay being poorly aligned. In short the presentation seems amateurish when compared to the elegant documents prepared over the centuries by professional copyists (see fig. 9). The textual material stencilled on the cover fragments of the volumes at K.3.f.3. is in Latin and comprises portions of the ‘Gloria Patri et Filio’ (Doxology) and of Vulgate Psalm 94 (Protestant 95). These literary fragments, including incomplete words and letters, consist of: (1) Discantus: [Front:] nunc, & semper, | lorum. Amen. | Venite exul | iubilemus Deo, sa | [Rear:] praeoccupemus | confessione, & in | mus ei. | psalmis iubile | Quoniam Deus | s, & rex magnus | os, quoniam non | (2) Tenor: [Front:] et in saecula saecu | Quinti toni. | temus Domino, | lutari nostro, | [Rear:] aciem eius in | psalmis iubile | Quoniam Deus | s, & rex magnus | os, quoniam non | (3) Altus: [Front:] venite adoremu | ante Deum, plor | mino, qui fecit no | Dominus Deus no | [Rear:] populus eius, et o | Hodie si vocem e | nolite obdurare | in exacerbatione | tentationis in des | (4) Bassus: [Front:] s, et procidamus | emus coram Do | os, quia ipse est | oster, nos autem | [Rear, see fig. 9:] ues pascuae eius. | ius audieritis, | corda vestra sicut | secundum diem | erto, vbi tentaue |
In the Catholic liturgy, Psalm 94 was (and still is) applicable to various occasions. As an Invitatory Psalm, for example, it invited the faithful to participate in the Divine Office. Martin Luther encouraged the use of a reformed Liturgy of the Hours (Divine Office) and Psalms and the Doxology were used in Lutheran rituals. If the previous bindings had survived, they would likely have included handwritten comments added by Asher & Co., the Berlin antiquarian bookseller which sold the four partbooks at K.3.f.3. to the British Museum in 1862 (details of the sale appear shortly). Other music items that the British Museum purchased from Asher & Co. in 1862 with their then bindings still intact often include pencilled inscriptions added by the Berlin bookseller identifying them with the sale and indications of collation. In materials with pre-existing bindings, the inscriptions usually appear on the covers or pastedowns or fly leaves, as illustrated in two other editions obtained from Asher & Co. in 1862. The first example is a set of six partbooks with original bindings of Orlande de Lassus’s Magnum opus musicum ... (Munich: Nikolaus Heinrich, 1604; RISM series A/I, L 1019) preserved at British Library K.4.k.1. Asher & Co. inscribed each front pastedown with its invoice number for this sale, ‘587’, together with further inscriptions in German added in various locations indicating that a collation had been undertaken, including mention of missing leaves, such as ‘Des letzte fehlende Bl. ist leer’ on the final pastedown of the Cantus partbook. The second example, an editon with seven partbooks, has bindings added by a previous owner and is preserved
59 See Eva Judd O’Meara, ‘Notes on Stencilled Choir-Books’, Gutenberg-Jahrbuch, viii (1933), pp. 169–85.
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Fig. 9. British Library, K.3.f.3., Balthasar Resinarius, Responsoriorum numero octoginta ... (Wittenberg: Georg Rhau, 1543; RISM series A/I, R 1196 and RR 1196), Bassus Volume, Rear Cover.
at British Library F.22.a.: Heinrich Schütz, Musicalia ad Chorum Sacrum, das ist: Geistliche Chor-Music, mit 5. 6. und 7. Stimmen, beydes Vocaliter und Instrumentaliter zugebrauchen ... (Dresden: Heirs of Gimel Berg, 1648; RISM series A/I, S 2294). Asher & Co. added various inscriptions to its volumes, the most lengthy one appears on the front pastedown of its Cantus partbook, where the bookseller comments about the composer and his works, ‘Schütz war
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ein Liebling | seines “Churfürsten, welcher ihm | zu Erb zu diesem Werke das Papier | eigens anfertigen u[nd]. das Zeichen | S.’s, ein gespan[n]ter mit einem | darauf liegenden Pfeil u[nd]. die | Buchstaben H S., darauf | anbringen liefs. Dehn’.60 Importantly, Asher & Co. also inscribed ‘Cllt cplt O.V.’61 on the front pastedown of each partbook, thus indicating that its employee with the initials ‘O.V.’ completed a collation of the partbooks. Asher & Co.’s comments and collation indications appear in other early music editions which it sold, including ones in other libraries, such as in two bound sets of early music editions in the Bischöfliche Zentralbibliothek Regensburg, about which I have commented elsewhere.62 In some music editions, including ones unbound at the time, Asher & Co. added appropriate inscriptions to one or more title pages, variously providing details about collation, invoice numbers and other matters.63 Like many of Asher & Co.’s other handwritten invoices for the British Museum, the one that mentions K.3.f.3. was prepared in Berlin and uses English where possible. It is impressed ‘A. ASHER & Co. | BERLIN’, entitled in black ink ‘Invoice | of | Three Cases of Books, containing Music B[ook]L[ist]’ and dated ‘7/4/[18]62’, the latter reflects its completion date rather than when the materials were formally acquired. The invoice contains incontrovertible evidence of the connection between K.3.f.3. and Asher & Co.: (1) the British Museum’s date stamps in the invoice and in the edition match, ‘19 J[UL]Y [18]62’ (i.e. the formal date of acquisition); and (2) the description in the invoice is unambiguous, ‘[No.] 31. Resinarius / B. / Responsoriorum Libri duo 4 [parts; latter word indicated by ditto marks]’ (see BL, Archives DH5/16).
Using pencil, the British Museum ticked the Resinarius entry in Asher & Co.’s invoice, thus establishing that it received the four partbooks now at K.3.f.3. Additional evidence is found in the edition itself, for using pencil Asher & Co. inscribed the title page of the Tenor partbook of K.3.f.3. with ‘fehlen 2 Bll d. | Vorrede’, thus confirming that two leaves, mentioned earlier, are missing from the prefatory material and revealing that the book dealer collated the edition. Even though the set lacks Asher & Co.’s other customary inscriptions, its invoice number and usual collation verification, their frequent appearance in other music editions Asher & Co. sold suggests that they were in the edition’s previous bindings. Unfortunately, like other institutions, the British Museum at times discarded old covers and fly leaves when rebinding early music materials, and very likely the same occurred in this case. Until now others have overlooked the fact that the Altus partbook of the British Library’s Resinarius edition at K.3.f.3. is incomplete and continues with thirty-five works from a different edition. Some earlier writers were unaware of the existence of the edition now at British Library K.3.f.3. even though it was present in the British Museum from the mid-nineteenth century. The British Museum is not mentioned in the list of libraries which own copies of the edition in
60 Siegfried Dehn (1799–1858) was the custodian of the music collection in the Königliche Bibliothek Berlin, and Asher & Co. names him as the authority for its pencilled comments. 61 ‘C[o]ll[a]t[ion] c[om]pl[e]t O.V.’, the explanatory notes in Asher & Co.’s sale catalogues are often in French and it is likely that the abbreviation was the French rather than Latin version. 62 See item nos 3 and 4 in Richard Charteris, ‘Some Overlooked Manuscript Music in the Bischöfliche Zentralbibliothek Regensburg’, Musik in Bayern, lxxix/lxxx (2014/2015, published in 2016), pp. 7–60. Further information about Asher & Co. appears in Richard Charteris, A Rediscovered Collection of Continental Early Music Editions in the British Library (in preparation). 63 Among the materials Asher & Co. collated before selling them was the 5,700 printed Hebrew books from the library of the Hamburg collector Heimann Joseph Michael (1792–1846). In the 1840s, Asher & Co. sold the printed books to the British Museum and Michael’s Hebrew manuscripts to the Bodleian Library in Oxford. See Graham Jefcoate, William A. Kelly, Karen Kloth et al. (eds), A Guide to Collections of Books Printed in German-Speaking Countries Before 1901 (or in German elsewhere) Held by Libraries in Great Britain and Ireland (Hildesheim, 2000), p. 53, in Bernhard Fabian (ed.), Handbuch Deutscher historischer Buchbestände in Europa: eine Übersicht über Sammlungen in ausgewählten Bibliotheken, vol. x.
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Eitner 1900–1904.64 Over fifty years later the British Museum copy continued to be overlooked in the work of Inge Maria Schröder, who published a study of Resinarius’s 1543 edition and a modern edition of its compositions, both of which appeared during the mid-1950s.65 In the latter, Schröder cites all the sources known to her, including naming the collections that owned copies of Resinarius’s music edition, but was unaware of the British Museum copy. The first printed acknowledgement of the British Museum’s copy of the edition at K.3.f.3. occurred in 1912 when William Barclay Squire published his two-volume Catalogue of Printed Music Published between 1487 and 1800 now in the British Museum (London, 1912; see Squire 1912 and Table III, no. 2). Although Squire 1912 contains essential details to identify the edition and its composer, the new material in K.3.f.3. was overlooked, just as it was in the British Museum’s earlier title slip.66 While citing the British Library as an owner of the edition, RISM was equally unaware of its new material in its publications and continues to be so in its electronic inventory. Later descriptions in library or union catalogues also make no mention of its new material, as seen in BUCEM 1957, CPM 1981–1987 and the electronic catalogue BLMC (for the location of their descriptions, see Table III, no. 2). If the new material in K.3.f.3. had been discovered, most of the aforementioned reference works would almost certainly have mentioned it. William Barclay Squire studiously recorded discrepancies and other features, including manuscript replacements or additions, in his 1912 two- volume catalogue of the British Museum’s early music editions, just as he and others did in the library’s earlier title slips. A case in point is Squire’s description of the madrigal collection edited by Andreas Pevernage and entitled Harmonia celeste di diversi eccellentissimi musici a IIII. V. VI. VII. et VIII voci ... (Antwerp: Pierre Phalèse and Jean Bellère, 1593; RISM series B/I, 15934), which is preserved at British Library A.259. In this instance Squire commented that its ‘Bassus part is imperfect, wanting the title-page, which has been replaced by that of the Quinto’ and that the ‘Sesto (excepting the title-page) is in MS’ (see Squire 1912, ii, p. 263). It is a measure of Squire’s work that his 1912 two-volume catalogue was the model for the library’s subsequent catalogues of their shared materials, and thus its next and greatly expanded one covering the entire collection of printed music at the time, CPM 1981–1987, also commented on special features and anomalies. RISM, too, records information about incomplete or imperfect sets of partbooks, with an occasional mention of inconsistencies, in its published inventories, but like printed library catalogues detailed comment on individual partbooks is limited, and the same applies to its electronic inventory. Regarding many of the British Library’s pre-1600 printed music anthologies, the latest catalogue, the electronic BLMC, is much more comprehensive than others and includes invaluable descriptions of their works and composers as well as other features (as illustrated by the aforementioned Pevernage edition). In comparison K.3.f.3. is a single composer edition and the information about it in BLMC largely reflects earlier catalogues. Following the pattern of previous catalogues, BLMC also mentions anomalies, though like its antecedents it overlooks the new material in K.3.f.3. (for the location of their descriptions, see Table III, no. 2). Although both components of the Altus partbook at K.3.f.3. use the same fonts, there are discernible indications that the partbook is irregular. One could, for example, single out major differences in the nature and origin of their music. The initial component from Resinarius’s edition contains tripartite Latin Responsories with second and third movements respectively labelled ‘Repeticio’ and ‘Versus’, and none is accompanied by the composer’s name since they belong to a single composer edition which specifies the composer on the title page of the Tenor partbook. In comparison the hitherto unnoticed component of the Altus partbook contains single movement Latin hymns by a variety of composers who are mostly named with individual pieces. A further sign of
64 See Robert Eitner, ‘Resinarius, Balthasar’, Eitner 1900–1904, viii, pp. 191–2, see esp. p. 192. 65 Inge Maria Schröder, Die Responsorienvertonungen des Balthasar Resinarius, and idem (ed.), Balthasar Resinarius: Responsoriorum numero octoginta, 2 vols, in Georg Rhau Musikdrucke, vols i–ii (Kassel and St Louis, Missouri, 1955 and 1957). 66 I am indebted to the Music Curator Robert Balchin for making the relevant British Museum title slip available for consultation.
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their different origin is the initial letters with individual works. Except for two decorated first letters, all those in the first component are plain and larger than their ensuing text (see figs 7 and 8). Whereas in the second component they are markedly different, for the publisher used several sets of decorated woodcut initials in frames and did so for all compositions. None of the initials is historiated: instead most comprise Roman letters with a variety of floral and botanical decorations. Within this group there are several sets, one comprises white letters with pictorial backgrounds, and in another the decorative elements also feature in the letter forms (see respectively figs 10 and 11). Although it appears infrequently, a further set features Gothic initials with white backgrounds (see fig. 12). The first component of the Altus partbook at K.3.f.3. comprises signatures a i recto to [q iiij] verso of Resinarius’s 1543 edition, that is, everything from the title page of the Liber Primus until part the way through the ‘Repeticio’ of composition number XVI in the Liber Secundus. The remaining material of the Altus part of the Resinarius edition, signatures r i recto to z ii verso, is lacking, specifically the volume is missing the continuation of the Liber Secundus’s no. XVI and all of nos XVII to XXXVIII, besides its colophon and index. Instead the Altus partbook contains signatures r i recto to x v verso from a different edition. Even though there is no title page in the Altus partbook which could shed light on its origin, I have identified the new material: it belongs to another music edition published by Georg Rhau, the anthology Sacrorum hymnorum Liber primus. Centum & triginta quatuor hymnos continens, ex optimis quibusq[ue] authoribus musicis collectus, inter quos primi artifices in hac aeditione sunt, Thomas Stoltzer. Henricus Finck. Arnoldus de Bruck. Et alij quidam (Wittenberg: Georg Rhau, 1542; RISM series B/I, 154212). As shown in Table IV, no. 5, the British Library already owns a complete copy of this edition at K.4.d.16., comprising four partbooks, among them a fully intact Altus, as well as an extra copy of the Discantus at A.499.i. The complete title and imprint appear only in its Tenor partbook.
Fig. 10. British Library, K.3.f.3., Altus Partbook, New Material [Sacrorum hymnorum Liber primus ... (Wittenberg: Georg Rhau, 1542; RISM series B/I, 154212)], signature r iij recto, no. CIII, [Thomas Stoltzer], ‘Beata quoq[ue] agmina’, ‘Vagans’.
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Fig. 11. British Library, K.3.f.3., Altus Partbook, New Material [Sacrorum hymnorum Liber primus ... (Wittenberg: Georg Rhau, 1542; RISM series B/I, 154212)], signature r ij verso, no. CIII, Thomas Stoltzer, ‘Beata quoq[ue] agmina’, ‘Quinq[ue] vocum’.
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Fig. 12. British Library, K.3.f.3., Altus Partbook, New Material [Sacrorum hymnorum Liber primus ... (Wittenberg: Georg Rhau, 1542; RISM series B/I, 154212)], signature x iiij recto, no. CXXXI, [Unattributed], ‘Te lucis ante terminum’, which includes early handwritten additional verses in black ink.
The printed compositions in the hitherto overlooked material in the Altus partbook of K.3.f.3. are numbered C to CXXXIIII and comprise thirty-five Latin hymns scored for four or five voices. The hymns were published in 1542 for use in Lutheran Churches and Schools and have rubrics indicating their place in the Lutheran liturgy. Hymns enjoyed a longer association with the Catholic Church though they were used more extensively in the Lutheran Church. Hymn settings proliferated in the Lutheran Church as a result of Luther’s introduction of German hymn tunes for singing by congregations. In practice a Latin hymn sung by the choir in a Lutheran Church was often followed by a German one sung by the whole congregation. Luther and others translated Latin hymns into German and adapted other Biblical texts for vernacular settings. Following Johann Walther’s release in 1524 of the first Protestant choral hymnal for the church year, countless others produced hymnbooks and songbooks for Protestant use over the years
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and centuries that followed (a number of the initial ones have been mentioned already).67 In the early stages of Lutheranism, some in the Catholic Church were alarmed by the loss of followers as the singing of vernacular hymns became widespread, and a small number of Catholics produced books of their own, in some cases borrowing melodies from both Catholic and Protestant sources. Hymns in the vernacular, however, were never as popular among Catholics not least because their use was discouraged, and thus this Counter Reformation endeavour was constrained from the outset.68 The composers of the thirty-five hymns named in the previously overlooked material in the Altus Partbook of K.3.f.3. would have been well known to Lutheran musicians, particularly from their appearance in other Rhau anthologies. Before focusing on some of them, Table VII lists the hymns in this new material.
Table VII: Index of the 1542 Hymns in the New Material in the Altus Partbook of K.3.f.3.
All the hymns are scored for four voices unless otherwise indicated, though only one part, the Altus, exists in K.3.f.3.
Nos Composers Works Rubrics C. Virgilius Haugk Angelum pacis Michael De S. Michaele [See fig. 14 below.] CI. Henricus F[inck]. Christe redemptor omnium Omnium Sanctorum CII. T[homas]. S[toltzer]. Beata quoq[ue] agmina De omnibus Sanctis CIII. Thomas Stoltzer [Five voices:] Quinq[ue] [Omnium vocum Sanctorum] Beata quoq[ue] agmina [Two parts, the second is labelled ‘Vagans’] CIIII. Thomas S[toltzer]. Primum virtutes igneæ Mox Alia melodia [Omnium Sanctorum] CV. [Unattributed] Ut charitatis spiritu De Sancto Martino CVI. T[homas]. S[toltzer]. [Five voices:] Quinq[ue] De S. Martino vocum Qui pace Christi [Two parts, the second is labelled ‘Vagans’]
67 For more on the history of hymns and congregational singing, see Samuel J. Rogal, A General Introduction to Hymnody and Congregational Song, Alta Monographs Series, 26 (Metuchen, New Jersey, 1991). Detailed studies of the use and influence of Lutheran hymns and other items are found in Christopher Boyd Brown, Singing the Gospel: Lutheran Hymns and the Success of the Reformation (Cambridge, Massachusetts, 2005); idem, ‘Devotional Life in Hymns, Liturgy, Music, and Prayer’, in Robert Kolb (ed.), Lutheran Ecclesiastical Culture, 1550–1675, Brill’s Companions to the Christian Tradition, 11 (Leiden, 2008), pp. 205–58; and Daniel Trocmé-Latter, The Singing of the Strasbourg Protestants, 1523–1541, St Andrews Studies in Reformation History (Farnham, Surrey, 2015). 68 A study of Counter-Reformation German hymn settings, focusing mainly on one collection, appears in Richard Wetzel and Erika Heitmeyer, Johann Leisentrit’s ‘Geistliche Lieder und Psalmen, 1567’: Hymnody of the Counter- Reformation in Germany (Lanham, Maryland, 2013).
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Nos Composers Works Rubrics CVII. Hen[ricus]. Finck Novum sydus emicuit De Sancta Elizabet[h]. CVIII. T[homas]. S[toltzer]. [Five voices:] Quinq[ue] De Sancta vo[cum] Elizabet[h]. In cuius nunc præconia [Two parts, ‘ALTVS’ and ‘Vagans’] CIX. [Unattributed] Costi Regis nata De Sancta Catharina CX. [Unattributed] Victrix sapientum De S. Catharina CXI. T[homas]. S[toltzer]. Qui vagitus infanti[a]e De S. Nicolao CXII. T[homas]. Stoltzer Quarta & sexta feria De Sancto Nicolao CXIII. [Unattributed] Haec vaga mundi gaudia De S. Barbara CXIIII. [Unattributed] Haec nitet sicut lilium De Sancta Barbara [Followed by a general rubric for the subsequent works:] Sequitur Commune | Sanctorum
CXV. T[homas]. S[toltzer]. Vos secli iusti iudices De Apostolis CXVI. [Unattributed] Vos secli iusti iudices De Apostolis CXVII. H[enricus]. F[inck]. Quorum pr[a]ecepto subditur Alia melodia de Apostolis CXVIII. [Unattributed] [Five voices:] Quinq[ue] De Apostolis vocum Ut cum Iudex advenerit [Two parts, ‘Altus’ and ‘Vagans’]
CXIX. Henricus Finck Sanctoru[m] meritis De Martyribus CXX. Baltassar Hartzer [i.e. Ceduntur gladijs De Martyribus Balthasar Resinarius] CXXI. Baltassar Hartzer [i.e. Deus tuorum militum Alia Melodia de Balthasar Resinarius] Martyribus CXXII. H[enricus]. F[inck]. Hic nempe mundi gaudia De uno Martyre CXXIII. Henricus F[inck]. Iste confessor Domini De Confessoribus CXXIIII. Thomas Stoltzer Qui pius, prudens De Confessoribus CXXV. Henricus Finck Iesu corona virginum De Virginibus CXXVI. And[reas]. Cap[ellus]. Qui pacis inter lilia De Virginibus CXXVII. T[homas]. S[toltzer]. Quocunq[ue] pergis virgines De Virginibus CXXVIII. B[althasar]. Hartzer [i.e. Iesu corona virginum [De Virginibus] Balthasar Resinarius] CXXIX. Bal[thasar]. H[artzer]. Urbs beata Ierusalem De Dedicatione vel [i.e. Balthasar Resinarius] Ecclesia CXXX. T[homas]. Stoltzer Hoc in templo summe Deus [De Dedicatione vel Ecclesia]
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Nos Composers Works Rubrics CXXXI. [Unattributed] Te lucis ante terminum Dominicis diebus [See fig. 12 above.] CXXXII. [Unattributed] Procul recedant somnia Dominicis diebus CXXXIII. [Unattributed] Iam lucis orto sydere [Dominicis diebus] CXXXIIII. T[homas]. S[toltzer]. Trinitas sancta unitasq[ue] [Dominicis diebus] firma Dietas vera [Final leaf [Woodcut image] of edition, recto].
Three composers stand out in the above material. One is Balthasar Resinarius who has already been covered on account of his music in the first component of the Altus partbook and in the set’s other partbooks (see also Table III, no. 2). Using the other version of his surname, ‘Hartzer’, Resinarius is represented by four hymns in the new material, the only known ones he composed with Latin texts (see nos CXX–CXXI and CXXVIII–CXXIX). The new material’s largest number of works, however, are by Thomas Stoltzer (c.1480– 1526), a Catholic composer whose music was particularly popular throughout German speaking areas of Europe. Stoltzer wrote a substantial amount of sacred vocal music, most of it set to Latin texts, but some with German texts. He embraced all the major forms of the period, concentrating on liturgical works with canti firmi as well as motets. Although Stoltzer was an ordained priest and worked in Catholic establishments, his later works and actions demonstrate a sympathy for the Reformation. The indications are evident from Stoltzer’s settings of select Psalms from Luther’s German Psalter, Das Dritte teyl des allten Testaments ... (Wittenberg: [Lucas Cranach the Elder and Christian Döring], 1524; VD16 B 2911), which appeared in other editions that same year, and from Stoltzer’s association with a staunch Protestant, Duke Albrecht of Prussia (1490–1568). Around half of Stoltzer’s compositional output appeared posthumously in editions issued from the very heart of the Lutheran publishing enterprise, Georg Rhau in Wittenberg. Details of Stoltzer’s musical training are unknown. While a priest in Breslau at the Church of St Elisabeth, 1519–1522, he produced many church compositions. From May 1522 he was magister capellae of the Hungarian royal court in Ofen. His life was cut short in 1526 when he drowned.69 The last of the three composers is Heinrich Finck (b. 1444 or 1445; d. 1527), who composed seven hymns in the new material. He was educated at Leipzig University and worked in Lithuania, Poland, Germany and Austria. Although Finck held significant music appointments, includingKapellmeister to Prince (eventually King) Alexander of Poland, and later to Ferdinand I in Vienna, and was a prolific composer, a large number of his works have not survived. Nonetheless examples from all genres he used are extant. Thanks to Georg Rhau, many of Finck’s hymns are known, twenty-two for four and five voices appear in the anthology from which the new material in the Altus partbook derived, Sacrorum hymnorum Liber primus ... (Wittenberg: Georg Rhau, 1542; RISM series B/I, 154212). They are probably the most adventurous works in the collection, using canti firmi in novel
69 For selected publications about this composer, see Hans Albrecht and Otto Gombosi, Thomas Stoltzer: Sämtliche lateinische Hymnen und Psalmen, Denkmäler Deutscher Tonkunst, 65 (Leipzig, 1931; revised edition, with Hans Joachim Moser, Graz, 1959); Hans Albrecht (ed.), Thomas Stoltzer: Ausgewählte Werke, Das Erbe Deutscher Musik, Erste Reihe, 22 (Leipzig, 1942); Lothar Hoffmann-Erbrecht, Thomas Stoltzer: Leben und Schaffen, Die Musik im alten und neuen Europa, 5 (Kassel,1964); Lothar Hoffmann-Erbrecht (ed.), Thomas Stoltzer: Ausgewählte Werke, Das Erbe Deutscher Musik, Erste Reihe, 66 (Leipzig, 1969) and 99 (Leipzig, 1983); Thomas Schmidt-Beste, ‘Stoltzer, Stolczer, Stolcer, Scholczer, Thomas’, MGG2, Personenteil, xv (2006), cols 1538–44; and Lothar Hoffmann-Erbrecht, ‘Stoltzer [Stolczer, Scholczer], Thomas’, Grove Music Online:
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ways and displaying a command of tonal elements that foreshadowed later composers. He also wrote secular songs. Finck inspired several generations of composers, not only because of his long career, but also because of his willingness to experiment. Like Stoltzer his music reveals sympathy for the Lutheran Reformation even though he worked in Catholic institutions.70 The unidentified early hand which added the text underlay to piece no. VI in all partbooks of the Liber Secundus (see figs 7 and 8) also commented on the irregularity in the Altus partbook of Resinarius’s edition at K.3.f.3. Using black ink at the end of the volume’s first component on signature [q iiij] verso, this early writer inscribed ‘Quaere defectum in folio 99’ (see fig. 13). The inscription appears on the verso of the leaf which precedes the commencement of the extract from Rhau’s other edition. Evidently the scribe planned to enquire, possibly of the edition’s supplier or binder, why piece number XVI, ‘Exurgens autem Maria’, and in particular its ‘Repeticio’, ‘Exlcamavit Elizabeth voce magna’, was incomplete. If the additional leaves from the Resinarius edition had followed, the recto of the next leaf would have shown the conclusion of the ‘Repeticio’ and the Altus part of its ‘Versus’, ‘Et beata quae credidisti’. The scribe indirectly reveals that both components of the Altus partbook at K.3.f.3., each incomplete and from different editions, were present when he/she added the abovementioned inscription. The scribe’s folio number ‘99’ was clearly calculated in the light of Roman numeral ‘C’ (100) printed at the top of the first page of the new material (compare figs 13 and 14). The actual leaf count from the initial title page until the last leaf of the first component is 64, and ‘99’ only makes sense when considered in the context of the extract that follows from Rhau’s 1542 anthology. The scribe, however, mistakenly interpreted the Roman numeral ‘C’ as a folio number, when in fact it is a piece number. Even though each component of the Altus partbook at K.3.f.3. derives from a different edition, it is clear that the partbook was assembled mindfully, because, as indicated earlier, the second component continues the signature pattern of the first component. It is possible that Rhau or his workshop mistakenly assembled the two components when producing the 1543 edition and sold the Altus partbook in its present form. However, it is unclear, because, as shown shortly, two hymns in the new material include early handwritten verses, ones that were almost certainly added when it was accompanied by the other now lost partbooks of the set to which the second component belongs, the anthology Sacrorum hymnorum Liber primus ... (Wittenberg: Georg Rhau, 1542; RISM series B/I, 154212). The early scribes would scarcely have added the extra verses unless the pieces were going to be performed, and for that all four partbooks of the 1542 anthology would have been necessary and each would have required the same handwritten text. On the other hand if Rhau’s workshop assembled the existing Altus partbook at K.3.f.3., then a subsequent owner could have possessed separate copies of the other three partbooks of the 1542 anthology during which time early scribes could have added the handwritten text to all parts of the two hymns. However it would probably have confused singers and caused problems with shelving, because the only title page in the Altus partbook, found at the beginning, belongs to a different edition. There is, though, an alternative explanation which, if correct, would mean that Rhau’s workshop was not responsible for mistakenly arranging the Altus partbook. In this instance, the problem may have arisen when the materials belonged to a subsequent owner who possessed both the 1542 and 1543 editions, and who arranged for them to be rebound at the same time. At that point, the binder could have dismantled the volumes and confused the contents of the Altus partbooks when re-assembling them. If the latter occurred, then presumably the corresponding materials, comprising the initial component of the 1542 anthology and the final
70 More on Heinrich Finck appears in Wolfram Steude, Untersuchungen zur mitteldeutschen Musiküberlieferung und Musikpflege im 16. Jahrhundert (Leipzig, 1978); Eric F. Fiedler, ‘Heinrich Finck, Gaspar van Weerbeke und die Göttin Venus: ein Beitrag zur Cantus-firmus-Praxis im frühen 16. Jahrhundert’, in Ludwig Finscher (ed.), Renaissance-Studien: Helmuth Osthoff zum 80. Geburtstag (Tutzing, 1979), pp. 29–55; Lothar Hoffmann-Erbrecht, Henricus Finck, musicus excellentissimus (1445–1527) (Cologne, 1982); Jürgen Heidrich, ‘Finck, Heinrich’, MGG2, Personenteil, vi (2001), cols 1172–8; and Lothar Hoffmann-Erbrecht, ‘Finck, Heinrich’, Grove Music Online:
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Fig. 13. British Library, K.3.f.3., Balthasar Resinarius, Responsoriorum numero octoginta ... (Wittenberg: Georg Rhau, 1543; RISM series A/I, R 1196 and RR 1196), Altus Partbook, Liber Secundus, signature [q iiij] verso, continuation of no. XVI, which is incomplete and includes a relevant early inscription in black ink.
component of Resinarius’s 1543 edition would have been bound in another partbook. None of the surviving copies of Rhau’s 1542 anthology has a partbook which is misbound in this manner, and if it ever existed then it is probably lost. Until further evidence emerges the circumstances surrounding the confused contents of the Altus partbook at K.3.f.3. will remain shrouded in mystery. Two works in the new material in the Altus partbook of K.3.f.3. are accompanied by additional verses added by early hands as shown in figs 12 and 14. A number of Rhau’s other music editions in the British Library also include sixteenth-century handwritten additions, most of which have been unnoticed until now.71 While the names of the early scribes are unknown, it is quite possible that some were contemporaries of Luther and Rhau, most were probably musicians and some could have
71 A number of Rhau’s music editions in other libraries include early handwritten additions which have largely escaped notice in the literature. For example, some appear in a bound set of three music editions preserved at Staats- und Stadtbibliothek Augsburg, Tonkunst Schletterer 400–403. The set consists of four volumes, each one for a different voice type, Discantus, Altus, Tenor and Bassus; each volume contains three partbooks, one from each edition. Published by Georg Rhau in the 1540s, two of the editions are devoted to hymns, one contains works by Sixtus Dietrich (RISM series A/I, D 3018) and the other is an anthology (RISM series B/I, 154212), and a third edition contains Resinarius’s Responsories (RISM series A/I, R 1196 and RR 1196). For example, in one of its editions, Sacrorum hymnorum Liber primus . . . (Wittenberg: Georg Rhau, 1542; RISM series B/I, 154212), an early scribe added two additional handwritten verses in each partbook to each of the following printed hymns, no. X by Nicolaus Kropstein, ‘Beatus auctor seculi’ (a 5), and no. CXXIX by Balthasar Resinarius, ‘Urbs beata Jerusalem’ (a 4).
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Fig. 14. British Library, K.3.f.3., Altus Partbook, New Material [Sacrorum hymnorum Liber primus ... (Wittenberg: Georg Rhau, 1542; RISM series B/I, 154212)], signature r [i] recto, no. C, Virgilius Haugk, ‘Angelum pacis Michael’, which includes early handwritten additional verses in black ink.
been owners as well. They must have been based in Lutheran Churches or Schools; as mentioned before the latter provided the singers for the services in local Churches. In fact no fewer than twelve of Rhau’s music editions in the British Library include early handwritten material (see Table III, nos 1–2, 4 and 6, and Table IV, nos 1 and 3–9). The handwritten additions comprise extra verses for individual compositions, fragments of text underlay, indications of the number of rests when an individual voice falls silent, manuscript music, markings and other annotations. The extremes are best exemplified by British Library A.562. and K.4.d.14., each of which only includes a signature belonging to a respective early owner (see Table IV, nos 6 and 8), and by British Library 3478. cc.20., A.175., A.499.i., K.3.f.3., K.4.d.13. and K.4.d.17., where the early handwritten additions are relatively plentiful. For instance in K.4.d.13. they largely consist of contemporary manuscript music partially replacing its missing printed leaves and an extra verse added by hand to one of its hymns, whereas in A.499.i. they include extra verses added by early hands to nine of its hymns. The handwritten additional verses demonstrate the preferences of early Lutherans for certain hymns and underline how popular they were in Germany and elsewhere thanks to the reforms of Luther and the contributions by him and his circle.72 Indeed a number of hymns were in much
72 The profound impact of Luther’s hymns and those of his followers and their role in the Reformation are investigated in Christopher Boyd Brown, Singing the Gospel: Lutheran Hymns and the Success of the Reformation. Relevant information also appears in Rebecca Wagner Oettinger, Music as Propaganda in the German Reformation, St Andrews Studies in Reformation History (Aldershot, 2001).
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demand, for they appear with handwritten extra verses on more than one occasion in Rhau’s music editions in the British Library. It is hardly surprising, therefore, to discover that these hymns celebrate major occasions in the Lutheran calendar, such as Christmas, the Epiphany of Our Lord, the Day of Pentecost, the Feast of the Holy Trinity and the Feast of St Michael the Archangel. Earlier, Luther himself chose five of these hymns to set to music using German texts, and by doing so inspired others to set the Latin and German versions to music of their own and performers to use the settings.73 The hymns with early handwritten extra verses in more than one of Rhau’s British Library music editions (or used on more than one occasion in the same edition) are shown in the list below; some begin with a subsequent verse of the hymn, though only the original hymn title, whether set or not, is indicated here. (1) ‘A solis ortus cardine’: A.499.i., no. IX; K.2.c.4., no. IIII; (2) ‘Christe, sanctorum decus angelorum’: A.499.i., no. C; K.3.f.3., Altus partbook, new material, no. C; (3) ‘Hostis, Herodes impie’: A.175., no. XI; A.499.i., no. XI; (4) ‘O lux beata Trinitas’: A.175., no. XLIII; K.4.d.13., folio XIII recto; (5) ‘Te lucis ante terminum’: A.175., no. XCVII; K.3.f.3., Altus partbook, new material, no. CXXXI; (6) ‘Veni, Creator spiritus’: A.499.i., nos LII and LIII; and (7) ‘Veni, redemptor gentium’: A.175., no. II; A.499.i., nos III and V.
Overall the printed hymns, including those with handwritten verses, belong to Latin hymns in the Office of the Hours (‘Liturgia Horarum’) or Divine Office, which consists of hymns, Psalms, biblical passages and prayers for specific times of the day and year. Observed by different branches of Christendom, the Divine Office dates from the first century A.D. and has been modified throughout history. During Luther’s time it was observed by believers in his revised format and elements of it continued to influence the faithful though various liturgical books.74 Except for some later modifications made by others, the literary texts of a number of the hymns with handwritten verses in Rhau’s British Library editions were created by much earlier writers, though some connections have yet to be conclusively established. Allowing for a few instances of uncertain provenance, the relevant texts in these editions were produced by St Ambrose of Milan (340–397), who authored ‘O lux beata Trinitas’, ‘Te lucis ante terminum’ and ‘Veni, redemptor gentium’, and Coelius Sedulius (fifth century), who wrote ‘A solis ortus cardine’ and ‘Hostis, Herodes impie’. A further two hymn texts were written by Rabanus Maurus (776–856): ‘Christe, sanctorum decum angelorum’ and ‘Veni, Creator spiritus’. These hymn texts have a longer association with the Catholic Church, and over the centruies they have been adopted by, and translated for, various branches of Christianity.75
73 Luther composed music for verses from five hymns in the list that follows in the main text, though using German texts. Employing the list’s hymn numbers, and giving relevant numerical and page indications in parentheses for the applicable material in Markus Jenny (ed.), Luthers geistliche Lieder und Kirchengesänge, Luther’s hymn settings are respectively: (1) ‘Christum wir sollen loben schon’ (no. 16, pp. 74–5 and 210–3), (3) ‘Was fürcht’st du, Feind Herodes, sehr’ (no. 37, pp. 117–8 and 302–3), (4) ‘Der du bist drei in Einigkeit’ (no. 41, pp. 122–3 and 311–2), (6) ‘Komm Gott, Schöpfer, Heiliger Geist’ (no. 17, pp. 75 and 214–6), and (7) ‘Nun komm der Heiden Heiland’ (no. 14, pp. 72–3 and 202–4). 74 See Bryan D. Spinks, ‘Luther’s Other Major Liturgical Reforms: 1. The Divine Office and the German and “Latin Litany Corrected”’, Liturgical Review, vii (1977), pp. 35–44, which examines the revisions Luther made and his recommendations of specific combinations of works in Latin and German; further comments on these and other matters appear in Leaver 2007. 75 For more on the use of hymns throughout history, see John Julian (ed.), A Dictionary of Hymnology: Setting forth the Origin and History of Christian Hymns of All Ages and Nations, 2 vols (Revised edition with new supplement, London, 1907; reprinted New York, 1957); see also Ulrich S. Leupold (ed.), [Martin Luther:] Liturgy and Hymns, in Luther American Edition, vol. liii (Philadelphia, 1965).
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By adding handwritten verses, the early scribes transformed the printed compositions from through-composed works with one verse, into strophic pieces repeating the same music with one or more verses or stanzas. In the latter regard, they mirrored German hymns written for Lutheran institutions by Luther, Walther and others which were usually printed and sung with multiple verses. The Tables below detail the handwritten verses in Rhau’s British Library music editions, and information about other early inscriptions is included in a few cases, such as in K.3.f.3. Each of these music editions has a dedicated Table, they comprise British Library K.3.f.3. in Table VIII, A.175. in Table IX, A.499.i. in Table X, K.2.c.4. in Table XI and K.4.d.13. in Table XII. The numbers I have assigned to each scribe are specific to each edition, there are no instances of a copyist contributing to more than one edition here.
Table VIII: Early Handwritten Additions to Works in K.3.f.3.
All four partbooks are present, though as indicated in this article, the Altus partbook is irregular, comprising two incomplete components, one from the edition cited in Table III, no. 2, and the other from the edition cited in Table IV, no. 5.
Nos Scribes Details Liber Primus XXXI. [?] Balthasar Resinarius, ‘Summae trinitati’ (a 4), for the Feast of the Holy Trinity. Text: Responsory. The Altus partbook includes a handwritten mark added in brown ink.
XXXI. 1 Balthasar Resinarius, ‘Versus’ of the above, ‘Praestet nobis gratiam’ (a 4), for the Feast of the Holy Trinity. Text: Responsory. Each of the four partbooks includes a verse from the Doxology written in red ink below the printed text; in the Altus, the handwritten text reads ‘Glo= | ria glo= | ria patri et filio et spiri= | tuj sancto’. The Discantus partbook also has a handwritten indication in red ink of the number of rests which commence the work, ‘24’, and begins with ‘Patri’.
Liber Secundus VI. 2 Balthasar Resinarius, ‘Repeticio’, ‘Et gloria Domini’ (a 4), for the Feast of the Epiphany. Text: Responsory. Although the printed text underlay is complete, the scribe provided extra words in each partbook for a long printed passage sung with one syllable (i.e. a melisma). The handwritten text is in black ink and varies somewhat among the partbooks, the most complete version appears in the Discantus, where it reads ‘super te. Jherusalem rex aeternae misericordiae descende[-] | re Christus dignatus est cuius hodie lux ma[-] | gnifice’; the scribe also added markings to some parts. A reproduction of the example in the Tenor partbook appears in figs 7 and 8.
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Nos Scribes Details XIIII. 1 Balthasar Resinarius, ‘Versus’, ‘Fuit homo missus a Deo’ (a 4), for the Feast of St John the Baptist. Text: Responsory. Each of the four partbooks includes a verse from the Doxology written in black ink beneath the printed text; in the Discantus the handwritten text reads ‘Gloria patri & | filio & spirituj | sancto’. In each part the same scribe also provides an alternative musical ending and marked the place from which it is to apply.
XVI. [?] Balthasar Resinarius, ‘Repiticio’, ‘Exclamavit Elisabeth voce magna’ (a 4), for the Feast of the Visitation of Mary. Text: Responsory. The Discantus partbook includes handwritten markings added in brown ink, though here the overall work commences with the mistaken Responsory number ‘XV’.
XVI. 2 Balthasar Resinarius, ‘Repiticio’, ‘Exclamavit Elisabeth voce magna’ (a 4), for the Feast of the Visitation of Mary. Text: Responsory. In the Altus partbook, the work is incomplete and includes an inscription in black ink at the foot of the page, ‘Quaere defectum in folio 99’ (see fig. 13).
New Material in the Altus Partbook Only C. 3 Virgilius Haugk, ‘Angelum pacis Michael’ (a 4), for the Feast of St Michael the Archangel. Text: Hymn attributed to Rabanus Maurus (776–856). The Altus partbook includes two extra verses written in black ink, all verses are numbered by hand, ‘1’ for the printed version, and ‘2’ and ‘3’ respectively for each of the handwritten verses, with the second above the printed verse and the third below it. The printed and handwritten verses are from a hymn comprising multiple verses, and the original hymn begins with a different verse which K.3.f.3. does not include here, ‘Christe, sanctorum decus angelorum’. The handwritten verses represent some of its subsequent ones and read: ‘2 Angelu[m] nobis medicum [repeat mark] | salutis mitte de coelis | Raphaël ut omnes sanet aegrotos pariterq[ue]. nos= | tros dirigat [repeat mark] actus.’ ‘3 Praestet hoc nobis deitas [repeat mark] | beata patris ac nati | pariterq[ue] sancti sp[i]r[itu]s sp[i]r[itu]s cuius reson[a]t in | omnj omni gloria mundo.’ For a reproduction, see fig. 14.
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Nos Scribes Deatils CXXXI. 4 Unattributed, ‘Te lucis ante terminum’ (a 4), for Sundays and other occasions. Text: Hymn by St Ambrose of Milan (c.340–397). The Altus partbook includes two extra verses written in black ink; the second one is above the printed verse and the third is below it; none of the verses is numbered. The printed text is the first verse of an original hymn comprising multiple verses, and the handwritten ones represent its subsequent verses and read: [2] ‘Procul [repeat mark] recedant som[-] | nia et noctium phantas[-] | mata hostemq[ue] nostrum com[-] | prime ne pollu[-] | antur corpora.’ [3] ‘Praesta [repeat mark] pater om[-] | nipote[n]s per Jesum CHRISTVM Do[-] | minum qui tecum in per[-] | petuum Regnat cum | s[an]cto Spiritu.’ For a reproduction, see fig. 12.
Table IX: Early Handwritten Additions to Works in A.175.
All four partbooks are present, see Table III, no. 4.
Nos Scribes Details 1. 1, 2 and 3 Sixtus Dietrich, ‘Conditor alme syderum’ (a 4), for the Advent of Our Lord. Text: Hymn, author unknown. Each of the four partbooks includes two extra verses written in black and brown ink, one above the printed text and the other below it; none of the verses is numbered. Three scribes were involved, the first copied the text in the Discantus partbook, the second copied the text in the Altus and the first three words of verse [2] in the Bassus, and the third copied the text in the Tenor and everything after the first three words of verse [2] in the Bassus. The printed text is the first verse of an original hymn comprising multiple verses, and the handwritten ones represent some of its subsequent verses and read (transcribed from the Discantus): [2] ‘Vergente mundi uespere uti sponsus de thalamo [repeat mark] | egressus honestissima virginis matris clausula | [repeat mark]’. [3] ‘occasum sol custodiens, Luna pallore[m] retinens [repeat mark] | candor in astris relucens certos obseruat limites | [repeat mark]’.
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Nos Scribes Details II. 4 Sixtus Dietrich, ‘Non ex virili semine’ (a 4), for Vespers in the Vigil of the Nativity of Our Lord. Text: Hymn by St Ambrose of Milan (c.340–397). Each of the four partbooks includes two extra verses written in black ink, one below the printed text and the other in the right hand margin, though in the Discantus it begins in the margin and concludes beneath the work’s last stave; none of the verses is numbered. The printed and handwritten verses are from a hymn comprising multiple verses, the original hymn begins with a different verse which A.175. does not include here, ‘Veni, redemptor gentium’. The handwritten verses represent some of its subsequent ones and read (transcribed from the Altus): [2] ‘Egressus eius a patre egressus eius a patre re[-] | gressus eius ad patrem ad patrem ad patre[m] excursus excursus vs[-] | q[ue] ad inferos inferos recursus | recursus ad sedem De[-] | i’. [3] ‘Deo patri | sit gloria | Eiusq[ue] soli | filio, cu[m] | spiritu | paracleto | in sem[-] | piterna | saecula.’
XI. 1 Sixtus Dietrich, ‘Ibant Magi quam viderant’ (a 4), for the Feast of the Epiphany of Our Lord. Text: Hymn by Coelius Sedulius (fifth century). Each of the four partbooks includes two extra verses written in black ink, one above the printed text and the other below it; all verses are numbered. The printed and handwritten verses are from a hymn comprising multiple verses, the original hymn begins with a different verse which A.175. does not include here, ‘Hostis, Herodes impie’. The handwritten verses represent some of its subsequent ones and read (transcribed from the Discantus): ‘2 Nouum genus potentiae potentiae a= | quae rubescunt hydriae Vinumq[ue] iussa fundere | mutauit Vnda originem’. ‘3 Gloria Gloria tibi Domine Domine qui | apparuisti hodie cum patre & sancto Spiritu | In sempiterna secula’.
XLIII. 5 Sixtus Dietrich, ‘O lux beata Trinitas’ (a 4), for the Feast of the Holy Trinity. Text: Hymn attributed to St Ambrose of Milan (c.340–397). Each of the four partbooks includes two extra verses written in silver and red ink, one above the printed text and the other below it; none of the verses is numbered. The printed text is the first verse of an original hymn comprising multiple verses and the handwritten ones represent its subsequent verses and read (transcribed from the Discantus): [2] ‘Te mane laudu[m] carmine te deprecemur ve= | spere te nostra supplex gloria per cu[n]cta laudet | secula secula’. [3] ‘Deo patri sit gloria eiusq[ue] soli fi= | lio cum spiritu paracleto [repeat mark] et nunc et in per= | petuum perpetuum’.
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Nos Scribes Details XCVII. 6 Sixtus Dietrich, ‘Te lucis ante terminum’ (a 4), for Sundays and other occasions. Text: Hymn by St Ambrose of Milan (c.340–397). Each of the four partbooks includes an extra verse written in brown ink below the printed verse; none of the verses is numbered. The printed text is the first verse of an original hymn comprising multiple verses and the handwritten one represents a subsequent verse and reads (transcribed from the Tenor): [2] ‘Praesta p[ate]r per Filium praesta pater per Filiu[m] | praesta per almum Spiritum Cum his per aeuum triplicj tri[-] | plicj | vnus DEvs vnus DEvs cum numine vnus | DEvs cum numine vnus Devs cu[m] numine [repeat mark]’.
Table X: Early Handwritten Additions to Works in A.499.i.
Only one partbook is present, the Discantus; see Table IV, no. 5.
Nos Scribes Details III. 1 and 2 Heinrich Finck, ‘Veni, redemptor gentium’ (a 4), for the Vigil of the Nativity of Our Lord. Text: Hymn by St Ambrose of Milan (c.340–397). This Discantus partbook includes two extra verses, one written by scribe 1 in red ink above the printed verse and the other written by scribe 2 in black ink below the printed verse; none of the verses is numbered. The printed text is the first verse of an original hymn comprising multiple verses, and the handwritten ones represent some of its subsequent verses and read: [2] ‘Non ex uirili semine sed mystiro spiramine ver= | bum Dei factum est caro fructusq[ue] uentris | floruit Ventris floruit’; the second to last word ‘Ventris’ was added later by scribe 2 in black ink. [3] ‘Deo patri sit gloria eiusq[ue] soli Filio cum | Spiritu paracleto et nunc et in per[-] | petuum Amen Amen.’
V. 1 Thomas Stoltzer, ‘Aluus tumescit virginis’ (a 5), for the Vigil of the Nativity of Our Lord. Text: Hymn by St Ambrose of Milan (c.340–397). This Discantus partbook includes an extra verse written in red ink above the printed verse; none of the verses is numbered. The printed and handwritten verses are from a hymn comprising multiple verses, the original hymn begins with a different verse which A.499.i. does not include here, ‘Veni, redemptor gentium’. The handwritten verse represents a subsequent verse and reads: [2] ‘Procedens de thalamo suo pudoris aula re= | gia Germinae gigas substantiae Alacris ut curat | uiam’.
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Nos Scribes Details IX. 3 Heinrich Finck, ‘Domus pudici pectoris’ (a 4), for the Feast of the Nativity of Our Lord. Text: Hymn by Coelius Sedulius (fifth century). This Discantus partbook includes three extra verses written in red and silver ink; one verse is above the printed verse and two are below it; none of the verses is numbered. The printed and handwritten verses are from a hymn comprising multiple verses, and the original hymn begins with a different verse which A.499.i. does not include here, ‘A solis ortus cardine’. The handwritten verses represent some of its subsequent ones and read: [2] ‘Beatus autor seculi seruile corpus | induit ut car[-] | nem carne liberans ne perderet quos con[-] | didit condidit’. [3] ‘Foeno facere pertulit praesepe non ab= | horruit paruo[-] | q[ue] lacte pastus est per quem nec ales e= | surit esurit’. [4] ‘Gloria tibi domine q[ui] natus es de | uirgine cum pa= | tre et sancto spiritu in sempiterna se= | cula secula’. A reproduction appears in fig. 15.
XI. 4 Wolff Grefinger, ‘Hostis, Herodes impie’ (a 4), for the Feast of the Epiphany of Our Lord. Text: Hymn by Coelius Sedulius (fifth century). This Discantus partbook includes three extra verses written in black ink; one of them replaces the printed text which has been cancelled, another is written above and a further one appears below; none of the verses is numbered. The printed text is the first verse of an original hymn comprising multiple verses, and the handwritten ones represent some of its subsequent verses and read: [2] ‘Ibant Magi quam uiderant stellam sequen= | tes praeuiam praeuiam Lumen requirunt | lumine Deum fatentur munere.’ [3] ‘Nouum genus potentiae aquae rube= | scunt hydriae hydriae uinumq[ue] iussa | fundere mutauit unda originem.’ [4] ‘Gloria tibi Domine qui apparu= | isti hodie hodie cum patre et san= | cto spiritu in sempiterna secula.’
XVIII. 5 Heinrich Finck, ‘Precamur sancte Domine’ (a 4), for Lent. Text: Hymn, author unknown. This Discantus partbook includes two extra verses written in black ink; one verse is above the printed verse and the other is below it; none of the verses is numbered. The printed and handwritten verses are from a hymn comprising multiple verses, and the original hymn begins with a different verse which A.499.i. does not include here, ‘Christe qui lux es et dies’. The handwritten verses represent some of its subsequent ones and read: [2] ‘Oculi oculi oculi som[-] | num capiant Cor ad te semper uigilet Dextera tu[-] | a nos protegat protegat famulos qui te di[-] | ligunt.’ [3] ‘Deo Patri Patri sit | gloria eiusq[ue] soli filio cum Spi[-] | ritu paracleto & nunc & in perpe[-] | tuum’. An inscription in brown ink at the foot of the page could be ‘6 S’.
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Nos Scribes Details XLI. 4 [Unattributed], ‘Pasca quo victor’ (a 4), for Easter. Text: Hymn, author unknown. This Discantus partbook includes two extra verses written in black ink; one is above the printed verse and the other is below it; none of the verses is numbered. The printed and handwritten verses are from a hymn comprising multiple verses, and the original hymn begins with a different verse which A.499.i. does not include here, ‘Vita sanctorum decus angelorum’. The handwritten verses represent some of its subsequent ones and read: [2] ‘Tu tuo laetos famulos trophaeo, nunc in his serua placidis di= | ebus In quibus sanctum celebratur omnem Pascha per or= | bem.’ [3] ‘Hoc pater tecum, hoc idem sacratus, praestet amborum pie Christe | flatus, Cum q[ui]bus regnas Deus unus omnij Iugiter ae= | uo.’
LII. 6 Heinrich Finck, ‘Veni, Creator spiritus’ (a 4), for the Day of Pentecost. Text: Hymn attributed to Rabanus Maurus (776–856). This Discantus partbook includes three extra verses written in brown ink; one is above the printed verse, another is below it, and the last one is copied separately at the foot of the page; none of the verses is numbered. The printed text is the first verse of an original hymn comprising multiple verses, and the handwritten ones represent some of its subsequent verses and read: [2] ‘Qui paracletus diceris donu[m] Dej al= | tissimj fons uius ignis ca= | ritas caritas et spirita= | lis unctio unctio’. [3] ‘Accende lume[n] sensibus infunde amo= | rem cordibus infirma nostri pe= | ctoris pectoris uirtute fi[r]- | ma[n]s perpetj perpetj.’ [4] ‘Per te sciamus da Patre[m] noscamus atq[ue] filium | te utriusq[ue] Spiritu[m] credamus o[mn]i tempore.’
LIII. 4 Thomas Stoltzer, ‘Qui paracletus diceris’ (a 4), for the Day of Pentecost. Text: Hymn attributed to Rabanus Maurus (776–856). This Discantus partbook includes two extra verses written in brown ink; one is copied above the printed verse and the other is below it; none of the verses is numbered. The printed and handwritten verses are from a hymn comprising multiple verses, and the original hymn begins with a different verse which A.499.i. does not include here, ‘Veni, Creator spiritus’ (see the preceding piece, no. LII, for verses from the same hymn). The handwritten verses represent some of its subsequent ones and read: [2] ‘Accende lumen accende lumen sensibus in= | funde amore[m] cordibus, infirma nostri cor= | poris uirtute firmans per= | petum.’ [3] ‘Per te sciamus per te sciamus da patrem no= | scamus atq[ue] filium te utriusq[ue] spiritum | [spi]ritum credamus omnj tem= | pore.’
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Nos Scribes Details C. 5 Virgilius Haugk, ‘Angelum pacis Michael’ (a 4), for the Feast of St Michael the Archangel. Text: Hymn attributed to Rabanus Maurus (776–856). This Discantus partbook includes two extra verses written in black ink, one is above the printed verse and the other is below it; none of the verses is numbered. The printed and handwritten verses are from a hymn comprising multiple verses, and the original hymn begins with a different verse which A.499.i. does not include here, ‘Christe, sanctorum decus angelorum’. The handwritten verses represent some of its subsequent ones. Some of the printed text underlay was omitted from part of the music on the second stave, and at this point the copyist of the handwritten text supplies two versions of the text underlay for no. [2]; the scribe first wrote ‘Raphael omnes’, crossed out the first word, then repeated ‘mitte de coelis’ below. Other emendations also appear in the next handwritten verse, [3], some overwrite earlier text, and some leave the unwanted text uncancelled, thus creating confusion; the text is incomprehensible in places. The handwritten verses read: [2] ‘Angelum nobis medicum | salutis mitte de coelis Raphael omnes mitte de coelis Rapha[-] | el omnes sanat aegrotos pariter[que] no[-] | tros dirigat actus[.]’ [3] ‘Praestet hoc nobis deitas | beata [repeat mark] patris ac nati spiritus pariter[que] | cuius[?] sancti spiritus [latter word written over another word which ends with a crossed out letter] cuius omni[?] resonat[? latter word is smudged and overwrites another word] in o[-] | mni gloria mundo.’
Table XI: Early Handwritten Additions to a Work in K.2.c.4.
Only one partbook is present, the Discantus; see Table IV, no. 7.
Nos Scribes Details III. 1 and 2 Unattributed, ‘Christum wir sollen loben schon’ (a 4), ‘Hymnus. A solis ortus’. Text: Hymn by Coelius Sedulius (fifth century), though only of its Latin version which begins ‘A solis ortus cardine’. This Discantus partbook includes four extra verses written in black ink, all in Latin, one above the printed German verse, one below it and the other two at the foot of the page; none of the verses is numbered. Scribe 1 copied verses [2] and [3], and scribe 2 copied verses [4] and [5]. The printed text is the first verse, though here in German, of an original hymn comprising multiple verses and the handwritten Latin ones represent some of its subsequent verses and read: [2] ‘Beatus autor seculi seruile corpus in[-] | duit ut carne carnem liberans non perderet quod condi[-] | dit’. [3] ‘Domus pudici pectoris templum repente fit | Dei intacta nesciens uirum uerbo concepit fi[-] | lium.’ [4] ‘Foeno iacere pertulit, p[rae]sepe | non abhorruit, paruoq[ue] lacte | pastus, [est] per quem nec ales esurit.’ [5] ‘Gloria tibi Domine, qui natus es de uirgine, cum | patre, et sancto spiritu, in sempiterna secula.’
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Table XII: Early Handwritten Additions to K.4.d.13.
Only one partbook is present, the Discantus; see Table IV, no. 3.
Folios Scribes Details [XII] Missing material: this Discantus partbook lacks a printed leaf, signature [dd i], which has been replaced by a blank leaf. The missing music comprises the conclusion of Adam Rener’s Responsory ‘Qui totum subdit suis’ (a 4) and all of Johann Walther’s hymn ‘O lux beata Trinitas’ (a 4), for the Feast of the Holy Trinity.
XIII recto 1 Heinrich Isaac, ‘Te mane laudu[m] carmine’ (a 4), for the Feast of the Holy Trinity. Text: Hymn attributed to St Ambrose of Milan (c.340–397). This Discantus partbook includes an extra verse written in black ink at the foot of the page (signature dd ij recto); none of the verses is numbered. The printed and handwritten verses are from a hymn comprising multiple verses, and the original hymn begins with a different verse which K.4.d.13. does not include here, ‘O lux beata Trinitas’. The handwritten verse represents one of its subsequent verses and reads: [2] ‘Deo Patri sit gloria eiusq[ue] soli | Filio cum Spiritu paracleto et nunc | & in perpetuum.’
[XV– 2 Missing material and manuscript music: the Discantus partbook XVIII] lacks four printed leaves (signatures dd iiij to ee iij, or folios XV recto to XVIII verso), which have been partially replaced by contemporary manuscript copies. The manuscript material appears on two leaves: folio 1 recto contains four unused hand- ruled staves; and folios 1 verso to 2 verso include a contemporary manuscript copy in black ink of Johann Walther’s setting of ‘Dixit Dominus Domino’ with the Doxology, which was previously on printed leaves XVII verso to XVIII recto. In short the partbook lacks the material that was printed on folios XV recto to XVII recto and XVIII verso, comprising the continuation of Johannes Galliculus’s ‘Magnificat’, an anonymous ‘Te Deum’, Georg Forster’s ‘Unus est Deus’, anonymous settings of ‘Deo dicamus gratias’ and ‘Domine, ad adjuvandum’, and Johann Stahel’s ‘Sede a dextris meis’ and ‘Tecum principium’.
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Fig. 15. British Library, A.499.i., Sacrorum hymnorum Liber primus ... (Wittenberg: Georg Rhau, 1542; RISM series B/I, 154212), Discantus Partbook, signature bb ij recto, no. IX, Heinrich Finck, ‘Domus pudici pectoris’, which includes three early handwritten additional verses in red and silver ink.
Conclusion
Georg Rhau’s music editions in the British Library encompass all the genres used by Luther and his followers and are a significant repository of works used in Lutheran institutions. The materials studied here, including the thirty-five hitherto unnoticed works in K.3.f.3. and early handwritten verses there and in other sources, add to our understanding of the collection and emphasize the vital role of hymns in early Lutheran Churches and Schools. They also enrich our appreciation of Latin hymn settings that early Lutherans singled out for performance with extra verses. Furthermore, Rhau’s music editions in the British Library are a reminder of the composers that were once prominent in the religious life of Europe and of how early Lutherans embraced not only music written specifically for them but also music composed for the Catholic Church. One of Rhau’s defining achievements was to provide his Lutheran contemporaries and successors with printed materials for their religious and educational institutions. Together with the works of other Wittenberg publishers, Rhau provided Luther and his colleagues with the means by which they could disseminate their religious beliefs, literature and music, and in so doing made a major contribution to the foundation of the new faith. Today the Lutheran Church is the largest Protestant denomination in the world, and a measure of that success must be apportioned to its early Wittenberg publishers including Rhau, whose dedication and abilities were devoted to the service of one of history’s great religious figures, Martin Luther.
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Abbreviations
Selected publications and electronic materials have been assigned abbreviations which are explained below.
ADB Die Historische Commission bei der Königlichen Akademie der Wissenschaften (ed.), Allgemeine Deutsche Biographie, 56 vols (Leipzig, 1875–1912).
Becker 1855 Carl Ferdinand Becker, Die Tonwerke des XVI. und XVII. Jahrhunderts oder systematisch- chronologische Zusammenstellung der in diesen zwei Jahrhunderten gedruckten Musikalien, 2nd edn (Leipzig, 1855; reprinted Hildesheim, 1969).
BLMC British Library Main Catalogue, electronic catalogue. See http://explore.bl.uk/primo_library/libweb/action/search.do?vid=BLVU1.
BUCEM 1957 Edith B. Schnapper (ed.), The British Union-Catalogue of Early Music Printed before the Year 1801: A Record of the Holdings of Over One Hundred Libraries throughout the British Isles, 2 vols (London, 1957).
CPM 1981–1987 Laureen Baillie and Robert Balchin (eds), The Catalogue of Printed Music in the British Library to 1980, 62 vols (London, 1981–1987).
Eitner 1877 Robert Eitner (with F. X. Haberl, A. Lagerberg and C. F. Pohl), Bibliographie der Musik- Sammelwerke des XVI. und XVII. Jahrhunderts (Berlin, 1877; reprinted Hildesheim, 1977).
Eitner 1900–1904 Robert Eitner, Biographisch-bibliographisches Quellen-Lexikon der Musiker und Musikgelehrten der christlichen Zeitrechnung bis zur Mitte des neunzehnten Jahrhunderts, 10 vols (Leipzig, 1900–1904; reprinted New York, 1947, and Graz, 1959).
Georg Rhau Musikdrucke Georg Rhau: Musikdrucke aus den Jahren 1538 bis 1545 in praktischer Neuausgabe. Series published by Bärenreiter in Kassel, the initial volumes of which were issued in collaboration with Concordia in St Louis, Missouri.
Grove Music Online Grove Music Online, Oxford Music Online, Oxford University Press. See http://www.oxfordmusiconline.com.
Herbst and Seibt 2012 Wolfgang Herbst and Ilsabe Seibt (eds), Liederkunde zum Evangelischen Gesangbuch, vol. xvii (Göttingen, 2012).
Kulp 1935 Johannes Kulp, Luthers Leben im Spiegel seiner Lieder, Welt des Gesangbuchs, 3 (Leipzig, 1935).
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Leaver 2007 Robin A. Leaver, Luther’s Liturgical Music: Principles and Implications, Lutheran Quarterly Books (Grand Rapids, Michigan, 2007).
Luther American Edition Helmut T. Lehmann et al. (eds), Luther’s Works, American Edition, 78 vols to date (St Louis, Missouri (some Philadelphia, Pennsylvania), 1955–2015).
Luther Weimarer Ausgabe D. Martin Luthers Werke. Kritische Gesamtausgabe, 73 vols (Weimar, 1883–2009).
MGG2 Ludwig Finscher (ed.), Die Musik in Geschichte und Gegenwart. Allgemeine Enzyklopädie der Musik ..., 29 vols, 2nd edn (Kassel, 1994–2008). An electronic version is available. See https://www.mgg-online.com/.
NDB Der Historischen Kommission bei der Bayerischen Akademie der Wissenschaften (ed.), Neue Deutsche Biographie, 25 vols to date (Berlin, 1952–).
Nehlsen 2008–2009 Eberhard Nehlsen (compiler), Gerd–Josef Bötte, Annette Wehmeyer and Andreas Wittenberg (eds), Berliner Liedflugschriften: Katalog der bis 1650 erschienenen Drucke der Staatsbibliothek zu Berlin Preussischer Kulturbesitz, 3 vols, Bibliotheca Bibliographica Aureliana, 215–217 (Baden-Baden 2008–2009).
Patalas Katalog Aleksandra Patalas, Katalog starodruków muzycznych ze zbiorów byłej Pruskiej Biblioteki Państwowej w Berlinie, przechowywanych w Bibliotece Jagiellońskiej w Krakowie (Kraków, 1999, though the book was not issued until mid-2000).
Reske 2007 Christoph Reske, Die Buchdrucker des 16. und 17. Jahrhunderts im deutschen Sprachgebiet. Auf der Grundlage des gleichnamigen Werkes von Josef Benzing, Beiträge zum Buch- und Bibliothekswesen, 51 (Wiesbaden, 2007).
RISM Répertoire International des Sources Musicales references in this article are found in series A/I, B/I, B/VI and B/VIII. (1) RISM series A/I. i–ix, Karlheinz Schlager et al. (eds), Einzeldrucke vor 1800 (Kassel, 1971–1981), xi–xiii, Ilse Kindermann and Jürgen Kindermann (eds), Addenda et corrigenda (Kassel, 1986, 1992, and 1998), xiv, Gertraut Haberkamp (ed.), Addenda et corrigenda (Kassel, 1999), and xv, (no editor named) Register der Verleger, Drucker und Stecher und Register der Orte (Kassel, 2003). (2) RISM series B/I. i: François Lesure (ed.), Recueils imprimés, XVIe–XVIIe siècles (Munich-Duisburg, 1960). (3) RISM series B/VI. i–ii: François Lesure (ed.), Écrits imprimés concernant la musique (Munich-Duisburg, 1971). (4) RISM series B/VIII. i–ii: Konrad Ameln, Markus Jenny and Walther Lipphardt (eds), Das Deutsche Kirchenlied: Kritische Gesamtausgabe der Melodien, i, Verzeichnis der Drucke (Kassel, 1975), and ii, Verzeichnis der Drucke Register (Kassel, 1980). The music materials are distinguished as follows: RISM series A/I uses alphabetical letters followed by catalogue numbers for its single composer editions (e.g., D 3017); RISM series
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B/I uses publication years with superscript catalogue numbers for anthologies (e.g., 15405); RISM series B/VI uses volume numbers followed by page numbers for books on music (e.g., i, p. 301); and RISM series B/VIII uses publication years with superscript catalogue numbers for editions with German sacred vocal music (e.g., 152607). RISM is progressively adding materials to its electronic inventory, and thus far includes selected early music manuscripts and early music editions. See https://opac.rism.info/metaopac/start.do?View=rism.
Schmid 1845 Anton Schmid, Ottaviano dei Petrucci da Fossombrone der erste Erfinder des Musiknotendruckes mit beweglichen Metalltypen, und seine Nachfolger im sechzehnten Jahrhunderts. Mit steter Rücksicht auf die vorzüglichsten Leistungen derselben und auf die Erstlinge des Musiknotendruckes (Vienna,1845).
Squire 1912 William Barclay Squire, Catalogue of Printed Music Published between 1487 and 1800 now in the British Museum, 2 vols (London, 1912).
VD16 Verzeichnis der im deutschen Sprachbereich erschienenen Drucke des 16. Jahrhunderts (VD16): Digital Bibliography of Books Printed in German Speaking Countries of the Sixteenth Century. See https://opacplus.bib-bvb.de/TouchPoint_touchpoint/start.do?SearchPro file=Altbestand&SearchType=2.
Wackernagel 1855 Philipp Wackernagel, Bibliographie zur Geschichte des deutschen Kirchenliedes im XVI. Jahrhundert (Frankfurt am Main, 1855).
Wackernagel 1864 Philipp Wackernagel, Das deutsche Kirchenlied von der ältesten Zeit bis zu Anfang des XVII. Jahrhunderts mit Berücksichtigung der deutschen kirchlichen Liederdichtung im weiteren Sinne und der lateinischen von Hilarius bis Georg Farbricius und Wolfgang Ammonius, 5 vols (Leipzig, 1864–1877).
Williams and Balensuela 2007 David Russell Williams and C. Matthew Balensuela, Music Theory from Boethius to Zarlino: A Bibliography and Guide, Harmonologia, 14 (Hillsdale, New York, 2007).
Appendix I: Georg Rhau’s Early Music Editions in the British Library Once Owned by Otto Kade and Reinhard Kade and Their Inscriptions
The relevant editions are here indicated using shelfmarks with cross references to their detailed coverage in Table IV. Comments about the inscriptions of Otto Kade and Reinhard Kade, or in one case their absence, appear below.
A.20.: Discantus and Bassus partbooks; see Table IV, no. 8. Otto Kade: Using black ink in the Bassus partbook, he added markings to selected pieces; see signatures [AA i] verso, AA iij verso and BB ij recto. Reinhard Kade: Using black ink on the recto of the second front fly leaf in each volume, he inscribed the partbook name, the edition’s title and imprint, a reference to Eitner 1877, and then added his signature.
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A.499.i.: Discantus partbook; see Table IV, no. 5. Otto Kade: (1) Using black ink on the title page, he inscribed a description of contents and his signature, ‘Sacrorum Hymnorum, Lib. I, [130 Hymnen enthaltend] | Wittenberg, G. Rhaw, 1842 | O. Kade’ (the square brackets and its material were supplied by Kade, see fig. 3). (2) Using black ink and pencil, he annotated selected works, specifying composer names and citing a concordance; see signatures aa iij recto, dd iij recto, ee iij verso, gg ij recto, gg iij verso, hh [i] recto and qq iij recto. Reinhard Kade: Using black ink on the recto of the second front fly leaf of the volume, he inscribed the edition’s title, the partbook name, a reference to Eitner 1877 reproducing various details including its list of libraries that possessed the edition, and then added his signature.
K.4.d.13.: Discantus partbook; see Table IV, no. 3. Reinhard Kade: (1) Using black ink on the front cover of the volume, he inscribed the partbook name, now cropped, and the edition’s title, ‘[Discantu]s Vesperarum precum officia’. (2) Using black ink on the recto of the second front fly leaf of the volume, he inscribed the partbook name, the edition’s title and imprint, a reference to Eitner 1877 reproducing various details including its list of libraries that possessed the edition, and then added his signature.
K.4.d.14.: Discantus, Altus, Tenor and Bassus partbooks; the only partbook in this set connected to the Kade sale is the Tenor; see Table IV, no. 8. Otto Kade: Using pencil in the Tenor partbook, he annotated two works referring to the errata cited at the rear of the volume, see signatures Dd iij recto and [Dd iiij] verso, and marked two works in the index. Reinhard Kade: Using black ink on the recto of the second front fly leaf of theT enor volume, he inscribed the partbook name, the edition’s title and imprint, a reference to Eitner 1877 reproducing various details including its list of libraries that possessed the edition, and then added his signature. The Tenor partbook was covered by the British Museum, and the leaf used by Reinhard Kade is the only fly leaf retained from its previous binding.
K.4.d.15.: Altus partbook; see Table IV, no. 1. Otto Kade: (1) Using black ink on the title page, he inscribed a description of contents and implied a connection to one of Sixtus Dietrich’s editions, ‘Rhau. Selectae Harmoniae 4 vocum. 1538 | (Rhaw er ersehet dieser Ausgabe im opus musicum hymnorum vo[n] Sixtus Dietrich)’. (2) Using black ink and pencil, he added markings and annotations to selected works, specifying composer names and liturgical function and commenting on other matters; one of his extended inscriptions, on signature gg ii verso, includes his cropped signature; he also cites concordances in some inscriptions, such as on signature nn ij recto where his now cropped comments read ‘siehe: Mettenleiter, Enchi[-] | ridion, pag. 56. Responsor[ium] | breve, in festis | Duplicibu[s] | Semiduplicibu[s] | Tempore Paschal[i]’, a reference to Johann Georg Mettenleiter, Enchiridion chorale, sive selectus locupletissimus cantionum liturgicarum juxta ritum S. Romanae Ecclesiae per totius anni circulum praescriptarum (Regensburg, 1853), p. 56; besides the title page, his inscriptions appear on signatures aa iij verso, gg ii verso, gg iij verso, hh [i] recto, [hh iiij] recto, ii ij verso and nn ij recto.
71 eBLJ 2017, Article 1
8559 eblj Article 11 v10, 2016.indd 71 16/02/2017 09:30 A Collection of Georg Rhau’s Music Editions and Some Previously Unnoticed Works
Reinhard Kade: (1) Using black ink on the recto of the second front fly leaf of the volume, he inscribed the edition’s title and imprint, the partbook name and a reference to Eitner 1877 reproducing various details including its list of libraries that possessed the edition. (2) Using pencil on the title page, he inscribed ‘Becker S. 101’ [recte col. 109], a reference to the music edition in Becker 1855.
K.4.d.16.: Discantus, Altus, Tenor and Bassus; the only partbook in this set connected to the Kade sale is the Discantus; see Table IV, no. 5. The partbook was bound by the British Museum, which supplied new fly leaves; any fly leaves which existed during the time of the Kade family are no longer extant; lacks inscriptions by Otto Kade and Reinhard Kade, though the Discantus partbook was part of the sale of the Kade collection to the British Museum.
K.4.d.17.: Bassus partbook; see Table IV, no. 9. Otto Kade: (1) Using black ink on the front cover, he inscribed the edition’s title and imprint and the partbook name, ‘Primus tomus novi operis musici. | 1545. | Bassus’. (2) Using black ink on the title page, he inscribed ‘Rhaw’. (3) Using pencil, he annotated selected works specifying composer names, liturgical function, concordances and making other comments; see signatures CC ij verso, NN [i] verso, [OO iiij] verso, PP ij recto, QQ ij verso, RR iij verso and index. Reinhard Kade: (1) Using black ink on the verso of the first front fly leaf of the volume, he inscribed itel‘T im Tenor: (vgl. Eitner Bibliogr. S. 91.)’, the latter refers to Eitner 1877. (2) Using black ink on the recto of the second front fly leaf of the volume, he inscribed the edition’s title, the partbook name, the edition’s imprint, Eitner 1877’s list of libraries that possessed the edition, and then added his signature.
72 eBLJ 2017, Article 1
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