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Early Music Printing in German-Speaking Lands

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Early Music Printing in German-Speaking Lands EARLY MUSIC PRINTING IN GERMAN-SPEAKING LANDS The first century of music printing in Germany had its own internal dynamics, affected by political and social events such as the Reformation. Yet it also had an international dimension: German printers set up shops all around Europe, taking materials and tech - niques with them, or exporting necessary materials such as type. For the first time, this collection brings together the different strands that define the German music printing landscape from the late fifteenth to the late sixteenth century. From the earliest developments in music printing and publishing, to printing techniques and solutions, the commerce of music printing, and intellectual history, the chapters outline broad trends in the production of different genres of printed books and examine the work of individual printers. The book draws upon the rich information gathered for the online database Catalogue of early German printed music/Verzeichnis deutscher Musikfrühdrucke (vdm), the first systematic descriptive catalogue of music printed in the German-speaking lands between c.1470 and 1550, allowing precise conclusions about the material production of these printed musical sources. The result is a highly original and varied picture of the beginnings of music printing in a geographical region that, until now, has been somewhat neglected. Andrea Lindmayr-Brandl holds a chair of music history at the University of Salzburg, Austria. She studied music, musicology, philosophy and mathematics at her home university, at the Mozarteum Salzburg and at the Schola Cantorum Basiliensis. Her doctoral dissertation examined the sources of the motets of Johannes Ockeghem, and her habilitation studied Schubert’s musical fragments. She has held the Austrian Chair Professorship at Stanford University, has been guest professor at the University of Vienna and is an active member of several academic institutions and organisations. She directs two research projects: one on the critical edition of works by Gaspar van Weerbeke, the other the project Early music printing in German-speaking lands. Elisabeth Giselbrecht is an early career fellow at King’s College, London, UK. She completed her undergraduate and Master’s degrees in Vienna (including a term at New York University), followed by a PhD on the dissemination of Italian sacred music in German-speaking lands in early modern Europe at the University of Cambridge (2012). She then took up a post-doctoral position at the University of Salzburg, working on the project and database Music printing in German-speaking lands. Her current research project, entitled Owners and Users of Early Music Books, is funded by a Leverhulme Early Career Fellowship. Grantley McDonald is a postdoctoral researcher and lecturer in the department of musicology, University of Vienna, Austria, where he directs the FWF research project The court chapel of Maximilian I: between art and politics. He holds doctoral degrees in musicology (Melbourne, 2002) and history (Leiden, 2011). Grantley has held postdoctoral fellowships at Wolfenbüttel, Tours, Leuven, Dublin, and the University of Salzburg, where he worked on the project Early music printing in German-speaking lands. His research has been distinguished with prizes from the Australian Academy of the Humanities (Canberra) and the Praemium Erasmianum Foundation (Amsterdam). He is author of Biblical Criticism in Early Modern Europe: Erasmus, the Johannine Comma and Trinitarian Debate (Cambridge, 2016). Music and Material Culture Series Editor Laura Macy Music and Material Culture provides a new platform for methodological innovations in research on the relationship between music and its objects. In a sense, musicology has always dealt with material culture; the study of manuscripts, print sources, instruments and other physical media associated with the production and reception of music is central to its understanding. Recent scholarship within the humanities has increasingly shifted its focus onto the objects themselves and there is now a particular need for musicology to be part of this broader ‘material turn’. A growing reliance on digital and online media as sources for the creation and consumption of music is changing the way we experience music by increasingly divorcing it from tangible matter. This is rejuvenating discussion of our relationship with music’s objects and the importance of such objects both as a means of understanding past cultures and negotiating current needs and social practices. Broadly interdisciplinary in nature, this series seeks to examine critically the materiality of music and its artefacts as an explicit part of culture rather than simply an accepted means of music-making. Proposals are welcomed on the material culture of music from any period and genre, particularly on topics within the fields of cultural theory, source studies, organology, ritual, anthropology, collecting, archiving, media archaeology, new media and aesthetics. Recent titles in the series: Senza Vestimenta: The Literary Tradition of Trecento Song Lauren McGuire Jennings Manuscript Inscriptions in Early English Printed Music David Greer Media, Materiality and Memory: Grounding the Groove Elodie A. Roy Late Medieval Liturgies Enacted: The Experience of Worship in Cathedral and Parish Church Sally Harper, P.S. Barnwell and Magnus Williamson Early Music Printing in German-Speaking Lands Edited by Andrea Lindmayr-Brandl, Elisabeth Giselbrecht and Grantley McDonald First published 2018 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 selection and editorial matter, Andrea Lindmayr-Brandl, Elisabeth Giselbrecht, and Grantley McDonald; individual chapters, the contributors. The right of Andrea Lindmayr-Brandl, Elisabeth Giselbrecht, and Grantley McDonald to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication Data Names: Lindmayr-Brandl, Andrea. | Giselbrecht, Elisabeth. | McDonald, Grantley Title: Early music printing in German-speaking lands / edited by Andrea Lindmayr-Brandl, Elisabeth Giselbrecht, and Grantley McDonald. Description: Abingdon, Oxon ; New York, NY : Routledge, 2018. | Includes bibliographical references and index. Identifiers: LCCN 2017041980| ISBN 9781138241053 (hardback) | ISBN 9781315281452 (ebook) Subjects: LCSH: Music printing – German speaking countries – History – 15th century. | Music printing – German speaking countries – History – 16th century. Classification: LCC ML112 .E3 2018 | DDC 070.5/7940943 – dc23 LC record available at https://lccn.loc.gov/2017041980 ISBN: 978-1-138-24105-3 (hbk) ISBN: 978-1-315-28145-2 (ebk) Typeset in Palatino by Florence Production Limited, Stoodleigh, Devon, UK Bach musicological font developed by © Yo Tomita Contents List of plates ix List of figures and music examples x List of tables xiii List of contributors xiv List of abbreviations xvii Introduction 1 Andrea Lindmayr-Brandl, Elisabeth Giselbrecht, and Grantley McDonald PART I Music printing and publishing in the fifteenth century 19 1 Early music printing and ecclesiastic patronage 21 Mary Kay Duggan 2 German-speaking printers and the development of music printing in Spain (1485–1505) 46 Margarita Restrepo PART II Printing techniques: problems and solutions 65 3 ‘Made in Germany’: the dissemination of mensural German music types outside the German-speaking area (and vice versa), up to 1650 67 Laurent Guillo 4 Printing music: technical challenges and synthesis, 1450–1530 84 Elisabeth Giselbrecht and Elizabeth Savage 5 ‘Synopsis musicae’: charts and tables in sixteenth-century music textbooks 100 Inga Mai Groote viii CONTENTS PART III Music printing and commerce 121 6 Melchior Lotter: a German ‘music printer’ 123 Elisabeth Giselbrecht 7 The music books of Christian Egenolff: bad impressions = good return on investment 135 John Kmetz 8 The music editions of Christian Egenolff: a new catalogue and its implications 153 Royston Gustavson PART IV Music printing and intellectual history 197 9 The cult of Luther in music 199 Grantley McDonald 10 Theobald Billican and Michael’s ode settings in print: notes on an exceptional transmission 225 Sonja Tröster 11 Polyphonic music in early German print: changing perspectives in music historiography 245 Andrea Lindmayr-Brandl Index 260 Plates 1 Graduale Herbipolense. Würzburg: Georg Reyser, 1496 2 Obsequiale Eystettense. Eichstätt: Michael Reyser, 1488 3 Obsequiale Augustense. Augsburg: Erhard Ratdolt, 1487 4 Missale Cesaraugustanum. Zaragoza: Pablo Hurus, 1485 5 Processionarium Predicatorum. Seville: Meinardo Ungut and Estanislao Polono, 1494 6 Missale mixtum. Toledo: Pedro Hagenbach, 1500
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