TY - JOUR
AU - Knighton, Tess
AB - Abstract The 2011 discovery that the substantial collection of sixteenth-century printed partbooks preserved in Madrid’s Real Conservatorio Superior de Música originally belonged to an Austrian diplomat, Wolfgang Rumpf, has opened up new perspectives on the formation of early modern music libraries. Employed by the Holy Roman Emperor Rudolf II, Rumpf was also an informant of Philip II of Spain, who rewarded him with induction into the chivalric Order of Santiago. The Order, headquartered at Uclés, received the bulk of Rumpf’s music library after his death. This article uses Rumpf’s library, and the catalogue he commissioned from the Imperial Librarian Hugo Blotius, to shed light on the music book’s place in early modern material culture, and music’s place in an expanding world of knowledge. Rumpf’s partbooks were not, in the first instance, intended for performance; they reflect instead his assiduous efforts to assemble a ‘universal library’ in which music books formed an integral part. In memoriam Dr Alison J. Dunlop (1985–2013) In 1927, the Spanish musicologist Higinio Anglés published a brief article in the journal Estudis Universitaris Catalans in which he provided an inventory for a collection of fifty-eight partbooks held at the Real Conservatorio Superior de Música in Madrid.1 Library stamps indicated that the collection had previously been part of the holdings of Uclés Monastery, the principal house of the Military Order of the Knights of Santiago, located on a hilltop in Castile some 90 kilometres south-east of Madrid. Noting the Flemish-style bindings and the largely northern European repertory contained in the partbooks, Anglés suggested that the collection originally belonged to a Flemish musician who had travelled to Spain to serve in the royal chapel, and he hypothesized that somehow it had passed through the Spanish royal court to Uclés. It was probably Anglés himself who subsequently informed RISM of the seventy or so printed editions represented in the fifty-eight bound volumes at Uclés, almost all of them issued in northern and central Europe in the 1560s and 1570s, and a few of them unica.2 The collection, however, received little musicological attention until 2008, when a detailed study was carried out for the first time.3 It became clear immediately that this was an unusual collection for a religious institution, in Spain and in Europe more generally. Both the material aspects of the volumes, with their uniform luxury bindings and absence of usage markings, and their diverse contents made it unlikely that they had ever been the practical tools of a musician in the Spanish royal chapel, as Anglés had suggested. Nor, for that matter, would the varied repertory—comprising anthologies of French chansons in addition to collections of masses, motets, and other sacred genres—have been of much practical use to a monastery. The pristine condition and diverse contents suggested instead that the books were once part of the curated library of a wealthy music lover. Most tellingly, they bear traces of a cataloguing system: the frontispiece of each print is neatly inscribed with a number in a series ranging from 791 to 884. Evidently, the books had once formed part of an even larger collection. But who was the original owner of this singular collection? It was possible to trace its provenance back to 1789, when the collection was still at Uclés and when it comprised seventy-two partbooks. Indeed, piecing together the collection’s chequered history from its transfer from Uclés to Madrid in 1872, and from then until 1989, when it finally arrived at its current location at the Royal Conservatory, exposed a depressing pattern of loss, with partbooks disappearing sporadically until well into the twentieth century (see below, Appendix I, ‘The History of the Uclés Collection’).4 While this most recent history was clear enough, the collection’s earlier history resisted recovery, since much of the documentation of the Monastery of Uclés was destroyed when the French army occupied it in 1809.5 That the original owner was either a Knight of the Order of Santiago or was closely associated with the Order seemed logical. Founded in the twelfth century following the model of the crusading Knights Templar, the Order of Santiago was flourishing by the sixteenth century.6 During his tenure as Grand Master of the Order in the early 1500s, Charles V, Holy Roman Emperor and King of Spain (r. 1519–56), initiated a monumental reconstruction project at the Uclés headquarters. The old medieval fortress was fitted out with a new church, sacristy, and refectory decorated in the up-to-date and indigenous Plateresque style.7 By the end of the century, the Order counted among its members a number of important intellectual and political figures, including Benito Arias Montano (c.1525–98), editor of the Biblia Polyglotta (Antwerp, 1568–73) and librarian to Philip II, and Don Francisco Gómez de Sandoval (1552 or 1553–1621), first Duke of Lerma.8 Could the partbooks have belonged to one of these cultivated individuals? The repertory in the Uclés collection yielded further clues to its origins. In terms of composers and publishers the contents are much more northern and central European than is generally found in sixteenth-century printed books preserved in Spain; a Venetian and Roman repertory would have been more typical.9 With this in mind, it is striking that only a handful of the Uclés books were issued in Venice, the undisputed printing centre of sixteenth-century Europe. Moreover, in the case of a number of the northern editions found among the Uclés partbooks, there is little or no evidence to suggest that they were ever in general circulation in Spain. It is unlikely, for instance, that the Nuremberg motet prints of Melchior Schramm (active in Silesia), Teodor Riccio (active in Saxony and Prussia), Johannes Knöfel (active in Silesia), or Michael Tonsor (active in Franconia and Bavaria) that populate the Uclés collection were especially coveted in sixteenth-century Spain.10 The owner of the Uclés prints, then, was someone who acquired them through personal connections or travel to German-speaking lands or, possibly, through residence in a major bookselling centre in the Spanish sphere, such as Antwerp,11 Barcelona,12 or Valladolid.13 Perhaps he was a court agent or diplomat, one of the many erudite men drawn from the ranks of Spain’s petty nobility to safeguard Spanish interests in the Low Countries or act on behalf of Philip II in Central Europe. Among the likely candidates was Juan de Borja y Castro (1533–1606), a member of the Order of Santiago from 1548 onwards, and Spanish Ambassador to the Holy Roman Empire from 1576 to 1581.14 There was certainly no shortage of evidence as to Borja’s musical interests, both during his tenure as ambassador and upon his return to Spain. Mateo Flecha el Joven dedicated the Ensaladas (Prague, 1581), an edition of the macaronic polyphony of his uncle, Mateo Flecha el Viejo, to Borja in 1581. Furthermore, Pietro Cerone, in El melopeo y maestro (Naples, 1613), set aside his typically dismissive pronouncements about the cultural inclinations of the Spanish nobility to laud Borja for his exceptional musical patronage.15 Borja was an important catalyst for the movement of material objects between central Europe and the Iberian peninsula, facilitating a large-scale transfer of relics from derelict monasteries in Bohemia to the Monastery of São Roque in Lisbon in 1587, for example.16 More to the point, Borja was known to have amassed an extensive library that was dispersed when he died.17 Still, as appealing a candidate as Borja was, the inventory of his music collection––drawn up by no less a figure than Tomás Luis de Victoria––revealed that he owned primarily sacred music, and what little he had in the way of secular music was restricted to Italian repertory, for instance madrigals by Palestrina and Rore.18 Borja’s successor as ambassador to the Imperial court, Guillén de San Clemente (d. 1608), was another Santiago Knight who owned music books. Although no inventory of his collection is known, his distinctive ex libris appears in a copy of Orlande de Lassus’s Patrocinium musices (Munich, 1574) held today in the National Library of the Czech Republic in Prague.19 The absence of San Clemente’s ex libris in the Uclés partbooks, and of catalogue numbers on the Prague Patrocinium print’s binding, however, suggested that he was not the man we were looking for. Other Spanish candidates surfaced, but without further documentation it was impossible to narrow the field of possibilities, much less to connect the books to any specific person.20 The solution, as it turned out, lay not in Spain but in central Europe. More precisely, it lay in the Codex Vindobonensis Palatinus 15.286, a 295-page inventory in the holdings of the Österreichische Nationalbibliothek in Vienna. The first page (Pl. 1) identifies the author of the codex as the Imperial librarian Hugo Blotius (1553–1608) and gives the date of its creation as March 1583. Pl. 1. Open in new tabDownload slide Vienna, Österreichische Nationalbibliothek, Codex Vindobonensis Palatinus 15.286, fo. 1 (detail). Reproduced by permission Pl. 1. Open in new tabDownload slide Vienna, Österreichische Nationalbibliothek, Codex Vindobonensis Palatinus 15.286, fo. 1 (detail). Reproduced by permission Capital letters reading ‘Librorum bibliothecae Rumpfianae ordine numerorum perpetua serie continuatorum catalogus’ identify the document as a catalogue of the books owned by Wolfgang Rumpf von Wielross (c.1536–1605), an Austrian nobleman inducted into the Order of Santiago in 1593 (Pl. 2).21 This storied figure had accompanied the future Emperor Rudolf II (r. 1576–1612) and his brother Ernst to Spain in the 1560s. As Imperial Privy Councillor at the Rudolfine court, Rumpf was for a time the most powerful of the Emperor’s confidants, and he was the dedicatee of several printed collections of polyphony. Pl. 2. Open in new tabDownload slide Lucas Kilian, Portrait of Wolfgang Rumpf (undated). Vienna, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung, Porträtsammlung, Inventar-Nr. PORT_00123250_01. Reproduced by permission Pl. 2. Open in new tabDownload slide Lucas Kilian, Portrait of Wolfgang Rumpf (undated). Vienna, Österreichische Nationalbibliothek, Bildarchiv und Grafiksammlung, Porträtsammlung, Inventar-Nr. PORT_00123250_01. Reproduced by permission In 1583, as a rising star at a court that was being relocated from Vienna to Prague, Rumpf had commissioned Blotius to record the contents of his treasured library. He could not have made a better choice. The Dutch librarian had been hired in 1575 by Maximilian II to bring order to the vast and mouldering Imperial library in Vienna. Although Blotius’s Calvinism made him an object of suspicion in Catholic quarters, Rudolf nevertheless retained him after Maximilian’s death in 1576.22 Influenced by the bibliographic projects of the Swiss polymath Conrad Gessner (1516–65), author of the Bibliotheca universalis (Zurich, 1545) and especially by its companion, a subject index entitled Pandectarum sive Partitionum universalium libri XXI (Zurich, 1548–9), Blotius sought to develop a comprehensive system of organizing the domains of human knowledge.23 To this end, while grappling with the monumental task of imposing order on the chaotic Imperial collections, Blotius corresponded regularly with Johann Jakob Frisius (1546–1611), whose revised edition of Gessner’s Bibliotheca universalis appeared in 1583.24 Blotius’s missives suggest that he viewed Rumpf’s commission as an opportunity to test his bibliographic theories on a manageable scale. It was in this context of acquisition and categorization that Rumpf’s substantial collection of music books was integrated into his larger library, and that the partbooks acquired the shelfmarks—still clearly visible on their title pages—that corresponded to Blotius’s new cataloguing system. The inventory of Rumpf’s library has been known to Habsburg scholars for some time. The British historian Robert Evans made a tantalizing reference to it in 1974 in a footnote to his foundational study of Rudolfine court culture, writing that Rumpf’s collection of more than 1,000 books spanned the spectrum of human knowledge and included ‘a particularly rich assortment of printed and manuscript music’.25 Twenty years later, the musicologist Robert Lindell summarized the inventory’s musical entries in his article ‘Freiherr Wolf Rumpf zum Wielroß als Musikliebhaber’.26 Yet no one connected any extant books––in Vienna or elsewhere––to Rumpf’s once-monumental library, and it was presumed that it had gone the way of the many central European collections that were dispersed or destroyed during the Thirty Years War.27 Could the ‘Uclés partbooks’, whose ownership baffled musicologists for so long, have belonged to Rumpf? This article follows Rumpf from Austria and Bohemia to Spain, showing that the Uclés partbooks did indeed form a part of his collection, which he bequeathed to the Order of Santiago and to King Philip III (r. 1598–1621) in 1604.28 As we plot the route his music books ultimately took from one end of Habsburg Europe to the other, Blotius’s meticulous inventory reassures us that our steps fall on solid ground. Unusually at a time when most music inventories focus on such physical features as the material and colour of bindings, with only the most cursory references to composers, genres, and titles, each entry in Blotius’s catalogus lists the composer, title, city of publication, printer, and year of publication, as well as the number of partbooks and, in many cases, the format (i.e. folio, quarto, octavo, duodecimo, or sextodecimo; vertical or oblong).29 Each of the Uclés prints can be connected to an entry of Blotius’s inventory (see Appendix II for a transcription), except four Moderne prints issued in the 1520s that were clearly part of a separate bequest.30 Any lingering doubts are dispelled by the item numbers assigned to each edition in Blotius’s inventory. With a few exceptions, music books are listed as items 775 to 883. Cross-checking these numbers with the Arabic numerals penned onto the title pages of the surviving Uclés partbooks confirms the match between inventory and collection. The significance of the survival of a private music collection compiled in Austria and Bohemia during the Rudolfine period cannot be overestimated, given the depredations of the Thirty Years War.31 That this central European music library survives in Spain encourages us to take a closer look at cultural exchange between the territories on the western and eastern edges of Europe. In the last decade historians have drawn attention to the travel and migration of early modern Europeans, stressing the cultural impact of diplomats and diplomacy.32 Rumpf offers a case study in diplomatic travels with rich musicological implications: contemporary documents testify to his prominent role at the Habsburg courts in Madrid, Vienna, and Prague, while traces of his religious and political allegiances, habits as a collector, and musical inclinations survive in archives and libraries in Spain, Austria, and the Czech Republic. More broadly, this article participates in the ‘mobility turn’ in the humanities and social sciences, showing what can be gained by looking beyond the confines of the modern nation-states that so often delimit musicological investigations.33 Adopting a transnational methodology to consider familiar kinds of questions—for example, ‘Who collected those music books?’ or ‘What happened to that collection?’—allows us to make sense of collections whose owners roamed freely among the courts and cities of early modern Europe.34 In this case, thinking beyond borders made it possible to solve a pair of long-standing mysteries about the provenance of a celebrated music collection on the one hand, and the fate of a renowned library on the other. In the pages that follow, we outline the cultural and political conditions that made Rumpf an ideal candidate for the diplomatic corps and determined both the course of his foreign service and the nature of his rewards. The complicated circumstances surrounding his induction into the Santiago Order not only underscore his determination to join its illustrious ranks but also, and more importantly, shed light on his decision to bequeath his prized collection to its principal house—a move that was not without its own complications. The subsequent sections of the article are devoted to the collection itself, addressing its scope in the sixteenth century and the portion that survives in Madrid, and, in the last section, detailing the inventive cataloguing system Blotius developed to bring coherence to its multilingual and wide-ranging contents. The recent discovery of the manuscript of Hernando Colón’s ‘Libro de los Epítomes’, with its documentation of the titles and the summaries it provides of the thousands of books he collected, will undoubtedly shed new light on the efforts to catalogue major book collections in the first half of the sixteenth century, precisely at the moment when music prints started appearing in the quantity and variety that made them both available and appealing to bibliophiles.35 In the case of Rumpf’s collection, acquired and catalogued about fifty years after Colón’s library, the survival of both books and inventory—an exceedingly rare situation—illuminates our understanding of the relationship of collector and catalogue to a rapidly expanding world of knowledge. A foldout diagram appended to the inventory reveals that while Rumpf busily situated his prints in physical space, grouping multiple editions together in ‘binder’s volumes’ to be placed in the bookshelves of his palace at Weitra, Blotius located them in the abstract space of a ‘universal library’ of his own design.36 The inevitable tensions between the practical world of material objects and the idealized world of the ‘universal library’ shed light both on the way private libraries were put together and on how the world of knowledge—and music’s place in it—was imagined in early modern Europe.37 DIPLOMACY IN SPAIN AND THE HOLY ROMAN EMPIRE Ideal conditions for a communication network connecting central Europe and Spain were established in the middle of the sixteenth century, when Emperor Charles V brought together the two branches of the Habsburg dynasty for a meeting to determine the future governance of the western and eastern reaches of his territories.38 On 9 March 1551 the so-called ‘Pacto de Familia’ was struck and Charles’s brother Ferdinand became the Emperor’s representative in the Holy Roman Empire, ruling as Imperial Statthalter (Governor).39 Other clauses addressed the issue of succession, securing the appointments of Charles’s son Philip II as heir to the Spanish throne and, after a complicated series of negotiations, the election of Ferdinand’s son Maximilian as King of the Romans and, consequently, the next Holy Roman Emperor.40 The result was the definitive and permanent separation of the governing bodies of the Spanish and Austrian Habsburg domains, and the establishment of fixed courts at Madrid and Vienna (from 1583, Prague) respectively. The effects of this separation on the exchange of people, goods, and ideas between these non-contiguous regions of Europe were profound. A fleet of diplomats was formed, handpicked from the ranks of the lesser nobility or from among the ‘second sons’ of powerful noble families in Spain, Austria, and Bohemia. While Philip II and Maximilian II focused intensely on domestic policy, they chose representatives whose eyes were trained on the world. These individuals—Borja and San Clemente, and their Austrian counterparts, Adam of Dietrichstein and Hans Khevenhüller—were well-versed in foreign affairs and decidedly cosmopolitan in outlook. As curious as they were politically astute, these diplomats immersed themselves intellectually in new cultures and became major players in the transcontinental movement of goods and cultural products. Borja, for example, initiated a short-lived but important series of Spanish-language prints during his sojourn in Prague, overseeing the production of the first Spanish emblem book, the deluxe Empresas morales, as well as Pedro Cornejo’s Historia de las civiles guerras y rebelión de Flandes, at the Prague printing house of Jiří Černý (Georgius Nigrinus) in 1581.41 Copies of the Empresas, as well as Flecha’s Ensaladas, made their way from central Europe into Spanish collections. The Bohemian and Austrian nobles dispatched to Spain established close links with the Spanish nobility, some of them permanent; the number of marriages between Spanish noblewomen and central European diplomats with surnames such as Dietrichstein and Lobkovic illustrates just how solidly the connections between Spain and the Empire were cemented during this period.42 Like Maria of Spain, Philip II’s sister and wife of Maximilian II, who spent some three decades in central Europe, these Spanish noblewomen had a profound impact on musical and religious culture in their new home. Their devout Catholicism stood out in the Kingdom of Bohemia, whose inhabitants were predominantly ‘Utraquists’—followers of Jan Hus—who had fought for autonomy from Rome in the wake of Hus’s execution at the Council of Constance in 1415.43 The book-collecting activities of María Manrique de Lara y Mendoza (c.1538–1608), who married Maximilian II’s representative Vratislav II of Pernštejn in 1555, illustrate the impact of these transcontinental contacts in shaping central European devotional and intellectual life. An enthusiastic patron of Prague’s Jesuits, María donated manuscripts and prints to the Prague Jesuit College (Clementinum) in the early years of the seventeenth century. Many of her books—none of them musical, however—remain in the Clementinum to this day, as part of the holdings of the National Library of the Czech Republic.44 In comparing the activities and allegiances of the Spanish and Imperial ambassadors, an important difference emerges: whereas Spanish ambassadors kept their distance financially and personally from the Austrian Habsburgs and the major central European noble families, Imperial ambassadors stationed in Spain appear to have been loyal first and foremost not to their nominal employers, the Austrian Habsburgs, but to Philip II and to Spain.45 Historians attribute these transferred allegiances to a variety of factors, but the most important motivation appears to have been financial.46 In order to secure the loyalty of these foreign newcomers, Philip II shrewdly offered them remuneration in a variety of forms. The monetary awards he proffered included lucrative rents from encomiendas,47 but he also lured them with the promise of induction into such prestigious military and chivalric orders as Calatrava, Alcántara, Montesa, and––not least––Santiago, all of which were under the control of the Spanish crown. a career diplomat Wolfgang Rumpf von Wielross was one of these ‘new men’, a member of the Austrian petty nobility who improved his position and status through talent, acumen, and wit. Born in the 1530s in Carinthia, he built his career at the courts of the Austrian Habsburgs, but developed his relationship with the Spanish branch of the family to a degree that eventually proved disastrous for his career. The basic outlines of his life are easy enough to trace. Following the example of Adam of Dietrichstein (1527–90), the Austrian ambassador to the Spanish court, Rumpf started out by completing small assignments for Ferdinand I, and achieved his initial success at court through skilful political manoeuvring rather than through strategic financial assistance or outright bribery. His appointment as Chamberlain to Rudolf (the future emperor) and his brother Ernst (future governor of the Spanish Netherlands) when they were sent to Spain to be educated by Philip II offers early evidence of his growing influence. During this eight-year sojourn (1563–71) Rumpf cultivated his relationship with Philip and established a dense network of contacts at the Spanish court. In this, he was probably helped by Dietrichstein, who was the Archdukes’ Obersthofmeister (Chief Steward or mayordomo). Dietrichstein’s marriage to the Spanish noblewoman Doña Margarita Folch de Cardona, for instance, was to give Dietrichstein—and thus Rumpf—entrée into the influential Spanish community in Rudolfine Prague. Rumpf’s own marriage in 1579 to Anna Maria d’Arco (d. 1607) established familial connections with Italy and Spain: Anna Maria was the daughter of the Italian nobleman and representative of Ferdinand I, Scipione d’Arco, and was lady-in-waiting to Maria of Spain prior to her marriage to Rumpf.48 She came from a particularly musical family—her grandfather was the poet Nicolò d’Arco (1492–1546) and her cousin Livia d’Arco (1565–1611) was one of the celebrated singing ladies of Ferrara—and she was to play a crucial role in the transfer of Rumpf’s library from central Europe to Spain after his death.49 Most significant in the light of Rumpf’s connections to the Order of Santiago is Anna Maria’s mother Katherine, who was Spanish, and whose father Bernardín de Meneses (Manesse) had been inducted into the Order in 1528.50 Such influential transcontinental connections proved to be beneficial in Rumpf’s later career, facilitating a fruitful trade in ideas and material objects. The great heights to which Rumpf ascended over the three decades following his return to central Europe with Archdukes Rudolf and Ernst made his sudden fall from grace all the more precipitous. His star rose steadily in the 1570s and 1580s until, as Obersthofmeister to the Imperial Court as well as a member of the exclusive Imperial Privy Council (Geheimer Rat), he was second only to the Emperor himself, now Rudolf II. It is his name, for example, that appears at the head of the Imperial Hofstaat in the description of the Regensburg Imperial Diet written by the Bavarian court chronicler Peter Fleischmann.51 When in 1598 Rudolf suffered an acute bout of melancholia and was unable to attend to matters of state, Rumpf was the only person he would see. Still, the Emperor became suspicious as to Rumpf’s loyalties and in 1600 he unceremoniously dismissed his erstwhile intimate, along with another formerly trusted adviser, the Obersthofmarschall (Chief Lord Chamberlain) and President of the Privy Council Paul Sixt Trautson (1550–1621), and banished the pair and their families from the Imperial court. Although Rudolf was given to bouts of irrational paranoia, his concerns about Rumpf’s allegiances were well founded.52 Rumpf had accepted—perhaps even solicited—diplomatic duties from parties other than his Austrian Habsburg employers, even during his first visit to Spain. The earliest of these outside commissions came in 1563, when Pope Pius IV asked him to report on the Archdukes’ journey to Spain.53 Rome hoped that the Spanish sojourn would establish in the future emperor the fervent commitment to Catholic renewal that characterized Philip II’s religiosity.54 In Rumpf, a devout Catholic himself, Rome found an astute and discreet informant. It was only a matter of time before Philip II, too, decided to capitalize on Rumpf’s diplomatic skills. Even as Rumpf had the ear first of Maximilian and then of Rudolf, he also entered the service of Philip, who duly compensated the astute diplomat by bestowing important Spanish privileges upon him. Perhaps the most significant of these rewards––certainly the one that most publicly celebrated Rumpf’s connections to Spain––was his appointment as member of the chivalric Order of Santiago. Only a handful of non-Spaniards had ever received such an honour, and his induction propelled him into the illustrious company of the Spanish ambassadors to the Holy Roman Empire—Francisco Hurtado de Mendoza and his successors Borja and San Clemente—who were all Santiago Knights.55 While these general biographical outlines were clearly established, the details of Rumpf’s career in Spain, the nature of his Spanish contacts after his return to central Europe, and his life after his fall from grace have remained poorly understood until recently. The heavily biased reports of ambassadors and nuncios offered little more than gossip and speculation. In these sources and in the abundant literature on Rudolf’s court, Rumpf played the role either of hapless victim of the Emperor’s capricious behaviour or exemplum (with Trautson) of the machinations of the dogmatic ‘Spanish party’ in an idealized, tolerant Prague.56 It is only recently, thanks to the meticulous research of the historian Friedrich Edelmayer in Spanish and Austrian archives, that a finely grained account of Rumpf’s Spanish dealings, considerable material acquisitions, and post-lapsarian existence has been pieced together.57 Edelmayer’s transnational investigations help explain how Rumpf was able to acquire so many music books, and why he arranged to have them sent to Spain when he died. After returning to Vienna in 1571 with Archdukes Ernst and Rudolf, Rumpf remained close to their father, Maximilian II. The Emperor repeatedly drew on Rumpf’s expertise in Spanish matters. In 1574 he dispatched Rumpf to Spain to head a special embassy whose official mission was to offer condolences to Philip II on the death of his sister, Juana of Austria. Pressing economic and political concerns led Maximilian to entrust Rumpf with the mission. On the one hand, the Emperor hoped to sell copper from his Neusohl (Banská Bystrica) mines.58 On the other, he wanted to expedite a peaceful resolution with Flemish rebels in the Spanish Netherlands, as well as deal with territorial disputes relating to Spanish and Imperial interests in Milan and Liguria.59 Despite help from his allies Hans Khevenhüller and Francisco de Ibarra in Madrid, as well as Juan de Borja, then stationed in Lisbon, Rumpf failed to achieve Maximilian’s goals. If his two-year Spanish sojourn was a failure politically, at the material level it was a resounding success. Rumpf returned to the Empire in 1576 with a wealth of new possessions. These included rare and exotic objects, textiles, silks, jewellery, books, and very probably the keyboard instrument from Spain that was listed in a 1587 inventory of his possessions.60 Such luxuries testify to Rumpf’s secure financial position, which had improved considerably due to his renewed contact with Philip II and his exploitation of the Spanish monarch’s need for a diplomatically shrewd agent. While Rumpf was in Spain, Philip II granted him a pension in Milan and gave him a valuable gold chain––and this was only the beginning.61 Later rewards, granted after Rumpf’s 1592 induction into the Order of Santiago, included revenues from Spanish holdings in Milan and an encomienda in the important territory of Paracuellos (Castile), granted on 19 March 1594, which also furnished him with a new title: Comendador de Paracuellos.62 From that point on, Rumpf’s loyalties were tightly bound both to the Spanish court and to the Imperial court that was his official employer, and for which he was increasingly indispensable. Initially, these incompatible allegiances do not seem to have come into conflict. Reappointed Chamberlain to the Imperial court by Rudolf in 1576, Rumpf became one of the largest lenders to the cash-strapped court, which was perpetually searching for funding in its on-going conflict with the Ottoman Empire. Among the compensations Rumpf obtained from Rudolf in return for his financial backing was land and a title associated with Weitra, located in Lower Austria near the border with Bohemia. Awarded the property in 1581, the new ‘Freiherr zum Wielroß und Weitrach’ oversaw the construction of a palace there, with construction beginning in 1590.63 It was in Schloß Weitra that Rumpf’s possessions were to be housed, and it was to Weitra that he retreated in the last years of his life. As with many figures associated with the Rudolfine court, Rumpf was well suited to mythologizing. His sudden dismissal in 1600 became the stuff of legend: it was said that he died in prison, forgotten and humiliated, his possessions dispersed.64 Edelmayer’s research reveals a rather more prosaic tale: Rumpf died in 1605, having retained his titles and lived out his days comfortably at Weitra in the palace whose construction he had overseen while serving in Prague. He was buried as he had wished in the prestigious Augustinerkirche in Vienna.65 Correspondence between Spain and Prague suggests that the reason for the dismissal was his impolitic insistence that Rudolf marry and produce an heir––a stance that reflected Spanish concerns about the Imperial succession, and which Rudolf took to be indicative of Rumpf’s divided loyalties.66 Still, Rumpf’s relationship with the Emperor normalized sufficiently in the years following his dismissal that Rudolf turned to him for counsel on more than one occasion.67 Rumpf’s last years, in other words, were not chaotic, and his books were disposed of in an orderly fashion, if not exactly as he intended. As we shall see, it was his status as a Knight of Santiago, more than any other factor, that was to determine the fate of his music library. A KNIGHT OF SANTIAGO Of the many rewards he received from Spain and Austria, Rumpf’s membership in the Order of Santiago caused the most complications. Induction required the completion of a series of tasks, namely six months’ service in the galleys (among the command staff), a three-month novitiate period at the Order’s Uclés headquarters, and, finally, presence in person at Uclés for the induction, in order that the inductee could be knighted by the Prior of the Order, or by one of the trece, the elective council of thirteen knights who administered the Order.68 Problems arose when the busy courtier was unable to meet these conditions, which conflicted with his duties to the Emperor. The negotiations regarding Rumpf’s induction dragged on for some twenty years, from July of 1571, when he was still in Spain, to 1592, when he was finally inducted into the Order.69 It was during these two decades that he acquired the majority of his books. Correspondence on the subject of Rumpf’s membership, preserved in Weitra, reveals that as of 1590 Rumpf was nowhere near meeting the requirements for induction, and that permission to circumvent them needed to come directly from Philip II in his capacity as Supreme Administrator of the Order.70 The permission came the following year: after repeated petitions from the Order to reopen Rumpf’s dossier and bend the rules, the King intervened and exempted Rumpf from the stay at Uclés as well as service in the galleys.71 Further concessions came from Pope Gregory XIV, who valued Rumpf’s presence at the Imperial court. On 21 September 1591 the Pope issued official authorization, allowing Rumpf to be inducted in Prague rather than at Uclés.72 The induction took place on 24 May 1592, in the medieval Church of St George within the walls of Prague Castle.73 Guillén de San Clemente, Philip II’s ambassador and a Knight of Santiago himself, presided over the ceremony, which took place in front of an audience of important nobles from the Imperial court.74 Rumpf continued to wear colourful and rich finery after his induction, rather than the black attire that the Spanish favoured and that was customary for Knights of Santiago—especially for new inductees, who were supposed to wear it at all times.75 While his sartorial choices and unorthodox induction fell short of the Order’s recommendations, there was one guideline that he followed magnificently: the expectation that Knights bequeath books, particularly those of a spiritual nature, to monasteries. The 1577 rulebook explicitly called upon Knights to contribute to the libraries of religious institutions: And we exhort and beseech all knights and brothers of our Order: at the time of death, to remember to set aside and donate to these monasteries or to [other] preferred [monasteries], some of their books and good and holy writings that they own, in order that these might remain in the libraries of said monasteries.76 Married, but without heirs, Rumpf took these words to heart when he laid out his plans for his books in a will dated 25 March 1604.77 Following in the footsteps of the Santiago Knight Francisco Hurtado de Mendoza, Spanish ambassador to the Imperial court from 1570 to 1577, Rumpf bequeathed his library to the Order of Santiago.78 In a sign of his continuing affection for the Spanish Habsburgs, however, he stipulated that the King of Spain be allowed to take what he liked from the collection first.79 As we shall see, this decision laid the groundwork for a transfer that ensured the survival of a great portion of his music library, even as it proved disastrous for the rest of his collection. Long before he signed that fateful document, Rumpf proudly asserted his connection with the Santiago Knights. He saw to it that the arcade courtyard of his Weitra palace was adorned with granite reliefs depicting symbols associated with St James: the scallop shell but also the distinctive cross of the Santiago Knights.80 Other references to the Knights were dispersed throughout his library. For instance, a Santiago pilgrim, identifiable by his staff and scallop shell, appears below Rumpf’s coat of arms on the gilt supralibros stamped onto the front covers of some of his books (see Pl. 3).81 Pl. 3. Open in new tabDownload slide Supralibros on binding of Wytfliet, Descriptionis Ptolomaicae … Notitia (Louvain, 1598). Madrid, Biblioteca Complutense (Fondo Antiguo), sign. 30.218. Reproduced by permission Pl. 3. Open in new tabDownload slide Supralibros on binding of Wytfliet, Descriptionis Ptolomaicae … Notitia (Louvain, 1598). Madrid, Biblioteca Complutense (Fondo Antiguo), sign. 30.218. Reproduced by permission As might be expected, Rumpf also used his new title publicly. In the official listing of the members of the Imperial Hofstaat present at the Regensburg Diet (1594), for example, Rumpf’s entry reads: ‘Dem Wolgebornen Herrn / Herrn Wolff Rumpffen / zum Wuelroß / Freyherrn auff Weythra / Röm: Kay: May: gehaymen Rath / obristem Hoffmeister / un[d] obristem Cammerer / auch Herrn des Ritterlichen Ordens Sancti Iacobi Commendatorn Maiori zu Paracuellos'.82 The title also appears in other contexts where social position and prestige were on display, namely in printed dedications. When the Imperial tenor Franz Sales dedicated a motet print to Rumpf in 1593, for example, he addressed him as ‘Illustrissimo Domino D. Wolfgango / Rumphio Libero Baroni Wielroes et Weitraw / Sac: Caes: Maies: Intimo Co[n]siliario, Supremo Cubiculario, Ordinis S. Iacobi Equiti. Com-/mendatoris Maiori in Paracuellos, Domino suo Clementissimo’.83 Two years later, the Imperial alto Mathias de Sayve (c.1540–after 1619) likewise dedicated a motet print to Rumpf, and similarly included Rumpf’s newest titles in his salutation.84 Sayve took pains to stress the central European roots of the newly minted Knight of Santiago, however. The opening motet, Gaude sancta mater Ecclesia, invokes St Wolfgang, Bishop of Regensburg (r. 972–94) and Rumpf’s namesake: Prima pars First part Gaude sancta mater Ecclesia, Rejoice, O Holy Mother Church, Præsulis Wolfgangi maximi, Illuminated by the deserved honours Meritis insignibus illustrata. of the great protector Wolfgang. Triumpha gaudio fœlix Suevia, Celebrate with joy, O Happy Swabia, Prole tam nobili fœcundata. fertile with such noble offspring. Secunda pars Second part Exulta perfœlix Ratisbona, Exult, most fortunate Regensburg, Tanto fulgens virtutis lumine, Resplendent in the light of such virtue, Eiusque sacro corpore gloriosa And famous for his [i.e. Wolfgang’s] holy body. Hunc ergo sanctum recolentes transitum, Therefore, having contemplated this holy passage, Fac ejus pium sentire suffragium. Fully understand his pious intercession. Prima pars First part Gaude sancta mater Ecclesia, Rejoice, O Holy Mother Church, Præsulis Wolfgangi maximi, Illuminated by the deserved honours Meritis insignibus illustrata. of the great protector Wolfgang. Triumpha gaudio fœlix Suevia, Celebrate with joy, O Happy Swabia, Prole tam nobili fœcundata. fertile with such noble offspring. Secunda pars Second part Exulta perfœlix Ratisbona, Exult, most fortunate Regensburg, Tanto fulgens virtutis lumine, Resplendent in the light of such virtue, Eiusque sacro corpore gloriosa And famous for his [i.e. Wolfgang’s] holy body. Hunc ergo sanctum recolentes transitum, Therefore, having contemplated this holy passage, Fac ejus pium sentire suffragium. Fully understand his pious intercession. Open in new tab Prima pars First part Gaude sancta mater Ecclesia, Rejoice, O Holy Mother Church, Præsulis Wolfgangi maximi, Illuminated by the deserved honours Meritis insignibus illustrata. of the great protector Wolfgang. Triumpha gaudio fœlix Suevia, Celebrate with joy, O Happy Swabia, Prole tam nobili fœcundata. fertile with such noble offspring. Secunda pars Second part Exulta perfœlix Ratisbona, Exult, most fortunate Regensburg, Tanto fulgens virtutis lumine, Resplendent in the light of such virtue, Eiusque sacro corpore gloriosa And famous for his [i.e. Wolfgang’s] holy body. Hunc ergo sanctum recolentes transitum, Therefore, having contemplated this holy passage, Fac ejus pium sentire suffragium. Fully understand his pious intercession. Prima pars First part Gaude sancta mater Ecclesia, Rejoice, O Holy Mother Church, Præsulis Wolfgangi maximi, Illuminated by the deserved honours Meritis insignibus illustrata. of the great protector Wolfgang. Triumpha gaudio fœlix Suevia, Celebrate with joy, O Happy Swabia, Prole tam nobili fœcundata. fertile with such noble offspring. Secunda pars Second part Exulta perfœlix Ratisbona, Exult, most fortunate Regensburg, Tanto fulgens virtutis lumine, Resplendent in the light of such virtue, Eiusque sacro corpore gloriosa And famous for his [i.e. Wolfgang’s] holy body. Hunc ergo sanctum recolentes transitum, Therefore, having contemplated this holy passage, Fac ejus pium sentire suffragium. Fully understand his pious intercession. Open in new tab As is typical for such encomia, the text cuts two ways: it celebrates both the politically important dedicatee and his saintly namesake.85 The opening lines instruct the Church to rejoice in its ‘great protector’, invoking at once St Wolfgang and the devoutly Catholic Rumpf who, as a Knight of Santiago, was in the most literal sense a defender of the faith. Similarly, the words ‘foelix Ratisbona’ in the secunda pars simultaneously invoke the bishopric over which St Wolfgang had presided and in which he was interred, and the city in which Rumpf had played such an important role the preceding year, at the 1594 Imperial Diet. In Prague St Wolfgang was significant for other reasons: it was during his tenure and with his acquiescence that the Prague diocese was carved out of the Regensburg diocese. The medieval saint was also known for his support of Emperor Otto II, demonstrated most publicly at Imperial Diets. Indeed, the reference to ‘pious intercession’ in the motet’s closing lines can scarcely have been lost on those familiar with the power hierarchy at the Imperial court, and with the frequent need for Rumpf to act as the Emperor’s go-between. Reporting in 1596 on the state of affairs at the Imperial court, the Venetian Ambassador grumbled that it was almost impossible to get anything done at court—whether one desired an audience, a favour, or justice—without going through Rumpf.86 For all that, the ambassador noted prophetically, the Emperor did not appear to be pleased with his powerful aide.87 THE BIBLIOTHECA RUMPFIANA AND THE UCLÉS COLLECTION Although Rumpf acquired all manner of material objects, he was most assiduous in his collection of books. His library was sufficiently extensive by 1583, when the Imperial court completed its move from Vienna to Prague, that Rumpf saw fit to call upon no less a figure than the Imperial Librarian, Hugo Blotius, to catalogue it.88 Blotius’s inventory lists over 1,000 volumes in a variety of languages—Latin, German, Italian, French, Spanish, and Portuguese—on topics ranging from theology and law to poetry and architecture. Among these were 151 editions of printed music, containing a mix of Latin sacred music (97 prints) and French, primarily secular, repertory (52 prints). The Italian madrigal was represented by a Phalèse print comprising both chansons and madrigals by Jean de Castro (Louvain, 1570) and by Philippe de Monte’s fourth book of madrigals for four voices (Venice, 1580), which was dedicated to Rumpf.89 Most of Rumpf’s sacred music came, as one might expect, from Venice, but also from printing houses in Germany (Nuremberg, Munich, Dresden, Frankfurt), France (Paris, Lyon), and the Low Countries (Antwerp, Louvain). Most of the secular prints, comprising chansons rather than madrigals or German lieder, were printed in Lyon, Paris, and Louvain. There were various kinds of private music libraries in the sixteenth century and diverse reasons for forming them. Since books were comparatively expensive items, building a music library of any size was typically a project of the elite. The motivations to acquire such specialized books as those with notated polyphony varied from individual to individual. For some, the impulse to collect was scholarly. This was the case for the Swiss humanist and music theorist Heinrich Glarean. As Iain Fenlon and Inga Mai Groote have shown, music prints formed only a small subset of Glarean’s wide-ranging collection and served as references for his music-theoretical work.90 The Danzig patrician Georg Knoff (c.1550–1605), on the other hand, systematically acquired Italian madrigal prints, singing from them with friends, marking in errors, and tallying rests along the way.91 For those with a music chapel at their disposal, the library was often intended as a repository of sources from which to copy music for performance.92 Such libraries were not usually built from scratch: rather, the library passed on from generation to generation and expanded over time. ‘Patrimonial’ collections of this sort are the most common type of music library and are connected to royal, noble, and religious institutions alike.93 Standing in contrast to the model of the pragmatic collection outlined above is the library compiled purely for the sake of collecting. In such cases, music libraries were typically subsets of encyclopedic collections that functioned in part to advertise the owner’s erudition and wealth and, consequently, power.94 Perhaps the most famous of such comprehensive collections—certainly the largest—was the c.15,000-volume library brought together by Hernando Colón, son of Christopher Columbus, mentioned above.95 Without underestimating the musical interest of the owners, which was often considerable, it must be noted that such music libraries played an important role in representation, helping the owner cultivate the image of a noble humanist and scholar deserving of his status in society. It is to this category that Rumpf’s library belongs. He does not appear to have inherited any of the books, and if he did acquire any pre-existing collections, they did not come from his family. Nor, in contrast to the Rožmberks, a prominent Bohemian noble family whose celebrated patrimonial collection contained a significant number of music books, is there any evidence that he had a music chapel at his service.96 That Rumpf’s music books were intended for display rather than use is supported by the almost total lack of markings or wear in the surviving Uclés prints. This, combined with the sheer scope of his collection—easily determined via Blotius’s catalogue—makes it clear that Rumpf’s music library was one component of a larger personal undertaking to gather together books representing the totality of human knowledge, in the many languages that mediated the discourses of the Habsburg territories in Spain and polyglot central Europe. For all the collection’s many attributes, Rumpf’s bequest was viewed as more trouble than it was worth. The Spanish treasurer in Vienna—perceiving as mere material objects what Rumpf and Blotius had seen as the variegated contents of an ordered world of knowledge—balked at the anticipated costs of transferring the items across Europe. He noted that the transport of a desk that Rumpf had also bequeathed to the King would cost Spain three times more than its value.97 To reduce the costs of moving the books, Ambassador San Clemente recommended giving scientific and theological works to monasteries in Austria. He also noted the considerable overlap between Rumpf’s library and the holdings of the Spanish Royal Library and the Order of Santiago.98 The Consejo de Estado in Madrid responded that the royal confessor was to choose items for the royal library, and the remainder were to be sent to Uclés.99 San Clemente had observed that the collection contained a great many books that were prohibited in Spain. On the recommendation of the powerful Diego Hernández de Cabrera y Mendoza (d. 1608), Count of Chinchón and a Santiago Knight himself, any banned books were to be burned.100 Many of Rumpf’s books did ultimately reach Spain, arriving at Uclés sometime between 1607 and 1610.101 In the following centuries, a number of them made their way out of the monastery, some vanishing completely and others finding their way into other Spanish collections.102 With respect to the music books specifically, it seems probable, based on what survives in Madrid today, that most of those catalogued in 1583 were sent to Spain. The surviving books—all uniformly bound in high-quality parchment—are binder’s volumes, bringing together diverse prints and allowing Rumpf to economize on the cost of binding. As was typical for the time, most of the music prints Rumpf acquired were issued in partbooks. Since binding different voice parts together was obviously out of the question, even for books that were not collected with performance in mind, Rumpf grouped different prints together. Small lead tabs attached to title pages indicated the different prints in each bound volume. Beyond size and orientation (oblong or upright), genre and number of voices determined what could be bound together most efficiently and logically. Further, in those cases where Rumpf owned several prints in a series, he had them bound together, showing a distinct preference for grouping prints from the same printer or printed in the same place. The resulting binder’s volumes (totalling at least 128 by the end of Rumpf’s life) can in turn be grouped into twenty-one sets of partbooks and four volumes of folio mass prints in choirbook format. To these can be added three complete sets of the madrigal print Monte dedicated to Rumpf in 1580, and two sets of manuscript partbooks (discussed below). Of these thirty ‘units’ of musical material in Blotius’s inventory, twelve survive wholly or partially in the library of Madrid’s Real Conservatorio Superior de Música, as Tess Knighton has shown.103 Two further sets, which Kate van Orden has noted were once part of a much larger collection, survive in the New York Public Library.104 All extant items are printed partbooks. Neither the manuscript materials nor the choirbooks are held in the Real Conservatorio today, nor are they recorded in the earliest known inventory of the Uclés collection, drawn up by Juan Antonio Fernández in 1789.105Table 1 lists those item-number ranges in Blotius’s inventory that comprised music books, and clarifies which portions of the original music holdings were recorded at Uclés in the earliest extant catalogues. It appears, based on the item numbers, that the ‘core’ collection of music books (Nos. 775–883) comprised prints published before 1583. After 1583, this core was supplemented with additional manuscript partbooks and prints, and these were added to the inventory as they were acquired.106 Table 1. Rumpf’s music holdings and the Uclés collection Item no. in Blotius (grouped by set) . Recorded at Uclés (×) . Contains sacred music . Contains secular music . 775–9 × 780–2 × 783–6 × 787–90 × × 791–6 × × 797–9 × × 800– × × 804– × × 810–15 × × 816–21 × × 822–6 × 827–32 × 833 × 834 × 835–40 × 841–6 × × 847–53 × × × 854–7 × × 858–60 × × 861–5 × × 866–70 × 871–6 × × 877 × 878–83 × 903–8 (ms.) —unknown— 911–16 (ms.) × 971 × Item no. in Blotius (grouped by set) . Recorded at Uclés (×) . Contains sacred music . Contains secular music . 775–9 × 780–2 × 783–6 × 787–90 × × 791–6 × × 797–9 × × 800– × × 804– × × 810–15 × × 816–21 × × 822–6 × 827–32 × 833 × 834 × 835–40 × 841–6 × × 847–53 × × × 854–7 × × 858–60 × × 861–5 × × 866–70 × 871–6 × × 877 × 878–83 × 903–8 (ms.) —unknown— 911–16 (ms.) × 971 × Open in new tab Table 1. Rumpf’s music holdings and the Uclés collection Item no. in Blotius (grouped by set) . Recorded at Uclés (×) . Contains sacred music . Contains secular music . 775–9 × 780–2 × 783–6 × 787–90 × × 791–6 × × 797–9 × × 800– × × 804– × × 810–15 × × 816–21 × × 822–6 × 827–32 × 833 × 834 × 835–40 × 841–6 × × 847–53 × × × 854–7 × × 858–60 × × 861–5 × × 866–70 × 871–6 × × 877 × 878–83 × 903–8 (ms.) —unknown— 911–16 (ms.) × 971 × Item no. in Blotius (grouped by set) . Recorded at Uclés (×) . Contains sacred music . Contains secular music . 775–9 × 780–2 × 783–6 × 787–90 × × 791–6 × × 797–9 × × 800– × × 804– × × 810–15 × × 816–21 × × 822–6 × 827–32 × 833 × 834 × 835–40 × 841–6 × × 847–53 × × × 854–7 × × 858–60 × × 861–5 × × 866–70 × 871–6 × × 877 × 878–83 × 903–8 (ms.) —unknown— 911–16 (ms.) × 971 × Open in new tab THE MISSING BOOKS On their own, the Uclés partbooks give a frustratingly incomplete picture of Rumpf’s musical tastes. The losses make it hard to assess how his music collection compares to those of other northern European cosmopolitans. With the aid of Blotius’s itemized inventory, though, we can fill in the gaps in the Uclés collection (see Appendix II for a transcription of the entries pertaining to music) and identify precisely which music books never made it to Uclés. Of broader interest, this more complete picture of a carefully curated library helps us better to understand the place allotted to music in an encyclopedic collection, as well as the range of music-collecting habits among early modern elites. A great many (eleven out of fourteen) of the sets of music books that are missing entirely and for which there is no record at Uclés contained Latin sacred music. Such books—attractive, no doubt, to the many Austrian and Bohemian religious establishments with choirs capable of singing polyphony—were good candidates for donation locally. Items 822–6 in the inventory, for example, were binder’s volumes containing seven prints of motets and mass Proper settings printed in Germany between 1565 and 1575.107 The inclusion in this set of mass Proper settings (RISM A/I K990) by the Lutheran Silesian composer Johannes Knöfel (1525–30–after 1617), suggests that the confessional affiliation of the composer was not of much concern for the zealously Catholic Rumpf or his agents.108 Indeed, the next items in the inventory were three volumes of four- to six-voice motets and settings of psalms and mass Proper texts by Leonhard Paminger (1495–1567), a Lutheran active in Passau. These three volumes, numbered 827–32 in the inventory (RISM A/I P 828–30) and printed in Nuremberg in 1573 (volumes 1 and 2) and 1576 (volume 3), were bound together. Rumpf seems to have acquired the fourth volume (Nuremberg, 1580; RISM A/I P831) later, as it appears as the last item (no. 883) in the ‘core’ music section of Blotius’s inventory.109 Continuing with sacred music prints missing from even the earliest Uclés records, Items 866–70 were binder’s volumes containing no fewer than eleven oblong quarto prints of sacred polyphony for three to six voices, printed by Gardano in Venice between 1572 and 1579.110 In this case, the grouping of mass Ordinary settings, Vespers psalms, and motets betrays the priorities of a collector keeping prints from a single printing house together, rather than an institution thinking ahead to potential use. The first print in the set, a 1578 collection of mass settings for five voices by one Georgius Cropatius Bohemus (Jiří Kropáč), stands out both for its connections to Bohemia and for its ostentatious invocation of a twelve-mode system, evidently following the ordering proposed by Henricus Glareanus in his Dodecachordon (Basel, 1547).111 No copies of the Cropatius mass print survive today, so the entry in Blotius’s inventory offers valuable testimony as to the currency in Austria and Bohemia of music-theoretical developments.112 It is worth noting in this regard that Rumpf owned two essential components of an up-to-date music library in the later sixteenth century: editions of Gioseffo Zarlino’s Istitutioni harmoniche (Venice, 1573) and Dimostrationi harmoniche (Venice, 1571). Bound together and listed as Item 884 in the inventory, immediately following the core music section, both treatises theorize dodecachordal systems at length, albeit with different justifications and a different ordering than that presented by Glareanus. Of all the music owned by Rumpf, folio-size choirbook-layout prints of polyphonic masses were the most costly. Kate van Orden has observed that such single-composer folio prints were ‘bibliographic standouts’ in the sixteenth century, arguing that, for all the financial risk associated with producing them, these ‘supersized books’ were appealing ventures for composers (or printers) seeking professional prestige.113 Blotius’s detailed entries for Rumpf’s folio prints suggest they were indeed recognized as something special by the bibliophiles who laid out large sums of money to acquire them or who catalogued them: these are the only prints for which Blotius provides not only bibliographic information but also, in several cases, a complete listing of the contents. Such prints would also have been more useful than other books in Rumpf’s collection for musical institutions with obligations to sing polyphony in the liturgy. Given the value and practical appeal of such prints, it is perhaps not surprising that none of the three sets of folio-size sacred prints listed in Blotius’s inventory (nos. 833, 834, and 877) made it to Uclés. The first of these sets (no. 833) contained two Phalèse mass collections printed in 1570: an anthology with masses by Lassus, Gerard Turnhout, Thomas Crecquillon, and Jacob Clemens non Papa (RISM B/I 15701), and a print containing a single four-voice Requiem mass by Clemens.114 The next item in the inventory (no. 834), another folio regali binder’s volume, contained three prints of sacred polyphony; two Le Roy et Ballard editions containing eighteen mass settings and eight Magnificat settings by Lassus (RISM A/I L900/1557a and L912) respectively were bound with a Gardano print of mass settings by Costanzo Porta (RISM A/I P 5180). The last of Rumpf’s choirbook-layout sets (no. 877) was a binder’s volume pairing two unusually large Plantin prints (in folio regali): a copy of the splendid Octo missae (Antwerp, 1578; RISM A/I 285) by Philip II’s chapelmaster George de La Hèle—already a member of the Spanish royal chapel in the 1560s, when Rumpf was in Spain115—with Philippe de Monte’s Missa ad modulum Benedicta es (Antwerp, 1579; RISM A/I M 3315). This binder’s volume in particular raises the possibility that the sheer bulk of large choirbooks, and the greater cost of shipping them to Spain, simply made them less attractive candidates for transport. It may be significant in this regard that the prints listed in volumes 834 and 877 survive in the Austrian National Library, albeit in different configurations. If the Vienna copies were originally in Rumpf’s library, this may mean that Rumpf’s widow or her second husband allowed Austrian associates to select items from the library before sending the remainder on to Spain.116 If the material value of choirbooks made them appealing to institutions in both Austria and Spain, other factors probably came into play with respect to certain of the more unassuming sacred music prints in Rumpf’s collection. Not all would have been acceptable in Catholic Spain and, with this in mind, the absence of Items 780–2 and 787–90 is altogether unsurprising. The former is a set of binder’s volumes containing sacred retextings by the Calvinist pastor Simon Goulart of chansons by Lassus and others (RISM B/I 15772 and 15773). The latter set (see Table 2) mixes secular and sacred, grouping ten volumes of secular chanson prints with Goulart’s Christianized versions of Guillaume Boni’s musique mesurée settings of Ronsard poetry. It is this latter set, along with the bass partbook from another binder’s volume of chansons (originally items 800–3) that survives today in the holdings of the New York Public Library.117 Table 2 Volumes 787–790 in Rumpf’s library Composer . Title . RISM no. . various [Books 1 to 7 of] Chansons à quatres parties nouvellement composez … Louvain: Phalèse, 1561–7 Reprints of earlier editions, some unica Bertrand, Antoine de Premier et second livre des amours de P. de Ronsard. Paris: Le Roy et Ballard, 1578 B2415 and B2416 Bertrand, Antoine de Troisiesme livre des chansons … Paris: Le Roy et Ballard, [1578] B2418 Boni, Guillaume Premier et second livre des sonets Chrestiens … [Geneva]: [Simon Goulart], 1579 B3484 Composer . Title . RISM no. . various [Books 1 to 7 of] Chansons à quatres parties nouvellement composez … Louvain: Phalèse, 1561–7 Reprints of earlier editions, some unica Bertrand, Antoine de Premier et second livre des amours de P. de Ronsard. Paris: Le Roy et Ballard, 1578 B2415 and B2416 Bertrand, Antoine de Troisiesme livre des chansons … Paris: Le Roy et Ballard, [1578] B2418 Boni, Guillaume Premier et second livre des sonets Chrestiens … [Geneva]: [Simon Goulart], 1579 B3484 Open in new tab Table 2 Volumes 787–790 in Rumpf’s library Composer . Title . RISM no. . various [Books 1 to 7 of] Chansons à quatres parties nouvellement composez … Louvain: Phalèse, 1561–7 Reprints of earlier editions, some unica Bertrand, Antoine de Premier et second livre des amours de P. de Ronsard. Paris: Le Roy et Ballard, 1578 B2415 and B2416 Bertrand, Antoine de Troisiesme livre des chansons … Paris: Le Roy et Ballard, [1578] B2418 Boni, Guillaume Premier et second livre des sonets Chrestiens … [Geneva]: [Simon Goulart], 1579 B3484 Composer . Title . RISM no. . various [Books 1 to 7 of] Chansons à quatres parties nouvellement composez … Louvain: Phalèse, 1561–7 Reprints of earlier editions, some unica Bertrand, Antoine de Premier et second livre des amours de P. de Ronsard. Paris: Le Roy et Ballard, 1578 B2415 and B2416 Bertrand, Antoine de Troisiesme livre des chansons … Paris: Le Roy et Ballard, [1578] B2418 Boni, Guillaume Premier et second livre des sonets Chrestiens … [Geneva]: [Simon Goulart], 1579 B3484 Open in new tab What happened to those music books, such as the collections of chansons and contrafacta catalogued as items 780–2 and 787–90, that did not get sent to Uclés and were of little use to other Catholic institutions in Austria or Spain? One possibility is that they remained in private hands, perhaps even—in a sense—within the family. As noted above, Rumpf’s widow Anna Maria d’Arco handled his bequest after his death in 1605. In the following year she married a family friend, Friedrich von Fürstenberg, and Weitra passed into the Fürstenberg holdings. Frustrated by the delay in disposing of the books, d’Arco and Fürstenberg proposed donating a sum of money to the Order of Santiago instead.118 It may be, then, that some of the missing books were absorbed into the Fürstenberg collections, or those of their friends and associates. On the other hand, knowing that some of the missing books were Calvinist brings to mind Ambassador San Clemente’s complaint about the number of prohibited books in Rumpf’s library, and raises the possibility that–if the Calvinist origins of Goulart’s pious retextings were recognized—they were left behind or destroyed as per the recommendations of the Spanish confessor. If there were clear reasons for Calvinist contrafacta to remain in central Europe, or to be destroyed on the royal confessor's advice, it is less clear why secular prints disappeared; many more such prints were taken without problems into the Uclés collections. Items 780–2 and 787–90 in Blotius’s inventory constitute a portion of a larger series of music books (nos. 776–90), mostly chanson prints, not listed in the Uclés inventories. Nor was their existence readily apparent from the surviving Uclés partbooks. Whereas the lowest item number in the extant collection is 791, the beginning of the music section of Rumpf’s library as it stood in 1583 was in fact marked by Items 775–8: three prints of four- and five-voice chansons printed in Paris and Lyon in the 1570s.119 Filling the remainder of the gap, items 783–6 were a set of binder’s volumes containing a complete series of chanson anthologies—twenty-one prints in total—that was printed and reprinted by Le Roy et Ballard in the 1570s. Blotius’s brief entry—particularly striking in comparison to the expansive entries for the folio mass prints—covers the entire series of four- to six-voice chansons, and reassures the user that the four partbooks include the additional voices for those chansons with more than four voices: Des XXI. liures des Chansons composetz per diuers autheurs Comme Adrian Le Roy Jac. Arcadet, et principalement la plus part par Orlande de Lassus et aultres excellens Musiciens Aulcuns de ces luires [sic] sunt a 4. aulcuns a 5. et aulcuns aussy a 6 parties maies toutes tellement accommodees quelles se relient in 4 volumes Inprimez diuersement commeles uns an. 1573 leu [sic] autres Annis 1575. 1576. 1577. 1578. Tous inprimez à Paris par Adrian le Roy et Robert Ballart Imprimeurs du Roy In 16.o uel 12.o oblong:120 In the case of Items 783–6, their size (duodecimo or sextodecimo, following the catalogue) may have made them especially vulnerable to loss: the survival rate for these tiny prints is poor.121 Entries following the core music section of the inventory (i.e. after no. 883) show that Rumpf kept acquiring books after the court relocated to Bohemia, and that the inventory was updated at least until the end of the decade. For example, the entry for a set of six manuscript partbooks (items 911–16)—a miscellany of settings of Latin, Italian, and French texts—includes a note that ‘Sunt hi libri Praga huc missi …’.122 The specification that the books were sent ‘here’ from Prague implies this was unusual. Probably it was more typical for books to be sent directly to Weitra from other points of acquisition—perhaps by an agent who, in the case of prints, made purchases on Rumpf’s behalf at the Frankfurt or Augsburg book fairs. The description of these partbooks as ‘Selectarum Cantionum … pulcherrime manuscriptarum’ (i.e. most beautifully written) suggests that material appeal may sometimes have influenced acquisition. The same is true of another set of manuscript partbooks (nos. 903–8), of which all the parts were not only beautifully written (‘Omnes hae partes sunt pulchrae manuscriptae’), but also bound in blue leather ‘gilded in the Turkish style’ (‘tectae corio caeruleo deaurato more Turcico’).123 These partbooks were given over to six parody masses by Philippe de Monte, one of which—the five-voice Missa In die tribulationis—is not preserved in any extant sources.124 Blotius’s inventory thus provides unique testimony as to the existence of a composition that Monte may have intended to include in his planned second volume of masses, a project that was never realized due to upheaval in the Low Countries. Judging by the handful of entries for music books listed after the core collection (items 776–883) was inventoried in 1583, the scale of acquisition after the move to Prague pales in comparison to the copious purchasing that took place in the 1570s. This is a disappointment in some respects, given that music printing took off in Prague precisely when the Imperial court moved there, although it should be noted that the drop-off can be observed across all categories of books. The sole music print that we can say for certain Rumpf acquired after the inventory was initially drawn up was not printed in Prague at all: item 971 was Monte’s Liber primus missarum … (Antwerp, 1587; RISM A/I M3320), a deluxe folio print dedicated to the Emperor. Another print by Monte, his fourth book of madrigals for four voices (Venice, 1580; RISM A/I M3368), which he dedicated to Rumpf, is listed curiously late in the inventory (items 946–51)—even though by 1583 Rumpf must have already acquired or been given copies of it by the composer. The entry further specifies that Rumpf had three copies of the madrigals, for a total of eighteen volumes, which suggests acquisition nearer the time of publication. Perhaps they were used, in which case they would probably have been stored separately from the rest of the library. Or perhaps they came into his possession in Prague, and were only inventoried when sent on to Weitra. It is suggestive in this regard that the motet prints by Sale (1593) and Sayve (1595) are not listed in the inventory at all, despite being dedicated to Rumpf. The dedication to Rumpf may in fact explain why they remained uncatalogued: as Lenka Veselá has pointed out in the context of the Rožmberk collection, rather than being put on display in the official dynastic library, books dedicated to a patron were sometimes kept in revolving collections of books in use.125 Such ad hoc collections comprised new acquisitions and books earmarked for personal use, as well as dedicated books. These practices open up the possibility that Blotius’s inventory only captures books that were kept at Weitra or sent there while Rumpf lived in Prague, rather than the totality of what he purchased after 1583. This possibility is supported by evidence that as late as 1597 Blotius promised Rumpf that he would revisit the 1583 catalogue, and made plans for several additional volumes.126 Questions about how Rumpf went about selecting music books for his collection, as well as if and how they were used, remain to be studied in more detail. His musical interest is suggested not only in the dedications of music prints to him, but also in the sheer number of music books he collected. Yet it seems likely that his decision to acquire them was prompted in the main by a desire to integrate music into a larger library that he envisaged as a ‘complete’ representation of knowledge attainable and accessible largely through the medium of print, rather than an intention to use the prints for performance. Further research into the stock of local booksellers and the agents and markets from or through which he might have acquired the editions would be needed to better understand his choices. What is clear from Blotius’s inventory is that the music books Rumpf did acquire were not to be sequestered from other sorts of books, as was often the case, but were to be catalogued as an essential component of his substantial library. THE 1583 CATALOGUE Blotius’s foresight when preparing the initial catalogue ensured that its expansion would be a straightforward matter: with an eye to his acquisitive employer, he drew up a catalogue that could be augmented in perpetuity.127 Rather than sorting the entries according to an a priori classification scheme—for example, the libri and tituli outlined by Conrad Gessner in his enormously influential Pandectarum … libri XXI (Zurich, 1548–9)128—Blotius assigned each print or manuscript in the library an item number written in Arabic numerals, in an ordered series beginning with ‘1’.129 That the item numbers loosely reflect the order of acquisition is suggested not by the lower numbers—assigned to items whose publication dates range from the 1530s through the 1570s in no apparent order—but rather by the higher numbers, in which we find some prints whose publication date post-dates the creation of the original inventory in 1583 or which must have been acquired after Rumpf moved to Prague.130 Among the higher item numbers are books printed in the late 1580s and 1590s, or printed in Prague. As noted above, for example, item 971 is Monte’s 1587 mass collection. Similarly, item 961 (a non-musical book) is the Acta et constitutiones Diocesanae synodj Iauriensis, printed in Prague by Jiří Melantrich z Aventinu in 1579. Blotius arranged the catalogue entries in three columns. He placed the series of item numbers in the first column, with the heading ‘numerus libroru[m] perpetuò continuatus’. In this way, the catalogue could be extended as the library expanded without necessitating a complete reorganization of the entries. The second column, ‘classis notae et librorum altitudines’, gives both an abbreviated classification, for example ‘Th: lat.’ for Latin theology (i.e. theologia latina)—and a shelf number. The third column contains bibliographic entries, detailing the title, author, place and date of publication (for prints), and the size and format of each book in Rumpf’s collection. Blotius generated his classifications by settling on a general subject area or ‘class’ (e.g. theology, law, etc.), and then specifying the language (see Table 3). As Paola Molino has shown through meticulous research into Blotius’s correspondence, the librarian struggled to reconcile Rumpf’s aspirations for an ideal system of classes with the material reality of his binder’s volumes, which often grouped different classes together.131 One shortcoming of the system he came up with was that it forced a great many books into a ‘miscellaneous’ category (i.e. ‘Varii’). It also offered no ready solution for the problem of how to classify music books, which were obviously distinct from purely textual books, but whose contents could range over a variety of subjects.132 In the end, as shown by the shaded areas in Table 3, music books received a somewhat arbitrary array of classifications. Table 3 Blotius’s classifications in the Index numerorum (Shaded area shows music books). Theologica . Juridica . Medicina . Humanitates . Latina Hispanica Germanica Vngarica Latina Italica Gallica Latina Hispanica Latina Hispanica Gallica Historica Varii Canora Musica Latina Hispanica Italica Germanica Latina Gallica Germanica Muta Hispanica Muta sive Latina Prophana Italica Latina Canori Musici Canori Cant[iones] Gall. Theologica . Juridica . Medicina . Humanitates . Latina Hispanica Germanica Vngarica Latina Italica Gallica Latina Hispanica Latina Hispanica Gallica Historica Varii Canora Musica Latina Hispanica Italica Germanica Latina Gallica Germanica Muta Hispanica Muta sive Latina Prophana Italica Latina Canori Musici Canori Cant[iones] Gall. Open in new tab Table 3 Blotius’s classifications in the Index numerorum (Shaded area shows music books). Theologica . Juridica . Medicina . Humanitates . Latina Hispanica Germanica Vngarica Latina Italica Gallica Latina Hispanica Latina Hispanica Gallica Historica Varii Canora Musica Latina Hispanica Italica Germanica Latina Gallica Germanica Muta Hispanica Muta sive Latina Prophana Italica Latina Canori Musici Canori Cant[iones] Gall. Theologica . Juridica . Medicina . Humanitates . Latina Hispanica Germanica Vngarica Latina Italica Gallica Latina Hispanica Latina Hispanica Gallica Historica Varii Canora Musica Latina Hispanica Italica Germanica Latina Gallica Germanica Muta Hispanica Muta sive Latina Prophana Italica Latina Canori Musici Canori Cant[iones] Gall. Open in new tab The alphanumeric shelf number (‘altitudines librorum’) that Blotius assigned to each print comprised two numbers separated by a colon (e.g. 6:18), followed by a letter (A, B, C, etc.). The first number indicated which shelf a given book was on, while the second number specified the location on the shelf.133 In the case of non-music prints, the letter indicates the print’s location in a binder’s volume; for music prints, this was repurposed to label the various partbooks.134 The bibliographic entries in the third column are comprehensive, rather than presenting a ‘digest’ of the subject matter as Gessner had prescribed in the Pandectae. Furthermore, the information given in this column is specific in ways that suggest it was copied directly from the title pages of prints—a sign, perhaps, that this part of the job was delegated by the busy librarian to an assistant who might not have been able to do the sort of processing of the material advocated by Gessner.135 The specifications about form (manuscript or print) and format (quarto, folio, etc.) in this column reveal that prints and manuscripts of various sizes were freely intermingled within the loose ordering by subject.136 The logic of Blotius’s cataloguing system can be seen in Table 4, which shows how he dealt with five prints from the early 1570s that ranged in subject matter from the Tridentine catechism to anti-Lutheran polemics, and were bound together in Rumpf’s library. Looking at the first column, the reader might suspect these were five separate volumes, but the shelf numbers (6.18.A–E) reveal they were physically joined. The classification ‘Theol: Lat:’ above each shelf number tells the user the class (Theology) and language (Latin) of each volume. Table 4 Cataloging non-musical binder’s volumes Item no. . Classification . Publication information . 51 Theol: Lat: 6:18.A Catechismus ex Decreto Concilij Tridentinj ad Paroches iussu Pij V. editus. // Coloniae. Haeredes Arnoldj Birckmannj. 1570. 52 Theol: Lat: 6:18.B De vera Christi Ecclesia, vbinam Locorum nu[n]c sit inuenienda, autore Wilhelmo Lindano Episcopo Ruremundensi. // Coloniae. Maternus Cholinus. 1572. 53 Theol: Lat: 6:18.C Assertiones quorundum Ecclesiae dogmatum a Luthero, & alijs in dubium vocatorum. // Coloniae. Ioannes Birckmannus 1572. 54 Theol: Lat: 6:18.D Sacrarum ceremoniarum S. Romanae Ecclesiae Libri 3. // Coloniae. Haeredes Arnoldj Birckmannj. 1572. 55 Theol: Lat: 6:18.E S. Gregorij Nazianzenj orationes 3. Apologetic[us] de amore erga pauperes: & in natalem Diem Saluatoris nostri, à Iulio Gabrielio Eugubino Latinae redditae. // Antuerpiae. Christophorus Plantinus 1573. Item no. . Classification . Publication information . 51 Theol: Lat: 6:18.A Catechismus ex Decreto Concilij Tridentinj ad Paroches iussu Pij V. editus. // Coloniae. Haeredes Arnoldj Birckmannj. 1570. 52 Theol: Lat: 6:18.B De vera Christi Ecclesia, vbinam Locorum nu[n]c sit inuenienda, autore Wilhelmo Lindano Episcopo Ruremundensi. // Coloniae. Maternus Cholinus. 1572. 53 Theol: Lat: 6:18.C Assertiones quorundum Ecclesiae dogmatum a Luthero, & alijs in dubium vocatorum. // Coloniae. Ioannes Birckmannus 1572. 54 Theol: Lat: 6:18.D Sacrarum ceremoniarum S. Romanae Ecclesiae Libri 3. // Coloniae. Haeredes Arnoldj Birckmannj. 1572. 55 Theol: Lat: 6:18.E S. Gregorij Nazianzenj orationes 3. Apologetic[us] de amore erga pauperes: & in natalem Diem Saluatoris nostri, à Iulio Gabrielio Eugubino Latinae redditae. // Antuerpiae. Christophorus Plantinus 1573. Open in new tab Table 4 Cataloging non-musical binder’s volumes Item no. . Classification . Publication information . 51 Theol: Lat: 6:18.A Catechismus ex Decreto Concilij Tridentinj ad Paroches iussu Pij V. editus. // Coloniae. Haeredes Arnoldj Birckmannj. 1570. 52 Theol: Lat: 6:18.B De vera Christi Ecclesia, vbinam Locorum nu[n]c sit inuenienda, autore Wilhelmo Lindano Episcopo Ruremundensi. // Coloniae. Maternus Cholinus. 1572. 53 Theol: Lat: 6:18.C Assertiones quorundum Ecclesiae dogmatum a Luthero, & alijs in dubium vocatorum. // Coloniae. Ioannes Birckmannus 1572. 54 Theol: Lat: 6:18.D Sacrarum ceremoniarum S. Romanae Ecclesiae Libri 3. // Coloniae. Haeredes Arnoldj Birckmannj. 1572. 55 Theol: Lat: 6:18.E S. Gregorij Nazianzenj orationes 3. Apologetic[us] de amore erga pauperes: & in natalem Diem Saluatoris nostri, à Iulio Gabrielio Eugubino Latinae redditae. // Antuerpiae. Christophorus Plantinus 1573. Item no. . Classification . Publication information . 51 Theol: Lat: 6:18.A Catechismus ex Decreto Concilij Tridentinj ad Paroches iussu Pij V. editus. // Coloniae. Haeredes Arnoldj Birckmannj. 1570. 52 Theol: Lat: 6:18.B De vera Christi Ecclesia, vbinam Locorum nu[n]c sit inuenienda, autore Wilhelmo Lindano Episcopo Ruremundensi. // Coloniae. Maternus Cholinus. 1572. 53 Theol: Lat: 6:18.C Assertiones quorundum Ecclesiae dogmatum a Luthero, & alijs in dubium vocatorum. // Coloniae. Ioannes Birckmannus 1572. 54 Theol: Lat: 6:18.D Sacrarum ceremoniarum S. Romanae Ecclesiae Libri 3. // Coloniae. Haeredes Arnoldj Birckmannj. 1572. 55 Theol: Lat: 6:18.E S. Gregorij Nazianzenj orationes 3. Apologetic[us] de amore erga pauperes: & in natalem Diem Saluatoris nostri, à Iulio Gabrielio Eugubino Latinae redditae. // Antuerpiae. Christophorus Plantinus 1573. Open in new tab When it came to Rumpf’s musical holdings, Blotius needed to account for the partbook structure as well as Rumpf’s tendency to bind multiple prints together into binder’s volumes. He addressed this challenge by assigning each physical volume (whether it contained only a single partbook or several bound together) an item number. This solution led to an incongruity between the shelf numbers for music books and those for non-music books, where individual prints were given unique shelf numbers. The first music books listed in the collection serve to illustrate the challenges of labelling partbooks, and Blotius’s solution. Items 775–8 (see Appendix II) are the binder’s volumes containing three collections of chansons for four voices printed in Paris and Lyon between 1574 and 1578. Each physical partbook (not each print) is assigned a ‘class’ (e.g. Varij Canoris Musicj Gal:) and shelf number (4. A, B, C, or D). To avoid confusion over what the letters meant (in the light of their usage in non-music books), he specified the voice parts as well (Superius, Contratenor, Tenor, Bassus). To clarify that consecutive prints were bound in the same binder’s volume, he prefaced their bibliographic entries with rubrics such as ‘item in iisdem 4. voluminibus’ for items 777 and 778. This distinction between individual prints and user-generated volumes played out in Blotius’s cataloguing of no. 779, a chanson collection for five voices. Although the upper voices are bound in the same four volumes as the previous three prints, the quintus partbook (which has no counterpart in the other prints), is given its own shelf number, 4.E. TOWARDS AN IDEAL LIBRARY Blotius could not have been satisfied with the somewhat arbitrary organization of the inventory, for he developed a new system of classification for the diverse contents of Rumpf’s library, including a remarkable ‘map’ of this classification scheme as a foldout at the end of the inventory (see Pl. 4 and and the transcription in Fig. 1). In Blotius’s scheme—an idealized vision of the rapidly expanding world of written knowledge no less ambitious than Gessner’s Pandectae—language rather than subject matter is the fundamental category of organization.137 Blotius had already proposed organization by language in his correspondence with Johann Frisius, in the matter of the Imperial Library.138 As with Rumpf’s library, the Imperial holdings were written in an extensive array of languages, not just Latin and Greek, but also German, Italian, Spanish, and Czech. Pl. 4. Open in new tabDownload slide Blotius’s new classification scheme (Codex Vindobonensis Palatinus 15.286, fo. 297r). Reproduced by permission Pl. 4. Open in new tabDownload slide Blotius’s new classification scheme (Codex Vindobonensis Palatinus 15.286, fo. 297r). Reproduced by permission Fig. 1. Open in new tabDownload slide Transcription of Pl. 4 Fig. 1. Open in new tabDownload slide Transcription of Pl. 4 In the case of Rumpf’s collection, Blotius’s map describes a basic separation of prints from manuscripts and a subsequent separation by language. Only after he had made these fundamental divisions did he sort according to subject matter, refining the classes he had used in the inventory itself. In the caption to his foldout diagram, he asserted pointedly that this system was a vast improvement over the system that had been in use beforehand: Hic ordo, priorj ordine concinnior est, et minus perturbatus est quo propterea quod et linguae singulae optimè cohaerent, et classes nihilominus in singulis linguis rectè constituuntur, nec artes confunduntur quod in priorj ordine fierj necesse fuit. This order is better arranged and less confused than the old order, because the individual languages agreeably cohere, and also the classes within the individual languages are correctly disposed, nor are the arts jumbled, as was unavoidable in the previous order. Blotius did not let the large number of emblem books and music books Rumpf had accumulated deter him from his prioritization of language. Although, to be sure, images and music were located among the ‘arts’ in his new system, they were also in his view analogous to languages. Thus he placed music in the list of language categories for prints (‘typis excusos in varias diuisos linguas ut sunt’), and treated it as a sung language, giving it the classification ‘canora, sive Musica’. Similarly, the visual was a silent language: ‘Muta sive pictura’.139 By way of clarification—or pre-emptive self-justification—Blotius squeezed in the following note just below ‘pictura’: Nam haec aeque atque linguae coherere nec distrahi debere videtur. et subdividenda in sacram et prophanam. It is seen that these [Canora and Muta] are equally related to languages, and do not have to be separated [from languages]. And they will be divided into sacred and secular.140 So, too, in the organization of manuscripts by language (‘manuscriptos, in varias diuisos linguas ut sunt’), music and images are listed among the language categories. In a sense, Blotius’s inventory offers evidence—from a perspective that is not usually considered—supporting the commonplace that music shifted from quadrivium to trivium, from mathematical arts to verbal arts, from number to language in the waning decades of the sixteenth century.141 As Blotius’s note indicates, the next level of division for music books and books of images was determined by their classification as either sacred or secular. There was no need in the new system to make a further division by language of the text: sacred music was likely to be in Latin, and secular music was likely to be in a vernacular language. Blotius sorted each of the other language categories into five classes (‘Harum Linguarum singulae dividuntur in 5 classes sequentes scilicet in …’): History, Theology, Law (divided into ecclesiastical law, i.e. Pontificium and civil law, i.e. Civile), Medicine, and a class he labelled ‘Artes, Scientias et disciplinas reliquas’. Blotius subjected this last class to a further level of division. Here he departed from Gessner, whose system of twenty-one ‘libri’, as outlined in the Pandectae, was a transparent expansion of the trivium and quadrivium that had described the liberal arts in the medieval period. Blotius instead provided a list of topics ranging from arithmetic and agriculture to gymnastics, magic, poetry, and sculpture. The almost overweening division of the artes into over two dozen categories arranged alphabetically was Blotius’s answer to the ‘jumble’ of arts that emerged in the 1583 inventory. The new system facilitated categorizations that were as multifaceted as the contents of the books themselves. Where a book might reasonably be classified in one of the other four classes, Blotius indicates this possibility; for example, he notes that his category of Politics leaves out those books better suited to Law (‘nisi ad jus reijicatur’).142 Similarly, with Veterinaria, he notes the overlap with Medicine, one of the five major classes.143 This recognition that certain kinds of books would breach the limits of his containers, no matter how capaciously they were defined, helps us understand why Musica and Pictura need to be listed on the diagram twice: in the first place, as noted above, they are exempla of ‘sung’ and ‘silent’ languages. In the second place, they are ‘disciplines’, and as such collections of music and pictures find their place in the alphabetical listing of ‘arts, sciences, and the remaining disciplines’. A note by the entries for pictures and music in this list points back to their appearance at the higher hierarchical level (‘ad linguae ref.’), reminding the user of the dual status of organized image and organized sound. Until now, evidence of the exchange of music between Habsburg Spain and Habsburg central Europe has been restricted to a handful of musical sources. The discovery that a major Spanish collection of sixteenth-century polyphony was compiled by an Austrian bureaucrat and diplomat refines our view of the terrain. It reveals unexpected pathways for the transmission of books and sheds new light on the formation of institutional libraries. More specifically, the connections between the Uclés partbooks and the Bibliotheca Rumpfiana suggest that there is much to be learned by investigating the bibliophilic tendencies of the Knights of Santiago and other agents and diplomats who ranged across Europe in the sixteenth and seventeenth centuries. Indeed, it is becoming clear that although Rumpf’s indirect donation to Uclés may have been exceptional in terms of size and value, there was nothing particularly remarkable about his decision to arrange such a bequest.144 With this in mind, it seems likely that the expectation that Santiago Knights would donate books to religious institutions had a profound—and, until now, little-known—impact on the contents of monastic libraries in Spain and elsewhere in Europe. Perhaps this explains how Ambassador San Clemente’s copy of the Lassus Patrocinium musices ended up in the possession of the Canons Regular in the South Bohemian town of Třebon, its presence there recorded on the title page in a scrawl dated 1718. In the case of a copy of the Santiago Regla (Valladolid, 1603) now held in the Bavarian State Library, no such guesswork is necessary.145 An inscription on the title page indicates it was once owned by the Heilig-Kreuz Monastery in Augsburg,146 and a longer handwritten note on the rear flyleaf connects the donation to Johann Ernst Fugger’s induction into the Order on 20 January 1618.147 Such evidence of local Santiago bequests may help account for the whereabouts of some of the books listed in Blotius’s inventory. Given that none of the Uclés partbooks post-dates 1583, the possibility arises that those music books Rumpf acquired after the court moved to Prague never made it to Weitra—and consequently were never shipped to Spain. Perhaps institutions in Vienna or Prague received his copies of such prints as Monte’s Liber primus missarum and the motet collections dedicated to him by Sayve and Sales. Perhaps Philip III did take his pick of the library, selecting those items (e.g. manuscripts) that were unique. Perhaps the erudite Emperor or his representatives got there first, seizing an opportunity to augment the material available for use by the Imperial chapel in Prague. Blotius’s catalogue offers the key to determining whether or not surviving books were once held in the Bibliotheca Rumpfiana. The item numbers corresponding to the careful inscriptions on title pages as well as the detailed descriptions of unusual bindings (e.g. gilded, blue, Turkish-style bindings) make it possible to connect books to Rumpf’s collection with near certainty, and it is likely that more of his prints and manuscripts will yet be discovered. Yet the catalogue preserves more than the details of how a valuable collection of objects was once ordered: it documents the efforts of a collector and his bibliographer to chart the territory of an intellectual world in flux. It also hints at the formation of bonds of respect and loyalty between an enthusiastic supporter of the Catholic Counter-Reformation and an avowed Calvinist. With his prominent position at the Imperial court, Blotius was repeatedly set upon by courtiers who used his religious background to argue for his dismissal. For help, Blotius turned to Rumpf, who used his considerable power in Vienna and Prague to protect him. Together, this unlikely pair of epistemological cartographers charted an ideal intellectual world capable of accommodating an infinitely expanding range of languages and subjects. In its manifestation as Rumpf’s library this ideal world fell apart. Music, isolated from the rest of the library, lost its place among the languages. But a map of this world survives in the form of Blotius’s catalogue, and with it, a means of recovering the pathways—real, imagined, and hoped-for—forged by a Knight of Santiago and his books across early modern Europe. Email: ferran.escriva@campusviu.es Email: tknighton@icrea.cat The following abbreviations are used: PW Andrew Pettegree and Malcolm Walsby (eds.), Netherlandish Books: Books Published in the Low Countries and Dutch Books Printed Abroad before 1601, 2 vols. (Leiden and Boston, 2011) RISM A/1 Einzeldrucke vor 1800 (Répertoire International des Sources Musicales, Series A/I, 9 vols.; Kassel, 1971–2012), digitized at https://opac.rism.info RISM B/1 Recueils imprimés XVIe–XVIIe siècles, ed. François Lesure, i: Liste chronologique (Répertoire International des Sources Musicales, Series B/I; Munich-Duisburg, 1960) Acknowledgement Had it not been for the generosity of Dr Dunlop—who transcribed the opening pages of the inventory at the heart of this article so that we might determine whether or not it was worth investigating further—this study might never have been written. An amiable and gifted musicologist, Dr Dunlop died tragically in Vienna in June of 2013. We dedicate this article to her. We would also like to thank William Ashworth, Catherine Bradley, José Carlos Gosálvez, Barbara Eichner, Rubén González Cuerva, Rebecca Herissone, Keith Johnston, Patrick Kauffman, Robert Kendrick, Bob Kosovsky, Christian Leitmeir, Nara Newcomer, Thomas Schmidt, Kate van Orden, Sarah Wenzel, and the three anonymous reviewers for their invaluable advice on matters of translation, palaeography, bibliography, and orthography, and for their encouragement as we saw this project through to publication. Footnotes 1 Higinio Anglé s, ‘Una col·leció de polifonia del segle XVI’, Estudis Universitaris Catalans, 12 (1927), 1–23. 2 The unica include Jacobus Flori’s collection of three-voice settings of Latin texts, Modulorum aliquot / tam sacrarum cum prophanorum cum tribus vocibus, et tum musicis instrumentis, tum vocibus concinnentium accommodatorum, liber unus (Louvain, 1573; RISM A/I F1185). 3 Tess Knighton, Catálogo de los impresos musicales de la Colección Uclés (Cuenca, 2009). The collection had previously been the subject of a doctoral thesis by Carmen Casas Gras, who hypothesized that the books’ arrival in Spain was facilitated by Cristoffel Plantin or another Flemish agent or bookseller. See Carmen Casas Gras, ‘La música en el monasterio de Uclés conservada en sus fuentes originales’ (Ph.D. diss., Universidad Pública de Navarra, 2003). 4 Knighton, Catálogo de los impresos musicales, 31–40. See also the Table ibid. 20–2. 5 Marshal Claude Perrin authorized the ransacking of the town following the Battle of Uclés on 13 Jan. 1809. See Charles Esdaile, Outpost of Empire: The Napoleonic Occupation of Andalucia, 1810–1812 (Norman, Okla., 2012), 141. 6 The Order was administered by an elected council of thirteen knights known as the trece, overseen initially by an elected Grand Master. Towards the end of the 15th c., Pope Sixtus IV handed over administration of the Order to Ferdinand of Aragon, but it was soon deemed politically expedient to return the administration to the erstwhile Grand Master, Alonso de Cárdenas. In 1516 the future Charles V became Administrator, and in 1523 Pope Adrian VI formalized the connection of Santiago (along with the other military orders, Calatrava and Alcántara) with the Castilian crown. That the position became hereditary is reflected in the designation of Philip II as ‘Administrador perpetuo’ in such sources as Francisco de Rades y Andrada, Chronica de las tres Órdenes y Cavallerías de Santiago, Calatraua y Alcántara … (Toledo, 1572). See also Enrique Blanco (ed.), The Rule of the Spanish Military Order of St. James: 1170–1493 (Leiden, 1971), 45–7; L. P. Wright, ‘The Military Orders in Sixteenth and Seventeenth Century Spanish Society: The Institutional Embodiment of a Historical Tradition’, Past and Present, 43 (1969), 34–70 at 34–5. 7 Cervera Vera dates the beginning of the reconstruction to 1529. See Luis Cervera Vera, ‘La Arquitectura’, in Ana Ávila, José Rogelio Buendía, Luis Cervera Vera, Concepción García Gaínza, and Joan Sureda Pons (eds.), El siglo del Renacimiento en España (Madrid, 1998), 49–138 at 89. On the monastery’s architectural history, see Sonia Jiménez Hortelano, ‘Historia constructiva del Real Convento de Santiago de Uclés’ (Ph.D. diss., University of València, 2019). 8 On Montano, see Antonio Dávila Pérez, ‘New Documents on Benito Arias Montano (ca 1525–1598) and Politics in the Netherlands’, in Jeanine de Landtsheer and Henk Nellen (eds.), Between Scylla and Charybdis: Learned Letter Writers Navigating the Reefs of Religious and Political Controversy in Early Modern Europe (Leiden, 2011), 233–62 at 262. Portraits of Montano in Antwerp (Museum Plantin-Moretus) and Madrid (Instituto Valencia de Don Juan) depict him with the black attire and blood-red cross (with a fleur-de-lis-tipped crossbar and vertical post ending in a sword blade) of the Order. This distinctive cross makes it possible to identify other Santiago Knights in contemporary portraits. In a 1603 Rubens portrait, the Duke of Lerma wears the chain of the Order, the cross visible on the clamshell pendant resting on his breastplate. Indeed, when Diego Velázquez depicted himself with the cross in Las Meninas (1656), he was only the latest in a long line of members who proudly displayed their affiliation. 9 See, for example, the collection of 16th- and early 17th-c. polyphony gathered by the Valladolid Cathedral chapelmaster Jerónimo de Léon, which favours prints from Venice and Rome, with the major Spanish composers––Morales, Victoria, and Guerrero––strongly represented, discussed in Soterraña Aguirre-Rincón, ‘The Formation of an Exceptional Library: Early Printed Music Books at Valladolid Cathedral’, Early Music, 37 (2009), 379–400. 10 That surviving copies of these prints are generally restricted to libraries in central and eastern Europe suggests their appeal was regional. 11 Kristine Forney, ‘The Netherlands, 1520–1640’, in James Haar (ed.), European Music, 1520–1640 (Woodbridge, and Rochester, NY, 2014), 246–79 at 268. For Plantin specifically, see Francine de Nave and Dirk Imhof (eds.), Cristoffel Plantijn en de Iberische Wereld (Antwerp, 1992). 12 Tess Knighton, ‘Petrucci’s Books in Early Sixteenth-Century Spain’, in Giulio Cattin and Patrizia Dalla Vecchia (eds.), Venezia 1501: Petrucci e la stampa musicale / Venice 1501: Petrucci, Music, Print, and Publishing (Venice, 2005), 623–42. On the Barcelona booksellers Joan Guardiola and Joan Lauriet, see Emilio Ros-Fábregas, ‘Script and Print: The Transmission of Non-Iberian Polyphony in Renaissance’, in Iain Fenlon and Tess Knighton (eds.), Early Music Printing and Publishing in the Iberian World (Kassel, 2006), 299–328 at 317–19. 13 Aguirre-Rincón, ‘The Formation of an Exceptional Library’. 14 On Borja’s collecting activities, see Trevor Dadson, ‘Music Books and Instruments in Spanish Golden-Age Inventories: The Case of Don Juan de Borja (1607)’, in Fenlon and Knighton (eds.), Early Music Printing and Publishing in the Iberian World, 95–116; and Ferran Escrivà-Llorca, ‘Eruditio, Pietas et Honor: Joan de Borja i la música del seu temps (1533–1606)’ (Ph.D. diss., Universitat Politècnica de València, 2015). 15 The Bergamese music theorist encountered musical practices in Spain during his sojourn there between 1592 and 1603. In El melopeo, he identifies Borja as the sole Spanish nobleman with an interest in Italian-style academies: ‘There is no one (as far as I know) who delights in Music, nor who takes interest in establishing these academies. And if I must tell the truth, I would say there is no more than a single person to be found who enjoys hosting such activities in his house: and this nobleman is Sir Juan de Borja… . And since this Knight is alone, we can conclude that there is nobody: for, as it is said among Latin-speakers, One swallow does not a springtime make; and among those who speak the vernacular, it is said, One rose does not make spring. The original reads ‘no ay ninguno (que yo sepa) se deleyte de Musica, ni quien de comodidad para hazer estas Academias. Y si tengo à dezir verdad, digo que no hallo mas que vno, que guste tener en su casa semejante exercicio: ye este Señor es, Don Iuan de Borja, … Y por fer este Cauallero solo, podemos concluyr que no ay ninguno; porquanto se suele dezir entre los latinos; Vna hirundo non facit ver: y entre los vulgares se dize, Vna rosa no haze Primauera … .’ See Pietro Cerone, El melopeo y maestro: Tractado de musica theorica y pratica … en XXII. libros (Naples, 1613), 151. 16 Manuel de Campos, Relaçam / do solenne / recebimento que se fez em Lisboa ás santas reliquias que se leuáram á igreja de S. Roque da companhia de / Iesu aos 25 de Janeiro de 1588 (Lisbon, 1588). See also William Telfer, The Treasure of São Roque: A Sidelight on the Counter-Reformation (London, 1932). On music’s role in the translation, see Ferran Escrivà-Llorca, ‘The Procession of the Relics of São Roque (Lisbon, 1588): A Royal Entry?’, in Tess Knighton and Ascensión Mazuela-Anguita (eds.), Hearing the City in Early Modern Europe (Turnhout, 2018), 229–39. 17 Escrivà-Llorca, ‘Eruditio, Pietas et Honor’, 186–206 and 335–88. At least one music manuscript from Borja’s library survives in Brussels, and his music prints continue to be discovered in European and North American libraries. Lillian Pruett, ‘Sixteenth-Century Manuscripts in Brussels, Berlin and Vienna: Physical Evidence as a Tool for Historic Reconstruction’, Revue belge de musicologie, 50 (1996), 73–92 at 73–7. His copies of Pietro Giovanelli’s Novi thesauri … musici Catholici, libri quinque (Venice, 1567) are now held at Harvard Music Library, for example (Escrivà-Llorca, ‘Eruditio, Pietas et Honor’, 358), while two Victoria choirbooks and a set of Guerrero motets are now owned by the Hispanic Society of America in New York City (Ros-Fábregas, ‘La biblioteca musical’, 553–70). 18 Dadson, ‘Music Books and Instruments’, 111–16; and Escrivà-Llorca, ‘Eruditio, Pietas et Honor’, 186–205, especially 198–9. 19 Prague, Národní Knihovna České Republiky, shelf number 54.A.10479. See Erika Honisch, ‘Light of Spain, Light of the World: Invoking Saint James in Rudolfine Prague’, in Tess Knighton and Emilio Ros-Fábregas (eds.), Recent Research in Early Iberian Music in an International Context (Kassel, 2015), 188–205 at 196. For images and a brief discussion, see Honisch, ‘Sacred Music in Prague, 1580–1612’ (Ph.D. diss., University of Chicago, 2011), 144–7. On San Clemente’s donation of a book to the Bohemian cleric Jan Kyrchperger, see J. Kašparová, ‘Knižní dar španělského velvyslance Guilléna de San Clemente roudnickému probovoštovi Janu Kyrchpergerovi z Kyrchpergu’, in Knihy a dějiny (Prague, 2012), 36–47. 20 On the Spanish community in early modern Prague, see Bohdan Chudoba, Španělé na Bílé Hoře: Tři kapitoly z evropských politických dějin (Prague, 1945); Chudoba, España y el imperio (1519–1643) (Madrid, 1963), available in translation as Spain and the Empire, 1519–1643 (Chicago, 1952); and Emilián Trolda, ‘Španělská hudba v Čechách’, Cyril, 67 (1941), 83–5. 21 Deutsche Biographische Enzyklopädie, 2nd edn., s.v. ‘Rumpf, Wolfgang Siegmund’. The older literature erroneously gives 1606 as Rumpf’s year of death; this is corrected in, among others, Friedrich Edelmayer, ‘Wolf Rumpf de Wielross y la España de Felipe II y Felipe III’, trans. Teresa Frisch-Soto, Revista Pedralbes, 16 (1996), 133–63. The portrait may be accessed digitally via the Austrian National Library’s Bildarchiv Austria database (www.bildarchivaustria.at). 22 Rumpf defended Blotius against renewed calls for his dismissal in the 1590s. On Blotius’s relationship to the supra-confessional community of humanists at Maximilian’s court see Howard Louthan, The Quest for Compromise: Peacemakers in Counter-Reformation Vienna (Cambridge and New York, 1997), especially 53–66. On Blotius’s catalogue of the Imperial manuscript collection, see Hermann Menhardt, Das älteste Handschriftenverzeichnis der Wiener Hofbibliothek von Hugo Blotius 1576, Denkschriften der Akademie der Wissenschaften in Wien/Philologisch-Historische Klassel, 76 (Vienna, 1957); on Blotius’s cataloguing project as a whole, see Paola Molino, ‘L’Impero di carta: Hugo Blotius “Hofbibliothekar” nella Vienna di fine Cinquecento’ (Ph.D. diss., European University Institute, 2011). 23 Conrad Gessner, Bibliotheca universalis, sive catalogus omnium scriptorum locupletissimus, in tribus linguis, Latin, Graeca, & Hebraica: extantium & non extantium veterum & recentiorum … (Zurich, 1545), and Gessner, Pandectarum sive Partitionum universalium libri XXI (Zurich, 1548). Drawing on Melanchthon’s notion of loci communes (commonplaces), Gessner proposed twenty-one libri (i.e. ‘subjects’) in the Pandectae, which he further divided into tituli. See Paul Nelles, ‘Reading and Memory in the Universal Library: Conrad Gessner and the Renaissance Book’, in Donald Beecher and Grant Williams (eds.), Ars Reminiscendi: Mind and Memory in Renaissance Culture (Toronto, 2009), 147–69 at 152. 24 Conrad Gessner, Bibliotheca instituta et collecta, … amplificata per Ioannem Iacobum Frisium (Zurich, 1583). Their correspondence is analysed masterfully by Molino in ‘Esperimenti bibliografici fra Vienna e Zurigo: La corrispondenza fra Hugo Blotius e Johann Jakob Frisius (1576-1589)’, Bibliotheca.it, 1 (2012), www.bibliotheca.it. The Imperial copy of Gessner’s Pandectae can be viewed in the ‘Digital Reading Room’ of the Austrian National Library (http://data.onb.ac.at/rec/AC09626775). The shelf number is 56409-D.2,1. 25 Robert Evans, Rudolf II and his World: A Study in Intellectual History, 1576–1612 (Oxford, 1984), 71 n. 2. The inventory is also mentioned briefly in Josef Stummvoll, Geschichte der Österreichischen Nationalbibliothek, iii (Vienna, 1968), 115. 26 Robert Lindell, ‘Freiherr Wolf Rumpf zum Wielroß als Musikliebhaber’, in Erwein Eltz and Arno Strohmeyer (eds.), Die Fürstenberger: 800 Jahre Herrschaft und Kultur in Mitteleuropa (Korneuburg, 1994), 253–6. 27 The fate of the 11,000-volume Rožmberk collection—the only contemporary private library in Bohemia or Austria to exceed Rumpf’s collection in scope of musical contents—exemplifies the near obliteration of Bohemian collections during the Thirty Years War. What was not sent to Sweden or lost was scattered among personal and institutional libraries in the Czech lands. A library numbering some 10,000 volumes owned by Borja’s counterpart in Spain, Adam of Dietrichstein, apparently met a similar fate in 1645 when Swedish troops sacked Nikolsburg (Mikulov); the inventory is Brno, Morávský Zemský Archiv, Cer. II.117. For an overview of Swedish holdings originally from the Rožmberk library, see Isak Collijn, ‘Nya Bidrag till det Rosenbergska Biblioteket’, Nordisk Tidskrift för Bok- Och Biblioteksväsen, 13 (1926), 63–71; the older literature on the Rožmberk library is superseded by Lenka Veselá, Knihy na dvoře Rožmberků (Prague, 2005). 28 The authors of this article announced the discovery of Rumpf’s ownership in a joint paper at the 2012 Medieval and Renaissance Music Conference in Nottingham, UK; a brief summary notice was issued in the holding institution’s newsletter: Música: Revista del Real Conservatorio Superior de Música de Madrid, 20 (2012–2013). 29 Print formats, categorized according to the folding of the paper, are abbreviated in the inventory as follows: fol., 4o, 8o, 12o, and 16o. Where the paper size differed from standard dimensions, this was specified. Folio prints using the large ‘royal’ size of paper (61.5 × 44.5 cm or 24 × 17.5 inches), for example, were described as ‘in folio regali’. On paper sizes in the 16th c., see Jane Bernstein, Print Culture and Music in Sixteenth-Century Venice (Oxford and New York, 2001), 35. Contemporary inventories that provide a comparable amount of detail include the Rožmberk inventory (National Library of Sweden, U 378:1-4; facsimile available in the CD-ROM accompanying Veselá, Knihy na dvoře Rožmberků), and the inventory of the Augsburg collector Johann Georg Werdenstein’s music library. See Richard Charteris, Johann Georg von Werdenstein (1542–1608): A Major Collector of Early Music Prints (Sterling Heights, Mich., 2006). 30 In addition to antedating the earliest books in the rest of the collection by some fifty years, the Moderne partbooks have a different binding and lack numerical item numbers. They also show signs of use, whereas none is found in the partbooks also listed in the Blotius inventory. See Knighton, Catálogo de los impresos musicales, 176. 31 In size and scope, the Uclés collection outstrips the ‘Sabbateni’ collection, a set of manuscript and printed partbooks compiled by Wenceslaus Christianus Sabbatenus a Greyfenfelso in Prague c.1600 and now in the holdings of New York University’s Bobst Library. That collection primarily comprises sacred music and includes manuscript unica by Imperial composers (e.g. Jacobus de Kerle and Philippe de Monte) as well as otherwise unknown settings of Czech texts. See Stanley Boorman, ‘A New Source, and New Compositions, for Philippe de Monte’, in M. Delaere and P. Bergé (eds.) “Recevez ce mien petit labeur”: Studies in Renaissance Music in Honour of Ignace Bossuyt (Leuven, 2008), 35–48, and Erika Honisch, ‘Sacred Music in Prague, 1580–1612’ (Ph.D. diss., University of Chicago, 2011), 139–40 and 356–62. The Uclés collection, however, is smaller than the largest known contemporary private music collections (i.e. those in excess of 400 volumes), including those of the Augsburg collectors Werdenstein (see n. 29 above), Hans Heinrich Herwart, and Raimund Fugger. See Kate van Orden, Materialities: Books, Readers, and the Chanson in Sixteenth-Century Europe (Oxford and New York, 2015), 82. 32 See, for example, the special issue of the Journal of Medieval and Early Modern Studies, 38 (2008), edited by John Watkins, on the ‘New Diplomatic History’; Watkins, ‘Toward a New Diplomatic History of Medieval and Early Modern Europe’, 1–14 at 4, notes the scarcity of scholarship on diplomatic ties between western and eastern Europe. See also Timothy Hampton, Fictions of Embassy: Literature and Diplomacy in Early Modern Europe (Ithaca, NY, 2009) and, for Spanish diplomacy in particular, D. Carrió-Invernizzi, ‘A New Diplomatic History and the Networks of Spanish Diplomacy in the Baroque Era’, International History Review, 36 (2014), 603–18. For a wide-ranging treatment of musical issues, see Rebekah Ahrendt, Mark Ferraguto, and Damien Mahiet (eds.), Music and Diplomacy from the Early Modern Era to the Present (New York, 2014). 33 Although it responds to the ‘networked society’ characteristic of the global present, mobility studies’ fundamental interest in circulation and in the materiality of movement resonates productively with the questions taken up in the present study. On mobility studies in general, see Tim Cresswell and Peter Merriman (eds.), Geographies of Mobilities: Practices, Spaces, Subjects (Farnham, 2011), and Peter Adey et al. (eds.), The Routledge Handbook of Mobilities (London, 2013). For considerations of sound and music, see Sumanth Gopinath and Jason Stanyek (eds.), The Oxford Handbook of Mobile Music Studies, 2 vols. (New York, 2014), and the special issue ‘Mobilität und Musik’, in Österreichische Musikzeitschrift, 72 (2017). 34 A stimulating reflection on what is gained by thinking about archives and sources in motion is Marta Albalá Pelegrín, ‘Wars of Knowledge: Iberian Imperial Hegemony and the Assembling of Libraries’, Pacific Coast Philology, 52 (2017), 166–72. 35 The manuscript is in the Arnamagnæan Collection at the University of Copenhagen, shelf number AM 377 fol.; it may be viewed at http://digitalesamlinger.hum.ku.dk/Home/Samlingerne/25258; accessed 20 July 2019. For an overview and contextualization, see Edward Wilson-Lee, The Catalogue of Shipwrecked Books: Christopher Columbus, his Son, and the Quest to Build the World’s Greatest Library (New York, 2018). 36 On binder’s volumes, see Jane Bernstein, Music Printing in Renaissance Venice: The Scotto Press (1539–1572) (New York and Oxford, 1998), 933 ff. On the ‘universal library’, see Roger Chartier, ch. 3 (‘Libraries without Walls’) in The Order of Books (Stanford, 1994), especially 70–83. For a reconstruction of a contemporary private music collection, see Kate van Orden and Alfredo Vitolo, ‘Padre Martini, Gaetano Gaspari and the “Pagliarini Collection”: A Renaissance Music Library Rediscovered’, Early Music History, 29 (2010), 241–324. 37 In this respect, the reward for reconstructing the library of a humanist collector is different than that gained by studying the books owned by someone contributing actively to humanist discourse. For an illuminating illustration of the latter, see Iain Fenlon and Inga Mai Groote (eds.), Heinrich Glarean’s Books: The Intellectual World of a Sixteenth-Century Musical Humanist (Cambridge, 2013), 28, 304, and passim. 38 On the relationship between the Spanish royal court and the Imperial court in Austria and Bohemia see Bohumil Bad’ura, Los países checos y España: Dos estudios de las relaciones checo-españolas (Prague, 2007); Friedrich Edelmayer, ‘La red clientelar de Felipe II en el Sacro Imperio Romano Germánico’, Torre de los Lujanes, no. 33 (1997), 129–42; Edelmayer, ‘“Manus manum lavat”: Freiherr Wolf Rumpf zum Wielroß und Spanien’, in Erwein Eltz and Arno Strohmeyer (eds.), Die Fürstenberger: 800 Jahre Herrschaft und Kultur in Mitteleuropa (Korneuburg, 1994); Edelmayer, ‘Wolf Rumpf de Wielross y la España de Felipe II y Felipe III’; Edelmayer, ‘Honor y dinero: Adam de Dietrichstein al servicio de la Casa de Austria’, Studia Historica. Historia Moderna, 11 (1993), 89–116; Pavel Marek, La embajada española en la corte imperial (1558–1641): Figuras de los embajadores y estrategias clientelares (Prague, 2013); and Edelmayer, ‘Luisa de las Llagas: La abadesa de las Descalzas y el proceso de la comunicación política y cultural entre la corte real española y la imperial’, Pedralbes, 31 (2011), 47–90. 39 Variously translated as ‘Governor’, ‘Stadtholder’, and ‘Administrator’, the Imperial Statthalter position was analogous, mutatis mutandis, to the position of the King’s ‘viceroy’ in France, Spain, and England. As the holder was a locumtenens, ruling in the Emperor’s stead (i.e. ‘statt’), the French ‘lieutenant’ comes closest to describing the role. Because of the specific military connotations of ‘lieutenant’ in English, however, ‘Governor’ is the better translation. 40 Manuel Fernández Álvarez, Carlos V, el César y el hombre (Madrid, 1999), 735; and Álvarez, Felipe II y su tiempo (Madrid, 2006), 713 ff. 41 Jaroslava Kašparová, ‘Španělské tisky 16. století z dílny pražského tiskaře Jiřího Nigrina’, Documenta Pragensia, 10 (1990), 209–18, and Kašparová, ‘Los impresos españoles del siglo XVI procedentes de la tipografia Praguense de Jorge Nigrin’, Ibero-Americana Pragensia, 22 (1988), 147–54. 42 Marek, La embajada española, 39–52 and 143–60. 43 ‘Utraquist’ refers to the commitment of Jan Hus’s followers to lay Communion sub utraque specie (in both kinds). Where Catholics believed in lay Communion sub una (solely the consecrated bread), Utraquists believed the laity should take both consecrated bread and consecrated wine at Communion. See David Holeton, ‘The Bohemian Eucharistic Movement in its European Context’, Bohemian Reformation and Religious Practice, 1 (1996), 23–48. 44 On fo. 1r of the incunabulum Agenda Pragensis (Pilsen, c.1476–9; Národní Knihovna České Republiky, 44.G.44), for example, a handwritten inscription reads ‘Caesar Colleg. Societ. Jesu Pragae, ex liberalitate D. Mariae Manrique senioris de Pernstein’. On the fate of Maria’s collections, see Jaroslava Kašparová, ‘Knižní dary španělské šlechtičny Maríe Manrique de Lara y Mendoza a španělského vyslance Guilléna de San Clemente jezuitské klementinské koleji v Praze’, in Jitka Radimská (ed.), K výzkumu zámeckých, měšťanských a církevních knihoven: Čtenář a jeho knihovna (České Budějovice, 2003), 133–56; and Kašparová, ‘En torno a la biblioteca de María Manrique de Lara y Mendoza’, Ibero-Americana Pragensia, 29 (1995), 137–48. On those of Maria’s Spanish prints that survive in the Lobkovic holdings at Roudnice, see Kašparová, Spanělské tisky Marie Manrique de Lara y Mendoza dochovaná v Roudnické Lobkowiczké knihovně (Prague, 1995). 45 Spanish diplomats did sometimes marry women from high-ranking northern and central European families: Baltasar de Zuñiga, Imperial ambassador from 1608 to 1617, married a Flemish noblewoman while ambassador to the Brussels court of Albert and Isabella; the Count of Villanueva married Anna of Dietrichstein (1558–after 1631); and the Marquis of Mondéjar married Beatrice of Dietrichstein (1573–1631). See Vanessa de Cruz Medina, ‘“In Service to My Lady, the Empress, as I Have Done Every Other Day of My Life”: Margarita of Cardona, Baroness of Dietrichstein, and Lady-in-Waiting of Maria of Austria’, in Nadine Akkerman and Birgit Houben (eds.), The Politics of Female Households: Ladies-in-Waiting across Early Modern Europe (Leiden, 2013), 99–122. 46 Edelmayer, ‘Honor y dinero’, 98; and Edelmayer, ‘Wolf Rumpf de Wielross’, 143 ff. See also Marek, La embajada española, 169–83. 47 An encomienda was a land or benefice with an associated income and was usually linked to a military order. Histories of the chivalric orders often list their encomiendas. See, for example, the ‘Tabla de las Encomiendas de la Orden de Sanctiago’ in Francisco de Rades y Andrada, Chronica de las tres ordenes y cauallerias de Santiago, Calatraua y Alcantara (Toledo, 1572), fos. ¶v–¶2r. 48 Alexander Koller (ed.), Nuntiaturberichte aus Deutschland: nebst ergänzenden Aktenstücken. 1572–1585. Nuntiaturen des Orazio Malaspina und Ottavio Santacroce. Interim des Cesare Dell’Arena (1578–1581) (Berlin, 2012), 203. 49 The authors are grateful to Bonnie Blackburn for alerting us to Anna Maria’s learned and musical family. 50 Christopher Laferl, Die Kultur der Spanier in Österreich unter Ferdinand I., 1522–1564 (Vienna, 1997), 61 and 251–2. 51 Peter Fleischmann, Kurtze und aigentliche Beschreibung / des zu Regenspurg in disem 94. Jar gehaltenen Reichstag … (Regensburg, 1594), sig. Eivv. At the official entry into Regensburg on 17 May, Rumpf marched near the Emperor: following the entries of lesser personages, the Emperor entered under a gold damask canopy held aloft by six ‘Rahtspersonen’ [sic]. Next came two spiritual electors, the Archbishops of Mainz and Trier, followed by the Archbishop of Salzburg and the Bishop of Würzburg. They were followed by Rumpf, in the company of Christoph Popel von Lobkowitz, ‘Verwalter des Kayerslichen obristen Cammer Ampts’ (Administrator of the Imperial Exchequer). See ibid., sig. Bivr. 52 San Clemente’s remark when Rumpf died that Philip III had lost a faithful servant suggests the Emperor was justified in his suspicions. See Edelmayer, ‘Wolf Rumpf de Wielross’, 154, citing a letter from San Clemente to Philip III dated 8 June 1605 (Archivo General de Simancas, Est. 2492, fos. 82–3). 53 Edelmayer, ‘“Manus manum lavat”’, 235. 54 For an overview of Philip II’s religiosity in the context of his political career, see Henry Kamen, Philip of Spain (New Haven, 1997), 104–6 and 232–6. 55 Other non-Spaniards inducted into the Order included the Silesian Georg Proskoský von Proskau (1567) and Otto von Neidegg (1564), and members of the Fugger family. Sometimes high-level pressure was needed to secure membership: Proskoský belonged to the Order of Saint John of Jerusalem during the period when the future Emperor Maximilian II was Regent of Spain (1548–51). In 1562, Proskoský, by then a member of Maximilian’s chamber, secured a new encomienda in the Order of Santiago after the Emperor interceded on his behalf with Philip II, and on 11 May 1567 he was knighted in Vienna’s Augustinerkirche. See Anna Mur i Raurell, ‘Austríacs dins els ordes militars espanyoles’, Pedralbes, 16 (1996), 15–35, and Marek, La embajada española. 56 By 1598, rumours connected Trautson to a Spanish plot to force the Emperor’s abdication on the grounds of illness. On Rudolf’s erratic behaviour in this context, see Evans, Rudolf II and his World, 47. On the ‘Spanish faction’ in Prague, see Vojtěch Kroužil, ‘Juan de Borja, Guillén de San Clemente a Formování “španělské Strany” na dvoře Rudolf II’, Časopis Národního Muzea, 179 (2010), 3–41. 57 Edelmayer, ‘Wolf Rumpf de Wielross’; Edelmayer, ‘“Manus manum lavat”’; Edelmayer, ‘Aspectos del trabajo de los embajadores de la casa de Austria en la segunda mitad del siglo XVI’, Pedralbes, 9 (1989), 37–56; and Edelmayer, Söldner und Pensionäre: Das Netzwerk Philipps II. im Heiligen Römischen Reich (Munich, 2002). Among the archives whose holdings Edelmayer mined so fruitfully are the Archivo Histórico Nacional (Madrid), the Archivo General de Simancas, the Schlossarchiv (Weitra), and the Haus-, Hof- und Staatsarchiv (Vienna). 58 Edelmayer, ‘Wolf Rumpf de Wielross’, 135–6. 59 Milan had belonged to the Spanish Crown since Emperor Charles V’s victory at Pavia in 1525. Philip II sought to maintain the union of Milan and the Marquisate of Finale (Liguria) with the Holy Roman Empire in order to retain Spanish access to Genoa. See Friedrich Edelmayer, ‘La lucha por el camino español: Felipe II y el marquesado de finale Ligure’, in Alberto Martín (ed.), Hacer historia desde Simancas: Homenaje a José Luis Rodríguez de Diego (Valladolid, 2011), 293–304. 60 Lindell (‘Freiherr Wolf Rumpf’, 256) notes, based on communication with Edelmayer, that the 1587 inventory of Rumpf’s belongings (Weitra SA, Nr. 246), lists the following portable keyboard instruments: a positive organ and regal, both from Augsburg, and two plucked keyboard instruments. It is unclear whether these last two instruments, both velvet-covered, were clavichords (i.e. monacordio), as Lindell assumes (ibid.), or harpsichords (i.e. clavicordio), as Edelmayer (‘Wolf Rumpf de Wielross’, 151–2) implies. One, boasting a golden fringe, gold fittings, and richly painted lid, was a gift from Papal Nuncio Delfino. Rumpf acquired the other, more modestly decorated, instrument in Spain. 61 Edelmayer, ‘Wolf Rumpf de Wielross’, 139. 62 Ibid. 146. This coveted title did not raise Rumpf above the ranks of the petty nobility, however. 63 The architect, Pietro Ferrabosco, had overseen several Habsburg building projects, including the Amalienburg in Vienna (1575–81) and Rudolf II’s hunting lodges at Hlavenec and Sadská (Bohemia). See Jarmila Krčálová, ‘Ferrabosco, Pietro’, Grove Art Online, http://www.oxfordartonline.com (accessed 8 Sept. 2014). 64 Franz Grillparzer’s 1848 play Ein Bruderzwist im Hause Habsburg offers one influential example of Rumpf as imagined by posterity; see also the passages about ‘poor Rumpf’ in John Banville’s memoir-cum-history-cum-guidebook, Prague Pictures: Portraits of a City (London, 2003), 95–6. 65 Edelmayer, ‘Wolf Rumpf de Wielross’, 153. 66 Rumpf’s apparent support for Archduke Albert’s candidacy as a successor probably exacerbated the situation. See Luc Duerloo, Archduke Albert (1598–1621) and Habsburg Political Culture in an Age of Religious Wars (Burlington, Vt., 2012), 252. 67 In 1604 Rumpf collected a pension from the Lower Austrian Chamber. See Documenta Rudolphina (http://documenta.rudolphina.org/Regesten/A1604-05-15-19178.xml), citing Vienna, Österreichiches Staatsarchiv, Allgemeines Verwaltungs-, Finanz- und Hofkammerarchiv, Alte Hofkammer, Niederösterreichische Kammer, Band 204a [E 1604 Jan-Jun] fo. 326r: ‘Resolution auß Prag vom 9 9ber 604. darinen wirdt hern Wolffen Rumpfen in ansehung seiner getreuen aufrichtig ansehenlich vnd nuzlich[en] dienst willen Jarlich[en] 1000 fl Pension auf lebenlang auß dem Salzambt zu Wien zuraichen bewilligt …’. 68 See n. 6 above. See also Edelmayer, ‘“Manus manum lavat”’, 242, and Edelmayer, ‘Wolf Rumpf de Wielross’, 144–5. Protocols for the induction are given in La Regla y Stablescimiento de la Cavalleria de Sanctiago del Espada … (Madrid, 1577), fos. 54v–61v. Some Santiago knights served as captains on the galleys, but most were caravanistas, without specific duties. See Antonio Martinez Teixidó, ‘Operaciones militares de la Orden de Santiago en las edades media y moderna: Galeras santiaguistas en la defensa del Mediterráneo en el siglo XVI’ (Ph.D. diss., Universidad Autónoma de Madrid, 2014), 214–15, and Carla Rahn Phillips, ‘Spanish Noblemen as Galley Captains: A Problematical Social History’, in N. A. M. Rodger, J. Ross Dancy, et al. (eds.), Strategy and the Sea: Essays in Honour of John B. Hattendorf (Woodbridge, 2016), 9–18 at 9–10. 69 Edelmayer, Söldner und Pensionäre, 92–3. 70 Curiously, there is more information about the induction preserved in the Weitra Schlossarchiv than in the Sección de Órdenes Militares of Madrid’s Archivo Histórico Nacional. See in particular the documents cited in Edelmayer, ‘Wolf Rumpf de Wielross’, 145–6. 71 Edelmayer, ‘“Manus manum lavat”’, 242–3 and Edelmayer, Söldner und Pensionäre, 92–3. The Order recommended that Rumpf stay for three months at an Augustinian or Dominican monastery or, failing that, a Franciscan institution. Responding to a petition from Rumpf, Philip II allowed him to serve just fifteen days in a monastery in the Austrian Habsburg territories. See Mur i Raurell, ‘Austríacs dins els ordes militars espanyoles’, 29–35. On the increasing reluctance among noblemen to serve in the galleys and undertake the required spiritual retreat, see Francisco Fernández Izquierdo, ‘Los caballeros cruzados en el ejército de la Monarqía Hispánica durante los siglos XVI y XVII: ¿Anhelo o realidad?’, Revista de historia moderna, 22 (2004), 11–60 at 28–30. 72 Edelmayer, ‘Wolf Rumpf de Wielross’, 145, and Edelmayer, ‘“Manus manum lavat”’, 243, citing a cédula (authorization) from Philip II (Schlossarchiv Weitra 245, without foliation). There was incentive to move quickly, as the Paracuellos encomienda had just become vacant. For that title, too, Rumpf was exempted from the required stay at a monastery. The Paracuellos induction was held in Prague’s St Thomas Church, an Augustinian institution where many courtiers and Imperial musicians worshipped. 73 Edelmayer, ‘Wolf Rump de Wielross’, 146 and Edelmayer, ‘“Manus manum lavat”’, 243. 74 The ceremony is described in ‘Relación y órden con que yo recivy el hábito y la órden de Santyago’, preserved in Schlossarchiv Weitra 245 (without foliation); see Edelmayer, ‘“Manus manum lavat”’, 243 n. 90. San Clemente was a prominent figure within the Order by the 1590s, receiving a special dedicatory address (following dedications to Philip II and the Order’s membership) in Bartolomé Ysla, Regla de la Orden y Cavalleria de S. Santiago de la Espada (Antwerp, 1598). The dedication (ibid. 13–16) to San Clemente was written by Francisco Portilla, and is preceded by San Clemente’s coat of arms (ibid. 12), featuring the Order’s motto (‘Nos autem gloriari oportet in cruce domini nostri Jesu Christe’, ultimately from Galatians 6: 14, but carrying special meaning as the Introit for the feast of the Finding of the Holy Cross). 75 Edelmayer, ‘“Manus manum lavat’”, 242; and Edelmayer, ‘Wolf Rumpf de Wielross’, 146. A description of and rationale for the Santiago vestments is given in fos. 62v–64v of the Regla y Stablecimientos. 76 La Regla y Stablescimientos, fo. 56r: ‘Y exortamos, y rogamos a todos los cavalleros y freyles de nuestra orden, que a su fallescimiento ayan memoria de dexar, y dexen, a los dichos conventos o al que dellos más devoción avrán, algunos de sus libros, y buenas, y sanctas scripturas que tuvieren, para que queden, y estén en las librerías de los dichos conventos.’ 77 Vienna: Haus-, Hof- und Staatsarchiv, Niederösterreichisches Landmarschallamt R 37 (cited in Edelmayer, ‘Wolf Rumpf de Wielross’, 156 n. 117). 78 On Mendoza’s bequest, see Edelmayer, ‘Wolf Rumpf de Wielross’, 156 n. 115. 79 Ibid. 156. 80 For a description of the cross and references to its appearance in portraits, see n. 8 above. On the decoration at Schloss Weitra, see Edelmayer, ‘Wolf Rumpf de Wielross’, 146. A photo of the courtyard can be viewed at http://commons.wikimedia.org/wiki/File:Schloss_weitra_02.jpg. 81 Edelmayer (‘Wolf Rumpf de Wielross’, 158 n. 8) locates Rumpf’s supralibros on a copy of Cornelis Wytfliet’s Descriptionis Ptolomicae augmentum … (Louvain, 1598), now held in Madrid’s Biblioteca Complutense (Fondo Antiguo) under the shelf number 30.218. For more on this source, see n. 102 below. 82 Fleischmann, Kurtze und aigentliche Beschreibung, sig. Eivv. 83 Franz Sales, Sacrarum cantionum … liber primus (Prague, 1593), RISM A/I S 394, SS 394. Lindell (‘Freiherr Wolf Rumpf’, 256) speculates that the complete set of Sale’s Liber primus held today in the Österreichische Nationalbibliothek (shelf number: SA.77.D.29/1–6) belonged to Rumpf. 84 Mathias de Sayve, Liber primus motectorum quinque vocum (Prague, 1595), RISM A/I S 1127. The full salutation reads: ‘D. Domino Wolfgango Libero Baroni in Wielros et We[ittrach], Summo Aulae Praefecto Supremo Cubicu[lario] et Intimo Consiliario, Equiti Ordi[nis] Iacobi de Spata, [et] Commendatori in Paraquellos’. Two partbooks survive in Cologne, Universitäts- und Stadtbibliothek (shelf number: K16a7543) and a fragment of a single partbook, not catalogued in RISM, survives in Prague’s Narodní Muzeum České Hudby. 85 In the partbooks (Bassus, Quintus) that survive today in the Cologne Stadt- und Universitätsbibliothek, the motet has been retexted by hand in order to invoke St Severinus, a saint of local importance in Cologne: ‘Wolfgangi’ is replaced with ‘Severini’, and ‘Ratisbona’ is replaced with ‘Colonia’. The books probably arrived via the Imperial Almoner Jacobus Chimarrhaeus, who held a benefice at Cologne’s Church of St Severinus. 86 The Venetian Ambassador Tomaso Contarini to the Venetian Doge and Senate: ‘Al maggiordomo sono aperti tutti i secreti, in mano suo sono tutti i negozi, da lui sono date le udienze, a lui s’indirizzano gli ambasciatori, per mezzo suo si fanno le grazie, a sua instanza si ottiene giustizia.’ Eugenio Alberi (ed.), Relazioni degli ambasciatori veneti, 248, quoted in Evans, Rudolf II and his World, 71. 87 The relevant passage (ibid.) reads: ‘quello che apporta meraviglia è che l’Imperatore mostra non esser contento di lui’. 88 Given the high proportion of his books printed in the 1570s, it seems likely that he did most of his purchasing in that decade. On motivations to have a collection inventoried, see Malcolm Walsby, ‘Book Lists and their Meaning’, in Natasha Constantinidou and Malcolm Walsby (eds.), Documenting the Early Modern Book World: Inventories and Catalogues in Manuscript and Print (Leiden, 2013), 1–26 at 1. 89 Jean de Castro, Chansons et madrigales à quatre parties … (RISM A/I C1469); Philippe de Monte, Il quarto libro di madrigali a sei voci (RISM A/I M3368). 90 Fenlon and Groote, Heinrich Glarean’s Books. 91 Martin Morell, ‘Georg Knoff: Bibliophile and Devotee of Italian Music in Late Sixteenth-Century Danzig’, in J. Kmetz (ed.), Music in the German Renaissance: Sources, Styles, and Contexts (Cambridge, 1994), 103–26 at 110. 92 On such practices at the Royal Chapel of Philip II, see Luis Robledo Estaire, Tess Knighton, Cristina Bordas Ibáñez, and Juan Carreras López (eds.), Aspectos de la cultura musical en la corte de Felipe II (Madrid, 2000), 137–8 and Appendix 23 (‘Cuentas de los copistas de música de la Capilla Real Pompeo di Russi, Jean Domine e Isaac Bertout (extractos)’), 395–408. For Seville Cathedral in the 16th c., see Juan Ruiz Jiménez, La librería de canto de órgano: Creación y pervivencia del repertorio del Renacimiento en la actividad musical de la catedral de Sevilla (Granada, 2007). 93 A representative example of a patrimonial collection is Philip II’s library, which included books collected not only by the ruler but also by Juana of Austria and Maria of Hungary. The bulk of the collection was passed on to Philip III after being inventoried for auction. See Tess Knighton, ‘La música en la casa y capilla del príncipe Felipe (1543–1556): Modelos y contextos’, in Robledo Estaire, Knighton, Bordas Ibáñez, and Carreras López (eds.), Aspectos de la cultura musical en la corte de Felipe II, 35–97, and Luis Robledo Estaire, ‘La música en la casa del rey’, ibid. 99–193. 94 For a general comparison of the contents and scope of pragmatic and encyclopedic collections, see Fenlon and Groote, ‘Heinrich Glarean’s Books’, 304–5, and van Orden, Materialities, 77–89. For a typology of libraries with significant musical holdings, see Iain Fenlon, ‘Hernando Colón, Heinrich Glarean and Others’, in D. Herlin et al. (eds.), Collectioner la musique: Histoires d’une passion (Turnhout, 2010), 55–69. 95 Fenlon, ‘Hernando Colón, Heinrich Glarean and others’. For a broader view of print culture and music collecting in the 16th c., see also Fenlon, Music, Print, and Culture in Early Sixteenth-Century Italy (London, 1995). 96 On the Rožmberk chapel see František Mareš, ‘Rožmberská Kapela’, Časopis Českého Musea, 68 (1894), 209–36; Jaroslav Pánek, ‘Renesanční velmož a utváření hudební jultury šlechtického dvora’, Hudební věda, 26 (1989), 4–15; Martin Horyna, ‘Vilém z Rožmberka a Hudba’, Opera Historica, 3 (1993), 257–64; and, especially, Veselá, Knihy na dvoře Rožmberků, 166–7. Lindell speculates that Rumpf was known to be a keyboard player, noting the keyboard instruments he was given or otherwise acquired (see n. 60 above). 97 It is striking, if not surprising, that the bureaucrats tasked with determining the collection’s future referred to the books simply as ‘books’—objects, like the desk—without reference to their subject matter. 98 Edelmayer, ‘Wolf Rumpf de Wielross’, 157. 99 Ibid. 100 Ibid. 158. It is impossible to know who ultimately determined which books were absorbed into the royal collection, which were burned, and which were sent on to Uclés, without knowing when exactly the books arrived in Spain; the three confessors who held office during this period were Diego Mardones (1604–6), Jerónimo Javierre (1606–8), and Luis de Aliaga (1608–21). 101 Ibid. 102 Edelmayer (ibid. 158) argues that many books once owned by Rumpf and now held in the Biblioteca Nacional in Madrid were, judging by ownership stamps, previously at Uclés. He further notes that at least one book now in the library of Madrid’s Universidad Complutense, Wytfliet’s Descriptionis Ptolomicae augmentum … (see Pl. 3 and note 81 above), was initially given to the Jesuit College at Villarejo de Fuentes. He also connects a binder’s volume in Madrid, Archivo Histórico Nacional (Fondo Antiguo, Sign. 2347), comprising Marcus Vitruvius Pollio, De Architectura libri decem (Venice, 1567) and Sebastian Serlio, De architectura libri quinque … (Venice, 1568/69), with Rumpf. 103 For images and a list of the contents of each set, see Knighton, Catálogo de los impresos musicales. Knighton assigned each set of binder’s volumes a Roman numeral from I to XIV, accurately predicting gaps in the holdings. Using Knighton’s Roman numerals with Blotius’s item numbers in parentheses, the surviving sets are: I (791–6), III (800–3), IV (804–9), V (810–15), VII (816–21), VIII (835–40), IX (841–6), X (847–53), XI (854–7), XII (858–60), XIII (861–5), and XV (871–6). 104 Items 787–90 and 803 are shelf nos. *MN P354 and *MN C696 respectively. The authors are grateful to Kate van Orden for this information. See also van Orden, Music, Authorship, and the Book in the First Century of Print (Berkeley, 2014), 136–9, and van Orden, Materialities, 58–9, where Figure 2.3 is a photograph of the binding of No. 803. 105 Knighton, Catálogo de los impresos musicales, 32. 106 For information on these later losses, see especially Table 2, ibid. 20–2. 107 RISM A/I H5187, D3521, R731, V1115, V1118, G565, and K990. See Appendix II below for the publication information. 108 As late as 1952, the quintus and sextus partbooks survived in Madrid, where the collection had been transferred in 1872. See Knighton, Catálogo de los impresos musicales, 22 and 171. 109 Two of the Paminger partbooks still survived in 1952, also in Madrid, but disappeared sometime after that, perhaps in a 1955 robbery. 110 See Appendix II for publication information. There are extant copies of eight prints: RISM A/I M2358, M2359, G50, G574, A2532, A2538, R2737, and B737. Three prints do not survive anywhere and are consequently not listed in RISM; these comprise mass settings by Georgius Cropatius (see n. 111), Jacobo Antonio Cardillo de Monte’s first book of five-voice motets (Venice, 1579), and a 1576 edition of Ippolito Sabino’s equal-voice mass settings, probably a reprint of RISM A/I S40, issued in 1575. 111 The print was entitled Tomus primus Missarum quinque vocum iuxta dodecachordi modos. Dorij scilicet, Hypodorij et Lydij accuratae compositj. Draudius’s listing of a 1548 edition (Bibliotheca classica, 1222) is probably erroneous, as other contemporary catalogues date it to 1578, and the title page of the 1578 edition specifies that it is ‘recensq[ue] in lucem editis’. See, for example, Joannes Clessius, Unius seculi … Elenchus consummatis Librorum … (Frankfurt, 1602), 396; Israel Spach, Nomenclator scriptorium philosophicorum … (Strassburg, 1598), 578; and Georg Willer, Collectio … omnium librorum …, qui in nundinis Francofurtensibus ab anon 1564. usque ad … anni 1592 (Frankfurt, 1592), 614. It is unclear whether this Cropatius was the same ‘Georgius Cropacius Teplicenus’ who wrote Carmen ad Filium Dei, natum et resuscitatum, pro salute generis humani (Prague, 1575). 112 With his use of a twelve-mode system, Cropatius joined the company of Homer Herpol, active at Konstanz, who organized his Novum et insignum opus (Nuremberg, 1565; Blotius nos. 822–6) according to Glarean’s system, and the Innsbruck-based composer Alexander Utendal (Septem psalmi poenitentiales … ad dodecachordi modo duodecimo …, Nuremberg, 1570; Blotius nos. 804–9). 113 Jane Bernstein, ‘Publish or Perish: Palestrina and Print Culture in Sixteenth-Century Italy’, Early Music, 35 (2007), 225–35; van Orden, Music, Authorship, and the Book, 60. 114 Jacob Clemens, Missa defunctorum 4 vocum … (Louvain, 1570); PW no. 8404; Phalèse 139. While several copies of the 1570 anthology are extant, the Clemens print does not survive. The 1570 edition (one of five issued by Phalèse) was available for purchase at the Frankfurt book fair: ‘Clemens non Papa Missa defunctorum 4 constans partibus, Lovanii fol. regali 1570’ (K. Ph. Bernet Kempers, Foreword to Jacobus Clemens non Papa, Opera Omnia, viii (Corpus mensurabilis musicae, 4; Rome, 1959), i). Given that there is no known copy of the Clemens print, it seems unlikely that any portion of Blotius no. 833 survives, unless the prints were separated. 115 La Hèle became Philip II’s chapelmaster in 1580. The prints were issued on the same batch of paper, originally purchased for an ill-fated antiphoner to be dedicated to Philip II; when the King failed to cover the costs, Plantin used the paper for mass prints by La Hèle, Kerle, Monte, and Gaucquier. See van Orden, Music, Authorship, and the Book, 66–7; Lavern Wagner, ‘La Hèle, George de’, Grove Music Online, accessed 19 October 2014; and Wagner, ‘Some Considerations of Plantin’s Printing of De la Hèle’s Octo missae’, De Gulden Passer, 64 (1986), 49–59. These two prints were also bound together in the private library of Brussels zangmeester Thomas van der Horst. See Suzanne Clercx, ‘Listes des musiques qui ont été livrées à Thomas van Der Horst, Maitre de Chant de Ste-Gudule à Bruxelles aux environs de 1620’, Revue belge de musicologie, 3 (1949), 41–3 at 41. 116 The relevant Austrian National Library holdings for Blotius no. 834 are SA.80.E.19 (a binder’s volume comprising both Lasso prints) and SA.80.E.6 (a binder’s volume containing the Porta print). Both volumes entered the Imperial Library when Ferdinand III purchased the Fugger Library in 1656. These volumes, bound in white leather and bearing the arms of Philipp Eduard Fugger, may have no connection to Rumpf. However, as the two were acquainted, it is not out of the question that some of Rumpf’s books may have passed on to Fugger. See Oswald Bauer, Zeitungen vor der Zeitung: Die Fuggerzeitungen (1568–1605) und das frühmoderne Nachrichtensystem (Berlin, 2011), 117. The combination in SA.80.E.6 of sacred music spanning three decades (i.e. a 1556 Clemens print and two Balbi prints from 1587) raises the possibility of a rebinding (resulting in new binder’s volumes) by Fugger. The relevant holdings for Blotius no. 877 are SA.25.Aa.15 (de la Hèle) and SA.25.Aa.2 (Monte). 117 See n. 104 above. 118 Edelmayer, ‘Wolf Rumpf de Wielross’, 157. 119 RISM A/I C28 and L244, and RISM B/I 15422. See Appendix II for composer, title, printer, and year of publication. 120 Blotius, ‘Librorum Bibliothae Rumpfianae … Catalogus’, 169. Blotius unusually uses French in this entry, not always correctly. 121 Van Orden, Materialities, 46. 122 The entry reads ‘Selectarum Cantionum Latinarum Italicarum Gallicarum pulcherrime manuscriptarum diuersorum (ut videtur) autorum. Catalogus Cantionum est singulis partibus Indexus. Sunt hi libri Praga huc missi et omnes in membrana alba compactj folij for[m]a’. Stummvoll (Geschichte der Österreichische Nationalbibliothek, 123) notes that in 1597 Blotius reported to Rumpf that he had prepared bibliographic notes for such new acquisitions. 123 On the 15th-c. importation of Ottoman bookbinding styles and techniques into Italy, see Rosamund Mack, Bazaar to Piazza: Islamic Trade and Italian Art, 1300–1600 (Berkeley and Los Angeles, 2002), 125 ff. 124 This was possibly modelled on Monte’s own five-voice In die tribulationis setting, published in his Sacrarum cantionum cum quinque vocibus liber quintus (Venice, 1579). 125 Veselá, Knihy na dvoře Rožmberků, 211 and 346. 126 Stummvoll, Geschichte der Österreichische Nationalbibliothek, 123. 127 On different categories of book lists, from inventories of private libraries to those of booksellers, see Walsby, ‘Book Lists and their Meaning’, 6–11. 128 On Gessner’s classification of music, see Lawrence Bernstein, ‘The Bibliography of Music in Conrad Gessner’s Pandectae (1548)’, Acta Musicologica, 45 (1973), 119–63. Rumpf owned the 1574 edition of Gessner’s Bibliotheca Universalis, revised by Josias Simler (Blotius no. 165; Shelf No.: 13.12.A). This was the first Gessner edition to include books in vernacular languages but, as Lach notes, titles were still given in Latin forms. See D. Lach, Asia in the Making of Europe, ii (Chicago, 1977), 61. Blotius departed from this model, retaining the original language of the prints. In some cases, as with Blotius no. 118, a Hungarian translation of the New Testament, Blotius translated the title into Latin: ‘Vi testamentum magiar in nieluen: meli, as Gorög es diak Nielböl reghen Sylvester Ianos altal fordittatot. Beczben Stainhofer Gaspar altal, 1574. id e[st] Testamentum novum Vngar. secundum graeci contextus ueritatem. Viennae’. 129 In a few cases, successive prints in a particularly populous binder’s volume were not assigned individual item numbers, although publication information is given with the same degree of precision as the others. Sometimes this reflects the purchase of a series of prints from a single printer: an example of multiple prints invariably treated as a single entity is Pietro Giovanelli’s Novi thesauris … libri quinque (Venice, 1567), which here (as in other contemporary inventories) is listed as a single item. Blotius’s 1592 catalogue of the 765 books owned by Johann Michael Brutus (Vienna, Österreichische Nationalbibliothek, Codex Vindobonensis Palatinus 9639: ‘Joannis Michaëlis Bruti bibliotheca Viennae Austriae post mortem ejus relicta et mense Novembri a. 1592 conscripta’) provided two ordering systems: the first numerical and the second alphabetical. See Stummvoll, Geschichte der Österreichische Nationalbibliothek, 115. 130 One of the few older prints in the collection was Blotius no. 215 (Hum. La. 7. 5.A): Pietro Bembo’s Epistolae omnes (Venice, 1535). 131 Molino, ‘Esperimenti bibliografici’, 56. Blotius’s questions with respect to Rumpf’s collection can be found in Vienna, Österreichische Nationalbibliothek, Codex Vindobonensis Palatinus 9490 (‘Hugo Blotius, Epistolae ad varios …’). For the discussion above, the authors have drawn on Molino’s observations about this miscellany of ‘Quaestiones bibliothecaria’. 132 Ibid. 133 Hermann Menhardt, Das älteste Handschriftenverzeichnis der Wiener Hofbibliothek von Hugo Blotius 1576 (Denkschriften der Akademie der Wissenschaften in Wien/Philologisch-Historische Klasse, 76; Vienna, 1957), 4 n. 1. 134 If the (non-music) print was bound by itself, it was assigned the letter A. The title pages of individual music editions in each binder’s volume do bear the letters A, B, C, D, etc., but these appear to have been directions for the binder and were not taken up by Blotius, who, as noted, reserved letters for the respective voice partbooks in a set. 135 Although the title page suggests the catalogue was written by Blotius, there are at least two different hands present. 136 On library classification schemes that did not separate printed books from manuscripts, see David McKitterick, Print, Manuscript, and the Search for Order, 1450–1830 (Cambridge, 2003), especially 12–13, where he notes that it was not until 1622 that the catalogue for the French Royal Library separated printed material from manuscripts; this was also true, with some exceptions, for Leiden University Library catalogues as late as 1640. 137 Blotius may have been inspired to do this by Georg Willer’s catalogues of the Frankfurt book fair (Augsburg, 1564–), which classified the offerings first by language and then, within each language, by subject. See John Flood, ‘The History of the Book in Germany’, in Michael Suarez, S.J. and H. Wooudhuysen (eds.), The Book: A Global History (Oxford, 2013), 372. Gessner’s 1549 diagram of the categories of knowledge (Pandectae, Book XX), a useful point of comparison, is reproduced in Bernstein, ‘The Bibliography of Music’, 123. 138 Molino, ‘Esperimenti bibliografici’, 15, and n. 24 above. To contextualize Blotius’s schematic, see Lina Bolzoni, Gallery of Memory: Literary and Iconographic Models in the Age of the Printing Press (Toronto, 2001), especially p. 16, on ‘places of knowledge’, and ch. 2 (pp. 22–82) on ‘trees of knowledge’. 139 Thus, Item Blotius no. 715 (7:21.A), Microcosmus, … parvus mundus, qui continent autem picturas emblematicas, allegoricas, et morales, versibus explicatas (Antwerp, 1579) is given the class ‘Var: Mut.’ 140 Blotius proposed a subdivision of images and music into sacred and profane in his Dubia bibliothecariae (Molino, ‘Esperimenti bibliografici’, 56) where he wondered, however, how one might classify renditions of biblical stories that depicted ‘obscene’ subjects (for example, Joseph and Potiphar’s wife). 141 Timothy Reiss, Knowledge, Discovery, and Imagination: The Rise of Aesthetic Rationalism (Cambridge, 1997), especially ch. 5 (‘Quadrivial Pursuits’), argues against this commonplace, noting that music had occupied a middle ground between the verbal and mathematical arts even in the Middle Ages, and that with 17th-c. epistemological shifts towards rationalism, the mathematical arts—including an increasingly quantifiable music theory—displaced the verbal arts as ‘tools for discovery’. Blotius’s scheme (and Rumpf’s collection) emphasizes musica practica, however, rather than musica speculativa, taking the communicative and rhetorical qualities of music to be foundational. 142 As Molino (‘Esperimenti bibliografici’, 55–6) points out, this sensitivity to multiple classifications was related to Rumpf’s binding decisions: he bound a classic political text, Bodino Gallice contre Nicolaum Machiavellum, and three law texts together, for example. In order to adhere to a system with different classes for Politica (a fundamental category) and Juridica (a division of the humanities) the books would have had to be physically separated. 143 Ibid. 144 Another such example is furnished by Benito Arias Montano, who donated a portion of his library to the Convent of Santiago de la Espada in Seville on 23 Apr. 1582. See Casas Gras, ‘La música en el monasterio de Uclés’, 50. 145 Munich, Bayerische Staatsbibliothek, Shelf number: 2 Herald. 34 x. 146 The inscription reads ‘Monasterij S. Crucis Augustae Vindelic[orum]’. 147 ‘Illustris ac Generosus Dominus D. Joannes Ernestus Fuggerus … Eques Ordinis Sancti Jacobi de Espada . . . in hoc ipsum Sanctae Crucis Monasterium, animi propensione, et augmentatione ac ornando Bibliothecae nostrae dedit. Anno post Christum natum [20 Januarii 1618], quo die, in hoc nostro templo sub summo officio professionem sui Ordinis cum solennitate publicè fecit.’ 148 Each no. represents a binder’s volume, grouped by voice part. In this way, each set of binder’s volumes typically comprises the number of voice parts needed to perform the pieces in a given set. The only exceptions are the few instances where an edition contains multiple voice parts in a single partbook. APPENDIX I The History of the Uclés Collection Date . Event . No. of volumes . 1583 Rumpf commissions a catalogue of his library from Hugo Blotius. The music books are numbered between 775 and 883. at least 97 volumes 1583–1605 A limited number of music MSS and prints is added after the initial compilation of Blotius’s catalogue. 128 volumes, grouped into 30 ‘units’ of material, and comprising 24 sets of printed partbooks, 2 sets of MS partbooks, and 4 volumes of choirbook-layout prints May 1592 Rumpf is formally inducted into the Order of Santiago. March 1604 Rumpf makes his will, leaving his library to the Order of Santiago but granting Philip II the right to take whatever books he wishes. 1605–7 Ambassadorial correspondence between Prague and Madrid establishes that a royal confessor is to select the works wanted for the Royal Library and that books banned by the Inquisition are to be burnt. 1607–10 A substantial part of Rumpf’s music book collection reaches Uclés, where the books are kept for almost two centuries without being used. probably 13 sets of partbooks and no choirbooks or manuscripts 1789 An inventory is drawn up by Juan Antonio Fernández, archivist of the Bishop of Tudela, called to Uclés to catalogue the convent library and archive by Prior Antonio Tavira. The only entry to refer to the music books reads: ‘72 musicae et poesías opera varia / 72 vols. 4o. Pasta italiana.’ 72 volumes 1809 The French army occupies the convent of Uclés; at least seven partbooks are lost during the occupation and the disestablishment of the monasteries. 1836 The ‘desamortización de Mendizábal’ forces the Order of Santiago to abandon the convent. 1850 The convent’s library is ordered to be transferred to Madrid. 1872 The Uclés library is transferred to Madrid and deposited in the Archivo Histórico Nacional. The collection is broken up, with some books going to the Biblioteca Nacional. 65 volumes 1873–4 The music books are transferred to the Escuela Nacional de Música y Declamación, founded in 1830 and situated on the present site of the Teatro Real in Madrid. A note accompanying the ‘gift’ from the President of the First Republic, Emilio Castelvar, mentions 65 volumes, but only 61 are listed in the detailed inventory made in 1873. One partbook remains in the Biblioteca Nacional, although the circumstances behind its separation from the rest of the collection are not clear. 61 volumes 1917 Higinio Anglés studies the Uclés collection in situ at the Teatro Real. 1925 The Escuela Nacional de Música y Declamación moves to the Teatro María Guerrero. 1927 Anglés publishes his study and inventory of the collection in Estudis Universitaris Catalans. Three volumes have gone missing since 1873: Boni’s settings of Ronsard; Lassus’s Selectissimae cantiones; and Paminger’s motets. 58 volumes 1933 The Escuela Nacional de Música y Declamación moves to the Palacio de los Luises, c/ Zorrilla, Madrid. During the Spanish Civil War the books, packed into crates, are moved to the basement of the Biblioteca Nacional. After the Civil War the collection is moved to the Palacio Bauer, c/ San Bernardo. 1952 A new inventory of the Uclés partbooks is made by Carlos Gómez Abad, son of the Conservatory librarian Julio Gómez, and published in Música. At around this time information on the prints is sent to RISM, probably by Anglés, and most of the collected volumes appear in the Receuils imprimés, Series B/I (1960). In due course most of the individual volumes appear in Einzeldrucke vor 1800 (from 1971). 58 volumes c.1955 The disappearance of twelve partbooks is reported by Julio Gómez. 46 volumes 1966 The collection is transferred back to the Teatro Real. In April, volumes from two sets of partbooks missing from the Uclés collection in Madrid are entered into the New York Public Library catalogue as *MN C696 and *MN P354. 46 volumes 1989 The Uclés collection is transferred to its current location in the Pabellón Sabatini, Atocha, the building housing the Real Conservatorio Superior de Música de Madrid. 43 volumes 2003 Carmen Casas Gras completes a doctoral thesis on music at Uclés and the collection. 43 volumes 2009 Tess Knighton catalogues the collection and documents its post-Uclés history in Catálogo de los impresos musicales de la Colección de Uclés. 43 volumes July 2012 Rumpf’s ownership of the Uclés Collection is revealed by the authors of this article at the Medieval and Renaissance Music Conference in Nottingham. 2012–13 A brief summary notice announcing the discovery appears in the journal of the Real Conservatorio Superior de Música de Madrid. 2015 The five chanson partbooks entered into the New York Public Library catalogue in 1966 are identified as having come from Rumpf’s library. Date . Event . No. of volumes . 1583 Rumpf commissions a catalogue of his library from Hugo Blotius. The music books are numbered between 775 and 883. at least 97 volumes 1583–1605 A limited number of music MSS and prints is added after the initial compilation of Blotius’s catalogue. 128 volumes, grouped into 30 ‘units’ of material, and comprising 24 sets of printed partbooks, 2 sets of MS partbooks, and 4 volumes of choirbook-layout prints May 1592 Rumpf is formally inducted into the Order of Santiago. March 1604 Rumpf makes his will, leaving his library to the Order of Santiago but granting Philip II the right to take whatever books he wishes. 1605–7 Ambassadorial correspondence between Prague and Madrid establishes that a royal confessor is to select the works wanted for the Royal Library and that books banned by the Inquisition are to be burnt. 1607–10 A substantial part of Rumpf’s music book collection reaches Uclés, where the books are kept for almost two centuries without being used. probably 13 sets of partbooks and no choirbooks or manuscripts 1789 An inventory is drawn up by Juan Antonio Fernández, archivist of the Bishop of Tudela, called to Uclés to catalogue the convent library and archive by Prior Antonio Tavira. The only entry to refer to the music books reads: ‘72 musicae et poesías opera varia / 72 vols. 4o. Pasta italiana.’ 72 volumes 1809 The French army occupies the convent of Uclés; at least seven partbooks are lost during the occupation and the disestablishment of the monasteries. 1836 The ‘desamortización de Mendizábal’ forces the Order of Santiago to abandon the convent. 1850 The convent’s library is ordered to be transferred to Madrid. 1872 The Uclés library is transferred to Madrid and deposited in the Archivo Histórico Nacional. The collection is broken up, with some books going to the Biblioteca Nacional. 65 volumes 1873–4 The music books are transferred to the Escuela Nacional de Música y Declamación, founded in 1830 and situated on the present site of the Teatro Real in Madrid. A note accompanying the ‘gift’ from the President of the First Republic, Emilio Castelvar, mentions 65 volumes, but only 61 are listed in the detailed inventory made in 1873. One partbook remains in the Biblioteca Nacional, although the circumstances behind its separation from the rest of the collection are not clear. 61 volumes 1917 Higinio Anglés studies the Uclés collection in situ at the Teatro Real. 1925 The Escuela Nacional de Música y Declamación moves to the Teatro María Guerrero. 1927 Anglés publishes his study and inventory of the collection in Estudis Universitaris Catalans. Three volumes have gone missing since 1873: Boni’s settings of Ronsard; Lassus’s Selectissimae cantiones; and Paminger’s motets. 58 volumes 1933 The Escuela Nacional de Música y Declamación moves to the Palacio de los Luises, c/ Zorrilla, Madrid. During the Spanish Civil War the books, packed into crates, are moved to the basement of the Biblioteca Nacional. After the Civil War the collection is moved to the Palacio Bauer, c/ San Bernardo. 1952 A new inventory of the Uclés partbooks is made by Carlos Gómez Abad, son of the Conservatory librarian Julio Gómez, and published in Música. At around this time information on the prints is sent to RISM, probably by Anglés, and most of the collected volumes appear in the Receuils imprimés, Series B/I (1960). In due course most of the individual volumes appear in Einzeldrucke vor 1800 (from 1971). 58 volumes c.1955 The disappearance of twelve partbooks is reported by Julio Gómez. 46 volumes 1966 The collection is transferred back to the Teatro Real. In April, volumes from two sets of partbooks missing from the Uclés collection in Madrid are entered into the New York Public Library catalogue as *MN C696 and *MN P354. 46 volumes 1989 The Uclés collection is transferred to its current location in the Pabellón Sabatini, Atocha, the building housing the Real Conservatorio Superior de Música de Madrid. 43 volumes 2003 Carmen Casas Gras completes a doctoral thesis on music at Uclés and the collection. 43 volumes 2009 Tess Knighton catalogues the collection and documents its post-Uclés history in Catálogo de los impresos musicales de la Colección de Uclés. 43 volumes July 2012 Rumpf’s ownership of the Uclés Collection is revealed by the authors of this article at the Medieval and Renaissance Music Conference in Nottingham. 2012–13 A brief summary notice announcing the discovery appears in the journal of the Real Conservatorio Superior de Música de Madrid. 2015 The five chanson partbooks entered into the New York Public Library catalogue in 1966 are identified as having come from Rumpf’s library. Open in new tab Date . Event . No. of volumes . 1583 Rumpf commissions a catalogue of his library from Hugo Blotius. The music books are numbered between 775 and 883. at least 97 volumes 1583–1605 A limited number of music MSS and prints is added after the initial compilation of Blotius’s catalogue. 128 volumes, grouped into 30 ‘units’ of material, and comprising 24 sets of printed partbooks, 2 sets of MS partbooks, and 4 volumes of choirbook-layout prints May 1592 Rumpf is formally inducted into the Order of Santiago. March 1604 Rumpf makes his will, leaving his library to the Order of Santiago but granting Philip II the right to take whatever books he wishes. 1605–7 Ambassadorial correspondence between Prague and Madrid establishes that a royal confessor is to select the works wanted for the Royal Library and that books banned by the Inquisition are to be burnt. 1607–10 A substantial part of Rumpf’s music book collection reaches Uclés, where the books are kept for almost two centuries without being used. probably 13 sets of partbooks and no choirbooks or manuscripts 1789 An inventory is drawn up by Juan Antonio Fernández, archivist of the Bishop of Tudela, called to Uclés to catalogue the convent library and archive by Prior Antonio Tavira. The only entry to refer to the music books reads: ‘72 musicae et poesías opera varia / 72 vols. 4o. Pasta italiana.’ 72 volumes 1809 The French army occupies the convent of Uclés; at least seven partbooks are lost during the occupation and the disestablishment of the monasteries. 1836 The ‘desamortización de Mendizábal’ forces the Order of Santiago to abandon the convent. 1850 The convent’s library is ordered to be transferred to Madrid. 1872 The Uclés library is transferred to Madrid and deposited in the Archivo Histórico Nacional. The collection is broken up, with some books going to the Biblioteca Nacional. 65 volumes 1873–4 The music books are transferred to the Escuela Nacional de Música y Declamación, founded in 1830 and situated on the present site of the Teatro Real in Madrid. A note accompanying the ‘gift’ from the President of the First Republic, Emilio Castelvar, mentions 65 volumes, but only 61 are listed in the detailed inventory made in 1873. One partbook remains in the Biblioteca Nacional, although the circumstances behind its separation from the rest of the collection are not clear. 61 volumes 1917 Higinio Anglés studies the Uclés collection in situ at the Teatro Real. 1925 The Escuela Nacional de Música y Declamación moves to the Teatro María Guerrero. 1927 Anglés publishes his study and inventory of the collection in Estudis Universitaris Catalans. Three volumes have gone missing since 1873: Boni’s settings of Ronsard; Lassus’s Selectissimae cantiones; and Paminger’s motets. 58 volumes 1933 The Escuela Nacional de Música y Declamación moves to the Palacio de los Luises, c/ Zorrilla, Madrid. During the Spanish Civil War the books, packed into crates, are moved to the basement of the Biblioteca Nacional. After the Civil War the collection is moved to the Palacio Bauer, c/ San Bernardo. 1952 A new inventory of the Uclés partbooks is made by Carlos Gómez Abad, son of the Conservatory librarian Julio Gómez, and published in Música. At around this time information on the prints is sent to RISM, probably by Anglés, and most of the collected volumes appear in the Receuils imprimés, Series B/I (1960). In due course most of the individual volumes appear in Einzeldrucke vor 1800 (from 1971). 58 volumes c.1955 The disappearance of twelve partbooks is reported by Julio Gómez. 46 volumes 1966 The collection is transferred back to the Teatro Real. In April, volumes from two sets of partbooks missing from the Uclés collection in Madrid are entered into the New York Public Library catalogue as *MN C696 and *MN P354. 46 volumes 1989 The Uclés collection is transferred to its current location in the Pabellón Sabatini, Atocha, the building housing the Real Conservatorio Superior de Música de Madrid. 43 volumes 2003 Carmen Casas Gras completes a doctoral thesis on music at Uclés and the collection. 43 volumes 2009 Tess Knighton catalogues the collection and documents its post-Uclés history in Catálogo de los impresos musicales de la Colección de Uclés. 43 volumes July 2012 Rumpf’s ownership of the Uclés Collection is revealed by the authors of this article at the Medieval and Renaissance Music Conference in Nottingham. 2012–13 A brief summary notice announcing the discovery appears in the journal of the Real Conservatorio Superior de Música de Madrid. 2015 The five chanson partbooks entered into the New York Public Library catalogue in 1966 are identified as having come from Rumpf’s library. Date . Event . No. of volumes . 1583 Rumpf commissions a catalogue of his library from Hugo Blotius. The music books are numbered between 775 and 883. at least 97 volumes 1583–1605 A limited number of music MSS and prints is added after the initial compilation of Blotius’s catalogue. 128 volumes, grouped into 30 ‘units’ of material, and comprising 24 sets of printed partbooks, 2 sets of MS partbooks, and 4 volumes of choirbook-layout prints May 1592 Rumpf is formally inducted into the Order of Santiago. March 1604 Rumpf makes his will, leaving his library to the Order of Santiago but granting Philip II the right to take whatever books he wishes. 1605–7 Ambassadorial correspondence between Prague and Madrid establishes that a royal confessor is to select the works wanted for the Royal Library and that books banned by the Inquisition are to be burnt. 1607–10 A substantial part of Rumpf’s music book collection reaches Uclés, where the books are kept for almost two centuries without being used. probably 13 sets of partbooks and no choirbooks or manuscripts 1789 An inventory is drawn up by Juan Antonio Fernández, archivist of the Bishop of Tudela, called to Uclés to catalogue the convent library and archive by Prior Antonio Tavira. The only entry to refer to the music books reads: ‘72 musicae et poesías opera varia / 72 vols. 4o. Pasta italiana.’ 72 volumes 1809 The French army occupies the convent of Uclés; at least seven partbooks are lost during the occupation and the disestablishment of the monasteries. 1836 The ‘desamortización de Mendizábal’ forces the Order of Santiago to abandon the convent. 1850 The convent’s library is ordered to be transferred to Madrid. 1872 The Uclés library is transferred to Madrid and deposited in the Archivo Histórico Nacional. The collection is broken up, with some books going to the Biblioteca Nacional. 65 volumes 1873–4 The music books are transferred to the Escuela Nacional de Música y Declamación, founded in 1830 and situated on the present site of the Teatro Real in Madrid. A note accompanying the ‘gift’ from the President of the First Republic, Emilio Castelvar, mentions 65 volumes, but only 61 are listed in the detailed inventory made in 1873. One partbook remains in the Biblioteca Nacional, although the circumstances behind its separation from the rest of the collection are not clear. 61 volumes 1917 Higinio Anglés studies the Uclés collection in situ at the Teatro Real. 1925 The Escuela Nacional de Música y Declamación moves to the Teatro María Guerrero. 1927 Anglés publishes his study and inventory of the collection in Estudis Universitaris Catalans. Three volumes have gone missing since 1873: Boni’s settings of Ronsard; Lassus’s Selectissimae cantiones; and Paminger’s motets. 58 volumes 1933 The Escuela Nacional de Música y Declamación moves to the Palacio de los Luises, c/ Zorrilla, Madrid. During the Spanish Civil War the books, packed into crates, are moved to the basement of the Biblioteca Nacional. After the Civil War the collection is moved to the Palacio Bauer, c/ San Bernardo. 1952 A new inventory of the Uclés partbooks is made by Carlos Gómez Abad, son of the Conservatory librarian Julio Gómez, and published in Música. At around this time information on the prints is sent to RISM, probably by Anglés, and most of the collected volumes appear in the Receuils imprimés, Series B/I (1960). In due course most of the individual volumes appear in Einzeldrucke vor 1800 (from 1971). 58 volumes c.1955 The disappearance of twelve partbooks is reported by Julio Gómez. 46 volumes 1966 The collection is transferred back to the Teatro Real. In April, volumes from two sets of partbooks missing from the Uclés collection in Madrid are entered into the New York Public Library catalogue as *MN C696 and *MN P354. 46 volumes 1989 The Uclés collection is transferred to its current location in the Pabellón Sabatini, Atocha, the building housing the Real Conservatorio Superior de Música de Madrid. 43 volumes 2003 Carmen Casas Gras completes a doctoral thesis on music at Uclés and the collection. 43 volumes 2009 Tess Knighton catalogues the collection and documents its post-Uclés history in Catálogo de los impresos musicales de la Colección de Uclés. 43 volumes July 2012 Rumpf’s ownership of the Uclés Collection is revealed by the authors of this article at the Medieval and Renaissance Music Conference in Nottingham. 2012–13 A brief summary notice announcing the discovery appears in the journal of the Real Conservatorio Superior de Música de Madrid. 2015 The five chanson partbooks entered into the New York Public Library catalogue in 1966 are identified as having come from Rumpf’s library. Open in new tab APPENDIX II Rumpf’s Music Collection as Described in Blotius’s Catalogue Notes on the Transcription Most original orthography is retained. Where the original spelling interferes with understanding, modern spelling is given in square brackets, with the original spelling provided in a footnote. Standard abbreviations have been resolved. Transpositions of ‘ui’ for ‘iu’ in several French entries (e.g. ‘liure’ as ‘luire’) and ‘u’ for ‘n’ (e.g. ‘ascanoir’ for ‘ascauoir’) have been silently corrected, as have idiosyncratic compressions (e.g. ‘commesles’ is corrected to “commes les’). The grouping of individual editions into binder’s volumes, which can be inferred from the inventory (via such prefatory phrases as ‘item in iisdem quatuor voluminibus’), is indicated by horizontal dividing lines. Readers will note that titles appear in the genitive; this reflects the opening of each entry with a list of the voice parts (omitted here to save space) in the nominative (e.g. ‘Discantus, Altus, Tenor, Bassus, Quintus ’). Blotius’s notes on format are given in italics. Volumes that survive today in the Real Conservatorio Superior de Música, Madrid, are identified by an asterisk (*) following the catalogue number; volumes held in the New York Public Library are marked with a double asterisk (**); volumes held in the Biblioteca Nacional de España are marked with a triple asterisk (***). Item no. in Blotius . Music Edition no. . Entry as given in Blotius’s catalogue . RISM identifier . 775 776 777 778 1 Des Airs mis en Musique per Fabrice Marin Caietain sur les pöesis de P. de Ronsard, et aultres excellens Pöetes premier libre // A Paris M. D. LXXVIII. Par Adrian le Roy et Robart Ballart inprimeurs du Roy. avecq priuilege de sa [Majesté pour2] dix ans. RISM A/I: C28; RISM B/I 157818 2 Des Chansons de P. de Ronsard Ph. des portes, et autres Mises en Musicque par N. de la Grotte uallet de Chambre et Organiste du Roy // à Paris 1575. Par Adrian Le Roy auecq Priuilege du Roy Pour dix ans. RISM A/1: L244 3 Du deuxiesme et second liure la Fleur des chansons, des deux plus excellens musiciens de notre temps ascauoir de M. Orlande de Lassus et de M. Claude Pudimel [sic]. Celles de M. Cl. Goudimel n’ont Jamais este Mises en lumiere / Tous imprimes A lyon par Jean Bauent 1574. et est le premier liure de l’autheur. Omnia autem haec referunt formam fol. 16.am uel potius 12.mam oblongam. RISM B/I: 15742 7793 Du second liure de la fleur des Chansons des Deux plus excellens Musiciens de nostre temps à Scauoir. de M. Orlande de Lassus et de M. Claude Goudimel Celles de M. Cl. Goudimel n’ont Jamais esté mises en lumiere A Lyon Jean Bauent. 1574. RISM B/I: 15742 780 781 782 4–5 Du premier et second liure du Meslange des Pseaumes et [Cantiques4] a trois parties recueulis de la Musique d’Orlande de Lassus et autres excellents Musiciens de notre temps M. D. LXXVII. In 16.o aut 12.o oblong. Non expressum est nomen Typographi aut locus impressionis. RISM B/I: 15772 and 15773 783 784 785 787 6–26 Des XXI. liures des Chansons composetz per diuers autheurs comme Adrian Le Roy Jac. Arcadet, et principalement la plus part par Orlande de Lassus et aultres excellens Musiciens Aulcuns de ces liures sunt a 4. aulcuns a 5. et aulcuns aussy a 6 parties maies toutes tellement accommodees quelles se relient in 4 volumes Imprimez diuersement comme les uns an. 1573 [les5] autres Annis 1575. 1576.6 1577. 1578. Tous inprimez à Paris par Adrian le Roy et Robert Ballart Imprimeurs du Roy In 16.o uel 12.o oblong: from RISM B/I: 15735–14, 15755–10, 15774–6, and/or 15785–13 787** 788** 789** 790** 27–33 Du premier 2.e 3.e 4.e 5.e 6.e et 7.e liure des Chansons à quatre parties nouuellement Composez et Mises en Musicque conuenables tant aux Instruments comme a la uoix Imprimez à Louuain par Pierre Phalez libraire Jure le Second. L’an 1561. Le primier, Tiers et Sixiesme l’an 1563. Le quatriesme et Cincquiesme l’an 1564. et le Settiesme qui est corrigé et augmenté des Plusieurs nouuelles chansons les quelles Jamais n’ont este imprimees l’an 1567. PW7 7409–12 (vol. 2), 7417––20 (vol. 1), 7421–24 (vol. 3), 7425–28 (vol. 5), 7429–32 (vol. 4), 7437–40 (vol. 7) 34–5 Du premier et second liure des amours de P. de Ronsard mis en Musicque a iiii parties par Anthonie de Bertrand natif de Fontanges en auuergne // à Paris par Adrian le Roy et Robert Ballard Imprimeurs du Roy 1578. RISM A/I: B2415 and B2416 36 Du troisiesme liure des chansons mis en musique a 4. parties per le mesme Antoine Bertrand // L’an et imprimeur comme dessus. RISM A/I: B2418 37–8 Du premier et second liure des sonets Chrestiens mis en Musique à quatre parties Par G. Boni de S. Flour en auuergne // 1579. in 4.to obl. RISM A/I: B34848 791* 792* 793* 794* 795* 39 Des sonetz de P. de Ronsard mis en Musique a 5. 6. et 7 parties par M. Philip. de monte. Maiestre de La Chapelle de l’empereur // A Paris par Adrian le Roy et Robert Ballard imprimeurs du Roy l’an 1575. RISM A/I: M3363 40 Pöesies de P. de Ronsard et aultres Poetes mis en Musicque à quatre et Cinq parties. par M. Francois Regnard // à Paris le mesme anet imprimeur comme dessus. RISM A/I: R730 796 41 Du liure des chansons nouuelles mises en Musicque à Six parties, per Fabrice Marin Gaiettane // à Paris Par Adrian le Roy [etc.] l’an 1571. RISM A/I: C26 42 Des chansons nouuelles à Cinq parties auecq deux Dialogues. à Huict de Orlande de Lassus // A Paris par Adrian le Roy et Robert Ballard imprimeurs du Roy 1576. 4.to oblongo. RISM A/I: L894 43 Item. Des Meslanges d’Orlande de Lassus Contenanz plusieurs Chansons a 4. 5. 6. 8. 10. parties reueuz par luy et Augmentez // A Paris par Adrian le Roy et Rob. Ballarde l’an. 1576. RISM A/I: L891 44 Item. Des chansons Nouuelles, mises en musicque à 4. 5. et 6. parties par M. Francois Roussel à Paris Adr. le Roy an 1577 in 4.to oblongo. RISM A/I: R2720 45 Item. Du mellange de chansons tant des vieux aucteurs que des modernes à Cincq Six. Sept. et Huict parties. A Paris, par Adrian le Rox et Robert Ballard imprimeurs du Roy 1572. 4.to oblongo. RISM B/I: 15722 797 798 799 46 De La Fleur, des Chansons à Trois parties, contenant un Recueil, produict de la diuine Musique de Jean Castro. Seuerin Cornet, et aultres excellents aucteurs mis en ordre conuenable suiuant leurs tons // A [Louvain] chez Pierre Phalese imprimeur et libraire Jure et en Anuers chez Jean Bellere a l’Aigle d’or l’an 1574. in 4.to oblongo. RISM B/I: 15743 800* 801* 802 803** 47 Du premier liure des Sonez de Pierre de Ronsard, mis en Musique a 4. Parties par G. Bonj de S. Fleur en Auuergne // à Paris l’an 1576. par Adrian le Roy et Robert Ballard [etc]. RISM A/I: B3474 48 Des Amours de P. de Ronsard. mises en Musique a 4 parties par Jean de Malletty natif de S. Maxemin en prouince. A Paris par Adrian le Roy, et Robert Ballard l’an 1578. RISM A/I: M243 49 Des Meslanges contenant un recueil de Chansons a 4. parties choisy des plus excellens aucteurs de notre temps par Jean Castro Musicien, mise en ordre Conuenable suiuant leur tons // A Louuain chez Pierre Phalese Imprimeur et librare Jure et en Anuers chez Jean Bellere à l’aigle d’or 1575. in 4.to oblongo. RISM B/I: 15754 50–1 Du premier et second liure de chansons nouuelles a 4. 5. 6. 7. 8. parties par Jean Seruin A Lyon par Charles Penot l’an 1578. RISM A/I: S2838 and S2839 52 De Meslange de Chansons nouuelles à quatre parties par Jean Seruin // à Lyon Charles Penot. l’an 1578. RISM A/I: S2840 53 Des Chansons et Madrigales a 4. parties Conuenables tant a la uoix comme a toutes sortes de Instruments, nouellement Composees per Maistre Jean de Castro à [Louvain9] Pierre Phalese l’an 1570. in 4.to oblongo. RISM A/I: C1469 804–6* 805* 806* 807 808* 80910 54 Libri primi sacrarum cantionum quas uulgo motetas uocant antea numquam in lucem editarum. Sed nunc recens admodum tam instrumentis musicis quam uiuae melodiae quinque uocibus attemperatarum Alexandro Vtendal Serenissimi Archiducis Ferdinandj Musico ad annos sex Noribergae //Theodorus Garlachenus 1571. RISM A/I: U120 55 Secundi libri sacrarum cantionum, quas uulgo Motetas uocant. Sex et plurimum uocum, tum uiua uoce, tum omnes generis instrumentis cantata commodissimarum. Noribergae in officina Theodoricj Gerlachij 1573. RISM A/I: U121 56 Tertij libri sacrarum Cantionum quas uulgo Motetas uocant, ab Alexandro Vtendal Serenissimj Principis Ferdinandj Archiducis Austriacj Musico quinque et sex uocibus ita compositarum ut tam uiuae uoci quam diuersis musicorum Instrumentorum generibus accomodarj queant // Noribergae in officina Catharinae Gerlachin, et haeredum Joannis Montanj, Anno 1577. RISM A/I: U125 57 Trium Missarum ab Alexandro ab Vtendal Serenissimi et illustrissimi Principis D. Ferdinandj Archiducis Austriacj Musico excellentissimo compositarum. Item Magnificat per octo Tonos quatuor uocibus ab eodem auctore // Noribergae Theodoricus Gerlachius anno 1573. RISM A/I: U122 58 Item in eodem volumine. Septem Psalmorum Poenitentialium, adiunctis ex prophetarum inscriptis orationibus eiusdem argumentj quinque ad dodecachordj modos duodecim, hac quidem aetate doctiorum quorundam Musicorum opera ab obscuritate uindicatos, nihilominus quam plurimis adhuc incognitos, aptissima tam viuae voci, quam diuersis musicorum instrumentorum generibus harmonia accommodatorum. Auctore Alexandro Vtendal. Serenissimj principis Ferdinandi Archiducis Austriacj Musico / Noribergae Theodoricus Gerlachenus 1570. Et sunt omnia haec edita, ut formam quartam oblongam referat. RISM A/I: U119 59 Libri primi sacrarum cantionum quas uulgo moteta uocant ab illustrissimj principis Ducis et Electoris Saxoniae Sacelli magistro Seniori Matthaeo le Maistre compositarum et quinque uocibus accommodatarum // Dresdae excudebat Gimel Montanus Lubecensis anno 1570. RISM A/I: L1844 60 Motectarum sacrarum quatuor quinque, et sex uocum ita compositarum ut non solum uiua uoce cantarj, sed etiam ad omnis generis instrumentis optimè adhiberi possint autore Leonardo Lechnero Athesino. Addita est in fine Motecta octo uocum ad duos chorus, eodem autore. Noribergae in officina Catharinae Theodorici Gerlachij viduae et haeredum Joannis Montanj anno 1575. RISM A/I: L1286 61 Aliquot cantionum siue Motectarum. ex veteri atque nouo Testamento collectarum quatuor uocum. autore Jacobo Regnart Flandro Sacrae Caesareae Maiestatis Musico // Noribergae Catherinae Gerlachi et haeredes de Montanj Anno 1577. RISM A/I: R732 62 Selectarum quarundam Cantionum Sacrarum modis Musicis quinque et sex uocum recens compositarum per Jacobum de Kerle Noribergae Theodoricus Gerlachenus anno 1571. RISM A/I: K447 63 Cantionum aliquo Musicarum, quae uulgo muteta uocant 4. 5. et 6. uocum autore M. Michaele Carle Desbuisons Flandro Insulano Serenissimj Archiducis Austriae Ferdinandj cantore Musico. sunt autem post obitum auctoris edita per Joannem Fabrum Illustrissimi Principis Cantorem// Monachij Adamus Berg anno 1573. RISM A/I: D1729 64 Item in eodem volumine. Libri Motetorum Jacobi de Kerle quatuor et quinque uocum ad iuncto in fine. Te Deum laudamus. Sex vocum quorum nihil adhuc in lucem est editum. // Monachij Adamus Berg. Anno 1573. Omnia haec sunt forma quarta oblonga excusa. RISM A/I: K451 810* 811* 812* 813* 814* 815* 6510 Libri primj 2.i 3.i 4.i et 5.tj Noui Thesaurj Musicj quo selectissimae planeque nouae, nec unquam in lucem aeditae cantiones sacrae (quas uulgo Moteta uocant): Continentur octo. Septem symphoniacis compositae, quae in sacra Ecclesia [Catholica11], summis solennibusque festiuitatibus canuntur, ad omnis generis instrumenta Musica accommodatae. Petrj Joanellj Bergomensis de Gandino summo studio ac labore collectae, eiusque expensis impressae // Venetijs apud Anthonium Gerdanum anno 1568. In 4.to oblongo.12 RISM B/I: 15682–6 816* 817* 818* 819* 820* 821 66 Prioris partis selectissimarum Cantionum quas vulgo Motetas uocant, partim omnino Nouarum, partim nusquam in Germania excusarum sex et pluribus uocibus compositam per excellentissimum Musicum Orlandum de Lassus. Posteriorj huic editionj accessere omnes Orlandj motetae, quae in ueteri nostro Thesauro Musico impressae continebantur, cum quibusdam alijs, ita ut fere tertia parte opus hoc sit auctius. Omnia denuo multo ante hac correctius edita Noribergae imprimebatur in officina typographica Catharinae Gerlachin, et Haeredum Joannis Montanj anno M.DLXXIX. RISM A/I: L915 67 Alterius partis selectissimarum cantionum, quas uulgo motetas uocant. Quinque et quatuor uocibus compositarum per excellentissimum musicum Orlandum di Lassus aucta et restitute ut supra indicauimus // Noribergae imprimebatur in officina typographica Catharinae Gerlachin, et haeredum Joannis Montanj Anno MD LXXIX RISM A/I: L916 68 Magnificat octo tonorum, sex quinque et quatuor uocum, nunc primum excusa et per Orlandum di Lasso. Excellentissimum musicum composita // Noribergae in officina Theodorici Garlacenj anno 1573. RISM A/I: L861 69 Item. Sacrarum Cantionum, quas uulgo mutecta uocant 5.6. et 8. uocum, tum uiua uoce tum etiam omnis generis instrumentis cantata commodissimarum Autore Theodoro Riccio Brexiano Italo. Illustrissimi atque excellentissij Principis ac Dominj Dominj Georgij Friderici Marchionis Brandeburgensis Stetiniae Pomeraniae, Cassubiae, Prussiae, Ducis chori Musici magistrj // Impressae Noribergae in officina typographica Catharinae Theodoricj Gerlacij relictae uiduae, et haeredum Joannis Montanj anno M. D. LXXVI RISM A/I: R1286 70 Sacrarum Cantionum 5. et 6. vocum, tum uiua uoce, tum omnis generis instrumentis cantata commodissimarum Autore Melchiore Schrammio Illustris ac generosi Comitis et Dominj dominj Carlj in Hohenzollern, Musico // Noribergae in officina typographica Catharinae Theodorici Gerlacij relictae uiduae et haeredum Joannis Montanj anno MD. LXXVII. RISM A/I: S2107 71 Sacrarum Cantionum plane novarum ex vetere et Nouo Testamento in pium Ecclesiarum usum compositarum et editj studio et opera Joachimi à Burgk // Noribergae in officina Theodoricj Gerlachenj anno MDCLXXIII. RISM A/I: B4966 72 Dulcissimarum quarundam Cantionum Numero XXXII. Quinque sex et septem uocum ita factarum, ut tum humanae uocj, tum musicis instrumentis aptae esse possint Autore Joanne Knefelio Laubensi. Illustrissimi Principis à Dominj Dominj Henricj ducis Silesiae Lignicensis, Brigensis et Goldbergensis musici chori magistro. RISM A/I: K989 73 Sacrarum Cantionum plane nouarum 4. 5. et plurium uocum ita compositarum, ut ad omnis generis instrumenta accommodarj possint. Autore Michaële Tonsore. In officina Theodoricj Gerlachij anno M. D. L. XXIII.13 RISM A/I: T965 822 823 824 825 826 74 Nouj et insignis operis Musicj in quo textus Euangeliorum totius annj uero ritus ecclesiae correspondens, quinque uocum modulamine singulari industria ac grauitate exprimitur. Autore Homero Herpol. Esaiae cap. 42. Psalm. 149. Cantate Domino Canticum nouum. Laus enim ab extremis terrae // Noribergae excudebant Ulricus Neuberg et haeredes Joannis Montanj anno M. D. LXV. RISM A/I: H5187 75 Sacrarum cantionum quatuor quinque et plurium uocum in gratiam Musicorum compositarum A Gallo Dreslero Nebraeo, Cantore Magdeburgensj. Imprimebat Noribergae cum consensu autoris Theodoricus Gerlachius, sibi et domino Wolfgango Kirchnero. anno M. D. LXXIIII. RISM A/I: D3521 76 Sacrarum aliquot Cantionum, quas Moteta vulgas appellat quinque et sex uocum autore Jacobo Regnart Flandro Sacrae Caesareae Maiestatis musico. Monachij excudebat Adamus Bergk. Anno M. D. LXXV. RISM A/I: R731 77 Latinarum Cantionum, quas uulgo muteta uocant quinque uocum suauissima melodia etiam instrumentis musicis attemperatarum Autore Iuone de Vento. Illustriss: Principis ac Dominj D. Gulielmj Palatinj Rhenj et utriusque] Bauariae ducis et Musico // Monachij excudebat Adamus Bergk Anno MD LXX. RISM A/I: V1115 78 Quinque Motetarum duorum Matregalium, Gallicarum Cantionum. Duae et quatuor Germanicae Cantiones Octo. Reliquae uero omnes quinque sunt uocum. Singularis studio ac industria per Iuonem de Vento compositae, correctae, et nunc primum in lucem editae // Monachij excudebat Adamus Berg anno M.D. LXXV. RISM A/I: V1118 79 Nouarum Harmonicarum Cantionum, ut piarum ac etiam iucundarum quinque uocibus concinatarum et nunc primum in lucem editarum per Mathiam Gastriz // Noribergae Vlricus Neuberg M.D. LXIX. RISM A/I: G565 80 Cantus Choralis. Musicis numeris … per totum annj curriculum praecipuè diebus festi cantari solet à Joanne Gneuelio [sic.] // Noribergae Theodoricus Gerlachius anno M. D. LXXV. RISM A/I: K990 827 828 829 830 831 832 81–3 Primj. Secundj, et Tertij tonij Ecclesiasticarum Cantionum 4.5.6. et plurium vocum à prima Dominica Aduentus usque ad passionem Dominj et Saluatoris nostri Jesu Christj. per Leonardum Pamingerum Aschaniensem Austriacum olim Patauij Bauariae ad D. Nicolaum Secretarium. Musicum clarissimum compositarum. // Noribergae Theodoricus Gerlachenus. Tomum primum, et secundum anno 1573. Tertium uero tomum Catharinae eius uidua anno M. D. LXXVI excudit. RISM A/I: P828, P829, and P830 833 84 Praestantissimorum diuina Musices auctorum missae deceno, quatuor quinque et sex uocum uno uolumine comprehensarum, antehac nunquam excusae. Louanij Petrus Phalesius anno 1570/ In folio Regali. RISM B/I: 15701 85 His addita est Missa defunctorum 4 vocum antea non excusa. Autore Clemente non Papa // Louanij Petrus Phalesius anno 1570. PW 8404 834 86 Missae XVIII Orlandj de Lasso quarum octo priores sunt quatuor uocum sex consequentes 5. uocum. Tres sequentes 6. uocum ultima 8. uocum. Sunt autem ad imitationem uariorum modulorum ut sequitur [list of masses]. Et omnes hae missae sunt excusae Parisijs apud Adrianum le Roy et Robertum Ballard anno 1577. RISM A/I: L900/1577a 87 Adiuncta sunt octo Cantica diuae Mariae uirginis quorum initum est Magnificat secundum octo modos seu tonos in templis cantari solitos singula quinis uocibus constantia, autore Orlando de Lasso // Parisijs Adrianus le Roy et Robertus Ballard Anno 1578. RISM A/I: L912 88 Item in eodem volumine sunt additae Constantij Portae, almae Ecclesiae Deiparae Virginis Lauretanae. Magistrj Musices Missarum liber primus. [list of masses] Excusae sunt Venetijs apud Angelum Gardanum anno 1578. In folio Regalj. RISM A/I: P5180 835* 836 837 838 89 Libri primj Modulorum 4 uocibus ad usum Ecclesiae ac Instrumentorum Organicorum maxime accommodatorum Fabricij Caeitanj Ecclesiae Tullensis symphoniacorum puerorum magistrj // Parisijs Adrianus Le Roy et Robertus Ballard anno 1571 forma 4.ta oblonga. RISM A/I: C25 839*14 90 Libri Modulorum quaternis quinis et senis uocibus, autore Jacobo de Kerle Flandro Yprensi // Parisijs Adrianus le Roy et Rob. Ballard. anno 1572. RISM A/I: K448 840 91 Primj libri Modulorum quinis senis et septenis uocibus autore Gulielmo Bono Auuerno // Parisijs Adrianus le Roy et Rob. Ballard. Anno 1573. RISM A/I: B3473 92 Modulorum primi voluminis Joannis Maillardj 4. 5. 6. et 7. uocibus modulatorum // Parisijs Adrianus le Roy et Robert: Ballard anno M D. LXV. RISM A/I: M184 93 Modulorum secundi uoluminibus Joannis Maillardj. 4. 5. Et. 6. Uocibus modulatorum // Parisijs Adrianus le Roy et Rob: Ballard anno MD. LXV. RISM A/I: M185 94 Item. Cantionum sacrarum, quae uulgo Moteta uocantur, tam profanarum 5. 6. et 8 uocum recens in lucem editarum autore de Brouck Antuerpiae // Antuerpiae Christoph: Plantinus anno MD. LXXIX. RISM A/I: B4613 841* 842* 843* 844* 845* 846 95 Modulorum 4. 5.6.7.8. et Nouem uocum. Orlando Lassusio autore. Parisijs a[nno] 1577. Adrianus Le Roy et Robertus Ballard. RISM A/I: L904 96 Modulorum. 6.7. et 12. vocum Orlando Lasusio autore / Parisijs Adrianus le Roy. et Robertus Ballard. An. M. D. LXXVIII. RISM A/I: L858 97–9 Primj Secundj et Tertij librj Modulorum 5. uocibus constantium. Orlando Lassusio autore. // Parisijs Adrianus le Roy. et Robertus Ballard. An[no] 1571. et 1573. RISM A/I: L845, L847 and L859 100 Modulorum v. uocibus nunquam hactenus editorum. Monachij Boioariae compositorum autore Orlando Lasso autore // Parisijs Adrianus le Roy et Robertus Ballard anno 1571. RISM A/I: L843 101 Modulorum 4. et. 8 uocum Orlando Lasso autore // Parisijs. Adrianus le Roy et Robertus Ballard an[no 1572. RISM A/I: L850 102 Nouem Quiritationum Diui Job. 4. uocibus ab Orlando de Lasso modulatarum // Parisijs Adrianus le Roy: et Robertus Ballard Anno M. D. LXXII. RISM A/I: L855 103 Modulorum nondum prius editorum. Monachij Boioariae 3. uocibus ab Orlando Lasso compositorum. // Parisijs Adrianus le Roy et Robertus Ballard anno M.D. LXXVI. RISM A/I: L886 847* 848* 849* 850* 851 852 853 104 De La Musica Noua di Adriano Vuillaert All Illustrissimo et Excellentisso signor il Signor Donno Alfonso d’este Principe di Ferrara // Venetijs di Antonio Gardano. Anno 1559. in Quarto magno. RISM A/I: W1126 105 Don Ferdinandj de Las Infantas Patritij Cordubensis Sacrarum varij stylj Cantionum Titulj Spiritus Sanctj Liber primus cum 4. uocibus. Venetijs Angelus Gardanus. anno 1578. RISM A/I: I37 854* 855* 856* 857* 106–11 Septem15 Librorum Cantionum Sacrarum (uulgo muteta uocant) 4. uocum autore Clemente non Papa. Louanij. Annis 1562. 1568. 1569. 1570. 1571.1572. Petrus Phalesij. RISM A/I: C2689, C2693, C2697, C2701, C2704, C2706 112 Not in Blotius: Thomas Crecquillon. Liber septimus cantionum sacrarum … Louvain: Phalèse, 1572. RISM A/I: C4409 113 Mutetarum aliquot sacrarum 4. Uocum, quae tum uiuae uoci, tum omnis generis Instrumentis Musicis accommodarj possunt. Autore Iuone de Vento Ducis Bauariae Musico // Monachij Adamus Berg. 1574. RISM A/I: C2693 858* 859* 860* 114 Libri Motetarum Trium uocum uiuae uoci et instrumentis Musicis accommodotarum autore Orlando de Lasso ducis Bauariae Albertj chori Magistro // Monachij. Adamus Berg anno 1575. RISM A/I: L878 115–17 Libri primi secundi et Tertij. Selectissimarum Sacrarum Cantionum (quas uulgò Moteta uocant) florum trium uocum: ex optimis ac praestantissimis quibusque diuinae Musices autoribus excerptarum. Jam primum summa cura ac diligentia collecti et impressi. Louanij Petrus phalesius. anno 1569. RISM B/I: 15694, 15695, and 15696 118 Sacrarum ac aliarum Cantionum trium uocum, tam uiuae uoce quam Instrumentis cantata commodissimarum atque iam primum in lucem editarum liber unus autore D. ac M. Gerardo Thurnhout.//Louanij Petrus Phalesius. anno 1569. RISM A/I: T1434 119 Triciniorum Sacrorum, omnis generis Instrumentis Musicis, et uiuae uocj accommodatorum hactenusque non editorum autore Joan à Castro Musico celeberrimo liber unus // Louanij Petrus Phalesius Anno M. D. LXXIV. RISM A/I: C1471 120 Modulorum aliquot tam sacrarum quam prophanorum cum tribus uocibus … Autore Jacobo Florij // Louanij Petrus Phalesius anno M. D. LXXI. RISM A/I: F1185 121 Not in Blotius: Liber musicus duarum vocum cantiones … Louvain: Phalèse, 1571. RISM B/I: 157115 861* 862* 863* 864* 865* 122 Operis sacrarum Cantionum (quas uulgò moteta uocant) Thomae Cricquillon Augustissimi Carolj Quintj Imperatoris chori Magistrj celeberrimj. 4. 5. 6. et 8 uocum tam uiuae uoci, quam Musicis Instrumentis accommodatj Louanij Petrus Phalesius anno M. D. LXXVI. RISM A/I: C4410 123 Sacrae Cantiones seu Moteta (ut uocant) non minus Instrumentis quam uocibus aptae. Liber vnus. Cyprianj de Rore Musicj huius nostrj seculj facile principis // Louanij Petrus Phalesius. anno 1573. RISM A/I: R2477 124–5 Libri et secundj Motetarum 4.5. et 6. uocum … autore Hadriano Villaert Musico excellentissimo // Louanij Petrus Phalesius anno 1561. RISM A/I: W1128 126 Psalmj CXXVIII. Dauidis Beatj omnes. 6. 5. et 4. uocum à uarijs ijsdemque praestantissimis Musicae artificibus harmonicis numeris adornatj, et modis 17. Concinnatj, hinc inde autem collect atque in unum uolumen redacti, et in lucem editj per Clementem Stephanj Buchauiensem // Noreberg: Vlricus Neuberg. anno 1569. RISM B/I: 15691 127 Motetarum D. Cyprianj de Rore et aliorum autorum 4 vocum parium decanendarum cum tribus lectionibus, pro mortuis autore Josepho Zerlino // Venetijs Hyeronimus Scottus anno 1563. RISM B/I: 15634 128 Sacrarum aliquot Cantionum Latinarum et Germanicarum 5. et 4. uocum summa diligentia compositarum correctarum, et iam primum in lucem editarum Jacobi Meilandj Germanj // Francofortj ad Moenum anno 1575. RISM A/I: M2179 129 Cantionum Sacrarum 5. et 6. uocum. Harmonicis numeris in gratiam Musicorum compositarum, et iam denuo auctiorum, multumque quam antea correctiorum in lucem editarum Jacobo Meilandj // Noribergae Theodoricus Gerlachius anno 1573. RISM A/I: M2176 866 867 868 869 870 130 Tomi primj Missarum 5. vocum iuxta dodecachordi modos. Dorij scilicet, Hypodorij et Lydij accuratae compositj recensque in lucem editj Georgij Cropatij Bohemij // Venetijs Angelus Gardanus. anno 1578. Not in RISM 131–2 Primj et secundj libri sacrarum Cantionum 5. vocum. Claudij Merulj Corrigiensis Organistae S. Marci à Dominj nostrj Jesu Christj Natiuitate usque ad primo Kalendas Augustj Venetijs Anno 1578. RISM A/I: M2358 and M2359 133 Libri primi Sacrarum Cantionum (uulgo Moteta appellatarum) 5 uocum, tum uiua uoce, tum omnis generis Instrumentis cantatu commodissimarum autore Andreae Gabriela / Venetijs Antonius Gardanus Anno. 1572. RISM A/I: G50 (reprint of G49) 134 Missarum trium Quinis et Senis uocibus decantandarum Simonis Gatti Venetj Magistrj Musices Serenissimj Carolj Archiducis Austriae // Venetijs apud Angelum Gardanum. anno 1579. RISM A/I: G574 135 Di Jacobo Antonio Cardillo Da Monte Sarchio Maistro di Capella Di mentagnana [etc.] Il primo libro de Motettj à cinque uoci [novamenta da lui16] compostj, et datj in luce // In uenetia Apresso Angelo Gardano Anno 1579. Not in RISM17 136 Vespertinae omnium Solemnitatum psalmodiae, iuxta decretum sacro sancti Tridentinj Concilij duorumque B. Virginis Canticorum Primi tonj cum quatuor uocibus per D. Joannem Matthaeum Asulam, Veronensem. Ecclesiae Taruisinae Editae. Venetijs apud Angelum Gardanum anno 1578. RISM A/I: A2532 137 Secundj chorj Vespertinae omnium solemnitatum Psalmodiae iuxta sacro sancti Tridentinj concilij decretum, duorumque Beatae Virginis Mariae Canticorum primj Tonj. Vocibus quatuor paribus concinendorum per d. Joannem Matthaeum Asulam Veronensem Ecclesiae Taruisinae Musices praefectum editj. Venetijs apud Angelum Gardanum. Anno 1578. RISM A/I: A253818 138 Psalmorum uesperarum omnium totius annj dierum Festorum Flauianj Rubej Ecclesiae Cathedralis Laudensis Canonicj. Et est liber primus. Ad Illustrem ac Reuerendissimum Hieronimum Federicum Episcopum et comitem Ludensem / Venetijs apud Angelum Gardanum anno 1578. RISM A/I: R2737 139 Missarum ex Hippolitj Sabinj Anxianensis quae uulgo parj uoce dicantur. Venetijs apud Angelum Gardanum anno 1576. Not in RISM19 140 Ludouici Balbi Venetj magnae domus Venetiarum Musicae Magistrj Ecclesiasticarum Cantionum quatuor uocum omnibus aduentus dominicis nec non Septuagesimae. Sexagesimae. Quinquagesimae simul atque quibuscumque totius annj opportunitatibus deseruientium // Venetijs apud Ang. Gard: anno 1578. RISM A/I: B737 871 872* 873* 874* 875 876 141 Libri primi Missarum cum 5.6.7. et 8. uocibus Petrj Vincij Siculi Nicosiensis Capellae S. Mariae Maioris Bergomi Magistri [list of masses] Venetijs apud haeredem Hieronymi Scotj, anno 1575. RISM A/I: V1659 142 D’I Salmi che si cantano tutto l’anno al Vespro à cinque vocj, et un Magnificat à otto. Nouamente posti in luce di Bonifacio Pasquale da Bologna Maestro di Capella del Santo da Padoua. In Veneggia appresso Lo Haerede di Girolamo Scotto. Anno 1576. RISM A/I: P973 143 Primi et secundj chorj Psalmodiarum ad Vespertinas omnium solemnitatum horas octo uocibus infractis decantandarum Canticorum duorum B. Virginis Mariae unius primj tonj integrj alterius quintj tonj in uersiculos diuisi autore Joanne Matthaeo Asula Veronensi. Nunc primum in lucem editj. Venetijs Apud Haeredem Hieronymj Scotj anno 1574. RISM A/I: A2517 144 Primi et secondj chorj Li Magnificat à Otto à noue et a Dodecj uoci. Nouamente posti in luce Dell excellente Musico M. Hippolito Chamatero de Negri cittadino Romano, et Maestro di Capella dignissimo del Duomo di Vdine // In Veneggia appressa L’herede Girolamo Scotto. anno 1575. RISM A/I: C281 145 Libri primi Missarum 4. Vocum. D. Pontij Parmensis D. Alexandrj Bergomi Magistrj. [list of masses] Venetijs apud Haeredem Hieronimi Scotj: anno 1575. Not in RISM 146 Magnificat 8 tonorum à Christopho Schutpachero per trium uocum modulamine nuper Composita et nunc in lucem edita. Venetijs apud Heredem Hieronimj Scotj. Anno 1574. RISM A/I: S1605 877 147 Octo missae quinque sex et septem uocum autore Georgio de la Hele apud Ecclesiam Cathedralem Tornacensem Phonasco. Iam primum in lucem editae. Antuerpiae Christophorus plantinus. 1578. folij forma Regalj integrj non plicatj sed ut chartae [illegible] graphicae glutinatj. RISM A/I: L285 148 Missa ad modulum Benedicta es sex uocum autore Philippo de Monte Sacrae Caesareae Maiestatis Phonasco. Antuerpiae Christophorus Plantin: 1579. forma ut supra. RISM A/I: M3315 878 879 880 881 882 883 149 Quartj tonj Cantionum Ecclesiasticarum quatuor quinque et sex uocum continentis i.o Psalmorum 2.o singulorum Tonorum et eorundem differentiarum quam contra punctum uocant. Psalmodiam. 3.o Aliquot pias preces, et sacrae scripturae sententiae. Autore Leonarto Pamingero. A. Austriaco Norimbergae Nicolaus Knorren anno 1580 in forma 4.ta oblonga. RISM A/I: P831 903 904 905 906 907 908 Sex missarum Philippi de monte manuscriptj. Missa autem sunt hae. Missa 1. Cara la vita mia. 5 uocum. 2. In die Tribulationis. 5 uocum. 3. O altitudo diuitiarum 5 uocum. 4. Cum sit omnipotens Rector. 6 uocum. 6. Benedicta es caelorum Regina. 6. uocum. // Omnes hae partes sunt pulchre manuscriptae tectae corio caeruleo deaurato more Turcico. Manuscript 911 912 913 914 915 916 Selectarum Cantionum Latinarum Italicarum Gallicarum pulcherrime manuscriptarum diuersorum (ut videtur) autorum. Catalogus Cantionum est singulis partibus Indexus. Sunt hi libri Praga huc missi et omnes in membrana alba compactj folij forma. Manuscript 946 947 948 949 950 951 150 Di Philippo di Monte Maestro di Capella della S. C. Maesta dello Imperatore Rodolpho II. Il quarto libro de madrigalj à sei voci. Insieme alcunj à sette nouamente compostj, et datj in luce. Dedicato all’Illustrissimo Signore Wolfgango Rumpf libero Barone de Wielross consigliere et Camerlengo magiore // Aeditio, quantitas forma. Stampato in Venetia appresso Angelo Gardano. 1580. sunt libri … . 6. Singuli habent chartas plusminus. 3. hoc est omnino … .18. RISM A/I: M3368 971 151 Liber primus Missarum Philippi de Monte Ecclesiae Metropolitanae Cameracensis Canonici ac thesaurarij, et Rudolphi II. Imperatoris Chori Praefecti. Antwerp: Plantinus 1587. In folio. RISM A/I: M3320 Item no. in Blotius . Music Edition no. . Entry as given in Blotius’s catalogue . RISM identifier . 775 776 777 778 1 Des Airs mis en Musique per Fabrice Marin Caietain sur les pöesis de P. de Ronsard, et aultres excellens Pöetes premier libre // A Paris M. D. LXXVIII. Par Adrian le Roy et Robart Ballart inprimeurs du Roy. avecq priuilege de sa [Majesté pour2] dix ans. RISM A/I: C28; RISM B/I 157818 2 Des Chansons de P. de Ronsard Ph. des portes, et autres Mises en Musicque par N. de la Grotte uallet de Chambre et Organiste du Roy // à Paris 1575. Par Adrian Le Roy auecq Priuilege du Roy Pour dix ans. RISM A/1: L244 3 Du deuxiesme et second liure la Fleur des chansons, des deux plus excellens musiciens de notre temps ascauoir de M. Orlande de Lassus et de M. Claude Pudimel [sic]. Celles de M. Cl. Goudimel n’ont Jamais este Mises en lumiere / Tous imprimes A lyon par Jean Bauent 1574. et est le premier liure de l’autheur. Omnia autem haec referunt formam fol. 16.am uel potius 12.mam oblongam. RISM B/I: 15742 7793 Du second liure de la fleur des Chansons des Deux plus excellens Musiciens de nostre temps à Scauoir. de M. Orlande de Lassus et de M. Claude Goudimel Celles de M. Cl. Goudimel n’ont Jamais esté mises en lumiere A Lyon Jean Bauent. 1574. RISM B/I: 15742 780 781 782 4–5 Du premier et second liure du Meslange des Pseaumes et [Cantiques4] a trois parties recueulis de la Musique d’Orlande de Lassus et autres excellents Musiciens de notre temps M. D. LXXVII. In 16.o aut 12.o oblong. Non expressum est nomen Typographi aut locus impressionis. RISM B/I: 15772 and 15773 783 784 785 787 6–26 Des XXI. liures des Chansons composetz per diuers autheurs comme Adrian Le Roy Jac. Arcadet, et principalement la plus part par Orlande de Lassus et aultres excellens Musiciens Aulcuns de ces liures sunt a 4. aulcuns a 5. et aulcuns aussy a 6 parties maies toutes tellement accommodees quelles se relient in 4 volumes Imprimez diuersement comme les uns an. 1573 [les5] autres Annis 1575. 1576.6 1577. 1578. Tous inprimez à Paris par Adrian le Roy et Robert Ballart Imprimeurs du Roy In 16.o uel 12.o oblong: from RISM B/I: 15735–14, 15755–10, 15774–6, and/or 15785–13 787** 788** 789** 790** 27–33 Du premier 2.e 3.e 4.e 5.e 6.e et 7.e liure des Chansons à quatre parties nouuellement Composez et Mises en Musicque conuenables tant aux Instruments comme a la uoix Imprimez à Louuain par Pierre Phalez libraire Jure le Second. L’an 1561. Le primier, Tiers et Sixiesme l’an 1563. Le quatriesme et Cincquiesme l’an 1564. et le Settiesme qui est corrigé et augmenté des Plusieurs nouuelles chansons les quelles Jamais n’ont este imprimees l’an 1567. PW7 7409–12 (vol. 2), 7417––20 (vol. 1), 7421–24 (vol. 3), 7425–28 (vol. 5), 7429–32 (vol. 4), 7437–40 (vol. 7) 34–5 Du premier et second liure des amours de P. de Ronsard mis en Musicque a iiii parties par Anthonie de Bertrand natif de Fontanges en auuergne // à Paris par Adrian le Roy et Robert Ballard Imprimeurs du Roy 1578. RISM A/I: B2415 and B2416 36 Du troisiesme liure des chansons mis en musique a 4. parties per le mesme Antoine Bertrand // L’an et imprimeur comme dessus. RISM A/I: B2418 37–8 Du premier et second liure des sonets Chrestiens mis en Musique à quatre parties Par G. Boni de S. Flour en auuergne // 1579. in 4.to obl. RISM A/I: B34848 791* 792* 793* 794* 795* 39 Des sonetz de P. de Ronsard mis en Musique a 5. 6. et 7 parties par M. Philip. de monte. Maiestre de La Chapelle de l’empereur // A Paris par Adrian le Roy et Robert Ballard imprimeurs du Roy l’an 1575. RISM A/I: M3363 40 Pöesies de P. de Ronsard et aultres Poetes mis en Musicque à quatre et Cinq parties. par M. Francois Regnard // à Paris le mesme anet imprimeur comme dessus. RISM A/I: R730 796 41 Du liure des chansons nouuelles mises en Musicque à Six parties, per Fabrice Marin Gaiettane // à Paris Par Adrian le Roy [etc.] l’an 1571. RISM A/I: C26 42 Des chansons nouuelles à Cinq parties auecq deux Dialogues. à Huict de Orlande de Lassus // A Paris par Adrian le Roy et Robert Ballard imprimeurs du Roy 1576. 4.to oblongo. RISM A/I: L894 43 Item. Des Meslanges d’Orlande de Lassus Contenanz plusieurs Chansons a 4. 5. 6. 8. 10. parties reueuz par luy et Augmentez // A Paris par Adrian le Roy et Rob. Ballarde l’an. 1576. RISM A/I: L891 44 Item. Des chansons Nouuelles, mises en musicque à 4. 5. et 6. parties par M. Francois Roussel à Paris Adr. le Roy an 1577 in 4.to oblongo. RISM A/I: R2720 45 Item. Du mellange de chansons tant des vieux aucteurs que des modernes à Cincq Six. Sept. et Huict parties. A Paris, par Adrian le Rox et Robert Ballard imprimeurs du Roy 1572. 4.to oblongo. RISM B/I: 15722 797 798 799 46 De La Fleur, des Chansons à Trois parties, contenant un Recueil, produict de la diuine Musique de Jean Castro. Seuerin Cornet, et aultres excellents aucteurs mis en ordre conuenable suiuant leurs tons // A [Louvain] chez Pierre Phalese imprimeur et libraire Jure et en Anuers chez Jean Bellere a l’Aigle d’or l’an 1574. in 4.to oblongo. RISM B/I: 15743 800* 801* 802 803** 47 Du premier liure des Sonez de Pierre de Ronsard, mis en Musique a 4. Parties par G. Bonj de S. Fleur en Auuergne // à Paris l’an 1576. par Adrian le Roy et Robert Ballard [etc]. RISM A/I: B3474 48 Des Amours de P. de Ronsard. mises en Musique a 4 parties par Jean de Malletty natif de S. Maxemin en prouince. A Paris par Adrian le Roy, et Robert Ballard l’an 1578. RISM A/I: M243 49 Des Meslanges contenant un recueil de Chansons a 4. parties choisy des plus excellens aucteurs de notre temps par Jean Castro Musicien, mise en ordre Conuenable suiuant leur tons // A Louuain chez Pierre Phalese Imprimeur et librare Jure et en Anuers chez Jean Bellere à l’aigle d’or 1575. in 4.to oblongo. RISM B/I: 15754 50–1 Du premier et second liure de chansons nouuelles a 4. 5. 6. 7. 8. parties par Jean Seruin A Lyon par Charles Penot l’an 1578. RISM A/I: S2838 and S2839 52 De Meslange de Chansons nouuelles à quatre parties par Jean Seruin // à Lyon Charles Penot. l’an 1578. RISM A/I: S2840 53 Des Chansons et Madrigales a 4. parties Conuenables tant a la uoix comme a toutes sortes de Instruments, nouellement Composees per Maistre Jean de Castro à [Louvain9] Pierre Phalese l’an 1570. in 4.to oblongo. RISM A/I: C1469 804–6* 805* 806* 807 808* 80910 54 Libri primi sacrarum cantionum quas uulgo motetas uocant antea numquam in lucem editarum. Sed nunc recens admodum tam instrumentis musicis quam uiuae melodiae quinque uocibus attemperatarum Alexandro Vtendal Serenissimi Archiducis Ferdinandj Musico ad annos sex Noribergae //Theodorus Garlachenus 1571. RISM A/I: U120 55 Secundi libri sacrarum cantionum, quas uulgo Motetas uocant. Sex et plurimum uocum, tum uiua uoce, tum omnes generis instrumentis cantata commodissimarum. Noribergae in officina Theodoricj Gerlachij 1573. RISM A/I: U121 56 Tertij libri sacrarum Cantionum quas uulgo Motetas uocant, ab Alexandro Vtendal Serenissimj Principis Ferdinandj Archiducis Austriacj Musico quinque et sex uocibus ita compositarum ut tam uiuae uoci quam diuersis musicorum Instrumentorum generibus accomodarj queant // Noribergae in officina Catharinae Gerlachin, et haeredum Joannis Montanj, Anno 1577. RISM A/I: U125 57 Trium Missarum ab Alexandro ab Vtendal Serenissimi et illustrissimi Principis D. Ferdinandj Archiducis Austriacj Musico excellentissimo compositarum. Item Magnificat per octo Tonos quatuor uocibus ab eodem auctore // Noribergae Theodoricus Gerlachius anno 1573. RISM A/I: U122 58 Item in eodem volumine. Septem Psalmorum Poenitentialium, adiunctis ex prophetarum inscriptis orationibus eiusdem argumentj quinque ad dodecachordj modos duodecim, hac quidem aetate doctiorum quorundam Musicorum opera ab obscuritate uindicatos, nihilominus quam plurimis adhuc incognitos, aptissima tam viuae voci, quam diuersis musicorum instrumentorum generibus harmonia accommodatorum. Auctore Alexandro Vtendal. Serenissimj principis Ferdinandi Archiducis Austriacj Musico / Noribergae Theodoricus Gerlachenus 1570. Et sunt omnia haec edita, ut formam quartam oblongam referat. RISM A/I: U119 59 Libri primi sacrarum cantionum quas uulgo moteta uocant ab illustrissimj principis Ducis et Electoris Saxoniae Sacelli magistro Seniori Matthaeo le Maistre compositarum et quinque uocibus accommodatarum // Dresdae excudebat Gimel Montanus Lubecensis anno 1570. RISM A/I: L1844 60 Motectarum sacrarum quatuor quinque, et sex uocum ita compositarum ut non solum uiua uoce cantarj, sed etiam ad omnis generis instrumentis optimè adhiberi possint autore Leonardo Lechnero Athesino. Addita est in fine Motecta octo uocum ad duos chorus, eodem autore. Noribergae in officina Catharinae Theodorici Gerlachij viduae et haeredum Joannis Montanj anno 1575. RISM A/I: L1286 61 Aliquot cantionum siue Motectarum. ex veteri atque nouo Testamento collectarum quatuor uocum. autore Jacobo Regnart Flandro Sacrae Caesareae Maiestatis Musico // Noribergae Catherinae Gerlachi et haeredes de Montanj Anno 1577. RISM A/I: R732 62 Selectarum quarundam Cantionum Sacrarum modis Musicis quinque et sex uocum recens compositarum per Jacobum de Kerle Noribergae Theodoricus Gerlachenus anno 1571. RISM A/I: K447 63 Cantionum aliquo Musicarum, quae uulgo muteta uocant 4. 5. et 6. uocum autore M. Michaele Carle Desbuisons Flandro Insulano Serenissimj Archiducis Austriae Ferdinandj cantore Musico. sunt autem post obitum auctoris edita per Joannem Fabrum Illustrissimi Principis Cantorem// Monachij Adamus Berg anno 1573. RISM A/I: D1729 64 Item in eodem volumine. Libri Motetorum Jacobi de Kerle quatuor et quinque uocum ad iuncto in fine. Te Deum laudamus. Sex vocum quorum nihil adhuc in lucem est editum. // Monachij Adamus Berg. Anno 1573. Omnia haec sunt forma quarta oblonga excusa. RISM A/I: K451 810* 811* 812* 813* 814* 815* 6510 Libri primj 2.i 3.i 4.i et 5.tj Noui Thesaurj Musicj quo selectissimae planeque nouae, nec unquam in lucem aeditae cantiones sacrae (quas uulgo Moteta uocant): Continentur octo. Septem symphoniacis compositae, quae in sacra Ecclesia [Catholica11], summis solennibusque festiuitatibus canuntur, ad omnis generis instrumenta Musica accommodatae. Petrj Joanellj Bergomensis de Gandino summo studio ac labore collectae, eiusque expensis impressae // Venetijs apud Anthonium Gerdanum anno 1568. In 4.to oblongo.12 RISM B/I: 15682–6 816* 817* 818* 819* 820* 821 66 Prioris partis selectissimarum Cantionum quas vulgo Motetas uocant, partim omnino Nouarum, partim nusquam in Germania excusarum sex et pluribus uocibus compositam per excellentissimum Musicum Orlandum de Lassus. Posteriorj huic editionj accessere omnes Orlandj motetae, quae in ueteri nostro Thesauro Musico impressae continebantur, cum quibusdam alijs, ita ut fere tertia parte opus hoc sit auctius. Omnia denuo multo ante hac correctius edita Noribergae imprimebatur in officina typographica Catharinae Gerlachin, et Haeredum Joannis Montanj anno M.DLXXIX. RISM A/I: L915 67 Alterius partis selectissimarum cantionum, quas uulgo motetas uocant. Quinque et quatuor uocibus compositarum per excellentissimum musicum Orlandum di Lassus aucta et restitute ut supra indicauimus // Noribergae imprimebatur in officina typographica Catharinae Gerlachin, et haeredum Joannis Montanj Anno MD LXXIX RISM A/I: L916 68 Magnificat octo tonorum, sex quinque et quatuor uocum, nunc primum excusa et per Orlandum di Lasso. Excellentissimum musicum composita // Noribergae in officina Theodorici Garlacenj anno 1573. RISM A/I: L861 69 Item. Sacrarum Cantionum, quas uulgo mutecta uocant 5.6. et 8. uocum, tum uiua uoce tum etiam omnis generis instrumentis cantata commodissimarum Autore Theodoro Riccio Brexiano Italo. Illustrissimi atque excellentissij Principis ac Dominj Dominj Georgij Friderici Marchionis Brandeburgensis Stetiniae Pomeraniae, Cassubiae, Prussiae, Ducis chori Musici magistrj // Impressae Noribergae in officina typographica Catharinae Theodoricj Gerlacij relictae uiduae, et haeredum Joannis Montanj anno M. D. LXXVI RISM A/I: R1286 70 Sacrarum Cantionum 5. et 6. vocum, tum uiua uoce, tum omnis generis instrumentis cantata commodissimarum Autore Melchiore Schrammio Illustris ac generosi Comitis et Dominj dominj Carlj in Hohenzollern, Musico // Noribergae in officina typographica Catharinae Theodorici Gerlacij relictae uiduae et haeredum Joannis Montanj anno MD. LXXVII. RISM A/I: S2107 71 Sacrarum Cantionum plane novarum ex vetere et Nouo Testamento in pium Ecclesiarum usum compositarum et editj studio et opera Joachimi à Burgk // Noribergae in officina Theodoricj Gerlachenj anno MDCLXXIII. RISM A/I: B4966 72 Dulcissimarum quarundam Cantionum Numero XXXII. Quinque sex et septem uocum ita factarum, ut tum humanae uocj, tum musicis instrumentis aptae esse possint Autore Joanne Knefelio Laubensi. Illustrissimi Principis à Dominj Dominj Henricj ducis Silesiae Lignicensis, Brigensis et Goldbergensis musici chori magistro. RISM A/I: K989 73 Sacrarum Cantionum plane nouarum 4. 5. et plurium uocum ita compositarum, ut ad omnis generis instrumenta accommodarj possint. Autore Michaële Tonsore. In officina Theodoricj Gerlachij anno M. D. L. XXIII.13 RISM A/I: T965 822 823 824 825 826 74 Nouj et insignis operis Musicj in quo textus Euangeliorum totius annj uero ritus ecclesiae correspondens, quinque uocum modulamine singulari industria ac grauitate exprimitur. Autore Homero Herpol. Esaiae cap. 42. Psalm. 149. Cantate Domino Canticum nouum. Laus enim ab extremis terrae // Noribergae excudebant Ulricus Neuberg et haeredes Joannis Montanj anno M. D. LXV. RISM A/I: H5187 75 Sacrarum cantionum quatuor quinque et plurium uocum in gratiam Musicorum compositarum A Gallo Dreslero Nebraeo, Cantore Magdeburgensj. Imprimebat Noribergae cum consensu autoris Theodoricus Gerlachius, sibi et domino Wolfgango Kirchnero. anno M. D. LXXIIII. RISM A/I: D3521 76 Sacrarum aliquot Cantionum, quas Moteta vulgas appellat quinque et sex uocum autore Jacobo Regnart Flandro Sacrae Caesareae Maiestatis musico. Monachij excudebat Adamus Bergk. Anno M. D. LXXV. RISM A/I: R731 77 Latinarum Cantionum, quas uulgo muteta uocant quinque uocum suauissima melodia etiam instrumentis musicis attemperatarum Autore Iuone de Vento. Illustriss: Principis ac Dominj D. Gulielmj Palatinj Rhenj et utriusque] Bauariae ducis et Musico // Monachij excudebat Adamus Bergk Anno MD LXX. RISM A/I: V1115 78 Quinque Motetarum duorum Matregalium, Gallicarum Cantionum. Duae et quatuor Germanicae Cantiones Octo. Reliquae uero omnes quinque sunt uocum. Singularis studio ac industria per Iuonem de Vento compositae, correctae, et nunc primum in lucem editae // Monachij excudebat Adamus Berg anno M.D. LXXV. RISM A/I: V1118 79 Nouarum Harmonicarum Cantionum, ut piarum ac etiam iucundarum quinque uocibus concinatarum et nunc primum in lucem editarum per Mathiam Gastriz // Noribergae Vlricus Neuberg M.D. LXIX. RISM A/I: G565 80 Cantus Choralis. Musicis numeris … per totum annj curriculum praecipuè diebus festi cantari solet à Joanne Gneuelio [sic.] // Noribergae Theodoricus Gerlachius anno M. D. LXXV. RISM A/I: K990 827 828 829 830 831 832 81–3 Primj. Secundj, et Tertij tonij Ecclesiasticarum Cantionum 4.5.6. et plurium vocum à prima Dominica Aduentus usque ad passionem Dominj et Saluatoris nostri Jesu Christj. per Leonardum Pamingerum Aschaniensem Austriacum olim Patauij Bauariae ad D. Nicolaum Secretarium. Musicum clarissimum compositarum. // Noribergae Theodoricus Gerlachenus. Tomum primum, et secundum anno 1573. Tertium uero tomum Catharinae eius uidua anno M. D. LXXVI excudit. RISM A/I: P828, P829, and P830 833 84 Praestantissimorum diuina Musices auctorum missae deceno, quatuor quinque et sex uocum uno uolumine comprehensarum, antehac nunquam excusae. Louanij Petrus Phalesius anno 1570/ In folio Regali. RISM B/I: 15701 85 His addita est Missa defunctorum 4 vocum antea non excusa. Autore Clemente non Papa // Louanij Petrus Phalesius anno 1570. PW 8404 834 86 Missae XVIII Orlandj de Lasso quarum octo priores sunt quatuor uocum sex consequentes 5. uocum. Tres sequentes 6. uocum ultima 8. uocum. Sunt autem ad imitationem uariorum modulorum ut sequitur [list of masses]. Et omnes hae missae sunt excusae Parisijs apud Adrianum le Roy et Robertum Ballard anno 1577. RISM A/I: L900/1577a 87 Adiuncta sunt octo Cantica diuae Mariae uirginis quorum initum est Magnificat secundum octo modos seu tonos in templis cantari solitos singula quinis uocibus constantia, autore Orlando de Lasso // Parisijs Adrianus le Roy et Robertus Ballard Anno 1578. RISM A/I: L912 88 Item in eodem volumine sunt additae Constantij Portae, almae Ecclesiae Deiparae Virginis Lauretanae. Magistrj Musices Missarum liber primus. [list of masses] Excusae sunt Venetijs apud Angelum Gardanum anno 1578. In folio Regalj. RISM A/I: P5180 835* 836 837 838 89 Libri primj Modulorum 4 uocibus ad usum Ecclesiae ac Instrumentorum Organicorum maxime accommodatorum Fabricij Caeitanj Ecclesiae Tullensis symphoniacorum puerorum magistrj // Parisijs Adrianus Le Roy et Robertus Ballard anno 1571 forma 4.ta oblonga. RISM A/I: C25 839*14 90 Libri Modulorum quaternis quinis et senis uocibus, autore Jacobo de Kerle Flandro Yprensi // Parisijs Adrianus le Roy et Rob. Ballard. anno 1572. RISM A/I: K448 840 91 Primj libri Modulorum quinis senis et septenis uocibus autore Gulielmo Bono Auuerno // Parisijs Adrianus le Roy et Rob. Ballard. Anno 1573. RISM A/I: B3473 92 Modulorum primi voluminis Joannis Maillardj 4. 5. 6. et 7. uocibus modulatorum // Parisijs Adrianus le Roy et Robert: Ballard anno M D. LXV. RISM A/I: M184 93 Modulorum secundi uoluminibus Joannis Maillardj. 4. 5. Et. 6. Uocibus modulatorum // Parisijs Adrianus le Roy et Rob: Ballard anno MD. LXV. RISM A/I: M185 94 Item. Cantionum sacrarum, quae uulgo Moteta uocantur, tam profanarum 5. 6. et 8 uocum recens in lucem editarum autore de Brouck Antuerpiae // Antuerpiae Christoph: Plantinus anno MD. LXXIX. RISM A/I: B4613 841* 842* 843* 844* 845* 846 95 Modulorum 4. 5.6.7.8. et Nouem uocum. Orlando Lassusio autore. Parisijs a[nno] 1577. Adrianus Le Roy et Robertus Ballard. RISM A/I: L904 96 Modulorum. 6.7. et 12. vocum Orlando Lasusio autore / Parisijs Adrianus le Roy. et Robertus Ballard. An. M. D. LXXVIII. RISM A/I: L858 97–9 Primj Secundj et Tertij librj Modulorum 5. uocibus constantium. Orlando Lassusio autore. // Parisijs Adrianus le Roy. et Robertus Ballard. An[no] 1571. et 1573. RISM A/I: L845, L847 and L859 100 Modulorum v. uocibus nunquam hactenus editorum. Monachij Boioariae compositorum autore Orlando Lasso autore // Parisijs Adrianus le Roy et Robertus Ballard anno 1571. RISM A/I: L843 101 Modulorum 4. et. 8 uocum Orlando Lasso autore // Parisijs. Adrianus le Roy et Robertus Ballard an[no 1572. RISM A/I: L850 102 Nouem Quiritationum Diui Job. 4. uocibus ab Orlando de Lasso modulatarum // Parisijs Adrianus le Roy: et Robertus Ballard Anno M. D. LXXII. RISM A/I: L855 103 Modulorum nondum prius editorum. Monachij Boioariae 3. uocibus ab Orlando Lasso compositorum. // Parisijs Adrianus le Roy et Robertus Ballard anno M.D. LXXVI. RISM A/I: L886 847* 848* 849* 850* 851 852 853 104 De La Musica Noua di Adriano Vuillaert All Illustrissimo et Excellentisso signor il Signor Donno Alfonso d’este Principe di Ferrara // Venetijs di Antonio Gardano. Anno 1559. in Quarto magno. RISM A/I: W1126 105 Don Ferdinandj de Las Infantas Patritij Cordubensis Sacrarum varij stylj Cantionum Titulj Spiritus Sanctj Liber primus cum 4. uocibus. Venetijs Angelus Gardanus. anno 1578. RISM A/I: I37 854* 855* 856* 857* 106–11 Septem15 Librorum Cantionum Sacrarum (uulgo muteta uocant) 4. uocum autore Clemente non Papa. Louanij. Annis 1562. 1568. 1569. 1570. 1571.1572. Petrus Phalesij. RISM A/I: C2689, C2693, C2697, C2701, C2704, C2706 112 Not in Blotius: Thomas Crecquillon. Liber septimus cantionum sacrarum … Louvain: Phalèse, 1572. RISM A/I: C4409 113 Mutetarum aliquot sacrarum 4. Uocum, quae tum uiuae uoci, tum omnis generis Instrumentis Musicis accommodarj possunt. Autore Iuone de Vento Ducis Bauariae Musico // Monachij Adamus Berg. 1574. RISM A/I: C2693 858* 859* 860* 114 Libri Motetarum Trium uocum uiuae uoci et instrumentis Musicis accommodotarum autore Orlando de Lasso ducis Bauariae Albertj chori Magistro // Monachij. Adamus Berg anno 1575. RISM A/I: L878 115–17 Libri primi secundi et Tertij. Selectissimarum Sacrarum Cantionum (quas uulgò Moteta uocant) florum trium uocum: ex optimis ac praestantissimis quibusque diuinae Musices autoribus excerptarum. Jam primum summa cura ac diligentia collecti et impressi. Louanij Petrus phalesius. anno 1569. RISM B/I: 15694, 15695, and 15696 118 Sacrarum ac aliarum Cantionum trium uocum, tam uiuae uoce quam Instrumentis cantata commodissimarum atque iam primum in lucem editarum liber unus autore D. ac M. Gerardo Thurnhout.//Louanij Petrus Phalesius. anno 1569. RISM A/I: T1434 119 Triciniorum Sacrorum, omnis generis Instrumentis Musicis, et uiuae uocj accommodatorum hactenusque non editorum autore Joan à Castro Musico celeberrimo liber unus // Louanij Petrus Phalesius Anno M. D. LXXIV. RISM A/I: C1471 120 Modulorum aliquot tam sacrarum quam prophanorum cum tribus uocibus … Autore Jacobo Florij // Louanij Petrus Phalesius anno M. D. LXXI. RISM A/I: F1185 121 Not in Blotius: Liber musicus duarum vocum cantiones … Louvain: Phalèse, 1571. RISM B/I: 157115 861* 862* 863* 864* 865* 122 Operis sacrarum Cantionum (quas uulgò moteta uocant) Thomae Cricquillon Augustissimi Carolj Quintj Imperatoris chori Magistrj celeberrimj. 4. 5. 6. et 8 uocum tam uiuae uoci, quam Musicis Instrumentis accommodatj Louanij Petrus Phalesius anno M. D. LXXVI. RISM A/I: C4410 123 Sacrae Cantiones seu Moteta (ut uocant) non minus Instrumentis quam uocibus aptae. Liber vnus. Cyprianj de Rore Musicj huius nostrj seculj facile principis // Louanij Petrus Phalesius. anno 1573. RISM A/I: R2477 124–5 Libri et secundj Motetarum 4.5. et 6. uocum … autore Hadriano Villaert Musico excellentissimo // Louanij Petrus Phalesius anno 1561. RISM A/I: W1128 126 Psalmj CXXVIII. Dauidis Beatj omnes. 6. 5. et 4. uocum à uarijs ijsdemque praestantissimis Musicae artificibus harmonicis numeris adornatj, et modis 17. Concinnatj, hinc inde autem collect atque in unum uolumen redacti, et in lucem editj per Clementem Stephanj Buchauiensem // Noreberg: Vlricus Neuberg. anno 1569. RISM B/I: 15691 127 Motetarum D. Cyprianj de Rore et aliorum autorum 4 vocum parium decanendarum cum tribus lectionibus, pro mortuis autore Josepho Zerlino // Venetijs Hyeronimus Scottus anno 1563. RISM B/I: 15634 128 Sacrarum aliquot Cantionum Latinarum et Germanicarum 5. et 4. uocum summa diligentia compositarum correctarum, et iam primum in lucem editarum Jacobi Meilandj Germanj // Francofortj ad Moenum anno 1575. RISM A/I: M2179 129 Cantionum Sacrarum 5. et 6. uocum. Harmonicis numeris in gratiam Musicorum compositarum, et iam denuo auctiorum, multumque quam antea correctiorum in lucem editarum Jacobo Meilandj // Noribergae Theodoricus Gerlachius anno 1573. RISM A/I: M2176 866 867 868 869 870 130 Tomi primj Missarum 5. vocum iuxta dodecachordi modos. Dorij scilicet, Hypodorij et Lydij accuratae compositj recensque in lucem editj Georgij Cropatij Bohemij // Venetijs Angelus Gardanus. anno 1578. Not in RISM 131–2 Primj et secundj libri sacrarum Cantionum 5. vocum. Claudij Merulj Corrigiensis Organistae S. Marci à Dominj nostrj Jesu Christj Natiuitate usque ad primo Kalendas Augustj Venetijs Anno 1578. RISM A/I: M2358 and M2359 133 Libri primi Sacrarum Cantionum (uulgo Moteta appellatarum) 5 uocum, tum uiua uoce, tum omnis generis Instrumentis cantatu commodissimarum autore Andreae Gabriela / Venetijs Antonius Gardanus Anno. 1572. RISM A/I: G50 (reprint of G49) 134 Missarum trium Quinis et Senis uocibus decantandarum Simonis Gatti Venetj Magistrj Musices Serenissimj Carolj Archiducis Austriae // Venetijs apud Angelum Gardanum. anno 1579. RISM A/I: G574 135 Di Jacobo Antonio Cardillo Da Monte Sarchio Maistro di Capella Di mentagnana [etc.] Il primo libro de Motettj à cinque uoci [novamenta da lui16] compostj, et datj in luce // In uenetia Apresso Angelo Gardano Anno 1579. Not in RISM17 136 Vespertinae omnium Solemnitatum psalmodiae, iuxta decretum sacro sancti Tridentinj Concilij duorumque B. Virginis Canticorum Primi tonj cum quatuor uocibus per D. Joannem Matthaeum Asulam, Veronensem. Ecclesiae Taruisinae Editae. Venetijs apud Angelum Gardanum anno 1578. RISM A/I: A2532 137 Secundj chorj Vespertinae omnium solemnitatum Psalmodiae iuxta sacro sancti Tridentinj concilij decretum, duorumque Beatae Virginis Mariae Canticorum primj Tonj. Vocibus quatuor paribus concinendorum per d. Joannem Matthaeum Asulam Veronensem Ecclesiae Taruisinae Musices praefectum editj. Venetijs apud Angelum Gardanum. Anno 1578. RISM A/I: A253818 138 Psalmorum uesperarum omnium totius annj dierum Festorum Flauianj Rubej Ecclesiae Cathedralis Laudensis Canonicj. Et est liber primus. Ad Illustrem ac Reuerendissimum Hieronimum Federicum Episcopum et comitem Ludensem / Venetijs apud Angelum Gardanum anno 1578. RISM A/I: R2737 139 Missarum ex Hippolitj Sabinj Anxianensis quae uulgo parj uoce dicantur. Venetijs apud Angelum Gardanum anno 1576. Not in RISM19 140 Ludouici Balbi Venetj magnae domus Venetiarum Musicae Magistrj Ecclesiasticarum Cantionum quatuor uocum omnibus aduentus dominicis nec non Septuagesimae. Sexagesimae. Quinquagesimae simul atque quibuscumque totius annj opportunitatibus deseruientium // Venetijs apud Ang. Gard: anno 1578. RISM A/I: B737 871 872* 873* 874* 875 876 141 Libri primi Missarum cum 5.6.7. et 8. uocibus Petrj Vincij Siculi Nicosiensis Capellae S. Mariae Maioris Bergomi Magistri [list of masses] Venetijs apud haeredem Hieronymi Scotj, anno 1575. RISM A/I: V1659 142 D’I Salmi che si cantano tutto l’anno al Vespro à cinque vocj, et un Magnificat à otto. Nouamente posti in luce di Bonifacio Pasquale da Bologna Maestro di Capella del Santo da Padoua. In Veneggia appresso Lo Haerede di Girolamo Scotto. Anno 1576. RISM A/I: P973 143 Primi et secundj chorj Psalmodiarum ad Vespertinas omnium solemnitatum horas octo uocibus infractis decantandarum Canticorum duorum B. Virginis Mariae unius primj tonj integrj alterius quintj tonj in uersiculos diuisi autore Joanne Matthaeo Asula Veronensi. Nunc primum in lucem editj. Venetijs Apud Haeredem Hieronymj Scotj anno 1574. RISM A/I: A2517 144 Primi et secondj chorj Li Magnificat à Otto à noue et a Dodecj uoci. Nouamente posti in luce Dell excellente Musico M. Hippolito Chamatero de Negri cittadino Romano, et Maestro di Capella dignissimo del Duomo di Vdine // In Veneggia appressa L’herede Girolamo Scotto. anno 1575. RISM A/I: C281 145 Libri primi Missarum 4. Vocum. D. Pontij Parmensis D. Alexandrj Bergomi Magistrj. [list of masses] Venetijs apud Haeredem Hieronimi Scotj: anno 1575. Not in RISM 146 Magnificat 8 tonorum à Christopho Schutpachero per trium uocum modulamine nuper Composita et nunc in lucem edita. Venetijs apud Heredem Hieronimj Scotj. Anno 1574. RISM A/I: S1605 877 147 Octo missae quinque sex et septem uocum autore Georgio de la Hele apud Ecclesiam Cathedralem Tornacensem Phonasco. Iam primum in lucem editae. Antuerpiae Christophorus plantinus. 1578. folij forma Regalj integrj non plicatj sed ut chartae [illegible] graphicae glutinatj. RISM A/I: L285 148 Missa ad modulum Benedicta es sex uocum autore Philippo de Monte Sacrae Caesareae Maiestatis Phonasco. Antuerpiae Christophorus Plantin: 1579. forma ut supra. RISM A/I: M3315 878 879 880 881 882 883 149 Quartj tonj Cantionum Ecclesiasticarum quatuor quinque et sex uocum continentis i.o Psalmorum 2.o singulorum Tonorum et eorundem differentiarum quam contra punctum uocant. Psalmodiam. 3.o Aliquot pias preces, et sacrae scripturae sententiae. Autore Leonarto Pamingero. A. Austriaco Norimbergae Nicolaus Knorren anno 1580 in forma 4.ta oblonga. RISM A/I: P831 903 904 905 906 907 908 Sex missarum Philippi de monte manuscriptj. Missa autem sunt hae. Missa 1. Cara la vita mia. 5 uocum. 2. In die Tribulationis. 5 uocum. 3. O altitudo diuitiarum 5 uocum. 4. Cum sit omnipotens Rector. 6 uocum. 6. Benedicta es caelorum Regina. 6. uocum. // Omnes hae partes sunt pulchre manuscriptae tectae corio caeruleo deaurato more Turcico. Manuscript 911 912 913 914 915 916 Selectarum Cantionum Latinarum Italicarum Gallicarum pulcherrime manuscriptarum diuersorum (ut videtur) autorum. Catalogus Cantionum est singulis partibus Indexus. Sunt hi libri Praga huc missi et omnes in membrana alba compactj folij forma. Manuscript 946 947 948 949 950 951 150 Di Philippo di Monte Maestro di Capella della S. C. Maesta dello Imperatore Rodolpho II. Il quarto libro de madrigalj à sei voci. Insieme alcunj à sette nouamente compostj, et datj in luce. Dedicato all’Illustrissimo Signore Wolfgango Rumpf libero Barone de Wielross consigliere et Camerlengo magiore // Aeditio, quantitas forma. Stampato in Venetia appresso Angelo Gardano. 1580. sunt libri … . 6. Singuli habent chartas plusminus. 3. hoc est omnino … .18. RISM A/I: M3368 971 151 Liber primus Missarum Philippi de Monte Ecclesiae Metropolitanae Cameracensis Canonici ac thesaurarij, et Rudolphi II. Imperatoris Chori Praefecti. Antwerp: Plantinus 1587. In folio. RISM A/I: M3320 1 Each no. represents a binder’s volume, grouped by voice part. In this way, each set of binder’s volumes typically comprises the number of voice parts needed to perform the pieces in a given set. The only exceptions are the few instances where an edition contains multiple voice parts in a single partbook. 2 Originally ‘Magerte prour’. 3 This single volume was the quintus partbook of edition no. 3: Inventory (168) reads ‘Quinta pars (qua[e] superioribus libris non est edita’); editions no. 1–2 comprised only four voices. 4 Originally ‘Cantiquos’. 5 Originally ‘leu’. 6 There are no 1576 reprints from this series listed in RISM B/I. 7 These reprints are not listed in RISM B/I but, with the exception of the 1563 reprint of Volume 6, are listed in Andrew Pettegree and Malcolm Walsby (eds.), Netherlandish Books: Books Published in the Low Countries and Dutch Books Printed Abroad before 1601, 2 vols. (Leiden and Boston, 2011). 8 The first and second books are assigned a single RISM number, as they were printed together. 9 Originally ‘Louanj’. 10 For edition no. 57, ‘… Quinta vox et sexta vox (quae in primo libro non est edita)’. For edition no. 58, ‘…et vaga[n]s (quae uox in primo et secundo libro non est edita. sed hic cum quinta voce caeterorum librorum coniuncta’. 10 Each of the five volumes comprising Pietro Giovanelli’s edition of Novi thesauri musici … (Venice, 1568) was given its own title page and owners had the option of binding each volume individually; however, the pagination is continuous from the first volume to the last, and extant copies suggest it was always purchased (or given) as a complete set. 11 Originally ‘Chatolica’. 12 This is an error: the print is in a vertical format. 13 ‘In ijsdem uoluminibus. Discantus Altus. Tenor. Bassus. Quintus et Sextus (sed hi duo non in duobus, sed in uno uolumine[m] sunt coniunctj)’. 14 ‘Quinta ista et sequens sexta pars uidentur postea superiorib[us] libris additae’. 15 Blotius assumes the first seven motet prints in this set of binder’s volumes are by Clemens when the seventh is in fact by Thomas Crecquillon. 16 Originally, ‘nouomenta du luj’. 17 A second book of motets by Giacomo Antonio Cardillo survives as RISM A/I C986: Sacrarum modulationum liber secundus (Venice, 1586). 18 The binding together of the first and second choruses (editions nos. 138–9) precludes their performance as double-choir pieces. 19 Assuming the indexer was correct in recording the date of publication as 1576, this may be an otherwise unknown reprint of RISM S40, published in Venice by Gardano in 1575, under the same title, and reprinted with some omissions in 1581 (RISM SS43a). Open in new tab Item no. in Blotius . Music Edition no. . Entry as given in Blotius’s catalogue . RISM identifier . 775 776 777 778 1 Des Airs mis en Musique per Fabrice Marin Caietain sur les pöesis de P. de Ronsard, et aultres excellens Pöetes premier libre // A Paris M. D. LXXVIII. Par Adrian le Roy et Robart Ballart inprimeurs du Roy. avecq priuilege de sa [Majesté pour2] dix ans. RISM A/I: C28; RISM B/I 157818 2 Des Chansons de P. de Ronsard Ph. des portes, et autres Mises en Musicque par N. de la Grotte uallet de Chambre et Organiste du Roy // à Paris 1575. Par Adrian Le Roy auecq Priuilege du Roy Pour dix ans. RISM A/1: L244 3 Du deuxiesme et second liure la Fleur des chansons, des deux plus excellens musiciens de notre temps ascauoir de M. Orlande de Lassus et de M. Claude Pudimel [sic]. Celles de M. Cl. Goudimel n’ont Jamais este Mises en lumiere / Tous imprimes A lyon par Jean Bauent 1574. et est le premier liure de l’autheur. Omnia autem haec referunt formam fol. 16.am uel potius 12.mam oblongam. RISM B/I: 15742 7793 Du second liure de la fleur des Chansons des Deux plus excellens Musiciens de nostre temps à Scauoir. de M. Orlande de Lassus et de M. Claude Goudimel Celles de M. Cl. Goudimel n’ont Jamais esté mises en lumiere A Lyon Jean Bauent. 1574. RISM B/I: 15742 780 781 782 4–5 Du premier et second liure du Meslange des Pseaumes et [Cantiques4] a trois parties recueulis de la Musique d’Orlande de Lassus et autres excellents Musiciens de notre temps M. D. LXXVII. In 16.o aut 12.o oblong. Non expressum est nomen Typographi aut locus impressionis. RISM B/I: 15772 and 15773 783 784 785 787 6–26 Des XXI. liures des Chansons composetz per diuers autheurs comme Adrian Le Roy Jac. Arcadet, et principalement la plus part par Orlande de Lassus et aultres excellens Musiciens Aulcuns de ces liures sunt a 4. aulcuns a 5. et aulcuns aussy a 6 parties maies toutes tellement accommodees quelles se relient in 4 volumes Imprimez diuersement comme les uns an. 1573 [les5] autres Annis 1575. 1576.6 1577. 1578. Tous inprimez à Paris par Adrian le Roy et Robert Ballart Imprimeurs du Roy In 16.o uel 12.o oblong: from RISM B/I: 15735–14, 15755–10, 15774–6, and/or 15785–13 787** 788** 789** 790** 27–33 Du premier 2.e 3.e 4.e 5.e 6.e et 7.e liure des Chansons à quatre parties nouuellement Composez et Mises en Musicque conuenables tant aux Instruments comme a la uoix Imprimez à Louuain par Pierre Phalez libraire Jure le Second. L’an 1561. Le primier, Tiers et Sixiesme l’an 1563. Le quatriesme et Cincquiesme l’an 1564. et le Settiesme qui est corrigé et augmenté des Plusieurs nouuelles chansons les quelles Jamais n’ont este imprimees l’an 1567. PW7 7409–12 (vol. 2), 7417––20 (vol. 1), 7421–24 (vol. 3), 7425–28 (vol. 5), 7429–32 (vol. 4), 7437–40 (vol. 7) 34–5 Du premier et second liure des amours de P. de Ronsard mis en Musicque a iiii parties par Anthonie de Bertrand natif de Fontanges en auuergne // à Paris par Adrian le Roy et Robert Ballard Imprimeurs du Roy 1578. RISM A/I: B2415 and B2416 36 Du troisiesme liure des chansons mis en musique a 4. parties per le mesme Antoine Bertrand // L’an et imprimeur comme dessus. RISM A/I: B2418 37–8 Du premier et second liure des sonets Chrestiens mis en Musique à quatre parties Par G. Boni de S. Flour en auuergne // 1579. in 4.to obl. RISM A/I: B34848 791* 792* 793* 794* 795* 39 Des sonetz de P. de Ronsard mis en Musique a 5. 6. et 7 parties par M. Philip. de monte. Maiestre de La Chapelle de l’empereur // A Paris par Adrian le Roy et Robert Ballard imprimeurs du Roy l’an 1575. RISM A/I: M3363 40 Pöesies de P. de Ronsard et aultres Poetes mis en Musicque à quatre et Cinq parties. par M. Francois Regnard // à Paris le mesme anet imprimeur comme dessus. RISM A/I: R730 796 41 Du liure des chansons nouuelles mises en Musicque à Six parties, per Fabrice Marin Gaiettane // à Paris Par Adrian le Roy [etc.] l’an 1571. RISM A/I: C26 42 Des chansons nouuelles à Cinq parties auecq deux Dialogues. à Huict de Orlande de Lassus // A Paris par Adrian le Roy et Robert Ballard imprimeurs du Roy 1576. 4.to oblongo. RISM A/I: L894 43 Item. Des Meslanges d’Orlande de Lassus Contenanz plusieurs Chansons a 4. 5. 6. 8. 10. parties reueuz par luy et Augmentez // A Paris par Adrian le Roy et Rob. Ballarde l’an. 1576. RISM A/I: L891 44 Item. Des chansons Nouuelles, mises en musicque à 4. 5. et 6. parties par M. Francois Roussel à Paris Adr. le Roy an 1577 in 4.to oblongo. RISM A/I: R2720 45 Item. Du mellange de chansons tant des vieux aucteurs que des modernes à Cincq Six. Sept. et Huict parties. A Paris, par Adrian le Rox et Robert Ballard imprimeurs du Roy 1572. 4.to oblongo. RISM B/I: 15722 797 798 799 46 De La Fleur, des Chansons à Trois parties, contenant un Recueil, produict de la diuine Musique de Jean Castro. Seuerin Cornet, et aultres excellents aucteurs mis en ordre conuenable suiuant leurs tons // A [Louvain] chez Pierre Phalese imprimeur et libraire Jure et en Anuers chez Jean Bellere a l’Aigle d’or l’an 1574. in 4.to oblongo. RISM B/I: 15743 800* 801* 802 803** 47 Du premier liure des Sonez de Pierre de Ronsard, mis en Musique a 4. Parties par G. Bonj de S. Fleur en Auuergne // à Paris l’an 1576. par Adrian le Roy et Robert Ballard [etc]. RISM A/I: B3474 48 Des Amours de P. de Ronsard. mises en Musique a 4 parties par Jean de Malletty natif de S. Maxemin en prouince. A Paris par Adrian le Roy, et Robert Ballard l’an 1578. RISM A/I: M243 49 Des Meslanges contenant un recueil de Chansons a 4. parties choisy des plus excellens aucteurs de notre temps par Jean Castro Musicien, mise en ordre Conuenable suiuant leur tons // A Louuain chez Pierre Phalese Imprimeur et librare Jure et en Anuers chez Jean Bellere à l’aigle d’or 1575. in 4.to oblongo. RISM B/I: 15754 50–1 Du premier et second liure de chansons nouuelles a 4. 5. 6. 7. 8. parties par Jean Seruin A Lyon par Charles Penot l’an 1578. RISM A/I: S2838 and S2839 52 De Meslange de Chansons nouuelles à quatre parties par Jean Seruin // à Lyon Charles Penot. l’an 1578. RISM A/I: S2840 53 Des Chansons et Madrigales a 4. parties Conuenables tant a la uoix comme a toutes sortes de Instruments, nouellement Composees per Maistre Jean de Castro à [Louvain9] Pierre Phalese l’an 1570. in 4.to oblongo. RISM A/I: C1469 804–6* 805* 806* 807 808* 80910 54 Libri primi sacrarum cantionum quas uulgo motetas uocant antea numquam in lucem editarum. Sed nunc recens admodum tam instrumentis musicis quam uiuae melodiae quinque uocibus attemperatarum Alexandro Vtendal Serenissimi Archiducis Ferdinandj Musico ad annos sex Noribergae //Theodorus Garlachenus 1571. RISM A/I: U120 55 Secundi libri sacrarum cantionum, quas uulgo Motetas uocant. Sex et plurimum uocum, tum uiua uoce, tum omnes generis instrumentis cantata commodissimarum. Noribergae in officina Theodoricj Gerlachij 1573. RISM A/I: U121 56 Tertij libri sacrarum Cantionum quas uulgo Motetas uocant, ab Alexandro Vtendal Serenissimj Principis Ferdinandj Archiducis Austriacj Musico quinque et sex uocibus ita compositarum ut tam uiuae uoci quam diuersis musicorum Instrumentorum generibus accomodarj queant // Noribergae in officina Catharinae Gerlachin, et haeredum Joannis Montanj, Anno 1577. RISM A/I: U125 57 Trium Missarum ab Alexandro ab Vtendal Serenissimi et illustrissimi Principis D. Ferdinandj Archiducis Austriacj Musico excellentissimo compositarum. Item Magnificat per octo Tonos quatuor uocibus ab eodem auctore // Noribergae Theodoricus Gerlachius anno 1573. RISM A/I: U122 58 Item in eodem volumine. Septem Psalmorum Poenitentialium, adiunctis ex prophetarum inscriptis orationibus eiusdem argumentj quinque ad dodecachordj modos duodecim, hac quidem aetate doctiorum quorundam Musicorum opera ab obscuritate uindicatos, nihilominus quam plurimis adhuc incognitos, aptissima tam viuae voci, quam diuersis musicorum instrumentorum generibus harmonia accommodatorum. Auctore Alexandro Vtendal. Serenissimj principis Ferdinandi Archiducis Austriacj Musico / Noribergae Theodoricus Gerlachenus 1570. Et sunt omnia haec edita, ut formam quartam oblongam referat. RISM A/I: U119 59 Libri primi sacrarum cantionum quas uulgo moteta uocant ab illustrissimj principis Ducis et Electoris Saxoniae Sacelli magistro Seniori Matthaeo le Maistre compositarum et quinque uocibus accommodatarum // Dresdae excudebat Gimel Montanus Lubecensis anno 1570. RISM A/I: L1844 60 Motectarum sacrarum quatuor quinque, et sex uocum ita compositarum ut non solum uiua uoce cantarj, sed etiam ad omnis generis instrumentis optimè adhiberi possint autore Leonardo Lechnero Athesino. Addita est in fine Motecta octo uocum ad duos chorus, eodem autore. Noribergae in officina Catharinae Theodorici Gerlachij viduae et haeredum Joannis Montanj anno 1575. RISM A/I: L1286 61 Aliquot cantionum siue Motectarum. ex veteri atque nouo Testamento collectarum quatuor uocum. autore Jacobo Regnart Flandro Sacrae Caesareae Maiestatis Musico // Noribergae Catherinae Gerlachi et haeredes de Montanj Anno 1577. RISM A/I: R732 62 Selectarum quarundam Cantionum Sacrarum modis Musicis quinque et sex uocum recens compositarum per Jacobum de Kerle Noribergae Theodoricus Gerlachenus anno 1571. RISM A/I: K447 63 Cantionum aliquo Musicarum, quae uulgo muteta uocant 4. 5. et 6. uocum autore M. Michaele Carle Desbuisons Flandro Insulano Serenissimj Archiducis Austriae Ferdinandj cantore Musico. sunt autem post obitum auctoris edita per Joannem Fabrum Illustrissimi Principis Cantorem// Monachij Adamus Berg anno 1573. RISM A/I: D1729 64 Item in eodem volumine. Libri Motetorum Jacobi de Kerle quatuor et quinque uocum ad iuncto in fine. Te Deum laudamus. Sex vocum quorum nihil adhuc in lucem est editum. // Monachij Adamus Berg. Anno 1573. Omnia haec sunt forma quarta oblonga excusa. RISM A/I: K451 810* 811* 812* 813* 814* 815* 6510 Libri primj 2.i 3.i 4.i et 5.tj Noui Thesaurj Musicj quo selectissimae planeque nouae, nec unquam in lucem aeditae cantiones sacrae (quas uulgo Moteta uocant): Continentur octo. Septem symphoniacis compositae, quae in sacra Ecclesia [Catholica11], summis solennibusque festiuitatibus canuntur, ad omnis generis instrumenta Musica accommodatae. Petrj Joanellj Bergomensis de Gandino summo studio ac labore collectae, eiusque expensis impressae // Venetijs apud Anthonium Gerdanum anno 1568. In 4.to oblongo.12 RISM B/I: 15682–6 816* 817* 818* 819* 820* 821 66 Prioris partis selectissimarum Cantionum quas vulgo Motetas uocant, partim omnino Nouarum, partim nusquam in Germania excusarum sex et pluribus uocibus compositam per excellentissimum Musicum Orlandum de Lassus. Posteriorj huic editionj accessere omnes Orlandj motetae, quae in ueteri nostro Thesauro Musico impressae continebantur, cum quibusdam alijs, ita ut fere tertia parte opus hoc sit auctius. Omnia denuo multo ante hac correctius edita Noribergae imprimebatur in officina typographica Catharinae Gerlachin, et Haeredum Joannis Montanj anno M.DLXXIX. RISM A/I: L915 67 Alterius partis selectissimarum cantionum, quas uulgo motetas uocant. Quinque et quatuor uocibus compositarum per excellentissimum musicum Orlandum di Lassus aucta et restitute ut supra indicauimus // Noribergae imprimebatur in officina typographica Catharinae Gerlachin, et haeredum Joannis Montanj Anno MD LXXIX RISM A/I: L916 68 Magnificat octo tonorum, sex quinque et quatuor uocum, nunc primum excusa et per Orlandum di Lasso. Excellentissimum musicum composita // Noribergae in officina Theodorici Garlacenj anno 1573. RISM A/I: L861 69 Item. Sacrarum Cantionum, quas uulgo mutecta uocant 5.6. et 8. uocum, tum uiua uoce tum etiam omnis generis instrumentis cantata commodissimarum Autore Theodoro Riccio Brexiano Italo. Illustrissimi atque excellentissij Principis ac Dominj Dominj Georgij Friderici Marchionis Brandeburgensis Stetiniae Pomeraniae, Cassubiae, Prussiae, Ducis chori Musici magistrj // Impressae Noribergae in officina typographica Catharinae Theodoricj Gerlacij relictae uiduae, et haeredum Joannis Montanj anno M. D. LXXVI RISM A/I: R1286 70 Sacrarum Cantionum 5. et 6. vocum, tum uiua uoce, tum omnis generis instrumentis cantata commodissimarum Autore Melchiore Schrammio Illustris ac generosi Comitis et Dominj dominj Carlj in Hohenzollern, Musico // Noribergae in officina typographica Catharinae Theodorici Gerlacij relictae uiduae et haeredum Joannis Montanj anno MD. LXXVII. RISM A/I: S2107 71 Sacrarum Cantionum plane novarum ex vetere et Nouo Testamento in pium Ecclesiarum usum compositarum et editj studio et opera Joachimi à Burgk // Noribergae in officina Theodoricj Gerlachenj anno MDCLXXIII. RISM A/I: B4966 72 Dulcissimarum quarundam Cantionum Numero XXXII. Quinque sex et septem uocum ita factarum, ut tum humanae uocj, tum musicis instrumentis aptae esse possint Autore Joanne Knefelio Laubensi. Illustrissimi Principis à Dominj Dominj Henricj ducis Silesiae Lignicensis, Brigensis et Goldbergensis musici chori magistro. RISM A/I: K989 73 Sacrarum Cantionum plane nouarum 4. 5. et plurium uocum ita compositarum, ut ad omnis generis instrumenta accommodarj possint. Autore Michaële Tonsore. In officina Theodoricj Gerlachij anno M. D. L. XXIII.13 RISM A/I: T965 822 823 824 825 826 74 Nouj et insignis operis Musicj in quo textus Euangeliorum totius annj uero ritus ecclesiae correspondens, quinque uocum modulamine singulari industria ac grauitate exprimitur. Autore Homero Herpol. Esaiae cap. 42. Psalm. 149. Cantate Domino Canticum nouum. Laus enim ab extremis terrae // Noribergae excudebant Ulricus Neuberg et haeredes Joannis Montanj anno M. D. LXV. RISM A/I: H5187 75 Sacrarum cantionum quatuor quinque et plurium uocum in gratiam Musicorum compositarum A Gallo Dreslero Nebraeo, Cantore Magdeburgensj. Imprimebat Noribergae cum consensu autoris Theodoricus Gerlachius, sibi et domino Wolfgango Kirchnero. anno M. D. LXXIIII. RISM A/I: D3521 76 Sacrarum aliquot Cantionum, quas Moteta vulgas appellat quinque et sex uocum autore Jacobo Regnart Flandro Sacrae Caesareae Maiestatis musico. Monachij excudebat Adamus Bergk. Anno M. D. LXXV. RISM A/I: R731 77 Latinarum Cantionum, quas uulgo muteta uocant quinque uocum suauissima melodia etiam instrumentis musicis attemperatarum Autore Iuone de Vento. Illustriss: Principis ac Dominj D. Gulielmj Palatinj Rhenj et utriusque] Bauariae ducis et Musico // Monachij excudebat Adamus Bergk Anno MD LXX. RISM A/I: V1115 78 Quinque Motetarum duorum Matregalium, Gallicarum Cantionum. Duae et quatuor Germanicae Cantiones Octo. Reliquae uero omnes quinque sunt uocum. Singularis studio ac industria per Iuonem de Vento compositae, correctae, et nunc primum in lucem editae // Monachij excudebat Adamus Berg anno M.D. LXXV. RISM A/I: V1118 79 Nouarum Harmonicarum Cantionum, ut piarum ac etiam iucundarum quinque uocibus concinatarum et nunc primum in lucem editarum per Mathiam Gastriz // Noribergae Vlricus Neuberg M.D. LXIX. RISM A/I: G565 80 Cantus Choralis. Musicis numeris … per totum annj curriculum praecipuè diebus festi cantari solet à Joanne Gneuelio [sic.] // Noribergae Theodoricus Gerlachius anno M. D. LXXV. RISM A/I: K990 827 828 829 830 831 832 81–3 Primj. Secundj, et Tertij tonij Ecclesiasticarum Cantionum 4.5.6. et plurium vocum à prima Dominica Aduentus usque ad passionem Dominj et Saluatoris nostri Jesu Christj. per Leonardum Pamingerum Aschaniensem Austriacum olim Patauij Bauariae ad D. Nicolaum Secretarium. Musicum clarissimum compositarum. // Noribergae Theodoricus Gerlachenus. Tomum primum, et secundum anno 1573. Tertium uero tomum Catharinae eius uidua anno M. D. LXXVI excudit. RISM A/I: P828, P829, and P830 833 84 Praestantissimorum diuina Musices auctorum missae deceno, quatuor quinque et sex uocum uno uolumine comprehensarum, antehac nunquam excusae. Louanij Petrus Phalesius anno 1570/ In folio Regali. RISM B/I: 15701 85 His addita est Missa defunctorum 4 vocum antea non excusa. Autore Clemente non Papa // Louanij Petrus Phalesius anno 1570. PW 8404 834 86 Missae XVIII Orlandj de Lasso quarum octo priores sunt quatuor uocum sex consequentes 5. uocum. Tres sequentes 6. uocum ultima 8. uocum. Sunt autem ad imitationem uariorum modulorum ut sequitur [list of masses]. Et omnes hae missae sunt excusae Parisijs apud Adrianum le Roy et Robertum Ballard anno 1577. RISM A/I: L900/1577a 87 Adiuncta sunt octo Cantica diuae Mariae uirginis quorum initum est Magnificat secundum octo modos seu tonos in templis cantari solitos singula quinis uocibus constantia, autore Orlando de Lasso // Parisijs Adrianus le Roy et Robertus Ballard Anno 1578. RISM A/I: L912 88 Item in eodem volumine sunt additae Constantij Portae, almae Ecclesiae Deiparae Virginis Lauretanae. Magistrj Musices Missarum liber primus. [list of masses] Excusae sunt Venetijs apud Angelum Gardanum anno 1578. In folio Regalj. RISM A/I: P5180 835* 836 837 838 89 Libri primj Modulorum 4 uocibus ad usum Ecclesiae ac Instrumentorum Organicorum maxime accommodatorum Fabricij Caeitanj Ecclesiae Tullensis symphoniacorum puerorum magistrj // Parisijs Adrianus Le Roy et Robertus Ballard anno 1571 forma 4.ta oblonga. RISM A/I: C25 839*14 90 Libri Modulorum quaternis quinis et senis uocibus, autore Jacobo de Kerle Flandro Yprensi // Parisijs Adrianus le Roy et Rob. Ballard. anno 1572. RISM A/I: K448 840 91 Primj libri Modulorum quinis senis et septenis uocibus autore Gulielmo Bono Auuerno // Parisijs Adrianus le Roy et Rob. Ballard. Anno 1573. RISM A/I: B3473 92 Modulorum primi voluminis Joannis Maillardj 4. 5. 6. et 7. uocibus modulatorum // Parisijs Adrianus le Roy et Robert: Ballard anno M D. LXV. RISM A/I: M184 93 Modulorum secundi uoluminibus Joannis Maillardj. 4. 5. Et. 6. Uocibus modulatorum // Parisijs Adrianus le Roy et Rob: Ballard anno MD. LXV. RISM A/I: M185 94 Item. Cantionum sacrarum, quae uulgo Moteta uocantur, tam profanarum 5. 6. et 8 uocum recens in lucem editarum autore de Brouck Antuerpiae // Antuerpiae Christoph: Plantinus anno MD. LXXIX. RISM A/I: B4613 841* 842* 843* 844* 845* 846 95 Modulorum 4. 5.6.7.8. et Nouem uocum. Orlando Lassusio autore. Parisijs a[nno] 1577. Adrianus Le Roy et Robertus Ballard. RISM A/I: L904 96 Modulorum. 6.7. et 12. vocum Orlando Lasusio autore / Parisijs Adrianus le Roy. et Robertus Ballard. An. M. D. LXXVIII. RISM A/I: L858 97–9 Primj Secundj et Tertij librj Modulorum 5. uocibus constantium. Orlando Lassusio autore. // Parisijs Adrianus le Roy. et Robertus Ballard. An[no] 1571. et 1573. RISM A/I: L845, L847 and L859 100 Modulorum v. uocibus nunquam hactenus editorum. Monachij Boioariae compositorum autore Orlando Lasso autore // Parisijs Adrianus le Roy et Robertus Ballard anno 1571. RISM A/I: L843 101 Modulorum 4. et. 8 uocum Orlando Lasso autore // Parisijs. Adrianus le Roy et Robertus Ballard an[no 1572. RISM A/I: L850 102 Nouem Quiritationum Diui Job. 4. uocibus ab Orlando de Lasso modulatarum // Parisijs Adrianus le Roy: et Robertus Ballard Anno M. D. LXXII. RISM A/I: L855 103 Modulorum nondum prius editorum. Monachij Boioariae 3. uocibus ab Orlando Lasso compositorum. // Parisijs Adrianus le Roy et Robertus Ballard anno M.D. LXXVI. RISM A/I: L886 847* 848* 849* 850* 851 852 853 104 De La Musica Noua di Adriano Vuillaert All Illustrissimo et Excellentisso signor il Signor Donno Alfonso d’este Principe di Ferrara // Venetijs di Antonio Gardano. Anno 1559. in Quarto magno. RISM A/I: W1126 105 Don Ferdinandj de Las Infantas Patritij Cordubensis Sacrarum varij stylj Cantionum Titulj Spiritus Sanctj Liber primus cum 4. uocibus. Venetijs Angelus Gardanus. anno 1578. RISM A/I: I37 854* 855* 856* 857* 106–11 Septem15 Librorum Cantionum Sacrarum (uulgo muteta uocant) 4. uocum autore Clemente non Papa. Louanij. Annis 1562. 1568. 1569. 1570. 1571.1572. Petrus Phalesij. RISM A/I: C2689, C2693, C2697, C2701, C2704, C2706 112 Not in Blotius: Thomas Crecquillon. Liber septimus cantionum sacrarum … Louvain: Phalèse, 1572. RISM A/I: C4409 113 Mutetarum aliquot sacrarum 4. Uocum, quae tum uiuae uoci, tum omnis generis Instrumentis Musicis accommodarj possunt. Autore Iuone de Vento Ducis Bauariae Musico // Monachij Adamus Berg. 1574. RISM A/I: C2693 858* 859* 860* 114 Libri Motetarum Trium uocum uiuae uoci et instrumentis Musicis accommodotarum autore Orlando de Lasso ducis Bauariae Albertj chori Magistro // Monachij. Adamus Berg anno 1575. RISM A/I: L878 115–17 Libri primi secundi et Tertij. Selectissimarum Sacrarum Cantionum (quas uulgò Moteta uocant) florum trium uocum: ex optimis ac praestantissimis quibusque diuinae Musices autoribus excerptarum. Jam primum summa cura ac diligentia collecti et impressi. Louanij Petrus phalesius. anno 1569. RISM B/I: 15694, 15695, and 15696 118 Sacrarum ac aliarum Cantionum trium uocum, tam uiuae uoce quam Instrumentis cantata commodissimarum atque iam primum in lucem editarum liber unus autore D. ac M. Gerardo Thurnhout.//Louanij Petrus Phalesius. anno 1569. RISM A/I: T1434 119 Triciniorum Sacrorum, omnis generis Instrumentis Musicis, et uiuae uocj accommodatorum hactenusque non editorum autore Joan à Castro Musico celeberrimo liber unus // Louanij Petrus Phalesius Anno M. D. LXXIV. RISM A/I: C1471 120 Modulorum aliquot tam sacrarum quam prophanorum cum tribus uocibus … Autore Jacobo Florij // Louanij Petrus Phalesius anno M. D. LXXI. RISM A/I: F1185 121 Not in Blotius: Liber musicus duarum vocum cantiones … Louvain: Phalèse, 1571. RISM B/I: 157115 861* 862* 863* 864* 865* 122 Operis sacrarum Cantionum (quas uulgò moteta uocant) Thomae Cricquillon Augustissimi Carolj Quintj Imperatoris chori Magistrj celeberrimj. 4. 5. 6. et 8 uocum tam uiuae uoci, quam Musicis Instrumentis accommodatj Louanij Petrus Phalesius anno M. D. LXXVI. RISM A/I: C4410 123 Sacrae Cantiones seu Moteta (ut uocant) non minus Instrumentis quam uocibus aptae. Liber vnus. Cyprianj de Rore Musicj huius nostrj seculj facile principis // Louanij Petrus Phalesius. anno 1573. RISM A/I: R2477 124–5 Libri et secundj Motetarum 4.5. et 6. uocum … autore Hadriano Villaert Musico excellentissimo // Louanij Petrus Phalesius anno 1561. RISM A/I: W1128 126 Psalmj CXXVIII. Dauidis Beatj omnes. 6. 5. et 4. uocum à uarijs ijsdemque praestantissimis Musicae artificibus harmonicis numeris adornatj, et modis 17. Concinnatj, hinc inde autem collect atque in unum uolumen redacti, et in lucem editj per Clementem Stephanj Buchauiensem // Noreberg: Vlricus Neuberg. anno 1569. RISM B/I: 15691 127 Motetarum D. Cyprianj de Rore et aliorum autorum 4 vocum parium decanendarum cum tribus lectionibus, pro mortuis autore Josepho Zerlino // Venetijs Hyeronimus Scottus anno 1563. RISM B/I: 15634 128 Sacrarum aliquot Cantionum Latinarum et Germanicarum 5. et 4. uocum summa diligentia compositarum correctarum, et iam primum in lucem editarum Jacobi Meilandj Germanj // Francofortj ad Moenum anno 1575. RISM A/I: M2179 129 Cantionum Sacrarum 5. et 6. uocum. Harmonicis numeris in gratiam Musicorum compositarum, et iam denuo auctiorum, multumque quam antea correctiorum in lucem editarum Jacobo Meilandj // Noribergae Theodoricus Gerlachius anno 1573. RISM A/I: M2176 866 867 868 869 870 130 Tomi primj Missarum 5. vocum iuxta dodecachordi modos. Dorij scilicet, Hypodorij et Lydij accuratae compositj recensque in lucem editj Georgij Cropatij Bohemij // Venetijs Angelus Gardanus. anno 1578. Not in RISM 131–2 Primj et secundj libri sacrarum Cantionum 5. vocum. Claudij Merulj Corrigiensis Organistae S. Marci à Dominj nostrj Jesu Christj Natiuitate usque ad primo Kalendas Augustj Venetijs Anno 1578. RISM A/I: M2358 and M2359 133 Libri primi Sacrarum Cantionum (uulgo Moteta appellatarum) 5 uocum, tum uiua uoce, tum omnis generis Instrumentis cantatu commodissimarum autore Andreae Gabriela / Venetijs Antonius Gardanus Anno. 1572. RISM A/I: G50 (reprint of G49) 134 Missarum trium Quinis et Senis uocibus decantandarum Simonis Gatti Venetj Magistrj Musices Serenissimj Carolj Archiducis Austriae // Venetijs apud Angelum Gardanum. anno 1579. RISM A/I: G574 135 Di Jacobo Antonio Cardillo Da Monte Sarchio Maistro di Capella Di mentagnana [etc.] Il primo libro de Motettj à cinque uoci [novamenta da lui16] compostj, et datj in luce // In uenetia Apresso Angelo Gardano Anno 1579. Not in RISM17 136 Vespertinae omnium Solemnitatum psalmodiae, iuxta decretum sacro sancti Tridentinj Concilij duorumque B. Virginis Canticorum Primi tonj cum quatuor uocibus per D. Joannem Matthaeum Asulam, Veronensem. Ecclesiae Taruisinae Editae. Venetijs apud Angelum Gardanum anno 1578. RISM A/I: A2532 137 Secundj chorj Vespertinae omnium solemnitatum Psalmodiae iuxta sacro sancti Tridentinj concilij decretum, duorumque Beatae Virginis Mariae Canticorum primj Tonj. Vocibus quatuor paribus concinendorum per d. Joannem Matthaeum Asulam Veronensem Ecclesiae Taruisinae Musices praefectum editj. Venetijs apud Angelum Gardanum. Anno 1578. RISM A/I: A253818 138 Psalmorum uesperarum omnium totius annj dierum Festorum Flauianj Rubej Ecclesiae Cathedralis Laudensis Canonicj. Et est liber primus. Ad Illustrem ac Reuerendissimum Hieronimum Federicum Episcopum et comitem Ludensem / Venetijs apud Angelum Gardanum anno 1578. RISM A/I: R2737 139 Missarum ex Hippolitj Sabinj Anxianensis quae uulgo parj uoce dicantur. Venetijs apud Angelum Gardanum anno 1576. Not in RISM19 140 Ludouici Balbi Venetj magnae domus Venetiarum Musicae Magistrj Ecclesiasticarum Cantionum quatuor uocum omnibus aduentus dominicis nec non Septuagesimae. Sexagesimae. Quinquagesimae simul atque quibuscumque totius annj opportunitatibus deseruientium // Venetijs apud Ang. Gard: anno 1578. RISM A/I: B737 871 872* 873* 874* 875 876 141 Libri primi Missarum cum 5.6.7. et 8. uocibus Petrj Vincij Siculi Nicosiensis Capellae S. Mariae Maioris Bergomi Magistri [list of masses] Venetijs apud haeredem Hieronymi Scotj, anno 1575. RISM A/I: V1659 142 D’I Salmi che si cantano tutto l’anno al Vespro à cinque vocj, et un Magnificat à otto. Nouamente posti in luce di Bonifacio Pasquale da Bologna Maestro di Capella del Santo da Padoua. In Veneggia appresso Lo Haerede di Girolamo Scotto. Anno 1576. RISM A/I: P973 143 Primi et secundj chorj Psalmodiarum ad Vespertinas omnium solemnitatum horas octo uocibus infractis decantandarum Canticorum duorum B. Virginis Mariae unius primj tonj integrj alterius quintj tonj in uersiculos diuisi autore Joanne Matthaeo Asula Veronensi. Nunc primum in lucem editj. Venetijs Apud Haeredem Hieronymj Scotj anno 1574. RISM A/I: A2517 144 Primi et secondj chorj Li Magnificat à Otto à noue et a Dodecj uoci. Nouamente posti in luce Dell excellente Musico M. Hippolito Chamatero de Negri cittadino Romano, et Maestro di Capella dignissimo del Duomo di Vdine // In Veneggia appressa L’herede Girolamo Scotto. anno 1575. RISM A/I: C281 145 Libri primi Missarum 4. Vocum. D. Pontij Parmensis D. Alexandrj Bergomi Magistrj. [list of masses] Venetijs apud Haeredem Hieronimi Scotj: anno 1575. Not in RISM 146 Magnificat 8 tonorum à Christopho Schutpachero per trium uocum modulamine nuper Composita et nunc in lucem edita. Venetijs apud Heredem Hieronimj Scotj. Anno 1574. RISM A/I: S1605 877 147 Octo missae quinque sex et septem uocum autore Georgio de la Hele apud Ecclesiam Cathedralem Tornacensem Phonasco. Iam primum in lucem editae. Antuerpiae Christophorus plantinus. 1578. folij forma Regalj integrj non plicatj sed ut chartae [illegible] graphicae glutinatj. RISM A/I: L285 148 Missa ad modulum Benedicta es sex uocum autore Philippo de Monte Sacrae Caesareae Maiestatis Phonasco. Antuerpiae Christophorus Plantin: 1579. forma ut supra. RISM A/I: M3315 878 879 880 881 882 883 149 Quartj tonj Cantionum Ecclesiasticarum quatuor quinque et sex uocum continentis i.o Psalmorum 2.o singulorum Tonorum et eorundem differentiarum quam contra punctum uocant. Psalmodiam. 3.o Aliquot pias preces, et sacrae scripturae sententiae. Autore Leonarto Pamingero. A. Austriaco Norimbergae Nicolaus Knorren anno 1580 in forma 4.ta oblonga. RISM A/I: P831 903 904 905 906 907 908 Sex missarum Philippi de monte manuscriptj. Missa autem sunt hae. Missa 1. Cara la vita mia. 5 uocum. 2. In die Tribulationis. 5 uocum. 3. O altitudo diuitiarum 5 uocum. 4. Cum sit omnipotens Rector. 6 uocum. 6. Benedicta es caelorum Regina. 6. uocum. // Omnes hae partes sunt pulchre manuscriptae tectae corio caeruleo deaurato more Turcico. Manuscript 911 912 913 914 915 916 Selectarum Cantionum Latinarum Italicarum Gallicarum pulcherrime manuscriptarum diuersorum (ut videtur) autorum. Catalogus Cantionum est singulis partibus Indexus. Sunt hi libri Praga huc missi et omnes in membrana alba compactj folij forma. Manuscript 946 947 948 949 950 951 150 Di Philippo di Monte Maestro di Capella della S. C. Maesta dello Imperatore Rodolpho II. Il quarto libro de madrigalj à sei voci. Insieme alcunj à sette nouamente compostj, et datj in luce. Dedicato all’Illustrissimo Signore Wolfgango Rumpf libero Barone de Wielross consigliere et Camerlengo magiore // Aeditio, quantitas forma. Stampato in Venetia appresso Angelo Gardano. 1580. sunt libri … . 6. Singuli habent chartas plusminus. 3. hoc est omnino … .18. RISM A/I: M3368 971 151 Liber primus Missarum Philippi de Monte Ecclesiae Metropolitanae Cameracensis Canonici ac thesaurarij, et Rudolphi II. Imperatoris Chori Praefecti. Antwerp: Plantinus 1587. In folio. RISM A/I: M3320 Item no. in Blotius . Music Edition no. . Entry as given in Blotius’s catalogue . RISM identifier . 775 776 777 778 1 Des Airs mis en Musique per Fabrice Marin Caietain sur les pöesis de P. de Ronsard, et aultres excellens Pöetes premier libre // A Paris M. D. LXXVIII. Par Adrian le Roy et Robart Ballart inprimeurs du Roy. avecq priuilege de sa [Majesté pour2] dix ans. RISM A/I: C28; RISM B/I 157818 2 Des Chansons de P. de Ronsard Ph. des portes, et autres Mises en Musicque par N. de la Grotte uallet de Chambre et Organiste du Roy // à Paris 1575. Par Adrian Le Roy auecq Priuilege du Roy Pour dix ans. RISM A/1: L244 3 Du deuxiesme et second liure la Fleur des chansons, des deux plus excellens musiciens de notre temps ascauoir de M. Orlande de Lassus et de M. Claude Pudimel [sic]. Celles de M. Cl. Goudimel n’ont Jamais este Mises en lumiere / Tous imprimes A lyon par Jean Bauent 1574. et est le premier liure de l’autheur. Omnia autem haec referunt formam fol. 16.am uel potius 12.mam oblongam. RISM B/I: 15742 7793 Du second liure de la fleur des Chansons des Deux plus excellens Musiciens de nostre temps à Scauoir. de M. Orlande de Lassus et de M. Claude Goudimel Celles de M. Cl. Goudimel n’ont Jamais esté mises en lumiere A Lyon Jean Bauent. 1574. RISM B/I: 15742 780 781 782 4–5 Du premier et second liure du Meslange des Pseaumes et [Cantiques4] a trois parties recueulis de la Musique d’Orlande de Lassus et autres excellents Musiciens de notre temps M. D. LXXVII. In 16.o aut 12.o oblong. Non expressum est nomen Typographi aut locus impressionis. RISM B/I: 15772 and 15773 783 784 785 787 6–26 Des XXI. liures des Chansons composetz per diuers autheurs comme Adrian Le Roy Jac. Arcadet, et principalement la plus part par Orlande de Lassus et aultres excellens Musiciens Aulcuns de ces liures sunt a 4. aulcuns a 5. et aulcuns aussy a 6 parties maies toutes tellement accommodees quelles se relient in 4 volumes Imprimez diuersement comme les uns an. 1573 [les5] autres Annis 1575. 1576.6 1577. 1578. Tous inprimez à Paris par Adrian le Roy et Robert Ballart Imprimeurs du Roy In 16.o uel 12.o oblong: from RISM B/I: 15735–14, 15755–10, 15774–6, and/or 15785–13 787** 788** 789** 790** 27–33 Du premier 2.e 3.e 4.e 5.e 6.e et 7.e liure des Chansons à quatre parties nouuellement Composez et Mises en Musicque conuenables tant aux Instruments comme a la uoix Imprimez à Louuain par Pierre Phalez libraire Jure le Second. L’an 1561. Le primier, Tiers et Sixiesme l’an 1563. Le quatriesme et Cincquiesme l’an 1564. et le Settiesme qui est corrigé et augmenté des Plusieurs nouuelles chansons les quelles Jamais n’ont este imprimees l’an 1567. PW7 7409–12 (vol. 2), 7417––20 (vol. 1), 7421–24 (vol. 3), 7425–28 (vol. 5), 7429–32 (vol. 4), 7437–40 (vol. 7) 34–5 Du premier et second liure des amours de P. de Ronsard mis en Musicque a iiii parties par Anthonie de Bertrand natif de Fontanges en auuergne // à Paris par Adrian le Roy et Robert Ballard Imprimeurs du Roy 1578. RISM A/I: B2415 and B2416 36 Du troisiesme liure des chansons mis en musique a 4. parties per le mesme Antoine Bertrand // L’an et imprimeur comme dessus. RISM A/I: B2418 37–8 Du premier et second liure des sonets Chrestiens mis en Musique à quatre parties Par G. Boni de S. Flour en auuergne // 1579. in 4.to obl. RISM A/I: B34848 791* 792* 793* 794* 795* 39 Des sonetz de P. de Ronsard mis en Musique a 5. 6. et 7 parties par M. Philip. de monte. Maiestre de La Chapelle de l’empereur // A Paris par Adrian le Roy et Robert Ballard imprimeurs du Roy l’an 1575. RISM A/I: M3363 40 Pöesies de P. de Ronsard et aultres Poetes mis en Musicque à quatre et Cinq parties. par M. Francois Regnard // à Paris le mesme anet imprimeur comme dessus. RISM A/I: R730 796 41 Du liure des chansons nouuelles mises en Musicque à Six parties, per Fabrice Marin Gaiettane // à Paris Par Adrian le Roy [etc.] l’an 1571. RISM A/I: C26 42 Des chansons nouuelles à Cinq parties auecq deux Dialogues. à Huict de Orlande de Lassus // A Paris par Adrian le Roy et Robert Ballard imprimeurs du Roy 1576. 4.to oblongo. RISM A/I: L894 43 Item. Des Meslanges d’Orlande de Lassus Contenanz plusieurs Chansons a 4. 5. 6. 8. 10. parties reueuz par luy et Augmentez // A Paris par Adrian le Roy et Rob. Ballarde l’an. 1576. RISM A/I: L891 44 Item. Des chansons Nouuelles, mises en musicque à 4. 5. et 6. parties par M. Francois Roussel à Paris Adr. le Roy an 1577 in 4.to oblongo. RISM A/I: R2720 45 Item. Du mellange de chansons tant des vieux aucteurs que des modernes à Cincq Six. Sept. et Huict parties. A Paris, par Adrian le Rox et Robert Ballard imprimeurs du Roy 1572. 4.to oblongo. RISM B/I: 15722 797 798 799 46 De La Fleur, des Chansons à Trois parties, contenant un Recueil, produict de la diuine Musique de Jean Castro. Seuerin Cornet, et aultres excellents aucteurs mis en ordre conuenable suiuant leurs tons // A [Louvain] chez Pierre Phalese imprimeur et libraire Jure et en Anuers chez Jean Bellere a l’Aigle d’or l’an 1574. in 4.to oblongo. RISM B/I: 15743 800* 801* 802 803** 47 Du premier liure des Sonez de Pierre de Ronsard, mis en Musique a 4. Parties par G. Bonj de S. Fleur en Auuergne // à Paris l’an 1576. par Adrian le Roy et Robert Ballard [etc]. RISM A/I: B3474 48 Des Amours de P. de Ronsard. mises en Musique a 4 parties par Jean de Malletty natif de S. Maxemin en prouince. A Paris par Adrian le Roy, et Robert Ballard l’an 1578. RISM A/I: M243 49 Des Meslanges contenant un recueil de Chansons a 4. parties choisy des plus excellens aucteurs de notre temps par Jean Castro Musicien, mise en ordre Conuenable suiuant leur tons // A Louuain chez Pierre Phalese Imprimeur et librare Jure et en Anuers chez Jean Bellere à l’aigle d’or 1575. in 4.to oblongo. RISM B/I: 15754 50–1 Du premier et second liure de chansons nouuelles a 4. 5. 6. 7. 8. parties par Jean Seruin A Lyon par Charles Penot l’an 1578. RISM A/I: S2838 and S2839 52 De Meslange de Chansons nouuelles à quatre parties par Jean Seruin // à Lyon Charles Penot. l’an 1578. RISM A/I: S2840 53 Des Chansons et Madrigales a 4. parties Conuenables tant a la uoix comme a toutes sortes de Instruments, nouellement Composees per Maistre Jean de Castro à [Louvain9] Pierre Phalese l’an 1570. in 4.to oblongo. RISM A/I: C1469 804–6* 805* 806* 807 808* 80910 54 Libri primi sacrarum cantionum quas uulgo motetas uocant antea numquam in lucem editarum. Sed nunc recens admodum tam instrumentis musicis quam uiuae melodiae quinque uocibus attemperatarum Alexandro Vtendal Serenissimi Archiducis Ferdinandj Musico ad annos sex Noribergae //Theodorus Garlachenus 1571. RISM A/I: U120 55 Secundi libri sacrarum cantionum, quas uulgo Motetas uocant. Sex et plurimum uocum, tum uiua uoce, tum omnes generis instrumentis cantata commodissimarum. Noribergae in officina Theodoricj Gerlachij 1573. RISM A/I: U121 56 Tertij libri sacrarum Cantionum quas uulgo Motetas uocant, ab Alexandro Vtendal Serenissimj Principis Ferdinandj Archiducis Austriacj Musico quinque et sex uocibus ita compositarum ut tam uiuae uoci quam diuersis musicorum Instrumentorum generibus accomodarj queant // Noribergae in officina Catharinae Gerlachin, et haeredum Joannis Montanj, Anno 1577. RISM A/I: U125 57 Trium Missarum ab Alexandro ab Vtendal Serenissimi et illustrissimi Principis D. Ferdinandj Archiducis Austriacj Musico excellentissimo compositarum. Item Magnificat per octo Tonos quatuor uocibus ab eodem auctore // Noribergae Theodoricus Gerlachius anno 1573. RISM A/I: U122 58 Item in eodem volumine. Septem Psalmorum Poenitentialium, adiunctis ex prophetarum inscriptis orationibus eiusdem argumentj quinque ad dodecachordj modos duodecim, hac quidem aetate doctiorum quorundam Musicorum opera ab obscuritate uindicatos, nihilominus quam plurimis adhuc incognitos, aptissima tam viuae voci, quam diuersis musicorum instrumentorum generibus harmonia accommodatorum. Auctore Alexandro Vtendal. Serenissimj principis Ferdinandi Archiducis Austriacj Musico / Noribergae Theodoricus Gerlachenus 1570. Et sunt omnia haec edita, ut formam quartam oblongam referat. RISM A/I: U119 59 Libri primi sacrarum cantionum quas uulgo moteta uocant ab illustrissimj principis Ducis et Electoris Saxoniae Sacelli magistro Seniori Matthaeo le Maistre compositarum et quinque uocibus accommodatarum // Dresdae excudebat Gimel Montanus Lubecensis anno 1570. RISM A/I: L1844 60 Motectarum sacrarum quatuor quinque, et sex uocum ita compositarum ut non solum uiua uoce cantarj, sed etiam ad omnis generis instrumentis optimè adhiberi possint autore Leonardo Lechnero Athesino. Addita est in fine Motecta octo uocum ad duos chorus, eodem autore. Noribergae in officina Catharinae Theodorici Gerlachij viduae et haeredum Joannis Montanj anno 1575. RISM A/I: L1286 61 Aliquot cantionum siue Motectarum. ex veteri atque nouo Testamento collectarum quatuor uocum. autore Jacobo Regnart Flandro Sacrae Caesareae Maiestatis Musico // Noribergae Catherinae Gerlachi et haeredes de Montanj Anno 1577. RISM A/I: R732 62 Selectarum quarundam Cantionum Sacrarum modis Musicis quinque et sex uocum recens compositarum per Jacobum de Kerle Noribergae Theodoricus Gerlachenus anno 1571. RISM A/I: K447 63 Cantionum aliquo Musicarum, quae uulgo muteta uocant 4. 5. et 6. uocum autore M. Michaele Carle Desbuisons Flandro Insulano Serenissimj Archiducis Austriae Ferdinandj cantore Musico. sunt autem post obitum auctoris edita per Joannem Fabrum Illustrissimi Principis Cantorem// Monachij Adamus Berg anno 1573. RISM A/I: D1729 64 Item in eodem volumine. Libri Motetorum Jacobi de Kerle quatuor et quinque uocum ad iuncto in fine. Te Deum laudamus. Sex vocum quorum nihil adhuc in lucem est editum. // Monachij Adamus Berg. Anno 1573. Omnia haec sunt forma quarta oblonga excusa. RISM A/I: K451 810* 811* 812* 813* 814* 815* 6510 Libri primj 2.i 3.i 4.i et 5.tj Noui Thesaurj Musicj quo selectissimae planeque nouae, nec unquam in lucem aeditae cantiones sacrae (quas uulgo Moteta uocant): Continentur octo. Septem symphoniacis compositae, quae in sacra Ecclesia [Catholica11], summis solennibusque festiuitatibus canuntur, ad omnis generis instrumenta Musica accommodatae. Petrj Joanellj Bergomensis de Gandino summo studio ac labore collectae, eiusque expensis impressae // Venetijs apud Anthonium Gerdanum anno 1568. In 4.to oblongo.12 RISM B/I: 15682–6 816* 817* 818* 819* 820* 821 66 Prioris partis selectissimarum Cantionum quas vulgo Motetas uocant, partim omnino Nouarum, partim nusquam in Germania excusarum sex et pluribus uocibus compositam per excellentissimum Musicum Orlandum de Lassus. Posteriorj huic editionj accessere omnes Orlandj motetae, quae in ueteri nostro Thesauro Musico impressae continebantur, cum quibusdam alijs, ita ut fere tertia parte opus hoc sit auctius. Omnia denuo multo ante hac correctius edita Noribergae imprimebatur in officina typographica Catharinae Gerlachin, et Haeredum Joannis Montanj anno M.DLXXIX. RISM A/I: L915 67 Alterius partis selectissimarum cantionum, quas uulgo motetas uocant. Quinque et quatuor uocibus compositarum per excellentissimum musicum Orlandum di Lassus aucta et restitute ut supra indicauimus // Noribergae imprimebatur in officina typographica Catharinae Gerlachin, et haeredum Joannis Montanj Anno MD LXXIX RISM A/I: L916 68 Magnificat octo tonorum, sex quinque et quatuor uocum, nunc primum excusa et per Orlandum di Lasso. Excellentissimum musicum composita // Noribergae in officina Theodorici Garlacenj anno 1573. RISM A/I: L861 69 Item. Sacrarum Cantionum, quas uulgo mutecta uocant 5.6. et 8. uocum, tum uiua uoce tum etiam omnis generis instrumentis cantata commodissimarum Autore Theodoro Riccio Brexiano Italo. Illustrissimi atque excellentissij Principis ac Dominj Dominj Georgij Friderici Marchionis Brandeburgensis Stetiniae Pomeraniae, Cassubiae, Prussiae, Ducis chori Musici magistrj // Impressae Noribergae in officina typographica Catharinae Theodoricj Gerlacij relictae uiduae, et haeredum Joannis Montanj anno M. D. LXXVI RISM A/I: R1286 70 Sacrarum Cantionum 5. et 6. vocum, tum uiua uoce, tum omnis generis instrumentis cantata commodissimarum Autore Melchiore Schrammio Illustris ac generosi Comitis et Dominj dominj Carlj in Hohenzollern, Musico // Noribergae in officina typographica Catharinae Theodorici Gerlacij relictae uiduae et haeredum Joannis Montanj anno MD. LXXVII. RISM A/I: S2107 71 Sacrarum Cantionum plane novarum ex vetere et Nouo Testamento in pium Ecclesiarum usum compositarum et editj studio et opera Joachimi à Burgk // Noribergae in officina Theodoricj Gerlachenj anno MDCLXXIII. RISM A/I: B4966 72 Dulcissimarum quarundam Cantionum Numero XXXII. Quinque sex et septem uocum ita factarum, ut tum humanae uocj, tum musicis instrumentis aptae esse possint Autore Joanne Knefelio Laubensi. Illustrissimi Principis à Dominj Dominj Henricj ducis Silesiae Lignicensis, Brigensis et Goldbergensis musici chori magistro. RISM A/I: K989 73 Sacrarum Cantionum plane nouarum 4. 5. et plurium uocum ita compositarum, ut ad omnis generis instrumenta accommodarj possint. Autore Michaële Tonsore. In officina Theodoricj Gerlachij anno M. D. L. XXIII.13 RISM A/I: T965 822 823 824 825 826 74 Nouj et insignis operis Musicj in quo textus Euangeliorum totius annj uero ritus ecclesiae correspondens, quinque uocum modulamine singulari industria ac grauitate exprimitur. Autore Homero Herpol. Esaiae cap. 42. Psalm. 149. Cantate Domino Canticum nouum. Laus enim ab extremis terrae // Noribergae excudebant Ulricus Neuberg et haeredes Joannis Montanj anno M. D. LXV. RISM A/I: H5187 75 Sacrarum cantionum quatuor quinque et plurium uocum in gratiam Musicorum compositarum A Gallo Dreslero Nebraeo, Cantore Magdeburgensj. Imprimebat Noribergae cum consensu autoris Theodoricus Gerlachius, sibi et domino Wolfgango Kirchnero. anno M. D. LXXIIII. RISM A/I: D3521 76 Sacrarum aliquot Cantionum, quas Moteta vulgas appellat quinque et sex uocum autore Jacobo Regnart Flandro Sacrae Caesareae Maiestatis musico. Monachij excudebat Adamus Bergk. Anno M. D. LXXV. RISM A/I: R731 77 Latinarum Cantionum, quas uulgo muteta uocant quinque uocum suauissima melodia etiam instrumentis musicis attemperatarum Autore Iuone de Vento. Illustriss: Principis ac Dominj D. Gulielmj Palatinj Rhenj et utriusque] Bauariae ducis et Musico // Monachij excudebat Adamus Bergk Anno MD LXX. RISM A/I: V1115 78 Quinque Motetarum duorum Matregalium, Gallicarum Cantionum. Duae et quatuor Germanicae Cantiones Octo. Reliquae uero omnes quinque sunt uocum. Singularis studio ac industria per Iuonem de Vento compositae, correctae, et nunc primum in lucem editae // Monachij excudebat Adamus Berg anno M.D. LXXV. RISM A/I: V1118 79 Nouarum Harmonicarum Cantionum, ut piarum ac etiam iucundarum quinque uocibus concinatarum et nunc primum in lucem editarum per Mathiam Gastriz // Noribergae Vlricus Neuberg M.D. LXIX. RISM A/I: G565 80 Cantus Choralis. Musicis numeris … per totum annj curriculum praecipuè diebus festi cantari solet à Joanne Gneuelio [sic.] // Noribergae Theodoricus Gerlachius anno M. D. LXXV. RISM A/I: K990 827 828 829 830 831 832 81–3 Primj. Secundj, et Tertij tonij Ecclesiasticarum Cantionum 4.5.6. et plurium vocum à prima Dominica Aduentus usque ad passionem Dominj et Saluatoris nostri Jesu Christj. per Leonardum Pamingerum Aschaniensem Austriacum olim Patauij Bauariae ad D. Nicolaum Secretarium. Musicum clarissimum compositarum. // Noribergae Theodoricus Gerlachenus. Tomum primum, et secundum anno 1573. Tertium uero tomum Catharinae eius uidua anno M. D. LXXVI excudit. RISM A/I: P828, P829, and P830 833 84 Praestantissimorum diuina Musices auctorum missae deceno, quatuor quinque et sex uocum uno uolumine comprehensarum, antehac nunquam excusae. Louanij Petrus Phalesius anno 1570/ In folio Regali. RISM B/I: 15701 85 His addita est Missa defunctorum 4 vocum antea non excusa. Autore Clemente non Papa // Louanij Petrus Phalesius anno 1570. PW 8404 834 86 Missae XVIII Orlandj de Lasso quarum octo priores sunt quatuor uocum sex consequentes 5. uocum. Tres sequentes 6. uocum ultima 8. uocum. Sunt autem ad imitationem uariorum modulorum ut sequitur [list of masses]. Et omnes hae missae sunt excusae Parisijs apud Adrianum le Roy et Robertum Ballard anno 1577. RISM A/I: L900/1577a 87 Adiuncta sunt octo Cantica diuae Mariae uirginis quorum initum est Magnificat secundum octo modos seu tonos in templis cantari solitos singula quinis uocibus constantia, autore Orlando de Lasso // Parisijs Adrianus le Roy et Robertus Ballard Anno 1578. RISM A/I: L912 88 Item in eodem volumine sunt additae Constantij Portae, almae Ecclesiae Deiparae Virginis Lauretanae. Magistrj Musices Missarum liber primus. [list of masses] Excusae sunt Venetijs apud Angelum Gardanum anno 1578. In folio Regalj. RISM A/I: P5180 835* 836 837 838 89 Libri primj Modulorum 4 uocibus ad usum Ecclesiae ac Instrumentorum Organicorum maxime accommodatorum Fabricij Caeitanj Ecclesiae Tullensis symphoniacorum puerorum magistrj // Parisijs Adrianus Le Roy et Robertus Ballard anno 1571 forma 4.ta oblonga. RISM A/I: C25 839*14 90 Libri Modulorum quaternis quinis et senis uocibus, autore Jacobo de Kerle Flandro Yprensi // Parisijs Adrianus le Roy et Rob. Ballard. anno 1572. RISM A/I: K448 840 91 Primj libri Modulorum quinis senis et septenis uocibus autore Gulielmo Bono Auuerno // Parisijs Adrianus le Roy et Rob. Ballard. Anno 1573. RISM A/I: B3473 92 Modulorum primi voluminis Joannis Maillardj 4. 5. 6. et 7. uocibus modulatorum // Parisijs Adrianus le Roy et Robert: Ballard anno M D. LXV. RISM A/I: M184 93 Modulorum secundi uoluminibus Joannis Maillardj. 4. 5. Et. 6. Uocibus modulatorum // Parisijs Adrianus le Roy et Rob: Ballard anno MD. LXV. RISM A/I: M185 94 Item. Cantionum sacrarum, quae uulgo Moteta uocantur, tam profanarum 5. 6. et 8 uocum recens in lucem editarum autore de Brouck Antuerpiae // Antuerpiae Christoph: Plantinus anno MD. LXXIX. RISM A/I: B4613 841* 842* 843* 844* 845* 846 95 Modulorum 4. 5.6.7.8. et Nouem uocum. Orlando Lassusio autore. Parisijs a[nno] 1577. Adrianus Le Roy et Robertus Ballard. RISM A/I: L904 96 Modulorum. 6.7. et 12. vocum Orlando Lasusio autore / Parisijs Adrianus le Roy. et Robertus Ballard. An. M. D. LXXVIII. RISM A/I: L858 97–9 Primj Secundj et Tertij librj Modulorum 5. uocibus constantium. Orlando Lassusio autore. // Parisijs Adrianus le Roy. et Robertus Ballard. An[no] 1571. et 1573. RISM A/I: L845, L847 and L859 100 Modulorum v. uocibus nunquam hactenus editorum. Monachij Boioariae compositorum autore Orlando Lasso autore // Parisijs Adrianus le Roy et Robertus Ballard anno 1571. RISM A/I: L843 101 Modulorum 4. et. 8 uocum Orlando Lasso autore // Parisijs. Adrianus le Roy et Robertus Ballard an[no 1572. RISM A/I: L850 102 Nouem Quiritationum Diui Job. 4. uocibus ab Orlando de Lasso modulatarum // Parisijs Adrianus le Roy: et Robertus Ballard Anno M. D. LXXII. RISM A/I: L855 103 Modulorum nondum prius editorum. Monachij Boioariae 3. uocibus ab Orlando Lasso compositorum. // Parisijs Adrianus le Roy et Robertus Ballard anno M.D. LXXVI. RISM A/I: L886 847* 848* 849* 850* 851 852 853 104 De La Musica Noua di Adriano Vuillaert All Illustrissimo et Excellentisso signor il Signor Donno Alfonso d’este Principe di Ferrara // Venetijs di Antonio Gardano. Anno 1559. in Quarto magno. RISM A/I: W1126 105 Don Ferdinandj de Las Infantas Patritij Cordubensis Sacrarum varij stylj Cantionum Titulj Spiritus Sanctj Liber primus cum 4. uocibus. Venetijs Angelus Gardanus. anno 1578. RISM A/I: I37 854* 855* 856* 857* 106–11 Septem15 Librorum Cantionum Sacrarum (uulgo muteta uocant) 4. uocum autore Clemente non Papa. Louanij. Annis 1562. 1568. 1569. 1570. 1571.1572. Petrus Phalesij. RISM A/I: C2689, C2693, C2697, C2701, C2704, C2706 112 Not in Blotius: Thomas Crecquillon. Liber septimus cantionum sacrarum … Louvain: Phalèse, 1572. RISM A/I: C4409 113 Mutetarum aliquot sacrarum 4. Uocum, quae tum uiuae uoci, tum omnis generis Instrumentis Musicis accommodarj possunt. Autore Iuone de Vento Ducis Bauariae Musico // Monachij Adamus Berg. 1574. RISM A/I: C2693 858* 859* 860* 114 Libri Motetarum Trium uocum uiuae uoci et instrumentis Musicis accommodotarum autore Orlando de Lasso ducis Bauariae Albertj chori Magistro // Monachij. Adamus Berg anno 1575. RISM A/I: L878 115–17 Libri primi secundi et Tertij. Selectissimarum Sacrarum Cantionum (quas uulgò Moteta uocant) florum trium uocum: ex optimis ac praestantissimis quibusque diuinae Musices autoribus excerptarum. Jam primum summa cura ac diligentia collecti et impressi. Louanij Petrus phalesius. anno 1569. RISM B/I: 15694, 15695, and 15696 118 Sacrarum ac aliarum Cantionum trium uocum, tam uiuae uoce quam Instrumentis cantata commodissimarum atque iam primum in lucem editarum liber unus autore D. ac M. Gerardo Thurnhout.//Louanij Petrus Phalesius. anno 1569. RISM A/I: T1434 119 Triciniorum Sacrorum, omnis generis Instrumentis Musicis, et uiuae uocj accommodatorum hactenusque non editorum autore Joan à Castro Musico celeberrimo liber unus // Louanij Petrus Phalesius Anno M. D. LXXIV. RISM A/I: C1471 120 Modulorum aliquot tam sacrarum quam prophanorum cum tribus uocibus … Autore Jacobo Florij // Louanij Petrus Phalesius anno M. D. LXXI. RISM A/I: F1185 121 Not in Blotius: Liber musicus duarum vocum cantiones … Louvain: Phalèse, 1571. RISM B/I: 157115 861* 862* 863* 864* 865* 122 Operis sacrarum Cantionum (quas uulgò moteta uocant) Thomae Cricquillon Augustissimi Carolj Quintj Imperatoris chori Magistrj celeberrimj. 4. 5. 6. et 8 uocum tam uiuae uoci, quam Musicis Instrumentis accommodatj Louanij Petrus Phalesius anno M. D. LXXVI. RISM A/I: C4410 123 Sacrae Cantiones seu Moteta (ut uocant) non minus Instrumentis quam uocibus aptae. Liber vnus. Cyprianj de Rore Musicj huius nostrj seculj facile principis // Louanij Petrus Phalesius. anno 1573. RISM A/I: R2477 124–5 Libri et secundj Motetarum 4.5. et 6. uocum … autore Hadriano Villaert Musico excellentissimo // Louanij Petrus Phalesius anno 1561. RISM A/I: W1128 126 Psalmj CXXVIII. Dauidis Beatj omnes. 6. 5. et 4. uocum à uarijs ijsdemque praestantissimis Musicae artificibus harmonicis numeris adornatj, et modis 17. Concinnatj, hinc inde autem collect atque in unum uolumen redacti, et in lucem editj per Clementem Stephanj Buchauiensem // Noreberg: Vlricus Neuberg. anno 1569. RISM B/I: 15691 127 Motetarum D. Cyprianj de Rore et aliorum autorum 4 vocum parium decanendarum cum tribus lectionibus, pro mortuis autore Josepho Zerlino // Venetijs Hyeronimus Scottus anno 1563. RISM B/I: 15634 128 Sacrarum aliquot Cantionum Latinarum et Germanicarum 5. et 4. uocum summa diligentia compositarum correctarum, et iam primum in lucem editarum Jacobi Meilandj Germanj // Francofortj ad Moenum anno 1575. RISM A/I: M2179 129 Cantionum Sacrarum 5. et 6. uocum. Harmonicis numeris in gratiam Musicorum compositarum, et iam denuo auctiorum, multumque quam antea correctiorum in lucem editarum Jacobo Meilandj // Noribergae Theodoricus Gerlachius anno 1573. RISM A/I: M2176 866 867 868 869 870 130 Tomi primj Missarum 5. vocum iuxta dodecachordi modos. Dorij scilicet, Hypodorij et Lydij accuratae compositj recensque in lucem editj Georgij Cropatij Bohemij // Venetijs Angelus Gardanus. anno 1578. Not in RISM 131–2 Primj et secundj libri sacrarum Cantionum 5. vocum. Claudij Merulj Corrigiensis Organistae S. Marci à Dominj nostrj Jesu Christj Natiuitate usque ad primo Kalendas Augustj Venetijs Anno 1578. RISM A/I: M2358 and M2359 133 Libri primi Sacrarum Cantionum (uulgo Moteta appellatarum) 5 uocum, tum uiua uoce, tum omnis generis Instrumentis cantatu commodissimarum autore Andreae Gabriela / Venetijs Antonius Gardanus Anno. 1572. RISM A/I: G50 (reprint of G49) 134 Missarum trium Quinis et Senis uocibus decantandarum Simonis Gatti Venetj Magistrj Musices Serenissimj Carolj Archiducis Austriae // Venetijs apud Angelum Gardanum. anno 1579. RISM A/I: G574 135 Di Jacobo Antonio Cardillo Da Monte Sarchio Maistro di Capella Di mentagnana [etc.] Il primo libro de Motettj à cinque uoci [novamenta da lui16] compostj, et datj in luce // In uenetia Apresso Angelo Gardano Anno 1579. Not in RISM17 136 Vespertinae omnium Solemnitatum psalmodiae, iuxta decretum sacro sancti Tridentinj Concilij duorumque B. Virginis Canticorum Primi tonj cum quatuor uocibus per D. Joannem Matthaeum Asulam, Veronensem. Ecclesiae Taruisinae Editae. Venetijs apud Angelum Gardanum anno 1578. RISM A/I: A2532 137 Secundj chorj Vespertinae omnium solemnitatum Psalmodiae iuxta sacro sancti Tridentinj concilij decretum, duorumque Beatae Virginis Mariae Canticorum primj Tonj. Vocibus quatuor paribus concinendorum per d. Joannem Matthaeum Asulam Veronensem Ecclesiae Taruisinae Musices praefectum editj. Venetijs apud Angelum Gardanum. Anno 1578. RISM A/I: A253818 138 Psalmorum uesperarum omnium totius annj dierum Festorum Flauianj Rubej Ecclesiae Cathedralis Laudensis Canonicj. Et est liber primus. Ad Illustrem ac Reuerendissimum Hieronimum Federicum Episcopum et comitem Ludensem / Venetijs apud Angelum Gardanum anno 1578. RISM A/I: R2737 139 Missarum ex Hippolitj Sabinj Anxianensis quae uulgo parj uoce dicantur. Venetijs apud Angelum Gardanum anno 1576. Not in RISM19 140 Ludouici Balbi Venetj magnae domus Venetiarum Musicae Magistrj Ecclesiasticarum Cantionum quatuor uocum omnibus aduentus dominicis nec non Septuagesimae. Sexagesimae. Quinquagesimae simul atque quibuscumque totius annj opportunitatibus deseruientium // Venetijs apud Ang. Gard: anno 1578. RISM A/I: B737 871 872* 873* 874* 875 876 141 Libri primi Missarum cum 5.6.7. et 8. uocibus Petrj Vincij Siculi Nicosiensis Capellae S. Mariae Maioris Bergomi Magistri [list of masses] Venetijs apud haeredem Hieronymi Scotj, anno 1575. RISM A/I: V1659 142 D’I Salmi che si cantano tutto l’anno al Vespro à cinque vocj, et un Magnificat à otto. Nouamente posti in luce di Bonifacio Pasquale da Bologna Maestro di Capella del Santo da Padoua. In Veneggia appresso Lo Haerede di Girolamo Scotto. Anno 1576. RISM A/I: P973 143 Primi et secundj chorj Psalmodiarum ad Vespertinas omnium solemnitatum horas octo uocibus infractis decantandarum Canticorum duorum B. Virginis Mariae unius primj tonj integrj alterius quintj tonj in uersiculos diuisi autore Joanne Matthaeo Asula Veronensi. Nunc primum in lucem editj. Venetijs Apud Haeredem Hieronymj Scotj anno 1574. RISM A/I: A2517 144 Primi et secondj chorj Li Magnificat à Otto à noue et a Dodecj uoci. Nouamente posti in luce Dell excellente Musico M. Hippolito Chamatero de Negri cittadino Romano, et Maestro di Capella dignissimo del Duomo di Vdine // In Veneggia appressa L’herede Girolamo Scotto. anno 1575. RISM A/I: C281 145 Libri primi Missarum 4. Vocum. D. Pontij Parmensis D. Alexandrj Bergomi Magistrj. [list of masses] Venetijs apud Haeredem Hieronimi Scotj: anno 1575. Not in RISM 146 Magnificat 8 tonorum à Christopho Schutpachero per trium uocum modulamine nuper Composita et nunc in lucem edita. Venetijs apud Heredem Hieronimj Scotj. Anno 1574. RISM A/I: S1605 877 147 Octo missae quinque sex et septem uocum autore Georgio de la Hele apud Ecclesiam Cathedralem Tornacensem Phonasco. Iam primum in lucem editae. Antuerpiae Christophorus plantinus. 1578. folij forma Regalj integrj non plicatj sed ut chartae [illegible] graphicae glutinatj. RISM A/I: L285 148 Missa ad modulum Benedicta es sex uocum autore Philippo de Monte Sacrae Caesareae Maiestatis Phonasco. Antuerpiae Christophorus Plantin: 1579. forma ut supra. RISM A/I: M3315 878 879 880 881 882 883 149 Quartj tonj Cantionum Ecclesiasticarum quatuor quinque et sex uocum continentis i.o Psalmorum 2.o singulorum Tonorum et eorundem differentiarum quam contra punctum uocant. Psalmodiam. 3.o Aliquot pias preces, et sacrae scripturae sententiae. Autore Leonarto Pamingero. A. Austriaco Norimbergae Nicolaus Knorren anno 1580 in forma 4.ta oblonga. RISM A/I: P831 903 904 905 906 907 908 Sex missarum Philippi de monte manuscriptj. Missa autem sunt hae. Missa 1. Cara la vita mia. 5 uocum. 2. In die Tribulationis. 5 uocum. 3. O altitudo diuitiarum 5 uocum. 4. Cum sit omnipotens Rector. 6 uocum. 6. Benedicta es caelorum Regina. 6. uocum. // Omnes hae partes sunt pulchre manuscriptae tectae corio caeruleo deaurato more Turcico. Manuscript 911 912 913 914 915 916 Selectarum Cantionum Latinarum Italicarum Gallicarum pulcherrime manuscriptarum diuersorum (ut videtur) autorum. Catalogus Cantionum est singulis partibus Indexus. Sunt hi libri Praga huc missi et omnes in membrana alba compactj folij forma. Manuscript 946 947 948 949 950 951 150 Di Philippo di Monte Maestro di Capella della S. C. Maesta dello Imperatore Rodolpho II. Il quarto libro de madrigalj à sei voci. Insieme alcunj à sette nouamente compostj, et datj in luce. Dedicato all’Illustrissimo Signore Wolfgango Rumpf libero Barone de Wielross consigliere et Camerlengo magiore // Aeditio, quantitas forma. Stampato in Venetia appresso Angelo Gardano. 1580. sunt libri … . 6. Singuli habent chartas plusminus. 3. hoc est omnino … .18. RISM A/I: M3368 971 151 Liber primus Missarum Philippi de Monte Ecclesiae Metropolitanae Cameracensis Canonici ac thesaurarij, et Rudolphi II. Imperatoris Chori Praefecti. Antwerp: Plantinus 1587. In folio. RISM A/I: M3320 1 Each no. represents a binder’s volume, grouped by voice part. In this way, each set of binder’s volumes typically comprises the number of voice parts needed to perform the pieces in a given set. The only exceptions are the few instances where an edition contains multiple voice parts in a single partbook. 2 Originally ‘Magerte prour’. 3 This single volume was the quintus partbook of edition no. 3: Inventory (168) reads ‘Quinta pars (qua[e] superioribus libris non est edita’); editions no. 1–2 comprised only four voices. 4 Originally ‘Cantiquos’. 5 Originally ‘leu’. 6 There are no 1576 reprints from this series listed in RISM B/I. 7 These reprints are not listed in RISM B/I but, with the exception of the 1563 reprint of Volume 6, are listed in Andrew Pettegree and Malcolm Walsby (eds.), Netherlandish Books: Books Published in the Low Countries and Dutch Books Printed Abroad before 1601, 2 vols. (Leiden and Boston, 2011). 8 The first and second books are assigned a single RISM number, as they were printed together. 9 Originally ‘Louanj’. 10 For edition no. 57, ‘… Quinta vox et sexta vox (quae in primo libro non est edita)’. For edition no. 58, ‘…et vaga[n]s (quae uox in primo et secundo libro non est edita. sed hic cum quinta voce caeterorum librorum coniuncta’. 10 Each of the five volumes comprising Pietro Giovanelli’s edition of Novi thesauri musici … (Venice, 1568) was given its own title page and owners had the option of binding each volume individually; however, the pagination is continuous from the first volume to the last, and extant copies suggest it was always purchased (or given) as a complete set. 11 Originally ‘Chatolica’. 12 This is an error: the print is in a vertical format. 13 ‘In ijsdem uoluminibus. Discantus Altus. Tenor. Bassus. Quintus et Sextus (sed hi duo non in duobus, sed in uno uolumine[m] sunt coniunctj)’. 14 ‘Quinta ista et sequens sexta pars uidentur postea superiorib[us] libris additae’. 15 Blotius assumes the first seven motet prints in this set of binder’s volumes are by Clemens when the seventh is in fact by Thomas Crecquillon. 16 Originally, ‘nouomenta du luj’. 17 A second book of motets by Giacomo Antonio Cardillo survives as RISM A/I C986: Sacrarum modulationum liber secundus (Venice, 1586). 18 The binding together of the first and second choruses (editions nos. 138–9) precludes their performance as double-choir pieces. 19 Assuming the indexer was correct in recording the date of publication as 1576, this may be an otherwise unknown reprint of RISM S40, published in Venice by Gardano in 1575, under the same title, and reprinted with some omissions in 1581 (RISM SS43a). Open in new tab © The Author(s) (2021). Published by Oxford University Press. All rights reserved. This article is published and distributed under the terms of the Oxford University Press, Standard Journals Publication Model (https://academic.oup.com/journals/pages/open_access/funder_policies/chorus/standard_publication_model)
TI - On the Trail of a Knight of Santiago: Collecting Music and Mapping Knowledge in Renaissance Europe
JF - Music and Letters
DO - 10.1093/ml/gcaa056
DA - 2021-01-25
UR - https://www.deepdyve.com/lp/oxford-university-press/on-the-trail-of-a-knight-of-santiago-collecting-music-and-mapping-PVUaQz9f0T
SP - 397
EP - 453
VL - 101
IS - 3
DP - DeepDyve
ER -