Historical Anthology of Music. Volume I Historical Anthology of Music, Volume I: Oriental, Medieval, and Renaissance Music: Revised Edition [Rev. ed. Reprint 2014] 9780674335424, 9780674335400

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HISTORICAL ANTHOLOGY OF MUSIC

O R I E N T A L , M E D I E V A L , AND RENAISSANCE M U S I C

LONDON : GEOFFREY

CUMBERLEGE

O X F O R D UNIVERSITY PRESS

Historical Anthology

'MUSIC ΒY

A R C H I B A L D

Τ D A V I S O N and W I L L I

A P E L

ORIENTAL, MEDIEVAL AND RENAISSANCE M U S I C REVISED EDITION

19 H A R V A R D

U N

CA.JMCBTLI D Q Ε ,

4

9

LV E R S

I T V

P R B S S

MASSACHUSETTS

COPYRIGHT, 1 9 4 6 ,

1949

B Y THE PRESIDENT AND FELLOWS OF HARVARD COLLEGE

PRINTED IN THE UNITED STATES OF A M E R I C A

PREFACE

T

I H E query is sometimes raised as to why, in view of their acknowledged value, there are not more anthologies of music; and why there is not at least one which may be said to be truly representative in scope, or one which puts before the reader a reproduction of the material free from those compromises which seem to be an inevitable feature of such compilations. Best qualified to answer this question are those who have attacked the problem actively and who know from experience that the flawless anthology of music belongs to that imaginary world in which lifetimes are at least twice as long as those we now enjoy, where knowledge is boundless, where financial caution is unknown, where human error is non-existent, and where publication is the plaything of idealists. Proceeding under such limitations as at present exist, the editors of a work of this kind must, to the best of their ability, attempt to realize two objectives: first, the compilation of a body of music which, by itself and without regard to any practical usefulness, represents a comprehensive survey of the music of any given period; and second, the selection, where choice is possible, of material which will prove profitable to the most varied types of musical interest. T h e editors have striven to attain these two objectives, and—again with due regard for inescapable limitations— they hope that in the main they have succeeded. If their ambitions have been realized, this volume should prove useful alike to the musicologist, the amateur, the practical musician, the student, and the teacher; and as it illustrates the styles, idioms, and technical procedures typical of the periods represented, it should find ready place as a textbook in courses in music history such as are offered in colleges and conservatories.

There is here a considerable amount of music which the editors believe has not heretofore appeared in modern notation. Much, but by no means all of this, is drawn from the medieval period; and some of it, certainly, has not been previously transcribed. A goodly portion of this " n e w " material is to be found in the music of the twelfth to the fourteenth centuries, a period of the greatest significance, especially to advanced students of music history. In view of Dr. Apel's experience in the medieval field it was agreed that he should assume final responsibility for the music in that section, and the above-mentioned transcriptions are entirely his work. These illustrations, like others which will be generally unfamiliar, were not chosen for their novelty. They were included because they seemed most representative. In the highly controversial matter of editorial accidentals the editors have adopted the practice, now coming more and more into general acceptance among scholars, of employing the utmost reserve. Those who feel that reticence in this detail has been overemphasized may, of course, deal with the question of the accidentals as they see fit. Foreign texts are translated, many of them quite literally. Such virtue as might be claimed for the paraphrase has, in general, been consciously forsworn through the conviction that in a work of this nature the exact meaning of each foreign word is more valuable than a statement of the approximate meaning of a whole passage. Thus, taken by themselves, some of the translations may at a first reading appear baffling; but when referred to the original their sense, we hope, will become clear. There is a brief commentary for each number, with reference to the source of the selection. Reference will be found to phonograph records of a number of the selections. In order to supply these the editors had recourse to the usual sources of information; but being aware of the rapidly changing catalogues of the various phonograph companies, they make no pretense to thoroughness in this department of the work. Furthermore, they have not even heard a measurable proportion of the records cited and they therefore wish to disclaim any responsibility for the value of this feature. If the records are found to be useful, that will certainly justify their mention. T h e editors have been in agreement from the outset as to the principles which should govern the selection of the examples. Each piece must be a complete composition or a whole movement from a larger work, as for instance, the Agnus Dei from a Mass or the Secunda Pars of a motet. Each selection must illustrate something historically or technically important. A n d underlying the whole procedure of choice has been the conviction that no music should be offered, regardless of its historical or technical fitness, which could not lay claim to consideration on grounds of artistic significance. Such slight departures from these principles as have been

vi made represent no more than compromises inevitable in a volume subject to the normal limitations of space. T h e first compromise—an obvious one—and so necessary as to be a compromise in name only, concerned the reduction of scores to practical, readable size. Vocal scores of six or eight staves, orchestral pages of ten or twelve, may present no difficulties to the expert musician; but for the average student they would render a volume such as this relatively useless. T h e prime requirement is, of course, that all the notes of any selection shall appear; and after that, that the music shall be available for as many grades of reading ability as possible. But reduction unquestionably raises a difficulty; for it sometimes yields a bewildering array of stems which are necessary for keeping clear the progress of several voices written on the same staff. Only where the persistent use of the correct stemming would have produced a quite unreadable result, notably in certain passages of N o . 157, have the editors been willing to compromise with necessity. The editors feel that, under almost any conditions, difficulties due to stemming are not comparable with those imposed in the reading of a full score. Furthermore, to have issued the selected material in open score would have confined a comparatively small segment of music history to a single volume and would have swollen the whole work to a library of encyclopedic proportions. In the vocal pieces it has seemed the part of wisdom to avoid repeating the text whenever coincidence of the notes with the syllables to which they belong is self-evident. A n d this has seemed a particularly desirable compromise in the case of reduced scores, where to have included every word would have needlessly cluttered up a page already not innocent of complication. In spite of conscientious effort, no uniform system for indicating word-omission has proved practicable, but we believe that such devices as the brace to indicate the use of the same text by two adjacent voices and successive dots to signify text-repetition will be found sufficiently clear. In all cases the editors have employed abbreviation of the text only where, they believe, ambiguity is impossible. A compromise which dictated the use of expert copying instead of the customary printing process is one which may bring some objection. Printing is doubtless more satisfactory, but it is also more expensive; and in the opinion of the editors its superiority is not sufficiently marked to offset an advantage to the purchaser which permits the sale of the volume at a relatively low figure. All compromises with the exception of the last-mentioned have been of an entirely practical nature; that is, they represent an effort to avoid visual complication and thus facilitate the reading of the score. In attempting to achieve this end, however, the editors have occasionally found themselves unable to employ an entirely consistent method of notation. Where three voices occupy a single staff, for instance, the voices absent from any one measure will be accounted for by separate rests; where all the voices are silent, it has been thought that one rest would prove an adequate substitute for three. As the work progressed the editors have become convinced that adherence to the principles upon which the project was founded would necessitate the distribution of the material through two volumes rather than one, as originally planned: the first volume to include Oriental, Medieval, and Renaissance music; the second, now in preparation, to continue to approximately 1800. Even so, division of the work into two volumes, while it has solved one major editorial problem, has in no sense destroyed the persistent dilemma of what to choose and what to omit from an initial list of very measurable proportions. T h e question has never been one of finding enough illustrative material, but rather of deciding what, regretfully, must be left out. As a practical reinforcement to the Anthology the authors have in mind the writing of a history of music and the issuing of records, both based upon the contents of this volume and the one to follow. A grant from the William F . Milton Fund of Harvard University has aided the editors substantially in assembling the material; and for this they are deeply grateful. Another financial contribution, no less gratefully received, has been made by the Carl Schurz Memorial Foundation, Philadelphia. Hearty recognition is offered for the generous assistance of those who have contributed much of value to this volume. Among them are several to whom we are indebted for music which is the fruit of their own research. Following is a list of these, together with the numbers they supplied us: Dr. Armen Carapetyan, N o . 1 1 3 ; Professor Edward Lawton, N o . 161; Professor Oliver Strunk, N o . 66; Professor Alfred Einstein, No. 158; Mr. Elmer Olsson, Nos. 67 and 71 ; Mr. Alfred Zighera, N o . 176. Advice regarding the selection of certain numbers has been gratefully received from Professor Alfred Einstein, Dr. Manfred F . Bukofzer, Mr. Gordon Sutherland, and Mr. Siebolt Frieswyk. T h e bulk of the translating was done by Mr. Benjamin Bart, Teaching Fellow in Romance Languages in Harvard University. Other translations were generously supplied by the following, all of Harvard University: Professor Yuen Ren Chao, N o . 2; Professor Walter E . Clark, No. 4; Professor Harry A . Wolfson, N o . 8;

Professor Werner Jaeger, N o . 7; Professor William C. Greene, N o . 6; Professor Taylor Starck, Nos. 20, 24, 60, 81, 87, 93; and Professor George B. Weston, Nos. 47, 49, 54, 91, 95, 96, 123, 130, 1 3 1 , and 160. For the translation of N o . 22a we are indebted to Miss Caroline B. Bourland of Boston; and to Miss Isabel Pope of Cambridge for translations of Nos. 22b, 22c, 97, and 98. Too much cannot be said for the skill and devotion of Mr. Alfonso Pasquale of N e w York, on whom fell the responsibility of making all the final copies, with the exception of five which are the work of Mr. John Scabia of Boston. During the years which have been occupied with the preparation of this volume the editors have been constantly aware that all their ambitions could not be fulfilled. Especially have they feared that considering the number of hands through which the manuscript must pass in the course of its preparation the hope of bringing out a volume in which every note and every word should be presented with undeviating accuracy is not likely to be realized. They will not be surprised, but they will be grateful, if readers will inform them of errors. Whatever opinion may be held of the validity of the contents from the standpoint of inclusiveness, or of educational or artistic value, it may be said sincerely that the editors have tried conscientiously to balance the many factors involved, and to select and reject accordingly. Endeavoring to avoid what appeared to them to be the shortcomings of previous anthologies, they have, at the same time, added what they believe to be some features of positive value. Nor have they accepted the necessary compromises without trying to wring from them what virtue they could. Their ablest apologist is, of course, the music itself. For that no excuses need be made. Cambridge, Massachusetts December 1945

F o r the editors, A T D

PREFACE TO THE REVISED EDITION The musical material contained in the first issue of Volume 1 of the Historical Anthology of Music here remains intact with one exception : N o . 76, mistakenly ascribed to Obrecht, has been withdrawn and in its place have been substituted Nos. 76a and 76b. We are grateful to Father Alex. J. Denomy, C.S.B., for the translation of No. 76a. In the preface to the first volume the editors forecast that fair percentage of errors which is an almost inevitable feature of the initial printing of a music collection. At the same time, the editors humbly besought users of the book to notify them of any mistakes which might be discovered. The response to that request has been most generous, and the editors wish to express their thanks to the following who have been especially helpful: Margaret Dewey, Western College, Oxford, Ohio; Charles Warren Fox and his seminar at the Eastman School of Music, Rochester, N e w Y o r k ; Charles Goodman, Grace Church Rectory, Yantic, Connecticut; A . Tillman Merritt, Harvard University, Cambridge, Massachusetts; Daniel Pinkham, Boston; Robert Tangeman, Juilliard School of Music, N e w York City. This revision represents a much closer approach to accuracy than did the first edition, and the editors sincerely hope that readers will apprise them of any further changes which should be made in subsequent printings. Cambridge, Massachusetts September 1948

For the editors, A . T . D.

CONTENTS

C H A P T E R ORIENTAL A N D

I

GREEK

MUSIC

Section

Item Number

ORIENTAL MUSIC

Page

Number

Ι-6

. . .

.

7-8

. . . .

9

9-16

. . . .

10

17-24

. . . .

14

25-29

. . . .

21

30-39

. . . .

30

40-41

. . . .

42

42

. . . .

44

3

Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC Greek; Byzantine CHAPTER

II

EARLY MEDIEVAL

MUSIC

(400-1300) LITURGICAL MONOPHONY Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Cantigas; English Songs; Mastersingers EARLY POLYPHONY Parallel Organum; Free Organum; Melismatic Organum; Benedicamus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES CHAPTER LATE MEDIEVAL

III MUSIC

(1300-1400) ENGLISH Sumer Is Icumen In FRENCH

43-48,56

.

.

.

45,60

49-55,59

·

•

·

52.63

Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances

χ Section

Item Number

ENGLISH

Page

Number

57-58

. . . .

61

60

. . . .

64

61-64

. . . .

65

65-72

. . . .

70

73-78

. . . .

76

79

. . . .

83

80-84

.

. . .

84

85-86

. . . .

89

VOCAL COMPOSITIONS 87,89-98 Heinrich Isaac; Josquin des Près; Pierre de la Rue; Paulus Hofhaimer; Giacomo Fogliano; Bartolomeo Tromboncino; Jusquin d'Ascanio; Canto Carnascialesco; Millan; Juan Encina

. . . .

91

INSTRUMENTAL COMPOSITIONS

.

.

106-114

.

.

.

108

115-124

.

.

.

120

School o£ Worcester; Organ Estampie GERMAN Oswald von Wolkenstein CHAPTER EARLY FIFTEENTH

IV CENTURY

ENGLISH John Dunstable; Lionel Power; Damett FRENCH Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER LATE FIFTEENTH

V CENTURY

FLEMISH Johannes Ockeghem; Jacob Obrecht FRENCH Loyset Compère GERMAN Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ileborgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH Song; Robert Cornysh; Cooper CHAPTER EARLY SIXTEENTH

VI CENTURY

88,99-105

91, ιοί

Heinrich Isaac; Joanambrosio Dalza; Francesco Spinaccino; Arnolt Schlick; F. de la Torre; Hans Week; English dompe; French pavane; Hans Neusiedler VOCAL COMPOSITIONS Antoine de Fevin; Clément Janequin; Thomas Stoltzer; Ludwig Senil; Johann Walter; Arnold von Bruck; John Taverner; Adrian Willaert; Nikolaus Gombert INSTRUMENTAL PIECES AND LUTE SONGS Adrian Willaert; Girolamo Cavazzoni; Silvestro Ganassi; John Redford; Luis de Milan; Luis de Narvaez; Miguel de Fuenllana; Anriquez de Valderravano

XI

Section

Item Number

Page Number

125-132

. . .

^Ίτ1?!]

·

138-139

. . .

149

140-152

. . .

152

153-154

. . .

168

155-172

.

.

.

167b, 173-181

.

.

189,198

VOCAL COMPOSITIONS

134

Clemens non Papa; Claude Goudimel; Claude le Jeune; Thomas Tallis; Cristobal Morales; Costanza Festa; Iacob Arcadelt; Cipriano de Rore; Louis Bourgeois INSTRUMENTAL COMPOSITIONS

·

·

:

44

Antonio de Cabezón; Andrea Gabrieli; Claude Gervaise VOCAL COMPOSITIONS Claude le Jeune; Francisco Guerrero

CHAPTER VII LATE

SIXTEENTH

CENTURY

VOCAL COMPOSITIONS Giovanni Palestrina; Orlando di Lasso [Keyboard arrangement, Philips]; Jacob van W e r t h ; Philipp de Monte; Guillaume Costeley; Jacobus de Kerle; Tomás Luis de Victoria; William Byrd; Giovanni Maria Nanini INSTRUMENTAL COMPOSITIONS Claudio Merulo; Nicolaus Ammerbach; Giovanni Picchi VOCAL COMPOSITIONS

173

Luca Marenzio; Jacob Handl; Giovanni Gabrieli; Giovanni Gastoldi; Thomas Morley; Felice Anerio; Carlo Gesualdo; John Danyel; John Dowland; Hans Leo Hassler; Gregor Aichinger; Michael Praetorius; Melchior Franck; Thomas Tomkins; Thomas Weelkes; Orlando Gibbons INSTRUMENTAL COMPOSITIONS

Michael Praetorius; Giovanni Gabrieli; Giovanni Macque; Florentio Maschera; Thomas Tomkins; John Munday; John Bull; Orlando Gibbons; Jean Titelouze; Jan Pieterszon Sweelinck COMMENTARY

AND

TRANSLATIONS

COMMENTARY, WITH NOTES ON THE SOURCES

213

TRANSLATIONS OF THE LITERARY TEXTS

239

.

.

ORIENTAL, MEDIEVAL, AND RENAISSANCE MUSIC

L Ancient and Oriental Music ι. Chinese c. iooo B.C.

a. Entrance Hymn for the Emperor , Slow , J I J | - J J II J Drum» «na Wood block»

t

J I

|J ι I J J t t J |t J t J ι

|J J l J |JlJ J l l J I JlJtJ J I J « J J n J 1 j|

b. Instrumental piece for flute and guitar

Modern

if. ν v

"Ti-t*u (Flute)

2.. Japanese Fuki No Kyoku

Accompanied song

3- Siamese K h a m H o m (Sweet Words)

Orchestral piece

4

5

Μ. μ Γ Γ Ϊ ί - Λ.Λ. ΐ'1 |· 4 4 *fffm _ (tr (I ; Γ Τ" •JJ. ; flHjî] rf-r»

JL-p- -β- JL κ

i 4 4 tlJJdJu ρί 1 1- r π j— j ρ -ρ

i 4 ώψ jjfflanaii-ì tJ totsCJ'r '— J π η Λ r l ö ^ r — Τ Γ Χ-1 Γ Τ f . JL

-β·.

ϊ f "F" M

-ψ-

Γ

malto

6

rit*r¿*ttdo

4· Hindu Sâman: two versions 1. From the ancient notation. 2. From a phonographic recording.

three time· Hi- VI hi- u. hi -u. ij -ya-de-ham[-tna) múr-Jhi-nan-dá-i vá-

já-ta-tna-g»i'ím[-a] ka-wi-fm^sam-tä j i

m*.-ti

a- ra-ttm pr-tKMí-y»[-h] wais-vä-tia-räm[-a] r-ta ä

thrn ja-tiâ-nam £a] à- Mn-nakpâ- tra-an ja-na- yan-ta de-vâf-hj

hi- u. hâ-u- hâ-u. äj-ya-iJo-harnfma] äj-^i-do- lia- u. vsl β âj-ya- do-hamDmale áj-ya-do-ka-

"ham-t*

5. Arabian Popular song Intríduítírv model. Trtc tanno

Scala

eWrdujutHa-lei.

'ÚU hítínmaííme ' ι. /.w. ——

ι

» »

9

'¿b«

ti-the-tin

r

>

,

T V ^ V cher- to-

ky-ma

7 · ·7 · »as ya- lai, hi-

-

KOTI àc >

>

J

tie-minj

y

Ken

Uaf

ou-ei-

an.

i-

ton

_

,

te

pa-

tri

• tích-tHeií 9

,

Iαϊ

min-.

b. Hymn from the Octoechos 4V

L.

'"ÏN

. . L FP»'J J

. .

tí ha- me·r» Mt- «*-fc», de-rau- me-no6 hi-tnwv te «ω-ja e- le- β».

II. Early Medieval Music (400-1300) A. Liturgical Monophony 9. Ambrosian Hymns a. Aeterne rerum conditor: three melodies

A«-ter-nett-rumcon-ditor,ttoctmdi-env- γ π γ 7 « τ τ _ γ iTr Γ - r i l Be- «1·- jea un-ju.- deufti-ve, qui £l-zer sa- bie-ete mi-ajr'a- tal Cog'a ju-de-4 crt-úJ M - j f

ío-yo

juardou. littrnc-nyn-no ¿'It-ra- el.

f i f "Til0, r f f î v - ¡ρ f r i f i . i v ΓιΓιΤτί

α W-Jw^et un fil-b eeu Quo el en mais iwn ia. a, Él· o me-nyn-no sen. át- 0 b&- tis-mo re-ce-bi- a.;

p7 inι . . Hi •.Λ I ι »r f^r ßl Of fl »^ ^Vi If — t «j u ι». Iι ff Γγ ρ « f i P ri-I Γ Γ r lJ*l . I" r ifg fr ¡TJ~~r¿rz~

fti· ]

J ^ i . J )j / i J a n . j

43

J Ì ^ J J A

ι

j j i l ^ j H i j>j

Híí i^éJ^Á

j^ij^lX

ït>

b. D u c t i a

M

III Late Medieval Music (13 00-1400) 42.. Sumer Is Icumen In (c. 1310) Or^J

g

J

J

Su- nur U

J Π JL

J IJ

i-

cu-

man in,

Uui-eU wig

cu-ccu,

Aw- « Mi-tefk «£-tcr U t & , [ l » A a f - f a r cato» cu ;

β wcl Öm-

m^nt tant

qu'o- cique vo

6i- rant* vostre a- tant nt'au-

ee en ^ra.- ce

a- «vlree ¿an-

tie. ne'.

-4— . me, vo pupimple et- plein d'u-

τχ mi-

b Lau-té U - te,

mil de

tou-tee dou-ceur

paese, a f i - ne

mongr^et* pa-

χό

earn- bUnt

re, en

eoue-rï-

autj

47. Jacopin Selesses (Late 14th Century) En attendant

Ballade

mm

49

P^pJ

J

flyyp

ee- pe- ran- ce con- for- te se de- doit e t de- por- te

5°

48. Baude Cordier (fl. c. 1400) a. A m a n s a m e s

Rondeau

b. B e l J e bonne

Rondeau

51

49. Jacopo da Bologna (fi. c. 1350) Madrigal

N o n al suo amante

3

al £0*-man-te più Di- a- tut piami la pas- fru-re-la^al-pe-itraecm^ Al ta a-man. - te mi U pit* - tu·-

1. Notv l. C'a

Di- λ - ΠΑ re-laal-pe-stnu cm-

yu*

de per tal venil tarífi

>f] «ι

pf "" -β-

y

ΓΠ Γ

,I ,

-

- TIAtf

Vff· Um- ta-

ft

t I

~ ,

1

1

^

f f f

s

ΛΡ»-

f ι

*A¿*o~ Öui tot-

6r»- ti-»» a-gv-mu· ti- W γτογQui sedei ΛάάαΛα-rAm P&tri«,

f i - It- uè s Se-i

r

I I I mu4 te. no- Κ·.

"

^

trie. trie.

m-mu* te. Ut peccati muu-dl,

far megtuntglerùun' tu- *nv, tni- •e-re-re -no- bis

Glo-rvBus-ci-

Do- mi— Quo. ni-

ι ι

[

tfr

ξ 1 1

.

.

" f f ' A ì

f i · ca.- WM* ' te. ye d&-frecA-ii- o- nmtie- etr*m.

-ne Pe am ta

to-

lus

ceeW-eti·, Efetan ctué, tu

A-

r * I

r =—

. -

I I,-

1—I

«rr krr+l

59

r

«fr

Γ*

, , Ι Ι

f f ι

f

4

-i

5

Ι

j.Lju-dUmie lOuitoUUpec-ca-t*nun.

it*

«Cv

*

1 ι

f * , I , ,

*

56. Guillaume Legrant (fi. 1419) Credo

g

"Ri-

Mass movement

ont- ην -

treni

γο-

i

*· U- li * 1*ir

ten» ? IBP •

tétti.

#1 j

T.r r r r r f r f r r m ' f f r f p Eic-fco- «m. co«- ti/ et" ter- ta«,iw.-«¿-K.-lí-tunom-n¿-um ». I' i l l ι I ,J J ι ι ι Ι J J J fd J

-γο-

ι ^neiIm. om- -m-A inc.6 H«íitv om- iti- a

£àc -

ta. sun.h ta.

R

F I ΓΓΤΤΓΡ deàxilie.

R . prepterno» r r r ba-m-net r . f Tet ipropter ι Τ'ρ Qu* ncstnwir»a- lu- tem. descendit·

sunt.

i fEtf¿tv-car-na-tu«est ι 1 ι r de r SpirÍ-tu. π ι Sanfte r r orr Ma-ri-a r r Vir-j|v-w«, r r r et·

60

komo fiictus et.

57· School of Worcester (14th Century) a. Alleluia psallat

g lac - tue eoe- tue cum har-me-αί- Λ É Ê É É Q I r Ρ R 'Γ

L T fAil r ^ r ^ yNa· J I;atL I DeΓΊ J ' J J I J -co-ni - feU-U-fOf Al** 1 le-lu-* ' ' TN .- _o 1lau...-dem et.prae— -í aA l

Kmpani et al-le-lu-ya cit-ta-r» et" Uefa»oetue cum Wma- ηί-a..

Al- le- lu-yjt

y«. 6i

b. Gloria in excelsis

Mass movement

fffl , ! ^ | ^ | 1 1, | 1 , J r rrcr^r rr^n^r rrtrrr nrcrtrr ^ τr r r rr rr ! 1 rr^f^ * r r Γ Γ Γ Γ C_f"' Γ Γ Γ Γ 1*Γ—Γr~r rpf"'fTf u Ê-J* r Et m. ter-r» fax· Kom - ν - veb-on-U em-ta- tis. Law-. ¿ta- mut te. Be- «e- di- ci - mus te. Ad-o•LβI] — 1 AI J JJ1 J J J ^ «Π^-ΠΓJ 1 J ~ J j 1 ^ J J JJ1J 1 J l"j"r—J-~a J J J 1 J ' rc^rr rrrcrtfr r r 11rrrcifr rrrrrrrctrr r r r 1 1 Γ LU Γ Γ Γ Γ [LT LT Γ Γ'ΓΓΓΓ Ρ'ΓΓΓγΓΓΓΓΓΓι*~'Μ r-imus te. Gb-rt-£¿- mus -as a- ji-nuis ti- hi propter ma^nam-rjiltn i- tu- am, Bom -n -·ie ni-bus

tí.

C¿L-

Gra-ti

u r r ^r rr r r r err r r r r u^trr r rr r ld-l 1 am*_rrCJLrf « - Γ Γ ri- · j*•ι^·-»lι^M ι j Γι rr γ γ μ^γ ^ · . ! « ^ γ .—-0-1 Λr = De- usre*eoe- le-sti« De- «s Tk

-

far

7

σ r tireur

fj» 1 F^jiXU.

te

ß

m m

Je- s»

, » .

.

ont- ni-

yo- tettò. Ve-

mi- rte

£i-

li

ti-

ni-

nl-ye-

cxtlej ruft r 4υβrltcxrr F" l·" r λ Ρ ·

^ litli; . 1j-é-ff J J* LP u· ' J r*r r —

•f" Lf

_—m—.—

Chrl- sta. Do- tni-ite De- «s,

A-^mis

De-

ì,

fi-

ti-

us

Ik-

tris.

58. Organ Estampie (e. 132.5) . - TYliuu» yuitctue

ι

β

[Iii

^

¡υ ι • pTa

I

β.

Λ -0-βΛ·Ρ-Λ

1

ι

62

overt1 k

r * ß

ß

bp,η;

:

59· Italian Dances (14th Century) Estampie

a. L a m e n t o di Tristan, w i t h R o t t a

11.

Trp J-3 J~JJ^ J^JJ-U

Ü. 1J :||j Π jjl 1J «

La. Retta. ι ^ró*!?- γΛτ*

Estampie

b. Saltarello fPrùw»

b,

ΓΪΓ

γτγ

63

Tertia γ&η _ φ bm

6o. Oswald von Wolkenstein ( 1 3 7 7 - 1 4 4 5 ) Der May

•β Η Π

k k

< -I

k

-

I ^J. 1f

Γ

.

ι—

4.

r

—1 «

k

ι

-C—* —•—»H vielem echal ErUlm- ^cn, »in - yin "Hohen hai 6a- lander, lerchen,divedici, nachtijpWr —1 a

f*—Γ— r

r

Γ

-1r

r1 —

rl V J ' ffJHï Y ;—VPer jauch íleuáA hin dew I

r

t

r

, . I r r r . 1 Γ Κ l·' y J ; Í J J ρ M c r J nach Mit^ro&scnt tm^em-ack,KUuun vogeUin^oleiclv. Ho-retwie er sprach: Ctt-CU, CU-CM-, Uc«. ζ me

mir, Um

\

wil wh hanwn

Dei*

hunger +1 fc

macht lungerMie ¿en Majen echter

64

Ach «Und nu. welleit^eoi

Γ·

ich? So íprach jfi- Hy ^ 1 F

-ni-

t® - -rem, r i ®

Vir-

J-

1

i

9°

i

i·

ÌT-

ms ac i·

i·

i·

Τ

Κ fl

, L (

*

i 1

1 1

rt— 1 J Jr

'»fct-

0 "> V

1

«

'

1

(TI

1

6a- bri—

e-

í»

CI

1.

ab

0-

re

•It-

i· Τ è

i- α π

rtj rt»

A

rt»

Λ

l

De-

vi-

Pr r J T J

ant. ara, at- ten1li J>J> —

cU-U «t

«Veπ e•Jí——

U] 0

et νί-de-

vi-de-

Ctt-tendi ^ztiKtH

r j i j r»

Drt-ten-ψ j j

et vi-de- te ÏJ J i

5i attb- L," e

jj-li-

si -cut

si

do-

L

ter

u

1er

^

mi-

cui: dû- tor

tue-

77. Jacob O brecht - I S I «ι !

f- f-

R^

ti.

Instrumental canzona

f

f j r r

r

a

L

r

j

Zi TlM^ UISìlU J

J

82

R

U

J

J

r

ι

f

i i i r t a r j

—

t

r

t

j

n

i

f

r

w

λ 1 Sii

R * r J LE¿F< ι Sii J

^

•· 3J J-ï-^-jL i r * -Tr y Γ Γ Γ

S1 ¿ ρ r " L i

1

I

ρ

W j l í f j

1ι

4

• Π Ι

J

•

J

y.

r •

·

11

r

r · r

79· Loyset Compère (d. 1518) Rondeau

Roy ne d u ciel J η

,Γ ι ^^

_

!Τ

le

1"

1

Uyt

ne ¿u ciel i l i

du filz.

Β«ί' J ι

•JI g.

ι,

âe dieu U

^ina cae-

vtr-qi nal j

fa-ce· τ»

Γ A-

-

psi

.

moil-

Pre- ser-vex

li

1

T i j m j j j

1

b a i

Cu* t

83

J

voud αβ - tazst>-tre- rieZjtffî j JΤ J fi-

8o. Heinrich Finck (1445-15x7) Veni sánete spiritus — Veni creator spiritus

Quodlibet

84

8i. Conrad Paumann (1410-1473) a. Mit ganczem W i l l e n

(Instrumental)

Lochamer Liederbuch, c.

IRcpcUtio)

Mlt^amriem WiUcnwlinsckkKdvr Seind. ih-nucHdir er- β»- ben Hatt. In. cUUtwm gV"^ fn ce je- steht nick dein beriet WU i leti wältig- cheti etan·

Ob

vein, ort öpet So tUib tdv dein al- \ey- tie Du- aL-L2r-lÌ€bfifcs jrew- 1«ίb. Mit ganczem W i l l e n

Paumann's

reut belU

tu. Fundamentum Organisandi,

1451

82.. Glogauer Liederbuch (c. 1460)

O rosa bella

0 Ili-

1450

Iti £tuer* Uitx co brennetmein Werx

ein* maU

den liáiten.

wenden - «ter- tie

17.

I Se, m, mein Ubfte zart"

0 eenenskraff mitJeinetn tuft f Zu alUr 85

wt ge - dan- 1ms gir.

Quodlibet

•noti me

Jot- ce i*·

a-ni-ma mi - a, 6. r f"

7

5

·Λ

f

me-rir·, morir ·· ·

La»-SA Γ β. ß

V

4 Ϋ gib rat". Sei. wol^etmd . Seh in mein herz. Meintrsutge- «cit. Der mei i&t hin b y' ^J git rat.

ètimi-

ge-mut.

-A " cor- te- eia,

heit, im

her-

-0m corte- ei - A, 11. » •die

zen pil. Ich

Mein traut I

,

in corte -

ti-

Γ

ttWch-

a, f

Ue- M

tni,

•

1ύ.β

wucete nie wa* rechte l i -

( h

vu*»- te nie,wa»rechte l i -

A Ί

í = »e M

—1 ich lib

p u r Γ

α

i é· l >1 Ld m

U- Al-

Ρ •M—1—r ^ «e leid ich. net l u auf,

«tu mícH. Heb idi

p P=

be ms. Mein

ment'

0

jj

-ι

1

J J

f T f ^

86

re

jer ben Mr- vi-

J

r

•tu

1

miAHeb r

>r

r

tenet» kraft. IrûrvK ti- cher art,wa»»>-

FJ fJ H r ï iJTn J 1 r. •*-é-4·—J J J r· re. e 1 taimen. te a- m a 23. -

ÌTrP,f~

lib. Zu aller - zeit. Ich far da- hut und

L5—J. j μJ to letdtek net. Tu au£, tneltv

den f i - t u W. ι

ver-je*-«etv. 0

a - ina-

tu. auf, mein aller tib»te

«ein dicH^ot-. So so man lib- ite.

te-nm kraft-. Fnlntltcher ort, ita* zei-

ist"

il — jι·

]

te,

17.

we*. Mein ietverjc*- eetu

be

, >,,

lek

len-

li - chctv

sein dich £ot. So te man libiti» zart. Idi

Ge-

-J-

* »

Jo-

ttWwh-

a. Ai tutte mi, ai •f~ f~ β - , -»--*- 15.

f- f -

r

etn» mele. Mein einzige« heil. 6e-

sold und

rts

m cor- te- e t r

icn geil. Ick tache ein» maU.

ai la&fto mi

ne.

je-eell. l a r mei, der -mei í»t" Kin.

j r uhone.Sif, eolduaidheU, im Her-

l i - ehm echo-

ι

a.

in.

10.

-r r r *

r

r

J

Ί Γ ' I M * Ί Γ é at-1er- líbete lib. i»r da-Kin

trrr

(ta* mu«

sein..

t lio LÌL-elf cU*muM

tain·.

83. Glogauer Liederbuch a.

Instrumental piece

rt t)

ij J) .

f>

n-r^H iL fr

PJ

r*.

j

1 1

j i ^ Λ3Ν ι J XJTETJ Uh I^J Ì J r Γ H r-n

b. Der neue Bauernschwanz

M-

For Instruments

87

84. Organ Preludes Tablature of Adam Ileborgh, 1448

a. Praeambulum in G

c. Praeambulum super G

F

[• «

o f

—

^

Buxheim Organ Book, c. 1470

j

Γ

Ί

r "Γ

'τ ^

»'

J J · J

J l ^ 3

¿ j a i ι ' » ? *

J

d. Praeambulum super C

Buxheim Organ Book ¡

f ,

_ ν

r r

j j

E = •

-

=

t

88

'

·

=

=

=

^

^

^

^

=f=F=n=J= ^ ^ ^ ^ -J-·' · j η

Tablature of Leonhard Kleber, 1514

e. Praeambulum in mi

f. Praeambulum in re

Tablature of Leonhard Kleber

0

f f f J J u«l

yyi f*- wt r

U t -

"ben

4.ΤΟΓ]

IM},

jSer

DCWM

U.-

5-J4"

í h

μ

wn

áar

Mtftt

p-p.

'la-

"

ta-

88. Heinrich Isaac Instrumental canzona

«r fr 1! i/>

Λ

j

~

J-í j j i ! f

tr ^

rΤ r ^ j J J

Γ r J j

r r 1J 1

τ

λ- ία

Γ'

Γ·—

»

^fl

-'Γ ί Γ Γ

fe

ττf Η "ο 'Μ

s.r. 91

r

r «Mor

89. Josquin des Près ( 1 4 5 0 - 1 5 1 1 ) Agnus Dei "Ex una voce tres" (Mensuration canon)

Missa L'Homme armé

S Vai qui.

J

..

iiS dì mi- miserare iuj-

toi-Iiä pecca- ta. mun

I

J

VÍ3

1 1 i

i

90. Josquin des Près Motet

Tu pauperum refugium rum

hà à

Ttt J

d

É r r rum re- ff- ?«-i i É

τ

tu

re.-

i

M

FÉ

- rum- re-

92

êâ tnc-

[rum. rum 1

Un-

i

di- um.

Vf

«· ¿i- «m, "Ρ" η j J-.e- ^ di' wm-j'

lutti, •

.1+1

9i. Josquin des Près Faulte d'argent

Chanson Faul- t e ¿'ar-jent,

93

ccsticu-tíur

non ra- -reit-

94

92.. Pierre de la Rue (e. 1460-1518) K y r i e I and I I

Missa L'Homme arme

Kyrie I.

95

93- Paulus H o f h a i m e r ( 1 4 5 9 - 1 5 3 7 ) Mein s traurens ist

German part song mein« trau-rene denn dir all-

CM«m» trau» rene iftt, meine trau-rcn» 14t, dir Mt* «in, d«nn dir all- «in, C

tMetn* tdenn

T

r Γ rrau-ren» teV, dir al- tain,

L

C denn

n

tra-

obrUt1, da* xHtfitt fem·

1

y f " 15 1 ''l il fi

Que dit¿L«,. Γ Γ _ Γ 1 I

ff

li ti-tv, PV

fr g Ρ ^ Ρ_ Ρ Γ—1

Γ f f Ir Ρ M ι £e.-t*e- li- -re ly· · Qu« ait- Diet«· · · •

row-.

li-

fi-re-li-re

li-r*

Κ-tv yî-ty.

Ό-

ve, U -

row·.

iluontu-e

Tönt-m»-lo-

Tout β - »per - du,

cor.mt.ctf- qu

fttru,

II

i n vault-

ce faul«· ia-lou*

mye U*bt*-yezcl'un^ Weubr y e n - » i t t«r- ch«',Pe*-ti-c, chi- Tg- ίγ U - ctlim T>i«v chl-rg, Ii- w, li-dtMi,dtm, choc, choc, £loc.

II « t leur, (t ütUKjt fin, Me-rewlt, Lew-

3

fr»-γί,

_ψ 7J J s

¿Lfc

ttŒft IV- tin,

J

ft-

J j J» J» M

oyVu»- tut, Ve»· 9aut.

Qu'il »oit

-

U'i J i

¡ B é é

ΪΓΓ X

III

fa- rv- Ix- ri— la -1

teuf, Ny ftutt,

T>e»- bien t e gut,

i

«A

ei - · •

r

3

or, , heu, qu'il est

Ser- ri, trout- tí, fin+ gtr - r o -

J

Λ

^

Γ \· | ·p P P M F p p M P p of - ex. ra - -rv - la - rv - la-ten F £ ^ ? ? co- q«-, Χsit, quälest laifc ce co- 4U., iir- tw., boi- tan. On vou·» faux ca-wir 3 âu! Va, £aubf tru-ant, i J i i i J i i j i i J J ' J

«y,

che-

tty, · ·

·

Le».set

7f*r U VF Γ $Tlf?Jriz Wafcyourwwir, f i lTarflteníd ? De f*r 1& oy-eeeutr.QueaJW-' a>- ^fH-aiit, Tout mat J i> J>Jment" qu'il- ôeuf^Λ

dir,

Uuanfc a

Γ Τ

vaut*,

^

l'etti- bra*-

¿er, i Et iw- ver-

metti va t'eri- mou-

i^tt^MÍ-

-

fre 'De ta

¿er, Ûue

rtr, mou- rir,

chaou,

£ fen

VA

[o8.

bai-- ¿ir,1 De tk- co-

veÜ-lerefcdor- mir, O-o- ]j|J

j

-

i»

υ j

r

ι ίγ

r

'rfr

j

υ j

jJ-J

j Jj|J

h

Γ τ

n

rr r

JJJ

ρ Γ

"

ι

j j j y ^ j i j i i j l

r

'

'

r r

'

[

'r

r

r

'

r

r

f

"

T

[

'

1 1 6 . G i r o l a m o C a v a z z o n i (b. c.

'

f

r1'

1

1515)

Ricercar «

r

0 1

For Organ -

ft

f

Γ

r

J e n ;

121

?1

δ

W

f ' T r ' V

i }• ¿

Ι"'Γ

I1

|j J J

f

J

L\

'

ψψΐΨ^Τ

'

τ

«

f

m

Ü

i

Ä

i

s

tM

Ϋ—Jj^J^JjJ r JÍ Ü Ü

^

«

î l ' n n

# L

S"U

117- Girolamo Cavazzoni Organ Mass

Missa Apostolorum (Cunctipotens)

CHyric primus

·—»

* r

r

r y

W s

r

τεγγγ Chróee

U-i-eotv.

Jrr/i

r

~ 1

• ·

κ*-*- «

«-

1

rr

r

—Ü— j υ Inj jj4 — r -

r ^ T

le-i·»on.

- r Γ τ ^ ttirrfj j jj j ^ - Ì S J B B Í^ J tj j jW j i Γ Γ—

123

1

6t in terra pax

Γ T-tS Ü / t ^ — k * J 1 Γ J ^ -J J rrn S

ί Γ-Ή Ί ι

m t

Τ pr Γ

τ ¿5 " Γ—LC-CJ

£>J J

i^r r

Ter τ^ L E L T

U

H

i

r

-H- J J Jri-„ J'flJ f) 1J 1 I J

ï t r *

1 r1

1

Γt

4J-

Γr J

J

-Λ

i

Γ

ÏÏ Γ y J· J>J J

ΓΓ τ fJ r'r;* t

.> L J J ]

ΛRRJ

f f r r r -

, j· J>J J J p j

^ r [Γ

rr

Τ ν

M J

d

jf t w ii K r R - M Ι*V ΓW Γ-Γ IRΙ Γ R-R1

Ήr

tJ

t r ï r

J

^

Í.V

I^U

'r r r

ι ΐ 9 · Silvestro Ganassi (b. 1492.) For Viola da gamba

T w o Ricercars l.

127

12.O.

John Redford

(1485-1545)

a. Veni redemptor

Ve- «i

Organ hymn

re-jUmptor gen-ti·-um.» οβ- ten- de par-turn vit-· gì- nie, mi- re-tur om- ne ße-cu-tum, ti-li* di-cet par- tue dtf-um.

•cr-f r ·ςr

• g rr r r Organ hymn

b. Lucem tuam

rJfrrr 128

i n . Luis de Milan (fi. 1 5 3 5 ) For Lute

129

12.2.·

L u i s d e N a r v a e z (fi.

1538)

Diferencias sobra O Gloriosa Domina

Variations for Lute

Primer» diferencia

r f r r

rf f

V J

v.

U*-1

r

,1

V Λ J

Η

r

1·

&

" i r

J F]

"Γ" Π

-—I— "

Î f l — r r f W

130

f

r

^

CLTXr r r r ri Deede acqui «» f i n i t

S efunda diferencia.