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Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis

Sixteenth-Century Printed Instrumental Arrangements of Works by Josquin des Prez. An


Inventory
Author(s): Kwee Him Yong
Source: Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis, Deel 22, No. 1
(1971), pp. 43-52+54-66
Published by: Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis
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Kwee Him Yong

SIXTEENTH-CENTURY PRINTED
INSTRUMENTAL ARRANGEMENTS OF WORKS
BY JOSQUIN DES PREZ
An Inventory

Now thatthepublicationof all theworksofJosquindes Prez is complete,'it is


possibleto reflectmorecloselyon theimportance Josquinhad fortheinstrumental
musicof the I6th century. Josquin himself lefta numberof instrumental com-
positions,hisvocal outputfrequently servedas a modelforinstrumental arrange-
ments,whiletherewill undoubtedly havebeena stylistic influence by himon the
instrumental musicofhistimeand thesucceedingperiod.On theotherhand,the
study of the instrumental musiccan perhapscontribute to a betterunderstanding
of theworkandimportance ofJosquin.
In orderto be able to studythissubjectsystematically, it will firstbe necessary
to makean inventory ofthesourcematerial.I havein thisarticlewishedto makea
contribution to thisby preparinga surveyof theinstrumental arrangements of
worksbyJosquinwhichappearedin print.I have had to limitthissurveyto the
printedarrangements datingfromthe16thcentury, bearingin mindthatit is not
yetpossible to make an inventoryin the same way thearrangements
of preserved
in manuscript or whichhave been handeddown in latersources.This position
arisesfromthefactthatthereis at present a sufficientlydetailedandreliablebiblio-
graphysolely for the printedinstrumental music of the I6th century,namely
HowardMayerBrown'sPrinted Instrumental Musicup to16oo.2The present inven-
is
tory consequently forthemost part based on - and thereforedependent - the
on
datapublishedby Brown.The siglaby whichthesourceswill be indicatedin the
followingpagesare,unlessstatedto thecontrary, takenfromBrown'sbook.3

When speakingabout the Renaissance,the terms#<instrumental music)>and


<<instrumental )
arrangementrequire furtherexplanation.As will be known,the
choice of the mediumfor performance - vocal, instrumental, mixed vocal-
instrumental- was at thattime,in so faras polyphonicmusicwas concerned,
frequentlymorea questionof performing practicethanof composition. In some
sources<vocal> compositions have beenpasseddown withouttextand are there
probablyintended forinstrumental Petrucci's
rendering. isa well-known
Odhecaton
example in this
context.It is clearthatwe cannot in suchcasesspeakaboutinstru-
mentalmusicin therealsense.Merelythosecompositions whichwereconceived
exclusivelyforinstrumental performance can be countedin thiscategory.It is,
however,not always easy to decide whethera given compositionmeetsthis
requirement.In manycasesthenotationin whichtheworkis preserved formsthe
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decisivefactorin this.Afterall, a piecewrittenin one of themanyformsof in-
strumental notation,usuallyindicatedby the not particularly fortunateterm
<<tablatures>>,caninprinciple be madeto soundonlyon therelevant instrument and
consequently belongunequivocally to instrumental music. The position is different
inrelation tomusicwritten inmensural notationinchoirorpartbooks.The absence
of a textin no way guarantees thatthepiecewas intendedby thecomposerfor
instrumental performance (instrumental ensemble),whileon theotherhandthe
presence thereof does not in many cases excludean originallyinstrumental con-
ception.Title-pages,prefaces, marginal notes and the like can, alongsidestylistic
features and considerations relating, forexample,to sources,perhapsprovidean
answeron this.
Thenotverynumerous instrumental compositions ofJosquin haveallcomedown
to us in mensural notationand aretherefore intendedfora (not further specified)
instrumental ensemble.H. Osthoffmentions in hismonographonJosquindesPrez
teninstrumental compositions and in thelistof operadubiaa further five.4Some
pieces,such as for example the well-known La Bernardina, the ?fanfare> Vivele
Roy,La Spagna,Ile Fantazies, showan unmistakable instrumental character. There
isstillsomedoubtinrelationtocertainothercompositions:J'ai biencausedelamenter
andMa bouche rit.Thesepiecesmustin theformin whichtheyhavecomedownto
usprobablybe regardedas vocaladaptations oforiginally instrumental works.We
shallnotconcernourselves further herewithJosquin's originalinstrumental works,
butreferthereaderto thediscussions by Osthoffin hismonograph.5
Thereshouldbe understood hereby ?instrumental arrangement ? a transcription
or adaptation ofa vocalworkforaninstrumental performing mediumor,as some-
timesalso occurs,a transcription of an originallyinstrumental compositionfor
anotherinstrument or ensemble.The arranger is generally someoneotherthanthe
composerofthemodel.The partplayedby thisarranger canin mostcasesclearly
be recognizedas such,namelyif the setting(in tablature)is writtenfora solo
instrument. In the case of some collectionsfor ensembleplayingpublishedin
mensural notationhisroleis howeverrestricted ratherto thatof an editor,so that
therelevantsettings canscarcely be calledarrangements. Whenthereisinsuchcases
also doubtaboutthespecific instrumental intention ofthecollection, thequestion
arisesas to whether this,assuming that there iswork byJosquin it, factbelongs
in in
inourinventory. Thus,C. Sartorimentions inhisBibliografia dellamusicastrumentale
stampata inItaliafino all 17006under1543/d(reprint1553/c) an editionofAntonio
Gardanein Venice,II primolibroa duevoci,whichcontainsan AgnusDei byJosquin
whichis notfurther identified. In anothercollectionofduets,Bicinia,sivecantiones
suavissimae duarum vocum, publishedin 159obyPhalbseandBellre in Antwerpand
whichwas printedagainin 1609(Sartori159o0/e and I6o9/h),thereis includedthe
secundaparsofJosquin's motetBenedicta es coelorum Regina,thewell-knownduet
Per illudave,completewithtext. The samemotetfragment occursin Friderich
Lindner'scollectionBiciniasacra(Brown 1591/7) likewiseprovidedwiththetext.
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I havenotincorporated thesedatainmyinventory sincethesesettings
can,inmy
opinion, be regarded
scarcely as instrumentalarrangements. Hieronymus Form-
schneider'spublicationTrium vocum carmina a diversis
musicis composita(Brown
1538/2)andthevarious ofJakob
printings Paix'Selectae, etelegantesfugae
artificiosae
duarum, trium, etplurium
quatuor, vocum (Brown[15871/7, 1590/6 and1594/Io), all
intheformofseparate partbooks with mensural but
notation, published without
texts,likewiseconstitutea doubtful case.Nonetheless, theyhave,withsome
beenmentioned
hesitation, intheinventory. Thesameapplies inrelation
toPierre
Attaingnant'scollection
Chansons a quatre
musicales parties
(Brown1533/2) which,
not
although containing real
any arrangements, is intended
definitely forinstru-
mental performance.Inrelationto theseand similarproblems certain
passagesinthe
prefaceof Brown's bibliographyshould alsobe compared.7

Thereisnodoubtthatmerely a fewgeneral conclusions canasyetbelinked withour


inventory of instrumental arrangements basedon compositions by Josquin.
Reviewing thewhole,itis seenthata relatively verylargenumber ofsources of
instrumental musiccontains worksbyJosquin. Itishowever a fairlylimited partof
hisoutput whichserved as a modelforallthesearrangements. Twenty authentic
massesareincluded intheWerken vanJosquin des Pris.Fragments ofeleven ofthem
recurin instrumental sources, in addition to whicha movement fromtheMissa
L'homme arme' sextitoni,forwhichno printed arrangements areknown, occursin
themanuscript withworksbyVicenzoCapirola(ca.1517,seebelow).As faras
themotets andsecular worksareconcerned, thesituationislessfavourable. Ofthe
roughly hundred motets which are as
regarded beingauthentic workbyJosquin,
noteventwenty recurinwholeorinpartinprinted instrumental collections. The
editionofthecomplete workscontains ca.70 secular compositions, while sixteen
piecesof thiscategory also occurin instrumental transcription. Alongside the
compositions which can be attributed toJosquin witha greater orlesser degreeof
-
certainty asis known the of of the
question authenticity worksforms oneofthe
moreimportant subjectsinresearch onJosquins - therearerepeatedly found inthe
instrumental sources piecestheauthorship ofwhichis contested or whichhave
manifestly beenwrongly attributed to him.Examples ofthelatter category are
contained in GiovanMariada Crema'sIntabolatura de lauto,libroprimo (Brown
where in the indexforthemotets Queramus [cum pastoribus] and Laetare
I546/Io)
[novaSyon],respectively byMoutonandAndreas de Silva,Josquin islistedasthe
composer. In Miguelde Fuenllana's collection ofvihuelamusic,Orphenica lyra
(1554/3),there ison fol.4 a piece entitledFecit potentiam.Duodejosquin. Itisclearly
herea matter ofa Magnificat-fragment (in the4thtone)forwhichhowever no
vocaloriginal isknown.Osthoff thinks: the
<Perhaps piece comes from a missing
Magnificat bythemaster. )>9Arrangements ofamotetTulerunt dominum occurinthe
publicationsofDiegoPisador (Libro demusica devihuela, 1552/7,a 8 forvihuela and
a voice whichis notatedinredfigures)
and EmanuelAdriaenssen
(NovumPratum
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Musicum, 1592/6, a 6 withanaddedsoprano andbassvoiceinmensural notation).
InbothcasesGombert ismentioned astheauthor. Thiswork,whichisalsoknown
from various vocalsources, isaccording toOsthoff a fragmentary contrafactum of
theeight-part motetLugebat DavidAbsalon.10 is
Josquin frequently named as the
composer oftheoriginal, butthecorrectness ofthisattribution is stillsubject to
doubt.As faras thesacredmusicis concerned, we finally findin Enriquezde
Valderr"bano's Librodemusica devihuela (1547/5) inthenameofJosquin a work
entitledObsecro tedomina, ofwhichno vocaloriginal ishowever known.
Variousdubiaarealsoencountered amongst thesecular works.Thereisa fairly
largenumber of arrangements of the chanson Fors seulement. Brownalwaysrefers
tothevocaloriginal whichispublished onp.90inthevolumewithsecular works
fromtheoperaomniaofJacobObrecht andnamesas thecomposer <Josquin or
Fevin.>1 Ofthearrangers only Formschneider ( Trium vocum carmina, 1538/2) and
Albert deRippe(Second livre detabulature deleut,1554/6) mention thenameofan
author,namely thefirst <Joskin #andthesecond#Fevin >,theremaining arrange-
ments havecomedowntousanonymously, those latercollection
also in a byAlbert
deRippe(1562/9) andinPhalkse's Thesaurus musicus (1574/7), whichistakenover
fromde Rippe'sreprint of1562.Asisknown, thereexistofthepopulartextFors
seulementvarious settings whichareinsomecasesrelated tooneanother. Apart from
Josquin and Fevin there are mentioned in thiscontext the names of Ockeghem,
Pipelare,Verbonet, Obrecht, Pirson,Brumel andAgricola, whilea fewanonymous
compositions to thesametextalsoexist.It cannottherefore be regarded as being
completely excluded thatothermodelsthanthosementioned byBrownformed
thebasisforthepresent instrumental arrangements,being moresosincethe
this the
preciseidentification of a coloured arrangement isoften verydifficult. Be thisasit
may, no chanson Forsseulement seems to be known which can with certainty be
attributed toJosquin, whilefortheabove-mentioned piece in Obrecht's works
F vinrather than Josquin comes under consideration as author.12 Compare alsothe
relevantpassages in Osthoff's monograph. The Intabulatura de lauto, libro primo by
Francesco Spinacino (1507/1), the known
earliest lute tablature, contains anarrange-
mentofthesongO Venus banth, whichstands inthenameofJosquin insomevocal
sources,inter aliaintheOdhecaton, butinothers inthatofGaspar(vanWeerbeke)
orofAlexander Agricola.Josquin's possibleauthorship is,tosaytheleast, doubtful.
Spinacino doesnotnameanycomposer. TheIntabolatura delauto,libro nono intitolato
II Bembo (1549/I)by Melchiore de Barberiiscontains an arrangement chanson
of the
dieu
Vray damors, which is there attributed toJosquin. The chanson is invarious
but
vocalsources, always as an anonymous composition, apart from in themanu-
St.Gallen46I where
script itoccurs inthe name of Antoine Brumel. The attribution
toJosquin canconsequently be regarded as beingverydubious. Thesameapplies
withrespect tothepieceMalaseneaCanzonFranceseJosquino a 5 whichisfound in
threecollections withworkbyPietroPaolo BorronoandFrancesco da Milano
is notknown
(1548/2,1548/3and 1563/3).The vocal modelforthisarrangement
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fromother sources. Finally, itmustalsobepointed outthatthetranscription ofthe
chansonFaultd'argent by Valentin Bakfark (1565/1, 1569/I and taken over by
PhaleseandBellkre intotheirThesaurus musicus, 1574/7) is basedon thefive-part
version oftheworkwhichveryprobably doesnotassuchoriginate withJosquin.13
On theotherhand,it occasionally happens thata composition byJosquin in an
instrumental is
source attributed to another composer. AlonsoMudarra's vihuela
bookof 1546(1546/14) contains a transcription ofa pieceentitled Respice inme
Deus,Gombert, whichis a contrafactum ofJosquin's chanson Je ne me puistenir
d'aimer.
Ifwe investigate whichcompositions ofJosquin weremostfrequently arranged
forinstruments, they turn out mainly to be those whichwerealsomostwidely
spread invocalform. Boththesingers andinstrumentalists clearly hada particular
preference fortheMissadeBeataVirgine, theCumsancto spiritu infactbeingvery
popularwiththelatter. Amongst themotets itwasinparticular thecompositions
Benedictaescoelorum Regina, PaterNoster and Stabat Mater passed down innumerous
sources and, to a lesser extent,Inviolataand Praeter rerum seriem which serveas the
inspirationfor instrumental transcriptions,'4 whilepopular chansons, suchasMille
regretz,Plusnulzregretz andAdieumesamours alsoappearedmostfrequently in
instrumental collections. Thenumber ofsources inwhicha givencomposition has
beenpasseddownforms an indication ofthespreadandpopularity ofthework.
The conclusions whichcanbe drawnin thisrespect fromthevocalsources con-
sequently seem to be supported in broad outline the
by instrumental sources, this
naturallynotbeingsurprising.
Even theearliest now knownlutetablature, the Libroprimoby Francesco
Spinacino (Petrucci 1507 = 1507/1) contains a number oftranscriptions basedon
worksbyJosquin. ThepieceLa Bernardina, oneofhisoriginal instrumental com-
even
positions, occurs twice here, in a
namely setting for lute solo andin one for two
lutes.Theonlyotherworkstoappearduring Josquin's lifeweretheLibrosecondo
bySpinacino (1507/2) andthecollection Tenori e contrabassi intabulati colsopran in
cantofigurato by Franciscus Bossinensis (I5O9/I), both of which were likewise
published byPetrucci. Thelatter collection contains an adaptation ofthefrottola
In teDomine speravi with the note<<Josquin Dascanio>>. Italy however provides few
sources whichareimportant foroursubject. Admittedly, from1536collections by
Francesco da Milanoappeared regularly inwhichcompositions byJosquin canbe
found, butitseemsasifwe areherealwaysdealing withreprints ofarrangements
whichwerealready published for the first time in Francesco's earliest collections
of1536(PaterNoster, Stabat Materandthedisputed Forsseulement). Animportant
collectionis theIntabolatura delauto,libro primo bySimonGintzler (1547/3) who
originallycame from Germany. Thiswork contains complete transcriptions ofthe
motets PaterNoster, Benedicta es,Praeterrerum seriem,Circumdederunt me(Nymphes
nappe's)and StabatMater.Afterthemiddleof thecentury we findexclusively
of previouslypublishedcollectionsor piecesalreadypublishedin earlier
reprints
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editions.The lastrelevant Italiansourcecomes,so farasisknown, fromtheyear
1566.Brownmentions as [1587]/5 a booklisted byF6tis, universelle
Biographie VI,
p.307, with<Six motets a 6 byJosquin des Prez intabulated
for thelute,Venice
1587)) byMelchior Newsidler. No copyofthisworkishowever knownifitever
existed.Fortherest,F6tisgives,incontrast to Brown,Strasbourg as theplaceof
publication.
From1532Germany isrepresented bysources workininstrumental
forJosquin's
It
transcription. can be deduced from the source material
thattherewasin this
a
countryrelatively and
large persistent interest in thework ofJosquin,a factto
whichthevocalsources toobearwitness.15 Priortothemiddle ofthecentury itwas
mainly HansGerle and Hans Newsidler who included variouscompositions by
Josquin,mainly chansons, intheircollections.Theredatefromtheyears1550to
deDrusina(1556/2) andWolffHeckel(1556/5-6,
ofBenedikt
1560 thepublications
ina Discant
1562/3-4,musicfortwolutesnotated anda Tenor Buch).In
Lautten
1558Sebastian Ochsenkun published a Tabulaturbuch (1558/5) inwhichthework
ofJosquin a
occupiesveryimportant place. The book the
contains complete arrange-
ments ofeightofthebestknownmotets (PaterNoster, Praeter rerum, Benedicta es,
StabatMater, Inviolata,In exitu, Quihabitat, Absolonfili mi),as wellas oftheCum
sanctospiritu fromtheMissadeBeataVirgine. Itispossible thata reprint ofthislute
tablature appeared in 1564, no
although copy of ithas been preserved (seeBrown
[1564]/6). During the last quarter of the century greatest interestforthe worksof
Josquin is found the
amongst organists Ammerbach (1583/2),Riihling(i1583/6) and
Paix (1583/4, [1587]/7, 1589/6, 1590/6, 1594/Io). The latter not
published only
organ music (notatedin German organ tablature), but also a collectionofmensurally
notatedcanonsSelectae et
artificiosae elegantesfugae ([1587]/7), which had two
reprintings (1590/6), 1594/10). is
Josquin represented by in it three compositions:
Fugainepidiapente (Plenifrom theMissaHercules Dux),Triados exunica (Agnus from
theMissaL'homme voces
arme'super musicales) and the Fuga trium vocum in epidiapente,
basissubdiatessaron incipit (AgnusfromtheMissaHercules Dux). Paix' Thesaurus
Motetarum (1589/6) contains asappears fromthetitleherzliche Moteten [...]deraller
berhiimbsten in der
Componisten, Ordnung wie sie nach einander gelebt.There stands
forth as number onea transcription ofJosquin's Benedicta esin thetwelve-part
version aswasmadebyJohannes Castileti.l6
AlltheselateI6thcentury collections showa striking tendency towards <erudi-
tion>>.ThemusicofJosquin andhiscontemporaries isnowevidently lookedupon
asbeingoldandvenerable. Peoplewereinterested mainly intheingenious counter-
It is not
point. consequently surprising that we find in thisperiod merely adaptations
ofmotets andparts ofthemass.So farasisknown, Heckelwasthelastperson from
German countries who published chansons byJosquin in an instrumental arrange-
ment(1562/3-4:Milleregretz, Plusmille (nulz)regretz. Thefactthatreally through-
outEuropeafterthemiddleofthecentury interestinJosquin'ssecularwork,with
to be expected.Afterall,Josquinhad
was certainly
a singleexception,decreased,
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alreadybeendeada longtimewhen, inaboutthe1530's,instrumental editions began
toappearwithincreasing frequency. At that time his music didin factbelongtoan
earlier
period and had already had to make way to a substantial for
degree thework
ofa younger generation: Clemens non Papa and thereafter Lassus,butparticularly
forthenewsecular music:theParisian chanson, the Italianmadrigal and,asfaras
Spainwasconcerned, thevillancico. Thesacredworkofthemaster, belonging to
a genrewhichwasnotsosubject tothefashion ofthemoment, hasontheother hand
evidentlybeenabletostanditsground formuchlonger.
Francefollowed a yearafter Germany withthepreviously mentioned collection
Chansons musicales by Pierre Attaingnant (I533/2).Josquin's is
Milleregretzheresaid
tobe #<convenable la
a fleuste >
dallemant(transverse flute)and#ala fleuste a neuf
trous#(recorder). France isnotrichininstrumental sources oftheworkofJosquin.
Apart from thetwoguitar booksbySimonGorlier (155sI/1)andGregoire Brayssing
(1553/3),each of which contains a piecebyJosquin, the
merely various publications
by thelutenist Albertde Rippe,who was bornin Italy,areofinterest forour
Between
subject. and
1554 1562 he had published by theParis publishers Fezandat
and Le Roy et Ballardfivetablatures (1554/6, 1555/4, 1558/6, 1562/9, 1562/11)
whichtogether contain merely themotets Praeter rerum andBenedicta esaswellas
thechansonForsseulement, whichwas in 1554/6attributed to Fevinand was
in as an
reprinted1562/9 anonymous composition.
In theSouthern Netherlands it was principally thenumerous lutecollections
published by Petrus Phalesius which contained workbyJosquin. Theseareinmost
casescollectivevolumeswithcompositions andtranscriptions whichweretaken
overfromother, principally Italian publications. Theremustbe mentioned inthe
first
place in connexion with the work ofJosquin theHortus musarum (1552/11,
Secunda Pars1553/Io) andtheTheatrum musicum (1563/12; seealso1546/18, 1568/7,
1570/4,1571/6, [1573]/9, I574/7). Phalkse also published a collection of lute music
bytheItalianPietro Teghiinwhichthere arearrangements ofJosquin's Pater Noster
andBenedicta es(1547/9, 1547/10 anidentical Latinedition asfarascontents arecon-
cerned, a
1573/5 reprint of the previous collection). Apart from the publications
byPhalkse, merely Hetderde musyck boexken bySusato(I55 1/8),inwhichthewell-
knownPavaneMilleregretz founda place,and EmanuelAdriaenssen's Novum
Pratum musicum (1592/6) merit ourattention. ThepieceTulerunt Dominum meum,
whichisincluded inthelatter volume,hasalready beendiscussed above.
Josquin'sworkwasalsodistributed inPoland.Therepercussion ofthisisfoundin
ValentinBakfark's Harmoniarum musicarum in usumTestudinis factarum, Tomus
Primus,whichfirst appeared in Cracow in 1565(1565/1) and was later reprinted
bythewidowofJan deLaetinAntwerp (1569/I1). Thebookcontains arrangements
ofthemotetQuihabitat andofthechanson Faultdargent. Thislatter piecewasalso
includedbyPhalkse inhisTheasaurus musicus of1574.
Finally,theshareof Spainmustbe mentionedwithcredit.From1538we find
in theSpanishvihuelaandkeyboardbooksas a rulea richvarietyofcompositions

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by Josquin(Luis de Narvaiez,1538/1;Alonso Mudarra,1546/14;Enriquezde
Valderrabano, 1547/5;Diego Pisador,1552/7; Miquel de Fuenllana,1554/3;Luis
Venegasde Henestrosa, 1557/2;Antoniode Cabez6n,1578/3).Itisstriking thatthe
extraordinarily great interest on the part of instrumentalists - and consequently
probablyalsoofthepublic- inrelationto theworkofJosquin wasrestricted almost
exclusively to hissacred music, themasses in factbeingverystrongly represented in
theSpanishpublications. The Librodemusica devihuela byPisadorcontains alongside
fivemotetsand two singlemovements frommassesvihuelaarrangements ofeight
complete masses with the exception of a few fragments! Only two secular com-
positionsappear to have been in as
printed Spain arrangements; Narvaez' Seyslibros
delDelphincontainthetranscriptions of thechansonmuchbelovedby Emperor
CharlesV Mille regres.La canciondel Emperador, while Mudarrapublishedan
adaptationof thechansonje nemepuistenir d'aimer,notin theoriginalform,but
as a sacredcontrafactum RespiceinmeDeus and attributed to Gombert.
We repeatedly findin Spanishsourcesso-called(<glosas?# on compositions by
Josquin and others. This of
type arrangement is writtenwith the aid ofa technique
corresponding tothatwhichiscalled(<parody technique >inrelation tovocalmusic.
>
The shareofthe<(arrangerishereconsequently notrestrictedsolelytotranscribing
and adaptingan existingcomposition to thepossibilities ofthechoseninstrument
andpossiblyto thecolouringthereof, butrather doeshecomposea newpiecewhile
makinguse of the materialborrowedfromthe model. Such compositions also
occurin othercountries;GirolamoCavazzoni'sIntavolatura, libroprimo(1543/I)
contains,forexample,a CanzonsopraFa [u]lit d'argens.
The instrumental transcriptionsincludedin theinventory areforthemostpart
writtenforlute,possiblyfortwo lutesor forluteand voice. The arrangements
occurring in theSpanishsourcesforvihuelamayalso be classedin thiscategory,
sincethevihuelacorresponds to theluteused elsewherein Europein relationto
stringing,tuning, method of playingandnotation.Characteristic ofthisgroupof
lute arrangements is the notationin one of the formsof lute tablature (Italian,
Germanor Frenchtablature;theformof tablatureused in therelevantSpanish
sourcesis identicalto theItalian).Alongsidethenumerousbookswithlutemusic,
therearein our listthreeguitarcollections(Gorlier,1551/1;Brayssing, 1553/2;a
collectivevolumeby PhalbseandBellkre,1570/4).
On theotherhand,a smallnumberonlyofkeyboardarrangements ofJosquin's
musicis found.The earliestpublicationis thatof Cavazzonifrom1543,and after
the two Spanishcollectionsby Venegas de Henestrosa(1557/2)and Cabez6n
(1578/3)onlya fewlate I6th centuryGermansourcescome underconsideration
forour subject (Ammerbach, 1583/2; Paix, 1583/4,1589/6; Riihling,1583/6). The
few collectionsforinstrumental
factthatthe sourcematerialcontainsrelatively
infactneededto be made
sinceno separatetranscriptions
ensembleisnotsurprising,
forensembleplaying,the(vocal) partbookssimplybeingable to be usedforthat
purpose.

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Althoughfallingoutsidetherealscopeofoursubject,it is ofinterest to saya little
about arrangements basedon compositions byJosquin des Prez which have been
handeddownin manuscript form.Bearingin mind,as mentioned, thatitisnotyet
possibleto preparean inventory of thiscategoryof arrangements, I mustrestrict
myself hereto a number of separate remarks to
relating outstandingly interesting
cases.Probablytheoldestpreservedmanuscript withlutemusic,themanuscript
T1.I in thelibraryof G. Thibault,whichoriginatedin Italyand probablyto be
datedpriorto 1510, doesnotcontainanyworkbyJosquin. On theotherhandthere
are foundin the second-oldestlute tablaturewrittenby hand,the magnificent
manuscript withCompositione di meserVicenzoCapirola(Chicago, NewberryLi-
brary,Acq. No. 107501)transcriptions oftheEt resurrexit fromtheMissaL'homme
arme'sextitoniand of theEt interra and theQui tollisfromtheMissaPangelingua.
It deservesspecialattentionthatthe transcriptions containedin thismanuscript
whichwas completedin about 1517weremadeduringJosquin'slife-time.
From the periodafterabout 1540, manuscripts, particularlythosewith lute
music, have been in
preserved larger and largernumbers.Work by Josquinis
repeatedly tobe foundinthem.We consequently readhisnameon severaloccasions
in theverybriefdetailsgivenbyBoetticher in hispreviously mentioned Bibliogra-
e.
phie, f.onp.24 (Berlin, Pr. St.Bibl.Mus. Ms. 40632: Benedictaes),p.25 (id. Mus.
Ms.40598; Amsterdam, Univ.Bibl.Ms.VB 13), p.25-26 and 29 (Munich,Bay.
St.Bibl.Mus.Ms 266 and267), p.40 (London,B.M. Add.29246and29247).In the
verycomprehensive keyboardtablatureofJohannesof Lublin(Cracow, Polish
AcademyofSciences,Ms. 1716),dated1540,therearehowevernotedfivedifferent
arrangements ofJosquin's frottolaIn teDominesperavi, together withthoseof the
motetsStabatMaterand Tribulatio etangustia and of thechansonPlusmille(nulz)
regretz.Work byJosquinalso appearsto be in otherPolishsources.s8
Josquin'ssequencemotetBenedicta es coelorum Reginamaywell be considered as
one ofhismostimportant andinfluential compositions. Thiswork,whichhasbeen
arrangedforinstruments severaltimes,hasalso inspireda fewinteresting parody
The
compositions. manuscript Dc. 5.125 in theUniversity Libraryin Edinburgh
containson fol.81'-84 a luteintavolatura of thefirstparsof themotet(probably
by thehand ofFrancesco da Milano), which is followedon fol.84v-86by A.fantas
de
defrancesco meylayne. Likewise,thereis foundon fol.59'-62 in theParismanu-
scriptBibliothequedu Conservatoire, Ms.Res.429 a Ricercata di himlich francesco
milanese. ArthurNess has in his editionof the completeworksof Francescoda
Milano identified thesetwo fantasias/ricercares as parodiesof themotetBenedicta
es.19AnothercuriouspieceisintheHague( Sienamanuscript #(MunicipalMuseum,
Ms.20.860): RicerchasopraBenedicta es Celor.Regina(fol.67r-67v), a composition
whichlikewiseis basedon thefirstparsofJosquin's motet.20
Althoughinterest inJosquin'smusiccontinuedto existfora whilein the I7th
centuryas well,21onlya verysmallnumberof sourcesis knownfromthattime.
It would seemas iftheproductionofinstrumental arrangements of compositions

5I

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by him had virtuallycome to an end. The transcriptions whichseem to be in
and
manuscripts perhaps also in printedworks from thistime mustconsequently
be looked upon as exceptions.The London manuscript BritishMuseum Add.
29247,whichiswritten inItalianlutetablature
andwhichwas completed after161I,
containsalongsidenumerous worksbycontemporary Englishcomposers alsoa few
earliercompositions, including Josquin'schansonJene mepuistenir.22
The above
mentioned manuscript Mus.Ms.267intheBavarianStateLibrary inMunichwhich,
according to the of
catalogue J.J.Maier23, datesfrom the I6th century,could
according to Boetticher24date the
from beginning of the17thcentury.

The inventorypublishedbelow of printedinstrumental arrangements of com-


positionsby Josquindes Prez cannotbut be incomplete,forthe reasonsgiven.
Nonetheless, I hope thatan impression
can be gainedfromit of theway in and
extentto whichthemusicofJosquinwas arrangedforinstruments and theplace
it occupiedas suchin theinstrumental
musicoftheI6thcentury.

Abbreviations
Fr - France fg - Frenchguitarnotation
G - Germany fl - Frenchlutenotation
It - Italy gk - Germankeyboardnotation
N1 - Netherlands gl - Germanlutenotation
Pol - Poland ik - Italiankeyboardnotation
Sp - Spain il - Italian(Spanish)lutenotation
mn - mensural notation
sk - Spanishkeyboardnotation

52

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title source(afterBrown)

MASSES

Missaad fugam 1547/5 Valderribano nr.126


1552/7 Pisador 60
2 MissaAvemarisstella 1547/5 Valderribano I10

1547/5 Valderrabano 132


1552/7 Pisador 65
1552/11I [Phal6se] HortusMus. 80
3 Missade Beata Virgine 1536/7 H. Newsidler 34
1546/14 Mudarra 25
1546/14 Mudarra 44
1547/5 Valderrabano 80
1547/5 Valderribano 107
1547/5 Valderrabano 127
1552/7 Pisador 66
Hortus
1552/11 [Phalkse] Mus. 69
1554/3 Fuen1lana 66
1556/5 Heckel 71
1557/2 Henestrosa 54

1557/2 Henestrosa i00


1557/2 Henestrosa 101
1558/5 Ochsenkun 15
1562/3 Heckel 71
1578/3 Cabez6n 71
1578/3 Cabez6n 89
1583/2 Ammerbach 70
4 MissaFaisant
regretz 1538/1 Narvaiez 16
1546/14 Mudarra 10
1547/5 Valderrabano 128
1547/5 Valderrabano 129
1552/7 Pisador 59

1554/3 Fuenllana 75
1554/3 Fuenllana 75
5 MissaFortunadesperata 1538/2 [Formschneider] 10
1552/7 Pisador 62
1552/7 Pisador 67
6 MissaGaudeamus 1547/5 Valderr~bano 125
1552/7 Pisador 64
7 MissaHerculesdux Ferrariae 1538/1 Narviez 15

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composeras
giveninthe countrynotation remarks
source

I Josquin Sp ii Cumsancto spiritu.


Jusquin Sp ii Lacking the2d Agnusdei(voiceandvihuela).
2 Josquin Sp il ( Fantasia
acomposturada deciertaparte delamissa deAve
marisstella
deJosquin, Primero tono.#
Sp il Duo*= 1552/II,nr.80.
il ,(Benedictus
theBenedictus and2d and3d Agnusdei.
Jusquin Sp Lacking
N1 fl Duo * = 1547/5 nr.132.
,Benedictus
3 JossQuin G gl Cumsancto spiritu.
Josquin Sp il <(Kyrieprimero [...]glosado.,
Josquin Sp il <<Glosasobreel CumSanctoSpiritu [...].
Josquin Sp il primera partedelCredo[...].*(2 vihuela's).
Josquin Sp il ,La
<Fantasiaremedada al chirie
postrero [...].
Josquin Sp il Cum sancto spiritu.
Jusquin Sp il Lacking theHosanna, Benedictus,2d and3d Agnus dei.
NI fl Cumsancto spiritu.
Josquin Sp il Credo;Crucifixus. (voiceandvihuela).
Josquin G gl Cumsancto spiritu (sololute).= 1562/3, nr.71.
Jusquin Sp sk <[Tiento]SeptimotonosobrecumsanctoSpiritu[...]
glosadode Palero.
Jusquin Sp sk <Primer KyriedeJusquin glosadodePalero.*
Sp sk ((TercerKyrie,(compare nr.Ioo above).
dePres
Josquin G gl Cumsanctospiritu
Josquin G gl Cumsancto spiritu = 1556/5, nr.71.
Jusquin Sp sk <(TientosobreCumSanctoSpiritu. ,
Jusquin Sp sk Cumsancto spiritu.
G gk Cumsancto spiritu.
4 Josquin Sp il Sanctus; Ossanna.
Josquin Sp il <(Lasegunda partede la gloria,; Pleni.
Josquin Sp il Etincarnatus est.
Josquin Sp il <<Otraparte delcredo.>
Jusquin Sp il <(MissadeJusquin queva sobrefaremire, (lacking the
Plenisuntcoeliandthe2dand3d Agnusdei) (voiceand
vihuela).
Josquin Sp il Etinterra (voiceandvihuela).
Josquin Sp il <<Primero Kyrie>; <<Postrero Kyrie.>
5 Joskin G mn Plenisuntceli.
Jusquin Sp il Benedictus.
Jusquin Sp il Pleni.
6 Josquin Sp il Agnusdei.
Jusquin Sp il Lacking theHosanna, Benedictus,2d and3d Agnus dei.
7 Josquin Sp il <Sanctus, Ossanna dela misadefaisan regres n[sic!].
55

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title source(afterBrown)

(MissaHerculesdux Ferrariae) 1552/7 Pisador 58

1554/3 Fuenllana I
1590/6 Paix I

1590/6 Paix 34

1594/Io Paix
8 MissaL'Homme arm6supervocesmusicales 1547/5 Valderr?bano 7
1552/7 Pisador 61
1578/3 Cabez6n 84
1578/3 Cabez6n 85-86
1590/6 Paix 13
1594/Io Paix
9 MissaLa sol faremi 1546/14 Mudarra 35

1552/7 Pisador 63
1554/3 Fuenllana 73
1554/3 Fuenllana 76

Io MissaPangelingua 1546/14 Mudarra 32

1547/5 Valderrabano 122


1554/3 Fuenllana 2
1557/2 Henestrosa 6o

II Missa Sinenomine 1538/1 Narviez 17

MOTETS

filimi
I Absalon 1558/5 Ochsenkun 14
2 Ave Maria (Smijers nr.2) 1507/1 Spinacino I
3 Benedicta es coelorum Regina 1547/3 Gintzler 8
1547/5 Valderribano 136
1547/9-10 Teghi 19
I55I/I
Gorlier 7
1552/11 [Phalese] HortusMus. 84
I553/10 [Phalkse]HortusMus.II 24
1554/3 Fuenllana 70

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composeras
givenin the country notation remarks
source

Jusquin Sp il LackingthePlenisuntcoeliandAgnusdei.(voiceand
vihuela).
Josquin Sp il Plenisuntceli.
Pratensis G
Jodocus mn * (Plenisuntcoeli),reprinted
((Fugain epidiapente in
= Jusquin
dePres
Pratensis G mn 1594/lo.
triumvocum,superius in epidiapente,
Basissub
Jodocus
,(Fuga
diatessaron n(Agnusdei),reprinted in 1594/10;
incipit
thefirst
edition
ofthissource,[1587]7,isnowlost.
Pratensis
Jodocus G mn of1590/6.
reprint
8 Josquin Sp ii Agnusdei.
Jusquin Sp il LackingtheHosanna, Benedictus
andI'%and2dAgnus dei.
Jusquin Sp sk R(Clamanecesses* (AgnusdeiIII).
Jusquin Sp sk Osanna,Benedictus.
Pratensis
Jodocus G mn *Triadosex unica,(Agnusdei),reprintedin 1594/Io.
JodocusPratensis G mn of 1590o/6.
reprint
9 Josquin Sp il dGlosasobreunBenedictus de unamissadeJosquinque
va sobrela solfaremi [Quartotono]*.
Jusquin Sp il Lacking thePleni,the2d Hosannaandthe2dAgnusdei.
Josquin Sp il Qui tollispeccata(voiceandvihuela).
il <Primero
Josquin Sp Kyrie, (voice and vihuela),,Christe,,
,Postrero Kyrie.*
o0 Josquin Sp ii (Glosasobreunkyrie deunamisadeJosquin
postrero que
vasobrePangeLingua[Tercero tono]., (compare
15572,
nr.6o.)
Josquin Sp il Quitollis.
Josquin Sp il Benedictus. Duo.
Sp sk fantesia Tercero
[devihuela]. tono,(compare
,Segunda
1546/14,nr.32).
ii Josquin Sp ii *Cumsancto dela missadelafuga* [sic!].
spiritu

I josquin de Pres G gl
2 Josquin It ii
3 Josquin It ii = 1552/II, nr.84; 1563/12,nr. III; 1568/7,nr.114.
Josquin Sp il 2apars.PerilludaveDuo.
-N fl
Fr fg *Le duo de Benedicta.PerIllud Ave
prol., (guitar).
NI fl = 1547/3,nr. 18.
-N1 fl 1 and3"parsforvoiceandlute.
Josquin Sp ii Voiceandvihuela.

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title source(after
Brown)

es caelorum
(Benedicta Regina) 1556/2 Drusina 36
1556/5-6Heckel 6

1558/5 Ochsenkun 3
1558/6 Rippe 3
1562/3-4Heckel 6

1562/11 Rippe I
Theatr.Mus.
1563/12 [Phalkse] III
Luculentum
I568/7 [Phalkse] Theatr.Mus.
I14
& Bellkre]
1571/6 [Phalbse Theatr.Mus.159
1573/5 Teghi 19
1574/5 Melch.Newsidler I
1578/3 Cabez6n 114-115
1589/6 Paix I

4 Ecce, tu pulchra es 1552/7 Pisador 72


5 In exituIsraelde Aegypto I553/3 Brayssing 8
1558/5 Ochsenkun 12
1570/4 [Phalkse& Bellere]Select...carmina
49
6 In principioeratverbum 1552/7 Pisador 68
7 Inviolata 1533/1 Gerle 50
1547/5 Valderrtbano 87
1558/5 Ochsenkun 12
1578/3 Cabez6n 91and99
8 Memoresto 1536/7 H.Newsidler 29
9 Misereremei,Deus 1552/7 Pisador 76
Io Paternoster 1536/3 Francesco
da Milano 32
1546/7 da Milano
Francesco I
1547/3 Gintzler 7
1547/5 Valderrtbano 26
1547/9-10Teghi 18
154?/4 FrancescodaMilano25 32
1552/11 Mus.
Hortus
[Phalkse] 81
1558/5 Ochsenkun I
1561/3 Francesco da Milano I
da Milano
1563/5 Francesco I
Theatr.Mus. io6 andIo8
1563/12 [Phalkse]
1573/5 Teghi 18
1578/3 Cabez6n II?
II Praeterrerumseriem 1547/3 Gintzler Io

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composeras
givenin the country notation remarks
source

G gl 2a pars <<Per
illudave a2 ,.
G gl 2a pars <(Perillud ave, ein Duo.)) = 1562/3-4,nr.6. (2
lutes).
Josquinde Pres G gl
Josquin Fr fl = I1562/II,nr.I.
G gl 2a pars #Perillud ave, ein Duo = 1556/5-6nr.6. (2
lutes).
Fr fl = I558/6,nr.3.
N1 fl = 1547/3,nr.8.
N1 fl = 1547/3,nr.8.
N1 fl
-N fl = 1547/9,nr.19.
Josquinde Pres G gl
Jusquin Sp sk 2 versions.
'
Josquin prato G gk Transcription of the version' 12 by Joh.Castileti;cf.
&Joh.Castileti OsthoffII,p. 38.
4 Jusquin Sp il .Tota pulchra#(voice andvihuela).
5 - Fr fg = 1570/4,nr.49.(guitar).
Josquinde Pres G gl
-N fg = 1553/3,
nr.8. (guitar)
6 Josquin Sp sl
7 - G gl
Josquin Sp il
Josquinde Pres G g1
Jusquin Sp sk 2 versions;glosas.
8 Jossquin
depress G gl
9 Jusquin Sp il Voice and vihuela.
io Josquin It il = 1546/7, nr.I; 154?/4,nr.32; 1561/3, nr.I.
nr.I; 1563/5
Jusquin It ii = 1536/3, nr.32.
It il nr.81, 1563/12,
Josquin = 1552/11, nr.Io6 and io8.
Josquin Sp il 2" pars .Ave Maria. >
N1 fl
Josquin It il = 1536/3,
nr.32.
N1 fl = 1547/3,
nr.7.
Josquinde Pres G gl
Jusquin It il = 1536/3,nr.32.
Jusquin It il = 1536/3,nr.32.
N1 fl = 1547/3,nr.7.
-N fl = 1547/9,nr.18.
Jusquin Sp sk 2a pars #AveMaria.*
II Josquin It ii

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title source(afterBrown)

(Praeterrerumseriem) 1554/3 Fuenllana 72


1555/4 Rippe 3
1558/5 Ochsenkun 2
12 Qui habitat Gerle 47
I533/I
1558/5 Ochsenkun 13
1565/1 Bakfark I1
1569/1 Bakfark II
13 SalveRegina 1546/4 Barberiis 5
1552/7 Pisador 79
14 StabatMater 1536/3 Francescoda Milano 33
1546/7 Francescoda Milano 2
1547/3 Gintzler 13

154?/4 Francescoda Milano 33


1552/II [Phalse] HortusMus. 77
1553/10 [Phalse] HortusMus.II 23
1558/5 Ochsenkun 4
1561/3 Francescoda Milano 2
1563/5 Francescoda Milano 2
I563/I2 [Phalkse]Theatr.Mus. 105
I568/7 [Phalese]LuculentumTheatr.Mus.I 13
Theatr.Mus. 158
1571/6 [Phalbse& Bellre]
1578/3 Cabez6n 9o and98
15 Tribulatioet angustia 1552/1I Hortus
[Phalbse] Mus. 83
16 Venisanctespiritus 1583/4 Paix 7
1583/6 Riihling 53
17 Virgosalutiferi 1578/3 Cabez6n 96

SECULAR COMPOSITIONS

I Adieu mes amours 1507/I Spmacmo 18


1533/1 Gerle 31
1536/6 H. Newsidler 50
1536/7 H. Newsidler 31
1556/2 Drusina 9
2 All6gez moy 1552/11 [Phalse] HortusMus. 93
3 La Bernardina 1507/1 Spinacino IO
1507/1 Spinacino 15
1536/7 H. Newsidler 12

1538/2 [Formschneider] 16
4 Comment peult avoir joye 1507/2 Spinacino 14

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composeras
givenin the country notation remarks
source

Josquin Sp il Voice andvihuela.


Josquin Fr fl
Josquinde Pres G gl
12 - G gl
Josquinde Pres G gl
JosquinDepres Pol il = 1569/1,
nr.I1.
JosquinDepres Pol/N1 il nr.Ii.
= 1565/1,
13 Jusquino It il
Jusquin Sp il
14 - It il nr.33;1561/3,
=1546/7,nr.2; I154?/4, nr.2;1563/5,nr.2.
Jusquin It il = 1536/3, nr.33.
It il = 1552/11I,nr.77; 1563/12,
Josquin nr.IoS; 1568/7,nr.113;
nr.
1571/6, 158.
It il = 1536/3, nr.33.
N1 fl = 1547/3,nr.13.
SN fl Voice and lute.
Josquinde Pres G gl
Jusquin It il = 1546/7.
Jusquin It il = 1546/7,nr.2.
-N fl = 1547/3,nr.13.
fl = 1547/3,nr.13.
N1
- N fl = 1547/3,nr.13.
Jusquin Sp sk 2 versions;glosas.
15 - NI fl
16 Josquin G gk
Josquinde Pres G gk
17 Jusquin Sp sk tTercerapartede virgosalutiferaJusquin,
[glosas].

I- It il
G gl
G gl
JossQuin G gl
G gl
2 - NI fl 2 lutes.
3 Josquin It il 2 lutes.
Josquin It il solo-lute.
Jossquin G gl
Joskin G mn
4- It il

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title source(afterBrown)

5 Enl'ombre d'ungbuissonnet I533/I Gerle 35


6 Faultd'argent I543/I Cavazzoni 6
1565/1 Bakfark 12

1569/I Bakfark 12
& Bellare]Thesaurus
1574/7 [Phalbse Mus. 51
d'ungrantempo
7 Fortuna I507/1 Spinacino 5
8 InteDominesperavi I509/1 Bossinensis 54
1544/1 H.Newsidler 34
1547/4 H. Newsidler 31
9 Jenemepuistenir
d'aimer 1546/14 Mudarra 50
10 Milleregretz 1533/I Gerle 32
1533/2 [Attaingnant] 18
1536/7 Newsidler 44
1538/1 Narvaez 18
1546/18 [Phalse]Deschansons
reduictz... 19
1551/8 Susato 37
Hortus
1522/11 [Phalkse] Mus. 64
1556/5-6Heckel 26
1562/3-4 Heckel 26
1563/12 [Phalkse] mus.
Theatr. 44
- Circumdederunt
nappes
I Nimphes me 1547/3 Gintzler II

12 La plusdesplus 1536/7 H.Newsidler 7


1538/2 [Formschneider] 82
13 Plusnulzregretz 1533/1 Gerle 33
1536/7 H.Newsidler 33
1556/5-6Heckel 9

1562/3-4Heckel 9

14 Quevousmadame- Inpaceinidipsum 1507/2 Spinacino 33


15 Scaramella 1532/2 Gerle 35
1537/1 Gerle 35
1544/1 H. Newsidler Io

DUBIOUS COMPOSITIONS (see p.45-47)


Duo deJosquin
I Fecitpotentiam 1554/3 Fuenllana 8
2 ObsecrotedominaJosquin 1547/5 Valderribano 85
3 Tuleruntdominum 1552/7 Pisador 80o
1592/6 Adriaenssen 55
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composeras
givenin the country notation remarks
source

5 G gl
6 - It ik *CanzonsopraFaltd'Argens.
De Pres
Josquin Pol il = 1569/1,
nr.12.
De Pres
Josquin Poi/N1 ii = 1565/1,
nr.12.
-N1 fl = 1565/1,
nr.12.
7 - It il
Dascanio It
8 Josquin il Voiceandlute.
G gl = 1547/4,nr.3I.
G gl = 1544/1,nr.34.
9 Gombert Sp il 4Respicein me Deus, (voice andvihuela).
o - G gl nr.19.
= I1546/18,
J.lemaire Fr mn
G gl
Jusquin Sp il Milleregres.
Lacancion
delEmperador
delquarto
tono.,
-N fl = 1533/1,nr.32.
N1 mn 'PavaneMilleregretz.
NI fl = 1563/12,
nr.44.
G gl = 1562/3
-4, nr.26(2 lutes).
G gl = 1556/5-6,nr.26 (2 lutes).
-N fl = 1552/11,nr.64.
II Josquin It ii *Circumdederunt me.* Contrafactumof .Videte
omnespopuli.,
12 Jossquin G gl cLaplusteplus.
Josquin G mn
13 - G gl *Plusmileregres.= 1 nr.9.
1556/5-6,
JossQuin G gl *Plusmiiltz *
regres.
G gl * = 1533/I,nr.33; 1562/3-4, nr.9 (2
tPlusmilleregres
lutes).
G gl tPlus mille regres = 1533/1,nr.33; 1556/5-6, nr.9
(2 lutes).
14 - It il tInpaceinidipsum.
15 - G gl = 1537/1,nr.35.
G gl = 1532/2, nr.35.
G gl

I Josquin Sp il
2 Josquin Sp il
3 Gombert Sp il Voiceandvihuela.
N. Gombert Nl fl

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title Brown)
source(after

4 Forsseulement 1533/I Gerle 41


1536/3 Francescoda Milano 24

1538/2 [Formschneider] 31
1540/I H. Newsidler 35
1546/18 reduictz
[Phalbse]Des chansons 17
1547/2 Francescoda Milano 22
1549/6 H. Newsidler 58
154?/4 Francescoda Milano 24
1554/6 Rippe 6
1562/1 Francescoda Milano 22
1562/9 Rippe 5
1563/6 Francescoda Milano 22
1566/1 Francesoda Milano 22
1574/7 mus.
[Phalkse& Bellkre]Thesaurus 18
5 Mala se nea CanzonFrancesea5 1548/2 Borrono 21
1548/3 Francescoda M. & Borrono 21
1563/3 Borrono 21
6 O Venusbanth 1507/I Spinacino 14
7 Vraydieudamors 1549/1 Barberiis 31

64

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composeras
givenin the country notation remarks
source

4 - G gl = 1546/18,
nr.17.
It ii = 1547/2,nr.22; 154?/4,nr.24; 1562/II, 22; 1563/6,
nr.22; 1566/1,nr.22.
Joskin G mn
G gl
N1I f = 1533/I,nr.4I.
It ii = 1536/3,nr.24.
G gl
It ii = 1536/3,
nr.24.
Fevin Fr fl
It ii = 1536/3,nr.24.
Fr f = nr.I8.
1574/7,
It ii = nr.24.
1536/3,
It ii = nr.24.
1536/3,
-N f = nr.5.
1562/9,
5 Josquino It il = nr.21.
1548/3,nr.2I; 1563/3,
Josquino It ii = 1548/2,
nr.2I.
Josquino It ii = 1548/2,
nr.2I.
6 - It il
7 Josquin It il

65

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I. Werken vanJosquin desPrIs,uitgegeven doorA.Smijers (Amsterdam, Vereniging voor
Nederlandse Muziekgeschiedenis, 1922-I969).
2. (Cambridge, Mass.,Harvard University Press, 1965).
3. Wolfgang Boetticher's Le luth etsa musique. Bibliographiedessourcesdela musique pour
luth (Paris,Centre National dela Recherche Scientifique, a partofhis
n.d.; originally
Studien zursolistischen Lautenpraxis des16.und 17.Jahrhunderts, I943) contains
Berlin,
all thesources (knownto him)ofmusicfortheluteandrelated instruments, both
printed andinmanuscript, aswellasthosefrom theperiodafter 16oo,butthisworkis
nowtoooutofdateandtoounreliable, inaddition to whichitdoesnotcontain any
detailed listofcontents ofthecollections listed.
4. Helmuth Osthoff, Josquin Desprez, 2 vols.(Tutzing, HansSchneider, 1962/1965), II
p.284, 301.
5. Osthoff, op.cit.IIp.166,178-179, 231-238;seealsoHelmuth Osthoff, Das Magnificat
beiJosquin Desprez, in AfMW XVI in
(1959),p.220-23I, particular, p.228-230.
6. (Firenze, Leo S.Olschki, Vol.I,1952; Vol.II,1968).
7. Brown,op.cit., p.3-4.
8. Cf.Myroslaw Antonowytch, ThePresent StateofJosquin Research,in: Reportofthe
EighthCongress, New York1961,ed. byJanLarue,Vol.I (Kasseletc.,Birenreiter,
1961),p.53-65,andOsthoff, Josquin Desprez, II p.8ff.
Das
9. Osthoff, Magnificat beiJosquin Desprez, p.230.
10. Osthoff,Josquin Desprez, II p.IIO-III.
I1. Werken vanJacobObrecht, uitgegeven doorJohannes Wolf,vijftiende en zestiende
aflevering. Wereldlijke werken (Amsterdam, Vereeniging voor Noord-Nederlands
Muziekgeschiedenis, 1913).
12. EdwardHenryClinkscale, TheComplete Works ofAntoine de Fivin(AnnArbor,
University Microfilms Inc., I
1965), p.18, II p.458-459.
13. Cf.J. vanBenthem, ZurStruktur undAuthentizitdt derChansons a5 und6 vonJosquin des
Prez,in:TVerXXI-3 (1970),p.170-188.
14. Cf.Osthoff, Josquin Desprez, II p.6.
15. Cf.Osthoff, op.cit.,II p.8ff.
16. Cf.Osthoff, op.cit.,II p.38.
17. Otto Gombosi(ed.), Compositione di MeserVicenzoCapirola(Neuilly-sur-Seine,
Societ6 deMusiqued'Autrefois, 1955).
18. Communication byMissJadwiga Klobukowska (Warsaw).
19. TheLuteMusicofFrancesco Canovada Milano(1497-1543), ed.byArthur J.Ness
(Cambridge (Mass.), Harvard Press,
University 1970). Harvard PublicationsinMusic.
20. Cf.my unpublished study Bjydragen totdestudie derluitmuziek (Utrecht,1968).
21. Cf.Osthoff, I II
op.cit.,p.Io03; p.256.
22. No.46, fol.35';cf.Augustus Hughes-Hughes, Catalogue ofManuscript Musicin the
British Museum, Vol.III (London,1965),p.62. See also Osthoff, op.cit.,II p.345.
23. JuliusJ.Maier, Diemusikalischen Handschriften derK.Hof-undStaatsbibliothek inMuenchen
I (Munich, I879), p.146.
24. Boetticher, op.cit.,p.29.
25. Arthur Ness,inhisabove(footnote I9) mentioned edition oftheworksofFrancesco
daMilano, 12
p. footnote 26,haspointed outthatthissource wasprinted inorsometime
before 1536.
66

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