VOLUME XXVII NUMBER 1 FEBRUARY 1986 The American Recorder Published Quarterly by the American Recorder Society $4.00Jacob yan Eyck and his “Euterpe oft Speel-goddinne” ‘Those noble eyes—if they could see, With ewice as many tunes would he Euterpe's stages decorate; But since the gods decreed his fate, (On wings he rises without sight, A Phoenix in exalted flight Above where mortal man espies: Past Orpheus, if he had eyes." ‘These verses were writen by the poet Thomas Asselin (1620-1701) in praise of the blind Utrecht composer, carillon neur, and recorder player Jacob van Eyck (@. 1590-1657). Van Byck’s mu sical legacy consist ofa large number of compositions for unaccompanied so prano recorder along with a few duets for two sopranos, found chiefly in the twowvolume collection entitled Der Fly ten Lusvhof (The Pleasure Garden of Flutes") ‘Recorder players today have access to several editions of this work, Gerrit ‘Vellekoop prepared the frst modern one in 1957, and a faseimle became avail able in 1979.) Recently, Winfried Mir chel and Hermien Teske did anew mod tern edition for Amadeus Verlag* Neither Vellekoop nor Michel and Teske, however, consulted an earlier edition ofthe first volume of Der Fyn Lusthof, which was titled Euterpe oft Speebgaddinne "Euterpe, or the God: ‘dess of Instrumental Music”). After pro- viding some biographical information on the composer and surveying the seven teenth-century editions of his works, this article will focus on that early edi- tion, Van Eyck life’ Jonkheer® Jacob van Eyck was born in Heusden, a small town near’s-Hertogen- bosch in the province of Brabant. He ‘was the son of Goyart van Eyck, a bat lll, and Heilwich Bax. Both parents were of noble birth. Jacob, born blind, lived at home until well into his thirties. Little i known about his early life and training except that he became skilled at playing the local carillon and keeping it in good working order. He also learned to play the organ, the recorder, and the flute. ‘Afver several visits to Utrecht to give advice on church bells, he was appointed carilonneur of Utrecht cathedral in 1625 at a salary of 350 guilders a year.” From 1632 onwards he held similar po- sition at St. John's church and, beginning in 1645, Se_ James church and the town hall as well, As Directeur van de Klok twerken (Director ofthe Bell-works”), he ‘was responsible for the technical main- tenance and improvement ofthe Utrecht carillons. The job description for his ‘work at Se. John's, formulated by the church chapter on 13 January 1632, states that he was to maintain the bells in good ocder and play every Sunday and Thiemo Wind Friday between 11 a.m. and noon, Fur- ther, from May until the annual fair in July he was to play four times a week in the evening after dinner. Another duty. was to change the pegs in the barrel of the automatic carillon, work that genr erally took place at night. Tn 1628 the city council raised van Eyck’ salary to $00 guilders on the cond tion that he instruct one or two pupils in playing the carillon. In 1631 he asked the council to buy a practice keyboard with ‘thirty small bells, so that his pupils would ‘not fumble on the public chimes, dis- sgyacing themselves and the whole city ‘The practice instrument was placed in van Eyck’s home. A number of carillon neurs from other towns travelled to Utrecht to study with him. Among them ‘was the city organist and cailonneur of "yHertogenbosch, Jan Baptist Vern (c 1610-1650), who came in 1642 for in- struction in both carillon and recorder (van Eyck composed a set of variations on an “Almande” by Verrit)° Another in- dication of van Byck’s fame is that the governments of several cities in the Low ‘Countries appealed for his advice on both carillons and organs."° ‘On 8 October 1655, Johan Dix, who ‘was probably a student, was allowed to perform van Eyck’s duties on the carillon because of the latter's indisposition. Jacob van Eyck died on 26 March 1657. (On 6 April, the day of his funeral, the "Konnen del oghen Dab deunijes soy pel Optetpestneden ‘ar dt de Goto se, yet by eroos op ce login, ‘Asean Phone van de woop en, Hoge ser ema ah Dabble Orpbeug soe hy gh “This portion of Asteli's poem appeared at che begining of Der Masten Lushof fl (Amsterdam, 1654). "Jab van Eek, De Fhoten Lust-of, naae de coveponkeikeitgave vere oot Grr Vele- oop (Amterdams IXYZET, 1957-58), 3 vol "Amsterdam: 8. Groen, 1979. The ist volumes the 1689 eden, the second, the edition of 1634 Tnchaded a the troduction ie + suvey ofall Keown copies of the various contemporiy ed ‘Jac van Eyck, Der Flaten Las fe com- pete eden wh fill commentary, edited by Wine fed Mechel and Hermen Teske (Wiens ‘Amadeus, 1984), 3 vel. "Extensive bographia normation on van Eyck can be found in D. van den Hul, Kaine Urrech 1700, et zoe andar oar het ‘nde! hein va hr, Jacob ven Esch, wh a soa mary in English (ssetaton, Unversity of tech, 1982}, Se als tan den Hus article on ‘san Bye it The Nee Grose Dicsomaryof Mase and ‘Muaiione (London: Mace, 1880), vol 6, 5. 331-38 "A general le fora nobleman “The average income of highly eiled artisan at chat tine. "See RH, Tollfien, “Vest, Jan Bap,” The ‘Nea Grove, vl. 195 p78. The “Alimande Verne” appeacs in che second ‘volute of Der Fiten Lain, Vellekoop Tp. 2-103, Michel/ Teak Ill pp. 14-15. ‘The Hague (1626), Bergen op Zoom (1632), Anecioor (1638), + Hertogenboech (1640), Zt" ‘hen (1685, 1686) and Amsterdas (2633). "en Dix became exector of van Eyck wil inherted + consderde pare of hie property, and ‘socceedes hin ae cailoanene February 1986 91644 Euterpe oft Spee-goddinne Int ettion 1646 Der Fluyten Lust of Il Tet edn 1649 Der Fluyten Luse-hof L 2ad eden, corected ond enlarged | Ty the composer 1654 Der Fluyten Lusthof Il 2d eon <. 1655 Der Fluyten Lust-hof I Figure 1. The seventeenth-contury ed bells of the cathedral and St. James church chimed for three hours as a farewell to the deceased musician. His epitaph reads: ‘A member of the clan of Bax, here lies van Eyck, God took his eye, but favored all the more his ea, His mouth and fingers, his ability to bear An alltime wonder on recorder, bells alike Van Eyck had many admirers, among them the French philosopher René Descartes (1596-1650) and the Dutch statesman, poet, and musician Consta- tin Huygens (1596-1687), secretary t0 the Prince of Orange, Descartes became acquainted with van Eyck while spend: ing a year in Uteecht. In a leter to Marin Mersenne dated 23 August 1638 he describes a visi to the cathedral: tll you theresa blind man in Utrecht, very famous for his music who usualy plays on the bell of this high tower (the measure- ments of which you desire to know). [have heard him make five or sx different tones sound from each ofthe biggest bells. He does of wan Eyes works it without touching them, by bringing his ‘mouth near their rst and singig very softy the tone he wishes them costae" Van Eyck therefore knew how to make the fundamental and overtones sound separately, He demonstrated this stall to Huygens and others using a crystal wine glass. Huygens mentions it ina letter dated 26 August 1639 to the music theorist Joan Albert Ban; he ealls van Eyck a “noble and blind man of as- tonishing hearing and judgment.” ‘Van Eyck’s relationship to Huygens is especially interesting since the composer dedicated his published works to this statesman. They were related: Huygens grandmother and van Eyck’s mother were cousins. The connection between the two men will be considered more closely in the discussion of Euterpe below. Contemporary editions of van Eyck’ works ‘Van Eyek’s compositions consist main- ly of sete of variations on popular tunes and psalm melodies. The process of com- posing variations was called breecken Coreaking”): the note values of the theme were broken into smaller ones, ‘each reprise becoming increasingly vir- tuosic. After the title, most of the pieces have the inscription’ gebroocken van J. Jacob van Eyck (*broken by J. Jacab van Eyck’). A variation is usually called a modo ("manner"). The theme is Modo 1, the first variation is Modo 2, ete. ‘Many of these works may have had their frst performance in the yard of Se. John's church, since van Eyck’s salary ‘was increased in 1649 for “entertaining the people peomenading in the church; yard with the sound of his lite Mute {recorder}. By chat time all his works had been published, so itis possible that such “promenade concerts” had been go- ing on for many years All contemporary editions of van Eyck’s works were published by the Ansterdam printer Paulus Matthyes, who was a composer himself and prob: ably played the recorder as well. Eucerpe, published in 164, is called the corse deel ("first volume"); the second volume, Der Fluyten Lust-hof, followed it in 1646. Both volumes rapidly gained in- ‘emational fame. In 1646 they were pre sented at the book trade fir of Frankfurt am Main, Germany."” In 1649, a copy of the second volume was in the library of King John IV of Portugal. "* ‘The appearance of two volumes with different titles was undoubtedly re- garded as unsatisfactory. An enlarged second edition of Euterpe that appeared in 1649 was therefore called Der Flusten Lusthof, frst volume (hereafter ceferred to as Der Fluyten Lust hof 1 (1649). On its title page we read that it was “the second edition, enlarged and 'reheard’ by the composer.""? Van Eyck must have made corrections in the Euterpe text while someone played for him. We shall see later that he had also asked Huygens to undertake corrections. Euerpe has sixty-six pieces, Der Fluy- ten Lusthof (1649) eighty-four. The lat- "Van Bye van bra gesagt der Baten, eyd er onder God nam hem in bet 00g, mar gat hem Jnmond en vingeren, en sherpeyd v0 shoo: In ye n Koken pele ale ceuwen wonder. (Cited in LW. Unger, “Constantin Hoyges ea defame van Eyck" Oud Holand (1885), sl 1 9. 97-110 A propes de quoy ie wous day gud y 2 va sucuge a Vtecht, ft renommé pours Monge, (qulauéocinrement sures coches de cee hae tourdant vous deazes aod es mesures, leguel'ay ‘fie renee $046 dior sons a chance des 10 The American Reconder lu groses de ces coches, sins ls toucer, rocant aeulement a bouche de eur bard flnnan taut Basement le meme ton qu leur went ie ter. In Adam & P. Tannery. ed, Occ de De ‘aren, Conesundence Uy Mert 1638-Diserbre 1639 (Pcs, 1858), p 329, “Demonsraat hic wi aobibs et caeco, sad stupends sudturen ode, Van Eis, cognate In JA, Worp, ed, De Briding ven Conan te Hingene(Gravenhage: M. Noll, 111 vol 2 (1634-9), p. 487 (eterno. 2214), "See van den Hal p46. Preceding the 1609 edion of Der Fen Last hofisa"Vertninge en Onderuryrnge op de Hand fut" (Showing and lastuetion on the Hard flute), whch hasbeen sped "P Mini tat _undoubeedly tnd for Paulus Marthyx. This mar feral repodiced nthe facemie ection (oe tote 3) sells Vllekap land Michel/Tese See alo noe 24 "See A. Gabler, Verses erin den Frank: ad Lepaiger Mescegr dere 1968s 1759 angezipe Mustain (Lop Kab, 1902; repent, iversum Kn, 1965), p28 (nos 4408? 2) See J. de Vasconcelos, Prema pedo Index sdaLirenade Musca demas a, ePonderoe Rey Dom loa « 1V. (Port. Inprenst Pormgcz, 1874), pp. S14-15 (No. 935, "Dens Drul, op nieuws overhoort, vesbeter en semeerdere, Sor den AuteurFigure 2. Van Eyck’ letter to Huygens5 PaBee iE - EU TER PE Oft Ge OFDE DEN Nee Op de Fluit en allerleiBlaef-tuigh te gebruiken: Geftelt door den E. JONCKER_JACOB van EY CK ,Uitnemende Meclter, op de Fluiten Klock-gefpeel, van den Dom tot Uitrecht, 8c. EERSTE- Eck ftuck met vericheyde veranderingben. Vat en dinfighy voor alle Konp-ievende Lief ebbers van de Fluit, of Blaes-tnigh,en alerei InPramenten « vAmferdam by Paulus Mathifs,in de Stoof-fteegh in de Bock-drukkery gedeuckt ,1644- Figure 3. The second ttle page of Euterpe oft Speel-goddinne ter contains most ofthe Euterpe pieces in about the same order, but with addi- tional compositions at the end. Among these are five duets for two soprano recorders that I believe were originally written for the carllon.*® ‘A second edition of the second vol< lume, Der Fluyten Lusthof Il, appeared in 1654. Finally, an undated edition ofthe first volume came out around 1655. Fig: ture 1 shows the genealogy of the five editions. Paulus Matthysz set complete- ly new type foreach, s0't is not surpris- ing that they all differ in various ways A closer look ct Euterpe On 10 August 1644 van Eyck sent a copy of Euterpe to his dedicate, Huy- gens, who was encamped with the Dutch army at Sas van Gent (Flanders). ‘The letter that accompanied the packet has survived (Figure 2). Since he could not write, van Eyck must have dictated it # Tes contents, written in the hterary style of the times, may be summarized as follows: My honorable Lord and cousin, thi eter is meant to accompany” the booklet entled Euterpe of Speedin (ac). As fara tht booklets concerned, it hasbeen made by se ann dicated to yo. Ihave add to the ‘st orl composed by various authors. 1 would ike to ask you fo undertake correc: {ons in the frstmentoned booklet bees | “not know anyone else more competent do so. Errors may have come in during the tenting and printing. I hope to receive your dnswer. Please lee me know whether yoo woul like some more copies while you ee ‘with the army. Ino, L wal keep thes in my possesion tll you have raturned home.” Since Euterpe had already been printed, the composer was not asking Huygens to proofread bat co supply cor- rections for the next edition, which ap- parently was already on his mind. Ie isa pity that Huygens’ answer has been lost. The fluit heme van Eyck mentions is Der Goden Fluivhemel ("The Gods! Flute-heaven") collection of pieces for fone, two, and three instruments that wat published by Paulus Matthysz about the same time. ‘The sole extant copy of Euterpe, which is incomplete, is preserved in the library ‘of Amsterdam Uiversty.2! This copy has two different title pages, one at the beginning and the other after the table of contents, preceding the music. On the second title page (Figure 3), the com poser is referred to a8 an Usenemendt Meester op de Fit en Klock-gespeel (EX cellent Master on the Recorder and Car- lon”) Why has so htte attention been paid to Euterpe? Probably because the ttle page of Der Fluyten Lusehof I (1649) states, a8 noted above, that it i€ a re- vised second edition, ‘modern editors hhave concluded that: 1. the text of Der Fluyten Lus-hof I (1649) should take precedence because it has been cor- rected by the composer, and 2 li pieces Jn Euterpe appear in its successor as well. Although many mistakes in Eucerpe swere corrected in the second edition, new errors crept in.” For example, "Een Schots Lietjen” (“A Seottsh Song’), in F major, ends in Der Flusten. Lusthof 1 These duets are avalabe in “Five Doct rom Dey Fhe Luho. part | 1690), tes by Wil lam E. Hewsck (Levittown, NY Sweet Pes Tre, 1985), "ii preserved inthe Univenity of Leiden (MS Hygena 3) ip 1626, van Eyck signed a notarial deed with a stamp (reproduced in Michel/ Teste lp 6), "the orginal Dutch tee isa Worp vo. 4p. 4; also in Unger. 102 12 The American Recorder “The dedications dated | Avge 1648. Among the composer 2 the panter Mathyex himel Most of the pieces from Der Gace Fhe reappeiced inthe esond volume of't Uenonent Kine (1649, modern edn sn ten valunes by RA, Rasch (Amsterdam: Groen, 1974-78) For soc ilormation on both thee collections, see ICA, Rasch, “Some MidSevenoorth Century Disch Colections of nstrumental Eneenble Mus.” Tih san de Verengngseor Neder lender Museguchidens, XXII (1972), gp. 160-200, and T. Dart, “Four Dutch Reconter Books," Gals Soi Journal 51952), pp. 57-60 "Cdalogue 0.2007 D 43. Of the 71 fobs, 8 Aonaunny “Pl tert ofthe fist tle page: EUTERPE/ OFT/SPEEL GODDINNE,/Opge- proske met veeethande utnemende Voysen, alt Paimen, Pavanen, Cas eaten, konsteyk en Lali geigureers; met verscheyde werandr(1649) on a ©, which was retained in both complete’ modem editions.** In Eucerpe the final note is F, certainly the preferred reading, In measure 44 of Modo 4 of the second “Pavane Lacryme,” the Euterpe version (Example 1a) is: much ‘more logical than that given in Der Fluyten Lusthef I (1649) (Example 1). Tn a great number of pieces the two sources have minor vaniant readings here it s not a question of right or wrong, but of different musical ideas. The later version may he regarded as preferable because it was not corrected by the com- poser. Such variants offer interesting in sights into van Eyck’s compositional pro- cess, They ate of particular interest to editors of modem editions, who can document them in their commentary Nor dol of Euceye's pieces reappear in Der Flaster Lusehof Two, each entitled “Seemme nova” ("New tune”) are absent "Pavane Lacryme,” Modo 4, m. 44. geo es Example 1a. Euterpe, Example 1b. Der Fluyten Lustchof 1 (1649), “Psalm 118,” Modo 3, beginning, Example 2b. Der Fluyten Lusthof 1 (1649), feom the 1649 edition but were reinserted in the edition ofc. 1655 (as well as both complete modem editions)? A “Sara bande” in Euterpe appears in none of the Inter editions, and. “Psalm 118" and “Eerste Carileen” (First Caroline") are given new variations in Der Fluyten Lust hof (1649). The latter three pieces were recently issued in a separate edition." Since they are new to vs, they willbe dis cussed in some detail here ‘The “Sarabande,” with one variation, appears on fol. 13¥-14F of Euterpe. The Piece appears in its entirety at the end of this article. Its melody is the same as that of “Aerdigh Martyntje” (Nice Martin"), which is in both Eucerpe and Der Fluyten Lusthof 1 (1649), but with diflerent variations.** “Psalm 118," with two variations, is found on fol. 5¥~7" of Exterpe; in Der Fluyten Lust-of I (1649) it appears with a new see of four variations. The first Euterpe variation is headed Modo 3 and the second Modo 2, Neither of the ob- vious explanations—thar numbers two and three were interchanged or that the music was printed in the wrong order— works. Van Eyck generally followed a consistent outline in his psalm varia tions, with Modo 2 in quarter notes and Modo 3 in eighth notes, after which came one or more variations with six: teenth notes predominating. In Euterpe, the quarter-note variation (a “modo 2") 4s missing. Modo 3 (which really is a “modo 3°) is similar to Modo 3 in Der Flugeen Lusthof 1 (1649) (Examples 2a and 6), but Modo 2 is primarily in six teenth notes and appears in a somewhat diferent form as Modo 5 in Der Fluyten Lust-hof I (1649). Furthee errors that are corrected in the later edition: the first Euterpe variation lacks a half-measure, while the second is one measure 100 long ‘The last piece to be discussed here is the “Eerste Carileen” on fol. 68-69% of Euterpe. There are two melodies with “Carileen” inthe title in Euterpeand two smote in Der Flusten Luschof 1 (1649), “Carileen is the initial word of the song “Carileen, ay wilt u niet verschuilen” (Caroline, oh do not hide”), which is “Berste Carileen,” theme. rf opitte ay Example 3h, Der Fhyten Lasthot 1 (te. ingen,/Dor den B,J, Joab van Eyck, Masicyn fn Ditcioar/ vande Klosverlen tot Uitrecht, Ge /Nut en dientgh, voor alle Konselevende Lsthetiere tor de Fit Bes en alley Spel tuygh /Eerte dee /¢Amierdam, Gedrukt by Paulus Mathys de Stoofstegh, in de Boek eukery, 1644 (Giterpe ce the Godless of Instrumental Mus, fenbelched with maniold excellene verter, ab Pains, Pavans, and Courts, fe, ingeniously and im lovely manne gud wit several vara ‘ons, by the horourabl Jenihee Jacob van Eyck, Musican and Director of the bel-worls is ‘Uuecht, @e, Usefl forall aroving lovers of the flute {-e ecard), wind, and all sors of struments. Ft volume. ln Anterdan, ponted by Pasiue Maney, the Stolze, the peng house, 1644) ®rThese eecs were aot comested in the third con of 1655. ‘Velkoop Up, Michel Teske p25 (oo. a ‘Vellekoop I, pp, 61-63; Michel/Teske Ik, p 20.56 > ellekoop I, pp. 96-97; Michel/Teske Il, pp. 52-33 (po 83 6 8) vac van Eyck, Thc ices fo sora recorder rom Ea (1648), mit lade "Der Fen Tut eied by BLA. Rasch (Utrecht: The Dr sparon Pres, 1984). February 1986 13,based on a symphony composed by Wil: liam Lawes for the masque The Triumph of Peace (1634). This piece is also found in th Rogers hir Virginall Booke (1656) as “one of the symphonies." Later, the title “Carileen” was used for tunes with simlar melodies. The ‘Tweede” ("Second") and “Derde (Third) Carileen” are also based on ‘works by Lawes, the latter composed for snnia Triumphans apparently some shops don't know that. They would like you to send money and le some stock clerk pull an instru ment off a shelf and send it to Yyou; you take what you get We on't do it that way, and we'd like to tell you why you should fer from us: with a somewhat different theme (Ex- amples 3a and b). The Euterpe versior lasts one measure longer. It must have been this difference that made van Eyck ‘compose new variations. In both ei- tions the tune has two variations, the Ewerpe one being the more virtuosic tlusions Euterpe is such a valuable source that it deserves more attention than has been We have plenty of factory-fresh instruments in stock at all times paid to it up till now. As we have see ie val cet ee arte are cou fone ve [Seen eo ne really owe ito yourself to have a selection, no one should beasked tobuy | Vanane readings, and Euterpe includes an instrament sight-unseen. ‘material that did not appear in later edi tions. Therefore, itis evident that Jacob ‘van Eyck’s compositions are in want of a new critical edition, one that will take We pay shipping out on ALL orders. There is no dollar mit all instrument | into account all sources and be provided orders are shipped prepaid and insured. ‘with an extensive critical commentary. Our prices are the lowest anywher There is no obligation to keep an instrument; if vou don't find an accept able recorder, send them all back You send no money until you have examined and played the instruments, “Ss and found them to be acceptable ean Michel/Teeke Lp 20 M.Leowits, ed, Tris Manuele Cour de Chas 1© dng (Pu Eaton Cen before they are shipped. The bad instruments are never sent out 1o our | teNanonaldcls Rehorte Scum, 1970p ‘customers; we ship them back to the manufacturer. We play-test each and ‘every instrument, polish the bore with an oll and wax compound, and re All instruments are completely gone through and checked by our experts Sy , Sargent (Cp fa ty Kobeatd Mune, Ament inh of Ma place any sponge pads with real leather pods. Cog, sal 1,971) and]F Calne New ork. All our instruments are covered by our service warranty, During the 24 ‘month warranty period all repairs, including cracks and revoicng, wil be performed at no charge except for shipping to and from our shop. Inthe 1 qould like to thank De. Rudolf Rasch vent that a section is badly cracked we will epairit or replace itper the re- | ofthe Universny of Utrecht for hence {quest ofthe customer, charging only our cost for new parts (which often | fulreadng ofthe manuserpt and Me. are supplied to us free of charg Pamela Fortuin-Sturges for undertaking The second title page of Euterpe is Rosser, Moeck, Kung, Moeck Steenbergen, and Von Huene instruments ] reproduced by permission of the Am in stock, sterdam University Library. Van Eyck’s leer to Huygens is reprinted courtesy WICHITA BAND INSTRUMENT CO, INC] “Scien usa Boas 2525 E. DOUGLAS » WICHITA, KANSAS 672.11 | Consersatory recorder atthe Musicpeda { (G00) 835-3006 ones inter peat IN KANSAS, CALL’ COLLECT 8(316) 684-0291 | scteralerises on cary wooduinds, henow spends his time teaching and doing musi cological research ‘© We charge no sales tax on any mail-order sales outside the state of Kansas. 14 The Amencan RecorderJacob van Eyck Sarabande gut entug net net "P2800 Ay pup sates Erste sia bse a February 1986 15 “Music antography by Wendy Keaton