Dissertation On Rudentiu's (Rude) Book

6 8 - 1 3 ,8 0 6
LOBAUGH, Harold Bruce, 1930THREE GERMAN LUTE BOOKS: DENSS'S

FLORILEGIUM. 1594; REYMANNS NOCTES
MUSICAE. 1598; RUDE'S FLORES MUSICAE.
1600 [with] VOLUME H. APPENDIX, TRANSCRIPTIONS.
The University of Rochester, Eastman School of Music,
Ph.D 1968
Music
University Microfilms, Inc., Ann Arbor, Michigan
R ep ro d u ced with p erm ission o f the copyright ow ner. Further reproduction prohibited w ithout p erm ission.
THREE GERMAN LUTE BOOKS:

DENSS'S FLORILEGIUM.
REYMANN'S NOCTES MUSICAE. 1598;
RUDES FLORES MUSICAE. 1600
Presented by
Harold Bruce Lobaugh
To fulfill the thesis requirement for the degree
Doctor of Philosophy
Department of Musicology
Thesis Director: Charles Warren Fox
Eastman School of Music

of the
University of Rochester
January, 1968
YITA
The writer was born at Toledo, Ohio, on February 19,
1930.
He received his earlier education in schools in
Michigan and Colorado, receiving his high school diploma at

Loveland, Colorado, in 19*+7*
He was graduated cum laude from
Muskingum College at New Concord, Ohio, in 1952, with the

degree Bachelor of Science.
He was discharged from the U. S. Army in-' 195^ after two
years of service as an electronics technician.
Additional
study was undertaken at Kansas University, the University of

Kansas City, and Indiana University.
The writer completed
requirements for the degree Master of Music Literature with

a major in clarinet at the Eastman School of Music in 1959*
His professional experience has included teaching in
school systems in Kansas and Ohio.
He was formerly Assist
ant Professor of Music at Hartwick College, Oneonta, New York,

and at present is Assistant Professor of Music at the Univer
sity of Saskatchewan, Regina Campus, in Canada.
PREFACE
The intent of this thesis is to present a thematic
index of the three hooks, full transcriptions of represen
tative pieces, and appropriate background and comment.
All
three of the books are printed sources, two of which (those

by Reymann and Rude) were intended to appear as a combined
print in 1600, although we have not turned up any such copy.
The third book (Denss's) was included because it has, like
the others, not received much attention and is from the same
decade.
The thematic index appears in Volume II.
A concor
dance is listed separately in Chapter III.

In addition to the assistance provided by his advisor,
Dr. Charles Warren Fox, the writer acknowledges special help
given him by Miss Elizabeth Henderson and Dr. Klaus Speer of
the Sibley Musical Library staff, as well as that of Dr. Ri
chard Murphy of Oberlin College (who very kindly mailed his
precious transcriptions from Italy).
Mr. F. Niles Bacon of
Rochester assisted with the Latin translations, as did

briefly Miss Virginia Moscrip, formerly of the University of
Rochester.
ABSTRACT
Three well-known, hut relatively little discussed,
printed lute-books are presented in a thematic index, full
transcriptions of selected pieces (about one-fifth of the
purely instrumental ones), and comment.
Rather extensive
Latin prefaces to the volumes have been perused for 'the few
biographical details they contain and these have been com
bined with other material from secondary sources.
The repertoire of the books consists of over ^-00 pieces
for solo lute (or in the case of the Denss book, for solo
lute and voices), of which well over half are intabulations
of well-known polyphonic vocal literature, both sacred and
secular.
Reymann1s book is notable for its large number of pre
ludes (23) and fantasias (16).
Rude's book emphasizes the
pavan (20) and the galliard (21).
Six of Rude*s pieces have
been identified here as appearing in English sources of the

time.
For some of these, Rude has failed to give credit to
their composers," Inland and Holborne.
Reymann*s pieces are
evidently all his 'own, but Denss prints several pieces by

contemporary figures such as Victor de Montbuisson and Gregory
Howett.
All three of the books use the French tablature and are
R ep ro d u ced with p erm ission o f th e copyright ow ner. Further reproduction prohibited w ithout perm ission.
generally easily understood.

The quality of the music in the Denss hook is particu
larly high.
His fantasias are emulations of the motet style
in which some type of imitative subject is usually maintained,

however brief'in nature.
His codas are usually of subdominant
harmony with slowed rhythmic values.
His dance pieces are
skillful blendings of modal and tonal procedures, sometimes

using popular tunes.
Reymann's pieces are remarkable for their rich low so
norities and particularly,.in the case of the passamezzos,
for their interesting harmony.
His preludes are often dis
play pieces but some bear the imprint of the motet style.:>.
Nine of his fantasias use successive phrases of well-known
chorale melodies as subjects for imitative entries, while the
others have proved to be monothematic in structure.
The pre
ludes are presented in a variety of keys, including one in

B-flat molle and one in E-flat durum. His dance pieces are
done on a larger scale in length and range than many others
of their time.
Modal schemes are clearly seen in his fan
tasias, but in the dance pieces he leans toward quite modernsounding functional harmony, as well as toward wide-ranging
sequential melody.
Rude'shook is the least satisfying as to musical qual
ity.
Many of the pieces have more modally-oriented harmony
and cadence points with a wandering melodic style.

pieces are those by persons other than himself.
The better
His galliards
are quite conservative in their formal layout, but many of the

pavans have unusual interior sections in triple time.
Many of the vocal intabulations are rather literal rep
resentations of the original, but some have the scalar em
bellishment needed to fill in long note values.
Rude has
evidently made some changes in the harmony of a few pieces.

Denss has included outer voice parts of the polyphonic vocal
original in his book, probably to make the book more suitable
for Hausmusik groups which might be lacking some voice parts.
TABLE OF CONTENTS
VOLUME I
PREFACE
..............................................
LIST OF TABLES
CHAPTER
I.
CHAPTER
II.
CHAPTER III.
........................................
INTRODUCTION
THE LIVES OF THE COMPOSERS AND THEIR TIMES

THE BOOKS THEMSELVES
A.
B.
CHAPTER
IV.
V.
BIBLIOGRAPHY
....................
The Contents: Prefaces and Music . .

Concordance ......................
The Notation and the Present Edition
THE MUSICAL STYLE . . . . ................
'
CHAPTER
............................
A.
B.
C-.
D.
E.
The
The
The
The
The
Intradas.................
. .
Preludes ......................
Fantasias
..............
Dance-Pieces ..................
Vocal Intabulations . . . . . .
SUMMARY ..................................
............................
.............
VOLUME II
APPENDIX: TRANSCRIPTIONS
......................
Florllegium (Adrian Denss)

Thematic Index ............
Complete Pieces ..........
Noctes Musicae (Matthias Reymann)
Complete Pieces .......... .
Flores Musicae II (Johann Rude)
Complete Pieces . . . . . .
Vocal Intabulations ..........
iii
LIST OF TABLES
Table
1.
2.
3.
Florilegium: Table of Contents .

Flores Musicae: Table of Contents
Critical Notes ................
VOLUME I
CHAPTER I
INTRODUCTION
The three lute books we are discussing were printed in
Cologne and Heidelberg and mark the introduction into Germany
of the French system of tablature, in printed books.
They
and their compiler-composers were known on into the seven

teenth century and are very often referred to in passing by
modern writers, but not in detail.
All of the pieces are for solo lute, to which, in the
case of the book by Denss, are added some voice parts.
The
books together comprise 257 vocal intabulations and 198 inde

pendently conceived pieces such as intradas, preludes, fan
tasias, and dance pieces.
The distribution of the contents
of the three books is as follows:

Intabulations
Independent Pieces
86
6*t
7^
Rude (Book I)
95
Rude (Book II)1
76
60
Denss
Reymann
We have directed our attention, as far as musical style

is concerned, principally toward the independently conceived
^The two Rude books are hereafter referred to as Rude I and
Rude II.
2
pieces.
However, a few comments have been made about the
relatively few selections for which the vocal models are

easily available in editions of the collected works of their
composers.
Tables of the contents of the groups of intabu
lations have been given (see Tables 1 and 2) including, in

the case of the Rude books, the earliest printed source in
which the individual piece appeared or its location, in the
edition of the complete works of the composer.
As background, we have presented a summary of the infor

mation available on the compilers and on the lesser-known
composers who appear in the books.
In the evaluation of the importance of the books, writ
ers have not been particularly partial to them.
Michael
Prynne, although listing them as being in the "Golden Age,"

says that at the time, "in Germany and the Low Countries
there was no corresponding production /to that of the
English/ of original work. "3
Kurt Dorfmliller has character
ized the Rude books as showing "hardly any self-sufficient

character."
Wolfgang Boetticher has described the Denss
Such information for the intabulations of the Denss collec

tion has already been given in Howard Brown's Instrumental
Music Printed Before 1600: A Bibliography (Cambridge, 1965)
Michael W. Prynne', "Lute Music," Grove's Dictionary of Music
and Musicians. 5th ed., V, *+*+3.
^Kurt Dorfmtiller, "Johannes Rude," Die'Musik in Gesch.ich.te
und Gegenwart (hereafter referred to as MGG), ed. Friedrich
Blume, XI (Kassel and Basel, 1963), cols. 1057-1058.
book at some length but says that an evaluation is still

lacking.
An older writer, Ernst Gottlieb Baron, ih his Historisch-theoretisch und practische Untersuchung des Instruments
der Lauten (Nuremberg, 1727) devoted several pages to Rude's
book, mentioning the composers included and quoting several
of the prefatory sections, but quoting no music and making
nothing but a generally favorable comment without real ap
praisal.
He also includes among his listing of the older
lute books our two other authors.
He mentions Reymann and
his Psalmodie and Floribus Musicae. and Denss and his Florilegio. as well as Francisque, Hove, and others.
Rudolf Wustmann^ is the only modern writer to have
taken an interest in any of the collections.
He quotes, in
part, or in full, several pieces from the Reymann and Rude

books, and although not making'much comment, is quite re
spectful of the scope of Reymann's pieces.
Our three books would have been included in Jenny Dieckmann's Die in deutscher Lautentabulatur ttberlieferten T 8nze
des 16. Jahrhunderts except for the fact that they are a bit
more "progressive1' in using the French tablature.
Her work
is the chief basis for our study of the style of the dance
pieces.
Very few of the pieces from these collections have
^Rudolph. Wustmann, Musikgeschlchte Leipzigs (Berlin. 1909)
appeared in modern editions.
They are:
Denss:
No. 72, de Monte's Que me servent. in Phillip de
Monte Opera Omnia, edited by Charles van den
Borren (Dttsseldorf, 1927, f.) XXV, 59.
No. 76, de Monte's Verament' in amore. in de
Monte, Opera Omnia XXV, 66.
No. 86, Fantasia Prima. in Hans Neeman, Alte
Meister der Laute (no date or place) II,
No. 15.
No. 93, Fantasia alia eiusdem (Howett) in Robert
Dowland, Varietie of Lute Lessons (1610), edi
ted by Edgar Hunt (London, 1956), 11.
No. 118, Allemande. in Neeman, Alte Meister II,
No. 16.
Rude I:
No. 17, de Monte's Ahi chi mi rompe, in de Monte,
Opera Omnia XXV, 7*
No. 35, de Monte's Occhi vaghi amorosi. in de Monte,
Opera Omnia XXVf 19.
No. 50, de Monte's Poi che il mio largo pianto.
in de Monte, Opera Omnia XXV, 2*f.
Rude II:
No. 2, de Monte's Leggiadre Ninfe. in de Monte,
Opera Omnia XXV, 27 .
No. 35, de Monte's Amorosi Pensieri. in de Monte,
Opera Omnia XXV, 32.
No. *+9, de Monte's Veramente in Amore. in de Monte,
Opera Omnia XXV, 7*
No. 119, Entrata. in Wustmann, Musikgeschichte
Leipzigs (Berlin, 1909), 268.
5
Reymann:
No. 3? Praeludium. in Wustmann, Musikgeschichte.
pp. 221-222.
No. 36, Fantasia, in Alter Meister der Laute II,
No. 22.
We have included not only a thematic index of the purely
instrumental pieces but also a selection of some representa
tive items from this repertoire in full.
Selected measures
from a few of the vocal intabulations are also given.

The study is based on the copy of the Reymann book in
the Sibley Musical Library and on films of the Denss and Rude
books supplied by the Deutsches Musikgeschichtliches Archiv
inâssel, which are evidently (according to the library
marks) reproductions of the copies in the Library of Duke
August at Wolfenbtittel.
A film, of the copy of the Reymann
book in the Brussels Library was also available.

Copies of the Denss book are also in existence at the
Nationalbibliothek in Vienna, and at libraries in Cologne,
Leipzig, Munich, Trier, and Wroclaw (Poland); Reymann's book
is also to be-found in Wolf enbtittel and Wroclaw; copies of
Rudes books are at Vienna, Braunschweig (Book I only),
Dresden, and Cologne.
CHAPTER II
THE LIVES OF THE COMPOSERS AM) THEIR TIMES
No details are known, about Adrian Denss's life.
One can
agree with Boetticher's suggestion^ that he could have been

resident in western Germany about the time that his lute
book (the only publication of his known) appeared in Cologne,
from a consideration of the places mentioned in its dedica
tory preface.
The dedication reads:
REVEREND0, ILLUSTRI, AC GENEROSO DOMINO D. ARNOLD0 EX

COMITIBUS DE MANDERSCHEIDT ET BLANCKENHEIM, BARONI IN
IUNCKERAID ET DAUN, ET. METROPOLITANARUM ET CAthedralium Ecclesiarum Treviren, Praeposito Colonien, &
Argentinensi Scholastico, nec non D. Andrea Ecclesiae
Colonien, Praeposito. . . 2
The location of the towns mentioned is in an area south of
Cologne, and generally west of Coblenz.
Other than that, one can only speculate that he may
have been active into the second decade of the seventeenth
century, since his name appears in the prefaces of lute
books of that era, ..&., those of Fuhrmann (Testudo GalloGermanica. published in Nuremberg in 1615) and Besard (Novus
^Wolfgang Boetticher, "Adrian Denss," MGG III (1952), col.
197.
2To the respected, honorable, and noble Lord, D. Arnoldus, from the counties of Maude rscheidt and Blankenheim,
Baron in Junkerath and Daun, of the Bishops and Cathedrals of
the church at Trier, Chief in Cologne, and teacher in Strasburg, as well as D. Andreas, chief of the church at Cologne.
6
Partus, published in Augsburg in 1617^).
However, the way
in which authors and titles are mixed up in the latter print

might lead one to suspect that Besard had less than first
hand acquaintance with the books he mentions.
A reply to an- inquiry of the writer directed to the
Historisches Archiv of the city of Cologne indicated nothing
further is available.
That Denss should direct his dedication to two rather
(evidently) minor officials of the extensive arch-bishopric
of Cologne is unusual.
Most publications named either their
immediate superior, Ernest of Bavaria, the elector (15831612), or his uncle, Maximilian I, the duke, as their patron.
More is known about Matthias Reymann.
has suggested a birth date of around 1565*
Kurt Dorfmtlller1*
Since he refers
to himself on the title page of his book as Mattheus Reymann

Toronensis Borussi.y the place of his birth is taken to be
Thorn (Torun), Poland, northwest of Warsaw, on the Vistula.
It was of some importance in the early Renaissance and also
boasts of Copernicus as a native son.
From the dedicatory poems prefacing his books, one is
3A translation of this portion of Besard's preface to his
Novus Partus appears in an article by Julia Sutton, "The
Lute Instructions of Jean-Baptiste Besard," Music Quarterly
LI (1965), 359.
^Kurt Dorfmliller, "MatthSus Reymann," MGG XI (1963), col. 35*+.
^Matthias Reymann of Thorn in Borussia. a Latin name for the
area.
able to gather that at least some part of his youth was

under the care of four brothers, John, Adam, Carol, and Ni
cholas Czeykey, of Cazow and Olbramovitz.
Olbramovitz is
also known as Wolframitz and is in Bohemia, actually only

about 60 miles north of Vienna.
There is a Russian town of
Kozowa, considerably to the east, beyond the Carpathians,

north of Romania, which may be the locale of the other town.
The poem mentions also a Lake Sazava, possibly the same lo
cale as a famous mediaeval monastery of Sazava, 25 miles
southwest of Prague, on a tributary of the Moldau.
was mentioned as the site of their castle.
The lake
The discussion
of the fame of the four brothers (known, says Reymann, in

France, Germany, and Italy) is of no help in placing them.
They were perhaps lords of Bohemian estates appointed by
Rudolph II, the Hapsburg emperor of Germany and Bohemia from
1576 to 1612.
Wustmann,^1 without identifying his sources, says that
Reymann was in Leipzig by 1582, the date at which Dorfmiiller?
says that he matriculated at the University of Leipzig.
His
subject', to judge from his later activities, was the law,

like that of a good many other lutenists of the time.
At the time of the appearance of his book, Reymann tells
^Rudolf Wustmann, Musikgeschichte Leipzigs (Berlin, 1909)? I
195. He may have been quoting from Leipzig city records or
other sources mentioned in his preface.
7k. Dorfmtiller,
op.
clt.. XI, col. 35^*
9
us that his fortunes have suffered (this may be posturing):
En more gessi & quidem coactus gessi, ut qui sciam,
quam sit mihi curta supellex, atque hoc in negotio
res angusta dom.
Other details of his life may be listed as follows:
1609
He married, in the Nikolaikirche at Leipzig,

Elisabeth Barthel Schmid of Leipzig, on July
17. He is described as "the respectable and
learned Mattheus Reymann of Thorn in Prussia."
1610
He was described as "a lutenist" when he

brought his daughter, Elizabeth, for christen
ing, on June 17.
1612
He may have been temporarily in Cologne. 9
1616
He remarried, at Leipzig, on the twentieth

Sunday after Trinity. His bride was Magda
lene Brochlitz, the daughter of a local far
rier. He is described as an administrator of
justice for the Wolfferdorf family who in
1612 were patrons of Schein at Weissenfels.
1623
A daughter was christened on April 11.

is described as a lutenist.
1625
Another daughter was born on August 26.

is described as a notary public.
He
He
8So, I have obeyed and indeed carried on under the compul

sion of_realizing that I have decrepit home furnishings
and /am/ in straitened circumstances in this business.
^Wustmann suggests this (on. cit.. I, 3^9) He describes the
preface of a second book of Reymann's printed in Cologne:
"Reymann dated, I admit, the dedication of his Cvthara Sacra
sive Psalmodiae Davidis ad usum Testudlnis accomodatae in
Cologne, on December 12, 161.2, where the work also appeared
the following year, /printed/ by Grevenbruch; yet he stayed
at that time only temporarily on the Rhine . . . "
The book is
now lost. It consisted of 152 settings of Psalm melodies,
each with a variation, from the Goudimel Psalter. Wustmann
quotes a few measures from one of the psalms and from its
variation.
10
What these items of information, provided by Wustmann'^
evidently from the records of the Nikolaikirche. prove is
that the article of Fetis-^ contains some details about an
other Matthias Reymann, who was born at Lowenberg in
died in 1597*
and
These details are intertwined with some of the
ones we have quoted above, resulting in the incorrect state

ment that Reymann's publications are posthumous.
A definite death date has not been determined.
Reymann
is mentioned in the prefaces of the Fuhrmann and Besard books

referred to earlier.
Three galliards and two choreae are
found in the Leipzig MS II. 6. 15, also known as the lute

book of Albert Dlugorai, from 1619.
None of them are in the
Noctes.
The recorded details of Johann Rude's life are made
known to us from the same sources as those of Reymann's.-*-2
He stems from a family of musicians, his father having been
a Leipzig Stadtufeifer. Kurt Rude, in service from 1556 to
1593 (he died in 1596).
Since he was married in 1555, the
date of Johannes's birth may be placed at some time after

that.
10Ibid.. p. 195, 196.
^F. J. Fetis, "Reimann," Biogranhie Universelle des Musiciens (2nd ed.; Paris, 186^-), VII, 213. What basis Ftis had
for describing, in a separate article, ''Reymann jV (p. 237),
the subject of our study, as being in the service of the Elec
tor of Cologne, we do not know.
12R. Wustmann, op., cit.. I, 195*
11
Johannes Rude is listed in a record of debtors among
the customers of Jacob Apel, a Leipzig publisher of the time.
The date by his name is 1592.
He next appears as the recip
ient of ten florins on October 18, 1595? for having served

for a missing organist ("veil er sich in Manglung eines Organisten brauchen lassen").!^
His lute book has in its dedi
catory pages a statement which could be construed as evidence

that he was receiving some kind of scholar's stipend from the
Saxon electors:
. . . quam gratiam ego in me singularem, multis beneficiis, certis documentis testatam, omni harmoniarum ,
& concentuum genere perpetuo celebrandam esse judico.f4'
Rude has dedicated his first book to the following
array of individuals:
. . . DOMINO FRIDERICO WILHELMO, DUCI SAXONIAE ET
ELECTORATES ADMINIstratori, Langravio Thuringiae,
Marchioni Misniae, &c . . . DOMINO CHRISTIANO II."
ELECTURAE HAEREDI, DOMINO IOANNI GEORG10 ET DOMINO
AUGUSTO, DUCIBUS SAXOniae, Landraviis Thuringiae, &
Marchionibus Misniae, &c . . .15
l^Loc. cit.
I1*"! consider that this unusual regard for me as shownJby
your many kindnesses and by specific evidence, ought to be
celebrated forever with every kind of harmonious concord"
(Flores Musicae /I/, folio ii, recto, line 1*+). Similar sug
gestions are found in the second book. Ibid.. p. 138.
^"To Lord Friedrich Wilhelm, Duke of Saxony and Electoral Ad
ministrator, Landgrave of Thuringia, Marquis of Meissen,
etc. . . Lord Christian II, heir to the Electorate, Lord Jo
han Georg, and Lord August, Dukes of Saxony, Landgraves of
Thuringia, and Marquises of Meissen, etc."
12
His second book is directed toward still other persons:
DOMINO JOHANNI ERNESTO ET DOMINO AUGUSTO, GERMANIS
FRATRIBUS, BRUNSUICENSIUM ET LUNEBURGENSIUM DUcibus. . .
Friedrich Wilhelm (born 1562, ruled 1573-1602) was of
the Ernestine branch of the Saxon dukes and electors.
Their
lands were under the trusteeship of the Albertine branch

from 1573 until 1586.
Accordingly, during this time a sepa
rate Kantorei was not maintained.
Friedrich, however,
founded a small one in the 1590s which stayed principally

in Altenburg and was, after his death, called to Weimar.
He
was intellectually gifted, entering the University at Jena

at age twelve.
He was later a patron of the University,
around 1591? and certainly an appropriate individual for the

dedication of a publication.
Rude even declares himself an
"eye-witness of . . . good will worthy of princes toward lit

erary men and musicians. . ." further along in the body of
the text.
Rude turns next to the Albertine branch of the Saxon
rulers at Dresden.
Christian II, Johann Georg, and August
were the young (the eldest was seventeen in 1600) .sons of

Christian I.
Johann Ernest and August of Braunschweig and Ltlneburg
were young, too (August was twenty-one at the time).
Their
particular branch of the family was not to ascend to the

16
"To Lord Johann Ernest and Lord August, German brothers,

Dukes of Braunschweig and Ltineburg. . ."
13
duchy until later, when August would be known as the most
learned prince of his time and the collector of the core of
the famous Wolfenbtlttel library.
Rude mentions that they
were "busy at Leipzig promoting good literature" in this

dedicati on.
In addition to referring to himself as a student of law
on the title page of his first volume (LL. Studiosum), Rude
says, in his first book " . . .
because I was able to extri
cate myself temporarily from the study of law, to which my

parents dedicated me, I devoted myself to the study of music."
In his second book he makes reference to an illness which
prevented him from pursuing his legal studies but gave him
an opportunity to complete the book.
However, his name has
not been found in records of the University at Leipzig.

He was mentioned, along with his mother and sister, in
connection with the sale of the family house on April 20,
1601; there was a sale of another family house in 160^, but
his name does not appear after that.
The two books are his only publications, but Boetticher
mentions a prelude by Johan Rude Franckf. 1615. in a Hamburg
MS Scheie, folio 1.17
Of some interest in filling in the background of the
era in which these three books appeared are the histories of
some of the composers, other than the compilers themselves,
17w. Boetticher, Studien zur solistischen Lautenpraxis (Ber
lin, 19^3), 163.
lb
who are represented.
We will summarize the information
available regarding them, although in the case of those who

are better known, we will not repeat what is easily available
elsewhere.
John Dowland (1562-1625), described as Dulandi Angli in
the table of contents of Rude II, is the composer of the
piece by his name, Pavana a. 5. voc., marked in writing on the
tablature Pavanna Lacrimae. He is also the composer of the
18
Pavana I. D., No. 110.
He is also mentioned in the Epigramma ad ornatissimim virum in Rude I (see Chapter II).
Dowland1s fame, of course, was already international by
the time of the publication of Rude's book.
The particular
impetus for interest in his pieces in Germany may be said to

spring from his European trip of 159^+-1595, during which he
stayed for a time at Wolfenbttttel (at the court of Heinrich
Julius), at Kassel (at the- court of Moritz of Hessia), and
at Nuremberg.
His travelling companion for part of the time
was Gregory Howett, another lutenist who crosses the pages

of all three of our books.
Dowland was approached with
offers of employment by both of the above-named dukes, but

he refused them and continued on to Italy.
Peter Philips (1561-1628) is well-known.
Although born
-i 0
It is Mrs. Brigide Fleetwood *s Paven.
See the Concordance.
Êckart Klessmann, "Die Deutschlandreisen John Dowlands,"

Musica XI (1957), 13-15-
15
in England, he was on the continent (Douai) by 1582, and
after being located briefly in Rome, Paris, Antwerp, and
then Brussels, he settled in Antwerp in 1590.
His English
ancestry is given its due, here, since his piece, in Rude II,
No. 92, is called Pavana Anglica.
It is identified as an
intabulation of his. work by the writing on the Wolfenbtittel

copy of the tablature, Pavana Phillipi.
The piece is one of
nearly twenty of his in the Fitzwilliam Virginal Book (see

Chapter III)..
Anthony Holborne (died in 1607? birth date unknown) is
represented in Rude II by his Decrevi (Nos. 80 and 88).
Con
tinental collections contain a number of his pieces (Adriaensen's Novuum Pratum /1600/ and van den Hove's Delitiae
Musicae /T6127).
Biographical details are not known.
has been the subject of a recent English dissertation.
He
20
The Mr. Johnson who is the composer of Rude II, No. 85,
is the well-known John Johnson, lutenist to Queen Elizabeth
from 1579 until his death in 1591+*
quently in English sources.
He appears very fre
His piece in Rude II is a paduana.
(called in English sources a pavin).

Matthia Ferrabosco (1550-1616) has been given the credit
for composing the Gagliarda di Ferabosco which appears after
the galliard of the second passamezzo suite in Denss's book.
^Brian Jeffrey, "Instrumentation in the Music of Anthony
Holborne," Galpin Society Journal XIX (April, 1966), 20.
16
Although born at Bologna, he was for 35 years (beginning in
1581) an alto singer, and later master of the chapel at
Graz.
The chapel travelled with the prince, Erzherzog Fer
dinand, to several ceremonies at such locales as Regensburg

and Vienna.
21
Also the composer of nine canzonettas which
Denss intabulated, he is not known for any other type of

work, nor for any other instrumental pieces.
Works by other
Ferraboscos (Alfonso I and Alfonso II) of course appear in

Robert Dowland's Varietie of Lute Lessons (1610) and Besard's
Thesaurus (1603).
Diomedes Cato, a Venetian for whom definite dates are
not available, was active at Polish courts in the latter
part of the sixteenth and the beginning of the seventeenth
centuries.
He is mentioned in the laudatory poem in Rude I,
mentioned earlier, as Diomedis Sarmata. obviously a classical

reference to the locale of his employment (the Sarmatians
were a Slavic tribe in classical antiquity, occupying the
area, generally, between the Vistula and the Don, .r.&ja modern
22
Russia and Poland). According to Eitner,
he was brought
to Cracow by the Polish minister of the treasury, Stanislas
Kostka, who left Diomedis a legacy of 10,000 guilders at his
death., and recommended him to the king, Sigismund III, as a
^Helmut Federhofer, "Matthia Ferrabosco," MGG IV (1955)?
col. ^5.
^Robert Eitner, Biogranhisch-bibliographlsches QuellenLexicon (Leipzig, 1900), II, 207.
17
musician.
His salary was evidently considerable 300 guil
ders a year and a weekly subsistence of six suilders.
He
was evidently known both as a singer and lutenist and left

two books of lute songs, now lost, dated 1606 and 1607
Maria Szczepanska has published his extant works,
which consist of the following lute pieces: five preludes,
six fantasias, two passamezzos, six galliards, a Favorito.
eight choreae nolonicae. and two vocal intabulations.
The
greater portion of the pieces appears in Besard's Thesaurus,

together with a few others in Fuhrmann's Testudo. and one
piece in Rude II (No. 10^) is his.
It is called Galliarda
Diomedis and marked in writing on the tablature with what

looks like Galliarda StarnisV- (perhaps meaning "old style").
Other works for lute appear in various manuscripts, including
the Dresden MS B 1030, now lost.
Gregory Howett (Huwett) is a figure who is common to all
three of our books, and a good bit of information pertinent
to his activities can be assembled.
Although Reymann in his
Lectoris (to the reader) refers to Howett as Greeoriu Howet

Belga. Eitner refers to him as an Englishman.
pl_L
So does a
recent writer, Martin Ruhnke: "in the following twelve

months . . . the English lutenist Gregorius Huwet, appointed
Âccording to Krystyna ilkowska-Chominska, "A la recherche
de la musique pour luth," La Luth et sa Musiaue. ed. Jean
Jacquot (Paris, 1958), 197*
2^Robert Eitner,
op.
cit.. V, 215
on May 22, 1591, was newly assigned a position."2^
Neither
writer gives a source, although the fact that Howett was a

travelling companion of Dowland may have had something to do
with their decision.
Thurston Dart, evidently relying on
the description of Robert Dowland in his Varietie ("the most

famous Gregorio Huwet of Antwerpe") says that he was born in
Antwerp.
P f)
No definite date has been established.
Howett
was in the service of Duke Heinrich Julius at Wolfenbtlttel,

who was born in 156b and ruled from 1589 until his death in
1613.
According to Ruhnke,^ Howett began his employment
here in 1591 (see the quotation from Ruhnke, above).
He is
also listed in a pay register for Christmas of 1591*
There
is a letter from a Johann Block of Kassel, dated November 5?

159^, which mentions the arrival of "etliche frembde Musici"
from Wolfenbtlttel, on the first day of that month.
Dowland
and Howett are thought to have been among the group, sent
over to the court of Moritz of Hessia to display their skill.'
In a letter of March 21, 1595? the Landgrave (Moritz)
^Martin Ruhnke, Beitrgge zu einer Geschichte der deutschen
Hofmusikkollegien im 1 6 . Jahrhundert (Berlin. 1963), p. 65.
^ T h u r s t o n Dart, "John Dowland," MGG III (195*+)) col. 717-
722 .
^?M. Ruhnke, op., cit.. p. 65* He is working from court pay
records and other documents, such as those in the NiedersSchsisches Staatsarchiv in Wolfenbtlttel.
2%uhnke (p. 65) credits E. Zulauf, in his Beitrgge zur Ge
schichte der Landgrgflich Hessischen Hofkapelle zu Cassel
(Kassel, 1902) with, this assumption.
19
thanked the Duke (Heinrich Julius) for having sent to him
the two lutenists and apologized for having kept them beyond
the time fixed for their stay.
He was very outspoken in his
praise of their skill, praising Howett as a seasoned and

skilled lutenist.
Howett was "was muteten und madrialn zu

29
schlagenn anlangt, gar perfect und wohl passiert."
While Dowland soon moved on to Nuremberg and Italy,
Howett remained at the court at Wolfenbtlttel after returning
from Kassel.
In the preface to his First Booke of Songes or
Ayres, published in London in 1597? Dowland acknowledged the

kindness of both Howett and Heinrich Julius:
Neither can I forget the kindnes of . . . Gregorio Howet Lutenist to the magnificent Duke of Brunswick, both
whome I name as well for their love to me, as also for
their excellency in their faculties.
Although there are gaps in the documents, pay registers
show Howett's wages at the court:
90 gulden
270 gulden
32^ gulden
in 1591; 1593, and 159*+.

in 1602 and 1603.
beginning in 1592 as board
oq
allowance.
In 1595, the Duke gave him 1,200 Talern for the acqui
sition of a house.
Ruhnke has noted that it is a measure of
the increased importance given to instrumental music at this

court that Dowland and Howett enjoyed a remuneration equal to
that of the singers. ^
The comparative social status
29Ibid.. p. 70.
3lbid.,
pp. 71, io*f, 109.
31ibid.. p. 85.
20
suggested by the amount of board allowance given to Howett
shows him ranked above the druggist, the cook, singers and
other instrumentalists,' but below the barber, the Hausmarschall. and the Kapellmeister.
Another pay register recorded by Chrysander^2 shows
Howett receiving for the year 1606-7 150 Talern and 30 more
for an allowance for strings.
In Michael Praetorius's Memo
rial of 161^, which is a listing (and a kind of an attempt at

justifying the duties) of the musicians of the court to a
new, less musically inclined ruler at Wolfenbtlttel (Fried
rich Ulrich), Howett appears:
Dieweil Grego.rius, Lautenist /Chrysander inserts here
der Englander/, sich bisher in unser Music nicht gebrauchen lassen, ich auch nicht gern wollte, dass er
als numehr en alter Diener hierzu sollte genttthiget
werden: so w9re hoch vonnttthen, wie ich mit Gregorio
selbste drauss geredet, dass auf einen Lautenisten,
der die Concerten mit Tribbeln und Coloraturen zu
exorniren gut w9re, wie ich dann mich darnach bemtihen
will, auch etwas geordnet wlirde.33
Howett is here portrayed to the new ruler as an old ser
vant who has not been used, up to now, in music (meaning con
certed music employing the whole Kantorei).
Praetorius
appears interested in using his manner in decorating such per

formances with coloraturas and trills.
His name still appears
32Friedrich Chrysander, Jahrbiicher ftir Musikalische Wissenschaft (Leipzig, 1863). I, 150 (from a court pay register for
the period from Trinity 1^06 through 1607, in the imperial
archive at Hannover).
33Ibid.. p. 15^.
21
in pay records as late as 1616, but he cannot be traced after

that, in materials now available.
3k
He is known for the two fantasias which appear in the

Denss book, the second of which also appears in Robert Row
land' s Varietie, and for the two pieces attributed to "G. H."
in Rude II (marked on the tablature Galliarda Gregory and
Pavana Gregory).
They are Nos. 97 and 109? respectively.
There is also an ensemble galliard in the Newe Kunstliche

Musicalische Intraden . . .
of K. Hagius (Nuremberg, 1617).
There were also two fantasias in the Dresden MS B 1030 re

ferred to earlier.
Wustmann equates Howett with Gregory Huberti who has a
pavan and a galliard in Rude II (Nos. 90 and 93).
Tobias Kuhn (Kuen) is another figure at the Wolfenbtlttel
court, but of somewhat earlier appearance on the scene than
Howett.
He was appointed on November 15? 1587? and is des
cribed as a tenor and lutenist, who was primarily engaged as

a singer but was to play on the lute upon special request.
He was originally from Halberstadt, and there is in existence
a document detailing his life history which was requested by
the Duke (Julius, who ruled from 1568-1589).
The document
evidently is a pioneer example of personnel management: the

Duke's purpose was to discover ways in which he might employ
his musicians in areas other than music activity.
Kuhn wrote
Ruhnke, op,, cit., p . 71 (Stadtarchiv Braunschweig).
22
it in both Latin and German, probably to impress his ruler
35
with his erudition.
*3c.
He can be traced in pay lists*3
from
1587 to 1590, is missing in 1590, but appears for the last

time in 1591*
Rude II, Nos. 83 and 100 are both versions of the
Pavana T. K. and are thought to be Kuhn's.
He appears in
Fuhrmann's Testudo (1615) with the following:

Pavan No. 7 (Respondens Lachrimae T.. K.)
Galliarda T . K. 3
Galliarda T . K. 5
He also had a Fuga
1030, and there
on Verleih unsFried in the
is a
galliard
Dresden MS B
intheLeipzig MS II.16.5*
Johann Thysius was the owner of a library named after

him in Leiden, in which a large lute book in manuscript was
found.
It has been studied, and the upper line of' most of
the contents given in the study by L a n d . I t

around 1600.
dates from
He appears in Rude II, No. 101, with the Pa
vana del Signor Thisio. and he also has a Paduana in the

Leipzig manuscript.
Victor de Montbuisson, according to Eitner38 fr0m Avi
gnon, was a lutenist (at least in 1598 and 1600) at the
3Îbid.. pp. 29; 57-8.
36lbid.. p. 89.
37j. P. N. Land, "Het Luitboek van Thysius," Ti.idschrift der
Vereeniging voor Noord-Nederlands Muziekgeschiedenis I-III
(I885-I89I), passim.
38R. Eitner,
ojd.
cit.. VII, 36.
23
Kassel court, under Moritz (who ruled from 1592 to 1627).
The three couranteshy him in the Dresden MS B 1030 were pro
bably the same three which appeared in the Denss book (folios
91 and 92 see Chapter III).
A Galliard de Victoris de Mont-
buisson appears in the Besard Thesaurus. and there is a Livre

de tablature . . . commence . . . le. dernier .ianvier 1611 in
the Landesbibliothek at Kassel by him.
Rude II, No. 107 is a Pavannadi Mauritio d'alto Monte.
Wustmann has equated Mauritio with Duke Moritz.
Several
others have unidentified attributions: Rude II, No. 95:

Gagliarda B. F. L.; No. 102: Pavana Crisiana: Nos. 78, 87,
and 89 (marked Pavana Anglica): Nos. 96 and 131 (Galliarda
Anglica); and Nos. 8l and 82 (Padoana P. B .).
It can be seen from the foregoing that an important
part of the background of the culture of the times was that
generated at the courts, large and small, of the land.
Rude's dedications, in fact, are obviously directed at some
of them, in particular those at Altenberg, Dresden, and
Braunschweig.
The first locale boasted only a handful of
musicians, since the Ernestine line of the Saxon dukes lost

a large part of their lands around 15^75 and their court
accordingly was not as well turned out as that of the Albertine line at Dresden.
The court there, around 1600, would
have boasted, under the Kapellmeister Rogier Michael, a

complement of sixteen singers, twenty instrumentalists (in
cluding two organists, tvro lutenists, a zink player, and
R ep ro d u ced with p erm ission o f the copyright ow ner. Further reproduction prohibited w ithout perm ission.
2k
others) as well as a dozen trumpeters and a percussionist .39
The attention given to music depended, of course, on
the wealth of the court and also on the interest of the in
dividual rulers.
One can discern the varying degrees of con
cern in the changing fortunes of music at Wolfenbtlttel.

There, the size of the Kantorei (meaning the entire force of
musicians, Kanelle and instrumentalists) under Julius (who
ruled from 1568 to 1589) actually was allowed to dwindle in
to almost nothing in 1579 and continued at a low state until
1585, when it was re-organized, under the Kapellmeister Mancinus.
The next ruler, Heinrich Julius, is well-known for his
interest in arts and letters, as well as the theater.
He not
only established a permanent theater, but imported English

players, around the turn of the century.
Rude's second book, in particular, with its selection of
intradas, may have been directed in part toward court or dra
matic activity such as that outlined above, to say nothing
of the fact that these cehters provided the means of support
for a large number of professional lutenists who might have
found all of these books useful in their duties.
Of more importance, perhaps, to the particular back
ground for these books is the middle class culture of German
cities, in particular that of Leipzig.
The vigorous musical
activity around 1600 there is well-known, and we will only

sketch a few details.
We have already noted that Rude was
39m . Ruhnke, op. clt.. p. 219 (records for 1606).
the son of a Stadtnfeifer. one of four maintained by the

city to play at banquets of the council, weddings, or other
functions, in addition to daily performance from the city's
towers.
Wustmann1^
records the squabbles of the council and
its Stadtnfeifern with two itinerant string players who eventually had to be banished to the suburbs, since they were
competing for the income of the town employees.
Another part of the musical atmosphere was the contri
bution of student groups, both from the schools of St. Tho
mas and St. Nicholas, and from the University.
They parti
cipated in various kinds of street serenades, in which the

lute would have played a part almost insuring that Reymann
and Rude would have joined in them.
Even the title, Noctes
Musicae. may be a reflection of this tradition.

As the inventories of several Leipzig citizens' estates
d e m o n s t r a t e t h e lute was a not uncommon possession among
those of the upper middle class.
In addition, the city was
something of a center for the manufacture of lutes the in

ventory of the possessions of a Stadtnfeifer Krause in 157^
showed him to have eighteen lutes on hand, parts for a good
many more, and all kinds of tools for their manufacture. Fur
ther records show the lute books of KSrgel, Newsidler, and
^ R . Wustmann, op., cit., I, 156.
^ I b i d . , pp. 163-16^.
R ep ro d u ced with p erm ission o f the copyright ow ner. Further reproduction prohibited w ithout p erm ission .
Drusina to be current there.

The great weight of vocal intabulations in the Rude and
Denss books point to their use in such domestic situations
a way of bringing into the home not only certain serious li
turgical favorites (.e.g.., the .0 quam glorioso of Victoria in
the Denss book), but also the lighter canzonas and canzonettas of the day.
h2
Ibid., pp. 165-172, passim.
OMNIS FERE GENERIS

C A N T I O N V M SVAVISSIMARVM
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Plate V.
-A -e~
Noctes Musicae. Passamezzo 5? f. 16^
irf f
i ft
ft r t t mft**
m m
9-e f-*4
. i :. j .* f
Sjl 4
4+Hh\4<* *<d * [V
**-
r .. *........
***
r.+ t
ft
I-ft
V
.J.
. i' -
.J
ft; r
rt
t 77
--
---
--
r r t
rr
p t
d < .
4
i__i
T
t
-Jilt
*
^
PP
* f
-d-ff
J
s
ii-t X -
f^-
-,
V. *
* { * rf "* <+
r. r t
Mr>ft f'S*
t mrr**<I!i* t
ft gf"
f t
.. A
1* j
i ff
t t
f Jffi
1- J - -- J
s
l^ , ^ . l^ - l
-""I
'
ft r r
^
M:. *
J
-
rt
tO|
* y
r>
'
rr
3
Plate VI.
r tf
J 1
< .
t r
* -* - -
J. -
t tt
pp
w
..
.
, .,. <*p Vj ^ - >jiy * i jr |yj
Flores Muslcae. Pavana Crlslaria. f. HH 4-.a,
CHAPTER III
THE BOOKS THEMSELVES
A.
The Contents: Prefaces and Music

Florilegium
Denss's hook is a quarto volume of 96 folios, plus four

prefatory folios.
The latter, all in Latin, include the
title page, some laudatory poems and prose, the dedication,

and the table of contents.
Beginning with folio lv of the
main body of the book, every other page is inverted (those

containing vocal parts) for practical performance purposes.
This inverting is not, of course, continued for the section
from folio 62v on, which contains the fantasias and the
dance pieces.
The title page reads:
FLORILEGIUM OMNIS FERE GENERIS CANTIONUM SUAVISSIMARUM
AD TESTUDINIS TABULATURAM ACCOMMODATARUM, LONGE JUCUNDISSIMUM. IN QUO PRAETER FANTASIAS LEPIDISSIMAS, continentur diversorum Authorum cantiones selectissimae,
utpote: Motetae, Neapolitanae, Madrigales trium, quatuor, quinque, sex vocum. Item Passemezi, Galiardae,
Alemandi, Courantes Voltae, Branles, & eius generis
Choreae variae: Omnia ad Testudinis tabulaturam fideliter redacta, per Adrian Denss.1
Â selection of the flowering of nearly every kind of the
most delightful songs adapted to the tablature_of the lute,
by far the most pleasant. In which /.selection/ are included
besides most agreeable fantasias, the choicest songs of var
ious composers, namely: Motets, Neapolitans, Madrigals, for
three, four, five and six voices; also passamezzos, galliards
allemands, courantes,, voltas, branles, and various dances of
27
28
Just "below the center of the page is Grevenbruch1s

printer's mark, a design with curved scroll-work intertwined
with cherubs, surrounding a center picture of a sailing ves
sel, with a castle on the shore in the background (see Plate
I).
The motto Post Nubila Phoeb. (after clouds, the sun) is
above the picture, and below it is a shield, emblazoned with

what evidently is the colophon of the printer.
run the lines Coloniae Agrippinae.
venbruch.
Below this,
Excudebat Gerardus Gre
Anno redemptionis. M. D. XCIV.
Folio ii has three items, the first of which is a prose

paragraph, Ad philomusen (To the Lover of the Muses).
We
will only paraphrase the contents of material of this type.

Denss tells us that he is not really accomplished on the
lute, and has been forced into publishing these adaptations
of the work of greater artists by the demands of his friends.
The entire tone of such prefatory material is, in these times,
overly apologetic and self-deprecatory.
He clearly states
that he is following the example of Emmanuel Adriaensen in

putting forward his collection.
He says that he had intended
to make it larger, including the works of Luca Marenzio and

G. Maria Nanino, but that the book had grown to such size that
he "took in his sails.
He suggests in closing that a fur
ther book may be forthcoming.
this sort; all faithfully edited for the tablature of the

lute by Adrian Denss.
29
Following this, are two quatrains to Zoilus (a critic of
Homer, hence, any critic) in which the author, as the times
evidently demanded, attempts in flowery humanistic language
to dispelin advance any unjust criticism of his work.
An
other such reference is to Momus, likely implying again an

anonymous critic.
The line Primitias rudibus nosui: hinc
mentem nrecor aauam Judicis . . .(I "have arranged the first

of my efforts for the unskilled; so I pray for a fair apprais
al by the discoverer) may be an admission of having directed
his work toward amateurs.
The first is by M. G> M. G.., whom
we shall presently encounter, and the second is by I.. L. R.,

who remains unidentified.
Folio iiv has two items, the first a panegyric:
PANEGYRIS AD ORNATISSIMI ET MUSICES PERITISSIMI ADRIANI DENSS FLORILEGIUM SUAVISSIMUM. SCRIPTA A M. GUILIELMO MAIO GOTTINGENSI SAXONE MUSICES AMAT0RE.2
After discussing the way in which music and the lute
can charm,the author launches upon a kind of review of
mythological characters noted for their musical skill, among
whom, of course, he includes Denss.
The next poem, an "Exhortation tothe
Reader by the Same
Person," is an allegory, in which the selections Denss has

intabulated are spoken of as a variety of roses, among which
are found to be flourishing Lassus, Marenzio, Lechner, and
^Panegyric for the most charming Florilegium of the most
honored and musically skilled Adrian Denss. ritten by M.
Gulielmus Maius of Gbttingen in Saxony, music lover.
30
Vecchi.
Folio iii contains the lengthiest item, the dedication,
the opening of which we have already quoted in Chapter II.
The first part is a defense of the art of music, over which
we will not linger.
The next area of interest discussed is
his "decision" to seek a sponsor for this, his first work.

The text closes with his request for patronage and vows of
his obedience.
It is signed:
Datae Coloniae Agrippinae. *+. Nonar. Septemb. Anno

159*+: aera novata. Reverendae & Illustri Generositati
vestrae perpetua observante voluntate deditissimus.
Adrianus Denssius.^
The table of contents begins on folio iiiv .
The small
group of motets gives way to secular pieces, which Denss has

organized first by type, then by number of voices (see Table
1).
It occupies folio ivrv as well.

The tablature proper now begins.
Two systems of folio
numbering occur, one using Arabic numerals printed in the

upper right-hand corners, the other having the usual scheme
of capital letters and number (in the lower right),
v
Folio iv is inverted, since it contains the vocal parts
for Quam gloriosam.
In his Instrumental Music Printed Before
1600: A Bibliography (Cambridge, 1965), Howard Brown has

called this folio 1, but Denss begins his numbering with the
^Dated at_Cologne, on September 5, 159^, A.'D. /The l!l+ eludes us^y Willingly dedicated to your honored and famed
Excellence in continuing regard. Adrian Denss.
31
next folio (the one containing the lute parts).
This means
that Browns table of contents does not agree with Denss's

numbers.
We have ignored the complication proveded by
Brown, and used Denss's numbering, which is without error.

Brown's mention of headings (Neaoolitanae. Motetae. etc.)
supposedly occurring on various folios in the tablature is
evidently an error.
With the intabulations, Denss includes certain of the
original voice parts, evidently taken from the part-books
if
Without change.
Outer parts from the original are always
'
included, and in about half of them an inner part is added.

The parts are called Canto. Tenore. and Basso, but this is
no indication of their respective ranges.
The practice of
printing voice parts with lute tablatures was common in

Italian books of the time, but in Germany, only Schlick's
Tabulaturen of 1512 was designed this way (in this case,
only the soprano voice was given).
The attention given to the canzonettas of Gaspar Costa
is of interest.
There are 23 by this composer, an organist
at Milan from 1581 to about 1590.
He published several col
lections of canzonettas and one of motets and madrigals.

Only a scattered selection of his canzonettas is found in
other lute books.
Clearly the 1580; and 158^ prints of Costa
L
Jigging from microfilms of two sets of part-books which are
available, Canzonette di Gasnaro Costa (Venice, 1580) and
Costa's II secondo libro di canzonette (Milan, 158H-).
32
were among those which Denss had at hand in compiling his
book, and he intabulated most of the contents of the 1580
print.
The emphasis on his works may mark a personal acquain
tance with the composer or merely mean that Denss hoped the
pieces would be accepted widely in amateur circles.Matthias Ferrabosco is represented with nine pieces,
Lassus with seven, and Gastoldi with six.
All others have
fewer.
It is obvious that the canzona and the canzonetta were
in their heyday, since well over 60 percent of the intabula
tions are of pieces of these types.
There are four motets,
five pieces with German texts, and five with French ones.
Most of the pieces with. French and German texts Denss has
classed as madrigals.
A table of contents appears in Howard Brown's Instru
mental Music Printed Before 1600: A Bibliography (Cambridge,
1965).
There, the pieces are listed in the order in which
they appear in the print.
For the present reader, the con
tents of the section containing the 6b- purely instrumental

pieces can be deduced from our Appendix.
We will summarize
the contents of all the collections' pieces of this type

later.
We have reproduced the first section of Denss's
table of contents in our Table 1,
It lists the first 85
pieces (those for lute and voice).
33
TABLE 1
Index Cantionum et Choraearum Quae hoc in Libro compraehenduntur.

Motetae
Quatuor Yocum
0 Quam gloriosum
Domine non sum dignus
Miserere me 2 pars
Laudate Dominum
Lodovvicus a Victoria
Idem
I
Bernardin Mosto
Orlandus Lassus
6
9
Quinque Vocum
Gustate & videte
Divites eguerunt 2 pars
Neapolitanae
Trium Vocum
Ogni vita
Dal primo giorno
Vaghe belezze
Delle Vostre gciocchesse
Assai promette
La venenosa vista
Se del mar si seccasser
Crudel lascia sto core
0 Chiome relucenti
Amore e fatto
Udite novi amanti
Fuggiro
Fuggit' amore
Non puo sentir
Lieto cantai
La gratia e la beltade
Ahi filli
S'in fede del mio amore
Ahi che mi tiene
Mentre scherzava
Non si sa dimmi
Madonna di cucagna
Gut Singer und
Lodovvicus Torti
Idem
Idem
Gaspar Costa
Idem
Idem
Idem
Idem
Idem
Idem
Idem
Paulo Bellasio
Giov: Dominico danola
Gio Giac: Gastoldi
Casar Borgo
Idem
Gio: Giac Gastoldi
Idem
Idem
Idem
Joannin Favereo
Idem
Leonardus Lechnerus
12
16
17
17
18
19
19
21
22
3k
Adonis Zart
Mitra d'hoggi
Idem
Gastoldi
22
31
Orazio Vecchi
Idem
Idem
23
23
2k
2k
25
25
26
26
27
27
28
28
29
29
30
30
31
32
32
33
33
3^
3*+
35
35
36
37
38
Neapolitanae et Madrigales
Quatuor Vocum
Cosano vada
Occhl ridenti
Mentre lo campai
Rlsposta. Mentre lo vissl
0 Tu che val
11 cor che ml rubasti
Lucilla io vo morire
Cor mlo se per dolore
Dormlua amor
0 Monto o flumi
Che glouerebbe hauer
Dansar vld'lo
Donna ben ch'io
Io stanco & lasso
E uns sol in ciel
Che ml glova servir
Meraviglio d'amore
Desir che tanto salli
Godi pur del bel sen
Io vorrei pur hormai
Lottava sfera
Giovani vaghl
Come faro
A1 dipartir
Amor s'lo posso
Se doppo mille manlfeste prove
DI piantl e dl sosplri
Mentre lontan
Non si puo piu
Per planto la mia carne
La virginella
Gl1occhl
Venite maghi
Dlsse a 1'amata mia
Veggo dolce mia
Ridon di maggio
Chi mi dimandara
Mir hab ich gentzlich
Wo jemandt lust
Vray_dieu disoit une fillette
Idem
Idem
Idem
Idem
Ferabosco
Idem
Idem
Idem
Idem
Idem
Idem
Idem
Idem
Gaspar Costa
Idem
Idem
Idem
Idem
Idem
Idem
Idem
Idem
Idem
Idem
Idem
Idem
Baldasar Donato
Gaspar Costa
Idem
Luca Marenzo
Idem
Hasslerus
Idem
Leonardus Lechm
Idem
Orlandus
,
3+90
>
kl
k2
k2
k3
^5
k6
^6
93
35
Madrigales
Quinque Vocum
0 dolce vita mia
Veux tu ton mal
Le voulez vous responce
Que me servent
Est il possible
Dell' auro crin
Con le stelle. Seconda parte
Hor pensat'al mio mal
Verement'in amore
Elle s 'en va
Madonna se volete
Madonna poi ch'uccider
Amor deh dimmi
Ohn dich muss ich dich
Chiamo la morte
Mamma mia cara
Giulio Renaldi
Orlandus
1+7
!+8
Ivo de vento
Philip, de Monte
Orlandus
Hieron. Vespa
Luca Marenz
Gio: Maria Nanino
Lechnerus
Theodor Riccius
Idem
*+8
50
52
52
53
52
55
55
57
58
59
59
60
60
Andreas Gabrielis
Idem
61
62
Philip, de Monte
Orlandus
Idem
Sex Vocum
Se tu m'ami
Non ti sdegnar
Caeterum ne quid sit quod candidum Philomusen in hoc libro

remoretur, seiat hos, ubicunq; signum hoc ()() occurit, pro
repetitionis signo usurpatos esse.
36
Noctes Musicae
The one hundred folios of the main body of Reymann's
book' are prefaced by four other folios which begin with the
following title:
NOCTES MUSICAE, STUDIO ET industria MATTHAEI REYMANI
TORONENSIS BORUSSI CONCINNATAE.6
A cut of a lutenist with his foot on a lion follows (see
Plate II), under the motto Non vi sed chely (not by force but
by music).
Below that are these lines:
Editio est VOEGELIANA. ANNO CHRISTI C D .

10. XCVIII.
Cum privilegio S. Caes. Maiest. & Septemuir. Saxon.<
On folio ii, there begins, after the dedication to the
four brothers we mentioned in Chapter II, a very long Latin
poem.
The meager biographical information in it we have
also mentioned earlier, and the remainder is the familiar

effusive extolling of the magnificence of the authors (Reymanns) patrons and their estates, coupled with a plea for
their support.
'The Sibley library copy, bound in red vellum, has had the
corrections from the Errata at the back of the book put in
by hand, as well as extra barring, which divides many of the
"measures" in half. The name of an owner, Philippus Walther
?tterborn . . . Anno 1601 is at the bottom of folio i.
^Musical Nights arranged by the zeal and diligence of Mattheus Reymann of Thorn in Prussia.
?The publisher is Voegel. 1598. With the consent of His
Imperial Majesty and Elector of Saxony.
37
The preface on folio iv, which follows, Lectoris. is of
more interest.
From it we gain the impression that some, of
the pieces in this book had been in circulation for some

.time and that this publication has provided some alterations.
He says, "You will find some of the parts increased, others
curtailed, and others entirely eliminated.41
An explanation of the tuning of the seventh and eighth
courses and their advantages is included.
This will be con
sidered in more detail later.

He then summarizes the contents of the book, giving the
number of pieces of each type to be found.
A comparison
with the actual contents (see Appendix) shows two errors.

There are actually twenty-three preludes, not twenty-two.
Although he says there are nine choreae, only eight are pre
sent.
The idea of providing preludes and passamezzos in a
'
wide variety of keys is noted here:

Has deinde Passemezae, Yariationes triplae, cum Ripresis ut vocant, similiter ad notas Musicales dlstinctas,
tarn in cantu B mollari quam B duruali num. XXII.
The preface is dated June 13, 1598.
v
On folio iv three other laudatory poems occur, two by
a M. Joannes Suevius Annaemont, and the other by PaulFroberg,
whom Wustmann has identified as a Leipzig lawyer. 9
^Then Passamezzos, triple variations with represas, as they

call them similarly on separate musical tones as much in
minor as in major,22 in number.
9r . Wustmann,
ojd.
cit.. I, 195*
38
The tablature itself begins on the following folio.
The foliation usual for the time takes over.
folios, R /!/ and /R2/, contain the Errata.
blank.
Two further
Folio R2V is
Cuts with elaborate scrollwork and centered faces
are found below the closing lines of both the tablature and
the Errata.
The four introductory folios, plus those men
tioned above, total 10'-+.
The copy in the Sibley Musical Li
brary was not included in Howard Brown's Instrumental Music

Printed Before 1600: A Bibliography (Cambridge, 1965).10
Again, we refer the reader to the Appendix for a table
of contents of the 7^ pieces for solo lute which make up the
book.
-^Brown's inventory of Noctes. made from a microfilm of the

incomplete Brussels copy, says only that there are 100 folios.
He is led astray by the table of contents into listing nine
choreae. and has miscounted the preludes.
39
Flores Musicae
Rude 1s first book has six folios of prefatory material
including the title page, dedication and other items, before
the sixty-six folios of vocal intabulations begin.
The title page runs:
FLORES MUSICAE hoc est SUAVISSIMAE ET LEPIDISSIMAE
CANTIONES, MADRIGALIA, VULGUS NOMINAT, una cum variis
pavanis, Paduanis, Galliardis, Intradis, Fantasiis,
& Choreis, ex quam pplurimis autoribus Italicis, Gallicis & Germanicis magna industria collectae, & nunc
primum ita descriptae, ut testudinis fidibus cani possint, per IOANNEM RQDENIUM LIPSIENSEM LL. STUdiosum
& QiXojy60v.
It continues with a statement that the book is being
sold with Reymann's book, which is. now Liber III of the FloreseMusicae.
A cut of the old testament ark of the covenant is in the
center of the page (see Plate III).
It is surrounded by
cherubs and topped by a sunburst in which the Hebrew inscrip

tion for Jehovah appears.
Below the cut, the date (1600), the place (Heidelberg),
and the printer (Voegel) are given.
The dedication which follows on folio ii
r-v
is of the
^Flowers of Music, that is, the most pleasing and agreeable

songs and madrigals commonly known, along with various pavans,
paduanas, galliards, intradas, fantasias, and dances from as
many Italian, French, and German authors as possible, gathered
with great diligence and now for the first time set down so that
they can be played on the lute, by Johann Rude of Leipzig,
student of law and lover of the muses.
Ho
type with which we are already familiar.
Rude places
him
self in the footsteps of King David and others, including

"our great Luther."
The Autor ad lectorem on folio iiir adds littleltoiour
knowledge.
Rude wants to assure the reader that these in
tabulations are not mere plagiarizing, but that they re

quired much work on his part.
He tells us that he followed
the advice of "good men who both insisted upon my publishing

these melodies and promised the necessary expenses for it."
v
The Tvppgranhi admonitio which follows on folio iii
will be discussed in connection with the notation.
Immediately below the admonitio. the table of contents
of both Reymann's and Rude's books begins, taking up also
folios iv, and v, and part of vir.
Each of Rude's selections
is assigned a number which appears in the tablature at the

beginning of each piece, framed in a box.
are also given for each piece.
Folio designations
The scheme is like Reymann's,
except the lower case letters, a. and b, now indicate recto

and verso, respectively.
Book Two begins with double letters
AA, BB, and so on.

The table of contents is given in Table 2.
From the
sources, it can be seen that more attention is given to the

madrigal here than in Denss's collection.
or some 60 pieces, are in that category.
About Ho per cent,

About 30 per cent,
or slightly over ko pieces, are canzonas or canzonettas.

are 27 German and 8 French texts.
There
The pieces date mostly from
Reproduced
with permission
TABLE 2
Table of Contents
of the copyright owner. Further reproduction
Flores Musicae
Pieces marked with * are unattributed. Sources given after the title are either the
prints in which the pieces appeared (taken from Emil Vogel-Einstein, Bibliothek der
gedruckten weltlichen Vocalmusik Italiens /.revised edition, Hildesheim 1962/), or mod
ern editions of the complete works of the composer. Abbreviations for the latter are:
Hassler W:
Lassus W:
Lechner W:
Monte 0:
prohibited without perm ission.
Palest W:
PSM:
P9p:
Hans Leo Hassler samtliche Werke. Rev. by C. Russell Crosby, Jr.

(Wiesbaden, 1961, f.).
Orlando:di Lasso Sammtliche Werke. Ed. F. Haber 1 (Leipzig, I89H-,
f.).
Leonhard Lechner Werke.
Ed. Ernst Schmid (Kassel, 195^, f.)*
Philippe de Monte: Opera Omnia. Ed. Charles van den Borren (Dttsseldorf, 1927, f.)*
Le Opera Complete di Giovanni Pierluigi da Palestrina. Ed. R.
Casimiri (Rome, 1939, f.).
Publikationen Slterer Musik. Ed. Theodor Kroyer (Leipzig,
1926, f.).
Publikationen aiterer praktish&r . . . Musikwerke. Ed. Robert
Eitner (Leipzig, 1873, f .).
Title
*1.
2.
3.
*+.
5.
6.
Ecco chio lasso il core. a6 .

Erano Capei d'oro p'aura sparsi. a5
Nanino 2 , (1582), ^
3. 17
17
Chi fara fed* al cielo.
a5. 1566-3,
Sola Soletta. a5
Conversi 2 (1572), 9
Liquide perle amor. a5*
P9M IV, 1
Ditemi o diva mia. a5*
Vespa 2 (1576), 2b
Composer
Folio
D'incerto
G. M. Nanino
A 1 .a .
A l.b.
Allessandro Strigio
Girolamo Conversi
Luca Marentio
Gironimo Vespa
A
A
A
A
3-a
M-.a.
^.b.
^.b.
-r
Reproduced
with permission
prohibited without perm ission.
Pietro Vinci
Sapp:'. Signior. a5- Vinci 10 (l579)?p10
G. M. Nanino
Scopriro. a5* (prima partita) 1597
Secunda parte ad madrigale Scopriro.
Noe Faignient
9. Chi pervoi no sospira. a5*
Giov. Pietro Manenti
10.- Se pensando al partir. a6. Manenti 1 (157*0? 11
Giov. Ferretti
11 . Donna crudel. a5* Ferretti 7 (1568), 3
Giov. Ferretti
12. Comme posso io morir. a5* Ferretti 7 (1568),
Gianetta Palaestina
13. Vestivi Colli. a5*
Seconda parte. Cose le chiome.
Risposta
15. Morir puo vostro core. a5
Girolamo Conversi
Ma
se
tempo.
a5
Conversi
2
(1572
)?
5
16.
Filippo
do Monte
17. Ahi chi mi rompe. a5* Monte 0 XXV, 51
Seconda parte.
Giov. Ferretti
18. Sei tanto gratioso. a5* Ferretti 7 (1568), 5
19. Madonna mia gentil ringratio amore. a5 P&M IV, 1, 25
Luca Marentio
Giov. Ferretti
Basciami
vita
mia.
a5Ferretti
7
(1568),
12
20.
Pomponio
Nenna
21. Torna amato mio bene. a5
Stefano
Felis
22. Non sos amor. a6. Felis 1 (1579)? 5
Seconda parte.
Tertia parte.
Giov. Ferretti
23. Mirate che mi. a6. Ferretti 7 (1568), 7
2b. Moriro di dolor. a6. Macque 6 (1579)? 20
Giov. di Macque
Madrigaletto
all Napolitana
Io
veggio
che
sei
bella.
a6.
*25.
Giov.
Gabrieli
26. Lieto godea. a8. A. Gabrieli 1 (1587)? 71
Qual
vive
salamandra.
a6.
Marenzio
2
(158^-),
Luca
Marentio
5
27.
Giov. di Macque
28. Amor io sent respirar. _a6.. Macque b (1582), 3
Quando
mirai.
a6.
1585
.
'
Giov.
Ferretti
29.
Un
tempo
sospirava.
a6.
Ferretti
2
(1576),
20
Giov.
Ferretti
30.
Hippolito Baccusi
31. Io son bella e delicata. a6. Baccusi 3 (1579) , 8
Girolamo Conversi
32. Quando mi miri. a5. Conversi 2 (1572), 11
Luca Marentio
33. Che fa hoggi. a5. P8M IV 1, 18 (1580)
Uberto Warant
3*+. Vorria morire. a6. 1585^
a5. Monte 0 XXV, 69
Filippo d Monte
35. Ochi vaghi amorosi.
36. Par mi vedere. a5* Faignient (1568), 36
Noe Faignient
Giov. Ferretti
37. Questa fera gentil. a6. 1583^
7.
8.
A 6. a.
A 6.b.
B 1. a.
B 2. a.
B 3-a.
B b .a.
B
B
B
C
C
C
C
C
C
C
C
D
D
D
D
D
D
D
D
D
E
E
E
E
E
E
E
E
E
b.h.
^.b.
6. a.
2. a.
2.b.
3.a.
a.
5. a.
5* a.
6. a.
6. a.
1. a.
l.b.
2.b.
3.a.
b. a.
U-.b.
5-a.
5.b.
6.b.
1. a.
2.a.
2.b.
3* a.
3-a.
3-b.
.b.
5. a.
5.b.
Reproduced with permission
'38.
i+o!
*+1 .
b2.
>+3.
bb.
b$.
>+6 .
b7.
b9.
prohibited without p erm ission.
50.
51.
52.
5b.
55.
56.
57.
58.
59.
60.
61.
62 .
63.
6b.
65.
Dialogo Amante el Core E

Questa fera gentil. a6. 1583
Seconda parte.
F
Giov. de Macque
Basclaml vita mia. a6. Macque *+ (1582), 6
F
Uberto Uuarant
F
Mi voglio fare. a6. 1585
Allesantiro Strigio F
Non romor si tamburi. a6. Strigio 12 (1579), 17
Francesco Rovigo
F
Liete le muse all1 ombra. a6. 1597
Andrea Gabrieli
F
Gloria di amor dicea. a6. 1605
Luca Marentio
F
Tirsi morir volea. a5* P9M IV, 1, 12 (1580)
prima parte.
F
Seconda parte.
F
Tertia parte.
,
Giovanni Ferretti
G
Ochi no ochi. a6. 1585
o
Giov. Ferretti
G
Corete tutti quanti. a6. 1583
Giov. Ferretti
G
Su, su, non piu dormir. a6. Ferretti *+ (1575)? 9
Madonna io no so sar tante parole. a6.
G
Seconda parte.
G
Leandro Mira
G
Come il lauro non perde. a6. 15833
Filippo de Monte G
Poi che il mio largo pianto. a6. Monte 0 XXV, 81
Girolamo Conversi
G
Io vo gridando. a5. Conversi 2 (1572), 3
Hippolito Sabino
G
Facciasi lieti. a7. (prima parte)
Sabino 5 (1582), 10
Seconda parte.
Giov. Pietro Manenti H
Vientene filli. a6. Manenti 1 (157b), 8
Andrea Gabrielli
H
Vieni flora gentil.
a6. Gabrieli
4- (1580), 1*+
Stefano Felis
H
Nova belta soma virtu compresi. a6.
Felis 1 (1579), 17
Andrea Gabrieli
H
Dolcissimo ben mio.
a6. Gabrieli b (1580), 8
Giannetta Palaestina H
0 bella Ninfa mia. a5.
Antonio Pacie
H
Mi parto vita mia. a6. Pacie 2 (1575), 8
Luca Marentio
H
Posso cor mio partire? a6. 1593
Hippolito Sabino
H
Tirsi in ira. a6. Sabino 1 (1579), 12
Allesandro Strigio I
Partiro dunque. a6. Striggio 12 (1579), 7
Dialogo Giovanni di Macquel
Tre gratiosi amanti. a6. Macque 4- (1582), b
Stefano Felis
I
A1 vostro docie. a6. Felis 1 (1579), 10
Giov. Maria Nanino- I
Amor deh dimi come.
a5* G. M. Nanino.5 (1587), 8
Giov. di Macque
I
Bascianti vita mia.
a6. Macque *+ (1582), 6
6. a.
1. a.
2. a.
2. a .
2. a.
3-b.
*+.b.
5.a.
6.a.
6.b.
1. a .
1. a.
1.b.
2.b.
3.b.
*+.a.
5.a.
5*b.
6 . a.
l.a.
1.b.
2.b.
3*a.
3.b.
*+.b.
5. a.
5*a.
1.a.
2.a.
2.b.
3-b.
3-b.
-r

66.
67.
68.
69.
70.
71.
72.
73.
74.
75.
76.
77.
78 .
79.
80.
81 .
*82.
83.
84.
85.
86.
87.
88.
*89 .
90.
91.
92.
93.
94.
95.
Sonno scendesti in terra. a5 Felis 4 (1585)? 6

Di 'un si bel fuocho. a5- 1576
Io cantero. a5. Conversi 2 (1572), 21
Chi ami la vita mia. a5- 1583
Leggiadra giovinetta. a5* Ferretti 7 (1568), 8
E vivere e morire me fae quanti. a6.
Vecchi 12 (1587), 12
Io voglio servirti dolcie mia vita. a6.
Vecchi 12 (1587), 8
Io son restato quo sconsolato. Vecchi 12 (1587), 7
Che fai Dori che pensi. ab. 1597
Deh prego amor. a4. 1597
L'aqua cava la pietra. Sabino 5 (1582), 17
Saltavani Ninfe e saturi e pastori. a6.
Vecchi 12 (1587), 2
0 Sole, 0 stelle, 0 luna, 0 cielo, 0 terra, 0 mare,
0 mia fortune. a6. Vecchi 12 (1587), 17
Nasce la pena mia. a6. Striggio 3 (1566), 4
Mamraa mia cara. a5* Riccio 2 (1577), 6
A monti. Vecchi 12 (1587), 10
Dolci sospiri
Del crudo amor. Regnart 2 (1574), 4
0 tu che mi dai pene. Hassler W II, 31
Chi gllochi vostri. Hassler W II, 43
Or va canzona mia. Hassler W II, 50
Chiara e lucente stellae. Hassler W II, 53
Vivan sempre: Pastori. Hassler W II, 60
Sin fede del mio Amor.
Strino la bella mano. a5* B. Mosto (1588), 8
Notte felice aventurosa. B. Mosto (1588), 4
0 chi creder deggio io? a5 Hassler (1596), 5
Dicea damet' a Clcride. a6. Vecchi 12 (1587), b
Itene a lombra. a5* PSM IV, 1, 64
Io sequo sempre. a5* C. Ferrabosco (1590), 15
Stefano Tfelis
Giache de Vuert
Girolamo Conversi
Lelio Bertrani
Giovanni Gerretti
Oratio Vechio
I
I
I
K
K
K
Oratio Vechio
K 3*a.
Oratio Vechio
Oratio VechioOratio Vechio
Hippolito Sabino
Oratio Vechio
K
K
K
K
K
Oratio Vechio
K 5* a.
Allesandro Strigio
Teodoro Riccij
Oratio Vechio
K
K
K
L
L
L
L
L
L
L
L
L
L
L
L
L
L
Iacobino Regniardo
Giov. Leo Hasler
Hassler
Hassler
Hassler
Hassler
Bernardo Mosto
Bernardo Mosto
Hassler V. A.
Oratio Vecchio
Luca Marentio_
/_ Constantino/
Ferra boscho
4.a.
4.b.
6.b.
l.b.
2.a.
2.b.
3*a.
3-b.
4.a.
4. a.
4.b.
5.a.
6.b.
6.b.
l.a.
l.a.
2. a.
2.a.
2.b.
2.b.
2.b.
3.a.
4. a.
4. a.
4.b.
5-b.
6.a.
6 .b.
-r
-r
Reproduced
with permission
Flores Musicae
Book II
l.a.
l.a.
AA
AA
AA
AA
AA
AA
AA
AA
AA
AA
BB
BB
BB
BB
BB
BB
BB
BB
BB
BB
BB
BB
3*a*
3*b.
b. a.
*+.a.
*+.b.
5. a.
5-b.
6. a.
6.b.
l.a.
l.a.
l.b.
2.b.
3-b.
*+.a .
b. a .
*t.b.
5* a .
5-b.
6.a.
6.b.
l.a.
2.a.
2.b.
3*a.
CC
CC
CC
CC
&
AA
AA
CM
Alles. Romano
1. Madonna piu che mai. Romano 3 (1572), 20
Filippo di Monte
2 . Leggiadre Ninfe. a6. Monte 0 XXV, 27
Seconda partita.
Oratio Vechio
Gitene
Canzonette al mio Signore.
3Veechi 12 (1587), 1
Oratio Vechio
h. De laccia figll i fiorl. Vecchi 12 (1587), 3
Giov. Leo Hassler
5. Chi mi consola ahi me. Hassler W II, 20
Gaspar Costa
6 . Delle vostre sciochezze. Costa b (158^-), 2
Vincentio Nerito
7. Un ghiaccio. Neriti 1 (1593), 2
Giovan. Leo Hassler
.8 . Lieti fiori e felicii. Hassler W III, 1
0 soave contrada.
9. Seconda partita.
11 Ferraboscho
cantare. a*+. C. Ferrabosco(1590),
10 . Mai non vo piu
Teodoro Riccio
Riccio 2 (1573), **
11 . Fa pour lamor.
Ferraboscho
servire. C. Ferrabosco (1590),
13
12 . Piu non voglio
Bernardo Mosto
13. Crudel per che mi fuggi. B. Mosto (1588), 3
lb. Al fiameggiar de bei vostri ochi. B. Mosto (1588), 11 Bernardo Mosto
Grigolo Aichniger
15. Amorosetti ugelli. a5* 1597^
16. Seconda parte. Vaga girlanda.
Iacomo Regnardo
17. Tutto il glorno. Regnart 2 (157^), 3
Hasslero
18. Ridon di Maggio. Hassler W II, 5
Teodoro Riccio
19. Chi vuol veder. a5 Riccio 2(1577), 7
Teodoro Riccio
20 . Privo son. Riccio 2 (1577), 8
Teodoro Riccio
21 . Deh lasciati basciar. Riccio 2 (1577), 1
Bernardo Mosto
3
22 . Felicie e lo mil core. B. Mosto(1588),
Giovanni
Francesco
Violanti
0
saette
da
amor.
a51583
23.
Andrea Gabrielli
(1580), 3
2b. Come vuoi tu ch 'io viva. Gabrieli
Andrea Gabrielli
Gabrieli
(1580), 1
25. Sonno diletto. a6.
Giac. Gastaldi
Gastoldi 8 (1581), 10
26. Miracolo in natura.
Orlando di Lasso
27. Dou venez vous Madame. Lasso W XIV, 69
Teodoro Riccio
Riccio 2 (1577), 10
28 . Dardi da amor. a5*
-r
VJT.

Blanchl giglij. (prima parte) Marenzio 70 (1610), 8 Luca Marenzo

Seconda parte.
Tertia parte.
Bernardo Mosto
30. Da bei vostri ochi. B. Mosto (1588), 5
Cipriano Rore
31. Ancor che col partir. Rore 37 (l55l)> 11
Giovani Pisoni
32. Duoi belli ochi lucenti. Pizzoni 6 (1582), 11
Un nuovo Cacciator. a5* Gastoldi 8 (1581), 3 Giovanni Giacomo Gastaldi
3? Amor poi che no vuole. P&M IV, 1, 53
Luca Marentio
3b.
Seconda parte.
Filippo de Monte
35. Amorosi pensieri. Monte 0 XXV, 101
*36. Io pur son giovinetta.
*37. Puis ne me peut. a5
*38. Hor sede amor.
Se par son.
Orlando di Lasso
?9 * Era il bel.
*bo.
*bi. Ie l'ayme bien.
Annibal Stabile
b2. Di amor le riche geme.
Stefano Felis
*+3 Dali' archa dia seconda. Felis 3 (1583) 1
Andrea Gabrielli
bb. Cinto me haveua. a6. Gabrieli b (1580), 2
Giovanni Ferreti
b$, Pascomi sol di pianto. Ferreti 2 (1576), 6
*b6. Alix avoit.
*1+7. Le bergiere.
*>+8. Pour un plaisir.
Filippo di Monte
^9. Veramente in amor. Monte 0 XXV, 66
Ach
woher
kombt
meim
Herzen
jetzundt
so
seltsam
Schmerzen.
a5.
*50.
*51. Ursach hab ich zu klagen.
*52. In klein und grossen Sachen. a5.
*53. Eilendt hat sich verkehrt. a5*
*5*+. Mancher nach Reichthumb freyet.
a5*
*55. Jungfrawlein igh seyd gezieret.
*56. Welcher Jungfrawen lieb wil erlangen. a5
/Hausmann/
57. Sag gib mir rath zart schttns Jungflewlein.
*58. Ich hatte mir vorgenommen. a5.
*59. FrOlich wil ich singen mit lust zu diser zeit. a5*
/Hausmann/
60. Dein trawren macht das ich kaum sing.
*61. Ach wie herzlich und schwer.
29.
CC
CC
CC
CC
CC
CC
DD
DD
3 .b.
*t-.a.
M-.b.
5. a.
5.b.
6.b.
l.a.
l.b.
DD
DD
DD
DD
DD
DD
DD
DD
DD
EE
EE
EE
EE
EE
EE
EE
EE
EE
EE
EE
EE
EE
EE
EE
EE
EE
FF
2 a .
2.b.
3* a.
b .a.
V.b.
5. a.
5.b.
6. a.
6.b.
l.a.
l.a.
l.b.
2.b.
3.a.
3.b.
3-b.
^+.a.
*+.a.
*+.b.
.b.
5. a .
5.b.
5.b.
6. a.
6.b.
6.b.
l.a. C-TF\"

*62.
*63.
*6h -.
65.
66.
67*
*68.
69.
*70.
71.
72.
73.
An dich stStiglich dencket mein Herz.

Wiewol sich viel zum widerspiel
Ach schiinste Zier/ wie hastu mir.
Wiltu zu dir mein gunst so gar nichthun betrachten.
0 bleibt dein Herz/ das du so freundlich / &c.
Mit grosser begier zu dir.
Schbns Lieb~ mich frenckt der massen.
0 auffenthalt meines Lebens. /a^K/ .Hassler W II, 79
Wie kanstu so listig schon gegen mer.
Ach hertziges Herz mit Schmertz.
_ _
Wil uns das MSgdlein nimmer haben.
/a5.'/ PSP XIX, 98
Mir habe ich gentzlich mit begier.
Z.aVi/
Lechner W IX, 25
7*+. Gott behute dich. a^-. Lechner W IX, 18
*75- Ach woher kombt. a5*
_ _
76. Das du von meinet wegen. /a5a/ PSP XIX, 91
/Regnart-Lechner/
/Hausmann/
/Hausmann/
/Lechner/
_
/Regnart-Lechner/
/Lechner/
Leonhardt Lechners
Leonhardt Lechners
/Regnart-Lechner/
FF
FF
FF
FF
FF
FF
FF
FF
FF
FF
FF
FF
l.b.
l.b.
2. a.
2.b.
2.b.
3-a.
3-a.
3-b.
3-b.
3-b.
*+.a.
1+. a.
FF ^.b.
FF 5-a.
FF 5- a.
-r
-o
1+8
the 70's and 80's, although a few, such as Lassus's Et dou

venez vous (156^), the often-intabulated Ancor che col nartire
of Rore (1551)> and some of the works of Striggio and Ferretti
(the 1560's) are earlier.
Ferretti (born about l5*+0, active in Italy, died after
1609) is the composer represented by the greatest number of
pie cess-there-a are thirteen by him.
His canzonas have been
held by Einstein to be 'second only to the balletti of Gastol12

di in their influence in Europe.
Hassler and Vecchi each
have ten pieces mostly canzonettas.
The madrigals of Maren-
zio (nine pieces), Andrea Gabrieli, de Monte, and Mosto (each

with six pieces) are the next most numerous groups.
Other
composers who are given prominence are Riccio (six canzonas),

Felis- {five madrigals), Conversi (five canzonas), and Macque
(five pieces, type undetermined).
Others have fewer pieces,
many only one (as, for example, does Costa, who received so
much attention from Denss).
At the bottom of folio vir there appears the following
laudatory poem:
EPIGRAMMA AD ORNATISSIM VIRUM . . .
It is of some interest because of the famous lutenists it
mentions:
Âlfred Einstein, The Italian Madrigal (Princeton, 19*+9)
II, 593.
^9
Anglia Dulandi lacrymis moveatur: Hoberti
Julia se jactet terra superba chely.
Geldria Rhedani, Diomedis Sarmata tollat
Vel Laurentzini carmine Roma caput.
Aurea Parisios oblectet Musa Camilli:
Drusinosque vehat Misnis ad astra suos.
We have already mentioned previously Hobert (Howett?)
and Diomedes.
Laurencinus was a lutenist active at various
courts in Italy in the latter part of the century.
He is
represented by a considerable body of works in the Besard

Thesaurus.
Drusina is probably Benedict Drusina, whose lute
books of 1556 and 1573 were published at Frankfurt on the

1 Ll
Oder.
Rhedanus and Camillus are unidentified.
Julia may be
JUlich, a Rhine community, and Geldria may be Gelduba, now

Gelb, a castle on the Rhine, or Gelderland.
The author of
the poem is M. Christoph Hunichius.

Folio viV is devoted to another laudatory poem by M. Io.
Richter which needs no comment.
The tablature begins on the
next folio, in which the folios are numbered by the system

previously explained.
13
Let
Let
Let
And
Let
And
It is devoted entirely to intabulations.
England be moved by the tears

of Duland,
the proud land of Julia boast
of the lyre of Hobert
Geldria in Rhedanus, Sarmatia
in Diomedes,
the capital of Rome exult in the song of Laurencinus
the golden muse of Camillus delight the Parisians
Meisseners carry Drusina to the stars.
are not the first to wonder about them. Ernst Gottlieb

Baron, in his Historisch-theoretlsch und practische tintsrsuchune des Instruments der Lauten (Nuremberg, 1727), p. 55, as
well as J. P. N. Land, in ''Rhedanus, een Luitenist uit Rheden,"
Ti.1dsch.rlft der Vereeniging voor Noord-Nederlands Muziekgeschledenls I (1885), 202, raised the question but came to no
solution.
The second of Rude's hooks (Florum Musicae Joanne Rudenio Licsiense Collectorum Liber Secundus . . ., the Second
Book of the Flowers of Music Collected by Johannes Rude of
Leipzig) has only two folios of prefatory material before
the 58 folios of the tablature begin.
Neither the title
page, which uses the same cut of the ark as Book I, nor the
long statement of dedication of folio ii offer anything of
interest which we have not mentioned.
The verso of this fo
lio contains an Autor Philomuso and a Tvcographus Philomuso.

From the former, we have already culled the significant in
formation for Chapter II, and the latter simply tells the
reader to refer to the table of contents in Book I.
The tablature itself now begins, with a numbering scheme
like Book I.
The book contains both intabulations and the
complement of other types of pieces we have listed.

The following chart summarizes the pieces in the three
books which are not vocal intabulations:
Denss
Reymann
Rude II
Iintradas
Preludes
23
11
16
Passemezzo
suites
12
Pavans
20
Padoanas,
Paduanas
10
Galliards
10
10
21
/'.F-antasias
51
Denss
Reymann
Rude
22
Courantes
Voltas
_1
_0
_0
7*+
60
Allemandes,
Choreae
Branles
Ronde
Pauern Tantz
The collection of Denss is perhaps more cosmopolitan,

with its inclusion of the French forms yet to reach their
zenith of popularity.
His omission of preludes and pavan-
types is in accord with the practice of certain other com

posers,
, Adriaensen, Novum nr aturn musicum . . . (1592).
The preludes of Reymann are remarkable because of their num

ber perhaps the largest number since those of Gerle (1552).
A large number (38) appeared in the Thesaurus of Besard (1603).
Both Reymann and Denss are important for their fantasias
rather more of them appear here than in other lute books.
The presence of so many pavans and galliards in the Reymann
and Rude collections is a parallel to (and, as we will see, a
reflection of) the interest given to these forms by the Eng
lish virginalists.
In the case of the pavan, this interest
is somewhat of a revival of a dance which had flourished in

the first half of the century.
Rude's intradas mark a. rare appearance of this type of
piece in printed lute books of the time, although there are

a good many in the lute-book of Albert Dlugorai.
The con
tents of his collections, generally, are designed to dovetail

with that of Reymann, since the two appeared together in 1600.
(Reymann's Noctes was the third book of Flores Musicae).
The repertoire of Rude II presents a curiosity in that
for some reason three pieces are- repeated (No. 80 = No. 88;
No. 83 = No. 100; and No. 86 = No. 12^).
Seven pieces are
labelled Anglica. Angliae, or Angli (Nos. 78, 87, 89, 91, 92,
96, and 131).
All are pavan-types except No. 131, a galliard.
One of Dowland's pieces (No. 110) is simply labelled I. D.

Another piece, No. 8*+ (also a pavan), has been traced in
English sources (see the Concordance).
Rude has not given
credit to Holborne for Nos. 80 and 88 (Holborne's Decrevi)

nor to John Johnson for his pavan (No. 85).
The terms pavin,
navana. paduana. and padoana are all used interchangeably in

the titling of the duplicated pieces and some of the other
borrowed items.
Over one-third (2>+ pieces) of Rude's purely instrumental
pieces are intabulations of the works of other composers.
The
Concordance at the end of this chapter lists English sources

for the 12 pieces mentioned above as well as for one of the
six pieces Denss included which were not his own.
Several examples of each type of piece by each of the
three authors were selected for inclusion in the Appendix, as
well as a few of the borrowed pieces.
53
CONCORDANCE
English Sources
None of the English sources were available.
The con
cordances were taken from David Lumsden's Sources of English

Lute Music. unpublished doctoral dissertation, Selwyn College,
Cambridge University, 1955*
His number is indicated by (L).
The selections Rude repeated are also shown here.

Florilegium
93*
Fantasia alia eiusdem /Gregory Howett/ (No. 6), f. 68.

Dowland, Robert, A Varietie of Lute Lessons. l)+-l1+v
(London, 1610). Edited by Edgar Hunt (London, 1956),
11 .
Noctes Musicae
No concordances in sources referred to by Lumsden.

Flores Musicae II
80.
Pavana FF 6.b.
L 56*+ (A. Holborne's Decrevi).
Holborne, Pavans, Galliards . . . (1599), No. 35 (con
sort version, in A).
Camb. Dd. 2.11, *+9 .
Glasgow MS R.d. M-3 (Euing lute-book), 38 .
Fitzwilliam Museum, Cambridge (Lord Herberts lutebook), 7V .
Rude II, 88, below (Padoana).
(Solo versions in G).
83. Padoana GG l.b.

Rude II, 100, below (Pavana T. K.).
dences more ornamented.
8^.
No. 83 has ca
Pavana GG 2.a, _
L 5^6 /Pavane/
Cambridge University Library Dd. 2.11, 83.
Glasgow University Library MS R.d. *+3 (Euing lutebook), 39v .
5^
85.
Paduana GG 2.b.
L 507* A pavin. Mr. Johnson.
Egerton 20*+6 (Jane Pickeringe lute-book), 23.
86.
Paduana GG. 3.a. /Holborne's Decrevi/

Identical to 80, above.
91.
Dulandi Angli GG 5*b. (Pavanna Lacrimae)

L 511.
British Museum Add. 31391, 35-36, and many others
too numerous to list here. See Lumsden's An Anthol
ogy of English Lute Music (London, 1953), 62, for a
listing of them.
92.
Pavana Anglica GG 6.a. (Pavanna Phillipi)*

L 18.
Cambridge Dd. 2.11, 98-99.
Dublin, Trinity College Library MS D.3.30.
(Dallis lute-book, 1583), 251
+-5.
Welde lute-book, 2-3.
Wickhambrook lute MS, 12.
For consort: Cambridge Dd.520; Dd.5.21, 2 .
100.
Pavana T.. K. HH 3 *a
Rude II, 83.
110.
Paduana I. D. II l.a.
___
lP+76. Mrs. Brigide Fleetwoods Paven. Jo/hn/ Dowland.
Cambridge University Library Dd.9.33, 331-3l+.
12k.
Padoana II 5a*
Rude II, 86 (above).
131.
Galliarda Anglica KK 2.a.

L 9*+3 Galliarda Anglaise.
Sloane 1021, M-M-.
Van den Hove, Florida (1601).
This list of concordances is taken from Daphne Stephens's

The Wickhambrook Lute Manuscript (New Haven, 1963)
55
B.
The Notation and the Present Edition
The system of tablature employed in all three books is

the later French type, using six lines.
The letters "a"
through ,rn" (omitting "j) designate the frets.
The books
are a part of the continuing effort of the time to expand

the range of the lute in the direction of the bass courses,
since they all require lutes of more than six courses.
The Denss book requires a seventh course,- indicated by
"e" beneath the staff.
It is veiyrarely fretted, and always
remains tuned to F.
Reymanns book uses a seventh and an eighth bass course,
tuned to D and C., respectively.
His Lectoris explains:
Nec dabis temeritati aut arrongantiae, quod duos superiores crassos choros, septimum dico, & octavum, diverso modo quam alias consuevi, intend! iubeam. Hunc
enim, quod apprime notabis, si choro quinto soluta,
facto numerandi initio ab infima & altiore chorda per
diapason remissius^ ilium vero choro eidem, sed tact!
prius C litera, per diapason itidem remissius, concinnum reddideris: depraehendes, illud turn maximam utilitatem, turn gravitatem & ornatum prae se ferre; Et quidem in fugis condinendis, que hoc fundamento posito,
plures aliquot quam alias, iterandi sese, non denegabunt vices, nec minus in transpositione clavis genuinae
in remissiorem seu.-iadulterinam hoc ita sese habere
resîpsa loquetur ibi enim nulla omissio Baseos. quam
alias tibi imponit necessitas, metuenda veniet.^-5
15you will not attribute to rash haste or to arrogance the
fact that I wish the two upper heavy courses I speak of the
seventh and the eighth to be tuned differently from the_way
I am accustomed to tune them otherwise. As to the _one /.course/
you will note_first, if__you have produced harmony /the correct
tuning/, it /the course/ is lower by an octave than the open
56
Reymann goes on to clearly state that the letters below
the staff indicate the seventh course, and that the letters
below the staff with lines through them indicate the eighth
course.
He also mentions that Howett has proved the worth of
the system.
Reymann makes considerable use of the frets on
these lower strings.

Rude also requires an eight-course lute.
He has two
different sets of tunings for the lower two courses, however.

They may be tuned either to D and C. (like Reymann) or to F
and D.
In the first instance the seventh course is indicated
by "a" and the eighth by "a."
It is used very little.
In
the second instance, both of the possible pitches are indi

cated by "a," even within the confines of one piece.
One
must rely on the context of the music to select the correct

pitch.
ty.-^
Other tablatures of the time Jiave the same difficul

The frets on the lower strings are not used much.
The pitches indicated in the tablature have been carried
fifth_course.*. beginning the counting from the higher and low

est /pitched/string; as to the other, it is_lower, likewise by
an octave, in relation to the same course /the fifth/.*, if the
letter C is touched first /.making the pitches d- and D/; you
discover that this lends both the greatest usefulness and also
dignity with embellishment. And even in playing fueas. which
if this principle is established, yrill have several more op
portunities for the imitation of it than otherwise, and no
less in transposing from the natural key to a lower or foreign
one, the advantage of having it thus will speak for itself, for
certainly no omission of the bass which necessity imposes on
you elsewhere, will come to be feared.
l%ans Radke, "BeitrSge zur Erforschung der Lautentabulaturen,
Die Musik Forschune XVI (1963)? 37
R ep ro d u ced with p erm ission o f the copyright ow ner. Further reproduction prohibited without p erm ission.
over into our transcription using the G tuning clearly re

quired in the Reymann book.
Brackets indicate editorial corrections, or decisions
made involving the difficulty in discriminating between the
"e" and the "c" of the tablature, as well as Denss's symbol
"B" ("b") and " ^ " ("h"), in which the context could not pro
vide a definite solution.
The original tablature is given with the first complete
piece from each book in the Appendix.
The rhythmic signs in the book are the usual ones:
semibrevis =
semifusa =
|
|
; minima =
; semiminima
Rude adds one smaller value.
; fusa =
His "Print
er's Suggestion" in his first book tells us:

Signum hoc I post 1 plerunque positum eandem temporis
quantitatem notat, ac si lineola quinq; virgularem
apposita s i t . '
It is something of a chimera, since it bursts tup iienlys in
a couple of intabulations.
We have the usual practice of "reducing the values by
one-half," that is, letting
I= J ;
\ =
J , etc.
We have attempted to show at all times individual voice

leading, so clearly implied in the pieces.
There is some
appearance of added voices which are not part of the voice

lines.
Some voice lines in lower voices suddenly disappear
17lhis sign, I , placed generally after I , denotes the same

temporal value as if a fifth, line were placed beside the stem.
58
in our transcriptions, since we have ignored the double
string courses which might carry them on.
The vocal parts in the Denss book are in ordinary whitenote mensural notation.
The parts are marked Canto. Tenore.
or Basso, but that is no indication of the clef used.
They
include (to use Reese's terminology) V, S., M, A, T., Bar, and

B.-*-
Certain combinations may have, meant transposition, since
many of the lute parts are at different levels than the voice
parts, in the manner of the c h i a v e t t e .-^
About one-third of
the intabulations are a whole step below the voice parts, and
another one-third is divided equally between being either a
fourth or a fifth below.
However, there is not complete con
sistency in the "indication" of transposition by clef combi

nations.
The greater part of the pieces using SB or STB
clefs are not transposed in the intabulations, but to illus

trate the inconsistency, Mosto's Laudate Dominum uses SB
clefs, yet the lute part is a fourth below the vocal parts.
Any combination involving V is likely to have the lute
part a fourth or a fifth below the voice, e..&., da Nola's
Fugglt1 amore and Gastoldi's Non
(see Appendix) respectively.
p u p
sentir use VSA and VVT
SSBar is also in this category.
ST is likely to mean a whole step transposition
but Donato's
18
Gustave Reese, Music in the Renaissance (2nd ed.; New York,

1959),, P. 2k9.
Ârthur Mendel, "Pitch in the Sixteenth and Early Seven
teenth Centuries," Music Quarterly XXXIV (19^8), p. 336.
La virginella (VBar) is also transposed by this interval, as

is Costa's Gl' occhi (SB), illustrating that there are no
rigid rules.
Judging from the levels at which the modern
critical editions of the vocal pieces Rude intabulated have

appeared, he is following a similar practice.
Time signatures are given to all of the pieces in the
Denss book.
used.
In the purely instrumental ones, ^
and 3 are
They have a general meaning of duple and triple, and
with the quite careful barring given by Denss, the former

2
b
3
3
falls into measures of Lj! or
and the latter into g or
In the vocal notation, the following are used:
C.3,
and ^
C , ^ ,
3 . Likely no strict relationship is implied be
tween the integer valor of those without the vertical line

and those with it, but the latter have a preponderance of
the longer note values.
Values under both of the duple sig
natures are carried over into the lute tablature on a 1:1

basis; that is, a minima in the vocal pieces is.represented
by a minima in the lute notation, but the triple ones are re
duced 2:1 in the tablature.
In the vocal parts, the following is used to indicate a
triplet:
A larger
inserted in the middle of. the
stave in duple pieces indicates changing to triple meter, on

a 2:3 basis ( | = [).
Rests or ties are indicated in the tablature by placing
the desired value above the staff.
No fret indications, of
course, appear under these signs.
60
Repeats in the vocal parts are indicated by c) and
as well as
For repeat signs in the intabulations or
other pieces in tablature, either
or the sign ^
is used,
the latter being in the interior of the piece (at the point
to which one is to return) as well as the end.
indications are given to the right of the
the performer find his place in the piece.
A few fret
final sign, to help

These have not
been transcribed.
Reymann's pieces all have time signatures, either
i
(L 3
1+
or
3
Using his barring as measure-lines, mostly ^ and [j.
measures result (a very few are ^).
The sign (3 is used to
inject triple meter into duple pieces, again on the 2s3 basis
( J =|* ).
The figure
is also used for this purpose (see
Bavan No. 3, Appendix), but with a slightly different mean

ing (
) and now the barring marks off measures of three

5
semiminimas. which in our reduction appear as g measures
His repeats are all marked by
No rests are indicated.
Time signatures are quite rare in the Rude books; a few

intabulations have(^3.
The same sign is also used for chang
ing to triple, as in the other books.

The following break in the tablature into which a men
sural symbol is inserted we have transcribed as a rest only
when a change of fingering follows its appearance:
61
Repeats are like Reymann's.
is used in the intabulations:
A sign similar to Densss

or
36
Bar lines in Rude may give no metrical indication at

all, but evidently serve the purpose of a reading guide, as
in earlier tablatures.
As a result, a dotted symbol may oc
cur at the end of a measure, indicating that it is to be tied

over into the next measure.
have been supplied.
In cases like these, bar-lines
The second line of double bar-lines at
repeats has also been supplied.
Both of these additions have
been shown by broken (dotted) lines.

Beyond such metrical irregularities, errors involving
fret indications and rhythmic signs are very frequent.
In
many cases what must have been intended can be determined on

ly through comparing areas in which there is repeated material.
Where corrections grow to such a dimension that they are al
most like re-writing the piece, the original has been fol
lowed and commented upon in the notes.
Our correction of
I i
small rhythmic inaccuracies is done with dotted lines:
#i .
The first complete piece found in the Appendix from
each of the three books is given with a copy of the original

tablature to illustrate the attempt we have made at providing
a literal transcription.
R ep ro d u ced with p erm ission o f th e copyright ow ner. Further reproduction prohibited without perm ission.
CHAPTER IV
THE MUSICAL STYLE
A.
The Intradas
The seven intradas in Rude II fall into two of the four

types of the independent entry or processional species of intrada suggested by Margarete Reimann'1' either Type I, a duple
procession-type, or Type III, a triple dance-type.
They ex
hibit other style points which she also mentions two or

three repeated sections; chordal texture; and dotted rhythms.
There is hardly any scalar passage work, but there is much ca
dence ornamentation.
All but two of the intradas (Nos. ll^f and 119) are in
duple meter and feature the rhythms suggested by Reimann as
being peculiar to her Type Is
In our trans
criptions these appear as

Also characteristic of four of the five duple intradas
is the frequent use of a rest-anacrucis pattern, sometimes re
curring in several successive measures (see Ex. 1).
The two intradas in triple meter reflect the galliard,
since
d Jor JJ'Jare
prominent.
The main feature of all of the seven brief pieces is a

^Margarete Reimann, "Material zur ein Definition von Entrata,
Die Musik Forschung X (1957)? 356.
62
Ex. 1 Johann Rude?, Intrata. Rude II, No. 116, mm. 8-9
b.
. vF ut p 1
typical Gabrieli-llke alternation of harmonies formed from

triads with their roots a fifth apart, with little melodic
interest.
The first two pieces closely approach modern functional
major harmony (F major and G major).
The rest have more mo
dal traces in their cadence points and chord choices.

One of the triple pieces (No. 119) has cadences on a, and
d after beginning on b-flat, suggesting some modulatory func
tion ;for the piece.
There are instances of several consecu
tive parallel fifths (see mm. 2-3 or 6-7 of No. 122 in the
Appendix) and some awkward cadences (see the VI-V cadence in
m. 10 of the same piece).
be without thirds.
Either interior or final chords may
If the pieces are Ruders, he reveals a
particularly unsure hand in the rather banal repetition of

tonic and dominant in the first section of No. 115 (see the
Thematic Index) or in No. 117 (see Appendix) by his aimless
wandering toward the final cadence.
From their pompous and deliberate nature, it is not dif
ficult to associate these intradas with processions of enter
ing nobility in connection with dance or drama, as have many
61+
writers.
The pieces contribute hardly anything that would
belie their purely functional raison d'etre.'
% o r example, Margarete Reimann, "Intrada," MGG VI (1957)?

cols. 1370-1375.
65
B.
The Preludes
Reymann's twenty-three preludes appear in the print in

the following order:
Key
.G
G
F
F
D
D
C
C
E
E
B
Number of preludes
sol re ut, melos molle

sol re ut, melos durum
fa ut melos molle, tono ficto
fa ut melos durum
la sol re, melos molle
la sol re, fictitoni, melos durum
sol fa ut, melosmolle, tono ficto
sol fa ut, melos durum
la mi, melos durum
_ _
la mi, tono ficto, melos molle /.sic/
fa, b mi, tono ficto, melos molle
3
3
3
2
3
1
2
2
2
1
1
The use of the term melos (melody) with those of durum

and molle is, of course, an indication of a step in the pro
gress of the latter two in acquiring the meanings of major and
minor, although in these pieces the harmony cannot be fully
described in this way.
The term tono ficto cannot refer directly to the musica
ficta alterations of some "signature11 which might be assigned
the pieces, but must instead refer to the transposition of
molle or durum (minor or major third above the key) to a tone
of the hexachord upon which, in modal theory, such a pattern
was not possible (the a.-flat above an f final, or the f-sharp
above a d, for instance).
The description which appears with Prelude No. 22 (ad
66
notam E la ml, tono ficto. melos molle) is evidently in er

ror, since it is a durum piece (on .e-flat, using ^.-natural
consistently), and the passamezzo with exactly the same des
cription appearing later on is in molle (on .e-flat, hut
using g.-flat consistently).
Preludes Nos. 20 and 21 are on
e., not .e-flat, a distinction which the E la mi designation

cannot make.
Prelude 22 is given complete (Appendix, p. 50).
The grouping according to keys and the presentation of

a wide selection of the available keys and modes is, of
course, a reflection of the long-standing custom of providing
a prelude to match the key of whatever song or piece might
follow.
The selection of ricercars presented by Bossinensis
(1509) may be mentioned as a typical example of the practice,

which was still followed by Bach in the Well-Tempered Clavier.
About half of Reymann's preludes are, in typical fashion
for the time, essentially short fantasias.3
The subjects for
imitation, however, are often quite short and may.be dropped

quite soon.
A few (see Nos. 17 and 22 in the Appendix) treat
the same subject throughout their length, but most (see No. 1
in the Appendix) turn to a succession of ideas.
The rest of the preludes have very little to do with imi
tation but are either scalar display pieces (Nos. 2 and 9) or
demonstrate a variety of the devices of the lutemst, all of
Neither Adriaensen, in his Pratum Musicum of 1592, nor
Praetorius, in Syntagma Musica (1619). made a complete dis
tinction between the terms.
which attest to the virtuoso capabilities of the composer.
1_L
Areas of simple chordal structure, a feature of some of the

preludes of Francisque (1600), are generally rare.
The sectional structure of the preludes is punctuated
with a quickly.-stereotyped *+-3 suspension cadence formula.
Wustmann has called this formal organization "mosaic-like"
and likened it to Baroque "decorative craftsmanship" rather
than to art-music.
Only three of the pieces approach complete tonality,
even though cadences in the interior are on I, V, or (less of
ten) IV.
Their harmony is characterized by sequences of sev
eral measures closed by stereotyped authentic cadences.

Nos. 20 and 21, both on e., are strongly Phrygian nearly all
the cadences are on IV.
There are some rare instances of de
gree inflection in a chordal texture (see Ex. 2).
He fre
quently exchanges accidentals in rapid scale passages.

To the listener, the pieces are of varying interest.
The lively imitative areas featuring widely broken style (of
Ll
Richard M. Murphy, in his "Fantasia and Ricercar in the Six
teenth Century" (unpublished Doctoral Dissertation, Yale Uni
versity, 195*+), has traced the improvisational background of
these devices, which include parallel thirds and tenths (Reymann favors the latter,', and parallel sixths), pseudo-counter
point (rapid alternation of voices, or broken style), mordentornamentation of cadences, dialogue, scalar ornamentation, and
sequence. Contrary to the usual tendency, however, Reymann
invests his preludes with more of this material than his fan
tasias.
^R. Wustmann, Musikgeschichte Leipzigs (Berlin, 1909) Ii
222
68
which there are at least traces in about half the pieces) and
sequences which characterize the first prelude are stronglycontrasted with the rather dull extended areas of pseudocontrapuntal chasing up and down through the range of the
lute, found in Prelude No. 3.
The four measures of dotted rhythms in No. 13 are unique
to the pieces.
The preludes are in the usual duple meter and
are of quite typical length (from nine to twenty-seven meas

ures).
Each closes with the Reymann trademark, a long scalar
flourish.
Their chief distinction lies in their rather inore .
interesting harmonic style (compared with those of Besard or

Francisque) and ijrrthe application of such a wide variety of
lutenist's devices.
Ex. 2. Matthias Reymann, Prelude 23, on B fa., b. mi, tono
ficto. melos molle. f. B61', mm. 2b-25.
flJ bhi>
" T 1^
J i.
b|M
f c z r
b =
izrz
!I
L1p________ 1
69
C.
The Fantasias
Denss
Two of the eleven fantasias Denss has included (the

seventh and the eighth) are those attributed (in the print)
to Gregory Howett and will be discussed separately.
The
numbers in the titles of Fantasias 9 and 10 have been inter

changed in the print.
Our discussion refers to them as they
are labelled, rather than by the order of their appearance.

The image of the motet is still quite persistent in
Denss's nine pieces.
Imitative beginnings (and a continuing
concern with imitation) are found in all of them.

(Fantasias
In some
and 6), the first subject appears rather quick
ly in four voices, but the rest are content with getting it

into two or three.
Other subjects (from three to as many as
fourteen) are introduced, imitated, and dropped, although

they may be very short and rather incidental.
% . Murphy, op., cit., p. 133> has noted that the fantasias of
Bakfark, occurring about the middle of the century (his books
appear in 1552 and 1565) achieve a.I'pihhacleoofâttention to
the motet type of treatment. He says, "Structurally, they are
the most rigid reproductions of this style provided by any
lutenist in the century . . . "
To achieve this end, Bakfark
largely turned from the set of devices (already noted in our
discussion of the preludes of Reymann) which had character
ized the earlier ricercar-prelude-fantasia repertoire, and to
which it was to return, in varying degrees, during the re
mainder of the century.
70
Denss's opening themes rely almost entirely on the wellknown chanson-canzona rhythm ( o
in the fantasia.
J ), also quit e common
Quicker motion in the first voice accom
panies the new entry.
In the opening of the ninth and elev
enth fantasias, the rhythmic pattern is speeded up into two

progressively faster versions:
Fantasia 9
Fantasia 11
In general, the contour of the opening themes contains
little that would be out of place in the motets of Hassler or
Lassus.
The first interval is often an ascending leap, which
is evidently a personal trait,: since most of the pieces of

the type had a repeated tone or scale step at their beginnings.
Several of the themes (see Fantasias *+, 5? 6, and 10 in the
thematic index) have a range of as much as a sixth or a sev
enth, so that due to the limitation of the lute in the repre
sentation of polyphony, voices not actually quoting the theme
drop out, leaving a texture of only two voices in many cases.
In contrast to some of the fantasias by such contempora
ries as Kargel, Waissel, or Adriaensen, Denss shows a good
bit more interest in unifying his composition by using related
themes or recalling previous material in a coda, devices long
practiced by Italian composers.
He also shows less tendency
to let his pieces go "free" into areas given over to special

lute techniques but often continues to present new imitations
or maintain three independent voices to the close of the
71
piece (Fantasia b, in the Appendix, is a good example).
There
are also some attempts to incorporate these techniques into

the thematic material of the piece.
Ex. 3 shows a theme used
earlier as an imitative subject now in parallel tenths.

Ex. 3.
Adrian Denss, Fantasia 5> folio 65v ? mm. 88-89.
The entire group of themes used in the fifth fantasia

is given in Ex. *f, showing a unity expressed by the interval
of a minor third.
The coda (also in Ex. *f) shows (as does
that of Fantasia b) the bringing back of one of the earlier

themes in several statements in close proximity.
Fantasia 3 is exceptional, since slightly less than the
last one-third of the piece is given over to pseudo-counter
point or sequential coloratura unrelated to the rest of the
fantasia.
The Fantasias 9 and 11, which treat a common opening
theme (an ascending scale) are somewhat set apart from the
others.
Not only are the themes definitely unvocal, but
there is hardly any hint of a clear-cut exposition area.

Rhythmic activity is speeded up in both melody and harmony
72
Ex. b.
Themes from Fantasia 5? f* 65v ; mm. 97-99
f f f I1 1
^ 3 5
-w*-
j.tVl !i.
n * - J i yv*- ^ ' T h.K- f
_t
* >*
f f
;.
fffl* b *
VW*/
. <
((A
IttfaPb b
i\L
<.
(j
- - [L 0 .> > m7 1 1H^ ^1 i~ j~. . - J l

J
t.- i- l .*. l, f r i
-r s : - r
a
b W l /
(the eighth-note is now the unit of change in the former case,

instead of the quarter, and sixteenth-note hrief running pas
sages are common).
They have somewhat the character of vir-
tuosic scale studies in which non-thematic areas may be long

er, and the "themes" themselves are fragmentary.
Broken
73
style, spread over three voices, is of greater importance,
too, shown (as is the quicker pace) by the exuberant repeated
patterns in Ex. 5.
Ex. 5.
Adrian Denss, Fantasia 11, f. 70v , mm. 55-56.
U
n
g g
Lc t
in
A persistent feature is the motet-like coda of two or

three measures, which features a slowing of rhythm and a
plagal cadence.
Some of the areas between statements of themes are en
livened by interesting harmony such as the mild chromati
cism in m. 10 of Fantasia b (Appendix, p. 10) or the sudden
appearance of triads built on tones outside the prevailing
mode (for example, the a-flat triad in m. 6*+ of Fantasia *+,
which very nearly is completely an Ionian piece on b-flat).
The image of modal polyphonic harmony and voice-leading
is still rather strong, especially when themes are introduced,
but it is somewhat diminished by a considerable amount of
writing in parallel thirds (or tenths) and sixths, and by the
tendency of cadence points to cluster around the tonic, domi
nant, and subdominant even in modes where this would not be
expected.
The free treatment of modal schemes causes many of
them to be ambiguous i.e., to fluctuate within the piece.
7b
Fantasia 11 is largely a Mixolydian piece on f but has about
one-half its cadences on b-flat, more like the Aeolian mode.
Denss1s use of the deceptive cadence rather stands out.
He often leads up to them with extended passages of quite
functional harmony and uses the passing seventh to get maxi
mum effect (see*Ex. 6).
Ex. 6.
Adrian Denss, Fantasia 1, f. 62v , mm. 12-13.
Howett
The outstanding feature of the Howett fantasias is that
they are monothematic, a type of construction also used by
several others of the time Molinaro, for instance.
The
theme is exposed at four different levels, the last two at

greater distances (non-overlapping) but mostly only two or
three voices are suggested throughout the piece.
After this
exposition, interludes occur in which there are imitations of

short motives.
The interludes are punctuated by appearances
of the main theme in the bass.

The seventh fantasia has a couple of noii-imitative epi
sodes which develop ideas related to the main theme, followed
75
by a cluster of four statements of the main theme which
rather suggest a second exposition, together with, a final
statement of the main theme just before the final cadence, so
that the line of demarcation between this fantasia and a Ba
roque fugue grows quite narrow.
The eighth fantasia follows the initial exposition with
a motival-imitative section, but then turns to a lengthy
florid and sequential melodic area under which two statements
of the main theme appear in the bass.
Another brief imita
tive area aiid a scalar flourish close the piece.

Both of Howett's pieces are in strong contrast to Molinaro's monothematic fantasias, which are more concerned with,
a continuous restatement of the theme in various voices, fea
turing diminished versions in the latter half of the piece.
In contrast to Denss's pieces, Howett's texture is often
thinner, drops voices more often, is more concerned with bro
ken style, and has less emphasis on the chordal style in its
interludes.
The harmonic style is even less modal than Denss's
cadences are nearly all on tonic and dominant levels, there
are fewer alterations of the thirds of triads or deceptive
cadences, and the harmonic movement is generally quite strong
ly tonal throughout.
In their tendency to give up imitation, the presence of
toccata-like figuration, and the use of "cantus-firmus" bass
76
themes, the two pieces have more in common with the keyboard
fantasias of England than the northern continental line of de
velopment of the fantasia.
The second of the two pieces was printed by Robert Dowland in his Varietie of Lute-Lessons (London, 1610), where it
bears the inscription "composed by the most famous Gregorio
Huwet of Antwerpe; Lutenist to the most high and mighty Henericus Julius, Duke of Brunswick, etc."
Reymgnn
The sixteen fantasias of Reymann are of two types: (1)
those using the successive phrases of well-known Protestant
chorale melodies as subjects for a series of expositions, and
(2)
those using a single original theme, but in a somewhat
different way.
It is certainly not surprising that a Leipzig lutenist
should turn to the chorale as a source for fantasia themes.
Reymann was not even the first to use chorales in a fantasia.
Paul Ltltkemans Newer Lateinischer und deutscher Gesenge
(Stettin, 1597) even contains one on Ich ruf zu dir, used by
Reymann.
The total impression of these nine pieces is that of con
siderable seriousness, in which the quite deliberate quarternote pace of the lengthy themes is enlivened generally only
by some eighth-note passing tone activity and in which inter
77
ludes do not present a contrasting texture but are notable for
their restraint in assuming much of the lutenist's bag of
tricks.
The sequential area in Fantasia 8, mm. 15-19 is ex
ceptional (see the Appendix).
The stilted mood is increased
by the almost unswerving introduction of the themes in many

statements by the stereotyped cadence formula used so much
in the preludes.
An attempt at creating variety is made by
swelling the number of voices at cadences to four or five and

beginning the new material at a higher tessitura.
The decla
matory upper-voice chordal presentation of a chorale phrase

(see mm. 38-39 of Fantasia 6 in the Appendix) is rare, but
there are severallaugmented or diminished versions of them in
outer voices (mostly bass-, some with coloratura above, like
in Howett.)
We should mention here that the obviously quicker pace
of Fantasia 6 and its other features of interest are the
reasons for its inclusion in the Appendix, rather than its
being a completely typical example of Reymann's treatment of
the form.
Hints of the development of themes in the interludes or
of the foreshadowing of those to come (see some of this in m.
26 of Fantasia 6 in the Appendix) are generally rare.
The form is affected by chorale repeat-structure in the
following ways: (1)
a repeat sign is used in Fantasia b after
the treatment of the firstttwo phrases, (2) there are two
separate treatments of the first phrase in Fantasia 6, closed

by common cadence measure, (3)
there is a second treatment,
in Fantasias 7 and 8, of the first and second phrases, and

(J+). the set of six phrases of Fantasia 5 is gone through
twice.
Although there are a very few minor alterations of final
or initial note values, and other attempts to disguise the
phrases by lack of a clear cadence, the general intent seems
to be to make each statement stand out, often in outer voices
in the quite Baroque-looking type of treatment seen in Ex. 7*
Ex. 7
Matthias Reymann, Fantasia 2, f r'Q2^,'Jmm^ 3^-38.
The versions of the chorales Reymann used are not strik

ingly different from those found in a four-voice song-book of
the time by Calvisius which happens to be at hand.?
Some mi-
nor departures from the latter are illustrated in Ex. 8.

The chorales which Reymann chose did not originate in his
own times but are at least several decades older.
In the case
?Sethus Calvisius, Harmonia cantionum Ecclesiasticarum (Leipzig, 15975,
79
Ex. 8.
Calvisius1s and Reymann's chorale incipits.
j
Calvisius, Erha.lt uns Herr
Reymann, Fantasia $, pmj. 1-3|
fin irs
Calvisius, Ich ruf zu dir
^^ ,4*
iij .J
Reytpann, Fantasia 8, mm. 1-2
of Erhalt uns Herr. Reymann's version is one older (15^3) than

g
the "modernization" of Calvisius.
Nor does Reymann's Wenn
mein Stundlein vorhanden 1st agree throughout with Calvisius*s,
9
although the contour of most of the phrases is the same.
The Harmonia does not contain Nun komm der heiden Heiland at all (Fantasia 1), although the older Yeni Redemntor
^Johannes Zahn, Die Melodien der deutschen evaneelischen
Kirchenlieder . . . (Gtitersloh, 1889-93) I, No. 350.
^The inner phrases vary the most. The opening phrase is that
of Wolff (1569)) the sixth that of Calvisius, and the last
that of Zinckeisen (158M-). It is obvious that this tune nev
er really settled down into a comraonly-agreed-upon form after
its inception (1569) and that Reymann might be contributing
his own changes. See Zahn, o j d . cit.. Ill, + 8 2 a.
80
from which it was derived is present.
euch was not the one Reymann used.
Calvisius's Nun freut
In the case of these two
fantasias, Reymann uses melodies from quite early in the Re

formation (with remarkably little alteration) which were cer1o
tainly the common property of any musician of the time. u
The form of the seven monothematic fantasias is charac
terized by the imitation of the theme in only one other voice,
longer interludes, given over to running passages or sequences,
and a good many unimitated statements of the theme in the
bass.
Generally quicker motion prevails.

The scheme of the tenth fantasia (see the Appendix) is
exceptional.
After the fourth widely-spaced two-voice exposi
tion of the theme, there is a ten-measure section in triple

meter, in which galliard rhythms are suggested.
The main
theme returns after the triple section for two more exposi
tions and interludes.
One other monothematic fantasia has
this return of the theme at a level and in the proper voicing

to suggest a return of the initial exposition.
The themes of the monothematic pieces are notable for
their departure from typical fantasia themes they are more
angular, of a greater range, and generally more lively.
Reymann's chorale fantasias are generally longer they
range from 63 to 131 measures, while the monothematic ones
^ T hey both date from 152k (ibid.. I, No. 117H-, and III, No.
+27, respectively).
81
are from 29 to 90 measures in length (the measure equals two
semibreves or, very rarely, three).
The harmonic materials here are particularly noteworthy
for a Reymann trait the fondness for the low sonorities of
the seventh and eighth strings, and the use of low parallel
tenths.
Chords in first inversion are very common.
Modal schemes are clearly reflected in the choice of

cadence points and in the harmony of most of the fantasias.
Within the five Ionian ones, however, a rare passage such as
the one in Ex. 9 shows a much more nearly functional organ
ization.
Authentic cadences predominate only in the Ionian
pieces.
Ex. 9.
Matthias Reymann, Fantasia 2, f. C2r , mm. 79-80.
The quick change of the color of a chord, even if imme^diately after a cadence (see Ex. 10), is typical.
The lack
of cadence ornamentation is also characteristic.

The rare kind of double abbreviated nota cambiata shown
in Ex. 11 shows that Renaissance practice still holds a
heavy hand over the organization of non-harmonic tones.
All of the pieces close with major triads, about half
of them with the scalar "trademark1' we have noted in the
82
Ex. 10.
Matthias Reymann, Fantasia 3? f* C3V > mm. 27-28.
preludes; or else they close abruptly after the last statement

of a theme with a plagal cadence.
Final authentic cadences
are rare.
Ex. 11.
Matthias Reymann, Fantasia' 13, f. F51*) mm. 12-13.
Rude
The solitary fantasia :by Rude is monothematic, and per
haps intended to be Mixolydian (it ends on , but has inte
rior cadences mostly on c. and 4) although there is an occa
sional b-f.lat in the texture.
After the initial exposition,
which simulates getting the theme into four voices, single

statements are the rule (one attempt is made at two-voice
stretto) punctuated by three episodes of six to ten measures.

These episodes reveal Rude's weaknesses as a composer.
He is
given to excessive ornamentation of cadences, sudden splashes

of coloratura which seem out of place, and worst of all, he
is unable to draw together his frequent excursions into bro
ken style, so that they are overly complicated.
Our one
example (Ex. 12) shows the latter problem in particular.

Note, however, that this episode (the last one, with which
the piece closes) is developing the main theme (see the the
matic index in the Appendix).
The harmony of the piece has
some strongly supported cadences (II-V-I) and a few areas of
functional motion, but generally it is wandering, and decep

tive cadences are important.
Ex.
12.
Johann Rude?, Fantasia. Rude II, No. 120, mm. 37-38.
81+
D.
The Dance Pieces

Denss
The passamezzo suites of Denss use the older form (galliards, not saltarel'los) and avoid rinresas unlike those of
Adriaensen and of some German composers of the time.
The
stock harmonic-bass patterns are completely regular and care

ful attention is given to the melodic pattern used in Italian
passamezzos (see Ex. 13)*
Ex. 13. Melodic schemes1^ and initial pitches of Denss1s
measures.
Passamezzo toatlcb n
35E
_L
e-
JL==:
-e-
H Passamezzo in F b mol ((Jo

zz
eei
Passamezzo moderno
2-
It
D lj, sol .!. b d;ir ( 0 . 8)
Passamez zo
=t
I
* *m $
t-
^Transposed from the patterns given in Lawrence H. Moes

"Dance Music in Italian Lute Tablatures from 1507 to 1611"
(unpublished Doctoral Dissertation, Harvard University,
1956), p. 130. The terms antico and moderno. however, are
not. mentioned in any of the three books we are studying.
There is much, evidence of careful construction in the passamezzos, involving smooth voice leading, full and varied har
mony, and interesting changes of- texture.
Even in the molle
pieces (the first four are molle, the last four are dur)
there are many evidences of the trend toward tonality for
which the passamezzo is famous (see Ex. 1*+).
No preference
12
for the Dorian mode such as Dieckmann found is evident.
Ex. lH-. Adrian Denss, Passamezzo in C. sol fa ut, per b. mol(No. 1), f. 75, mm. 9-10.
I
n g 33
r.
The galliards stretch the harmonic skeleton still further.

Denss has inserted after the second suite a ', galliard
hy Matthias Ferabosco which is in the proper key (G) but is
not related otherwise to the suite.
Its sections are not the
standard sixteen-measure length, and its interior cadences are

on c..
The harmony is unrelated, and the bass is a descending
chromatic line in the final section.

In other dances, the usual aa1 bb1 cc1 pattern is
1o
Jenny Dieckmann, Die in deutscher Lautentabulatur tlberlieferten Tanze. . . (Kassel, 1931), pp. 14 16.
86
frequently altered.
aa,; 11: b.'ll
Ik 1 9
The most striking examples are the
scheme of Galliard No. 2 (p. 18 in the Appendix)
which treats a single motive imitatively throughout; or Galliard No. 6, which bends the pattern in the direction of a
closed form (a a' b a" -).
if k 6 k 2
The
frequent use ofimitation is
typical of the time.

Smooth and expressive melodic writing of regular phrases
is particularly evident in the galliards.
Clear major or
minor tonality is seen in well over half the pieces (see the
Allemande Ich Dancke Gott, onpt28 of the Appendix, for an
example of the clear use of major mode and of his effective
handling of the lively rhythms typical of allemande cadences).
Even in those pieces not clearly major or minor, the usual
freedom of treatment of modal schemes is something which Denss
turns to excellent advantage in creating a colorful scheme
like that seen in Galliard No. 10 (p. 20 in the Appendix).
Here he flits between Aeolian
on C andA-flat major before
arriving at the tonic (F) in
m. 8.
Six of the allemandes are titled, indicating that they

are in the sphere of the migrant tunes of the day.
There was
a vast repertoire of this material, which might invade both

sacred and secular, vocal and instrumental literature.^
^This subject is discussed by John Ward in "Music for a
Handefull of Pleasant Delites," Journal of the American Musicological Society X (1957)5
87
Certain of the tunes Denss selected were favorites the Alle
mande s d 1Amour. d 1Alliance, and de. Fleur, for instance, also
1'+
appear in the lute hook of Thysius.
The Allemandes Ich
dancke Gott and Imperial we cannot trace any further than
their appearance in the Dresden manuscript B 1030 (now lost).
The Allemande Brunette is probably a reflection of the refer
ences to idealized femininity found in court poems of the
Renaissance, by this time a popular cliche/ and taken over by
the middle class.
15
Dieckmann has mentioned two other ver16

sions of the Allemande d 1Amour.
The earliest is evidently
s
^ 17
the one printed by Phalese in 1571
and the next is by Waissel, appearing in 1573*
The three later versions fill in the
melodic line of the earliest one.

Boetticher has held at least one version of the Allemande
d'Amour to be an example of a more serious French type, but
here it is quite as lively as any typical German
one. Neither
does the group show the beginning rhythms ( |
i ) suppos1o
edly characteristic of* allemandes from the Netherlands.
1*+
J. P. N. Land, "Het Luitboek van Thysius," Ti.ldschrift der
. . . Muziekeeschiedenis II (1887), pp. 28m-, 285, and 288.
lÂndre Verchaly, "Brunette," MGG II (1952), col. 1+05.
J. Dieckmann, op., cit.. p. 51*
^ T h e piece appears complete in E. Mohr, Die Allemande. . .
(Kassel, 1932) II, 9 .
1^Wolfgang Boetticher, Studien zur solistischen Lautenpraxis
(Habilitationschrift doctoral dissertation, Berlin, I9V 3),
p. 209.
88
From a study of these titles and the way in which iden
tical ones appeared in the Dresden B 1030 manuscript, the con
clusion is almost inescapable that nearly half the manuscript
(about forty dances) was a transcription of the Denss book
into German tablature. ^
Some clarifications of titles that
were apparently illegible to Dieckmann can be made.
For in
stance, the Allemande de F d(?)ur on folio 98 was obviously

the Allemande de Fleur.
In addition to the passamezzo suites, the variation
principle appears several places. The g Ripresa to Allemande

No.
provides a triple-meter version of both the harmony and
melody of the Allemande.
The Reprinse to Allemande No. 17 is
a simplified melody over a drone bass.
The principle in the
variatio Allemande Nos. 1*+, 16 and 19 is to provide a change

in texture or to vary an occasional chord, but not to offer
florid versions of the preceding Allemande, the "theme."
The form of Denss's Pauren tanz is like that of the
allemandes two four-measure repeated sections (a a b b )*
Its triple Reprise consists of two eight-measure repeated
sections which are non-ornamented versions of the preceding
dance, bearing a 2:1 relationship to the duple melody.
The
ensuing Yariatio is also in triple meter, of the same form,

but is an ornate version of the Reprise. Both of the triple
19
Compare the table of contents of the Denss print with that

of the manuscript, in Dieckmann, op., cit.. pp. 93-95
89
versions have a "peasant"-like drone bass throughout their
length.
Both the quick and the slow forms of the courante are
present, indicating (as does the presence of tfee voltas) that
20
Denss was atuned to the latest developments.
The three
slower ones (by Victor de Montbuisson) with their florid melo
dy and less skillful harmonic style are less attractive than
the two faster ones by Denss.
The usual a-b-c .stock-^pattern
is adhered to for most of these dances found toward the close

of the book.
The last branle (Branle de Poitou). however, is
a long series of repeated sections with varying lengths ( V-ll'*

8-||*L2.||12*i|:LK||:Lh'||:8:||) like the Branle simple de Poictou in Besard's
Thesaurus.
Repeated harmonic schemes (I-V-I) and repeated
melodic patterns give the motoric effect Dieckmann has found

to be typical.2'*'
Voltas (like courante:s) are rare in German sources.
Dieckmann did not even mention them, although the Leipzig MS
II.6 .15. has about 20 of them, and Besard*s Thesaurus has 3*+
The two here have the same thin texture that characterizes
most of the dances in this latter part of the book.
The form
of the Ronde is rather similar to that of the branle de Poi

tou.
The "return" idea is only hinted at (several sections
20Kurt Gudewill, "Courante," MGG II (1952), cols, 17+-17lf6,

refers to the differentiation of the two styles as a seven*
teenth-century development.
21
J. Dieckmann, op., pit., p. ^2.
90
open with the same melodic figure and C minor harmony).
Its
presence is something of a curiosity, since no such dance

appears in German sources, including Besard's Thesaurus (1603),
or in the collection of Francisque (1600).
Reymann
Reymann's twelve passamezzo suites are presented in al
ternating molle and durum keys, using G, F, D, C, E-flat, and
B-flat.
Three duple variation sections are followed By three
in triple meter, the scheme mentioned by Reese
22
as the norm
for Italian suites of the time (those of Terzi and Molinaro).

Unlike most Italian or German suites, however, the triple sec
tions are not called galliards or saltarellos, but simply
Prima, secunda or tertia variatiae: nor do they contain much
of a suggestion of galliard rhythms.
A seventh movement, a
ripresa. is added, a typical feature of the German suites of

the time (.e.g.., those of Waisell).
The riprese are from 17
to *+9 measures long and free in relation to the passamezzo

scheme; they are always in major and quite strongly tonal.
One of Reymann's outstanding characteristics is the in
teresting harmony with which he embellishes the framework of
the dance pattern.
In Ex. 15, for instance, the "proper
harmonies (tonic and dominant) are either left very quickly

^Gustave Reese, Music in the Renaissance (new York. 195^-).
p. 526.
91
Ex. 15. Matthias Reymann, Passamezzo 9 ad notam E la ml.
melos molle tono flcto. Variatlo 1 Tduple), f. M1Y7
mm. 13-15*
or arrived upon only at the very last moment.
A good many of
the passamezzos (No. 5? Appendix, p. 61) display brilliant

scalar flourishes, changes of register, 'or rapid two-voice
areas in the lower ranges which show a brilliance of style
reflecting, if not surpassing that of his better-known con
temporaries, Waissel and Terzi.
The full five or six voice
sonority available on the larger lute is used to good advan

tage in all of the dance pieces.
There are a few excursions into some unusual rhythm com
plexities like that in Passamezzo, Variatio 3 (duple /see
the Appendix, p. 69, mm. 9-12/).
Reymann's formal schemes for the pavan, galliard, and
the chorea are less varied than Denss's.
tions are the rule.
Three repeated sec
However, he nearly always has at least
one section with an odd number of measures (Galliard No. 1,

for example, has
11 :|I** 10 :||: 13 :|| ).
Although some chorea
sections are only two measures long, most galliard ones are
92
over eight.
The five pavans have larger sections than the
English ones (No. 5 is
a:||:b:||'.c-i|).
181 k 13
The triple variatio sec-
tions of the eight choreae present the entire complex of their

duple counterparts in generally more simple versions.
Four out of the five pavans are particularly clear ex
amples of pure major tonality.
Other dances are somewhat less
strong in their leanings toward tonality.
Sequential melody
of wide range is an outstanding trait in the faster dances.

In chorea No. 8, mm. 9-12 (see the Appendix, p. 77) Reymann's
sequential harmony leads him into the quite Baroque cliche of
a circle of fifths.
Rude
The pavans and galliards in Rude's collection mostly
have the usual three sections hut, like Reymann, with irregu
lar numbers of measure.
scheme 10*||*9*j|*9 *||-9^|:9|j
One (Rude .'II, No. 127) has the unusual

A scheme involving"free" areas is
found in No. 10^ (Galliarda
Diomedis): a
8
d'.
7
Huberti (No. 93)are two
The Galliardae Gregory
bc
8k
c'
d
7 2
versions
(variatio orima. and variatio secunda) of a regular a

.||:b:||'c *||
form.
The variation technique is similar to that of the
Denss allemandes.
The same two and No. 97 (Galliarda G. H.)
are the only ones to make prominent use of imitation.
The
galliards in this collection (and those of Reymann, too) make
93
more use of coloratura than Dieckmann evidently found (she
23
speaks of a "retreat of coloration").
Of interest in Rude's pavan-types is the appearance of
sections in triple meter (in the interior) followed hy a re
turn of the original meter (see No. 89 , Pavana Anglica in
the Appendix, p. 88).
Rude could have acquired this idea from
Waissel and grafted it onto...Nos. 87 and 895 since it is un

known in English sources, unless one considers the pieces to
2^be examples of the "medley" discussed by Lumsden.
It also
appears in the Pavan Crisiana (No. 102).
There is no rela
tionship between the duple and triple sections.

Rude made very small changes in the form of the pieces
by other composers, to judge by those for which we have in
formation.
The principal change was, in the case of the
pavans, simply to repeat a section instead of providing the

Renresa.common to English sources.
The performer, of course,
could have provided a more ornate version in the repeat.

Pavana Phillip! is a quite faithful adaptation of Phillips'
25
piece as it is found in the Fitzwilliam Virginal Book.
Two of the duplicated pavans are unchanged in their second

versions, but No. 83 has more cadence ornamentation than its
23j. Dieckmann,
op
. cit., p. 35*
^ D a v i d Lumsden, "Sources of English Lute Music" (unpublished

doctoral dissertation, Selwyn College, Cambridge University,
1955), Vol. I, 118118
2^J. a . Fuller-Maitland and W. B. Squire (eds.), Fitzwilliam
Virginal Book (reprinted New York, 19*+9) I, 3^3 (No. LX-XXV).
counterpart, No. 100.
A search for the other pieces with
English attributions in the virginal literature
(the Mulli-
ner, Cosyn, Nevell and Fitzwilliam books) has failed to turn

them up.
A Pavana Phillioi and Dowland's Lachrimae are fre
quently encountered in German manuscript lute sources of the

time.2^
The English pieces in the collection aside, we find the
other dance pieces to be somewhat out of step with the times,
or at least not on a par with the English repertoire.
about one-fourth of the pieces are in major.
Only
There are many
evidences in the others of mixed modal tendencies which are

certainly not as successful as the technique of Denss.
The
harmonic scheme of the Galliarda B. F. L. (No. 95) gives

something of an idea of this:
Eb - D
: Bb
Bb :l|*. Bb
Rambling and uninteresting melodies are common, as are

a great many open chords, successions of parallel fifths, and
a wandering and awkward harmonic style.
The use of Phrygian
and plagal cadences to close galliards, and the rather jarring

V to IV cadence in mm. 3 to
cient examples.
of the pavan No. 106 are suffi
Some of the attributed pieces .e.g.., Pavana
Crisiana have redeeming features, so that the principal weak

nesses of the collection must fall on the pieces evidently
composed by Rude, himself.
The one chorea (No. 118, in two
Wolfgang Boetticher, op., cit., p. 19^.
sections) of the collection is on a higher level than most

of the other pieces, hut lacks Denss's tunefulness and has
the following typical harmonic scheme:
F - D II- a
D II
minor
96
E.
Vocal Intabulations
The chordal texture of the canzonetta or canzona-types

so prominent in the Denss and Rude collections is carried
over quite easily into lute tablature, especially since-so
many of them are of only three voices.
The quicker rhythm
seems to have largely negated the necessity of representing

through coloratura the longer note values,
although there
are some instances of it (see the contrast between Denss's

intabulations of Lechner's Mir hab ich gentzlich and da Nola's
Fuggit amore. p. 106 in the Appendix).
The six pieces which
both. Rude and Denss have intabulated are of this type and un
fortunately do not give us much opportunity to find differ
ences in treatment on the part of the two individuals.
One,
in fact, De le. vostre sciocchesse of Costa, is nearly notefor-note the same in both collections, and probably is an ex
ample of the accepted plagiarism of the times.
Voices proba
bly were used with Rude's pieces, too.

Radecke^? has discussed Rude's treatment of five-voice
lieder by Lechner, mentioning that the increase in the num
ber of voices and the introduction of polyphonic elements are
reflected in the tablature.
We have noticed in an interior
27
Ernst Radecke, "Das deutsche weltliche Lied in der Lautenmusik des 16. Jahrhunderts," Viertel.i ahrschrift fllr Musikwissenschaft VII (1891), 307*
97
passage of Lechner's Will uns das Mfegdlein (see the Appendix,
p. 105) apparent changes of harmony as well as the expected
limited suggestion of the independence of voices.
There is,
of course, the possibility that Rude was intabulating a dif

ferent version than the one known to us.
What Radecke means when he says "If one, for example,
views the transcriptions of Rude, one must conclude that lute
p
technique at that, time stood at a very high level,"
and
what Boetticher is discussing when he says, "With Rude the

five-voice /.texture/ becomes the rule, whereby the delineation
of polyphonic structure results in astonishingly exact fash^-.i
29
ion"
is not only the fact that Rude selected mostly four or
five voice madrigals for intabulation, but also that in so do
ing he represented them by a series of (after the voices are
all involved) four, five, or even six-voice chords to the
exclusion, generally, of the coloratura which had previously
characterized the intabulations of this type of piece.
Ac
cordingly, he represents (along with Denss) a "decline in the

30
classic art of transcription."
A glance at the transcrip
tions included in the Opera Omnia of de Monte bears this out,
but we note that there are places in which Rude might have
p O
Ibid.,, p:. -3O8 .:,.
29
W. Boetticher, "Laute," MGG VIII (I960), col. 362.
3^W. Boetticher, "Les Oevres de Roland de Lassus misesentabulature de luth," La Lute et sa Musiaue. ed. Jean Jacquot
(Paris, 1958), p,'151.
98
given a much greater impression of separate voices than he
did and remained closer to his model in other ways (see Marenzio's Liquide nerle in the Appendix , p. 105? m. 3).
The
first statement of the second point of imitation is dropped,

although the ensuing measures do well by the model.
Denss is generally not guilty of such re-writing.
He is
even less involved with the use of coloratura, even in con

nection with some motets (see the beginning of Lassus1 Gustate et videte in the Appendix, p. 106).
The longer note-
values of the beginning of Victoria's 0 quam gloriosam. how

ever, were too extended for representation in any other than
the older fashion, however.
A rather literal carrying over to
the lute of a multi-voice complex is seen in the transcription

of Que me servent mes vers of de Monte (Opera Omnia XXV, 12).
The voice parts which Denss has printed in his book are
in no case a skeleton (i_.e.., soprano and bass, or soprano and
bass and an inner part) which the lute supports with harmonic
"filler.
The lute version attempts to reproduce a certain
impression of all of the voices.
Only in a very few;places
does a voice line seem to be independent of the lute (one may

be seen in the entrance of the bass in O'quam gloriosam of
Victoria, in the Appendix, p. 105).
About half of the pieces
give the outer voices from what were originally four-voice

pieces, and fifteen give the upper and two lower voices from
what were formerly four, five, or six-voice pieces, so that a
99
certain amount of modern polarization is involved.
Another
twenty of the pieces (mostly those of Costa and Torti) are

given just as they were originally, in three voices.
The Denss tahlature is able to yield a very few sugges
tions about the performance of vocal music in the matter of
musica ficta. .e.g.*, the sharp suggested in the complete edi'Vl
tion of the works of Victoria for mm. 25 and 30 of Domine non
sum dignus could (according to Denss) better be omitted (see
Ex. 16-rmm. 2^-26 are identical to mm. 29-31)
Ex. 16. Tomas Luis de Victoria, Domine non sum dignus (Opera
Omnia Victoria I, *+0, ed. Phillip Pedrell), mm. 29-31.
W f\j\ ft
J' " T "
h r
rans
4
-L
\*
-AI
r
- * = 4 - 1
.A'
n .
by permission of Breitkopf & Hartel Verlag, Wiesbaden

Rude, on the other hand, inserts accidentals in a quite
bewildering number and variety considering only the intabu
lations of the de Monte madrigals done by him.
There are so
many of them that obviously van den Borren considered them

either to be errors or only the indications of the personal
taste of an individual, and they are not reflected in the
Opera Omnia of de Monte.
Rude changes the color of chords,
removing even those accidentals printed in the voice parts,

and also at times reworking the harmony (see the removal of
100
two suspensions impossible to execute at this pitch level on
the lute in Ex. 17, as well as the insertion of a b-flat in
the first chord).
Ex. 17.
Philippe de Monte, Amorosi pensieri.
Rude's intabulation (Rude II, No. 35, mm. 10-11).
Original version (Opera Omnia XXV. 102, mm. 10-11).
by permission of L. Schwann Verlag, Diisseldorf

(Desclee et de Brouwer, Bruges)
101
TABLE 3
CRITICAL NOTES
(for pieces transcribed in full)
Denss
Fantasia 1+ (f. 65*).
Vol. II, p. 10
m. 32.
Third beat. The symbol "4" appears below the

staff, instead of on the bottom course.
First beat. The symbol "e" appearing
m. *+8 (f. 65;.
on the fifth course should be a "d" on the sixth
course.
Galiarda 7 (f. 7^r). p. 11+
m. 16
First beat. The symbol "f" appearing on the

fourth, course should be an "evf
Passamezzo 5 (f. 80v). P* 25

m. 26
Second beat. The symbol P over the pitch d. in

the soprano should be B .
m. 38
Fourth beat. The symbol

over the pitch, c-c
sharp ih .the middle voice has been changed to
m. 1+3
Fourth, beat. The symbol r over the

upper voice has been changed to p.
Courante 2 (f. 92r).

m. 2!+
P. 30
The final rhythmic symbol 1 occurs over the

penultimate note, not the final one, and has
been shifted to the right.
Courante 3 (f. 92r).
m. Ilf
in the
P. 30
First beat. The bass pitch (given as symbol

"f" on the fourth course) has been corrected
from b-flat to a.
102
Revmann
70.
Chorea. 4, Variatio triolae.
(f. Q2r).
p. 76.
mm. 21 and 23. A 4 -natural was given in the tenor.

Rude
Note:
80.
The only time signatures given were those identified

hy the original sign "between the staves. We have sup
plied values for the final chords of sections. The
tablature has J or lacks any symbol at these places
except for a fermata. In the listing of rhythmic sym
bols below, prevailing rhythms ocurring prior to the
error are given in parentheses, followed by the incor
rect symbols.
Pavana
(f. FF 6.b.).
Vol. II, p . 85.
m. 1+.
Third beat.
m. 8.
Third beat. (j^) Symbol lacking.
81. Padoana P.. B .
(f . GG 1. a.).
m.
2. Fourth beat,
m.
6. First beat,
m.
6. Fourth beat.
m. 7*
m. 9.
m. 10.
m. 19.
P f P
p . 87.
^ PP
Second beat. The symbol "k" (e." natural) was

given in the soprano. A five-beat measure?
A three-beat measure?
First beat. The symbol "c" (b1 natural) was
given for the tenor voice,
A two-beat measure?
89.- Pavana Anglica
(f. GG *+.b.).
p. 88.
m. 7.
Second beat.
Value given was doubled.
m. 11.
m. 12.
Fourth beat.
Fourth beat.
The dot was missing. ,

Tie indicated by
.
m. 16.
Fourth beat.
the previous
j |
\ IS N
cf) F l )
103
97-
Gaeliarda G. H.
m. 5-
102.
(f. HH 2.a.).
Third beat.
The only symbol given was ^ .
m. 12. Third beat.
The only symbol given was ^ .
Pavana
(f. HH ^-.a.).
m. k.
Second and third beats. The only, symbol given

was |s , over the second beat.
m. 16.
Second beat, second eighth the symbol for the

soprano note was ^ .
106. Pavana (f. HH 5*b.)

m. 7*
m. 18.
109.
p. 90.
p. 91*
p. 9^.
Third beat.
The symbol "h" on the fourth
course was given for the tenor (pitch c.).
Last two beats:
Pavana G. H.
(f. HH 6.b.)
js ^ p
p. 97*
m. 5.
117-
Third beat.
The onlysymbol givenwas (all
thirty-second values supplied),
m. Ik. Fourth beat. Tenor pitch was
Entrata (f. II 2.b.) p. 99*
122.
m. 11. First beat.

The low F in the bass was moved
back under the final sixteenth of the pre
vious measure.
Entrata (f. II *f.b.) p. 99*
m. 9*
132.
Gaeliarda
m. 19.
m. 30.
136.
Third beat.
The bass
low the staff.
(f. KK 2.a.)
was indicated by "a" be
p. 102.
The soprano note was indicated as "a" (pitch

on the first course,
The tenor note was -sharp in the tablature.
Gaeliarda (f. KK 3.b.) n. 103.

m. 1.
Symbols given for the entiremeasure:
m. 3.
m. 7 .
m. 8.
m. 9*
J n J
r
Tie indicated by ^ .
The N at the end of the measure was over the
a. in the tenor.
k
A one-beat measure? The only symbol was
I .
The T symbol was between the a. and the
tenor, not at the end.
inthe
).
CHAPTER V
SUMMARY
The first hook to appear, chronologically, of the
three we are considering is in many ways the most rewarding.
The book itself is carefully printed, and the independent
pieces in it
are generally of quite high quality.
In his
treatment of
the dance forms of the day, Denss is to be
ranked with the masters of his day; and his fantasias, in

which, he shows himself to be on rather a higher level in the
organization of his pieces than such contemporaries as Waissel or Kargel, would have given Engel less cause to apologize
for German treatment of the ricercar-fantasia form,,had he
looked at them.^
His intabulations, if not concerned with
weightier pieces for the most part, offer at least a glimpse

of the taste of the day, an indication of performance prac
tices of domestic circles, as well as an example of careful
respect for their models and of changing styles of treatment.
His treatment of
inclusion of
tacts.
the allemandes and their variations, and the
the branles and the ronde reflect his French con
The passamezzos and fantasias show his contacts with
the low countries and international figures such as Howett.

-'-Egon Engel, Die Instrumentalformen in der Lautenmusik des
16. Jahrhunderts (Berlin, 1915)*
10b
105
In both the dance pieces and the fantasias, he has
shown himself to be partial to quite modern major-minor
functional harmony and adept in mixing modal and tonal
idioms in an attractive way.
His book, if avoiding some of the brilliance of tech
nique of the most prominent lutenist of the day, John Dowland,
is by no means designed for the beginner but for a lutenist of
considerable accomplishment.
Reymann's book is also notable for its careful printing
and a high quality of musical accomplishment.
Even more im
portant, however, are the evidences of a lute technique of

large proportions, seen most vividly in his brilliant passamezzos and monothematic fantasias, his even more striking
adoption (in comparison with Denss) of functional major har
mony, and his interest in a rich harmonic fabric and widesweeping melodic sequences.
His grandiose conception of the
passamezzo shows strong leanings toward Italian predecessors,

as does his adoption of the monothematic form of the fantasia.
Most of the rest of the repertory is indicative of German
traits, slanted toward middle-class domestic circles in Leip
zig, although treated in an individual way.
His chorale fan
tasias, rather than being startlingly new or monumental art

works, are perhaps more in the nature of studies in Lutheran
religious sentiment and in line with organ works of the kind.
Rude's book remains most important for its prodigious
collection of intabulations, evidence of the repertory and
106
taste of Leipzig amateur circles.
Evidently his personal
skill as a composer leaves much to he desired, and he is sur

passed in this respect hy most of the pieces of the other com
posers which he has included.
The pavans in the collection are notable for their in
clusion of sections in triple meter, and the tendency to mod
ulate somewhat distantly in their interior sections.
The
galliards and the one fantasia demonstrate some attempts at a

velocity of coloratura, indicative (as well as rapid shifts,
large chords, and wider stretches) of a highly developed
technique.
Other independent pieces are less distinctive.
The galliards of others, notably those by Gregory Huberti,

are some of the most interesting, with their thin, imitative
textures and variatio versions.
The collection of independent pieces reflects the impor
tance of English lute music on the continent in the same way
that other printed and manuscript collections of the time do.
The intabulations show that harmonic structure and imi
tative webs could be altered to a considerable degree, de
pending on the taste of the intabulator or possibly on the
use of versions not now known.
Aside from the intabulations of vocal pieces, the gener
ally quite low quality of the music contained in the book
makes one suspect that Rude was intention'ally linking it with
Reymann's (a fact prominently advertised on the title page of
Flores Musicae) in an attempt to launch himself on the sea of
107
publication with the assistance of an already-established
crutch.
It is obvious, of course, that Baron's praise of the
Rude book was specious and based largely on an admiration of

the immensity of the number of vocal pieces intabulated, rath
er than on a real knowledge of the music in the book.
The Rude book- notwithstanding, these collections give
ample evidence that the statement of M. . Prynne to which we
have referred earlier that "no corresponding /that is, corres
ponding to the English/ production of original work" exists
musttrefer to the small quantity of comparable printed collec
tions rather than to the quality of the pieces.
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TABLE OF CONTENTS
VOLUME II
APPENDIX
TRANSCRIPTIONS
FLORILEGIUM
(Adrian Denss) . . . . .
...
o ......
o . .
Thematic Index . . . . . . . . o . ................

Complete Pieces ..........................................
89.
92.
95.
98.
103.
106.
111.
112.
122.
.121*.
129.
135.
136.
1^6.
(Matthias
Thematic
Complete
1
10
Fantasia W .................................... 10
Fantasia Gregorij Howet ( 7 ) .................... 1*+
Fantasia 9 .................................... 16
Gaillarde ( 2 ) ........ - ..............
18
Galiarda (7) . . . .
........................ 19
Galiarda ( 1 0 ) .................................. 20
Passemezo in D la sol re, bmol ( * 0 ............. 22
Galiarda....................................... 23
Passemezo in G sol re ut ( 5 ) .................. 25
G a l i a r d a ...................................... 26
Allemande Ieh dancke Gott ( 7 ) .................. 28
Allemande de Fleur ( 9 ) ........................ 28
Allemande ( 1 5 ) ................................ 29
Variatio praecedentls ( 1 6 )
. . . 29
Courante eiusdem /.Victor deMontbuisson/ (2)
, 30
Courante ( 3 ) ................................... 30'
Branle ( W ) .................................... 31
Inciplts of Selected Vocal Intabulations

NOCTES MUSICAE
Reymann)
. 105
.......................................
Index ...........................................
Pieces . . . . . . . . . . . . . . . . . . . . . .
1.
6.
32
32
^+5
Praeludij primi ad notam G sol re ut melos molle ^5

Praeludium harmoniae eiusdem . . . . ..........
V6
/G sol re ut melos duru/
7 . Praeludij primi ad notam F fa ut, melos molle
tono f i c t o .................................. ^7
17. Praeludium harmoniae eiusdem .................. J+9
/ad notam C sol fa ut melos molle (t)ono ficto/
22. Praeludium unum ad notam E la mi tono ficto
melos molle / s i c / ............................. 50
29. Fantasia superIch ruffe zu dirHerr Jesu Christ 51
31. Fantasia super Dureh AdamsFall 1st gantz
v e r d e r b t .....................................9+
33* Fantasia ( 1 0 ) ................................... 56
35. Fantasia ( 1 2 ) ................................... 60
*+H. Passemezae 5* Variatio 1. ad notam D la sol
re, melos m o l l e ...............................61
Variatio 2 ....................................... 62
Variatio 3
63
Prima variatio triplae ........................
6^
Variatio 2 ..............................
6b
Variatio 3 ...................................... 65
R i p r e s a ...................
65
*+9 .
5*+.
56.
57.
63.
70.
7^.
FLORES MUSICAE II
Passemezae 10. Variatio 1. ad notam E la mi,

melos durum tono ficto ..................
67
Variatio 2 ..................................
67
68
Variatio 3 ................................
Prima variatio triplae ......................
69
Variatio 2 ..................................
69
Variatio 3 ..................................
70
Pavana 3 ............................ .
71
72
Pavana 5 .......... . . . . . . . . . . . .
Galliarda 1 ................................
73
Galliarda //................................
7^
Chorea k ................................ .. . 75
Variatio triplae ............................
76
Chorea 8 ....................................
76
Variatio triplae ............................
77
(Johann R u d e ) ................
79
Thematic Index... .........................................

Complete Pieces .. . ..............
80.
81.
89.
97.
99102.
103.
106.
107.
108.
109.
113.
11*+.
117.
122.
125.
127.
132.
136.
Pavana i_A . Holborne's Decrevi/...............

85
87
Padoana P. B .................................
Pavana Anglica .
................
88
Gagliarda G. H. /Galliarda Gregory/..........
90
G a g l i a r d a ..................................
91
Pavana C r i s i a n a ......................... . .
91
P a v a n a ......................................
92
9^
P a v a n a ......................................
Pavana di Mauritlo d'alto Monte .............
95
Pavana . . . ^ B . . . . . . . . . . . . . .
96
Pavana G. H. /Pavana Gregory/...............
97
G a g l i a r d a ..................................
98
Entrata
.............................
93
99
E n t r a t a ....................................
E n t r a t a ....................................
99
P a d o a n a ....................................... 100
G a g l i a r d a ..................................... 101
G a g l i a r d a ..................................... 102
G a g l i a r d a ..........
103
Incipits of Selected Vocal Intabulations
NOTE:
79
85
................
PIECES TRANSCRIBED IN FULL ARE OMITTED FROM THE THEMATIC INDEX.
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CORRECTIONS
Three German Lute Books
II. B. Lobaugh
Volume I
p. *fl
p. *+2
Palest W: I have mistakenly given after this

abbreviation the full title of the Casimiri
edition of Palestrinas works. Since only one
of the two madrigals found in Rude's book has
appeared in this edition (Vestiva i colli, in
Vol. IX) it is better to refer to the Breit
kopf and HMrtel edition of de Witt, Haberl, et
al. The title should then read Pierluigi da
Palestrina: Werke. (Leipzig, 1862-1907).
No. 13.
XXVIII,
p. *+3 No. 57.

XXVIII,
Vestivi colli a5.
192.
add Palest W
0 b e lla Ninfa mia a5.
239.
add P a le st W
p. kk
No. 7*+ Che fai Pori appears in Vecchi's Selva

di varia ricreatione (Venice, 1590), p. 22.
p.
No. 75 Deh prega amor appears in Vecchi's

Selva di varia recreatione (Venice, 1590),
P* 23.
p.. 61
The entire page should be disregarded and a new

page (included in these corrections) substituted.
Volume II
Table of Contents. Under Florilegium, the following
was omitted:
100. Gaillarde (>+) ....................... 18
p. *+ No. 113 (Galiarda) m. 2, alto b on the 2nd beat
should be flat.
p. k
No. 115 (Gaillarde) m. 2, beat 1, bass note is
b (natural).
p. 10 Fantasia !f, m. 5. Lower score has whole rest
missing.
p. lb
No. 98 (Gaillarde) m.. 5} 2nd beat.

is a d above middle c, not an f.
Tenor note
Corrections
(continued)
Volume II
p. 18.
No. 100. m. 6, 3rd beat.

on last eighth-note.
Pi 19.
No. 100.
Tenor is a c-sharp
~
m. 15, 3^8 beat, tenor is c-sharp.
ADDITIONAL CORRECTIONS
H. B. Lobaugh
Volume I
p. 6
In line 7, beginning "Argentinensi.11 the word

"Andrea11 is "Andreae" in the original print.
This error has led to the incorrect conclusion
on p. 7 that the book was dedicated to two in
dividuals. D. Andreae Ecclesiae is a religious
body in Cologne of which Arnold was an official.
p. 36
In line 9? beginning "Editio est . . . "

the
following word should be "VOEGELINIANA.11 not
"VOEGELIANA." Footnote 7 should read "The
publisher is Voegelin."
p.. 39
In line 21, beginning "and the printer," the

next word should be "Voegelin," not "Voegel."
p.
^2 No. 13.
Palest W XXVIII, 239.
p.
^3 No. 57.-
Palest W XXVIII, 192.
p. 5*+ Beginning with No. 86, the copy should be:
p.
63
p. 70
p.
89
86.
Paduana GG 3*a.
Rude II, 12^.
88.
Padoana GGA.a. /""Holborne1s Decrevi 7

Identical to 80, above.
91.
Dulandi Angli . . .
The cadence described in line 11 is IV/--V (a

Phrygian cadence) and not particularly "awkward."
Line 5 should read "... . . fantasias, a rhythmic
pattern is presented in two . . . "
In line 10, the title "Branle de Poitou" should be
struck through, as it refers to another dance, not
the one being discussed/ In line 22, the sentence
should begin with "A," not "The."

Dissertation On Rudentiu's (Rude) Book

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6 8 - 1 3 ,8 0 6

LOBAUGH, Harold Bruce, 1930THREE GERMAN LUTE BOOKS: DENSS'S

University Microfilms, Inc., Ann Arbor, Michigan

THREE GERMAN LUTE BOOKS:

Eastman School of Music

He received his earlier education in schools in

Michigan and Colorado, receiving his high school diploma at

He was graduated cum laude from

Muskingum College at New Concord, Ohio, in 1952, with the

study was undertaken at Kansas University, the University of

The writer completed

requirements for the degree Master of Music Literature with

He was formerly Assist

ant Professor of Music at Hartwick College, Oneonta, New York,

three of the books are printed sources, two of which (those

The thematic index appears in Volume II.

dance is listed separately in Chapter III.

Mr. F. Niles Bacon of

Rochester assisted with the Latin translations, as did

Rude's book emphasizes the

pavan (20) and the galliard (21).

Six of Rude*s pieces have

been identified here as appearing in English sources of the

For some of these, Rude has failed to give credit to

their composers," Inland and Holborne.

Reymann*s pieces are

evidently all his 'own, but Denss prints several pieces by

generally easily understood.

His fantasias are emulations of the motet style

in which some type of imitative subject is usually maintained,

His codas are usually of subdominant

harmony with slowed rhythmic values.

His dance pieces are

skillful blendings of modal and tonal procedures, sometimes

His preludes are often dis

ludes are presented in a variety of keys, including one in

Modal schemes are clearly seen in his fan

Many of the pieces have more modally-oriented harmony

and cadence points with a wandering melodic style.

are quite conservative in their formal layout, but many of the

evidently made some changes in the harmony of a few pieces.

THE LIVES OF THE COMPOSERS AND THEIR TIMES

The Contents: Prefaces and Music . .

THE MUSICAL STYLE . . . . ................

Florllegium (Adrian Denss)

Florilegium: Table of Contents .

and their compiler-composers were known on into the seven

books together comprise 257 vocal intabulations and 198 inde

The distribution of the contents

of the three books is as follows:

Rude (Book II)1

We have directed our attention, as far as musical style

However, a few comments have been made about the

relatively few selections for which the vocal models are

Tables of the contents of the groups of intabu

lations have been given (see Tables 1 and 2) including, in

As background, we have presented a summary of the infor

Prynne, although listing them as being in the "Golden Age,"

Kurt Dorfmliller has character

ized the Rude books as showing "hardly any self-sufficient

Wolfgang Boetticher has described the Denss

Such information for the intabulations of the Denss collec

book at some length but says that an evaluation is still