This article is one of a series which discusses the principal medieval and Renaissance sources of music. It is concerned with the principal sources to 1630 of music for two or more instruments (excluding two or more keyboards, lutes and other chordal instruments) to play together without the voice. A truly comprehensive catalogue would have to include publications bearing the words ‘per cantare e sonare’ or ‘apt both for viols and voices’, and indeed virtually all vocal sources since their music could be and was played on instruments. Clearly this would defeat the central purpose of such an article, and an attempt has therefore been made to identify music originally conceived for instruments, in spite of the fact that many compositions resist this kind of categorization. Some pieces (like Isaac’s Helas) have specific stylistic features that point to a purely instrumental origin, but others (like Tinctoris’s Helas) lack these traits, yet always appear without words in the sources. The question as to whether the latter work should be regarded as instrumental in conception, or as a setting of words now lost and which came in its own time to be extensively treated as an instrumental piece, was probably of no consequence in the early 16th century and is hence virtually unanswerable today. For the present purpose, therefore, this article is restricted to sources that contain pieces of undoubted instrumental origin and, in addition, some sources that contain a significant quantity of pieces that might have been conceived for instruments, or that seem to be important for the history of instrumental ensemble music in some other way.
WARWICK EDWARDS
Sources of instrumental ensemble music to 1630
The sources fall naturally into six geographical categories, though the divisions are far from equal. Manuscripts are listed in approximate chronological order under their area of origin, regardless of their contents or the nationality of the scribe. Printed sources are listed under the country in which they were published, with appropriate cross-references for works reprinted in other countries. The terminal date coincides with a rapid falling off in the production of prints in Italy and Germany, the two main areas of published instrumental ensemble music in the early 17th century. The date also marks a shift towards the solo and trio sonata as the focal point of chamber music on the Continent. In the British Isles, however, the production of manuscripts for domestic performance of consort music continued unabated until well into the second half of the 17th century. Nevertheless the terminal date 1630 has been retained in this section too, partly in order to present clearly the relative quantities of source material from different countries over a single period of time, and partly because of the extent of the research currently being conducted into these late sources with their complex interrelationships.
In the following individual entries manuscripts are denoted by their present location, followed by a note in parentheses on their original provenance, authorship or ownership, and a date. Printed sources are cited by their author or editor, if known, followed by as much material from the title-page as is useful to describe the content of instrumental ensemble music. For both manuscript and printed sources the format is normally given, with a note in square brackets if the source is lost or depleted, partbooks being abbreviated S, A, T, B, 5, 6 and so on. Further description of the source is then given as necessary. Entries that concern the work of more than one composer are completed by references to modern editions of all or part of the source, and to literature other than published library catalogues. For single-composer sources, details of this kind will be found under the article on the composer concerned.
BrownI
EitnerQ
MeyerMS
SartoriB
T. Dart: ‘A Hand-List of English Instrumental Music printed before 1681’, GSJ, viii (1955), 13–26
K. Elliott: Music of Scotland, 1500–1700 (diss., U. of Cambridge, 1960)
F. Lesure, ed.: Recueils imprimés, XVIe–XVIIe siècles, RISM, B/I/1 (1960)
‘The Viola da Gamba Society Provisional Index of Viol Music’, Chelys, i– (1969–) [selected 17th-century Eng. composers]
D. Kämper: Studien zur instrumentalen Ensemblemusik des 16. Jahrhunderts in Italien, AnMc, no.10 (1970)
F. Lesure, ed.: Ecrits imprimés concernant la musique, RISM, B/VI/1–2 (1971)
K. Schlager, ed.: Einzeldrucke vor 1800, RISM, A/I (1971–80)
W.A. Edwards: The Sources of Elizabethan Consort Music (diss., U. of Cambridge, 1974) [dated descriptions with thematic catalogue]
E. Selfridge-Field: Venetian Instrumental Music from Gabrieli to Vivaldi (Oxford, 1975, 3/1994)
C. Monson: Voices and Viols in England, 1600–1650 (Ann Arbor, MI, 1982)
P. Holman: Four and Twenty Fiddlers: the Violin at the English Court 1540–1690 (Oxford, 1993, 2/1995)
A.E. Planchart: ‘Northern Repertories in Florence in the Fifteenth Century’, La musica a Firenze al tempo di Lorenzo il Magnifico: Florence 1992, 101–12
Sources of instrumental ensemble music to 1630
Several Italian sources of the early Renaissance contain scattered pieces without words except for text incipits. Such pieces are normally vocal in origin, but genuine instrumental compositions may be present in, for example, I-TRmp 87 and 89 (see Sources, MS, §IX, 2). The following sources, compiled c1480 to c1510, contain a substantial proportion of wordless compositions; indeed some sources have no texted pieces at all and may have been compiled for instrumental use. Many of the wordless pieces in fact originated as chansons or, less often, motets by Netherlandish composers, but a significant number seem likely to have been conceived without words. Admittedly the identification of such pieces is highly problematic, but each of the sources listed probably contains at least one or two examples. The sources are all in choirbook format and are grouped by their three principal geographical areas: Naples, north Italy and Florence.
Perugia, Biblioteca Comunale, 431 (G20) (Naples, 1480s). Includes several wordless pieces, at least one of which, a La Spagna setting, is presumably of instrumental origin. Literature: M.F. Bukofzer: ‘A Polyphonic Basse Dance of the Renaissance’, Studies in Medieval & Renaissance Music (New York, 1950), 190–216 [incl. transcr. of La Spagna]
Seville, Biblioteca Colombina, 5–I–43; Paris, Bibliothèque Nationale, n.a.fr.4379, ff.1–42 (?Naples, 1480s). Single MS, now split into two parts, that includes several wordless pieces. Facsimile: Sevilla 5–I–43 & Paris N.A. Fr. 4379 (Pt. I) (Brooklyn, NY, 1962). Literature: D. Plamenac: ‘A Reconstruction of the French Chansonnier in the Biblioteca Colombina, Seville’, MQ, xxxvii (1951), 501–42; xxxviii (1952), 85–117, 245–77
Rome, Biblioteca Casanatense, 2856 (formerly O.V.208) (IsabelIa d’Este Chansonnier, Ferrara, ?1485). 123 wordless compositions, mainly a 3. Literature: J.M. Llorens: ‘El Códice Casanatense 2.856’, AnM, xx (1965), 161–78; A.S. Wolff: The Chansonnier Biblioteca Casanatense 2856: its History, Purpose and Music (diss., North Texas U., 1970); L. Lockwood: ‘Music at Florence and Ferrara in the late Fifteenth Century: Rivalry and Interdependence’, La musica a Firenze al tempo di Lorenzo il Magnifico: Florence 1992, 1–13
Bologna, Civico Museo Bibliografico-Musicale, Q16 (formerly 109) (compiled chiefly by Domenicus Marsilius, Naples, 1487). 131 wordless compositions a 2–4. Literature: E. Pease: ‘A Report on Codex … Bologna’, MD, xx (1966), 57–94; S. Fuller: ‘Additional Notes on the 15th-century Chansonnier Bologna Q16’, MD, xxiii (1969), 81–103
Florence, Biblioteca Nazionale Centrale, B.R.229 (Magl.XIX.59) (compiled for Alessandro Braccesi, Florence, c1491–2). 268 compositions a 3 and 4, mostly without words. Edition: H.M. Brown: A Florentine Chansonnier from the Time of Lorenzo the Magnificent, MRM, vii (1983). Literature: L. Lockwood: ‘Music at Florence and Ferrara in the late Fifteenth Century: Rivalry and Interdependence’, La musica a Firenze al tempo di Lorenzo il Magnifico: Florence 1992, 1–13; Planchart
Rome, Biblioteca Vaticana, C.G.XIII 27 (? compiled for Giuliano de’ Medici, Florence, c1492–4). 108 wordless compositions a 3 and 4. Literature: A. Atlas: The Cappella Giulia Chansonnier (Brooklyn, NY, 1975–6) [incl. selected transcrs.]
Florence, Biblioteca Nazionale Centrale, Magl.XIX.178 (Florence, 1490s). 73 wordless compositions a 3 and 4. Literature: Planchart; W.J. Powers: The Music Manuscript Fondo Magliabecchi XIX.178 of the Biblioteca Nazionale Centrale, Florence: a Study in the Changing Role of the Chanson in Late Fifteenth-Century Florence (diss., Columbia U., 1994)
Bologna, Civico Museo Bibliografico-Musicale, Q17 (formerly 148) (Florence, 1490s). 71 compositions, almost entirely wordless. Literature: L. Torchi: ‘I monumenti dell’antica musica francese a Bologna’, RMI, xiii (1906), 451–505, 575–615; R. Wexler: ‘Newly Identified Works by Bartolomeo degli Organi in the MS Bologna Q 17’, JAMS, xxiii (1970), 107–18; Planchart
Bologna, Civico Museo Bibliografico-Musicale, Q18 (formerly 143) (Bologna, 1502–5). After an opening section of frottolas, 73 wordless compositions a 3 and 4, many of which are probably of instrumental origin. Facsimile: (Peer, 1998). Literature: S.F. Weiss; ‘Bologna Q18: Some Reflections on Content and Context’, JAMS, xli (1988), 63–101; J. Banks: The Motet as a Formal Type in Northern Italy, Ca. 1500 (New York, 1993) [incl. discussion of ‘instrumental’ motets]
Volumes printed in Venice by Ottaviano Petrucci: Harmonice musices odhecaton A (1501, 2/1503, 3/1504). Facsimilies: (Milan, 1932); (New York, 1973). Edition: H. Hewitt (Cambridge, MA, 1942). Canti B numero cinquanta (1502, 2/1503). Facsimile: (New York, 1975). Editions: MRM, ii (1967). Canti C N° cento cinquanta (1504). Facsimile: (New York, 1978). The contents of these volumes are almost entirely without words, and include several compositions a 3 and 4 probably of instrumental origin. Some of Petrucci’s motet publications also include wordless compositions, a few of which are almost certainly instrumental, e.g. Ghiselin’s 4-part La Spagna in Motetti A numero trentatre A (1502). Literature: M. Cauchie: ‘L’Odhecaton, recueil de musique instrumentale’, RdM, vi (1925), 148–56; M. Cauchie: ‘A propos des trois recueils instrumentaux de la série de l’Odhecaton’, RdM, ix (1928), 64–7; G. Reese: ‘The First Printed Collection of Part-Music’, MQ, xx (1934), 39–76; C. Sartori: Bibliografia delle opere musicali stampate da Ottaviano Petrucci (Florence, 1948); S. Boorman: ‘The “first” Edition of the Odhecaton A’, JAMS, xxx (1977), 183–207
Paris, Bibliothèque Nationale, Rés. Vm7676 (?compiled for Lodovicus Millias, Mantua, 1502). Includes several pieces without words. Facsimile: Manuscrit italien de frottole (1502) (Geneva, 1977). Literature: F. Torrefranca: Il segreto del quattrocento (Milan, 1939) [incl. transcrs. of 3 inst pieces]; N. Bridgman: ‘Un manuscrit italien du début du XVIe siècle à la Bibliothèque nationale’, AnnM, i (1953), 177–267; W.F. Prizer: ‘Paris, Bibliothèque Nationale, Rés. Vm7 676 and Music in Mantua’, IMSCR XIV: Bologna 1987, 235–9
Florence, Biblioteca Nazionale Centrale, Panciatichi 27 (north Italy, beginning of 16th century; fig.1). Includes wordless pieces of which some are probably instrumental in origin. Of special interest is an anon. caminata a 4 with passamezzo-like harmonies. Edition: J. Wolf: Sing- und Spielmusik aus älterer Zeit (Leipzig, 1926) [caminata]
Verona, Biblioteca Capitolare, DCCLVII (north Italy, beginning of 16th century). Over 60 wordless compositions a 3–5, mostly anon. and without text incipits. Facsimile: RMF, xxiv (1987). Literature: A. Smijers: ‘Vijftiende en zestiende eeuwsche muziekhandschriften in Italië met werken van Nederlandsche componisten’, TVNM, xiv/3 (1935), 165–81
Trent, Biblioteca Comunale, 1947–4 (north Italy, beginning of 16th century). German songs and chansons, without the words. One of the compositions is apparently an instrumental setting a 3 of the chanson J’ay prins amours. Edition: IMa, 1st ser., i (1954). Literature: B. Disertori: ‘II manoscritto 1947–4 di Trento e la canzone “i’ay prins amours”’, RMI, xlviii (1946), 1–29
Florence, Biblioteca Nazionale Centrale, Magl.XIX.107bis (Florence, c1510–13). Includes over 40 textless compositions a 3 and 4.
From 1540 Italian sources devoted to ensemble music begin to appear in vast quantities, especially collections of ricercares, canzonas and similar forms. Most of the sources are prints, and further details of them can be found in BrownI and SartoriB. Some are collections of works by several composers.
Musica nova accommodata per cantar et sonar sopra organi, et altri strumenti (Venice: [Andrea Arrivabene], 1540). 4 partbooks [B alone extant]. 20 ricercares a 4 by Willaert, Segni and others, and a cantus-firmus setting by Parabosco. 19 pieces are reprinted in Musicque de joye (Lyons, [1540s]; see §3). Edition: MRM, i (1964). Literature: O. Mischiati: ‘Tornano alla luce i ricercari della “Musica nova” del 1540’, L’organo, ii (1961), 73–9
Tiburtino, Giuliano: Fantasie, et recerchari a tre voci (Venice: Girolamo Scotto, 1549). 3 partbooks. 12 wordless pieces with solmization syllable titles, and a fantasia, by Tiburtino; 8 madrigals by Willaert, Rore and others; 7 ricercares by Willaert (reprinted in Fantasie recercari, 1551; see below). Edition: IIM, i (1994)
Fantasie recercari contrapunti a tre voci di M. Adriano & de altri autori (Venice: Antonio Gardane, 1551 [T and B lost], 2/1559, 3/Angelo Gardane, 1593 [T lost]). 3 partbooks. 15 ricercares a 3 by Willaert (reprinted from Tiburtino’s 1549 print; see above), Antonino Barges, Girolamo Cavazzoni and anon. Facsimile: (Peer, 1986). Edition: Adrian Willaert: 9 Ricercari für drei Instrumente, ed. H. Zenck (Mainz, 1933)
London, British Library, Roy.App.59–62 (c1550–60). 4 partbooks. 44 dances a 4, followed by vocal music. Edition: M. Morrow, ed.: Italian Dances of the Sixteenth Century (London, 1978). Literature: Kämper
Florence, Biblioteca Nazionale Centrale, Magl.XIX.107 (II.I.295) (2nd half of 16th century). Score. 23 ricercares a 4, 3 anon., 10 by Buus (from the 1547 print; see below), and 10 by Malvezzi (from the 1577 print; see below)
Verona, Biblioteca Capitolare, MCXXVIII (c1585). 4 out of 6 partbooks. 37 canzonas a 4 by Merulo, Guami and others; 7 canzonas a 5 and 2 a 6 also survive incomplete. Editions: Claudio Merulo: Sei canzoni da sonar a 4, ed. B. Disertori (Milan, 1950); Giuseppe Guami: Canzoni da sonare, ed. I. Fuser and O. Mischiati (Florence, 1968). Literature: B. Disertori: ‘Le canzoni strumentali da sonar a quattro di Claudio Merulo’, RMI, xlvii (1943), 305–21; C.M. McDermott: The Canzoni d’Intavolatura of Claudio Merulo: a Guide to the Art of Improvised Ornamentation (diss., U. of California, Berkelely, 1979)
Canzon di diversi per sonar con ogni sorte di stromenti a quatro, cinque & sei voci … libro primo (Venice: Giacomo Vincenti, 158821). 6 partbooks. 4 canzonas a 4, 5 a 5 and 4 a 6, by Merulo, Crecquillon, Guami, Willaert, Gombert and anon. Edition: IIM, x (1994)
Terzi, Giovanni Antonio: Intavolatura di liutto (Venice: Ricciardo Amadino, 1593). Includes 11 canzonas by Florentio Maschera for solo lute, or lute ‘in concerto’, i.e., presumably, with the ensemble versions of the same pieces in Maschera’s publication of 1582 (see below)
Bologna, Civico Museo Bibliografico-Musicale, Q35 (Brescia, 1603). Score. Includes 21 canzonas a 4 by Florentio Maschera. Literature: E.E. Lowinsky: ‘Early Scores in Manuscript’, JAMS, xiii (1960), 126–73
Canzoni per sonare con ogni sorte di stromenti a quattro, cinque & otto … libro primo (Venice: Alessandro Raverii, 1608). 8 partbooks, and basso continuo. 17 canzonas a 4, 6 a 5, and 13 a 8, by Costanzo Antegnati, Bartolini, Chilese, Frescobaldi, Giovanni Gabrieli, G.B. Grillo, Gioseffo Guami, Lappi, Luzzaschi, Maschera, Massaino and Merulo. Editions: Giovanni Gabrieli: Vier Canzoni per sonar, ed. A. Einstein (Mainz, 1933); H. Mönkemeyer, ed.: Venezianische Canzonen (Mainz, 1958); Zwei doppelchörige Kanzonen, ed. H. Mönkemeyer (Wilhelmshaven, 1963). Literature: L.E. Bartholomew: Alessandro Raverii’s Collection of ‘Canzoni per sonare’ (Venice, 1608) (Fort Hays, Kansas, 1965)
Florence, Biblioteca Nazionale Centrale, Magl.XIX.106bis (compiled by Carlo del Rio, c1615). Score. Compositions a 4: an anon. romanesca, canzona and ricercare con 7 fughe e rovesci; also, in a different hand, a cycle of 12 ricercares in the 12 modes by Giovanni de Macque, and 8 madrigals by Nenna (wordless except for the 1st and part of the 2nd). Literature: E.E. Lowinsky: ‘Early Scores in Manuscript’, JAMS, xiii (1960), 126–73
Lucino, Francesco, ed.: Seconda aggiunta alli concerti … con … dodeci canzoni per sonare (Milan: Filippo Lomazzo, 16172). 4 partbooks, and organ partitura. Includes 12 canzonas a 4 by Ardemanio, Bottaccio, Cantone, Casato, Andrea and G.P. Cima, Vincenzo Pellegrini and G.D. Rivolta. Edition: IIM, xxix (1995)
Bona, Valerio: Otto ordini di litanie della Madonna che si cantano ogni Sabbato nella Santa Casa di Loreto, concertate a doi chori, con le sue sinfonie inanzi, accommodate in modo, che le parti de gli instromenti sono per li sonatori, et le parti appartate anco per li cantori (Venice: Giacomo Vincenti, 16196). ?8 partbooks (lost), and basso continuo. Includes sinfonias and canzonas a 8 by Bona, Giovanni Gabrieli, G.G. Gastoldi, G.B. Riccio and Viadana
Flores praestantissimorum virorum a Philippo Lomatio (Milan: Filippo Lomazzo, 16265). 4 partbooks, and organ partitura. Concludes with 7 canzonas by J.F. Cambiagho, G.P. Cima, Frissoni, G.D. Rivolta and Francesco Rognoni Taeggio
The following late source of popular Italian dance music merits listing on account of its retrospective nature, the rarity of such collections from the period in question, its relationship with Cesare Negri’s Le gratie d’Amore (1602), its choreographies, and its detailed bowings (related to Francesco Rognoni’s Selva de varii passaggii, 1620)
Zanetti, Gasparo: Il scolaro (Milan: Carlo Camagno, 1645). Staff notation and tablature. Edition: J. Tyler, ed. (London, 1984)
With the growth of Italian music printing, the number of volumes devoted to the work of one composer grew rapidly. Below are listed some volumes where instrumental ensemble music forms a major part of the contents.
Buus, Jacques: Recercari … libro primo (Venice: Antonio Gardane, 1547) and Il secondo libro di recercari (Venice: Antonio Gardane, 1549). Edition: IIM, iii (1993)
Bendusi, Francesco: Opera nova de balli (Venice: Antonio Gardane, 1553)
Padovano, Annibale: Il primo libro de ricercari a quattro voci (Venice: Antonio Gardane, 1556, 2/Angelo Gardane, 1588 [incomplete]). Edition: IIM, iv (1994)
Conforti, Giovanni Battista: Il primo libro de ricercari a quattro voci (Rome: Valerio Dorico, 1558)
Ruffo, Vincenzo: Capricci in musica a tre voci (Milan: Francesco Moscheni, 1564)
Merulo, Claudio: Il primo libro de ricercari da cantare, a quattro voci (Venice: sons of Antonio Gardane, 1574). Edition: IIM, v (1987)
Malvezzi, Cristofano: Il primo libro de recercari a quattro voci (Perugia: Pietroiacomo Petrucci, 1577) [incomplete]. Includes a ricercare a 4 by Zazzerino. The contents are complete in score in I-Fn II.I.295, ff.38v 50
Mainerio, Giorgio: Il primo libro de balli a quatro voci (Venice: Angelo Gardane, 1578)
Maschera, Florentio: Libro primo de canzoni da sonare, a quattro voci (Brescia: Vincenzo Sabbio, ?1582 [lost], 2/1584, 3/Venice: Ricciardo Amadino, 1588, 4/Giacomo Vincenti, 1590 [lost; MS copy at US-Wc], 5/Angelo Gardane, 1593, 6/Milan: heirs of Francesco and Simon Tini, 1596 [incomplete], 7/Venice: Giacomo Vincenti, 1604 [incomplete], 8/Alessandro Raverii, 1607 [incomplete], 9/Bartolomeo Magni, 1621 [incomplete]) Edition: IIM, ix (1995) [1584 edn]
Bassano, Giovanni: Fantasie a tre voci (Venice: Giacomo Vincenti and Ricciardo Amadino, 1585) [incomplete] Edition: IIM, viii (1995)
Gabrieli, Andrea: Sonate a cinque per istromenti (Venice: Angelo Gardane, 1586) [lost]
Bassano, Giovanni: Il fiore de caprici musicali a quatro voci, per sonar con ogni sorte di stromenti (Venice: Giacomo Vincenti, 1588) [incomplete]
Gabrieli, Andrea: Madrigali et ricercari … a quattro voci (Venice: Angelo Gardane, 1589, 2/1590 [incomplete]). Edition: IIM, viii (1995)
Stivori, Francesco: Ricercari a quatro voci (Venice: Ricciardo Amadino, 1589) [incomplete]
Luzzaschi, Luzzasco: Ricercari a 4 (Venice: Angelo Gardane, 1580s) [lost]
Vinci, Pietro: Il secondo libro de motetti, e ricercari a tre voci, con alcuni ricercari di Antonio Il Verso suo discepolo (Venice: heirs of Girolamo Scotto, 1591)
Bona, Valerio: Il secondo libro delle canzonette a tre voci con l’aggionta di dodeci tercetti a note (Venice: Ricciardo Amadino, 1592). Edition: IIM, viii (1995)
Bariolla, Ottavio: Capricci overo canzoni a quattro … libro terzo (Milan: heirs of Francesco and Simon Tini, 1594) [incomplete]. Edition: IIM, xii (1995)
Stivori, Francesco: Il secondo libro de ricercari a 4 voci (Venice: Ricciardo Amadino, 1594) [lost]
Usper, Francesco: Ricercari et arie francesi a quattro voci (Venice: Giacomo Vincenti, 1595). Edition: IIM, xi (1989)
Banchieri, Adriano: Canzoni alla francese a quattro voci per sonare dentrovi, un echo, & in fine una battaglia a otto, & dui concerti fatti sopra lieto godea … libro secondo (Venice: Ricciardo Amadino, 1596)
Mazzi, Luigi: Ricercari a quattro et canzoni a quattro, a cinque, et a otto voci (Venice: Giacomo Vincenti, 1596)
Raval, Sebastián: Il primo libro di ricercari a quatro voci cantabili per liuti, cimbali, et viole d’arco, quattro o sei opere con parole spirituali, in canoni ad echo, ad otto, et a dodeci voci, che cantano in quattro parte coniunti et divisi chori, e ricercar in contreponti osservati sciolti, et in quattro fughe d’accordio di studi particulari, et utilissimi per studiosi (Palermo: Giovan Antonio de’ Franceschi, 1596)
Cavaccio, Giovanni: Musica … ove si contengono due fantasie, che dan principio e fine all’opera, canzoni alla franzese, pavana co’l saltarello, madrigali, & un proverbio non so se antico, o moderno, a quattro voci (Venice, 1597)
Gabrieli, Giovanni: Sacrae symphoniae … senis, 7, 8, 10, 12, 14, 15, & 16, tam vocibus, quam instrumentis (Venice: Angelo Gardane, 1597)
Borgo, Cesare: Canzoni alla francese à 4. Lib 2 (Venice, 1599) [lost]
Stivori, Francesco: Ricercari, capricci et canzoni a quattro voci (Venice: Ricciardo Amadino, 1599) [incomplete]
Canale, Floriano: Canzoni da sonare a quattro et otto voci … libro primo (Venice: Giacomo Vincenti, 1600). Edition: IIM, xiv (1988)
Mortaro, Antonio: Primo libro de canzoni da sonare a quattro voci (Venice: Ricciardo Amadino, 1600, 2/1610 [incomplete]). Edition: IIM, xiii (1989)
Canale, Floriano: Ricercari di tutti li tuoni con una battaglia alla francese a quattro voci (Venice: Giacomo Vincenti, 1601)
Guami, Gioseffo: Partidura per sonare delle canzonette alla francese (Venice: Giacomo Vincenti, 1601). Score. Also published at Antwerp, 1612 (see §5)
Quagliati, Paolo: Recercate, et canzone per sonare et cantare … libro primo (Rome: heirs of Nicolo Mutij, 1601). Edition: IIM, xv (1994)
Bonelli, Aurelio: Il primo libro de ricercari et canzoni a quattro voci, con due toccate e doi dialoghi a otto (Venice: Angelo Gardane, 1602)
Stivori, Francesco: Madrigali et canzoni a otto voci (Venice: Ricciardo Amadino, 1603) [incomplete]
Beretta, Lodovico: Partitura del primo libro delle canzoni a quattro & otto voci da suonare (Milan: Agostino Tradate, 1604). Score
Rognoni Taeggio, Giovanni Domenico: Canzoni à 4. & 8. voci (Milan: heirs of Simon Tini, and Filippo Lomazzo, 1605). Includes a canzona by Gasparo Costa. Edition: IIM, xvi (1992)
Mayone, Ascanio: Primo libro di ricercari a tre voci (Naples: Giovanni Battista Sottile, 1606). Edition: IIM, xviii (1995)
Troilo, Antonio: Il primo libro delle canzoni da sonare … a quatro et cinque voci (Venice: Ricciardo Amadino, 1606). Edition: IIM, xvii (1989)
Merulo, Claudio: Ricercari da cantare a quattro voci … libro secondo (Venice: Angelo Gardane and brothers, 1607). Edition: IIM, vi (1987)
Radino, Giulio: Concerti per sonare et cantare (Venice: Angelo Gardane, 1607) [incomplete]. Includes a canzona a 4 by Schröter
Rossi, Salamone: Il primo libro delle sinfonie et gagliarde a tre, quatro, & a cinque voci (Venice: Ricciardo Amadino, 1607)
Gussago, Cesario: Sonate a quattro, sei, et otto, con alcuni concerti a otto, con le sue sinfonie da suonare avanti, & doppo secondo il placito, & commodo de sonatori (Venice: Ricciardo Amadino, 1608). Edition: IIM, xx (1994)
Merulo, Claudio: Ricercari da cantare a quattro voci … libro terzo (Venice: Angelo Gardane and brothers, 1608). Edition: IIM, vii (1987)
Rognoni Taeggio, Francesco: Canzoni francese per sonar con ogni sorte de instromenti a quattro, cinque, et otto (Milan: heirs of Agostino Tradate, 1608) [incomplete]. Includes canzonas by Francesco Rovigo and Riccardo Rognoni and Giovanni Domenico Rognoni Taeggio
Rossi, Salamone: Il secondo libro delle sinfonie e gagliarde a tre voci, per sonar due viole, & un chittarrone con alcune delle dette à quattro, & à cinque, & alcune canzoni per sonar à quattro nel fine (Venice: Ricciardo Amadino, 1608)
Soderini, Agostino: Canzoni à 4. & 8. voci … libro primo, opera seconda (Milan: heirs of Simon Tini, and Filippo Lomazzo, 1608). Includes a canzona by G.P. Olegio. Edition: IIM, xix (1992)
Bottaccio, Paolo: Il primo libro delle canzoni da suonare a quattro, & otto voci (Venice: Angelo Gardane and brothers, 1609) [incomplete]
Cima, Giovanni Paolo: Canzoni, con sequenze & contrapunti doppii à 2. 3, 4 (Milan, 1609) [lost]
Valentini, Giovanni: Canzoni a 3, 5, 6 et 8 voci, libro primo (Venice: Ricciardo Amadino, 1609) [incomplete]
Viadana, Lodovico: Sinfonie musicali a otto voci … opera XVIII (Venice: Giacomo Vincenti, 1610). Edition: IIM, xxi (1994)
Bargnani, Ottavio: Secondo libro delle canzoni da suonare a quatro, cinque, et otto voci (Milan: heirs of Simon Tini, and Filippo Lomazzo, 1611)
Franzoni, Amante: Apparato musicale di messa, sinfonie, canzoni, motetti, & letanie della Beata Vergine, a otto voci … opera quinta … libro primo (Venice: Ricciardo Amadino, 1613)
Rossi, Salamone: Il terzo libro de varie sonate, sinfonie, gagliarde, brandi, e corrente … opera duodecima (Venice: Alessandro Vincenti, ?1613 [date of dedication; no copy known], 2/1617 [lost], 3/1623, 4/1638 [lost])
Rovigo, Francesco, and Trofeo, Ruggier: Partitura delle canzoni da suonare a quattro, & a otto (Milan: Filippo Lomazzo, c1613). Score. Edition: IIM, xxii (1988)
Bona, Valerio: Sei canzoni italiane da sonare concertate a doi chori in echo … opera vigesima prima (Venice: Giacomo Vincenti, 1614) [incomplete]
Cangiasi, Giovanni Antonio: Scherzi forastieri per suonare a quattro voci … opera ottava (Milan: Filippo Lomazzo, 1614). Edition: IIM, xxiv (1991)
Riccio, Giovanni Battista: Il secondo libro delle divine lodi accomodate per concertare nell’organo (Venice: Ricciardo Amadino, 1614) [incomplete]
Rognoni Taeggio, Francesco: Aggiunta del scolare di violino & altri strumenti col basso continuo per l’organo (Milan, 1614) [lost]
[Corradini, Nicolò: Ricercari a quattro voci (1615)]. Score [lacking title-page in unique copy at I-Bc]. 12 ricercares a 4
Gabrieli, Giovanni: Canzoni et sonate … a 3. 5. 6. 7. 8. 10. 12. 14. 15. & 22. voci (Venice: Gardane, 1615)
Kapsberger, Johann Hieronymus: Libro primo de balli, gagliarde et correnti, a quattro voci (Rome: Giovanni Battista Robletti, 1615). Not in SartoriB. Edition: IIM, xxv (1993)
Kapsberger, Johann Hieronymus: Libro primo di sinfonie a quattro … raccolte dal Sig. Francesco di Gennaro (Rome: Giovanni Battista Robletti, 1615)
Merula, Tarquinio: Il primo libro delle canzoni a quattro voci per sonare … aggiontovi due alemane, & una corrente (Venice: Bartolomeo Magni, 1615)
Puliti, Gabriello: Lunario armonico perpetuo calculato al meridiano, & clima delle principali città d’Italia, a tre voci … opera XVI (Venice: Giacomo Vincenti, 1615) [incomplete]
Bernardi, Stefano: Concerti academici con varie sorte di sinfonie a sei voci … libro primo, opera ottava (Venice: Giacomo Vincenti, 1616) [2 of the partbooks dated 1615]
Bonzanini, Giacomo: Capricci musicali per cantare, e suonare a quattro voci (Venice: Giacomo Vincenti, 1616)
Lappi, Pietro: Canzoni da suonare … a 4. 5. 6. 7. 8. 9. 10. 11. 12. & 13, libro primo, con partitura … opera nona (Venice: Gardane, 1616). Edition: IIM, xxvi (1990)
Kapsberger, Johann Hieronymus: Capricci a due stromenti, tiorba e tiorbino (Rome, 1617) [lost]. Not in SartoriB
Marini, Biagio: Affetti musicali … opera prima, nelle quale si contiene symfonie, canzon, sonate, balletti, arie, brandi, gagliarde & corenti, a 1. 2. 3 (Venice: Gardane, 1617)
Allegri, Lorenzo: Il primo libro delle musiche (Venice: Gardane, 1618). Score. Includes several dances a 5 and 6. Edition: IIM, xxvii (1995)
Grillo, Giovanni Battista: Sacri concentus ac symphoniae … 6. 7. 8. 12. voc (Venice: Gardane, 1618). Not in SartoriB. Edition: IIM, xxviii (1988)
Marini, Biagio: Madrigali et symfonie a una, 2. 3. 4. 5 … opera seconda (Venice: Gardane, 1618) [incomplete]
Priuli, Giovanni: Sacrorum concentuum … pars prima (Venice: Gardane, 1618). Includes 10 canzonas and 2 sonatas
Cifra, Antonio: Ricercari e canzoni franzese … libro primo (Rome: Luca Antonio Soldi, 1619) and Ricercari e canzoni franzese … libro secondo (Rome: Luca Antonio Soldi, 1619). Score
Usper, Francesco: Compositioni armoniche nelle quali si contengono motetti, sinfonie, sonate, canzoni & capricci a 1. 2. 3. 4. 5. 6. 7. & 8. voci, con basso continuo, et in fine La battaglia a 8. per cantar e sonar … opera terza (Venice: Gardane, 1619) [lost]. Among the instrumental pieces were 2 by Gabriel Usper
Marini, Biagio: Arie, madrigali et corenti a 1. 2. 3. … opera terza (Venice: Gardane, 1620). Score
Riccio, Giovanni Battista: Il terzo libro delle divine lodi musicali (Venice: Gardane, 1620)
Vivarino, Innocentio: Il primo libro de motetti … da cantarsi a una voce, con otto sonate per il violone o altro simile stromento (Venice: Gardane, 1620)
Castello, Dario: Sonate concertate in stil moderno, per sonar nel organo overo spineta con diversi instrumenti, a 2. & 3. voci, con basso continuo, libro primo (Venice: Gardane, 1621 [lost], 2/1629 [partitura lost], 3/Francesco Magni, 1658). Also published at Antwerp, 1658
Rossi, Salamone: Il quarto libro de varie sonate sinfonie, gagliarde, brandi, e corrente per sonar due violini, et un chitarrone o altro stromento simile (Venice: Alessandro Vincenti, 1622 [incomplete], 2/1642)
Corradini, Nicolò: Partitura del primo libro de canzoni francese a 4. & alcune suonate (Venice: Bartolomeo Magni, 1624). Score
Puliti, Gabriello: Fantasie, scherzi et capricci da sonarsi in forma di canzone, con un violino solo o vero cornetto con il basso principale … opera decimanona (Venice: Alessandro Vincenti, 1624). Only the solo partbook survives
Rognoni Taeggio, Francesco: Correnti e gagliarde a 4 con la quinta parte ad arbitrio (Milan, 1624) [lost]
Picchi, Giovanni: Canzoni da sonar con ogni sorte d’istromenti a due, tre, quattro, sei, & otto voci, con il suo basso continuo (Venice: Alessandro Vincenti, 1625)
Banchieri, Adriano: Il virtuoso ritrovo academico del dissonante, publicamente practicato con varati concerti musicali a 1. 2. 3. 4. 5. voci o stromenti … opera XLIX (Venice: Bartolomeo Magni, 1626)
Buonamente, Giovanni Battista: Il quarto libro de varie sonate, sinfonie, gagliarde, corrente, e brandi per sonar con due violini & un basso di viola (Venice: Alessandro Vincenti, 1626)
Marini, Biagio: Sonate, symphonie, canzoni, pass’emezzi, baletti, corenti, gagliarde, & retornelli, a 1. 2. 3. 4. 5. & 6. voci, per ogni sorte d’instrumenti; un capriccio per sonar due violini quatro parti; un ecco per tre violini, & alcune sonate capricciose per sonar due e tre parti con il violino solo, con altre curiose & moderne inventioni, opera ottava (Venice: Gardane, 1626 [changed to 1629]) [incomplete]
Biumi, Giacomo Filippo: Fantasie a 4. voci (before 1627) [lost] and Partito delle canzoni alla francese a 4. et a 8. con alcune arie de correnti a 4 … libro primo, opera seconda (Milan: Gratiadio Ferioli, 1627). Score [partbooks lost]
Frescobaldi, Girolamo: Il primo libro delle canzoni ad una, due, tre, e quattro voci (Rome: Giovanni Battista Robletti [partbooks] and Paolo Masotti [score], 1628, rev. 2/Venice: Alessandro Vincenti, 1634 [partbooks]). An edition of 1623 is erroneously recorded in SartoriB
Grandi, Ottavio Maria: Sonate per ogni sorte di stromenti, a 1. 2. 3. 4. & 6, con il basso per l’organo … opera seconda (Venice: Gardane, 1628) [incomplete]
Possenti, Pellegrino: Concentus armonici duobus, tribus, & quatuor instrumentis concertati (Venice: Gardane, 1628) [incomplete]
Buonamente, Giovanni Battista: Il quinto libro de varie sonate, sinfonie, gagliarde, corrente, & ariette per sonar con due violini, & un basso di viola (Venice: Alessandro Vincenti, 1629) [incomplete]
Castello, Dario: Sonate concertate in stil moderno … libro secondo (Venice: Gardane, 1629 [incomplete], 2/Bartolomeo Magni, 1644). Also published at Antwerp, 1656
Montalbano, Bartolomeo: Sinfonie ad uno, e doi violini, a doi e trombone, con il partimento per l’organo, con alcune a quattro viole (Palermo: Giovanni Battista Maringo, 1629)
Scarani, Giuseppe: Sonate concertate a due, e tre voci … libro primo, opera prima (Venice: Gardane, 1630) [incomplete]
Many treatises have music examples which seem to be complete pieces, possibly with a life of their own away from theoretical sources. One or two of these contain instrumental ensemble music.
Perugia, Biblioteca Comunale, 1013 (M36) (copied by Johannes Materanensis, Venice, 1509). Contains treatises on plainchant, mensuration, counterpoint and proportional notation. The section on proportions (ff.78–123) is illustrated with numerous lengthy musical examples a 2 (a few a 3), including 2 anon. La Spagna settings and several other compositions apparently instrumental in conception. Edition: O. Gombosi, ed.: Compositione di Meser Vincenzo Capirola (Neuilly-sur-Seine, 1955), pp.xxxviii ff [incl. La Spagna settings]. Literature: A. Seay: Quaestiones et solutiones (Colorado Springs, CO, 1977) [incl. facs.]; B.J. Blackburn: ‘A Lost Guide to Tinctoris’s Teachings Recovered’, EMH, i (1981), 29–116; N. Bridgman: ‘De l’attribution à Tinctoris des exemples musicaux du Liber de arte contrapuncti’, A Festschrift for Albert Seay: Essays by his Friends and Colleagues, ed. M.D. Grace (Colorado Springs, CO, 1982), 33–44
Ortiz, Diego: Trattado de glosas sobre clausulas y otros generos de puntos en la musica de violones (Rome: Valerio Dorico, 1553, repr. 1553 with Italian title, prefatory material and textual commentary). Includes several ricercares for viol and keyboard. Edition: M. Schneider (Berlin, 1913, rev. 3/1961/R) [part facs.]. Literature: J. Savall: ‘Contribución al estudio de la obra instrumental de Diego Ortiz’, Musica antiqua, ii (1986), 17–26; iii (1986), 40–51
Caroso, Fabritio: Il ballarino (Venice: Francesco Ziletti, 1581, rev. edns under the title Nobiltà di dame, 1600, 1605 and 1630). Treatise on dancing, the first part containing instructions, the second containing the choreography and music of 83 dances. The first 22 dances are arranged for lute and one instrument; the remainder are arranged for solo lute. Facsimile: (New York, 1967). Edition: Courtly Dance in the Renaissance, ed. J. Sutton (text), F.M. Walker (music) (New York, 1995). Literature: M. Dolmetsch: Dances of Spain and Italy from 1400 to 1600 (London, 1954)
Angleria, Camillo: La regola del contraponto, e della musical compositione (Milan: Giorgio Rolla, 1622). Includes ricercares and canons a 2–5 by Angleria and G.P. Cima
Throughout the period two-part compositions (bicinia) and canons tend to be associated with musical pedagogy. In many cases those without words are indistinguishable in musical style from those with words. Thus the contents of some of the following sources stand on the borderline between instrumental and vocal music.
Eustachio Romano: Musica (Rome: Johannes Jacobi, 1521). 45 compositions a 2 without title or words, though a few have concordances with vocal music
Licino, Agostino: Primo libro di duo cromatici (Venice: Antonio Gardane, 1545, 2/heirs of Girolamo Scotto, 1586) [incomplete]) and Il secondo libro di duo cromatici (Venice: Antonio Gardane, 1546). Each 2 partbooks
Lupacchino, Bernardino, and Tasso, Gioan Maria: Il primo libro a due voci (?2 Venice: Antonio Gardane, 155924 [S lost], 3/Girolamo Scotto, 1560, 4/Scotto, 1562 [T lost], 5/Claudio Merulo, 1568 [S lost], 6/Giacomo Vincenti and Ricciardo Amadino, 1584 [T lost], 7/Amadino, 1587, 8/Milan: Francesco Tini and heirs of Simon Tini, 1590 [S lost], 9/Venice: Giacomo Vincenti, 1591, 10/Angelo Gardane, 1594 [T lost], 11/Giacomo Vincenti, 1607, 12/Ricciardo Amadino, 1615, 13/Gardane, 1616 [S lost], 14/Rome: Luca Antonio Soldi, 1620, 14–20/various publishers, 1642–88). 2 partbooks
Vinci, Pietro: Il primo libro della musica a due voce (Venice: Girolamo Scotto, 1560, 2/1586). 2 partbooks
Lupacchino, Bernardino, and Tasso, Gioan Maria: Il primo libro a note negre a due voci (Venice: Girolamo Scotto, 1565). 2 partbooks [S lost]. 35 duos, some reprinted from Lupacchino and Tasso, Il primo libro a due voci (1559; see above)
Infantas, Fernando de las: Plura modulationum genera quae vulgò contrapuncta appellantur super excelso gregoriano cantu (Venice: Girolamo Scotto, 1579). 100 canons in 2–8 parts over the cantus firmus ‘Laudate Dominum omnes gentes’, all but 11 without words. On the last page are 3 further canons, 2 on different plainsongs and one entitled ‘Duo’
Lassus, Orlande de: Motetti et ricercari … a due voci (Venice: Angelo Gardane, 1579 [T lost], 2/1585, 3/Giacomo Vincenti, 1586, 4/Vincenti, 1589, 5/Vincenti, 1610). 2 partbooks. Same contents as Munich edition of 1577 (see §4), except that wordless pieces are labelled ‘ricercare’
Galilei, Vincenzo: Contrapunti a due voci (Florence: Giorgio Marescotti, 1584). 2 partbooks. 29 compositions a 2 without words or titles. Literature: A. Einstein: ‘Vincenzo Galilei and the Instructive Duo’, ML, xviii (1937), 360–68
Guami, Francesco: Ricercari a due voci (Venice: Angelo Gardane, 1588). 2 partbooks. 23 compositions
Metallo, Grammatio: Ricercari a due voci (Venice: Giacomo Vincenti, ?1591 [lost, if it ever existed], 2/1595 [lost], 3/Ricciardo Amadino, 1605 [T lost], 4/Amadino, 1609, rev. 5/Amadino, 1614, rev. 6/Naples: Gargano and Nucci, 1617 [T lost, except pp.39 and 46], 7/Venice: Bartolomeo Magni, 1620 [T lost], 8/Magni, 1626, 9–16/various publishers, 1639–85). 2 partbooks. 1605 edition contains 36 compositions, wordless except for text incipits, and a canon a 2. The 1614, 1620 and 1626 editions are expanded to contain 44 ricercares and the same canon. Further variations in content occur in the 1617, 1639 and subsequent editions; for details see SartoriB
Il Verso, Antonio: Il primo libro della musica a due voci (Palermo, 1596). Edition: P.E. Carapezza: Musiche strumentali didattiche (Rome, 1971)
Fonghetto, Paolo: Capricii, et madrigali … a due voci (Verona: Francesco dalle Donne and Scipione Vargnano, 1598). 2 partbooks. 9 duos with Italian words, and 16 without words
Gastoldi, Giovanni Giacomo, and others: Il primo libro della musica a due voci (Milan: heirs of Simon Tini, and Giovanni Francesco Besozzi, 1598). 2 partbooks. 20 instrumental duos by Gastoldi, 2 each by Girolamo Baglioni, Cantone, G.P. Cima, Riccardo Rognoni, Giovanni Domenico Rognoni Taeggio and Orfeo Vecchi, and 4 anon. duos. Editions [selections]: E. Doflein, ed.: Spielmusik für Violine: alte Musik, ii (1932); HM, xxiii–xxiv (1949)
Calì, Giovan Battista: Il primo libro di ricercari a due voci (Venice: Ricciardo Amadino, 1605). 2 partbooks
Zuccharo, Anibale: Ricercate a due voci … libro primo (Venice: Alessandro Raverii, 1606). 2 partbooks. Includes one work a 3
Cavi, Pietro Paolo da: Il primo libro di recercari a due voci (Rome: Bartolomeo Zannetti, 1608, 2/Luca Antonio Soldi, 1620). 2 partbooks
Sangiorgio, Pietro: Il primo libro de capricci a due voci (Venice: Alessandro Raverii, 1608). 2 partbooks
Troilo, Antonio: Sinfonie, scherzi, ricercari, capricci, et fantasie, a due voci (Venice: Ricciardo Amadino, 1608). 2 partbooks
Bianco, Giovanni Battista: Musica a due voci utilissima per instruir i figliuoli a cantar sicuramente in breve tempo, & commodi per sonar con ogni sorte di strumenti (Venice: Giacomo Vincenti, 1610). 2 partbooks
Bartei, Girolamo: Il primo libro de ricercari a due voci … opera duodecima (Rome: Bartolomeo Zannetti, 1618, 2/Ancona, 1674). 2 partbooks
Mussi, Giulio: Il primo libro delle canzoni da sonare a due voci … opera quinta … et nel fina una toccata in ecco a doi soprani (Venice: Alessandro Vincenti, 1620, 2/1625 [B and bc alone extant]). 2 partbooks and basso continuo
De Spagnolis, Giovanni Camillo: Il primo libro delle recercate a due voci con alcuni curiosi canoni a due, tre, & a quattro voci … opera terza (Naples: Ottavio Beltrano, 1626). 2 partbooks
The following sources contain relatively few instrumental ensemble pieces, being devoted primarily to other kinds of music.
Manuscripts: I-Bc Q38 (end of 16th century; see E.E. Lowinsky: ‘Early Scores in Manuscript’, JAMS, xiii, 1960, pp.126–73), F-Pn Rés.Vma.851 (‘Bourdeney MS’, end of 16th century; see O. Mischiati: ‘Un antologia manoscritta in partitura del secolo XVI’, RIM, x, 1975, pp.265–328); A. Newcomb: ‘The Anonymous Ricercares of the Bourdeney Codex’, Frescobaldi Studies: Madison, WI, 1983, 97–123
Prints (for further details see BrownI and SartoriB): Motetta trium vocum (Gardane, 1543, 2/1551, 3/1569), Scotto (1562 [lost]), V. Galilei (1568, rev. 2/1584), N. Vicentino (1572), M. Ingegneri (1579, 2/1584), L. Agostini (1583), J. Peetrinus (1583 [incomplete]), Andrea and Giovanni Gabrieli (1587), Andrea Gabrieli and Annibale Padovano (1590, 2/1592, 3/1594 [lost]), O. Scaletta (1590), O. Vecchi (1590), 2/1595, 3/1611 [incomplete]), L. Viadana (1590 [incomplete]), C. Malvezzi (1591; music for the wedding of Ferdinando de’ Medici and Christine of Lorraine), S. Raval (1593), G. Metallo (1594 [lost]), G. Aichinger (1595), A. Banchieri (1595), A. Marino (1597 [incomplete]), J. Handl (1598), L. Bellanda (1599), G. Fattorini (1601 [incomplete]), L. Viadana (1602 [incomplete], 2/1605, 3/1607 [incomplete], 4/1612), C. Antegnati (1603), A. Falcone (1603), G. Moro (1604, 2/Antwerp, 1613 [incomplete], 3/Antwerp, 1621 [incomplete]), O. Scaletta (1604 [incomplete]), A. Balbi (1606), A. Il Verso (1606 [incomplete]), A. Banchieri (1607), A. Caterina (1609), P. Fonghetto (1609), E. Porta (1609), G.P. Cima (1610), A. Mortaro (1610), A. Franzoni (1611), N. Zielenski (1611 [incomplete]), A. Banchieri (1612), G.A. Cangiasi (1612 [incomplete; instrumental piece lost]), G.B. Riccio (1612), Giulio Belli (1613, 2/Frankfurt, 1621), S. Bernardi (1613, 2/1623), G. Ghizzolo (1613), A. Grandi (i) (1613 [incomplete], rev. 2/1617 [incomplete], 3/1619 [incomplete], 4/1623, 5/1628), S. Patta (1613), E. Porta (1613 [incomplete]), A. Brunelli (1614), A. Coma (1614), A. Franzoni (1614 [incomplete]), G. Ghizzolo (1614), P. Lappi (1614 [incomplete], 2/Frankfurt, 1621, 3/Antwerp, 1622), F. Usper (1614 [incomplete]), A. Borsaro (1615 [incomplete]), M. da Gagliano (1615), F. Ugoni (1616), A. Brunelli (1617), Francesco Milleville (1617 [2 publications, 1 incomplete]), P. Vitali (1617), Lilia sacra (Vincenti, 1618), G.C. Gabussi and V. Pellegrini (1619 [2 publications]), G. Ghizzolo (1619, 2/1622 [incomplete]), G. Priuli (1619), A. Banchieri (1620), E. Porta (1620), S. Bernardi (1621, 2/1627), P.M. Lamoretti (1621), F. Turini (1621 [incomplete], rev. 2/1624, rev. 3/1624), C. Milanuzzi (1622), C. Merulo (1623 [incomplete]), F. Vitali (1623), S. Bernardi (1624 [incomplete]), T. Merula (1624 [incomplete]), A. Brunelli (1626), G. Rovetta (1626 [incomplete], 2/1641), M.A. Grancino (1627 [incomplete]), F. Bellazzo (1628), T. Cecchino (1628 [incomplete]), T. Merula (1628), P. Lappi (1629), G. Pietragrua (1629), ?C. Rusca (1630 [lost])
Sources of instrumental ensemble music to 1630
Very little French instrumental ensemble music survives from this period, and that apparently only in printed collections. The larger part, particularly in the earlier years, comprises ensemble dance settings, from the presses of Attaingnant and Du Chemin.
Volumes printed in Paris by Pierre Attaingnant: Dixhuit basses dances (1530) contains dances for solo lute, of which a few have the melody (called ‘subjectum’) notated separately in staff notation, and may be intended for ensemble performance. Edition: D. Heartz, ed.: Preludes, Chansons and Dances for Lute (Neuilly-sur-Seine, 1964). Six gaillardes et six pavanes avec treze chansons musicales a quatre parties (1530) and Neuf basses dances, deux branles, vingt et cinq pavennes, avec quinze gaillardes en musique a quatre parties (1530, ?2/1538 [lost]). Each 4 partbooks. In spite of the latter title one of the dances is a 5 and one a 6. Edition: F.J. Giesbert, ed.: Pierre Attaingnant: Pariser Tanzbuch aus dem Jahre 1530 (Mainz, 1950). Conseil, Jean: Livre de danceries à six parties (1543 [lost]). This may be the first of a series of titles of which vols.iii–vi were edited by Gervaise and vii by Du Tertre. Second livre … a quatre parties (1547). Includes one dance a 5. Gervaise, Claude: Troisième livre de danceries a quatre et cinq parties (1556). Edition: E. Mohr: Die Allemande (Zürich, 1932) [selected almains]. Quart livre de danceries a quatre parties (1550). Includes dances a 5. Cinquiesme livre de danceries, a quatre parties, contenant dix bransles gays, huict bransles de Poictou, trentecinq bransles de Champaigne (1550). Sixième livre de danceries, mis en musique a quatre parties (1555). Includes a dance pair a 5. Du Tertre, Etienne: Septième livre de danceries, mis en musique a quatre parties (1557; ff.20 to end missing from unique copy at F-Pn). 27 dances survive, including 2 pairs a 5. Editions of the Livres de danceries: MMRF, xxiii (1908) [selection]; B. Thomas (London, 1972–5). Literature: D. Heartz: Sources and Forms of the French Instrumental Dance in the Sixteenth Century (diss., Harvard U., 1957); D. Heartz: Pierre Attaingnant, Royal Printer of Music (Berkeley and Los Angeles, 1969)
Volumes printed in Paris by Nicolas Du Chemin: Estrée, Jean d’: Premier livre de danseries. Second livre de danseries. Tiers livre de danseries. (1559 [A and T lost]). All a 4 except for one a 5 and 2 a 6 in the third book. Quart livre de danseries (1564 [B alone extant; unique copy at GB-Lbl lacks f.21]). Dances a 4, 5 and 6. Literature: P. Nettl: ‘Die Tänze Jean d’Estrees’, Mf, viii (1955), 437–45; D. Heartz: Sources and Forms of the French Instrumental Dance in the Sixteenth Century (diss., Harvard U., 1957); C.M. Cunningham: Estienne du Tertre: scavant musicien, Jean d’Estree: joueur de hautbois du roy, and the Mid-Sixteenth-Century Franco–Flemish Chanson and Ensemble Dance (diss., Bryn Mawr College, 1969)
Beaujoyeux, Balthasar de: Balet comique de la Royne (Paris: Le Roy, Ballard & Patisson, 1582). Description of the theatrical entertainments for the wedding of the Duke of Joyeuse, including 4 instrumental pieces a 5 and one a 12. Facsimile: (Turin, 1962). Edition: C. and L. MacClintock (Rome, 1971) [Eng. trans.]. Literature: H. Prunières: Le ballet de cour en France (Paris, 1914); F.A. Yates: The French Academies of the Sixteenth Century (London, 1947); O. Bonniffet: ‘Esquisses du ballet humaniste (1572–1581)’, Cahiers de l’IRHMES, i (1992), 15–51
Arbeau, Thoinot: Orchésographie (Langres: J. des Preyz, 1588, 2/1589, repr. 1596, 3/1597). Treatise on dancing, including the complete melodies of 44 dances, and one pavan a 4. Facsimile: (Langres, 1988). Edition: J. Sutton (New York, 1967). Literature: E.P. Barker: ‘Master Thoinot’s Fancy’, ML, xi (1930), 383–93; A. Mary: ‘“L’Orchésographie” de Thoinot Arbeau’, Les trésors des bibliothèques de France, ed. R. Cantinelli and A. Boinet, v (1935), 85–99; Y. Guilcher: ‘Les différentes lectures de l’Orchésographie de Thoinot Arbeau’, Le recherche en danse, i (1982), 39–49; J. Sutton: ‘Triple Pavans: Clues to Some Mysteries in 16th-Century Dance’, EMc, xiv (1986), 175–81
Relatively few volumes contain fantasias and other polyphonic forms.
Musicque de joye (Lyons: Jacques Moderne, [1540s]). 4 partbooks. 22 ricercares by Willaert, Segni and others (of which 19 were also printed in Musica nova (Venice, 1540); see §2), followed by 29 anon. dances. All the compositions are a 4 except the 8th ricercare which is a 3. Facsimile: (Peer, 1991). Editions: F.J. Giesbert, ed.: Jacques Moderne: Fröhliche Musik (Musique de joye) (Kassel, 1934) [all the dances]; F.J. Giesbert, ed.: Instrumental-Fantasien des 16. Jahrhanderts für vierstimmigen Blockflöten-, Violen-, oder Fidelchor (Kassel, 1954) [selected ricercares]
Lassus, Orlande de: Moduli duarum vocum nunquam hactenus editi Monachii Boioariae (Paris: Le Roy & Ballard, 1578, 2/Robert and Pierre Ballard, 1601). 2 partbooks. Same contents as Munich edition of 1577 (see §4) except that wordless pieces are labelled ‘fantaisie’
3 sets of partbooks printed in Paris by Pierre Ballard: Du Caurroy, Eustache: Fantasies a III, IIII, V et VI parties (1610; fig.2). Guillet, Charles: Vingt-quatre fantaisies a quatre parties disposées selon l’ordre des douze modes (1610). Le Jeune, Claude: Second livre des meslanges (1612, 2/1617 [according to FétisB; lost]). Includes 3 fantasias, 2 a 4 and one a 5. Literature: D. Launay: ‘La fantaisie en France jusqu’au milieu du XVIIe siècle’, La musique instrumentale de la Renaissance: Paris 1954, 327–8; A. Cohen: ‘The Fantaisie for Instrumental Ensemble in 17th-century France – its Origin and Significance’, MQ, xlviii (1962), 234–43
Sources of instrumental ensemble music to 1630
Although not strictly-speaking sources of instrumental ensemble music, some 15th- and early 16th-century keyboard MSS include intabulations of significant quantities of textless part-music. The most important are A-Wn 5094, D-Mbs Cim.352b (Buxheim Organ MS), D-Bsb 40026 (Kleber MS), CH-SGs 530 (Fidolin Sicher’s organ book). For further details see Sources of keyboard music to 1660, §2(iii). Several other early German sources, while devoted chiefly to vocal music, contain a few apparently instrumental pieces. With the passage of time the instrumental pieces become more distinct, often being labelled ‘canzona’, for example.
Kraków, Biblioteka Jagiellonska, Mus.ms.40098 (Glogauer Liederbuch, ?Kloster der Augustiner-Chorherren, Sagan (Silesia), possibly owned by Andreas Ritter, c1480). 3 partbooks. Includes 61 wordless compositions; some have been identified as French chansons, but at least 15 seem to be instrumental in origin. Facsimile: RMF, vi (1986). Edition: EDM, 1st ser., iv (1936), viii (1937), lxxxv–lxxxvi (1981) [wordless pieces all in iv]. Literature: H. Ringmann: ‘Das Glogauer Liederbuch (um 1480)’, ZMw, xv (1932–3), 49–60; H. Braun: ‘Volksliedhaftes im Glogauer Liederbuch’, Jb für musikalishe Volks- und Volkerkunde, vi (1972), 77–88; J. Cerny: ‘Petrus Wilhelmi de Grudencz’, Hudební veda, xii (1975), 195–238, Eng. trans. in Musica Antiqua IV: Bydogoszcz 1975, 91–103 [proposes Wilhelmi’s authorship of the MS]; L. Hoffmann-Erbrecht: ‘Auf den Spuren des Schreibers der Glogauer Handschrift (ca. 1480)’, Augsburger Jb für Musikwissenschaft, vii (1990); StrohmR
Leipzig, Universitätsbibliothek, 1494 (Apel Codex, late 15th century). Choirbook. Includes several wordless pieces, some of which are of instrumental origin, e.g. Isaac’s La morra a 3 (f.85v), and an anon. La Spagna setting a 3 (f.63v) also in PL-Wu Rps.Mus.58; see below. Edition: EDM, 1st ser., xxxii–xxxiv (1956–75). Literature: H. Riemann: ‘Der Mensural-codex des Magister Nikolaus Apel’, KJb, xii (1897), 1–23
Linz, Studienbibliothek, 529 (Tyrol, c1490). Fragment, including music for instrumental ensemble. Literature: W.L. Smith: ‘An Inventory of pre-1600 Manuscripts, Pertaining to Music in the Bundesstaatliche Studienbibliothek (Linz, Austria)’, FAM, xxvii (1980), 162–9; R. Strohm: ‘Native and Foreign Polyphony in Late Medieval Austria’, MD, xxxviii (1984), 205–30
Berlin, Staatsbibliothek Preussischer Kulturbesitz, Mus.ms.40021 (formerly Z 21) (end of 15th century). Choirbook. Includes several pieces without words. Literature: M. Just: Der Mensuralkodex Mus.ms.40021 der Staatsbibliothek Preussischer Kulturbesitz Berlin (Tutzing, 1975)
Warsaw, Biblioteka Uniwersytecka, Rps.Mus.58 (formerly PL-WRu Mf.2016) (? Silesian-Bohemian border, c1500). Choirbook. At least 2 compositions are instrumental: a setting a 2 of De tous biens plaine [?1 voice for lute] and a setting a 3 of La Spagna (also in D-LEu 1494; see above). Literature: F. Feldmann: ‘Zwei weltliche Stücke des Breslau Codex Mf. 2016’, ZMw, xiii (1930–31), 252–66 [incl. transcr. of De tous biens plaine]; F. Feldmann: Der Codex Mf. 2016 des musikalischen Instituts bei der Universität Breslau (Breslau, 1932)
Heilbronn, Gymnasialbibliothek, X, 2 (early 16th century). Partbook. Bassus of 31 wordless compositions a 3, of which some are probably instrumental in origin, e.g. Isaac’s Helas and La morra, Obrecht’s Si sumpsero, Senfl’s Das Lang, and the anon. La stangetta, Si dormiero and Si bibero. Literature: M. Staehelin: ‘Zum Egenolff-Discantband der Bibliothèque Nationale in Paris’, AMw, xxiii (1966), 93–109
St Gall, Stiftsbibliothek 462 (Liederbuch des Johannes Heer von Glarus, early 16th century). Choirbook. Includes several wordless pieces, mostly of vocal origin but including such instrumental pieces as Isaac’s Der Hund and La morra, and Alexander Agricola’s Caecus. Edition: SMd, v (1967)
Augsburg, Staats- und Stadtbibliothek, 2° 142a (1505–14). Choirbook. Includes several anon. pieces without words or title, some of which are certainly instrumental, e.g. La gambetta a 3 (f.18v, exceptionally headed Mantuanner dantz de schallter cel), Passamezzo moderno a 3 (f.20), La monina a 3 (f.20v), Passamezzo antico caminata a 4 (f.21), Obrecht’s Si sumpsero a 3 (f.31v). Edition: Das Augsburger Liederbuch, ed. L. Jonas (Munich, 1983)
St Gall, Stiftsbibliothek, 461 (Fridolin Sicher’s MS, c1515). Choirbook. 49 compositions a 3–5, all without words. Facsimile: The Songbook of Fridolin Sicher (Peer, 1996). Edition: F.J. Giesbert, ed.: Ein altes Spielbuch … Liber Fridolini Sichery (Mainz, 1936)
Regensburg, Proske-Bibliothek, C.120 (Petrus Pernner MS, Innsbruck, 1518–19, Augsburg, 1520–21, part copied by Lucas Wagenrieder). Choirbook. Includes over 100 compositions, three-quarters of which are without words and include some pieces of instrumental origin. Literature: R. Birkendorf: Der Codex Pernner: Quellenkundliche Studien zu einer Musikhandschrift des frühen 16. Jahrhunderts (Augsburg, 1994)
Munich, Universitätsbibliothek, 4° 718 (Mathematics and Tablature Book of Jorg Weltzell, 1523–4). Includes songs (some incomplete) by Hofhaimer, Senfl and others, set in tablature for viols
Vienna, Österreichische Nationalbibliothek, 18810 (copied by Lukas Wagenrieder, c1524–33). 5 partbooks. Includes some wordless carmina a 3 and a 4 by Alexander Agricola, Hofhaimer, Isaac, La Rue, Senfl and anon. (cf D-Mu 8° 328–31 below). Facsimile: Collection of German, French and Instrumental Pieces (Peer, 1987). Edition: J. Robison: Vienna, Nationalbibliothek Manuscript 18810: A Transcription of the Unpublished Pieces with Comments on Performance Practices in Early Sixteenth-Century Germany (DMA diss., Stanford U., 1975)
Munich, Universitätsbibliothek, 8° 328–31 (formerly Cim.44a) (copied by Lukas Wagenrieder, ?Munich, owned by Heronimus Weber and dated 1527). 4 partbooks. Includes a few wordless carmina a 3 and a 4 by Hofhaimer, Isaac and La Rue (concordant with A-Wn 18810 above). Literature: D. Smithers: ‘A Textual–Musical Inventory and Concordance of Munich University MS 328–331’, RMARC, no.8 (1970), 34–89
[3 anon. untitled collections] (Frankfurt: Christian Egenolff, c1532–5). Partbooks [S alone extant]. The unique copies in F-Pn are bound together in a single volume (Rés.Vm7504). The entire contents are without words except for text incipits, and the 3rd collection includes several pieces probably of instrumental origin. Literature: N. Bridgman: ‘Christian Egenolff, imprimeur de musique’, AnnM, iii (1955), 77–177; M. Staehelin: ‘Zum Egenolff-Discantband der Bibliothèque Nationale in Paris’, AMw, xxiii (1966), 93–109 [not in BrownI]
Trium vocum carmina (Nuremberg: Hieronymus Formschneider, 1538). 3 partbooks. 100 compositions a 3 without words, title or attribution (some of this information supplied by hand in the 2 surviving copies at D-Bhm and Ju), of which several are probably instrumental in origin. Literature: K. Holzmann: Hieronymus Formschneyders Sammeldruck Trium Vocum Carmina (diss., U. of Freiburg, 1956)
Zwickau, Ratsschulbibliothek, LXXVIII, 3 (1st half of 16th century). 3 partbooks. 26 compositions a 3 without words, including some of instrumental origin Literature: H.M. Brown: ‘Music for a Town Official in Sixteenth-Century Zwickau’, Musica antiqua VII: Bydgoszcz 1985, 479–92
Munich, Bayerische Staatsbibliothek, Mus.ms.1516 (south Germany, c1540). 4 partbooks. 161 compositions, all but one without words, including a few dances and other pieces probably of instrumental origin. Edition: B.A. Whisler: Munich Mus. ms. 1516: a Critical Edition (diss., U. of Rochester, NY, 1974)
Copenhagen, Kongelige Bibliotek, Gl.Kgl.Sml.1872–4° (Konigsberg, c1540–50). 7 partbooks. Written for the wind players of Duke Albrecht of Prussia. Vocal compositions a 5–8, all without words except for text incipits. There are also some dances and other pieces of probable instrumental origin, including anon. settings a 5 of La Spagna (found elsewhere as a vocal composition, Propter peccata, attributed to Josquin) and T’Andernaken [bassus specifies ‘Krumbhörner’]. Edition: Josquin Desprez: Wereldlijke werken, v (Amsterdam, 1968). Literature: J. Foss: ‘Det Kgl. Cantoris Stemmebøger A.D. 1541’, Aarbog for musik 1923, 24
Copenhagen, Kongelige Bibliotek, Gl.Kgl.Sml.1873–4° (Königsberg, c1540–50). 5 out of 6 partbooks [A lost]. Companion to the previous set. At the end several dances have been somewhat haphazardly added. Literature: J. Foss: ‘Det Kgl. Cantoris Stemmebøger A.D. 1541’, Aarbog for musik 1923, 24
Basle, Universitätsbibliothek, F.X.17–20 (c1555–60). 4 partbooks. Includes an instrumental setting a 4 of La bataglia
Regensburg, Proske-Bibliothek, A.R.940/41 (1557–9). 5 partbooks. Sacred and secular music a 2–6, and a 8, with Latin, German and French words. Several compositions without words, some of vocal origin, some probably instrumental including 2 dances a 4 (1 by Othmayr) and 1 a 3, and 13 pieces a 4 (one each by Finck and Keutzenhoff, the rest anon.) which may be instrumental carmina. Edition: HM, cxxxvii–cxxxviii (1956–7). Literature: W. Brennecke: Die Handschrift A.R. 940/41 der Proske-Bibliothek zu Regensburg (Kassel, 1953); W. Brennecke: ‘Musique instrumentale d’après un manuscrit allemand’, La musique instrumentale de la Renaissance: Paris 1954, 127–37
Ulm, Bibliothek der Von Schermarschen Familienstiftung, 236a–d (laid out by Johann and Werner Schermar, Wittenberg, ?c1560). Includes some instrumental dances, all a 4. Literature: A. Wendel: Eine studentische Musiksammlung der Reformationszeit: Die Handschrift Misc. 236a–d der Schermar-Bibliothek in Ulm (Baden-Baden, 1993)
Kraków, Biblioteka Jagiellonska, Berlin, Staatsbibliothek, Musi.ms.40027 (formerly Z 27) (Owned and compiled by Adam Gumpelzhaimer, 1599–1617). Score. Includes a wordless composition a 5 by Christian Erbach. Literature: R. Charteris: Adam Gumpelzhaimer’s Little-Known Score-Books in Berlin and Kraków (Neuhausen, 1996)
Berlin, Staatsbibliothek Preussischer Kulturbesitz, Mus.ms.40028 (formerly Z 28) (Owned or compiled by Adam Gumpelzhaimer, whose name appears inside the front cover with the date 1599; 1599–1617). Score. Includes 3 instrumental compositions: on p.25 a canzona a 5 by Erbach, on p.86 a capriccio di cornetti a 6 by Lichtlein, and on p.138 a canzona a 8 by Bramieri [also in D-Rp B.205–10]. Literature: E.E. Lowinsky: ‘Early Scores in Manuscript’, JAMS, xiii (1960), 126–73; R. Charteris: Adam Gumpelzhaimer’s Little-Known Score-Books in Berlin and Kraków (Neuhausen, 1996)
Liegnitz [Legnica], the former Königliche Ritter-Akademie, 58 (catalogue no.24) [lost] (early 17th century). 8 partbooks. Included the following dances a 5 (nos.75–8): Englische Paduane, galliard, pavan by Groh, and Lachrymae pavan
Regensburg, Proske-Bibliothek, B.205–10 (owned and chiefly compiled by Adam Gumpelzhaimer, Augsburg, early 17th century). 6 partbooks. Includes an instrumental canzona La foccara, a 8, by Bramieri [lacks S I; score in D-Bsb Mus.ms.40028; see above]. Literature: R. Charteris and G. Haberkamp: ‘Regensburg, Bischofliche Zentralbibliothek, Butsch 205–210: a Little-Known Source of the Music of Giovanni Gabrieli and his Contemporaries’, MD, xliii (1989), 195–249
Berlin, Staatsbibliothek Preussischer Kulturbesitz, Mus.ms.40377 (1612). Tenor partbook. Includes dances, mainly a 4, by Freudenreich, Hagius (Engelländisch Galliard), Haussmann, Lechner, Simpson and anon.
Augsburg, Staats- und Stadtbibliothek, Tonkunst Schletterer 39 (copied by Caspar Flurschütz, Augsburg, 1616). Score. Copy of Giovanni Gabrieli’s Sacrae symphoniae (Venice, 1597; see §2), followed by vocal music from other prints
Augsburg, Staats- und Stadtbibliothek, 4° 255 (?Augsburg, 1625). On ff.103v–106 a courante a 2 with continuo by Gregor Aichinger, 2 dances with continuo, and the upper voice of an instrumental suite
Wrocław, the former Breslau Stadtbibliothek, 59 [lost] (1st half of 17th century). 25 partbooks. Included 3 anon. canzonas a 2, 7 and 12, and an intrada a 4
Wrocław, the former Breslau Stadtbibliothek, 90 [lost] (1st half of 17th century). 4 partbooks and basso continuo. Included 2 anon. canzonas
In most anthologies of instrumental ensemble music by more than one composer, dances are strongly represented. However, the later sources show an increasing predilection for fantasias and italianate forms such as the ricercare and canzona.
Hessen, Paul and Bartholomeus: Viel feiner lieblicher Stucklein, spanischer, welscher, englischer, frantzösischer Composition und Tentz, uber drey hundert, mit sechsen, fünffen, und vieren, auff alle Instrument … zusamen bracht (Breslau: Crispin Scharffenberg, 1555). 5 partbooks [S lost]. 322 compositions without words, title or attribution. Several are identified in BrownI from concordances in printed volumes of dances for instrumental ensemble
Hessen, Paul and Bartholomeus: Etlicher gutter teutscher und polnischer Tentz, biss in die anderthalbhundert mit fünff und vier Stimmen, zugebrauchen, auff allerley Instrument … zusamen getragen (Breslau: Crispin Scharffenberg, 1555). 5 partbooks [S lost]. 155 compositions without words, title or attribution
Kassel, Landesbibliothek, 4° mus.125 (Kassel, c1600). 5 partbooks. 53 pavans, 4 In Nomines, and 2 further pieces, all a 5 and without title or ascription, mainly, if not entirely, by English composers. Edition: C. Wool: A Critical Edition and Historical Commentary of Kassel 4° MS Mus. 125 (M.Mus. diss., U. of London, 1983); Holman
Königsberg, the former Königliche- und Universitäts-Bibliothek, 13763(5), I–IV [lost] (1601–2). 4 partbooks. ‘Etzliche geschriebene lustige polnische Täntze, colligiret durch mich Johannem Hänisch anno 1601’. Contained 15 dances a 4
Kassel, Landesbibliothek, 4° mus.72 (Kassel, 1601–3). 5 partbooks. Pavans, galliards and other instrumental compositions, mainly a 5. Several are by Moritz, Landgrave of Hessen-Kassel, including some pieces with specific instrumentation, e.g. Pavana del Francisco Segario for ‘fiauto, corneto muto, trombone, sordone et viola di gamba’. The MS may have been compiled by Richard Machin, an Englishman at the Kassel court, and also contains 23 dances a 5 (some incomplete) with English titles. A copy by Liebing (1887) is in GB-Lbl Add.33295. Edition: EDM, 2nd ser., Kurhessen, i/1 (1936) [Landgrave Moritz’s compositions]. Literature: G. Oberst: Englische Orchestersuiten um 1600 (Wolfenbüttel, 1929); P.E. Mueller: The Influence and Activities of English Musicians on the Continent (diss., Indiana U., 1954)
Füllsack, Zacharias, and Hildebrand, Christian: Ausserlesener Paduanen und Galliarden, erster Theil (Hamburg: Philipp von Ohr, 1607). 5 partbooks. 24 pavans and 24 galliards a 5 by Borchgrevinck, Brade, Dowland, Grep, James Harding, Holborne, Edward Johnson, Mercker, Mons, Peter Philips, Jacob Praetorius and anon. Edition: B. Engelke: Musik und Musiker am Gottorfer Hofe, i: Die Zeit der englischen Komödianten, 1590–1627 (Breslau, 1930)
Füllsack, Zacharias, and Hildebrand, Christian: Ander Theil ausserlesener lieblicher Paduanen, und auch so viel Galliarden (Hamburg: Philipp von Ohr, 1609). 5 partbooks. 18 pavans and 18 galliards a 5 by Bateman, Borchgrevinck, Brade, Gistou, Grep, Mercker, Sommer, Stephen and anon. Edition: B. Engelke: Musik und Musiker am Gottorfer Hofe, i: Die Zeit der englischen Komodianten, 1590–1627 (Breslau, 1930)
Simpson, Thomas: Opusculum neuwer Pavanen, Galliarden, Couranten, unnd Volten (Frankfurt: Nikolaus Stein, 1610). 5 partbooks. 30 compositions a 5 by Dowland, Farmer, Simpson and Tomkins. Editions: G. Oberst: Englische Orchestersuiten um 1600 (Wolfenbüttel, 1929) [2 pieces]; MB, ix (1955, rev. 2/1962) [Tomkins]
Hagius, Konrad: Newe künstliche musicalische Intraden, Pavanen, Galliarden, Passamezen, Courant unnd Uffzüg, zu 4. 5. und 6. Stimmen darunter etliche Phantasien oder Fugen mit 2. und 3. Stimmen zu finden (Nuremberg: Abraham Wagenmann, 1616 [?an edn of 1614 lost]). 6 partbooks [S and A lost]. Vocal and instrumental music by Hagius and various other composers listed in RISM 161624
Kraków, Biblioteka Jagiell ońska, Berlin, Staatsbibliothek, Mus.ms.40350 (1619). 5 partbooks. Contains dances a 5 by Michael Altenburg, Eisentraut, Franck, Simpson, Sommer, Staden, Zangius and anon. Literature: G. Oberst: Englische Orchestersuiten um 1600 (Wolfenbüttel, 1929)
Obendörffer, David: Allegrezza musicale: ausserlesene künstlich musicalische Paduanen, Galliarden, Intraden, Canzoneten, Ricercaren, Balleten, Allmanden und Volten … mit 4. 5. und 6. Stimmen (Frankfurt: Nikolaus Stein, 1620). Partbooks [A alone extant]. Compositions by Brade, Groh, Haussmann, Otto, Bartholomaeus Praetorius, J.H. Schein and Simpson. Literature: G. Oberst: Englische Orchestersuiten um 1600 (Wolfenbüttel, 1929)
Simpson, Thomas: Taffel Consort: erster Theil von allerhand newen lustigen musicalischen Sachen mit vier Stimmen, neben einem General Bass (Hamburg: Paul Lang, 1621). 4 partbooks and basso continuo. 50 compositions a 4 by Bateman, Nicolaus Bleyer, Chezam, Dowland, Engelmann, Alfonso Ferrabosco (ii), Grabbe, Edward Johnson, Robert Johnson (ii), Krosch, Peter Philips, Scherley, Simpson, Töpffer, Webster and anon. Editions: J. Wolf: Sing- und Spielmusik aus älterer Zeit (Leipzig, 1926) [Ferrabosco]: MB, ix (1955, 2/1962) [1 piece by Dowland and 3 by Simpson]; H. Mönkemeyer (Wilhelmshaven, 1962) [selection]. Literature: SartoriB
Amoenitatum musicalium hortulus … fantas. canz. padovan. intrad. galliard. courant. ballet. volt. almand. bransl. gallicarum. anglicarum & belgicarum, insertis etiam choreis, inclitae polonicae nationi hoc tempore usitatissimis (Leipzig: Caspar Klosmann, 1622) [lost]. 4 partbooks. Contained c100 compositions by 13 composers listed in SartoriB. Editions: R. Eitner: ‘Taenze des 15. bis 17. Jahrhunderts’, MMg, vii (1875), suppl. [canzona by Hassler]; DTÖ, lxx, Jg.xxxvi/2 (1929) [ballet by Posch]
Herbst, Johann Andreas, ed.: 1. Theil 20 Canzonen und 8 Sonaten von den berühmbsten Autoribus, mit 5. 6. und 8. Stimmen (Frankfurt, 1626) [lost]
Wrocław, the former Breslau Stadtbibliothek, 111 [lost] (1627). 5 partbooks. ‘Canzoni e concerti a due, tre e quattro voci cum basso continuo di Adamo Harzebsky [Adam Jarzębski] Polono anno MDCXXVII’ (13 compositions a 2, 10 a 3, and 5 a 4 ). The MS also contained Echo a 4 by Scheidt, and 9 sonatas a 3–5 by O.M. Grandi. Editions: WDMP, xi, xv, xxi, xxvii, xxxii, xxxix (1932–58). Literature: J.J. Dunicz: Adam Jarzębski i jego ‘Canzoni e concerti’ (1627) (Lwów, 1938)
Kassel, Landesbibliothek, 2° mus.59. Not a single MS, but 18 sets of parts (labelled a to s) written at various times in the 17th century for use at the Kassel Hofkapelle. The following contain instrumental ensemble music before c1630: 2° mus.59c. Sonata a 15 by Giovanni Gabrieli. 2° mus.59f. Canzona a 8 by Giovanni Gabrieli. 2° mus.59h. Ricercar sopra re fa mi do for violetta, viola da braccio, viola da gamba, basso di viola and continuo. 2° mus.59r. Canzon in echo duodecim toni a 10. 2° mus.59s [incomplete]. Canzona a 8 by Moritz, Landgrave of Hessen-Kassel. Edition: S. Kunze: Die Instrumentalmusik Giovanni Gabrielis, ii (Tutzing, 1963) [Ricercar and Canzon in echo]
Kassel, Landesbibliothek, 4° mus.147. 5 sets of parts (labelled a to e) written for use at the Kassel Hofkapelle, probably all in the 1st half of the 17th century: 4° mus.147a. Canzona a 8 by Giovanni Gabrieli. 4° mus.147b. Canzona a 7 by Priuli. 4° mus.147c. Canzona a 8 by Cornet. 4° mus.147d. Echo canzona a 12 by Giovanni Gabrieli. 4° mus.147e [incomplete]. Sonata a 12 by Priuli. Edition: S. Kunze: Die Instrumentalmusik Giovanni Gabrielis, ii (Tutzing, 1963) [Echo canzona]
Kassel, Landesbibliothek, 2° mus.60. 25 sets of parts (labelled a to z) written for use at the Kassel Hofkapelle. The following sets contain music (all anon.) from c1630 or somewhat later: 2° mus.60f. Sonata a 8 for ‘4 viole e 4 fagotti’. 2° mus.60l. Sonata a 6. 2° mus.60o. 4 sonatas ‘a 5 bombardi’.
Wrocław, the former Breslau Stadtbibliothek, 112 [lost] (1st half of 17th century). Contained sinfonias, a galliard, capriccios, sonatas, canzonas and an instrumental aria, a 2–6, with basso continuo
An isolated early source devoted to instrumental ensemble music by a single composer is:
Zwickau, Ratsschulbibliothek, CVI, 5 (c1525). 5 partbooks. T. Stoltzer’s ‘Octo tonorum melodiae’, consisting of 8 fantasias a 5 (1 in each of the 8 ecclesiastical modes). According to Reese they form the ‘earliest preserved example of a cycle of instrumental pieces in the literature of music’ (ReeseMR, 725)
Many 17th-century volumes are devoted to the work of one composer. They are often not exclusively instrumental, although the instrumental section seems to have been a popular component. Unless otherwise stated they are in partbook format.
Luetkeman, Paul: Der erste Theil newer lateinischer und deutscher Gesenge … nebenst nachfolgenden schönen Fantasien, Paduanen und Galliarden … mit 5. 6. und mehr Stimmen componiret (Stettin: heirs of Andreas Kellner, 1597) [incomplete]
Orologio, Alessandro: Intradae … quinque & sex vocibus … liber primus (Helmstedt: Giacomo Luzio, 1597)
Haussmann, Valentin: Neue artige und liebliche Täntze, zum theil mit Texten … zum theil ohne Text gesetzt (Nuremberg: Paul Kauffmann, 1598 [lost], 2/1599 [A lost], 3/1600 [lost], 4/1602, 5/1604 [lost], 6/1606)
Demantius, (Johannes) Christoph: Sieben und siebentzig, neue ausserlesene, liebliche, zierliche, polnischer und teutscher Art, Täntze mit und ohne Texten, zu 4. und 5. Stimmen, nebern andern künstlichen Galliarden, mit fünff Stimmen (Nuremberg: Conrad Bauer, 1601)
Hassler, Hans Leo: Lustgarten neuer teutscher Gesäng, Balletti, Galliarden und Intraden (Nuremberg: Paul Kauffmann, 1601, 2/1605, 3/1610)
Haussmann, Valentin: Venusgarten, darinnen hundert ausserlesene gantz liebliche mehrerntheils polnische Täntze (Nuremberg: Paul Kauffmann, 1602)
Franck, Melchior: Newer Pavanen, Galliarden, unnd Intraden (Coburg: Justus Hauck, 1603)]
Groh, Johann: Sechsunddreissig neue liebliche und zierliche Intraden … mit fünff Stimmen gesetzet (Nuremberg: Paul Kauffmann, 1603, 2/1611)
Haussmann, Valentin: Rest von polnischen und andern Täntzen nach Art wie im Venusgarten zu finden colligirt und zum Theil gemacht auch mit weltlichen amorosischen Texten untergelegt (Nuremberg: Paul Kauffmann, 1603)
Franck, Melchior: Deutsche weltliche Gesäng unnd Täntze (Coburg: Justus Hauck, 1604) [incomplete]
Groh, Johann: Dreissig neue ausserlesene Padouane und Galliard (Nuremberg: Paul Kauffmann, 1604, 2/1612)
Haussmann, Valentin: Neue fünffstimmige Paduane und Galliarde auff Instrumenten fürnemlich auff Fiolen lieblich zugebrauchen (Nuremberg: Paul Kauffmann, 1604)
Haussmann, Valentin: Neue Intrade, mit sechs und fünff Stimmen auff Instrumenten fürnemlich auff Fiolen lieblich zugebrauchen. Nach disen sind etliche Englische Paduan und Galliarde anderer Composition zu finden (Nuremberg: Paul Kauffmann, 1604)
Colerus, Valentin: Neue lustige liebliche und artige Intraden, Täntze und Gagliarde mit vier und fünff Stimmen auff allerley Seitenspiel … (wie auch etliche auff vier Zincken) … zugebrauchen (Jena: Johann Weidner, 1605) [incomplete]
Franck, Melchior: Der ander Theil deutscher Gesäng unnd Täntze mil vier Stimmen sampt beygesetzten Quodlibeten (Coburg: Justus Mauck, 1605) [incomplete]
Fritsch, Balthasar: Primitiae musicales, paduanas et galiardas (Frankfurt: Nikolaus Stein, 1606)
Staden, Johann: Neue teutsche Lieder (Nuremberg: Paul Kauffmann, 1606). Includes 6 balletts, 3 courantes and 6 galliards, all a 4 , and 1 galliard and 2 pavans a 5
Demantius (Johannes) Christoph: Conviviorum deliciae, das ist: Neue liebliche Intraden und Aufzüge, neben künstlichen Galliarden, und frölichen polnischen Täntzen, mit sechs Stimmen (Nuremberg: David Kauffmann, 1608)
Frank, Melchior: Neue musikalische Intraden … mit 6. Stimmen componirt (Nuremberg: David Kauffmann, 1608) [incomplete]
Brade, William: Newe ausserlesene Paduanen, Galliarden, Cantzonen, Allmand und Coranten (Hamburg: Michael Hering, 1609)
Haussmann, Valentin: Ausszug auss … zweyen unterschiedlichen Wercken (Nuremberg: Paul Kauffmann, 1609 [single copy of A in D-Tu dated 1608]). Part repr. of 1598 and 1602 publications
Mercker, Matthias: 20 neue ausserlesene Padouane und Galliard … mit 5 Stimmen (Helmstedt: Giacomo Luzio, 1609) [lost]. 8 of the compositions, along with fugas and almains a 4, are found, apparently in Mercker’s hand, in Kl 4° mus.96, a MS entitled Harmonia musica quatuor et quinis vocibus (Kassel, 1609)
Schein, Johann Hermann: Venus Kräntzlein … oder Newe weltliche Lieder mit 5. Stimmen neben etzlichen Intraden, Gagliarden und Canzonen (Wittenberg: Thomas Schürer, 1609)
Staden, Johann: Neue teutsche Lieder … samt etlichen Galliarden und Couranten … mit 4. Stimmen componirt (Nuremberg: Paul Kauffmann, 1609)
Thesselius, Johann: Neue liebliche Paduanen, Intraden und Galliarden … mit fünff Stimmen componirt (Nuremberg: Paul Kauffmann, 1609)
Franck, Melchior: Musikalische Fröligkeit von etlichen neuen lustigen deutschen Gesängen, Täntzen, Galliarden und Concerten, sampt einem dialogo mit vier, fünff sechs unnd acht Stimmen (Coburg: Justus Hauck, 1610) [incomplete]
Hagius, Konrad: Ander Theil neuer teutscher Tricinien (Frankfurt, 1610) [lost]. Included fugas and canons a 2–6
Lyttich, Johann: Sales venereae musicales, oder Newe deutsche politsche Gesänge … auch lustige Intraden, Galliardae, und Paduanen mit 5 Stimmen (Jena: Johann Weidner, 1610) [lost]
Lyttich, Johann: Venus Glöcklein, oder Neue weltliche Gesänge mit anmuthigen Melodien und lustigen Texten auff vier und fünff Stimmen: item Intraden, Paduanen und Galliardae, auch mit fünff Stimmen componirt (Jena: Johann Weidner, 1610)
Möller, Johann: Neue Paduanen, unnd darauff gehörige Galliarden, von fünff Stimmen: sampt einem neuen Quodlibet (Frankfurt: Nikolaus Stein, 1610)
Staden, Johann: Venus Kräntzlein: newer musicalischer Gesäng und Lieder so wol auch etliche (ohne Text) Galliarden, Couranten, Auffzüg und Pavanen … mit 4. und 5. Stimmen componirt (Nuremberg: Paul Kauffmann, 1610)
Otto, Valerius: Newe Paduanen, Galliarden, Intraden und Currenten, nach englischer und frantzösischer Art … mit fünff Stimmen componirt (Leipzig: Abraham Lamberg, 1611) [incomplete]
Peuerl, Paul: Newe Padouan, Intrada, Däntz unnd Galliarda mit vier Stimmen (Nuremberg: Abraham Wagenmann, 1611) [incomplete]. According to Bukofzer (Music in the Baroque Era, New York, 1947, 113), includes the earliest known examples of variation suite
Krombhorn, Tobias: Newe Paduanen, Corranten und Täntz mit 4 Stimmen (Liegnitz, 1612) [lost]
Möller, Johann: Andere noch mehr neue Paduanen und darauff gehörige Galliarden, mit 5. Stimmen, sampt eins von 3. Stimmen (Darmstadt: Balthasar Hoffmann, 1612) [incomplete]
Copenhagen, Kongelige Bibliotek, Gl.Kgl.Sml.1875n-4° (Rostock, 1612). Tenor partbook. Antonius Mors: Etliche schone und liebliche Fantasien so mit V Stimmen welche 23 bei einander, und auch Galliarda so man auff allerhandt Instrumentenn zu gebrauchen, in Sonderheit uff Violeen gesetzt und componirt. Autograph
Praetorius, Michael: Terpsichore musarum aoniarum quinta darinnen allerley französische Däntze und Lieder als 21. Branslen, 13. andere Däntze mit sonderbaren Namen, 162. Couranten, 48. Volten, 37. Balletten, 3. Passameze, 23. Gaillarden, und 4. Reprinsen mit 4. 5. und 6. Stimmen (Wolfenbüttel: Michael Praetorius, 1612)
Demantius, (Johannes) Christoph: Fasciculus chorodiarum: neue liebliche und zierliche, polnischer und teutscher Art, Täntze und Galliarden, mit und ohne Texten, zu 4. und 5. Stimmen (Nuremberg: David Kauffmann, 1613) [incomplete]
Getzmann, Wolfgang: Phantasiae sive cantiones mutae ad duodecim modos figurales (Frankfurt: Nikolaus Stein, 1613 [? earlier edns in 1610 and 1612]) [incomplete]
Rivander, Paul: Prati musici ander Theil, darinnen newe weltliche Gesäng, von 3. 4. 5. und 8. Stimmen … benebens etlichen Paduanen, Intraden, Currenten und Täntzen, nach allerhandt Instrumenten (Ansbach: Paul Böhem, 1613)
Völckel, Samuel: Newe teutsche weltliche Gesänglein, mit vier und fünff Stimmen, auff Galliarden, Täntz, unnd musicalische Art, benebenst Cuorranten und Galliarden ohne Text (Nuremberg: Georg Leopold Fuhrmann, 1613)
Widmann, Erasmus: Musicalischer Tugendtspiegel: gantz newer Gesäng … mit fünff Stimmen … darbey auch newe Däntz und Galliarden mit vier Stimmen gestellt (Nuremberg: Abraham Wagenmann, 1613)
Brade, William: Newe ausserlesene Paduanen und Galliarden mit 6. Stimmen (Hamburg: Michael Hering, 1614)
Büchner, Johann Heinrich: Series von schönen Villanellen, Tänzen, Galliarden und Couranten mit 4 Stimmen (Nuremberg, 1614) [lost]
Franck, Melchior: Recreationes musicae, lustige anmutige teutsche Gesäng mit schönen Texten neben etlichen Galliarden, Couranten und Auffzügen … mit 4. und 5. Stimmen (Nuremberg: Georg Leopold Fuhrmann, 1614) [incomplete]
Mercker, Matthias: Neue künstliche musikalische Fugen, Pavanen, Galliarden unnd Intraden auff allerley Instrumenten zu gebrauchen mit II. III. IV. V. und VI. Stimmen componirt (Frankfurt: Nikolaus Stein 1614) [incomplete]
Mercker, Matthias: Allen Liebhabern der edlen Musica … publiziret (n.d.). Includes 3 instrumental fugas and a pavan, all a 5
Rivander, Paul: Neue lustige Couranten … mit 4 Stimmen (Onoltzbach, 1614) [lost]
Selich, Daniel: Prodromus cantilenarum harmonicarum … exhibens paduanas, intradas, galliardas, & courantes (Wittenberg, 1614) [lost]
Hassler, Hans Leo, and Haussmann, Valentin: Venusgarten, oder Neue lustige liebliche Täntz teutscher und polnischer Art, auch Galliarden und Intraden mit 4. 5. 6. Stimmen mit und ohne Text (Nuremberg: Paul Kauffmann, 1615) [incomplete]. 13 compositions by Hassler and 41 by Haussmann, repr. from various previous edns listed in EitnerQ
Selich, Daniel: Prodromus exercitationum musicanum exhibens Paduanas, Galliardas, Intradas, & Courantes, 4. 5. & 6. voc (Wittenberg, 1615) [lost]
Eichhorn, Adolarius: Schöne ausserlesene ganz neue Intraden, Galliarden und Couranten ohne Text mit 4. Stimmen (Nuremberg, 1616) [lost]
Engelmann, Georg (i); Fasciculus quinque vocum concentuum, cujusmodi paduanas & galliardes vulgo vocare solent (Leipzig: heirs of Thomas Schürer, 1616)
Franck, Melchior: Lilia musicalia: schöne, liebliche, fröliche, neue Liedlein, mit lustigen kurtzweiligen Texten unterlegt, sampt etlicher anmutiger Pavanen, Galliarden und Curranten … mit vier Stimmen componiret (Nuremberg: Georg Leopold Fuhrmann, 1616) [incomplete]
Gross, Peter: Paduanen und Intraden a 5 (Zeitz, 1616) [lost]
Praetorius, Bartholomaeus: Newe liebliche Paduanen und Galliarden mit fünff Stimmen (Berlin: Georg Runge, 1616) [incomplete]
Brade, William: Newe ausserlesene liebliche Branden, Intraden Mascharaden, Balletten, All’manden, Couranten, Volten … mit fünff Stimmen (Hamburg: Michael Hering, 1617) [incomplete]. Includes 3 compositions by Robert Bateman
Engelmann, Georg (i): Fasciculus sive missus secundus quinque vocum concentuum, cujusmodi paduanas & galliardos vulgo vocant (Leipzig: heirs of Thomas Schürer, 1617)
Schein, Johann Hermann: Banchetto musicale: newer anmutiger Padouanen, Gagliarden, Courenten, und Allemanden à 5 (Leipzig: Abraham Lamberg, 1617). Includes a pavan for 4 crumhorns
Schultz, Johannes: Viertzig neuwe ausserlesene schöne liebliche Paduanen, Intraden, und Galliard mit vier Stimmen, benebenst zwo chorigen Passametzen mit 8. Stimmen (Hamburg: Heinrich Carstens, 1617)
Simpson, Thomas: Opus newer Paduanen, Galliarden, Intraden, Canzonen, Ricercaren, Fantasien, Balleten, Allmanden, Couranten, Volten unnd Passamezen (Hamburg: Michael Hering, 1617)
Posch, Isaac: Musicalische Ehrenfreudt, das ist, Allerley neuer Balleten, Gagliarden, Couranten und Täntzen teutscher Art mit 4. Stimmen … erster Theil (Regensburg: Isaac Posch, 1618). For a later edn see below, 1626
Schaeffer, Paul: 12 intradae & courants super modos 12 consuetos, cum una canzon 6 voc (Breslau, 1618) [lost]
Staden, Johann: Neue Pavanen, Galliarden, Curranten, Balletten, Intraden und Canzonen mit vier and fünff Stimmen (Nuremberg: David Kauffmann, 1618) [incomplete]
Widmann, Erasmus: Gantz neue Cantzon, Intraden, Balletten, und Courranten … mit 5. und 4. Stimmen componirt (Nuremberg: Abraham Wagenmann, 1618)
Christenius, Johann: Omnigeni: mancherley Manier neuer weltlicher Lieder, Paduanen, Intraden, teutscher und polnischer Täntze, mit Texten und ohne Texte … in fünff Stimmen gesetzet (Erfurt: Johann Birckner, 1619)
Praetorius, Michael: Musa Aonia Thalia, darinnen etliche Toccaten oder Canzonen mit B. Stimmen (Nuremberg, 1619) [lost]
Altenburg, Michael: Erster Theil newer lieblicher und zierlicher Intraden mit sechs Stimmen (Erfurt: Johann Röhbock, 1620)
Peuerl, Paul: Etliche lustige Padouanen, Intraden, Galliarden, Couranten und Däntz sampt zweyen Canzon mit vier Stimmen (Nuremberg, Abraham Wagenmann, 1620) [incomplete]
Praetorius, Michael: Filia: ander Theil Terpsichore (Leipzig, 1620) [lost]
Brade, William: Newe lustige Volten, Couranten, Balletten, Padouanen, Galliarden, Masqueraden, auch allerley Arth newer frantzösischer Täntz (Berlin: Martin Guth, 1621)
Cesare, Giovanni Martino: Musicali melodie, per voci et instrumenti, a una, due, tre, quattro, cinque, e sei (Munich: Nicolaus Heinrich, 1621)
Posch, Isaac: Musicalische Tafelfreudt, das ist, allerley neuer Paduanen and Gagliarden mit 5. dessgleichen Intraden und Couranten mit 4. Stimmen (Nuremberg: Abraham Wagenmann, 1621). For a later edn see below, 1626
Scheidt, Samuel: Paduna, galliarda, couranta, alemande, intrada, canzonetto, ut vocant, quaternis & quinis vocibus (Hamburg: Michael Hering, 1621)
Engelmann, Georg (i): Fasciculus tertius quinque vocum concentuum, cujusmodi paduanas & galliardas vulgo vocare solent (Leipzig: heirs of Thomas Schürer, 1622)
Jocolot, Claudius: Allerley Art französischer, teutscher, hispanischer and welscher Tänze mit 5. & 6. Stimmen (Jena, 1622) [lost]
Schaeffer, Paul: Pratum musicale: padouan, canzon, intrad, galiard, courant, ballet, volt, bransl, & choreas quas vocant polonicas, quam plurimas 4 voc. continens, inventiae, & cum basso generali editae (Leipzig: Caspar Klosmann, 1622) [incomplete]
Scheidt, Samuel: Ludorum musicorum secunda pars, continens paduan galliard, alemand, canzon, et intrad: IV. V. & VII. voc (Hamburg: Michael Hering, 1622) [incomplete]
Schultz, Johannes: Musicalischer Lüstgarte darinnen neun und funfftzig schone newe Moteten, Madrigalien, Fugen, Phantasien, Cantzonen, Paduanen, Intraden, Galliard, Passametz, Täntze, etc. … mit 2. 3. 4. 5. 6. 7. 8. Stimmen (Lüneburg: Johannes Schultz, 1622)
Franck, Melchior: Viertzig neue deutzsche lustige musicalische Täntze, deren eins Theils mit schönen amorosischen Texten, die andern aber ohne Text uff allerley Instrumenten mit 4. Stimmen lieblich zugebrauchen (Coburg: Salomon Gruner, 1623) [incomplete]
Roth, Christian: Couranten Lustgärtlein, in welchem vier und siebentzig Couranten … mit 4. und 5. Stimmen (Dresden: Wolfgang Seyffert, 1624 [incomplete], 2/1625)
Utrecht, Heinrich: Parnassi musici Terpsichore: hoc est, paduana, galliarda, alemanda, intrada, mascharada, aria, couranta, volta, quinque vocum, cum basso generali (Wolfenbüttel: Heinrich Utrecht, 1624)
Franck, Melchior: Neues musicalisches Opusculum, in welchem etliche gantz neue lustige Intraden und Auffzüg … mit 5. Stimmen componiret (Coburg: Salomon Gruner, 1625) [incomplete]
Peuerl, Paul: Gantz neue Padouanen, auffzüg Balleten, Couranten, Intraden und Däntz … mit dreyen Stimmen gesetzt und in zweyen Partibus und unterschiedlichen Tabulaturen zum Druck verfertiget (Nuremberg: Abraham Wagenmann, 1625) [lost]
Scheidt, Samuel: Tertia pars [Ludorum musicorum], continens paduan, courant, canzon, à 3. 4. 7. 8. voc cum basso continuo (Hamburg: Michael Hering, 1625) [incomplete]
Staden, Johann: Opusculum novum, von Pavanen, Galliarden … mit vier Stimmen (Nuremberg: Simon Halbmayer, 1625) [lost]
Farina, Carlo: Libro primo delle pavane, gagliarde, brand, mascharata, aria franzesa, volte, balletti, sonate, canzone, a 2. 3. 4. voce, con il basso per sonare (Dresden: Wolfgang Seyffert, 1626)
Hetz, Adam: Choro musico … 50 auserlesene Stück von den allerneusten und besten Pavanen, Allemanden, Couranten und Balleten … mit 4. Stimmen (Strasbourg, 1626) [lost]
Posch, Isaac: Musicalische Ehrn- und Tafelfreudt (Nuremberg: Abraham Wagenmann, 1626) [incomplete]. New edition of the 1618 and 1621 publications (see above)
Schaeffer, Paul: Promulsis epuli musicalis, continens modulationes aliquot, vulgo dictas canzon, padovan, intrad, ballet, courant, galliard, volt, bransl, alamand, et choreae polonicae (Leipzig, 1626) [lost]
Farina, Carlo: Ander Theil neuer Paduanen, Gagliarden, Couranten, französischen Arien, benebenst einem kurtzweiligen Quodlibet … sampt etlichen teutschen Täntzen … mit vier Stimmen (Dresden: Gimel Bergen, 1627)
Farina, Carlo: Il terzo libro delle pavane, gagliarde, brand, mascherata, arie franzese, volte, corrente, sinfonie, a 3. 4. voci, con il basso per sonare (Dresden: Gimel Bergen, 1627)
Franck, Melchior: Deliciae convivales, das ist, Neue musicalische anmutige Intraden … mit 4. 5. und 6. Stimmen neben General-Bass componiret (Coburg: Friedrich Gruner, 1627) [incomplete]
Michael, Samuel: Neue Paduanen, Intraden, Balletten, Alemanden, Auffzüge, Galliarden, Volten, Couranten und Schertzi, mit 5. 4. und 3. Stimmen sampt dem Basso pro organis (Leipzig: Michael Wassmann, 1627) [incomplete]
Scheidt, Samuel: Quarta pars [Ludorum musicorum], continens paduan, galliard, courant, canzon, a 3. & 4. voc (Hamburg: Michael Hering, 1627) [incomplete]
Bleyer, Nicolaus: Erster Theil newer Paduanen, Galliarden, Balletten, Mascaraden und Couranten, mit 5. Stimmen neben einem General Bass (Hamburg: Michael Hering, 1628) [incomplete]
Farina, Carlo: Il quarto libro delle pavane, gagliarde balletti, volte, passamezi, sonate, canzon, a 2. 3. & 4. voci, con il basso per sonare (Dresden: Johann Gonkeritz, 1628)
Farina, Carlo: Fünffter Theil neuer Pavanen, Gagliarden, Brand, Mascharaden, Balletten, Sonaten, mit 2. 3. und 4. Stimmen auff Violen anmutig zugebrauchen (Dresden: Gimel Bergen, 1628)
Vintz, Georg: Intraden, Couranten, Galliarden, Balletten, Alamanden und etliche Täntze auff polnische Arth … mit vier und fünff Stimmen nebenst den Basso continuo (Erfurt: Johann Birckner, 1629)
Avenarius, Thomas: Convivium musicale, in welchen etzliche neue Tractamenta, als gar schöne und fröliche Paduanen, Galliarden, Couranden, Intraden, und Balletten sonderlicher Art offeriret werden … mit 4. und 5. Stimmen (Hamburg: Michael Hering, 1630)
Michael, Samuel: Erster und ander Theil newer Paduanen, Balletten, Couranten, Allemanden, Intraden, Galliarden, a 3. 4. und 5 Stimmen (Leipzig, 1630) [lost]
Kassel, Landesbibliothek, 4° mus.23 (1st half of 17th century). 14 fugas by Moritz, Landgrave of Hessen-Kassel
The former library of Landgraf Philipp von Butzbach [lost MS]. According to Meyer, contained intradas, galliards etc. a 4 by C. Textor (MeyerMS, 251)
A few printed German treatises contain significant quantities of instrumental ensemble music.
Gerle, Hans: Musica teusch, auf die Instrument der grossen unnd kleinen Geygen, auch Lautten (Nuremberg: Hieronymus Formschneider, 1532, 2/1537, rev. 3/1546). Instruction book whose earlier editions include 15 vocal pieces intabulated for 4 Grossgeigen (2 are also printed in staff notation) and 2 vocal pieces intabulated for 4 Kleingeigen (fig.3). Some of the compositions are reprinted in the 1546 edition, which includes 21 pieces for 4 Grossgeigen and 2 for 4 Kleingeigen. Editions: L. Senfl: Sämtliche Werke, ed. A. Geering and W. Altwegg, vii (Basle, 1960); H. Gerle: Spielstücke, ed. H. Mönkemeyer (1964). Literature: A. Einstein: Zur deutschen Literatur für Viola da Gamba im 16. und 17. Jahrhundert (Leipzig, 1905/R1972)
Agricola, Martin: Duo libri musices, continentes compendium artis, & illustria exempla (Wittenberg: Georg Rhau, 1561). ‘An introduction to music theory written for classroom use. On ff.E8 to the end are 54 textless pieces (mostly a 3 and some a 4) for use in connection with instrumental instruction’ (BrownI). Edition: H. Funck, ed.: Instrumentalische Gesänge um 1545 (Wolfenbüttel, 1933)
Gumpelzhaimer, Adam: Compendium musicae, pro illius artis tironibus (Augsburg: Valentin Schönig, 1591, rev. 2/1595, rev. 3/1600, 4–13/1605–81). Elementary introduction to the rudiments of music; a revision, expansion and translation of Heinrich Faber’s Compendiolum musicae pro incipientibus (Brunswick, 1548). The 1591 edition includes as musical examples canons a 2–8, with Italian, Latin or German words, and without words. Some of these are included, along with new canons, in the expanded edition of 1595, which also includes 12 wordless compositions a 4 , each illustrating the properties of a mode, and 6 ricercares a 2 by various composers listed in BrownI. Edition: A. Gumpelzhaimer: Zwölf kleine Fantasien, ed. F.J. Giesbert (Mainz, 1950)
Walliser, Christoph Thomas: Musicae figuralis praecepta brevia … quibus praeter exempla, praeceptorum usum demonstrantia, accessit centuria exemplorum fugarumque, ut vocant, 2. 3. 4. 5. 6. et plurium vocum, in tres classes distributa (Strasbourg: Paul Ledertz, 1611)
Caus, Salomon de: Institution harmonique (Frankfurt: J. Norton, 1615). Treatise on intervals and composition; it includes 3 fantasias a 3, one of which is by Peter Philips. Facsimile: (New York, 1969)
As with Italian sources, bicinia and canons have pedagogic implications, and form a distinct category.
Munich, Bayerische Staatsbiblithek, Mus.ms.260 (c1550). 100 bicinia, of which 30 are wordless except for incipits. According to Bellingham and Evans, 5 compositions appear to be instrumental in conception. Edition: B. Bellingham and E.G. Evans jr, eds.: Sixteenth-century Bicinia, RRMR, xvi–xvii (1974)
Lassus, Orlande de: Novae aliquot et ante hac non ita usitatae ad duas voces cantiones suavissimae omnibus musicis summè utiles (Munich: Adam Berg, 1577, 2/1590 [lost]). 2 partbooks. 12 duos with Latin words, and 12 without words or title. For further editions see §§2, 3, 5 and 7. Editions: Orlande de Lassus: Sämtliche Werke, ed. F.X. Haberl and A. Sandberger, i (Leipzig, 1904); HM, xviii–xix (1949)
Paix, Jakob: Selectae, artificiosae et elegantes fugae duarum, trium, quatuor, et plurium vocum (Lauingen: Leonhard Reinmichel, 1587 [lost], 2/1590, 3/1594). 41 canons, mostly without words. Some are reprinted from Glarean, Dodecachordon (1547). In the 1594 edition 3 compositions are dropped and one new one substituted
Lindner, Friedrich, ed.: Bicinia sacra (Nuremberg: Catharina Gerlach, 1591) [upper part lost]. 80 duos by various composers listed in BrownI, 12 of which are wordless
Mancinus, Thomas: Duum vocum cantiuncularum (Helmstedt: Giacomo Luzio, 1597). 10 duos with words, and 16 without words or title
The following printed sources, all publications devoted primarily to vocal music, contain relatively few instrumental ensemble pieces (for further details see BrownI and MeyerMS):
T. Mancinus (1588), F. Lindner (1589), Fiori del giardino (P. Kauffmann, 1597), O. Vecchi (1600–01), F. Friederich (1601), H.L. Hassler (1601, rev. 2/1612 [incomplete]), H. Steuccius (1602 [2 publications]), K. Hagius (1604), H. Steuccius (1604), G. Aichinger (1606, 2/1609), G. Aichinger (1609 [incomplete]), A. Berger (1609 [incomplete]), H.L. Hassler (1609 [incomplete]), M. Franck (1610 [incomplete]), G. Hasz (1610 [incomplete]), M. Franck (1611), P. Peuerl (1613), P. Luetkeman (1615 [lost]), J.H. Schein (1615), J. Christenius: Gülden Venus Pfeil (1619 [incomplete]), V. Dretzel (1620), M. Altenburg (1620–21) [incomplete]), Giulio Belli (1621) [contents = G. Belli (1613) in §2], P. Lappi (1621 [incomplete]) [contents = P. Lappi (1614) in §2], V. Jelich (1622), M. Franck (1623 [incomplete]), G. Victorinus (1624), G. Aichinger (1626)
Sources of instrumental ensemble music to 1630
At least four early 16th-century Flemish sources contain substantial quantities of wordless pieces.
Florence, Biblioteca del Conservatorio di Musica, Basevi 2439 (? copied by Martin Bourgeois for an Italian recipient, c1508). Choirbook. Includes several wordless pieces a 3–4, some of which are of instrumental origin. Facsimile: Basevi Codex (Peer, 1990). Edition: P.G. Newton: Florence, Biblioteca del Conservatorio di Musica Luigi Cherubini, Manuscript 2439: Critical Edition and Commentary (diss., North Texas U., 1968). Literature: L. de Burbure: ‘Etude sur un manuscrit du XVIe siècle, contenant des chants à quatre et a trois voix’, Mémoires … par l’Académie royale des sciences, des lettres, et des beaux-arts de Belgique, xxxiii/6 (1882), 1–44; H. Meconi: ‘The Manuscript Basevi 2439 and Chanson Transmission in Italy’, IMSCR XIV: Bologna 1987, 163–74; H. Meconi: ‘Sacred Tricinia and Basevi 2439’, I Tatti Studies, iv (1991), 151–99
Vienna, Österreichische Nationalbibliothek, 18746 (signed and partly copied by Pierre Alamire, 1523, sent to R. Fugger the elder). 5 partbooks. Over 50 wordless compositions a 5, a few of which are possibly of instrumental origin, especially among the concluding section of 6 Fors seulement settings.
Vienna, Österreichische Nationalbibliothek, 18832 (copied by Pierre Alamire, c1523, sent to R. Fugger the elder). 2 partbooks. 89 bicinia, without words or attribution. Literature: L. Nowak: ‘Eine Bicinienhandschrift der Wiener Nationalbibliothek’, ZMw, xiv (1931–2), 99–102; D. Kämper: ‘Das Lehr- und Instrumentalduo um 1500 in Italien’, Mf, xviii (1965), 242–53
The later Dutch repertory, contained entirely in printed sets of partbooks, is small and not very significant. Like the French, it is built round collections of dances, with only a few volumes of music in polyphonic style. Several volumes from the late 16th century onwards are reprints of Venetian titles.
Het derde musyck boexken (Antwerp: Tylman Susato, 1551). 57 dances a 4. Facsimile: (Peer, 1987). Edition: F.J. Giesbert (Mainz, 1936)
Liber primus leviorum carminum … Premier livre de danseries (Leuven: Pierre Phalèse & Jean Bellère, 1571). 103 compositions a 4, all dances except for 2 fantasias at the beginning. Editions [all selections]: F. Blume: Studien zur Vorgeschichte der Orchestersuite im 15. und 16. Jahrhundert (Leipzig, 1925); E.F. Schmid, ed.: Tänze des 16. Jahrhunderts für vier Instrumenten (1926); E. Mohr: Die Allemande (Zürich, 1932); P. Phalèse: ‘Löwener Tanzbuch’, ed. H. Mönkemeyer (Wilhelmshaven, 1962); W. Twittenhoff, ed.: Tanzsätze des 16. Jahrhunderts (n.p., n.d.), ii–iii. Literature: R. Oppel: ‘Einige Feststellungen zu den französischen Tänzen des 16. Jahrhunderts’, ZIMG, xii (1910–11), 213–22
Petit trésor des danses et branles à quatre et cinq parties (Leuven: Pierre Phalèse, 1573) [lost]. Literature: FétisB, i, 241
Lassus, Orlande de: Novae aliquot suavissimae cantiones 2 vocum (Leuven: Pierre Phalèse, 1577) [lost]. Same contents as Munich edition of 1577 (see §4)
Chorearum molliorum collectanea (Antwerp: Pierre Phalèse & Jean Bellère, 1583). 104 instrumental dances or dance suites a 4. Facsimile: (Peer, 1991). Editions [all selections]: D. van Reysschoot, ed.: ‘Danses du XVIe siècle d’après le recueil “Chorearum molliorum collectanea” (1583) conservé à la Bibliothèque I. et R. de Berlin’, RHCM, vi–viii (1906–8), suppls.; F. Blume: Studien zur Vorgeschichte der Orchestersuite im 15. und 16. Jahrhundert (Leipzig, 1925); E. Mohr: Die Allemande (Zürich, 1932); P. Phalèse: ‘Antwerpener Tanzbuch’, ed. H. Mönkemeyer (Wilhelmshaven, 1962)
Bicinia, sive cantiones suavissimae duarum vocum … nec non & quibusvis instrumentis accommodae (Antwerp: Pierre Phalèse & Jean Bellère, 1590, 2/1609). 29 duos with French, Italian or Latin words, followed by 18 without words including several reprinted from the collections of Lassus (1577, see §4), and Lupacchino and Tasso (1559, see §2). Facsimile: Bicinia (Peer, 1987) [1609 edn]
Schuyt, Cornelis: Dodeci padoane et altretante gagliarde, composte nelle dodici modi, con due canzone fatte alla francese per sonare a sei (Leiden: C. Rafelengius, 1611)
Guami, Gioseffo: Canzonette francese a quattro, cinque et otto voci, per concertare con più sorte strumenti, con un madrigale passegiato (Antwerp: Pierre Phalèse, 1612) [incomplete]. Same contents as Venice edition of 1601 (see §2)
Moro, Giacomo: Concerti ecclesiastici (Antwerp: Pierre Phalèse, 1613, 2/1621) [both editions incomplete]. Same contents as Venice edition of 1604 (see §2)
Brade, William: Melodieuses paduanes, chansons, galliardes (Antwerp: Pierre Phalèse, 1619) [lost]. 45 dances a 5 (part reprint of earlier Brade volumes)
Lappi, Pietro: Sacrae melodiae (Antwerp: Pierre Phalèse, 1622). Same contents as Venice edition of 1614 (see §2)
Sources of instrumental ensemble music to 1630
There are no Iberian prints containing instrumental ensemble music, and no manuscripts devoted to the genre. Indeed, very few such pieces survive at all, and some of them appear in Italian sources (such as Ortiz’s 1553 treatise; see §2). The following three manuscripts do include some such music:
Segovia, Archivo de la Catedral [without shelf-mark] (Toledo, c1501–3). Over 200 compositions a 2–5, mainly wordless except for text incipits, by Franco-Flemish and Spanish composers. Some pieces are of instrumental origin. Literature: H. Anglès: ‘Un manuscrit inconnu avec polyphonie du XVe siècle conserve à la cathédrale de Ségovie’, AcM, viii (1936), 6–17; MME, i (1941); N.K. Baker: An Unnumbered Manuscsript of Polyphony in the Archives of the Cathedral of Segovia (diss., U. of Maryland, 1978); C. Martinez Gil: ‘De tous biens plaine: un tema favorito en el cancionero de la Catedral de Segovia’, Nassarre: Revista aragonesa de musicologia, viii (1992), 71–154; J. Banks: ‘A Piece of Fifteenth-Century Lute Music in the Segovia Codex’, The Lute, xxxiv (1994), 3–10
Madrid, Biblioteca del Palacio Real, 2-I-5 (Cancionero Musical de Palacio, c1525). Includes 2 wordless compositions: on f.223, Alta by Francisco de la Torre, a dance a 3 with the La Spagna tune as cantus firmus, and on f.244, O voy, a 4-part composition by Román. Editions: F. Asenjo Barbieri, ed.: Cancionero musical de los siglos XV y XVI (Madrid, 1890); MME, v, x (1947–51); HAM, i (1946), no.102a [Alta]. Literature: MME, i (1941); StevensonSM
Coimbra, Biblioteca Geral da Universidade, 48 (c1560). Principally a keyboard MS (see Sources of keyboard music to 1660, §2, V), but includes the 10 ensemble sonatas of Buus published at Venice, 1547 (see §2).
Sources of instrumental ensemble music to 1630
Most of the British sources are discussed in detail in Edwards (1974). Principal editions, other than those detailed below and under individual composers, are as follows: MB, ix (1955, 2/1966) (Jacobean consort music); xv (1957, 3/1975) (Scottish); xl (1977) (mixed consort); xliv–xlv (1979–88) (Elizabethan). In the vast majority of sources, instrumental ensemble music is in polyphonic style (e.g. cantus-firmus settings, fantasias and similar pieces), usually in company with vocal works (e.g. motets, anthems, consort songs, chansons, Italian madrigals). Manuscripts considerably outnumber prints.
London, British Library, Add.31922 (‘Henry VIII’s Book’, c1510–20). Includes a substantial number of apparently instrumental pieces a 3 and 4 by William Cornysh (ii), Henry VIII, Isaac and others. Edition: MB, xviii (1962, 2/1969). Literature: J. Stevens: ‘Rounds and Canons from an Early Tudor Songbook’, ML, xxxii (1951), 29–37; J. Stevens: Music and Poetry in the Early Tudor Court (London, 1961); W. Edwards: ‘The Instrumental Music of Henry VIII’s Manuscript’, The Consort, xxxiv (1978), 274–82; D. Fallows: ‘Henry VIII as a Composer’, Sundry Sorts of Music Books: Essays on The British Library Collections Presented to O.W. Neighbour, ed. C. Banks, A. Searle and M. Turner (London, 1993), 27–39
XX. Songes (London, 1530). 4 partbooks [only f.1 of triplex, ff.1 and 45 of medius, and the complete bassus extant]. Includes 3 apparently instrumental pieces, 1 a 3 (Cornysh), and 2 a 4 (Fayrfax and Cowper). Literature: H.M. Nixon: ‘The Book of XX Songs’, British Museum Quarterly, xvi (1951–2), 33–6; C. Saunders: A Study of the Book of XX Songes (1530) (M.Mus. diss., U. of London, 1985); J. Milsom: ‘Songs and Society in Early Tudor London’, EMH, xvi (1997), 235–93
Edinburgh, University Library, La.III.483 and Dk.5.14–15; London, British Library, Add.33933; Dublin, Trinity College, F.5.13 Washington, Georgetown University Library. (‘The Thomas Wode Partbooks’, compiled by Thomas Wode of St Andrews, 1562–c1590). 2 sets of partbooks, 1 complete [S, T, B (GB-Eu La.III.483), A (Lbl) and 5 (EIRE–Dtc)], the other incomplete [S, B (GB-Eu Dk.5.14–15) and A (US-Wgu) alone]. Includes an instrumental piece a 3 by Cowper, Tallis’s 2 In Nomines a 4 , and 3 dances a 4 . The 2nd set of partbooks is a partial copy of the 1st. Literature: Elliott; J.C. Hirst: ‘An Unnoticed Thomas Wood MS of the St Andrews Psalter, 1586’, Notes and Queries, new ser., xviii (1971), 209–10; K. Elliott: ‘Another One of Thomas Wood’s Missing Parts’, Innes Review, xxxix (1988), 151–5
London, British Library, Add.30480–4 (c1565–c1600). 5 partbooks. English anthems a 4 , followed by vocal and instrumental music a 4 and a 5 by Byrd, Parsley, Parsons, Weelkes and others
Oxford, Bodleian Library, Tenbury, 1464 (?Norfolk, c1570–75). Bassus partbook. Ff.1–15v contain In Nomines and other instrumental music a 5 by Byrd, Parsley, Tye and White, interspersed with Latin motets without the words. Literature: TCM, appx (1948), 8
London, British Library, Add.31390 (Chichester, 1578; fig.4). ‘A booke of In nomines & other solfainge songes of v: vj: vij: & viij: pts for voyces or Instrumentes’ (f.1). Contains instrumental music a 5–7 by Byrd, Parsons, Strogers, Tye, White and other English composers, alongside wordless motets, chansons and anthems by English and continental composers. Literature: J. Noble: ‘Le répertoire instrumental anglais: 1550–1585’, La musique instrumentale de la Renaissance: Paris 1954, 91–114; R. Ford: ‘Clement Woodcock’s Appointment at Canterbury Cathedral’, Chelys, xvi (1987), 36–43; R. Rastall: ‘Spatial Effects in English Instrumental Consort Music, c.1560–1605’, EMc, xxv (1997), 269–88
London, British Library, Add.47844 (1581). Contratenor partbook. Includes 3 instrumental pieces a 5 and a 6 by Parsons, Strogers and Tye. The fly-leaves contain additional unidentified wordless fragments
Oxford, Christ Church, Mus.984–8 (‘Dow partbooks’ compiled by Robert Dow, Oxford, 1581–8). 5 partbooks. Includes sections of instrumental music a 5 by Byrd, Parsons, Strogers and other English composers. At the end is an instrumental La gamba and a canon, both a 3 and apparently copied from Vincenzo Ruffo’s Milan print of 1564 (see §2). Literature: D. Mateer: ‘Oxford, Christ Church Music MSS 984–8; an Index and Commentary’, RMARC, no.20 (1986–7), 1–18
London, British Library, Add. 32377 (?Dorset, c1584). Cantus partbook. Includes instrumental music (mainly In Nomines) by Brewster, Byrd, Alfonso Ferrabosco (i), William Mundy, Parsley, Parsons, Strogers, Tallis, Tye, White and others
London, British Library, Add.22597 (c1585). Tenor partbook. Includes instrumental music (In Nomines, etc.) a 4 and 5 by Byrd, Parsons, Pointz, Tallis, Tye, White and others
Oxford, Bodleian Library, Mus.Sch.E.423 (copied by John Bentley, personal servant of Byrd’s friend and patron, John Petre, c1580–90). Contratenor partbook. Includes a few instrumental pieces a 5 by Byrd, Parsons, Tye and others; also, at the end, 2 fantasias a 6 by Byrd. Literature: D. Mateer: ‘William Byrd, John Petre and Oxford, Bodleian MS Mus.Sch E. 423’, RMARC, no.29 (1996), 21–46
MS owned by David McGhie, and Oxford, Bodleian Library, Tenbury 389 (c1590). Upper 2 of a set of ?5 partbooks. Includes sections of instrumental music, mainly a 5, by Blankes, Byrd, Alfonso Ferrabosco (i), Johnson, Parsons, Strogers, Tallis, Tye and others. Microfilms of both partbooks are at GB-Cpl
Oxford, Christ Church, Mus.979–83 (copied by John Baldwin, c1580–c1600). 5 out of 6 partbooks [T lost]. Includes a few instrumental pieces a 3 and 6 by Baldwin, Bevin, Byrd and Parsons; also Hugh Ashtons maske a 3 with a 4th part apparently added by Whytbroke. Literature: R. Bray: ‘The Part-books Oxford, Christ Church, MSS 979–83: an Index and Commentary’, MD, xxv (1971), 179–97
London, British Library, R.M.24.D.2 (copied by John Baldwin, 1588–1606). Ff.1–89 contain, in open score, sacred and secular vocal music without the words, and 7 instrumental In Nomines a 4–6 by Baldwin, Robert Golder, John Mundy and Taverner. Ff.89v–188v are in choir-book format and contain vocal music, and instrumental music a 2–4, including fancies, Brownings and plainsong settings, by Baldwin, Bevin, Bull, Alfonso Ferrabosco (i), Giles and others. Facsimile: RMF, viii (1987). Literature: R. Bray: ‘British Library, R.M. 24 d 2 (John Baldwin’s Commonplace Book): an Index and Commentary’, RMARC, no.12 (1974), 13–51
London, Public Record Office, SP 46/126, f.248; 46/162, f.244–6. Autograph fragment of 5-part consort piece by Bull.
Washington, Folger Shakespeare Library, V.a.408 (c1600). Cantus partbook. Ff.1–26 contain wordless treble parts for songs and motets by continental composers, and for instrumental In Nomines, fantasias etc., a 5, by Blankes, Byrd, Matthew Jeffries, Mallorie and others
Dublin, Trinity College, Press B.1.32. 6 partbooks. Copy of Tallis’s and Byrd’s Cantiones sacrae (1575) with MS additions (c1600), including fragments of instrumental ensemble music by Bradley, Dowland, Parsons, Philips, Woodcock and anon. Literature: R. Charteris: ‘Manuscript Additions of Music by John Dowland and his Contemporaries in Two Sixteenth-Century Prints’, The Consort, xxxvii (1981), 399–401
New Haven, Yale University, School of Music Library, Filmer 2 (c1600). 21 dances, together with untexted Italian vocal music; includes five 4-part fantasias by Thomas Lupo. Literature: R. Ford: ‘The Filmer Manuscripts, a Handlist’, Notes, xxxiv (1977–8), 814–25; Holman
London, British Library, Add.34800A–C (c1600–50). 3 partbooks. The earliest section contains wordless canzonets a 3 from Morley’s 1593 print, and 6 wordless compositions by Blankes which may also be vocal in origin. A slightly later section includes a fantasia a 3 by Byrd, and a still later section includes a copy of Gibbons’s printed fantasias of c1620 (see below)
London, British Library, Add.36484 (compiled by David Melvill, Aberdeen, 1604). Bassus partbook. Includes some instrumental music a 4 and 5 by Black, Lauder and others. Treble parts to some pieces are in GB-Cfm 31.H.27 (see below). Edition: C. Foster, ed.: Sixteenth-Century Scottish Fantasies and Dances: for Four Instruments (London, 1995). Literature: Elliott
‘The Paston Manuscripts’. A family of sources compiled c1590–c1620, probably all for Edward Paston; they include motets, mass movements and songs by English and continental composers. The following also contain a little instrumental ensemble music by Byrd and his predecessors: GB-CF D/DP Z 6/1–2 (2 bassus partbooks); Lbl Add.29246 (lacking top part; lower parts arranged for lute in Italian tablature), Add.29401–5 (5 partbooks), Add.34049 (cantus partbook), Add.41156–8 (3 out of 4 partbooks); Lcm 2036 (3 partbooks); Ob Tenbury 341–4 (4 out of 5 partbooks), 354–8 (5 partbooks), 369–73 (5 partbooks), 379–84 (6 partbooks); US-Ws V.a.405–7 (3 out of 4 partbooks). Literature: P. Brett: ‘Edward Paston (1550–1630): a Norfolk Gentleman and his Musical Collection’, Transactions of the Cambridge Bibliographical Society, iv (1964–8), 51–69; P. Brett: Pitch and Transposition in the Paston Manuscripts’, Sundry Sorts of Music Books: Essays on The British Library Collections Presented to O.W. Neighbour, ed. C. Banks, A. Searle and M. Turner (London, 1993), 89–118
London, British Library, Add.18936–9 (related to the ‘Paston Manuscripts’, early 17th century). 4 out of 5 partbooks. Includes instrumental pieces (mostly cantus-firmus settings) a 3–6 by Byrd, Cobbold, Stevenson, White and anon. Literature: P. Brett, ibid.
London, British Library, Add.17786–91 (? compiled by or associated with William Wigthorpe, Oxford, early 17th century). 6 out of 7 partbooks [missing book probably contained vocal parts only]. Includes instrumental fantasias and dances a 5 and 6 by Byrd, Dering, Leetherland, Martin Peerson, Okeover, Parsons, Ward, Weelkes and anon. Edition: E.H. Fellowes, ed.: Eight Short Elizabethan Dance Tunes (London, 1924). Literature: Monson
London, British Library, Add.29366–8 (early 17th century). 3 out of 5 partbooks [A and T lost]. Includes fantasias a 5 by Coprario, Dering, Alfonso Ferrabosco (ii) and Lupo. Literature: Monson
London, Royal College of Music, 2049 (early 17th century). 4 out of ?6 partbooks [? S and A lost]. Includes instrumental music (including fantasias, In Nomines and pavans) a 5 by Byrd, Alfonso Ferrabosco (i), Johnson, Parsons, Pointz, Weelkes and others. Literature: P. Brett: The Songs of William Byrd (diss., U. of Cambridge, 1965)
East, Michael: The Third Set of Bookes: wherein are Pastorals, Anthemes, Neopolitanes, Fancies, and Madrigales (London: Thomas Snodham, 1610). 6 partbooks. Includes 8 instrumental fancies a 5
London, British Library, Add.37402–6 (c1605–15). 5 partbooks. Italian madrigals a 5, lacking words and probably intended for instrumental use. They are followed by a rather disorganized mixture of vocal music by English composers, sometimes with words, more often without, and instrumental pieces (mostly fantasias) a 5 and 6 by Byrd, Lupo, Mundy, Parsons, Peerson, Tye and others. Literature: Monson
Oxford, Bodleian Library, Mus.Sch.D.212–16. 5 partbooks. The main section of c1610 is devoted entirely to In Nomines a 4 and 5 from Taverner to Gibbons. The later layer of c1625 contains In Nomines a 5 by Alfonso Ferrabosco (i) and (ii), Gibbons, Ives and Ward, followed by anthems with English words. Literature: Monson; R. Thompson: ‘A Further Look at the Consort Music Manuscripts in Archbishop Marsh’s Library, Dublin’, Chelys, xxiv (1995), 3–18
Cambridge, Fitzwilliam Museum, Mu 687 (formerly 31.H.27) (belonged to Alexander Forbes, heir of Tolquhon, Aberdeenshire, 1611). Cantus partbook (bass parts, in the same hand, in GB-Lbl Add.36484; see above). Includes some instrumental music a 4 and 5 by Black. Literature: H.M. Shire and P.M. Giles: ‘Court Song in Scotland after 1603: Aberdeenshire, I. The Tolquhon Cantus Part Book’, Edinburgh Bibliographical Society Transactions, iii (1948–55), 161–5; H.M. Shire: ‘Scottish Song-book, 1611’, Saltire Review, i/2 (1954), 46–52
London, British Library, Add.29427 (before 1616). Altus partbook. A collection of MSS in various hands brought together and foliated in a single sequence by Thomas Myriell, apparently as a source for his MS anthology of 1616, Tristitiae remedium (Lbl Add.29372–7; contains no instrumental music). The partbook includes 10 anon. fantasias a 3, fantasias a 4 by Byrd, Alfonso Ferrabosco (ii) and Wilbye, In Nomines a 5 by Alfonso Ferrabosco (i) and (ii) and 2 canzonas a 4 by Guami. Literature: P.J. Willetts: ‘Musical Connections of Thomas Myriell’, ML, xlix (1968), 36–42; C. Monson: ‘Thomas Myriell’s Manuscript Collection: One View of Musical Taste in Jacobean London’, JAMS, xxx (1977), 419–66; Monson
Oxford, Christ Church, Mus.61–6, and 67 (c1613–18). 5 partbooks and an organbook. Includes instrumental fantasias a 3, 5 and 6 by Colman, Coprario, Alfonso Ferrabosco (ii), Gibbons, Ives and William White. The organbook contains parts for some of these compositions, as well as for other vocal and instrumental music from partbooks now lost. The set was probably compiled for use in the household of Sir Henry Fanshawe. Literature: J. Aplin: ‘Sir Henry Fanshawe and Two Sets of Early Seventeenth-century Part-books at Christ Church, Oxford’, ML, lvii (1976), 11–24; Monson
Oxford, Christ Church, Mus.423–8 (c1615). 6 partbooks. Fantasias, In Nomines, pavans and almains by Coprario, Alfonso Ferrabosco (i) and (ii), Lupo, Ward and others
London, British Library, Add.29996 (c1548–c1650). Primarily a keyboard MS, but contains some consort music in open score (see Sources of keyboard music to 1660, §2, vi)
London, British Library, Eg.3665 (? copied by Francis Tregian the younger c1609–19). Score. Includes fantasias a 4 by Philip van Wilder, Alfonso Ferrabosco (ii) and Eustache du Caurroy; also In Nomines and fantasias a 5 by Byrd, Coprario, Dering, Du Caurroy, East, Alfonso Ferrabosco (i) and (ii), Lupo, William Mundy, Parsons, Strogers and Ward. A final section includes several dances a 5 by Augustine Bassano, Alfonso Ferrabosco (i), Joseph Lupo, Philips and others. Facsimile: RMF, vii (1988). Edition: Augustine Bassano: Pavans and Galliards in Five Parts, ed. P. Holman (London, 1981) Literature: B. Schofield and T. Dart: ‘Tregian’s Anthology’, ML, xxxii (1951), 205–16; correspondence in ML, xxxiii (1952), 98; E. Cole: ‘L’anthologie de madrigaux et de musique instrumentale pour ensembles de Francis Tregian’, La musique instrumentale de la Renaissance: Paris 1954, 115–26; R.R. Thompson: ‘The “Tregian” Manuscripts: a Study of their Compilation’, British Library Journal, xviii (1992), 202–4; Holman; A. Cuneo: ‘Francis Tregian the Younger: Musician, Collector and Humanist?’, ML, lxxvi (1995), 398–404; R.R. Thompson: ‘Francis Tregian the Younger as Music Copyist: the Growth of a Legend’, ML (forthcoming)
New York, Public Library, Drexel 4302 (‘The Francis Sambrooke Book’, named after an early owner; ? copied by Francis Tregian the younger c1609–19). Score. The sequel to the previous MS, including a pair of compositions for 6 basses and for 6 trebles by Alfonso Ferrabosco (i) and William Daman respectively, which may be instrumental, and a passamezzo pavan a 6 by Philips (printed in MB, ix, 1955, rev. 2/1962). Literature: H. Botstiber: ‘Musicalia in der New York Public Library’, SIMG, iv (1902–3), 738–50; see also previous entry
East, Michael: The Fift Set of Bookes, wherein are Songs full of Spirit and Delight, so composed in 3. Parts, that they are as apt for Vyols as Voyces (London: Matthew Lownes & John Browne, 1618). 3 partbooks. 20 compositions a 3, wordless except for text incipits. They may have originated as vocal canzonets a 5
Gibbons, Orlando: Fantazies of III. parts (London, c1620), reissued with the title Fantasies of Three Parts … cut in Copper, the Like not Heretofore Extant (London, c1620). 3 partbooks. The 9 fantasias were reprinted in Paul Matthysz’s Amsterdam edition of 1648
New York, Public Library, Drexel 4180–85 (copied by John Merro, Gloucester, c1620). 6 partbooks. Vocal and instrumental music a 3–6 by Byrd, Bull, Alfonso Ferrabosco (i) and (ii), Gibbons, Ives, Jenkins, Parsons and others. Edition: S. Beck, ed.: Nine Fantasias in Four Parts (New York, 1947). Literature: P.J. Willetts: ‘Music from the Circle of Anthony Wood at Oxford’, British Museum Quarterly, xxiv (1961), 71–5; A. Ashbee: ‘Lowe, Jenkins and Merro’, ML, xlviii (1967), 310–11; Monson
London, British Library, Add.17792–6 (copied by John Merro, Gloucester, c1620). 5 out of 6 partbooks. Vocal and instrumental music a 3–6 by Byrd, Coprario, Dering, Alfonso Ferrabosco (ii), Gibbons, Holborne, Ives, Lupo, William Mundy, Okeover, Tomkins, Ward, William White and others. Add.17795 also contains duets for treble and bass instruments, and lyra viol pieces a 2 and 3. Literature: P.J. Willetts, op. cit.; A. Ashbee, op. cit.; Monson
Oxford, Bodleian Library, Mus.Sch.D.245–7 (copied by John Merro, Gloucester, c1620). 3 partbooks. Consort music, mainly a 3, and music for lyra viols, by Byrd, Alfonso Ferrabosco (ii), Gibbons, Hume, Ives, Jenkins, Okeover, Tomkins and others. Literature: A. Ashbee, op. cit.
Edinburgh, University Library, La.III.488 (owned and possibly compiled by Sir William Mure of Rowallan, c1627–37). Cantus partbook. Includes several instrumental pieces. Literature: Elliott
Oxford, Bodleian Library, Mus.Sch.E.437–42 (c1630). 6 partbooks. Includes instrumental music a 3–6 by Coprario, Lupo, Philips and Ward. Edition: MB, ix (1955, rev. 2/1962) [selection]
Oxford, Bodleian Library, Tenbury 302 (2nd quarter of 17th century). Score. Fantasias and other instrumental pieces a 3–5 by Coprario, Cranford, East, Ives, Gibbons, Jenkins and Lupo. There is also some vocal music, without the words, by Marenzio and Morley
Washington, Library of Congress, M990.C66F4 (formerly ML96.C7895) (2nd quarter of 17th century). 2 sets of 5 partbooks (the 2nd set was formerly in the library of Arnold Dolmetsch). Fantasias a 5 by Coprario, East and Lupo. Literature: G. Dodd: ‘The Coperario–Lupo Five-part Books at Washington’, Chelys, i (1969), 36–40
As with Italian sources, bicinia and canons have pedagogic implications. Significantly, all but one of the main sources are printed.
Bathe, William: A Briefe Introduction to the Skill of Song (London: Thomas East, 1580s). Includes ‘10. sundry waies of 2. parts in one upon the plain song’
Whythorne, Thomas: Duos, or Songs for Two Voices (London: Thomas East, 1590)
Farmer, John: [Divers and Sundry Waies of Two Parts in One, to the number of Fortie, uppon one Playn Song (London: Thomas East, 1591)]. The first and last leaves are missing from the unique copy in GB-Ob; the last 2 canons, contained on the final leaf, survive in Lbl R.M.24.D.7.(1.), a MS copy of the whole print made in 1748
Morley, Thomas: The First Booke of Canzonets to Two Voyces (London: Thomas East, 1595, 2/Matthew Lownes & John Browne, 1619). Includes 9 instrumental fantasias a 2. An Italian edition was evidently printed by East, also in 1595, but no copies survive
Lassus, Orlande de: Novae aliquot et ante hac non ita usitatae ad duas voces cantiones suavissimae (London: Thomas East, 1598). Same contents as Munich edition of 1577 (see §4)
Byrd, William, and Ferrabosco, Alfonso: Medulla Musicke … 40tie Severall Waies … 2 Partes in One upon the Playne Songe ‘Miserere’ … sett in Severall Distinct Partes to be songe … by Master Thomas Robinson, and … transposed to the Lute by the said Master Thomas Robinson (London: Thomas East, 1603) [lost, if ever printed]. Listed in E. Arber, ed.: A Transcript of the Registers of the Company of Stationers of London; 1554–1640 (London, 1875–94), iii, 102
London, British Library, R.M.24.C.14 (hand of Elway Bevin, c1611). Over 300 short canons by Bevin in score, mainly on plainsong cantus firmi, ranging from 3 to 20 parts
The earlier sources of ensemble dance music tend to form a distinct category. Towards the end of the period, however, dances more commonly occur side by side with ensemble music in polyphonic style (e.g. in GBL-bl Add.17786–91, Och Mus.423–8 and Lbl Eg.3665; see above).
London, British Library, Roy.App.58 (c1530). Includes 7 anon. dances a 3 in keyboard score, and some fragmentary compositions which may be for instrumental ensemble. See also Sources of keyboard music to 1660, §2 (vi). Edition: EKM, i (1955)
London, British Library, Roy.App.74–6 (formerly in the Arundel–Lumley library). 3 out of 4 partbooks primarily devoted to English church music c1548. At the end of each book various later hands (before 1580) have added instrumental music, mainly dances a 4 and 5 in rough open score. Edition: MB, xliv [incl. inventory]. Literature: Holman; J. Milsom: ‘The Nonesuch Music Library’, Sundry Sorts of Music Books: Essays on The British Library Collections Presented to O.W. Neighbour, ed. C. Banks, A. Searle and M. Turner (London, 1993), 146–82
Holborne, Antony: Pavans , Galliards, Almains, and Other Short Aeirs both Grave, and Light, in Five Parts, for Viols, Violins, or Other Musicall Winde Instruments (London: William Barley, 1599). 5 partbooks.
Dowland, John: Lachrimae, or Seaven Teares figured in Seaven Passionate Pavans, with divers other Pavans, Galiards, and Almands, set forth for the Lute, Viols, or Violons, in Five Parts (London: John Windet, c1604).
Cambridge, Fitzwilliam Museum, Mu 734 (formerly 24.E.13–17). 5 out of 6 partbooks [T lost] bearing the arms of King James I, and containing, in Thurston Dart’s view, the repertory of the royal wind musicians between about 1603 and 1665. The 2 earlier sections are devoted to wordless compositions a 6: the 1st section Italian madrigals, continental motets, and a fantasia by G. Bassano; the 2nd mainly almains by A. and G. Bassano, Alfonso Ferrabosco (ii), Guy, Harding, Robert Johnson (ii), Lupo and others connected with the court. Edition: T. Dart, ed.: Suite from the Royal Brass Music of King James I (London, 1959) [selection]. Literature: T. Dart: ‘The Repertory of the Royal Wind Music’, GSJ, xi (1958), 70–7; R. Charteris: ‘A Rediscovered Source of English Consort Music’, Chelys, v (1973–4), 3–6; Holman
London, British Library, Add.30826–8 (early 17th century). 3 out of 5 partbooks apparently associated with Trinity College, Cambridge, and possibly copied c1614 by Thomas Staresmore while a lay clerk there. Pavans and galliards a 5 by Amner, Dethick, Gibbons, Mason, Tomkins, Weelkes and others. Literature: I. Payne: ‘British Library Add. MS 30826–28: a Set of Part-Books from Trinity College, Cambridge?’, Chelys, xvii (1988), 3–15
Adson, John: Courtly Masquing Ayres, composed to 5. and 6. Parts, for Violins, Consorts and Cornets (London: John Browne, 1621). 6 partbooks
The peculiarly English mixed consort, consisting of specific instruments from different families, also has a repertory mainly of dance music.
MSS owned by Lord Hotham and deposited at Hull, Brynmor Jones Library, DDHO/20/1–3; Oakland, CA, Mills College Library, MS cittern partbook (‘The Walsingham Consort Books’, 1588). Partbooks for treble viol, flute, bass viol (Hull) and cittern (Oakland) [lute and bandora lost]. Music for mixed consort by Alison, Daniel Bacheler and others, probably compiled by a close associate of Bacheler for use in the household of Sir Francis Walsingham. Edition: MB, xl (1977) [selection]. Literature: W. Edwards: ‘The Walsingham Consort Books’, ML, lv (1974), 209–14
Cambridge, University Library, Dd.3.18, Dd.14.24, Dd.5.20–21 (copied by Matthew Holmes, Oxford, c1595). Partbooks for lute, cittern, bass viol and recorder respectively [treble violin and bandora lost]. Music for mixed consort by Alison, John Johnson, Nicholson, Reade and others. The bass viol part is bound with a separate MS (possibly copied by Alfonso Ferrabosco (ii), c1630) containing music for solo bass viol, and solos and duets for lyra viol. Edition: MB, xl (1977) [selection]. Literature: I. Harwood: ‘The Origins of the Cambridge Lute Manuscripts’, LSJ, v (1963), 32–48, vi (1964), 29 only; L. Nordstrom: ‘The Cambridge Consort Books’, JLSA, v (1972), 70–103
Morley, Thomas: The First Booke of Consort Lessons, made by Divers Exquisite Authors, for Six Instruments to play together, the Treble Lute, the Pandora, the Citttern [sic], the Base-violl, the Flute & the Treble-violl (London: William Barley, 1599, rev. 2/John Browne, 1611). 6 partbooks [treble viol and lute of 1st edn lost; lute, cittern and bass viol of 2nd edn lost]. 23 compositions (with a further 2 in the 1611 edition), all without attribution although some settings may be attributed to Alison. Editions: T. Dart, ed.: Two Consort Lessons (London, 1957); S. Beck (New York, 1959). Literature: T. Dart: ‘Morley’s Consort Lessons of 1599’, PRMA, lxxiv (1947–8), 1–9
London, Royal Academy of Music, Robert Spencer Collection. ‘The Browne (formerly Braye) bandora and lyra viol manuscript’ (c1600). 35 consort bandora parts, probably copied by or for Thomas Browne, whose son John added several compositions for lyra viol, c1630–40
Rosseter, Philip: Lessons for Consort (London: John Browne, 1609). 6 partbooks [only flute, part of cittern and fragments of lute extant]. 25 compositions by Alison, Baxter, Campion, Farmer, Holborne, Kete, Lupo, Morley and Rosseter, arranged for lute, treble viol, bass viol, bandora, cittern and flute. Edition: MB, xl (1977) [selection]. Literature: I. Harwood: ‘Rosseter’s Lessons for Consort of 1609’, LSJ, vii (1965), 15–23
There are two principal sources containing music for a chordal instrument accompanied by a bass instrument:
Holborne, Antony: The Cittharn Schoole (London: Peter Short, 1597). Includes 23 dances for cittern and a bass instrument (in staff notation), and 2 fantasias a 3 with cittern.
Hole, Robert, ed.: Parthenia In-violata, or Mayden-musicke for the Virginalls and Bass-viol (London: J. Pyper, ?1625)
A number of 17th-century lyra viol sources include ensemble music with at least one part notated in viol tablature.
Hume, Tobias: The First Part of Ayres, French, Pollish, and Others together (London: John Windet, 1605)
Ford, Thomas: Musicke of Sundrie Kindes (London: John Browne, 1607). Includes duets for lyra viols
Hume, Tobias: Captaine Humes Poeticall Musicke (London: John Windet, 1607)
Ferrabosco, Alfonso (ii): Lessons for 1. 2. and 3. Viols (London: John Browne, 1609)
Maynard, John: The XII. Wonders of the World (London: John Browne, 1611). Includes 6 dances for lute and viol, and 7 pavans for lyra viol with optional bass viol
See also GB-Cu Dd.5.20, Lbl Add.17792–6 and Ob Mus.Sch.D.245–7 above
The following printed sources contain only one or two instrumental ensemble pieces in publications devoted primarily to other kinds of music: John Dowland (1600), Francis Pilkington (1605), William Byrd (1611).