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PATRIOTIC PURIFICATION: CLEANSING ITALIAN SECULAR VOCAL MUSIC IN THURINGIA, 1575–1600
Published online by Cambridge University Press: 28 September 2016
Abstract
In German-speaking lands until the 1580s, Italian secular vocal music was mainly cultivated by a narrow elite of aristocrats and merchants who valued its exclusivity. Yet some German patriots – teachers, clergy and humanists – regarded such foreign imports as emasculating luxuries that would corrupt their national character. This article examines four collections of contrafacta of Italian villanellas and madrigals that were published in Erfurt and have been neglected by modern scholars: the Cantiones suavissimae (1576 and 1580), Primus liber suavissimas praestantissimorum nostrae aetatis artificum Italianorum cantilenas (1587) and Amorum filii Dei decades duae (1598). According to the prefatory material of these anthologies, their editors were motivated by a patriotic agenda of purifying Italian secular song and by a Lutheran belief in the intrinsic holiness of music. This article provides the first comprehensive identification of the originals of the contrafacta, showing that the latest Italian secular repertory travelled as speedily to Thuringian towns as to the better-known publishing centre of Nuremberg. The process of transformation in the contrafacta is discussed, including examples where church officials ruled that the change of text was insufficient to cleanse the tunes of their lascivious connotations.
- Type
- Research Article
- Information
- Copyright
- © Cambridge University Press 2016
Footnotes
I would like to thank the music curators at the British Library, particularly Nicolas Bell, for alerting me to their acquisition of the 1576 and 1580 Cantiones suavissimae. For comments and other assistance I am grateful to Lars Berglund, Bonnie Blackburn, Carlo Cenciarelli, Iain Fenlon, Fred Gable, Elisabeth Giselbrecht, Matthew Laube, Grantley McDonald, Andra Patterson, Ruth Tatlow, Steffen Voss, Peter Wollny and the anonymous referees. Texts are quoted in their original spelling except where noted. Music examples preserve the original note-values, but barlines are editorial and the spelling of the text underlay has been modernised.
The following library sigla are used:
A-KR Kremsmünster, Benediktinerstift, Musikarchiv
D-CM Coburg, Morizkirche, Pfarrbibliothek
D-Dl Dresden, Sächsische Landesbibliothek – Staats- und Universitätsbibliothek
D-GOl Gotha, Forschungsbibliothek
D-Lr Lüneburg, Ratsbücherei
D-Mbs Munich, Bayerische Staatsbibliothek
D-Ngm Nuremberg, Germanisches National-Museum
D-Rp Regensburg, Bischöfliche Zentralbibliothek, Proskesche Musikabteilung
D-W Wolfenbüttel, Herzog August Bibliothek
D-WILd Wilster, Stadtbücherei
D-WRha Weimar, Hochschule für Musik Franz Liszt, Hochschularchiv
D-Z Zwickau, Ratsschulbibliothek
S-Uu Uppsala, Universitetsbibliotek, Carolina Rediviva
S-VX Växjö, Stadsbibliotek
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25 ‘Unter dem Papst Julio ist zu Rom eine unsägliche große Unzucht und Hurerey getrieben worden, und ist etwa an einem Orte in India . . . ’. Ibid., p. 219.
26 WA Tischreden, iv, pp. 669–70.
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30 ‘omnia loca, omnes regiones, maria, terras atque omneis mundi angulos exploratis, ut inveniatur quod adversum nobis pecuniam hinc avertat, ita ut credibile sit coniurasse vos ne aurum vel argentum sinatis in Germania reliquum esse ullum.’ U. von Hutten, Schriften, ed. Böcking, E., iv: Gespräche (Leipzig, 1860), p. 370 Google Scholar.
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35 ‘Und ist bey ihnen ein Sprichwort: “Uno to Tescho Italiano e uno Diabolo incarnato. Ein deutscher Wal ist ein lebendiger Teufel.” Darum hüte dich fur einem Italo Germano, deutschen Walen; denn so bald ein Deutscher in Italien den Epicurismum gelernt hat, und verdäuet das Hölleküchlin, so ist er viel ärger und tückischer, denn ein Wal.’ WA Tischreden, iv, p. 79.
36 Agricola, J., Die Sprichwörter-Sammlungen, ed. S. L. Gilman, 2 vols. (Berlin, 1971), i, p. 62 Google Scholar.
37 ‘Aber nun den lieden weret er uns die welltlichen, fleyschlichen und unhubschen gesenge zu brauchen.’ WA, xvii/2, p. 121.
38 ‘Der Aller schändlichste Mißbrauch der Musica, wider die liebe deß Nechsten ist, Wann mann solche Gottlose, VnChristliche, oder leichtferttige vnzüchtige Lieder singet: Dadurch Andere Leutte, sonderlich die Jugent geergerett, verfüret, vnnd Zum bösen, Zu sündt oder schanden, verreitzet würdt.’ Spangenberg, C., Von der Musica und den Meistersängern [1598], ed. A. von Keller, Bibliothek des literarischen Vereins in Stuttgart, 62 (Stuttgart, 1861), p. 161 Google Scholar.
39 ‘leichtfertige vnd schampare Gesenge . . . sind gar vnzüchtig gewesen/ also stürtzt der Satan den Wagen/ vnd werden fünff Personen erdruckt/ etliche zerbrechen Arme vnd Schenckel’. Büttner, W., Epitome historiarum, das ist, Christliche vnd kurtze Beschreibung vieler denckwirdiger Historien (Leipzig, 1596)Google Scholar, fol. 19v.
40 ‘Also hat Gott das hurische schamlose singen gestraffet vnd bezahlet.’ C. Frick, Music-Büchlein (Lüneburg, 1631), p. 31.
41 ‘Sed ea nunc est ingeniorum perversitas, ut plaerique huius divinae scientiae dignitatem, non Solum meretricijs amoribus turpiter dehonestent, Verum etiam ad libidinem suam et omnem turpitudinem traducere non vereantur. Quid enim aliud continent cantiones Gallicae et Italicae, quam molles et voluptuarias sententias, quae cum canentis tum audientis animum graviter lacessunt. Et sane dolendum est, saepe eas materias suavissimis numeris tanquam scenico meretricum habitu ornatas in publicum velut in theatrum produci, quae et lectu sunt indignae et tenerae puerorum aetati mirifice officiunt.’ Cantiones suavissimae . . . tomus primus, ed. L. Schröter (Erfurt, 1576), tenor partbook, sig. A1v–A2r.
42 ‘at spurco concinit ore’. Primus liber suavissimas praestantissimorum nostrae aetatis artificum Italianorum cantilenas, ed. M. Bacusius (Erfurt, 1587), Discantus partbook, sig. aa1v; ‘Cum sit in Italicis spurca libido sonis’. Altus partbook, sig. aaa1v.
43 ‘Itala sum soboles, diverso nata parente,
Et sub Teutonico sum peregrina polo.
Quae Cypriae matris vultumque habitumque gerebam.
Aspectu nuper perniciosa meo:
Luxuriae fomes: jam casto juncta marito,
Detestor mores nympha pudica meos.’ Primus liber suavissimas … cantilenas, ed. Bacusius, Basis partbook, sig. Aaaa1v.
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46 RISM 15996.
47 RISM 158817. Ancina’s copy is in the Biblioteca Vallicelliana, Rome, Cod. O. 35; see The Madrigal Collection: L’Amorosa Ero (Brescia, 1588), ed. H. B. Lincoln (Binghamton, 1968), pp. viii–ix.
48 ‘vago le parole oscene, lascive, e sporche, et in vece di quelle stesevi sopra altre parole honeste, divote, e sante’. Tempio armonico della Beatissima Vergine, ed. G. Ancina (Rome 1599), soprano II partbook, sig. BB3r.
49 Ibid.
50 Latin preface to Symphoniae jucundae (Wittenberg,1538); the German version (which I quote here, with my own translation) appears as a preface to Walther, J., Lob vnd Preis/ der himlischen Kunst Musica (Wittenberg, 1564)Google Scholar, sig. A2r–B2r. For a recent translation by Leofranc Holford-Strevens of Luther’s 1538 Latin preface, see Loewe, J. A., ‘“Musica est optimum”: Martin Luther’s Theory of Music’, Music & Letters, 94 (2013), pp. 573–605 Google Scholar, at 598–605.
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52 ‘Wo . . . die natürliche Musica/durch die Kunst gescherfft vnd polirt wird/da sihet vnd erkennet man erst zum teil (denn gentzlich kans nicht begrieffen noch verstanden werden) mit grosser verwunderung/die grosse vnd volkomene weisheit Gottes/in seinem wunderbarlichen werck der Musica’. Ibid., sig. B1r.
53 Ibid., sig. A4v.
54 ‘Quomodo intelligemus feriri animos his in aere motibus? Agnoscamus haec opera Dei . . .’. Melanchthon’s preface to Lossius, L., Psalmodia, hoc est cantica sacra veteris ecclesiae selecta (Nuremberg, 1553)Google Scholar, sig. A3v.
55 ‘Citius enim arripiunt aure carmina, et harmoniae gratae penetrant altius in animos, et haerent in memoria tenacius.’ Ibid.
56 ‘die nothen machen den Text lebendig’. WA, Tischreden, ii, p. 518.
57 See n. 62 below for an example.
58 ‘Ich habe die weise/wo güte noten bösen text haben/ da gebe ich denselben noten ein güten text.’ Alber, E., Widder die verflüchte Lere der Carlstader (Neubrandenburg, 1556)Google Scholar, sig. Y2v–Y3r.
59 ‘vppische/ leichtfertige/vnd schandlose Lieder’. Frick, Music-Büchlein, p. 34.
60 Ahrens, C., ‘Knaust, Heinrich’, in Neue Deutsche Biographie (Berlin, 1953–2013)Google Scholar, xii, p. 167.
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62 ‘Ich hab . . . etliche schampare Gassenhawer vnd Reuterliedlin/in einen Geystlichen/oder Moral/ vnd sittlichen sinn vnnd Text/ . . . Transferirt/verändert/vnd außgesetzt/daß meine Discipeln denselbigen vnder die Noten applicirn/vnd singen solten/wann sie sich im singen vben wolten/vff daß sie der Bülen Texte abgehen möchten/Denn ob wol die alte Compositio güt/vnd mir sonst gefellig/so hab ich doch von den worten nichts gehalten/derowegen auch dieselbigen verendert.’ Knaust, H., Gassenhawer/Reuter vnd Bergliedlin/Christlich/ moraliter, vnnd sittlich verendert (Frankfurt am Main, 1571)Google Scholar, sig. A2r–v.
63 ‘ich mag die alten Liedlin wol leiden/ von wegen ihrer artigen Composition/ vnd daß ich darauß in meiner Jugent erst habe singen gelehrnet . . .’. Ibid., sig. A2v.
64 ‘die schöne/ edle/ göttliche kunst der Musica’. Ibid, sig. A4v.
65 ‘Die Musica kan allein/ was weder Grammatica, Dialectica, Rhetorica, noch einige andere freie kunst inn der gantzen Philosophei kan/ Nemlich/ den Teuffel verjagen vnd außtreiben.’ Ibid., sig. A3r.
66 ‘Weil dann die alten Gsenge gut
Gar lieblich thun erschallen/
Daß eim wol in dem Hertzen thut/
Vnd jederm muß gefallen/
Der text aber nicht nützen kan/
Kein zucht noch ehre wircket/
Soll mann an des statt Gottes wort han/
Welchs die Seel allein stercket.’ Ibid., sig. A7r.
67 ‘vir et Poeta optimus Ludovicus Helmpoldus, qui admirabili ingenij dexteritate, plurimas Gallorum atque Italorum cantilenas ad meliorem canendi usum convertit adhibitis ijs sententijs, quae et dignitate simul et gravitate non solum ad informandas puerorum, ad virtutem, mentes, et ad optimos conservandos, alendosque mores valeant plurimum, verum etiam ad pietatis rudimenta cum voluptate alliciant.’ Cantiones suavissimae, ed. Schröter, tenor partbook, sig. A2r.
68 ‘Effinxit cantus numeris resonantibus hosce
Italus, at spurco concinit ore, prius:
Nunc textu verso numeris remanentibus, omnis
Turba canit, celebrans facta veranda DEI.’ Primus liber suavissimas . . . cantilenas, ed. Bacusius, Discantus partbook, sig. aa1v.
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72 RISM B/I, 15762 and 15807; shelfmark: V.836.
73 For an 1885 inventory of the Marienbibliothek in Elbing, see Carstenn, T., ‘Katalog der St Marienbibliothek in Elbing’, Kirchenmusikalisches Jahrbuch, 11 (1896), pp. 40–49 Google Scholar. On the fate of this collection after the Second World War, see Leszczyńska, A., ‘Zbiory muzyczne Biblioteki Mariackiej w Elblągu wczoraj i dziś’, in A. Patalas and S. Hrabia (eds.), Europejska kultura muzyczna w polskich bibliotekach i archiwach (Kraków, 2008), pp. 27–37 Google Scholar.
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75 Shelfmark: Mus.ant.pract. S721; see Patalas, A., Catalogue of Early Music Prints from the Collections of the Former Preußische Staatsbibliothek in Berlin kept at the Jagellionian Library in Cracow (Kraków, 1999), p. 422 Google Scholar.
76 Listed in Schneider’s catalogue no. 460 (2012) as item 33.
77 Lewis, M. S., Antonio Gardano, Venetian Music Printer, 1538–1569, ii: A Descriptive Bibliography and Historical Study 1550–1559 (New York, 1997), p. 102 Google Scholar.
78 Unlike earlier editions, the 1556 and 1558 editions contain concordances with all the villanellas in the 1576 and 1580 anthologies.
79 RISM C551–C552.
80 RISM 154520. Modern edition as Adrian Willaert and his Circle: Canzone villanesche alla napolitana and villotte, ed. D. G. Cardamone, Recent Researches in the Music of the Renaissance, 30 (Madison, Wis., 1978).
81 RISM 155519 / L755; 155529 / L756.
82 Cardamone, D. G., ‘Erotic Jest and Gesture in Roman Anthologies of Neapolitan Dialect Songs’, Music & Letters, 86 (2005), pp. 357–379 Google Scholar.
83 Cardamone, D. G., ‘Unmasking Salacious Subtexts in Lasso’s Neapolitan Songs’, in B. J. Blackburn and L. Stras (eds.), Eroticism in Early Modern Music (Farnham, 2015), pp. 59–81 Google Scholar.
84 Feldman, M., City Culture and the Madrigal at Venice (Berkeley, 1995), pp. 97–102 Google Scholar.
85 Fabris, D., ‘Solo Singing to the Lute in the Origins of the Villanella alla Napolitana, c. 1530–1570’, Trossinger Jahrbuch für Renaissancemusik, 2 (2002), pp. 133–145 Google Scholar.
86 RISM S1146–S1148. The music is transcribed in Heuchemer, D., ‘Italian Musicians in Dresden in the Second Half of the Sixteenth Century, with an Emphasis on the Lives and Works of Antonio Scandello and Giovanni Battista Pinello di Ghirardi’ (Ph.D. diss., University of Cincinnati, 1997)Google Scholar. See also Balsano, M. A., ‘Et a Dresda Martin diventò Ianni: Le canzone napolitane di Antonio Scandello’, in F. Heidelberger, W. Osthoff and R. Wiesend (eds.), Von Isaac bis Bach: Studien zur älteren deutschen Musikgeschichte. Festschrift Martin Just zum 60. Geburtstag (Kassel, 1991), pp. 139–153 Google Scholar.
87 Die Münchner Fürstenhochzeit von 1568: Massimo Troiano, Dialoge italienisch / deutsch, ed. H. Leuchtmann (Munich and Salzburg, 1980), p. 312. On Italianate influences on the 1568 wedding, see M. A. Katritzky, ‘The Diaries of Prince Ferdinand of Bavaria: Commedia dell’Arte at the Wedding Festivals of Florence (1565) and Munich (1568)’, in Mulryne, J. R. and Shewring, M. (eds.), Italian Renaissance Festivals and their European Influence (Lampeter, 1992), pp. 143–172 Google Scholar.
88 ‘Il Villanesche dell Perissone mit 4. Stimen. et Adriano Willart, in blau türkisch Leder einpund’; ‘Canzon Villanesche Dell Perissone Cambio p. 4’. Schaal, ‘Die Musikbibliothek von Raimund Fugger’, pp. 130, 132.
89 Slim, ‘The Music Library of the Augsburg Patrician, Hans Heinrich Herwart’, inventory items 138, 345.
90 Both appear in Sixt Kargel’s Novae elegantissimae gallicae . . . et italicae cantilenae (Strasbourg, 1574) and his Toppel Cythar (Strasbourg, 1575).
91 In Ammerbach, E. N., Orgel oder Instrument Tabulatur (Leipzig, 1571)Google Scholar, nos. 11 and 12 are tablatures of villanellas found in Donato’s collection: Allein nach dir Herr Jhesu Christ is a version of Se pur ti guardo, and Ein Henlein weis is a version of La canzon della Gallina; Ammerbach’s, Orgel oder Instrument Tabulaturbuch (Nuremberg, 1583)Google Scholar intabulates Donato’s Occhi lucenti assai più che le stelle (p. 145).
92 Magdeburg, J., Christliche vnd tröstliche Tischgesenge (Erfurt, 1572)Google Scholar, no. 7.
93 Des Augsburger Patriciers Philipp Hainhofer Beziehungen zum Herzog Philipp II. von Pommern-Stettin: Correspondenzen aus den Jahren 1610–1619, ed. O. Doering (Vienna, 1894), p. 244.
94 Wilkius, A., Außführliches vnd gründliches Bedencken wie man einen Knaben . . . führen vnd lehren sol (Gotha, 1602)Google Scholar, ch. 5; Mertz, G., Das Schulwesen der deutschen Reformation im 16. Jahrhundert (Heidelberg, 1902), p. 598 Google Scholar.
95 Edition of text and translation from Adrian Willaert and his Circle, ed. Cardamone, p. xxx.
96 Edition of text and translation from Adrian Willaert and his Circle, ed. Cardamone, p. xxviii.
97 This view of disability was developed by Augustine of Hippo, who explained that disabled persons ‘are predestinated and brought into being . . . in order that those who are able should understand that God’s grace and the Spirit . . . does not pass over any kind of capacity in the sons of mercy . . . so that “he that glorieth, let him glory in the Lord” (1 Cor. 1:31)’. Augustine, , Anti-Pelagian Writings, in The Nicene and Post-Nicene Fathers, 1st ser., 5, ed. P. Schaff (New York, 1887), p. 28 Google Scholar. See also Augustine’s statement on ‘monstrous births’: ‘For God, the Creator of all, knows where and when each thing ought to be, or to have been created, because He sees the similarities and diversities which can contribute to the beauty of the whole.’ Augustine, The City of God, transl. M. Dods, ii (Edinburgh, 1871), p. 117.
98 Schwindt, N., ‘“Philonellae”: Die Anfänge der deutschen Villanella zwischen Tricinium und Napolitana’, in M. Zywietz, V. Honemann and C. Bettels (eds.), Gattungen und Formen des europäischen Liedes vom 14. bis 16. Jahrhundert (Münster, 2005), pp. 243–283 Google Scholar, at 265.
99 Burke, P., Cultural Hybridity (Cambridge, 2009), p. 57 Google Scholar.
100 Hartmann, K. G., ‘Die Handschrift KN 144 der Ratsbücherei zu Lüneburg’, Die Musikforschung, 13 (1960), pp. 1–27 Google Scholar.
101 The surviving partbooks are preserved in D-WRha, Mus. Ms. A5 (cantus), D-Ngm, Hs. 138037 (alto), D-WRha, Ms. Udestedt 3 (Quinta Vox). See Voss, S., Die Musikaliensammlung im Pfarrarchiv Udestedt: Untersuchungen zur Musikgeschichte Thüringens im 17. und 18. Jahrhundert (Schneverdingen, 2006)Google Scholar.
102 Shelfmark B 237–240. These four partbooks are bound with manuscript parts for approximately seventy pieces, partly copied in the hand of Adam Gumpelzhaimer, cantor at the St. Anna school. For an inventory of these manuscript compositions, see Haberkamp, G., Bischöfliche Zentralbibliothek Regensburg: Thematischer Katalog der Musikhandschriften, 1: Sammlung Proske, Manuskripte des 16. und 17. Jahrhunderts aus den Signaturen A.R., B, C, AN (Munich, 1989), pp. 223–227 Google Scholar.
103 Shelfmark B.375; digitised 2011 as part of the Early Music Online project (http://purl.org/rism/BI/1587/14). Gertraut Haberkamp was the first to associate the ‘SANA’ stamp with the church and school of St. Anna: see her Bischöfliche Zentralbibliothek Regensburg: Thematischer Katalog der Musikhandschriften, 2: Sammlung Proske, Manuskripte des 18. und 19. Jahrhunderts aus den Signaturen A.R., C, AN (Munich, 1989), p. xxiv (where she reads the stamp’s initials as ‘SAVA’). An initial list of extant printed music from the St. Anna library appears in Bernstein, J. A., ‘Buyers and Collectors of Music Publications: Two Sixteenth-Century Music Libraries Recovered’, in J. A. Owens and A. M. Cummings (eds.), Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood (Warren, Mich., 1997), pp. 21–33 Google Scholar (esp. pp. 31–3); many further volumes have been subsequently identified by Richard Charteris; for instance see his ‘An Early Seventeenth-Century Collection of Sacred Vocal Music and its Augsburg Connections’, Notes, 58 (2002), pp. 511–35.
104 Shelfmark Mus. ant. pract. B290.s.
105 Shelfmark 5.Mus.8.2407; this copy also bears a stamp of ownership ‘R. BLUMS’ but I have been unable to identify a former owner of this name.
106 Ellendt, F., Geschichte des Königlichen Gymnasiums zu Eisleben: Eine Jubelschrift zur Feier seines dreihundertjährigen Bestehens (Eisleben, 1846), pp. 9 Google Scholar, 124.
107 Hermann Weissenborn, J. C., Acten der Erfurter Universitaet, 3 vols. (Halle, 1881–99), ii, p. 423 Google Scholar.
108 Rhotmaler, E., Eine Christliche Leichpredigt . . .Wilhelms . . . Graffen zu Schwarzburg . . . aus dem 77. Psalm (Erfurt, 1598)Google Scholar.
109 D-Dl, Ms. Mus. Gri. 50, no. 90; for an inventory and information on dating and scribal hands, see Steude, W., Die Musiksammelhandschriften des 16. und 17. Jahrhunderts in der Sächsischen Landesbibliothek zu Dresden (Wilhelmshaven, 1974), pp. 81–85 Google Scholar.
110 L. Marenzio, Opera Omnia, 7: Musica sacra, ed. B. Meier and R. Jackson, Corpus Mensurabilis Musicae, 72 (Holzgerlingen, 2000), pp. 58–60.
111 For instance, Johannes Wasmer (c. 1559–1604) bought thirteen partbook collections in Leipzig in 1583, including eight Gardano editions such as madrigal collections by Marc’Antonio Ingegneri, Giulio Cesare Gabussi and Claudio Merulo. These books are preserved in D-WILd. Wasmer’s name does not appear in the matriculation registers of Leipzig University, but as a young man he may have socialised with the city’s students. Albrecht, H., ‘Musikdrucke aus den Jahren 1576–1580 in Wilster (Holstein)’, Die Musikforschung, 2 (1949), pp. 204–209 Google Scholar.
112 The Italian originals for Bacusius’s no. 4 (Vecchi, Se pensando al partire), no. 9 (Marenzio, Hor pien d’altro desio) and no. 16 (Conversi, Stanott’io me sognava) were subsequently included in vols. 1 or 2 of Lindner’s Gemma musicalis (Nuremberg, 1588–9).
113 Hammond, Editing Music in Early Modern Germany, p. 76. An earlier anthology of Italian-texted secular music published in German-speaking lands, Sdegnosi ardori (Munich, 1585, RISM 158517), was edited by the Italian émigré Giulio Gigli da Imola, a musician at the Munich court; it contains thirty-one settings of Giovanni Battista Guarini’s ‘Ardo sì’.
114 I am very grateful to Carlo Cenciarelli for his help with this translation.
115 Text and bicinium setting in Rebhun, P., Ein geistlich Spiel, von der Gotfurchtigen vnd keuschen Frawen Susannen (Zwickau, 1536)Google Scholar, sig. D2v. The bicinium is also printed in Rotenbucher, E., Bergkreyen auff zwo stimmen componirt (Nuremberg, 1551)Google Scholar, no. 15.
116 Text as edited in, and translation adapted from, Gabrieli, A., Madrigals of the Secondo Libro a 6, Other Madrigals a 6, Madrigals a 7, Complete Madrigals, 9–10, ed. A. Tillman Merritt, Recent Researches in the Music of the Renaissance, 49–50 (Madison, Wis., 1983), p. xxiii Google Scholar.
117 Spelling of German text has been modernised.
118 Geyer, H., ‘Bestände “italienischer” Renaissance- und Frühbarock-Musik im thüringischen Mitteldeutschland’, in H. Geyer, F. Körndle and C. Storch (eds.), Alte Musik in der Kulturlandschaft Thüringens: Beiträge zum zehnjährigen Bestehen der Academia Musicalis Thuringiae (Altenburg, 2010), pp. 1–24 Google Scholar, at 18; also published as ‘Wenig beachtete Transfer-Wege italienischer Renaissance- und Frühbarock-Musik im thüringischen Mitteldeutschland’, Freiberger Studien zur Orgel: Schriften der Silbermanngesellschaft, 11 (2010), pp. 30–50.
119 The copy of Gott ist getreu in D-Dl, Ms. Mus. Löb. 8 + 70 is dated 9 June 1600 by the scribe Christoph Martin, who identifies himself as a cleric from Bautzen (‘Ecclesiastes Budiss’).
120 This motto is also found in some seventeenth-century sources such as the commonplace book of the Königsberg musician Johann Stobaeus (British Library, MS Sloane 1021, fol. 115r) and a harpsichord at Skokloster castle, Sweden. See McGeary, T., ‘Harpsichord Mottoes’, Journal of the American Musical Instrument Society, 7 (1981), pp. 5–35 Google Scholar, at 30.
121 Walther, J. G., Musicalisches Lexicon (Leipzig, 1732), p. 364 Google Scholar.
122 Kraft, G. and Gottwald, C., ‘Lindemann, Johannes’, Grove Music Online Google Scholar, www.oxfordmusiconline, accessed 11 Dec. 2014; ‘Lindemann, Johannes’, Musik in Geschichte und Gegenwart, Personentheil, 11 (Kassel, 2004), cols. 151–2.
123 Shelfmark: Mus. Ant. Pract. L920.
124 The incomplete Quinta Vox partbook is in D-WRha, Ms. Udestedt 3; the incomplete alto partbook is held in the Germanische Museum, Nuremberg, Hs. 138037, fols. 4r–16r. For a description of Hs. 138037, see Gottwald, C., Kataloge des Germanischen Nationalmuseums Nürnberg: Die Handschriften, iv: Die Musikhandschriften (Wiesbaden, 1988), pp. 212–223 Google Scholar. Fragments of the alto and tenor partbooks also survive in D-Rp (RISM AN 725).
125 Catalogus novus nundinarum vernalium (Frankfurt am Main, 1598), sig. C1r. The advertised book has two differences from the surviving volume, in that it is described as containing fifty songs and being in octavo format (‘Amorum filij Dei decades quinque. Das ist/ Fünffzig Gesänge/ zu lob dem neuwgebornen Christkindlein Jesu/ durch Joannem Lindemannum an Tag geben. Erffurd in 8.’)
126 ‘Haben es auch aus meiner dedication/ so E. F. G. ich vnwirdiger Diener/ für Vier Jharen/ benebendt meinen Tribus Decadibus Amorum Filii DEI/ Oder Dreissig Weyhenachten vnd Newen Jharß Gesenglein/ vnterthanig praesentiren lassen.’ Lindemann, J., Amorum filii Dei decades duae (Erfurt, 1598), tenor partbook, sig. A2r–v. The Tribus decadibus amorum filii Dei is not listed in any extant book-fair cataloguesGoogle Scholar.
127 Lindemann, J., Ein Christlicher vnd Anmutiger Gesang/ vnter das gantz liebliche vnd fröliche VIVERLIETO (Erfurt, [1596])Google Scholar, D-GOl, shelfmark Theol 4o 01034(13).
128 Die Matrikel der Universität Jena, i: 1548 bis 1652, ed. G. Mentz (Jena, 1944), p. 187.
129 Lindemann, J. C. W., ‘Magister Johannes Lindemann’, Monatshefte für Musikgeschichte, 10 (1878), pp. 73–79 Google Scholar.
130 ‘affini suo charissimo’. Schneegass, C., Nova & exquisita monochordi dimensio (Erfurt, 1590)Google Scholar, sig. A2r.
131 Das deutsche Kirchenlied: Kritische Gesamtausgabe der Melodien. Abteilung 3: Die Melodien aus gedruckten Quellen bis 1680. Band 3: Die Melodien 1581–1595, ed. H.-O. Korth and H. Lauterwasser (Kassel, 2005), pp. 357–8; ibid., Band 4: Die Melodien von 1596 bis ca. 1610, ed. H.-O. Korth and H. Lauterwasser (Kassel, 2009), pp. 9–10, 34, 153, 210–11.
132 Herzog Johann Casimir von Sachsen-Coburg 1564–1633: Ausstellung zur 400. Wiederkehr seines Geburtstages (Coburg, 1964), p. 26.
133 Schulze, C. F., Geschichte der Gymnasiums zu Gotha (Gotha, 1824), pp. 68–78 Google Scholar.
134 Stopp, F. J., ‘Verbum Domini Manet in Aeternum: The Dissemination of a Reformation Slogan, 1522–1904’, in S. S. Prawer, R. Hinton Thomas and L. Forster (eds.), Essays in German Language, Culture and Society (London, 1969), pp. 123–135 Google Scholar.
135 Schmidt, R., ‘“Allein Evangelium ist ohne Verlust”: Wahlspruch und Bekenntnis Herzog Johann Friedrichs II. v. Sachsen (†1595) auf dem Hintergrund der habsburgischen Deutungen des A.E.I.O.U.’, Jahrbuch der Coburger Landesstiftung, 26 (1981), pp. 71–80 Google Scholar (esp. pp. 72–4). The motto denoted Johann Friedrich II’s resistance to his Habsburg captors, who used the same series of vowels to indicate Austrian supremacy (‘Austriae Est Imperare Orbi Universo’ or ‘Alles Erdreich Ist Oesterreich Unterthan’). Other mottos include ‘A.G.W.B.E.’ (on the 1596 partleaves; possibly a version of the motto ‘Alles Gott befohlen’ used by Johann Casimir’s mother, Elisabeth of Saxe-Coburg, 1540–94) and Johann Casimir’s motto ‘E.N.S.W.T.H.’ (‘Elend nicht schadet, wer Tugend hat’ – Misery does not hurt those with virtue) found in the 1598 book. The mottos of all Saxon princes are summarised in Löbe, M., Wahlsprüche, Devisen und Sinnsprüche: Deutscher Fürstengeschlechter des XVI. und XVII. Jahrhunderts (Leipzig, 1883), pp. 165–171 Google Scholar.
136 ‘eine Edele/ Himlische vnd Ewigwehrende Gabe Gottes . . . die Hertzen der Menschen ergetzet/ vnd zur Fröligkeit auffgemundter werden’. Lindemann, Amorum filii Dei decades duae, tenor partbook, sig. A2r.
137 Victoria & Albert Museum item 447:1-1896, described in Schott, H., Victoria and Albert Museum. Catalogue of Musical Instruments, i: Keyboard Instruments, 2nd edn. (London, 1985), p. 26 Google Scholar.
138 Cambridge University Library, MS Dd.2.11, fol. 1r. The last four lines of the poem also appear in Case, J., Sphaera civitatis (Oxford, 1588), p. 737 Google Scholar; see Harmon, R., ‘Studies in the Cambridge Lute Manuscripts, I: Musica’, The Lute, 38 (1998), pp. 29–42 Google Scholar, at 35.
139 D-W, Cod. Guelf. 326 Mus. Hdschr, altus 1 partbook.
140 ‘Die iungen kinder tantzen ja on sunde, das thue auch und werde eyn kind, so schadet dyr der tantz nicht.’ Sermon for Epiphany 2, WA, xvii, pt. 2, p. 64.
141 ‘Jetzundt aber zu Erweckunge der Gottsäligkeit/vnd mehrem Anlaß Christlicher Frewde’.
142 Spelling of German text has been modernised.
143 Lindemann’s anthology is listed in a 1620 inventory made by Adam Gumpelzhaimer; Schaal, R., Das Inventar der Kantorei St. Anna in Augsburg (Kassel, 1965), p. 47 Google Scholar.
144 D-CM, Ms. Mo 2011.
145 D-W, Cod. Guelf. 322 Mus. Hdschr.
146 ‘solcher Gesang/ vielen frommen Cantoribus vnd andechtigen Christen/ damalß höchlichen behaget’. Lindemann, Amorum filii Dei decades duae, tenor partbook, sig. A2v.
147 ‘Quem finem si assequitur in Ecclesia Musica, nihil dubium est, quin opus sit et sanctissimum et saluberrimum. E contrario quicunque ad suavitatem duntaxat aurimque oblectationem atque adeo levitatem compositi sunt cantus, quamvis piissima quaeque sonent verba . . .’. Modern edition in Die evangelischen Schulordnungen des siebenzehnten Jahrhunderts, ed. R. Vormbaum (Gütersloh, 1863), p. 41.
148 ‘Quapropter Cantor ab omnibus Italorum temerariis, si quae sunt, et tripudiantibus compositionibus, ne quis potius istis offendatur, quam aedificetur, deinceps plane abstinere, et quod pium, quod grave, quod dignum, a veteribus insigniter excellentibus Musicis, Orlando, Clemente Uttentalio, Gallo sive Handelio, Clemente non Papa, Palladio et aliis piis ac devotis compositum est, decantare debet’. Ibid.
149 Groote, Inga Mai, ‘“Quod pium, quod grave, quod dignum . . . compositum est”: Impulse aus der Musiktheoriegeschichte für die Kirchenmusikforschung’, Kirchenmusikalisches Jahrbuch, 98 (2014), pp. 23–37 Google Scholar, at 34.
150 Hammond, Editing Music in Early Modern Germany, pp. 117–54.
151 ‘meine liebe Dorothea von ihrer Welschen Abgötterey völlig erlediget/ vnd nun mehr/ Gott lob/ gantz lauter vnd Lutherisch worden’. Rinckart, M. (ed.), Triumphi de Dorothea (Leipzig, 1619)Google Scholar, tenor partbook, fol. 3r.
152 ‘ob man auch mit dem Italiänischen Wercke die verdammliche Italiänische mores mit einführe’. Elmenhorst, H., Dramatalogia antiquo-hodierna. Das ist: Bericht von denen Oper-Spielen (Hamburg, 1688), p. 113 Google Scholar.
153 Ibid., p. 114.