The Mid-Sixteenth-Century Franco-Flemish Chanson in Spain. The

JuanRuiz-Jimenez
THE MID-SIXTEENTH-CENTURY
FRANCO-FLEMISH
CHANSON IN SPAIN
The Evidence of Ms. 975 of theManuel de Falla Library
In recentyearstherehave been variouspublicationsdealingwiththe receptionof the
Franco-Flemishrepertoryin the Iberianpeninsula.'The discoveryof Ms. 975 of the
Manuel de Falla Libraryin Granada,a musicalanthologyforminstrels('ministriles')
containinga sectiondevotedto Franco-Flemishchansons,providesthebasisfora more
detailed examinationof thistopic. The presentarticleexploressome of the routes
throughwhich thisgenre of compositionmay have arrivedin Granada,the cityin
which the manuscriptwas copied, and suggestssome of the contextsin which such
chansonswere performed.The identification
of Ms. 975's unattributed
works,false
and concordancesalso throwslighton its kinshipwith other Hispanic
attributions,
sources containingsimilarrepertories.In conclusion we speculate on the original
sourcesforthe Iberiantransmission
of the Franco-Flemishchansonscontainedin this
manuscript.
Consideringthatseveralcomposersofthepost-Josquin
generationbelongedto Charles
we mightexpect to findtheirmusic
V's importantFlemishChapel (capillaflamenca),
thatso few
therefore,
widely diffusedin the survivingsources.It is rathersurprising,
Franco-Flemishchansonsarepreservedin Spain. This stateof affairs
seemseven more
inexplicablewhen we considerthat,so farfromshrinking,the numberof Flemish
musiciansin theserviceoftheroyalhouse increasedafterCharles'sdeath.The Flemish
Chapel kept itsindependenceuntil 1637 underthe leadershipof Pierrede Manchicourt (1559-1564), Jean Bonmarche (1565-1570), G6rardTurnhout (1572-1580),
George de la Hele (1582-1586), Philippe Rogier (1586-1596), Gery de Ghersem
(assistantchapel-master,1598-1604) and Matthieu Rosmarin (1598-1633), in the
service of Philip II, Philip III and Philip IV.2As reasonsfor the above-mentioned
scarcityof musicalsourceswe mustaccept the factorswhich have been identifiedby
Higinio Angl&s:the absence of a flourishing
trade,thelack of concern
music-printing
forpreservationof a musicalheritage,wars,revolutions,fires.
The late sixteenth-century
inventoriesof polyphonicbooks in the Madrid royal
chapel, as collectedby FranciscoAsenjo Barbieri,containa considerablenumberof
printsand manuscriptsof sacred music by Franco-Flemishcomposersthen in the
serviceofthecourt.Amongthesea smallnumberofbooks 'de cancionesen
(of
franc&s'
songsin French)is mentioned,butwithoutcomposers'names. The catalogueofbooks
belongingto the InfantaJuana,founderof the monasteryof the Descalzas Reales in
Madrid, also includesa numberof volumescontaining'canciones en franc&s'.4
A fewinventories
ofbooks belongingto booksellers,merchants
and privateindividualsalso havea bearingon thetransmission
ofthisrepertory
and givesome indicationof
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number
Twoinventories
discovered
themuchlarger
whichhavenotsurvived.
byJohn
records
Griffiths
in Valladolid
arerelevant
examples.The earlier,
amongthenotarial
thebooksellerJer6nimo
dated1571,concerns
fifteen
volumesof
Rouill&,andincludes
The second,from1596,contains
a listoftheprivate
ofMaria
French'chansons'.
library
inwhichwe findfivevolumesofFranco-Flemish
de Zufiiga,
No
less
important
songs.5
istheinventory
oftheBarcelona-born
hisdeathin 1561
JuanGuardiola,
compiledafter
and published
byJoseMariaMadurell.Herewe finda largenumberofvolumesof
sacredand secularmusic,mostlyprintedin Lyonand Venice(see AppendixI).6
itshouldbe remembered
thatwhenthebooksellerJean
Poelmansettled
Furthermore,
inSalamanca,
in 1586,after
somefifteen
he
Plantin,
yearsintheserviceofChristopher
entered
intoa partnership
withJeanMoretusto sellbooksin Spain.7
A fewprints
andmanuscripts
to thisrepertory
survivein Spanishmusical
relating
archives
de
Biblioteca
Nacional
de
dela catedral
Madrid,Archivo
(Biblioteca Catalufia,
deValladolid,
Archivo
dela catedral
de Zaragoza,Conservatorio
deMtisicade
Superior
MarchServera,
BibliotecaDucal de Medinaceli,8
Madrid,BibliotecaBartolome
etc.).
the
Ms.
17
of
the
of
cathedral
Valladolid
tenor
Among manuscripts,
(a single
part)is of
interest:
it
is
the
source
to
include
the
texts
ofits
exceptional
onlySpanish
original
It
contains
fourand
chansons
Willaert,
repertory.
five-part
byOrlando,Crecquillon,
Turnhout
andClaudiusSalmier[sic].'Another
rather
Bracquet,
Pevernage,
exceptional exampleisMs.769 ofthearchive
ofthemonastery
whichcomesfrom
ofMontserrat,
thesplendid
of
of
Some
of
the
whichit contains
library Mary Hungary.
Magnificats
=
various
chansons:
2
No.
Dulce
memoire
en
No.
en
parody
plaisir
consomm&e; 18=e prens
=
No. 25 C'estunedureddpartie,
Pourungplaisir
and C'estagrandtort.10
grk;
of sourceforthe diffusion
of the
However,our two mostimportant
categories
chansonrepertory
are theprintedtablatures
various
and
by
Spanishcomposers the
books
for
the
use
of
minstrels.
The
surviving
manuscript
byVenegasde Henprints
estrosa(Brown15572) and Hernandode Cabez6n (Brown15783),"and to a lesser
degreethoseofLuisde Narvaiez(Brown1538,),Enriquezde Valderribano
(Brown
Pisador
and
Esteban
Daza
(Brown15527)
(Brown1576,),contain
15475),Diego
chansons
of
the
era
above
all
Gombert
bycomposers
byCrecquillon,
post-Josquin
and ClemensnonPapa.'2JohnGriffiths'
observation
thefunction
ofthese
regarding
isperceptive:
'AsI havearguedelsewhere,
thesimplicity
the
ofvihuela
tablature,
prints
factthatitpermitted
music
to
be
without
extensive
sophisticated
played
requiring
prior
musicaltraining,
andthesizeoftheeditions
inwhichitwasprinted,
allsuggest
thatit
wasprobably
one oftheprincipal
untrained
waysin whichthemusically
bourgeoisie
wasabletoenrich
itsmusicalexperience
within
thedomestic
environment'.'3
Worksby
suchas Creqcuillonand Lassus,someofwhichachievedimmense
greatcomposers
Doulcememoire,
(Susanne
popularity
ungjour,
Jeprensengre,Unggaybergier,
etc.),were
to
included
enhance
the
commercial
of
these
probably
profitability
prints.
Twoveryimportant
minstrel
booksarethosefrom
thecollegiate
church
of
surviving
SanPedro,Lerma(inBurgos).WemayincludewiththesePolyphonic
BookXIX ofthe
cathedral
ofPuebla(Mexico).Thisnowconsists
of129folios(thefirst
25, containing
26
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psalmsby FranciscoGuerreroand others,arelost). The volumewas copied in thefirst
halfof the seventeenthcenturyby one main scribewith a few additionsin two other
hands,and containsworksbyGuerrero,FelipeRogier,Pedro
contemporary
apparently
Ruimonte, Lassus,Ceballos, Crecquillon,etc.,none of themwitha fulltextand only
some with a textualincipit.14
The two manuscripts
fromLermahavebeen studiedbyDouglas Kirkin hisdoctoral
thesisas well as in variousarticles."5
ofthecollegiate
They appearin the 1609 inventory
churchofSan Pedroin Lerma,twoyearsafterthefoundationofitsmusicalchapel.The
ofthem,theso-called'Lerma Codex', waspurchasedfromthechurchofSan Pedro
first
by theUniversityof Utrechtin the 1950s. In theinventoryof 1615 it is describedas a
in poor condition,in a redbindingthatappears
largebook of'canciones' forminstrels,
more black thanred. Its 165 largefolios(550 x 415 mm) containuntextedchansons,
madrigalsand motetsin 4, 5, 6 and 7 partsby Lassus,Striggio,Crecquillon,Clemens,
and a number of
Gombert, Monte and others,togetherwith dances,fabordones,
unidentifiedpieces. It was copied by two carefulthough not professionalscribes.
Accordingto Kirk thismanuscriptwas probablycopied in Palencia, and fromthere
takento Le6n and laterLerma. Kirk datesthismanuscriptc. 1590 or even earlier.'6
Most of thesecond Lerma manuscriptis stillat the churchof San Pedro;itsfirstleaf
was purchasedtogetherwithothermanuscripts
fromthesamechurchin 1911, and now
to
the
of
America
in
New
York.Accordingto theSan Pedro
belongs
HispanicSociety
it
of
1615
too
consisted
of
'canciones
inventory
para ministriles'and bore the title
'Felipe Rugier'. It consistsof 130 folios, and seems to have been writtenby a
professionalcopyist,probablyin the early 1590s. It containsa greatmanypieces by
FelipeRogier,as well as othersbyLasso,FranciscoGuerrero,Crecquillon,Lobo, etc..17
These witnessesto thecirculationoftheFranco-Flemishrepertory
in Spain havebeen
augmentedby the discoveryof the manuscriptnumbered975 in theprivatelibraryof
the composerManuel de Falla.'8This book mayhave belonged to one of the musical
chapelsoperatingduringthesecond halfofthesixteenthcenturyin Granada,whereit
seems to have been copied."' Its contentsinclude twenty-seven
chansons,all of them
untextedand some ofthemwithoutevena textualincipit.20
Itis a complicatedmatterto
determinethe ecclesiasticalfunctionof this secular repertory.21
However, thereis
evidence
of
in
its
use
two
different
In
cathedrals.
1590
the cathedral
documentary
of
Toledo
Alonso
Gasc6n
for
a
book
of'Canciones
chapter
paid
copying
y motetesque
paralas cornetasde a cinco y de a seisboces son setentay
estainsacadosparaministriles
tresojas escritasy acabadas' (songsand motetsselectedforminstrels
forthecornettsin
fiveand six voices, comprisingseventy-three
pages fullywritten).22Our onlyspecific
referenceto the performanceof chansonswithin the sacred officecomes fromthe
cathedralof Plasencia. Its rules and regulationsfor the minstrelsdated 7 July1615
includethefollowing:'Que los dias solemnesy de ap6stolesbajen todos a ayudara los
cantoresal facistol,y en acabandola Gloriasubana tafiera la epistola,y tafiancanciones
de a seis... ' (thaton solemnfeastsand thoseoftheapostlestheyshallall come down and
27
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assistthesingersin the choir,and when the Gloriais finishedtheyshallreturnto their
galleryto playsongsin six partsduringtheEpistle).This mayreflecta practicealready
observedforsome years.23The same repertorycould presumablybe performedon
otheroccasions (processions,entrances,and duringtheoffertory
ofthemass)as well as
in non-liturgicalcircumstances,
where compositionscould be freelychosen. It seems
obviousthatthisis therepertory
whichtheminstrels
would havechosenon thesecular
occasions at which theywere invitedto take part.24
But apartfromthe above docutherearealso thesurvivingminstrel
books themselves.All ofthese
mentaryreferences,
books includeworksof thiskind,as do theprobablymulti-functional
mss.48 and 242
of the Biblioteca Geral of Coimbra University.25
Fromthe account givenby the singerFranciscode Moya we know thatduringthe
timeof Ambrosiode Cotes - who was chapel masterin the Royal Chapel at Granada
from1581 until1596 - a secularvocal repertory
was also performedin theCapillaReal
at Granada:'nunca se han cantadocosasdeshonestas,
sinomotetesy madrigalesde letras
divinasque se pueden cantardelantedel SanctisimoSacramento'(lewd pieces were
neversung,butonlymotetsand madrigalswithsacredtexts,suchas maybe sungin the
presence of the Most Holy Sacrament),which immediatelyrecallsthose works of
Guerrero'swhich have alternative'divine' texts.26
Confirmationcomes fromSeville.
Towardsthe end of the sixteenthcenturythe regulationsmandatedby the cathedral
indicatethatas his thirdexercisethe
chapterforexaminingprospectivechapelmasters
candidatehad to write'vna canyi6na ?inco al modo de las del maestroGuerrero,dentro
de 24 oras' (a song in fivepartsin the styleof Guerrerowithin24 hours).27
The majorityof the secularworksin Ms. 975 are 'chansons'. The composer most
frequentlyrepresentedis Thomas Crecquillon, a member of Charles V's Flemish
Chapel.28Other composerswho featurein thissource include Clemens non Papa (4
pieces), Orlando di Lasso (2), Lupus (1), Robert Godart (1), Pierre Sandrin (1),
EustaciusBarbion (1), AdrianTubal (1) andJoannesGallus (1).
Some conclusionscan be drawnfromthisrepertory.
We havealreadymentionedthe
in referenceto the role of
frequencyof such pieces in the printedSpanishtablatures,
thesesourcesin thetransmission
and receptionofthechansongenre.FallaMs. 975 has
seven concordanceswith the tablatureof Hernando de Cabez6n, six with that of
Venegas de Henestrosaand one each with the collectionsof Luis de Narvaiezand
EstebanDaza. Among Iberianmanuscript
sourcesthelargestnumberofconcordances
is found in the other extantminstrelbooks. There are nine in the Utrecht'Lerma
Codex' and twoin Ms. Mus. 1 ofthearchiveofSan Pedrode Lerma.There arealso five
concordanceswith Coimbra, Biblioteca General,Ms. 242. The identifiedconcordances withSpanishsourcesare collatedin AppendixII. However,as Griffiths'
current
work suggests,thisrepertorywas almostcertainlymore widely transmitted
thanthe
sourcesso farexamined actuallyshow,and futureresearchin the archivesof noble
householdsmaywell revealmore.
Of thetwenty-seven
chansonsin Ms. 975 two appearto be so farunknown:No. 70,
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to Clemens.Ifthe
attributed
to Lupus,andNo. 78, Nesgravoi,attributed
Ungmoine,
for
it
follows
thatthissource
a
source
his
entire
drew
on
compilation,
only single
copyist
musthavebeenlost.ForsomeotherpiecesMs. 975 istheonlyknownSpanishsource:
andNo. 83,Le doulxbaisir
neuztantdesoulas,
No. 80, Gombert'sJamaisje
byCrecquilPanemeamiduche(No. 84) shouldalsobe noted;itsonlyknown
lon.29Crecquillon's
tothe
whereitisattributed
iswithChoirbookXIX ofPueblaCathedral,
concordance
samecomposerbutwithouta textualincipit.The factthatsomeof thepiecesand
ormanuscript,
inMs. 975 appearinno otherSpanishsource,either
printed
composers
ofthechansonrepertory
intothat
areaforthetransmission
a widercatchment
suggests
country.
to Granadais rather
theroutesofthistransmission
The taskofestablishing
complex.
a
eversinceitsconquestbytheCatholicKingsensured
The city's
symbolic
importance
thesixteenth
withtheroyalpowerthroughout
closerelationship
century.
Duringthis
a setback
vitality,
thoughthissuffered
periodit enjoyedgreateconomicandcultural
in
intheneighbouring
oftheMoorishpopulation
withtheuprising
regionofAlpujarra
Granadaintoa Castilian
theyears1568-1570.The ambitious
projectoftransforming
underCharlesV andtoa lesser
citywasinitiated
bytheCatholicKings;itwaspursued
theestablishextentunderthefollowing
monarch,
PhilipII. Thesechangesinvolved
theRoyalChapel,
astheArchbishopric,
institutions
mentinthecityofsuchimportant
extended
asfarastheriverTajo.The fact
whosejurisdiction
andeventheChancellery,
chose Granadaas theirresidencealso
thatat varioustimesthe Spanishmonarchs
intocontactwiththoseof thelocal chapels.30The Royal
broughttheirmusicians
of
founded
by Isabellathe Catholicas a royalmausoleumand
Chapel Granada,
celebrated
century,
playeda centralrolein these
duringthesixteenth
increasingly
contacts.31
The musicians
ofthesesuccessive
forvarious
reasons
with
RoyalChapels,connected
the
for
thecitysincetheearlysixteenth
constitute
most
channel
the
century,
likely
of Ms. 975's Franco-Flemish
transmission
Two pointsof connection
repertory.32
betweenGranadaandthisrepertory
is thepresenceoftheroyal
standout. The first
Fernandez
Palero
as
the
of
the
Francisco
chaplain
RoyalChapelofGranada.
organist
Palero'sextensive
of
this
is
confirmed
bothbyhisown works
repertory
knowledge
in
inthatprint,
theothersimilar
with
published Venegas(1557)andfrom
compositions
whichhe mustobviously
havebeenfamiliar.33
The secondpointof contactisJuan
Saravia'sgroupof minstrels.
The Granadacathedral
intention
to employ
chapter's
in1543remained
minstrels
for
Saravia's
economic
reasons.34
a few
unfulfilled,
However,
in
the
of
Granada
on
a
hired,perhaps permanent
basis,
yearslater, 1562, RoyalChapel
the same group,comprising
JuanSaravia,Antoniode Flandes,Juande Flandes,
de FlandesandPedrodel Castillo,
Francisco
laterbyVega.35
The
joinedtwomonths
surname
'de Flandes'ofthree
ofitsmembers
indicates
thattheywererelated
to
probably
one another,
butitisfrequently
foundinthesegroups.In anycaseitleavesno doubtas
29
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andsuggests
a possibleconnection
withMs. 975,
intheLow Countries,
totheirorigins
atthisverytime.36
copiedfortheuseofminstrels
couldhavebeen introduced
into
Anotherroutebywhichthechansonrepertory
theoligarchic
Granadais through
families
in
the
of
them
connected
many
living
city,
whichdevelopedthere.Prominent
withtheimmense
bureaucracy
amongthesewere
the marquisesof Mondejarand of Cenete,membersof the houseof Mendoza.37
heldthepostsofAlcaideofthe
thesixteenth
theMendozafamily
century
Throughout
Other
and CaptainGeneralof thekingdomof Granadaby inheritance.
Alhambra
for
the
of
this
were
a
number
of
Genoese
channels
transmission
possible
repertory
inGranada,
andalsotheFrench,
Flemish
andItalianartists
whocame
merchant
families
to workthereon thecity'sambitious
building
projects.38
Ashasbeenmentioned,
itseemsthatthecopyist
ofMs. 975 madeuseofsecondary
sources
rather
than
ones.
So
much
canbe deducedfrom
itscorrupt
manuscript
printed
false
as
well
from
textual
attributions
and
as
the
wide
incipits,
anonymous
pieces,
range
of printsfromwhichMs. 975's repertory
is originally
derivedand theminorbut
numerousdifferences
fromthe printedversionswhichit presents:
different
clefs,
of
time
for
omitted
diminutum),
signature
changes
(tempus
imperfectum
tempus
imperfectum
of finalphrases,correction
of smallerrors,39
of rests,40
repetitions
rearrangement
conflation
ofrepeatednotes,minorrhythmic
(divisionofdottedsemidiscrepancies
breves
intosemibreve
orbydottedminims
semibreves
byminims
plusminim,
replaced
and
small
melodic
such
as
the
ofornaments
removal
or
semiminims,
etc.),
plus
changes
thesubstitution
ofonenoteforanother.
Sincethesedifferences
occureveninworksfor
whichonlya singleprinted
sourceisknown,theymusthavebeenintroduced
either
by
thecopyists
ofearliermanuscripts,
orbythatofMs. 975,orboth.4'
lessprobable,
is thattherepertory
wasimported
intoSpainin
Another,
hypothesis
It
is
well
known
that
some
of
these
chansons
were
manuscript
copies.
immensely
andwereprinted
Itseemsthatthe
popular,
manytimesbythesameordifferent
printers.
whichcirculated
mostabundantly
inSpaincamefrom
and,toa
prints
ItalyandFlanders
lesserextent,
fromFrance;manyprints
fromLyonmayhavereachedCatalonia(see
thereislittledocumentary
Aninitial
ofsome
evidence.42
I), although
Appendix
analysis
ofthepiecesfoundin Ms. 975 suggests
theidentity
ofsomeoftheprints
fromwhich
in Spain.
havecirculated
derive,andwhichmaytherefore
theyultimately
A significant
numberappearedinprintonlyonce,andthereis thusno doubtas to
theirorigin.Gombert's
in themanuscript
and
Jayconge
pris(No. 88), anonymous
withouttextualincipit,
wasprinted
in
Trente
et
chansons
musicales
a
vne
byAttaingnant
(Paris,1534). Ungjourpassebienescoutoye
quatre
parties
(No. 69) by AdrianTubal,
likewiseanonymous
andwithouttextualincipitin Ms. 975,wasprinted
byWaelrant
andLaetin their
contenant
belles
de
a
chansons
musical,
plusiers fleurs
quatre
parties
Jardin
c. 1556).Clemens'sOrilnem'estpossible
(Antwerp,
(No. 104)wasprinted
byPhalse in
Louvainin 1553andagainin 1556.The titleofthislastprintauthorises
instrumental
forthischanson,at least:Premier
livredeschansons
a cincqetsixparties,
performance
&la voix.
nouellement
etmises
enmusicque,
conuenable
tantauxinstrumentz
comme
composez
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Nineteenofthetwenty-seven
foundinMs. 975,wereprinted
chansons
inAntwerp
Susato
between
1543
and
Thirteen
works
Le
in
1550.
(1543),
byTylman
appear
premier
livre
deschansons
bookandfourin
(1544)andLe huitiesme
(1545),fiveinthefirst
Le tiers
The remaining
eachoftheothers.
workswerepublished
in Vingt
etsixchansons
(1543),
livre
des
Le quatriesme
(1544),Le cinquiesme
(1545)andLe douzieseme
(1544),Le sixiesme
oftheseprints
chansons
andone in eachoftheothers.
(1550),twoworksfromthefirst
The complete
ofthesebooksagainrefer
titles
topossibleinstrumental
useoftheworks
included:[...] convenables
tanta la voixcomme
aux instrumentz
orconvenables
etpropices
a
jouerdetousinstrumentz.
ItseemsthattheSusatoprints
weretheoriginal
sourceformost,perhaps
all,ofthese
fora significant
numbertheyconstitute
theonlyprinted
chansons;
source,andwhere
thereareothersthesedatefromafterthe 1560s,thedecadein whichMs. 975 was
written.
This is the case withthe CrecquillonchansonsAlix avoitaux dens(No. 71), here
attributed
toTubalSusato,andDemandez
vousquimefaict
(No. 85),whichis
syjoyeulx?
andwithouttextualincipitin themanuscript.
Withthoseworkswhich
anonymous
whichseemsto have
source,itis theSusatoversion
appearin morethanone printed
beenused.Jeprens
engrela duremort
was
first
witha questionable
(No. 1)
published,
attribution
to ClemensnonPapa,byPierreAttaingnant
in 1539.The following
year
Modernepublished
itagainatLyon,attributing
ittoJannequin.
WhenSusato
Jacques
in 1543,hepresented
itinAntwerp
itasananonymous
he was
printed
piece,although
theprincipal
of Clemens'smusicduringthecomposer's
and was
lifetime,
publisher
withit.Ms. 975 alsopresents
thisasananonymous
presumably
veryfamiliar
piece,and
therefore
have
been
from
Susato.
Clemens's
chansonFraisetgaillard
may
copied
(No.
Nicolasdu CheminandSusato(1545);thefirst
two
74) wasprinted
byAttaingnant,
etgaillard,
butin SusatoandMs. 975 thefirst
wordis Frais.
givethetitleas Frisque
Gombert's
chanson
collections:
in
Jamais
je neuztantdesoulas
appearsin twoprinted
1534 Attaingnant
attributed
it to Gombertin his Vingt
ethuytchansons;
in 1543 (Le
livre
dechansons,
fol.10r)Susatopresents
itanonymously
between
worksattributpremier
ed to Crecquillonon fols.9vand 11r.As StanleyBoormanhasshown,copyists
and
and
assumed
that
an
attribution
made
on
a
verso
printers
frequently incorrectly
applied
to all compositions
on thatopening.In thiscase,sincethe attributions
appearon
consecutive
openings,it seemslikelythatthecopyistthoughtthetwo intervening
Ifso,thiswasprobably
theprintthatservedasa copy
pieceswerealsobyCrecquillon.
forMs.975.43
It is quitelikelythattheprimary
sourceforSusanne
(No. 42) wastheTiers
ungjour
des
chansons
di
Orlando
Laissus
tantauxinstrumentz
livre
[...] composez
par
[...] convenables
comme
a la voixprintedatLouvainbyPierrePhalesein 1560,andagainin 1562,1566,
1570and1573.Thatthisprintmusthavecirculated
inSpaincanbe deducedfrom
Ms.
17ofValladolid
whichincludes
nolessthantenchansons
from
Cathedral,
originating it.
Phalise's
livredeschansons
a quatre
Finally,
Septiesme
(Louvain,1560) merits
parties
31
This content downloaded on Fri, 1 Mar 2013 14:29:49 PM
All use subject to JSTOR Terms and Conditions
particularattention.As it containsfiveanonymouschansonswithconcordancesin Ms.
thismaypossiblybe anotherprintfrom
975, where only one is attributed
correctly,44
which itemsin Ms. 975 were copied.
Table 1.
Printsfromwhich the intermediatemanuscriptsources of the chanson
repertoryof Ms. 975 probablyderive.45
French
editions
* Attaingnant,
RISM 153414
Netherlandish
editions
* Susato,RISM 154315,
154316,1544"11,
154514,154516,155013
154413,
* Phlalkse,
RISM 155324, 15606,RISM-A/I/5L764
* Waelrant
& Laet,RISM 155619
In conclusion
I wouldliketo summarise
thoseaspectsoftheBibliotecade Manuelde
Falla'sMs. 975 whichgiveititspeculiarmusicalimportance.
Itis,first,
an addition
to
theverysmallnumberofsurviving
for
and
Spanishmanuscripts theuse ofminstrels,
one of the earliest.It enlargesour knowledgeof the repertory
performed
by instrumental
ensembles
bothwithinthechurchservices
andoutsidethem.Moreoverit
us
with
some
unknown
works
provides
by leadingSpanishand Franco-Flemish
or
at
least
allows
us
to
the
ofsomewhichhavehitherto
composers,
identify composers
remainedanonymous.
Lastbutnotleast,it bringsus closerto thetransmission
and
ofthemid-sixteenth
international
in Spain,ofwhichso
reception
century
repertory
littleis stillknown.
The following
listis notintendedto be exhaustive.
I haveselectedthemostsignificant
the
most
in
which
references
to otherworkscan be found.H.
studies,
recent,
specially
La
en
la
corte
de
los
2nded. 1960);C.W Chapman,
Angles, mzisica
ReyesCat6licos
(Barcelona,
'PrintedCollections
ofPolyphonic
MusicOwnedbyFerdinand
Columbus',inJAMS21
R.
in
the
Music
of
and
34-84;
Stevenson,
(1968),
'Josquin
Spain
Portugal',
injosquindes
Prez.Proceedings
the
ed.
E.E.
in collabof InternationalJosquin
Festival-Conference, Lowinsky
orationwithB.J.Blackburn
N.
An
Unnumbered
(Oxford1976),217-246; Baker,
Manuscript
intheArchives
ofMaryland
ofPolyphony
oftheCathedral
(Ph.D. diss.,University
ofSegovia
at theCourtofFernando
1978), 2 vols.; T. Knighton,Musicand Musicians
ofArag6n,
1474-1516(Ph.D. diss.,University
ofCambridge1983),2 vols.;J.L6pez Calo, 'Muisica
flamenca
enEspafia,
desPays-Bas
1450-1550',inMusique
ymuisica
anciens.
espafiola
Musique
ancienne
espagnole
(? 1450- ? 1650),edd. P BecquartandH. Vanhulst
(Leuven1988),
musicales
entrelosPaisesBajosy
ColloquiaEuropaliaIII, 1-18;E. Casares,'Lasrelaciones
del sigloXIX', ibid.,19-68;M.C. de Brito,
Espafiavistasa travesde los investigadores
'Problems
intheStudyofPortuguese
Encountered
MusicalRelations
withSpain,Italy,
and
theNetherlands
in Current
37-38(1984),113-125;T.
duringtheRenaissance',
Musicology
in the IberianPeninsula
Knighton,'NorthernInfluenceon CulturalDevelopments
32
This content downloaded on Fri, 1 Mar 2013 14:29:49 PM
All use subject to JSTOR Terms and Conditions
2
3
4
5
6
7
8
9
10
in Renaissance
1 (1987),221-237;E. Ros Fabregas,
Studies
duringtheFifteenth
century',
M. 454 (Ph.D.diss.,CityUniversity
TheManuscript
Biblioteca
deCatalunya
ofNew
Barcelona,
inPortugal
c. 1530-c.1620.Sourcesfrom
theMonastery
York1992),2 vols.;0. Rees,Polyphony
'A NewlyDiscovered
(New York& London1995);T. Knighton,
ofSantaCruz,Coimbra
a tanger,
Source(GonzalodeBaena'sArtenouamente
inuentada
Lisbon,
Keyboard
peraaprender
andMedieval
Music5 (1996),81-112.
1540).A Preliminary
Report',in Plainsong
E. vanderStraeten,
La musique
auxPays-Bas
avant
leXIXesidcle,
vols.VII andVIII (Bruxelles
deCarlosV(Barcelona1944),Monumentos
La Mtsicaenla Corte
de
1885-1888);H. Angles,
la MusicaEspafiola
'La muisica
enla cortemadrilefia
de losAustrias.
2; L. RobledoEstaire,
Antecedentes:
demusicologia
10 (1987),753-796;
Las CasasRealeshasta1556',in Revista
Low
Countries
the
'Music
from
the
at
Composers
SpanishCourtofPhilipII',
L.J.Wagner,
in MusiquedesPays-Basanciens,
'Permanence
de la musiquedes
193-214;P Becqaert,
in
du
delCongreso
anciens
dans
la
XVIe
Actas
Insiecle',
Pays-Bas
musiqueespagnole
la
29
de
ternacional
en
de
Occidente'
de
octubre5
noviembre
de
mutsica
(Salamanca,
'Espaia
1985),
ed.E. CasaresRodicioetal. (Madrid1987),309-314;L. RobledoEstaire
etal.,Aspectos
dela
cultura
musical
enla corte
deFelipeII (Madrid2000).
EA. Barbieri,
Documentos
sobre
vol. 2, ed. E.
espaiiola
y epistolario
(LegadoBarbieri),
mvisica
Casares(Madrid1986),62-68,70, 75-81.
The cataloguewas publishedin 1914 by Crist6balPerezPastor.It includesvolumes
dedicated
totheworksofCarpentras,
PierreColinandJosquin.
Italsoincludes
Spanishand
Italianrepertory,
bothreligious
and secular;cf.R. Stevenson,
La mutsica
en lascatedrales
delSiglode Oro (Madrid1993), 536. EmilioRos Fibregashas collectedand
espanoles
analysedthe musicbooks thatwere foundin eightpreviously
publishedinventories
ofthesebooks,whichbelongedto theroyalfamily
and the
(1499-1591).The contents
andsomeofwhicharedirectly
linkedwiththecityofGranada,is probably
not
nobility
related
totherepertory
studiedhere;seeRos Fabregas,
TheManuscript
374-390.
Barcelona,
'The Transmission
ofSecularPolyphony
in Renaissance
J.Griffiths,
Spain,EstebanDaza,
andRodrigode Ceballos',in Encomium
musicae.
EssaysinHonorofRobert].Snow,ed. D.
Crawford
(inpress).
J.M. Madurell,
J.M. LlorensCister6,'Documentosde archivo.Librosde canto(siglos
11 (1956),229-231.
musical
XIV-XVI)',in Anuario
Detailsabout Christopher
Plantin'sactivities
in Spaincan be foundin J.A. Stellfeld,
deseditions
musicales
'Plantinetle
Bibliographie
(Bruxelles
plantiniennes
1949);H. Vanhulst,
commerce
international
deseditions
de musiquepolyphonique,
1566-1578',inRevista
de
16 (1993),2630-2640;idem.,'Suppliersand Clientsof Christopher
Plantin,
musicologia
Distributor
of PolyphonicMusic in Antwerp(1566-1578)',in Musicology
andArchival
edd.B. Hagghetal. (Bruxelles
Research,
1994),558-604.
Thislibrary
contains
theonlysurviving
de
livre
copyofthe1562editionoftheSeptiesme
a quatre
chansons
des
(RISM 15623) byPierrePhalese;see H. Vanhulst,
parties
Catalogue
demusique
a Louvain
Phalese
etsesfils
1545-1578(Bruxelles
publiees
parPierre
1984),
Editions
95-97.
H. Angls, 'El ArchivoMusicalde la Catedralde Valladolid',
in Anuario
musical
3 (1948),
83-86.
R. Stevenson,
'The ToledoManuscript
Choirbooksandsomeotherlostor
Polyphonic
littleknownFlemishSources',in Fontes
artes
20 (1973),89. Forthedescription
musicae
of
thismanuscript
anditsconcordances,
see G.G. Thompson,'Spanish-Netherlandish
Musi33
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All use subject to JSTOR Terms and Conditions
11
12
13
14
15
16
17
18
19
cal Relationshipsin theSixteenthCentury.Mary ofHungary'sManuscriptsat Montserrat',
in MusiquedesPays-Basanciens,87, 100-102.
At the same time,theseprintsmay have been of use to minstrelsforboth repertorialand
directions.This maypossiblybe concluded, as Higinio Angles suggested,
improvisational
fromtheprologueofthe editionofHernando de Cabez6n from1578: 'Tambien se podrin
en verinvencionesde glosastratadascon verdad
aprovechardel librolos curiososministriles,
sobrelo compuesto,y verla licencia que tiene cada voz, sinperjuyziode las otraspartes,y
esto toparanen muchos motetes,canciones y fabordonesque ellos tafien,que con poca
dificultadpodrainsacardestacifraen canto de 6rgano' (This book can also proveusefulto
those curiousminstrels
who will findglossedinventionsthatfaithfully
respectthe written
composition and can observe the licence given to each voice withoutprejudice of the
others.This theywill come acrossin manymotets,chansonsand fabordonswhich theyplay
and whichtheywill be able to copyfromthistablatureintomensuralnotationwithoutgreat
cf.Angles,La mtisica
en la Cortede Carlos V, vol. I, p. xii.
difficulty);
C. Jacobs,'Sixteenth-CenturyInstrumental
Music. Interrelationships
between Spain and
the Low Countries', in Musiquedes Pays-Basanciens,115-138. For a descriptionof their
MusicPrintedBefore1600. A Bibliography
contents,see: H.M. Brown, Instrumental
(CambridgeMass. 1965).
'The Transmission
ofSecularPolyphony'.See also,J.Griffiths,
'At Court and at
J.Griffiths,
Home withthe Vihuela de Mano. CurrentPerspectiveson the Instrument,
itsMusic, and
itsWorld', inJournaloftheLute SocietyofAmerica22 (1989), 1-27.
I would like to thank the late ProfessorSnow for providingme with a copy of this
manuscriptforthe presentstudy.
D. Kirk,Churching
theShawmsinRenaissance
Spain(Ph.D. diss.,McGill University1993); D.
Kirk,'InstrumentalMusic in Lerma, c. 1608', in EarlyMusic23 (1995), 394-395; D. Kirk,
'The Lerma Codex. The Earliest Wind Band Manuscript from Renaissance Spain',
Proceedings
oftheInternational
EarlyDouble-ReedSymposium
(Utrecht,
1994), ed. D. Lasocky
(in press).
Kirk, 'InstrumentalMusic in Lerma', 394-395.
Kirk mentionsthe royalchapel in Madrid as a possible
Ibid.,394-396. In his dissertation,
of
and
that
place copying,
suggests
theywere commissionedfromMadrid by a memberof
the Hurtado de Mendoza family,sentto Le6n, and thentakento the collegiatechurchof
San Pedro de Lerma in 1607 by the minstrelAndresde Alamillos(Churching
theShawms,
111).
For a descriptionofthissource,withmusicalincipitsas well as an examinationofitsdateand
thepossibleidentityofitscopyist,see M. Christoforidis
andJ. RuizJimenez,'Manuscritto
975 de la Biblioteca de Manuel de Falla. Una nueva fuentepolif6nicadel siglo XVI', in
Revistade musicologia
17 (1994), 205-236. A more detailedstudyof the manuscript,and
ofits
ofGuerreropieces,suggeststhatitwas copied as earlyas the 1560s;
especially
repertory
it would thusbe the earliestsource of music forminstrelsso farencounteredin Spain.
On thesemusicalchapels,seeJ.L6pez Calo, La mtisica
enla catedral
de GranadaenelsigloXVI
musicalde
(Granada 1963), 2 vols.;J. Ruiz Jimenez,La colegiatadel Salvadoren el contexto
Granada(Ph.D. diss.,Universidadde Granada1995), 2 vols.; idem,'Patronazgomusicalen la
Capilla Real de Granada duranteel siglo XVI Los mfisicosprebendados',in Encomium
musicae(in press).
34
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20
21
22
23
24
25
26
27
28
29
30
31
32
ittobe of
toJosquin,
sinceI consider
I do notincludeamongtheseLaudaSion,attributed
Thiscomposition,
deserves
theprevious
however,
specialcomment.
Apparentgeneration.
ofthechansonJe
nemepuistenir
d'aimer
TwoSpanishsources
lyitisa contrafactum
byJosquin.
thisworkto Gombert.
attribute
The first,
usesthetextLaudaSyon;thesecond,
Fuenllana,
inmeDeus.Forsources,
a stemma
andtranscription
ofthis
Mudarra,usesthetextRespice
Chansons.Ignoredand LostSources',inJAMS29
work,see B.J.Blackburn,
'Josquin's
whatsourcethecopyist
(1976),30-76.I do notknowfrom
mayhavecitedthetitleLauda
notFuenllana,
Sion- probably
sincehe attributes
thisworkto Gombert.
Kirkindicates
couldhavebeenperformed
thatthisrepertory
atvariouspointsin Vespers
andtheMass;see his'Instrumental
Musicin Lerma',404-406.
EA. Barbieri,
sobre
vol.I,
yDocumentos
yMdisicos
Espaiioles
(Legado
Barbieri),
Biografias
Mtisica
ed. E. Casares(Madrid1986),231.
enla catedral
dePlasencia
J.L6pez Calo, La mt'sica
(Trujillo1995),61.
in
de
la
Diccionario
7 (Madrid
Misica
'Ministril',
J.RuizJimenez,
Espaiolae Hispanoamericana
593-597.
2000),
See: S. Kastner,
'Los manuscritos
musicalesno 48 y 242 de la BibliotecaGeneralde la
Universidad
de Coimbra',in Anuariomusical
5 (1950), 78-96, and Rees, Polyphony
in
342-360.
Portugal,
Ambrosio
deCotes(Alicante1979),49.
villenense
J.M.SolerGarcia,Elpolifonista
The othertwoexercises
were:in twenty-four
hours,towritea motet'a seisde dostiplesy
doscontraltos,
envnafugaensegunda,
a de serde quinto
yquelostiplessebayansiguiendo
tono'(in6 voicesincluding
2 sopranos
and2 altos,withthesopranos
incanonatthesecond,
hours'se le a de pedirque hagavna
mode),and also in twenty-four
usingthe fifth
a cuatrode dos tiplesy tenory contralto,
con vnaresponsi6n
a ?incode dos
changoneta
in 4 partsmadeup of2 sopranos,
altoand
tiples'(hewillbe askedto writea 'changoneta'
tenorwitha responsein 5 partsmadeup of 2 sopranos).We can therefore
see a clear
betweenthethreegenres
witha distinction
between'changoneta'
and'canci6n';
separation
Archivode la catedral
de Sevilla,Secci6nIX, Leg. 125,pieza 15.
BartonHudsonforkindlyproviding
information
on the
I wouldliketo thankprofessor
musicalsourcesfortheCrecquillon
astothe
piecesinMs. 975,aswellasforhissuggestions
oftheoriginal
identity
prints.
Fora fewotherworks,Ms. 975 is one oftwoknown,andapparently
sources.
unrelated,
The CatholicKingslivedinthecityin1500.CharlesV alsolivedherefora fewmonths
until
1526. This residencewas of vitalimportance
forthe development
of a numberof
in thecity.The Flemishchapel,at thistimedirected
institutions
byAdrienThibaultand
withNicolasGombert
as one ofitsmembers,
musthavecauseda greatimpacton thelocal
musicians
and couldhavebeen one of thefactors
in thespreadof theFranco-Flemish
in
the
of
Granada.
repertory
city
SeeJ.RuizJimenez,
musicalen la CapillaReal de Granada'.
'Patronazgo
Various
musicians
whobelongedtotheroyalchapelsenjoyedprivileges
inthenewdiocese
ofGranadaasa reward
fortheirservices.
de
Anchieta
a sinecure
(c. 1499)received
ThusJuan
fromthecathedral
of Granada;see Barbieri,Biografia
18-19.
Documentos,
y
Amongthe
members
oftheroyalchapelofAragon
whoalsoobtained
sinecures
orbenefices
inGranada
we findAlfonso
Hernindezde Tordesillas
(1507),Francisco
Fernindezde Rasc6n(1516),
Miguel Hinestrosa(1516) andJuande C~spedes (1516); see T. Knighton,'Cantoresrealesy
catedralesdurantela 6poca de los Reyes Cat61icos',in Revistade musicologia
16 (1993), 91.
35
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33
34
35
36
37
Withregard
totherepertory
thatisthefocusofourstudy,
themostrelevant
wasthe
figure
delRinc6n,whoservedCardinal
theempress
Isabelandprince
Tavera,
sopranosingerJuan
ofa sinecure
fromthecollegiate
churchofS. Salvador
Philip.In 1548,he tookpossession
whichheapparently
helduntil1554;seeJ.RuizJimenez,
'La colegiata
delSalvador',
39-40.
whoworkedinareasstrictly
linkedwiththemusicalchapelsofGranada
Amongthefigures
and who couldhavebeen involvedin thefurther
transmission
ofthisrepertory
we can
mention
Bernardino
de Figueroa,
ofthe
in
master
Granada
1524-c.
(c.
chapel
RoyalChapel
ofthecathedral
ofGranada(1541-1569).The first
1556),andGregorioSilvestre,
organist
livedin Naplesin 1550.The second,Lisbon-borne,
wasthesonofthedoctorofIsabelof
who
would
become
the
wife
of
Charles
He
V. wasintheserviceofthecountsof
Portugal,
FeriaandZafra;seeL6pez,La mutsica
enlacatedral
deGranada,
vol.I, 200-205;RuizJimenez,
musicalen la CapillaReal de Granada'.
'Patronazgo
Twoepisodesinthelifeoftheorganist
Paleroareworthmentioning
fortheirrelevance
to
thissecularrepertory.
In 1566 he was reprimanded
becausehe had 'consentidoentrar
enla capillaysubidolas
alchoroytafiido
el 6rganoparaque ellasbailenydaidoles
de
mugeres
merendar
vsado
de
otras
contra
la
orden
tenemos
dado
y
profanidades
yndepentes
que
y
toadmitwomeninthechapelandtakethemtothechoirsothatwhile
proueido'(consented
heplayedtheorgantheycoulddance;andhavinggiventous...). In 1569hemadea tripto
thecourtto meetwiththeorganists
de 6rgano
Diego del Castillo,Soto 'y otrosmuisicos
cosasconellosde suartey estudios'(andotherorganists
inordertodiscuss
paracomunicar
withthemthingsrelatedto theirartand studies).Regardingthe figureof Francisco
Fernaindez
Paleroandhisimpacton themusical
lifeofGranada,
'Perfil
seeJ.RuizJimenez,
delorganista
Francisco
Fernaindez
Palero
Palero',inFrancisco
biografico
yentorno
Ferndndez
ed. A. Cea Galin (inpress).
(ca. 1533-1597).Obras
paratecla,
enla catedral
deGranada,
vol.I, 216.
L6pez Calo, La mutsica
Archivode la CapillaReal de Granada.Libro2039.
Saraviaandtheminstrel
ofthesamenamewhowasin
I cannotprovetheidentity
ofthisJuan
theserviceofCharlesV,butitis possiblethatthelatter
sinceitwas
stayedon in Granada,
theEmperor's
visittothecityin 1526thatthisnamewasdeletedfrom
the
precisely
during
listofhisemployees.
So farasweknow,
intheserviceofthehouse
JuanSaraviawasalready
of Castilein 1518; cf.Angles,La mt'sica
enla Cortede CarlosV, vol. I, 7, 24-25.As for
Francisco
de Flandes,
he maybe thesamepersonwhomwe findinthecathedral
ofSeville
La mt'sica
shawm,1533)andlaterinthecathedral
(soprano
(1540);cf.R. Stevenson,
ofJaen
enla catedral
deSevilla(1476-1606).Documentos
(Madrid1985),29, 89.
parasu estudio
The Andalusian
dioceseswerethefirst
toincorporate
ofpaidminstrels
intheservice
groups
ofecclesiastical
institutions
in
and
a
more
(permanently
general
way),andthisiswherethe
earliest
references
tobooksforminstrels
aretobe found:Seville(1528,1549,1555,1560),
Granada
cf.
La mtisica
enla catedral
deSevilla,
Jaen(1565),
(1566,1569); Stevenson,
46; P.
La
M.C.
Alvarez
El
dellibro
mtisica
Cavallk,
Jimenez
(Jaen1991),51;
Mirquez, mundo
enJaen
en la iglesiacatedral
de Sevillaen el sigloXVI (Sevilla1992), 331-32; Ruiz Jimenez,'La
colegiatadel Salvador',257.
The castlesof Don Nufiobelongedto the Marquisof Cenete.Rodrigode Vivary
Mendozaanda cultured
mansponsored
Mendoza,first
marquisofCenete,sonofcardinal
theconstruction
ofthefortified
palaceof Calahorra(Granada),forwhichhe imported
Italiancraftsmen
andsentformaterial
manufactured
in Genoa.Thisbuilding,
in
designed
thestyleoftheItalianRenaissance,
seemsintended
torepresent
anallegorical
encomium
of
36
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38
39
40
41
42
43
44
45
Don Rodrigo'svirtues;
cf.V.Nietoetal.,Arquitectura
delRenacimiento
enEspahia,
1488-1599
45-51.
de
Vivar
Mendoza
his
and
musical
interests,
(Madrid1989),
y
Regarding
Rodrigo
seeRos Fabregas,
TheManuscript
member
Barcelona,
219-21,381.A particularly
interesting
ofthisfamily
washisdaughter
Menciade Mendoza(1508-1554),whoplayedanimportant
roleasa patron.
musicanddancelessons
Shereceived
from
theValencians
MiguelOrtizand
Celma.
She
was
married
to
Count
of
camarero
oftheemperor
Nassau,
Miguel
Henry,
mayor
andCaptainGeneralinFlanders.
Shetravelled
toGermany
and
lived
inFlanders
(1525)
(at
leastin1538),wheresheboughtbooksandotherartobjects.In 1540shewasmarried
again,
thistimeto theDuke ofCalabria,andtogether
withhimplayeda fruitful
roleamongthe
musicalpatrons
ofthemid-sixteenth
cf.M. Lassode la Vegay L6pez de Tejada,
century;
DohiaMenciadeMendoza,marquesa
delCenete(1508-1554).Discurso
derecepci6n
enla Real
Academia
delaHistoria
musicalde la cortedel
(Madrid1942);J.Moll,'Notasparala historia
musical
18 (1963),123-35.
Duque de Calabria',in Anuario
theearliest
isEstebanLomelino,Genoese,a manofsubstantial
fortune
Amongtheformer,
whomarried
CatalinaGranadaVenegas,
thusestablishing
tieswithone ofthemost
family
families
ofconverted
Moors.Concerning
various
ofthecity's
see
prestigious
aspects
history
A.L. CortesPefia,B. Vincent,
Historia
deGranada
III. La epocamoderna.
SigloXVI, XVII y
XVIII (Granada1986),147-50,169-174,188-190,198-199.
Mostcommonly,
undotted
minims
followed
inwhichthemissing
dotshave
bysemiminims
been addedby thescribe.I do notknowiftheseerrorsarefoundonlyin theprintsI
consulted
fortheseworks.
One ofthemostsignificant
examplesoccursin thechansonAdieucellequeiayseruy
by
Eustacius
Barbion.In Susato'sversion
thesopranopartcontains
a sequenceofrests
forthe
durations
ofsemibreve,
andminim;inMs. 975 thesearereplaced,
forthe
breve,semibreve
sametotalduration,
bya longaanda minim.
In thechansonSe direielosoye
inthemanuscript
attributed
toCrecquillon,
the
byGombert,
basspartis printedin Susato'sLe cinquiesme
livre(RISM 154413)in a F4 clef,whilethe
usesa F3 clef.Atthesametime,therearefewrhythmic
variants
liketheones
manuscript
described.
The collections
intheBiblioteca
delConservatorio
deMadridandinthe
ofprints
preserved
archives
ofthecathedrals
ofValladolid
andTarazona,
are
of
amongothers, goodexamples
des
347-49.
In
the
inventories
of
the
this;seeVanhulst,
Catalogue Editions,
royalhousehold,
we alsofindan important
numberofprints
fromParis(seenote4).
originating
to U. Meissner,
DerAntwerpener
Notendrucker
Susato(Berlin1967),vol.
According
Tylman
the
tenor
neuz
tant
desoulas
is
to Gombert
attributed
inthisprint.
22-23,
II,
partofJamaisje
Asthisisnotthecaseinthefacsimile
editionwhichI consulted,
thisattribution
mayappear
onlyin someofthecopiesofthisedition.
desEditions,
82-84.
Vanhulst,
Catalogue
Laterreprints
havenotbeenincludedin thislist.
37
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APPENDIX I
INVENTORY OF THE SURVIVING MUSIC BOOKS IN THE LIBRARY OF
JOAN GUARDIOLA IN BARCELONA (JANUARY1, 1562)*
26 Ballmusical,a 4 veus,40 Li6.
2 Lecaquetde dames,40 Li6.
40 Li6.
19 Libresde canyonsItalianes
y franceses,
a 4 veus,40 Li6.
39 Libresde canyonsen franq&s,
1 Modulacionsde cantde orga,40
40 ligat.
1 Librede pratiga
de muisica,
1 Madrigali
de Cipriano,a 5.
3 MusicaAlgebi,40 Paris.
1 Madrigali
de Ariopi,a 4 veus.
1 Muisicade MatioRampolino.
1 Madrigali
de Animugia.
1 Madrigali
de Lupachino
1 Madrigalde Francisco
Biserto
1 Musicade Agustino
Luciano
1 Cantusdiversorum
autorum
34 Pesetasde musicaLi6
8 Pesetasde mfisica
40
250 Canyonsitalianas
de Protocolos
Archivo
de Barcelona,
LuisRufet,leg.26,loosebifolioofinventories,
years
1553-1580.Inventory
ofthebelongings
ofthebook sellerJuan
fols.44v-45.I
Guardiola,
haveextracted
thisinventory
from
onlythoseitemsthatseemtocontainsecularrepertory;
see MadurellandLlorensCister6,'Documentosde archivo',
229-231.
38
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APPENDIX II
INVENTORY
OF CHANSONS IN MANUEL DE FALLA LIBRARY, MS. 975
WITH THEIR SPANISH CONCORDANCES*
No. 1, fols.1v-2r,Yepres
[=Je prensengre],4vv,Anonymous[Clemensnon Papa]
engrey
* CoimU 242, fols.32r-32v,Anonymous
* UtreR 3.L. 16, fol. 39v (incomplete),JoanBaston**
SB 15572,fols.68v-69r,Anonymous
* B15761, fols.112r-114r,Anonymous
* B15783,fols.70v-72v,72v-74r,
Criquillon[Glosadode Cabez6n / glosadode Hernando de Cabez6n]
No. 33, fols.55v-56',Pis ne me[= Pis ne mepeultvenir],5vv,Crequillon
* VallaC 17, fols.75v-76r(incomplete),Crecquillon
* VallaC s.s., fols.91v (incompleteand withouttext),Anonymous
* UtreR 3.L.16, fols.75v-76r,Tho. Crecquillon
* B15783, fols. 137r-138r,151v-152v,Criquillon [Glosado de Cabez6n / Glosado de
Hernado de Cabez6n]
No. 42, fols.73v-74r,Susana vnyiur[= Susanneungjour], 5vv, Orlando [Orlando di
Lasso]
* VallaC 17, fols.76v-77r(incomplete),Orlando
* ValenP 20, (No. 28), Anonymous
* MadBM 13230, fols.201v-202r,Anonymous
* UtreR 3.L.16, fols.76v-77',Orlando
* B15783, fols. 148r-149v,149v-151r,Orlando [Glosado de Hernando de Cabez6n /
glosado de Cabez6n]
No. 44, fols. 77v-78r,Se direselosoie [= Se direie losoye],5vv, Crequillon [Nicolas
Gombert]
No. 68, fols. 135v-136r,Porvnplaifer[= Pourungplaisir],4vv,Anonymous[Thomas
Crecquillon]
* B15572, fols.71r-71v,Anonymous***
**
The numbering
ofthecompositions
totheir
relates
inMs. 975.Othermanuscript
positions
sourcesare identified
Sources
by thesiglaused in the Census-Catalogue
ofManuscript
of
Music1400-1550(Neuhaussen-Stuttgart
Polyphonic
1979-1988),5 vols.Fortheprinted
instrumental
sourcesI haveusedthenumbering
fromBrown'sInstrumental
Music.
RISM 154413transmits
a six-voicearrangement
ofthischansonattributed
toJoanBaston.
In the'Tabladelo que secontiene
en esteprimer
libro'(Tableofcontents
ofthisfirst
book)
39
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* B15783, fols.79r-80r,Criquillon [Glosado de Cabez6n]
No. 69, fols. 136v-137r,(textless)[= Ungjourpasse bienescoutoye],
4vv, Anonymous
[AdrianTubal]
* UtreR 3.L.16, fols.55v-56',Sapia, Anonymous
No. 70, fols.137v-138r,Ungmoine,4vv,Lupus [Lupus Hellinck?]
No. 71, fols.138v-139r,
Alixa voix[= Alix avoitaux dens],4vv,Tubal Susato [Thomas
Crecquillon]
* CoimU 242, fols.146v-147r(textless),Anonymous
* UtreR 3.L.16, fols.35v-36r,Thomas Crequillon
* B15572 , fol. 68r, Anonymous
No. 72, fols.139v-140',Prenespitie[= Prenezpitiedugrantmall,4vv,Crequillon
* CoimU 242, fol. 151v(textless;incomplete),Tomais
* B15783, fols.69r-70v,Criquillon [Glosado de Cabez6n]
No. 73, fols.140v-141r,Vngai berger
4vv,Crequillon
[= Unggay bergier],
* VallaC 17, fols.41v-42r(incomplete),Crecquillon
* UtreR 3.L.16, fols.50v-51r, Crequillon
* B15572, fols.69r-69v,Anonymous
* B15783, fols.80r-82r,Criquillon [Glosado de Cabez6n]
No. 74, fols.141v-142',Fraisgallardes
4vv,Clemens[ClemensnonPapa]
[= Fraisetgaillard],
* B15572, fols.71v-72',Anonymous
No 75, fols.143v-144r,Partusmoi[= Partousmoyens],
4vv,Crequillon
* CoimU 242, fols.155v-156r(incomplete),Anonymous
* Lerma,Archivode San Pedro Ms. Mus. 1, fols.46v47r (textless),Anonymous
* UtreR 3.L.16, fols.43v-44r,Crequillon
No. 78, fols.145v-146',Nes gravoi,4vv,Clemens [Clemens non Papa]
oftheprintbyVenegasde Henestrosa
thisworkdoesnotappear,
butisreplaced
bylamais,
It
is
worth
that
this
be
the
chanson
which
'Crecquillon'.
noting
may
appearsin Ms. 975
to Crecquillon,
and whoseauthorship
hasbeen discussed
(No. 80) withan attribution
above.The substitution
is noteasilyexplained,
butin facttherearenumerous
differences
betweenthetextsgivenin theindexandthosewhichaccompany
thecompositions.
It is
therefore
andthemusicalworkswereprinted
atdifferent
possiblethatthetableofcontents
times.
40
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Vousaves[= Vousavestort],
No. 79, fols.146v-147r,
4vv,Crequillon
No. 80, fols.147v-148r,Jenais
4vv,Crequillon[Nicolas
[=Jamaisjeneuztantdesoulas],
Gombert]
* B15381,fols.46v-47r
NiculasGombert
(textless),
No. 81,fols.148v-149r,
4vv,Corcanis[Cornelius
Canis]
[= Cueurprisonnir],
Cueurpris
No. 82, fols.149v-150,
4vv,Crequillon
corps],
Jongentil
[= Tongentil
Le doulx[= Le doulxbaisir],
No. 83, fols.150v-151r,
4vv,Crequillon
* Lerma,Archivode San PedroMs. Mus. 1, fols.42v-43r
(textless),
Anonymous
No. 84, fols.151v-152r,
Panemeamiduche,
4vv,Crequillon
* PueblaC19,fols.90v-92r
Tomas
(textless),
Criquillon
No. 85, fols.152v-153',(textless)
4vv,Anonymous
[= Demandezvousqui mefaict],
[ThomasCrecquillon]
* UtreR3.L.16,fols.38v-39r,
ThomasCrecquillon
* B15572, fols.70'-70v,Anonymous
No. 86,fols.153v-154',
demay],
4vv,Anonymous
(textless)
[= Ce moys
[RobertGodart]
* UtreR,3.L.16,fols.37v-38r,
Goddart
No. 87, fols.154v-155r,
4vv,Anonymous
Dulfememoria
[= Doulcememoire],
[Pierre
Sandrin]
* CoimU 242,fols.179v(incomplete),
Anonymous
[embellished
byDiego Ortiz]
* B15535,fols.86r-106v,
[embellished
Anonymous
byDiego Ortiz]
* B15783,fols.82r-83v,
Sandrin[embellished
byHernandode Cabez6n]
No. 88,fols.155v-156r,
4vv,Anonymous
(textless)
[=Jaycongepris],
[NicolasGombert]
No. 101,fols.173v-174r,
Liber
etlabergiere],
Uoannes
5vv,Anonymous
[= Le bergier
quiere
Gallus]
No. 102,fols.174v-175',
Semon
destedel
esttel],5vv,Anonymous
[= Le monde
[Thomas
Crecquillon]
No. 103,fols.175v-176',
Oadincelle
5vv,Clemens[Eustacius
[= Adieucelle
quej'ayservy],
Barbion]
No. 104,fols.176v-177',
Or il nemest
pussible
possible],
[= Or il nem'est
5vv,Clemens
[ClemensnonPapa]
41
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