Monday, 5 July 2021, 17.00-18.30, Room 209 | Chair: Thomas Schmidt-Beste (University of Manchester)
Philippe de Monte masses in manuscripts from Neustadt an der Orla | Hein Sauer (University of Zurich)
Neustadt an der Orla offered a vibrant musical life in the 16th century, although it lingers in the shadow of greater central German cities such as Leipzig. The remaining parish archive of Neustadt holds a vast collection of prints from the 16th century. Only one of these prints, however, contains material by Philippe de Monte (Friedrich Lindners print collection Missae Quinque, Quinis Vocibus, Nürnberg 1590). Philippe de Monte’s Masses take a prominent position within three of the collection manuscripts from the Neustadt archive. This is striking, because de Monte’s masses are predominantly found in South German and Belgian manuscripts. At least two of de Monte’s masses in Neustadt are otherwise only to be found as manuscripts (Missa Aspice Domine and Missa sine nominee 6. vc.). In comparison to the other manuscripts of this archive, the manuscripts with de Monte’s masses are remarkable for their mise en page and material presentation. They were obviously perceived as special. The question is: How did the citizens of Neustadt obtain these sources?
The paper is part of my PhD project cataloguing and contextualising all the collection manuscripts from Neustadt an der Orla. It will discuss the musical material by Philippe de Monte found in the Neustadt manuscripts, its intended use and how it may have found its way to Neustadt an der Orla.
The perils of paleography | Mitchell P. Brauner (University of Wisconsin- Milwaukee)
The manuscript Biblioteca Apostolica Vaticana, MS Cappella Sistina 21 (CS 21) is signed and dated 1576 by its scribe Johannes Parvus, who had been the Cappella Sistina copyist of its polyphonic repertory for about forty years at the time. The stage of Parvus’s ever-changing hand is a distinctive combination of humanist and gothic traits. Further, this stage of the chronology of his MSS is marked by a change of paper and a change of the size of the paper employed. It should be clear CS 21 is on the type of paper that had been used for approximately 20 years up to this point. Those other MSS with this paper should be contemporary or earlier than CS 21. Those with the new paper should be later. At least that’s what we would normally believe. Unfortunately, this case has been complicated, because one codex copied by Parvus in this same stage of his handwriting— Toledo, Biblioteca Capitular, MS B30—must date from no later than September 1575, and it is on a new, larger-sized paper. The problem this creates affects these two complete codices, another made for the seminary in Lucca, and also group of individual pieces scattered in four other Cappella Sistina manuscripts. This study will set out a new chronology of the group of manuscripts concerned and will clear up the seeming contradictions in the paleographical evidence.
The intabulations of ‘Italian’ vocal pieces in Johann Heinrich Herwart’s music collection: A source network | Annerose Laura Tartler (University of Vienna)
The collection of the Augsburg patrician and city councilor Johann Heinrich Herwart (1520 – 1583) makes up a large part of the historical music collection in the Bavarian State Library in Munich. It includes 22 handwritten sources (c. 1200 folios), 600 of whom have been loose folios up until end of the 1870s, when the BSBs first music librarian Julius Joseph Maier reorganized them by genre and size and had them bound. Not only is Herwart known to have been a music patron, he was also personally interested in musical exchange and music making (he is believed to have played the lute and the gamba) himself.
The early parts of the collections’ manuscripts suggest close contact with some Italian lutenists, whom he might have met for the first time during his humanist studies in Italy (presumably Padua) in the late 1530s and who visited him some years later and authored some of the handwritten music sources (Scribes B and F). Apart from these sources there are more (and especially also later) tabulatures containing Italian music, as well as some Italian watermarks on other folios, as well as later Italian prints. Based on the sources, but also the general costumes of the time, it is quite likely that Herwart had more connections to Italy and maybe visited again some time later in his live. In my paper I wish to point out some of the evidence linking Herwart to Italy, using selected examples from the handwritten music material.