YEARBOOK OF THE ALAMIRE FOUNDATION

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146 DONNA G. CARDAMONE JACKSON MANUSCRIPTS KEY TOSOURCES GB Lbl, Royal Appendix 59-62 A set of partbooks copied and bound in Italy ca. 1566-1567, containing thirty-three anonymous villanelle for three voices. (complete) GB Wcc, MS 153 A set of four partbooks copied in the Low Countries, 1564- 1566, known as ‘the Winchester Partbooks’. (complete) I Fn, Magl. XIX. 67 An anthology of fifty-nine anonymous villanelle for three voices, copied largely from sources printed between 1555 and 1571. (bass partbook) PRINTED ANTHOLOGIES RISM B, 1560 12 Il primo libro delle villotte alla napolitana de diversi eccellentissimi authori novamente stampato a tre voci, Venice, Gardane, 1560. (complete) RISM B, 1562 10 De diversi autori canzoni alla napolitana a tre voci nuovamente poste in luce, Milan, Moscheni, 1562. (cantus partbook) COLLECTIONS BY INDIVIDUAL COMPOSERS Azzaiolo Il primo libro de villotte alla padoana con alcune napolitane a quatro voci intitolate villotte del fiore, Venice, Gardane, 1557. Barges Di Antonio Barges ... il primo libro de villotte a quatro voci, Venice, Gardane, 1550. Cornet Di Severino Corneti, canzoni napolitane a quattro voci nuovamente stampate & dati in luce, Antwerp, Laet, 1563. Ferretti Di Giovan Ferretti il terzo libro delle napolitane a cinque voci, Venice, Scotto, 1570. La Grotte Premier livre d’airs et chansons à 3.4.5.6. parties, Paris, Cavellat, 1583. Lasso Le quatoirsiesme livre a quatre parties contenant dixhuyct chansons italiennes, six chansons francoises, & six motetz, faictz (a la nouvelle composition d’aucuns d’Italie) par Rolando di Lassus, Antwerp, Susato, 1555. Le Jeune Livre de melanges de C. Le Jeune, Antwerp, Plantin, 1585; Second livre des meslanges de Cl. Le Jeune, Paris, Ballard, 1612. Nasco Di Giovan Nasco, il primo libro di canzon villanesche alla napolitana a quattro voci, Venice, Scotto, 1556. Scandello El primo libro de le canzoni napoletane a IIII. voci composti per messer Antonio Scandello, Nuremberg, Neuber and Gerlach, 1566. Tudino Cesare Tudino de Atri, li madrigali a note bianche, et negro cromaticho, et napolitane a quatro, Venice, Scotto, 1554.
<strong>THE</strong> TWO EDITIONS <strong>OF</strong> LASSO’S SELECTISSIMAE CANTIONES, 1568 AND 1579 Peter Bergquist University of Oregon Orlando di Lasso was by far the most widely published composer of his time. Collections of his motets, madrigals, chansons and other works were frequently issued and reprinted throughout Europe. Most of these contained twenty or so compositions, the usual size of such music books at the time, but some were much larger, gathering older and newer works together in retrospective compilations of Lasso’s music. These large books were in effect collected editions published during his lifetime, and his motets were the first genre to receive such attention. In this article I will examine one of those large collections of motets, the two-volume Selectissimae cantiones issued in Nuremberg in 1568 by Theodor (Dietrich) Gerlach, and show how its expanded and corrected reissue made substantial improvements in the first edition. The earliest examples of such compilations of Lasso’s motets are Le Roy and Ballard’s Paris motet books of 1564 and 1565, and Antonio Gardano’s numbered series of Lasso motet books that began in 1565 in Venice (see Table 1 for a list of sources referred to in this article). Gardano’s Lasso motet books were of standard size, but considered as a whole, the series is a collected edition in the same sense as the others mentioned here. Gerlach’s Selectissimae cantiones was an even more ambitious undertaking. The ninety-six motets included in Gerlach’s collection comprise almost all of Lasso’s production in the genre up to that time, with the exception of forty-two pieces that the same house had previously published. Adding these fortytwo motets and another twelve that Gerlach omitted or did not know of to the ninetysix in Selectissimae cantiones gives a total of 150 Lasso motets published between 1555 and 1568, a remarkable production by any standard. It is of course only part of Lasso’s output during those years, during which he also wrote masses, magnificats, chansons, madrigals, lieder, the Penitential Psalms, the Lectiones from Job, and the Prophetiae sibyllarum. Gerlach planned the Selectissimae cantiones as a unit, which the title page of the tenor book of RISM 1568a makes clear when it mentions ‘four, five, six and more voices’. 1 The collection was in fact divided into two parts, with the motets for six or more voices in RISM 1568a and those for five and four voices in RISM 1568b. The title page accurately describes the contents as ‘partly completely new, partly never published in Germany’. The twenty completely new motets that this collection published for the first time are listed in Table 2. 1 Afacsimile of this page appears as Plate 1 in O. DI LASSO, The Complete Motets, 6, (Recent Researches in the Music of the Renaissance, 110), ed. P. BERGQUIST, Madison, Wisconsin, 1997, p. xxxiii. 147
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YEARBOOK OF THE ALAMIRE FOUNDATION
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... NEC NON TYRONIBUS QUÀM EIUS AR
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DRINKING MOTETS IN MEDIEVAL ARTOIS
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TRIPLUM (TRANSLATION) Hare hare hye
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TRIPLUM (TRANSLATION) Domine ainz q
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TENOR (TRANSLATION) Domine tant ai
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Figure 4. Plan of the Marienkirche
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202 BERNHOLD SCHMID 1610-2 RISM 161
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226 SUSAN LEWIS HAMMOND Figure 1. M
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