YEARBOOK OF THE ALAMIRE FOUNDATION
YEARBOOK OF THE ALAMIRE FOUNDATION YEARBOOK OF THE ALAMIRE FOUNDATION
148 PETER BERGQUIST RISM NO. TITLE Berg & Neuber / Theodor Gerlach / Katharina Gerlach, Nuremberg 1562a Sacrae cantiones, a5 1564 1-5 Thesaurus musicus, 5 vols., a8, 7, 6, 5, 4 1567b Magnificat octo tonorum, a6, 5, 4 1568a Selectissimae cantiones, a6, 7, 8 [46 motets] 1568b Selectissimae cantiones, a5, 4 [50 motets] 1579a Selectissimae cantiones, a6, 7, 8, ed. Leonhard Lechner [57 motets] 1579b Altera pars selectissimarum cantionum, a5, 4, ed. Leonhard Lechner [71 motets] Le Roy & Ballard, Paris 1564b Primus liber concentuum sacrorum, a5, 6 1565a Modulorum … secundum volumen, a4, 5, 6, 7, 8, 10 1573b Moduli sex, septem et duodecim vocum, a6, 7, 12 Gardano, Venice 1565b Sacrae cantiones liber I, a5 = RISM 1562a, Nuremberg 1566c Sacrae cantiones liber II, a5, 6 1566d Sacrae cantiones liber III, a5, 6 1566e Sacrae cantiones liber IV, a6, 8 Table 1. Printed sources referred to in the present article. Large collections such as the Selectissimae cantiones were no novelty at Gerlach’s publishing house. 2 His firm was the successor to that of Johann vom Berg (Montanus) and Ulrich Neuber, which began operations in Nuremberg in 1541. Their large output included many music titles, including some multi-volume collections of polyphony that were significantly larger even than the 1568 Selectissimae cantiones. Berg died in 1563, and the firm then operated as ‘Ulrich Neuber and Berg’s Heirs’. In 1565 Berg’s widow Katharina married Theodor Gerlach, an employee of the firm, which then became known as ‘Gerlach and Neuber’. In 1566 Neuber left the firm and established his own printing house, and the Gerlachs then continued the former house of Berg and Neuber as ‘Gerlach and Berg’s Heirs’, the colophon that appeared on the Selectissimae cantiones in 1568. Theodor Gerlach died in 1575, after which Katharina operated the firm as ‘Katharina Gerlach and Berg’s Heirs’ until her death in 1592. She appears to have been active in the management of the firm for many years before she took sole charge of it after Theodor’s death. 2 This account of the history of the Gerlach publishing house is based largely on S. JACKSON, Berg and Neuber: Music Printers in Sixteenth-Century Nuremberg, Ph.D. diss., City University of New York, 1998.
THE TWO EDITIONS OF LASSO’S SELECTISSIMAE CANTIONES, 1568 AND 1579 In monte Oliveti oravit ad Patrem, a6 O quam suavis est, Domine, a6 O crux, splendidior cunctis astris, a6 Veni Creator Spiritus, a6 Locutus sum in lingua mea, a6 Beatus vir, qui non abiit, a6 Huc me sidereo, a6 Nunc gaudere licet, a6 Te Deum laudamus, a6 Libera me, Domine, de morte aeterna, a6 Laudate pueri Dominum, a7 Laudate Dominum, quoniam bonus, a7 Edite Caesareo Boiorum, a8 Cernere virtutes, a5 Salve festa dies, a5 Christe, Patris verbum, a5 Alleluia, vox laeta personat, a5 Ave color vini clari, a4 Ecce Maria genuit nobis, a4 Exsultate, justi, in Domino, a4 Table 2. Lasso motets first published in RISM 1568a/b. The firm first published Lasso’s music in 1562, the twenty-five motets of the Sacrae cantiones for five voices (RISM 1562a). Since this book includes Lasso’s own preface, one may assume that he authorized it and that the publishers received the music from him. Lasso next appeared on Berg and Neuber’s list in the Thesaurus musicus of 1564, a five-volume collection which contains seventeen Lasso first editions among its 229 motets. These motets are listed in Table 3. Gerlach’s preface to the 1568 Selectissimae cantiones states that his new publication does not include motets from either of these two earlier collections, presumably because they were still in print and sold separately. In fact, the firm reprinted the 1562 motet book in both 1563 and 1564. In 1567 they issued Lasso’s enormously popular Magnificat octo tonorum (RISM 1567b), three magnificat cycles for six, five, and four voices respectively. 149
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<strong>THE</strong> TWO EDITIONS <strong>OF</strong> LASSO’S SELECTISSIMAE CANTIONES, 1568 AND 1579<br />
In monte Oliveti oravit ad Patrem, a6<br />
O quam suavis est, Domine, a6<br />
O crux, splendidior cunctis astris, a6<br />
Veni Creator Spiritus, a6<br />
Locutus sum in lingua mea, a6<br />
Beatus vir, qui non abiit, a6<br />
Huc me sidereo, a6<br />
Nunc gaudere licet, a6<br />
Te Deum laudamus, a6<br />
Libera me, Domine, de morte aeterna, a6<br />
Laudate pueri Dominum, a7<br />
Laudate Dominum, quoniam bonus, a7<br />
Edite Caesareo Boiorum, a8<br />
Cernere virtutes, a5<br />
Salve festa dies, a5<br />
Christe, Patris verbum, a5<br />
Alleluia, vox laeta personat, a5<br />
Ave color vini clari, a4<br />
Ecce Maria genuit nobis, a4<br />
Exsultate, justi, in Domino, a4<br />
Table 2. Lasso motets first published in RISM 1568a/b.<br />
The firm first published Lasso’s music in 1562, the twenty-five motets of the Sacrae<br />
cantiones for five voices (RISM 1562a). Since this book includes Lasso’s own preface,<br />
one may assume that he authorized it and that the publishers received the music from<br />
him. Lasso next appeared on Berg and Neuber’s list in the Thesaurus musicus of<br />
1564, a five-volume collection which contains seventeen Lasso first editions among<br />
its 229 motets. These motets are listed in Table 3. Gerlach’s preface to the 1568<br />
Selectissimae cantiones states that his new publication does not include motets from<br />
either of these two earlier collections, presumably because they were still in print and<br />
sold separately. In fact, the firm reprinted the 1562 motet book in both 1563 and 1564.<br />
In 1567 they issued Lasso’s enormously popular Magnificat octo tonorum (RISM<br />
1567b), three magnificat cycles for six, five, and four voices respectively.<br />
149
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