YEARBOOK OF THE ALAMIRE FOUNDATION

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156 PETER BERGQUIST Example 1. Orlando di Lasso, Dixit Joseph undecim fratribus suis, mm. 42–53 (upper text as in Thesaurus musicus, 1564; lower text as emended by Lechner in Selectissimae cantiones, 1579; ties with dashed lines appear where Lechner combined two notes into one). unnecessary repetition of possit that followed. In altus 1, measures 48–49, Lechner turned a semibreve and minim into a dotted semibreve and moved the last syllable of vivere into a better position. Bassus 1 has a similar situation in the measures 45–48, where Lechner made a dotted minim out of two separate notes and achieved a more graceful underlay that avoids the awkward extension of the melisma on pos(sit). The question may arise, was Lechner responsible for all the emendations in the 1579 edition or did he take them from other printed sources that appeared between 1568 and 1579? It is most probable that they are his own work or that he received them directly from Lasso. With few exceptions, reprints of these thirty-seven motets within those years appeared mainly in France, and since these publications may not have circulated widely in Germany, it is unlikely that Lechner saw them. It is true that Dixit Joseph in Le Roy and Ballard’s 1573 motet book for six, seven, and twelve voices (RISM 1573b) has essentially the same corrections as in Lechner’s edition. If Lechner did not in fact have access to RISM 1573b, it would appear either that Lasso’s friend Adrian Le Roy and Lechner both knew Lasso’s music well enough to arrive at the same corrections independently, or that Lasso communicated the same corrections to each of them.
<strong>THE</strong> TWO EDITIONS <strong>OF</strong> LASSO’S SELECTISSIMAE CANTIONES, 1568 AND 1579 To conclude: Boetticher asserts that Lechner transmitted no better versions of the motets he edited. 11 It should be obvious that I cannot agree with this statement. I would urge that Leonhard Lechner’s editorial work in the 1579 Selectissimae cantiones represents Lasso’s intentions, whether or not as the result of direct communication from Lasso, that his rejection of Zachaee, festinans descende and Gloria Patri was in harmony with Lasso’s wishes, and that his edition is an invaluable and reliable source for Lasso’s motets. 11 BOETTICHER, Orlando di Lasso und seine Zeit, p. 453. 157
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YEARBOOK OF THE ALAMIRE FOUNDATION
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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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FROM VARIETY TO REPETITION: THE BIR
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Vir - - - go se - re - - FROM VARIE
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ANEW KIND OF PATRON FROM VARIETY TO
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THE ROLE OF ACOUSTICS IN THE PERFOR
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Figure 4. Plan of the Marienkirche
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POLYPHONY AND WORD-SOUND IN ADRIAN
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78 LUMINITA FLOREA The Hague, 6 and
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80 LUMINITA FLOREA Regardless of th
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82 LUMINITA FLOREA THE SCRIPTOR IN
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84 LUMINITA FLOREA At any rate, thi
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86 LUMINITA FLOREA normally result
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88 LUMINITA FLOREA instance, on fol
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90 LUMINITA FLOREA planets, and the
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92 LUMINITA FLOREA The pictor of Ca
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94 LUMINITA FLOREA open buds comfor
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UT HEC TE FIGURA DOCET: THE TRANSFO
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THE TRANSFORMATION OF MUSIC THEORY
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Page 103 and 104: THE TRANSFORMATION OF MUSIC THEORY
Page 109 and 110: CHANGE AND CONTINUITY IN TWENTIETH-
Page 123 and 124: ORLANDO DI LASSO ET AL.: ANEW READI
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Page 139 and 140: (1) Latra traitora tu mi fai morire
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Page 158 and 159: 160 RICHARD FREEDMAN Lasso’s chan
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Page 172 and 173: 174 RICHARD FREEDMAN machen unnd ei
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Corsini, n° 28 Deh perche si rebel
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MUSIQUE ET POLITIQUE À FLORENCE D
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MUSIQUE ET POLITIQUE À FLORENCE Le
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226 SUSAN LEWIS HAMMOND Figure 1. M
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228 SUSAN LEWIS HAMMOND PRODUCING M
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230 SUSAN LEWIS HAMMOND YEAR RISM C
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232 SUSAN LEWIS HAMMOND Figure 2. M
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234 SUSAN LEWIS HAMMOND The title p
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242 SUSAN LEWIS HAMMOND the product
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244 SUSAN LEWIS HAMMOND APPENDIX: C
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248 SUSAN LEWIS HAMMOND Symphonia a
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250 SUSAN LEWIS HAMMOND Melodia oly
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252 SUSAN LEWIS HAMMOND 1 The listi
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