YEARBOOK OF THE ALAMIRE FOUNDATION

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170 RICHARD FREEDMAN APPENDIX Document 1. Le Roy et Ballard’s General Privilege for Music Printing, 1567. Quoted from the last page of the Bassus partbook of Primus liber modulorum quinis vocibus constantium, Orlando Lassusio auctore, Paris, 1571. Extrait du privilege. Par lettres patentes du Roy données à Saint Maur le premier jour de May mil cinq cens soixante sept, signées par le Roy. Maistre Regnault de Beaune maistre des requestes ordinaires de l’hostel present, signées de Laubespine et scelées sur double queüe confirmatives d’autres precedentes. Est permis et octroyé à Adrian le Roy et Robert Ballard Imprimeurs en musique de sa majesté, d’imprimer ou faire imprimer toute sorte de musique tant vocale que instrumentale de quelque sorte et composition d’auteurs que ce soit, specialement d’Orlande de lassus, Iosquin des prez, Mouton, Richaffort, Gascogne, Iaquet, Maillard, Gombert, Arcadet, et C. Goudimel: sans qu’il soit loysible à autre quelconque d’en imprimer, vendre ne distribuer en general ou particulier n’y en distraire aucune partie d’icelle durant le tems de dix ans. Ainsi qu’il est plus amplement contenu et declairé esdittes lettres, à peine de confiscation desditz livres, dommages, interests et amende arbitraire envers lesdits le Roy et Ballard. Lesquelles lettres saditte majesté veut sans autre formalité quelconque et l’extrait d’icelles mis et inferé au commencement ou fin de chacun desdits livres seulement estre tenues pour bien et deuëment signifiées à tous imprimeurs à ce qu’ilz n’en puissent pretendre cause d’ignorance sans qu’il soit besoin d’aucune autre signification. Translation: Extract from the privilege. By letters of patent of the King given at Saint Maur on the first day of May, 1567, signed by the King. Maistre Regnault de Beaune, master of requests general of the present household, signed by Laubespine and sealed with a double ribbon confirming previous letters. It is permitted and ordained that Adrian Le Roy and Robert Ballard, royal music printers, may print or have printed all sorts of music, vocal as well as instrumental, or whichever sort and type of any author, but especially that of Orlande de Lassus, Josquin des Prez, Mouton, Richaffort, Gascogne, Jaquet, Maillard, Gombert, Arcadet, et C. Goudimel. Without which privilege it will not be legal for any other to have these printed, sold, or distributed in general or in particular, or even to extract some part of these for a term of ten years. As it is amply contained and declared in these said letters, on pain of confiscation of the said books, damages, interests and arbitrary amends on behalf of the said Le Roy et Ballard. His Majesty desires that
WHO OWNED LASSO’S CHANSONS? these provisions be understood without other formality – an extract from them can be put at the beginning or the end of each of the said books, and this alone will duly serve notice to all printers and on account of which they will not be able to feign ignorance. Document 2. The Edict of Moulins, 1566, Article 78. Quoted from Ordonnances faites par le Roy a Moulins, au mois de Fevrier M.D.LXVI. Sur les plainctes, et remonstrances faictes à sa Maiesté en ces voyages derniers, pour le reiglement de la Iustice et police de son Royaume, Lyon, 1566, p. 44 [Folger Shakespeare Library, Pamphlet 203299]. DEFENDONS aussi à toutes personnes que ce soit, d’imprimer ou faire imprimer aucuns livres ou traittez sans nostre congé ou permission, et lettres de privilege expediées soubs nostre grand séel. Auquel, cas aussi enjoignons à l’Imprimeur d’y mettre et inserer son nom et le lieu de sa demeurance, ensemble ledit congé et privilege, et ce sur peine de perdition de biens et punition corporelle. Translation: FORBIDDEN also to all persons to print, to have printed any books of tracts without our leave or permission, and letters of privilege issued under our great seal. In which books the printer is also enjoined to print there and insert his name and his place of residence, together with the said leave and privilege. This on pain of loss of goods and physical punishment. Document 3. Lasso’s Special Authorial Privilege, 1571 (as quoted in an imprint of 1573). Quoted from the Tertius liber modulorum quinis vocibus constantium, Orlando Lassusio auctore (1573). 26 Extrait du privilege. Il a pleu au Roy ottroyer à ORLANDE DE LASSUS, Maistre Compositeur de Musique Privilege et permission de faire imprimer par tel imprimeur de ce 26 Scholars concerned with the publication history of Lasso’s works have often observed the consistent organization of his music books according to schemes of musical modality. Lasso, to judge from these books, and from other documents, seems to have been acutely concerned with such organizational schemes. His preoccupation is echoed in the language of the privilege as it was excerpted in this book of 1573, for it, too, observes that Lasso would have the authority to advise his chosen printer on the ‘ordering’of such sets. Further on the modal organization of the Le Roy-Lasso imprints and their place in the story of Lasso’s record of publication, see FREEDMAN, The Chansons of Orlando di Lasso, pp. 136–175. 171
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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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CHANGE AND CONTINUITY IN TWENTIETH-
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Page 158 and 159: 160 RICHARD FREEDMAN Lasso’s chan
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MUSIQUE ET POLITIQUE À FLORENCE Le
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MUSIQUE ET POLITIQUE À FLORENCE da
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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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236 SUSAN LEWIS HAMMOND Harmonia ce
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240 SUSAN LEWIS HAMMOND of King Chr
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242 SUSAN LEWIS HAMMOND the product
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244 SUSAN LEWIS HAMMOND APPENDIX: C
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246 SUSAN LEWIS HAMMOND Harmonia ce
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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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