YEARBOOK OF THE ALAMIRE FOUNDATION

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