YEARBOOK OF THE ALAMIRE FOUNDATION

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200 BERNHOLD SCHMID Anhang 2: Die Quellen der Bicinien a) geschlossene Überlieferung 1577-2 RISM 1577 c Boetticher 1577 β 1578-5 RISM 1578 d Boetticher 1578 ε 1579-8 RISM 1579 c Boetticher 1579 κ 1585-7 RISM 1585 c Boetticher 1585 η 1586-6 RISM 1586 b Boetticher 1586 ζ 1589-2 RISM 1589 c Boetticher 1589 β NOVÆ ALIQVOT ET ANTE | HAC NON ITA VSITATÆ AD DVAS VO- | ces Cantiones suauissimæ, omnibus Musicis summè vti- | les: nec non Tyronibus quàm eius artis pe= | ritioribus summopere in- | seruientes. | Authore | ORLANDO DI LASSO, | Illustrißimi Bauariæ Ducis ALBERTI Mu= | sici Chori Magistro. | Summa diligentia compositæ, correctæ, & nunc primùm in lucem æditæ. | [Vignette] | Monachij excudebat Adamus Berg. | Cum gratia & priuilegio Cæs: Maiestatis. | M. D. LXXVII. Oberstimme (für Cantus und Tenor), Unterstimme (für Altus, Tenor und Bassus). TENOR. | MODVLI | DVARVM VOCVM | NVNQVAM HACTENVS EDITI | MONACHII BOIOARIÆ COMPOSITI | ORLANDO LASSO | AVCTORE. | LVTETIÆ PARISIORVM. | Apud Adrianum le Roy, & Robertum Ballard | Regis Typographos sub signo | montis Parnassi. | M D LXXVIII. | Cum priuilegio Regis ad decennium. Superius, Tenor. CANTO | MOTETTI ET RICERCARI | D’ORLANDO LASSO A DVE VOCI, | Nouamente Composti & dati in luce. | LIBRO [Drz] PRIMO. | In Venetia Appresso | Angelo Gardano. | 1579. Nur Canto erhalten. CANTO | MOTETTI ET RICERCARI | DI ORLANDO LASSO | A DVE VOCI, | Nouamente con ogni diligenza Ristampati. | LIBRO PRIMO. | [Drz] | In Venetia Appresso Angelo Gardano | M. D. LXXXV. Canto, Alto. ALTO | MOTTETTI | ET RICERCARI | A DVE VOCI, | DI ORLANDO LASSO, | Nonamente [sic] Ristampati. | LIBRO PRIMO. | [Drz] | IN VENETIA | Presso Giacomo Vincenzi, & Ricciardo Amadino compagni. | M D LXXXVI. Canto, Alto. ALTO | MOTETTI ET RICERCARI | D’ORLANDO LASSO A DVE VOCI . | LIBRO PRIMO. | Nouamente Ristampati, & corretti, | [Drz] | IN VENETIA, Appresso Giacomo Vincenti. | M D LXXXIX. Canto, Alto.
1590-8 RISM 1590 c Boetticher 1590 β 1598-1 RISM 1598 a Boetticher 1598 α 1601-2 RISM 1601 a Boetticher 1601 ζ 1604-1 RISM 1604 a Boetticher 1604 α 1625-1 RISM 1625 a Boetticher 1625 α ZUR GEDRUCKTEN ÜBERLIEFERUNG VON LASSOS BICINIEN NOVAE ALIQVOT ET ANTE HAC | NON ITA VSITATAE AD DVAS VOCES CAN= | tiones suauissimæ, omnibus Musicis summè vtiles: necnon | Tyronibus quàm eius artis peritioribus summo- | pere inseruientes. | Authore | ORLANDO DI LASSO, | Illustrißimi Bauariæ Ducis Alberti Musici | Chori Magistro. | Summa diligentia compositæ, correctæ, & nunc primum in lucem æditæ. | Monachij excudebat Adamus Berg. | Cum gratia & priuilegio Cæs: Maiestatis. | M. D. XC. Oberstimme (für Cantus und Tenor), Unterstimme (für Altus, Tenor und Bassus). CANTVS. | NOVÆ ALIQVOT ET AN- | TE HAC NON ITA VSI- TATÆ AD | DVAS VOCES CANTIONES SVAVISSIMÆ, | omnibus Musicis summè vtiles: nec non Tyronibus | quàm eius artis peritioribus summopere | inseruientes. | AVTHORE | ORLANDO DI LASSO, | Illustrissimi Bauariæ Ducis Alberti | Musici Chori Magistro. | Summa diligentia compositæ, correctæ, & nunc | primùm in lucem editæ | [Drz] | LONDINI. Excudebat Thomas Este. | 1598. Cantus, Bassus. TAILLE . | MODVLI | DVARVM, VELTRIVM | VOCVM: | ORLANDO LASSO | AVCTORE. | LVTETIÆ PARISIORVM | Apud viduam R. BALLARD & PETRVM BALLARD | eius Filium, Regis Typographos, sub signo | montis Parnassi. | M. DCI. | Cum priuilegio Regis ad decennium. Premier Dessus, Second Dessus, Taille. Magnum | OPVS MVSICVM | ORLANDI DE LASSO CAPELLÆ BA- | VARICÆ QVONDAM | MAGISTRI . | COMPLECTENS OMNES | CANTIONES QVAS MOTETAS | vulgo vocant, tam antea editas quam hactenus nondum | publicatas II. III. IV. V. VI. VII. | IIX. IX. X. XII. | vocum. | A | FERDINANDO SERENISSI- | MI BAVARIÆ | DVCIS MAXIMILIANI | Musicorum præfecto, & RVDOLPHO, eidem Principi | ab Organis; Authoris filijs summo studio col- | lectum, & impensis eorundem | Typis mandatum | TENOR. | Cum grat: & Priuil: Sac: Cæs: Maiest: Authori concesso. | MONACHII, | Ex typographia Nicolai Henrici. | M. DCIV. Sexta vox, Quinta vox. IN | MAGNI ILLIVS | MAGNI BOIARIÆ DVCIS | SYMPHONI- ARCHÆ | ORLANDI | DE LASSO | MAGNVM OPVS | MVSICVM | BASSVS AD ORGANVM NOVA ME- | THODO DISPOSITVS; | STVDIO ET OPERA | GASPARIS VINCENTII AVDOMARIENSIS | ARTHÆSII IN CA<strong>THE</strong>DRALI WIRCE- | burgensium Organœdi | [Drz] | Cum Gratia & Priuilegio S. Cæsar. Maiestatis. | VVIR- CEBVRGI, | Typis ac sumptibus IOANNIS VOLMARI, | Anno M. DC. XXV. 201
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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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ORLANDO DI LASSO ET AL.: ANEW READI
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ORLANDO DI LASSO ET AL.: A NEW READ
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(1) Son morto e moro e pur cerco mo
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(1) Latra traitora tu mi fai morire
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(1) Bona sera como stai core mio be
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THE TWO EDITIONS OF LASSO’S SELEC
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Page 158 and 159: 160 RICHARD FREEDMAN Lasso’s chan
Page 160 and 161: 162 RICHARD FREEDMAN prints, but by
Page 162 and 163: 164 RICHARD FREEDMAN It seems likel
Page 164 and 165: 166 RICHARD FREEDMAN II, who ruled
Page 166 and 167: 168 RICHARD FREEDMAN Authorial cont
Page 168 and 169: 170 RICHARD FREEDMAN APPENDIX Docum
Page 170 and 171: 172 RICHARD FREEDMAN Royaume que bo
Page 172 and 173: 174 RICHARD FREEDMAN machen unnd ei
Page 174 and 175: 176 RICHARD FREEDMAN prejudice both
Page 176 and 177: 178 BERNHOLD SCHMID Lassos vierundz
Page 178 and 179: 180 BERNHOLD SCHMID cepta (quae nec
Page 180 and 181: 182 BERNHOLD SCHMID sei senza parol
Page 182 and 183: 184 BERNHOLD SCHMID Beispiel 1a: Ko
Page 184 and 185: 186 BERNHOLD SCHMID Beispiel 3a: Nu
Page 186 and 187: 188 BERNHOLD SCHMID Beispiel 5: Num
Page 188 and 189: 190 BERNHOLD SCHMID Beispiel 6: Num
Page 190 and 191: 192 BERNHOLD SCHMID Mensur in Numme
Page 192 and 193: 194 BERNHOLD SCHMID Bis Takt 20 sin
Page 194 and 195: 196 BERNHOLD SCHMID Beispiel 9b: Nu
Page 196 and 197: 198 BERNHOLD SCHMID beschriebenen G
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Page 203 and 204: MUSIQUE ET POLITIQUE À FLORENCE DA
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Page 209 and 210: Corsini, n° 28 Deh perche si rebel
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Page 215 and 216: MUSIQUE ET POLITIQUE À FLORENCE me
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Page 224 and 225: 226 SUSAN LEWIS HAMMOND Figure 1. M
Page 226 and 227: 228 SUSAN LEWIS HAMMOND PRODUCING M
Page 228 and 229: 230 SUSAN LEWIS HAMMOND YEAR RISM C
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Page 234 and 235: 236 SUSAN LEWIS HAMMOND Harmonia ce
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Page 238 and 239: 240 SUSAN LEWIS HAMMOND of King Chr
Page 240 and 241: 242 SUSAN LEWIS HAMMOND the product
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Page 246 and 247: 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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