YEARBOOK OF THE ALAMIRE FOUNDATION

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232 SUSAN LEWIS HAMMOND Figure 2. Musica divina. Antwerp, Phalèse & Bellère, 1583. Canto partbook, fol. 1v (facsimile edition in Corpus of Early Music, 19, Brussels, 1970). based printing and publishing house founded by Christopher Plantin (c.1520–1589). Several of his sacred collections were issued there, and he may even have served as music advisor to the master printer. 13 Pevernage may have acquired source books for Harmonia celeste through Plantin’s publishing networks, which extended to virtu- 13 For correspondence between Plantin and Pevernage, see P. DENUCÉ, Correspondance de Christophe Plantin, Antwerp, 1916, repr. Liechtenstein, 1968. For biographical material on Pevernage, see K. FORNEY, art. Pevernage, Andreas, in S. SADIE and J. TYRRELL eds., The New Grove Dictionary of Music and Musicians, 2nd ed., London, 2001, 19, pp. 530–531; R. DE MAN, André Pevernage en Kortrijk (1543–1591), in Handelingen. Koninklijke Geschied- en Oudheidkundige Kring van Kortrijk, new series 44 (1977), pp. 3–42; R. DE MAN, Miscellanea, in Handelingen. Koninklijke Geschied- en Oudheidkundige Kring van Kortrijk, new series 75 (1978), pp. 389–394; G. HOEKSTRA ed., Andreas Pevernage. The Complete Chansons, (Recent Researches in the Music of the Renaissance, 61–64), Madison, Wisconsin, 1983; I. BOSSUYT, art. Pevernage, Andreas, in Nationaal Biografisch Woordenboek, 12 (1987), cols. 595–600; B. BOUCKAERT et al., Andreas Pevernage (1542/3–1591) en het muziekleven in zijn tijd, in Musica antiqua, 10 (1993), pp. 161–175; B. BOUCKAERT, Music and Repertoire in Ghent: The Music Inventory of 1616 of the Collegiate Church of St Veerle and Information on the Purchase of Music Books in the 16th Century, in Revue Belge de Musicologie, 43 (1999), pp. 41–51; and J. STELLFELD, Andries Pevernage. Zijn leven – zijne werken, (Koninklijke Vlaamsche Academie voor Taal- en Letterkunde, Ser. 6, 66), Leuven, 1943.
SELLING <strong>THE</strong> MADRIGAL: PIERRE PHALÈSE II AND <strong>THE</strong> FOUR ‘ANTWERP ANTHOLOGIES’ ally all corners of Europe. The composer also had direct ties to the Venetian music presses. His own earliest works, four motets, appeared in the Venetian anthology series Novi atque catholici thesauri musici, compiled by Petrus Joannelli and published by Gardano in 1568. 14 Waelrant, the compiler of Symphonia angelica, offered Phalèse experience as both madrigalist and, more importantly, as a professional music editor. 15 Between 1554 and 1558 he worked in partnership with the Antwerp-based printer Jean de Laet. As the firm’s publisher, bookseller, financial manager, and artistic director, Waelrant played a central role in bringing Italian-texted music to press. 16 His own volume of chansons and madrigals appeared at the firm in 1558. 17 As a publisher, Waelrant had access to Venetian music books and the latest works of native composers. There is also evidence that Waelrant had close ties with Italy, where he may have travelled as a youth. 18 Further, his madrigal Quand’io pens’al martire appeared in Madregali di Verdelot a sei insieme altri madregali de diversi eccellentissimi autori (Venice, A. Gardano, 1561) and Girolamo Scotto issued a book of thirty four-voiced canzone napolitane by Waelrant in 1565. 19 14 The motets appear in books 2–4 of the series (RISM 1568 3–5 ). FORNEY, Pevernage, Andreas, p. 531 incorrectly gives the date RISM 1564 3–5 . 15 On the life and music of Waelrant, see A. GOOVAERTS, Les Deux Hubert Waelrant, in Revue Artistique, 1 (1878), pp. 14–18; W. PIEL, Studien zum Leben und Schaften Hubert Waelrants unter besonderer Berücksichtigung seiner Motetten, (Marburger Beiträge zur Musikforschung, 3), Marburg, 1969; G. PERSOONS, De genealogie van de Antwerpse toonkundige Hubertus Waelrant (1517–1595). Zijn biografische data en ‘Voces belgicae’, in De Gulden Passer, 57 (1979), pp. 142–163; R. WEAVER, art. Waelrant, Hubert, in S. SADIE and J. TYRRELL eds., The New Grove Dictionary of Music and Musicians, 2nd ed., London, 2001, 26, pp. 923–926; G. HOEKSTRA ed., Waelrant. Il primo libro di madrigali e canzoni francesi for 5 voices (1558), (Recent Researches in the Music of the Renaissance, 88), Madison, Wisconsin, 1991; and G. SPIESSENS, Een nieuwe Kijk op Componist Hubert Waelrant, in Musica antiqua, 12 (1995), pp. 52–64. 16 On Waelrant’s responsibilities at the firm, see R. WEAVER, Waelrant and Laet: Music Publishers in Antwerp’s Golden Age, Warren, Michigan, 1995, pp. 113–117. 17 See WEAVER, A Descriptive Bibliographical Catalog, no. 16, pp. 81–87. The five-voice madrigal Sento laura from this volume also appears in a manuscript copied c. 1566, now housed at the Swedish Royal Library (MS S227). See WEAVER, A Descriptive Bibliographical Catalog, no. 68, p. 207. 18 WEAVER, art. Waelrant, Hubert, p. 923. 19 Earlier editions of Gardano’s publication appeared in 1541 (RISM 1541 16 ) and 1546 (RISM 1546 19 ) without Waelrant’s setting (WEAVER, A Descriptive Bibliographical Catalog, no. 46, p. 177). Seventeen compositions from Scotto’s volume survive in Winchester College MS 153, which was copied as early as 1564. See WEAVER, A Descriptive Bibliographical Catalog, no. 48, pp. 179–181 (Le canzon napolitane a qvattro voce, Venice, Girolamo Scotto, 1565) and no. 72, pp. 210–211 (Winchester MS 153). Waelrant’s madrigals also survive in the manuscript Bologna Q26, which was copied in Flanders in the mid-1560s. See WEAVER, A Descriptive Bibliographical Catalog, no. 62, p. 204. See also WEAVER, Waelrant and Laet, p. 49; cf. FORNEY, Antwerp’s Role in the Reception and Dissemination of the Madrigal, pp. 243–246 on the dating of these manuscripts. 233
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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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Figure 4. Plan of the Marienkirche
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78 LUMINITA FLOREA The Hague, 6 and
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THE TRANSFORMATION OF MUSIC THEORY
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(1) Latra traitora tu mi fai morire
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160 RICHARD FREEDMAN Lasso’s chan
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162 RICHARD FREEDMAN prints, but by
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164 RICHARD FREEDMAN It seems likel
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166 RICHARD FREEDMAN II, who ruled
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170 RICHARD FREEDMAN APPENDIX Docum
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172 RICHARD FREEDMAN Royaume que bo
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178 BERNHOLD SCHMID Lassos vierundz
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180 BERNHOLD SCHMID cepta (quae nec
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