YEARBOOK OF THE ALAMIRE FOUNDATION
YEARBOOK OF THE ALAMIRE FOUNDATION YEARBOOK OF THE ALAMIRE FOUNDATION
240 SUSAN LEWIS HAMMOND of King Christian IV of Denmark. 41 Harmonia celeste (1583), Symphonia Angelica (1585), Musica divina (1588), and Melodia olympica (1591) appear in the inventory from 1620–1625 of the music library of the protestant Kantorei St. Anna in Augsburg. 42 And Melodia olympica was registered in the 1613 inventory of music at the court of Landgrave Moritz of Kassel, whose extensive library included volumes of madrigals by Orazio Vecchi, Hans Leo Hassler, Alessandro Striggio, and Benedetto Pallavicino. 43 How did Phalèse reach this extended market? The most effective method for distributing the ‘Antwerp anthologies’ was through other bookdealers, who served as intermediaries in the transfer of music books from producers to consumers. The anthologies appear regularly in printed stock catalogues of regional publishers, notably those of Cornelis Claesz in the Northern Netherlands and Balthasar Bellère in Douai, in the Southern Netherlands. 44 For publishers from German-speaking lands, the semiannual bookfairs in Frankfurt and Leipzig were the most important venues for the exchange of printed books of all kinds. 45 All four anthologies are found in the Frankfurt bookfair catalogues compiled by the Augsburg printer-publisher Georg Willer; they also frequently appear in related bookfair catalogues by Lutz, Portenbach, Lamberg, the Katholischer Katalog, and the Frankfurter öffentlicher Katalog. 46 41 On the Danish court collections, see H. SCHWAB, Italianità in Danimarca: Zur Rezeption des Madrigals am Hofe Christian IV, in R. BOHN ed., Europa in Scandinavia: Kulturelle und soziale Dialoge in der frühen Neuzeit, Frankfurt, 1995, pp. 142–145. 42 The music library was under the direction Adam Gumpelzhaimer. See R. SCHAAL, Das Inventar der Kantorei St. Anna in Augsburg. Ein Beitrag zur protestantischen Musikpflege im 16. und beginnenden 17. Jahrhundert, (Catalogus Musicus, 3), Kassel, 1965. 43 Folio 5r of the Inventarium aller Musicalischen bücher am 14 ten Februarij ao. 1613 (Hessisches Staatsarchiv Marburg, Signatur 4b–46a, nr. 3), transcribed in E. ZULAUF, Beiträge zur Geschichte der Landgräflich-Hessischen Hofkapelle zu Cassel bis auf die Zeit Moritz des Gelehrten, in Zeitschrift des Vereins für hessische Geschichte und Landeskunde, new series 26 (1903), p. 107. No date for Melodia olympica is indicated in the inventory. On individual owners of the ‘Antwerp anthologies,’ see also note 2 above. 44 H. VANHULST, La musique dans le Catalogue des livres françois de Cornelis Claesz (Amsterdam, 1609), in Revue Belge de Musicologie, 44 (1990), pp. 57–77; B. VAN SELM, Een menighte treffelijcke boecken: Nederlandse boekhandelscatalogi in het begin van de zeventiende eeuw, Utrecht, 1987, pp. 176–179; A. LABARRE, Les catalogues de Balthasar Bellère à Douai, 1598–1636, in Gutenberg- Jahrbuch, 55 (1980), pp. 150–154; and H. VANHULST, Balthasar Bellère, marchand de musique à Douai (1603–1636), in Revue de musicologie, 85 (1999), pp. 227–263. See also the auction catalogue printed upon the death of Leiden musician Cornelis Schuyt: R. RASCH and T. WIND, The Music Library of Cornelis Schuyt, in A. CLEMENT and E. JAS eds., From Ciconia to Sweelinck: Donum natalicium Willem Elders, (Chloe: Beihefte zum Daphnis, 21), Amsterdam, 1994, pp. 327–353. 45 For a description, see J. WESTFALLTHOMPSON ed., The Frankfort Book Fair: The Francofordiense Emporium of Henri Estienne, Chicago, 1911, repr. New York, 1968. 46 A. GÖHLER, Verzeichnis der in den Frankfurter und Leipziger Messkatalogen der Jahre 1564 bis 1759 angezeigten Musikalien, Hilversum, 1965, pp. 35, 48. For a facsimile of the Willer catalogues, see B. FABIAN ed., Die Messkataloge des sechszehnten Jahrhunderts, 1–5, Hildesheim – New York, 1972–.
SELLING THE MADRIGAL: PIERRE PHALÈSE II AND THE FOUR ‘ANTWERP ANTHOLOGIES’ Phalèse could access these markets from much closer to home through contacts with the Officina Plantiniana, which distributed Phalèse music books to consumers across Europe. 47 Business relations between the Phalèse and Plantin firms date back to 1566. 48 In contrast to the early decades of contact between the firms, when Plantin sold mainly foreign editions, at the end of the century he relied more heavily on local and regional printers for his supply. Phalèse II became Plantin’s most important supplier of Italian music; the ‘Antwerp anthologies’ were regularly transferred through the firm from 1583 through the 1640s. 49 The account books of the Officina Plantiniana offer a small glimpse into the chain of hands that managed the transfer of the ‘Antwerp anthologies’from Phalèse’s print shop to his consumers. Two surviving sets of account books of the Officina Plantiniana offer an especially clear illustration of how the market worked. Plantin kept accounts in a series of Journaux that detailed purchases and sales on a daily basis, and in a complementary volume, the Grand livre, which recorded transactions arranged by supplier or client. For the most part, the Journaux are more informative than the Grand livres. The most complete Journaux entries include (1) the date, (2) the supplier or client (seller or purchaser), (3) their professsion/occupation and/or origin, (4) the title of the work, (5) the number of copies purchased or sold, and (6) the price of the transaction. Transactions recorded in these sources can shed light on 47 J.A. Stellfeld was the first to emphasize the amount of evidence about music in the Plantin archives and to highlight Plantin’s role in the diffusion of sixteenth-century polyphony. See J. STELLFELD, Het muziekhistorisch belang der catalogi en inventarissen van het Plantinsch archief, in Vlaamsch Jaarboek voor Muziekgeschiedenis, 2–3 (1940–41), pp. 5–50; and STELLFELD, Bibliographie des éditions musicales plantiniennes. On the business and printing practices of Plantin, the work of Leon Voet remains central, especially L. VOET, The Golden Compasses: A History and Evaluation of the Printing and Publishing Activities of the Officina Plantiniana at Antwerp, 1–2, Amsterdam, 1969–1972. 48 Relations between Plantin and Phalèse I have been studied extensively by Henri Vanhulst: H. VAN- HULST, La diffusion des éditions de musique polyphonique dans les anciens Pays-Bas à la fin du XVIe siècle et au début du XVIIe siècle, in H. VANHULST and M. HAINE eds., Musique et Société: Hommages à Robert Wangermée, Brussels, 1988, pp. 27–51; H. VANHULST, Les Phalèse, éditeurs et imprimeurs de musique à Louvain (1545–1578), Ph.D. diss., Université Libré de Bruxelles, 1984, 1, pp. 364–372; H. VANHULST, Suppliers and Clients of Christopher Plantin, Distributor of Polyphonic Music in Antwerp (1566–1578), in B. HAGGH ed., Musicology and Archival Research: Colloquium Proceedings, Brussels 22–23.4.1993, Brussels, 1994, pp. 558–604; and H. VANHULST, Plantin et le commerce international des éditions de musique polyphonique, 1566–1578, in Actas del XV Congreso de la Sociedad Internacional de Musicología, Revista de Musicología, 16 (1993), pp. 2630–2640. Beginning in 1570, Bellère acted on Phalèse I’s behalf as the sole bookdealer to the Plantin publishing house; he continued to act as Phalèse II’s bookseller until his own death in 1595. A few Phalèse editions were transferred to the Plantin firm through Bellère’s widow until 1597. Phalèse II had already established his own account for dealing with the Officina Plantiniana by 1584. 49 The Nuremberg printer-publisher Paul Kauffmann was also important as a northern supplier of Italian music to Plantin. See Antwerp, Museum Plantin-Moretus, Reg. 795, Libri Venales, 1550–1670; and Antwerp, Museum Plantin-Moretus, Reg. 269, Catalogus Francfurtensis 1597–1618, transcribed in STELLFELD, Het muziekhistorisch belang der catalogi en inventarissen van het Plantinsch archief, pp. 18–23, 36–44. 241
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SELLING <strong>THE</strong> MADRIGAL: PIERRE PHALÈSE II AND <strong>THE</strong> FOUR ‘ANTWERP ANTHOLOGIES’<br />
Phalèse could access these markets from much closer to home through contacts with<br />
the Officina Plantiniana, which distributed Phalèse music books to consumers across<br />
Europe. 47 Business relations between the Phalèse and Plantin firms date back to 1566. 48<br />
In contrast to the early decades of contact between the firms, when Plantin sold mainly<br />
foreign editions, at the end of the century he relied more heavily on local and regional<br />
printers for his supply. Phalèse II became Plantin’s most important supplier of Italian<br />
music; the ‘Antwerp anthologies’ were regularly transferred through the firm from<br />
1583 through the 1640s. 49<br />
The account books of the Officina Plantiniana offer a small glimpse into the<br />
chain of hands that managed the transfer of the ‘Antwerp anthologies’from Phalèse’s<br />
print shop to his consumers. Two surviving sets of account books of the Officina<br />
Plantiniana offer an especially clear illustration of how the market worked. Plantin<br />
kept accounts in a series of Journaux that detailed purchases and sales on a daily<br />
basis, and in a complementary volume, the Grand livre, which recorded transactions<br />
arranged by supplier or client. For the most part, the Journaux are more informative<br />
than the Grand livres. The most complete Journaux entries include (1) the date, (2)<br />
the supplier or client (seller or purchaser), (3) their professsion/occupation and/or<br />
origin, (4) the title of the work, (5) the number of copies purchased or sold, and (6)<br />
the price of the transaction. Transactions recorded in these sources can shed light on<br />
47 J.A. Stellfeld was the first to emphasize the amount of evidence about music in the Plantin archives<br />
and to highlight Plantin’s role in the diffusion of sixteenth-century polyphony. See J. STELLFELD,<br />
Het muziekhistorisch belang der catalogi en inventarissen van het Plantinsch archief, in Vlaamsch<br />
Jaarboek voor Muziekgeschiedenis, 2–3 (1940–41), pp. 5–50; and STELLFELD, Bibliographie des<br />
éditions musicales plantiniennes. On the business and printing practices of Plantin, the work of Leon<br />
Voet remains central, especially L. VOET, The Golden Compasses: A History and Evaluation of the<br />
Printing and Publishing Activities of the Officina Plantiniana at Antwerp, 1–2, Amsterdam, 1969–1972.<br />
48 Relations between Plantin and Phalèse I have been studied extensively by Henri Vanhulst: H. VAN-<br />
HULST, La diffusion des éditions de musique polyphonique dans les anciens Pays-Bas à la fin du XVIe<br />
siècle et au début du XVIIe siècle, in H. VANHULST and M. HAINE eds., Musique et Société: Hommages<br />
à Robert Wangermée, Brussels, 1988, pp. 27–51; H. VANHULST, Les Phalèse, éditeurs et<br />
imprimeurs de musique à Louvain (1545–1578), Ph.D. diss., Université Libré de Bruxelles, 1984, 1,<br />
pp. 364–372; H. VANHULST, Suppliers and Clients of Christopher Plantin, Distributor of Polyphonic<br />
Music in Antwerp (1566–1578), in B. HAGGH ed., Musicology and Archival Research: Colloquium<br />
Proceedings, Brussels 22–23.4.1993, Brussels, 1994, pp. 558–604; and H. VANHULST, Plantin et le<br />
commerce international des éditions de musique polyphonique, 1566–1578, in Actas del XV Congreso<br />
de la Sociedad Internacional de Musicología, Revista de Musicología, 16 (1993), pp. 2630–2640.<br />
Beginning in 1570, Bellère acted on Phalèse I’s behalf as the sole bookdealer to the Plantin publishing<br />
house; he continued to act as Phalèse II’s bookseller until his own death in 1595. A few Phalèse editions<br />
were transferred to the Plantin firm through Bellère’s widow until 1597. Phalèse II had already<br />
established his own account for dealing with the Officina Plantiniana by 1584.<br />
49 The Nuremberg printer-publisher Paul Kauffmann was also important as a northern supplier of Italian<br />
music to Plantin. See Antwerp, Museum Plantin-Moretus, Reg. 795, Libri Venales, 1550–1670; and<br />
Antwerp, Museum Plantin-Moretus, Reg. 269, Catalogus Francfurtensis 1597–1618, transcribed in<br />
STELLFELD, Het muziekhistorisch belang der catalogi en inventarissen van het Plantinsch archief,<br />
pp. 18–23, 36–44.<br />
241