'+ ' .

::l
59 1
11~,•• ,.r

,.,,1•• u. ,.....001,

Ongi a from
Digitized by Go ogle PRINCETONUNIVERSITY
 Ongir>alfrom
Digitized by Google PRINCETONUNIVERSITY
 Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
A CATALOGUE- OF ONE HUNDRED
WORKS ILLUSTRATING THE HI STORY
OF MUSIC PRINTING FROM THE
FIFTEENTH TO THE END OF
THE SEVENTEENTH C ENTURY
I N TH E LIBRARY OF
ALFRE D H EN RY J.-,ITILETO N
( M •wr ef thr M1ui1in1 ' C••l4• J , 19 10- 11).

Pri,,,u1 hJ :J(OV£ LLO .!_ND CO., Ltd., La11Jon

.
1 9 1 1.

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 Ongi al from
Digitized by Go ogle PRINCETONUNIVERSITY
-HIS small Catalogue would never have appeared in
BJ;I print except for the fact that many of the works
were included in the Exhibition organized by the
Wor shipful Company of Musicians, and held at Fishmonger s'
Hall in 1 904-.
Mo st of the note s and illustration s were originally
prepared for the Illustrated Catalogue of the Exhibition
above referred to (published May, 190 9) .

~'?. ,
0 t;') s 3G5.l( i 5
ArR_,,~1
Original from
·°'g'""d
"'Go ogle PRINCETONUNIVERSITI
,,,,,,,.,,,
Google Original from
PR!NCETONUNIVERSITY
PsALMORUMConEx. Folio.
FuST AND ScHOtFFER, MAINZ, 1457.

Two leave, from the celebrated Psalter, the first book printed with a dated
colophon. Th e musical notation added by hand.
 Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 a. 6mnan~ anb .61Uit;trlanb.

GERSON
, J oHANNEs.
- Collectorium super Magnificat. Folio.
[CONRAD F vNu. ESSLJNGEN .J 1473.

Th e earliest known specimen of printed mu sical notation is conta ined in th is

volume. Th e notes printed at the same time as the lette rpress, not
stamped in afterwards: a collation with the copy in t he Briti sh Mu seum
confirm, this hitherto doubt ed point. Th e copy exhibit ed differs from
those in the British Museum and the J ohn Rylands L ibrary , Man chester,
in that both the latt er are without lines, whereas th e copy exh ibited
has the lines added in rtd by th e illuminator .
Joh annes Gerson, born at Gerso n, in the diocese of Rheims, in 1363 , was one
of the most em inent scholars and di vines of his time. Hi s Olltaori11mis a
myttica l elaboration of th e ideas conveyed by the words of the M agnificat.
The thesis in which occurs the music examp le is contained in the following
extract , translated from the original Latin :
' The nob le Apostle, th e child of the Got pcl, a child not in un derstanding,
but a child in malice, having live loaves of the food of doctrine for five
thousand men, said to the Corinthians: " I had rathe r Sp!ak five words
with my understandin g that I might teach others, than ten thousand words
in an unknown tongue." He prefaced it, too, by the example of the pipe
and harp, wh ich unless they give a distinction of sounds it is impouible to
know what is piped or what is harped ; also, if th e trumpet gives an
uncertain sound, who will prepare himself for the battle? And he
concludes that there is need of the feeling bot h of recognition and sympat hy
while anyone is prayin g, preaching, or singing psalms, so that according to
the metaph or th e spiri tual man may prepare himself to battle , and with live
most pu re stones from the brook of the Scriptures he may, IS a second
Davi d , having become a child, overthr ow Goliath -that is to say, Satan.
Th is is the parable of the mystic cantichord, or Song of the He lrt, which the
same Apostl e desires to be sung with the spirit , and to be sung a.lso with
th e und erstand ing. In the which Song of the H eart three thing s arc
found, IS in vocal song. Firstly, the subject of the song, which is called the
Letter [in the sense of the lmtr ol the law, in contradi ction to its spirit).
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 GER.MA:J,(I AND SW/Tl,ERLA:J(p

Secondly, the sound of the song, which is a.lied Resonance. Thir dly, the
figuring of the song, which is ea.lied Note or Marie. The subject of the
cantichord we term the holy and pure knowledge of all thing s divine and
human. The resonan«: we call every moderate and well ordered affection
of the heart and spirit. The note or mark we figure according to the
conception of the two preceding, so that to which of them the resonance of
the affections is to be fitted may appear from the feller of the meditations.
Upon this matter we will give a few vcr~, the purpose of which shall be
further explained, and this by a triple 5Ctof Jive.
'Five words for the lmer:
Magnificus, largus, pius es, justus, miserator.
Five affections for the harmony:
Gaudia , spes, pietas, hinc timor, atque dolor.
The adaptation of five vowels to the terms of the five affections;
A gaudens amat, E spcrat, sed I miscretur.
0 timet, U que dolens odit, & ista Notes.
'The form is accordi11gto the five Notes, sol, /11, mi , re, 111. • • Or let the
natural order of the vowels, taking away the consonants, be put, as shown
in the following figure:'•

~pc,,.olo10oN1 llff• ...,.; lliptil~ • •P1 inb.. ~s- ·

P sA LTERJUM ET HvM NARJUM. Quarto . [ 1,.70-80.]

No place or date . The stave lines only printed. Thi s frequently happened in
the case of early litur gical works, and possibly shows that the printer was
unahlc to print the notes; but it is more probable that the notes were
omitted in orde r that the autho rities of individua l churches might have
the opportunity of inserting the music of the service which was according
to their own particular 'use.'
• Tun,luion by Mr. G. F. Barwick, B.A.

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 GERMA:J(T AND SW/7Z ERLA:J,(,_D

R EUTL
INGEN,Huoo VON,-Florcs Musice artis. Quarto.
J. Puss. STRASBURG. [14 88.]
Wood blocks. Although printed in or about the year 1488, th e body of th e
work wu written u early u 1331. It consists of a Latin poem of six
hundred and thirty-five heu.meter verses, which are also leonine. In most
copies the verses run on continuously, without division of the lines, except
that each begins with a capital lette r. In this copy, however, the verse,
are printed in the usual manner. Th e smaller type is a running
commentary by an unknown hand . T he real name of the author was
Specht-.thardt,

AGENDAPARO
CHIALtUM
EccLESJA
RUM. Folio.
M1CHAIL W1tNSSUII. et j ACOIUS DE K1LCUEN, BASLE. t4 88.
T ype, red and black. In his article 'Note s on Early Music Printing,'
contributed to' Bibliogn.phica' (vol. iii., p. 112., 1897), Mr. Barclay Squire
1tates tha t this copy is probably unique.

WoLLrcK, N1couus.- Opu s Aureum Musice castigatissimum

de Gregoriana et Figuratiua atque contrapuncto simplici
per commode tractans . . . Quarto.
H1w11cvs QuuiTELL. COLOGNE. 1501.
The music examples arc printed from wood blocks.

. . . .I
T RITONIUs,PETRUs.- Me Iopot:e s1ve Harmom:e Tetracenucre
super xxii. genera carminum Heroicorum E legiacorum
Lyricorum & ccclesiasticorum hymnorum. Folio.
EaHAJ.OUS 0CLIN. AUGSBURG. [15 07,]
Type, two impressions, The earliest known example of music type applied
to mensun.l music in Germany. Undated, and probably earlier than
th e edition dated , 507. T he volume concludes with the following lines-
Inter germanos nostros fuit Oglin Erhardus
Qui primus intidas pressit in a:ris notas
Primus et hie lyricas expressit carmine muu s
Ouatuor et docuit uocibus a:rc eani.
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 GER:MA:J,(J AND swrn t RLA:J(D

V1RDUNG,
SEBASTIAN.-
Musica get ut scht und auszgezoge n <lu rch
Sebastianum. Oblong quarto.
Without printer 's name. BASLE. 151 1.
Bound in morocco by Riviere, with the original vellum cove~ preserved as
linings.
This extremely rare book (a small oblong 81 in, by Si in.), written in dialogue,
is quite cncydoprdic in its survey; moreover, it is the oldest work describing
the precursors of modern musical instruments. The illustrations arc by no
means its least attractive feature, The subjoined illustrati ons (reproduced
in facsimile) show (1) the Org cl with its three divisions of pipes, (2) the
Positive, a chamber organ, and (3) the Regale, an instrume nt which consists
of a single row of beating reeds, and interesting u being in some respects
the prototype of the modern harmonium. The lctte rpras of this quaint old
book contains some curious views held by the author---t.[., that kettledrums
are instr uments which cause I much unrest (or tribulation) to pious old
people, to sick folk, and to the devout in cloisten who have to read, and
study, 1.nd pray'; 1.nd §0 little do the drums find favour with Virdung,
that he goes so far as to say: ' l verily believe that the devil has inve11ted
and made them l '

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 GER.MA:J(J'" AND SWITZERLA:>(,_D

ZIRALDUs
, [G vRALDus
] L ILIUSGRAEG
ORJUs
.- Syntagma de Mu sis.
M A TTHIAS 5c H Ulllll, S'I'R4 SBURG. t pt.

R EUCHLIN,J oAN1s.-Phorcensis Scenica Pr ogy mna smat.a. Qu art o .

V ALE NTINUS 5c HUM AN. LEIPZIG. 1515 .
Th is work by the great' H umanist' Reuchlin, born at Pfonheim in 1+55,
consists of a Latin drama written for performance by the pupils of the
Gymnasium at H eidelberg, and is probably the earliest example of a play
writte n with such .a purpose. It contains two choruses, possibly the
composition of the autho r, who, like his contemporary Erasmus, owed
his earliest education to that of a choir school.

M1ssALE SECUNDU
M usuM EccLESI£ R ATisPONEN
s1s . . . Folio.
j o H ANN I S Pnn . BA~fBERG. 1 518.

SENFEL, L uoov1cus .- Liber Selectarvm Ca nti on vm qvas vvlgo

Mv tetas appe llant sex qvinqve et qvatvor vocvm . Large
folio . S 10JSMUND GIi.IMM et M A '-CUS WYRSUNO. AUGSBURG. I 520.

Separate voice parts on opening pages.

Beautifully bound in morocco by Zaehn sdorff, with the original leather
covers preserved as linings.
This rare and magnificent volume contains a most interesting series of Motet s
for six, five and four voices by the greatest masters of the time-
H enry Isaac, Josquin de PrCS, Pierre de la Rue, Obrecht, Mouton, and
L. Senff, under whose editorship the work was brought out at Augsburg
in 1520. It is a splendid example of music typography, produced by
two print ings and not by wood blocks as :isserted by Fctis, who apparently
had never seen the original work.

AGRICOLA, MARTIN. - Mu sica instrumentalis d eud sch yn n

wcl cher bcgriffcn ist, wie man nac h dem gesangc auff
mancherley Pfeiff en lern en sol, Auc h wie auff d ie Or g el,
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 GERMA:J(._T AND SWITZERLA:J(.D

Harffen, Lauten, Geigen, vnd allerley Instrument vnd

Seytenspiel, nach der recht gegrundten Tabelthur sey
abzusetzen. Duodecimo. GioRo RHAW. IYJITEMBERG. 1 519.

The second printed book on musical instruments. The real name of the
author is Shor, or Sore, as stated in the 154, edition of the book..

FRoSCHm
s, JoANNES,-Rervm Mvsicarvm Opvscvlvm rarvm ac
insigne. Folio.
P ETRUS Sc HCEFn R & MATHIAS APIAII.IUS. STRASBURG. 1535 .

Type: two imp!"Cssions. The musical examples arc beautifully printed.

Peter Scho:ffer,the younger, wu the son of Peter Schcdfe r the successor and
pupil of Gutenberg at Mainz .
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 GER,'J,fA :J(J AND SW ITZ ERU:J(j)

D1ETR1c
11, X1sros.- Mag nificat octo tonorum l..ibc.t.
primus (Altu s, ~ Sm:rll quarto.
J?.,nt,s 5cH0,rn.& MATHID ~ I. SOASBURG. ISJS·
Peril says that the only complete copy known is in the lt"'f&I Library
at M unich.
Presented to the FCtis Library (through Mr. P. lknoit), now forming part
of the Bibliothiquc Royalc de Belgique, thus making thei r copy complete.

L usc1NJUs[Nachtga]IJ,OrroJ. IAR.- M vsvrgia seu pra xis M vsicae .

Obl ong quarto. J oANNu ScHOTT. STtuSBURC. 1SJ6.
A tranalarion into Latin of Virdung's treatise: ( 15 11) with the wnc
illustn.tions . See.p. B.

H EYDEN, SEBALDUs. -D e a.rte cane ndi , ac vero signorvm in

cantib vs vsv libri duo. Quarto.
j oHANNU P na11uL NU•EMB1.ic . 15-40.
T ype: one impression.

Lt sTENrns,N1CALAus.- Rudim enta Music.e. In grat iam studiosz

inventatis diligCtur comportata.
H unucus ST1YNU. STRJ/SBURC. I S40-

GLAREANus
, H ENR1cusLoR1Tus.- D odecac hord on. Fo lio.
H 11r11.1CH1JI P1T1. 1. JI.ISLE. 1547.
T his rare and valuable treatise was written by H enricus l...oritus, Poct-
burcate, better known u Cbre~us, having been born in the Canton Cbru?.
T he object of the work wu to prove that the re were really twelve
ccdcsiutia.l modes, and that these "e re identical with the ancient Creek
modes. Ju gru.t interest, however, to modern musicians consisu in the
examples which it contains of the works of the older musicians, such as
J 0tquin de PTCS,H. Isaac, Okcghem, Pierre de la Rue, ~d othen.

Go ogle P~INCETON UNIVERSITY

 GER.UA:J(.. t AND SWl1Z€RLA:J(D

K1RCHENGESANNG,
TE.UTSCH UND LATEIN
ISCH. Folio.
JOH ANN VON Buo und Uu .lCH Niuau. NUREMBERG. 1557.
Ty pe : one impression.

DRESLER, GALLus.-Mu sicre Practicre Element.a in usu m Scholre

Magdebu rg ens is.
WoLFFGANG KIRCHNER. :MAGDEB URG. 157 1.

FABER, HENRICU
s.- Compendiolum Mu sicre Pro Incipi entibu s.
CONR.\DUS Counus. IIENRJ COPOLJ. 15 75.

P AMINGER, L EONARTU S. - Tert ius Tomus Eccle siasticarum

Cantionum, Quatuor, Quinque, et sex vocu m.
KATHARINA T1t!:OD0RIC I, G1RLACHIIrclicta. NURE:J.fBERG. 1576.
Four parts only, in fine old calf binding.

VLENBERG, CASPAR.-Die P salm en David s in aller lei T cutsche

ge sang-reimen bracht . . . 16mo.
Guw1 NUSC.utNTIUS und die Erben joH AN Q u1NTILS. COLOGNE . 1582 .
150 Psalms.

SALE, FRANCisco.- Missarum solennio rum , t.am san ctorum

quam Fe storum . . . . Primus T omus. Patro cinium
Mu sices. Large folio. Ao AM Buo. M UN1c11. 1589.

Larg e ty pe. Separate voice parts on opening pages.

Th e ninth volume of the f..mous' Patrocinium Mu siccs,' print ed at Munich
by Ad;un Berg, under the patronage of the Duk e of Bavaria, whence
the title of the collection . It is of the largest folio, with the voice part s
'en regard, ' i., ., each part printed separately on facing pages, on a
scale sufficiently large to be easily read by the whole choir from a single
copy. Seven of the eight previous volum es were entirely devoted to
works by 0. de Lassus.
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 GERMA:J{J AN D SW!TlERLA:J(D 13

PRAETORTUs
, MtCHAEL.
-Syntagma Mu sicum.
Thre e volumes in one.

T omus Primu s Complectens Duo s Part es : quarum Prim a

agit De Mu sica Sacra vel Ecclesiastica.
Pars altera : videlicet Hi storia de Musica extra Ecclesiarn,
Qme Prof.ma, Libcralis, Ingenu a, Human a, Genialis, &c.,
dici pote st. jOHAMIUS R1c11T
n. W/7TE:MBERG. 161 5.

Tomus Secundu s. D e Organographia.

Eu ~s H oLW!IN. WOlFFENfli.rTTEL. 1619.

With a supplement of wood engravinW' of instrum ents entitled:

Theatrum In strumentorum, seu Sciagraphia.
[HOLW!IN. ] WOlFFENBUITEL. 16zo.

Tomu s Tertius.
1. Die Bedeutung, wie auch Abth eil unnd Beschreibung
fast allcr Nahm en, der Italianischen, FrantzOsischen,
Engli schen, und jetziger zeit in Teut schland
gebr:iuchlichen Ge5ange :
2. Was im singen, hey den Noten und Ta ctu, Modi s und
Tran spositione . . . zu observiren.
3. Wie die Italianische und andere Termini Musici, als :
Ripien o ; Ritornello, forte, pian : . . . &c., zu
verstehcn und zu gebrauchcn. Quarto .
Eu ...sH o LWIIM, WOLFFENBU'ITEL. 16 19.
The Syntagma Musicum of M ichael Praetorius was designed as a complete
encyclopzdia of musicaJ knowledge'. Th e author, whose re1l name was
Schultheis, was born in 1571 or 157z, and died at Wolfenbiiuel in 16z1.
T he first volume, which is in Latin, treats of the sacred music of the J ews,
with an account of the musica] instrum ents mentioned in the Bible, a
history of sacred music in the Roman Church and its offices. The second
part of the volume treats of the secular music of the ancients.

Oigib,ed by Go ogle Original from

PRINCETONUNIVERSITI
. GER.:J.1A:J,(JAN D Sff/11ZER L A"(D

In the second volume the author discards the Latin language and proceeds to
describe the various instruments in use at that time. Thi s description is
accompanied by a series of excellent woodcuts of these instruments.
The third volume treats of contemporary music in Italy, France, Eng land,
and Germany, with directions for reading music and an explanation of
Italian terms.
The fourth volume was to have treated of counterpoint, but the death of the
author on his 50th birthday prevented the completion of his design.
[J.E.M .J

FLUDD , R oeERT (Med . Doc . Oxon.).-De Templo Musicre,

in quo Mu sica universalis tanquam in spcculo consp icitur
in Libr os septem divisa. Folio. OPPENHEIM. 1618.
With illustration s of musical instruments, and music printed from engraved
plates, type, and wood blocks.
Thi s is the second book : part two of Fludd's cncyclopzdic work.

W AGENSEIL , JoHANNCHRISTOP HER.-De Sacri R om. Imp erii Libera

Civitate Noribergensi Commentatio . Accedit, de Germaniae
Phonasc orum, von der Meister-singer origi ne, prrestantia,
vtilitate, et institutis, sermone vernaculo liber. Quarto.
W1LHILM KOHLU. ALTDORF. 1697.
At p. 433 is a second title, to the Appendix :- • Johann Christof Wagcnscils
Buch von Der Mcisttt-Singer H oldscligcn Kunst.' Wagner made large
use of the Appendix in finding materiaJs for his opera• Die Meistersinger
von NUrnbcrg.' At p. 515 is given a list of 12 f.unous NUrnbcrg masters,
each of whom was adopted by Wagner for his drtu11111is pmo111. At
p. 517 is an account of H annss Sachs; at p. 518 the T ablatur is
described, and at p. 521 arc words which Wagner has turned into verse for
Act I. Page 53+ ~gin s with a long list of 'Tones,' Kveral of which
Wagner mentions ; at p. H l the arrangements in St. Katherinc's Church
for a meeting of the: Mastersingcrs arc minutely described, exactly as they
appear in Act I.; and opposite to p. SH four 'Crowned Tones' arc
given, the first of which Wagner has adopted u one of his Mastcningc r's
motives.
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 b. ltalR,
N1 GER, FRANc1scu
s.-Gramm atica Brevis. Quarto.
THIODOlU S FRANCU S. YENICE. 148 0.

·0~ =ci oci °o= 9

Gooo=o·
1nlli cia<Jc1«1ica,n1ar-rupa1,ai.
HEROICABEWCA.
Haoica~haanoniaiquautimurinillas
. amunib.decinandiaquz6cllia r.ttad,oru
homiauq,dd'aibuaacuimnumaiCu,taies,

Coooooo11 ====oo= j
8cllafbemwi DI p~ciui ~ &Qmpc>I

·G=ootHl:I 1:10·01:1
00 =0 0 9
Iul'~clatufalai animuspapuhi~potmti

c=0 000,===ao,oe> 9
ln{u auittriciconuffllluifcaadcxm
..
fACSIM I LI OP A P/\ CI flOM '01.AMMATICA BllVIS' BY flANCl5CUS N'IGIJ.. 148 0.

The earliest known specimen or secular music printed from type by :any °"
other method. Th e notn arc printed from type without a stave. (See
faa.imilc.) In the next cdilion, lb.sic, 1500 (in the British Museum),

Digitizedby Go ogle PRINCE~;s~a~~~~ERSITI

16 I TALT

the stave it intcrtcd . The notn. although those of oongs, ~ here u~d
to 1how the length 1nd acttntuaiion of the 1yltablcs and the risc and
faUofthevoicc:inthe l talianmclhodofchan!ingLatinpoct:ry,
Jn connection with the hittoryof mu,ic ,printing thi, wa
,
pcrhapt the mott
imi-tant book 1hown in the Exhibition, and one IIKll"COVerthat tcemt
to have esapcd the notice: ofmu,ico-bibliogniphcn. It it the fim
book containing mdodies or songs, a, Gcr1<1n '1 'Collectorium' of 1-473
hu on ly five nottt. T he printer of the •Grammatica Brevi1' mu11 have
pottc,tcd a more or les, complete fount of mu•ic type ; thi, book may
havcbttn hi1 li1"Jtventure in thea rto f mu•ic-printing, and 90 far u is
known he would sccm to have b«n the fim prxtical printe r of
non- liturgical music.

GAruRrus, F RANCHINU
s,- T heo ricu m opu s mu sice. Q uarto .
F kANCUCo DI D 1No. /V,U'Lt:l. 1-480.
The earliest printed tl'C;ltitc on music. Th e book contains no printed musica l
examples, but several blank , paces, including or>e whole ~. arc left for
thnc u ampl... to be inserted by hand . In thit copy they have been so
inserted hyacontempor:aryscribc.

MI SSAI. E SECUNDUM O JWINEM F1tATRUM PREDICATO RUM, Q uart o .

T ypc,rcdandbl1ck.
The third liturgica l work with musical n.omion printed from type. The li n t
wu printcd by Ulrich H ahn,of lngol11adt,at Rome, in 11-76, and the
sccondbyOctavia nu s Scotus,at Veni«,in 1-481.

BuRTIUS1 N 100LAus. -M usiccs Opusculum : cum dcfcnsione

Guid onis Arctini . Quarto. Uoo 01 Ruoun 1. 110Lociv ,1, 1-487.
Thi , book i, of grnt intcrC5t ll forming p:irt of a controversy on rhe system
of hcnchord s which was carried on with much bitterness, and a plent iful
usc of bad language-, between a Spani•h musician, Ramis de Parcija, th e
 ITALr '7

author, Spau.ro, a pupil of Parcija, and the funous Gafurius. To us,

however, its principal interest centres in the fact th at it contains some of the
very earliest attempts at music-printing. Th e first example of the use of
wocxl blocks for music-print ing.

,•.1
. .uc;
• UA

' ,.~ . I • I I
~ u "LIU
.
.A

•
-
.. . .r·
tenor 1
UA
-v

- I

.. ,.
-
. R• !i••
contra 'J_ "
r::=i::.
·~
-
FACSIMILlt OF A PAGE fROM' MUSICU OPUSCULUM'
"I
A

IIY l'IICOI.I\US BURTIUS. i,t. 8J.

GAFURJUs,FRANCHINUs,-Theorica Mv sice . Fo lio.

P111. PttlLIPl' UM MANTEGATlUM DICTUM CASSANUM. MILAN . 1492.

Th e second edition, with musical examples printed from wood blocks: the first
edition having spaces left for the musical examtllt.'S to be added by hand.
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
18 I TALT

V ERARDU s, MA RGt:LLINUs.-Cac scnatis Elegia. Octavo.

Wood bloclu Ec cHAlllUIS1uu, .+in Fu. Ncic: . iOME . 1493 .
Th is is a fragment forming the tcron d pt.rt of• Cacscnatis H istori a 8 1e1in,'
by Carolus Vcrudus, • dn.ma on l1lt cetaqu.c_slof Granad.., acted at Rome
in 149:2. 1ltc £l cgics. by his nephew :uid pupi1, Mwcdl inus Vennlus,
arc iotfo,.,eo by a tong, sung in the drama, thll being the earliest cumpl c
of KCulu music printed at Rome.
Presented to the British Mu seu m Library , thus making the copy ther e
complet e.

G AFUR1us, us.- Practica Musice.

FuN cH1N Folio.
Wood blocks. Cu1u ..u .i w1 S1cnu. 1. MIL,IN . 1496.

GAFUR1us, F RANCIIINUS. - Mu sicc utriusquc cantus practica.

Folio. AHcnt1s B 11TA1011cus. n1sc1,1 . 1.497.
Second edition of the Practica Musioc.

BoETmus.- Dc Arithm ctica ad Patricium summachum libri

duo . De Mu sica libri quinquc . De Gcometria libri duo.
Folio. 1 ru.n.u. YENJCE. 149 9.
J oAHH 11 & Cuoo1.1us 01 ouooa 11

G AYURIUs, f kANCHINUs. - Practica Musicac utriu squc ca.ntus.

Folio. BnM.uo,No MmNTA 01 P"''" · BRESCIA. 150::. .
Third edition.

Mon :n1 A CINQUE. Libro primo. Oblong quarto.

0rTAVIANO DI I Pna ua: 1. YENICE . 1505.
Collection of eighteen M otettl by various composcn. Supcrius part only,
(One complete copy only known.)
The practical devd opmcnt of type music,printing had to aw1it the advent
of Ou aviano Petru cci, who began to in ue musical pub lications in 1 501.
For many years he wu looked upon u the invento r of music-printing from
movable types. T his was , of course , not the case, u movable types were
used for the music in liturgical work.I twenty years before Petrucci' , time.
T o him must, however, be urardcd the credit of bringing music,pri nting to
perfection , and he has the further distinction of having been the first pcr,on
to devote himself chiclly, if not entirely , to music-printing and publishing.
H i, fount of music type wu to beautiful, &nd the whole of hi, workman •
, hip ,o perfect, that it la.l'ttly admitted of improvement.

Go ogle P~INCETON UNIVER~1TY

 !TALr 19

- De
GAFURIUs, FRANCHINUS. H armonia Mu sicorum In stru -
ment orum. Folio. GoTu.ou s Pot1TAt1us. MILAN. 1518.
Setting uide the • Apologia aducrsus Joanncm Spartarium,' which is purely
controversial, the original printed works of Gafurius are three in number,
although the editions vary in important particulars:-
(i.) a. Theoricum opus armonicc discipline. Naples, 1480. Quarto.
h. Thcorica Mu sice. Milan, 1.,i.92. Folio.
After a series of quotati ons from all the writers of antiquity in praise
of music, the author proceeds to expound the principle5 of music
b:lsed on the writings of Boe1hius, followed by an explanation of
the musie of the Greeks , the division of the monochord, and the
solmisa1ion of Guido d" Arezzo. The Quarto Editio11 is the
first printed work on music bearing a date.
(ii.) a. Practica Musi cz quattuor (sic) libris comprEhensa.
Mi lan, 1496. Folio.
h. Musicc utriusquc cantus libris quatuor modulatissima,
Brescia, 1497. Folio.
,. P ractica Mu siae quatuor libris comprirhensa.
Brescia, 1502. Folio.
d. Practica Musicz utriusque cantus quatuor libris modulatissima.
Venice, 1512, Folio.
This work consists of instruction in plain song, mensurable music
and counterpoint. It contains a large number of musical example5
printed from wood blocks, which in the editions of 1496, 1497,
and 1502arc identical. In the Venetian edition these have been
re-engraved.
(iii.) De Harmoni a Musicorum lnstrumcntorum Opus. Milan, 1518.
Folio.
The only edition of this book. It consists of a learned treatise
on the music of the Greek s. It s great interest in the
present day is the life of the author by Pantalcone Melegoli.
Th e Angelicum ac divinum opus musicc . . materna lingua scriptum,
Milan, 1508, Folio, is an epitome of the Th coricum opus and of the
Practica Musice in the Italian language, in deference to the want of scholar-
ship of many of the musicians of that day. One copy only is known of an
earlier edition of1h is work, Milan, 14-96,in the Mus &: Calvct at Avignon.
All the work.s of Gafurius arc uncommon; the quarto of 1480 is of
considerable rarity.- ). E . M .
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 /TdLT

AARON,P1ETR0.- Thoscancllo de la M vsica. Folio.

Bn NARDINO et M A TTHEO DI VITALI. YENICE. , P3·

FoLJANus, L uoov1cus. - M vsica Theorica. Folio.

J o. A NTO N I U! & F llATUS DE SAB I O. YENI CE. I 529 .

MoTTETTI DEL FRurr o.- Primvs Lib er cvm qvinqve vocibvs.

Quarto. ANTONIO G A RD ANE. YENICE. 1538.
Five separate parts. T ype: one impression.
Th e first work printed by Gardane, afterwards Gardano. It is probably the first
attempt in Italy at printing from type at one impression, which process is said by
Fournier(' T raitC historique et critique sur l'origin e et lcs progre5 des caractCres
de fonte pou r !'impression de 11 musiqu e,' Berne, 1765) to have been invented
by Pierre H aultin, of Paris, about the year 1525, and to have been brought
into practic-.tl use by P ierre Attaignant, also of Paris, and other printers,

A RON,P1ETR0.-Tosca ncllo in Mu sica. Folio.

MARCHIO SESSA. YEN/CE . 15 39.

C1rRIANI (R o RE).- Mu sici cccclcnt issim i, c um quibusdam alii s

Docti s authoribu s motectorum : Liber primu s. Quinque
vocum . ANTO N IO C A RD ANI. YENI CE. IH+
Five separate parts.

ARON, PI ETRo.- Lvcidari o in mvsica di alcvn c op peni oni antic he

et modern c . Quarto. GIROL A MO ScoTTO. YENJCE. I S.45·

ExcELENTJSS, AuTORUM DI VERSE MoDULAT

JONES
. . . . Liber
Primu s. Cu m quinqu e voc ibu s.
ANTONIO GARDANE. YEN/CE. 1549.
F ive parts in one volume .

IL P Rmo LIBRO DE MADRI GAL! A Q uATROVo ci, de div ersi Autori

a Notte ne g rc, Con la sua gi unt a, Nouamcntc ristampati,
& co rr etti. Oblong quarto. H1 DoNvMus ScoTus. YENICE. 1550.
Bassus part only.
Contains 38 Madriga ls by Berchem, Festa, Archadelr, Fer rabosco, Naich, and
other composers,

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 lTALT

V1cF.NTJNo, N1coLA.-L ' antic a mvsica ridotta alla modema

prattica et con I' inventione di vno nvovo stromento.
Folio. ANT0N10 BAu.1. ROME. 1555.

PORTRAIT OF NICOLA VICINT I NO FROM HI S ' L' ANTICA MUSICA.' 1555.

Lus1TAN0,V1NCENT10.-lntrodutti onc Facilissima, et Novissima,

di C1nto Fermo-, Figurato, Co ntrap onto sempli ce, et
inconcerto. . . . FRAN CISCO M ,UCOLINI. YEN/CE. 1 558.

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 ITALT

ANntuCIA,JoANNEs.-Missarum Libcr Primus. Large Folio.

Apud haeredes VALEJ1.11 & ALOYSIID011co1uM fratrum Bi-ixiensium.
ROM£ . 1567.

JoANNELLUs, P ETRus.-Novi Thesauri Musici Liber Primus ....

Quarto. ANTONIOGAROASO. Y£NJC£. 1568.
Sextus part only of the live books.
A very fine specimen of printing, with numerou s portraits and coats of arm s.

CARoso, F ABRITio.-11 Ballarino . . . Diuiso in due Trattati j

Ne! primo de' quali si dimostra la diuersit:l de i nomi, chc si
danno 3.gli atti, et mouimcnti, che intcruengono ne i BaJli :
& con molte Regole si dichiara con quali creanze, et in che
modo debbano farsi.
Nel secondo s' inscgnano diuerse sorti di Balli, & Balletti
sl all' uso d' Italia, come 3.qucllo di Francia, & Spagna.
Ornate di molte Figure.
Et con I' lntauol atura di Liuto, & ii Soprano della Musica
nella sonata di ciascun Balle. duarto.
FRANctsco ZruTTt, YENICE. 1581.
A Treatise on Music and Dancing, printed from type with nblature, and
containing numerous illustrations.

MERuLO,CLAUDIO. Toccate d' lntavolatvra d' Organo. Libro

Primo. Libro secondo, 1604. Folio.
S1MONtVuov10. ROME. 1597.
Engraved plates.
Simone Verovio appears to have been the lint printer to use e:ngn.vcd copper
plates; his earliest known publication of this kind is date:d 1586.

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 ITALT •J

P ERI,J Acoro.-Le Mvsiche di Jacopo Peri, nobil Fiorentino,

sopra L' Euridice <lei Sig. Ottavio Rinuccini. Folio.
GtORGIO M ARESCOTTI, FLORENCE. 1600.
Printed, in full score, from type.
'It [" Euridice "J wa1 first performed in F lorence in 1600, and has the singular
distinction of forming the actual starting-point of modern opera. Its general
plan scrved as a model upon which successive generations of composers built
and elaborated, adding new artistic devices, intensifying expression, widening
the scope and enriching the df cct, branching off into various schools, and
manipulating their musical material in acrord.ancewith differences of temperament
and atti tude towards artistic problems; but never leaving a gap in the constant
development of operatic art, from the initial standard of the slenderest simplicity
up to the voluminous claboratious of the most passionate modern examples.'
(Sir Hu bert Parry in 'The Music of the Seventeenth Century,' vol. iii. of
' The Oxford Hi story of Mu sic,' p. 30.)

NE GRI, CESARE.-Nvove lnventioni di Balli. Folio.

Gut.0LAMO BoR DO!U. MILAN, 16 0 ...
With ss engraved plate, of dancers, by Leon Palavicino.
FRESCOBALD
I, GIROLAMo.- Toccate e Partite d' lntavolatvra di
Cimbalo. Libra primo . Folio.
NICOLO BORBON!, ROME . 1615 .
Engnvcd plates.

FRESCOBA
LDI,G1ROLA M0.- Toccate d' Int avolatura di Cimbalo et
Organo Partite di diverse Arie e Corrente, Ba.Betti,
Ciacone, Passachagli. Libra Primo. Folio.
N1coLOBouo NI. RO~IE. 1637.
Engnvcd plates.

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 ;tranct anb tb, tlr tbtrlanbs .
M1 ssA LE SECUNDUM usuM R o:. 1ANE Eccu:.s1E. Folio.
MATI II AS H us. LYON S. 14 85.
Stave only printed.

SouTER L1 EDEKENS GHE~ IA ECT TER EEREN GoD s, 01' Al.LE DIE P sAL:\ I EN

VAN D,wrn. Small octavo . Snws CocK. ANTWERP. 1HO .

T ype : red and black.

Th e second book contai ning musical notation printed {from type) in the
Net herlands. Th e first editio n of thi s book-a small selection of Psalms-
appea red one year earlier, in 1539. In 1515 J an de Gheet printed at
Antwe rp a collection of verses and music in praise of t he Emperor
Maximilian : the music, by Bcnedictus de Opitiis, is printed from
wood blocks.
150 P salms.

GERVAISE, CuunE.-Quart Liur e contenant xxvj. Chansons

Musicalles 11troys partie s. Oblong octavo.
Pu1u,1 ATTAIG NANT. PARIS. 1550.
Type : one impress ion .
Attaignant was the foremost music printer in France during the 16th centur y.

D,WANTEs,P1ERRE.-P scavmes de David, mis en rh ythme franc;oise

par Clement Marot & Theodor e de Bcszc, avcc nouvelle &
facile methode pour chanter chacun couplet des Pseaumes
sans recours au premier. Octavo . LYONS. 1560.
Type: one impression .
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 FRA:J(_CE AND TH E :J(ETHERLAND S
Davantcs claims to have invented the numerical nota tion which appears in th is
volume for the fint time.

r, r !I ., 1 ., ,; ., J 1.1
,...Q.·+ .., - - .._.,. .. ,._
. ,,. .

PACSIMILI or A PAGE FROM. J'Sr.AVMU Ol DAVID, ' ll Y PID.11.E OAVANTU, 156o.

B ATAILLE1 G ABRIEL.- Airs de Diffi.:rcnt s Authcurs, mis en
Tab lature de Luth. Quarto.
Seven books in one volume . P 1u.1 1 B ALLAII.D . PARIS. 16 1:1- 161:1.

STARTER, J AN J ANsz. - Fricsche Lust- H of, Beplant met

vcrscheyden stichtdij cke Minna:-Liedckcns. . . . Oblong
quarto. B11.ou j ANSZ. AM STERDAM . 163+.
With etched illustrati ons.

,, ,,,,db,Google Or
PRINCETONUNIVERSITY
from
 englanb.
H1 GDEN, R ANULP
H.-Policroni con: Englysshed by Syr Johan
de Trevysa. Folio. WvNKYN ot Wo11.01. WESTMINSTER. 1-495.

Th e earliest known specimen of musical notation printed in Engh1nd. In

Caxton's edition of this work (148"1.)the space is left bl:lllk for the notation
to be filled in by hand. The book contains one music example only, of
which the following is a facsimile:-

The passage in which the notes occur describes the consonances of Pythago ras :
1hc doub le octave is wrong ly printed, containing a note too much.
In printing this book Wynkyn de Wordc, Caxton's pupil and successor,
solved the difficulty of ' sett ing up' the above music example by putting
together the 'quads.' and 'ruks' uKd in his ordinary typographical work.
Thus by a practical application of the old adage • necessity is the mother

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 E.'>I__
GLAND '7

of invention,' Wyn kyn de Word c really, though unconsciously, invented

type music.pr inting- that is to say, the printing of the lines •nd notes at
one imprcuion .

TH E P SALTER OF D AV ID NEWLY TRAl'-SLATED I NTO ENGI.YSH

_ M in RE • • • Wh erunt o is added a note of four partcs
RollU.T C 11.
0WLn', LO ND ON. 1549·
Th e' note in four partes' is the tirst example of a douh le chant.
On ly two ot her copies appear to be kno wn.

M ERBECKE, J oHN.- Th e bookc of Co mmon praicr noted.

Qu art o. RICHARD GRAFTON. LONDON. 1 550 .

• The bookc of Common prnicr noted' was compiled in r 550, under the
patronage and superintendence of Archhishop Cranmer, by that en1husiastic
student of H oly W rit , and man of piety and learning, John Merbec ke. It
was not merely a m"an ua1 for the performance of Matins and E vensong , but
contained also the whole of the Office for Ho ly Communion noted word for
word throughout, according to the Fi"t P rayer Book of King Edward VI.,
that compilation preceding it by one year.

In this manner Me rbccke's book supplied a deficiency sure to have been fdt
throug hout the country, on the substitution of the E nglish for the Latin
office. It is not easy to discover the precise extent to which Mcrbcc ke's
book was used in the E nglish Calludral service during the latter half of the
16th and earlier part of the 17th centuries. Primari ly inte nded for the use
of the Chapel Royal, it constituted a model for the whole count ry, and its
adoption , on the whole, as the authen tic choral book of the Church-not
only for choirs , but for congregation s likewise-is placed beyond all doubt.
Ba!C<l,musically, on the Use of Sa.rum, it tormed a complete antiphona rium
for the reformed liturgy; in fact, it was the ' H elmore,' the • Redhead,'
the ' M ercer,' the ' Cathedral Prayer Book' ot modern times. It was
not, as many appear to suppose, a new composition, or series of
compositions, but merdy an adaptation, to the words of the E nglish
liturgy, of that notation which had been in use from time immemorial
in the Eng lish Church.-] . S. B.

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
28 E:J(GLAND
~~~~~~~~~~

U TENHOVE, j AN.- Hondcrt Psalmen Dauids . ouerghese tt

in Nederlands chcn dichte . Duodecimo.
j oHN DAY. LONDON. 1561.

....-!'.:.=--...
·---bfnlJll&nqc .....
f!t1ttd1Eltu1)..,;,,,.,1)..,,

-==~~-==
_,,,.._.~
Gffl±'
'Pfal,,,.cxliiii,

......................
• 11·,."
-..

M ty11I1,,.:
0

____
~.i,
""'""fm' "'""*''·
.....
......·,11,.7
.,,
ht 1• 1I .ul
0
fACSIMIU. OF A PAGE FJ.OM < UONOU,T PSA~MEN DAUll>S, BY J AN UTENIIOV I. 1561.

THE WH OLE B001rn OF P sALMEs collected in to Eng lysh metre

by T . Starnh old, I. Hopkin s, & ot hers. With
A shorte Introduction into the Science of Mu sickc. Quarto.
j o t1N DAY. LONDON. 156'1.
Eight leaves at end, and one other in fucsimilc.
It was long thought that only one copy of thi s edition w:lS in existence:
thr ee copies at least arc now lcnown--one in th e British Mu seum, one in
the J ohn Rylands Library , an"dthe copy here referred to.
150 Psalms. Tunes frequentl y repc:itcd.

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 E:J(GLAND '9

in foure partes, which e may be song to

THE WHOLE P sALMES
al mu sicall instrumentes, set forth for the encrcasc of vertue:
and abolishyng of other vayne and triflyng ballades. Four
separate parts. Oblong quarto. JoHN DAv. LONDON. 1563.
Mcdiu s, Contra T enor , T enor and Bassus.
Type: one impr ession .
Contain s only sixty-on e Psalm s, many of them set several times; also
includes settings of the Canticles, Creed, Prayers, &c.

WOODCUT FR.OM 'T H I WHOLE PSALMts IN FOUR! PAR.TU,' PIUNTJW BY

JOHN DAY IN 1563.

M oRNYNG AND EuENYNG PRAYER AND Corn,IUNION, set fort hc in

foure parte s, to be song in church es, both for men and
children, wyth dyuers other godly prayers & Anthems, of
sundry mcns doyngcs. Fo lio. Jo11N D Av. LONOON. 1565.
Sccundus Contra-tenor part.
T ype: one impression.
The ear liest printed collection ot Service$ and Anthem $ for the Eng lish
Church.

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
JO E:J(GLAND

STERNHOLD, THOMAS, HoPKINs, J., AND OTHERs.-The whole

booke of Psalmes, collected into Englishe Meter,
. . with apt Notes to syng them withall. Small folio.
j OHN DAY. LONDON. 1565.
150Psalm s.

STERNHOLD, THOMA S, HorK1N s, J oHN, AND OTHERs.-The whole

booke of Psalmes, co1lccted into Englishc Meter, . . . with
apt Notes to sing them withall. Small folio.
joHN DAY, LONDON . 1567.
150 Psalms. Tunes frequently repeated.

TALLIS, THOMAS and BYRD, W ILLIAM,- Cantiones, qvae ab

argvmento sacrae vocantv r, qvinqve et sex partivm. Oblong
quarto. THOMAS VAUTROLLIER. LONDON, 1575.
Type: one impression,
Five parts in the original vellum. Contra-tenor unbound, wants 4 pp. at
end.
The first printed collection of Motet s or Anthems for the Engli1h Church,
and the fint work printed for Tallis and Byrd under the Patent gra nted to
them by Qu«n E lizabeth in the same year; this Pattnt gave the sole
right to print ud import music hooks. A line specimen of type printing
of the period.

STERNHOLD
1 THOMA S, HorKINs, J oHN, Wm1TINGHAM,W ., AND
OTHERs.-The whole Booke of Psalmes. Small quarto.
JOHN DAYI. LONDON. 1578.

BYRD,W1LLJAM,-Psalmes, Sonets & songs of sadncs and pietie,

made int o Musicke of hue parts. Quarto.
Five parts in one volume. THOMAS fusT. LONDON. 1588.

YONGE,N1cHoLAs.-Mvsica Transalpina. Madrigales translated

of foure, hue and sixe parts, chosen out of diuers excellent
Authors, with the firs~ and second part of La Perginella,
made by Maister Byrd, vpon Stanz's of Ariosto . . . . and
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 E:}(GLAND . 3'

brought to speake English with the rest. Publi shed by

N. Yong e, in favour of such as take pl easure in Musick of
voices. · Quarto. TH OMAS EAsT. LONDON . 1588.
Six separate parts.

BYRo, WILLIAM.-So ngs of sundrie nature s, some of grauitie, and

others of myrth, fit for all companies and voyces. Lately
made and compo sed into Mu sicke of 3. 4. 5. and 6. parts.
Quarto. TH OMA$ E AST. LONDON. 1589.

Six parts in one volume.

Contra-tenor wants 2 pages, Su~rius wants 5 pages.

W ATSON
, TuoMAs.-The first sett, Oflt alian Madrigalls Engli shed,
not to the sense of the original! dittic, but af!.er th e affection
of the Noate. There are also hecre inserted two exce llent
Madrigalls of Master William Byrds, composed after the
Italian vaine, at the request of the sayd Thomas Watson.
Qu arto . TH OMAS Esn . LONDON. 1 S90·

Six separate parts.

The two madrigals by Byrd referred to in the title-pag e are two distinct settings
of the words' This sweet and merry month of M ay,' one for fou r voices,
the other for six voices.

STERNHOLDAND H orKINS.- The Wh ole Booke of Psalmes.

Quarto. JoH N W1 NOIT. LONDON. 1594.

Bound, with a Bible dated 1595, for King Jam es I., the Royal Arms stamped
on the cover.

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
32 E:J(GLAND

YoN GE, N1cHOLAs

.- Mu sica Transalpina. The Second Booke
of Madrigalle s, to 5. & 6. voices : translated out of sundrie
Italian Authors. Quarto. TttoMAs Esn. LONDON. 1597.

Six separate parts.

MORL EY, TH OMAS .- A Plaine and Easie lntrodvction to Practical

Mvsicke, set downe in forme of a dialogue. Folio.

Pnu SHORT. LONDON. 1597.
Imperfect.
This book, more often quoted than seen, is more or less familiar from its
introduction describing how Polymathcs, 'supper being ended and musicke
books brought to the tab le,' found himself unable to take his put, of
which he was so ashamed that the next day he betook himself to
Master Gnorimus 10 repair the defects of his educatio n. Thi s is carried
on by question and answer. It is a clear exposition of the art as practised
at the time, and the book retained its popularity for many years, having
been reprinted as late ;u 177 1,

WARD, JoHN.-T he Fir st Set of Eng lish Madrigal s to 3, 4-, 5 and

6 parts : apt. both for Viols and Voyc es. Quarto.
THOMAS SNODHAM. LONDON. 16 13.
Six parts in one volume.

TAILOUR,R oBERT,-Sacred Hymn s. Cons isting of Fifti Select

Psalms of David and others, Paraphrastically turned into
English Verse. And by Robert Ta ilour, set to be sung in
Five parts, as also to the Viole, and Lute or O rph -a rion.
Quarto. THOM AS SNOOIIAM. LONDON. 1 615.

Type and tahlatu re.

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 E:J{GLAND 33

R AvENSCRoPT,TH oMAs.-The Whole Booke of Psalmcs: with

the H ymncs EvangelicalI, And Songs Spiritvall. Composed
into 4. parts by sundry Authors.
Fot. TH I COMPAN Y OP 5TATIOJUU. LONDON. 1611.

PACSIMILI! OP T H I TITLI-PAGI or 'THI WHOLI IOOlt.! or HALMES,'

BY THOMAS kAV.1!.NSCROFT. 1611.

This Psalter contains a tu ne named ' Christ H ospitill Tune,' which is

3"igncd to Psalms 71 and 107. As one Thomas Ravenscroft held the
office of music-master at Christ's H ospital from 1618 to 16:22, there is very
little doubt th at he and the composer were one and the same person
though no biographer has called attention to this coincidence, if not &et.
Originalfro n,,
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
34 E:}(GLAND

WtTH GEORGE.-The Hymne s and Songs of the Church ...

ER,

Duodecimo. LONDON. [1613.)

The tunes arc by Orlando Gibbons,

BuTLER,CHARLEs.-The Prin cip les of Musik, in Singing and

Setting, with the two-fold Use thereof, Ecclesiasticall and
Civil. Quarto . JoH N HAVILAND. LONDON. 1636 .

The Author incidcnta.lly gives the blawning of the arms of the Worshipful
Company of Musicians. The book.is printed in spccia.l type to illustrate
the Author's system of phonetic spelling .

LAwEs, H ENRYAND W1LLIAM.-Choice Psalmes put into Musick

for Three Voice s. Quarto.
jAMIS You1,;o for HuMPHUY Mosruv and R1ctt,uo WooJ:NO'J'HJ:.
LONDON. 16.8.
Three parts and thorow Base in one volume. Each part has an engraved
portra.it of Charles 1., believed to be the last published before his
execution. Among the many commendatory verses prefixed to the work
is the Sonnet addressed by Milton 'To Mr. H. Lawes on his airs,'
beginning, ' Harry, whose tuneful and well-measured song.'

PARTHENIA, or The Mayden -Head of the first Mu sick

that ever was printed for the Virginalls. Composed
by three famous Mast ers ; William Byrd, Dr. John Bull,
and Orlando Gibbons, Gentlemen of Hi s Majesties Chappell.
Folio. J oHH CLAII.K.I!, LONDON. 1655.
Printed from engraved plates, The first edition, published in 1611, was
the first English collection of music thw printed.

PLAYFORD, J.-A Brei£ Introdu ction to the Skill of Musick : for

Song and Viol.
w. GoDRID , for JOHN PLAYFORD. LON'DON. 1658,
Only two or three copiu of this edition appear to be known.

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 E:J(GUND 35

SIMPSON, CHRISTOPHER.-The Division Violist: or, An Intro-

duction to the playing upon a Ground. Folio.
W 1LLIAM GoDIID for JottN PLAYFORD. LONDON. 1659.
With illustn.tions and music printed from engraved plales and also from
'¥1'<·

PLAYFORD, JoHN.-A Brief Introduction to the Skill of Musick.

In two Books. Fourth Edition much enlarged. Duodecimo.
w. Goo110 for J. PLAYFORD, LONDON. 1664.

In this, the fourth edition of his popular treatise, Playford thus refers to the
Worshipful Company of Mu sicians:
'Charles lhe Ninth of France, out of his great love and affection to Musick,
did establish a Musical Academy and the Constitutions thereof, and
confirmed the same with his own hand and Seal, professing himself
Prot ector and first Auditor. Th e like did our second Solomon King James
to the Mu sicians of London, granting them his Letters Patents for a Society
and Corporation, And gave them for their Arms Azure, a Swan Argent
within a Tr essure Counterflour, Or, and in a chief Gulcs, A Rose between
two Lyons Or, and for their Crest the Sign (called by Astronomers) the
Orphcan Lyre.'

S1MPSON,
CHRISTO PHER.-C helys, Minuritionum Artificio Exornat a.
The Division-Viol. Second Edition. Folio.
w. Goo110 for H [NRY BR OM ! . LONDON. 1667.

SALMON, THOMAS.-An Essay to the Advancement of Musick,

by casting away the Perplexity of different cliffs, and Uniting
all sorts of Musick, Lute, Viol, Violin, Organ, Harpsechord,
Voice, &c., in one Universal Character. Duodecimo.
J. M ACOC" for JoHN (AR. LONDON. 16 72 .
Under the heading of 'Th e objections answered' the author foreshadows
the Suez Canal, in the following extract :
'Suppose the old project was brought to pass, that the nook of Land, which
joins Afrita to the continent of Asia, was divided, and so a passage out of
the :Mtdite"a11ea11,opened into the Red Sea ; would the apprentices of all
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 E:J(GLAND

former Merchants be obliged, when they took a Voyage to the E1JJ1-lt1die;,

to measure the same wide circuit their Masters did ; to double the cape of
good H ope, twice cross the scorching line, and suffer even the Souther n
cold, when they might return in less than ha.If the time by the Streight of
Gibralur I And with no less folly, must Mu sicians be still condemned to
steer their wandering course through many Cliffs, because their Pred ecessors
went that way before them.'
T he scheme of the amateur aut hor of this little book consisted in calling the
lines of the staff invariably by the letters G, B, D, F, A, and signifying the
actual pitch by prefixing the letter s T, M, and B, standing for Tr eble,
M ean, and Bass. Lock at once attacked it with much scurrility. It was
not surprising that Salmon replied with equal bitterne ss. T his called forth
a further and still more abusive answer from Lock, to which pamphlet was
added ' Du ellum Musicum, by J ohn Phillips, Gent.,' nephew of Mi lton, in
which he belies the title which he gives himself. John Playford, who added
a few words by way of comment, alone comes out of the controversy
with honour.

MACE, THOMAs .- Mu sick's Monum ent; or, a Remembrancer

of the Best Practi cal Musick, both Divine and Civil that
has ever been known , to have been in the World. Divided
into Th ree Part s. Folio.
T. R ATCL !Fr.t and N. THOMPSON. LONDON. 1676.
Port rait of the aut hor engraved by Faithorne.
Th e Author thu s quaintly epitomises the contents of this interesting volume:-
The first part shews a 11(
.'1:essityof singing Psalms well, in Parochial Churches,
or not to sing at all ; Directing how they may be well su ng, certainly; by
two several ways, or means, with an assurance of a perpi..'lualnational qu ire ;
and also shcwing how cathedral musick may be much improved and
refined.
Th e second part treats of the noble lute (th~ best of instruments), now made
casie; and all its occult- lock'd-up-secrcts plainly laid open, never before
discovered; whereby it is now become so familiarly easie as any instrument
of worth known in the world; giving the tr ue reasons of its former
difficulties; and proving its present facility, by undeniab le argumen ts ;

Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 E:J(GLAND 37

directing the most ample way for the use of the thcorboe, from off the
note, in consort, &c.; shewing a general way of procuring invention and
playing voluntarily upon the lute, viol, or any other instrument; with two
pritty devices; the one shcwing how to translate lessons, from one tuning
or instrument, to anot her; the other an indubitab le way to know the best
tuning , upon any instrument, both done by example.
In the th ird part th e generous viol, in its rightest use, is treated upon; with
some cu rious observations , never before handled, concerning it, and musick
in general.

P LAYFORD,JoHN.-Th e Whol e Book of Psalm s, with the usual

Hymn s and Spiritua l Songs; toget her with a11 the ancient
and proper Tunes sung in Churches, with some Of later
Use. Compos'd in Three Part s.. , .
w. Goosm for the COMPANY o, STATION!RS. LONDON. 1677.

BowMAN , H ENRY.-So ngs, for one, two & thr ee voices to the
Thorow-Bass. With some short Symphonie s. Collected
Out of some of the Select Poems of the Incomparable
Mr. Cow ley, and other s. Folio.
TH OMASBowMAN. OXFORD. 1678,
Engraved plates.

PLAYFORD, H ENRY.-Harmoni a Sacra: or Divine Hymn s and

Dialogues : with a Th orow- Bass for the The orbo - Lut e,
Bass-Viol, H arpsichord, or Organ. Composed by th e Best
Masters of the Last and Pre sent Age. Folio.
Eowuo j oNU for H 1NU" PL-AvrORD. In the Savoy. LONDON. 1688.
Bound with the second book, published in 1693 .

P URCELL, H ENRY .- The Vocal and In strument al Musick of the

Prophete ss, or the history of Dioclesian . Folio.
j. H1PTINSTALL. 1691.
Fu ll score, with MS. corrections.
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
 £"(GLAND

PURCELL, HENRv.-Te Deum & Jubilate, for Voices and

instruments, Made for St. Crecilia's Day, 1694. Folio.
J. HEPTINSTALL for the AUTHOR'S w,oow. LONDON. 1697.
Full Score. Type.

P URCELL, HENRY,-A Collection of Ayres, compos'd for the

Theatre, and upon other Occasions. Folio.
J. H1l'TIN STALL, for
FuNCts Puk CILL, Execut rix of the Author. LONDON. 1697 .
Violino Secundo, Tcnnor and Bassus parts.

ComGm iaU Pr iuilcj!;ioRrgiz ·

M,udbtit,pc:rfrptcMllllD.,

1 1 IIOND l kT PSALMIN
JOHN DAY S DIV[CI, F ROM JAN UTl!N11ov1's DAUIDS.' 1561.
(Sup.18.)
Original from
Oigib,ed "' Go ogle PRINCETONUNIVERSITI
,,,,,,,,,,,
Google Original from
PRINCETONUNIVERSITY
 Onginalfrom
o,,,,,,,,b,
Google PRINCETONUNIVERSITY
 Ongi al from
Digitized by Go ogle PRINCETONUNIVERSITY
 Ongi al from
Digitized by Go ogle PRINCETONUNIVERSITY
 Ongir>alfrom
Digitized by Google PRINCETONUNIVERSITY