History of Printed Music

Les Amours de Ronsard sont accompagnées de quelques intonations musicales qui permettent de chanter l'ensemble des poèmes. Cet essai propose une nouvelle histoire éditoriale du rapport entre le recueil et sa partie musicale, une édition moderne, ainsi que le fac-similé des deux éditions du supplément.

Ronsard's Amours are accompanied by some musical intonations that enable all the poems to be sung. This essay offers a new editorial history on the relationship between the collection and its musical part. It contents a modern edition and a facsimile of the two editions of the musical supplement.

(Musicologie, 4)
ISBN 2406056996, 9782406056997

Reviews:
– Bulletin de la Société Française d’Etude du Seizième Siècle 84 (2016), pp. 14–15
– L’Universo Mondo. Bollettino d’Informazione del Gruppo di Studio sul Cinquecento Francese 44 (2016), pp. 54–55 (Daniele Speziari) http://www.cinquecentofrancese.it/attachments/article/290/UM%2044.pdf
– Revue de musicologie 103 (2017), pp. 256–259 (Isabelle His)
– Renaissance Quarterly 71 (2018), pp. 376–377 (Jessica J. Appleby)

Printed Sacred Music Database (PSMD), ed. by David Bryant, Luigi Collarile, Jeffrey Kurtzman, Laurent Pugin, Elena Quaranta, Anne Schnoebelen and Luca Zoppelli. Published: 1 February 2014. Last Update: December 2017.

http://printed-sacred-music.org

DOI: 10.5448/RISM-d-lib-001

Gathering extensive information on prints of sacred music has been a wish of the musicological community for many decades. Such information is of paramount importance for the bibliography of music in general, especially in the seventeenth century, when the printing press produced its greatest output in the sacred domain. The scope of the present database is to cover all sacred music printed in Europe, 1500-1800. It comprises the data collected in the 'Bibliografia della musica sacra pubblicata in Italia fra il 1500 e il 1725 circa' (Venice, Fondazione Cini). The editions now preserved with Catholic music published in Switzerland up to 1800, and the editions with comparable repertoire circulated in the Alpine region, are inserted in the database in the course of a research project started in 2010 by the Institute of Musicology of Fribourg University and the Swiss RISM Office, with the support of the Swiss National Science Foundation. The data is compared to existing bibliographical tools, e.g., RISM A/I and B/I. The database is compliant with the RISM cataloguing scheme based on the MARC21 metadata format. It also contains text incipits and music incipits (in DARMS code) of the printed works. In addition to the bibliographical information, it includes preliminary and concluding textual material of the documents (i.e., title pages, dedications, laudatory poems, advice to users, imprimatur, indices, and colophons). The additional information helps to reveal the network of sponsorships and market strategies that connected dedicatees, printers and booksellers, and to cross-check this data with the circulation of the musical repertoire.

The recent finding of an illuminated Bohemian Brethren printed book provides important knowledge about Bohemian Brethren book culture. The significance of this discovery impacts the wider issue of the visual art within the Unitas Fratrum and Bohemian book painting in the Early Modern period. This newly-found exemplar of the Ivančice Hymnal from 1576 comes from the private estate of the Bohemian Brethren priest Vavřinec Orlík (1520–1589). In 1580, Vavřinec Orlík had an illuminated parchment bifolium with his portrait inserted in the printed book which is coloured and gilded throughout. The documented hand-painted exemplars of the Brethren hymnal from 1576 reveal the unexpected use of serial hand painting and gilding of woodcuts in printed books. The existence of serial hand painting and gilding supports the hypothesis about the use of this technique in Brethren workshops, as indicated by the circumstances concerning their operating methods and distribution networks. The painted portrait of Orlík represents a unique example of a personal representation of a Brethren priest within the context of Brethren book culture as individual portraits of members of the Unitas Fratrum are only known to us from more recent commemorative medals.  This newly-discovered portrait suggests that the existence of individual portraits of Brethren priests was not a unique phenomenon in the milieu of the Unitas Fratrum. Attributing the portrait to Matouš Ornys of Lindperk allows us to analyze the contacts of the Unitas Fratrum with Prague painters. Another important finding is the identification of the artist who carried out the model drawing for the woodcuts in the Ivančice Hymnal from 1576 and several other Brethren printed books from a later period (Matyáš Hutský of Křivoklát). The personalized presentation of the printed book suggests how the unknown book collections of more important members of the Unitas Fratrum may have been composed and how richly they may have been decorated.