Sacrorum Concertuum I. II. III. & IV. Vocum, Iam convenienter collecta, cum basso continuo et generali organo adplicato; novaque inventione pro omni gerere & sorte Cantorum & Organistarum accommodata ... Adiuncta insuper in Basso generali huius novae inventionis instructione & succincta explicationae Latine, Italice & Germanice. [Bassus part only]
Frankfurt: Nikolaus Stein, 1613.
Quarto. Contemporary ivory [?]pigskin with decorative blindstamped boards, "Bassus" in contemporary manuscript to upper, raised bands on spine. 1f. (recto title within decorative border, verso blank), [110] + [ii] (blank) pp. Large decorative or historiated initials throughout. Typeset music in diamond head notation. With the addition of 5 lines of un-barred contemporary manuscript music to p. [105]; occasional early manuscript markings.
With small circular [?]19th century handstamp of a library in Wetzlar, Germany to title.
Rare. RISM V1396 and VV1397. RISM Recueils Imprimés XVIe-XVIIe Siècles 1613(6) (one complete set only; no holdings of any of the 5 parts in the U.S.).
"[Viadana], an Italian composer ... ranks highly among composers of his period for the freshness, fluency and notably expressive quality of his music; above all, he gave a strong impulse to the vocal concerto with basso continuo in ecclesiastical music, and acquired many pupils who continued his work.
In Viadana’s work, most of which survives, sacred vocal music is predominant. He cultivated the a cappella style and from op.13 onwards added a basso per l’organo which was a basso seguente rather than a true continuo bass. His style in these works ranges from the strict homorhythm of falsobordone and pseudo-polyphony to genuine polyphonic writing. The simpler music is purely functional, and as such was very successful. Even the more elaborately polyphonic music is modest in proportions and simple in text-setting." Federico Mompellio in Grove Music Online
Bound with:
GETZMANN
Phantasiae sive Cantiones Mutae, ad duodecim modos figurales, tam autenticos quam plagales, naturales non transpositos, & transpositos, variis instrumentis musicis accommodatae, ex diuersis demum Musicae Coryphaeis collectae, iamque primo in lucem editae. [Bassus part only]. Frankfurt: Wolffgang Richter, 1613. 1f. (recto title within decorative border,m verso blank), [i] (dedication to Nicolaus Gereon (1560-1628, chancellor of the electorate of Mainz), [31], [i] (blank) pp. With 4 large decorative initials. Typeset music in diamond head notation. The last 2 pages of music contain the Bassus Secundi and Altus Secondi parts of the "Decantat in Solenn" by Thomas Bodenstein (ca. 1590- ca.1665). An additional piece in this collection is attributed to Conrad Hagius (1550-1616).
RISM G1748 and GG1748. RISM Recueils Imprimés XVIe-XVIIe Siècles 1613(15).
"[Getzmann] was a pupil of Alexius Neander, probably at Würzburg, and he saw through the press four posthumous volumes of Neander’s motets (1605–10). From 1610 at the latest he was organist of St Bartholomäus, Frankfurt. He published Phantasiae sive cantiones muta. ... It is a collection of some of his vocal works and instrumental fantasias and canzonas. Getzmann dedicated the volume to Nicolaus Gereon of Mainz, a member of the Archbishop-Elector’s council, for whose marriage in 1609 he composed the eight-part motet Veni de Libano, which is included in the collection and may well be identical with the lost Epithalamium musicum, composed for the same occasion and his only other recorded publication. The only composers whom he names in his collection are Thomas Bodenstein and Konrad Hagius, who are represented by one piece each. The fantasias show some influence of polyphonic English fantasias as well as of a new German instrumental style, which is evident particularly in the sequential writing that replaces polyphony derived from vocal music." Friedrich Baser in Grove Music Online
Bound with:
MERCKER
Neue kunstliche musicalische Fugen/ Pavanen/ Galliarden unnd Intraden/ auff allerley Instrumenten gantz füglich unnd lieblich zu gebrauchen/ mit II. III. IV. V. und VI. Stimmen componirt ... Quarta Vox. [Fourth voice part only]. Frankfurt: Wolfgang Richter for Nicolaus Stein, 1614. 1f. (recto title within decorative border, verso dedication), [20] pp. Typeset music in diamond head notation. Compositions numbered XX-LII (only certain compositions call for the inclusion of the fourth voice).
RISM M2309 (one holding of this part only; no other parts located).
"[Mercker was a] Dutch composer and instrumentalist. Between 1585 and 1588 he was taught by Cornelius Conradus, a pupil of Sweelinck. He was active as a cornett player in Lüneburg in about 1600, where he worked for about a year before entering the service of King Christian IV of Denmark. In 1602 he travelled to Russia as leading instrumentalist to the younger brother of Christian IV. After his return to Copenhagen in 1603 he discovered that his post had been filled by someone else and so left the country. Four years later he became organist in Franeker (the Netherlands), but by Christmas Eve 1608 had taken up a post as cornett player to Duke Ernst of Holstein, Bückeburg. Because of the duke's financial difficulties he was forced to leave in 1615, after which he almost certainly went into the service of Eberhard Otto von Münchhausen for three years, as suggested by the dedication in Musica instrumentalis. From 1618 to 1622 he was organist of the St Nicolas Church in Strasbourg. The last mention of his name is found in a document dated 1622 recommending his appointment as director of an instrumental ensemble at the Latin School.
Mercker seems to have been a very skilful musician and was versed both in composition and in the playing of several instruments. ... His works show a thorough knowledge of musical theory and good craftsmanship; he often exploited harsh sonorities. ... Among his compositions instrumental dances are in the majority." F. J. de Hen revised by Joachim Kremer in Grove Music Online
Bound with:
A contemporary manuscript containing a 2-part setting in Latin of the hymn "Surrexit Christus hodie," the upper part most probably for a tenor or soprano voice, the lower part for bass. An early note in German to the foot of the page indicates the number of verses in Latin and German. We have not traced this setting but believe it most likely belongs to the contemporary North German school. Notated in ink on the verso of a single leaf at the conclusion of the volume.
Binding somewhat worn, rubbed, bumped, soiled, and stained; endpapers worn, browned, and chipped; rear free endpaper lacking. Several signatures loose; heavy browning to outer portion of each leaf of the first work; light uniform browning throughout. Occasional tears, some repaired; minor imperfections.
An assemblage of three rare early 17th century music printings from the important Frankfurt publisher Nikolaus Stein and, in two cases, the printer Wolfgang Richter, together with interesting contemporary manuscript additions.
Item #41649
Price: $3,200.00 other currencies