IO
ALv
'T UITNEMEND KABINET, VOL PAVANEN,
ALMANDEN, SARBANDEN, COURANTEN,
BALLETTEN, INTRADEN, AIRS .
VOLUME II
EDITION AND COMMENTARY
THESIS
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
MASTER OF MUSIC
By
Barbara K. Wallace, B.M.
Denton, Texas
December 1974
Wallace, Barbara K., '2 Uitnemend Kabinet. Vol Pavanen,
Almanden. .arbanden. Couranten. 3alletten. Intraden. Airs
Volume III Edition and Commentary. Master of Music
(Musicology), December, 1974, vii, 27 pp. text, vi, 170 pp.
music, 11 examples, 4 facsimiles, bibliography.
' Uitniemend Kabinet is a two-volume collection of two-
and three-part instrumental music from Germany, France,
Italy, and Holland, published by Paulus Matthysz in Amster-
dam (1646 and 1649). Volume I consists of 54 folios in the
treble part book, and 19 in the bass part book; Volume II
has 37 folios in the treble part book and 21 in the bass
part book.
he main part of this edition consists of a transcription
of the 103 pieces of Volume II, which is accompanied with a
brief commentary on the composers represented, the styles and
forms of the music, and evidences of significant developments
in early seventeenth-century instrumental music.
goo o H
p4--
C:0
d(D
- H
too
* ~
Cl)d
IT
iii
PREFACE
The availability of a collection like 'T UiLnemnd
Kjanet is of value in helping to show what stylistic in-
fluences were carried over from the sixteenth century and
how the newest Italian instrumental styles were being com-
posed simultaneously in seventeenth-century Europe. This
collection also reveals a number of national differences
which are found in dance music and song settings.
The edition consists of a transcription of the 103
pieces contained in Volume II of 'T .UitneMend Kabinet as
well as a brief commentary on the music and its composers.
The numbers in parentheses used throughout the commentary
refer to the number of the piece. A section of Critical
Notes has been included to show changes in rhythm, notes,
meter, etc. from the edition of 1649. Any accidentals that
are editorial additions to the original edition have been
placed above the staff. Redundant accidentals within the
measure have been omitted. Ties and slurs are those found
in the original edition. The transcription has been made as
accurately as possible with changes made only to facilitate
reading and performance.
iv
TABLE OF CONTENTS
PART I
PREFACE . . . , , . , . . , , , , , , , ,0,0
LIST OF EXAMPLES seeg...... e,,g,
LIST OF FASIVIILES 0.,.,., a,0,0,. ,, , ,.,
COM6MENTARY ,0,0,0, ,0,0, , 0,0, , , , , , ,
APPENDIXES
A. TRANSLATION OF PREFACE TO VOLUME II
B. DEDICATION OF VOLUME II . . - - .
BIBLIOGRAPHY - . . - - - - - - - * . - --
, S ,
" S , S S
" " , , C
Pageiv
.vi
vii
0 , , , C
" " - C -
" I C S -
" C - - -
PART II
TABLE OF CONTENTS . . . . , . .* , , , , , , , , ,,
TRANSCRIPTIONS , 0 , , , . , , , , , , , , , , , ,,
CRITICAL NOTES * - - - - * * - - - * - - - * * * --
21
22
24
i
168
V
LIST OF EXAMPLES
Example Page
1. "Capriosa" (42), measures 4 and 21 of upperI part .9 .* .e .e .# .* .o .* ..- 9 - - - - - - - - - - - 5
2. "Nasce la pena mia" (91), measures 81-82of upper part . . . . . . . . . . . . . . . . . 8
3. "Nasce la pena mia" (91), measure 83 ofupper part . . . . . . . . . . . * . . . * . . 8
4. "Nasce la pena mia" (91), measure 120 ofupper part . . . . . . . . . . . . . . . . . . 8
5. [Untitled] (90), measures 6-7 of upper part . . 9
6. [Untitled] (90), measures 61-62 of upperpart . . . . . . . . . . . . . . . . . . . * * 9
7. [Untitled](92), bass part . . . . . ... . . 9
8. "Frere Fraper, Piodo 2" (99b), measures 1-3of upper part . . . . . . . . . . . . . . . . . 14
9. "Frere Fraper, Modo 3" (99c), measures,21-24 of upper part . . . . . . . . . . . . . . 14
10. "Derde Almande" (11), measures 5-7 . . . . . . 18
11. "Seste Allemande" (14), measures 3-5 - - . . . 18
vi
LIST OF FACSIMILES
Facsimile 1
1. Title Page of Volume II.. *.......
2. Preface to Volume II . . . . . . . . . . .
3. Dedication of Volume II . . . . . . . . . . .
40 "Concerto" (89), f. 24v . . . . . . . . . . .. a
Page
iii
1
2
12
Translations of Facsimiles 2 and 3 appear in AppendixesA and B.
vii
1
IS'I
LINzI;Z t 0
-,%-,qzz (D
CH
14 :1
0 .
2
S ..a -- IE - -C eWe -t a-o-a
.. -! . -.. , .
flid rgi t
> 7 ;N
-. . >
Q -s
L 2If 'Lo o
-+ b.-- A .
,a. H
- 6o-E ;-to ..... _W
V-% o 1) - '
-Q-4
H
o to
00
-- J * z i o' 0 -.06
o ... .. c--- -T 1-
3: g on - C % - : .
S - ) O _',.u -
V :A. > .
-~o Cd. U c . .-
0 5H
~ cO 3 c~i
e-M
Or=4.
n - A. - %.., N..
VIA M 0 0 O'.. (
oC
~c
- 0
- -- a&i
:>~Ia. k* $-" wZ c
85
3
COMMENTARY
During the first half of the seventeenth century, instru-
mental music underwent a complete reassessment of its techni-
cal and stylistic aspects, as well as expansion in functions.
The growth which began in Italy was soon taken up by Germany,
but spread more slowly to England and France. Musical progress
in Germany was hampered -- almost terminated -- by the Thirty
Years War (1618-1648), but even with this interruption the
changes were picked up rather quickly from Italy. Holland did
not foster this musical growth through native composers; there
was really no strong, homogeneous style of music in the coun-
try, nor did single personalities emerge as composers until
after the early 1630's.1 Instead, it was the site of an inter-
national influx of music. Not only did music of Netherlands
composers show influence of various national styles,2 but by
the 1640's, international music in the form of songs and in-
strumental music began to be collected and published in Holland.
Among the best known collections which appeared in the
decade after 1645 are the two volumes of Paulus Matthysz'
'T UitneMend Kabinet (I, 1646, and II, 1649). Although his
dance collections never rivaled van Eyck's Der Fluytn ILust-Hof
Ernst Hermann Meyer, Die Mghrstimm 321eMUSk17. Jahrhunderts. in Nord- Und Mittaleurop (Kassel, 1934), 43.
2
4
(1648) and Euterpe (1654) in popularity, they nonetheless en-
joyed a wide circulation. In his "Excellent Showcase" atthysz
has displayed instrumental music from all over Europe -- England,
France, Germany, Italy, and Holland -- , written presumably in
the ten to twenty years preceding its publication. Around 1602,
Matthysz was known in Amsterdam primarily as a printer and pub-
lisher, having established a publishing firm successful enough
to still be extant in 1720.3 As an amateur musician he com-
posed two pieces in 'T Uitnemend Kabinet (52 and 53) and authored
a flute treatise in Der Fluyten Lust-Hof. He published a num-
ber of vocal and instrumental collections including the two
works by van Eyck, two collections of Italiaansche Balletten,
and KonincklYCke Fantasien (music by Lupo, :Coparrario, Damon,
and Gibbons).
The music of 'T Uitnemend Kabinet is written for two or
4three violins, violas da gamba, "or other instruments," and
continuo. The pieces vary in their technical and stylistic
advancement; some are in the older style derived from sixteenth-
century dances and utility music, while others show a marked
use of the emerging interest in individual instruments. The
newer style of violin music which emerged in Italy early in
3Robert Eitner, "Matthysz," Bioaraphisch-BibliraphischesQUellen-Lgxikon der Musik.Qr u d Ivulo-'1ele~hrten (Leipzig, 1898-1904, reprinted in New York, 1946-47), VI, 390.
The title states, ". . . met 2 en 3 Fioolen, of anderSpeel-tuigh te gebruiken. . . . Ook eenige stukken voor 2.Fioolen de Gamba.
5
the century began the development of the Baroque idiomatic
style for the instrument. This music is characterized by a
greatly extended range which used all four strings instead
of restricting it to only two. This produced instrumental
melodic lines that were difficult or impossible to sing.
Rapid scale passages, series of repeated notes, and numerous
patterns of sequential figures5 also began to appear because
of the development of the instrument's capabilities.
Some of the pieces, though still bound to the older style,
begin to show the influence of these new features. For ex-
ample, "Capriosa" (42) has a slightly extended range in both
voice parts. It also has a disjunct, rapidly moving melodic
line built on a short figure of an eighth and-two sixteenth
notes which is imitated and extended throughout the piece.
Ex. 1. "Capriosa" (42), measures 4 and 21 of upper part.
The melodic lines of the first half of "Simphonie" (53) do
not require great technical ability, but do have long passages
5Francesco Rognoni illustrates many pages of such gassagjformulas in his treatise Selva de varii Dassaggi secondo l'usoMadarn (1620). He gives numerous possibilities for elabora-ting a given melody in a variety of patterns idiomatic to var-ious instruments. These are discussed and illustrated in DavidD. Boyden, T2e istorv of Violin Playing from its riin t9L61 an, 1dI5n) 2Olin
(Londoni 1965), 12?.
6
of sixteenth notes. Both of these pieces exhibit newer fea-
tures that were beginning to appear in instrumental music.
The pieces in the Kabinet that show the greatest advance-
ment in the new violin style are those by Johann Schop (g.
1590-1667). By far the most outstanding violin virtuoso of
Germany in the first half of the century, he was. one of the
few performers who attained the proficiency of such Italian
violinists as Marini and Farina. He also was a player of the
lute, organ, trombone, and zink. Because of his unusual abil-
ity as a performer and because he was one of the few composers
remaining in Germany toward the end of the war, Schop was
praised by historians, poets, and musicians such as Kunrad
von Hovelen (1668), Johann Rist (1666), R. Praetorious (1615),
G. Newmark, and Philip von Zesen. Schop received his early
musical training from William Brade in Hamburg, then later
was a member of the court orchestras at Wolfenbttel (1614),
Copenhagen (1615, where he also received training from Chris-
topher Simpson6), and elsewhere in Denmark (1618). During
these years it is believed that he came into contact with the
Italian style and learned the modern developments in instru-
mental music that his later compositions displayed.7 From
6Kurt Stephenson, "Schop," Die Musik in GChichte udGegenwart, ed. by Friedrich Blume(Kassel-Basel,1965),XII, 41.
7Liselotte Krfger, Die Hamburgische Musikorganisation imXVII. Jah1hlundert. Vol. XII of 5ammlun MIkis ehaftlicher4, ed by Karl Nef (Strassburg, 193) , 123.
7
1621 on, he lived in Hamburg, simultaneously holding the posi-
tions of director of Hamburg's Ratsmusik and organist at St.
Jacob. In spite of these duties he traveled widely and per-
formed once in Copenhagen with Schdtz (1634). He is known to
have played both Italian works as well as his own compositions
on the organ and violin.8 'T .Uitnemend Kabinet contains
dances, song variations, and fantasies by Schop for solo violin
with continuo and for three treble instruments; he probably
learned the technique of variation and of free fantasy from
Brade. Andreas Moser asserts that the skill and technique which
Schop displayed in his compositions is a style found only in
the violin playing of Hungarian gypsies, a characteristic
which seldom appeared at this time.9
Perhaps the most remarkable piece in the entire volume is
"Nascela pena mia" (91), a fantasy on Alessandro Striggio's
madrigal of the same title (written before 1583). Schop's style
of composition seen here is indeed advanced for this period in
Germany and easily equals concurrent Italian developments.
The piece uses a wide range (g-c3), rapid passages of sixteenth
and thirty-second notes, double stops (measures 15-16, 44, 52,
80-84, and 120-121), and several written-out ornaments.
8
9Andreas Moser, "Johann Schop als Violinkomponist," Fgy-schrifQ Hermann KretZschmar zuM siebzigsten Geburtstage Aber-r:,eichtyon Kollegen. Schllern und rEgunden.ed. by Max Fried-laender . (Leipzig, 1918), 95.
8
Ex. 2. "Nasce la pena mia" (91), measures 81-82 ofupper part.
The fact that Schop was a performer of uncommon ability is
substantiated by the written-out trills in sixths and in
thirds which are found in this piece'
Ex. 3. "Nasce la pena mia" (91), measure 83 of upperpart.
Ex. 4. "Nasce la pena mia" (91), measure 120 of upperpart.
The Italian violinist and composer Marini included similar
pieces in his Affetti Wusicali (1617). His non-dance pieces
for two or more treble instruments are constructed on the sim-
ple interplay of imitative figures, but in pieces for a single
treble instrument and bass he found this method less suitable
and invented a new idiom.io It is this style which Schop seems
C6Olaude V. Palisca, Baroque Music (Englewood Cliffs, N.J.1968), 135.
9
to have learned and applied in several pieces in the Kabinet.
Like his "Nasce la pena mia" (91 above), the untitled
piece (90) by Schop continues with passages that show the pro-
gression of idiomatic violin composition toward lines that are
totally non-vocalt
Ex. 5. [Untitled] (90), measures 6-7 of upper part.
Ex. 6. [Untitled] (90), measures 61-62 of upper part.
Number 92, an anonymous untitled piece, is a fantasy over
an eight-measure ground and the only piece of this type in Vol-
ume II. In the original edition the bass line appears as two
repeated phrases
Ex. 7. [Untitled](92), bass part.
The repetitions of the sections of the ground are not indica-
ted, but it is not difficult to complete the structure since
both are not compatible with all sections of the melody.
10
The other three free, fantasy-like pieces in the collec-
tion (88, 89, and 93) are imitative two-voice pieces. The
first of these, "Capritie" by Peter Luidhens, is constructed
of three large metrically contrasting sections (duple-triple-
duple). It begins with a canon at the octave which gives way
to series of short, imitative motives. The second section,
in triple meter, is freely-composed and non-imitative. Imi-
tative motives in the style of the first part return in the
last duple section, but they are not motivically related to
the earlier part. This method of construction was not uncom-
mon in the first half of the seventeenth century; for example,
Giovanni Gabrieli composed a number of instrumental canzonas
with a similar ABA form. Compositions of this type may have
anticipated, although they did not establish, the general
scheme of later violin sonatas which adopted the principle of
three contrasted divisions.12
The "Fantasia" (93)13 of Dirk Pieterszon Pers also has
three large sections. The first is in the usual imitative
style and is followed by a section in 2 made up of two free
canons at the octave (beginning in measures 41 and 51). In
Luidhens is also represented in the collection, Kusies,in It Latijn geschreven door Joannes Secundus . . . , 6 Vols.(Amsterdam, 1641).
12 C. Hubert H. Parry,The iusicof the Seventeenth Century,Vol. III of The Oxford History of Music (Oxford, 1902), 312.
piece bears an inscription which states that it is"Composed in the honor of" vanden Bergh.
11
contrast to the preceding piece, however, the last section
is freely constructed. Pers (gj. 1615-1655?) was a music
collector and composer in Amsterdam. His other contributions
to the K-Ainet are "Carileen" (56) and three songs (78-80).
He edited several books of sacred and secular songs, some of
which were settings of well-known tunes. 1 At least five works
by Pers were published between 1656 and 1681.
The other fantasy (89), by Christiaen Herwig, has been
called "the oldest German violin concerto.''15 It consists of
six canonic sections (imitation at various intervals) ending
with a free eleven-measure section. Moser notes that the
last three measures pose the question of whether the compo-
ser indended a half cadence in the key of D-minor or a plagal
16cadence in A-minor6 The latter possibility seems to be the
most likely conclusion because of the obvious predominance of
A-minor and closely-related keys throughout the piece. Christiaen
Herwig (also spelled "Herwich" and "Herbig," but misprinted as
"Hervrich" in this collection ) was a violinist and lutanist
who spent most of his life in Kassel, except for a period of
time when he was a violinist in the court orchestra at Weimar.17
14 Robert Eitner, "Pers," Bio9raphisch-BibliographischesQuellen-Lexikon der Mju.ikerungd iMuqisi keehrtn (Leipzig, 1898-1904, reprinted in New York, L1946-4J), VII, 381.
1 5 Andreas Moser, Geschichte des Violinspiels (Berlin,1923), 105.
16Lad
1 7 Hans Joachim Moser, Die Musik der deutschen Stdmme(Wien, 1957), 446.
12
Ax
. 4
0 ,i
I
~ii
h
U"
Th~ II'sAil
Frur I
I.'
I.1
1
ii ~II
I
I
It
.LI
c! I
I
rI1
I
Is Ill
II
I I
II
Ia.
0
0%400
0
4-3
0
I
a
I
.
t6
I
13
Besides the music by Herwig in the Kabingt, the Kassel library
preserves sixty-one five-part pavans and four-part galliards
18in manuscript. Herwig is also known as the copyist of some
of the music which was collected by Ecorcheville, Vingt Suites
d'0rchestre du XVII. si Qle francais.19
Similar to the fantasies, the several song variations in
20the collection (99-103) are pieces that display the develop-
ment of idiomatic violin figuration. Variation was an older
form in which composers could draw on the old "division" tech-
nique and apply many possibilities of figurations to the melody.
Two pieces (99-100) by Jakob van Noordt (born .a, 1619, died
after 1679)21 are variations on existing tunes. The extremely
disjunct melodic line of the first variation of "Frere Fraper"
(99b) and the continuous rapid movement of the second variation
(99c) show influences of the Italian style of composition
18 Robert Eitner, "Herwich," BiograDhisch-BibliographischesQuellen-Lexikon ider MUgik er unad Wugielehrt en (Leipzig, 1898-1904, reprinted in New ok 14-7) ,11
19Christiane Engelbrecht, Di? Kasseler Iofkapelle im 17.Jahrhundert und1 ihre anQaymen Mugkhandschriften; aus der KasselerLandesbibliothek (Kassel-Basel, 1958), 36.
20 The last pieces in 'T Uitnemend Kabinet (94-103) are notlisted in the table of contents to Volume II. The titles doappear in the table of contents of De Fluyten Lust-Hof, Vol. I(1648), but the pieces themselved are not included. It seemsprobable that Matthysz added them to the Kabinet (1649) afterhaving neglected to include them in the work for which theywere scheduled a year earlier.
21 Van Noordt was a flutist, organist, harpsichordist, andcomposer, from a family of organists. He was probably thebrother of Anthoni and the father of the musician Sybrandus.
discussed previously.
Ex. 8. "Frere Fraper, Modo 2" (99b), measures 1-3 ofupper part.
Ex. 9. "Frere Fraper, Modo 3" (99c), measures 21-24of upper part.
No bass part is indicated for "Malle Symes" (100),22 and
it is assumed that it is for a solo instrument. Moser expressed
the following opinion of van Noordt's music "He is the most
pretentious of the composers in the Kabint. His partiality
to the use of sequential figures cause his compositions to have
a character not unlike an early ancester of Czerny.",23 The poet
J. Dullaert praised his playing in the poem "Op't klokespel van
Jakob van Oort" (1659).24
The last three variations (101-103) are by J. Dix. Although
22 Settings of this tune by van Eyck appear in both volumesof Der Fluyten Lust-kLU. He also wrote variations on the tune"Comagain" in Volume I, an anonymous setting of which is inVolume II of 'T Uitnemend Kabinet (57).
23A. Moser, Geschi hte, 157.
24Arend Koole, "Noordt,"DieMuik in Geschichte und_Ggenwart, ed. by Friedrich Blume (Kassel-Basel, 1961), IX,1556.
15
no lower part is given or indicated for these, the bass line
of "La Royalle extraordinaire" (21) (f. 9 of the bass part
book) is completely suitable to the melody of "Courant la
Royalle" (101) and its variations. It has been included in
the transcription of the courant and the first variation.
Most of the pieces in the Kabinet are dances, which, like
the rest of the music in the work, could have been composed
several decades before publication. The dances are distinctly
different from the fantasies and the variations -- a stylistic
difference due probably to the numerous roles of the violin in
the early seventeenth century. Even as composers were exper-
imenting with the new concepts of violin music, the traditional
roles of the instrument were simultaneously continued.25 This
continuation involved the violin in dance and entertainment,
music which was frequently employed at feasts and dinners,
26festivals and weddings, and other special celebrations. It
is also clear that it was used not only at the court and in
homes of the very wealthy, but in all classes of society.27
Such a post-sixteenth-century utilization required that the
basically simple, unstylized Gebrauchsmusik and dances of the
2 5 Boyden, op cit., 98.
6Ibid.,103.
27Dutch paintings of this time portray numerous scenesof daily life, thereby showing that the violin was found inthe hands of peasants as well as in the music of the upperclasses; it was used for both home dancing and at socialgatherings.
16
earlier times be maintained. his simplicity and lack of
stylization seem to characterize the dances in the Kabinet.
Three courants by the French composer J. Foucart appear
in this collection (2-4). These pieces, all in G-minor, are
for three treble instruments. They have simple contrapuntal
lines with little rhythmic or technical complexity. Little
about Foucart's life is known, except that he was in Copen-
hagen in 1634, where he was defeated by Johann Schop in a
28violin competition.
A somewhat better known French composer and violinist
represented in the Kabinet is Louis Constantyn (a. 1585-1657).
Few facts exist about his early life and musical training ex-
29cept that he learned the violin at an early age. He was a
member of the Twenty-Four Violins of the King at the court
of Louis XIII (1626) and later became "Roy et Maistre des
M1ngtriers," a position which he held until his death. Under
his direction the orchestra seems to have reached its highest
point artistically.30 Mersenne describes him as one of the
most significant virtuosos in France at this time.3 '
2 8Johann Rist, "Eine Lobrede auf die Musik aus der Mittedes 17. Jahrhunderts" (1665), reprinted and edited by FriedrichChrysander in Allgemeine musikalische. Zeitune. XVI (1881), 664.
29 The only collected information on his life is by Cr.Thoinan, published in 1898. Wilhelm Joseph von Wasielewski,Die Violine und ihre Meister (Leipzig, 1910), 325.
30A. Moser, Geschichte, 153.
3tMarin Mersenne, fiarmonie Universelle, transl. by RogerE. Chapman (The Hague, 1957), 159.
17
Compositions by Constantyn included in Volume II of the
Kabinet are four three-part dances (5-8) and a two-part
courant (33). Of the first four dances, all are allemandes
except number 6, which bears no title on any of the parts.
Moser notes cursorily that it is peculiar that one "Allemande"
of the set of four is in triple meter.32 He apparently over-
looked the obvious listing of the title "Courant" in the ori-
ginal table of contents. Besides these compositions, at least
two pieces by Constantyn, including "La pacifique de Mr. Con-
stantyn" (1636), are in Collection Philidor, Volume I (Paris
Conservatory Library.3 His work is also evident in Ecorche-
ville's Vingt Suites d'Orchestre du XVIIe single frangais
(164o-1670).
Johann Schop is again represented in the Kabinet with
six three-part allemandes for treble instruments. These
pieces exhibit an entirely different style of writing from
Schop's previously discussed compositions. They are evidence
that composers were still supplying music for the traditional
functions of dance-related entertainment. These dances re-
main very uncomplicated in texture and style, yet they do ex-
hibit more modern musical features than appear in those of his
contemporaries. These new aspects include wider range, simple
sequential figurations, and the occasional use of double stops.
32A. Moser, Gggghichte. 155.
33 Wasielewski, p il . ,326.
18
Ex. 10. "Derde Aimande" (11), measures 5-7.
-J _
IMFId
~LA~4AJ no
- -
Ex. 11. "Seste Allemande" (14), measures 3-5.
I I L..
ui -. I 5
-I. -_lb_
Ij $1
In addition to the allemandes and courants, several other
types of dances are included in the Kabinet: airs, ballets,
sarabandes, pavan and galliard, and branles.3 The branle was
used at the French court from the late sixteenth century through
the entire seventeenth century. It was usually performed as a
series of branles danced in a definite order: first, the
branle double, then the more lively branle simple, and finally
The following instructions are given at the beginningof the set of five branles (94-98) by van Noordt: "for thelower part, folio 13 in the bass part book can be played."
Imp
No
L
wm 6mmA --6mQ
.m.A
-T- -- I -r-w
19
the rapid branle gay. Around 1636, this series was replaced
with a suite of six branles,35 one of which appears in this
collection:
24. Brandes25. Gay26. Amener
26a. Double27. Ivontirande28. Gavotte
This suite "increases in liveliness and any solemnity that
may be left, . . . is dispelled by the gavotte."J 6
Only a few other composers in the 6Abinet may be posi-
tively identified. Cornelis Kist's name appears on the last
of four "carileens" (58-61). Similar musical characteristics
and like meter and key indicate his possible authorship of
all four. "0 Kers-nacht" (51) was composed by B.F. de Bruin.
He is also responsible for "Eerste Ballet" (81) which stands
as the first of four ballets, all of which share a common key
and meter. Cornelis Jansz Helmbreecker, organist at Haarlem
from 1625-1654, wrote the three-part prelude that begins this
volume and "Courant" (47). The English composer Primrose
(?-?) wrote the first branle (24) of the suite mentioned above.
The identity of the remaining composers of the Kabinet
is unknown except for a few who may be conditionally identi-
fied by the initials that appear at the ends of each piece.
35B 5 Curt Sachs, Woruld History of the-i-ance, transl. byBessie Schdnberg (New York, 1937), 384.
6b~i.,t 385.
20
"'T Hane en 't Henne gekray" (15) bears the initials "J.H.,"
which possibly denote Helmbreecker mentioned above. The
letters "Bl," printed on pieces 46 and 50, have not been
identified as to meaning or origin.
21
APPENDIX A
TRANSLATION OF PREFACE TO VOLUME II
The Book Speaks
The eye is pleased when it comes to behold
Either woods, green with leaf, or stately buildings'
But this pleasure is only for the eye, even though it may
then be content,
And no other part of the body shares in this pleasure.
But when the ear goes feasting then, through song and strings,
The soul shall rise up, as if awakened, into heaven.
He takes me into the palm of his hand because that is
his wish,
At least I tell myself this, in case it were not so.
Une me tire
22
APPENDIX B
DEDICATION OF VOLUME II
To the Honorable Artist,
Miss Adriana vanden Bergh
It is always the aim of my printing press to entertain
the lovers of art, [and] it has dared to take the liberty of
offering Your Honor the music book [of] the "Goden-Fluit-
Hemel" [The Heaven of the Flute of the Gods], and to glorify
it with the brilliance of your honorable name. It was found
that you have deserved the honor, not only so that others
may rejoice in your honorable spirit, but also that others
should be so sweetly entertained by your honorable wit.
The lovely pieces seem to receive their perfection from the
beautiful sound with which Your Honor has elevated it. Your
illustrious flute at present sounds so clear that the whole
world speaks about it in amazement and praise, as though Your
Honor would add to nature. May your illustrious and pure
ways never falter. One hears, as though they are beautifully
clad, the sweet strings of your viola da gamba as it delights
the ears of the Master iviusicians. They wish to have their
best pieces selected by Your Honor, who is one of the goddesses
'This is a pun on the word "geestigheit' and is unfor-tunately lost in the translation.
23
of music from the Mountain of the Gods, 2 and they thereby
consider themselves fortunate that they may please you. As
I rely on the judgement of so many art lovers, I once again
open the revised "Heavens," filled with the sound of the
Holy Choir of the famous masters who search for the essence
of pure souls. May Your Honor therefore not find it out of
place that I only seek the favor of such a learned master to
whom I shall [always] be highly indebted.
Your honorable,
willing servant
Paulus Matthysz
2,. . . from the Mountain of the Gods" ("vanden BerghParnassus") is a word play on her name.
24
BIBLIOGRAPHY
Abraham, Gerald, ed. The Age of HumanisM: 1 540-1630, Vol.IV of New Oxord History of MusIc, 6 Vols. to date,ed. by J.A. Westrup Qt&al. London: Oxford UniversityPress, 1968.
Antcliffe, Herbert, "Noordt," Grove's Dictionary of Musicand Musicians, 5th ed., ed. by Eric Blom. London:Macmillan, 1954, VI, 101.
Aschmann, Rudolf. Das deutsche plyphone Vilinspiel im 17.Jah1rhiundert: Eina Beitrag zur Etwickungsgeschichtedes Violinsiel . Zurich: L. Speich, 1962.
Beckmann, Gustav. Das Violinapiel in Deutschland vor 1700.Leipzig: N. Simrock, 1918.
Boyden, David D. The History of Violin Playing from itsOrigins to 1761 and its Relationship to the Violin andViglin MUsic. London: Oxford University Press, 1965.
Chouquet, Gustave. "Philidor," Grgve's DictionQary of Musicand Musicia1 ns, 5th ed., ed, by Eric Blom. London:Macmillan, 1954, VI, 707.
Eitner, Robert. "Helmbreecker," Biographisch-Bibliograph-isches Quellen-Lexikon der Musiker und Musikgelehrten.Leipzig: Breitkopf & Hdrtel, 1898-1904; reprint, NewYork: Musurgia, [1946-47], V, 103.
.. "Herwich," Biographisch-BibliographischesQuellen-Lexikon der Musiker und Musikelehrten. Leipzig:Breitkopf & Hdrtel, 1898-1904 reprint, New Yorks Musur-gia, [1946-47J, V, 131.
. "Matthysz," Biographisch-BibliographischesQuelen-Lexikon der Musiker und Musikgelehrten. Leipzig:Breitkopf & Hdrtel, 1898-1904; reprint, New York: Musur-sgia, [1946-473, VI, 390-91.
. "Noord, " BiograDhiscr4-ibliographischesQuellen-Lexikon der Musiker und Mus ikgelehrten. Leip-zig: Breitkopf & Hdrtel, 1898-1904; reprint, New York:Musurgia, f1946-47], VII, 211.
. "Pers," Biogra hisch-BiblioQraphisches Quellen-Lexikon der Musiker und iusik-elehrten. Leipzig: Brei*t-16 opf & Hdrtel, 1898-1904; reprint, New York: Musurgia,1946-473, VII, 380-81.
25
Eitner, Robert. "Schop, "Quellen-Lejxkon der Musiker Und Musikelehrten. Leip-zig: Breitkopf & HArtel, 1898-1904; reprint, New YorksMusurgia, E1946-473, IX, 64-65.
Engelbrecht, Christiane, DieKass.er Hojkape ira17Jahrhundert und ihre anonyMen Musikhandschriften ausder Kasseler Lanesbuibliothek. Kassel-Basel: BAren-reiter, 1958.
Eyck, Jakob van.i-r Fluyten Lust-Hof. Vol PsAle.Paduan nAllemanden. Couranten. Ba4letten. Airs. etc., Parts I andII. Amsterdam: Paulus Matthysz, 1648, 1654.
Farga, Franz. Violins and Violinists, transl. by Egon Larsen.New York: Frederick A. Praeger, 1969.
Frotscher, Gotthold. Geschichte des OrgelsDiels und derOrgelkomposition, 2 Vols. Berlin: Max Hesses Ver-lag, 1935.
Fuller-Maitland, J.A. "Schop," Grove's Dictionary of Musigand Musicians, 5th ed., ed. by Eric Blom. London:Macmillan, 1954, VII, 526.
Gurlitt, Wilibald, ed. "Schop," Riejmann Musik Lexikon, 12thed. Mainz: B. Schotts Sdhne, 1961, II, 628.
Haas, Robert. Die Musik des Barocks, Vol. VII of HAndbUchder usikwissenschaft, ed. by Ernst Btcken. PotsdamaAkademische Verlagsgesellschaft Athenaion, c. 1932.
Hayes, Gerald and Thurston Dart. "Primrose," Grove's Dic-tionary of Music and Musicians, 5th ed., ed. by EricBlom. London: Macmillan, 1954, VI, 927.
Huber, Calvin. iie and Music of Wiim.Br~de, 2 Vols.Chapel Hill: University of North Carolina, 1965.
Koole, Arend. "Noordt," Qie Mtaik in Geschic1te UndM "2a:t, ed. by Friedrich Blume. Kassel-Basel, Bren-reiter, 1961, IX, 1556-57.
Krf1ger, Liselotte. Die Hambureische Musikorranisation i, Vol. XII of Sammlung musikwissen-
sghaftlicherl Abhandlung. ed. by Karl Nef. Strassburg:Heitz and Co., 1933.
Mersenne, Marin.Harmnnie Ujerselle: The Books on Instri-, transl. by Roger E. Chapman. The Hague: Mar-
tinus Nijhoff, 1957.
26
Meyer, Ernst Hermann. Die mehrstiMMigePielmusik des 1?,Jahrhunderts in Nord- und Mitteleuropa. Kassel: Bren-reiter, 1934.
. English Chamber Music: The Historyof a Great ATFromLthe Middle Ages to Purcell. London:Lawrence and Wishart, 1946.
. "Form in the Instrumental Music of theSeventeenth Century," rceedings of the Musical Asso-ciatign, 65th Session (1938-39), 45-62.
Moser, Andreas. Geschichte deg-Violinspiels. Berlin: MaxHesses Verlag, 1923.
. "Johann Schop als Violinkomponist," .F-slghrift Hermaann Kretzschmar zUM siebzigsten Geburts-tage fberreicht von Kollegen. SChlern und Freundened. by Max Friedlaender qj;al. Leipzig: C.F. Peters,1918, 92-95.
Moser, Hans Joachim. Die Musik der deutschen Stmn=e. Wien:Eduard Wancura Verlag, c. 1957.
. Geschichtg der deutschen Music, 3 Vols.Stuttgart: J.G. Cotta'sche Buchhandlung, 1930, II.
. "Schop," "AUjijeXjkon, 4th ed., 2 Vols.Hamburg:' Musikverlag Hans Sikorski, 1955.
Nef, Karl. Geschichte der Sinfonie und Site. Leipzig:Breitkopf & Hdrtel, 1921.
Nettl, Paul. The Story of Dance Music. New York: Philo-sophical Library, c. 1947.
Noack, Friedrich. Sinfonie und Suite, 7th ed., Part II ofFhrer durch den Konzertsaal, begun by Hermann Kretz-schmar. Leipzig: Breitkopf & Hrtel, 1932.
Palisca, Claude V. Baroque Music. Englewood Cliffs, N.J.:Prentice-Hall, c. 1968.
Parry, C. Hubert H. The Mui2c of the Seventeenth Century,Vol. III of The Oxford Histpry of Music. Oxford: Clar-endon Press, 1902.
Pincherle, Marc. "Constantin," Grove's Dictionar of Musicand. Muicians, 5th ed., ed. by Eric Blom. London:Macmillan, 1954, II, 413.
27
"Rgghperchegs". sur la. lUsi u 01rn^0i19 classqu.Paris:Editions A. et J. Picard, 1960.
Rgpertpi e International de Litt6rature Musicale, III, 1969,815dd and 969bi,
Rist, Johann. "Eine Lobrede auf die Musik aus der Jvitte des17. Jahrhunderts" (1665), reprinted and edited by Fried-rich Chrysander in Allemeine musikalische Zeitung.Leipzig: Breitkopf & Hdrtel, 1881, XVI, 612-17, 627-33,644-47, 659-65, and 675-80.
Sachs, Curt. World History of the Dance, transl. by BessieSchdnberg. New York: W.W. Norton, c. 1937.
Schierning, Lydia. Die Iberlieferun der deutschen Orael-und Klaviermusik aus. der ersten Hlfte des 17. Jahrhun-derts. Kassel: Bgrenreiter-Verlag, 1961.
Stephenson, Kurt. "Schop," Die usik in Geschihte und Geaen-wa;.tj ed. by Friedrich Blume. Kassel-Basel: B3ren-reiter, 1965, XII, 40-43.
Straeten, E. van der. The History of the Violin, 2 Vols.London: Cassel, c. 1933.
. "Pers," Grove's Dictionary of Musicand iluaCian, 5th ed., ed. by Eric Blom. London:Macmillan, 1954, VI, 676.
Wasielewski, Wilhelm Joseph von. Die Violine und jihre Meister.Leipzig: Breitkopf & Hdrtel, 1910.
*
IT UITNEMEND KABINET, VOL PAVANEN,
ALMANDEN, SARBANDEN, COURANTEN,
BALLETTEN, INTRADEN, AIRS . ,.s
VOLUME II
EDITION AND COMMENTARY
PART II
TRANSCRIPTIONS AND CRITICAL NOTES
TABLE OF CONTENTS
1.
2.
30
4.
5.
6.
70
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
Voorspel. . . .
I. Courante
II. Courante
III. Courante
I. Allemande
II. Courant
III. Allemande
IV. Allemande
Eerste Almande
Tweede Almande
Derde Almande
Vierde Allemande
Vyfde Almande
Seste Allemande
't Hane en 't Hen
I. La Suedois
II. Sarabande
III. Courant la
IV. Courante d
V. Courante 1
VI. La Royalle
VII. La petite
VIII. La dernire
ii
Page. . . . . . . . . . . . . . . 1
. . . 0 . . . . . 0 . . . . . 4
* . . . . . . . . . * . . . . 10
. . . . . . . . . * . . . . * 12
. . . . . . . * . . . . . . . 17
. . . . . . . . . . . . . . . 21
. . . . . . . . . . . . . . . 22
. . . . . . . . . . . . * . * 23
. . . . . . . . * . . . . . . 24
. . . . . . . . . . . * . . * 25
. . . . . . . . . . . . . . . 27
ne gekray. ... . . . ... 28
* . . . . . . . . * . * 29
op la Suedoise . .. . . .. 30
Landgrave *. .*.. .. .. 31
~e iMons. le Prince . . . . . . 32
a Reyne . . . . . . . . . . . 33
extraordinaire . . . . . * * 34
Royalle .* ... e . .,. , 36
24. Brandes . . . . . . . . . . . . .9. . . . .9.a37
25. Gay o.o.*.*.o.o.o.o.o.*.s.o.*.0. ..0.0.a.6.0. 38
26a. Amener . . . . . . . . . . . . . . . . . . . . 39
26b. Double .a . . . . . . . . . . . . . . . . . . 40
27. Montirande . . . . * * * . . . . . . . . . . . 41
28. Gavotte . . . . . . . . . . . . . . . . . . . 43
29. Intrada . . . . . . . . . . . . . . . . * * * 44
30. I. Courante La novelle Royalle premiere . 45
31. II. Courante de la pay . .. 0.0. .0.... 46
32. III. Courante Madame de la Montagne . . .. 47
33. IV. Courant * ... ,s*as*.9 * .*. * * * 48
34. V. Courant novelle la graveline . . . . . 49
35. VI. Courant Iiardyck . . . . -.- -a o . . . . 50
36. VII. Courante Nova a.a. .- -.a. . . . . .. 51
37. VIII. Courant. Aen-hoort ghy Dochtersen Jongh-mans al . .s.9.9.6. . . 9 a .0 52
38. Zeer moy . - - - e - - . - . . . - . . . . . . 53
39. Paduana . - - - . . . . - . . .a 0 . . . . 53
40. Galliarda . . . . . . . . . . . . . . . . . . 56
41. Pastorellarel*a* * - . - . . - 57
42. Capriosa . . . - - - - - a . . . . . . . . . . 58
43. Garint . . . . . . . . . . . . . . . . . . . . 60
44. Poliphemus . . . . . . . . . . . . . . . . . . 61
45. Aier - - 1 . . - -. . . . . . . . . . . . . . 62
46. [Untitled] - a. .0 .0 .4.. .0 . 0 . 0..0. 63
47a. Courant o - - . . . . . . . . . . . . . . . . 64
iii
47b. Modo 2 . . . . . . . . . . . . . . . . . . . . 65
48. Postileon .0. . ..... .0.0. . . .*. .0. . 66
49. Dooden dans . g......... . ..... 0 . 67
50a Ajer .. 0. 0. 0 . 0 * 0* 0 0 0 0 68
51. OKers-na ................. 69
52. Allemande . . . . . . . . . . . . . . . . . 970
53. Simphonie . .. . . . . . . . . . . . . . . 71
54. Aier . . . . .. .o.a.0.0.0.a. . . . . . . . . 73
55. Courant . . . . . . . . . . . . . . . . .. . . 74
56. Carileen . . . . . . . . . . . . . . . . . . . 75
57, Comagain . . . . . . . . . . . . . . . . . . . 76
58. Eerste Carileen . . . . . . . . . . . . . . . 78
59. Tweede Carileen . . . . . . . . . . . . . . . 79
60. Derde Carileen . . . . . . . . . . . . . . . . 80
61. Vierde Carileen . . ..... .... .... 81
62. Wie wil hooren een nieuw lied . . . . . . . . 82
63. Les petits Brandes1 . . . . . . . . . . . . . . . . . 0 . . 83
64. 2 0.0.0.6. 0.0.0. . .0.a.*.0.0.0.0.0.0.0.0. 84
65. 3 0 0. 0 0- 0.0.0-0-0-0-0-0-0-0.0.a-0-0-a-a-1 85
66o 41. . . . . . . . . . . . . . . . . . . . 86
670 5 . . . . . . . . . . . . . . . . - - - . 0 0 0 0 6 0 0 87
68. 6 . . . . . . . . . . . . . . . . . . . . 88
69.o?7 .0.0.0.0.a.0.0.0.0.0.6.a.a.0 .0.0.0.0.0. 89
70. 8 .a .0.0.0.0.0.0.0.0.0 .. a.0.0.0.a.0.a.0.0 . 90
71. 9 .0 . 0. S.0.0.6.0.0.0. .0.9 .0.0.0.0.0.a.0. 91
iv
72.
73.
74.
75.
76.
77.
78.
79.
80.
81.
82.
83.
84.
85.
86.
87.
88.
89.
90.
91.
92.
93.
94.
95. 2 . . . . .
. S S . . . S S . . ..S . S10. . .0 . . . .
De 5 BalletenEerste Ballet .
Tweede Ballet .
Derde Ballet
Vierde Ballet
Vyfde Ballet
't Waren 2 Boerinnetj
Frere Fraper . .
Als Boxvoerjes .
Vier BallettenEerste Ballet
Tweede Ballet
Derde Ballet
Vierde Ballet
Wel Jan wat drommel
Courant . . . ...
Sarabanda . . . .
Capritie . . . .
Concerto - - - ---
Untitled . . .
Nasce la pena mia
Untitled . -
Fantasia . . .
Petite Branles1 . . . . .&.0a . . . . . . .S S . , , S
a . . . . . S , , , . . . .
V
es
92
93
94
95
96
97
98
99
100
101
102
103
104
105
106
107
108
115
119
125
133
136
144
96 . r r 3e .ra.r . . . . . . . . . . . . . . . . . 146
94. 4 . . . . . . . . . . . . . . . . . . . 148
98. 5 . . 0 0 0 0 0 0 0 0 0 0 0 0 . 0 0 150
99a. Frere Fraper . . . #.0.0.0.*.0.0.0.i. . . . . . 152
lO0a. Malle Symes *.*..0.0 .. a.* .. *.0..0.0157
199b. Modo 2 . -* * o - . . . . . . . . . .* o* o . . . 15819cO . Modo 3 . * * * * * o * * o * o . . . . . . 159101a. Courante la Royalle . . . . . . . . . . . . . 160
100 b. Modo 2 . . - . . . - . . . . . * -* * . . . 161
Qc. l Modo 3 . . . . . . . . . . . . . . . . . . . . 163102a. Cranes Air *.y9* .o * . . . . . . . . . . . . 164
102b. iviodo 2 . . . . . . 0 . . . 0 0 . 0 0 0 . 0 . . 164
102c. Podo 3 . 0 0 . . . 0 0 . 0 a 0 0 . 0 . ,0 165
103a. Frans Air. . ... . 166
103b. Modo 2 * * * . . 0 0 . . . . . 0 . 0 . . . . . 166
103c. Modo 3 * * . . * * . . . . . . . . . . . . . . 167
CRITICAL NOTESOTES...*. ... .. 168
vi
I
VoorspeCornelis Helmbreecker
f. Ov-1r
11
Thu r~ rm
4 1_ _ _ _ _ _ _ _
ow 9 3jIi ;7
13----
i
I vI
I
I II , I
2
A.A r-T I I
F I
d9 H F 1
P.- Mr-
6w=
-- r-7 -------- r
is Ar:3V I
rrr7-J A M L% I
LOJ
rT-F
21
ad its
.J A 10
25
25
No i---. I Lz:l I
I do
-AV
lop md
Aw
0, Ar"v
i :F F 1E . 1 1 F
Loi6ow bow wmftimw I
I'-11."
aIN"
IP%
-I
3
[ ||"
33
33
-o- .
41I_
47
4 rF1 -
qV14
a Alk ldh
I. Courante .J. Foucart
f. v-2r
I I k
2
I I I
4
A- i11
I1AL~ i-
-iord
16
I
5
HH-1
Ar-L,
jw
IFL- M a MINE
I F" ff
i F
Fl- m -mm
F=
40 v
-w-L-Mrr-- w I
ir i 1 a JEW I r2 AWPL- Is
I ON KEE=
At's
-low -v A I
,33
N 1 0 NEFF-
In w I
IF-
i I
IL)
I to I
II. Courante J. Foucart
f. lv-2r
3
6
, I- I
LbM
I ~ ' I I I
I
i A
I NW 1 1. 1 1
7
-pP6
AM
r
21i 4j--r
t-u-t-III21
T
2(o
I
iiTI
-I i4OF
49
AM a
8
III. Courante J. Foucart
f. 2v-3r
4
le 1111110-
0 AV
-Af
-ow -op- 001 lop, 'o
4;
I
I LW
AV
'I F= IN
r_ W in PC A I I
41C 0
dlL
IN
I
?0000 AV Aa
OL" Iboo
OP
----------------
It
d7
j A A 4 $ f to 4- $mp A a -06V, lor -FIFF
I i
IF4 -MI
27M-1001-I2'so
22#_
fl
9
F
9
a
.
10
I. Allemande Louis Constantyn
f. 2v-3r
5
ww6
5
141
J 4a vI
- If- ' I , " I
11
A II 7
w-
__mi -j
_ _ _ _ _ _I_ _ _ _ _
I I IU -i AM I pp- '0416
do I A moor'
qw- I q
- Are a
II
pa9ftomm
-11 1 1800 1 1
12
II. Courant Louis Constantyn
L. 3v-4r
6
if-II , I I Ijr-
AW
id -6- T=F 1-1 L
F WIN NO
20
AMEN AMER
I pp,
6m6mA=d
_j-
MDT
r-T- I I
J-- P- awl
46JF
Wis
-IL Aum 0
I a I
13
10
300
A4
30
430
INK--
40.
" II A
I 4F
[-3
14
III. Allemande Louis Constantyn
f. 7v-8r
7
mo -1:1I I
~d -4InIKA wlb -
II
15
1
21
GP 1
27
32
-32
I go 10 F.i
v I Il io 1 1 1 I I I I I
16
I'
__
4AML2 I- 1 P
422 =:i I
47
4OW
dI I t% I
17
IV. Allemande Louis Constantyn
f. 5v-6r
8
ilsr ... ,,F
6w
141
I I I
18
25
30
30
10
34iH.i~4-- . T h1------ .-
-_ __
34~dF S
. I I I I
19
18
43
4 l O
52I
I 1 -1
d7*1I' - Uui AM
AMF
in
I I II ii AI m a I a I
20
I'l I II
405Mo
AWk
mo
-~~o 4 :.07. .. . .L .q e --'. -. ' I- --
Ar 0i
6MO
dC MIu
I I #- 'A iL Somftml..
21
Eerste Almande Johann Schop
f. 6v-7r
ALL -AW-S ---
WWI -'T
12
-- ------ ---------- m*
$ I j
9
I I low I I
22
Tweede AlmandeJohann Schop
. 6v-7r
I ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ Ar MEW5' 'tei 1.e -1ii oai 110 . .
NNW I~ll pop, PW r7-'ir-u ---- - . .- .. .. ..
lo
Al A
10
10
rl
It- AV 0 V A A
1 6%j 1
23
Derde AlmandeJohann Schop
. 6v-'7r
I IT
F f I 1
' I
L
--w
60A-"__ LIM
r8
, I I T
-3;
I I I ' -
I I I
- I I I ' I I
I I I{T
I I I r
11I-- p
[5j
L I
I n]I
now
Jjj
I
q I
- --------
8'1
I
I cro)]
13 n
I I I
I - --- "
Air AMPIIP-
Aft
Vierde Allemande
12
24
Johann
f.
Schop
6v-7r
113
ili
I-*
I I Ii I -- Jmd -
25
Vyfde Almande Johann Schop
f. 7v-8r
13
I I
... - I
F =
q
13
13
I I I I I
OIII
1171
21
2I________ .womb,
11
26
FIR ik iMCA
Ag!2 0 -
27
Seste Allemande Johann Schop
f. 7v-8r
14
F a X .= f -F r i..- , i,.,. --.-
13Z
ai
w I 'IrvAr do
-i A I 1 6. 1 1
't Hane en 't Henne gekray
. 7v-8r
28
15
I. H.
ALI-- .0
gi
14
) li
29
I. La Suedoise
f. 8v-9rLA
Vi I IJ1' y~
AV,--01-A #-t .
-T
I I~t .]
.jnl I K I I
-W I I - JI j
25
16r
rF ~
~j A
7IiI I
I
P 1 ~
I~ I fr--
I1
4,
i'?
a t#*,W
w
'U
'U
jA
I
I I
I I pr f-
F 0 9
J-11
I
"
13 I
-FI F
.
I I
I I I
--I- .- II
T
-F
0114NJA go-
30
II. Sarabande op la Suedoise
I. 8v
17
AP
w Aqw, -a
AO AO
WN JA
I
i Idd 0 pppl"1 7.I b up- I
-j 'A Im m a 49- 0- -,A
f I II
31
III. Courant la Landgrave
v. y
18
m
25 IIL
IF 7-r - 0= I
-F"b
-- T---T-
9 4-ii dw
14NOW
few
omIP
20
Ir-. wj A*-W
to
I i
40 Aeb & A"
,.web - I
I I I I
32
IV. Courante de Mons. le Princef. 9r
19
_ _ _ _ _ _ _ _ _I rt
.1 -
I-
-j A I I
w
-r
33
V Courante la Reyne
f. 9r
I - r
I I I
lo- - AV
,I- I-
r
~L '
L
rI
F 1
I I-- 1 J
20
49AP 0
77U"11
I1
I
I
II r -
-L
00
T,
I
-I
1 0 1 I I
11
rr
I
)21
- I
I
.an ? 3
[LJJ
46 #[ L ) I
34
VI. La Royalle extraordinaire
f. 9r
mellowr r'
~I.AM
___ C 2
AIL
I pop- M--ff A
lotIT W- ur
Ipp-
1 IL
N=,, I-It
T 61,j I I I
1
I
V
35
VII. La petite Royalle
f. 9v
22
- flI bi a.---la' - s a - -" - - : -i- . - - .. -
17 AORd
pp, -
36
VIII. La dernire Royallef. 9v
.As AM ,- Ot ,d-
23
IAIL T_ T"_ AN "T__ Irw
M.'%,W -A
WWI-- A P' AAFF
1sa ''COW I A- L -adF
MOO
di
A"F
13I R I
------ mo o 0I -pollJF dw
19
I", dO
A
37
Brandes Mr. Primerose
f. lor
' I
I I
I I
II' V
24' p.0
W WF.
&
I I
j , 4
Jfld~
T I I
I I jdP-
I
p -9:2-0-
A40
Imp-
---r-
Iskor _dv--a-F
38
Gay
. lOr
I I
-oET1.OakL13 r~z
Ii25
ff--LL-AW-- I I Pr:L
op
-,do- dolm.
'w I I1 4
39
Amener
f. lOr
[t.
26a
137-.
Oita
II I
Aw
40
Double
f. lOv
26b-- ----- r -
#IF
# W
aL
I
I I I
41
Montirande
I. tOv
I I
An.o
A13 g
:1-A elt.
-f --- F-- =. -- = 7 - -- --
WI-T
LLI
27
I
It. . I
Ur
pp,
dp I I I - IPW
law1w,7
JAIN VPWI
------
4
z
I
i
dLm
I I F I
42
i 1-_
21
25
47l
2q_ _ _ _ _ _ _ I
J im
43
Gavotte
f. 11r
J I~1 A~
28
I L
I I
AF AW
N."
am, w
#AW LAW.Nk
-ALM,
rim
AV tow- I
.-.mdoool I
I II
44
Intrada
f. 11r
Am- 7 r I-A7- m F-- V .wjropp- qfd I I
AM
Fm I I I
ww r 1 A
1 1 1 1 F1 1 - 1
14--
AF grip
i dw
4L dw dpL
-IL- Muop
-!r I
13
Los
1 14-I I A P,
I down
dd
6med bow
K-4- AV I M
29 IL
-- j M -0- mm go- AL
w
45
I. Courante La novelle Royalle premiere
f. 11v
I4
10
.5115I
_ _ _ _ _ '120
30
.JL
I
46
II. Courante de la pay
f. 11v
31
117AV3
I I. ----w I
_jLJ177
47
III. Courante Madame de la Montagne
f. 11v
now IF
IWI
10 go
1 -A
-..a -,ebb
OrT
Am-
F -I I
!::jd
I I I
I
qw-
1132
II
I I I I
48
IV Courant Loui Constantyn
f. 12r
33
L2
-A I:AI
.j A 'o A k , , I
II I
I r 1 .1
49
V Courant novelle la gravelinef. 12r
I I I
I I ____ - - A----------- T_ rmoo"
diddid
IMP
,.Nock
dO d;Z
97
MO POW
Iq
AWO
i __
34
W9 lj- -- I - ---- --- I -- - - -- - t AlpY----A- -- -AdQ I 1mv I Am
QF I - +
ago j- -I I4E F 94 zil pl I
A 9
11 1
I I I I I
II
50
VI. Courant Mardyck
I. 12r
-E J -
op a& i .1I
rIl I
r I
, A. AN 0- 1e gt
I I - I I
.j 6
35111 I ~jvu
7
13
1 1
vfV
g'oA.,*
-F I YT-T
-a --
I
I 'I SI
I
I
- 'do Io -0- -1&- --por 0 --A .40-1,
-F r rT-
mftmv---v -F
T
51
VII. Courante Nova
f. 12v
36AM wmmddzlE--
pw
W-4
imp,
13I
52
VIII. Courant.
Aen-hoort ghy Dochters en Jongh-mans al.
f. 12v
9~
OWE I- II _:*L
7
OE. O p.-. 1 -=
13
I do
37
II
gwp
53
Zeer moyf. 12v
38
39
I I I I j I I
60
Marladuana
12v-Fm
. rn
I-I
54
- . n . .s m-o.g, .
lip
21
F;1?IEE i
I
55
40
- IIl
5I
-mw 19. -
I I I I I
56
Galliarda
T. 13r
I I I I '40
lo-
-~~~~~~~~~~~ ~ ~ mom". .. -. I--e, r .--
40- A
15F
dd]j'A*
Af 00
1 9I
1 I I I1 I
57
Pastorella
I'. 13v
4- d _ _ _ __ _ _ _
41
A'Wq
SmmI mi m~ain I r", 11as
12 .Oin
II
58
Capriosa
I. 13v
- i I I I-_ -_- --
wo
42
1g0
I e 11 - Ii . -h. .n -1.:, .e- |. -. o-o ".."
AO t oo i
59
I FP_
I ____
[w]JI Lw=
I
6o
Garint
L. 14r
190khZZ -do1ZTI1TELMT 0~J -.- --I'---- -I
11mak I I II
--T-- ------ ----
Ad 09 U
AM -. J- .'IV
M 0 Adat lop,
MW7
put
Y t-q rol I4k:
dF
Pon I
-
rt
01 II
itma
431
19
i
Pam%
I
17 Loi L114 Lvaj I I -I
I
[EI'L
61
Pol iphemus
L.14r
I I
-w
14 OPI_V _Il
ain
44d;za
I I
1/ I
ud
62
Aier
I. 14r
17A
11 k4
45
rAfth-
0 -j
-j M root
63
[Untitled]
. 14v
11
46
S. dK
1i2
I I I 1*,
I M I
I,1J
64
Courant. 14v
- -~ , i ON
47a
L
van Helmbreecker
-j A
IL a
AM lo
16
I
-Adb -91 - As 6
II 4 1
65
f. 14v
I ----y .10 A
I two' I I FMPI I
ALJLbooom
v A II- I U-I A 1. V
Irv
imp,
---t too, I
Id A&
16
AN I" t
rp- I I v
Aim
1.5
A , awmMob
t I .. I& d
I I 1 1 I I I I
van Helmbreecker
Modo 2
LAU-
E:3T.--- Sriip
I- I,LLJZRZI Aff"Im - Ar"Im
I
47blI
L 1 1-- 1 1---
66
Postileon
. 15r
L _ ItI-WI l
F I
I.I
NOON *
L
J I r ......j. 1
r I La
td
f3~1. rI
. I
A
r ' j IJ
48
-A
17 1,4 4I7V
I ' .. .11
I-
to -I KI
H1~
wowI 4
16
'U
'I
I U
1- - -I%"K AL
=menI
l'""?
| j'""h
I-T-
1
I
IOMM I %NQ I *
I r
67
Dooden dans
49
f. 15r
V I M P -, , ... a1
P A
1do
dE X
I I-- - I
68
Aier
I. 15v
50
Bl.
ao
AW
__j pool
I
ir
I dd -10 AM -ACO
tv
LAS -A
0
op
Am
Ij I 1w qw 4wr '110.r 4w 4w
69
0 Kers-nacht
f. 15v
k I I 10- - IMI ,-I i -A-- _V _-t__ _ _ _ _ _ _ _ _ _
_ _ _ _ _ _ _ _ _ _ _1dP 1
51
e.r ir. - -- i .- _-_.__-_.____..._-
7
13 _
I r I F; ra eol
I , rt
ap
70
114
B. F. de Bruin
Allemande Paulus Matthysz
f. 16r
IJA
-I -MI tA
#41 1 1 FIR
VA LA
52
i A rol I k lj mmwl
71
Simphonie
L. 16r
idZ: o
IF6
- V
11d
1P9
-V I I I I I I i E I
w - %W 60op low 60d 6=W LIM I
72
20
24
Paulus atthysz
jA I
73
Aier
f. 16v
t MP
. . . ........
Ag
6.m
loft
koom
I I
5 4 .
5
OppPOO- a
Ar
118 iiiij- -*will
74
Courant
. 16v
5 5
A
I to II I
A.E111=|
J K-1
8d
--- No*
75Carileen
f. 17r
-,M V -'iLAf T7
I F
4
f F
1i
I T- -------'--.-----------e s,,1.. ,,.....,.., . , .
I4
14_ _ _ _ _ _ _:
rkor nP
Dirk Pieterszon Pers
56i
I
iammmm-
jw b0ow IMMINA mpmp-- I
I
76
Comagain
f. 17r
57
- JL
-
ff l -n e m l m m m e al .m u m i o a m M l m s w a -e , r i ..i l -n .i r e m i i 1
9I6,,
17Il
6
77
20
23
30'- AM
LM96 I Mimivmmm
78
Eerste Carileen
f. 17v
_
*I
5__LedIKUMALI
h AO AM 40 &2 6
K I r II
9 1
79
Tweede Carileen
. 17v
uI~ I 1rdIr - - 1
5 -j
- - - - - -- -- -- - -- -- T T I f-A----T . o
dF. ry
13
I
I
I II
I I
I I
59
80
Derde Carileen
L. 18r
60
hall
5A
90.
r - .:sts .. --r.- .I 1r.. . . e..r.-s, ,. .. .- ---- . ...-. .. . ..
1 9T
81
Vierde Carileen Cornelis Kist
f. 18r
-lif
IM'zpeoM
ag
-i
61
I mw I I K F I4Q I IF I
82
Wie wil hooren een nieuw lied
. 18r
-I
10
I I
62
I I
83
Les petits Brandes
1.. 18v
pp, I i I
-13A
63
_._im --- AiML-
w I I F v I
2.. 18v
*II
5Ap
64
84
II I
85
3.f. 18v
Ask I A
AMII
11
15m
65
I I I I I -mm" kftQ I
86
4.
f. 19r
O I Ii -i i :FT I A I a 9-
-Amoe I PW T
.Mk
--Nmww I
Tn I iL:Ad V 1
Ida- Aft
Am Am
AF Inv
Im I Aft
-I
661'41
I II I I I
87
5.
. 19r
I ow l I -- I-
Aft --Wm
up-
f2e-VA
MIA.
1 U 0 'Oft 0 PW I III Apok
0 u moo-
o B
iI r I MN I
67
I,go -a- 0- 10- io- 0- 0
I 6J
88
6.
f. 19r
p2
0 -- III II
___ ___ __Iti
10
i I I
68I
I I I I I . I I
89
7.
. 9v
69
44
10.
-on -P p
-4 -1-
Aw m A
90
8.. 19v
m -
lo
Ir2
Ulm3
AM A -AO ipp- imp"IT I IMP, I I I
11 F-J14 1 1 MIT a
I
,"Now
I I w .I rh...' '. I I
7011%I
9.f. 19v
71
ilif
V_1_
91
92
10.
f. 20r
11gww
_________-F
_____ ____ ____ ____ __ia
1w amI
Jo 4 ~ tr-rVII
721
-I I I I.qw
93
De 5 Balleten
Eerste BalletI. 20r
I AV rmrr I I
Ii I I -. W9d
73
.i
li Li 60004
94
Tweede Ballet
f. 20r
74
74
- i . . .-
ft1
.N 4 O
95
Derde Ballet
fI. 20v
a stv Aso
It I
TV r ------- T-
A-1 f r
Wi t I 1 1, 0
Or
AI
I I VU E
MP- low
WOW
1 12*Jo* --..map 0 o.. o-I
she-I" I I ml III
0 M -..dmL 0 10I elmF i i
75
i .. 9m IL -- ddle- AP-0
96
Vierde Balletf. 20v
AM*
i 3|%Ill l6 1""'I-2 ' " m -r r=' - -- - .. . .d sd -dd ,-, .-. M.
'R w 9o -aN 81% ,,4 ~ ,-,-e -. .,ri-m
76
97
Vyfde Ballet
. 20v
7
I I
II77
I-j
't Waren 2 Boerinnetjes
' ~ I
Dirk Pieterszon Pers
98
78
f. 21r
110 0 - -- -- f
-- e
491
I1 II
99
Frere FraperDirk Pieterszon Pers
. 21r
79
13
Oak
100
Als BoxvoerjesDirk Pieterszon Pers
f. 21r
FI I i r
**:- --4,inI .
77 -
Aft
4,~~ ~~~~ ________I _______
I I [m I I I
I I I #
..........
IMF, PPF'
A
I I I
I r I I I- -- u
I II
801.1I
rB tVier BallIetten
Eerste Ballet B. F. de Bruin
f. 21v
PWI
- -
aI I woo
I , r I
81
_ _ _ _ _ _ _ _ _ _ _ _ __I
:1I U- I--I ~ ~ -- - - -0 1
-- M - -o tooI
%NMI
ri
102
Tweede Ballet
f. 21v
82
I LLI
IWO.
4Fig mm-
-- -- o
- *Mf
Alip
14
AM- MW
!117
hand
103
Derde Ballet
f. 21v
83ll
~:~j ~~z4
hm- :__ 3 :
T- mt- :fly
r ow I________ _______'
104
Vierde Ballet
f. 22r
"'
84
WOO*
NM MIM I IIi 10 OM -F
hieI I
14PIN" AN" -4AW
105
Wel Jan wat drommel
f. 22r
I II L II I - 30ML
d9"
low
Nww
MW
rf
---- Aga PIV PW PW
.lb,
4p JL .1 iWA
TF I
AF
ELI;
I---- ------ -too
!P- PW 1 -1 0"l F K "I ff. I Ad m
Ilii I ............. I -
85
j M
-
mop
106
Courant
f. 22v
86
Z5
-- I
-T --
13 fir
lF
-- fool
AV
6
107
Sarabanda
f. 22v
PO__Ara
akAML
UP Inv-'Row
dft
NOW wr god
_.ft lk#o .dim
Fowl "r Aw rw
IMFlow-
Row
WN,
sk I ML
Ad- I god
1wII
Capritief. 23r-.24r
88
- - a a
108
109
2 I464
30
tool
110
.11
44
44
i F
AN*
111
5do
- aa
57
IF i
-I 2p -- u- -
A I -AN_ _ _ . -11_ _
eow*,40- M. #Ooft*A
-OMW" I
112
70
'7ow
44
AMA
AM0
113
85w
29 IV
1
9
J i l l- I.
95*
114
104
Ir__ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
6oV
107
06:P
I I
IM 1 - 1 1
Peter Luidhens
III
I"I
115
ConcertoChristiaen Herwich
f. 24v-25r
89
t- 1 =i 4. N -
PW- F
6mW
-0- 'a AM 106
F_ F_ I
rr F
-- y Ar KE ow
UIi it ldr-
1 4 - It 1 1- 1
I I wr
or ,JOJL OF
do
I 9-f
13
A17
147loop
lamb,. E Li i i-Aimmomp- 00%W- I i 0 i Ir
9 1
I44
116
I I L- -- r-- - - -
110
1 Z PI j
- - U .-.-- '. .. r..- -I.. -.- -- . .I . .. -- .. I
2.8
F2
31
.A
I opp- 'I% POFP- 9
117
344
W -A T I-
40
-
43
4lo
I cz;w
118
5Z
554
515
i5NNN9:J
- | FI | l ''1 .4 '.. -[f irr -
119
[Untitled]Johann Schop
f. 25v-.27 r
90
Io
r. - ,r ----- -o-&
A IL -' | i .r .
Ili lIllli
18
20
E Am
b
'I -T,-
120
I I I
II I
121
43
c ...mmemmmmmuammm---
31
344
3 7
4pI
II -
122
&I
4
--Full q wI
I I I I
Moir,
I I
58 I
-M k=-
,.god
......
_d2p* main4
123
lii |A w l-| I-I- W .- I.I
.w6w
71
~74-mom
-pow-
-['*I I
H ffJ6- I[1 1 - .-r M.
f-
8.s
q3 K~JL 'I
124
Iif
AW
,oar
gamin 1
125Nasce la pena mia
Johann Schop
f. 27r-'29r
.ftftoI
91
4 ~~irF
1ipi'4i l I
EI7IJ
-jtIf
-90
AW
R A A 74- 1 1 -i li
ad Iftowam OF
APW
41c
Im. 1, i i 1 1 1 1 F 1
p a
& I I
LOA
I I
log
-a*- vo, Ir
CAR I i F
1 19:3F
-
ftoAx
ff-gt p - goGo i roFW.
Ii I I f OP-3 I L---JL
fft
160400LjI4.-
I i
P-P, - - ---- r v I
jI AL-
a
AV L
Or -- F
;t77
A+ AW
I p- Im
APIL I
rr" I AM
6POO
10
),o .0 A&
MIN mom F 1
wow
25
4 ALP
28 "WIN
4 + g w vo I= F 1 A i
RON BREMERIFF-OR
31
126
I
127
lot- V .F o34
37
410
40
/rw.9
-- Now-
41o, qud
I.I
rI
OPW
128
4q4
i* m"
Sza
5 t
I I
129
-J A
o- -A I AW
sib$ 9900 10 i RUF i i i i 10 i i i I
i - !V I"% I
63
Aft
i i
6mW Ij somwo
(06
Ap
L I I I I F- I I F- Im
r - 09 F _4 i- 1 1- 1 V- 4
1 600 T. 1
1 A 0 AM AM p- 1 2wo F W
AF W-1 -1 1 d 14
IQ Whim
Ud
io
-j id AM .w
-r--- 1 F io ILM;
600"
7$
do
I" I
130
i -41 b No m-een
80
131
92
II I
02
102:
I II ,
I I
132
- -P--A NI - III
td9
112
I-I1P11
15
I I
M Ir /I I I
-I"2,f"P
mo
"ll ;lqJA
133
[Untitled ]f. 2 9v-30r
92
A.e
A F
MI il Il 1 is .-- ._-F
I -,low- r I I I
II
I
low m
I I A-
low
JL_ a
"Now-
R-A.
Mor-
134
1
20
22
I I
IIA I
1 1 _
26
27
2'7
--am W' daqool 11 0 a1
I II
............ idol-m
I-W- IF-71
I r " 'MWT
135
31
33
T-- --- r ------
~4
I-35
Fantasia136
Gemaekt ter eeren deE.E. Juffrouw Adrianavan den Bergh
f. 30v-31r
93
Am P- M7w, 1 V F
AWL
AW
wL
I W41 wow
WON
arlow
-Ila
op
I I --A
-#t4 r 720 op
IMF, Erg
I v
1
owm_
A -A
IV V I A06
........... t o o-
30 f L
QQZ=
13?
1 -
24
- AM
* l
_Ir--Wo
POW
mmm--M.% -4 IL
138
34?
- ~ ~ ~ ~ P -A M I' ' q'w- --. .. -I-
34
I I I I r, T I [
4 3
46
139
I INmoI
o4L
.. -.....
I
Ama
I I I I
dd
loll.-
--NorAW-3F-
fig
IF
ttl
--- --
-r-- t --- - - A I
14o
I I I I
77
lo-7-l l
al
74
4
--
141
Dirk Pieterszon Pers
Ao -AP
I
85
I TI_I m mai owl qw,
Opl "PW
87ddlk IL
142
Petite Branles
1 .Jakob van Noordt
f, 31v
94
1-(-
----------
12
&
143
|~~~~o - - - - -
zo
3so
i A I -..dlb. bA& -
144
2. Jakob van Noordt
, 32r
95
- _ -~'Ads,
ALI I
p r-~ir pi
do rrI IF
---- go - do -10- 40-...7
5
-Inv I
oE_AO"
mp-
14I
145
'jo --------
rpBig 1 1: t
P7
-1 u-t- t
woo
21 lwlmmkftl 6
i A
I I I I
3.
146
Jakob van Noordt
f. 32r-32v
rl I I TI I.I
t8a-r
'dhse
_ -A
96
,-d 6 a i a
I II I
I I
14?
ada
MM6 -M-- .- -L
.
__
-II
wF+ ;+9
IJ r-1r,-
T -M
I i
I
30 rb
148
40 Jakob van Noordt
f. 32v-33r
97
I I 'r
5
8
,do
II
now-
II I I I I I I
----- W PP
IMP4 44 j -M.ni p
li - -
I II|I
.gob
149
X j9dwWALL __AL I Jlr
4-A I i ggam, 31
22
................T
I I "W II I
150
Jakob van Noordt
LL33
f=WI8r ~ 7 ? ~ _ _ _ _ _ _ _ _ _
5.
98
j M io
f
s.mo
M AT
-------------
"tow 91-
Agolall-7,u,
do
-mw
ALM#- ...... WIN I III I
-mmommo-
ff--JLI--- AWAO
Nw.
II r
5I
om ddgl- AdML-
II
I -, I
f.33r
* rTh
Awk
jb I
71M. I F1 Ii
r22:A:1_
-M i L .
151
-. m
I - r I I e
152
Frer e Fraper
99...... -
13
gebrooken vanJakob van Noordt
f. 33v
r
-pow
Iq
IL
Wil p I
MLX
9 1 1 1
I. -
ILI
T-W
-AID
153
Modo 2.33v
gg
9 9bpa
14|. ..". .......
14 1
I|giE
154
fP4
155
Modo 3.f 34r
I - -AE
9 9CA M.. i.lh
Aw-
||W
Arm, 4
I --- 0II IIII
-AM --POW I
10
13
l1 7
156
-"- I ---..
22 1______4a
157
Syme sgebrooken van
Jakob van Noordt
I. 34v-35r
Malle
1O
I
.1
0ap
to
pow
I I -.Is. -.As. #Mm% I
158
Modo 2.
0 It r-I I
A
100ba,
4.
8
-,-"-V-
OF
.90 -No-
LOO
PUMI I - Q owmamITML 1- --. _-I --- 1- --- V-S A
. P'rz r*,.
159
Modo 3.
3
5
7T
i4.
13
i5
A!^
I *
w L M A L
1. A- FtT I A I J I."= :tm - I 1 11 1 11 1 Ll- I.
wo
As
V I-K-71
0*1P fw- AW- P-1 I
Jwl I PW I - I I . . II I I 1 -111 1111W 1-
wo,
-"Nq
i A
f AF m Aft For I M. AM AL I rw M i-L
-9m, t 1
ow
rp--- AM - rMW I PpW
rwr Mr. U I I I I
WAN okilm6lb- Od0 4w
I
u ff 'Irmo'APR-
sp
Lg
I
A JoV- __Jr t
pop-
160
Courante la Royalle gebrooken vanJ. Dix
L. 35v-36r
B dw-- ff
Ile
AM
op
=4
Fm
Now-,
Ah
V
OL
14-1
. ...... lloc -ij, P",
i
As
Fm
23
I I
E
161
Modo 2.
101b
lb
4
;
_ 1
_____ ____
I 9 I I
162
I_ D.- _j1
20
24
I.M 406- 0 .a ..M do- JOL goo,
I
163
Modo 3.
101
I
9400 -. AOI PIV I dWb Am lop, I
pow I Fop, FAW rw I I
I Lrp, rr
:1.:QTI MAW M F Pw ILIL mw -P I " I I AW
K--' Aff
.Ab,
Im, m I IMF I I
.add&.00 Aa"I
low
AN AW-AIL
..............
..........
16
2 4 L--, 11 ---
27
a N m -------
AM PIW] -.- JW7-pPr I --, -1--A -Iwo, do
L-1-A I
w -p- idwa--AIL- I 1 -1 1 U - T-
dsdid
il
1
op eme
fl , ,
af q%%Gz GWOWOWIP, %*Aii=
6 F*zn ---.
I
164
Frans Air gebrooken doorJ. Dix
I. 36v-37.L
102a -
Modo 2.
70
I Iwo, STE
I I
Zak
4
165
Modo 3.
102c
7
9Am ..Of
.13
U -73r- L-
low
TEI1
pop-A - --- I ------ t T I I I I I I
r
big", NNI NNIi-mm"
A Ar
b 0-0.9 -mopmm--
166
Frans Air gebrooken doorJ.. Dix
V. 37r-m37v
103a
103b
34
--Tap-, 10- low
Mo-do 2.
Alk. rW 1 1
I L
-d
_T
AM IW t _A.LI A
:::::j;;jjjjj M- I -V
4
I
167
Modo 3.
.dk-ro AM- A
Lm- W-
-- _ _ IIIa
103c
3
S
7 -I- A _I_ I I __I_ 1 1 1I In I -J
i
168
CRITICAL NOTES
The notes below show the original readings for pas-
sages which have been altered in the transcriptions. The
abbreviated form employed gives the measure number, the
voice (U[pperJ, M[iddleJ, L[oweri), the note or portion
of the measure, and the original version. For example,
8 L 5-6t indicates that in measure eight of the piece
the fifth and sixth notes of the lower part appear as
eighth-notes in the manuscript.
4. 21 V 2:g2
6. 19-20 Us d2 a1 g1 f-natural1
7. 8 ivi 6: g-naturall / 31-33 U are a repetition of measures
28-30 and have been omitted in transcription.
8. 24 Ls ?
9. ?vi4: c2
12. 20 L: I
17. 11 U 1-2: g-sharp2
18. 14 L 2: 1
22. Ls "met 3 Hooge geluiden"
23, Beginning, L:
32. 15 La B
34. Beginning, Us: / 16 U 3' b-natural1
39, 13 L 3:G
41. 10 L 2:
169
44, Meter, L:2
52. Fermatas appear at the following places in the upper
part and seem to be of no significance to the piece:
measure 7: eighth rest on beat 1, measure 10i beat 3.
53. Fermatas appear at the following places and seem to be
of no significance to the piece: measure 4, U & Li
before beat 3 / measure 8 U: beat 1 / measure 8 L:
above bar line before beat 1.
54. 15 L 2:e
57. 7 L beat li 3 8's
70. U: two sharps appear in key signature / LI no sharps
in signature with f-sharps written in; the key of the
piece is obviously G-major. / 16 U 2 (second ending): f2
71. 5 L 5: f-natural / 9 L 6: f-natural
73. 4 L 3 (both endings): d2
790 Meter, LI 6
'482, 10 U 2: e2
87, Meter, U:
88. 93 L 1: a-sharp / 96 L 2: a-sharp
89. 40U 10: e2 /62L: c::
90. 67 U 2: d' / 71 U-L:3 / 95 U 1:2
91. 15 U 2: f2 / 15 U 3 c-natural2 / 84 U first chorde 2
92. 28 U beat 4: / 29 U 2: g2 / 36 U-Li fermatas
appear over the double bar.
93. 75 U 6:
94. 31-32 U: In these two measures there are ten beats;
170
the bracketed notes have been omitted in transcription
so that the upper part is compatible with the bass line,
and so that it agrees most logically as a written out
repeat of the corresponding measures (19-20).
Measures 31-321
95. 17 L 4: c-natural
97. U: key signature has no sharps; most sharps for D-major
are written in.
98. 14-15 Lo In these two measures there are ten beats; the
bracketed notes have been omitted in transcriptions
16-17 U: There are only six beats in these two measures#
99a. Meter, L: 6 23 U 2: b
99b. 23 U 1: d2 / Meter, L 64
99c. Meter, Li64
102c. 9 - 10-11: b-natural2 a-flat2
103c. 7 - 6-7: b-natural2 a-flat2
![Multimodal Discourse Analysis of Man of Steel Poster bachelor thesis [messy edition]](https://static.documents.pub/doc/80x56/58a39a7b1a28abb1348b5b53/multimodal-discourse-analysis-of-man-of-steel-poster-bachelor-thesis-messy.jpg)
