MI 2004 03pozniak
MI 2004 03pozniak
MI 2004 03pozniak
ISSN 1233–9679
*
This article is a significant expanded version of a paper given at a Polish-
-Russian conference devoted to problems in source research, organized by the Institute
of Art at the Polish Academy of Sciences in Warsaw in October 1996.
27
Piotr Poźniak
1
Julian KRZYŻANOWSKI ‘Nieznane “tańce” z połowy w. XVI’ [Unknown
“Dances” from the mid-16th Century]. Pamie˛tnik Literacki XXXV, 1938, pp. 28–38.
2
Maria SZCZEPAŃSKA ‘Nieznana krakowska tabulatura lutniowa z drugiej
połowy XVI stulecia’ [An Unknown Kraków Lute Tablature from the Second Half of
the 16th Century], in: Ksie˛ga pamia˛tkowa ku czci Prof. Adolfa Chybińskiego w 70–lecie
urodzin [A Book of Essays in Honor of Prof. Adolf Chybiński on His 70th Birthday].
Kraków 1950, pp. 198–217; the article also contains a transcription of V. Bakfark’s
entire galliard Non dite mai.
3
Four pieces entitled with Polish incipits, as well as Venus, in: Muzyka
w dawnym Krakowie [Music in Old Cracow]. Ed. Zygmunt M. Szweykowski. Kraków
1964, pp. 71–75 and 307–308.
4
Three passamezzi (including two entitled with Polish incipits) and two
accompanying saltarelli, in: Muzyka staropolska [Old Polish Music]. Ed. Hieronim
Feicht. Kraków 1966, pp. 117–122 and 388.
5
Intabulation of a madrigal by J. Berchem and four pieces entitled with Polish
incipits, in: Musica Antiqua Polonica – The Renaissance. Ed. Piotr Poźniak, vol. 5 (pp.
12–13 and 19–20) and vol. 7 (p. 8–10). Kraków 1994. To complete the bibliography, it
is worthwhile to add the publication and discussion of the piece Venus in: Krystyna
WILKOWSKA-CHOMIŃSKA Twórczość Mikołaja z Krakowa [The Œuvre of Mikołaj of
Kraków]. Kraków 1967, pp. 143–158, as well as a definitive resolution to the
arguments regarding this composition in: Piotr POŹNIAK ‘Koniec legendy o polskim
madrygale’ [The End of the Legend of the Polish Madrigal]. Muzyka 1996 no. 3, pp.
59–71. Beyond this, mention of the source and of individual pieces is to be found in
various papers concerning the history of Polish music.
6
Piotr POŹNIAK ‘Le vocal et l’instrumental dans les tablatures manuscrites
polonaises du XVIe siècle’, in: Le concert des voix et des instruments. Ed. Jean-Michel
VACCARO. Paris 1995, pp. 671–688.
28
The Kraków Lute Tablature: A Source Analysis
7
Levi SHEPTOVITSKY ‘The Cracow Lute Tablature from the Second Half of the
16th Century: Discussion and Catalogue’. Musica Disciplina XLVIII, 1994 (volume
published in 1998), pp. 69–97.
8
Sources manuscrites en tablature. Luth et theorbe (c. 1500–c. 1800). Catalogue
descriptif, v. III/2: République Tchèque, Hongrie, Lithuanie, Pologne, Fédération de
Russie, Slovaquie, Ukraine. Ed. Christoph Meyer. Baden-Baden & Bouxwiller 1999,
pp. 263–265.
9
J. KRZYŻANOWSKI (op. cit., p. 28) informs us that Strzeszkowski was the
owner of the book in 1553. Perhaps such a date was listed on the cover; however, in
the book’s present damaged state, it has not been possible to recover the date.
29
Piotr Poźniak
10
Wolfgang BOETTICHER Lauten- und Gitarrentabulaturen des 15. bis 18.
Jahrhunderts. Münich 1978, RISM VII, p. 201.
11
For identification of the watermark, on the basis of small fragments surviving
in the source, warm thanks to Dr. Maria Kowalczyk.
12
Mirosław PERZ ‘Z inwentarza Jakuba Frelicha (+1578), krakowskiego
budowniczego lutni’ [From the Inventory Records of Jakub Frelich (+1578), Kraków
Lutemaker]. Muzyka 1975 no 1, pp. 99–100.
30
The Kraków Lute Tablature: A Source Analysis
which is otherwise just like the previous ones, is missing the last
three folios. The next signatures are again unlined: the fifteenth
contains 8 folios; the sixteenth, originally 6 folios, the last two of
which are missing; the seventeenth, 2 folios.
On f. 2r are inscribed the titles Kowalski taniec, Kokoszy taniec,
Goniony taniec and Galarda mała i wielka, as well as the incipits
to 11 poems in Polish and probably one in German; the list as
a whole is entitled Regestr tańców (Register of Dances). These works
are not present in the manuscript, and M. Szczepańska, lamenting
their absence, maintains that they were on folios at the beginning
of the book which were removed. The binding structure presented
above does not confirm this view. From the signature to which f. 2
belongs, only one folio – the last – is missing. It could not have
contained 17 works. Beyond this, the signature is made from unlined
paper, and all of the pages after the Regestr (Register), i.e. ff. 2v–7v,
are completely blank. If these had been lute pieces, they could only
have been on the last three lined folios which were cut out – but
on them as well, it would have been difficult to fit 17 pieces; and
besides, why would they have been placed so far along in the book?
Thus, most probably, the author of the Regestr had planned to
inscribe the texts to the dance songs (without notation) at the
beginning of the book, but did not realize this plan.
Handwriting
31
Piotr Poźniak
13
This inscription contains characters atypical of the classical Greek alphabet to
render
13 the sound u (shape of letter gamma), as well as st blends. For this reason, in
presenting my paper, I noted the opinion of W. Boetticher (op. cit., p. 201) that this was
a Cyrillic alphabet. In the discussion after the presentation, Elżbieta Witkowska-Za-
remba, confirming the [wmontować przypisofz the
atypical nature ostatniej strony]advised me to look for them
characters,
th
in printed materials from 16 -century Kraków. As it turned out, they did indeed occur
here, alongside the classical characters. I will point out, for example, Jerzy Liban’s
treatise De musicae laudibus oratio, Kraków 1540 (facs. ed. Monumenta Musicae in
Polonia. Bibliotheca Antiqua, VIII. Kraków 1975; transcription in: J. LIBAN Pisma
o muzyce [Writings About Music], edited and translated by E. Witkowska-Zaremba.
Kraków 1984). The gamma shape – actually a vertical combination of the ου charac-
′′
ters – occurs here, for example, in the word αμουσος (f. F5v, transcr. p. 214 l. 41); and
′
the shape of the st blend, in the word συστημα (f. Ev, transcr. p. 194 l. 7). This excludes
the presence of a Cyrillic alphabet in the tablature.
14
14
I give the real folio numbers in the source, which coincide up to f. 118 with the
more recent pencil foliation, inserted probably by the antiquarian bookseller; f. 9 is
provided with the red inscription Foli 1 and signature marking aII.
32
The Kraków Lute Tablature: A Source Analysis
15
In the discussion, Z. M. Szweykowski expressed the conviction that such
differences in shape – for us today incomprehensible – are nonetheless significant and
provided performers with additional information.
16
The sayings are located (most often in the lower margins) on ff. 8r, 9r, v, 10v, 11v,
13r, 15v, 16v (left margin), 17v, 19r, 20v. 21v, 23v, 24v, 26v, 27v, 28v (above the last
system), 29r, 30v, 34r, 35v, 40v; thus, they normally occur on pages where a new piece
begins.
33
Piotr Poźniak
Folio 2r
Folio 9r
34
The Kraków Lute Tablature: A Source Analysis
Folio 19r
Folio 25v
35
Piotr Poźniak
36
The Kraków Lute Tablature: A Source Analysis
Folio 35r
Folio 30v
37
Piotr Poźniak
Folio 31r
Folio 31v
38
The Kraków Lute Tablature: A Source Analysis
Folio 35v
Folio 45r
39
Piotr Poźniak
Folio 60v
Folio 62v
40
The Kraków Lute Tablature: A Source Analysis
slant (cf. for example the first and subsequent systems of f. 45r).
All in all, it is possible to judge that these pages were written by
a third scribe or by the second one, whom we designate as B1, as
well as by scribe A; sometimes one gets the impression that B1 is
B taking A’s letter shapes as a model, just as earlier, B drew final
ornaments and hands also modeled on A. Ornaments of this type,
moreover, do not appear on ff. 35v–47r even once; however, several
vertical strokes, just like those of B on f. 8r, occur after the majority
of the entries. In the entire portion of the tablature described until
now, the titles are inscribed after the pieces.
B1’s hand also appears on subsequent pages of the tablature:
ff. 51v–53r and 108rv. If we assume that it comes from the same
lutenist as B, then this musician’s entries are spread out in various
places, from the first to the last page of the tablature.
Scribe C writes all letters completely differently from the
previous scribes; he notated four pieces on ff. 47v–51 and 62v–64v,
as well as inscribing ff. 59r–62r in Italian notation. The hand used
for digits shows many similarities to the one used for letters, and
titles in a similar hand type are always placed before the pieces.
Folio 53v
41
Piotr Poźniak
Folio 56r
Folio 105v
42
The Kraków Lute Tablature: A Source Analysis
Folio 107v
Folio 108v
43
Piotr Poźniak
Folio 109v
44
The Kraków Lute Tablature: A Source Analysis
17
Jadwiga SINIARSKA-CZAPLICKA Filigrany papierni położonych na obszarze
Rzeczypospolitej Polskiej od pocza˛tku XVI do połowy XVIII wieku [Watermarks of
Paperworks Located within the Polish Republic from the Early 16th to the mid-18th
century]. Wrocław-Warszawa-Kraków 1969, nos. 49–52 and 54. Edmundas
LAUCEVIČIUS Popierius lietuvoje XV–XVIII a. Vilnius 1967, nos. 2144, 2158 and 2145.
45
Piotr Poźniak
18
Alonso MUDARRA Tres libros de musica en cifras[…]. Seville 1546, Libro
primero, fol. XXIv–XXIVr (a small portion of the tablature, intended in principle for
vihuela, is devoted to guitar works); cf. facsimile edition, J. Tyler, Monaco 1980, pp.
66–71. Juan BERMUDO Declaracion de instrumentos musicales[…]. Osuna 1555,
Libro quarto, fol. XLV; cf. facsimile edition, M. S. Kastner, Documenta Musicologica
vol. XI, Kassel 1957.
19
Ibid., Libro primero, fol. XIXv–XXr; facsimile pp. 62–63.
20
Joanambrosio DALZA Intabulatura de lauto. Venice 1508, ff. 27v–29v; facs. ed.
Geneva 1980.
46
The Kraków Lute Tablature: A Source Analysis
Folio 1r
Folio 1v
47
Piotr Poźniak
21
John DOWLAND The Collected Lute Music. Ed. Diana Poulton & Basil Lam.
London 1974.
22
Ibid., pp. 1–15 and 289–291.
48
The Kraków Lute Tablature: A Source Analysis
the conclusion that all the users were using a ready-made, pre-bound
volume. Thus, Strzeszkowski, whose name was embossed on the
cover, was its first owner.23 It is not known, however, if he got rid
of it before making the first entries, or whether it was he who
commissioned Kernstock to fill in the book. For it is characteristic that
Kernstock does not call himself the owner of the tablature, but only
its scribe. Just as in the case of Katarzyna, it is not out of the
question that Strzeszkowski is scribe D or E. It would be strange,
but not impossible, that in making entries as the first scribe or
one of the first two, he used only pages further on in the book.
Nothing is known from other sources about the people mentioned
as being associated with the tablature.24 The middle-class Kernstock
family is known from the 16th century to historians of Kraków, as
is the Schwartz-Czarny family (e. g. one of its members was
a medical doctor in the 16th century) as well as its gmerk, i.e. the
middle-class equivalent of the noble coat of arms, whose drawing
is also featured25 next to the name on the first folio of the manuscript.
Unfortunately, nothing is known about the families’ connections
with other cities, Polish or German, which could provide some
indication as to the origin of the tablature’s repertoire. I did manage
to find the name Tratkop in Kraków, but from the very beginning
of the 16th century – namely, a magister Tratkop (title signifies
possession of a master’s degree) of unknown first name lectured
at the Akademia Kazimierzowska (now known as the Jagiellonian
University) in 1501.26 This could indicate that by 1592, the family
had already been settled in Kraków for several generations. We
know of noble lines of the Strzeszkowski family, settled in
Wielkopolska and in Małopolska. A representative of one of them
accompanied the young prince Jerzy Słucki as a ‘senior servant’ on
23
This would be confirmed by the date of 1553, as long as it was embossed on the
cover (cf. footnotes 9 and 1).
24
For help in research, as well as for comments concerning distinguishing of
hands, I extend my gratitude to Prof. Bożena Wyrozumska, and I thank Dr. Zdzisław
Noga for information about Kraków families.
25
W. BOETTICHER (op. cit., p. 201) read this drawing as a sign of the cross and
mistakenly associated it with the Kernstock name.
26
See Władysław WISŁOCKI Liber diligentiarum facultatis artisticae Universita-
tis Cracoviensis. Kraków 1886, p. 542.
49
Piotr Poźniak
Repertoire
27
Cf. Alojzy SAJKOWSKI Włoskie przygody Polaków. Wiek XVI-XVII [Italian
adventures of the Poles: 16th–18th centuries]. Warsaw 1973, pp. 31–37.
28
Warsaw, Archiwum Główne Akt Dawnych [Central Archive of Historic Files], Ms.
RK I. 334, f. 33v.
50
The Kraków Lute Tablature: A Source Analysis
29
Howard M. BROWN Instrumental Music Printed Before 1600. Cambridge Mass.
1967, item 15647.
30
W. BOETTICHER op. cit.
31
Sources manuscrites en tablature..., op. cit., vv. I–III/2. Baden-Baden &
Bouxwiller 1991, 1994, 1997, 1999. The inscription “Zua Pacalono” appears after the
intabulation O passi sparsi (cf. vol. II, p. 210).
32
A facsimile was published by Henri Vanhulst (Geneva 1981), who supposes that
the original could be a reprint of an Italian edition.
33
François-Joseph FÉTIS (Biographie universelle…, vol. VI. Paris 21875, p. 401)
mentions two editions of Pacolini’s (sic!) collection for three lutes: Milan 1587 and
Anvers 1591; neither of them has survived, so that it is unknown whether they
contained other pieces than the 1564 edition.
34
Cf. Elisabeth OTTMANN ‘Neue Konkordanze zu einer anonymen Lautentabu-
latur des 16. Jahrhunderts’. Musik in Bayern XXIX, 1984, pp. 61–68.
35
Francesco BUSSI ‘Piacenza’, in: Enciclopedia de la musica. Ed. Claudio Sartori,
vol. III. Milan 1964, p. 430.
51
Piotr Poźniak
52
The Kraków Lute Tablature: A Source Analysis
36
H. M. BROWN’s bibliography (op. cit.) mentions over 110 items containing
intabulations of the models which interest us. Upon investigation, it turned out that
there are over 60 different intabulations among them.
37
Intabulation of the anonymous Le coeur est bon in Des chansons reduictz en
tablature de lut [...] Livre premier. Louvain 1545, P. Phalèse, f. 17r. It is interesting
that in the two editions of this anthology from 1547, details of the intabulation were
changed; and in the next, from 1549, it was completely omitted.
38
Harry B. LINCOLN The Latin Motet: Indexes to Printed Collections, 1500–1600.
Musicological Studies vol. LIX. Ottawa 1993.
39
Cf. P. POŹNIAK ‘Koniec legendy…’ op. cit.
40
Lute album of Count Achatius zu Dohna.
41
Hans-Peter KOSACK Geschichte der Laute und Lautenmusik in Preussen.
Kassel 1935, pp. 97–99.
53
Piotr Poźniak
42
BENEDICTUS DE DRUSINA Tabulatura continens […] fantasias; cantiones…
43
Lawrence H. MOE Dance Music in Printed Italian Lute Tablatures from 1507 to
1611. Harvard University 1956.
54
Catalog
Column 1:
Titles are spelled according to original (numers are added). NB. Missing letters
are given in [ ], while abbreviations (e.g. Dñi) are resolved: Domini.
Editorial notes describe situation in source. Subscript numbers (e.g. c3) indicate
strings, always counting from the uppermost string down. ‘Verticals’ = chords
or single notes appearing successively in the course of the music.
Column 2:
r – real number
p – foliation in pencil (20th century)
o – original foliation, in ink
s – original numeration of signatures
Column 5:
Abbreviations:
55
1 2
r/p o s
– 1rv – –
– 2r – –
– 2v–7v – –
1. Saltarello 8r – ar
& b 32 ˙˙ w ww ˙˙ w ˙ ˙ .. ˙˙ ..
˙ ww w ˙ ww ˙˙ ẇ ˙
? b 32 w . w ˙ w ˙ w.
j j j j r j
.
c c c c d d c c
d d d d a a d d
d d d d b b d d
a a a a
d d
1
b
& b b 42 w w ˙ ˙ ˙ ˙ ˙
bw w œœœœ˙ w
j r j Kr
Ω
f f f b d f f d b a
f g f g d g f d cdc
i g i e g d f g d
h h d f
1
Deletions and corrections in these verticals
2
No. 2’: c3 (b) instead of a3 (a)
56
3 4 5
Vocal model or instrumental work
Scribe Comments
Earliest source of model or work
57
1 2
4. Dona lessiadra. W dobrim sie˛ czas s swa˛ myla˛ 9v–10v 1v–2v a[2]v–3v
pozna˛ł
b
& b b 42 ww ww ww w˙
. œ ˙˙ ˙˙ wwÓ ˙ wœ œ œ œ Óœ œ
ww w ˙˙ ˙ w
? b b 42 ww ww w ˙ w Ó
b
j r j r
.
Ω
d d d f d d d a a b
b b d b a b d b a b d
f d b f
c c f a c c f
d d d d
4
&b 2 Œ œ w œ œ ˙ œ nœ
œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ œ ˙ w
? 42 ˙ ˙ bw b˙. œ w
b
3
j r r
2
Ω
a a
a a a d d c
d b d a bd db a b d bd d b a a b a b d b a
a c a a c
d d a
b
& b 42 ww ˙ ˙
˙ ˙ ˙˙ ˙˙ ˙ ˙
˙ ˙ œ˙ œ œ˙ œ # ˙˙
? b b 42 ww ˙ ˙
˙ ˙ ˙˙ ˙˙ ˙˙ ˙˙ ww ˙
˙
j j j j j j r j
Ω
h h h f f d c a c d a
d d d d d a a a e
a a b d f
f f f a a c a c e
c d c
d d d
3
Sic! Seven rhythm values for six letters. Transcription made with regard to the
original bar line and to the Kosack’s version
58
3 4 5
A Ph. Verdelot Donna leggiadra e bella Version for solo voice with the lute (A.
Willaert): Brown 15368.
Il primo libro de madrigali di Verde-
lotto..., Venezia 1533
59
1 2
7a. Pasomeso 13r–14r 5r–6r b2r–b3r
b
& b 22 ˙˙ œœ œœ ˙œ b œ œ œ œ œ œ œ
˙ œ œ ˙ œ œœœœœœœ œœœœœœœœ
? b b 22 Œ˙ . ˙ . œ ˙ œ œ ˙˙
˙˙
˙
œ̇ .
˙
˙˙
˙
r r rK rK rK
Ω
a a a a b a a
b b b b d b a a a b d d b a a b d a
d d d d d b a b d b b d b
c a a a a
a a a a a
d d d d
8. Non dito mai che io habui torto. Valentius Bekwark 15v–16r 7v–8r b4v–c1r
8’. Without title 39v–40r 31v–32r H4v–I1r
b 3 ˙
& b b 2 ˙˙ ˙˙ ˙˙ ww . ww ˙˙ n ww ˙
? b 3w ˙ w ˙ ˙ w ˙˙
bb 2 w
j6 j j j
5
Ω
b b b b f d b a
d d d b f d c d
d d
a a d d a a
d
7 8
4 5 6
instead of No. 8’: no time signature (No. 8 sic!) No. 8’:
7 8 9
No. 8: no bar line No. 8’: no d3 (c’) d4 a3 c3 (a-flat a b)
60
3 4 5
A Variant of the passamezzo antico
harmonic pattern; 3 + 4 sections.
A P.P. Borrono Saltarello secondo novis- Ed. in Bakfark 3, no. 42; other versions,
B1 simo detto Non dite mai ch’io habbia according to Brown and Moe, only in
torto two publications from Frankfurt a.d.
Oder: 15562 (B. de Drusina) and 15733
Intabulatura del lauto del divino Fran- (M. Waissel, with the description
cesco da Milano et [...] Borrono [...] gagliarda).
Libro secondo, Venetia 1546
61
1 2
n omi
10. Non mortui laudabu t te d ne 17v–18r 9v–10r C2v–3r
b 4 œ˙ ˙ w ˙ ˙ ˙ œ œ œ œ nœ œ œ œ œ œ
& b b 2 „˙ . œw œ œ œ ˙˙ ˙˙ ˙ œœœœ˙ ˙. œ w
? b 42 „ „ „ „
bb „ „ „ „
j r r r j r r rK rK
. fd
[ ]
Ω
d d a a a f f h h f d dc adca c
b a b d b b a b d d a
d d d d
b
&bb w ˙ ˙ ˙ ˙ œœœœ œœ œœ œ œ˙ ‰
œ œ œ œ œ œ ẇ. œ ˙
˙
w
? b Ó ˙ ˙ ˙ w w ˙ œ œ w w∑ Ó̇
bb „ „ „ ∑
j r r r r Kr r j r j
.
d b a a a
d
a b a
d
a
b d b ba a b d b
b b b d b d bd b b
c d c a
d d d
& 32 ˙˙ ˙˙ ˙˙ ww ˙˙ œ œ ˙ ˙˙ ww ˙˙
˙
? 32 ˙ ˙ ˙ wÓ w ˙ ˙ ˙ wÓ . w
j j j j j j j
R
a a
c c d c c a c d a c c
d d d a c d d
a c c
a a a a c a
a
4
&b 2 w w w w Ó ˙ œ œ œ bœ œ
œœ œœ œœ œœ ˙ œ ˙˙
Œ
? 4 nW ˙ ˙ bw w
w b˙. ˙. œ ww w ˙ ˙
b 2 ˙ ˙ œ œ œ œ
r r r r j
P
a a a d c a a c a
d d b a c d c d
c b a b d f d f
c c c a c a f
a c d c
a a a c d
62
3 4 5
A Organ intabulations in TJL: fol. 27v –
Carmen in F, fol. 243v – Non mortui…
63
1 2
13. Lever est Bon 20v–21r 12v–13r D1v–2r
b
& b 42 w ˙˙ ˙˙ w ˙ ˙Ó ˙ ˙ ˙ ˙
˙ œœ œœ
w ˙ ˙
˙ ˙ ˙ ˙˙ ˙
? b b 42 „∑ Ó ˙ ˙Ó ˙ ˙ ˙
Ó Ó
˙ ˙
j j j j j j j j
P
a d c f
d b b a a d a b d
b d d d b b f d d d
e c c c f e a
f d a
b
& b 42 ˙˙ ˙˙ ˙˙ œœ œ œ œ ˙˙ œœ œ Œ ˙˙ ... ˙˙ ˙˙ ˙˙ ˙˙ œ
˙ ˙ ˙ w ˙ ˙ ˙ w
? b b 42 ˙ Œ ˙.
w w w ˙ œ œ ˙. œœ œœ œ w
j r j r
P
a a a a a a a
b b b b d b a b b d b a a a a d
d d d d d d d b b b b b
c
a a a a a c a a c a
d c d d
b
& b 46 œœ ˙˙ œœ Œ œœ œ ˙ j
œœ œ . œ œœ œ œ ˙˙
œ ˙ œ œ œ ˙
˙˙ œœ ‰ œ œ œ
? b b 46 œ ˙. ˙ œ ˙ œ ˙ œ ˙. œ ˙ ˙.
.
r j r j r r Kr r j r Kr j
a a a a
. []
b b b b d b a ab a a ab d
d d d d b d b d d b b a bd b
a
a a a c a a a
d d d d
& b 42 œœ œœ œœ œœ œœ œœ œœ œ œœ œ
Œ œ œ œ œ œ œ œ œœœ œ w
œ ¿
? b 42 w w Ó œ œ ww œ
w
r r r rK r rK rK KrK KKr r
P
f h f d c a
h i h f d c d c a d d c a d c dca c d
f d b d a
a a a c a
c a
64
3 4 5
A model: Le cueur est bon (anonymous)
65
1 2
16. Quando io pens al martire. Ad te salvator noster 24v–26v 16v–18v E1v–3v
& 42 ww ww ˙˙ ˙˙ . ˙ œ ˙˙ œœ# œœ œ œ œ œ ẇ ˙
Ó ˙ w
˙
? 42 w
w ˙ ˙ ˙ ˙˙ ww œw œ œ œ œ œ œ.œ w
„ ∑ Ó
j r j Kr r r r
P
a a a a a a a aa a f
a c c a a a e ce c e a a a
d d c c d d c a a c
c c c e c c c e
17a. Pasomezo. Nygdym themu vyerzicz nye chczial 26v–27v 18v–19v E3v–4v
b 4
& b 2 ˙˙ .. œœ ˙˙ ˙˙ Ó ˙˙ w Ó ˙ ˙ ˙ w ˙˙ ˙˙
˙. œ ˙ ˙ ˙ ww ˙ ww ˙˙ ˙˙ w ˙
˙ ˙ ˙ Ó ˙ ˙ Ów ˙ ˙
? b 4
b 2 w ˙ ˙
w
˙ w ˙ ˙˙ ˙˙ w˙ ˙ ˙ ˙
j r j j j j
.
P
d d d d c a a a d
a a a a d a d d b a b d b b a
b b b b d b a a b b d b b
a c a a c c a c
c c d c a d d
d d d a d d d
10
17a’. Passemezo. Nigdy bich ia wierzycz nie chczial 106v 98v Bb3v
b
& b ˙˙ ˙
˙˙
˙
˙˙ w
Ów ˙ w Ó ˙ ˙ ˙˙ w ˙˙
˙ ww ˙ w
? bb w w ˙ Ów ˙
˙ Ó ˙ ˙ ˙ ˙ ˙
j j j j j
d d d c a d a
a a a d a a b d d
b b b d b b b b
a c c
c c a d
d d d d
10
a4 (f) and a5 (c)
11
Realization of the rhythmic values inscribed in the source yields a bad result; these signs
have been ignored in the transcription (while citing them precisely in the tablature incipit)
66
3 4 5
A J. Arcadelt Quand’io pens’al martire
67
1 2
18. Praviem doznal prziaczielia swego 27v–28r 19v–20r E4v–F1r
b 4
& b b 2 ˙˙ œ œ œ œœ ˙ œ̇ œ n ˙ ˙ . œ n œ ˙
˙ œ ˙ ˙
w
œ œ œ ˙
? b 4 ˙ ˙ œ œ œ œ œœ œ ˙ ˙ ˙ n ˙˙
bb 2 ˙
j r r r r j j j
Ω
P
b a b d f d b e f c e f
d a b a d a a
d d b d d d
a a a c c a c d a
a c d ^ c e
f
12
? b 4 w ˙˙ ˙˙ œ˙ œ œ˙ œ ˙œ œ œ˙ œ ˙˙ ˙ ˙˙ ˙ œ œ œ ˙
b 2 w ˙ . ˙. œ
r r r r 14
r
P b
a
a
d b b a b a b d
c a a
a
d
a
b d
a
d
a
b b
d d d c
d d
? b b 31 w w ˙ ˙ bw w ˙ ˙ w
j r j r j j r j r j15 j r
d d d d b b b b d
d d d d d d b b b b b b d d
e f e f e f e c d c d c d c e f
f f f f d d d d f
12
Beneath the letter c, a sign lowering it by one string, which we consider to be an error
(perhaps it should be beneath c5 after the bar line)
13
In parentheses, according to Kosack, we cite a third voice not present in the Kraków
14 15
tablature Sic! over the first vertical instead of over the second
68
3 4 5
A Ed. in MDK, p. 72 & MAP 5, no. 130.
A C. de Sermisy Le content est riche Other lute intabulation: inter alia Brown
15562 (B. de Drusina);
Trente et sept chansons musicales..., organ intabulation: inter alia TJL.
Paris [ca. 1528]
69
1 2
22a. (fol. 31r:) Passo e meszo; 30v–31r 22v–23r F3v–4r
(fol. 32v:) Passo e’ mezo d’ l’ baroncina contd: contd: contd:
31v–32v 23v–24v F4v–G1v
b
& b 42 œ œ w œœœœ ˙˙ .. œ ˙˙ ˙ Œœ Œ Œœ Œ
˙˙ .. ˙
œ˙ œ œ
? b b 42 ˙˙˙ ww
w
˙w ˙
˙ ˙ ẇ ˙ bb ˙˙ ˙˙˙ ˙ œœœœ˙ ˙
˙Ó . ˙ œ ˙˙
r r j r j r j
. . . . .
d .
. .
P
a
a
b
a
b d
b
a
d a b d
b
a
b
b d b
c
d
d
a
b
a a
d b
c
b
a c a
d
d a
b .
a
a
b
a
d d
dx d d d b d d d d
P
a
a b d d a bd b d b a d d a a
b b b b d b d b b d b abd b
a a d a d a a a a
d c d
d d d d b d d d
16
16 17
d4 (a-flat) instead of c4 (g) or instead of d5 (e-flat) Time signature sic!
18
Additionally, a5 (B-flat—without retuning the string, it would be a c)
19 20
d4 (a-flat) in ms. corrected to c4 d4 (a-flat) in ms. not corrected to c4
70
3 4 5
B&A P.P. Borrono Pavana detta la Bor- Borronos pavane (also in the Kraków
roncina manuscript, in which there are minor
B differences relative to the original) is in
Intabulatura del lauto del divino Fran- double variation form: AA’BB’CC’ and
cesco da Milano et [...] Borrono [...] repetition of the entire A’’A’’’B’’B’’’C’’C’’’
Libro secondo, Venetia 1546 pattern; none of the sections is based
on passamezzo harmonic patterns; in
the Kraków source, piece no. 23 is
inscribed before the repetition. Variant
in Pacolonis collection (see p. 51), book
Tenor, fol. 21v, entitled Passem[e]zo
della Duchessa.
B P.P. Borrono Saltarello primo (after la Piece (also in the Kraków manuscript,
Borroncina) in which there are minor differences
relative to the original) is based on the
Intabulatura…(as above) same harmonic pattern and maintained
in the same form as the pavan La
Borroncina; in P. Phalèse’s edition from
the same year (Brown 154620), it is
called a galliard.
B&A
71
1 2
25. Or niens 35v–36v 27v–28v G4v–H1v
b „„
& b b 42 ∑ ˙ ˙
∑w
˙.
w
œ ˙. œ œ˙ . œ œ œ ˙˙ .. œ
˙˙ ˙ w
? b b 42 w œœœœ œ œ ˙ œ̇ œ ˙˙ ˙. œ ˙
b
r
a f d a b a
d d b a d b d d b b
d b d b d d f b d
d c a a c d f
d d c a
21
& b 42 w ˙ ˙ wœ œ œ œ œ œ œ œ˙ œ œ˙ œ ˙œ . œ œ œ œ œ œ˙ . œ ˙ œ
œ œ
w
? b 42 w w
r rK r r rK r
f f f f cd f dcd f d c a c ac d f
d d d d a a cd d d
d d d
a a
21
d3 d2 (c’ f’) instead of d4 d3
72
3 4 5
B1 C. Janequin Or vien ça, vien, m’amye Other intabulation: V. Bakfark (cf. Bak-
Perrette fark 1, no. 10).
B1
B1? A?
73
1 2
29a. Passo e mezo 42v 34v I3v
4
& 2 www www œœw œ œ œ œ œ W ww ww ˙
w w
? 4 w. œ œ œœ œ œ œ œ œ œ œ Ó w . W
2 ˙ W W w. ˙ W
j r j j
a a a a a a a
c c c d c a a a a a
d d d d c a c a c d d c a c c d
c a
a a a
a a a c
& 42 ww . ˙. ˙ #œ œ˙ œ œœ # œ ˙ ˙ ˙˙ ˙ œ œ œ œ ˙
˙ ˙ œ˙ n œ œ˙ œ ˙˙ ˙˙ ˙ ˙ ˙
? 42 w ˙˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙
j22 r r r r j r j
P
a a a a a a a a
a c a a e a c d c d c
e a a a c d a a d
c c c c a c c c
a e c c e e a c c a
& 42 w ˙ ˙ ˙ . ˙ œ w˙
Ó ˙
˙. ˙ œ ˙ ˙
˙ œœ˙ ˙
˙.
? 42
j j r j j
P
f e a c e f e e e c
d c a c a a
d d d
22
instead of
74
3 4 5
B1 Two dances based on the same distinc-
tive harmonic pattern; 1 + 2 sections.
Ed. in MSt, p. 120.
B1
75
1 2
32a. Pass’ e meze de la verlata G. Pacalono 45rv 37rv K2rv
b 4
& b 2 ˙˙ ˙ ˙ ˙ ˙˙
˙˙ ˙˙ ˙˙ ˙ ˙˙ ˙ ˙˙ ˙ Œœ
œ
˙ ˙ ˙ ˙
˙˙ .. ˙˙ ..
? b 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙œ œ œœ œœ œ˙ œ Ów w ˙
b 2 ˙ w ˙
j r j r
.. .
d
a
b
d
a
b
d
a
b
. d
a
b
c
d
d
a
b
b
d
b
b
d
a
b
d.
d b a b d a
a
b
a
b
a a c a c a a
d c a d
d d d d d d
b
& b 46 œœ ˙
˙˙
œ ˙
œœ ˙˙ œœ
œ ˙˙ œœ ˙˙ œœ
œœ
œ ˙
Œ œ œ œ . œjœ ˙˙ œœ œœ
? b b 46 œ ˙. ˙ œ ˙ œ ˙ œ ˙ œ ˙ œ ˙. ˙
r j rj r j rj r r rK r j r rK
.. .
d
a
b
d
a
b
.
d d
a a
b b
c
d
d
a
b
b
d b
b d
a
b d b a bd
a
b
a a
b b
dc
a a c a a
d c a
d d d d d d
b
& b 62 ˙˙ ˙ . ˙ . ˙ ˙ ˙˙
˙˙ .. ˙˙ .. ˙˙ ˙˙ ˙ ww ˙˙ ww ˙˙
Ó ˙
˙
Ó ˙
˙ w. w
˙ w
? b b 62 ˙ ˙ w ˙ Ów ˙ ˙ Ó w w ˙˙ ˙˙˙ w ˙ . wœ œ œ w ˙
w w ˙ wÓ wÓ
j j rj r j
d d
. d d d c a
a a a a a d b d b a d d a a
b b b b b d b b d b d b b d b ab d b
a a c c a c c a a a
d c a d
d d d d d d
b 4 w ˙˙ j ˙ w w œ œ œ ˙œ œ œ œ ˙
&b 2 œ .w œ œ œ ˙ ˙˙
œ. œ œ œ œ. J œ ˙ #œ.
J
w
? b b 42
j j r rK j j r rK r rK r r
h h h a
. cd a h d i
. .
h f h d f c
.
f f f f h i hf h f e
f g f
h h
76
3 4 5
A? Three dances based on the same dis-
tinctive harmonic pattern, all of iden-
tical form: AA’BB’A’’A’’’CC’.
A?
77
1 2
34. Fantasia 49v–51r 41v–43r L2v–4r
4 ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ˙ œ ˙œ
& b 2 w ˙ ˙ ˙ n˙ ˙ #˙ w ˙ ˙ b˙ n˙ ˙ #˙ J
? 42
b
jj j j
c c c d e f g h
. f dc a c d a f dc a c h f dc d a d
a a a b c d e f
23 24
Additionally, f3 (d) No bar; probable harmony given in transcription according
25 26
to the next section Bar-line sic! a1 inscribed before remaining letters
78
3 4 5
C J. Dowland Farewell Ed. in Dowland, no. 3.
79
1 2
38. Without title 55v–56r 47v–48r M4v–N1r
b œ œ œ œ œ œ œ œ œ
&bb W
œ œ œ œ wœ œ œ œ œ
w w
? b œ œ œ W (œ ) œ œ
?
w w
bb w
r rr r r
f d f d f d b a d b a b a b d a b
d b
d b d d d
c d c a a
d d
27
2
& b 2 ˙˙ ˙
˙
˙
˙
œ œ
œ œ
œ œ ˙
œ œ œ œ ˙
˙
˙
˙
? 2 ˙ ˙ ˙ œ œ œ œ ˙ ˙. œ
b 2
j r jj j
29
f f c c f d c d c c
a a c
d d d d d d d d
a a a a a c a c a a
& b 32 ww ˙
˙
w
w
˙
˙
w œ œ ˙˙
œ œ w
w
˙
˙
? b 32 w ˙ w ˙ w ˙ w ˙
P P B P P
30
f f c c d d c c
a d c a c
30 d
a
d
a
d
a
d
a c c
d
a
d
a
27 28
b1 (a-flat’) in ms. corrected to f1 b1 (a-flat’) instead of h1
29
Realization of the rhythmic values inscribed in the source yields a bad result; these signs
have been ignored in the transcription (while citing them precisely in the tablature incipit)
30
After the number 3, the shape of a zero or capital “O”, probably tempus perfectum sign
80
3 4 5
E Fragment without beginning(?) and –
despite graphic finish – without ending.
Sheptovitsky considers this fragment
to be a continuation of the previous
work; despite the fact that they are
clearly separated in the manuscript,
this conception cannot be excluded.
81
1 2
41. Venus 57rv 49rv N2rv
& b 42 W
w W W w. ˙ ˙
˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ œ œ ˙ ˙˙
? b 42 ˙W ˙ ˙ W
˙w ˙ ˙ ˙
. wÓ w œ œ ˙˙
j r j j rr j
d d
d a a a d d d a a a a a
b d b b b d b d b a a ab d db a b
a c a a
d
31 32
? 4 ww ˙˙ ˙˙ ww ˙˙ ˙ œw œ b œ œ ww ww ˙˙ ˙˙
b 2 ˙
j rj r r33 Kr 34
f f d c
. a a c d d a c d c a c d ca f
d d a d d a b d dcd d
a a b d d d b b d d d
a a c a a c a a a a
a d c d
& b 22 ˙ ˙ œœœ
œ wœ œ œ œ œ
? b 22 wœ œ œ œ œ œ œ
w
Kr Kr Kr
a a a a c d f
b a b d d b a b a b d
c c
a
31 32 33
d1 inscribed before remaining letters Bar-line sic!
34
; a1 written down in the first vertical instead of as the second vertical
35 36
d6 (B-flat) instead of d5 instead of
82
3 4 5
E F[rancesco] P[atavino] (Francesco San- Other (organ) intabulation only in TJL.
ta Croce) De là da l’acqua Ed. in MDK, p. 74 & Poźniak (vocal
model and both intabulations).
Canzoni, frottole et capitoli [...] Libro
primo de la Croce, Roma 1526
83
1 2
44. Un gai bergier 59r–60r 51r–52r N4r–O1r
& 44 ˙ œ œ # œ˙ œ œœ œœ ˙ ˙ #œ
œ œ œ w˙ ˙ n ww
? 44 ˙ œ œ œ œ œ œ
˙ œ œ
j r j r
Ω 4 0 0 2 0 2 4
2
5
2 2
2
0
3
2
2
0
2
2
0 0 0 2 0 2 4 5 5 4 0 2
bb 4 œœ œ œ œ w˙ w
&bb 2 w ˙. ˙ œ ˙˙˙ ˙˙ ˙˙ ˙˙ ˙˙ . ˙ œ ˙˙
∑ Ó ˙
? b b 4 „„ „∑ œw œ œ œ ˙˙ ˙œ œ w˙Ó ˙ ˙˙
bb 2 „ ∑ ˙
∑
j r j rK r j r j r j
Ω
3
5 5 5 3 1 5 5
5 3 5 3 2 3 3 3 3
4 3 3 4 4 3
3 3 3 356 3 3 3 3 3 3 3
1 0 1 3 35 5
& b 42 „
∑ w
? b 42 w #˙ n˙ ∑˙ b ˙ w n œ œ # ˙œ œ .n ˙ œ œ # œn œ˙ b ˙ ˙ œ wœ œ œ œ b œ˙ œœ
œ œ œ . œœœ œ œ œ œ œ
j j j j
a
a a
e d c b a d
c b a a e c b c a a c e
e d c e c e e a c a ce e ce c d
a cd
& b 42 œ œ ˙. œœœœœ w œœ ˙˙ œ œ œ̇ œ œœ œ œœ œ œ œ
˙. œ œœœœ
˙ ˙ œœœœ
œœ
œ ˙ ˙˙ ˙˙ w ˙ œ . œj œ œ œ œ
? b 42 w ˙ ˙ œ
W w ˙ ˙
r j r j r rK r
Ω
a c d c a a c d a c a c d c a c a
a d a a c d d d d d d d c
d b a b d a b d b b d d d b d b a
c c c c c a a a a c
c
a a a a
84
3 4 5
C Th. Crecquillon Ung gay bergier
85
1 2
– 65r–102r 57r–94r P2r–Aa3r
48. Without title 102v 94v Aa3v
& b 22 ˙Œ. ˙ œ
œ ˙˙ ˙˙ ˙ ˙ # ˙ ˙˙
Œ œ ˙
? b 22 ˙ #œ ˙ œ ˙ Œ œ œ˙ œ ˙Œ œ
˙
r r r
d d c c a a
a a a a a e a
b d a a b
c b c b c c
a c
a
37
& b 42 ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙˙ ˙ ˙
? b 42 ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙
˙
j
c d a c a
d a a d d a c d
d b b d a b d d
a c a a c c a
a
d
? b 42 ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙˙ ˙ ˙
j j jj
a a a a a c c
a a a a d a d d
b b b b a b d d
c c c c a c a a
& b 42 ˙˙ ˙ ˙ ˙ b ˙˙ ˙ n ˙ ˙
˙ ˙ ˙ ˙
? b 42 ˙˙ ˙˙ ˙˙ ˙ b ˙˙ ˙˙ ˙˙ ˙
j j
a a
a d c d b d c d
b a d d b a d d
c a c a a c a
a d a
37
c1 (a) instead of d1, maybe there is d1 in the first vertical
86
3 4 5
vacant (paper with the tablature staves).
E
87
1 2
– 103v–105r 95v–96r Aa4v–Bb2r
50. Ferdinanth 105v–6r 97v–98r Bb2v–3r
& 42 œœ # œ œ œ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙. œ˙ ˙
˙˙ . œ ww ˙˙ . œœ ˙˙ ˙˙ ˙ ˙˙ w. ˙
? 42 w . œ . ˙ w ˙ ˙
r r j r 38 j j j r 38 j j j j j rj j
a a c e f e c a f e c a
. a
a e a a a a d c d c
d d d d a d d
c c c c e c a
a e c a a a
&b œ œ œ œœ œœ œœ œœ œœ œœ
a a a c c c
a a a a a a d d d
b b b a a a d d d
a a a c c c a a a
c c c
d d d
? b b 31 ˆ62 w . ww ˙ w˙ ˙ ˙˙ ww . ˙ ww ..
b ˙ w w. ˙ w .
j j j j j j
a a a a a a a d d b a
c c d c c d b b b b b
d d d d d d b b b b b
a a c c c
a a a a d d d d d
39
4
&b 2 œ ww ˙˙ ˙˙ ww
˙. ˙ ˙ ˙˙˙ .. œ wœœ œ œ
? 4 ˙˙ . œ ˙˙ # ˙˙ ˙ ˙ ˙ ˙ œw œ œ œ
b 2 ˙ ˙ ˙ ˙
j r j j r j r
a a a a
.
a . a c d d c d . .
b d b a b a b d d d b d d a b d
c c b c c a a c a a
a a c c
38 39
instead of a5 (c) instead of a4
88
3 4 5
– vacant (paper with the tablature staves).
E Dance with AA’BB’CDD’ structure;
melody in DD’ links the piece in
a certain measure with the Königs
Ferdinandus Tantz in H. Newsidler’s
tablature (Brown 15496) and with
[Chorea] Ferdinandi in TJL.
E
E
89
1 2
– see No. 2’ 108v 100v Cc1v
54. Without title 108v 100v Cc1v
b
& b 42 ˙ ˙ ˙
˙ ˙ ˙ ˙˙ ˙˙ ˙ ˙
˙ œœ˙ ˙˙ œœ œ œ œ œ œ œ ˙˙ ˙˙ ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙
? b b 42 ˙œ n œ œœ œœ ˙˙ ˙ ww œœ œ œ ˙ ˙ œ ˙ ˙ ˙
. ˙
˙
r 40 r j Kr Kr r r r j j
d c c a a
a a a a a a a a a a a a a b d a
a a b a a dbd a b d a b b b a a b d a b
a c a c c c
c e c d c a c c a c
d c a d
– 109r – –
– 109v–114r – –
– 114v–118v – –
r p
– 119r–120v 120r–121v
– 121r–122r 123r–124r
– 122v 124v
40
instead of
90
3 4 5
F?B1?
F?
91