A LISTING OF INVENTORIES AND PURCHASES
OF FLUTES, RECORDERS, FLAGEOLETS, AND TABOR PIPES, 1388–1630
Compiled by David Lasocki
© 2004 by David Lasocki, all
rights reserved
This is an attempt to compile
all references to members of the flute family in inventories and purchases of
the Middle Ages, Renaissance, and early Baroque. In only a few cases have I been able to see
the original source, so I have relied on the transcriptions of others, who are
all cited. The English translations are
almost all my own, with more than a little help from my friends. The translations are fairly literal, and I
have done my best to leave in any ambiguities, commenting on them in
parentheses. I realize that it would
have been more revealing to include all references to wind instruments in the
documents in question, but that is a far larger project for some other
day. For now, I trust that the present
listing will serve as a useful research tool as well as a fount of inspiration
and delight.
Acknowledgement:
A number of people have
provided indispensable help in the compilation and translation of this listing:
Frank Bär, Albert Jan Becking, Pierre Boragno, Barra Boydell, Lucie
Brodbeckova, Adrian Brown, Nabí Cabestany, Emma Dederick, Liane Ehlich, Rosanna
Fidler, Maggie Kilbey, Nicholas Lander, Eva LegLne, Timothy McGee, Herbert Myers, Jonathan Katz
Nelson, Keith Polk, Ardal Powell, Roger Prior, Benito Rivera, Andrew Robinson,
Samuel Rosenberg, Anne Smith, Nikolaj Tarasov, Marco Tiella, Erich Tremmel,
Maria Luz Valdez, Peter Van Heyghen, and Kornel Wolak. I have been able to do this work thanks to
the splendid facilities of the Indiana University Libraries and their dedicated
faculty and staff, particularly Michael Fling, Head of Collection Development
in the Cook Music Library, and the staff in the Interlibrary Loan office. I am eternally grateful to them all.
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1388, London
Household accounts of the
Earl of Derby (later Henry IV):
Et pro j fistula nomine
Recordour empta London’ pro domino iij s iij d.
Anthony
Rowland-Jones, “Einige Überlegungen zum Begriff Recorder,” Tibia
25, no. 2 (2000): 89–97.
[And for one flute by name of
recorder bought in London for my lord, 3s. 4d.]
This is the first surviving reference to the recorder by
name. The word “Recordo” has a
superscript sign after the O (a U joined to a horizontal line, then a downward
hook) that signifies “ur.” Brian
Trowell, who first reported this reference (“King Henry IV, Recorder-Player,” Galpin
Society Journal 10 [1957]: 83–84), did not consult the original accounts,
only a transcript of them in James Hamilton Wylie, History of England under
Henry the Fourth, Vol. 4 (London: Longmans, Green, 1898; reprint, New York:
AMS Press, 1969), 158 (see also Vol. 3, 1896, 325, n. 3), which does not
reproduce the sign after the O. The
missing sign misled two generations of recorder researchers into looking in the
wrong place (Italy) for the origin of the term.
1408, Brescia
14 June; Court; payment in
favor of:
Bartolomio da Urbino pifaro
dal chonte Guido da Urbino per iiij flautj novj i qualj sono mandade a Brescia
al Signor de suo commandamento ducatj trj ... L. 9 s. 14 d. 3.
Allan
W. Atlas, “Pandolfo III Malatesta mecenate musicale: musica e musicisti presso
una signoria del primo quattrocento,” Rivista italiana di musicologia 23
(1988): 53.
[Bartolomio of Urbino, pifaro
of Count Guido of Urbino, for four new recorders which are sent to Brescia to
the Seigneur (?) by his command, 3 ducats (i.e.,) 9 l. 14 s. 3 d.]
1410, Aragon
Court
Translat del Memorial o
inventari fet dels bens los quals eren en la guardaroba del molt alt e molt
excellent princep e senyor, lo senyor Rey en Marti de gloriosa memoria, los
quals on pervenguts a mans o senyoria de la illustre senyora Reyna Margarita, muller
del dit senyor Rey, a la qual los dits bens pers certs titol pertanyen.
...
Item tres flautes, dues
grosses e una negra petita.
Item dues flautes, una
negra petita e 1 alta travessada.
Maria
Carmen Gómez Muntané, “El manuscrito M 971 de la Biblioteca de Catalunya (Misa
de Barcelona),” Butlleti de la Biblioteca de Catalunya 10 (1982–84)
[1986]: 210.
[Transcription of the
memorial or inventory of the belongings that were in the Wardrobe of the Most
High and Most Excellent Prince and Seigneur King Martí of glorious memory,
which were placed in the hands or possession of the Illustrious Seigneuse Queen
Margarida, widow of the said King, to whom the said possessions belong owing to
her title.
...
Item, three recorders: two
large ones and one small black one.
Item, two “flutes”: one small
black one (recorder) and one long transverse flute.]
1426, Bruges
Bruges, 10 May 1426, Duke
Philip the Good of Burgundy paid:
A Loys Willay, demourant a
Bruges, la somme de trente et une livres 4 solz du prix de 40 gros monnoie de
Flandre la livre, a lui deue pour quatre grans instrumens de menestrelz, quatre
douchaines et quatre fleutes, tous garniz d’estuiz de cuir et de coffres, que
Mgr., par Latin de Conninglant son escuier d’escuierie, a fait prendre et
acheter de lui pour lez envoyer a M. le Marquis de Ferrare.
Jeanne
Marix, Histoire de la musique et des musiciens de la cour de Bourgogne sous
le règne de Philippe le Bon (1420–1467), Sammlung Musikwissenschaftlicher
Abhandlungen = Collection d’études musicologiques, 28 (Strasbourg: Heitz,
1939), 105.
[To Loys Willay, living in
Bruges, the sum of 31 livres 4 sols, at the rate of 40 Flanders
groats to the livre, due to him for four large minstrel instruments
(probably a set of shawms), four douçaines, and four recorders, all
furnished with leather cases and chests, which Monseigneur, via Latin de
Conninglant his squire of the horse, has had taken and bought from him to send
to the Marquise of Ferrara.]
1443, Burgundian Court
Jean Chapuis, luthier; paid
for:
4 flûtes d’ivoire, l’une
garnie d’or et de pierreries et les autres non garnies.
Jeanne
Marix, Histoire de la musique et des musiciens de la cour de Bourgogne sous
le règne de Philippe le Bon (1420–1467), Sammlung Musikwissenschaftlicher
Abhandlungen = Collection d’études musicologiques, 28 (Strasbourg: Heitz,
1939), 106.
[4 ivory recorders, one
decorated with gold and jewels, and the others not decorated.]
Inventory of Philip the Good
of Burgundy (undated but at the latest 1467, the year of his death):
Item, trois custodes de
cuir, paintes d’or, où a en chascune custode flutes d’ivoire, que grandes, que
petites, dont l’une des deux grosses flutes est garnie au sifflet d’or, et par
embas garnie de deux sercles d’or et semées de petites perles d’émeraudes,
grenas et rubis, et n’y fault riens.
le
Comte Laborde, Les ducs de Bourgogne: études sur les lettres, les arts et
l’industrie pendant le XVe siPcle et plus particulièrement dans les Pays-Bas et le
duché de Bourgogne (Paris: Plon frères,
1849–1852), II, 145; entry 3333.
[Item, three leather cases,
covered with gold, in all of them ivory recorders, both large and small; one of
the large recorders is ornamented with gold on the mouthpiece, and lower down
decorated with two gold rings and strewn with little emeralds, garnets, and
rubies, and nothing is lacking.]
1463, Florence
Inventory of Piero di Cosimo
de’ Medici:
Quattro zufoli fiaminghi
Tre zufoli nostrali
Tre zufoli forniti d’ariento
Marcello
Castellani, “I flauti nell’inventario di Lorenzo il Magnifico (1492),” in Sine
musica nulla vita: Festschrift Hermann Moeck zum 75. Geburtstag am 16.
September 1997, herausgegeben von Nikolaus Delius (Celle: Moeck, 1997),
189.
[Four Flemish recorders (?)
Three of our recorders (?)
Three recorders (?) decorated
with silver]
Ardal Powell, The Flute (New Haven: Yale
University Press, 2002), 30 translates “zufoli” as fifes. This does seem to have been the standard
Italian term for fifes after about 1520.
But before that date there is little evidence for fifes, or even flutes,
played by Italians in Italy. In
contrast, there is evidence for recorders there in the fifteenth century
(including 1408, Brescia, above), and we do know of at least two Flemish
recorder makers but not fife or flute makers (see 1426, Bruges, and 1443,
Burgundian Court, above).
1470, Bruges
17 July, Purchase:
Appointie entre Jeromene
de Strossy, una, et Guillaume de Wilde, altera, que ledit Jeromene ou son
procureur fera venir icy a la chambre sur demain Adrien la trompette de la
ville, qui lui a vendu la couple des fleutes dont est question, sans
commandement dudit Guillaume.
L.
Gilliodts-Van Severen, Cartulaire de l’ancienne estaple de Bruges, I (Bruges:
Plancke, 1904), 203; entry no. 1153.
[Agreement between Girolamo
de Strozzi, first party, and Guillaume de Wilde, second party, that the said
Girolamo or his legal representative will, the day after tomorrow, cause to
appear here at the Chamber Adrien (Willemaert) the city trumpet, who sold him
(Strozzi) the pair of recorders in question without an order from the said
Guillaume.]
1472, Zaragoza
20 February; summary of
inventory-after-death of Antón Ancóriz:
“Los herederos del
finado Antón Ancóriz a la
partición de sus bienes, entre los que se hallan cinco flautas....”
Miguel
Ángel Pallarés Jiménez, “Aportación documental para la historia de la música en
Aragón en el última tercio del siglo XV. V,” Nassarre: Revista aragonesa de
musicología 9, no. 1 (1993): 277.
[The heirs of the late Antón
Ancóriz for the division of his estate, among which are found five
recorders....]
1475, Zaragoza
19 and 25 April; summary of
inventory-after-death of Martín Zayda: “Los tutores de los herederos de Martín
Zayda instan y efectúan el inventario de los bienes muebles hallados en sus
casas, sitas junto al fosar de San Lorenzo (parroquia de la Magdalena), entre
los que se hallan una vihuela, una flauta y un libro de canciones....”
Miguel
Ángel Pallarés Jiménez, “Aportación documental para la historia de la música en
Aragón en el última tercio del siglo XV. V,” Nassarre: Revista aragonesa de
musicología 9, no. 1 (1993): 279.
[The guardians of the heirs
of Martín Zayda urge the carrying out of the inventory of his moveable
belongings found in his houses, situated near the grave of St. Lorenzo (parish
of Mary Magdalene), among which are found a vihuela, a recorder, and a
songbook....]
1481/2–1484/5, Bruges
1481/2: Betaelt Anthuenis Pavillon, een vanden
voorseiden viere menestruelen vander voorseide stede, ter cause vanden coope
van eenen coker met fleuten jeghen hem ghecocht om de voorseide stede, ij lb.
grote.
L.
Gilliodts-Van Severen, Les ménestrels de Bruges: Recueil de textes et
analyses de documents inédits ou peu connus (Bruges: L. De Plancke, 1912),
50.
[Paid Anthuenis Pavillon, one
of the aforementioned four minstrels of the aforementioned town, for the
purchase of a case with recorders by him purchased for the aforementioned town,
£2.]
Pavillon had joined the city wind band within the last
few years and served until at least 1510.
1484/5: Betaelt Adriaen
Schuut den sceemaker ter causen van iiij custoden by hem ghemaect dienende ten
iiij instrumenten van den menestruelen van deser stede, xxiiij s. gr.
ibid., 53.
[Paid Adriaen Schuut, the
sheath maker, for four cases by him made to fit the four instruments of the
minstrels of this town, 24 s.]
Perhaps cases intended for the recorders? [Suggested by
Keith Polk, “The Recorder and Recorder Consorts in the Fifteenth Century,” this
vol.]
1492, Florence
Inventory of Lorenzo “il
Magnifico” de’ Medici:
Uno giuocho di zufoli
grossi in una guaina ... f. 12
Uno giocho di zufoli a uso
di pifferi cholle ghiere nere e bianche, sono zufoli cinque ... f. 10
Tre zufoli chon ghiere
d’argento in una guaina guernita d’argento ... f. 8
Marcello
Castellani, “I flauti nell’inventario di Lorenzo il Magnifico (1492),” in Sine
musica nulla vita: Festschrift Hermann Moeck zum 75. Geburtstag am 16.
September 1997, herausgegeben von Nikolaus Delius (Celle: Moeck, 1997),
186.
[A set of large fifes in a
case ... 12 florins
A set of fifes for the use of
the pifferi with black and white ferrules, five in all ... 10 florins
Three fifes with silver
ferrules in a case garnished with silver ... 8 florins]
1501, London
5 March; Court.
Payment to Guilliam (van der
Burgh), a member of the trombone (and shawm) consort: “for new recorders 53s.
4d.”
Eileen
Sharpe Pearsall, “Tudor Court Musicians, 1485–1547: Their Number, Status and
Function” (Ph.D. dissertation, New York University, 1986), ii, 38.
1502/3, Mechelen
Betaelt den Weduwen van
Wylen Thomas van Luypeghem van eenen coker floyten gecocht ter stad behoef cost
... 25 s. Marginal note: en aldar de pip>
[Paid the widow of Thomas van
Luypeghem for a case of recorders bought on behalf of the city ... 25 s. Marginal note: and for the pipers’ use (?).]
Brussels,
ARA 41282: Mechelen, Stadsrekeningen, 1502–3, f. 183; courtesy of Keith Polk;
see also Raymond Joseph Justin van Aerde, Ménestrels communaux &
instrumentistes divers établis ou de passage B
Malines, de 1311 & 1790
(Mechelen: Godenne, 1911), 28.
Van Luypeghem was a city minstrel.
1503, Segovia
Inventory of instruments of
Queen Isabel kept in the Royal Alcazar of Segovia:
Tres chirimjas e una
flauta de boxa, [co] unas guarnjçiones de laton, en una caxa de cuero metidas.
...
Una flauta de box, con una
guarniçion de laton.
Una fluta de boz.
Edmond
Vander Straeten, La musique aux Pays-bas avant le XIXe siPcle, VII (Brussels: G.-A.Van Trigt, 1885), 245–46; Felipe
Pedrell, Emporio cientifico é histórico de organografía musical antigua española
(Barcelona: Juan Gili, 1901), 91–92; Higinio Anglés, La música en la
corte de los Reyes Católicos, I, 2nd ed. (Barcelona: Consejo
Superior de Investigaciones Científicas, Instituto Español de Musicología,
1960), 71–72.
[Three shawms and a recorder
of boxwood with some brass decorations kept in a leather case.
....
A recorder of boxwood with
brass decoration.
A recorder of boxwood.]
Translation
based on Martin McLeish, “An Inventory of Musical Instruments at the Royal Palace,
Madrid, in 1602,” Galpin Society Journal 21 (1968): 127.
1504, Florence
24 April
Inventario della casa e
della bottega di Filippino Lippi
Inventtario di tutte le
chose e (masseri)zie che sono in chasa che fu di Filippin(o) di Fra Ffilippo
dipinttore, fatto per me Salvestro di Ghaleotto Cei questo dX 24 d’april(e) 1504 a preghiera di Pietro Pagholo
Monti e Francesco del Pugliese, e quali dissono essere exechutori del
testamento di detto filippo. E prima:
...
Seghue lo scrittoio
...
(221) 5 zufoli buoni in
una sacchetto
Firenze,
Archivio di Stato, Notarile antecosimiano, 563 (ser Giovanni di ser Piero del
Serra, 1497/1504), insert 4; Patrizia Zambrano and Jonathan Katz Nelson, Filippino
Lippi (Milan: Electa, 2004), Doc. 24; based on Doris Carl, “Das Inventar
der Werkstatt von Filippino Lippi aus dem Jahre 1504,” Mitteilungen des
Kunsthistorischen Institutes in Florenz 31 (1987): 384–89.
[Inventory of the house and
storehouse of Filippino Lippi
Inventory of all the things and
implements that are in the house that belonged to Filippino, artist, made by
me, Salvestro di Ghaleotto Cei, this April 24th, 1504, at the
request of Pietro Pagholo Monti and Francesco del Pugliese, executors of the
Will of the said Filippo. And first:
...
Following, the study
...
(221) Five good recorders (?)
in a bag]
1505/6, Bergen op Zoom
Betaelt Pieter Noyts voer
zeker scalmey pypen ende floyten ... voir der stadt pipers.
Bergen op Zoom, SA, Burgermeester Rekening, n.p.;
courtesy of Keith Polk.
[Paid Pieter Noyts for
certain shawms and recorders ... for the town band.]
1506, Modena
Este archives:
Baptista da Verona,
Sonadore, per conto de viazi de dare adX 8 de Octobre L. doe Soldi quatro marchesane, per
tanti che luj asigna havere spesi in landata da Venetia per comprare Fiauti,
como al Zornale A. a carte 59 ... L. ij. S.di iiij.
L.
F. Valdrighi, Cappelle, concerti e musiche di casa d’Este dal sec. XV al
XVIII, Musurgiana 12 (Modena: G. T. Vincenzi e Nipoti, 1884), 45.
[Baptista da Verona, wind
player, on his expense account has to have the 8th October 2 lire 4
soldi marchesane for as much as he said he spent on his journey to
Venice to buy recorders, as in Journal A, p. 59 ... 2 lire 4 soldi.]
Este archives:
Baptista da Verona,
Sonadore, de dare adX 25. de Setembre L. quatro Soldi diece marchesane,
contati a luj per andare a vinecia per compare Fiauti per el S.re
nostro Ill.mo Como al Zornale A. a carte 54 ... L. iiij. S.di x.
...
Baptista contra scripto
de’ havere adX 29. de octobre Lire sei Soldi quatordici marchesane
per luj da spese de viazi, per tanti che la asigna havere spesi in una andata a
Vinecia, per comprare Fiautj per el S.re nostro Illu.mo,
como al memoriale A. a carte 2. e posto a epse [recte esse?] spese in questo a carte 37 ... L. vj.
S.di xiiij.
L.
F. Valdrighi, Cappelle, concerti e musiche di casa d’Este dal sec. XV al
XVIII, Musurgiana 12 (Modena: G. T. Vincenzi e Nipoti, 1884), 45.
[Baptista da Verona, wind
player, has to have the 25th September 4 lire 10 soldi marchesane
due to him for going to Venice to buy recorders for our illustrious Signore, as
in Journal A, p. 54 .... 4 lire 10 soldi.
...
Baptista the undersigned to
have the 29th October 6 lire 14 soldi marchesane for his travel
expenses for what he said he spent in going to Venice to buy recorders for our
illustrious Signore, as in Journal A, p. 2, and posted to the expenses in this
on p. 37 .... 6 lire 14 soldi.]
1508/9, Mechelen
Betaelt Adriaen Cools
piper van dat hij 6 floyten der stede toebehoirenne heeft doen Reeken ende
Repareren.
Mechelen,
Stadsrekeningen, 1508–9, f. 205v; see also Raymond Joseph Justin van Aerde, Ménestrels
communaux & instrumentistes divers établis ou de passage à Malines, de 1311
& 1790 (Mechelen: Godenne, 1911), 29.
[Paid Adriaen Cools, piper,
for tuning and repairing six recorders belonging to the city.]
1510/11, Mechelen
City paid Hans Nagel for
acquiring a case containing various recorders.
Raymond
Joseph Justin van Aerde, Ménestrels communaux & instrumentistes divers
établis ou de passage à Malines, de 1311 & 1790 (Mechelen: Godenne,
1911), 29.
1512, Nuremberg
City; payment of:
10 fl für 8 flötenpfeyffen
unsern statpfeiffern.
Ekkehard
Nickel, Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg
(Munich: Katzbichler, 1971), 22.
[10 florins for eight
recorders for our Stadtpfeifer]
1514, Château de la
Motte-Feuilly
12 May: inventory of the
furniture of Charlotte d’Albret, Duchesse de Valentinois
Deux fleustes d’Allemain,
poysant deux mars deux onces deux gros.
Edmond
Bonnaffé, Inventaire de la Duchesse de Valentinois, Charlotte d’Albret
(Paris: A. Quantin, 1878), 45.
[Two flutes, weighing 2
marks, 2 ounces, 2 gros.]
A mark was half a livre and made up of 8 ounces; there
were 8 gros to the ounce.
1518, Mantua
On 9 October, the musician
Giovanni Angelo Testagrossa from Casale Monferrato offered to Federico Gonzaga
in Mantua:
Iterum aviso Vostra
Signoria che’l c’è ancora una bellissima cassa di flauti et un’altra de storte
et et un altro instrumento quale se chaima un fagot che è una belissima cossa:
non dubito se la Signoria Vostra li domanderà, li averà ogni cossa.
Archivio
di Stato, Mantua, Archivio Gonzaga, B. 746; transcribed in William Prizer, Courtly
Pastimes: The Frottole of Marchetto Cara (Ann Arbor, MI: UMI Research
Press, 1980), 309–10.
[Moreover, I inform your
Highness that there is also a beautiful case of recorders and another of
crumhorns and another instrument called a phagotum which is a beautiful thing:
I do not doubt that your Highness will ask for them and will have all of them.]
1520, Florence
Inventory of Cardinal Ippolto
I d’Este:
Uno flauto novo, con il
suo fodro coperto de curame, ch’ era in Castelnovo.
...
Uno flauto grande, novo.
...
Tri flauti grandi, novi,
da contrabasso: in la camera del Torno, in Belfiore.
Un torno da flauti, ch’
era in dita camara; le quali cose, ligate, ut supra, erano in Belfiore.
L.
F. Valdrighi, Cappelle, concerti e musiche di casa d’Este dal sec. XV al
XVIII, Musurgiana 12 (Modena: G. T. Vincenzi e Nipoti, 1884), 47–48.
[A new recorder with its case
covered with leather, which was in Castelnuovo.
...
A new large recorder.
...
Three large recorders, for
the contrabass [part]: in the Torno chamber in Belfiore.
A set of recorders, which are
in the said chamber; these things, tied together, were in Belfiore, like those
above-mentioned.]
1523, Leipzig
City ordered for the
Stadtpfeifer:
sechs neue Flöten 2 Sch. 27 G.
Rudolf
Wustmann, Musikgeschichte Leipzigs. 1: Bis zur Mitte des 17. Jahrhunderts
(Leipzig: B. G. Teubner, 1909), 36.
[Six new recorders 2 Sch. 27 Groschen.]
1526, Leipzig
City ordered for the
Stadtpfeifer:
neun neue Nürnb.
Flöten 3 Sch. 30 G.
Rudolf
Wustmann, Musikgeschichte Leipzigs. 1: Bis zur Mitte des 17. Jahrhunderts
(Leipzig: B. G. Teubner, 1909), 36.
[Nine new Nuremberg
recorders 3 Sch. 30 G.]
1530, Florence
Este archives: Post scriptum
di cart. duc. ... senza firma:
Appresso vorrei che mi portassino
una cassa o sia coppia di Flauti alemani che si sonano a mezo el flauto, et non
in testa, come si fanno li nostri; ma advertite de torli boni et che siano
compiti de tutte le voci che vi vanno.
L.
F. Valdrighi, Cappelle, concerti e musiche di casa d’Este dal sec. XV al
XVIII, Musurgiana 12 (Modena: G. T. Vincenzi e Nipoti, 1884), 48.
[Afterwards, I would like
that they bring me a case or set of flutes that are played in the middle of the
flute and not in the head, as we play ours; but pay attention that they are
good and that they can emit all the necessary notes (i.e., have a good high
range?).]
1531, Oudenaarde
Betaelt den scalmeyers
dezer stede, thulpe van eenen duutsche cokere fluyten, ende eenen bascontre van
hueren cromhoorenen die zy hebben doen maken, de welcke eeuwelic der stede
bliven moeten, de somme van xviii lib. par.
Betaelt Willem Blanstrayn, voortbeslaen van den
scalmeyers fleuten ende cokere, iiii lib. par.
Edmond
Vander Straeten, La musique aux Pays-bas avant le XIXe siècle, IV (Brussels:
G.-A. Van Trigt, 1878), 144; Les ménestrels aux Pays-bas du XIIIe au XVIIIe
siècle (Brussels: A. & F. Mahillon, 1878), 78.
[Paid to the shawm players of
this town, to help them (in purchasing) a German case of recorders (or a case
of German [i.e., transverse] flutes?) and an extended bass for their crumhorns
which they have had made, and which shall stay forever the property of the
town, the sum of 18 Parisian livres.
Paid Willem Blanstrayn, for mounting (with brass, etc.) the shawm players’ recorders and cases, 4
Parisian livres.]
1532, Antwerp
2 October: Inventory of city
band
Den II oct. ao
XXXII hebben der stadt pipers hier gebracht de instrumenten der stadt
toebehoirende,
ierst eenen coker met XII niewe floyten ende heeft Peeter
Baninck; eenen coker newen grooten cromhorens, XI in getale, ende heeft de
voirseide Peeter; eenen bovensanck ende teneur scalmeyen ende heeft de
voirseide Peeter.
Noch eenen coker met VIII cromhorens ende heeft Tielman
van Colen.
Noch eenen coker met IX floyten ende heeft de voirseide
Tielman.
Noch II trompetten ende een velttrompet heeft dezelve
Tielman.
Noch dezelve een teneur pipe.
Jan de Brasser heeft een trompet dat Jan Nagel hadde.
Noch dezelve eenen coker met VII fluyten; Hans Nagel
hadde VIII maer deen is tsinent verloren; (een tenur pipe geschrapt) eenen
bovensanck.
Godelieve
Spiessens, “De Antwerpse stadsspeellieden. Deel I: 15e en 16e eeuw,” Noordgouw:
Cultureel tijdschrift van de provincie Antwerpen 9 (1969): 48.
[October 2nd,
1532, the Stadtpfeifer brought here the instruments belonging to the city:
First, a case with twelve new recorders and Peeter
Baninck has it; a case of new large crumhorns, eleven altogether, and the
aforementioned Peeter has it; a soprano and a tenor shawm and the
aforementioned Peeter has them.
Another case with eight crumhorns and Tielman Susato has
it.
Another case with nine recorders and the aforementioned
Tielman has it.
Also, two trombones
and a field trumpet which the same Tielman has.
And the same a tenor pipe.
Jan de Brasser has a trombone that Jan [i.e., Hans] Nagel
had.
And this same [i.e., de Brasser] a case with seven
recorders; Hans Nagel had eight but one was lost at his home: a tenor [crossed
out] a soprano.]
Note: The fourth member of the band, Jan van Arthem,
apparently died that year—perhaps one of the reasons for the inventory (see
Spiessens, 3). Nagel, too, seems to have
recently died (see Spiessens, 3, 23).
1533/4, Mechelen
It. bet. Mr Peeter Alamire
van eenen coker fluyten ende twee schalmeye pypen. v F x s.
Algemeen
Rijksarchief, Brussels, 41282, Mechelen, Stadsrekeningen, 1533–34, f. 224;
quoted in G. Van Doorslaer, “Calligraphes de musique, à Malines, au XVIe siècle,”
Bulletin du Cercle Archéologique Littéraire et Artistique de Malines 33
(1928): 99; see also Raymond Joseph Justin van Aerde, Ménestrels communaux
& instrumentistes divers établis ou de passage à Malines, de 1311 &
1790 (Mechelen: Godenne, 1911), 29.
[Item, paid Petrus Alamire
for a case of recorders and two shawms
£5. 10s.]
1535, Brussels
Court of Mary of Hungary,
Regent of the Netherlands
867 livres à Wolff Ganns,
joueur de hautbois, pour plusieurs instruments de musique faits à Augsbourg et
fournis à la Reine, entre autres trois flûtes dont une pour le contrebas de
longueur d’un homme, une pour la taille et une pour le dessus, une autre grande
et une moyenne flûte, 8 autres flûtes d’Allemagne, etc.
Inventaire
sommaire des Archives Départmentales antérieures à 1790, Nord. Archives civiles.
Série B: Chambre des comptes de Lille,
VII, ed. Jules Finot (Lille: L. Danel, 1892), 315. See also “the archer and sackbut player Wolff
Gans bought flutes, shawms, and cornetts in Augsburg and brought these to
Mary’s court together with two performers, Wolff Bergher and Audrien
Hurlacher”; Glenda G. Thompson, “Music in the Court Records of Mary of
Hungary,” Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis
34, no. 2 (1984): 138, 159; citing Lille, Archives Départmentales du Nord, B. 3357,
f. 185r-v.
[867 livres to Wolff Gans,
shawm player, for several musical instruments made in Augsburg and delivered to
the Queen, among them three recorders, one of them for the contrabass part the
height of a man, one for the tenor, and one for the discant, one other large
and one medium recorder, also eight flutes, etc.]
40 livres à Gilles van
Rossem, pour les custodes fabriquées par lui afin de renfermer les instruments
de musique venant d’Augsbourg, achetés de Wolff Ganns, joueur de hautbois.
Inventaire
sommaire des Archives Départmentales antérieures à 1790, Nord. Archives
civiles. Série B: Chambre des comptes de Lille, VII, ed. Jules Finot (Lille: L. Danel, 1892), 317.
[40 livres to Gilles van
Rossem, for the cases made by him to enclose the musical instruments brought
from Augsburg, bought by Wolff Gans, shawm player.]
1536–37, Brussels
Court of Mary of Hungary,
Regent of the Netherlands
1536: 185 livres à Lazarus
Tucker, marchand à Anvers, payées ‘à Boveinsy pour ung maistre de Lyons, sur et
à bon compte de certaines fleuttes qu’il debvoit faire et livrer B Sa
Majesté.’”
Inventaire
sommaire des Archives Départmentales antérieures à 1790, Nord. Archives
civiles. Série B: Chambre des comptes de Lille, VII, ed. Jules Finot (Lille: L. Danel, 1892), 322.
[185 livres to Lazarus
Tucker, merchant in Antwerp, paid “to Boveinsy for a master in Lyon, on account
for certain recorders that he was to make and deliver to Her Majesty.”]
60 livres B
Christophle van Stockaert, faiseur de flûtes à Anvers, pour la vente et la
délivrance d’un étui servant à mettre 15 flûtes.
Inventaire
sommaire des Archives Départmentales antérieures à 1790, Nord. Archives
civiles. Série B: Chambre des comptes de Lille, VII, ed. Jules Finot (Lille: L. Danel, 1892), 323.
[60 livres to Christophle van
Stockaert, recorder maker in Antwerp, for the sale and delivery of a case in
which to put fifteen recorders.]
1537: 16 sols, 6 deniers
payés par le même [i.e., le penninckmaistre] à Lazarus Tucker, marchand à
Anvers, ‘pour la parpaye de certaines grosses flûtes avec autres instruments
qu’il a achetés pour la Royne d’un marchand nommé Bouvise.’”
Inventaire
sommaire des Archives Départmentales antérieures à 1790, Nord. Archives
civiles. Série B: Chambre des comptes de Lille, VII, ed. Jules Finot (Lille: L. Danel, 1892), 328.
[16 s. 6 d. paid by the same
(i.e., the paymaster) to Lazarus Tucker, merchant in Antwerp, “for the full
payment of certain large recorders together with other instruments that he
bought for the Queen from a merchant named Bouvise.”]
1536–37, Oudenaarde
1536: Betaelt de scalmeyers deser stede voor een
cokere fluuten ende nyeuwe instrumenten ... xlviij lib. par.
1537: Betaelt Jacob Franchois, van dat hy
besleghen heeft ende verdect eenen grooten cokere, daerinne de scalmeyers
huerlieder flueten inne slututen, iiii lib. iiii st. par.
Edmond
Vander Straeten, La musique aux Pays-bas avant le XIXe siècle, IV
(Brussels: G.-A. Van Trigt, 1878), 144; Les ménestrels aux Pays-bas du XIIIe
au XVIIIe siècle (Brussels: A. & F. Mahillon, 1878), 78.
[Paid the shawm players of
this town for a case of recorders and new instruments ... 18 Parisian livres.
Paid Jacob Franchois for
mounting and covering a large case, in which the shawm players can shut away
their recorders, 4 livres 4 sols Parisian.]
1538, Leipzig
City ordered for the
Stadtpfeifer:
ein Futter (7)
Querpfeifen 53 G.
Rudolf
Wustmann, Musikgeschichte Leipzigs. 1: Bis zur Mitte des 17. Jahrhunderts
(Leipzig: B. G. Teubner, 1909), 36.
[A case of (7) flutes 53 Groschen.]
1538, London
3 August; household accounts
of Thomas Cromwell.
Payment to William Myles,
apparently a household musician, for acquiring “a case of recorders £4.”
[Letters
and Papers, Foreign and Domestic, of the Reign of Henry VIII, vol. XIV/2
(London: Her Majesty’s Stationery Office, 1895), 334, 337; Records of
English Court Music, vol. VII (1485–1558), comp. Andrew Ashbee
(Aldershot: Scolar Press, 1993, 416.]
The recorders are likely to have been made by Anthony
Bassano I, who settled in England that summer.
1539, Nuremberg
City council ordered from
Sigmund and Mathes Schnitzer:
96 gulden rl. 10 ß für
neue pumhart und flötten durch Sigmund und Mathes die Schnitzer statpfeuffer
hie gemacht und inen abkaufft, auch diselben gemelten statpfeuffern und iren
gesellen zugestellt, zu geprauchen, nemlich vom Sigmunden ein grossen pumhart,
ein vagant, 2 thenor und 2 discant, auch ein groß futer flöten, darin 10
pfeyffen und 3 klain pumhart; vom Mathes 6 zwerchpfeyffen und 3 zyncken.
Ekkehard
Nickel, Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg
(Munich: Katzbichler, 1971), 59.
[96 Rheinische Gulden 10
Kreutzer for new bombards and recorders made here by Sigmund and Mathes
Schnitzer, Stadtpfeifer, and bought from them, and brought to the
above-mentioned Stadtpfeifer and their apprentices for their use, namely from
Sigmund a large bombard, a vagant (bass), two tenors, and two discants, also a
large case of recorders, containing ten recorders and three small bombards,
from Mathes six flutes and three cornetts.]
1540, Augsburg
Inventory of the city’s
instruments.
Mer sein verhandten
gewessen ain fueder fleden 2 discant 2 tennor 1 baß ist auff dem hauss verloren
worden
Mer sein verhandten
gewessen 1 fueder schwegeln 3 tennor 1 baß ist auf den hauß verloren worden
Adolf
Sandberger, ed., Werke Hans Leo Hasslers, Zweiter Teil, Denkmäler der
Tonkunst in Bayern, fünfter Jahrgang (Leipzig: Breitkopf & Härtel,
1904), p. LVII.
[Further, a case of recorders
(2 discants, 2 tenors, 1 bass), previously on hand, has been lost from the
Dance House.
Further, a case of flutes (3
tenors, 1 bass), previously on hand, has been lost from the Dance House.]
1541, Bern
From the Bern Ratsmanualen
(city accounts):
Den stettpfiffern die 4
schwägeln, so ich von Lyon pracht, zalen.
Schweizerisches
Idiotikon, 9 (Frauenfeld: J. Huber,
1920), col. 1768, entry “Schwëgle.”
[Pay the town musicians for
the four flutes that I brought from Lyons.]
1541–42, Nuremberg
Excerpts from a series of
letters between, on the one hand, Georg (Jörg) Neuschel, brass-instrument maker
in Nuremberg (and also a dealer in woodwind and percussion instruments), and,
on the other hand, Duke Albrecht of Prussia and three men who seem to have been
agents of his in Nuremberg, Georg Schulthes, Leo Schurstab, and Sebalt von
Thiel. The duke was interested in buying
24 trumpets (12 German and 12 French) but apparently did not order them in the
end because of the price.
15 October 1541, Neuschel to
the duke:
Weiter haben sie ettlich Instrument
bey mir gesehen, seindt mir gleich kummen gewessen von Leon und von Venedig,
haben sie mich gancz vleissich gebeten, ich soll es Ewern F. G. darvon
schreiben und auffzaigen, den sie wissen woll, das ewr F. G. grossen lust darzu
habe, und wenns Ewer F. G. sehen würdt, sie kauffen, hab ich zu gesagt, ich
wols E. F. G. auffzaigen:
...
Item 4 hellfenbaine
Zwergpfeiffen, seindt beslagen mit sylber und verguldt....
[Further, they have seen
certain instruments at my workshop, which have just come to me from Lyons and
from Venice; they requested me very diligently that I should write to Your
Highness about them and describe them, for they know well that Your Highness
would take great pleasure in them, and if Your Highness would see them, would
buy them. I agreed that I would describe
them to Your Highness:
...
Item, four ivory flutes,
decorated with silver and gilded....]
8 December 1541, the duke to
Schurstab and von Thiel:
Damit Ihr aber sehen
moget, was wir fur stuck durch euch bede bey Jorgen Neuschel gern bestelt haben
wolten, so haben wirs euch hirnach verzeichnen lassen, als nemlich
...
Item Georg Schulteis hatt
einen discant flöten mit sich hinaus genommen, nach derselben floten sol man
noch eine machen, die derselben gleich stimbt....
[In order for you to be able
to see what kind of things we would like to have ordered from Jorg Neuschel by
both of you, we have listed them for you below, namely:
...
Item, Georg Schulteis has
taken a discant recorder with him: based on that one, one should make another
recorder which is in tune with that one.]
3 September 1542, Neuschel to
the duke:
Weyter schick ich Ewrn F.
G. drey Muster auff papir, nemlich 4 helffen baynern Zwergpfeiffen, seindt auff
schonest beslagen und verguldt....
[Further, I am sending Your
Highness three designs on paper, namely four ivory flutes which are decorated
and gilded in the most beautiful way....]
8 September 1542, Schulthes
to the duke:
E. F. G. schreyben des
datum den 26. July hab ich in underthenigkait empfangen und Inhalts vernomen,
und schick eweren F. G. abconterfeite zwerchpfeuffen, zynncken von helffenpain,
auch ein pusaun von silber; wern E. F. G. in Neuschels prieff den taxt
vernemen.
[I humbly received Your
Highness’s letter of 26 July and understood its contents, and send Your
Highness copied flutes, ivory cornetts, and a silver trombone; Your Highness
will see the prices in Neuschel’s letter.]
26 November 1542, Neuschel to
the duke:
Ich hab Ewern F. G. in
meynem negsten 3 Muster geschickt von etlichen Instrumenten, nemlich Sylber
Pusonen, helffenbainen Zwergpfeiffen und helffenbaynen Zincken, alls auffs
schonste beslagen, wen Ewer F. G. eyn lust und lib darzu hette, wolt ichs Ewern
F. G. alle andern Fursten und herrn zu lassen; ist mich gleich woll noch keyne
Antwort auff meyn schreiben worden, ich waiss nit, obs E. F. G. zu geschickt
ist worden von Jorgen Schulthes aber nit.
[I have sent Your Highness in
my last (letter?) three designs of various instruments, namely silver
trombones, ivory flutes, and ivory cornetts, all decorated in the most
beautiful way; had Your Highness taken pleasure and joy in them, I wanted to
leave them to Your Highness before all other dukes and lords; but as I have not
yet received an answer to my letter, I do not know whether they were sent to
Your Highness by Georg Schulthes or not.]
27 November 1542, the duke to
Neuschel:
Wir haben dein schreiben,
ausgangen zu Nörinberg den iii Septemb. entpfangen, desselben Inhalt lesend
eingenomen und verstanden. Nemen dein dinstlich
wolgemeindt erpitten zu gnedigem dank an.
Seindts hinwider gnediglich zu erkennen nicht ungeneigt. Aber die helffenbeinen querchpfeiffen,
zincken und silbern bosaun in anmerkung, das sie unverhafft, sein nicht fur
uns, dann wir Junge gesellen, die solche Instrument prauchen mussen, und
derselben wenig schonen, zu diener haben.
[We have received your letter
sent from Nuremberg on 3 September, and have read, digested, and understood its
contents. We accept your official
well-intentioned offer with gracious thanks.
In this regard we are graciously not disinclined to acknowledge it. But the ivory flutes, cornetts, and silver
trombone in question, which you have in your possession (?), are not for us,
because we have young apprentices in service who must use such instruments who
(would) take little care of them.]
Robert
Eitner, “Briefe von Jorg Neuschel in Nürnberg, nebst einigen anderen. (Im
Besitze des kgl. Geb. Archivs in Königsberg i/Pr.),” Monatshefte für
Musik-Geschichte 9, no. 7 (1877): 149–59.
1542, Westminster
Inventory of goods of Henry
VIII.
Item sixe cases with
Flutes and in every case iiij flutes. [marginal note: Ex’ one case wth
iiij flutes in it and j small’ flute taken out of an’ other of the said cases
fo. 71. to thuse of my lorde protector his grace Anno primo Res Ed
sexti And the rest to the said phillip vanwilder ut supra]
Item oone other case
furnisshid with xv flutes in hit.
Item oone other case with
x flutes in it.
Item oone case with vij
flutes in it.
Item fyve flutes of Ivery
tipped with golde enna-muled blac with a case of purple vellat ganisshid at
both thendes with silver and gilt.
Item foure flutes of Ivery
tipped with Golde in a case coveryd with grene vellat.
....
[in the right margin each
succeeding group of instruments without notations concerning missing
instruments is marked off: Ex’ to the said phip’ vanwylder ut supra.]
...
Item fyve [crossed out and replaced by: sixe]
Recorders of Ivery in a case of blac ve’lat.
Item oone great base
recorder of wodd in a case of wodd.
Item four recorders of
walnuttre in a case couered with blac vellat.
Item nyne Recorders of
wodde in a case wodde.
Item oone case with vj
recorders of boxe in hit.
Item oone other case with
vij Recorders of walnuttre in hit. [marginal note: Ex’ the said cace wth
vij Recorders fo. 27 to the kes mates owne vse Anno xxxiijto
Res h. viijui]
Item sixtene Recorders
great and smale in two cases coveryd with blac lether lyned with cloth
[marginal note: Ex’ one case wth viij Recorders in it fo. 71 to the
L protector A jmo Res E vjti And therest to phipp van
wilder ut supra]
Item two base Recorders of
walnuttre oone of them tippid with Silver.
Item foure Recorders made
of oken bowes.
Item oone pipe for a Taber
in a case of blac lether.
London,
Public Record Office, E315/160, ff. 63r–v; transcribed in Eileen Sharpe
Pearsall, “Tudor Court Musicians, 1485–1547: Their Number, Status and Function”
(Ph.D. diss., New York University, 1986), 271–73; Andrew Ashbee, Records of English Court
Music, VII (1485–1558) (Aldershot: Scolar Press, 1993), 387–88.
[Item, six cases with flutes
and in every case four flutes.* (Marginal note: one case with four flutes in it
and one small flute taken out of another of the said cases, f. 71, to the use
of My Lord Protector His Grace, 1 Edward VI.
And the rest to the said Philip Van Wilder ut supra.)
Item, one other case
furnished with fifteen flutes in it.
Item, one other case with ten
flutes in it.
Item, one case with seven
flutes in it.
Item, five flutes of ivory
tipped with gold enameled black with a case of purple velvet garnished at both
the ends with silver and gilt.
Item, four flutes of ivory
tipped with gold in a case covered with green velvet.
...
Item, six recorders of ivory
in a case of black velvet.
Item, one great bass recorder
of wood in a case of wood.
Item, four recorders of
walnut in a case covered with black velvet.
Item, nine recorders of wood
in a case (of) wood.
Item, one case with six
recorders of box in it.
Item, one other case with
seven recorders of walnut in it.* (Marginal note: the said case with seven
recorders, f. 27, to his King’s Majesty’s own use, 34 Henry VIII.)
Item, sixteen recorders great
and small in two cases covered with black leather lined with cloth.* (Marginal
note: one case with eight recorders in it, f. 71, to the Lord Protector, 1
Edward VI, and the rest to Philip Van Wilder ut supra.)
Item, two bass recorders of
walnut, one of them tipped with silver.
Item, four recorders made of
oaken bows.
Item, one pipe for a tabor in
a case of black leather.]
1543, Leipzig
City ordered for the
Stadtpfeifer:
acht Flöten in Futter 5 Sch. 15 G.
Rudolf
Wustmann, Musikgeschichte Leipzigs. 1: Bis zur Mitte des 17. Jahrhunderts
(Leipzig: B. G. Teubner, 1909), 36.
[Eight recorders in a
case 5 Sch. 15 Groschen.]
1543, Verona
7 December, Accademia
Incatenata:
Inuentario de tutte le
robe particulare Et Comune che si ritroua nella Casa di moliseo, adi 7 Xbre
1543.
...
Vna cassa da flauti
couerta de Corame n. ij.
Vna Cassa da flauti
biancha no. 14.
...
Doe Cani da flauti una de
laton Et laltra couerta de corame.
...
Phayfer 5 da sonar da
Campo.
Giuseppe
Turrini, L’Accademia filarmonica di Verona dalla fondazione (Maggio 1543) al
1600 e il suo patrimonio musicale antico (Verona: La Tipografica Veronese,
1941), 25–26.
[Inventory of all the
particular goods held in common that are found in the Casa di Moliseo, 7
December 1543.
...
A case of two recorders
covered with leather.
A case of fourteen white
recorders.
...
Two recorder crooks, one of
brass and the other covered with leather.
...
Five military fifes.]
1543/44, Bruges
Clays Jolyt, menestruel,
voer den coop van een cokere met xij handflueten die by ordonnancie vanden
college ghecocht zyn gheweest ten behouve van deser stede, iii lb. x s. groten.
L.
Gilliodts-Van Severen, Les ménestrels de Bruges: Recueil de textes et
analyses de documents inédits ou peu connus (Bruges: L. De Plancke, 1912),
92.
18 Jan 1544:
Le Collège alloue quatre
lb. gros pour l’achat de “eenen cookere van twaelf handtfluiten” pour le
service des “vier ghezwooren speellieden” pour compte et propriété de la ville.
ibid.,
93.
[Clays Jolyt, minstrel, for
the purchase of a case with twelve recorders which by ordinance of the College
were purchased on behalf of the city, 3 l. 10 s.
...
The College allows 4 l. for
the purchase of “a case of twelve recorders” for the service of the “four sworn
wind players” for the account and property of the city.]
1544, Verona
Joint inventory of newly
merged Accademia filarmonica and Accademia incatenata:
Et vno altro tanbur
picholo et duj flauti da tre busi.
Et 4 fifarj da Canpo.
Giuseppe
Turrini, L’Accademia filarmonica di Verona dalla fondazione (Maggio 1543) al
1600 e il suo patrimonio musicale antico (Verona: La Tipografica Veronese,
1941), 41.
[And another small drum and
two three-hole flutes (tabor pipes).
And four military fifes.]
1 April
Libro de li exatorj de
tuta la spesa che se fB in la accademia
...
AdX po
aprille per far portar trespi che erano in Molise [Accademia incatenata] et li
flauti del s. Pietro Paulo L. ___. s. 2, d. ___.
[Book of collectors of all
the expense that were made in the Academy
...
1 April for getting carried
trestles (?) that were in Moliseo (Accademia incatenata) and the recorders of
Signor Pietro Paulo s. 2.]
Marco
Di Pasquale, “Gli strumenti musicali dell’Accademia filarmonica di Verona: un
approccio documentario,” Il flauto dolce, no. 16–17 (October
1987–April 1988): 11.
1544, Paris
11 August: probate inventory
of Mathurin de la Noue, facteur d’instruments (fleustier, floteur):
Ung jeu de quatre fleustes
de bouys prisé XLV s.t.
Item troys fleustes
d’allumens dont deux coupées prisés
ensemble XVIII s.t.
...
Item deux grosses
fleutes prisées X s.t.
Item ung piffre coupé prisé V s.t.
Item deux grosses fleustes
de buys à neuf trouz garniz des escrins de cuir prisés ensemble XV s.t.
...
Item ung haultboys garni
de son estuy et troys flustes de tabourin garniz d’un estuy de cuir à l’ung
estuy par deux fleustes prisez ensemble
XX s.t.
François
Lesure, “La facture instrumentale B Paris au seizième siècle,” Galpin Society Journal 7
(1954): 21–22.
[A consort of four boxwood
recorders ... valued at 45 sols tournois.
Item three flutes of which
two are in two pieces ... valued together at 18 sols tournois.
...
Item two large recorders ...
valued at 10 sols tournois.
Item a two-piece fife ...
valued at 5 sols tournois.
Item two large boxwood
recorders decorated with leather boxes ... valued together at 15 sols tournois.
...
Item a shawm decorated with
its case and three tabor pipes decorated with a leather case and one case for
two pipes ... valued together at 20 sols tournois.]
1546, Verona
9 May; Accademia filarmonica:
Item fu dato comision a
Alesandro Priame de mandar a Lion a tor una copia de faifer.
Marco
Di Pasquale, “Gli strumenti musicali dell’Accademia filarmonica di Verona: un
approccio documentario,” Il flauto dolce, no. 16–17 (October
1987–April 1988): 11.
[Item, Alessandro Priame was
commissioned to go to Lyons to buy a set of flutes.]
Two of the surviving flutes in the Accademia are
associated with Lyons: 13.287 (tenor)
marked Cl. Rafi; 13.281 (bass) with lion mark (Rafi?). John Henry van der Meer and Rainer Weber, Catalogo
degli strumenti musicali dell’Accademia filarmonica di Verona (Verona:
Accademia filarmonica, 1982), 43, 45–46.
Whether they are two of the same ones mentioned in this entry is
impossible to say, as the Accademia acquired many flutes later (no fewer than
50 by the inventory of 1628, q.v.).
1547–49, Verona
Accademia filarmonica:
7 September 1547:
Sotto el regimento del
soprascritto principe adí soprascritto.
Perché il cap.o
Polo de Naldo ha fatto intender voler vender gli flauti, li sei regenti si
ridussino et deliberarono che quando piacesse alla comp.a se
dovesseno comprar. Et cosí ordinorno che
se citasse la compa. per adí 9 otto.o prox.o
et scriver a quelli erano absenti.
[Under the regime of the
above-mentioned prince (the head of the Accademia), the day above-mentioned.
Because captain Paulo de
Naldo (perhaps the same man as the Signor Pietro Paulo mentioned above; see
1544, Verona) has expressed his intention to sell the recorders, the six
regents got together and deliberated about whether the recorders should be
bought if it pleases the company (i.e., the assembly of the Accademia) to buy
them. And therefore it was ordered to convene
the company on 9 October next and write to whomever was absent.]
9 October 1547:
Essendo stà citadi tutti
li compagni con littere particulare et coman(damen)to aciò che se
reduseseno adí sop.to per tratar dela compra deli flauti et altre
cose, se redusse se non dodeci deli compagni et gli amancava anche deli regenti
et delegatti talmente che non se posse condur cosa alcuna ferma. Per la qual cosa parve a quelli regenti che
almancho fra quelli pochi che erano ridutti aciò non fussen ridutti indarno se
trattasse quello che era espediente et onorevole per la comp.a. Et cosí furno deliberatte le infrascritte
cose vz
p.o Che se
dovesse tor gli flautj per scudi 40 d’oro in oro, et che se dovesse stridar per
la ult.o dominica del presente mese.
Che tutti gli compagni dovesseno ritrovarse al loco n.ro dela accademia
per concluder ditta compradia. Et che in
questo mese lo exattor n.ro et Alex.o Priame insieme debia scoder et
solicitar tutti gli compagni che pagino quello sono debitori in termine de
tutto il presente mese, aciò se possi deliberar fermamente quello se vorà et
poterà spender.
[Although all the company had
been notified with detailed letters and ordered that they meet the said day to
deal with the purchase of the recorders and other matters, only twelve of the
company were present. And the lack also
of regents and delegates was such that they could not make any firm
decision. For that reason, it seemed
proper to the regents that at least the few present deal with what would be
convenient and honorable for the company, so that they would not have met in
vain. And therefore the following things
were deliberated, namely:
First, that the company must buy the recorders for 40
gold scudi in gold;
That the assembly has to be convened for the last Sunday
of the present month;
That all the company must come to the residence of the
Academy to conclude this purchase;
And that in this month our collector and Alexandro Priame
together must cash and solicit all the company to pay what is debited at the
end of the present month, in order that they can make a firm decision about
what they are willing and able to spend.]
4 March 1548
Se redusse la compagnia
per tratar de tor li flauti del cap.o Pol de Naldo per ducati quaranta
d’oro con pato de poterli scoder per el medemo volendoli per lui sollo ma chel
non li possa scoder per darli ad altrij et il medemo se intenda de suoi
figli. La soprascritta parte fu tratada
a voce et passete senza nisuna controversia secondo la forma sotoscritta nelli
scriti de man del cap.nio Paulo et del scrito ha fato el capitanio
Paulo Naldi alla accademia delli suoi flauti vendudj.
[The company was convened to
deal with the purchase of the recorders of captain Paulo de Naldo for 40 gold
ducats on condition that it would be possible to pay the money to the same
(Naldo), as they want to give it to him alone; moreover, on the condition that
he is not cashing (making the deal?) on behalf of others and that the same
(condition) is valid for his sons. The
above-written part was dealt with verbally and passed without controversy in
the manner underwritten in the documents of captain Paulo and the document that
captain Paulo Naldi made to the Academy about the sale of his recorders.]
1548 alli 5 marzo nella
accademia al suo bancho
Confesso io Paulo Naldi
haver ricevuto da ms Alexandro Priamj scudi quaranta d’oro in oro li qualli mi
contò per nome delli accademici filarmonicj di Verona per precio et pagamento
delli miei flauti a lori per me venduti per il deto precio con questo pato perhò
che ad ogni mio beneplacito che io li volessi per uso mio tanto li possi
riavere talli qualli si ritroverano rendendoli li suoi denari vz scudi 40 ma se
in alcun tempo venisse occasione alli deti accademici di comprar qualche copia
de flauti facendomi essi intender tal sua occasione, prometto ... in tempo de
un mese dopo lo aviso riscotere li deti miei flauti per il predito precio ...
licentiali li flauti liberi talché se estinto el pato de mai piú riaverli se io
non li haverò riscossi in tempo del dito mese dopo lo havuto aviso et in fede
de ciò ho fato il presente scrito de mia propria mano et sotoscrivo.
E mi Paulo Naldi scrissi
de volontà.
[5 March 1548 in the Academy
to its bank (accountant?)
I, Paulo Naldi, acknowledge
that I have received from Alexandro Priame 40 gold scudi in gold which
he counted for me in the name of the Accademia filarmonica of Verona, for the
price and payment of my recorders which were sold by me to them for the said
price; with this condition, however, that whenever I want to have them back for
my use, I can have them back in the same condition they are in and I shall
render them (the Accademia) their money, namely 40 scudi; but if at any time
come occasions when the said Academicians purchase a (i.e., another) set of
recorders, after having informed me about such an opportunity, I promise ... in
one month after the notice to take back the said recorders (of mine) for the
above-mentioned price ... (or) to permit them (the Academicians) to keep the
recorders freely according to the former condition. Therefore, that agreement will be discharged
for ever if I did not pay back for them (the recorders) in one month after I
had notice; and in faith of that I have made as well as undersigned this document
by my own hand.
And I, Paulo Naldi, wrote of
my own free will.]
Copia del scrito delli
accademici fato al cap.o Paulo Naldi
Alli 5 marzo 1548
Noi accademici
philarmonici veronesi havendo comprato dal ill.o capitanio Paulo
Naldi li suoi flauti per precio de scudi quaranta d’oro in oro come ne par in
scrito da recever de man sua, contentemo et prometemo ad ogni suo beneplacito
volendo li deti flauti per suo uso tanto revenderglieli per il deto prezo talli
qualli si troverono con questo exp.so pato perhò, che occordendo a noi in alcun
tempo che ne venesse occasione di comprare una copia di flauti facendoli
intender tal nostra occasione sia tenuto in termine d’un mese dopo la havutta
noticia riscoter li deti flauti exborsandone li scudi 40 d’or in or et non li
exborsando in deto termene sia extinto il pato di revendergelili et li flauti
siano n.ri liberi.
Io Joan Franc.o
Redolpho canzeler delli accademici philharmonici de mandato.
[Copy of the letter of the
Academicians sent to captain Paulo Naldi.
5 March 1548
We, the members of the
Accademia filarmonica in Verona, having purchased from the illustrious captain
Paulo Naldi his recorders for the price of 40 gold scudi in gold which
we will obtain from his hand as appears in writing, agree and promise that when
he wants to have back the said recorders for his own use, to resell them for
the same exact price in the condition they are (now) according to this precise
agreement; that is, if there comes at any time an opportunity for us to
purchase a case of recorders, after having communicated such a fact to him, he
is obliged within one month to take back the said recorders and to disburse the
40 gold scudi in gold and if he does not disburse within this term, the
agreement about selling them back will be null and the recorders will be ours
freely.
I, Joan Francisco Redolpho,
in charge to be chancellor of the Academia filarmonica]
23 April 1549
Item fu riferito come il
capitanio Paullo Naldi vole reschoter li soi flautj secundo la nostra
constitutione che habiamo con luj.
[Item, was reported that
captain Paolo Naldi wants to have back his recorders according to our agreement
that we have with him.]
Marco
Di Pasquale, “Gli strumenti musicali dell’Accademia filarmonica di Verona: un
approccio documentario,” Il flauto dolce, no. 16–17 (October
1987–April 1988): 12.
1547, Siena
January-February
Una cassa di sordini, una
cassa di flauti negri, nelle mani de’ piffari.
The recorders are also listed
January-February 1548 and September 1548, when they are called una cassa di
flauti all’italiana.
Frank
A. D’Accone, The Civic Muse: Music and Musicians in Siena during the Middle
Ages and the Renaissance (Chicago: University of Chicago Press, 1997), 587.
[A case of sorduns, a case of
black recorders, in the hands of the pifferi.
...
a case of recorders.]
1547, Westminster
Inventory of estate of Henry
VIII (see also under 1547, Windsor).
INSTRUMENTES AT
WESTMINSTER IN THE CHARDGE OF PHILIPP VAN WILDER
...
Instrumentes of soundrie
kindes
...
Item v Cases with Flutes
and in euerie of iiij of the saide Cases iiij flutes and in the vth
three flutes.
Item one Case furnisshed
with xv Flutes in it.
Item one Case with tenne
flutes in it the same are caulled pilgrim Staves and the same case furnisshed
conteinethe butt vj hole pipes.
Item one case with vij
Flutes in hitt.
Item v Flutes of Ivorie
tipped with golde enameled blacke with a Case of purple vellat garnisshed at
bothe thendes with Siluer and guilte the same Case furnisshed conteinethe but
iiij hole pipes.
Item foure Flutes of
Iverie tipped with golde in a Case couered with grene vellat.
....
Item one case with vj
recorde[r]s of Boxe in it.
Item viij Recorde[r]s
greate and smale in a Case couered with blacke Leather and lined with clothe.
Item twoo base Recorders
of waulnuttre one of theim tipped with Siluer the same are butt redde woodde.
Item foure Recorders made
of okin bowes.
Item vj recorders of
Iverie in a case of blacke vellat.
Item one greate base
Recorder of woode in a case of woode.
Item foure Recorders of
waulnuttree in a Case couered with blacke vellat.
Item ix Recorders of woode
in a Case of woode.
Item A Pipe for A Taberde
in a Case of blacke leather.
...
Chestes
...
Item A Case couered with
crimesen vellat havinge locke and all other garnishments to the same of Siluer
gilte with viij recorders of Iuerie in the same Case the twoo bases garnished
with Silver and guilte.
Item one case of blacke
leather with viij recorders of boxe.
Item a case of white woode
with ix recorders of boxe in the same.
Item a case couered with
black lether with vij recorders of woode in it.
Item a litle case couered
with blacke lether with iiij recorders of Iverie in it.
Item one flute and ij
phiphes of blacke Ibonie tipped withe Siluer thone of the phiphes lackinge a
tippinge at one ende in a bagge of redde leather.
Item iij Flutes of glasse
and one of woode painted like glasse in a Case of blacke leather.
Item iij Flutes of woode
in a case of blacke leather.
Item iij Flutes in a redde
leather bagge.
British
Library, London, MS Harley 1419, ff. 200r, 202v, 203r, 205r; The Inventory
of King Henry VIII, Society of Antiquaries MS 129 and British Library MS Harley
1419, The Transcript, ed. David Starkey; transcribed by Philip Ward
(assistant editor) and indexed by Alasdair Hawkyard (Lodon: Harvey Miller
Publishers for The Society of Antiquaries, 1998), 265–67; see also Andrew
Ashbee, Records of English Court Music, VII (1485–1558) (Aldershot:
Scolar Press, 1993), 393–95.
[INSTRUMENTS AT WESTMINSTER
IN THE CHARGE OF PHILIP VAN WILDER
...
Instruments of sundry kinds
...
(11906) Item, five cases with
flutes and in every of four of the said cases four flutes and in the fifth
three flutes.
(11907) Item, one case
furnished with fifteen flutes in it.
(11908) Item, one case with
ten flutes in it: the same are called Pilgrim Staves and the same case
furnished contains but six whole pipes.
(11909) Item, one case with
seven flutes in it.
(11910) Item, five flutes of
ivory tipped with gold enameled black with a case of purple velvet garnished at
both the ends with silver and gilt: the same case furnished contains but four
whole pipes.
(11911) Item, four flutes of
ivory tipped with gold in a case covered with green velvet.
...
(11913) Item, one case with
six recorders of box in it.
(11914) Item, eight recorders
great and small in a case covered with black leather and lined with cloth.
(11915) Item, two bass
recorders of walnut tree, one of them tipped with silver: the same are but red
wood.
(11916) Item, four recorders
made of oaken bows.
(11917) Item, six recorders
of ivory in a case of black velvet.
(11918) Item, one great bass
recorder of wood in a case of wood.
(11919) Item, four recorders
of walnut tree in a case covered with black velvet.
(11920) Item, nine recorders
of wood in a case of wood.
(11921) Item, a pipe for a
tabor in a case of black leather.
...
Chests
...
(11935) Item, a case covered
with crimson velvet having lock and all other garnishments to the same of
silver gilt with eight recorders of ivory in the same case, the two basses
garnished with silver and gilt.
(11936) Item, one case of
black leather with eight recorders of box.
(11937) Item, a case of white
wood with nine recorders of box in the same.
(11938) Item, a case covered
with black leather with seven recorders of wood in it.
(11939) Item, a little case
covered with black leather with four recorders of ivory in it.
(11940) Item, one flute and
two fifes of black ivory tipped with silver, the one of the fifes lacking a
tipping at one end, in a bag of red leather.
(11941) Item, three flutes of
glass and one of wood painted like glass in a case of black leather.
(11942) Item, three flutes of
wood in a case of black leather.
(11943) Item, three flutes in
a red leather bag.]
1547, Vilnius
28 August
Die 28 [Augusti] pro 7
fistulis Helvetianis per quendam mercatorem e Norimberga adductis per dominum
Tarlo dati Martino Ungaro, sartori, expedito ab aula pro servitio et ex gratia
dati --- fl. 20/–/–
Adolf
ChybiÃski, “Polnische Musik und Musikkultur des 16. Jahrhunderts in ihren
Beziehungen zu Deutschland,” Sammelbände der Internationalen
Musikgesellschaft 13 (1911–12): 465.
[For 7 fifes brought from
Nuremberg by a certain merchant—20 fl. given by the master, and given with
pleasure, to Martinus Tarlus the Hungarian, tailor, for service rendered at
Court.]
1547, Windsor
Inventory of the estate of
Henry VIII (see also under 1547, Westminster).
Soundrie parcelles
...
Item three flutes in a
Case.
British
Library, London, MS Harley 1419, f. 315v; The Inventory of King Henry VIII,
Society of Antiquaries MS 129 and British Library MS Harley 1419, The
Transcript, ed. David Starkey; transcribed by Philip Ward (assistant
editor) and indexed by Alasdair Hawkyard (Lodon: Harvey Miller Publishers for
The Society of Antiquaries, 1998), 320.
[Sundry parcels
...
(13197) Item, three flutes in
a case]
1548, Verona
25 November; Accademia
filarmonica:
Et fu deliberatto con
bussolo et ballotte se si doveva comprar li faifer de mater Jan, de li denarj
de la compagnia et fu pro 13 contra 3.
[And was deliberated with
vases (used as ballot-holders) and ballots whether we should purchase the
flutes from master Jan, with the money of the company, and was 13 for, 3
against.]
9 November
Per pagar diese archeti da
violla porté matre Jan da Venetia L. 5,
s. 2
...
Item per pagar una copia
di faifer a Matreian qalli haveva portate da Venetia per
deliberation della compagnia appar in Lo del canzeler in car(te) 38
alli 25 9brio 1548 L. 25, s. 10.
[To pay for ten viol bows
brought by master Jan from Venice L. 5,
s. 2
...
Item, to pay for a case of
flutes to master Jan which having brought from Venice by deliberation of the
company as appears in the book of the chancellor in page 38 on 25 November
1548 L. 25, s. 10.]
Marco
Di Pasquale, “Gli strumenti musicali dell’Accademia filarmonica di Verona: un
approccio documentario,” Il flauto dolce, no. 16–17 (October
1987–April 1988): 12.
1551, Paris
23 March: probate inventory
of Philippe de la CanessiPre, facteur d’instruments:
Item, deux cornets et une
flute d’alemant prisez ensemble XX s.t.
Item troys flutes à
tabourin dont deux petites et une grande garniz de leurs estuiz de cuyr prisez ensemble VIII s.t.
Item onze flutes tant à
neuf trous que à thabourins prisez ensemble
XXX s.t.
François
Lesure, “La facture instrumentale B Paris au seizième siècle,” Galpin Society Journal 7
(1954): 22–23.
[Item, two cornetti and one
flute ... valued together at 20 sols tournois.
Item, three tabor pipes, of
which two are small and one is large, decorated with their leather cases ...
valued together at 8 sols tournois.
Item, eleven “flutes,” both
recorders and tabor pipes ... valued together at 30 sols tournois.]
1551, Venice
16 May; Inventory of Nicoló
Sagondino, segretario del Consiglio dei dieci (secretary to the Council of
Ten):
uno orghano in chasa de
legno, un clavizimbano usado, una cassa de flauti numero 10
Gastone Vio and Stefano Toffolo, “La
diffusione degli strumenti musicali nelle case dei nobili, cittadini e popolani
nel XVI secolo a Venezia,” Il flauto dolce 17–18 (October 1987–April
1988): 37.
[an organ in a wooden case, a
used harpsichord, a case of ten recorders]
1551, Venice
1 June; Inventory of the
brothers Giovanni Lorenzo and Zaccaria Griffalconi:
un arpicordo mezan, un
lauto con la sua cassa, una cassa con 4 viole da sonar et li sui libri de
canto, uno lauto con la sua cassa, una cassa de flauti, una cassa de pive
storte
Gastone Vio and Stefano Toffolo, “La diffusione
degli strumenti musicali nelle case dei nobili, cittadini e popolani nel XVI
secolo a Venezia,” Il flauto dolce 17–18 (October 1987–April 1988): 36.
[a medium-sized harpsichord,
a lute with its case, a case of four viols and their music books, a lute with
its case, a case of recorders, a case of crumhorns (?)].
1553, Paris
11 December: probate
inventory of Etienne Loré, joueur d’instruments:
Premièrement une fluste de
bouis par les deux boutz d’argent avec deux autres flustes d’allemens telles
quelles, ensemble quatre autres petites flustes en ung trou telles quelles prisées ens. XXXV s.t.
...
Item une fluste a neuf
trouz, deux haultbois, ung pipet avec neuf flustes et deux estuiz, telz
quelz prisez ens. X s.t.
François
Lesure, “La facture instrumentale B Paris au seizième siècle,” Galpin Society Journal 7
(1954): 23.
[First, a boxwood recorder
(or flute?) with two silver tips with two other flutes, as they are, together
with four other small one-holed [!] recorders (or flutes?), as they are ...
valued together at 35 sols tournois.
...
Item, a recorder, two shawms,
one little [reed?] pipe with nine new recorders and two cases, as they are ...
valued together at 10 sols tournois.]
1555, Leipzig
Sunday after Jubilate; city
already owned:
6 Querpfeifen, 8 alte
Flöten
Purchased:
10 Flöten mit einem großen
Baß 20 Gulden
Rudolf
Wustmann, Musikgeschichte Leipzigs. 1: Bis zur Mitte des 17. Jahrhunderts
(Leipzig: B. G. Teubner, 1909), 161.
[Six flutes, eight old
recorders.
...
Ten recorders with a great
bass. 20 Gulden.]
1555, Venice
3 June; Inventory of Pesaro
arcivescovo (Archbishop Pesaro):
una cassa de flauti no
9 (stimata duc. 5), un clavicimbano con il suo piede de ligname (stimato duc.
6)
Gastone Vio and Stefano Toffolo, “La
diffusione degli strumenti musicali nelle case dei nobili, cittadini e popolani
nel XVI secolo a Venezia,” Il flauto dolce 17–18 (October 1987–April
1988): 36.
[a case of nine recorders
(valued at 5 ducati), a harpsichord with its wooden stand (valued at 6 ducati]
1556–58, Siena
una cassa di flauti, in
mano de’ piffari
...
una cassa di flauti in
mano di maestro Niccolò piffaro
Frank
A. D’Accone, The Civic Muse: Music and Musicians in Siena during the Middle
Ages and the Renaissance (Chicago: University of Chicago Press, 1997), 587.
[a case of recorders, in the
hands of the piffari
...
a case of recorders in the
hands of Niccolò di Maestro Cristoforo, piffaro]
1557, Paris
20 September: probate
inventory of Nicolas Robillard, joueur d’instruments:
Item, plusieurs pièces
tant haultboys, fluttes d’alemans que fluttes à tabourins prisés ens. XX s.
Item, deux fluttes à
tabourins garnyes de leur estuy prisés
ens. V s.
François
Lesure, “La facture instrumentale B Paris au seizième siècle,” Galpin Society Journal 7
(1954): 25–26.
[Item, several items, whether
shawms, flutes, or tabor pipes ... valued together at 20 sols.
Item, two tabor pipes
furnished with their case ... valued together at 5 sols.]
1557, Venice
26 March; Inventory of Natale
Tromboni:
un bason da sonar, una
copia de fifari, un trombon, 3 trombette
Gastone Vio and Stefano Toffolo, “La
diffusione degli strumenti musicali nelle case dei nobili, cittadini e popolani
nel XVI secolo a Venezia,” Il flauto dolce 17–18 (October 1987–April
1988): 37.
[a curtal, a case of flutes,
a trombone, three trumpets]
1559, Madrid
Inventory of Queen Mary of
Hungary (Regent of the Netherlands):
IIII FLAUTAS METIDAS CADA
UNA EN SU CAXA.—Y cargan se le mas quatro flautas, la una muy grande, de tres
baras poco mas o menos de largo, e las otras cada una disminuyendose e haziendo
de mas pequena, cada una dellas metida en su funda de lienco, segun pareçe por
el ynbentario.
XV FLAUTAS ET QUATRO
PIFANOS EN SU CAXA.—Y cargan se le mas una caxa grande de flautas de Alemania,
en que avia quinze flautas grandes y pequenas e quatro pifanos, segun pareçe
por el ynbentario.
I CAXA EN QUE AVIA XV
PIFANOS.—Y carga se le mas otra caxa grande, en que avia quinze pifanos de
Alemania, grandes y pequenos, con la cubierta o funda de cuero negro, segun
pareçe por el dicho ynbentario.
I CAXA CON SIETE FLAUTAS
DE ALEMANIA.—Y carga se le mas otra caxa de siete flautas de Alemania, con las
dichas siete flautas dentro, segun pareçe por el dicho ynbentario.
I CAXA EN QUE AVIA OTRAS
DICHOS PIFANOS.—Y carga se le mas otra caxa de flautas o pifanos, en que avia
otros dichos pifanos, que dizen son hechas en Brusele, segun pareçe por el
dicho ynbentario.
....
I CAXA DE FLAUTAS.—Y carga
se le mas una caxa de flautas, la qual dizque que tenia Camargo, por mandado de
su Alteza, segun pareçe por el dicho ynbentario.
After sale to Juana, Princess of Portugal, and Christoval
Matoso, another inventory:
A la dicha prinçesa y al
dicho Matoso, quatro flautas, la una muy grande, de tres baras en largo, poco
mas o minos, e las otras, cada una menor que la otra, cada una dellas metida in
una caxa, con su funda de lienço, como paresçe por el dicho entrego.
A la dicha prinçesa, y en
su nombre al dicho Matoso, una caxa grande de flautas de Alemania, en que havia
15 flautas grandes y pequeñas e tres pibanos, como paresçe por el dicho
entrego.
....
A la dicha prinçesa y al
dicho Matoso, en su nombre, otra caxa con seys pibanos de marfil, los dos
dellos guarnecidos de plata blanca, con su funda de cuero, como pareçe por el
dicho entrego.
A la dicha prinçesa y al
dicho Matoso, en su nombre, una caxa grande, en que hay quinze pibanos de
Alemania, grandes y pequeños, con la funda de cuero negro, como pareçe por el
dicho entrego.
A la dicha prinçesa y al
dicho Matoso, otra caxa, y dentro della siete flautas de Alemania, que son
pibanos, como pareçe por el dicho entrego.
A la dicha prinçesa y al
dicho Matoso, en su nonbre, otra caxa, en que ay ocha flautas o pibanos, que
dizen son fechas en Bruselas, como parece por la dicha escritura de entrego.
....
A la dicha prinçesa y al
dicho Matoso, una caxa de flautas, la qual dezian que tenia Camargo, por
mandado de su alteza, como paresçe por el dicho entrego.
Edmond
Vander Straeten, La musique aux Pays
bas avant le XIXe siècle, VII (Brussels: Muquardt, 1885), 439–44, 445–49.
[FOUR RECORDERS EACH KEPT IN
ITS CASE: Item, four recorders, one very large about three baras in
length, and the others each decreasingly smaller, each kept in its linen cover,
as appears in the inventory.
FIFTEEN RECORDERS AND FOUR
FLUTES IN THEIR CASE: Item, a large case of recorders from Germany, in which
were (are) fifteen recorders, large and small, and four flutes, as appears in
the inventory.
ONE CASE IN WHICH WERE
FIFTEEN FLUTES. Item, another large
case, in which were (are) fifteen flutes from Germany, large and small, with a
cover of black leather, as appears in the said inventory.
ONE CASE WITH SEVEN RECORDERS
FROM GERMANY. Item, another case of
seven recorders from Germany, with the said seven recorders in it, as appears
in the said inventory.
ONE CASE IN WHICH WERE OTHER
SAID FLUTES. Item, another case of
recorders or flutes, in which were other said flutes, which were said to be
made in Brussels, as appears in the said inventory.
...
ONE CASE OF RECORDERS. Item, a case of recorders, which are held by
Camargo, as requested by Her Highness, as appears in the said receipt.
Second inventory after the sale to Juana, Princess of
Portugal, and Christoval Matoso:
To the said princess and the
said Matoso, four recorders, one very large, three baras in length, more
or less, and the others each smaller than the other, each kept in a case with
its linen cover, as appears in the said receipt.
To the said princess and in
Her name to the said Matoso, a large case of recorders from Germany, in which
were (are) fifteen recorders, large and small, and three flutes, as appears in
the said receipt.
...
To the said princess and the
said Matoso in her name, another case with six ivory flutes, two of them
decorated with white silver, in their leather cover, as appears in the said
receipt.
To the said princess and the
said Matoso in her name, a large case, in which are fifteen flutes from
Germany, large and small, with a black leather cover, as appears in the said
receipt.
To the said princess and the
said Matoso, another case and in it seven flautas from Germany which are
flutes, as appears in the said receipt.
To the said princess and the
said Matoso in her name, another case, in which are eight recorders or flutes,
said to be made in Brussels, as appears in the said written receipt.
...
To the said princess and the
said Matoso, a case of recorders, said to be held by Camargo, at the request of
Her Highness, as appears in the said receipt.]
1559, Venice
Contract made between Jacomo
Bassano and his son-in-law Santo Griti [Bassano] on the one hand and three
pifferi of the Doge of Venice (Paulo Vergeli, Paulo de Laudis, and Francesco da
Zeneda) on the other hand:
phifari tenori de tutti i
tonj lire Do luno.
phifari bassi de tutti i
toni L3 luno.
cassa de flauti cum doi
bassi cum le chiave de numero otto cum sua cassa discoperta L.37s4.
...
cassa de flauti de numero 16
cum li soi sottobassi se pagarano alla portion delli flauti sopraditi zoe
Ducati vintiquatro cum sua cassa descoverta, ma cum suj torti.
Giulio
Ongaro, “16th-Century Venetian Wind Instrument Makers and Their
Clients,” Early Music 13, no. 3 (August 1985): 397.
[tenor flutes at all the
pitches 2 lire each.
bass flutes at all the
pitches 3 lire each.
a consort of recorders with
two keyed basses, eight in all, with their lidless case, 37 lire and 4 soldi.
...
a consort of sixteen recorders
with their great basses will be paid in proportion to the aforementioned
recorders, that is, 24 ducats with their lidless case, but with their crooks.]
Translation based on Ongaro, loc. cit.
1559, Verona
25 March; Accademia “Alla
Vittoria”:
Inuentario de la robe che
al presente si ritroua inla compagnia che son ali 25 marcio 1559 le qual robe
sono de detta compagnia
...
jtem vna copia de flauti
cum la sua casa lj quallj sono pezi no. 14
jtem vnaltra copia de
flauti cum la sua casa lj quallj sono pezi no. 11
jtem vna copia de faifar
cum la sua casa lj quallj sono pezi no. 5
[added in second inventory of
19 June 1560:
jtem vna copia de fifari
negri in una sua cassa pezzi quattro.]
Giuseppe
Turrini, L’Accademia filarmonica di Verona dalla fondazione (Maggio 1543) al
1600 e il suo patrimonio musicale antico (Verona: La Tipografica Veronese,
1941), 134, 137.
[Inventory of the goods that
are found at present in the Academy which are on 25 March 1559 those goods that
are of the said Academy.
...
Item, a set of fourteen
recorders with its case.
Item, another set of eleven
recorders with its case.
Item, a set of five flutes
with its case.
...
Item, a set of four black
flutes in its case.]
1560, Venice
14 May; Inventory of Gerolamo
da Modena, farmacista (apothecary):
In una cassa cinque flauti
con la sua cassa tra li quali è uno pizzolo de avolio con sue pezze di tella
verde.
Gastone Vio and Stefano Toffolo, “La
diffusione degli strumenti musicali nelle case dei nobili, cittadini e popolani
nel XVI secolo a Venezia,” Il flauto dolce 17–18 (October 1987–April
1988): 36.
[In a case five recorders
with their case in which there is a small ivory one with its pieces of green
cloth.]
1561, Leipzig
11 September: City purchased:
1 Flötenfutter 2 fl. 2 Gr.
Rudolf
Wustmann, Musikgeschichte Leipzigs. 1: Bis zur Mitte des 17. Jahrhunderts
(Leipzig: B. G. Teubner, 1909), 161.
[A case of recorders. 2 Fl. 2 Gr.]
1562, Verona
Accademia filarmonica
Fifari no.
cinque in una cassa coperta de corame negro con la sua chiaue de laton, Et con
il basso in duo pezzi ... vz L. 25, s. 10
Una cassa de flauti pezzi
no vintidui, et il basso in duo pezzi, coperta de corame negro con
le chaivature di laton [ottone], et tre canelle per sonar i bassi ... vz L. 204
Giuseppe
Turrini, L’Accademia filarmonica di Verona dalla fondazione (Maggio 1543) al
1600 e il suo patrimonio musicale antico (Verona: La Tipografica Veronese,
1941), 88; Marco Di Pasquale, “Gli strumenti musicali dell’Accademia
filarmonica di Verona: un approccio documentario,” Il flauto dolce, no.
16–17 (October 1987–April 1988): 8.
[Five flutes in a case
covered with black leather with its brass key and with the bass in two parts
... valued at 25 l. 10 s.
A case of 22 recorders, and
the bass in two parts, covered in black leather with a brass key, and three
crooks to sound the bass ... valued at 204 l.] [a]
The case of 22 recorders seems to have been deposited at
the Accademia in 1544 by Paulo Naldi, then made over to the Accademia by him in
1548 (see above, 1547–49, Verona; and Di Pasquale, 8, 11–12). We can trace it through the subsequent
inventories (1569, 1580, 1585, 1628, 1716), although by 1628 it was reduced to
thirteen recorders, and by 1716 to twelve.
Remarkably, seven of these recorders have survived to the present
day: 13242 (great bass in F),
13.245–13.246 (two basses in B=), and 13250–13.253 (four bassets in f), all with !!
mark, Lyndon-Jones type G.
1563, Verona
18 October; Accademia
filarmonica
E adí 18 ott.e
1563 per tanti contadi a Mathio Brolo per dar al cap.o Polo Naldi
per suo saldo delli flauttj L. 50, s.
___, d. ___.
Per tanti dadi all cap.o
Paulo Naldi adí 18 ott.e 1563 per gli flauti L. 103, [s.] 10.
Marco
Di Pasquale, “Gli strumenti musicali dell’Accademia filarmonica di Verona: un
approccio documentario,” Il flauto dolce, no. 16–17 (October
1987–April 1988): 12.
[And today, 18 October 1563,
for so much money paid to Mathio Brolo to give to the captain Paolo Naldi 50 l.
for the balance of (the payment) for the recorders.
For so much money given to
captain Paolo Naldi today, 18 October 1563, for his recorders, 103 l. 10s.]
For earlier references to Naldi’s dealings with the
Accademia, see under 1544, Verona, and 1547–49, Verona. Naldi’s recorders are undoubtedly the ones
referred to in the Accademia’s inventory of 1562 (q.v.), valued at 204 lire
(the equivalent of 40 gold scudi).
That Naldi is being paid part of the cost of the recorders in 1563
suggests that he had indeed taken them back at some point, according to the
conditions of the agreement.
1563, Leipzig
7 May: City purchased:
1 Futter Flöten
(Rude) 10 fl.
Rudolf
Wustmann, Musikgeschichte Leipzigs. 1: Bis zur Mitte des 17. Jahrhunderts
(Leipzig: B. G. Teubner, 1909), 161.
[One case of recorders
(Rude) 10 Fl.]
Konrad Rude was a Stadtpfeifer in Leipzig from 1556 to
1593. He also seems to have been an
instrument maker, or at least a dealer, since he supplied a curtal to Bremen in
1577 and probably two more in 1580.
Maggie Kilbey, Curtal, Dulcian, Bajón: A History of the Precursor to
the Bassoon (St. Albans: author, 2002), 121, 173.
1564, Florence
Duke. General inventory of
the Wardrobe.
Flauti no XVIII
di tutto punto con lor finimenti d’argento inorato con tre S. d’argento inorati
in lor cassa di corame, ferramenti d’ottone inorato e sua serratura
...
Traverse no
XIII in cassa di corame nero con sua serratura.
Piero
Gargiulo, “Strumenti musicali alla corte Medicea: nuovi documenti e sconosciuti
inventari (1553–1609),” Note d’archivio per la storia musicale 3 (new
series) (1985): 60.
[Eighteen recorders at tutto
punto pitch with their fittings of gilded silver with three gilded silver
crooks in their leather case, hardware (keys?) of gilded brass, and its lock.
...
Thirteen flutes in a case of
black leather and its lock.]
1566, Augsburg
Raymund Fugger junior, banker
Volgen hernach die
Pfeiffen. Fletten. Schalmeyen. Corneti. Kromhörner. vnd d[er]gleichen.
Erstlich, ain groß Fueter
darin 27 Fletten. groß vnd klain Im Engelandt gemacht worden.
...
8 Zwerch Pfeiffen in Irem
Fueteral.
...
Mer 8 Flettenn auch in
ainem Fueter.
...
2 Zwerch Pfeiffen. vnd 5
Fletten von helffenbein In seinen Fuettern.
...
1 Fueteral von 10 Fletten
von Oliuen Paum.
1 Fueteral von 8 Zwerch
Pfeiffen d[er]gleichen.
...
1 Fueteral von 5 Zwerch
Pfeiffen von Ebano Holtz.
...
1 Fueteral von 4 Zwerch
Pfeiffen. von schwartzem Holtz.
...
1 Muda mit 9 Fletten
Columnen in einem schwartzen Trüchle mit Leder vberzogen.
1 Fueter von 5 Fletten von
Ebano.
1 Fueter mit 5 Pfeiffen
mit Silber beschlagen so eines veldt Pfeiffers gewesen.
...
1 Fueter mit 7 gueten
Fletten.
1 Fueter mit 8 gueten
Zwerchpfeiffen.
Richard
Schaal, “Das Musikinstrumentensammlung von Raimund Fugger d. J,” Archiv für
Musikwissenschaft 21 (1964): 212–16.
[Here follow the flutes,
recorders, shawms, cornetti, crumhorns, and the like.
First a large case, in it
twenty-seven recorders, large and small.
Made in England.
....
Eight flutes in their case.
...
Further, eight recorders also
in a case.
Two curtals which belong to
the above ten. Each is in a sack.
Two flutes and five recorders
of ivory. In their cases.
...
One case of ten recorders of
olive wood.
One case of eight flutes the
same.
...
One case of five flutes of
ebony wood.
...
One case of four flutes. Of black wood.
...
One set of nine columnar
recorders in a black case covered with leather.
One case with five recorders
of ebony.
One case with five fifes
decorated with silver, formerly owned by a military fifer.
...
One case with seven good
recorders.
One case with eight good
flutes.]
Translation
based on Douglas Alton Smith, “The Musical Instrument Inventory of Raymund
Fugger,” Galpin Society Journal 33 (1980): 36–44.
1567, Batestein
May
Inventaris van den
moebellen goeden des Herren van Brederoede, bevonden upten huyse van Vyanen,
gemaect in Meye 1567.
...
Op de camer boven de
poort.
...
Een dubbel accordt van
derthien hantpypen daervan een basse gebreckt.
...
Op ’t vertreck van myn
heeren van Brederoedes camer.
...
Een basconter van een
hantpype.
J.
J. Salverda de Grave, “Twee inventarissen van het huys Brederode,” Bijdragen
en Mededeelingen van het Historisch Genootschap (Gevestigd te Utrecht),” 39
(1918): 59, 68, 95.
[Inventory of the moveable
goods of the lord of Brederoede, found in the house in Vyanen, made in May
1567.
...
In the chamber over the door.
...
A double consort of thirteen
recorders of which one bass is broken.
...
In the room of my lord of
Brederoede’s chamber.
...
A contrabass recorder.]
1567, Ciudad Rodrigo and
Burgos
“On 27 June 1567 it was
decided at the chapter meeting of Ciudad Rodrigo cathedral to write to Señor
Diego de Guzman in England asking him to send recorders and crumhorns (flautas
and orlos). Diego de Guzman de
Silva, a canon of Toledo cathedral, was Felipe II’s ambassador in England from
January 1564 to September 1568. He was
born in Ciudad Rodrigo, which helps to explain why a relatively unimportant
cathedral should approach him in the matter of acquiring instruments. A month later on 28 July 1567, Burgos
cathedral chapter agreed to buy in England certain (unspecified) instruments
needed by the instrumentalists (ministrilies = usually, but not
exclusively, wind-instrument players).
The chapter minutes of 4 May 1568 reveal that the instruments duly
arrived. Perhaps Diego de Guzman played
a part in this transaction too.”
Beryl
Kenyon de Pascual, “Bassano Instruments in Spain?” Galpin Society Journal
40 (1987): 74.
As Kenyon de Pascual points out, these instruments were
almost certainly made by the Bassano family.
1567, Oudenaarde
25 September:
Meester Pauwels Maes,
heeft, by consente van scepenen deser stede, ghelicht een accord handfleuten
van achten, metter custode, van de welke de eene wat ghespleten was; metgaders
ooc den accord cromhoornen van achte, metter custode daertoe dienende, belovende
de zelve weder te keeren ter vermaenynghe van der wet.
Edmond
Vander Straeten, La musique aux Pays-bas avant le XIXe siècle, IV
(Brussels: G.-A. Van Trigt, 1878), 151; Les ménestrels aux Pays-bas du XIIIe
au XVIIIe siècle (Brussels: A. & F. Mahillon, 1878), 85.
[Master Paulwels Maes has, by
consent of the minstrels of this town, taken a consort of eight recorders with
their case, one of which (recorders) was cracked; and also a consort of eight
crumhorns, with the case that belongs to them, with the promise to bring them
back, by admonition of the law.]
1568, London
Payment for instruments
acquired by the London Waits:
a whole set of recorders
by and for them provided for the City’s service £4 and for 6 cornetts by and
for them provided for the said use [and] service 20 French crowns.
Corporation
of London Records Office, Repertory of the Court of Aldermen, XVI, f.
407.
1569, Verona
25 June: Accademia
filarmonica
Flauti in una cassa di no
22 compita
Flauti in una cassa di no
11 manchano quatro 7 de quellj bonj
Flauti in una cassa di no
10 compita [added at audit of 10
March 1572: mancano tri]
Fiffari in una cassa di no
4 compita [added at audit of 10 March
1572: rossi mancano tri]
...
Fiffari in una cassa di no
5 compita
Fiffari in una cassa di no
5 mancha uno fiffaro de quelli bianchj
Fiffari in una cassa di no
4 manchan. 2
Flauti da Tamburo no
2 senza cassa
...
Fiffari da Campo no
3 senza cassa
[Twenty-two recorders in a
case. [a]
Eleven recorders in a case,
lacking four, so seven good ones remain [b]
Ten recorders in a case. (Added at audit of 10 March 1572: lacking
three) [c]
Four flutes in a case. (Added at audit of 10 March 1572: red lacking
three)
...
Five flutes in a case.
Five flutes in a case,
lacking one white one.
Four flutes in a case,
lacking two.
...
Three military fifes without
a case.]
Giuseppe
Turrini, L’Accademia filarmonica di Verona dalla fondazione (Maggio 1543) al
1600 e il suo patrimonio musicale antico (Verona: La Tipografica Veronese,
1941), 180; Marco Di Pasquale, “Gli strumenti musicali dell’Accademia
filarmonica di Verona: un approccio documentario,” Il flauto dolce, no.
16–17 (October 1987–April 1988): 8.
1570, Paris
8 August: probate inventory
of Guillaume Masuel, joueur d’instruments:
Item une fluste d’allement
de Rafy prisé XX s.
François
Lesure, “La facture instrumentale B Paris au seizième siècle,” Galpin Society Journal 7
(1954): 29–30.
[Item, a flute made by Rafi
... valued at 20 sols.]
Ca. 1570, Weimar
Hofkapelle.
Ithem waß vonn
Ihnstrumentenn da seint, die meines gnedigen Fürsten undt Hern seindt: 5 stille
zinncken, 4 krume neuche zinckenn, 3 krume aldte zinncken, 2 voganndt
zinnckenn, 2 aldte pohsaunn, 1 große quartta pohsaun, 1 futter aldte flotthenn,
1 große flotthen, 1 Baß pumhardt, 8 Kromphorner, 1 futter schreipfeiffen, 1
futter alte schweitzer pfeiffen, 1 Kleinns Ieichleinn.
Adolf
Aber, Die Pflege der Musik unter den Wettinern und wettinischen Ernestinern.
Von den Anfängen bis zur Auflösung der Weimarer Hofkapelle 1662 (Bückeburg
& Leipzig: Siegel, 1921), 107; see also Ernst Pasqué, “Die Weimarer
Hofkapelle im XVI. Jahrhundert,” Monatshefte für Musik-Geschichte 29,
no. 10 (1897): 139.
[Item, which instruments are
there that my gracious Lords own: five mute cornetts, four new curved cornetts,
three old curved cornetts, two vagant (bass) cornetts, two old
trombones, one large quart trombone, one case of old recorders, one large
recorder, one bass bombard, eight crumhorns, one case of schreyerpfeiffen, one
case of old fifes, one small violin (?).]
1571, Munich (Bassano
instruments)
Inventory of Bassano
instruments in the hand of Johann (Hans) Jakob Fugger, artistic adviser and
superintendent of the music at the Bavarian Court, Munich. Accompanied by a letter dated 26 March 1571
from Wilhelmo Olivo in Antwerp to Johan de Porta in Brussels, offering the
instruments for sale. Wallner argues
that the inventory and letter are both translations from the Italian.
V[er]Zaichnus d[er]
Instrument Truhen:
VerZaichnis der Instrument
Truhen, so der Bassani brueder gemacht haben, mit gar schönen vnd guetten
Instrumenten, so für einen yeden großen Herrn vnd Potentaten tauglich wern vnd
ist gemelte Truhen Inwendig durchaus mit rottem Tuch gefuetert, vnd die
Instrument volgender gestalt darein geordnet.
Erstlich zwen große Baß von vier Clauibus, seind am Poden
der Truhen angemacht, vnd so lang als die gantz Truhen.
Item zwen andere Baß von gar guetter Harmonie, welche
gegen den obgemeldten Zwen großen Baß gleich wie Tenor seind, vnd an der
Seitten der Truhen angemacht werden.
Item Zwen Discant, die seind aber gleich mitten in der
Truhen angemacht, vnd schöner als khain diaspro
Item 4 Tenor von großen Pfeiffen, seind zu obrist mitten
an der Truhen angemacht.
Item zwen klaine Baß von ainem Claue seind mitten an der
Truhen.
Item noch ein klainer Baß mit zwen Clauibus auch mitten
an der Truhen angemacht.
Item am Boden Hinden an der Truhen ist ein großer Halber
Baß von einem khrummen Zinggen, gar einer großen resonantz angemacht.
Deßgleichen seind vnden ob diesem yetzt gemeldten noch
Zwen Baß von khrummen Zinggen mit clauibus.
Item oben am luckh ist ein Teütsche Schwegl von
Helffenpain angemacht, vnd mit gold geZiert, vnd gar schön zu sehen.
Deßgleichen seind auch oben an dem Lueckh vier khrumme
Zinggen mit Ihren Claubius, vnd noch drey die kheine Claues haben, alle von gar
großer resonanz, angemacht.
Item an gemeltem luckh seind noch 12 khrump Hörner,
nemblich Discant, Tenor, Baß, ContraBaß, vnd halbe Baß, alles gar schöne
herrliche und guette Instrument, mit Ihren clauibus.
Und letzlich seind Zuuorderist am Poden vnd an den
seitten gemeldter Truhen 9 Fletten mit geraden löchern, außgenommen die Baß,
welche dann gar schön und guett sind.
Alle dise Instrument khan mann in gemeldter Truhen
allenthaben Hintragen, wo mann will, so wol seind sy Zusamen gericht. vnd zum vndrist am Boden der Truhen ein
klaines Trühel hineingemacht, in welchem die Rörlein ligen, so zu gemeldten
Instrumenten gehören, und khan von disen 45 Instrumenten neunerley Musikh
gemacht, vnd volgendts alle miteinander auf dem gemeinem Tonum der Orgel
accordirt und zusamen gericht werdern.
Bertha
Antonia Wallner, “Ein Instrumentenverzeichnis aus dem 16. Jahrhundert,” in Festschrift
zum 50. Geburtstag Adolf Sandberger (Munich: Hof-Musik-Verlag von Ferdinand
Zierfluss, 1918), 275–85.
[Inventory of the instrument
chest, which the Bassano brothers made, with very beautiful and good
instruments, such as will be suitable for every great Lord and potentate, and
the said chest is lined inside throughout with red cloth, and the instruments
in it are ordered in the following manner:
First, two large basses (probably shawms) with four keys,
which are attached to the bottom of the chest, and are as long as the entire
chest.
Item, two other basses of (shawms of) extremely good
sonority, which are like tenors to the above-mentioned two great basses, and
are put on the sides of the chest.
Item, two discants (of shawms), which are put in the
middle of the chest, and more beautiful than any jasper.
Item, four tenors of great pipes (probably also shawms),
which are put in the upper middle of the chest.
Item, two small basses with one key, which are in the
middle of the chest.
Item, another small bass with two keys, also put in the
middle of the chest.
Item, on the bottom at the back of the chest a great
half-bass curved cornett of very great resonance is attached.
Likewise, below, over the above-mentioned are two more
bass curved cornetts with keys.
Item, above at the top (or lid) an ivory tabor pipe (or
flute) is put, and decorated with gold, and very beautiful to see.
Likewise, also above at the top (or lid) are put four
curved cornetts with their keys, and three more that have no key, all of great
resonance.
Item, in the above-mentioned gap are also twelve
crumhorns, namely discant, tenor, bass, contrabass, and half-bass, all very
beautiful, magnificent, and good instruments, with their keys.
And finally at the front on the bottom and on the sides
of the said chest there are nine recorders with fingerholes in a straight line
(or perhaps: with straight bores), except for the bass, which are very
beautiful and good.
One can transport all these instruments everywhere in the
said chest, as one desires, as they are arranged together so well. And under everything on the bottom of the
chest a little container is built in, in which the crooks lie that belong to
the said instruments, and from these forty-five instruments nine kinds of music
can be made, and thus are all tuned together at common organ pitch and are
ordered together.]
Earlier
partial translation in David Lasocki with Roger Prior, The Bassanos:
Venetian Musicians and Instrument Makers in England, 1531–1665 (Aldershot:
Scolar Press; Brookfield, VT: Ashgate, 1995), 213.
1573, Kassel
Landgräflich-Hessische
Hofkapelle.
Instrumenta so die
Musicanten vndt Trumpter vnterhanden, Meinem F.G. vnd Hern zustendig.
...
1 Futter fleuten, darin
zehn Stück.
2 lange fleutten Futter,
darin sind nicht mehr als 2 Baßfleuten vnd sind die 2 andern nicht vorhanden.
Ein futter alte fleutten,
darin solten sein 8 Pfeiffen, aber mangeln 2 kleine Tenorpfeiffen.
1 futter Damerin Pfeiffen
darin 6 Stück mitsamt ihren Röhrlein vnd den Peucklein.
1 futter Zwerchpfeiffen
von Buchbaumen darin solten sein 8 Pfeiffen, deren mangeln drey.
...
1 futter Zwerchpfeiffen
darin 5 Stück sind auch Bernharts gewessen.
Ernst
Zulauf, Beiträge zur Geschichte der Landgräflich-Hessischen Hofkapelle zu
Cassel bis auf die Zeit Moritz des Gelehrten (Inaugural diss., Leipzig;
Cassel: L. Döll, 1902), 34–35.
[Instruments belonging to my
gracious Lords which the musicians and trumpeters have in their keeping.
...
A case of recorders, ten
therein.
Two long cases of recorders
containing only two bass recorders, the other two being missing.
A case of old recorders which
should contain eight pipes, but two small tenors are lacking.
A case of tabor pipes, namely
six items with their crooks (for the bass pipes?) and the tabors.
A case of boxwood flutes
which should contain eight, but three are lacking.
A case of flutes, containing
five, which also were Bernhart’s.]
Translation
based on Anthony Baines, “Two Cassel Inventories,” Galpin Society Journal 4
(1951): 31–32.
1573, Siena
Palace inventory: “on loan to
the musicians”:
Una cassa di cornetti muti
de sei cornetti; una cassa di sette flauti traversi; una cassa co’ sei flauti
dritti; una cassa con quattro sordini; sei corpi di libri legati insieme, già
logri.
Frank
A. D’Accone, The Civic Muse: Music and Musicians in Siena during the Middle
Ages and the Renaissance (Chicago: University of Chicago Press, 1997), 587.
[A case of six mute cornetts;
a case of seven flutes; a case with six recorders; a case with four sorduns;
six sets of worn-out books tied together.]
1573, Wolfenbüttel
22 January; letter from Duke
Heinrich Julius to Johann von Aßbeck, Prior of the Lambsspringe monastery:
... So hetten wir auch
gern allerhand andere Musicalische Instrumente als Trommeten, Zincken, fiolen,
Zwerchpfeiffen, krumphörner, bomberten und andere ... die sollen zu Cöln auch,
wo nicht gemacht, doch am besten zu bekommen sein.
Werner
Flechsig, Thomas Mancinus: der Vorgänger von Praetorius im Wolfenbütteler
Kapellmeisteramt mit neuen Beiträgen zur Geschichte der Wolfenbütteler
Hofkapelle im 16. Jahrhundert (Wolfenbüttel & Berlin: Georg Kallmeyer,
1933), 30. The Court bought plucked
instruments from Cologne that year.
[... So we would also like to
have all kinds of other musical instruments such as trumpets, cornetts, viols,
flutes, crumhorns, bombards, and others ... they may, if not made in Cologne,
be best obtained there.]
1574, Florence
Gran Duca Cosimo felice
memoria et hoggi del Gran Duca Francesco de’ Medici; inventory of the Wardrobe.
Flautj no
quindj[ci] in una cassa di corame nero con sua serratura.
Flauti no uno
grande et grosso in veste di quoio ner.
Flauti no
diciotto con loro fornimento d’argento dorato con tre S d’argento dorati, tutti
in cassa di quoio nero.
....
Essi d’ottone no
cincque in una cassa di quoio nero, che vanno colli flautj grandi.
....
Traverse no
tredici in lor cassa di quoio nero.
Another
inventory of same year:
Traverse d’avorio no
sei con quatordici chiere d’argiento dorate in sua cassa di quoio nero.
Flauti no
quindici in una cassa di corame nero con sua seratura.
Flauto no uno
grade e grosso in sua veste di quoio nero.
Flauti no
diciotto con loro fornimenti d’argento e con tre esse d’argento dorato, tutto
in una cassa di quoio nero.
....
Essi d’ottone di no
cinque che vanno con la muta di flauti grandi in una cassa di quoio nero.
....
Traverse di no
tredici in sua cassa di quoio.
Piero
Gargiulo, “Strumenti musicali alla corte Medicea: nuovi documenti e sconosciuti
inventari (1553–1609),” Note d’archivio per la storia musicale 3 (new
series) (1985): 62–64.
[Grand Duke Cosimo of beloved
memory and now of the Grand Duke Francesco de’ Medici....
Fifteen recorders in a case
of black leather with its lock.
One very large recorder in a
cover of black leather.
Eighteen recorders with their
gilded silver fittings with three gilded silver crooks, all in a case of black
leather.
...
Five brass crooks in a case
of black leather, which go with the large recorders.
...
Thirteen flutes in their case
of black leather.
Another inventory of the same year:
Six ivory flutes with
fourteen gilded silver rings in their case of black leather.
Fifteen recorders in a case
of black leather with its lock.
One very large recorder in
its cover of black leather.
Eighteen recorders with their
gilded silver fittings and with three gilded silver crooks, all in a case of
black leather.
...
Five brass crooks which go
with the set of large recorders in a case of black leather.
...
Thirteen flutes in a leather
case.]
1575, Exeter
2 June: City’s instruments in
the hands of the Waits:
The[y] shall trewlye &
in salffitie redelyver at all tymes when the same shalbe required of theym
suche settes & Noyses of Instrumentes as they have of the Citie aswell
Recordes as others Bought at the Cities charges ... Whiche sayde Iinstrumentes
ar as followethe / A Doble Curtall / A Lysterden, Too tenor hoyboyes, a Treble
hoboyes / A cornet / A sett or case of ffower Recorders / Bowght by mr Nicholas
Martyn.
Hooker’s
Description of the Citie of Exeter,
1590, quoted in Devon, ed. John M. Wasson, Records of Early English
Drama (Toronto, Buffalo & London: University of Toronto Press, 1986), 172.
[They shall truly and in
safety redeliver at all times when the same shall be required of them such sets
and noises of instruments as they have of the city, as well recorders as others
bought at the city’s charges ... Which said instruments are as follows: a
double curtal, a lyserden, two tenor hautboys, a treble hautboy, a cornett, a
set or case of four recorders; bought by Mr. Nicholas Martyn.]
1575, Nuremberg
Town, 16 October. “Martin Pawman Stattpfeiffern zu verwahrn
zugestelt worden” (which are delivered to Martin Pauman, Stadtpfeifer, for
safe-keeping):
Item ein gros Futter
Flötten: 1 Baß, ein Vagant, drey Tenor mit Schloßen, zwen Discant, drey Tenor
ohne Schloß ... Stuckh 10:
Item ein Futter Flöten, so
gar alt, darinnen ... Stuckh 6:
...
Item ein Futter
Zwerchpfeiffen, zwen Baß und vier Tenor ... Stuckh 6:
Item mehr ein Futter
Zwerchpfeiffen, zwen Baß und vier Tenor ... Stuckh 6:
...
Item ein Futter mit neun
Flöten, in der grösten ein Zwerchpfeiffen, oben einer Handt brait mit Silber
beschlagen, ist das Futter mit schwarzem Leder überzogen und zum Thail
vergulter ... 10:
Ekkehard
Nickel, Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg
(Munich: Katzbichler, 1971), 337–39.
[Item, a large case of
recorders: one bass, one soprano, three tenors with keys, two discants, three
tenors without keys ... 10 items;
Item, a case of recorders,
very old ... therein 6 items;
...
Item, a case of flutes, two
basses and four tenors ... 6 items;
Item, another case of flutes,
two basses and four tenors ... 6 items.
...
Item, a case with nine
recorders; in the largest (slot?) a flute, decorated on top with one hand’s
breadth of silver; the case is covered with black leather and partly gilded...
10 items.]
1575, Paris
14 October: probate inventory
of Claude Frédet, wife of Nicholas Le Breton, joueur d’instruments:
Item une fleuste d’alement
garny sur les boutz d’argent et par le milieu, prisé soixante solz LX solz.
François
Lesure, “La facture instrumentale à Paris au seizième siècle,” Galpin
Society Journal 7 (1954): 32.
[Item, a flute decorated on
the ends and in the middle with silver, valued at 60 sols.]
1576, Stuttgart
Baden-Württemberg Court
Inventory included “16
Flöten, worunter 1 Concertflöte, 35 Zwerchpfeifen” [16 recorders (among them
one recorder for the consort) and 35 flutes]
Inventory
no longer extant. Summary in Josef
Sittard, Zur Geschichte der Musik und des Theaters am Württembergischen Hofe
1458–1793 (Stuttgart: W. Kohlhammer, 1890; reprint, Hildesheim: Georg Olms,
1970), 25–26.
1576, Stuttgart
Baden-Württemberg Court
The Court purchased a
“Flötenfutteral” (case of recorders) from Breslau for 52 fl. 45 kr.
Gustav
Bossert, “Die Hofkantofei unter Herzog Ludwig,” Württembergische
Viertelsjahrhefte für Landesgeschichte 9 (1900): 277.
1576, Worcester
30 January; will and probate
inventory of Harry Smythe:
Will:
Item I will and bequethe
vnto my wyff Katheryne whom I do make my Sole exsekutrix all my goods withe in
my howse movable and vnmovable that is my owne / also I geve vnto her all my
tymber where soever yt dothe lye & my wares that are readie made & all
my tolles / also I geve vnto my boyes all my Instruments bothe vyalls &
Recorders & theyr boks vpon the consyderazion that they will vse theyr
selfes well towards theyr dame....
Inventory:
Item for the recorders
valewed at ij li.
Herefordshire,
Worcestershire, ed. David N.
Klausner, Records of Early English Drama (Toronto: University of Toronto Press,
1990), 444–45. Smythe was apparently an
instrument-maker and probably one of the Worcester Waits.
[Item, I will and bequeath
unto my wife Katherine, whom I do make my sole executrix, all my goods within
my house, moveable and unmoveable, that is my own; also I give unto her all my
timber, wheresoever it doth lie, and my wares that are ready made and all my
tools; also I give unto my boys all my instruments, both viols and recorders,
and their books, upon the consideration that they will use theirselves well
towards their dame....
Item, for the recorders,
valued at ₤2]
1577, Graz
4 June; Kunstkammer of
Erzherzog Karl von Steiermark.
Verzaichnus Irer Frl. Dur:
etc. Instrumenten, Trometten vnnd Gesanng Püecher, auch was darzue gehörig, so
ich durch Merten Camerlannder den vierten Juni im siebenundsiebenzigisten Jar,
auch aines Thayls hernach, höchsternenter Irer Frl: Drht: Öbristen Musico Siman
Gatto einantwortten vnd übergeben hab lassen.
...
16 stuckh Ain groß fuetteral mit flötten, darinen
zween Baß, vier Tenor, vier Discant, mer vier khlainere discantl vnd noch gahr
zwal khlaine flöttlen, sambt Iren gehörigen Mössingen
Rören oder Spoletten.
9 stuckh Mehr ain alts fuetter mit flötten, darinen
Khlain vnd groß alte Pfeiffen oder flötten neun.
7 stuckh Mehr ain Copia neue flötten, darinen ain
Baß, vier Tenor, zwen Discant sambt Iren gehörigen Mössingen Spoleti.
...
9 stuckh Item ain Copia Zwerch Pfeiffen, zween Baß
vnd siben Tenor.
8 stuckh Mer ain Copia Zwerch Pfieffen, welliche
vnden vnd oben mit silber beschlagen, zween Baß vnd sechs Tenor.
3 stuckh Mehr zwo groß vnd ain khlaine ledige Zwerch
Pfeiffen, so zu den Concerten gebraucht werden.
2 stuckh Mer zwo alte ledige Zwerch Pfeiffen.
4 stuckh Ain fuetteral mit Tamerin Pfieffen, drel Tenor
vnd ain Tiscant.
[Inventory of the
instruments, trumpets, and songbooks of Your Royal Highness and also what goes
with these items, which I—by the hand of Merten Camerlander—gave and entrusted
to Your Royal Highness’s principal musician Simon Gatto on 4 June 1577 and part
of them later.
16 items. A large case with recorders, containing two
basses, four tenors, four discants, another four small discants, and another
two small (i.e., even smaller?) recorders, together with the brass crooks that
belong to them.
9 items. Another old case with recorders, containing
nine old recorders, small and large.
7 items. Another case of new recorders, containing one
bass, four tenors, and two discants, together with the brass crooks that belong
to them.
...
9 items. Item, a case of flutes, two basses and seven
tenors.
8 items. Another case of flutes, decorated at both top
and bottom ends with silver, two basses and six tenors.
3 items. Two more large and one small individual
flutes (i.e., not in cases or sets) used for concerts.*
2 items. Another two old individual flutes.
4 items. A case with tabor pipe, three tenors and a
discant.]
Hellmut
Federhofer, Musikpflege und Musiker am Grazer Habsburgerhof der Erzherzöge
Karl und Ferdinand von Innerösterreich (1564–1619) (Mainz: B. Schott’s
Söhne, 1967), 281–82.
*Perhaps the express designation “for concerts” implies
that the other flutes in the inventory were used for military purposes. Or perhaps it means that these flutes were
intended to be played in mixed consorts, probably at a lower pitch.
1577, Kraków
Inventory of “Jacobi Ellendi
Augustani,” merchant from Augsburg.
Erster Kasten:
...
1 Schachtel mit 4 Schweizerflöten,
1 Schachtel mit 7
Schweizerflöten,
...
Dritter Kasten:
4 Schachteln mit je 12
Flöten,
2 Schachteln mit 14
Schweizerpfeiffen,
...
1 Schachtel mit 5
Schweizerpfeiffen,
1 Schatel mit 7
Schweizerpfeiffen,
1 Schachtel mit 6 Flöten,
6 Schachteln mit [je] 6
Flöten....
Adolf
ChybiÃski, “Polnische Musik und Musikkultur des 16. Jahrhunderts in ihren
Beziehungen zu Deutschland,” Sammelbände der Internationalen
Musikgesellschaft 13 (1911–12): 465.
[First chest:
...
1 case with 4 transverse
recorders,
1 case with 7 transverse
recorders,
...
Third chest:
4 cases each with 12
recorders,
2 cases with 14 fifes,
...
1 case with 5 fifes,
1 case with 7 fifes,
1 case with 6 recorders,
6 cases (each) with 6
recorders....]
1577, Venice
20 February; Inventory of
Alessandro di Giustina (an artisan):
do flauti
Gastone Vio and Stefano Toffolo, “La
diffusione degli strumenti musicali nelle case dei nobili, cittadini e popolani
nel XVI secolo a Venezia,” Il flauto dolce 17–18 (October 1987–April
1988): 38.
[two recorders]
Before 1578, Basel
Inventory A of the estate of
Basilius Amerbach (1533–1591).
Pfifen futer mit 5 pfifen
vnd 2 klein deren einer mit silber 7
Paul
Ganz and E. Major, Die Entstehung des Amerbach’schen Kunstkabinets und die
Amerbach’schen Inventare (Basel: Emil Birkhäuser, 1907), 32.
[A case of flutes with five
flutes and 2 small, one of which with silver
7]
1578–83, Graz
Steiermärkisches
Landeszeughaus; payments for military instruments:
1578/9
von Georg Angrer Drechsler
in Graz 32 Futteral mit Feldpfeifen B 12ß
von Wendl Khraus, Taschner
18 Futteral und Feldpfeifen mit Leder überzogen um 13 fl.
1579
Andreä Bischoue, Gürtler
in Graz beschlägt 18 Futteral mit Feldpfeifen á 70 Kr.
1583
Hans Wachter, Taschner
überzog 15 Futteralpfeiffen á 34 kr.
ebenso Leonhard Rambsauer
und Wendl Khraus Gürtler und Taschner überzogen 17 Fueteralpfeiffen á 43 kr und
beschlugen 3 á 40 kr, als man heir eben verfügte über: 39 Velltdrumeln, 11
Haramia-Drumbl und 37 Fuetteral mit Pfeifen im Ganzen.
Gerhard
Stradner, “Die Musikinstrumente im Steiermärkischen Landeszeug in Graz,” in Trommeln
und Pfeifen—Militärzelte—Underthalbhänder—Nürnberger Waffen—Waffenhandel und
Gewehrerzeugung in der Steiermark (Graz: Landeszeughaus am Landesmuseum
Joanneum, 1976), 8.
[1578/9
from Georg Angrer, turner in
Graz, 32 cases with fifes @ 12 Schilling
from Wendl Khraus, bag maker,
18 cases and fifes covered with leather @ 13 Gulden
1579
Andreä Bischove, belt maker
in Graz, fitted 18 cases with fifes @ 70 Kreuzer
1583
Hans Wachter, bag maker,
covered 15 fife-cases @ 34 Kreuzer
just as Leonhard Ramsauer and
Wendl Khraus, belt maker and bag maker, covered 17 fife-cases @ 43 Kreuzer and
fitted 3 @ 40 Kreuzer, as here ordered above: 39 field drums, 11 Haramia drums,
and 37 cases with fifes in total.]
1579, Leipzig
17 October: City purchased:
2 Dulzan, 1 Futter Flöten,
2 Pommer 27 fl.
Rudolf
Wustmann, Musikgeschichte Leipzigs. 1: Bis zur Mitte des 17. Jahrhunderts
(Leipzig: B. G. Teubner, 1909), 161.
[Two curtals, one case of
recorders, 2 bombards 27 Fl.]
1580, Verona
28 February; Accademia
filarmonica.
Nella camera dagli
istrumenti:
Una coppia di flauti no:
9 tra quali ne amanca uno nella coppia che sarebbono dieci nella sua cassa
Una coppia di fiffari di
busso nella sua cassa no: 5
...
Una coppia di flauti
grandi nella sua cassa di numero 22 con tre canelle di latone da sonar li bassi
con la bachetta che li sostiene
Una coppia di flauti 4
nella sua cassa a quali mancano flauti 7
Una cassa di fiffari senza
fiffari attaccata al muro
...
Una cassa da fiffari
quatro negri nella quale se ne ritrova se non doi, il basso et a tenore
...
Un fiffaretto da tamburo
rotto
Un flauto da timpano
...
Nel bancone a man
sinistra:
Un fiffarino con vere di
osso
Marco
Di Pasquale, “Gli strumenti musicali dell’Accademia filarmonica di Verona: un
approccio documentario,” Il flauto dolce, no. 16–17 (October
1987–April 1988): 13.
[In the chamber of the
instruments:
A set of nine recorders; one
is lacking from the set, so there ought to be ten in its case. [c]
A set of five boxwood flutes
in its case.
...
A set of twenty-two large
recorders in its case, with three brass crooks to sound the basses, with the
rod that support them. [a]
A set of four recorders in its
case, of which seven (of the original eleven) are lacking. [b]
A flute case without flutes,
hung on the wall.
...
A case for four black flutes
in which are found only two, the bass and one tenor.
...
A small fife with a worn-out
drum
A tabor pipe.
...
In the (large) bench on the
left-hand side:
A small fife with rings of
bone.]
1581, Paris
15 September: probate
inventory of Sulpice Bellamy, joueur d’instruments:
Item une vielle fluste,
façon du Vacher
Item deux flustes
d’allemans prisées ens. 1 esc. sol.
François
Lesure, “La facture instrumentale à Paris au seizième siPcle,” Galpin Society Journal 7 (1954): 35.
[Item, an old recorder, made
by Le Vacher
Item, two flutes ... valued
together at 1 esc. sol.]
1581, Stuttgart
Baden-Württemberg Court
Summer; the Court purchased
from the widow of Hans Thanner, who had founded the instrument-making workshop
at the Court:
10 Kolonen und 8 dazu
gehörige Zwerchpfeifen zu 200 fl.
Gustav
Bossert, “Die Hofkantofei unter Herzog Ludwig,” Württembergische
Viertelsjahrhefte für Landesgeschichte 9 (1900): 27.
[10 columnar recorders (?)
and 8 flutes belonging to them 200 fl.]
1582, Karlsrühe
21 August; Baden-Baden
Hofkapelle.
Inventarium / Der
instrumenten / Büecher vnd des ihenigen / so zur Music gehörig. Verzaichnüs / Aller vnd ieder des /
Durchlauchtigsten Hochgeborenen Fürsten vnd Herrn, Herr Philipsen, Markgraven
zuo Baden....
...
Von Fledten.
Neun columnae allenthalben
mit vergulten vnd verstochnen schlossen in einem schwarzen beschlüssigen druhen
ligendt.
vier Helfenbainen Fledten
mit vergulten Fuotralen.
ein Fuotral mit Zehen
pchspaumen Fledten, mit vergulten schlossenn vnd ringen.
ein fuotral mit eilf
puchspaumen Fledten auch zerstochnen schlossen vnd vergulten ringen.
ein einschichtige fledt
mit ainem schloß, sambt ihrem fuotral, oben ohne ein deckhell.
ein schwarz fuotral darinn
sechs Fledten, an einem stamm.
ein fuotral mit fünf alten
Fledten.
Vonn zwerchpfeiffen.
ein fuotral mit acht
puchspaumen Zwerchpfeiffen, mit vergulten zerstochnen schlossen, darunder zwen
Bäss.
mehr ein fuotral mit acht
puchspaumen Zwerchpfeiffen, vnder welchen die Zwen Bäss mit vergulden
verstochnen schlossen.
ein fuotral mit fünf
braunen Zwerchpfeiffen darunder der Bass vergultem vnd zerstochnem schloß.
ein fuotral mit siben
masshölzer in Zwerchpfeiffen ettlich ineinander steckhendt.
ein weiß fuotral mit Zwölf
Maßhöldterin zwerchpfeiffen.
abermal ein weiss fuotral mit
fünf gemainen maßhöldterin zwerchpfeiffen.
ein claines schwarz
fuoträlin mit fünf ciparissen zwerchpfeiffen.
ein schwarz fuotral mit
zehen gelben zwerchpfeiffen.
...
zwei Fuotral
Zwerchpfeiffen mit schwartz leder überzogen in einem vier in andern 5 pfeiffen,
Ieren fl. g. durch Jacob Waibeln hinaus gehn Rastat geschickht, den 29. May.
Darvon iere Fl. gn. das
ein mit 5 pfeiffen hinab naher niderlanden genommen dass ander durch bemelten
wider in die instrument camer gelifert worden.
Otto
von Nedden, Quellen und Studien zur Ober-Rheinischen Musikgeschichte im 15.
und 16. Jahrhundert, Veröffentlichungen des Musik-Instituts der Universität
Tübingen, IX (Kassel: Bärenreiter, 1931), 20, 27–28.
1582, Berlin
Kurbrandenburgische
Hofkapelle.
Philip der Zinckenbleser
Berichtet auch vf sein Pflichtt, das er nicht mehr vnter handen habe, auch
solches alsofortt fur augen gelegett, alß
...
Noch in ein groß
vnuberzogen Futter Sieben Handt flöten, Als ein Baß, 2. Tenor 2. Altt vnnd 1
Dißcantt, vnnd dan ein klein Pfeiffchen mit drey löchern mangeln noch ein klein
Pfeiffelein, vnd ein Dißcantt Berichtet, der Capelmeister sehliger, hatt ihme
nicht mehr zugestaltt.
Mehr ein vnuberzogen Futter ohne Deckell Brauhne Flöten,
Seindt in alles 8 Stucke alß zwehne Bäße, 3 Tenor, zweyn Altt, 1 Dißcantt
Pfeifflein, mangeltt ein dergleichen klein Dißcantt Pfeifflein, Sagett er hatts
auch nicht bekommen,
Noch ein vnuberzogen Futter Qwehr Pfeiffen 9 stucke, als
2 Basße, 4 Tenor, oder Alte 3 Dißcantt.
Curt
Sachs, Musik und Oper am kurbrandenburgischen Hof (Berlin: Julius Bard,
1910; reprint Hildesheim: Georg Olms Verlag, 1977), 205–7.
[Philip (Massart) the
cornetto player reports also on his honor that he has not more on his hands,
which he is also willing to show, than the following:
...
Also, in a large case without
(leather) cover seven recorders, namely, one bass, two tenors, two altos, and a
discant, and then a little three-holed pipe, lacking another little pipe, and a
discant (reported: that the late Capellmeister did not give it back to him).
Also, a case of brown recorders without (leather) cover
(and) without lid, in all eight items, namely two basses, three tenors, two
altos, one discant, lacking a small discant like that; which he says he has not
received.
Another case without (leather) cover of nine flutes,
namely two basses, four tenors or altos, and three discants.]
The reference in Kilbey to the Brandenburg Hofkapelle
owning “Querpfeiffen” in 1580 is presumably to this inventory. Maggie Kilbey, Curtal, Dulcian, Bajón: A
History of the Precursor to the Bassoon (St. Albans: author, 2002), 122;
citing A. Reimann, “Studien zur Geschichte des Fagotts,” doctoral diss.,
Albert-Ludwigs-Universität, Freiburg-im-Bresgau, 1956, 114; etc.
1582, Valdemoro
From inventory of instruments
owned by the church:
Una caja pequeña de cuatro
flautas.
Otra caja grande con dos
flautas bajos.
Antonio
Gallego, “Un siglo de musica en Valemoro (1582–1692),” Revista de
musicologia 1 (1978): 246.
[A small case of four
recorders.
Another large case with two
bass recorders.]
ca. 1583, Weikersheim
Court of count of Hohenlohe.
A series of instruments
bought in Nuremberg, including:
Auch ain fuetter, dass
gross mitt acht zwerch Pfeiffen, zwei felt trumetten.
Georg
Reichert, Erasmus Widmann (1572–1634): Leben, Wirken und Werke eines
württembergisch–fränkischen Musikers, Darstellungen aus der
Württembergischen Geschichte, 36 (Stuttgart: W. Kohlhammer, 1951), 24.
[Also, a case which is large
with eight flutes, two field trumpets.]
1584–85, Norwich
In the Custodye of the
Waytes
...
Item v Recorders, beeyng A
Whoall noyse
Norwich
1540–1642, ed. David Galloway,
Records of Early English Drama (Toronto: University of Toronto Press, 1984),
78.
[In the custody of the Waits
...
Item, five recorders, being a
whole noise]
1585, Bremen
... musikalische
Instrumente, die den Ratsmusikanten zur Benutzung übergeben wurden:
“Ein Voder Krumphorn, Zwo
Bommert, ein Schalmeyen, Ein Voder Dwerpypen, Dre Dulcian, Und veer Welsche
Gigen.”
Amalie
Arnheim, “Aus dem Bremer Musikleben im 17. Jahrhundert,” Sammelbände der
Internationalen Musikgesellschaft 12 (1910–11): 378.
[... musical instruments
which were given to the Stadtpfeifer for their use:
“A case of crumhorns, two
bombards, a shawm, a case of flutes, three curtals, and four Italian violins.”]
1585, Nuremberg
Inventory (made by Martin
Pawman, Stattpfeiffer), includes:
Item ein gros Futter
Flötten: 1 Baß, ein Vagant, drey Tenor mit Schloßen, zwen Discant, drey Tenor
ohne Schloß ... Stuckh 10
Item ein Futter Flötten,
so gar alt, darinnen ... Stuckh 6
Item ein Futter
Zwerchpfeiffen, zwen Baß und vier Tenor ... Stuckh 6
Item mehr ein Futter
Zwerchpfeiffen, zwen Baß und vier Tenor ... Stuckh 6
Item ein Futter mit neun
Flöten, in der grösten ein Zwerchpfeiffen, oben einer Handt brait mit Silber
beschlagen, ist das Futter mit schwarzem Leder überzogen und zum Thail
vergulter ... 10
Ekkehard
Nickel, Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg
(Munich: Katzbichler, 1971), 337–39.
[Item, a large case of
recorders: one bass, one vagant, three keyed tenors, two discants, three tenors
without keys ... 10 items.
Item, a case of very old
recorders, containing 6 items.
Item, a case of flutes, two
basses and four tenors ... 6 items.
Item, another case of flutes,
two basses and four tenors ... 6 items.
Item, a case with nine
recorders, in the largest (slot?) a flute decorated on top with one hand’s
breadth of silver; the case is covered with black leather and partly gilded...
10 items.]
1585, Verona
June: Accademia filarmonica:
Flauti copia maiore in sua
cassa con bochini d’othono 3 no 22 manca uno flauto
Flauti in cassa grande con
bochino d’othono per q.o basso no 4 mancavi flauti 7
Flauti in cassa mezana no
8 mancavi flauti 2
Flauti in forma di mazze
di ferro no 2
Fifferi in cassa sua no
5
Fifferi in sua cassa con
chiauatura no 5
Fifferi in armaro copia
intiera vz no 5
Marco
Di Pasquale, “Gli strumenti musicali dell’Accademia filarmonica di Verona: un
approccio documentario,” Il flauto dolce, no. 16–17 (October
1987–April 1988): 8.
[A large set of twenty-two
recorders in its case with three brass crooks. [a]
Four recorders in a large
case with a brass crook for the bass, lacking seven recorders (of the original
eleven). [b]
Eight recorders in a
medium-sized case, lacking two recorders. [c]
Two recorders in the form of
war hammers.*
Five flutes in their case.
Five flutes in their case
with key.
A complete set of five flutes
in a cupboard.]
*The word mazza (of which this is plural) meant
some kind of stick used as a weapon (e.g., American: nightstick or billyclub;
British: truncheon, blackjack, or club).
1585–86, Norwich
In the Custodye of the
Waytes
...
Item v Recorders
Norwich
1540–1642, ed. David Galloway,
Records of Early English Drama (Toronto: University of Toronto Press, 1984),
83.
[In the custody of the waits
...
Item, five recorders]
1587, Graz
Stiftskirche (collegiate
church) bought “2 Fagötlein, 4 stille Zinken und 4 Zwerchpfeifen” for 26
Thaler.
Georg
Reichert, Erasmus Widmann (1572–1634): Leben, Wirken und Werke eines
württembergisch–fränkischen Musikers, Darstellungen aus der
Württembergischen Geschichte, 36 (Stuttgart: W. Kohlhammer, 1951), 16.
[2 small curtals, 4 mute
cornetts, and 4 flutes]
1587, Paris
1 October: probate inventory
of Claude Denis, facteur d’instruments:
Item 4 flutes et 1
cornet VII s. VI d.t.
François
Lesure, “La facture instrumentale à Paris au seizième siPcle,” Galpin Society Journal 7 (1954): 36–38.
[Item, four recorders and one
cornett ... 7 sols 6 deniers tournois.]
1589, Stuttgart
Baden-Württemberg court.
Fläthen
Ein groß fueteral mit
fünnffzehen stuckh fläthen, khlein und groß, seindt zu Preßlaw gemacht worden.
Ein mittelmässiges fueteral
ohne überzogen, so von Vlm kommen, mit acht flethen,
Ein alt fuether, darinnen
siben stuckh flethen.
In einem fuether siben
fläthen, unnd ein zwerchpfeiffen, so durch den niderlänndischen pfeifenmacher
vollendt zufertigen, von Bastian Gannsen witib im Decembrij, anno etc. 86 neben
annderm erkhaufft worden.
Ein concert zwerch
fläthen, als vier tenor, ain baß, seindt zugebrauchen wie zwerchpfeiffen.
Mehr ein concert fläthen,
mit aylff stuckhen unnd messinen beschlägen.
Dulcin, tammarin, pfeiffen
Ein dulcin uund tammarin
pfeiffen, in einem trüchlin verwhart
Zwuo tammarin pfeiffen,
die der niderländer, Melchior Billinghkeim gemacht.
Zwerch pfeiffen
Ein leonisch fueteral, mit
siben zwerch pfeiffen.
Vier überig baß zwerch
pfeiffen.
Ein buxbömin fueteral,
darinnen acht stuckh, so von Albrecht Widekhundt erkaufft worden.
Ein groß zwerchpfeiffen
fueteral, darin zweintig vnnd zway stuckh von braunnem holtz.
Ein fueteral mit braunen
holtz darinnen sechs stuckh, so Wolff Gannsen aberkaufft worden.
Ein khlein fueteral mit
siben stuckhen, darinnen die mitlen stuckh übergüldt.
Ein groß fueteral mit
braunnen pfeiffen, darinnen zehen stuckh.
Zwerch pfeiffen
Ein fueteral mit
zwerchpfeiffen darinnen zwölff stuckh, unnd seindt die pfeiffen an dem holtz ungleich.
Ein fueteral darinnen
sechs stuckh, darunnder die fünffe oben vergüldt.
Ein groß fueteral darinnen
zweintzig stuckh, und darbej zwen krummer bäß, so nit dauon gethan mögen
werden.
Ein laden mit
zwerchpfeiffen darinnen zwölff, weil sie aber alle darinnen nit mögen behalten,
seindt daruon zwuo in ein besonnder fuether gethon worden.
Ein fueteral mit acht
zwerchpfeiffen, so von dem Lieben [Martin Lieb] erkaufft worden.
Zwerch pfeiffen
Ein laden, so mit läder
überzogen unnd vergült, darinnen acht zwerch pfeiffen, mit meß beschlagen unnd
vergüldt.
Dise acht pfeiffen, sollen
nit mehr taugen, seyendt acht newer an die statt gelegt, und seindt die
verguldte mundstuckh auch noch enthalben.
Ein alt fueteral, mit
neunzehen stuckhen.
Ein fueter mit sechzehen stucken,
dem pfeiffenmacher zu Wüsensteig, den 16. 7bris ao etc. [15]85 aberkaufft.
Siben alter
zwerchpfeiffen, darunder eine mit einem schloß.
Vier gefüderte zwerch
pfeiffen so zu der mummerej zugebrauchen.
In einem fuether, acht
braune vnnd acht gelbe zwerch pfeiffen, accordieren, unnd seindt zu der
instrumental music zugebrauchen.
Zwerch pfeiffen
Mehr in einem fuether vier
buxbömin zwerchpfeiffen, darunder drey tenor vnnd ain baß, seindt zu Anttorff
gemacht, stehen aber nit zum chor, sonder seyen vmb ein tonum niderer.
Weitter in einem fuether
drey geschrauffte zwerchpfeiffen so tenor seindt, unnd ein zweygeschrauffter
baß, steen auch nit zum chor, sonnder seindt vmb ein tonum gröber.
Aber ein fueter mit vier
braunen zwerch pfeiffen, darunnder die zwuo grossern geschraufft seindt.
Unnd dann in einem
fuether, zwuo krumbgelegte baß zwerch pfeiffen.
Obgeschribne fünf fueter
seindt in Decembris anno etc. 86 von Bastian Gansen witib, neben anderm
erkaufft worden.
Zwerch pfeiffen
Fünnf zwerch pfeiffen, so
tenores vnnd gleich von aahörnin holtz.
Ein concert schwartzer
zwerchpfeiffen, deren neun stuckh.
Mehr ein concert zwerch
pfeiffen mit achten unnd überguldtem meß beschlagen, welche in die laden, so
mit läder überzogen, an stat der untauglichen alten pfeiffen gethon worden,
vnnd seindt die alte uberguldte beschläg auch noch zugegen.
Zwuo rhorpfeiffen, so zu
dem alt in der cappellen sollen gebraucht werden, seindt niergent für,
Dise stuckh alle hat
Melchior Billingkheim der niderländer verfertiget.
...
Faßnachtspiell
...
Ein doppelte fläthen
Dagmar
Golly-Becker, Die Stuttgarter Hofkapelle unter Herzog Ludwig III.
(1554–1593), Quellen und Studien zur Musik in Baden-Württemberg, 4
(doctoral diss., Tübingen, 1992; Stuttgart & Weimar: Verlag J. B. Metzler,
1999), 210–13; first published in condensed format in Gustav Bossert, “Die
Hofkapelle unter Eberhard III, 1628–1657,” Württembergische
Vierteljahrshefte für Landesgeschichte 21 (1912): 133–37.
[Recorders
A large case with fifteen
recorders, small and large, which were made in Breslau.
A medium-sized case without a
cover, which came from Ulm, with eight recorders.
An old case containing seven
recorders.
In a case seven recorders and
a flute, which were all made by the Netherlands Pfeiffenmacher and were bought
with other things from Sebastian Gans’s widow in December 1586.
A consort of transverse
recorders, namely four tenors and one bass, which are used like flutes.
Also a consort of eleven
recorders mounted with brass.
Curtal and Tabor Pipes
A curtal and tabor pipes,
kept in a little chest.
Two tabor pipes, which the
Netherlander Melchior Billigkheim made.
Flutes
A cloth case decorated with
metal thread (?) containing seven flutes.
Four other bass flutes.
A boxwood case, containing
eight flutes, bought from Albrecht Widekhundt.
A large flute case,
containing twenty-two flutes of brown wood.
A case with brown wood,
containing six flutes, which were bought from Wolff Gans.
A little case with seven flutes,
of which the middle piece is gilded.
A large case with brown
flutes, containing ten items.
Flutes
A case with flutes containing
twelve items, and the flutes are of dissimilar wood.
A case containing six flutes,
of which five are gilded on top.
A large case containing
twenty flutes, and among them two curved basses such that nothing can be done
with them.
A (lidless?) chest with
flutes containing twelve; but because it is not possible to keep them all in
it, two of them have been put in a special case.
A case with eight flutes,
bought from the Lieb [Martin Lieb].
Flutes
A (lidless?) chest covered
with leather and gilded, containing eight flutes, decorated with brass and
gilded.
These eight flutes are
apparently no longer any good; eight new ones have been bought for the city,
and the gilded caps (?) (from the old flutes) have also been kept.
An old case with nineteen
flutes.
A case with sixteen flutes,
bought from the Pfeiffenmacher of Wiesensteig on 16 September 1585.
Seven old flutes, among them
one with one key.
Four flutes in a case, used
for the masked dances (during Fasnacht).
In a case, eight brown and
eight yellow flutes, tuned together, and are to be used for instrumental
music.*
Flutes
Also, in a case four boxwood
flutes, three tenors and a bass, made in Antwerp; they are not in Chorton, but
rather a tone lower.
Further, in a case three
tenor flutes with turned spiral windings and a bass with double spiral
windings, which are also not in Chorton but a tone higher.
But a case with four brown
flutes, the two large ones with turned spiral windings.
And then in a case, two
jointed (?) bass flutes.
The above-mentioned five
cases were bought, among other things, in December 1586 from Sebastian Gans’s
widow.
Flutes
Five flutes, all tenors and
similarly all made of maple.
A consort of nine black
flutes.
Also, a consort of eight
flutes with mounts of gilded brass, which have been put in a chest, covered
with leather, instead of the unsuitable old pipes, and the old gilded brass
fittings are also still present.
Two Rhorpfeiffen (reed
pipes??) which should be used for the alto voice in the chapel, have
disappeared.
These items were all made by
the Netherlander Melchior Billingkeim.
Fasnacht Playing
...
A double recorder.]
*Again the implication may be that the other flutes in
the inventory are for military use.
Melchior Billingkheim, from Antwerp, came to the Court
from Nuremberg in 1586 as an official Pfeiffenmacher but was released in
1588; he was offered the place again in 1589 but refused; in addition to the
instruments listed above the inventory mentions six mute cornetts and four
curved cornetts made by him [Golly-Becker, 108, 209–12].
Sebastian Gans was a Court wind player from 1566 until
his death in 1586; his widow also sold the Court two trumpets, three curved
bass cornetts, and six straight cornetts [Golly-Becker, 33, 71, 99–103, 135–36,
208, 211–12; see also David Lasocki, “Renaissance Recorder Players,” American
Recorder 45, no. 2 (March 2004): 8–23].
Wolf Gans, Sebastian’s older brother, was hired by the
Court as an instrumentalist in 1573 and served until his death in 1598
[Golly-Becker, 60–51, 103–5, 211; see also Lasocki, “Renaissance Recorder
Players”].
Martin Lieb was apprenticed to Sebastian Gans in 1572,
then served the Court as instrumentalist from 1575 until his death in 1585
[Golly-Becker, 100–1, 211, 231, 248–61].
Albrecht Widenkind was a Court trumpeter from 1568 until
his death in 1574 [Golly-Becker, 126].
According to Bossert [“Die Hofkantorei unter Herzog
Ludwig,” 277–78], the “Pfeiffenmacher of Wiesensteig” was the Munich Pfeifenmacher
Ulrich Schniepp, who worked in Wiesensteig 1577–79, and “who supplied a large
number of flutes.” Another possibility
is Christof Frey, also from Wiesensteig, who supplied woodwind-making tools to
the Court maker Samuel Baisch in 1585 and had been hired by him three years
earlier to teach him “Drehen von [turning of] Kolonen” [Golly-Becker, 239].
The inventory also includes a section: Collonen
/ Ein concert collonen von braunnem holtz, deren zehen stuckh, so Anthonius
Cousseau gemacht, deren seyn, / Zwen khlein discant,
Zwen discant umb ein quart
höher od[er] größer. / Zwen altt / Zwen tenor mit messin schlesser. / Zwen
grosser baß, da doch der ein nur ein musster, aber doch auch zugebrauchen. [A consort of collonen of brown wood, consisting
of ten items, which Antoine Cousseau made, namely, two small discants, two
discants around a fourth higher or lower, two altos, two tenors with brass
keys, two large basses, but one is only a prototype but also can be used.] It is not
certain whether these instruments were columnar recorders, sorduns, or some
other type of wind instrument (see Eva LegLne’s article, pp. ___).
1590, Graz
1 November; Archduke Karl von
Steiermark.
Inventäri aller und jeder
varnus, so nach gottseeligem absterben weilend des ... herrn Caroln,
erzherzogen zu Össterreich etc. hochlöblicher und seeligster gedechtnus ...
nach ersehung jeder posten in specie befunden und von newem beschriben
worden... Geschehen zu Gräcz den ersten tag novembris anno funfzehenhundert und
neunzig.
...
Volgen die Instrumenta
Musicalia bel dem Capellmaister und in der Purckh Allmar:
Erstlichen in obvermelts Capellmaisters behausung:
...
Item ein gar groß allts
fueteral mit flötten, darin klain und groß flötten; id est neun stuckh; sein
verhanden vier stuckh.
Item ein Copia
Zwerchpfeiffen, zwen Baß und siben Tenor; id est neun stuckh.
Zwo grosse Zwerchpfeiffen,
so zu den Concerten gebraucht worden; id est zwai stuckh.
...
Ain fueteral mit
tamburinpfeiffen, darinen drei Tenor.
Mer ein alte Tabäsch und
zwo glockhspeisene Schellen, welliche zw den vorsteenden Tämburinpfeiffen
geherig; id est drei stuckh.
...
Volgt ferrer, was zu Hof
im Casten auf dem obern Saal befunden worden:
...
Ain groß fueteral mit
flötten, darinen zwen Bäß, vier Tenor, vier discant, mer vier klienere
discäntlen und noch gar zwai klaine flötlin sambt iren geherigen mößingen Rörn
oder Spolleten; thuen sibenzehen stuckh; daraus ist ains verlorn.
Item ain Copia newe
flötten, darinen ain Baß, vier Tenor, zwen discänt sambt iren geherigen
mössigen Spolleten; thuen siben stuckh.
...
Mer ain Copia
zwerchpfeiffen, welche unden und oben mit Silber bschlagen, darunter zwen Baß
und sechs Tenor; thuen acht stuckh.
Mer zwo alte ledige
zwerchpfeiffen.
Julius
Schlosser, Die Sammlung alter Musikinstrumente. Beschriebendes Verzeichnis
(Vienna: Kunstverlag Anton Schroll, 1920; facsimile, Hildesheim & New York:
Olms, 1974), 19–20; Hellmut Federhofer, Musikpflege und Musiker am Grazer
Habsburgerhof der Erzherzöge Karl und Ferdinand von Innerösterreich (1564–1619)
(Mainz: B. Schott’s Söhne, 1967), 283–85.
[Inventory of each and every
kind, which, after the very blessed decease of the lord Karl, archduke of
Austria, etc. in his highly praiseworthy and blessed remembrance, after careful
examination of each item, was evaluated and newly described ... took place at
Graz the first day of November 1590.
...
The musical instruments at
the Capellmeister’s and in the castle Allmar follow; first, in the
above-mentioned Capellmeister’s household:
...
Item, a very large old case
with recorders, containing small and large recorders; that is nine items; four
of them are present.
Item, a case of flutes, two
basses and seven tenors; that is, nine items.
Two large flutes, used for
concerts; that is, two items.
...
A case with tabor pipes,
containing three tenors.
Also, an old tambourin with
gut strings and two bell-metal cymbals, which belong to the above-mentioned
tabor pipes; that is, three items.
...
Furthermore, that which has
been found in the court in Casten on the upper floor:
...
A large case with recorders,
containing two basses, four tenors, four discants, also four small discants,
and also two very small recorders together with the brass crooks that belong to
them; seventeen items, one of which is lost.
Item, a case of new
recorders, containing one bass, four tenors, and two discants, together with
the brass crooks that belong to them; seven items.
...
Also, a case of flutes, which
are decorated at both top and bottom ends with silver, containing two basses
and six tenors; eight items.
Also, two old individual
flutes.]
1590, Graz
Steiermärkisches
Landeszeughaus; inventory:
Fueteral Pfeiffen
Sibenvnddreisig 37
Gerhard
Stradner, “Die Musikinstrumente im Steiermärkischen Landeszeug in Graz,” in Trommeln
und Pfeifen—Militärzelte—Underthalbhänder—Nürnberger Waffen—Waffenhandel und
Gewehrerzeugung in der Steiermark (Graz: Landeszeughaus am Landesmuseum
Joanneum, 1976), 9.
[Cases of fifes 37]
1590, Nonesuch
22 May; household of Lord
Lumley
A summarye of certayne
stuffe within your Lo: houses the xxiith of May Anno 1590 the Inventoryes of
the particulars remayning in bookes subscribed by John Lambton, gentleman,
steward of household to yor Lo: and under the handes of the severall
wardropers there.
...
Recorders xv
Lionel
Cust, “The Lumley Inventories,” The Walpole Society 6 (1917–18): 29; see
also Charles W. Warren, “Music at Nonesuch,” The Musical Quarterly 55,
no. 1 (January 1968): 50.
[A summary of certain stuff
within your Lordship’s houses the 22nd of May 1590, the inventories
of the particulars remaining in books subscribed by John Lambton, gentleman,
steward of household to your Lordship and under the hands of the several
wardrobers there.
...
Recorders 15]
1590, Rome
Inventory of the goods of
Vincenzo Parenti included “una cassa di flauti” (a case of recorders).
Vera
Vita Spagnuolo, “Gli atti notarili dell’Archivio di Stato di Roma. Saggio di
spoglio sistematico: l’anno 1590,” in La musica a Roma attraverso le fonti
d’archivio: Atti del Convegno internazionale Roma 4–7 giugno 1992, a cura
di Bianca Maria Antolini, Arnaldo Morelli e Vera Vita Spagnuolo, Strumenti
della ricerca musicale collana della SocietB Italiana di Musicologia, 2 (Lucca: Libreria Musicale
Italiana, 1994), 64.
1591, Chester
28 May
At which day matter was in
question betwene Ales Williamz late wief of Thomas Williamz Late one of the
waytsmen of the said Citie vpon thone party and christofer Burton and William
Madock the other waitesmen of the said Citie for and Concerninge their
instrumentes of musick viz the how boies the Recorders the Cornetes and violens
whereof the said Ales Claymeth a parte as to her said late husband in his lief
tyme belonginge which they deny to yeld vnto: But are Contented and soe are now
Agreed and it is now fully ordered by Assent that the said instrumentes shall
from hensfurth forever remayne Continue and bee the owne proper goodes of the
said Waitesmen and of the survivour of them and of William Williamz late sonne
of the said Thomas Willliamz And of henry Burton sonne of the said christofer
When they shall haue served out their yeres as Apprentices to the said exercise
and to the survivour of them and the survivour of euery of them and of the
survivinge sonne of euery of them experienced or to be experienced in the said
excercise and Apt and fitt for the same servinge within the said Citie or ells
to remayne foreuer to the said Citie At the Appoyntment and Admittance of the
maior of the said Citie for the tyme beinge.
Chester, ed. Lawrence M. Clopper, Records of Early English
Drama (Toronto: University of Toronto Press, 1979), 164–65.
[At which day matter was made
in question between Alice Williams, late wife of Thomas Williams, late one of
the waits of the said city upon the one party, and Christopher Burton and
William Maddock, the other waits of the said city, for and concerning their
instruments of music, viz., the hautboys, the recorders, the cornetts, and
violins, whereof the said Alice claims a part as to her said late husband in
his lifetime belonging, which they deny to yield unto; but are contended and so
are now agreed, and it is now fully ordered by assent, that the said
instruments shall from henceforth forever remain, continue, and be the own
proper goods of the said waits and of the survivor of them and of William
Williams, late son of the said [recte, son of the said late] Thomas
Williams, and of Henry Burton, son of the said Christopher, for when they shall
have served out their years as apprentices to the said exercise and to the
survivor of them and the survivor of every of them and of the surviving son of
every of them experienced or to be experienced in the said exercise and apt and
fit for the same serving within the said city or else to remain forever to the
said city at the appointment and admittance of the mayor of the said city for
the time being.]
1592, Genoa
17 September; authorization
of order for instruments by the Senate of the city:
E prima sei cornetti muti,
tutti in una cassa, di tuono di tutto punto, di legname di busso; sei cornetti
chiari, il tuono loro ha da essere di mezzo punto giusto, tutti in una cassa di
legname di busso, parte dritti e parte mancini; sei fiffari, il tuono loro sia
di mezzo punto giusto, di legno di busso, tutti in una cassa; otto flauti tutti
in una cassa, le qualità loro saranno due sopranini piccoli, quattro più
grossetti e due tenolotti, seguenti alli quattro però senza chiave in fondo, il
tuono loro sia di mezzo punto e di legno di busso. Tutti le detti instrumenti siano di legname
piuttosto massiccio secco e non fresco, di tuono soprattutto giusti, e per
averli in tutta perfezione si potrà far capo a Venezia a Gianetto da Bassano, o
vero Gerolamo degli instrumenti, o Francesco Fabretti e fratelli, perché tutti
questi sono molto intelligenti di questi instrumenti.
Quoted
in Maria Rosa Moretti, Musica e costume a Genova: tra cinquecento e seicento
(Genoa: F. Pirella, 1992), 20, citing A. Ferretto, “La musica a Palazzo nel
secolo XVI,” Il Cittadino, 9 June 1926, 3. Moretti adds (n. 34, p. 197): “Si tratta
probabilmente del documento segnalato da M. Staglieno (Spoglio notarile)
in Diversorum cancellarie, filza 125, 14 April 1592.”
[First, six mute cornetts,
together in a case, at the pitch of tutto punto, made of boxwood; six
light-colored (standard?) cornetts, the pitch of which has to be exactly mezzo
punto, together in a case of boxwood, partly (for) right-handed, partly
(for) left-handed players; six flutes, the pitch of which should be exactly mezzo
punto, made of boxwood, all in a common case; eight recorders, all in a
case, the kinds of which will be two small sopraninos, four larger, and two
tenors, following (?) the four (previous) but without keys at the end, the
pitch of which should be at mezzo punto and made of boxwood. All the above instruments should be of rather
solid, well-seasoned wood, and above all correctly pitched, and to have them in
perfection one could turn to Venice to Gianetto da Bassano, or else Gerolamo
“of the instruments,” or Francesco Fabretti and brothers, because all of them
are most skilled in these kinds of instruments.]
1593, Dresden
Königlich Sächsische
Hofkapelle.
Von Instrumenten So
Jacobus Looffius in Verwahrung gehabe, sein Vorhanden,
Wie folget:
...
1 Große Flött
...
6 Rohrflötten
...
Zwei Neue Futter mit
Querpfeiffen, in einem 7 im anderen 5.
Eine Futter Alte
Querpfeiffen, Darinnen 4 pfeiffen.
...
5 Flötten mit 3 Löchern.
Moritz
Fürstenau, Beiträge zur Geschichte der Königlich Sächsischen musikalischen
Kapelle (Dresden: Meser, 1849), 40–41.
[Of instruments that Jacobus
Looffius has in his custody, exist as follows:
...
One large recorder.
...
Six Rohrflötten (reed
pipes?)
...
Two new cases with flutes,
seven in one and five in the other.
A case of old flutes
containing four.
...
Five three-hole pipes.]
1593, Sonderhausen
1 October. A letter from Graf Anthon Heinrich to the Rat
und Rentmeister Christoph _____ in Arnstadt about instruments that he wanted to
sell in Leipzig; included:
Ein futter Zwergk pfeifen
Ein futter Flöten
Friedrich
Wilhelm Beinroth, Musikgeschichte der Stadt Sondershausen von ihren Anfängen
bis zum Ende des 19. Jahrhunderts (Innsbruck: Universitäts-Verlag Wagner,
1943), 95.
[A case of flutes
A case of recorders]
1593, Verona
6 August: Bequest of Count
Mario Bevilacqua (left to Accademia filarmonica but lost by his executors):
Una coppia de Flautoni no
7
...
Una coppia de piffari no
5
...
Flauti tra grandi e
piccoli no 9
...
Un piffaro grande in cassa
Enrico
Paganuzzi, “Mario Bevilacqua, amico della musica,” in Lanfranco Franzoni, Verona:
la galleria Bevilacqua, Per una storia del collezionismo (Milan: Edizioni
di CommunitB, 1970), 145–46.
[A set of seven large
recorders.
...
A set of five flutes.
...
Nine recorders, both large
and small.
...
A large flute in a case.]
1594, Graz
Steiermärkisches
Landeszeughaus; inventory:
Fuetteral mit
Pfeiffen 24
Gerhard
Stradner, “Die Musikinstrumente im Steiermärkischen Landeszeug in Graz,” in Trommeln
und Pfeifen—Militärzelte—Underthalbhänder—Nürnberger Waffen—Waffenhandel und
Gewehrerzeugung in der Steiermark (Graz: Landeszeughaus am Landesmuseum
Joanneum, 1976), 9.
[Cases with fifes 24]
1594, Medinaceli
At his death, Juan Luís de la
Cerda, the fifth Duque de Medinaceli, owned:
un juego de flautas con
honce flautas chicas y grandes metidas en una caja rota ... 300 r[eale]s
Beryl
Kenyon de Pascual, “Two Sixteenth-Century Spanish Inventories,” Galpin
Society Journal 49 (1996): 199.
[a set of recorders
consisting of eleven small and large recorders kept in a broken case... 300 reales]
1596, Innsbruck
Inventory of instruments
owned by Erzherzog Ferdinand von Tirol at Schloß Ambras:
2 gelbe zwerchpfeifen
Julius
Schlosser, Die Sammlung alter Musikinstrumente. Beschreibendes Verzeichnis
(Vienna: Kunstverlag Anton Schroll, 1920; facsimile, Hildesheim & New York:
Olms, 1974), 11.
[Two yellow flutes]
1596, Innsbruck
Inventory of instruments
owned by Erzherog Ferdinand von Tirol in the instrument room at Schloß
Ruhelust:
Flauti, mit clainen
drümblen zu gebrauchen, 6 stuckh, ain pasz, 3 tenor und 2 discant.
...
Instrument per concerta, 6
stuckh, als 2 grosse flauten, 2 cordali und 2 zwerchpfeifen.
Zwerchpfeifen von
fladernholz, sein 11 stuckh, als 2 pasz, 6 tenor, 3 discant.
Weisse alte zwerchpfeifen,
4 stuckh, als 2 pasz und 2 tenor.
...
Mer alte weisse pfeifen,
so im Teütschen land gemacht worden, sieben stuckh, als 2 pasz, 3 tenor, ain
discant und ain clainer discant.
Pfeifen von fladernholz, so in Frankhreich gemacht
worden sein, 17 stuckh, als 2 grosse päsz, 5 tennor, mer 4 päsz, 4 discant, 2
claine discant.
Und noch darzue 2
zwerchpfeifen per concert.
...
Instrument zum studiern
für die knaben, so von gedachtem Wagger erkhauft worden, als ain fuettral weisz
züngen und ain fuettral zwerchpfeifen,
...
Ain grosse flaut per
concert von Venedig erkhauft.
Franz
Waldner, “Zwei Inventarien aus dem XVI. und XVII. Jahrhundert über
hinterlassene Musikinstrumente und Musikalien am Innsbrucker Hofe,” Studien
zur Musikwissenschaft 4 (1916): 129–30; Julius Schlosser, Die Sammlung
alter Musikinstrumente. Beschreibendes Verzeichnis (Vienna: Kunstverlag
Anton Schroll, 1920; facsimile, Hildesheim & New York: Olms, 1974), 12–13.
[Tabor pipes, to be used with
small drums: six items, one bass, three tenors, and two discants.
...
Instruments for concerted
playing: six items, namely two large recorders, two kortholts (?), and two
flutes.
Flutes of maple: eleven
items, namely two basses, six tenors, and three discants.
Old light-colored (or
unstained?) flutes: four items, namely two basses and two tenors.
...
Also, old light-colored (or
unstained?) pipes (recorders or shawms), which were made in Germany: seven
items, namely two basses, three tenors, one discant, and one small discant.
Pipes (recorders or shawms)
of maple, which were made in France: seventeen items, namely two great basses,
five tenors, also four basses, four discants, and two small discants.
And also with them two flutes
for concerted playing (?).
...
Instruments for the boys to study, bought from the above-mentioned [Georg]
Wagger [of Nuremberg], namely a case of light-colored (or unstained?) cornetts
and a case of flutes.
...
A large recorder tuned for
concerted playing (?) which was bought from Venice.]
1598, Graz
Steiermärkisches
Landeszeughaus; inventory:
Fuetral mit Pfeiffen 20
Gerhard
Stradner, “Die Musikinstrumente im Steiermärkischen Landeszeug in Graz,” in Trommeln
und Pfeifen—Militärzelte—Underthalbhänder—Nürnberger Waffen—Waffenhandel und
Gewehrerzeugung in der Steiermark (Graz: Landeszeughaus am Landesmuseum
Joanneum, 1976), 10.
[Cases with fifes 20]
1598, Nuremberg
Inventory, 8 December:
Also “so weiland Martin
Pauman seliger in Verwahrung gehabt” (that the late Martin Pauman had in his
safe-keeping):
Item ein groß Futter
Flötten, 1 Baß, 1 Vagant, 3 Tenor mit Schloßen, 2 Discant, 3 Tenor ohne Schloß
... Stuckh 10; Nota. Seind alle vorhanden und gantzs im Futher.
Item ein Futer Flötten, so
gar alt darinnen ... Stuckh 6; Nota. Finden sich nicht mehr als 5 Stuckh.
....
Item 2 Futter Zwerch Pfeiffen,
2 Paß und 4 Tenor ... Summe 6; Nota. Seind alle unverserth befunden.
....
Item 1 Futer mit 9
Flötten, in der grösen 1 Zwerch Pfeiffen, oben einer handbreith mit Silber
beschlagen, ist das Futter mit schwartz Leder uberzogen und zum Thail verguldt
... St. 10; Nota. Ist alles verhanden.
Ekkehard
Nickel, Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg
(Munich: Katzbichler, 1971), 339–41.
[Item, a large case of
recorders, one bass, one vagant, three keyed tenors, two discants, three tenors
without keys ... 10 items. N.B. They are
all present in the case.
Item, a case of very old
recorders, containing six items. N.B. No
more than five of them have turned up.
...
Item, two cases of flutes,
two basses and four tenors ... six altogether.
N.B. All are in good condition.
...
Item, a case with nine
recorders, in the largest (slot?) one flute, decorated on top with one hand’s
breadth of silver; the case is covered with black leather and partly gilded...
ten items. N.B. They are all there in good
condition.]
1599, Český Krumlov
6 October; inventory of the
Rožmberk Court band. [FIX UP]
Popis Instrumentu
Muzýczkých B. M. Pánie. Kterájto
Instrumenta Za Kaplmistrem Zßstáwagy. Stafle Z Poruczěńý Brsom Panie w
strzědu po svatím Frantisskuginak 6. Dne Octobru Anno 1599.
...
Fletný Welký Basy z haky -
- - 3.
Tenory s zamky - - - 3
Menssy tenory - - - 4
Alty - - - 3.
Dysskanty malý - - - 1.
To wsse w gednom póuzdře gest
Tercynkßw - -
- 5
Postranný Plsstály
- - - 4.
To w gednom póuzdře wsse gest.
Státni
Oblastni Archiv v Treboni, Rožmberk papers.
[Description of the musical
instruments of Master B. M. These
instruments stay with the Capellmeister.
The Master gave orders to write down the following on the Wednesday
after St. Francis’s Day, that is, on 6 October 1599.
...
Big bass recorders with
crooks - - - 3.
Tenors with keys - - - 3
Smaller tenors - - - 4
Altos - - - 3.
Small discants - - - 2.
All of them together in a case.
Third-cornetts - - - 5
Transverse flutes - - - 4.
All of them together in a case.]
1599, Kraków
Probate inventory of
Bartlomiej Kiejcher, woodwind and string maker:
Naprzód czarna skrzynka,
potarta, w której się kładły rzeczy niżej opisane.
—24 piszczałek
szwajcarskich rozmaitych.
—Składane
szwajcarskie wielkie cztery piszczałki.
...
—Starych szwajcarskich
piszczałek cienkich i miaższych 10.
...
7 par małych
białych niedogotowanych piszczałek.
...
—Skrzynka czarna nie
bardzo wielka, w którą się niedorobione piszczałki i z
zamorską trzciną włożyły.
...
—W puzdrze białem
starem fletów niedorobionych 8 sztuk.
Pierre
Ducept, “Inventory of the Workshop of Bartłomiej Kejcher, born in Kraków
in 1548, dead in Kraków in 1599, the 9 of January,” FoMHRI Quarterly,
no. 15 (April 1979): 60–63, Comm. 202; translation based on the same.
[A black box in which are the
following things:
24 Swiss pipes of different
kinds.
4 great Swiss pipes that can
be put together.
...
10 old Swiss pipes, thin and
thick.
...
7 pairs of little, white,
unfinished pipes (recorders?).
...
a black box, not very big,
where are unfinished pipes (recorders?) with cane from abroad.
...
in an old white box, 8
recorders unfinished.]
1600, Ferrara/Modena
Alfonso II d’Este to Cesare
d’Este.
18 December.
Nelli Diamanti, in
Fer[rar]a. Io sottoscritto hb
riceputo inconsegna da M. Ludovico Borghi li infrascritti instrumenti, et altre
robbe pertinente alla Musicha, per farli condure B
Modona al Sermo Sigr duca Cesare d’Este.
...
Itté. Una cassa fodrata di
panno rosso con Viole a sei dentro
Itté. Un’altra cassa simile con Viole no
duo e flauti con sua cassa.
...
Io Luigi Mazzi Musico del
Ser.mo di Modena ho ricevute le sopradette robbe.
Edmond
Vander Straeten, La musique aux Pays
bas avant le XIXe siècle, VI (Brussels: Muquardt, 1882), 117–18; L. F.
Valdrighi, Cappelle, concerti e musiche di casa d’Este dal sec. XV al XVIII,
Musurgiana 12 (Modena: G. T. Vincenzi e Nipoti, 1884), 59.
[In the Palazzo dei Diamanti,
Ferrara. I the undersigned have received
from Lodovico Borghi the instruments mentioned below, and other things relating
to music, to send them to Modena to duke Cesare d’Este.
...
Item, A case lined with red
cloth with six viols inside.
Item, Another similar case
with two viols and recorders with their case.
...
I, Luigi Mazzi, musician of
the Serenissimo of Modena, have received the above-mentioned things.]
1602, Madrid
Philipp II of Spain, 14 May
1602: collection valued by Joan de Rojas Carrion, viol-maker, Alonso de
Morales, cornettist in his Majesty’s Chapel Royal, and Josepe de Ysassi,
organist.
Morales served a1592–p1612
(“cantor alto de corneta—43800 m[a]r[avedí]s”)
key to money: 1 ducado (ducat) = 11 reales;
1 real de plata = 34 maravedís.
Una caxa cubierta de cuero negro, forrada por dentro en
cuero colorado, con visagras de sierro, y cerraduras y llaves, tiene dentro
seis piphanos de marphil, los quatro menores, con brocales de plata dorada, y
los dos mas largos con brocaes y guarniciones de plata dorada, que fueron de la
Reyna Maria, tiene los Juan Bautista de Medina. Tasados en mill reales; no
1.
...
Seis pipharos de box, en doce pieças, las quatro con unas
junturas de plata, en su caxa. Tasado en treynta reales; no 14.
Un bajon mui grande de madera de box, con guarniciones de
laton, en una caxa cubierta de cuero negro, forrada por dentro en papel
colorado, con cerradura y llave. Tasado en seis ducados; no 15; es contravajo de flauta.
Otro bajon mui grande de madera de box, con guarniciones
de laton, metido en una funda de lienço en una caxa, como la contenida en
baparticla antes desta. Es contravajo de flauta. Tasado en seis ducados; no
16.
Otro bajon grande de madera de box, guarnecido de laton,
e una caxa redonda cubierta de cuero negro, forrada en frisaverde, con el tudel
de laton a todo en leca. Es tenor de las flautas grandes. Tasado en dos
ducados; no 17
....
Seis pipharos de marphil, los dos dellos en dos pieças,
cada uno en ceremate de la una dellas, una guarnicion de plata blanca lesa, y
los otros quatro menores en los dos, cada uno en una pieça, y el uno dellos con
dos guarniciones de plata lesa, metidos en una caxa cubierta de cuero negro,
con una funda de baqueta, tiene los Juan Baupta de Medina. Tasados
en docientos reales; no 19.
Otros siete pipharos de madera leonada de Allemania, los
tres en dos pieças, cada uno en una pieça, cada uno con unas junturas de cuerno
y los tres con unas guarniocioncillas de laton, en un caxa cubierta de cuero
negro. Tasados en dos ducados; no 20.
Otros ocho pipharos de madera de Allemania, los quatro en
dos pieças y los otros quatro en una, cada uno con una caxa cubierta de cuero
negro. Tasados en seis ducados; no 21.
...
Siete flautas de madera de Alemania grandes, con una caxa
cubierta de cuero negro. Tasadas en docientos reales; no 31.
...
Catorce pipharos de madera de Alemania, los quatro
grandes, con fundas de lienço, y los dies menores sin ellas, en una caxa
cubierto de cuero negro, con maleton de cuero. Tasada en cien reales; no
34.
Honce pieças de viseles y guarniciones de laton de las
chirimias y flautas, y pieças susodichas, en una caxa redonda cubierta de cuero
negro pequeña, con cerradura barniçida de negro. Tasadas en seis ynstrumentos;
no 35.
...
Una caxa grande de Allemania, con su tapador, en que ay
dos flautas grandes, tres pequeñas y dos pipharos, y otros tres pipharos, que
por toda son las dichas dies piezas no 47. Tasado en cien reales.
Mas otros tres pipharos, unos mayores que otros; no
48, con la caja.
...
Otro flauta de madera de box, metida en una caxa negra
cuadrada, forrada en paño colorado, y la flauta metida en una funda de anjeo,
la caxa concerradura y goznes de laton; no 50. Tasada en treynta
reales.
Edmond
Vander Straeten, La musique aux Pays bas avant le XIXe siècle, VIII
(Brussels: Muquardt, 1888), 312–19; translation and bracketed additions from
Martin McLeish, “An Inventory of Musical Instruments at the Royal Palace,
Madrid, in 1602,” Galpin Society Journal 21 (1968): 114–20.
[A black leather case, lined
on the inside with red leather with iron hinges and locks and keys. It contains six ivory flutes, the four
smaller ones with re-enforcing rings of gilt silver and the two larger ones
with re-enforcing rings and adornments of gilt silver, which belonged to Queen
Mary. They are held by Juan Bauptista de
Medina [maestro de los ministriles].
Valued at 1000 reales; no. 1. [On June 11, 1608, delivered
to Alonso Orncate] [Delivered to the town of Grajal at the set price]
...
Six boxwood flutes in twelve pieces, four of them (the
flutes) with some silver joining bands (?): in their case. Valued at 30 reales; no. 14. [On July
23, 1609, given at the set price to Alonso Diaz de Villabille, on account of
157390 maravedís of his agreement.]
A very large bass instrument of boxwood with adornments
of brass, in a case covered with black leather, lined on the inside with red
paper; with lock and key. Valued at 6
ducats; no. 15. It is a bass recorder.
[On June 12, 1609, given at the set price to Juan Monte de Colmenares: 200890 maravedís
of his agreement.]
Another large bass instrument of boxwood, with adornments
of brass, placed in a linen cover, in a case like that contained in the entry
before. It is a bass recorder. Valued at 6 ducats; no. 16. [On the said day
given to Juan Monte de Colmenares at the set price, on account of his
agreement.]
Another large bass instrument of boxwood, adorned with
brass, in a round case covered with black leather, lined in green cloth, with
the brass crook fastened to it. It is a
tenor to the large recorders. Valued at
2 ducats; no. 17. [On the said day to the same Colmenares]
...
Six ivory flutes, two of them in two pieces, one finished
with a smooth adornment of white silver, and (of) the other four smaller ones
two each in one piece, one of them with two smooth silver adornments, kept
placed in a case covered with black leather, with a cowskin sheath; held by
Juan Bauptista de Medina. Valued at 200 reales; no. 19 [On June 12,
1609, given to Juan Monte de Colmenares at the set price, on account of 200850 maravedís
of his agreement.]
Another seven flutes of tawny wood from Germany, three of
them in two pieces (and the rest) in one piece, with some jointing bands of
horn, and three of them have little adornments of brass, in a case covered in
black leather. Valued at 2 ducats; no.
20. [On July 7, 1609, given at the set price to Simon Garcia de Trejo, on
account of 123690 of his agreement.]
Another eight flutes of wood from Germany, four of them in
two pieces, and the other four in one (piece), each in a case covered in black
leather. Valued at 6 ducats; no. 21. [On
the same day to the said Garcia de Trejo.]
...
Seven large recorders of wood from Germany with a case
covered in black leather. Valued at 200 reales;
no. 31. [On July 7, 1609, given at the set price to Simon Garcia de Trejo, on
account of 123690 of his agreement.]
...
Fourteen flutes of wood from Germany, the four large ones
with linen covers and the ten smaller ones without; in a case covered with
black leather; with a leather bag.
Valued at 100 reales; no. 34. [On November 18, 1609, given at the
set price to the ensign Beltran Garcia, on account of 45698 of his agreement.]
Eleven pieces of bevals and brass adornments from the
shawms and “flutes,” the said pieces in a small round case covered in black
leather with a black varnished lock.
Valued with their instruments; no. 35.
...
A large case from Germany with lid, in which are two
large recorders, three small ones, and five flutes, which all together make the
said ten items; no. 47. Valued at 100 reales.
[Not received in the auction]
Another three flutes, some larger than others; no. 48;
with its case. Not valued. [Not received
in the auction]
...
Another recorder of boxwood kept in a square black case
lined with red cloth, and the recorder placed in a linen cover; the case with
lock and hinges of brass; no. 50. Valued
at 30 reales. [Not received in the auction]
1602, Siena
Simone Nodi’s heirs returned
to the palace:
Una cassa di cornetti muti
di sei; Due casse di flauti dritti, una nera e l’altra gialliccia; Una cassa di
flauti traversi; Un’altra cassa di sordine numero sei; Molti altri corpi di
libri di musica.
Frank
A. D’Accone, The Civic Muse: Music and Musicians in Siena during the Middle
Ages and the Renaissance (Chicago: University of Chicago Press, 1997),
487–88.
[A case of six mute cornetti;
two cases of recorders, one black, the other yellowish; a case of flutes;
another case of six sorduns; many other music books.]
1603, Hengrave, near
Newmarket
March-April; on Sir Thomas
Kytson’s death: included:
In ye chamber
where ye musicyons playe.
...
Instrewments and Books of
Musicke.
...
Item, one case of
recorders, in nomber vij.
...
Item, two flewtes, wthout
cases.
John
Gage, The History and Antiquities of Hengrave, in Suffolk
(London: James Carpenter, Joseph Booker, and John Deck, 1822), 23–24.
[In the chamber where the
musicians play.
...
Instruments and books of
music.
...
Item, one case of recorders,
in number six.
...
Item, two flutes, without
cases.]
1604, Florence
Summary of 3 inventories
(Pitti, Veccchio, and Medici palaces)
Flautj d’avorio e altre
sorte no 14.
Piero
Gargiulo, “Strumenti musicali alla corte Medicea: nuovi documenti e sconosciuti
inventari (1553–1609),” Note d’archivio per la storia musicale 3 (new
series) (1985): 70.
[Fourteen recorders of ivory
and other kinds.]
1605, Leipzig
29 June: City purchased:
1 Futter Querpfeifen 3 Tlr.
Rudolf
Wustmann, Musikgeschichte Leipzigs. 1: Bis zur Mitte des 17. Jahrhunderts
(Leipzig: B. G. Teubner, 1909), 161.
[1 case of flutes ... 3
Thalers.]
1606, Cuzco, Peru
A set (terno) of seven
flautas and a curtal are included in a list of merchandise purchased.
Egberto
Bermúdez, “The ministriles Tradition in Latin America, Part One: South
America. 1. The Cases of Santafé (Colombia) and La Plata (Bolivia) in the
Seventeenth Century,” Historic Brass Society Journal 11 (1999): 157.
1606, Kremsmünster
October: Monastery:
Vermerkht was Hanns
Feichtinger Pfeiffenmacher zu Gmundten in ain Erwürdiges Convendt an Pfeiffen
vnd anderen auf Crembsmünster im October des 606isten Jar gemacht
...
Zwai Stimbwerch Fleutten
gemacht 7 fl.
...
Ain Fuederal der großen
vnd kleinen Zwerchpfeiffen 2 fl 2 s
Vmb 2 khlaine Fleuttl 1 s 18 pf
Reparatur einer alten
Fleutten 2 s
2 Fleutl di
Cornedthöch 2s 20 pf
Altman
Kellner, Musikgeschichte des Stiftes Kremsmünster: nach den Quellen
dargestellt (Kassel: Bärenreiter, 1956), 167–68.
[Noted what Hanns
Feichtinger, Pfeiffenmacher in Gmunden in an honorable convent/monastery made
in the way of woodwind instruments and other for Kremsmünster in October 1606
...
Two consorts of recorders
made 7 fl.
A case for large and small
flutes 2 fl 2 s
(A case) For two small
recorders 1s 18 pf
The repair of an old
recorder 2 s
(The repair of) two (small?)
recorders at cornett pitch 2s 20 pf]
1607, Boston, Lincolnshire
21 March: Probate inventory
of musician Aurthur Ondum included:
... one dobble curtall
Instrument the fowrthe p[ar]te of a noyse of recorders, the one halfe of a
noyse of old violens with theire cases
[all together valued at £4]
Lincoln
Record Office INV 105/101; cited in Michael Fleming, “Some Points Arising from
a Survey of Wills and Inventories,” Galpin Society Journal 53 (2000):
311; Maggie Kilbey, Curtal, Dulcian, Bajón: A History of the Precursor to
the Bassoon (St. Albans: author, 2002), 36.
[... one double curtal
instrument, the fourth part of a noise of recorders, the one half of a noise of
old violins with their cases]
1607, Stralsund, Estonia
2 February: Letter from Jonas
Depensee, Kunstpfeifer, writing about his son Andreas to Paul Friedeborn,
Stadtschreiber, in Stettin:
Was nun mein sohn anlanget
und seine Kunst die er mit allem fleiß gestudiret und gelernt hat, auff
allerley musikalischen instrumenten, erstlich ist er ein guter trumpeter, zum
anderen ein guter zinckenbläser, zum dritten geiget er einen guten discant,
pfeiffet eine gute querpfeiffe, auff dulcian, auff der quart posaune tenor und
alt posaune, in summa auf allerley instrumenten gar parfect doch ohne ruhm ze
melden, wie man saget: eigenlob stincket, aber er kan es beweisen, darauf
stehet alles, was die ohren hören, die augen sehen, die bezeugen das
werck. Ist ein sitzamer mensch ist kein
haderer oder zencker, weis sich bei guten leuten wol zu halten, wartet seines
dings mit fleiss darzu er bestallt ist die instrumente die ich ihme mitgebe kan
er Godt lob alle gebrauchen, posaunen und zincken dar bei eine gute quart
posaune zum 2 ein stimmwerck dulcian zum dritten ein stimmwerck große und
kleine bomhart zum vierten ein stimmwerck grobe [recte große?] zincken zum
fünffen ein stimmwerck krumphörner zum sechsten ein stimmwerck querpfeiffer,
zum siebeden ein stimmwerck flöten zum achten ein stimmwerck geigen, das er mit
achterley ahrt stimmen der instrument verendern kan und gebrauchen quin[que]
und Sex uocum oder octo vocum.
Hans
Engel, “Spielleute und Hofmusiker im Alten Stettin zu Anfang des 17.
Jahrhunderts,” Musik in Pommern; Mitteilungsblatt 1 (1932): 8–9.
[Now, concerning my son and
his art which he has studied and learned with all diligence on all kinds of
musical instruments: first he is a good trumpeter, second a good cornett player,
third he plays a good discant part on the violin, blows a good flute (and) on
curtal, and on quart, alto, and tenor trombones: in sum, wellnigh perfect on
all kinds of instruments, but without being conceited, (for) as one says:
self-praise is no recommendation; but he can prove it, everything that the ears
hear (and) the eyes see bears witness to his work. He is a well-behaved man, is not quarrelsome
or a brawler, knows how to hold himself well among well-bred people, always
works diligently; he is appointed with the instruments that I can now make over
to him and, praise God, he can all use: trombones and cornetts, among them a
good quart trombone; second, a consort of curtals; third, a consort of large
and small shawms; fourth, a consort of curved (?) cornetts; fifth, a consort of
crumhorns; sixth, a consort of flutes; seventh, a consort of recorders; eighth,
a consort of violins; so that he can change between eight kinds of instruments
and use five and six or eight kinds of (instrumental) voices.]
1608, Cheshire
31 March; will of Francis
Fitton:
Item I will and bequeath
to my cosin Edmund ffyton sonne and heire to my late nephew william ffitton the
somme of Twenty poundes in money And also I do further bequeath to him a somme
of tenn poundes in money which I did lend to him at his going into Spaine with
sir Richard Leveson in consideracion of a sett of violles de la gamba of his
late fathers and also a sett of Recorders and a great Syterne a Lute and a
paire of virginalles which were all his said late fathers and by him left in my
keeping which said sett of vialles I did lend to Sir Iohn Davers knight
deceased and were sithence in the handes of dame Elizabeth davers his late
widow and since then also in the handes of Sir Charles davers knight hir sonne
attainted by whose fall the said vialles may fortune to be loste but the
virginalles and lute are ready for him my said nephew Edmund ffitton and also
the said great Sitherne in my owne now lodging in the Strond the red cocke nere
the Savoy. And the said somme of Twenty
poundes formerly bequeathed to him, my will is shall be deluered to him my said
cosin Edmund ffitton within six monethes next after my decease, if the said
Instruments shall not be deliuered to him within that time of the said six monethes
or before, safe and sound which I am greatly in doubt will not be donne and so
deliuered to him, But if he shall so receiue backe the said Instruments Then
the said legacy of twenty poundes to him to cease and to be void.
York,
Borthwick Institute, Wills/30b, fol. 628; quoted in Elizabeth Baldwin, Paying
the Piper: Music in pre-1642 Cheshire, Early Drama, Art, and Music
Monograph Series, 29 (Kalamazoo, MI: Medieval Institute Publications, Western
Michigan University, 2002), 138–39.
Baldwin writes (p. 139): “The situation is a complex one. The
instruments, which evidently originally belonged to Francis Fitton’s nephew
William, were apparently left with Francis Fitton as surety by William’s son
Edmund in consideration of ₤10 lent to him at that time. Given the number and range of instruments—a
set of viols, a set of recorders, a [cittern], a lute and a pair of
virginals—the sum seems small, and the additional ₤20 left to Edmund is
evidently to offset the possible loss of the set of viols. These had been lent to Sir John Danvers,
Francis Fitton’s brother-in-law, and on his death were used by his wife as well
as by their son, Sir Charles Danvers.
Unfortunately for the Fitton viols, Sir Charles Danvers was attainted because
of his part in the Essex rebellion and was executed 18 March 1601. As a result his large estate in Wiltshire was
escheated to the crown. Although James I
allowed Henry Danvers to inherit his brother’s property in 1603, Fitton was
clearly doubtful whether in the initial seizure of the property portable goods
such as the viols might not have been sold or removed. As the viols were not his own property, he is
seeking in his will to insure that his cousin (actually his great-nephew) is
not the loser by it. The virginals,
lute, and cittern are, he is quick to assure Edmund, available for him at the
Red Cock in the Strand, Francis’ lodging.
The recorders are not mentioned.
They may have been part of the Danvers’ loan and therefore lost like the
viols.”
[Item, I will and bequeath to
my cousin, Edmund Fitton, son and heir to my late nephew, William Fitton, the
sum of ₤20 in money. And also, I
do further bequeath to him a sum of ₤10 in money, which I did lend to him
at his going into Spain with Sir Richard Leveson in consideration of a set of viols
de la gamba of his late father’s and also a set of recorders and a great
cittern, a lute, and a pair of virginals, which were all his said late father’s
and by him left in my keeping; which said set of viols I did lend to Sir John
Danvers, knight, deceased, and were since in the hands of Dame Elizabeth
Danvers, his late widow, and since then also in the hands of Sir Charles
Danvers, knight, her son, attainted, by whose fall the said viols may fortune
to be lost; but the virginals and lute are ready for him, my said nephew Edmund
Fitton, and also the said great cittern in my own now lodging in the Strand,
the Red Cocke near the Savoy. And the
same sum of ₤20 formerly bequeathed to him, my will is shall be delivered
to him, my said cousin Edmund Fitton, within six months next after my deceased,
if the said instruments shall not be delivered to him within that time of the
said six months or before, safe and sound, which I am greatly in doubt will not
be done, and so delivered to him. But if
he shall so receive back the said instruments, then the said legacy of ₤20
to him to cease and to be void.]
1609, Hechingen
Inventory, Kapelle,
including:
Ein stimmwerckh flötten
seind 12. als ein grosser bass. 3 tenor. 3 alt. 3 discant und 1 hoher discant.
der ander hohe discant manglet.
Fünf flötten als 2 tenor
und 3 tenor.
6 holfletten
...
Sechs schwegel pfeifen in
einem fueteral auch 2 ainzige schwegel pfeifen.
Ernst
Fritz Schmid, Musik an den schwäbischen Zollernhöfen der Renaissance,
Beiträge zur Kulturgeschichte des deutschen Südwestens (Kassel: Bärenreiter,
1962), 529. The case of recorders is
presumably that listed as missing in 1612 (see below). The inventory of 1623 lists only the unspecific
“Etlich pfeüfen” [various pipes] (Schmid, p. 530).
[A consort of twelve
recorders, consisting of a large bass, three tenors, three altos, three
discants, and one higher discant; the other high discant is lacking.
Five recorders, namely two
tenors and three tenors [sic].
Six holfletten (?)
...
Six tabor pipes in a case; also
two individual tabor pipes.]
1609, Nuremberg
Inventory, 9 February,
including:
1 große Futter Flötten,
seind 10 Stuckh
....
2 Futter Zwerch Pfeiffen,
seind in jedem 6 Stuckh.
Added in another hand:
1 Fuder Flöden, 9 an der
Zahl.
Item 1 alt Stimmwerck
Flöden, an der Zahl: 4.
Another inventory of 17 July:
Item 2 mit schwarzem Leder
überzogene Futeral Zwerch Pfeiffen, seindt in yedwederm 6 Stuckh.
....
Item ein großes
Stimbwerckh Flöten in einem schwarzen, mit Leder überzogenem Futeral, seindt
deroselben 10 Stuckh, und zwen mößerne Stäfft, zu den zweien grösten Flöten
gehörig.
Item ein kleiner
Stimbwerckh Flöten, in einem schwarzen, mit Leder überzogenem Futeral, seindt
deroselben anfenglich 9 Stuckh gewesen, anyezo aber mehr nicht vorhanden dann 8
Stuckh.
....
N.B. Item ein alt
Stimbwerckh verderbter Flöten, in einem zerbrochenen Futeral, derer 4 Stuckh
vorhanden.
Ekkehard
Nickel, Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg
(Munich: Katzbichler, 1971), 341–44.
[Inventory of 9 February:
A large case of recorders: 10
items.
...
Two cases of flutes, six
items in each.
Added in another hand:
A case of recorders, nine in
number.
Item, an old consort of
recorders, four in number.
Inventory of 17 July:
Item, two cases of flutes
covered with black leather, six items in each.
...
Item, a large consort of
recorders in a case covered with black leather; in the same are 10 items plus
two brass crooks belonging to the two largest recorders.
Item, a small consort of
recorders, in a case covered with black leather; in the same there were
originally 9 items, but now, however, [one is] no longer present, therefore 8
items.
...
N.B. Item, an old consort of
ruined recorders in a broken case, of which four items exist.]
1610, Český Krumlov
Inventory of the Rožmberk
Court band.
Instrumenta Müzická,
pořadněgi než prwe poznámenáná.
...
Fletný welký Bassý s Haký
- - - 3.
Tenoři s Zamký - - -
3
Menssý Tenoři - - - 4
Alty - - - 3.
Dýsskant - - - 1.
To wsse w gednom póuzdře gest
Tercyňkuw pět -
- - 5
Postrannj Plsstálý
- - - 4.
To w gednom póuzdře wsse gest.
Státni
Oblastni Archiv v Treboni, Rožmberk papers 20a, ff. 8r–8v; see also Jaroslav
Vanický, “The Rožmberk Band and its Inventory,” The Consort, no.
22 (1965): 25.
[Musical instruments, written
down in a better way than before.
...
Big bass recorders with
crooks - - - 3.
Tenors with keys - - - 3
Smaller tenors - - - 4
Altos - - - 3.
Discant - - - 1.
All of them in a case.
Five third-cornetts - - - 5
Transverse flutes - - - 4.
All of them together in a case.]
1612, Hechingen
13 May; notice in the
inventory of the music collection of instruments that had gone missing:
Abgang an instrumenten
Erstlich ein fueteral von
flötten
Ernst
Fritz Schmid, Musik an den schwäbischen Zollernhöfen der Renaissance,
Beiträge zur Kulturgeschichte des deutschen Südwestens (Kassel: Bärenreiter,
1962), 530. The case is presumably that
listed first in the inventory of 1609 (see above).
[Loss of instruments
First, a case of recorders]
1613, Kassel
Landgräflich-Hessische
Hofkapelle.
Inventarium aller
Musikalischen Instrumenten, So vf bevelch unsers G. F. undt Herrn, Herrn Moritz
Landtgraf zu Hessen et: den 24ten Februarij ao, 1613....
...
Ein Steinwerck flöten,
Seindt vierzehn, darunder, Ein baß, vier Tenor, vier Alt drey Soprani undt zwey
höhrere Soprani.
...
Ein futter Zwerchflöten,
darinnen, Ein baßet, undt fünff andere Zwerchflöten.
Ein futter Zwerchpfeiffen,
darinnen der baß undt fünf andere Zwerchpfeiffen.
Mehr Ein futter größere Zwerchpfeiffen dan die
vorhergesetzte, darinnen vier gleiche Zwerchpfeiffen.
...
Drey Zwerchpfeiffen ohne
futter.
Zwey alte Zwerchpfeiffen.
Eine kleine baßflöte zu
Einem gar kleinem flötgen.
...
Marpurgische Jnstrument.
Ein flöten futter,
darinnen zwen Baß, vier Tenor.
...
Eine Zwerchpfeiffen futter
darinnen Ein Baß undt fünf ander Zwerchpfeiffen.
...
Zwey große baß flöten mit
einem eß dabey.
Ernst
Zulauf, Beiträge zur Geschichte der Landgräflich-Hessischen Hofkapelle zu
Cassel bis auf die Zeit Moritz des Gelehrten (Inaugural diss., Leipzig;
Cassel: Döll, 1902), 115–19.
[Inventory of all musical
instruments, drawn up at the command of our gracious prince and lord, Moritz
Landgraf of Hesse, February 24, 1613.
A consort of fourteen
recorders, namely one bass, four tenors, four altos, three sopranos, and two
higher sopranos.
...
A case of transverse
recorders (like Praetorius’s Dolzflöten?), containing one basset and
five others.
A case of flutes, containing
the bass and five others.
Also, a case of larger flutes
than the above, containing four matching flutes.
...
Three flutes without case.
Two old flutes.
A small bass recorder to an
extremely small recorder.
...
Marburg Instruments:
A recorder case, containing
two basses and four tenors.
...
A flute case, containing a
bass and five other flutes.
...
Two great bass recorders with
a crook for them.]
Translation
based on Anthony Baines, “Two Cassel Inventories,” Galpin Society Journal 4
(1951): 32–33, with additions.
1613, Paris
15 February; probate
inventory of Guillaume Duburet, violon ordinaire de la chambre du roi:
Six petitz flagolletz de
plusieurs fassons et grandeurs, prisez ensemble 20 s.
Madeleine
Jurgens, Documents du Minutier Central concernant l’histoire de la musique
(1600–1650), II (Paris: La Documentation Française, 1974), 202–3.
[Six small flageolets of
various makers and sizes, valued together at 20 sols.]
1614, Basel
Dr. Felix Platter’s bequest.
4 Spinett, 4 Klavichordi,
1 Clavicymbalum, 1 Regal mit 2 Blasbälgen, 7 Violen de la gamba, 6 Lauten,
darunter 1 Theorbe, 10 Flauten, 2 Mandolinen, 1 Lobsa, 1 Zittern, 1
Holzingelchen, 1 Tenor, 2 Diskant, 1 Trumschen.
Karl
Nef, “Die Musik in Basel. Von den Anfängen im 9. bis zur Mitte des 19.
Jahrhunderts,” Sammelbände der Internationalen Musikgesellschaft 10
(1908–9), 544.
[Four spinets, four
clavichords, one harpsichord, one regal with two bellows, seven viole da gamba,
six lutes, among them one theorbo, ten recorders, two mandolins, one _____, one
cittern, one small wooden cornett (?), one tenor, one discant, one tromba
marina (?).]
1614, Valemoro
Hay al presente tres
flautas, dos tenores y un tiple y dos tenores de chirimías y un sacabuche.
Antonio
Gallego, “Un siglo de musica en Valemoro (1582–1692),” Revista de
musicologia 1 (1978): 246.
[There are at present three
recorders, two tenors and a soprano, and two tenor shawms and a trombone.]
1615, Rome
Inventory of Vittoria Vellia
(sister-in-law of the composer Emilio de Cavalieri), resident of the piazza
Cavalieri, 1 November:
... un flauto di vetro
paonazzo, un altro flauto in 2 pezzi d’avorio, un altro flauto di vetro
paonazzo, un altro flauto di legno ... doi casette con diversi instrumenti di
flauti....
Franca
Trinchieri Camiz, “Gli strumenti musicali nei palazzi, nelle ville e nelle
dimore della Roma del Seicento,” in La musica a Roma attraverso le fonti
d’archivio: Atti del Convegno internazionale Roma 4–7 giugno 1992, a cura
di Bianca Maria Antolini, Arnaldo Morelli e Vera Vita Spagnuolo, Strumenti
della ricerca musicale collana della SocietB Italiana di Musicologia, 2 (Lucca: Libreria Musicale
Italiana, 1994), 602.
[... a recorder of purple
glass, another recorder of ivory in two pieces, another recorder of purple
glass, another recorder of wood ... two boxes with various “flute”
instruments....]
1617, Leipzig
1 March: City purchased:
3 Tenor- und
Dechantflöten 5 fl. 3 Gr.
Rudolf
Wustmann, Musikgeschichte Leipzigs. 1: Bis zur Mitte des 17. Jahrhunderts
(Leipzig: B. G. Teubner, 1909), 161.
[Three tenor and discant
recorders 5 Fl. 3 Gr.]
1617, Norwich
24 October; Inventory of
Edward Jefferies, musician [member of the Norwich Waits]:
in the parlor in the howse
the intestate late dwelt
...
Item one old Lute & a
flute & ij old instrumentes vj s.
Norwich
1540–1642, ed. David Galloway,
Records of Early English Drama (Toronto: University of Toronto Press, 1984),
157.
[in the parlor in the house
the intestate late dwelled
...
Item, one old lute and a
flute and two old instruments 6s.]
Jefferies
was a member of the Norwich Waits from 1612 until his death in 1617. See David Lasocki, “Professional Recorder
Players in England, 1540–1740” (Ph.D. dissertation, The University of Iowa,
1983), II, 734–35.
1617–18, Norwich
Instrumentes in the
custody of the waites
...
Fower Sackbuttes and three
Recorders / Three Cornettes and fiue Howb’o’yes.
Norwich
1540–1642, ed. David Galloway,
Records of Early English Drama (Toronto: University of Toronto Press, 1984),
153.
[Instruments in the custody
of the waits
...
Four sackbuts and three
recorders / three cornetts and five hautboys.]
1620, Chester
16 November; inventory of
property of the late Robert Hesketh:
Includes “vyolls, vyolentes,
virginalls, sagbutts, howboies, and cornets, cithrun, flute and tabor pypes.”
Cited
in John M. Ward, “Sprighly and Cheerful Musick: Notes on the Citterns, Gittern
& Guitar in 16th and 17th-Century England,” The
Lute Society Journal 21 (1979–81), 24.
[viols, violins, virginals,
sackbuts, hautbois, and cornetts, cittern, flute and tabor pipes.]
1620, Darmstadt
Court; purchases:
Vor ein stück Flötten 25 fl.
Elisabeth
Noak, Musikgeschichte Darmstadt vom Mittelalter bis zur Goethezeit, Beiträge
zur Mittelrheinischen Musikgeschichte, 8 (Mainz: B. Schott’s Söhne, 1967), 62.
[For a consort of
recorders 25 florins]
See also below, 1623, Darmstadt.
1621–30, Paris
1621, 25 May: probate
inventory of Jean Vuillart, conseiller du roi et correcteur en la chambre des
comptes:
En l’étude
...
... un jeu de flutes
d’Alleman concistant en quatre fluttes garnyes d’argent pour les bouts et de
leur estuy de cuir, le tout prié ensemble 4 l.
Madeleine
Jurgens, Documents du Minutier Central concernant l’histoire de la musique
(1600–1650), II (Paris: La Documentation Française, 1974), 892.
[In the study
...
... a set of flutes
consisting of four flutes decorated with silver for the ends and their leather
case, all of them valued together at 4 livres.]
1630, 5 July: probate
inventory of his wife, Marguerite/Marie Révérend: same instruments Au renier:
... ung jeu de fluttes
d’Allemant concistant en quatre fleuttes garnyes d’argent par les boutz et de
leur estuy de cuir, prisé le tout ensemble 3 l.
ibid.,
897.
[... a set of flutes
consisting of four flutes decorated with silver for the ends and their leather
case, all of them valued together at 3 livres.]
1622, Florence
25 January; Court:
Inventario di pij sorte
d’istrumenti musicali e altro, che tutto, [in] questo medesimo giorno, la
Guardaroba Generale di S. A. S. ne fa la consegna a Lorenzo Allegri musico,
come per rescritto di Loro Altezze Ser.me, in filza delli Ordini no
212, che lo hanno eletto nel luogo che [= in cui] era il defunto Antonio Naldi
detto il Bardella, e lui, come Guardaroba, darne conto quando bisognassi. Et si riconoscie detto Lorenzo di tutto
debitore e confessa havere ricevuto in consegna [firmando] per ricevuta in pie’
del presente inventario....
...
Dieci Flauti di bossolo,
drento a una cassa coperta di corame nero.
...
Sette Traverse, che [di
cui] tre grosse, una mezzana e tre sopranini, e tutte di bossolo, che a una [v’è]
un cerchietto di rame, d’orate e lavorate, incassate come di là.
...
Un Flauto grosso, con sua
esse d’ottone, entro a una cassa coperta di cuoio.
Undici Flauti di bossolo,
tra grandi e piccoli, entro a una cassa coperta di cuoio, con le loro ghierre
d’ottone ordinarie, con tre esse d’ottone.
Sedici Flauti di bossolo,
tra grandi e piccoli, che [di cui] no 11 con ghiere d’argeno d’orate
[e] no 5 piccoli senza niente, con tre esse d’argento d’orate e
lavorate alla domaschina, e tutto drento a una cassa coperta di cuoio.
...
Tre Traverse di bossolo
Un’altra Travera simile,
rotta per la mezzo.
...
Dua Flautini di pero
ataccati insieme.
...
Sei Traverse.
Mario
Fabbri, “La collezione medicea degli strumenti musicali in due sconosciuti
inventari del primo seicento,” Note d’archivio per la storia musicale 1
(new series) (1983): 57–61.
[Inventory of many kinds of
musical instruments and other things, which are all at the present time
consigned to Lorenzo Allegri, musician, by the General Wardrobe of His Highness
according to what His Serene Highness has written in the series of ordinances
No. 212, whom (His Highness) has chosen in the place of the late Antoni Naldi
known as “Il Bardella,” and he (Allegri), as (Keeper of the) Wardrobe has to
render when needed. And the said Lorenzo
recognizes (his gratitude) and declares he has received in consignment the
present inventory....
...
Ten boxwood recorders, in a
case covered with black leather.
...
Seven flutes, three of them
large, one medium, and three sopranos, and all of boxwood, one of which has a
ring of copper, and the others are gilded and decorated, encased like (the
others in another room).
...
A large recorder, with its
brass crook, contained in a case covered with leather.
Eleven boxwood recorders,
both large and small, contained in a case covered with leather, with their
normal brass keys, with three brass crooks.
Sixteen boxwood recorders,
both large and small, of which eleven have keys of gilded silver and five small
ones have none, with three crooks of silver gilded and decorated in the
Domaschina way, and all is (i.e., are) encased in a case covered with leather.
...
Three boxwood flutes.
Another similar flute, broken
in half (or: in the middle).
..
Two small pearwood recorders
which are joined together.
...
Six flutes.]
1622, Norwich
27 November
Citty Instrvmens
...
ffower Howbyes and an old
Howbye broken / Two Tenor Cornettes / j Tenor Recorder / Two Counter Tenor
Recorders / Two Tenor Cornettes / fiue Chaynes & fiue fflagges
Norwich
1540–1642, ed. David Galloway,
Records of Early English Drama (Toronto: University of Toronto Press, 1984),
174.
[City instruments
...
Four hautboys and and old
hautboy broken / two tenor cornetts / one tenor recorder / two countertenor
recorders / two tenor cornetts/ five chains and five flags.]
4 December
The waites are permitted
againe to vse their profession vntill Christmas next And they promise to bringe
in iiij li. or a sufficient Sackbutt before the end of Christmas next And
before they receiue theier wages to giue security for bringinge in the Citties
Instrumentes, fflagges and Cheynes whensoeuer they shalbe required
one Howboy A treble
Recorder a tenor howboy one Chaines and a flagge deliuered to Thomas Quashe /
...
Two Sackbuttes ij
Recorders a Chayne & a fflagge to Peter Sandlyn
...
Two tenor Cornettes ij
tenor howboys a tenor Recorder a chaine & a flagge to Edward Iefferis
Norwich
1540–1642, ed. David Galloway,
Records of Early English Drama (Toronto: University of Toronto Press, 1984),
174.
[The waits are permitted
again to use their profession until Christmas next, and they promise to bring
in £4 or a sufficient sackbut before the end of Christmas next and before they
receive their wages to give security for bringing in the city’s instruments,
flags, and chains whensoever they shall be required.
One hautboy, a treble
recorder, a tenor hautboy, one chain and a flag delivered to Thomas Quashe /
...
Two sackbuts, two recorders,
a chain and a flag to Peter Sandlyn.
...
Two tenor cornetts, two tenor
hautboys, a tenor recorder, a chain and a flag to Edward Jefferies.]
Edward
Jefferies Junior (d. 1669) replaced his father in 1617, then served until at
least 1659. Thomas Quash (1586–1638)
served from 1609/10 to his death. Peter
Sandlyn was appointed in 1617 and served until at least 1630. See David Lasocki, “Professional Recorder
Players in England, 1540–1740” (Ph.D. dissertation, The University of Iowa,
1983), II, 735, 737–41.
1622, Paris
6 September: probate
inventory of Jacques Michel, fifre et tambour de la chambre du roi:
Cinq flutes d’Allemant
avec ung cornet, deux baguetes, une autre petite flute double, le tout prisé
ensemble 20 s.
Madeleine
Jurgens, Documents du Minutier Central concernant l’histoire de la musique
(1600–1650), II (Paris: La Documentation Française, 1974), 280.
[Five flutes along with a
cornett, two drumsticks, another little double recorder, all together valued at
20 s.]
1623, Darmstadt
Court
Inventarium vber die
Instrumenta Musicalia vnndt Musicalische Bücher:
Neu gelieffert:
...
2 discant geigen eine hat
Augustin
...
Hierzu ferner erkaufft
Anno 1620 Fastenmeß
1 Stueck flötten, hat
Augustin
1 laute er auch.
Elisabeth
Noak, Musikgeschichte Darmstadt vom Mittelalter bis zur Goethezeit,
Beiträge zur Mittelrheinischen Musikgeschichte, 8 (Mainz: B. Schott’s Söhne,
1967), 66–67.
[Inventory of the musical
instruments and musical books:
Newly delivered:
...
2 violins, of which Augustin
has one
...
In addition, bought Lent 1620
1 consort of recorders, which
Augustin has
1 lute, which he also has.]
Augustin Cramer was the Court lutenist. See also above, 1620, Darmstadt.
1624, Paris
23 October: probate inventory
of Philippe Le Vacher, violon ordinaire de la chambre du roi (witness: his
brother, Thomas Le Vacher le jeune, facteur d’instruments de musique):
Item, une flutte
d’allemand d’ivoire en trois pièces garnies de quatre virolles d’argent doré et
de son estuy, prisée 6 l.
Item, deux fluttes
d’allemand, une grande en deux pièces et l’autre aussy en deux pieces garnies
de trois virolles d’argent, prisées ensemble 45 s.
Madeleine
Jurgens, Documents du Minutier Central concernant l’histoire de la musique
(1600–1650), I (Paris: S.E.V.P.E.N., n.d.), 211–12.
[A flute of ivory in three
pieces decorated with four ferrules of engraved silver and its case, valued at
6 livres.
Two flutes, one large in two
pieces and the other also in two pieces decorated with three ferrules of
silver, valued together at 45 sols.]
1625, Graz
Steiermärkisches
Landeszeughaus; inventory:
Beschlagne Fuetterall mit
Pfeiffen, darund zway vnbeschlagen, vnnd zwo Rehrn lähr 9
Gerhard
Stradner, “Die Musikinstrumente im Steiermärkischen Landeszeug in Graz,” in Trommeln
und Pfeifen—Militärzelte—Underthalbhänder—Nürnberger Waffen—Waffenhandel und Gewehrerzeugung
in der Steiermark (Graz: Landeszeughaus am Landesmuseum Joanneum, 1976),
10.
[Decorated cases with fifes,
among them two undecorated and two empty cases
9]
1625, Greenwich/London
13 July; Will of John Hussey:
... unto Mr Finch in St
Martines Lane Seaven shillings for a Chamber to put in certayne necessaries the
wch I could not take with me to Greenwch, where you are
to call for them at the signe of the two crosse gunnes—there is a paire of
great harpesrecord Virginalls worth well seaven or eight pounde, there is a
case-full of Flutes, a bdesteed, a Canopie wth the curtaynes of darney, three
high leather stooles, one leather chaire, two little lowe stooles, a large
pistoll, a paire of Andirons cast....
Andrew
Ashbee and David Lasocki, assisted by Peter Holman and Fiona Kisby, A
Biographical Dictionary of English Court Musicians, 1485–1714 (Aldershot
& Brookfield, VT: Ashgate, 1998), I, 617–18.
[... unto Mr. Finch in St.
Martin’s Lane, seven shillings for a chamber to put in certain necessaries the
which I could not take with me to Greenwich, where you are to call for them at
the sign of the Two Cross Guns—there is a pair of great harpsichord virginals
worth well ₤7 or 8, there is a caseful of flutes, a bedstead, a canopy
with the curtains of darney, three high leather stools, one leather chair, two
little low stooles, a large pistol, a pair of andirons cast....]
Hussey was a member of the Court recorder consort (served
1613–29).
1625, Modena
23 January.
Tre flauti grandi, con le
casse di corame nero.
Edmond
Vander Straeten, La musique aux Pays bas avant le XIXe siècle, VI
(Brussels: Muquardt, 1882), 120; L. F. Valdrighi, Cappelle, concerti e
musiche di casa d’Este dal sec. XV al XVIII, Musurgiana 12 (Modena: G. T.
Vincenzi e Nipoti, 1884), 68.
[Three large recorders with
their case of black leather.]
1625, Neisse
Inventory of Karl von
Neissen, Archduke of Habsburg, Bishop of Breslau and Brixen
Inventarium oder
verzaichnus aller posidifn, regaln, fliegeln oder clavizimblen und andern
instrumenten, von pfeifen und seidenwekh, sowoll aller und jeder bücher, gross
und khlein, geschribener und gedruckter, Lateinisch und Wälschen concerten, so
ihr hochfürstliche durchlaucht hochseeligster gedechtnus alhiero in der Neiss
in ihrer erzherzoglichen capellen verlassen, wie volget:
...
Item ain stiembwerkh
flötten sambt den fuetral, aber nicht in thon, theils nicht vorhanden.
Item ain stiembwerkh
gutten fleuten sambt dem fuetrall.
Item ain stiembwerkh
grosse fleuten sambt ainer ordentlichen thruhen.
Item ein stiembwerkh
zwergpfeifen, mit sielber beschlagen, sambt dem fuetral.
...
Verzaichnus der
musicalischen instrumenten, so in des herrn capellmaisters losament gefunden
und in ein grossen casten seind eingeleget worden:
...
Drei flötten in einem
fuetrall, darbei ein kleiner bomhart.
Etliche flötten in einem
fuetter, darbei 2 schlossflöten.
Jahrbuch
des kunsthistorischen Sammlungen des Kaiserhauses 33 (1915): LXXVI–LXXVII.
[Inventory or catalogue of
all positive organs, regals, harpsichords, and other instruments, both wind and
string, as well as each and every book, large and small, manuscript and
printed, Latin and Italian ensemble music, that His Highness of praiseworthy
and blessed remembrance left here in Neisse in his archducal Capelle, as
follows:
...
Item, a consort of recorders
together with the case, but not at (standard?) pitch, partly not present.
Item, a consort of good
recorders together with the case.
Item, a consort of large
recorders together with a suitable chest.
Item, a consort of flutes,
decorated with silver, together with the case.
...
Catalogue of the musical
instruments which are found in the Capellmeister’s quarters and have been put
in a large chest:
...
Three recorders in a case,
along with a small keyed shawm.
Several recorders in a case,
among them two keyed recorders (?).]
1625–26, Norwich
October 1625; inventory of
Susan Jefferies:
In the kitchen
Item one violin one base
Violl and a treble violl one treble violin and j old banndore one old Lute one
fflute one Lute and ij other old Instrumentes with xx old and newe singing
bookes iij li.
Norwich
1540–1642, ed. David Galloway,
Records of Early English Drama (Toronto: University of Toronto Press, 1984),
192.
[In the kitchen
Item, one violin, one bass
viol, and a treble viol, one treble violin and an old bandora, one old lute,
one flute, one lute, and two other old instruments with twenty old and new
singing boooks £4.]
Will of Susan Jefferies, 3
June 1619; probated 12 January 1626:
I giue and bequeath vnto
my Sonne Edward ... One violin one Basevioll and a Treble violl one Treble
violin and A Bandora, one ould Lute one flute and ij old other Instrumentes,
Twenty Newe and old Musick Singinge Bookes.
ibid.,
160.
[I give and bequeath unto my
son Edward ... one violin, one bass viol, and a treble viol, one treble violin
and a bandora, one old flute, one flute, and two old other instruments, twenty
new and old music singing books.]
Susan
was the widow of Edward Jefferies Senior, who died in 1617 (see above). Her son Edward Junior replaced his father in
the Norwich Waits and served until at least 1659. See David Lasocki, “Professional Recorder
Players in England, 1540–1740” (Ph.D. dissertation, The University of Iowa,
1983), II, 734–35.
1626, Huesca
Cathedral, 6 July
Se encomendaron a mossén
Agustín Sessé, racionero de la iglesia y superintendente de la copla de los
menestriles, una caxa de flautas que tiene la sacristía muy buenas, en la qual
caxa hay ocho flautas y fuera de la caxa otra grande muy buena que sirve de
baxón, que en todas son nueve que la iglesia las hizo proveer de Ingalaterra,
las quales dicho dia se la encomendaron para que tañesen en la iglesia con
obligación de dar cuenta siempre que la iglesia las pidiese y por la verdad se
hizo el presente cartel firmado por mano de mosén Agustín. Yo mossén Agustín atorgo lo dicho.
Antonio
Durán Gudiol, “La Capilla de Música de la Catedral de Huesca,” Anuario
musical 19 (1964): 54; see also Beryl Kenyon de Pascual, “Bassano
Instruments in England?” Galpin Society Journal 40 (1987): 74.
[It was commissioned from
Agustín Sessé, senior prebendary of the church and superintendent of the band
of minstrels, a case of recorders the sacristan has (that are) very good, and
which case has eight recorders and outside the case another large very good
(one) that serves as bass, which all together are nine, which the church bought
from England, which on a certain day were entrusted to the church and remain in
the church with the stipulation that at any time the church requests them as
verified by the present document signed in the hand of Agustín. I, Agustín, attest to the above.]
1626–27, Norwich
Insrvmentes in the cvstody
of the waites
...
Item Three Recorders
Norwich
1540–1642, ed. David Galloway, Records
of Early English Drama (Toronto: University of Toronto Press, 1984), 193.
[Instruments in the custody
of the waits
...
Item, three recorders]
1628, Verona
14 January: Accademia
filarmonica:
1 flauto ouer fagotto.
6 fifferi da fiato.
...
1 cassa con sei fifferi da
fiato nera senza coperto.
...
1 cassa nera con nuove
flauti grandi con lenguella d’otton detta dolzaina per il basso
...
1 cassa nera con quattro
flauti soli, gli altri mancano
1 cassa nera con ventisei
fifferi.
...
1 cassa con tredici flauti
soli nera, gli altri mancano
1 cassa con cinque flauti
soli nera
...
1 cassa da flauti nera
vuota
1 cassa con nuoue fifferi.
...
3 fifferi diuersi uecchi.
1 flauto
Giuseppe
Turrini, L’Accademia filarmonica di Verona dalla fondazione (Maggio 1543) al
1600 e il suo patrimonio musicale antico (Verona: La Tipografica Veronese,
1941), 198–99; Marco Di Pasquale, “Gli strumenti musicali dell’Accademia
filarmonica di Verona: un approccio documentario,” Il flauto dolce, no.
16–17 (October 1987–April 1988): 8.
[One recorder or bassoon (!)
Six flutes
...
One black case of six flutes
without a lid.
...
One black case with nine
large recorders with brass crook called dolzaina for the bass.... [d]
...
One black case with only four
recorders, the others missing. [b]
One black case with
twenty-six flutes.
...
One case with only thirteen
black recorders, the others missing. [a]
One case with only five black
recorders. [c]
...
One empty case for black recorders.
One case with nine flutes.
...
Three miscellaneous old
flutes.
One recorder. [e]]
1629, Dresden
Philipp Hainhofer’s
description of his visit to the Court at Dresden:
In den pfeiffenkammer hat
vns Thomas Dax, Musicus & custos diser musicalischen instrumenten, mit noch
2 andern aufwartern gezaigt:
...
gross flutten.
...
Acht stammen
stimmpfeiffen, iede nur mit 3 löcheren.
Bäugglin vnd ain pfeiffen
zusamen, das man mit der ainen hand pfeiffet, vnd mit der andern baugget.
...
Flug flatten.
...
grosse querpfeiffen.
klaine querpfeiffen.
...
Flott oder satlr
pfeiffen, wie die orglen.
Aine andere art von satlr
pfeiffen, welches ain Türckische art ist, wie ain bretlin voller löchlen.
Oscar Doering, Des Augsburger Patriciers
Philipp Hainhofer Reisen nach Innsbruck und Dresden, Quellenschriften für
Kunstgeschichte und Kunsttechnik des Mittelalters und der Neuzeit, neue Folge,
10 (Vienna: C. Graeser, 1901), 231–33.
[In the wind-instrument
chamber, Thomas Dax, musician and custodian of these musical instruments, with
two other attendants showed us:
...
large recorders.
...
Eight tabor pipes (?), each
with only three holes.
Tabor and pipe together, so
that one can pipe with one hand and bang the drum with the other.
...
Flug flatten (?)
...
large flutes.
small flutes.
...
Flutes or panpipes, like
organs.
Another kind of pan pipes,
which is a Turkish kind, like a little board full of holes.]
1629, Graz
Steiermärkisches
Landeszeughaus; inventory:
Beschlagenne Futterall mit
Pfeiffen, darunter zway vnnbeschlag vnndt zwo röhrn lähr 6
Gerhard
Stradner, “Die Musikinstrumente im Steiermärkischen Landeszeug in Graz,” in Trommeln
und Pfeifen—Militärzelte—Underthalbhänder—Nürnberger Waffen—Waffenhandel und
Gewehrerzeugung in der Steiermark (Graz: Landeszeughaus am Landesmuseum
Joanneum, 1976), 10.
[Decorated cases with fifes, among them two undecorated and two empty cases 6]