Koninklijk Conservatorium Den Haag

First Year Master Harpsichord

presents

Anonymous
№ 181. Min hertz in hohen fröuden
from Das Buxheimer Orgelbuch (1460)
German tablature manuscript.

Cipriano de Rore (1515-1565)

Num.55. Anchor che col’ partire. à 4.
from the Bernhard Schmid II Tablaturbuch, Straßburg, 1607.
German tablature print. intabulation.

Antonio de Cabezó n (1510-1560)

Quatro favordones del sexto tono
from Obras de musica para tecla, arpa y vihuela, Madrid, 1578
Spanish tablature print.

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Girolamo Frescobaldi (1583-1643)
Toccata Nona in F
from Il Secondo Libro di Toccate, Canzone, Versi d'Hinni, Magnificat,
Gagliarde, Correnti et altre
Borbone revised edition, Rome, 1637
Staff notation engraved print.

Jean Henri d’Anglebert (1620-1691)

Prélude in C
Chaconne du Vieux Gaultier in C
from the Rès 89ter manuscript
Notation non-mesuré; staff notation manuscript.

Johann Sebastian Bach (1685-1750)

Harpsichord Concerto in F-Major, BWV 1057
(without tempo indication) - Andante - Allegro assai
Leipzig, 1738/1739
Staff notation autograph manuscript.

Jeong-guk Lee, recorder

Veronica Tollenaar, recorder
Sakura Goto, violin
Weronika Zimnoch, violin
Elena Gelmi, viola
Verena Spies, cello
Jesse Feves, violone

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 Introduction

Today’s program is inspired by my current ongoing master research on

16th century German and Spanish keyboard tablature as performance notation.
For the last couple of months I have been training in different tablature
notation, and today’s performance is the result of a tremendous amount of
very time-consuming effort put in to study and perform from this notation. As
a historical keyboard player, I realized some of our earliest (and later)
repertoire is notated so differently than what we see today in modern
editions and scores, yet I did not see much effort or enthusiasm within the
current Historically Informed Performance circle of thinking and playing from
this very notation, particularly with the earlier repertoire. In the 15th–century
culture where keyboard intabulations were realized either by heart or by
playing from the parts, the invention of tablature and open score system was
innovational and opened doors to “amateur” players and students to play
what has been exclusively playable only by the talented, trained, and
employed organists. I have embarked on this research to explore this
experience for myself.

In addition to the tablature notation, the program offers other pieces

studied and performed from original notation. Although modern editions
were consulted, I have really made an effort to closely examine and practice
from the scores presented on the screen today in an effort to really put myself
in the shoes of a 15th-, 16th-, 17th-century keyboard player.

In conclusion, this booklet explains the what and why of this program in
terms of Historically Informed Performance Practice, but it is also a simple
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picture book I have compiled for your viewing pleasure, and I hope it enriches
your concert experience.

Along with the Robertsbridge Codex (1360) and the Codex Faenza
(ca.1420), Das Buxheimer Orgelbuch (1460) is one of the earliest sources of
keyboard music. Attributed to the Reichskartause Buxheim (The Buxheim
Charterhouse, a monastery in Bavaria, Germany), it comprises 256 mostly
anonymous, 2- or 3-voiced compositions and arrangements for the keyboard.

The Buxheim Monastery around 1690

a painting in possession of the Ottobeuren Abbey
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a page from Das Buxheimer Orgelbuch
in the middle of the page starts № 181. Min hertz in hohen frö uden

The upper voice (right hand) with more decorative materials and smaller
note values is notated on a 7-line staff, and the lower voice(s) (left hand) with
letters—this kind of notation with letters is the German tablature system.

This mixed staff-tablature notation saves a lot of space and is very effective
for this kind of 2-voice texture. The pitches and the note values and rests of
the right hand in № 181. Min hertz in hohen frö uden are indicated as the
following:

© 2019 Christina Kwon

The pitches in the left hand are identified on this virtual keyboard with
the possibility of a short octave (s.o.):

© 2019 Christina Kwon

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Although the name of this collection suggests that these pieces are for the
organ, they would have been played on other plucked keyboard instruments
of the day. Here are a few predecessors of the harpsichord, on which the early
keyboard repertoire would have been realized, as beautifully illustrated in
Musica getuscht und ausgezogen (Basel, 1511) by Sebastian Virdung (b.1468):

title page of Musica getuscht und ausgezogen

indication of pitches on the keyboard (German tablature system)

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illustration of the virginal, clavicimbalum, claviciterium, (clavicordium, lyra)
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 Anchor che col’ partire is perhaps the most popular madrigal of the Italy-
based Flemish composer Cipriano de Rore (1515-1565). The popularity of this
4-voice madrigal is clearly demonstrated in the painting, Still-Life with a
Violinist (ca.1620) by the Master of the Acquavella Still Life, an Italian
Baroque painter active in Rome in the 1610s and 20s. Underneath the
recorder in the front is the the title page of the Libro 1 of the Mardirgali a 4
voci of de Rore published by Antonio Gardano in 1569 in Venice. The canto
part of the madrigal above the recorder is painted in full legible detail:

The text expresses deeply intimate, passionate love with euphemisms like
dying (‘morire’) and parting or leaving (‘partire’) set to sweetly poetic musical
expressions. This madrigal has been published in different madrigal collections
throughout the 16th century and exists in quite a few keyboard versions, such
as the intabulation by Andrea Gabrieli (1533-1585) and an intabulation found
in the Ammerbach Tablaturebuch (Leipzig, 1571). The notes in this particular
intabulation found in the Bernhard Schmid II Tablaturbuch (Straßburg, 1607)
are demonstrated on the keyboard as follows:

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11
title page of Bernhard Schmid II Tablaturbuch (Straßburg, 1607)
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at the bottom of the page starts Num.55. Anchor che col’ partire. à 4.
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 © 2019 Christina Kwon

Ancor che col partire Although when I part from you

io mi sento morire, it is a kind of dying,
partir vorrei ogn' hor, ogni momento: I would be glad to leave you every hour,
every moment,
tant' il piacer ch'io sento so great is my joy
de la vita ch'acquisto nel ritorno: as life comes flooding back to me on my
return:
et cosi mill' e mille volt' il giorno and so a thousand times a day
partir da voi vorrei: I would that I could part from you:
tanto son dolci gli ritorni miei. for so my heart leaps when we are
reunited. (trans. M.Swithinbank)

Spanish Tablature

Unlike the German system of using letters to indicate the pitches on the
keyboard, the Spanish system uses numbers, or figures (‘cifras’), from 1 to 7
to indicate notes F to E (4 is B-flat); following are the notes in the 4-voice
Quatro favordones del sexto tono by Antonio de Cabezón (1510-1560) from

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Obras de musica para tecla, arpa y vihuela, de Antonio de Cabezón (Madrid,
1578) published posthumously by his son Hernando de Cabezón (1541-1602):

© 2019 Christina Kwon

Spanish Ornaments and Inequality

according to Francisco Corrêa de Araujo (1584-1654)
Facultad Organica (1626) of Corrêa de Araujo is another source of
keyboard pieces notated in Spanish tablature. This collection starts out with a
very detailed preface exhaustively explaining the basics of music theory,
notation, technic and performance practice and mentions and acknowledges
Antonio and Hernando de Cabezón as musical influences. In his fifth chapter
“CAPITVLO QVINTO, QVE SEA QVIEBRO Y redouble, y en quantas maneras sean?”
Corrêa gives the execution and usage of the following ornaments in detail:
quiebro senzillo: (mordent) fingering 3-2-3 (RH); 2-3-2 (LH)
quiebro reiterado: fingering 4-3-2-3 (RH); 1-2-3-2 (LH)
redoble senzillo:
redoble reiterado:

Under the ‘Eleventh Point’ in “ADVERTENCIAS,” he explains inequality and

grouping of notes:

…six or twelve notes per measure, and also of nine and of eighteen
notes per measure, can be played in two different ways. The first, easier
manner is to play them equally and plainly, that is, without pausing
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 from Facultad Organica (1626)
“CAPITVLO QVINTO, QVE SEA QVIEBRO Y redouble, y en quantas maneras sean?”
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Obras de musica para tecla, arpa y vihuela, de Antonio de Cabezón (Madrid,1578)
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 more on one than on another, and this ayre (style) is like major
proportion, … The second manner is to play them somewhat
unequally, and with that charm and graciousness (typical) of minor
proportions, staying more on the first note and less on the second
and third, and then stopping on the fourth and less on the fifth and
sixth, and this style (though more difficult) is the most used by
organists. (trans. A.D.Lash)

These ornaments and ideas of inequality will be demonstrated in this

performance of the Quatro favordones del sexto tono.

Toccata Nona of Girolamo Frescobaldi (1583-1643) from Il Secondo

Libro di Toccate, Canzone, Versi d'Hinni, Magnificat, Gagliarde, Correnti et
altre is notated in a more modern system of two staves: the upper staff has 6
lines with a G clef, and the lower staff 8 lines with a C clef and an F clef—the
many staff lines eliminate the need of ledger lines. This toccata is certainly
one of his most virtuosic toccatas, for at the end he remarks, “Non senza
fatiga si giunge al fine” (not without effort does one reach the end). It starts
with a spread of tones instead of a chordal exposition commonly seen in his
other toccatas and is filled with polyrhythms, polymeters, dramatic change of
registers, abrupt contrasts of textures, internal pedal points sometimes
expressed with grinding trills and double trills, and many impressive passi.

The First and Second Book of Toccatas were masterfully hand-engraved

on copper plates and published by Nicolò Borbone (fl.1618-1641), who lived
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Il Secondo Libro di Toccate, Canzone, Versi d'Hinni, Magnificat, Gagliarde,.. (Rome, 1637)
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Toccata Nona the edges of the plates pressed on the paper are clearly visible

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at Frescobaldi’s house and was “paid” for his labor and craftsmanship by free
lodging and lessons from the great organist of Rome. Clearly this work was
done under Frescobaldi’s supervision and approval.

The Harpsichord and the Lute

an inspiration for the clavecinistes in 17th-Century France
The idiomatic language and expressive style initiated and established by
the 17th–century clavecinistes played an influential role in subsequent
development of keyboard music not only within France but also in other
national styles of the Baroque Era. The clavecinistes extensively explored the
expressive language of the plucked keyboard instrument, clavecin (French for
harpsichord), which was strongly influenced by lute-playing and lutenists of
the day (hence the many tributes, or tombeau, to well-known lutenists of the
day by harpsichordists such as “Tombeau de Mr. de Blancrocher”). The style
of an unmeasured prelude (prélude non mesuré) and certain manners of
arpeggiation, to name a few—keyboard idioms that are considered
claveciniste—have originated from lute inspirations. Chaconne du Vieux
Gaultier is a lute piece by Ennemond Gaultier (c.1575-1651) that Jean Henri

d’Anglebert (1620-1691) arranged for the harpsichord. Gaultier’s original

version is notated in lute tablature; d’Anglebert’s, a manuscript in staff
notation:
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lute tablature of the chaconne by Gaultier from the Robarts Lute Book (ca.1654-1668)

D’Anglebert’s arrangement of the chaconne from the Rès 89ter manuscript

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 Concerto á Cembalo certato, due Flauti à bec, due Violini, Viola e Cont
in F-Major, BWV 1057 is Bach’s arrangement of the 4th Brandenburg
Concerto to a harpsichord concerto that survives in two autograph
manuscripts: the full-score from around 1740-1759 and the harpsichord solo
part from 1738/1739; the other instrument parts exist in later manuscripts by
anonymous scribes. The harpsichord part of this concerto provides wonderful
examples of Bach’s continuo realization where he writes out the exact voices
of the harmonies where he could have easily written in figures:

I. (without tempo indication), mm.283-291

II. Andante, mm.35-48

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 III. Allegro assai, mm.209-217
Also he thinks and notates in terms of ‘voices,’ instead a chord, by stemming
all the notes in the harmony indicating the exact number voices:

The first movement of the Cembalo certato part (Leipzig, 1738/1739)

At the bottom of one of the pages in the first movement is Bach’s musical
“note-to-self,” notated with German tablature letters, clearly showing the
pitches from the different octaves:
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 I. (without tempo indication), mm.296-305

The very virtuosic string-crossing passage in the third movement of the solo
violin from the 4th Brandenburg Concerto has been modified to fit the
harpsichord, and the autograph manuscript clearly shows that Bach has
considered more than one option to make this work—it is indeed a very
difficult passage, almost impossible to execute in tempo:

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