The Gardano Music Printing Firms, 1569-1611 (Eastman Studies in Music)

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The Gardano Music Printing Firms, 1569-1611 Eastman Studies in Music, 1071-9989 Agee, Richard J. University of Rochester 1580460208 9781580460200 9780585243597 English Music--Italy--Venice--16th century--Bibliography-Catalogs, Music--Italy--Venice--17th century-Bibliography--Catalogs, Gardane (Firm) , Gardano, Angelo,--1540-1611, Gardane, Alessandro,--fl. 15751591, Music--Publishing--Italy--Venice--History--16th cent 1998 ML145.G25A33 1998eb 780.26/3/094531 Music--Italy--Venice--16th century--Bibliography-Catalogs, Music--Italy--Venice--17th century-Bibliography--Catalogs, Gardane (Firm) , Gardano, Angelo,--1540-1611, Gardane, Alessandro,--fl. 15751591, Music--Publishing--Italy--Venice--History--16th cent

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The Gardano Music Printing Firms, 15691611 Richard J. Agee

 

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University of Rochester Press

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Disclaimer: Some images in the original version of this book are not available for inclusion in the netLibrary eBook. Copyright © 1998 Richard J. Agee All Rights Reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded, or reproduced in any form or by any means, without the prior permission of the copyright owner. First published 1998 University of Rochester Press 668 Mt. Hope Avenue Rochester, NY 14620 USA and at P.O. Box 9 Woodbridge, Suffolk IP12 3DF United Kingdom ISBN 1580460208 ISSN 10719989 Library of Congress Cataloging-in-Publication Data Agee, Richard J. The Gardano music printing firms, 1569-1611 / Richard J. Agee. p. cm.(Eastman studies in music, ISSN 10719989; v. 11) Includes bibliographic references (p. ) and indexes. ISBN 1580460208 (alk. paper) 1. MusicItalyVenice16th centuryBibliographyCatalogs. 2. MusicItalyVenice17th centuryBibliographyCatalogs. 3. Gardane (Firm) 4. Gardano, Angelo, 15401611. 5. Gardane, Allessandro, fl. 15751591. 6. MusicPublishingItalyVenice History16th century. 7. MusicPublishingItalyVenice History17th century. I. Title. II. Series. ML145.G25A33 1998 780.26'3'094531dc21               9842805                                                         CIP                                                         MN British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Designed and typeset by Cornerstone Composition Services Printed in the United States of America This publication is printed on acid-free paper  

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ILLUSTRATIONS 1. Figure 1. Map of the Gardano land holdings on the Terraferma

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2. Plate 1. From Ludovico Agostini, Enigmi musicali, 1571

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3. Plate 2. From Il sesto libro delle villotte alla napoletana, 1570

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4. Plate 3. From Giovanni Pierluigi da Palestrina, Motettorum quae partim quinis partim senis, partim octonis vocibus concinuntur, liber tertius, 1594

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5. Plate 4. From Giuliano Cartari, Il primo libro de madrigali a cinque voci, 1579

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6. Plate 5. From Guglielmo Gonzaga, Cantici beatiss. Mariae Virginis, quod Magnificat inscribitur . . . Prima pars, 1586

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7. Plate 6. From Orazio Vecchi, Canzonette a sei voci . . . libro primo, 1587

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8. Plate 7. From Andrea Gabrieli, Il primo libro de madrigali a sei voci, 1587

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9. Plate 8. From Andrea Gabrieli, Madrigali et ricercari . . . a quattro voci, 1589

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10. Plate 9. From Orazio Vecchi, Motecta . . . quaternis, quinis, senis, & octonis vocibus, 1590

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11. Plate 10. From Gioseffo Guami, Il quarto libro de madrigali a cinque & sei voci, 1591 159 12. Plate 11. From Giaches de Wert, Il duodecimo libro de madrigali . . . a 4. a 5. a 6. & 7, 1608 160 13. Plate 12. From Giovanni Maria Nanino, Il primo libro de madrigali a cinque voci, 1605

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14. Plate 13. From Orazio Vecchi, Canzonette . . . libro secondo a quattro voci, 1602 162 15. Plate 14. From Giovanni Valentini, Motecta IIII. V. & VI vocum . . . liber primus, 1611 163 16. Plate 15. From Alfonso Fontanelli, Secondo libro di madrigali senza nome, a cinque voci, 1604

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To my family  

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Eastman Studies in Music (ISSN 10719989) The Poetic Debussy: A Collection of His Song Texts and Selected Letters (Revised Second Edition) Edited by Margaret G. Cobb Concert Music, Rock, and Jazz since 1945: Essays and Analytical Studies Edited by Elizabeth West Marvin and Richard Hermann Music and the Occult: French Musical Philosophies, 17501950 Joscelyn Godwin "Wanderjahre of a Revolutionist and Other Essays on American Music Arthur Farwell, edited by Thomas Stoner French Organ Music from the Revolution to Franck and Widor Edited by Lawrence Archbold and William J. Peterson Musical Creativity in Twentieth-Century China: Abing, His Music, and Its Changing Meanings (includes CD) Jonathan P.J. Stock Elliott Carter: Collected Essays and Lectures, 19371995 Edited by Jonathan W. Bernard Music Theory in Concept and Practice Edited by James M. Baker, David W. Beach, and Jonathan W. Bernard Music and Musicians in the Escorial Liturgy under the Habsburgs, 15631700 Michael Noone Analyzing Wagner's Operas: Alfred Lorenz and German Nationalist Ideology Stephen McClatchie The Gardano Music Printing Firms, 15691611 Richard J. Agee Forthcoming "The Broadway Sound": The Autobiography and Selected Essays of Robert Russell Bennett

Edited by George J. Ferencz

 

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Theories of Fugue from the Age of Josquin to the Age of Bach Paul Mark Walker

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CONTENTS Illustrations

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Tables

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Preface and Acknowledgments

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Part I: The Gardano Family Firms in the World of the Late Cinquecento Chapter 1. Introduction

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Chapter 2. Venice: Prosperity and Economic Decline

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Chapter 3. Problems of Survival: Disease, War, Food, and Land

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Chapter 4. Politics, Society, and the Book Trade

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Chapter 5. The Acquisition of Music and Musical Taste

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Chapter 6. Book Production and Distribution

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Part II: Profile of a Family Business Chapter 7. Inheritance and Division, 15691579

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Chapter 8. Venetian and Roman Successes, 15801589

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Chapter 9. Prosperity in Venice and the Final Years, 15901611

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Part III: An Introduction to the Gardano Musical Editions, 15691611 Chapter 10. The Editions by the Heirs of Antonio Gardano and of Angelo Gardano

93 93

Format 98 Collation  

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Printer's Devices 105 Title Page and Interior Compartments, Frames, and Ornaments 114 Initials 120 Typefaces 128 Paper, Watermarks, and Corrections Chapter 11. The Editions of Alessandro Gardano

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Format 135 Collation 136 Printer's Devices 139 Title Page and Interior Compartments, Frames, and Ornaments 140 Initials 142 Typefaces 145 Paper, Watermarks, and Corrections Afterword

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Plates to Part III

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Appendix I A. Checklist of the Musical Publications by the Heirs of Antonio Gardano and by Angelo Gardano (15691611)

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B. Preliminary Checklist of the Publications by Alessandro Gardano (15771591)

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Appendix II A. Annotation of the 1591 Gardano Booklist

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B. Chronological Ordering of the 1591 Gardano Booklist by Date of Publication

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Notes

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Select Bibliography

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Index of Composers

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General Index

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17. Plate 16. From the Dialoghi musicali de diversi eccellentissimi autori, a sette, otto, nove, dieci, undeci, et dodeci voci, 1590

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18. Plate 17. From Giovanni Paolo Costa, Il primo libro di madrigali a cinque voci, 1610 166 19. Plate 18. From Girolamo Trombetti, Il primo libro de madrigali a cinque voci, 1590

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20. Plate 19. From Giovanni Maria Nanino, Il terzo libro de madrigali a cinque voci, 1586 168 21. Plate 20. From Andrea Felciani, Brevis ac iuxtum ritum ecclesiae annua psalmodia ad vespertinas horas octo canenda vocibus, 1590

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22. Plate 21. From the Graduale romanum, 1591

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23. Plate 22. From Lodovico Spontoni, Mottetti a otto voci . . . libro secondo, 1609

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24. Plate 23. From Paolo Bottaccio, Il primo libro delle canzoni da suonare a quattro, & otto voci, 1609

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25. Plate 24. From Andrea Gabrieli, Il primo libro de madrigali a sei, 1587

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26. Plate 25. From Lodovico Agostini, Enigmi musicali, 1571

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27. Plate 26. From Giulio Belli, Missarum quatuor vocibus liber primus, 1599

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28. Plate 27. From Orazio Battaglioni, Il primo libro de madrigali a cinque et sei voci, 1574

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29. Plate 28. From the Graduale romanum, 1591

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30. Plate 29. From Giovanni Maria Nanino, Il terzo libro de madrigali a cinque voci, 1586 178 31. Plate 30. From Orazio Vecchi, Canzonette . . . libro quarto a quattro voci, 1603 179 32. Plate 31. From Giuliano Cartari, Il primo libro de madrigali a cinque, 1579

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33. Plate 32. From Pietro Lappi, Sacra omnium solemnitatum vespertina psalmodia, 1600 181 34. Plate 33. From Pietro Lappi, Sacra omnium solemnitatum vespertina psalmodia, 1600 182 35. Plate 34. From Giaches de Wert, Il duodecimo libro de madrigali . . . a 4. a 5. a 6. & 7, 1608 183 36. Plate 35. From Gasparo Costa, Canzonette . . . il primo libro a quattro, 1580

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37. Plate 36. From Giovanni Pierluigi da Palestrina, Motettorum quinque vocum liber quintus, 1584 185 38. Plate 37. From Tomás Luis de Victoria, Motecta quae partim quaternis, partim quinis, alia senis, alia octonis, alia duodenis vocibus concinuntur, 1583 186

 

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39. Plate 38. From Annibale Stabile, Letaniae Beatae Mariae Virginis et nominis Jesu, 1583

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40. Plate 39. From the Cantus ecclesiasticus officii maioris hebdomadae Iuxta ritum Capellae Sanctissimi Domini nostri Papae, 1587 188 41. Plate 40. From Giovanni Pierluigi da Palestrina, Magnificat octo tonum. Liber primus, 1591

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42. Plate 41. From Tomás Luis de Victoria, Motecta quae partim quaternis, partim quinis, alia senis, alia octonis, alia duodenis vocibus concinuntur, 1583 190 43. Plate 42. From Tomás Luis de Victoria, Motecta quae partim quaternis, partim quinis, alia senis, alia octonis, alia duodenis vocibus concinuntur, 1583 191 44. Plate 43. From Giovanni Pierluigi da Palestrina, Motettorum quinque vocibus liber quintus, 1584

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45. Plate 44. From Giovanni Pierluigi da Palestrina, Magnificat octo tonum. Liber primus, 1591

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46. Plate 45. From the Cantus ecclesiasticus officii maioris hebdomadae Iuxta ritum Capellae Sanctissimi Domini nostri Papae, 1587 194  

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TABLES 4.1 Gardano Repertoire by Genre, in Numbers of Editions (15691611)

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9.1 A Tabulation of Entries from the Gardano Booklist of 1591

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9.2 Numbers of Confirmed Editions Issued by the Figliuoli di Antonio Gardano, 15691575

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9.3 Numbers of Confirmed Editions Issued by Angelo Gardano and Angelo Gardano & Fratelli, 15761611

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9.4 Preliminary Numbers of Confirmed Musical Editions Issued by Alessandro Gardano, 15771591 88 10.1 Printer's Devices: Gardano Heirs, 15691575, Angelo Gardano, 15751606, and Angelo Gardano & Fratelli, 16061611

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10.2 Ornaments: Gardano Heirs, 15691575, Angelo Gardano, 15751606, and Angelo Gardano & Fratelli, 16061611

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10.3 Initials: Gardano Heirs, 15691575, Angelo Gardano, 15751606, and Angelo Gardano & Fratelli, 16061611 115 11.1 Preliminary Summary of Printer's Devices, Ornaments, and Initials: Alessandro Gardano, 15771591

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PREFACE AND ACKNOWLEDGMENTS This study serves as an introduction to the music printing firms of Angelo and Alessandro Gardano. Decades ago, Mary S. Lewis embarked on a study of the activity of the Gardano firm in Venice from its very beginnings through the death of Antonio Gardano in 1569, and her descriptive bibliography is projected to comprise four volumes in its final form (as of the date of this publication only two volumes had been published). I had originally intended to write a descriptive bibliography of the period in the Gardano family that followed the research of Lewis, that is, during the heydey of the family's business from 1569 to 1611. However, the more I delved into the topic, its parameters ballooned to the point where the possibility of publication for such an elephantine work appeared remote at best. In any case, the results of the vicissitudes of my research during the last thirteen years is a book that bears little resemblance to my original concept, but indeed one that utilizes the results of my research to emphasize historical and archival methods over bibliography;1 indeed, the final product might be somewhat more balanced than I had first intended. More to the point for the reader, the study in its entirety now comprises only a single volume. Words can only inadequately thank those whose ideas, criticisms, support, and action have helped to shape this work as it gradually assumed its present form. I am greatly indebted to Jane R. Bernstein, who carefully read and provided insightful comments and criticisms of an early draft of the study, and who has been enthusiastic about the project from its beginning. Victoria L. Levine, Martin Morell, and Carol Neel also reviewed various portions of an early draft of the work, and I thank them as well for their timely responses, interest, and support. Other scholars whom I wish to thank for sundry assistance include Lorenzo Bianconi, Bonnie J. Blackburn, Stanley Boorman, David Bryant, Giovanni Caniato, David Crawford, Michela Dal Borgo, Iain Fenlon, Jonathan Glixon, Susan

 

1 Consequently, this study does not follow the classic statement by Greg: ''What the bibliographer is concerned with is pieces of paper or parchment covered with certain written or printed signs. With these signs he is concerned merely as arbitrary marks; their meaning is no business of his." (Greg, Collected Papers, 247). Aspects of this comment are explored by D. F. McKenzie throughout his Bibliography and the Sociology of Texts.

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Jackson, Jeffrey Kurtzman, Mary S. Lewis, Robert Lindell, Angelo Pompilio, Esther Redmount, Cesarino Ruini, W. Richard Schindle, and Marino Zorzi. Many librarians, library staff, and people who love books assisted me in more ways than can be enumerated here. They demonstrated great patience with my incessant written inquiries, and their much appreciated contributions added enormously to the accuracy of the bibliographical content of this study. Included among those I especially wish to thank are Hugo Angerer, Maria Adelaide Bartoli Bacherini, Lorenzo Baldacchini, Christoph Ballmer, Carla Guiducci Bonanni, Angelo Campagner, Giancarlo Castagnari, Nick Chadwick, Madelaine Collinson, Kendall Crilly, Philip M. Dowd, Calvin Elliker, S. A. Elsegood, Colomba L. Ghigliotti, Louise Goldberg, Wolfgang Goldhan, Clytus Gottwald, Marjorie Hassen, Monika Holl, John Brooks Howard, Johannes Hoyer, Attilio Jezzi, Klaus Keil, A. Kersting, Catherine Massip, Sarah E. McCleskey, Giovanni Moretti, Edward T. Morman, Giuseppe Muscardini, Rupert Neelands, Zbigniew Nowak, Alfredo Pacini, William C. Parsons, Domenico Ponzini, Jennie Rathbun, Elisabeth H. Rebman, John Roberts, Noni Rudavsky, Sante Sciubba, Sandra Sider, Bart Lind Smith, G. Stübler, Antonio Suvioli, Raymond Van De Moortell, Peter Vogel, Chris Walton, Giuseppe Zivelonghi, and Marian Zwiercan. Although space forbids the inclusion of the names of all institutions and individuals that have contributed to this work, I am particularly grateful for the hospitality shown me by the staff members of the Music Library of the University of California at Berkeley, the De Bellis collection at San Francisco State University (California State University System), the Isham Library at Harvard University, the Norlin Library and the Music Library of the University of Colorado at Boulder, the Newberry Library of Chicago, the Archivio di Stato in Venice, and the Biblioteka Jagiellonska * in Kraków. Much of the research that I conducted with secondary sources would have proved significantly more burdensome without the untiring assistance of Diane Burgner Brodersen, Interlibrary Loan Librarian for Tutt Library, The Colorado College. I also wish to thank Marshall Kean, Director of Special Projects, Development Research, The Colorado College, for his linedrawing map of the Gardano properties on the Terraferma, and both him and David Armstrong, Director of AudioVisual Services, The Colorado College, for their assistance with the photographic plates. Numerous institutions have provided financial assistance during the completion of my research and writing, including the American Council of Learned Societies, the Gladys Krieble Delmas Foundation, the Fondazione Levi, and the Universitá degli Studi in Venice. Of special importance was the support of The Colorado College over the last de 

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cade, including continued assistance from the Research and Development Board, a Benezet Summer Stipend, numerous Mellon Research Blocks, and a grant from the Dean of the Faculty. Finally, my sincerest thanks go to the University of Rochester Press as publisher of The Gardano Music Printing Firms, 15691611. I am indebted to Ralph P. Locke, Professor of Musicology at the Eastman School of Music and Senior Editor of the Eastman Studies in Music at the Press, for the keen interest he expressed in the manuscript when he first read it and the efforts he undertook as editor to provide it with a definitive shape; to Sean M. Culhane, Director of the University of Rochester Press, who assisted me through the intricacies of book publishing, including complicated bureaucratic dealings with libraries here and abroad to secure permission to publish the plates; and to Louise Goldberg, Production Manager of the University of Rochester Press, whose keen eye saved me from many careless errors. Without their help, this book would be much the poorer.

 

RICHARD J. AGEE THE COLORADO COLLEGE SUMMER 1998

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PART I THE GARDANO FAMILY FIRMS IN THE WORLD OF THE LATE CINQUECENTO  

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Chapter One Introduction During the course of the high and late Renaissance, the Most Serene Republic of Venice enjoyed the immense fruits of her stunning economic and political successes. Venetian commercial and industrial strength and activity, including the book trade, reached unheard of levels. In addition to vast numbers of literary publications, more music was published in Venice than in all other countries combined in the 1590s. 1 Simply put, music printed in Venice dominated the European market. The most prolific of Renaissance music publishers were the Venetian brothers Angelo and Alessandro Gardano, whose printed music represented more composers and reached more people than the production of any other music publisher in the Renaissance. After the death of their father, Antonio Gardano, in 1569, the heirs carried out their printing activities as partners in Venice until Alessandro's withdrawal from the family business in 1575. Angelo continued the established family business uninterrupted in Venice until his death in 1611. Meanwhile, Alessandro established his own publishing company and produced both musical and non-musical publications in Venice until 1581, and from 1583 until 1591 in Rome.2 The overwhelming importance of the Gardano brothers, and particularly Angelo Gardano, derives from two factors: first, they published works of the most important musicians of their day, particularly those active in Italy, including Asola, the Gabrielis, Gesualdo, Lasso, Marenzio, Monte, Palestrina, Schütz, Vecchi, Victoria, Wert, and many others; second, they produced an astounding number of musical editions, now widely diffused in libraries and private collections throughout Europe and the world at large. It is unlikely that we will ever have an entirely accurate count of the number of editions issued by the Gardano family, given the vicissitudes of four centuries.3 In the entire period from 1551 until 1650, at least 5,500 musical editions issued forth from Italian presses, approximately 4,200 of these from Venice alone.4 Angelo and Alessandro Gardano printed at least 975 of these, more than any other single generation of a  

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music printing family. We can now identify 112 confirmed editions from the six years in which Angelo and Alessandro held the firm in a partnership, from 1569 until 1575. After his separation from the family company, Alessandro Gardano produced at least 50 musical editions and 61 non-musical publications, in Venice and in Rome, from 1577 until 1591. Yet it is Angelo's production numbers that should astonish anyone familiar with the book tradeat least 813 additional confirmed (and doubtless more) musical editions from 1575 until his death 1611, or 925 if the early years of partnership with Alessandro are included. 5 In contrast, other music printers during the Renaissance each produced substantially lessthe elder Antonio Gardano produced only about 450 musical editions total (153869; this number and those following all rounded to the nearest 5); Girolamo Scotto, 395 (153972); Adrian le Roy and Robert Ballard, 320 (155198); Pierre Phalèse and heirs, 190 (154578); Pierre Attaingnant, 165 (152858); Johann Berg and Ulrich Neuber, 120 (154263); Hubert Walerant, Jan de Laet, and heir, 75 (155469); Tielman Susato, 60 (154361); Valerio Dorico and heirs, 50 (152672); Jacques Moderne, 40 (152960); Claudio Merulo, 30 (156670); Johannes Petreius, 20 (153650); and Christophe Plantin, 10 (157891).6 The number of editions issued by the Gardano sons has been habitually misrepresented owing to a lack of data, and unfortunately, both musicologists7 and non-specialists8 have tended to underestimate the dominant role that Angelo and Alessandro Gardano played in the production and dissemination of musical editions in the culture of the Renaissance.9 Of course, adding to the difficulties of studying the Gardano family in this period is a lack of basic materials. Of the four types of documents that are crucial to the study of printingthe extant books published by the printer, the printer's archive, type specimens issued by the printer, and physical remains of the print shop (including punches and matrices)10the last three classes of evidence are entirely lacking. A few letters and archival documents have been found in Venice, Rome, Mantua, and Vienna that shed some light on the Gardano printing practices, but much of what is known about the firm must be deduced from the editions themselves.11 Too, the neglect of the Gardano heirs in the history of music printing seems to be a natural outcome of the Romantic spirit. After all, the modern historiography of music printing began with an emphasis on the editions of Ottaviano Petrucci, especially the Odhecaton of 1501. As the first printer of polyphonic music on a large scale, Petrucci incited the imaginations of Schmid, Haberl, Vernarecci, and Vogel in the nineteenth century, and many more during the course of the twentieth.12 The primacy and physical beauty of the Petrucci publications, printed with the early multiple-impression process,13 appealed to the antiquarian spirit of the Romantic age, just as the most decorative and elaborate musical manu 

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scripts received more attention in the nineteenth century than did their simpler counterparts. Renaissance music books unfortunate enough to have been produced by the later and more efficient single-impression process tended to receive less detailed treatment in the music-historical literature, although during the course of the last few decades this situation has started to change. 14 Nevertheless, the impression lingers that nonspecialists tend to list Petrucci, "the first" music printer, before any others, perhaps followed by Attaingnant, Antonio Gardano, and Girolamo Scotto.15 The heirs of these latter Italian printers, if they come to mind at all, naturally follow their fathers in order of perceived importance. In any case, it is now clear that Angelo and Alessandro Gardano, although they cannot be deemed to have chronological priority, must be given a place of great historical and artistic importance in the history of European music owing to the immense number of their editions, more than issued by any other generation of a music printing family during the Renaissance. In addition, Angelo Gardano produced one of the first (if not the first) extant trade list of music books printed by a major publisher of music.16 In addition to their crucial roles as the principal disseminators of musical culture in the late Renaissance, the Gardano heirs also experienced events and took part in trends that affected over a million citizens and residents of the Venetian state17 at least as much as they were set apart by the characteristics of their trade. Indeed, their production of books in many ways reflected the broad economic and cultural trends of the late Cinquecento. Their purchase and ownership of land on the Venetian mainland paralleled long-term investment strategies by the patricians, citizens, and residents of Venice, as well as the politics of the Venetian state. And even in terms of survivalmatters of food, sickness, and deaththe Gardano clan, a family of highly trained artisans, grappled with the same problems as did the majority of Venetians. In other words, the family's commercial organization and indeed the family structure itself formed entities that were in turn an integral part of the structure of Venice as a whole. Consequently, the Gardano music printing firms, and by extension the musical publications of Angelo and Alessandro Gardano, cannot be understood in depth or can be analyzed only in part without reference to the organism of the Venetian state and its society at the close of the sixteenth century, particularly to economic structures and development. This was a time of great prosperity for Venice but, at the same time, a period in which significant elements of decline haunted the city and its dominion. It is here that we begin.  

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Chapter Two Venice: Prosperity and Economic Decline The economic success of the Gardano family firms in the late Cinquecento belies the received view of this period as one of decadence. At the opening of that century, Machiavelli had already pushed the date of Venetian decline back as far as the 1300s, when the city allegedly ceased to remain content with its maritime empire and began to promote incursions onto the mainland. 1 In 1509, the patrician Girolamo Priuli also denounced the Venetians' neglect of difficult and laborious maritime matters for the pleasures of their villas on the Terraferma.2 By the 1600s, some historians of Venice looked back to the fifteenth century as the most prosperous era for the Venetian Republic. They based their views primarily on the role of Venice as an intermediary for the transport of merchandise between East and West. Certainly from the historians' perspective, the fifteenth-century Turkish incursions into the Venetian maritime empire and the competition resulting from discovery of the trade route around the Cape of Good Hope doomed Venice to decline.3 In the eighteenth century, some Venetian writers repeated the traditional views that assigned blame for the decadence of Venice on the investments made by patricians in land on the Terraferma and the turn away from the traditional Venetian role as a maritime power.4 Of course, the word "decadence" is charged with a biological and evolutionary bias, and yet, until the last few decades, the commonly accepted opinion placed sixteenth-century Venice in this very category, often on the basis of moral judgments. Molmenti, in his influential La storia di Venezia nella vita privata, dated the beginnings of Venetian decadence from the fall of Constantinople in 1453.5 He amplified the lurid qualities associated with the word "decadence" itself by quoting contemporaries who emphasized the torrid spectacle of corruption throughout the sixteenth century (i.e. the city's prostitution, ostentation, elements of Protestantism, swearing, homosexuality, and other grave sacrileges).6  

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Nevertheless, we find myriad views of a very different sort, soon after the sixteenth century drew to a close, that suggest the success of the Gardano music printing concerns was not an isolated commercial phenomenon. In 1605, Giovanni Botero related that there is such a variety of things here [in Venice], pertaining both to man's well-being and to his pleasure, that, just as Italy is a compendium of all Europe, because all the things that are scattered through the other parts are happily concentrated in her, even so Venice may be called a summary of the universe, because there is nothing originating in any far-off country but it is found in abundance in this city. 7 Nicolò Contarini, later doge of Venice, looked back several decades to the end of the Cinquecento and commented that at the time, the Republic enjoyed the outward confidence of every Prince and was, one might say, in open amity with all; moreover it abounded in all things which the fertility of the land, the industry of man, and a suitable location usually bestow on a well-regulated commonwealth . . . Trade flowed into the city from all parts, so much so in fact . . . that she was deemed possibly greater at that time than she had ever been in days past.8 And this view was not common solely among Venetians. In 1651, an English observer was surprised to have found in Venice no hint of decadence, no softness, but instead a city that was fresh, flowering, and abounding in all sorts of maritime trade. Another Englishman writing around the same time commented that "as concerning the trade and traffique of this City, she is without doubt Mistris of all other."9 The key to deciphering these opposing views may very well lie with the principle of relative vs. absolute economic decline. Relative decline implies a loss of position in respect to other powers, as in the loss of commerce, industrial failures, or a dissolution of spheres of influence. Absolute decline, however, may be considered a reduction in the capacity of an economy to support a given standard of living (population reduction may also play some role here). The surviving records often refer primarily to the manifestations of relative decline alone without reference to absolute decline. Consequently, historiography based on those records may distort views of the past, particularly in regard to economic decline, where psychological testimony may take on more importance than economic data.10 Recent research has suggested that in an absolute sense, the economy of Venice did not decline over the course of the Renaissance, and consequently, the expansion of the Gardano music printing firms in the late Cinquecento paralleled larger economic currents in the same periodin short, that the Gardano firms acted as individual agents of larger  

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economic trends. Certainly the wide diffusion of the Gardano editions in Europe today at least in part mirrors the broad expanse of the Venetian commercial networks in the late sixteenth century. 11 But without a doubt the Venetian economy was gradually forced to adjust to its lesser role as viewed against the growing economic power of northern Europe from the sixteenth century into the seventeenth. Fernand Braudel, eschewing the word "decadence," drew a striking comparison between Venice during the late Renaissance and Europe a dozen years after the Second World War. Obviously, postwar Europe was altogether different from the Europe of 1914 in terms of power and prestige when gauged against other economies. Nevertheless, Europe adjusted to varied economic and political trends worldwide, just as Venice flourished and perpetuated itself despite the enormous changes effected in its role throughout the sixteenth century.12 There is no doubt that in the second half of the Cinquecento the Venetian economy was plagued with a number of serious crises,13 and the 1590s are now considered a time of acute distress and disorder in much of Europe.14 Yet despite decades of terrible wars at the opening of the 1500s, Venice was the only Italian state to survive and retain its independence over the course of the century. The Serenissima somehow managed to adapt itself to the shifting currents of the Mediterranean economy, at least until the opening of the seventeenth century, to ensure its continuing success.15 A reexamination of a few of the landmarks in Venetian history sheds significant light on the supposition of decadence and the historical forces that affected commerce in general in Venice during the closing decades of the Cinquecento, forces that must have had an impact on the Gardano music printing firms. As early the fourteenth century, even with its continuing conflicts with Genoa, Venice was at the height of its influence as a maritime power, its empire extending from the city itself eastward to encompass much of the Dalmatian coastline and islands along the eastern Adriatic sea, as well as strategic Greek islands such as Corfu, Naxos, Zante, Crete, and Negroponte. From the fifteenth through the seventeenth centuries, the Ottoman Turks gradually whittled away at Venetian influence and colonial possessions,16 and yet Venice succeeded in developing a near-monopoly of the Levantine spice trade during the course of the fifteenth century, even with its rudimentary and embattled outposts.17 Further, in 1489 Venice acquired Cyprus (not to be lost to the Turks until 1571), and in the next eight decades proceeded to develop and exploit for its own profit the resources of the island, including sugar, salt, cotton, wine, and grainssixteenth-century Cyprus became a showpiece of Venetian prosperity. Even with constant conflicts with the Turkish Empire, Venice shared its destiny with the Turks to such an extent that during the high Renaissance other Italians called the Venetians "Semi-Turks" and Span 

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iards referred to Venice as the ''Turkish Whore." With its influential and at times conciliatory diplomacy and its technical and commercial superiority, Venice dominated zones politically controlled by the Turks, and the economic decline of Venice in the seventeenth century corresponds to the analogous decline of the economy of the Turkish Empire. 18 The colonial empire of Venice, however, was small when compared to the impressive city of Venice and the Terraferma.19 Indeed, the simultaneous conquest of a new Venetian empire on the Terraferma also compensated in part for any losses in maritime colonies in the fourteenth and fifteenth centuries. From the earliest years of the fourteenth century until the first decade of the sixteenth, Venice exerted its influence over its neighbors on the mainland, ultimately dominating all of northeastern Italy. The defeat of Venice by the League of Cambrai (forces representing the pope, the kings of France and Spain, and the Holy Roman Emperor) in 1509 seemed to spell the end of Venetian expansion, but by the conclusion of the war in 1517, the Venetians had reacquired nearly all of the territory that they had lost. Thereafter, the citizens of Venice and the mainland possessions remained remarkably untouched by the cruel European wars that raged about themthose that plagued other Italian states in the first half of the century, and in the second half the wars that devastated Dutch, French, and German interests.20 While two eventsthe Portuguese incursion into the spice trade with the newly discovered Cape route (news of which reached Venetian markets in 1499) and the Turkish conquest of Egypt (greatly restricting the flow of spices into the Mediterranean after 1516)often are said to have triggered Venetian decline, Venice was favored by the experience and wealth of its merchants, who, as always, adapted to changing conditions and stayed competitive in the spice trade throughout the sixteenth century. Even as late as 1597, one consul wrote that "of all of nations that trade in Aleppo, the Venetians are greatest in sheer numbers, reputation, and the volume of their transactions; their annual trade is worth over two millions in gold."21 In contrast, the total of French, English, and Dutch trade together amounted to only one million ducats. A precipitous and permanent decline in Venetian fortunes in the Levant would only occur in the next century.22 However strong Venetian commercial fortunes might have appeared in the spice trade, there is no doubt that the end of the sixteenth century witnessed a drastic decline in Venice's traditional role as a shipbuilder and sea power. The galley fleet of the Venetian government (long ships with oars, used primarily for wars and hauling light but precious cargoes, such as spices from the East) had been at its height of power at the end of the fifteenth century, while the privately built round ships (high and wide vessels with an immense carrying capacity but entirely dependent on sails, used for bulkier cotton and alum, wine, slaves, grain, and oil) came to  

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eclipse the government-sponsored galleys by the mid-sixteenth century. Too, from the 1570s onward, piracy plagued Venetian shippingUskoks from the eastern shore prowled the Adriatic sea while the Barbary corsairs attacked the coastlines of all Catholic states. In the 1590s and early 1600s, the Maltese, Florentines, Spanish, English, and Sicilians also engaged in pirate activity. Insurance rates for Venetian ships soared; in addition, the technical and moral backbone of the fleet was damaged during these years by the desertion of the fleet by young noblemen, the inclusion of nonprofessional seamen in the crews (including convicts), a general laxity of discipline, and a lack of any resolve on the part of Venice to fight the decline in crew quality. By the end of the century, oak needed for shipbuilding timbers became scarce in the Mediterranean, and in the following century the Dutch, who controlled the lumber resources of the Baltic, held maritime supremacy over any Mediterranean power. Venetian documents still point to plenty of trade in the Mediterranean at the end of the Cinquecento, but a distinct lack of Venetian boats to carry the goods. By 1615, Venetian reliance on foreign shipbuilding activities for their maritime commerce had become almost complete. 23 Despite the decline in its shipbuilding activities, however, Venice retained a competitive commercial position in the closing decades of the sixteenth century in three principal areas: 1) as a center of commerce in merchandise, 2) as an important industrial center, and 3) as a clearing-house for financial transactions from across Europe.24 First, Venice remained a thriving center for the traffic of merchandise throughout the Cinquecento. In the fifteenth century, it is true, Venice dominated world markets, but but this sphere of influence was not nearly as commercially animated as it was to become in the following hundred years. In particular, the supply of the vast German market was still the basis for Venice's primacy in trade with the Levant. Germans were the most avid European consumers of pepper, and raw cotton from the East was carried by sea to Venice and then overland to the great centers of the textile industry in southern Germany, Ulm and Augsburg. In a similar fashion, raw Persian silk arrived at Venice for the newly developing centers of the silk industry in Cologne, Frankfurt, and Nuremberg. The Fondaco dei Tedeschi, the principal gathering place for German goods and merchants in Venice, was restored to a new splendor by the Venetians after the disastrous fire of 1505, thus highlighting the special importance that the Venetians attached to German trade. Too, the Serenissima had greatly increased trade with Switzerland, Sweden, Denmark, Poland, and Russia in the last decades of the sixteenth century. As testimony to its thriving trade, anchorage taxes and customs receipts in Venice climbed to new heights from the 1590s until 1603.25 Second, until the last few decades, historians had largely ignored Venetian industrial growth in favor of its international commerce. Yet in  

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the third quarter of the sixteenth century, the largest labor force in north or central Italy was that of Venice and the Terraferma, with about 1,600,000 or more inhabitants. Venice itself (in 1586: 148,637 inhabitants) ranked between Paris (1590: 216,000) and London (1568: 100,000) in terms of population size, and next to Naples (1591: 209,470) was the largest city in Italy. 26 Manufacture of wool,27 as well as luxury items such as silk,28 glass productssuch as mirrors, enamels, mosaic, and costume jewelryas well as the artistic production of wood, iron, copper, leather, bone, cloth (i.e., trimmings such as ribbons and laces), and precious metals (including gold and silver jewelry), and of course products of the booming Venetian chemical industrysuch as soap, candles, dyes, paper, and sugarin addition to the printing industry, thrived throughout the period of the high and late Renaissance.29 Local activities as well, such as manufacturing for the home market, distilling, furniture making, large-scale metalworking, and food processing, should not be overlooked as major signs of Venetian economic activity. The Venetian oligarchy and private concerns also took a great deal of interest in construction activity during the sixteenth and seventeenth centurieswitness the large number of grand palaces built at the time and still standing on the Grand Canal and elsewhere in the city, and construction and repair of more common dwellings must have required a great expenditure of resources. The government also spearheaded an effort to defend the waterways of Venice from silt by manipulating the locations of the river mouths into the lagoon, and undertook an extensive campaign to reclaim parts of the Terraferma from the water.30 Printing occupies a central place in the history of Venetian industry in the sixteenth century. While not generally considered a century of splendid books, the sixteenth century saw an unmatched industrialization of printing in Europe and an astounding number of books produced. Venetian books in particular were considered good buys in the European marketplace. Unfortunately, the evidence used to demonstrate levels of printing activity in Venice from decade to decade during the Cinquecento has not been particularly persuasive. For example, Horatio Brown maintained that the decline of applications for governmental privileges on books in the last decades of the sixteenth century attested to the decline of the printing trade, as suggested by corroborative anecdotal evidence.31 Paul Grendler posited a similar decline in printing during the same years, based on more anecdotal evidence and the diminishing number of licenses issued by the Heads of the Council of Ten.32 Other scholars faced similar difficulties in attempting to estimate production by Venetian presses during the Renaissance.33 However, I have demonstrated elsewhere that printing privileges may have been obtained by means of an alternate application process through the Printing Guild rather than through the Senate in the last decades of the centurysuch a process  

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was officially recognized by the Venetian government in 1603. This would have cut down immensely on privilege applications through the Senate, and demonstrates that a lack of privilege requests does not necessarily indicate an accompanying decline of printing activity. Besides, the privileges officially recorded in the official Venetian archival sources for the 1580s and 1590s, at least for publications of music, encompass only a small number of the publications actually issued "con gratia et privilegio." The large number of books with privileges from Venetian presses with no corresponding documentation in the archival sources strongly suggests that we should look to the surviving books themselves for evidence of press activity at the end of the Cinquecento, and not to the Venetian archives. 34 Some data might well suggest, however, that the printing trade was already in decline by the end of the Cinquecento. For instance, in 1588, while denying a privilege for a work earlier published in Rome, the Venetian Senate claimed that the number of presses in the city had fallen from 120 to only 70.35 The plague of 157577, with the attendant death and emigration, also might have had some effect on the number of Venetian presses, but many firms, such as that of Angelo Gardano, prospered well into the next century. Here, however, we may be confronting a piece of propaganda that highlights the tension between Venice and Rome over the Index of Prohibited Books and other matters. Was Venice pointing to a decline in the printing trade only as a cover for denying a privilege to Roman rivals of its own artisans? More studies on individual printers need to be carried out to determine the true extent of political and social influences on the printing trade throughout the period. In any case, the tremendous output of the Angelo Gardano firm peaked in the banner years of the 1580s and 1590s, when, as we have seen, Venetian trade and commerce in general underwent an unprecedented euphoria.36 The third sector in which the Venice experienced great activity in the sixteenth century and beyond was in its role as a clearinghouse for financial transactions. Neutral Venice held an enviable position of being considered a safe haven for merchants in times of trouble elsewhere in Europea sizable Dutch colony formed in Venice during the Spanish crisis in the Netherlands, and many Jews of Portuguese origin fled to Venice after their expulsion from Ferrara.37 These foreigners contributed to the lively commerce of the city, to its cosmopolitan character, and, of course, to the perceived security of financial transactions carried out by agents in the city. Yet no European city was utterly free of financial problems at some time or another during the course of the Renaissance. Between 1551 and 1584, five major banks collapsed in Venice; the last, the Pisani-Tiepolo Bank, left over one million ducats in liabilities. This was not an isolated Venetian phenomenonnine banks collapsed in Florence and Rome during the 1580s and 1590s alone. In 1587,  

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the Venetian government confronted the crisis of private banks by establishing the Banco di Rialto to take deposits and transfer funds between customers, an institution later imitated in all of Europe. And while a new and vibrant capitalism sprang up in Lyons, Antwerp, Seville, and Lisbon, it had somewhat more difficulty in Venice owing to traditional restrictions to commerce. Yet even as late as the seventeenth century, the gold zecchino of the Venetians was still used in commercial transactions far from Venice and retained its reputation as one of the most respected coins in the world. 38 Consequently, despite the difficult European economic landscape, the elastic Venetian economy survived and even prospered in the sixteenth century. And yet there is no doubt that during seventeenth century the power of Venice faded considerablythe word "decadence" can now be used without equivocation.39 While Venice remained the most extraordinary city in Italy for its intellectual, musical, and theatrical life, Italy as a whole began a long period of economic and social stagnation. Owing to grave economic crises and rising costs, music publishers had already begun to cut back on their output before the total collapse of the Venetian music printing industry around 1650. Figures for the publication of musical editions in Venice fell from about 365 for the five-year periods of 159095 and 161015 to only around 60 in 1635.40 The great demand that Venetian music printing families such as the Gardano and Scotto created in the middle decades of the Cinquecento seems to have led to the enormous output of music printing houses at the end of the century and into the 1600s. But the collapse of the industry must have led to a loss of a music reading public during the course of the Seicento. Musicians' horizons narrowed to a more localized and personalized outlook as the print musical culture of the Cinquecento gradually reverted once again to a manuscript culture over the course of the seventeenth century; by 1700, while printing in general had become more scattered and fragmented, aimed mostly at internal markets, the printing of music in Venice had virtually died out.41 The crisis of the 1600s affected virtually every aspect of European life, and for the origins of this general malaise, scholars often point to the influence of climatic changes, the effect of the precious metal influx from the New World, and the price revolution.42 In addition, the decadence of the Venetian economy in particular during the seventeenth century can be attributed to a number of other factors, including political uncertainties, industrial and commercial competition, a collapse of its major foreign markets, and perhaps a refusal to deviate from traditional ways of doing business. The continuation of the Turkish military advance against Venetian possessions, the collapse of many private banks, and armed, organized gangs terrorizing the Veneto were bound to have made investors nervous.  

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As a consequence, many wealthy Venetian diverted huge amounts of capital at the end of the sixteenth century away from industry and maritime trade and toward immobile investment in land and buildingsan "ostentation of inert opulence" and a disinvestment in commerce and industry. 43 Investors must have been put off as well by the foreign concerns that were competing more and more successfully with Venetian industries. By the seventeenth century, the looms of the North came to dominate the markets, and Venetian cloth was replaced by English and Dutch merchandise.44 The luxury industries of Venice also entered a period of declineEngland and France effectively closed their markets to Venetian glass, silk, and lace, while activity in the mining and metallurgy industries of the Veneto fell off sharply. As Venice had less to sell and fewer places to export goods, its trade benefits could only lessen.45 The further collapse of the markets in the traditional zones of commercial influence for Venetian merchantsthe Turkish Empire and Germanypushed the manufacturing capacity of Venice beyond the hope of any significant recovery. Rising prices in the Turkish Empire favored the silver of the northern Europeans and made it difficult for the Venetian merchants to acquire goods through the usual means of barter with their own merchandise. Thus, we see a decline of the Venetian economy in the seventeenth century that paralleled the decline of the Turkish Empire.46 Throughout the sixteenth century, the balance of trade with the great German market also favored Venice.47 But the defining event of German commercial relations with Venice came with the advent of the Thirty Years War (161848), the cataclysm that put an end to German prosperity, and the damage to trade was further exacerbated on the Venetian side by the terrible plague epidemic of 163031. Obviously the disruption in the economies of its two major trading partners had a devastating effect on the economy of Venice itself in the first half of the seventeenth century.48 In addition to industrial competition and the collapse of its major markets, foreign trade competition seriously challenged the role of Venice as the traditional intermediary in Mediterranean trade. The Turkish sultan began to deal seriously with other western powersFrance in 1536, England in 1580, and the Dutch in 1612. By 1625, spices were classified by Venetian customs officials by their provenance as western (i.e., Dutch and English), not eastern, commodities, and amounts of both raw Syrian and Persian silk and cotton coming to Venice from eastern ports plummeted.49 Serious competition also came from Italian rivals Ancona and Livorno, which were declared free ports by their overlords, the pope and the archduke of Tuscany, respectively, in 1593. Ancona became a preferred spot for trading wool, silk, cotton, wax, wool, and hides with Greeks and Dalmatians; Livorno, given its access to the passes into Germany, its access to the immense markets of Tuscany and Lombardy, and  

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its freedom from restrictive shipping legislation for foreigners, was transformed into a major competitor of Venice and a virtual English colony. 50 Thus, myriad factors combined to deprive Venice of its commercial superiority over the course of the late sixteenth and seventeenth centuries. By the end of the 1600s, Venice and the rest of Italy became major importers of manufactured goods from England, France, and Holland. The market remained strong and even grew somewhat for Venetian drugs, dyes, gold silk, and glass, as well as products of the Venetian Terraferma, such as woolen textiles, the arms industry, sugar, rice, and paper, and products of the eastern colonies, such as raisins.51 But now most Venetian exports consisted primarily of natural resources or only partially worked merchandise, such as oil, grain, wine, wool, and raw silk.52 After the terrible damage inflicted on Venetian commerce during the course of the seventeenth century, Venetians therefore might have taken some consolation in the new functions of their city as a regional port, serving the evergrowing needs and market of its extensive mainland population. As we have seen, while some Venetian industries and commercials interests, including printing, saw a decline in the 1600s, many sectors of the Venetian economy remained stable or grew. In other words, Venice became decadent not in an absolute sense, but decadent in a relative sense when measured against the gains in commerce made by the great northern powers.53  

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Chapter Three Problems of Survival: Disease, War, Food, and Land The defining events of the Gardano family and its printing business from 1569 until 1611, particularly in regard to problems of survival, closely parallel the vicissitudes of the Venetian Republic itself. For instance, the years 1569 and 1570 witnessed a terrible famine in Venice, beginning in October of 1569 and lasting until the following June. The famine was accompanied by an outbreak of typhus, probably the last Venetian crisis that resulted from overpopulation and chronically inadequate food supplies. 1 The death of Antonio Gardano, father to Angelo and Alessandro, occurred during this crisis, on 28 October 1569. The cause of his death listed in the Venetian necrology for 1569 was "fever." "Fever" was often a synonym of typhus or even the plague, and thus it seems possible that Antonio Gardano died from the last such epidemic precipitated by famine to strike Venice. The lesson does not seem to have been lost on the Gardano heirs, since at the division of the firm six years later, approximately twentyone sacks of wheat were found stored in the family apartments in the city.2 The demands of the War of Cyprus (157073) also affected Venetian printers.3 In 1570, the first full year in which the "figliuoli di Antonio Gardano" acted as a company, at least twenty musical editions issued from its press. In the next year, the firm produced even more, at least two dozen. But as the war dragged to its conclusion, it must have taken its toll on the economic resources of the city. In 1572 and 1573, the output of the Gardano presses fell to 16 and then 12 editions, respectively. The year following the conclusion of the war with the Turks, 1574, the family produced at the very least a healthy total of 27 editions (see Appendix I.A).4 Yet a great internal crisis was to strike the city of Venicethe great plague of 157577. During this short period, the city lost almost 50,000 of its 180,000 residents.5 Naturally devastation on such a scale was bound  

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to affect all sectors of the Venetian economy, printing included, especially in 1577. 6 From at least 27 editions printed in 1574, the number of Gardano music editions declined to about 17 in 1575, 16 in 1576, and plummeted to a mere 3 in 1577. In addition to the possible loss of workers and peril to their own lives (one bookseller, during the epidemic, dictated his will from his dwelling to a notarylater employed by the Gardano familyon the street),7 the members of the Gardano family faced other obstacles in their efforts to continue printing. Already by late 1575, the Venetian authorities were trying to put out of work dealers in rags, the stuff from which paper was made, because it was thought that rags carried the contagion. Since most of the paper used by Venetian printers seems to have been produced in the area of northern Italy east of Venice near Lake Garda (also affected by the plague), paper supplies had likely dwindled to a low point by 1577 after two years of such draconian measures by the government. Letters out of Venice had to be fumigated to destroy the miasma thought to cause the disease, although books needn't have been perforated in the same way. Surely the intensity of labor needed to approve books for export during this period must have been prohibitive. In any case, other cities had placed a quarantine on Venice and all trade was reduced to a minimum.8 It seems most likely that during the worst months of the plague the Gardano siblings spent their time away from the city. Typical behavior of the well-to-do during times of plague was to retreat to country villas, and in some parts of Europe, even the poor fled the cities. With the onset of the plague of 157577, many Venetian nobles and anyone who had property on the mainland retreated to the country to wait out the epidemic. In the last years of his life, Antonio Gardano had acquired a number of lots on the Terraferma, and by the time of the division of the family assets in 1575, the Gardano children owned many properties, some of which included houses, encompassing dozens of acres on the mainland. Whether any of the dwellings on these lands were country homes for the Gardano family or instead were occupied by the people who rented the land from them is not clear, but references to money spent on a Gardano house on the mainland appear in some later documents. Many sources refer to the difficulty in replacing skilled workers after such a severe plague epidemic, owing both to a shortage of manpower and the higher wages driven by market demand. Nevertheless, by 1578, the year immediately following the elimination of plague, Angelo Gardano's shop produced at least 21 editions. From all appearances, business was already back to normal, suggesting either that the Gardano workers were not harmed by the plague or that Angelo was able to replace them without any difficulty once the epidemic had taken its course.9 The Venetian food crisis and typhus epidemic of 156970, the War of Cyprus in 157073, and the plague of 157577 affected the fortunes  

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and the very lives of the Gardano family. Yet the famine, the death of Antonio Gardano, and the family's possible flight to the mainland at the height of the plague's effects reflect much larger economic and social pressures of the Venetian state in relation to its dominion over the Terraferma. In 1509, Girolamo Priuli was already lamenting that Venice was abandoning its traditional maritime roleVenetian nobles and the people in general were paying double what land was worth in the Padovano and Trevisano, locations only a day or two away, and they were wasting their money on villas as well as the horses and coaches to visit their mainland properties. 10 With the rising prices, particularly of agricultural goods,11 and bank failures in the last part of the sixteenth century, investors probably felt land was not only a safe but perhaps a profitable investment.12 While older noble families may have overcommitted themselves to immobile investments, doubtless many other nobles and middle-class merchants were willing to take their places in supporting the burgeoning industries and other lucrative commercial ventures throughout the sixteenth century.13 Nevertheless, the population pressures in the Mediterranean during the Cinquecento often led to frequent famines, and the price of wheat rose in the period faster than other items. Consequently, a turn to the mainland for investments need not be viewed as decadence;14 in this case, it can also be seen as a healthy reaction to food crises and an intelligent solution to finding a stable food supply for Venice. While grain exports from Venice proper had been restricted since the fifteenth century, in 1530 this ban was extended to the mainland as well, and prohibitions on grain exports continued to be issued in later years. From 1551, the Venetian government began to store grain both for its colonies and for any possible internal food crises.15 In addition, the Venetian government promoted extensive reclamation of land from water and swampy conditions. The era from the 1540s until the opening of the War of Cyprus in 1570 in particular was a period of extensive land reclamation activity, and although the labor shortage brought about by the War of Cyprus and the plague of 157577 put an end to large-scale land reclamation, Venetian possessions on the mainland continued to increase by about 35% between 1570 and 1630. By the end of the sixteenth century, about 200,000 fields (campi) or about 190,000 acres had been reclaimed,16 and the inhabitants of Venice owned one-third of all cultivated land in the Padovano, the area in which the Gardano family held its properties. Most of these lands were in the possession of the patriciate, but a significant portion was held by upper-income households resident in Venice, such as the Gardano family.17 The turn toward the mainland and the emphasis on the importance of agriculture probably made Venice the first of the large Italian cities  

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that was self-sufficient in food supplies. Already in 1591, during the fierce competition among all Mediterranean cities for scarce grain, 18 the Venetian Senate maintained that it could ordinarily supply its demand for food from within its dominions, with proper enforcement of export prohibitions and grain deposits. Several decades later that view was confirmed by the future doge Nicolò Contarini, who maintained that exports of surplus grain would soon begin.19 The introduction of maize cultivation into the Veneto in the 1550s virtually guaranteed self-sufficiency in grain supplies for Venice, and rice for export to England and Holland became an important commodity.20 As the mainland was tamed, an aesthetic of the countryside also developed, and the growing importance of agriculture was reflected in the institution of the country villa. Antonfrancesco Doni described five sorts, from the most extravagant to the most modest: 1) the princely or spacious villa, 2) the gentleman's or recreational villa, 3) the merchant's or economy villa, 4) the artisan's villa, and 5) the peasant's or utility villa.21 The music printer Angelo Gardano, in addition to participating in the flourishing economic activity in Venice with his busy printing firm, took part as well in the new rural aesthetic. He received large amounts of wheat from his properties in partial lease payments,22 and he kept a butter or cheese maker in the kitchen of his Venetian apartments, perhaps for any milk he might receive.23 The villa he owned in the Padovano (where already in 1509 Girolamo Priuli had said that everyone wanted land and a house) sat about one day's journey from Venice. Although not a grand palace like the Villa Barbaro at Maser, it would probably have been described as a gentleman's or merchant's villa, since it included a large kitchen, a wine cellar, and a space (perhaps a tower) for the raising of doves;24 the main floor had a room likely painted with frescoes (''depenta"), while the upstairs consisted of two additional rooms, including another with painting.25 The carriage outfitting equipment mentioned in the inventory of the property suggests that Angelo Gardano moved from his apartments in Venice to his property on the Terraferma in relative comfort.26 Although this move to the country has been considered a fusion of bourgeois mercantilism with the old feudal aristocracy,27 it might be equally thought of as a revival of the ancient Roman ideal of country life. As such, the owner of a rural villa like Angelo Gardano might have also exulted in the widespread neo-classical aesthetic of the Renaissance.  

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Chapter Four Politics, Society, and the Book Trade Political and social concerns have always had direct and indirect effects on the publication of books, and without a doubt, the Counter Reformation, or Catholic Reformation, had an impact on all of Italy at the end of the Cinquecento. Yet while censors closely scrutinized publications in the field of religion, they seem to have found few objections to works published in most other disciplines, such as classical scholarship and philology, history, law, literary criticism, logic, mathematics, medicine, music, and rhetoric. 1 Nevertheless, the turn in the political tide sharply increased the demand for religious music, and from 1595 until 1615, the publication of sacred music more than doubled over the entire Italian peninsula. Music books produced in the centers of the Catholic faith, Rome and Milan (the latter known as the second capital of the Catholic Reformation), would have had some influence on these numbers, although in Venice, too, editions of sacred music from all publishing houses during the first decade of the seventeenth century surpassed secular music for the first time in almost a hundred years.2 The printing career of Alessandro Gardano, while printing on his own in Venice, mirrors trends in the printing of music before the Council of Trent, since of the 11 music books he published there from 1577 to 1581, 7, or 64%, were secular or instrumental (see Table 4.1). But after his move to Rome in 1583, his printing activity there more closely mirrored contemporary pressures toward the burgeoning dissemination of sacred music. In his Roman period, Alessandro published 32 books of sacred music, and only 7 books, 18%, were secular in character.3 Notwithstanding the social and religious pressures of the post-Tridentine era, it appears that the trends of the Catholic Reformation had no discernible effect on the business of the Gardano firm in Venice. The ratio between secular and sacred music in the output of the deeply conservative firm of Angelo Gardano remained virtually the same  

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Table 4.1 Gardano Repertoire by Genre, in Numbers of Editions (15691611) Madrigals Lighter Secular Miscellaneous Motetsd Miscellaneous MassesPlainchantf Instrum. Formsb Secularc Sacrede Music 59 10 3 16 14 10 0 0

The Heirs of Antonio Gardano, 15691575 Angelo Gardano, 15751579 35 2 0 16 10 7 0 3 Angelo Gardano, 15801589 156 27 6 38 41 19 2 4 Angelo Gardano, 15901599 110 26 7 40 27 15 1 6 Angelo Gardano (& Fratelli), 97 17 8 30 42 13 0 8 16001611 Alessandro Gardano, Venice, 3 2 1 1 0 3 0 1 15771581 Alessandro Gardano, Rome, 1 5 1 7 19 3 3 0 15831591 aMadrigals and canzoni; bVillotte, canzoni alla napolitana, madrigaletti, greghesche, villanelle, etc.; cSuch as ricercari da cantare, concerti, L'Amfiparnaso, etc.; dMotets, sacrae cantiones, and sacrarum modulationum; eMagnificats, lamentations, psalms, passions, etc., and sacred music in Italian, such as laude and madrigali spirituali; fThis column includes books using primarily plainchant notation and books about plainchant  

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throughout the printer's career until his death in 1611 (see Table 4.1): in the 1570s, 62% secular music editions to 38% sacred; in the 1580s and 1590s, 63% secular to 37% sacred; in the first decade of the 1600s until 1611, 61% secular to 39% sacred (this small drop in secular production is too insignificant from previous levels to have any real meaning). 4 Only after 1611, when Bartolomeo Magni assumed duties as head of the Gardano firm, did the production of sacred music make inroads at the expense of secular output. With the decline of the Italian madrigal (the most popular genre in the second half of the Cinquecento) during the first half of the seventeenth century, printed secular music failed to make a comeback in popularity. Of course, after the turn of the century, the output of all Italian music publishing firms declined precipitously, particularly after the depression of 161922.5 Other political considerations, if not directly influencing the ratio of sacred to secular music production, may have affected the output of the Gardano family. The interdict of Venice by Pope Paul V, the culmination of a long series of conflicts over the printing industry and papal authority in general, was initiated in April of 1606. Although the pope was forced to retreat from his position in the following year,6 the number of books issued by the Gardano firm fell from at least 24 editions in 1605 to only about 13 editions in 1606. By 1607, the company again issued a respectable number of 22 editions. Of course, the effects of age on Angelo Gardano may have had some impact here as well, since the annual production by the firm dipped occasionally in a few years during the last decade before his deathin 1601 (15 editions), 1602 (12), and 1610 (11). Angelo Gardano seems to have had little interest in publishing anything other than music, and even the politics of the Catholic Reformation do not appear to have had any significant impact on his output. As we have seen, Alessandro Gardano's move to Rome and the politics of the Catholic Reformation likely affected the ratio of publications of secular to sacred music. In addition, after Alessandro's departure from the family firm in 1575, he produced several dozen non-musical publications, including books in Hebrew, and whether or not the Venetian government considered the relations between the Gardano family and the Venetian Jewish community politically suspect can only be a subject for speculation. Venice hosted a relatively large Jewish population during the Renaissance, and the Jewish connection proved invaluable in dealing with the major commercial centers of the Ottoman Empire where Jews of Iberian origin held leading positions in trade.7 Although the Jews of Venice lived in the first European ghetto, there were many opportunities for social and professional contacts between the city's Jews and Christians.8 The Venetian Signoria imposed a ban on printing or publishing books by any Jews in 1548, although the enforcement of this regulation  

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varied tremendously from decade to decade. 9 In 1553, following the Roman lead, the Venetian Council of Ten ordered the burning of the Talmud, both in its Babylonian and Palestinian redactions, and all related works. Over 1,000 copies of the Talmud were destroyed in Venice alone, and the order was comprehensive enough to condemn virtually all books in Hebrew. Printing of Jewish books underwent a virtual ban for the next nine years. In 1571, the Venetian Senate once again forbade Jews to work in the printing industry. Upon the defeat of the Turkish fleet at Lepanto in that same year, a tide of public resentment against the Jews arose in Venice, and the Senate imposed an expulsion order on the community upon the expiration of its condotta in 1573. Before the deadline in 1573, however, the Senate rescinded its previous declaration without comment. Evidently more liberal policies were followed later in the decade, since permission was given for an enlargement of the Jewish cemetery on the Lido in 1578 and later.10 In Venice, Alessandro printed Caro's Schulhan arukh and Jewish Daily Prayers in 1577 and 1578 (he would later publish Bellarmine's Institutiones linguae hebraicae in Rome).11 The proofreaders for these Venetian editions were probably either Jews or converts from Judaism, since we have no evidence that shows the printer to have been any sort of scholar or linguist. Since the Venetian government at that time required Hebrew books to be printed by Christians, Alessandro's press in Venice must have served simply as a front for the printing activities of those with a knowledge of Hebrew. Indeed, Alessandro's connections to Jews resident in the city may have gone back to his youth. Musical training was an essential part of the education of any Jewish child. Jewish music masters, musicians, and players were sought after by Christian pupils and audiences in Venice and Italy at large, and Jewish music teachers were particularly respected.12 Teaching music and dance were among the few occupations that Jews of the ghetto were allowed to exercise.13 Alessandro, while receiving his early musical training, may have formed certain connections with Jewish musicians, and they in turn may have drawn upon his acquaintance to have Hebrew books published in the late 1570s; they may have even lent him a type font for that purpose.14 Regardless of occasional crackdowns on religious books, or political or natural impediments to commerce, such as the interdict or a plague epidemic, the trade in all types of books generally flourished in sixteenth-century Venice. For instance, just in the eight years between 1561 and 1568, 29 new bookshops opened in the city. Later in the century, a total of about 400 or 500 men seem to have been connected to the book trade in Venice. Apprentices served anywhere from three to seven years in the printing business before becoming journeymen; masters as young as fifteen were reported in some trades.15 Printers, booksellers, and their journeymen and apprentices were traditionally considered craftsmen, as were  

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most of the Venetian populationin 1563, for example, over 120,000 out of almost 170,000 Venetians were deemed artisans and families of artisans. Those printers with more education and larger shops enjoyed a somewhat higher status owing to the notion of printing as an art and as a factor in the intellectual community, although certainly by the seventeenth century most printers were simply commercial tradesmen with little interest in scholarship. Yet even when some of those involved in the production of books might have been scholars and humanists, such as at the beginning of the Cinquecento, printing was still a business and books were merchandise to be sold like any other, and the conditions associated with laborers in the book trade were probably similar to those governing other workers in Venice. 16 Levels of education probably varied widely for those in the printing trade, although general literacy levels appear to have climbed substantially from the fifteenth through the seventeenth centuries. In the mid-fifteenth century almost two-thirds of the adult male population in Venice seems to have been illiterate (and a much higher percentage of women). Although it would appear that illiteracy might have decreased during the last half of the fifteenth century as the number of teachers in Venice began to grow, another estimate still places the Venetian literacy rate by 1587 at 33% for males, 23% for both sexes. Around the same time, seventeen master artisans bidding on interior construction on what is now the Marciana Library signed their bids with their names; only five could not write. By the middle of the seventeenth century, though, the number of illiterate witnesses who verified notarial documents in Venice had almost disappeared. The role of Venice as a center of printing and for issuing inexpensive editions may have had a hand in this progressive spread of literacy.17 Venice offered a typical educational mix for the Renaissance, with independent schools enrolling 89% of all students at the end of the sixteenth century, church schools another 7%, and communal schools about 4%. Around 26% of boys in Venice attended formal schools, but only a statistically insignificant percentage of girls. The largest educational institutions were the vernacular schools that emphasized reading and writing in Italian, computational skills (abbaco), and bookkeeping, all necessary for businessmen in commercial ventures such as the printing trade. Surely the three male Gardano siblings who went into commerce had a thorough training in business skills, and it is likely that they attended a vernacular school in Venice rather than following a classical curriculum. Naturally, if Gardano family members acted as proofreaders in Latin, they would have needed training in that language, either by a private tutor, home schooling, or in a school emphasizing a more humanistic curriculum. They may have received their musical training at home, in church schools, or perhaps by Jewish music masters.18 Some workers  

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connected to the printing business in Venice probably had educations similar to the Gardano boys, although many apprentices in the printing trade, at least in France, appear to have been illiterate. 19 Clearly at least a vernacular education would have been a necessity for anyone wishing to become a successful and versatile worker in the book trade on a longterm basis. For the female Gardano siblings, Angelica and Lucieta, the cost of a convent education was probably out of the question (4060 ducats annually), and very few Venetian girls attended school formally outside of the home (only 30 girls out of over 4,500 total students total in 1587). Much of their education probably consisted of informal home schooling. We do not know the extent of the literacy of the daughters of Antonio Gardano, although they might have received an education similar to that of the daughters of the Antwerp printer Plantinan elementary knowledge of the vernacular, perhaps a smattering of Latin. The Plantin daughters also received some training in commercial activities, although this aspect of education for daughters does not appear to have been a primary concern for most Italian families. While some women were enrolled in guilds, especially in those connected to clothing and textiles, it seems highly unlikely that this would have been the fate of the Gardano daughtersat any rate, no women's names appear in the membership lists of the Venetian Printing Guild records of the period.20 Although women occasionally participated in the workings of a printing firm, as proof-readers when young or as widows or daughters who then sold the business or passed on the firm to another printer through marriage (as would be the case with Angelo Gardano's daughter Diamante), both of the Gardano sisters married and then virtually disappeared from the written record.21 Printers worked long hours. The schedule of laborers in the Venetian Arsenale and many of the manual laborers in Venice was regulated by the bells of St. Mark's basilica, which signalled the hours of the workers in the Arsenale. In theory, work began one hour after sunrise; breakfast was taken at 8:30; work was suspended for an extended dinner break at 3:30 in the afternoon, and the workers continued until midnight (later in winter owing to a later sunrise), except Saturdays, when work finished at 3:00 in the afternoon. Elsewhere in Europe, work hours for printers seem to have averaged twelve or more hours per day, excluding any breaks. On the other hand, in practice the large number of religious holidays in Venice mitigated this demanding work schedule somewhat; the custom of absent Mondays to recover from overindulgence on Sundays also seems to have been common; and doubtless work time was cut back significantly during the winter months with the diminished hours of daylight. Nevertheless, it is likely that laborers were used to working much longer hours than is customary today.22  

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The typical wages for workers in the book trade in sixteenth-century Venice obviously fluctuated with the level of skill involved, the year, and the market conditions. When the Gardano siblings took over their father's firm in 1569, the approximate daily rate of income for guild masters in the building trade was about 32 soldi, and by the time Angelo Gardano died in 1611, about 60 soldi, thus highlighting the progressive inflation in the period. Laborers in the building trades would have received about 20 soldi per day in 1569 and 38 soldi in 1611. Lane estimated about 15-20 ducats as an average annual wage for unskilled labor in Venice at mid-century, 50 ducats for skilled workers, while Braudel suggested an average Venetian wage at the end of the century at about 37 ducats. The lowest-paid of employees in a print shop in the late fifteenth century appear to have received about two ducats per month, typesetters and pressmen two and one-half, or from 24 to 30 ducats per year; by the late sixteenth century, these wages would probably have doubled to at least 60 ducats. Highly skilled workers might have received even more: a ship's carpenter foreman or ship's master and secretaries for the Venetian Council of Ten averaged 100 ducats annually by the end of the sixteenth century; a journeyman textile worker, 148; an accountant, 180; an engineer, 240. A nobleman with 1,000 ducats income per year was considered wealthy; with an annual income of 10,000 ducats, very wealthy. 23 Although no financial records survive from the Gardano firm, the Plantin press in Antwerp seems to have aimed for a gross profit margin of 100%, although markups as high as 200 through 400% were not uncommon.24 Naturally, selling expenses, trade discounts, and other charges would need to be deducted to calculate the net profit. Costs of transportation of the paper to the printer, for example, would further inflate the cost of a book. The Morosi bookshop in Florence marked up books from the wholesale printer's price by about 45%,25 but in any case trade discounts appear to have been relatively common.26 Plantin's trade discounts varied tremendously, from 15% to 40%.27 For booksellers receiving editions from another city or country, transportation costs of the completed books themselves, by land, river, and sea, would have to be taken into account in figuring the final price.28 For such a bulky cargo such as books (even shipped and stored as standard practice in an unbound state), sea and river transportation would have made the most sense whenever possible. Nonetheless, other losses could inflate the price of bookswater damage, pirates who made off with bales of books, and highwaymen who robbed bookmen's couriers of cash (although presumably instruments of exchange would have been procured for large financial transactions).29 As with wages, retail book prices also varied throughout the Cinquecento. In the earlier decades, the introduction of italics and oc 

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tavo format for classical authors by Aldo Manuzio had tended to lower book prices (given the concommitent decrease in the amount of paper needed for a publication), although after the first decades of the century, as with the general inflation of wages, book prices increased as well. Unlike the pricey multiple-impression musical editions of Petrucci from the first decades of the century (publications more expensive than comparable literary works of a similar size), most of the musical publications issued by Angelo and Alessandro Gardano, produced by the single-impression process, seem to have been relatively inexpensive. 30 Although Turrini's survey of the purchases of music for the Accademia Filarmonica of Verona included no prices for the period in which firms were operated by Angelo and Alessandro Gardano, it did provide the cost of books printed by their father Antonio Gardano from as early as the 1530s until the late 1550s. Verdelot's six-voice madrigal book of 1541 (154116)31 sold at one lira seven soldi for six partbooks in oblong quarto (unbound, the standard form in which most books were acquired in the sixteenth century).32 Nearly two decades later, the Accademia Filarmonica purchased a set of five partbooks with music by Rore for the same amount.33 The booklists of the music printers Vincenti (published in 1591) and Scotto (published in 1596) demonstrate that a common price for a simple set of partbooks in quarto was about one lira or somewhat more, approximately one soldo for each sheet (every eight pages or four folios in quarto).34 By contrast, a short vernacular comedy could be had for as little as 4 soldi, whereas a longer work, such as Domenichi's Dialoghi of 1562 (Venice: Giolito, 435 pages in octavo) cost slightly more than the musical edition cited above, one lira ten soldi.35 A comparison of the cost of music books with other items in the Venetian market proves instructive. It appears that in Venice the cost of four or five days supply of flour for an adult would have sufficed to purchase a typical set of music partbooks late in the sixteenth century;36 or perhaps the same cost as four or five pounds of mutton, three or four pounds of oil, or half a cartload of wood.37 Consequently, since the average price of musical editions purchased by the Accademia Filarmonica of Verona seems to have been about one lira seven soldi (= 27 soldi) per set, many people in Venice could afford to purchase a set of printed partbooks.38 Detailed records of music and music paper purchases at a bookshop in Florence show the clients to have been solidly middle-class by professionamong others, a cleric, a leather-worker, and a customs inspector;39 in Antwerp, Plantin sold music books to other booksellers, musicians, officials in the government, men of the church, and close friends.40 But for an unskilled Venetian laborer with a large family, disposable income was doubtless tight and the purchase of music books was probably out of reach.  

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Chapter Five The Acquisition of Music and Musical Taste The question of musical taste in this era is, of course, crucial, but credible answers to the many questions posed by the sources and the repertory prove few indeed. 1 One barrier to exploring the Gardano editions in this regard is the sheer volume of material, nearly 1,000 musical editions in all. Would any attempt to cover the topic of taste and musical style through these extant sources, which cover nearly every major genre and composer whose works circulated in Italy and beyond at the time, become simply another general history of music in Italy in the late Renaissance and early Baroque? Does the fact that many extant partbooks show little evidence of having been used in performance undercut our efforts to use the surviving sources as a measure of popular taste, given that the surviving books may not have even been used for the purpose for which they were intended?2 Ultimately, how much control, in terms of musical taste, was actually exerted by printers in the late sixteenth century over the music they published? Can we really distinguish between which editions were underwritten by a direct commission and those that originated by the independent choice of the printer himself?3 Certainly a number of assumptions, almost truisms, have pervaded the literature on this subject. It has always been assumed, for instance, that the reprinting of an edition indicated continued demand for the music it contained, and likely in many instances this must have been the case.4 After the printing of the Gardano booklist of 1591, for instance, the number of Gardano reprints, previously held to a modest number, grew enormously, suggesting that consumer demand was sparked by the mere knowledge of the existence of earlier editions. But if we had access to more information regarding the size of press runs, say, an original edition in 750 copies, a second edition in 500, and a third in only 150,5 could successive reprintings actually indicate on occasion that interest in the music was on the decline? Even if we knew the size of more press  

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runs for music books, 6 would these numbers really tell us much about musical taste, or instead simply indicate the lavish spending and misjudgment of a patron?7 Another assumption is that the anthology was probably less dependent on patronage and thus more likely dependent on sales, rather than the single composer edition popular later in the sixteenth and into the seventeenth centuries.8 Certainly Mary S. Lewis takes this point of view in her studies of early printing. She labels those books that lack any preface or dedication purely commercial ventures by the printer without any outside financial backing, and considers that the firm of Antonio Gardano acted as a vanity press or probably received some form of external funding in the case of most single-composer editions.9 Whether this is indeed the case, it is true that the printed anthology figures most prominently in the first decades of music printing, while single-composer editions of music do not become particularly popular until the last half of the sixteenth century.10 It is these single composer editions of music that came to dominate the music printing scene in Italy, although truly unified collections are rare.11 Here the received assumption is that a musical edition with a dedication conveying gratitude for generosity or flattery to an individual likely suggests a financial underwriting of the project by this patron; a coat of arms in place of a printer's device on the title page would also signal such a subvention.12 Dedications in printed music books first arose in great numbers with the commercialization of music printing around 1540. In the case of the Scotto press from 1536 to 1572, a quarter of the dedicatees included great monarchs and ruling nobility in Italy and abroad, while the remainder praise lesser-known nobles, ecclesiastical figures, merchants, scholarly academies, literary figures, and other composers. Jane R. Bernstein classes the rationale behind the choice of dedicatee into three distinct categories: 1) that the patron, possibly the composer's employer, has paid for all or part of the printing expenses, 2) that the dedication might be used to flatter a potential employer, and 3) that the dedication is meant to elicit a financial subvention from a patron after the fact.13 Of course, dedications to other musicians or academies might have expressed merely general feelings of respect and honor without any significant financial gain implicit in the act, and this rationale could be applied to the other dedicatees as well.14 Presumably, then, the taste of the music printer (or editor) would not necessarily figure into the publication of a single-composer edition, although this would certainly not rule out the (probably) frequent occurrence that printers might well have chosen to issue single-composer editions of music they liked or thought would be popular. Yet if the printer did not have a stake in the marketability of the edition, but was simply paid for producing the press run,15 then no judgment of taste  

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would be implicit in the publication itself. Certainly when Angelo Gardano was approached about printing music composed by Guglielmo Gonzaga, he did not ask about the quality of the music, but simply protested that his shop was already too busy to consider taking on another publication (but he ended up printing the works after all). 16 On the other hand, the printer (or editor) of an anthology of new or previously published compositions, with the printing concern itself assuming all the financial risk, would need to judge the market keenly if the publication was to be a successful investment.17 Such an editor would need to cater to the public's taste, but could also form it as well, as seems to have been the case with the many anthologies published in Paris by Pierre Attaingnant. Daniel Heartz acted as a forceful advocate for this linkage when he asserted that ''the role of the music press as a clearinghouse for ideas and as an arbiter of taste was something to be reckoned with henceforth in French music."18 Yet the last half of the sixteenth century saw a falling popularity in anthologies, an unfortunate loss for scholars attempting to determine the role of consumers' taste in the published repertoire of the late Renaissance. Angelo and Alessandro Gardano published very few anthologies, on the annual average even fewer than had Antonio Gardano before them. Instead, they issued primarily single-composer editions, and it is difficult to imagine that they would have turned away any patron or composer who was willing to pay for a press run and earn a profit for the publishing house. Obviously the measure of contemporary taste that is determined through an analysis of the choices made in compiling an anthology appears to have little meaning in respect to the production of singlecomposer editions. Certainly the earliest printers of music, such as Petrucci, could not expect casual buyers for the relatively small press runs for his editions, and thus would have to exercise a good deal of editorial control over the contents of his music books to assure that the requirements of his known market were to a large degree taken into account.19 The Petrucci editions, produced through the multiple-impression process, were more costly to produce than the later books that were created by single impression. In fact, a Petrucci edition may have cost almost as much as the commissioning of a mansucript copy, and consequently, the dissemination of most of these early editions was probably limited to the same economic milieu that had served as the market for music in manuscript before the invention of music printing from movable metal type.20 Over the course of the first half of the sixteenth century, however, music printing had become more streamlined and commercialized, particularly with the advent of the firms of Antonio Gardano and Girolamo Scotto in Venice. The city provided a proximity to the Terraferma and thus to the production of the most important raw material of printing  

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paperas well as a well-established complex of commercial networks and efficient modes of transportation both by sea and by land to all of Italy and to the countries of the North. Notwithstanding the irregular nature of music education in the period, the evidence of greater and greater numbers of editions being printed throughout the sixteenth century would suggest a growing music literacy among the public at large. 21 This phenomenon may be attributed to music printing itself. As the general literacy of the public grew for literature, for instance, more and more consumers must have been intrigued by the music books for sale at or near the bookshops that supplied their standard literary diet. Learning to read takes significantly more time than learning to recognize notes and to sing single polyphonic lines from partbooks, and the relative wealth of consumers during the course of the sixteenth century placed many of them in a position to learn to read music and to buy musical editions. The increasing activity of Girolamo Scotto and Antonio Gardano in the middle decades of the century must have both catered to and fostered demand for the Renaissance polyphonic repertory, ultimately feeding into the ever-increasing activity of the Gardano firms in the closing decades of the century. Only later, with the depressions and plagues of the seventeenth century, did relative incomes fall. As fewer resources were available to purchase music, music literacy must have taken a nosedive as well, and music printing as an industry in Italy virtually collapsed. Stanley Boorman has commented that music publishers never had access to the sort of consumer market that allowed for the sort of informed browsing that many of us take for granted with most printed books.22 That is, most music publishers from the middle years of the sixteenth century issued the polyphonic repertoire in partbooks, and very few browsers would have had the musical sophistication to examine all of the partbooks in a given publication and have a clear idea of the nature and quality of the music. Elizabeth Eisenstein, in examining the role of books in general during the first centuries of printing, suggested that the bulk of the medieval hearing public was dependent on storytellers, on sermons, and somewhat later on others reading aloud for literary pursuits as well as their knowledge of local and foreign affairs. While these early means of communication drew members of the community together, the act of reading books by its very nature suggests a solitary activity.23 The realization of a polyphonic repertoire in partbooks, however, presupposes a group activity; thus, the consumption of printed music remains entirely distinct from other forms of printed communication and suggests an entirely different approach to consumers' relationship with the repertoire and with each other. As we have seen, one solution taken by publishers to the dilemma of browsing polyphonic partbooks must have been the anthology, so popular in the middle decades of the century. The creation of an anthology  

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have been one way to appeal to a growing market, since at least a few of the more famous composers' names in a given anthology might have been known to the potential consumer. 24 The diminishing influence of the anthology in the last decades of the century, at least with the output of Angelo and Alessandro Gardano who produced very few, suggests the tantalizing possibility that the market was large enough, and the cash flow large and certain enough, that the Gardano firm in Venice, the largest printing concern of polyphonic music in the Renaissance, could rely upon single-composer editions alone, for the most part, to successfully sustain the business. Of course a few printers did not have to rely so heavily on the market, since they had been fortunate enough to have steady patronage from a generous patron over long periods of time. Paulo Manuzio of the Aldine press gained much of its working capital directly from the papacy, and even moved his operations to Rome for a time where he could work more closely with his patrons. Robert Estienne won subsidies for his printing firm from the king of France, Francis I, although he lost his patron when he turned Protestant and fled to Geneva where his business continued to prosper until his death in 1559. Robert's son, Henri, found two patrons to subsidize his business in Geneva, Ulrich Fugger, who provided the printer with an annual stipend and loans from 1558 until 1568, and the grandson of Francis I, Henri III, who also supplied him with an annual stipend.25 Christophe Plantin in Antwerp used acquaintances at the Spanish royal court to secure the patronage of King Philip II for the publication of the polyglot Bible, and ultimately Plantin was appointed Philip's "proto-typographer" for the Low Countries. Relations between the king and printer, however, predictably cooled after the sack of Antwerp by the Spanish in 1576; thereafter, costs were more often defrayed by authors or other publishers.26 Perhaps less glamorous than the patronage of royalty or wealthy merchants, public subsidies guaranteed the survival of most printing houses active in Romagna during the seventeenth century.27 Occasionally, printers of music during the Renaissance were also able to obtain direct subsidies. From 1537, Attaingnant in Paris carried the title "Imprimeur et libraire du roy," in recognition of his past achievement as well as support for a specialized enterprise; the title carried with it an annual stipend of 100 crowns and special tax exemptions. In 1553, Le Roy and Ballard earned the same distinction.28 Baldini set up his printing house opposite the Castello Estense in Ferrara, and carried the title of Ducal Printer until the occupation of the Duchy by papal troops in 1597, when the title was changed to Episcopal or State Printer and Printer to the Academy of the Intrepedi.29 For a Venetian music printer, however, who lived and worked in a unashamedly commercial environment under the auspices of the Venetian Republic, reliance on an annual  

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stipend from a wealthy patron does not appear to have been a frequent option. No records survive that give a reliable account of how Angelo and Alessandro Gardano might have acquired the music they printed, although other sources throughout the century shed light on the standard routes of transmission. The easiest method was simply to copy the music found in an edition already published. This often seems to have been the strategy employed by many Venetian publishers in the middle years of the century, as with Antonio Gardano's two anthologies published in Venice, Fior de Mottetti tratti dalli Mottetti del Fiore (Primus liber and Secundus liber, 153912 and 15396, respectively). The music from these editions appears to have been taken directly from Jacques Moderne's Motteti del Fiore, published in Lyons between 1532 and 1539 (153210-11, 153910-[11]). Gardano reissued the Primus liber six years later (15454), and almost two decades later Rampazetto republished Gardano's Primus liber with the same contents and the same order (15646). In addition, Antonio Gardano appears to have copies individual pieces from anthologies printed by Attaingnant, Antico, Moderne, and others. 30 Venetian publishers had few qualms about issuing reprints of foreign editions, assuming there was a market for the publication. Venetian law, however, protected those editions for which a privilege had been granted by the Venetian senate, usually, at mid-century, at least, for ten years. The privilege laws, however, specifically exempted those editions for which reprint permission had been granted by the original publisher. Barring the location of any documents to the contrary, it appears that Antonio Gardano and Girolamo Scotto may have had, at least on occasion, just this sort of arrangement.31 In any case, no legal repercussions stood in the way of Gardano copying Moderne's work, since the latter carried no Venetian privilege. Rampazetto had free reign to copy Gardano's edition because the privilege window had expired.32 Music printers may have also acquired the repertoire that they published a piece at a time. Before the advent of music printing on a broad scale, music had often circulated in sheetstermed by Charles Hamm "fascicle manuscripts"that would contain single works or small groups of compositions.33 Even after the advent of music printing from movable metal type, pieces of music apparently continued to circulate in the same way throughout the sixteenth century (occasionally these works seem to have been closely guarded to prevent their dissemination).34 Some evidence suggests that the music for some early printed anthologies might have been acquired a few pieces at a time, perhaps through fascicle manuscript circulation.35 A printer may have also been passive in the acquisition process if a composer attempted to contact a printing house on his own to have his music published. Most Renaissance printers of literary works and other  

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texts, however, rarely seem to have purchased the texts they published outright, and the few times they did the amount paid was small; 36 it would seem unlikely that the music would have been any different for printers than other sorts of texts.37 In most of the music printing contracts known from the Renaissance, either the composer was paid nothing (particularly in the case of anthologies), or was expected to contribute to the initial expenses in exchange for later profits, or the printer was paid directly, either by the composer or a patron, to have the music published.38 In 1543, for instance, the composer Cristóbal de Morales signed a contract to publish his music with the Roman printer Valerio Dorico, but the composer assumed a heavy burden in doing so. In addition to providing the printer with a fair copy of his music, he was to procure licenses to print and privileges in Naples, Venice, and the Papal States; to purchase the paper for 250 copies from the press run; and to pay all of the printing costs for those 250 books. In return, Morales was to receive 275 copies of the total print run of 525, but could sell only 50 in Italy, and then not through any retail establishment.39 Antonio Gardano also seems to have had a similar arrangement with the composer Jacques Buus for a book of his chansons printed in 1543 (B5194), since on some of the extant copies the imprint of Gardano appears, and on others, that of Buus, although this arrangement proves unique in Antonio Gardano's output.40 This type of arrangement, where author and printer agreed to share both the expenses and the profits, appears to have been an occasional practice, and probably occurred only when the printer could be persuaded of the importance, or at least the marketability, of the composer and his music.41 Indeed, direct commissions from authors or patrons must have been more frequent, particularly in the last decades of the sixteenth century when the single-composer editions dominated the output of Angelo Gardano. Many composers appear to have provided funds to secure a press run of their music, either with their own money or that of a patron, as seen in some editions of music by minor composers published by Antonio Gardano.42 In 1586, Guglielmo Gonzaga, through his agent Giaches de Wert, approached Angelo Gardano about the possibility of printing his Magnificat compositions;43 clearly the financial backing by the Duke would have been assumed in this case. Zarlino, too, likely approached the printer directly about issuing his motet book, published by Antonio Gardano in 1549 (Z99), since it appears that the composer himself was directly responsible for editing the book; unfortunately, we do not know the financial arrangements that were involved in this case.44 Costanzo Festa, papal singer and composer, must have been unaware of the standard financial arrangements for publishing when, in 1536, he asked his patron, Filippo Strozzi, to have one of the Strozzi agents in Venice contact an unnamed music printer there. Festa asked for two hundred scudi  

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in all (probably the equivalent of a year's salary) for works that he later referred to as his Masses, motets, madrigals, lamentations, and counterpoints on a cantus firmus. If the printed was ever contacted on Festa's behalf, rather predictably he failed to take the composer up on the costly offer, since we have no evidence of any publications containing any significant portion of these compositions that were published before the composer's death in 1545. 45 Printers were businessmen, and it seems unlikely that they would take any undue financial risks, even for composers with international reputations, unless a virtually guaranteed and speedy financial return seemed a certainty. If the publication were not entirely underwritten by the composer and/or patron, it would have been more likely for the composer to be asked to assume some of the initial expenses in exchange for profits later on, as was the case in the Morales-Dorico transaction. The Church must have played a large part in subsidizing publications of sacred music. One of the few printing contracts left to us from the Renaissance indicates that in 1565 the monastery of San Giorgio Maggiore in Venice paid the Scotto printing firm directly for producing 500 copies of the Passiones, Lamentationes of Paolo Ferrarese (P868).46 Too, bookmen active in the book trade from other Italian cities, or even local Venetian printers, when they lacked the skill and equipment to produce musical editions, must have often turned to the specialized Venetian market of music printing to commission musical editions. The publisher Rampazetto, for instance, was paid to print musical editions by a number of other Venetian bookmen as well as the Giunti brothers from Florence. In any case, it appears that the cost-effective publication of music in Venice, the motive to maximize any profit, and the large distribution networks of Venetian commerce led many in Italy to go to the Serenissima for a printer rather than to approach a publisher in their home cities.47 It is unfortunate that the Gardano musical editions themselves rarely supply any evidence of the financial arrangements involved. Plantin editions usually indicated his role in the publication of a book explicitly through the imprints and their placement. Thus, for the works for which he bore the cost of publication, editions generally carried the imprint "Ex officina Christophori Plantini"; for books that might prove dangerous politically, "In Officina Christophori Plantini," or the names of sons-in-law or journeymen, or simply an anonymous issue were the most common forms of identification (or lack of it). For those books commissioned by a third party, the title page would occasionally indicate "Imprimé par Christophle Plantin, pour l'aucteur," but often only the account books of the printing house explicitly indicate this arrangement. In the peak years 156875, Plantin often contracted works out to other publishers in Antwerp and Louvain, but these names were often not  

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noted at all; occasionally, up to four separate publishers' names might have been used in different colophons for the same edition. 48 Antonio Gardano apparently used an imprint only one time to indicate a composer's participation in the publication of his music,49 while his son Angelo Gardano never seems to have adopted the practice. Only during Alessandro Gardano's Roman period, when he collaborated with other printers to issue non-musical publications, do we find imprints that suggest the shared financial commitments of the parties involved.50 Music, once acquired by the printer, had to be edited. Music historians have just begun in the last few decades to analyze in detail many of the editorial choices found in sixteenth-century editions of music, and we can only view with envy the rich literary milieu that has already been explored with great sophistication by scholars of literature for Latin, Greek, Trecento Tuscan, and other later dialects during the Renaissance.51 As with so many other aspects of the Gardano printing firms, no records appear to survive that detail who carried out the editorial tasks. Probably both Angelo and Alessandro were competent to carry out this task of editing music, given that they had been brought up to continue the family business by Antonio Gardano, both a composer and editor himself.52 While music historians might be drawn to the possibility of extensive composer collaboration with in-house editing in printing houses, it is most likely that the printers themselves, who would be forced to reset the type of any portions of the book found objectionable by the composer, would have wanted as little interference as necessary after they had received a fair copy of the music. The author of one manuscript of "rules for publishers" even directs the printer to rely on authors as little as possible.53 That said, there appear to have been a few instances where composers acted as the editors of their own music for publication. Rore might have collaborated as an editor for Antonio Gardano's edition of the composer's 1545 edition of motets (R2474) and the same printer's edition of the composer's "Vergine bella" three years later (154810).54 As already mentioned, Antonio Gardano's 1549 edition of Zarlino's motet book may have had careful text editing by its composer. Kristine Forney believes that Lasso himself is the most likely candidate for editor of his own Le quatoirsiesme livre a quatre parties contenan dixhuict chanson italiennes, six chanson francoises, & six motetz (155519 and L755), issued by Susato in Antwerp.55 Doubtless other cases could be found and hypotheses may be put forth by other scholars in the future, but as standard practice it would appear that composers rarely participated in the proofreading process.  

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Chapter Six Book Production and Distribution The most daunting single cost in producing an edition during the Renaissance was paper. Until 1500 the price of paper seems to have been prohibitive, but the cost and quality of paper tended to decline somewhat over the course of the remainder of the Renaissance. 1 For an edition of Vergil printed in 1564, Plantin spent over two and onehalf times as much on paper as he seems to have put out for wages, and on the average he seems to have spent 6065% of the cost of producing a book on paper, and as much as 75% for some large printings; with some other publishers, however, the average expenditure for paper seems to have been from somewhat over a third to slightly more than half of overall costs, as with the Libro primo de musica de la salamandra of 1526.2 Of course, the high cost of paper would have translated into a huge sum for those books not sold and kept on stock in the bookshop.3 Presumably as long as the original investment had been recouped then the remaining books could only be assets. So, for instance, Plantin's shop in Antwerp contained an extensive inventory of unsold books worth a fortune at his death,4 and the Gardano firm, according to the inventory of 1575, had 110 bales of books in storage, each bale probably holding anywhere from a dozen to almost a hundred books, depending on the size of the publication and of the bale.5 Documents recording the business transactions of the firm of Henri Estienne in Geneva attest to some of the methods of acquiring paper in the mid-sixteenth century. A contract with paper producers near Geneva from 1559 spelled out the amount of paper, 1000 reams per year for eight years, as well as the type, weight, and price of the merchandise. Apparently the Estienne family was collecting its return from having invested its own capital into the paper-making enterprise earlier in the decade. When the eight years of this contract had expired, Estienne opted to acquire his paper through a third party, a paper dealer, and again, the contract spelled out the parameters in great detail. Henri's brother, François Estienne, whose business was much smaller and less successful than his  

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brother's, required smaller amounts of paper but had little capital. Consequently, he arranged a barter agreement for the paper with a guarantee of finished books in return. 6 Given the high cost of this crucial material in printing, often many printers had contracts with clauses requiring the publishers, authors, patrons, or communes to supply the paper.7 No records detailing the acquisition of paper survive from the Gardano firms in Venice or in Rome.8 Nevertheless, given the high cost of transportation of merchandise in the period, simple economics would suggest that the printers acquired paper from as close to home as possible, especially considering that the area around Venice was home to many paper mills. An examination of the watermarks found in some of editions published by the Gardano confirms this simple hypothesis. Over forty watermarks similar to those in Briquet's legendary Les Filigranes have been identified from Angelo and Alessandro Gardano's editions published in Venice in the last decades of the sixteenth century. Only very distinctive marks or more common marks with countermarks were included in the survey.9 12 marks were similar to those found in paper used in Vicenza, 10 each from paper found in Udine and in Salò, 5 in Verona, 2 in Ferrara, 2 in Reggio-Emilia, and 1 each in Bergamo and Venice itself, thus giving credence to the suggestion that the paper used by the Gardano in their editions came from local sources, either in the Veneto or otherwise nearby on the mainland. Only four papers came from somewhat far afield. Two of these came from Syracuse in Sicilythis could be explained either by a watermark that appears similar to one used in the North or simply that the paper originated in the region around Venice but for some reason made its way much further South.10 Two other watermarks with corresponding countermarks from Angelo Gardano publications in the 1570s and 1580s matched papers now found in the former Yugoslavia, where papers from the Veneto region also circulated widely.11 In addition to the large sums of money that printers spent on acquiring paper, the purchase of new fonts of type also seems to have required a good deal of capital or barter potential. A good set of punches or matrices could last a printer a lifetime, but a font alone, if heavily used, would wear out in a relatively short period. Consequently, punches and matrices for casting the type fetched a high premium on the market. All of this hardware was almost always given a far higher value than, say, a printing press. But compared to the paper and the wages necessary for printing an edition, these sums seem trivial. Still, the acquisition of type was not necessarily paid for immediately. After the elimination of the Fuggers' subsidy of his business, Henri Estienne seems no longer to have had the capital to buy type outright and resorted to the barter arrangement used by his brother François, pledging printed books in exchange for Garamond and Greek type.12  

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A printing press seems to have cost less than the production of a single edition. Most printing shops in Europe during the Renaissance had one or two presses, and at least two would have been needed for a large-scale operation. The Gardano company had two printing presses in 1575; Girolamo Scotto, the next largest musicprinting firm in Venice, also had two presses according to a Florentine document of 1563. The documentation of the sale of Susato's shop in Antwerp to Plantin confirms that this operation was small, with only one press and perhaps with only two employees, Susato and his son Jacob. 13 It would appear that only the largest printing houses, those eschewing specialization for a much broader public, would need more, such as the Plantin press, which according to the same Florentine document had only three presses in 1563, but had as many as sixteen in use during 1574. Yet even for those presses with voluminous extant documentation, determining a norm of press use proves almost impossible with all of the irregular variations that occur in these surviving sources.14 The Gardano firm in Venice may be considered a family shop rather than a large or complex manufacturing center, even though its two presses, its massive output, and the additional employees the owners must have hired clearly place it into the category of a large-scale printing company.15 The general functions exercised by workers would have been that of compositor (or arranging and placing the type in the forme), inker, and press operator, proofreader, and those who actually assembled the books. And while no records directly attest to the number of workers that were needed to produce the hundreds of editions that issued from the Venetian shop under the direction of Angelo Gardano, other contemporary evidence throws some light on the matter. In the largest of printing concerns, such as Plantin's, documentation suggests that four to five men may have been required for the full use of each press: two compositors to set the type, two pressmen to carry out the inking and printing, and perhaps an apprentice, although the average number of pressmen and compositors per press over a period of many decades was closer to three. In any case, the number of Plantin's employees and number of presses for any given year do not correspond to a fixed number of workers per press.16 Certainly the practical operation of a press probably required at least two mena master for the printing and an assistant or apprentice for inking, although a single press could be worked by one man in a pinch. Mary S. Lewis suggested that the printing shop of Antonio Gardano, with two presses, probably called for ten or eleven workers in addition to Gardano himself; these numbers are mirrored by Robert Weaver for the press of Laet in Antwerp.17 To be a successful commercial operation, however, the Gardano shop must have been quite flexible, both in regard to the number of presses used and the complement of workers. In  

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Strasbourg one-man shops operated by a printer-owner with assistance from an apprentice were not at all uncommon; 18 and the contract for publishing the Libro primo de musica de la salamandra (Rome, 1526) specified wages and living expenses for only two workmenthe master and an apprentice.19 Too, a proofreader might service only a single press or even up to three presses simultaneously. According to Joseph Moxon, in his (somewhat later) Mechanick Exercises on the Whole Art of Printing (168384), many shops reserved one press for the sole purpose of pulling proofs. Proofreading in many cases may well have been carried out by the shop owner or a family member, even a wife or daughter.20 Given the extreme specialization of the shop in printing music alone and in the interest of efficiency, the Gardano enterprise might have overlapped the labor functions for a more efficient use of resources at hand. That is, compositors and proofreaders, requiring many of the same musical skills (not needed at the same time in the printing process) might have been one and the same; the function of pressmen and collators could have also have overlapped. Another precious testament to practices on the Italian scene is the well-known letter to the composer Giaches de Wert dated 12 July 1586,21 in which Angelo Gardano discussed the sale of his editions of Duke Guglielmo Gonzaga's music, probably the Madrigali a cinque voci (158313, G2997) and the Sacrae cantiones quinque vocum in festis duplicibus maioribus ecclesiae Sanctae Barbarae (15831, G2996). The printer indicated that he simply did not have the capacity to print Duke Gonzaga's Magnificat compositions, since the shop was already overwhelmed with promises to print music that it could not fulfill. Besides, Angelo had already committed to print more madrigals by Wert (probably the L'ottava libro de madrigali a cinque voci of 1586 [W885]). Work would begin on Wert's book in fifteen days, after the work on Ingegneri's music, received two days before Wert's was finished (probably the Ingegneri Il primo libro de madrigali a sei voci, 15722). Even though Angelo Gardano published almost 30 editions in 1586 and almost 40 in the following year, he evidently found enough time to publish Gonzaga's compositions, issuing the Cantici beatiss. Mariae Virginis, quod Magnificat inscribitur in 1586 (AN432, AN433). This well-known letter implies that the firm might have been working only on the Ingenieri edition at the time. Many scholars of early printing have generally assumed that concurrent production of several editions was the standard procedure among printing firms during the hand-press period, since it would give a greater flexibility in the organization of the business and more economical use of the different type sizes available in-house. Consequently, even though the press run of a single edition might have been carried out in a relatively short period of time, it might have taken far longer than we might have thought likely  

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today. 23 Indeed, Gardano could have made his argument even more compelling by citing several other books on which he was then devoted if he habitually worked on more than one edition at a time, particularly given the enormous output of the Gardano press in Venice during this year (at least 29 in all). In any case, he certainly did not mention that printing one book at a time was at all unusual. Some bibliographical evidence shows that Angelo's father, Antonio, had worked on more than one publication simultaneously early in his career,24 but very occasionally work on a single book might have occupied the entire workforce of the shopperhaps such a procedure might have proved more common for such a specialized commercial operation in the late Cinquecento.25 If the press was producing only one music publication at a time in 1586, as suggested by Angelo Gardano in his letter, only five or six workers would have been necessary for the most efficient use of a single pressone or two compositors, two men to run the press (with a second crew brought in at very busy times when both presses were in full operation), and a proofreader, probably Angelo himself or one of his siblings in the early years of the firm. Folding and collation could have been easily carried out by an apprentice or two, or even by Angelo and Alessandro's sisters before their marriages. In the busiest of times, the second press could have been put into service and additional workers hired. In any case, as with all successful business concerns, flexibility must have been the key. Production of a book could be very rapid. In the sixteenth century, pressmen could pull anywhere from 1,250 to 3,500 sheets a day, printed on both sides; the lower figure was probably most typical. More specialized books tended to have smaller press runs.26 Standard press run numbers varied enormously, from several hundred to several thousand copies; 500 copies total, although apparently unusually small for standard texts, appear normal for many musical editions.27 With about 10,000 sheets of paper needed for a typical Gardano press run, the actual printing of these, at least in theory, could be effected on a single press within three to eight days, carried out while the compositor was continuing to set type.28 Unfortunately, in his letter to Wert, Gardano did not specify when production had begun on the edition of Ingegneri's music, although he mentioned that only fifteen days of work on the book remained. Robert Estienne, printing during the 1530s in a shop probably similar to that of Angelo Gardano, produced one book about every eight or nine days when busy.29 The contract between the Venetian monastery of San Giorgio Maggiore and the printer Girolamo Scotto, for Paolo Ferrarese's musical edition of 1565, specified a period for production no longer than one ''foglio" per day, and this should probably be taken as the longest normal period necessary to print a typical music edition. In this case, the publication consisted of four partbooks of 44 folios apiece,30 or 176  

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different folios if all partbooks are included in the total. Unfortunately, it is unclear whether the stipulation of one folio per day refers to a sheet that would subsequently be folded into quarto, or one folio (two pages) of all four partbooks that were to be printed (in both cases 44 days total), or one folio of a single partbook (176 days). In any case, the Scotto firm completed the job, rather large by the standards of most Renaissance music printing jobs, within about 100 days, suggesting that the printer understood "foglio" to mean 2 pages in a single partbook per day. 44 sheets, printed on both sides, comprise the press run of 500 copies, and thus 22,000 sheets in all. Spread over the 100day period between the signing of the initial contract and the final delivery of the books, the average production is only 220 sheets per day, quite leisurely by sixteenth-century standards. It is more likely that the entire run took the equivalent of only a few weeks of press time. 31 Other evidence suggests that only a few weeks would have been needed to produce a music edition. A Venetian notarial document records a dispute over Angelo Gardano's edition of the 1578 Infantas Sacrarum varii styli cantionum Spiritus sancti, liber primus cum quatuor vocibus (I37).32 Apparently Infantas felt that Gardano's rather slow production of the edition had resulted in a breach of contract.33 Infantas had already paid Gardano 39 scudi and maintained that the printing, at one "foglio" per day, was to have begun on the feast of San Giovanni (24 June)it was already 16 July, and the printing should have been complete. Gardano's calm response indicated that the "vane immaginationi" of Infantas perturbed him not in the least. It could very well be that Infantas and Gardano understood the term "foglio" in somewhat different ways. The edition itself consists of four partbooks with 28 folios (56 pages) apiece. If Infantas for some reason believed a ''foglio" to be a full sheet, that is, folded into a gathering of four folios and eight pages, and further understood that a gathering in each partbook should be completed every day, then indeed, the entire press run should have been finished in the astonishing period of 7 days, certainly an unrealistic expectation. More likely if the printer understood a "foglio" either in the sense of a single gathering in a single partbook per day, or even a folio in the modern sense (i.e., 2 pages) in each of four partbooks per day, he would have had 28 days to fulfill his agreement, and only 23 days had passed since the printing was to have begun. Of course, if Gardano reckoned the rate of printing per day as a single folio (2 pages) in a single partbook, he would have had 112 days to finish the job.34 We have no idea how the affair was concluded, although the Infantas book was finally published and appears as an entry on the Gardano booklist of 1591.35 The speed at which musical editions were produced in the sixteenth century may have been affected as well by the special character of music,  

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which simply did not require as many pieces of type per line or per page as did a literary text. 36 In fact, a typical page from an Angelo Gardano edition in oblong quarto has only thirteen lines, none of which require as many pieces of type as a typical line in an edition with text alone: a header line, six lines of music (the last often a blank staff), and six lines of text (most of these lines have considerable spaces between the words). Consequently, a forme in oblong quarto could be set up many times faster for a musical edition than for a literary text.37 In Plantin's shop, two compositors took a day or more to set up a folio masterforme (recto and verso sides of a forme needed for both sides of the sheet).38 It has also been estimated that at the Cambridge University Press in the late seventeenth century a quarto of five to six sheets (text only), printed in an edition of 1200 to 1500 copies, would take about a week to produce if only one compositor and one press were at work on it (in actual practice, however, records indicate that the actual output varied enormously from worker to worker).39 Given the smaller format for most music books and the small fraction of type pieces needed for music as opposed to text, a much larger number of formes for a musical edition could be set up in the same amount of time. In a typical Gardano edition, up to forty different formes would be needed, assuming an average of three or four masterformes used in each partbook with four or five partbooks per edition. If a single compositor could set four masterformes in a day, then only ten days would be needed to create all of the formes necessary for a typical Gardano edition; the printing itself could be carried on at the same time to avoid the inconvenience of standing type. Even if Gardano generally used one of his two presses for pulling proofs, it would seem unlikely that in 1587, the year in which the Gardano firm in Venice issued almost 40 editions, only a single press was used for printing. If so, that would mean that the single press would have issued a complete press run of 500 copies every eight or nine days without a break, probably a near impossibility.40 The distribution networks of Venetian music printers have only begun to be understood, and no doubt much of what we have yet to learn will come only through indirect evidence;41 certainly we shall never know as much about them as we might wish. The largest single outlet for Gardano publications must have been the Gardano shop itself: the booklist of 1591 shows that the firm had around 450 titles on hand, mostly from the presses of Antonio Gardano, his heirs, and Angelo Gardano.42 Venice itself was filled with music in the last half of the Cinquecento, and inventory records show that many Venetian households of the period owned one or more musical instruments.43 In addition to residents in Venice, the large number of tourists, foreign book collectors, and those in search of music in the city likely brought them to the Gardano shop at the sign of the lion and bear in the Merceria.44 In  

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1594, we know that this part of town boasted 276 shops with another 66 just across the Rialto (even more than today). Records from a mercer's shop in Venice (Angelo and Alessandro's younger brother, Matthio, was a mercer) 45 show that consumersnobles, nuns, artisans, and otherscame from far afield, such as Verona, Treviso, Bergamo, and Salò, to spend their money or obtain credit for merchandise sold in Venetian shops. The Accademia Filarmonica in nearby Verona purchased more than 50 editions published by Angelo and Alessandro Gardano, either directly through the shop in Venice or perhaps through a Veronese intermediary.46 Jane R. Bernstein has chronicled a great variety of institutional and individual consumers of printed musica great deal of documentation can be found for music purchases by the royalty, nobility, merchants, professionals, and even composers, but significantly less for teachers and students, whose editions probably were used directly for performance and remained unbound and relatively fragile. Institutional buyers included academies, ecclesiastical establishments, and universities.47 Many of the Gardano editions were sold through distributors outside the city, and the entire Italian peninsula served as the largest market for Venetian publications.48 Printers probably sent very few copies of an edition to a dealer at any given time, mostly two or three along with copies of other books likely to sell.49 Angelo Gardano, in the famous letter to Giaches de Wert from 1586 discussed above, admitted sending piles of music to booksellers in Brescia. But he denied the possibility that a bookman in that city had sold 60 copies of an edition of Duke Guglielmo Gonzaga's music, since that number was greater than the total to have left his shop. Thus, if piles indeed left the Gardano shop for Brescia, these bales must have consisted of just a few copies of many different publications. Since the editions of Duke Guglielmo's music were published in 1583, it would indicate that in three years no more than 60 copies total had left the Gardano premises. Consequently, slow stock turnover seems to have been simply a facet of the music trade (although in this case, the addition of Duke Guglielmo's name on the title page would probably have accelerated sales as Angelo had suggested). Plantin, for instance, was forced on several occasions to sell part of his massive stock of books at a great discount to meet current expenditures. In Florence around 1590, Morosi still stocked some musical editions from the 1530s and 1540s, although most of the books dated from the 1550s through 1570s; the Giunti trade list of 1605 also lists repertoire going back to the 1540s.50 The Gardano booklist of 1591 comprises some editions from as early as the 1540s as well, but unlike other such lists, it included very few books printed by publishers outside of the family.51 The Gardano distribution network probably closely resembled those of other printers. Plantin, for instance, sold a large number of books directly out of his shop, through the Frankfurt book fair, in quantity to  

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occasional patrons who arranged for their own distribution, and through wholesale purchases to other shops run by professional booksellers. At the end of his career, he had dealings with 258 booksellers in 65 cities, although most of his contacts were in the Low Countries. Trade with far-off centers such as Paris, Lyons, and Venice was relatively small and sporadic. 52 Henri Estienne's books of Greek classics appear to have had a particularly large sale at the Frankfurt book fair, while most of his popular religious publications must have gone to professional booksellers; François Estienne apparently relied much more heavily on other bookshops to sell his merchandise.53 The network of the Scotto firm in Venice, the only other music publisher of any significance in Venice during the activity of the Gardano firms (at least until the 1580s with the advent of the Vincenti and Amadino press), can be reconstructed through surviving contracts with agents in Brescia, Cremona, Ferrara, Florence, Mantua, Milan, Naples, Padua, Perugia, Rome, Sicily, and Siena. Connections to other cities through family members acting as agents for the printer seem to have been commonplace. Outside of Italy, they also seem to have distributed a large number of books, since most of the Venetian musical editions offered for sale at the Frankfurt book fair were printed by the Scotto firm.54 Many booksellers apparently ordered directly from the Venetian shops, although others might request editions from an intermediary in a less distant city. Morosi, a bookseller in Florence whose music stock was made up almost entirely of books from Venice, did both.55 While the surviving documentation for Gardano's distribution network does not seem to be as extensive as that of Scotto,56 we have some evidence of agents for the firm in Ferrara, Milan, Padua, and Rome57 (see Chapters 89). Too, the move of his brother Alessandro to Rome in the early 1580s probably facilitated Angelo's contacts in the Eternal City. Little evidence survives that would attest to the extent of the Gardano distribution network outside of Italy, although sea routes could supply all of the coastal cities directly from Venice. The route from Venice to Lisbon formed a direct sea link, and the library of the Dukes of Bragança, later inherited by King João IV of Portugal, contained at least 125 Gardano editions printed between 1570 and 1611.58 Certainly the network among Italian and Spanish booksellers appears to have been quite active.59 The city on the Scheldt, Antwerp, was a particularly busy intermediate center for the dissemination of the Italian madrigal and other music printed in Italy to the North, especially throughout the Netherlands, Germany, and England.60 Even with the threat of pirates, distribution by sea must have been less expensive than overland routes.61 Shipwrecks, however, were not uncommon,62 and the large number of Gardano editions now found across the Alps from Italy might suggest a busy traffic of music books northward, many of which must have been carried overland.63 Merchandise  

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for Vienna, Hungary, and central Europe could move via Friuli; for Austria, Germany, and central Europe, through Trent and Bolzano or Belluno and Pieve di Cadore to the Brenner Pass; to Switzerland through Como and Sondrio; to Switzerland and Germany through Milan up to the St. Gotthard Pass; and across northern Italy to the Great St. Bernard Pass to Switzerland and France. 64 Books do not seem to have left the Gardano firm unilaterally; in 1584, for instance, eleven books were sent to Angelo Gardano from Paris, some of which might have been printed with both red and black ink (these probably liturgical in nature).65 Some German merchants in the Venetian Fondaco dei Tedeschi participated keenly in Venetian musical life, and many Germans were avid collectors of musical editions.66 Some Venetian printers and booksellers went North in person with their books to the famous book fairs of Frankfurt and Leipzig, but by the beginning of the seventeenth century many Venetian printers had already ceased travelling to these seasonal events.67 Certainly northern Germany does not appear to have been exploited much by the Gardano firms in the last decades of the sixteenth century. Only three of Angelo's publications can be securely identified in the Leipzig book fair catalogues; those lists from the somewhat less distant Frankfurt produced a total of only about 40 editions from the Gardano presses from the period 1575 until 1608, scarcely an average of two per year. Almost half of the Gardano editions offered for sale in the North were sacred music in Latin. While sacred music and Latin-language music books made up only one-third of the Gardano output from 1569 until 1611, it is natural that Latin-language publications would be somewhat more favored than Italian editions in Germany. Only half of these editions available in the North used Italian, and a handful mixed the languages or were entirely instrumental.68 Yet to an ardent bibliophile, distance does not seem to have been much of a hindrance. Georg Knoff, a resident merchant of Danzig, formed a huge collection of as many as 155 Gardano editions, mostly madrigal books published between 1572 and 1600.69 Certainly the overland routes to the North particularly favored trade between the close neighbors of Venice on one hand and southern Germany and Austria on the other. Books probably travelled the same routes as did raw cotton, raw silk, and spices to the great cities of southern Germany and Austria; unfortunately, we have little direct evidence to confirm that traffic. However, the extensive music collection of Hans Heinrich Herwart, an Augsburg merchant, contained over 50 Gardano books published between 1570 and 1583.70 The 1665 inventory of the court library at Innsbruck mentioned almost 130 confirmed Gardano editions printed by the heirs of Antonio and by Angelo from 1570 until 1611, and perhaps as many as a hundred more that may have been printed by the Gardano but cannot be identified with any precision.71 Religion  

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may have played a factor here as well, perhaps restricting some diffusion to the Protestant North but promoting trade to the predominantly Catholic South. In any case, it would appear that the market in southern Germany and Austria was indeed an active one for the distribution of the Gardano books, probably even more so than the fairs farther North. In fact, Angelo Gardano himself may have visited Bavaria in the late 1570s. 72 Consequently, to distribute their almost 1,000 editions, the Gardano brothers must have relied upon the reputation of Venice (and to a much lesser extent Rome) as a commercial center to attract buyers to their bookshop in the Merceria. In addition, the family doubtless exploited the already-existing water and land routes cultivated by Venetian merchants for centuries to move these books across the Italian peninsula and throughout Europe as a whole, relying upon family members, friends, and contracted agents to finalize many of the sales. The family's success in the distribution of its products may be witnessed today in the thousands of Gardano exemplars found in the libraries of Europe and beyond.  

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PART II PROFILE OF A FAMILY BUSINESS  

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Chapter Seven Inheritance and Division, 15691579 Until the death of Antonio Gardano on 28 October 1569, his name alone appears on the imprints of books issued by the Gardano printing house. 1 No references to his children can be found in the editions themselves until the publication of Lasso's Il primo libro de madrigali a quatro voci (156928, L828). Evidently published late in 1569, it is the first book to carry the names of the firm's new owners, "li figliuoli di Antonio Gardano." But without a doubt both Angelo and Alessandro Gardano were already deeply involved in the printing trade at the time of their father's death. The mariegola of the religious confraternity of the Scuola Grande di San Teodoro indicated that the two brothers entered the scuola several years before, in 1566, and each was already referred to as a "liberer."2 Presumably Angelo and Alessandro Gardano were working in the family printing shop or bookstore, if not actually running the firm themselves, upon the death of their father. Such family partnerships were common enough in Venice, and indeed formed the basic unit of business life.3 What seems unusual here is that from its very inception, the firm of "li figliuoli di Antonio Gardano" was dominated by the young figure of Angelo Gardano. Alessandro Gardano was the eldest son, as we learn from the notarial divisio of the family's assets in 1575.4 Nevertheless, on 27 January 1570, just three months after the passing of his father, it was Angelo Gardano who represented the "fratres et haeredes" of Antonio Gardano in arranging to purchase a family sepulchre in the church of San Salvador in Venice. On 24 May of the previous year, the family had apparently already made certain arrangements with the monastery for sepulchral space in the church through their notary, Marc' Antonio Cavanis. This would seem to suggest that the family patriarch, Antonio Gardano, although he might have died from typhus after all (see Chapter 3), probably had already been quite ill even three months before his death. In exchange for the  

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monastery having provided the sepulchre, Angelo and his siblings promised 30 ducats to Don Cornelius, the representative of the monastery and convent. The family agreed to pay in perpetuo the same amount whenever the sepulchre was opened for the interment of additional bodies or for any other reason. A stone was to be placed on the floor at the first pilaster on the right (upon entering the church through the main door), and this memorial can still be seen in its original location at the church of San Salvador in Venice. 5 The location for the burial space seems only natural, given that both Angelo and Alessandro Gardano were members of the Scuola Grande di San Teodorothe remains of San Teodoro were kept at the church of San Salvador and the scuola maintained its buildings contiguous to the church in addition to an altar to the left of the high altar. Both the church and the scuola were in the Merceria, the busy commercial center of the city where the family kept its printing shop and bookstore.6 Some other evidence also points to Angelo's dominant role among the heirsin addition to arranging for the burial of his father, it was Angelo, not Alessandro, who acted for the firm in petitioning the Venetian Senate for privileges on at least three music books published by the heirs in 1574.7 We can further reconstruct the makeup of the firm's ownership upon the death of Antonio Gardano from the documents connected with the departure of Alessandro Gardano from the business in 1575. In this transaction Angelo Gardano represented his younger siblingsMatthio, who by then was about 20, and Lucieta, around 14during the dissolution of the company. Angelo himself would have been about 34 (since at the time of his death in 1611 he was about 70), and Alessandro somewhat older. Consequently, at the time of Antonio Gardano's death six years previously, Lucieta would have been a child of only around 8 years, Matthio only about 14, Alessandro would have been a bit older than Angelo, and Angelo would have been about 28 years old, several years older than the traditional age of Venetian majority, 25.8 Certainly for such a young man to take the controlling interest in the Gardano assets would point to an overwhelming confidence in his integrity by other family members. An early document from the history of the firm after the death of Antonio Gardano seems to confirm this supposition of Angelo's prudent nature.9 Angelo had represented all of his siblings in resolving a dispute over a debt owed to the family by tenants on their Terraferma properties. On 13 May 1572, Alessandro de Rovere and his son Piero had acknowledged a financial judgment against them to be paid to the Gardano family for back rent on property in the town of Caltana de Morelle near Mirano (somewhat north of the half-way point between Venice and Padua; see Figure 1). Approximately one year later, Alessandro de Rovere had died, leaving his estate to Piero. By 4 August 1573, the date of this document, almost half of the owed sum  

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Image not available Figure 1. Location and approximate extent of Gardano family properties in the Veneto Venice, family home leased from a Venetian nobleman (1575); Padua, leased house (1575);  S. Eufemia, 6 campi (1582); S. Angelo, 3 campi (1575); Caselle, 21 campi (1575), a house (1606); Caltana, 20 campi (1575); Morelle, 11 campi (1575), cortino (small house) acquired  in 1589 (1606) (years indicate the dates of documents that first refer to each property: 1575 for the documents that divided the family's assets; 1582 for the Venetian tax declaration; and 1606 for documents that record the dispute of Angelo Gardano with Angela Capis) had already been paid, but a debt of 563 lire 10 soldi di piccoli remained. The notary acknowledged the "urbanità" of Angelo Gardano in his willingness to work out an agreement suitable to all concerned. Piero promised to pay back the remaining sum, the Venetian equivalent of 90 ducati 5 lire 10 soldi, in yearly installments of 14 ducati. At the same time, it allowed Piero to reestablish the dowry of his father's widow, Madonna Margarita, which she had rashly signed over to him on 16 April 1571 (at that time her husband was still alive). In the event that Piero failed to make one of his yearly payments, the Gardano family retained its right to seek out either the dowry or any other family assets. In addition, it appears that Piero was to vacate the property, although he was allowed to keep all of his wine production for the year with the exception of that which he owed as part of his annual rent settlement.  

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The spirit of prudence and humane sensibility expressed in this loan compromise document seems characteristic of Angelo Gardano's career. Although Angelo Gardano was not the eldest son in the family, his assumption of the leadership of the firm upon the death of his father stands as testimony to the trust he evoked from those around him. Unfortunately, we have almost no insight into the personality of his eldest brother and fellow music printer, Alessandro. Although the elder of the two, Alessandro seems never to have held such a trusted position in the family; nor did the modest achievements of his career compare to the preeminent place earned by Angelo Gardano in the Venetian printing community during his 42 years as a printer in Venice. The younger siblings, Matthio and Lucieta, appear never to have taken an active part in the business of the printing firm. While the young Angelo Gardano was poised to participate fully in the civic life of Venice in the 1570s, his age and perhaps relative immaturity may have restricted the extent of this activity. For instance, we have already seen that he had enrolled as a member of the Scuola Grande di San Teodoro in 1566 and was listed as a donor in 1575. 10 Although his name was submitted as a nominee for the post of deacon in 1578, he received only 8 votes in his favor to 11 against.11 Even if his nomination had expressed the confidence of his colleagues in his abilities, doubtless his age played a role in his defeat. In the same year, we find the first mention of Angelo's name in the minutes of the Printing Guild as well, although the citation indicates that he was not present at the meeting.12 He was to take a much more active role in the guild's activities in the course of the next decade. In addition to the four Gardano siblings already mentioned, the trail of documents reveals the existence of two other possible heirs to the printing concern of Antonio Gardano.13 Angelo Gardano's will from 1611 explicitly stated that the notarial document of 2 May 1575, drawn up by Zuanne Figolin, purposely eliminated ''Padre Fra Pacifico Capucino, who wants nothing from the paternal, nor fraternal, goods."14 No other documents have come to light which can supply us with information about this Capuchin monk, Fra Pacifico, although he may have taken his share of the paternity with him into his order upon taking his vows. In addition, Antonio Gardano fathered still another daughter who seems to have been married by the time of her father's death. In an inventory of documents in the possession of Angelo Gardano drawn up in 1606, mention is made of documents from 1569including a list of a dowry of goods and an apparent marriage contract from 1569for "Madonna Anzelica Gardana, wife of missier Aluise Facini, mercer at San Teodoro." Two other documents that are referred to in this source, from 1577 and 1580, evidently concluded the dowry payments.15 The direct heirs of Antonio Gardano at his death, then, apparently did not include either Fra Pacifico or Madonna Angelica; at least neither  

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of their names is mentioned in connection to the dissolution of the firm in 1575. At that time, only Alessandro, Angelo, Matthio, and Lucieta seem to have been the sole heirs to the printing legacy of Antonio Gardano. The Gardano siblings inherited a great deal of land on the Terraferma, but most of that had been acquired only in the last years of their father's life. Antonio Gardano's tax statement in 1566 indicated that he owned 26 campi 16 in Morelle, yielding a rental income of 13 ducats17 (to locate the villages in which this and other land holdings were located, please see Figure 1). This property had been acquired only in the previous year from Isabetta Tempesta, as recorded by Venetian notaries.18 Shortly thereafter, the family more than doubled its land holdings on the Venetian mainland. In 1567, Antonio Gardano had acquired another 6 campi in Morelle from Tempesta,19 and in 1568, 19½ campi close by in Caselle from Diamante Zonta (Giunta). Only weeks after Antonio's death, the acquisition of land continued with the purchase of a campo in nearby Caltana from Zuan Maria Basso. In 1571, the family purchased additional property near Morelle from Zanon di Santi and half a campo in Caltana. By the time of the division of family assets in 1575 (discussed in more detail below), the family owned 54 campi on the Terraferma, around the villages of Caltana, Caselle, Morelle, and Sant'Angelo, and they leased a house in Padua.20 Thus, the property acquisitions of the family mirrored the contemporary trends in the upper classes of Venice to extend their holdings farther from the city in the last decades of the sixteenth century, as bank failures threatened savings and agriculture prices made investment in land seem sound. Since the obsessive desire for land began only at the very end of Antonio Gardano's life, one can only speculate about how much of this activity was brought about by Antonio himself or by his children. The purchase of what was apparently the first family real estate in 1565 coincided with Angelo Gardano's coming of age at 25. Since the acquisition of property continued after Antonio Gardano's death, and Alessandro seems to have been relatively uninterested in retaining his family's holdings,21 and because Matthio and Lucieta were still very young, it seems plausible that the acquisition of land on the mainland was instigated and carried out by Angelo Gardano alone, whose land purchases continued for many years.22 During the lifetime of the heirs' father, Antonio Gardano, the number of editions published by the firm had averaged only 14 annually, and about 16 or 17 yearly in the period immediately preceding his death. As we have seen, Antonio Gardano may have been ailing as early as May of 1569, and in this year of his death the company apparently issued the greatest number of musical editions published in any year since its founding in the late 1530s, more than 2 dozen.23 Although all Gardano books from 1569 but Lasso's Il primo libro de madrigali a quattro voci carry the name of Antonio Gardano alone, might we attribute such a phenom 

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enal increase in the number of editions issued in that year to the energy and vitality of his children, who now were able to see the firm as their own? Probably, since in the next two years "li figliuoli di Antonio Gardano" published at least 20 and 24 editions, respectively, and the company averaged more than 22 editions every year from 1569 until the passing of Angelo in 1611 (see Appendix I.A). Other than a slight dip in the company's production during the last year of the War of Cyprus in 1573, the first great change in the family business after the death of Antonio Gardanoor at least the first such restructuring for which we have found any evidencewas the 1575 request by Alessandro Gardano to withdraw from the firm. On 13 April of that year, a notarial document named Angelo Gardano as representative for the young Matthio and Lucieta in what was called a friendly division of the family assets, 24 and another document drawn up three weeks later in the home rented by the Gardanos in the parish of San Salvador explicitly stated that Alessandro desired the separation from his siblings Angelo, Matthio, and Lucieta. We also learn by omission that Antonio Gardano's wife, the sister of Stefano Bindoni, a man from a Venetian printing family of some renown, must have been dead by this time.25 Alessandro requested a quarter of the family's real estate holdings on the Terraferma, including campi in Caselle and Morelle in the vicariate of Mirano and property close to Camposampiero in the territory of Padua. In addition, a quarter of the remaining family possessions were to be his, such as clothes, furniture, and any other furnishings, all of which are described in minute detail on an enclosed inventory in Alessandro's hand that had been presented to the notary. Alessandro admitted to having received his quarter of the household goods, as was acknowledged by his siblings. In regard to the house in Padua and the merchandise in the bookstore and printing shop, Alessandro had agreed to accept 300 ducats for his share of that property, 150 to be paid immediately in the presence of the notary and 150 to be given to Alessandro in six months. Another document drawn up by the same notary records the final payment in November. In exchange, Alessandro's personal credits and debits were to be considered entirely separate from those of Angelo, Matthio, and Lucieta.26 The well-known inventory of the household goods27 gives us a tantalizing glimpse of the Gardano family printing practices and home life, and for that matter, the lives typical of many merchants living in Venice during the late Renaissance. After the mention of the family's land holdings, the musical items on the list included 110 bales of books, in good and bad condition, and lutes and lute paraphernalia worth about 100 ducats. Other entries that appear to relate to the printing shop are shelving and benches, tables on which to assemble books, two printing presses with accompanying hardware, an instrument to produce bales, letter type with matrices, blocks with various designs and coats-of-arms, and the different formes and matrices needed to print every format used by  

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the Gardano family. These include the standard oblong quarto, octavo, a large upright quarto, upright folio, and lute and organ tablature. Mary S. Lewis has commented on the puzzling entry for the shop inventory, "Doi Canti fermi Con madre ponzoni et forme." 28 While at first glance this entry might appear to refer to printing paraphernalia for chant books, no such publications are known from the press of Antonio Gardano. We do have several such publications by Angelo and Alessandro Gardano, howeverfrom 1586 to 1591, Angelo produced at least three major plainchant editions in Venice, while Alessandro also published at least three such editions during the same period (see Appendices I.A and I.B). It is conceivable that the family patriarch, Antonio Gardano, might have kept aside certain printing materials, such as a plainchant font, either to lend out for a fee or to use in collaboration with other printers. Elsewhere I have argued in support of a theory of collusion or at least cooperation between the so-called "rival" music printers Antonio Gardano and Girolamo Scotto. The typeface used in some of their early editions are identical, and the Ferrarese printer Buglhat also shared another typeface with Antonio Gardano in his early editions.29 Too, we know that occasionally certain printers might be associated with an established shop for a short period of time.30 In 1546, the Venetian Esecutori contro la Bestemmia read a proclamation to various printers, including "Piero Buselo, at the sign of the lion and bear,"31 that is, at the shop of Antonio Gardano.32 Pietro Boselli went on to publish several books in Venice during the 1550s, and apparently had partnerships with other Venetian printers on a temporary basis. And in 1544, Tomaso Bottieta, yet another printer, is found at the sign of the lion and the bear.33 Girolamo Scotto also formed such ad hoc printing partnerships, including temporary alliances with G. M. Bonelli, Giovanni Griffio, Francesco Rampazetto, Domenico Splendor, the Sessa firm, and others.34 It seems plausible to assume that Antonio Gardano, as the most well-known and prolific of the music printers in Venice, and indeed in Europe, might have maintained materials for printing chant, even though he himself is not known to have produced any such publications. Such materials could have been leased out, or an itinerant printer might have borrowed materials and used them on the premises of Gardano's printing shop to produce an edition. Antonio Gardano may have received a portion of the proceeds from the sale of the volumes, or perhaps just a lump sum payment.35 In any case, the remainder of the 1575 Gardano inventory, after the description of the shop contents, named household items, and in this regard the Gardano family seems to have been well equipped indeed. Included were wooden and metal boxes and containers of all types, wooden bedframes, a metal bedframe, four feather mattresses and four of straw (one of each for every family member!), wooden chests (many likely intended to hold household items)36 and tables of various shapes and sizes, casks, wooden boxes painted red, a credenza, armoires, and bookshelves.  

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The kitchen items alone consisted of, among other items, 203 pieces of pewter and tinware, 37 a cheese or butter maker, a green table, six small green kitchen containers, diverse ceramic bowls, cutting boards, metal shelving, a large wheat container, and 21 sacks of wheat. Other household furnishings included candlesticks, a basket of red taffeta, wicker baskets and casks, and four old chairs. The list of clothes is extensive as well, with at least 33 men's shirts, 17 ladies' blouses, 20 pieces of cloth to make shirts and blouses, six pairs of shoes, 59 handkerchiefs, 20 cloaks, some of silk, and five fur and leather items. Among additional items named in the document were 77 napkins, 28 sheets, 27 skeins of thread, 6 tablecloths, cushions, 10 carpets, a gilded bronze mirror mounted on the bed,38 a smaller mirror, and additional silk and wool garments. From these household goods, Alessandro took the metal bedframe and a feather bed, about a quarter of the clothes and cloth items of every sort, a quarter of the kitchen items, including 49 pieces of the pewter and tinware, eight large and eight small bowls, wooden and ceramic cookware, and six sacks of the wheat. Also among Alessandro's possessions were various other items, such as wool and feather cushions, a candlestick, and wooden casks, presumably for oil and wine. Another document, dated 30 July 1575 and drawn up in the office of the notary, divided the real estate holdings of the Gardano family in a fair and surprisingly vivid way. First, the land holdings were shown on a map that had been drawn up eight days before by Andrea Phisaro, surveyor for the Ufficio Sopra le Acque.39 The document split the holdings into four more or less equal parts, and listed the individual campi and occasionally even structures as well as the current lessees. Many of these properties were leased to individuals who may have been related, such as Tonio and Matheo Gobato, Piero and Lodovico Scantabarba, Zuan Antonio and Marco Agustino, and Toni and Mathio Barison. The notary then described in great detail the actual division of these real estate assets. In one box, slips of paper denoting each of the four siblings were placed, and in another, the numbers of each of the four parts of the divided real estate assets. A boy was called, who drew the lots out of each box. Little Lucieta received the first part; Alessandro the fourth. Then Angelo's name was drawn with the slip for the third part, and the second part remained for Matthio. All expressed satisfaction with the agreement, and two onlookers witnessed the document. To analyze briefly Alessandro's portion and the family assets as a whole, we can see that the house in Padua seems not to have been a part of the family's property per se, since the Gardano paid an annual livello to the Paduan Casa di Dio. Alessandro took his quarter of all of the household goods in the family patrimony, but strangely enough took none of the equipment from the printing shop. Instead, he was reimbursed 300 ducats in two equal payments, thus suggesting that Angelo Gardano rated  

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the value of his printing concern alone at about 1200 ducats. Obviously the total value of the entire estate in 1575, including properties on the mainland and household furnishings, was considerably greater. 40 We know little of Alessandro's activities in the late 1570s. He had received only cash and, at least as far as the documents are concerned, none of the equipment from the family printing firm,41 and thus it is not surprising that he issued no publications in the few years immediately following the division of the assets. Nevertheless, by 157778, he began to issue musical and, unlike his more prolific brother, non-musical editions from his shop in Venice (see Appendix I.B).42 He had also been making regular payments to the Scuola Grande di San Teodoro from his year of entry in 1566 until the division of the patrimony in 1575, but seems to have skipped a payment in 1576 before complying with his obligations once again in 1577. Nevertheless, no other payments by Alessandro were recorded for the 1570s. A few years later he would leave for Rome, and it seems as if he paid no more dues to the scuola in Venice until late in the next decade, a 12year hiatus.43 After the departure of Alessandro from the printing concern, Angelo finally began to print music under his own name. Yet a great catastrophe was about to put a temporary halt to the flourishing of his business interests. Between 1575 and 1577, the bubonic plague decimated the city of Venice, killing more than a quarter of its residents. While Angelo managed to produce at least 16 editions in 1576, his production fell to only three editions in 1577. This drop in productivity may have been necessitated by his absence from the city, either because of a move by his family to the countryside to avoid the plague, or a possible trip instigated by an invitation in 1576 from Duke Albrecht V to visit the ducal court in Bavaria, all expenses paid.44 Yet what 1577 lacked in quantity appears to have been compensated for in ingenuity, since in this year Angelo Gardano issued two unusual editions in score, including the complete four-voice madrigals of Cipriano de Rore (R2513) and Musica de diversi autori la Bataglia francese et Canzon delli ucelli . . .partite in caselle per sonar d'instrumento perfetto (157711), among the first such surviving score publications with more than two staves. For the Rore editions Angelo employed a rather unusual practice, at least for this period, of extending the staff of the verso page completely across the gutter and onto the next folio recto to enable a keyboard player to read horizontally as long as possible before a change of staff. Similar reasons had doubtless led printers of part-music to print in oblong rather than vertical format. The effects of the plague on Gardano's production was short-lived, however, and by the late 1570s, the firm was again printing more than two dozen musical editions a year. Angelo appears to have felt confident enough about his finances to purchase yet another property in July of 1579 from Zuanne Vigato (or Zigato), probably once again in the zone  

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around Morelle, Caltana, and Caselle, since the notary who drew up the document was located in nearby Padua. 45 However, it seems that all of the family's financial squabbles had not been entirely settled with the division of assets in 1575. Early in 1577, a notarial document named a "D. Mulium ab Aquila" as the representative of Angelo Gardano in his dealings with "Aloysio Faccino."46 We already know from a later source that a contract dated 1569 had existed between "Madonna Anzelica Gardana, wife of Mr. Alvise Facini, mercer in [the parish of] San Teodoro" and that a list once existed of the items given to her for her dowry.47 This same record identified a document that had been drawn up in 1577 involving "Mr. Alvise Facini, mercer of San Teodoro, regarding the dowry of his consort,'' with another document dated 5 October 1580. Although the original sources themselves have not yet surfaced and may have been destroyed, it appears as if Alvise Facini might have felt as if the size of his wife's dowry was inconsistent with the great wealth that now seemed to be characteristic of the Gardano family, since the 1577 and 1580 citations involved "quietation," a declaration that Facini had received final payments of a debt, perhaps an augmentation of Angelica's dowry. Evidently Angelo Gardano felt compelled to deal with this situation through a third party, and thus appointed Don Mulium to represent him in the apparent dispute. In another document from the late 1570s, Angelo Gardano appointed his uncle as his representative in a legal transaction.48 On 26 November 1578, he had appointed Stefano Bindoni his representative in a dispute with Angela Trivisana de Clodia, although unfortunately the document gives us no clue to its nature and no other documents have yet surfaced to clarify the issues involved. Nevertheless, relying on relatives to carry out business transactions seems to have been common practice among printers at the time. The numerous surviving notarial records generated by the other great music printing family in Venice, the Scottos, clearly demonstrate that they relied intensively on their family ties to market their merchandise and generally to carry out their business.49 The plague epidemic that struck Venice in the mid-1570s certainly was bound to affect every Venetian's sense of mortality. Perhaps it was this sensibility, and probably either the plague itself or some other illness, which led Lucieta Gardano, around 18 years of age, to have a will drawn up by a notary on 28 March 1579.50 She stated that she had decided to take such a step owing to "the dangers of this fragile life," and indicated that although she was sound of mind, her body was ill. She had the notary called to the Gardano residence in the parish of San Salvador. As might be expected, Lucieta appointed Angelo, who had been her guardian, to execute the will. Clearly the lives of both Angelica and Alessandro Gardano had taken their own directions, since Lucieta left them just five ducats apiece, "as a sign of my love," in addition to five ducats each to the "Ospedal delli Incurabellj" and to the "hospedal  

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de San Zuane polo." The rest of her assets, both in terms of real estate and other possessions, she left to be split between her brothers Angelo and Matthio; if Matthio were to desire a break from Angelo in the future, Lucieta offered him only 100 ducats in the event of her death, the rest to be left to Angelo alone. Doubtless this was an attempt on her part, likely instigated by Angelo himself, to keep Matthio's assets as part of the family printing concern as long as possible. The testament ended with a request by Lucieta to have her cadaver dressed "like the Madonna" and to be buried in the family sepulchre, with Masses said for her soul. But as we shall see, Lucieta survived and later married. Thus, by the end of the first decade with the Gardano business in the hands of Antonio's children, Angelo had solid control of the company, just as he had taken firm control of the business upon the death of his father in 1569. With the division of family assets in 1575, Angelo became the sole nominee of the printing firm, as evidenced in the use of his name alone on the editions issued by the firm in subsequent years. Matthio seems to have been retained as a silent partner, as he never separated his own assets from those of the Gardano printing firm. Although the great plague of 1575 lasted until 1577 and apparently decimated the output of Gardano editions, by the end of the 1570s Angelo had set the course for the next few decades with his resumption of the publication of close to two dozen musical editions a year. An analysis of the book production of the Gardano press in the decade of the 1570s 51 both confirms and casts new light on general trends in music printing in the period (see Tables 9.2 and 9.3 for the precise numbers of editions referred to here). Venice produced far more reprints than other cities in Italy. In the period from 1551 until 1650, while reprints totalled around 14% of musical editions printed outside of the Serenissima, fully 30% of Venetian editions of music were reprints.52 Nevertheless, an analysis of the production of the Gardano firm in Venice shows subtle variations on these gross figures. For instance, from 1569 to 1579, first the heirs and then Angelo Gardano issued only about 22% reprints (see Tables 9.2 and 9.3). Only later will we find that the percentage of reprints issued from the Gardano press in Venice soared beyond the 30% figure. Needless to say, the composers favored by the Gardano press in Venice moved in and out of favor from year to year.53 But for the decade of the 1570s, the music of Orlando di Lasso proved the most popular with the Gardano heirs and later with Angelo. At least 13 Lasso editions issued from their presses, followed by Giovanni Matteo Asola with 10, Andrea Gabrieli with 9, and Cipriano de Rore with 6. Marc' Antonio Ingegneri, Claudio Merulo, Philipp de Monte, and Giaches Wert all were represented by 5 apiece, Francesco Corteccia, Paolo Isnardi, and Giovanni Pierluigi da Palestrina with 4 each. Seventeen other composers had 2 or 3 editions issued with their names on the title page, and about 60 composers were represented by only a single edition apiece. There was a  

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total of 14 anthologies produced, only about 7.5% of the total book production of the firm throughout the decade. By contrast, Antonio Gardano had produced a much larger percentage of anthologies in any given decade of his activity from 1538 until 1569. 54 The genre of the madrigal dominated the output of the Gardano heirs and then Angelo Gardano in the 1570sclose to 100 madrigal editions came from the family's presses, with a mere dozen or so editions of the lighter forms, such as villotte or greghesche.55 Almost 30 editions of motets, 17 of Masses, and 12 of psalms represent the largest portion of the sacred music, and most other genres are represented of no more than 2 or 3 books each. In short, approximately two-thirds of the editions issuing from the firm were secular, only one-third sacred. In later decades these proportions would change surprisingly little, given the much-discussed influence of the Catholic Reformation. The somewhat tentative beginnings of Alessandro's business in the late 1570s really requires little analysis. It appears that he wished to define himself both as connected and yet distinct from the family traditions, since he changed the spelling of his name in his publications to "Gardane," the form used by his father Antonio until 1555.56 He also altered his printer's device from that used by his father and brother, the lion and bear holding a rose with the motto "Concordes virtute et naturae miraculis," to a device with two lions holding a globe with the motto "Aeque fortes aeque concordes."57 The four Alessandro Gardano editions from the late 1570s fall into three categories: 1) the two publications with Hebrew typeCaro's Schulhan arukh (157778) and Daily Prayers (1578)where Alessandro likely served as a Christian front for the Jews who carried out most of the editorial work; 2) a scientific publication, Falloppio's Secreti diversi, et miracolosi (1578); and 3) apparently his only musical publication from the decade, the Gorzanis lute book of 1579, printed using type inherited from his father (see the analysis of typefaces in Chapters 10 and 11). Alessandro Gardano had little influence on musical production in Venice during the 1570s. Instead, the Gardano heirs and later Angelo Gardano dominated the musical output of Venetian presses, the most active in Italy, throughout the decade. After the death of Girolamo Scotto in 1572, Melchiorre Scotto had continued a level of musical production somewhat inferior to that of his uncle, Girolamo Scotto, and decidedly inferior to that of the Gardano business.58 Claudio Merulo's printing firm, although relatively prolific, halted its production of editions at the opening the decade,59 while Francesco Rampazetto's musical output had already ceased by the mid-1560s.60 However influential the Gardano firm in the 1570s, in the next decade Angelo Gardano would produce more musical editions than anyone had in any decade before him and more than anyone would in any decade for generations.  

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Chapter Eight Venetian and Roman Successes, 15801589 In no year during the fertile decade of the 1580s did Angelo Gardano produce fewer than two dozen editions, and in the banner year of 1587, Angelo's shop issued nearly 40 music books. Venice did not have to cope with any new onslaught of the plague, nor does it seem that the Gardano had to cope with any divisive family issues that had any appreciable effect on the massive output of the presses in the 1580s. In short, this was the golden age of the Gardano firm, in which it produced first editions of the most well-respected and popular musicians of the day: Giovanni Matteo Asola, Lodovico Balbi, Andrea Gabrieli, Ruggiero Giovanelli, Marc'Antonio Ingegneri, Luzzasco Luzzaschi, Luca Marenzio, Claudio Merulo, Philipp de Monte, Claudio Monteverdi, Giovanni Pierluigi da Palestrina, Costanzo Porta, Orazio Vecchi, Giaches Wert, and others. In addition, the company issued countless popular reprints. Even the career of Alessandro Gardano seems to have been relatively productive during the 1580s. In just two years, in 1580 and 1581, he produced at least 10 editions in Venice, of both sacred and secular music. While he appears not to have kept up with his dues in the Scuola Grande di San Teodoro after 1577, 1 he seems to have taken an active role in the Venetian Printing Guild. He was still a guild member in 1578, and documents indicate his presence at its meetings on 6 March 1580 and again on the following 3 June. He attended another guild function, along with his brother Angelo, on 25 June 1581, when the latter was elected to the post of a guild officer (as a member of the zonta). Alessandro's name was still found in the guild records in the summer of 1581, but never appears in these sources after his departure for Rome.2 Certainly Rome needed a printer of musicsince the dissolution of the Dorico firm in 1572, editions of music were infrequent.3 Exactly when Alessandro left the Serenissima for the Eternal City isn't known, but in 1581 Alessandro Gardano issued his last Venetian editions. Although the year 1582 is a blank as far as Alessandro's biography or  

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book production is concerned, from 1583 to 1591 he produced at least 94 Roman editions, mostly in collaboration with other printers. For instance, during his first years in Rome, he worked with Domenico Basa, possibly an acquaintance of his during his early years in Venice. 4 From 1585 until 1589, Alessandro published in a partnership with Francesco Coattino and had business dealings as well with Giacomo Bericchio, Bernardino Donangeli, and Giacomo Tornieri.5 A series of Roman notarial documents that has recently been uncovered sheds additional light on Alessandro Gardano's business dealings in the city. Early in 1585, the booksellers Giacomo Tornieri and Bernardino Donangeli formed a partnership for printing, each contributing funds for the necessary equipment. In May of the same year, the two leased 10 rooms and a basement to Alessandro Gardano and Francesco Coattino, who had formed a partnership of their own. Of special importance in these documents is the great detail recorded regarding the conditions of the transaction. Gardano and Coattino could print books only for Tornieri and Donangeli, unless written permission was given to the contrary. Each book was to have the "sign of Jesus" (the printer's device featuring "IHS") and the names of the landlords, with the exception of music books which would carry only the name of Alessandro Gardano; if Gardano and Coattino were to print for another bookseller whose name was to appear on the title page, then the landlords' names were to appear in the colophon. All printing expenses were to be paid by Gardano and Coattino, but it fell to Tornieri and Donangeli to replace worn type and other printing equipment. In addition to the rent, a fee was to be paid for each ream of paper that Gardano and Coattino used, either for music or for any other material they might publish, and the two were to report the total of books in each press run to the landlords. In case of the sale of the business, Tornieri and Donangeli were to have first right of purchase. An inventory of the contents of the print shop followed, including type fonts for music purchased from Domencio Basa, Gardano's partner early in his Roman sojourn.6 Within a month, Tornieri entered into another printing partnership with Giacomo Bericchio, whose name is often found together with that of Alessandro Gardano during his Roman period.7 Another notarial document from Rome indicates some of the problems in compiling an authoritative checklist for the non-musical publications issued by Alessandro Gardano. Gardano and Coattino were to print 1700 copies of Lancellotto's Istituta canonica (and other books) for Donangeli, at no less than half a folio per day.8 A copy of this book dated 1587 survives at the Law School Library at Harvard University, but the Harvard catalogue (HOLLIS) gives only the name of Donangeli as the printer; the names of Gardano and Coattino can be found only in the colophon. Another copy of the book may be found in the New York Academy of Medicine, but now dated 1588; the on-line catalogue of the  

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collection lists only Tornieri's name; once again, the names of Gardano and Coattino can be found only in the colophon. 9 Any authoritative checklist of the non-musical works in which Alessandro Gardano had a hand in publishing in Rome, then, must ultimately be a part of a larger project dealing with the printing careers of Gardano's many partners, a project far too ambitious to be part of the present study. Returning to the Roman notarial documents, they tell us that by 1589 Alessandro was compelled to return to Venice, although the reason for his departure is not known. On 19 January 1589 he ceded his half of the printing concern to his partner Francesco Coattino, and the document records various debts and credits involved in the exchange; we learn as well that the printing concern owned three presses. On the same day, Tornieri sold Coattino the publishing business.10 Alessandro Gardano returned to Venice in 1589 and apparently stayed there into 1590, since the mariegola of the Scuola Grande di San Teodoro indicates a dues payment for 1589;11 in addition, no Roman editions appear under Alessandro's name for the year 1590. Nevertheless, by May of 1590 he was once again in Rome, as notarial records attest as he assumed guardianship of the goods of Coattino's firm for the Auditor Camerae.12 In the following year, Alessandro published his last musical volumes in Rome, and thereafter ceased printing altogether. Yet tantalizing hints of Alessandro's fate survive in the Venetian archival records of the Scuola Grande di San Teodoro. The mariegola of the scuola records additional dues payment records for 1593 and 1594, suggesting that in 1591 or soon thereafter he returned to Venice, perhaps for the last time. A perusal of the Venetian necrologies in the following years has not turned up any entry indicating his death there, but the scribe of the mariegola of the scuola grande placed a cross after the date 1603 at the entry "Ser Allessandro Gardano Librer," presumably indicating the year of his death.13 No record of this obscure figure has surfaced for the period between his last payment to the scuola in 1594 and his possible death nine years later. While nominally a part of the great Gardano printing firm, Alessandro produced less than four musical volumes a year during the entire span of his activity as an independent music printer (although with the inclusion of non-musical volumes, this average rises to more than seven editions yearly). Clearly the prodigious output of his brother Angelo, his father Antonio, and many other publishers in the period eclipsed the importance of Alessandro Gardano as a printer during the high and late Renaissance. As Alessandro Gardano left his home city, moved to Rome, returned again to Venice, and eventually faded into oblivion, Angelo Gardano apparently gained the trust of his fellow printers and, in addition to his civic activities, received the highest professional honors of the day. For  

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instance, Angelo appears to have remained an active member of the Scuola Grande di San Teodoro and kept his dues current throughout the 1580s. 14 In addition, he had been elected as an officer of the Printing Guild, as a member of the zonta, in 1581 and 1582.15 By 1585, the members elected Angelo as the Prior of the Guild, the Arte di Libreri, Stampatori, e Ligadori, the highest position in the field of printing in the city most famous for printing throughout Europe.16 While the meetings for the guild as a whole customarily took place in the Genovese Chapel in the church of SS. Giovanni e Paolo, the meetings for the officers, usually with about a dozen people in attendance, were held in Gardano's home during his tenure as Prior. This would suggest that the Gardano apartments were spacious enough to host such a gathering. Angelo held the position for the standard year's tenure, and was replaced in 1586 by Dominico Nicolini. But Gardano's service to the guild must have been unusually efficient and productive, evidently like his printing firm, since in 1587 he was again nominated in the election for Prior. A scribal entry tells us, however, that his name was not voted upon since Angelo owed dues.17 Evidently he paid his dues that very day, since his name was resubmitted and he was reelected for another term as Prior of the Guild for 1588, and he appears to have been Prior for some time in 1589 as well.18 Thus, along with leading his flourishing music printing firm in the decade of the 1580s, Angelo Gardano also held the highest office available to any printerof music or otherwisein Europe, given the foremost position of Venice in printing on the continent. In documents from 1582, we glimpse a hint of some of the wealth that Angelo had amassed during his career as a music printer. The tax records for this year indicate some of the land holdings of the family, and we learn that, in contrast to the 13 ducats generated by the family land in 1566, now the income had more than quadrupled. Income generated by the holdings totalled almost 50 ducats in cash as well as donations by the tenants of a great deal of wheat and three barrels of wine per year.19 The documents also indicate that Angelo now managed Alessandro's quarter of the land holdings, which had been ceded (whether or not they had actually been sold, as they would be by 1606) to their uncle, Stefano Bindoni. Angelo reported that he had to pay Bindoni 14 ducats, 26 soldi for the land each year, and that this should have been subtracted from his total tax liability.20 However, in comparing his tax statement to the family's land holdings as seen in the division documents of 1575, there appear to be certain omissions. For example, Angelo reported none of the income from Alessandro's quarter share, but at least in 1575 all of this land was being leased. Of course it is possible that Alessandro Gardano or Stefano Bindoni reported these profits, but we have found no documents to support that assumption. Most of Lucieta Gardano's land holdings from the  

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division of assets in 1575 can still be accounted for in Angelo's statement of 1582. In addition, from the list of renters working the land in the 1575 document, we can assume that any income from the land that had been worked by Matheo Gobato, Agnolo and Piero Scantabarba, and the unleased properties in Angelo Gardano's quarter, had not been reported to the Venetian authorities, unless Angelo had sold these properties in the meantime (and we have no documents or even a record of the existence of such documents to hypothesize such a sale). Any profits from most of Matthio Gardano's quarter holdings of land, rented to Marco Augustini in 1575, were not reported, although those leased to Iacomo Rigato and Battista de Vendramin were still being worked by the same tenants in 1582 and were reported in Angelo's statement. Matthio Gardano may have made a statement of his own to the authorities regarding his properties, but again, no documentation has yet been found to support that supposition, and with Angelo's reporting of a portion of his brother's properties one can only come to the conclusion that major omissions were made from the Gardano tax report. Consequently, we can only assume that the more than quadrupling of income from property held by the family may be an underreporting, since many of the lands seem to be unaccounted for in the tax declaration. Apparently the problems associated with voluntary disclosures of assets for tax purposes have changed little from the sixteenth century into our own! The other "silent partner" of Angelo Gardano in the early 1580s, other than his brother Matthio, was his sister Lucieta. As previously mentioned, she had not died during her illness of 1579, and when she attained the age of 23, Angelo and Matthio made arrangements for her marriage to Bartolomeo Gardignan. We have evidence of a marriage contract that had already been signed on 18 February 1582/3, with an accompanying inventory of the goods that Lucieta was to take as dowry from the assets she held in common with Angelo and Matthio, 21 although these documents have not yet come to light. On the following day, 19 February 1582/3, the brothers had an agreement drawn up which effectively split the family's assets yet again, giving Lucieta her dowry and leaving the remainder of the family's assets to be held in common by Angelo and Matthio.22 Since no other documents related to her life have surfaced, from that date on her connection to the family business and properties ceases to be of any interest. Other notarial documents available to us from the 1580s, rather than shedding light, actually pose additional questions about printing of music in the Renaissance. For example, in a document from 1582,23 Angelo appointed "D. Leandrum Mira" in Rome as his representative in negotiating a contract, explicitly to print the music of "d. Joanne Palestrina musico." Mira, probably Sicilian by birth, was a composer who had a number of madrigals printed in anthologies from the 1560s  

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through the 1590s; 24 doubtless if more documents still exist regarding this transaction, one would suspect that they might be found in the Eternal City. We know that until the 1580s Angelo Gardano (and indeed most publishers in Venice and Rome) had published little of Palestrina's music, and most of what Angelo had issued were simple reprints.25 Only with Palestrina's rising fame at the end of his life did printing houses in Venice and Rome begin to issue his volumes with increasing frequency.26 But in 1581, Angelo had already printed the first edition of Palestrina's Il primo libro de madrigali [spirituali] a cinque voci (P761). We can only surmise what Alessandro Gardano's role might have been in these negotiations, since by 1582 he may have already been located in Rome. If so, Angelo did not name his brother in the 1582 document that appointed Mira as a representative to bargain with Palestrina. But if the negotiations suggested here concerned Palestrina's polyphonic music, then they would appear to have been successful, since in 1582, Angelo Gardano published the first edition of Palestrina's Missarum cum quatuor et cinque vocibus, liber quartus (P667).27 Thereafter, in the 1580s it was Alessandro Gardano, then in Rome, who published more of Palestrina's music than did Angelo in Venice. Angelo's dealing with Palestrina, however, may have had more to do with his work on revising Catholic plainchant for a new edition of the Graduale romanum than with any of his polyphonic compositions. A Catholic Reformation, revision to the Graduale had begun with the appointment by Pope Gregory XIII of Giovanni Pierluigi da Palestrina and Annibale Zoilo to effect changes in Catholic plainchant. Scholars believe that this project had been abandoned in 1578,28 but new information provided by a recently discovered printing privilege application might suggest otherwise. Printing privilege requests survive in great quantity in the Venetian archives. Angelo's father, Antonio, had first applied for a printing privilege in Venice in 1538, and he requested approximately ten such concessions from the Venetian Senate during his career,29 including a request for a privilege on a printing invention in 1542.30 Other privileges were occasionally requested directly by the composer, a compiler of the music, or some other figure with a stake in the edition being considered.31 During the first decades of music printing, the Venetian Senate occasionally granted blanket privileges for all of the publishing output of a single printer. But by the mid-1540s, the Senate appears to have become ever more suspicious of the printing industry. In consequence, from this period onward the body appears to have granted privileges only to individual petitioners for specific publications, rather than issuing the blanket privileges so common elsewhere in Europe.32 Nevertheless, a rough draft of an official privilege document from the Viennese Reichshofrat from 3 July 1583 throws some light on the  

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issue of a new edition of the Graduale romanum. 33 This Viennese document granted Angelo Gardano a privilege for editions specifically named as "Libros aliquot Cantus plani per Petrum Aloysium Prenestinum, et Hannibalem Zoilum, Musicos, à multis erroribus ac mendis reformati." The concession stipulated the presentation of three exemplars of each published volume to the Imperial Chancellery in exchange for a ten-year privilege. If the plainchant project had indeed been set aside since 1578, as has been assumed, Angelo Gardano would have had no motive to ask for an imperial privilege on this publication five year later. Perhaps the negotiations in Rome between Palestrina and Angelo Gardano's agent, referred to in the Venetian notarial documents, concerned the revision of the Graduale romanum rather than Palestrina's part-music. Gardano did publish a Gradual and Antiphoner in 1587 (see Appendix I.A), but this was edited by Ludovico Balbi. Another Gradual issued from the Gardano press in Venice in 1591, "ex decreto sactosancti Concilij Tridentini restituti . . .Magnostudio ac labore multorum eccellentissimorum musicorum emendatum," edited by Andrea Gabrieli, Orazio Vecchi, and Ludovico Balbi. This edition can be considered a historical predecessor to the more well-known Editio Medicea of 1614.34 Might this gradual of 1591 have been the work begun by Palestrina and Zoilo in 1577, and might Angelo have purchased the rights to the editing that had already been done? Again, it seems unlikely that we shall ever find out more about this transaction from the Venetian archives, but doubtless any discovery of documents relating to these negotiations in Rome would prove an extremely valuable find. Little evidence survives concerning the enforcement of disputes among music printers in the sixteenth century, but once again, documents of the Gardano family provide insight into the workings of the Venetian legal system. For example, on 23 September 1584, Angelo Gardano had his notary draw up a document in which he named Francesco d'Avanzo, a Milanese bookseller, in a dispute over 15 ducats destined for Angelo Gardano that had been stolen from a courier.35 The two litigants appointed a representative, each a businessman in his own right, to act in his behalf in order to arbitrate the dispute and examine witnesses. In the case of difficulties with the arbitration, both representatives retained the option of appointing a third unbiased party to finalize any disputed compromise, the final sentence to bind both litigants. This private agreement, in short, created an ad hoc court-of-law. Unfortunately, no other documents have been found that reveal the final terms of the arbitration. Disputes over printing privilege infractions must have been solved in a similar fashion. The official position of the Venetian government on such violations appeared quite harsh. Typical of the official punishment can be seen in a privilege granted to Angelo Gardano in 1586 for music by Andrea Gabrieli and Orazio Vecchi: the loss of all unauthorized books  

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and a fine of 300 ducats, to be split equally among the accuser (likely to be Angelo Gardano himself), the office that carried out the punishment, and the Venetian shipbuilding facility of the Arsenale. 36 And yet very few records of such infractions and consequent punishments remain among the official documents of the Venetian Republic. Instead, we must again turn to private notarial documents and not to Venetian law to hypothesize typical procedures. For instance, on 9 October 1585, the Venetian Avogaria di Comun cited Sebastiano dalle Donne of Verona for violating a privilege held by Angelo Gardano. According to additional notarial documents, Dalle Donne had ''reprinted from the aforesaid Angelo two copies of books, that is, le Canzonette of Horatio Vecchi, primo and secondo book, in spite of [the fact] that messer Angelo had a privilege."37 Indeed, in 1580 Angelo had requested and was granted the privilege on Vecchi's Canzonette . . .libro primo a quattro voci and Canzonette . . .libro secondo a quattro voci, both of which were published in that same year (V1010, V1017).38 Gardano issued reprints of these apparently popular editions in 1581 (Book I), 1582 (Book II), 1585 (Books I, II), and beyond.39 Clearly Gardano did not wish his reprints of 1585 to have any rival editions issued within the extensive dominion of the Serenissima. As holder of the Venetian privilege on these collections, and thus with a monopoly on the printing and distribution of these editions in Venetian dominions for a period of 30 years (an unusually long and relatively rare length of duration, even at this late date), he was at liberty to threaten the printers of any pirated editions with the full force of the Venetian penalties. Dalle Donne probably issued his unauthorized reprint of the Vecchi Canzonette in 1585, although no such edition seems to have surfaced in this century.40 Again, according to the notarial source, Angelo first went to the office of the Venetian Avogaria de Comun, but the parties involved did not resort to the harsh financial measures dictated by Venetian law. Instead, "to avoid trouble and expense they have deliberated rather by means of the path of common friends,"41 a Venetian formula for binding arbitration, much as Angelo had done the year before in his financial dispute with Francesco d'Avanzo. The document stated that if no agreement was achieved within a month by the representatives of the litigants, then Gardano was within his rights to return to whatever office in Venice necessary to press his case. We do not know the outcome of this dispute, although it seems unlikely that Dalle Donne had any convincing defense. The incredibly widespread distribution of the two 1585 Gardano editions of Vecchi's Canzonette, now in Belgium, France, Germany, Italy, Poland, and the United States (see Appendix I.A), and the failure of possibly any of Dalle Donne's editions to survive,42 suggests that nearly all of Dalle Donne's  

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unsold copies of the Vecchi works were confiscated and destroyed. Likely the Veronese printer was also required to pay Angelo Gardano a fixed sum in damages. No other documents regarding this fascinating incident have come to light. Consequently, it would appear that most such disputes with printers and booksellers both in and out of Venetian territories were probably settled by means of private notarial arbitrated agreements rather than official proceedings in circles of the Venetian government. That so few official denunciations to the government of bookman by bookman can be found in the Venetian State Archive suggests that such private agreements may have been more the rule than the exception. We know that privileges held by Antonio Gardano, for example, seem to have been violated by pirated editions printed by his supposed rival in Venice, Girolamo Scotto. But Venetian privileges always gave the owner of the privilege the possibility of allowing others to issue authorized reprints. Thus, Scotto and Gardano, as fellow Venetian bookmen and fellow members of the Printing Guild, probably cooperated with one another more than they competed. Many of the transactions among printers in sixteenth-century Venice seem to have been handled by these informal private agreements; the severe official Venetian penalties appear to have been reserved to benefit those who had gone to the trouble of requesting and obtaining an official privilege from the Venetian Senate only after all other routes of compromise had been exhausted. 43 The last documents that have surfaced from the 1580s again take the form of private notarial actions. On 1 March 1589, Angelo Gardano appointed as his representative Brother Camillo de Corregio, head of the Dominican Monastery and Convent "of the Angels" at Ferrara.44 Exactly what was at stake in this transaction is not known, although it appears from the document that a certain Alfonsio Carafa, a bookseller in Ferrara, had been selling some of Angelo Gardano's books. Presumably some dispute had come about; the wording suggests that Carafa had incurred a debt to Gardano from selling Gardano's merchandise in Ferraraperhaps an insufficient reimbursement on Carafa's part for the books that Gardano had been sending to his bookshop. Brother Camillo was to act as Gardano's representative in pursuing a solution to the dispute. Immediately following this document we find another dated 3 March 1589, no less enigmatic but much more intriguing, since it invoked the shadowy figure of Angelo's brother, Alessandro. Here Angelo appointed him as his representative for business outside of Venice, especially in Rome. Alessandro's own book production fell precipitously in 1589 and he apparently produced few editions if none at all in 1590, and as we have seen, this was doubtless owing to his unexplained return to Venice. But perhaps his new role as representative, perhaps bookseller, for his brother Angelo's production, eventually interrupted and finally put an  

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end his own printing career, since the document indicated that Alessandro was a legal representative for Angelo and was empowered to take any necessary steps, commercial or legal, to promote Angelo's interests elsewhere. His last four musical editions were issued in Rome in 1591. Although in the decade of the 1580s Venice still produced far more reprints than other cities in Italy, the Gardano firm issued fewer reprints in these years than the average Venetian firm. While fully 30% of Venetian musical editions issued from 1551 until 1650 were reprints (14% of those editions printed elsewhere in Italy), 45 the firm in the 1580s, as it had in the 1570s, produced fewer. Reprints accounted for only about 23% of the output of Angelo Gardano's Venice firm in the decade of the 1580s (see Table 9.3), while Venetian reprints of music averaged above 30% for all printers during the same period.46 Evidently Angelo was still actively in search of new music, or perhaps his reputation compelled composers to seek him out as the publisher of their own works. In the busy years of the 1580s, changes occurred from the previous decade in terms of composers published by the firm as well. The music of Phillip de Monte now soared to the top of the list of the most frequently appearing composers, with at least 17 editions from the press of Angelo Gardano; Orlando di Lasso trailed by only 1 less edition. The company issued at least 12 music books by Giovanni Matteo Asola, 11 by Orazio Vecchi, and 9 by Luca Marenzio, followed by at least 8 editions of Giaches Wert, 7 each of Giovanni Cavaccio and Marc'Antonio Ingegneri, and a minimum of 6 by Rinaldo del Mel, Giovanni Maria Nanino, and Annibale Stabile. 22 composers had between 3 and 5 editions each published, with another 70 or so composers represented by only 1 or 2 apiece. Even fewer anthologies were printed in this decade than in the 1570sthe number dropped from 14 to 10, as Angelo's output tended more and more to emphasize single-composer publications.47 During the 1580s, secular vocal music continued to dominate the output of Angelo Gardano in Venice, with almost 160 madrigal editions and about 25 editions of the lighter secular forms. Motet publications account for almost 40 of the total editions, with Masses approximately 17 and Magnificats about 10. Spiritual madrigals comprise only 4 of the issues, and all other genres account for between one and three editions apiece. In this decade, publications of secular music issued by Angelo Gardano typically outnumber sacred books by a margin of two to one.48 In the first two years of the decade, Alessandro Gardano was still printing books in Venice, distinguishing his own production from that of Angelo's by spelling his surname Gardane and utilizing two lions instead of a lion and bear as his printer's mark.49 Yet during this period he printed only slightly over a dozen publications. Of the ten musical editions here, no composer is represented by more than one. While the number of musical reprints comprised 30% of the books issued from his  

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press, the split between secular and sacred works was about the same as Angelo's, approximately 60% secular to 40% sacred. After his move to Rome, however, this situation changed dramatically. He reverted to spelling his name Gardano, and once again employed the lion and bear printer's mark characteristic of the family firm in Venice. From 1583 until 1591, Alessandro produced at least 61 non-musical publications 50 and 39 musical editions in Rome. The number of musical reprints fell to only about 7, about 18% of his total output (see Table 9.4). Sacred music dominated the output of his press, 82% to his secular output of only about 18%, the majority of these emphasizing the genres of laude spirituali, motets, spiritual madrigals, and Masses. The lighter forms, such as villanelle, made up half of the secular output. Giovanni Pierluigi da Palestrina headed the list of representative composers from the Alessandro Gardano press with 5 editions, followed by Tomás Luis de Victoria with 4. Given the location of the business in Rome, spiritual center of the Roman Catholic Church, we cannot be surprised that these two composers, the foremost representatives of church music at the time, lead in number of books produced. Luca Marenzio also was represented by 4 publications, but of these 2 are sacredthe Madrigali spirituali of 1584 (M525) and the first book of motets for four voices of 1585 (M494). Guidetti's three folio volumes of chant, the Verba evangelistae of 1586, the Cantus ecclesiaticus officii maioris hebdomadae of the following year, and Praefationes in cantu firmo of 1588 obviously figure prominently in the output of the Gardano firm in Rome, if only because of their large and impressive format. The decade of the 1580s witnessed a number of other important changes in the Venetian music scene other than the departure of Alessandro from Venice (which may or may not have been considered significant). The output of Melchiorre Scotto dropped drastically in the mid-1580s and never returned to former levelsthe Scotto firm was virtually moribund after 1592.51 Two new printers of music appeared on the scene during the decadeGiacomo Vincenti and Ricciardo Amadino. They printed in partnership from 1583 until 1586, and separately thereafter. During the period of their collaboration they issued an impressive total of about 20 editions per year.52 At first, one might assume that this presented Angelo with a great deal of competition, but a second look at his production figures for the 1580s suggests that these new printers were simply filling a market need. Angelo's production didn't fall but indeed remained at a high level of about 30 editions annually, peaking in 1587 with at least 38 editions. It is even conceivable that Angelo urged the younger printers to enter the music printing market in Venice, given that in 1586, in his famous letter to the composer Giaches de Wert, he complained about the work overload of his beleaguered firm.  

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Chapter Nine Prosperity in Venice and the Final Years: 1590-1611 One of the most significant pieces of evidence that remains from the Gardano family output in this period is the Indice delli libri di musica che si trovano nelle stampe di Angelo Gardano, 1 printed in octavo format by the printing company in 1591. This publication exists in a single exemplar found in the Bibliothèque Nationale in Paris, and is considered the first such surviving booklist issued by a music publisher, although booklists probably had been issued by printers from the very first decades of printing in Europe.2 It has been suggested that this list of about 350 entries represents the full extent of Angelo's output until 1591.3 Nevertheless, no scholar has ever analyzed the list in any detail, and even the number of entries referred to in the past has been misconstrued. For example, the entries total about 350, but the number of books cited proves closer to 450, since many of the single entries refer to more than an individual publication. Typical is the indication on f.6v of the Gardano list, "mad: di Filip: di Monte 5. 6. 7. 11. 12. 13. 14.," which refers to seven publications, not one as had been casually assumed in the past. The checklist of publications in Appendix I.A demonstrates that Angelo had already produced well over 500 musical publications between his assumption of the firm's leadership in 1569 and the publication of the booklist in 1591. Since the booklist carries slightly fewer than 450 entries, it should be obvious that many dozens of the Gardano issues were omitted. But another rather careless assumption of past commentators has been that the list represented only those books published by Angelo Gardano. In truth, a careful analysis of the entries certainly shows that over 60 books on the list were printed by Antonio Gardano years before the heirs took charge of the firm. Therefore, well over 100 of the Gardano titles issued from from 1569 until 1591 failed to make their way onto the booklist. No doubt the 1575 inventory, drawn up for the division of the family's assets, alluded to a number of these older  

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Antonio Gardano publications, many probably damaged owing to their many years in storage, in its description of "music books from the Gardano press, altogether [there] are one hundred ten bales, among [which there are] good and ruined [ones]." 4 While the vast majority of entries on the 1591 list date from the decades immediately preceding its publication, some of the citations, such as Cimello's Villotte a 3 and Jannequin's Battaglia francese, were issued in the first decade of Antonio Gardano's business during the 1540s. In addition to the publications of Angelo and Antonio Gardano, the booklist may include some editions published by Alessandro Gardano after his departure from the family firm. For instance, Alessandro printed an edition of Arcadelt's first book of four-voice madrigals in 1581. While the booklist (on f. 4v) refers to an edition of Arcadelt's first book, it is also possible that the edition to which the list makes reference might have been published by Antonio Gardano, who perhaps issued such an edition around 1565.5 Other books apparently for sale at the Gardano press in Venice, although not printed by Angelo Gardano, may have included Annibal Stabile's eightvoice litany edition issued by Alessandro Gardano in Rome in 1583. What seems most surprising is that more of the fifty-odd music books published by Alessandro Gardano did not find their way onto the 1591 list, and perhaps this fact in itself would argue for a lack of any of Alessandro's titles having found their way onto the 1591 Gardano book inventory (in that case, presumably, the questionable entries might refer to lost editions published by Angelo Gardano). The lack of titles published by Alessandro Gardano on the list may signal a relatively decisive break between Alessandro Gardano on one hand and the remaining three siblings on the other after the division of the Gardano company in 1575, although the 1589 notarial document appointing Alessandro as Angelo's agent in Rome, referred to above, would naturally suggest otherwise. Unless a few key Gardano editions have disappeared without a trace, one could also infer from the 1591 list that Angelo Gardano may have sold a few music books not published by his family members out of his Venetian bookshop. Antonio Molino's first book of four-voice madrigals, entitled I dilettevoli, survives only in an edition printed in 1568 by Claudio (Merulo) da Correggio, as do Primavera's book of villotte from 1570, an anthology of napolitane of 1571, and the Gorzanis villotte of the same year, all printed by Scotto. Although the number of such entries in the booklist is small, the comparison of its entries with extant editions from the 1580s and 1590s would lead us to believe that Angelo Gardano would occasionally keep publications by other printers available for sale, such as editions from the Venetian firms of Scotto, Vincenti, and Amadino, and perhaps even books issued by firms as distant as Tini in Milan and Dalle Donne in Verona. But without a doubt, the 1591 booklist indicates  

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that the overwhelming number of books found in the Gardano shop in that year were issued by the father, Antonio, until 1569, by Antonio's heirs until 1575, and thereafter by Angelo alone. As such, this list should probably be considered a stock catalogue of the family's bookselling business, as implied by its title, "Index of the music books that are found at the presses of Angelo Gardano." 6 Even with the high cost of paper, which would seem to prohibit large numbers of unsold books, it is apparent that the press runs of many of these musical editions did not sell out even after years of display on the booksellers shelves.7 Why a number of books published even a few years before 1591 didn't happen to make it on to the list seems puzzling, although the temptation would be to speculate that these and other earlier issues had completely sold out by the time of the booklist appeared in 1591. And yet no pattern among those editions absent from the booklist seems to emerge. Publications featuring both popular and relatively unknown composers failed to make their way onto the list, as did books of both sacred and secular music. Thus, it would appear that the failure of any publication to be named therein may be attributed simply to historical accident. Or perhaps some of these works whose titles failed to appear on the list were "vanity press" publications, printed by commission with all exemplars presumably transferred to those financially responsible for their publication, as at first glance seems to have been the case with the Scotto edition of Paolo Ferrarese's Lamentationes of 1565 (P868).8 The greatest number of editions produced by the elder Antonio Gardano that appear on the 1591 booklist from any given year (see Table 9.1) is 8 from 1561, with other years being represented by 7 editions from 1562, 6 in 1560, and 5 in 1547 and 1569. The remaining years of Antonio Gardano's productivity, from 1545 until 1569, all have 4 or fewer entries in the booklist. Like many of the editions issued by the elder Antonio Gardano from the 1560s, many of those issued during Angelo Gardano's first decade of publicationinitially in association with his siblings and subsequently under his own namefail to appear on the list. With the exceptions of 1571, with 16 publications cited, 1574, with 12 such entries, and 1573, with 10, no other year of the 1570s features more than 8 editions whose titles found their way onto the 1591 publication. One year in particular, 1577, seems quite sparse with only 3 publications cited. But owing to the ravages of the plague or to a possible trip by Angelo to Germany, the Gardano firm seems to have published only these 3 music books that year, and thus, paradoxically, 1577 figures as the only year in which all of the publications issued by the company, albeit a small total, seem to have found their way onto the inventory. The decade of the 1580s naturally claims the largest share of 1591 booklist entries. Beginning with 9, 13, and 18 entries respectively, for  

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Table 9.1 A Tabulation of Entries from the Gardano Booklist of 1591 The number of publications issued yearly by Antonio Gardano that are cited in the Angelo Gardano Indice, arranged by date of publication (including some dubious entries), followed in parentheses with the total number of publications known to have been issued by the firm in the same year (the latter number taken from Lewis, Antonio Gardano, 1:85; only confirmed editions are included): 1545: 2 (19) 1554: 1 (13) 1562: 7 (22) 1546: 3 (22) 1555: 2 (14) 1563: 1 (11) 1547: 5 (15) 1556: 3 (10) 1564: 4 (22) 1548: 2 (12) 1557: 2 (14) 1565: 4 (17) 154?: 1 1558: 2 (4) 1566: 1 (16) 1550: 1 (8) 1559: 3 (15) 1567: 1 (18) 1551: 0 (12) 1560: 6 (17) 1568: 3 (17) 1552: 3 (16) 1561: 9 (20) 1569: 5 (27) 1553: 3 (8) The number of publications issued by the figliuoli di Antonio Gardano or Angelo Gardano and cited in the Angelo Gardano Indice, arranged by date of publication (any possible editions by Alessandro Gardano have been excluded), followed in parentheses with the total number of publications known to have been issued by the firm in the same year (taken from Appendix I.A): 1569: 0 (1) 1577: 3 (3) 1585: 22 (25) 1570: 4 (20) 1578: 10 (21) 1586: 23 (29) 1571: 16 (24) 1579: 7 (28) 1587: 34 (38) 1572: 6 (16) 1580: 9 (26) 1588: 25 (30) 1573: 10 (12) 1581: 13 (23) 1589: 25 (29) 1574: 13 (27) 1582: 18 (30) 1590: 19 (25) 1575: 8 (17) 1583: 24 (30) 1591: 22 (26) 1576: 6 (16) 1584: 21 (33) Unknown: 21 1580, 1581, and 1582, none of the subsequent years features fewer than 20. Of particular interest is 1587, claiming a massive total of 34 entries in the Gardano booklist, only 4 short of the total estimated 38 editions published by Angelo Gardano in that year. The 1590s are represented with 19 citations from 1590 and 22 from 1591. Yet in every year, at least a few of Gardano publications fail to appear on the list, and no convenient rationale explains the omissions. Documents that survive from the decade of the 1590s once again raise questions about Angelo's siblings and their relationship to the printing firm. As has been mentioned, the daughters of Antonio Gardano seem to have taken their dowries with them at the time of their marriages:  

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Angelica had already parted ways with the Gardano family before the death of her father, and Lucieta probably had done likewise by 1583. Fra Pacifico, as indicated in Angelo Gardano's will, had wanted nothing of the paternal assets that had been divided when Alessandro left the family firm in 1575. This left only Matthio Gardano with Angelo as a co-owner of the family firm; no documents have yet come to light to suggest any financial division between the brothers. Nevertheless, the documentary evidence clearly implies that Matthio had little if anything to do with the business of music publishing. His wife's will, drawn up in 1597, 9 names him alone as the legitimate heir of her dowry, but does not mention that he was a music printer. Instead, she refers to him only a "mercer at the sign of the church." This designation has not been identified with any music printer,10 and the traditional sign of the Gardano family music printing business remained the lion and the bear. Further evidence of Matthio's lack of participation in the music printing business may be inferred from the membership list of the Venetian Scuola Grande di San Teodoro. This source included Matthio Gardano's name for 1593 and 1596, but unlike his brothers Alessandro and Angelo, he is not referred to as a bookseller, but rather as a "mercer at the [sign of the] church." In addition, records of Matthio's participation in the meetings of the scuola in 1594, 1596, and 1597,11 yet the lack of any documentation whatsoever for his participation in the deliberations of the Printing Guild12 would also strengthen the argument for a career as a mercer, entirely outside the field of printing and bookselling. However, judging from documents from the following decade (see below), Matthio never formerly divided his assets from his brother Angelo, an oversight which would cause Angelo a great deal of grief after Matthio's death. Angelo, with the possible exception of the years 1592 and 1593 (where no dues payments are recorded), remained a member in good standing of the Scuola Grande di San Teodoro from the time of his entry into the organization in 1566 until 1610, the year before his death.13 During the 1590s he also continued his participation in the Printing Guild unabated. While his bids for election to some of the guild offices were rejected (for Prior in 1595 and Consigliere in 1596), the guild members did elect him to a number of other offices, including that of dues collector (1591), as a member of the zonta (1592, 1596), as a Perito dell'arte (1596), and as a Regolatore della scrittura (1598). He, like many others, made a standard contribution to assist the guild in the acquisition of a silver cross, although others in the guild made double, triple, or quadruple this contribution, or in some cases even more. While elected to the post of Consigliere in 1601, Angelo Gardano seems to have been absent during many of the guild meetings. In 1603, he once again came up for election as Prior of the guild, but is disqualified for then holding no office. His name fails to appear thereafter in the guild documents.14  

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Angelo Gardano's book production numbers remained essentially unchanged from the 1580s into the first part of the following decade. The difficult weather and famine of the early 1590s, the only truly difficult economic period for Venice at this time, do not appear to have adversely affected the productivity of the Gardano firm. From 1590 until 1596, Angelo's estimated rate of production held up at a surprisingly stable 25 to 30 books per year. But in 1597, something seems to have triggered a reduced output, to nearly half his former total, with 14, 12, and 17 books respectively for the years 1597, 1598, and 1599. Clearly the setback was not permanent, since in the first year of the next decade, Angelo again produced at least 26 musical editions. Late in the 1590s, Angelo Gardano presented the will of his uncle and fellow bookman, Stefano Bindoni, into the hands of a notary. 15 Bindoni apparently drew up the document, dated 1 March 1599, himself, and seems to have been at least as well off as the Gardano. He named Angelo Gardano as his executor and also as a beneficiary of significant assets. Bindoni, occasionally in trouble with the Inquisition and other related agencies in Venice, appears to have been more a bookseller than a printer, and much of his bookselling activity seems to have been in Padua rather than in Venice.16 As such, perhaps it is no surprise that Bindoni willed Gardano two of his houses and all of the furnishings and objects in one of these houses in the parish of Santa Caterina in Padua. He also forgave all debts owed him by Alessandro Raverio, the son of his sister, later to become a prolific music printer in Venice for a short period at the end of the first decade of the seventeenth century.17 In addition, Bindoni asked Angelo to keep in repair two houses (one relatively large) with the income from Bindoni's orchards, all of which the older man had built and maintained for many years on the island of Torcello. Angelo's uncle also requested that he serve as guardian of those remaining assets not already promised to others for his two nephews, sons of his brother Marco, to be given to them at the age of their majority, 25. If the boys were to die, or if Bindoni's brother or his wife were to bring any litigation against Angelo, then all of Bindoni's assets would simply revert to Angelo immediately. Bindoni also asked Angelo to provide his brother Marco with any of the necessities, for living, dressing, and so on, that he might require in his old age.18 Stefano Bindoni's death preceded that of Angelo Gardano by little more than a decade. But unlike his own father and uncle, who could confidently rely upon Angelo to take charge of their affairs as they eased into retirement, the last dozen or so years of Angelo Gardano's career was to be marred by bitterness, and he had no direct male heir to his printing business. The unresolved issue of the printing firm's assets, evidently still shared with his brother Matthio, was to become the bane of his old age.  

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On 30 January 1605/6, Angelo Gardano wrote a petition recording his grievances in a dispute with Iacobo Capis. 19 Angela Capis, a close relative of Iacobo,20 had been married to Matthio Gardano, now decreased, although no documents have surfaced showing the date of Matthio's death (he was evidently still alive in 1597, since in that year he attended a meeting of the Scuola Grande di San Teodoro).21 Angelo stated that Angela Capis had left his house when she had received her dowry, presumably after the death of her husband. But now, in Angelo's view, she was attempting to exterminate the poor house of Gardano and ruin her son (and Angelo's only nephew), Antonio, whom she had secretly spirited away. Angelo had intended that his nephew continue the family business of printing and bookselling, and toward that end Angelo had supported the entire family of Matthio, Angela, and Antonio with his own industry, constantly expanding his commercial venture. He had no intention to squander away the fraternal business, but had wished to foster its growth as he always had. Angelo's complaints would suggest, of course, that Matthio, while a mercer, had been less than successful in his non-printing ventures. In his statement, Angelo volunteered to review the finances of the firm with his nephew's guardian, Angela's relative Iacomo Capis, and draw up an inventory of the fraternal possessions. Angelo offered Capis the opportunity to review the records of the firm every six months, every two months, or however Capis chose. In addition, Angelo offered a 3% to 4% return on the assets of the firm to his nephew, to be deposited in an account each year exclusively for the benefit of the boy, and also to pay for his food and clothes. Angelo also appears to have been forced to alter his imprint from his name alone to that of ''Angelo Gardano & fratelli," thus making explicit that his fraterna with his deceased brother Matthio was still in force, albeit through the young Antonio, in all of his succeeding publications. Several months later, an inventory of Angelo's household items was drawn up by a notary.22 An annotation at the top of the document explicitly stated that the inventory covered those items held by the fraterna of Angelo Gardano and his nephew Antonio, son of the departed Matthio. Angelo lived at his "usual" residence in the parish of San Salvador in the Merceria, owned by Marc' Antonio. Michiel.23 The 1606 inventory differs from that of the inventory drawn up for the division of the family assets in 1575 in a number of important ways. First, the 1606 list fails to document any contents of the printing shop itself. Ofcourse, it is possible that Angelo had a separate inventory drawn up of the printing materials, including the equipment and the books themselves, but a later inventory compiled after Angelo's death in 1611 indicated that the fraterna of Angelo and his nephew Antonio still existed. Thus, the only property to be divided here was unconnected to the  

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business proper. The only books that actually made their way onto the document appear to have been Angelo's private book collection, and it included only a book of poetry by Oratio Guargante; two notebooks of ancient Venetian history; an engraved edition entitled Diletto spiritual, issued in Rome; 24 two other unidentified small music books (probably in octavo format); and a collection of small books of villanelle napolitane. This paltry collection evidently represented Angelo Gardano's complete home library. In contrast stands the library of Christophe Plantin in Antwerp, built up from gifts, books he bought to help friends and acquaintances, and books acquired to assist proofreaders or the firm in general; this, in turn, served as the basis of further acquisitions by Plantin's scholarly grandson. Ironically, the most glaring lacuna in this collection are the books printed by Plantin himself.25 In any case, given the position of Angelo Gardano as a bookseller and his importance in the Venetian printing community, such a poor assortment as revealed by the inventory can only be considered disappointing and somewhat sad, especially given the enormous inventories of private book collections that survive from Renaissance Italy and even his own father's importance in the intellectual community of Venice.26 A few of the other entries elicit some interest, including the map indicating the Gardano holdings in the Veneto, a book detailing the family's taxes (unfortunately, both now lost), followed by a list of documents pertaining to the family's property and legal interests. The 1575 inventory itemized no such documents, although many of these had already been drawn up before the compilation of the inventory. The household items described in 1606 include somewhat less furniture and fewer clothes than in 1575, since many of these items were likely taken by. Lucieta Gardano when she married.27 At the same time, Angelo had collected a number of additional luxury items, including a clock (although broken), a portrait of the Madonna "with the portrait of the rector of Sant'Agustin, which Angelo Gardano says was given to save madonna Chiaretta Tramezzina, prioress of the doors at San Domenico," a small portrait of Angelo Gardano, a small portrait of Matthio Gardano, a painting of Orpheus, and another antique painting of the Madonna.28 Unlike the 1575 list, the inventory of 1606 grouped the items by their location in the dwelling, thus giving us some idea of the size of the Gardano living quarters in the Merceria. The kitchen listings were followed by items in three other rooms, an attic, and a basement.29 The entries at the bottom of the inventory indicated that Angelo had been allowed to keep all of these possessions upon the resolution of his dispute with Capis. In addition to the living quarters that Angelo maintained within the city of Venice, an inventory drawn up several weeks later, on 15 May 1606,30 detailed the contents of the family house in Caselle near Mirano  

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on the mainland. Annotations at the conclusion of the inventory indicated that Angelo had apparently ceded the dwelling and its contents to Angela and Iacomo Capis as trustees for Angelo's young nephew. The inventory suggested a luxurious country home with its division of items room by room, including a large kitchen, a wine cellar, a painted room ("camera depenta," perhaps with frescoes?), 31 two upstairs rooms, including a small painted one ("camereta de sopra depenta"), and an aviary for doves ("colombara"). The wine-making equipment, the paraphernalia for the outfitting of carriages, and the wooden sculpture ("un homo di legno'') all appear to have been new acquisitions since the inventory of 1575. Two months later, on 10 July 1606, Angelo submitted another document to the Venetian authorities. It indicated all of the notarial documents that detailed the acquisition of, sale of, and rental of the family properties, and two days later Iacomo Capis acknowledged his receipt of that inventory.32 In the same document, but under the date of 16 July, Angelo also ceded the leased house in Padua for forty ducats to Iacomo Capis, the guardian of the young Antonio Gardano. The document strongly suggests that the Capis family had already taken the property in 1605/6. As always, possession of the house mandated a yearly payment of a livello to the nearby hospital; Iacomo Capis formally acknowledged receipt of the house in September of the same year, as did Angela Capis. A brief annotation in these documents requires some attention. At the conclusion of the inventory of the house in Caselle, Zuan Giacomo Cerial acknowledged the receipt of the dwelling and possessions in Caselle for Angela Capis, since "she says that she doesn't understand writing," and in the inventory of documents, the witness, Andrea Bretani, acknowledged Angela's receipt of the house in Padua, since "she said she doesn't know how to write." That many women in Venice were illiterate in the late sixteenth and early seventeenth centuries certainly should not prove a surprise (see Chapter 4), but for the partner in a publishing firm and a son of Antonio Gardano to have married an illiterate woman does seem puzzling. Perhaps Angelo Gardano disapproved of the choice, thus ultimately provoking the dispute after the death of Matthio, or maybe the Capis family itself, sensing an opportunity for material gain, used their illiterate relative to enrich themselves. On the other hand, Angelo's slim library does not lead us to believe that the Gardano family was particularly concerned with intellectual matters at this point in the history of the firm. Although the number of editions published by the business had increased dramatically since the time of Antonio Gardano, that the family had any place in Venetian intellectual circles at this time must be doubted. The elder Antonio Gardano has been seen as an important part of musical and intellectual life in the Veneto, associating with literary figures such as Gaspara Stampa and Pietro Bembo.33 Certainly the  

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Gardano music printing firm had flourished in a commercial sense under Angelo's leadership, the company having issued more than twice the number of editions than had Antonio Gardano. But indeed, as the evidence of the surviving sources attests, the era after Antonio must be seen as a disappointment from the point of view of any significant engagement in the larger intellectual circles of Venetian society. The last years of the Gardano printing business under the leadership of Angelo Gardano saw a gradual slackening of production. The halcyon years of the 1580s, which saw as many as 38 editions per year, now dwindled to a maximum in the 20s, with as few as 11 in 1602 and 1610. We know from Angelo's will 34 that during his last decade, and at least as early as 1606, he was already assisted by a dedicated and able assistant, and ultimate successor, Bartolomeo Magni.35 Magni had come from a musical family in Ravenna and several of his brothers were professional organists.36 Bartolomeo would continue the family's tradition by marrying Angelo's daughter, Diamante (a typical means of entry into the book trade),37 and would publish both under his own name and under that of his wife's family, Gardano. Angelo Gardano died at the age of 71, after an illness of two months, on 6 (or perhaps 7) August 1611.38 The Venetian Necrologia indicated as the cause of death "fever and retention of urine."39 In his will, Angelo Gardano ordered the official division of the family bookshop and music printing business, arrangements for which had been drawn up by the Officio de Petizion several years earlier. After providing for the widow of his uncle, Stefano Bindoni, he left the enormous sum of 1,000 ducats to his son-in-law and successor in the business of music printing, Bartolomeo Magni, citing his fidelity and love throughout illness, business negotiations, and the division of the family assets with his brother's widow. Angelo left the remainder of his estate to his daughter Diamante, wife of Bartolomeo Magni, with the right to dispose of the estate as she saw fit. If she were to lack living heirs, then she was to leave the estate to whomever she should designate. The property of Angelo's uncle, Stefano Bindoni, was to be given to the Bindoni nephews, as stated in the uncle's will. He named both Magni and Diamante Gardano as his executors, and he requested that he be interred in the family sepulchre in the church of San Salvador. A month later, on 7 September 1611, Bartolomeo Magni drew up an inventory of that part of Angelo Gardano's property which had not already been divided with his nephew Antonio Gardano according to an earlier agreement.40 Many of the entries in the 1611 inventory that describe clothing appear to be nearly identical to those in the division inventory of 1606, probably indicating that Magni or his lawyers or agents simply referred to the earlier document when drawing up the new inventory. While no reference is made to the city of Venice proper, the context  

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clearly implies that the first items on this inventory were found in Angelo's usual residence on the Merceria. The inventory then refers to items found in a residence apparently rented by Angelo on the Venetian island of Torcello (perhaps one of Bindoni's houses, which Angelo was holding for Bindoni's nephews upon their attaining the age of majority), along with some land for which Angelo paid rent to the monks of San Girolamo and to the Scuola of the Madonna in Torcello. The total value of the household goods in Venice and Torcello were estimated at 108 ducats, 12 lire. Unlike the inventory of 1606, the 1611 document alluded to the final division of the printing shop. The materials of the bookselling and music printing firm were to be equally divided within the next 18 months, with all of Angelo's debts to be paid from his share. The inventory concluded with a list of household goods in a residence in Padua (again, possibly one of those left by Bindoni). Oddly enough, the wooden sculpture ("homo di legno") found in the villa at Caselle, supposedly ceded to Iacomo Capis in 1606, seems to have reappeared here in Padua. Some of the household items found on Torcello and in Padua may well have been those mentioned in previous inventories of 1575 and 1606, although many appear as if they may have been newly acquired. Unless more documents are discovered relating to the division of assets between Angelo Gardano and the Capis family as trustees for the young Antonio Gardano, we will never know as much about the division of assets comparable to that we have of the fraterna division from 1575. Appended to the inventory are the rather significant expenses incurred by the final illness, funeral, and burial of Angelo Gardano. More than half of the expenditures were for doctors, medicines, and the barber. The funeral itself must have been a large and splendid affair. Doubtless many of the members of the Printing Guild and the Scuola Grande di San Teodoro attended. Typically, the scuole would hold a procession for a deceased member, and the funeral was elaborate and usually included singing. The scuole grandi in particular had many musicians among their members and were among the most opulent patrons of the arts in Venice at the opening of the seventeenth century, although they were also permitted to hire outside musicians to march in their processions. 41 The Scuola di San Giovanni Evangelista, for instance, paid singers to attend funerals of its members; the Scuola Grande di San Teodoro, of which Angelo Gardano had been a member, maintained five singers in its employ in 1598 and had four singers and five instrumentalists in 1614.42 Consequently, it would seem that music must have played a part in the funeral of Angelo Gardanowhile the singing at most funerals was probably relatively simple, perhaps the death of such a prominent printer of music might have occasioned the use of more elaborate vocal music and perhaps instrumental music as well.43 Included among the  

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recorded expenses were a great number of candles, special Masses and alms, special custodial fees, 12 boys to carry torches, 4 pall-bearers, the bier, a Capuchin habit for the burial, and even expenses for a custodian "to open for air," doubtless a necessity given the number of candles and the decomposition of the body in the heat of August. Presumably the remains of Angelo Gardano may still be found in the family's sepulchre set into the pavement of the church of San Salvador in the Merceria. During the last two decades of the firm's direction by Angelo Gardano, its usual practices began to change somewhat. While the figure of 30% for musical reprints in Venice for the period 15511650 has already been mentioned (compared to only 14% elsewhere in Italy), we have seen that in the 1570s and 1580s Angelo Gardano issued fewer than the norm, in the lower twentieth percentile. This began to alter in the 1590s, when the percentage of reprints in the Gardano stock soars radically, possibly as a result of the publication of the Gardano booklist in 1591. From a mere three reprints in 1591, 18 were issued in 1592, more than at any point in the past and for the first time more than the number of editions of new music (see Table 9.3). The booklist likely generated a great demand for older editions, and since the demand evidently exceeded the supply of books that Angelo had on hand, a flurry of reprinting activity must have begun. 44 But this in itself would not explain the larger number of reprints in general published by Angelo Gardano in the 1590s and into the next century. From 1590 until 1599, the percentage of reprints compared to the totals for the decade came to more than 35%, even more than for Venetian music printing as a whole for the entire period under discussion, and almost 38% in the following years (16001611). At the same time, percentages of production in reprints by other Venetian publishers were falling. As Angelo aged, it is unlikely that he had the same energy to find new music as he had in the past, especially since the reprints themselves appear to have become a major source of the company's income. Although the percentage of reprints dropped ever so slightly in the last five or six years of his life, the period in which Bartolomeo Magni (the husband of Diamante Gardano, Angelo's daughter) began helping with the business, the number of reprints still remained above the average for Venice music printing in general during the hundred years spanning the mid-points of the sixteenth and seventeenth centuries. Perhaps keeping a healthy percentage of popular reprints as part of the annual production guaranteed the survival of the Venetian music printing firm in the last decades before Angelo's death.45 Any effects from the Catholic Reformation on the production of Angelo Gardano might be seen only in the decade of the 1590s, when Angelo published at least 16 editions by the principal musical exponent of Roman cultural politics, Giovanni Pierluigi da Palestrina. Although  

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Table 9.2 Numbers of Confirmed Editions Issued by the Figliuoli di Antonio Gardano, 15691575 Year All Titles New Titles Reprints 1569 1 0 1 1570 20 15 5 1571 24 16 8 1572 16 11 5 1573 12 12 0 1574 27 22 5 1575 12 10 2 the works of Palestrina became popular material for the dissemination of music presses at large, for the Gardano press in Venice sacred music stood more or less in the same percentage compared with secular music as it had in the past two decades, since approximately two-thirds of the editions issued were still secular. About 110 madrigal books and almost 25 editions of the lighter secular forms far outnumber the 39 motet books, 15 books of Masses, 10 books of psalms, and 7 Magnificat settings. All of the remaining books represent the minor genres, and comprise only between 1 and 3 editions apiece. This situation changed very little from the turn of the century until Angelo's death in 1611. To the almost 100 madrigal books from 1600 to 1611 we can add about 17 editions of the lighter secular forms, with motets accounting for 34, Masses 18, and psalms 17 publications. The 4 editions of organ music are somewhat more than the firm had published for some time, and again all of the other minor genres published by Angelo Gardano in these years are represented by as few as 1 and as many as 3 editions. Appropriately enough, it seems that the Gardano press issued the same number of editions for Philipp de Monte that it had for Palestrina in the 1590s, 16, with 14 by Luca Marenzio, and 11 by Orazio Vecchi. Andrea Gabrieli, Ruggiero Giovanelli, Orlando di Lasso, Tiburtio Massaini, Rinaldo del Mel, and Giaches Wert were represented by between 5 and 8 Gardano editions apiece, and ten other composers between 3 and 4 books. Again, slightly more than 70 composers were represented by only 1 or 2 editions each. Around 11 anthologies were issued during the same time frame, less than 5% of the total output of the Gardano press. 46 The effects that the Catholic Reformation might have had on the representative Catholic composers published by Gardano press appear  

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Table 9.3 Numbers of Confirmed Musical Editions Issued by Angelo Gardano and Angelo Gardano & Fratelli, 15761611 Year All Titles New Titles Reprints 1575 5 4 1 1576 16 13 3 1577 3 3 0 1578 21 19 3 1579 28 21 7 1580 1581 1582 1583 1584 1585 1586 1587 1588 1589

26 23 30 30 33 25 29 38 30 29

21 20 18 20 25 18 26 31 23 24

5 3 12 10 8 7 3 7 7 4

1590 1591 1592 1593 1594 1595 1596 1597 1598 1599

25 26 29 29 25 29 26 14 12 17

21 23 14 15 16 19 15 10 8 10

4 3 15 14 9 9 11 4 4 7

1600 1601 1602 1603 1604 1605 1606 1607 1608 1609

26 15 12 16 21 24 13 22 19 19

11 11 9 4 17 16 8 12 15 11

16 4 3 12 4 8 5 10 4 8

1610 1611

11 17 5

7 14 5

4 3 0

1611 (Magni)  

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Table 9.4 Preliminary Numbers of Confirmed Musical Editions Issued by Alessandro Gardano, 15771591 Year All Titles Music New Music Musical Reprints VENICE (15771581) 3 0 0 0 157778 1 1 1 0 1579 7 5 3 2 1580 6 5 4 1 1581

1583 1584 1585 1586 1587 1588 1589 1590 1591

6

ROME (15831591) 6 5

1

4

3

3

0

24

13

11

2

19

2

2

0

18

2

2

0

17

8

6

2

2

1

0

1

0

0

0

0

4

4

3

1

to have been short-lived: in the years from 1600 to 1611, Angelo issued 23 editions with music by Marenzio (all but one secular). Next came Giulio Belli with only 10, Benedetto Pallavicino and Vecchi with 9, Don Carlo Gesualdo, Claudio Merulo, and Palestrina only 8, and Francesco Bianciardi, Sigismondo D'India, Marco da Gagliano, Giovanelli, Pietro Lappi, and Gasparo Villani with between 5 and 7 apiece. Ten other composers had 3 or 4 of their books published, with about 52 other composers represented by only 1 or 2 editions. The number of anthologies produced fell to only 6, or the smallest total yetless than 3% of the entire output for the decade. In fact, in the last five years of his life, Angelo does not seem to have produced any anthologies at all. Perhaps he judged that the period of their marketability had simply drawn to a close. While the Scotto firm continued to issue very few editions over the period from 1590 to 1611, Vincenti and Amadino, separate companies since 1586, continued production at relatively high levels. Vincenti even published a trade list of books at his shop in 1591, the same year the Angelo Gardano issued his own. Vincenti's production fell somewhat in the first part of the 1590s, but rebounded with continued vigor and ever-increasing business from the mid-1590s until the great depression of  

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161922. 47 Meanwhile, during Angelo's twilight years, the market share of the Gardano firm continued to slip relative to these firms and absolutely as well, falling to a nadir of 11 editions from the pinnacle of more than 3 dozen in 1587. After the death of Angelo Gardano in 1611, the Gardano firm continued to publish music under the leadership of his son-in-law, Bartolomeo Magni, until the latter's passing in the 1640s or early 1650s. As the print tradition of the Renaissance slowly reverted to the manuscript world of the seventeenth century, Magni's son assumed leadership of a firm with an ever-declining production of sacred and instrumental music until his own death in 1673. In the last decade of production, musical books played only a small part, and in 1685 the company of the Gardano, the most prolific music publisher of the Renaissance, disappeared without a trace.48  

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PART III AN INTRODUCTION TO THE GARDANO MUSICAL EDITIONS, 15691611  

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Any authoritative discussion of the typography of the books published by Angelo and Alessandro Gardano must await the careful examination of at least one exemplar (and preferably more) of each edition, probably a task more suited to an institution than an individual scholar. In addition, extensive research on such elements as printing types (for instance) that have been carried out by scholars such as Vervliet for the Low Countries 1 have yet to be done in any depth for Italian printing. My circumscribed investigation of these Gardano editions (including the survey of several hundred of these publications, although some only on microfilm), cannot by its very nature produce the complete and detailed study that would pass as a true descriptive bibliography.2 Nevertheless, even from this preliminary sampling, some generalizations about the parameters of the Gardano printing practices may be offered.  

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Chapter Ten The Editions of the Heirs of Antonio Gardano and of Angelo Gardano The first editions published by the children of Antonio Gardano closely resemble the publications of their illustrious father. Of course, Alessandro and especially Angelo Gardano probably had a major part in running the operation of the printing firm in the years immediately preceding Antonio Gardano's death in 1569 (see Chapter 7). Thus a close similarity between the editions of Antonio Gardano from the late 1560s and those of the heirs (''figliuoli di Antonio Gardano" or "apud filios Antonij Gardani") from the early 1570sin regard to the use of the single impression process; 3 format and collation; printer's devices;4 compartments, frames, and ornaments; initials; music and text type; and paperwould appear to be an entirely understandable phenomenon. Format Mary S. Lewis enumerated the five basic formats of Antonio Gardano's publications through 1569: oblong and upright quarto, oblong and upright octavo, and upright folio. She also maintained that several of these formats occurred in more than one size.5 The early publications of Angelo and Alessandro Gardano adhered to the style already established by their father. Unfortunately, a single technical language to describe format has not been uniformly adopted in the literature, and consequently, accurately identifying the format of a given publication from secondary sources often proves to be a discouraging task.6 For instance, the 1571 publication by "li figliuoli di Antonio Gardano," Il quarto libro delle villotte alla napoletana de diversi con due moresche novamente ristampate (15717), is found in the RISM, Einzeldrucke entry as 8°, although no indication is given for either  

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upright or oblong format. But in Gaspari's catalogue of the Bologna collection, Catalogo della Biblioteca Musicale, the same publication carries the format designation of 12° oblong; in Schnapper's The British Union-Catalogue, the format appears as 4° oblong. In truth, the book was imposed as 8° oblong. Obviously, the only accurate way to ascertain the format of every Gardano publication would be to examine each exemplar with an invariable set of criteria for determining format. As that has proved impossible for the purposes of this study, the format indication for each entry in the checklist of the musical publications of Angelo Gardano (see Appendix I.A), in many cases determined through an examination of secondary sources, probably remains its least dependable component. Nevertheless, a number of observations can still be made regarding the use of format in the Gardano firms during this period, even though an occasional format indication on the checklist may require eventual correction. By 4°, I understand a publication that has been imposed as quarto with four pages printed per side of a large sheet, to be folded twice to create a gathering. This is certainly how it was understood in the late sixteenth and early seventeenth centuries. For instance, Draudius gave Merulo's Sacrarum cantionum, published by Angelo Gardano in 1578 (M2358), as having a format "in 4," 7 and I have entered the format of this work as oblong quarto in my own checklist. The relationship of the watermark and countermark of the paper to the four pages imposed on each side of the sheet confirms the designation of quarto.8 For many decades in the middle of the sixteenth century, the family patriarch, Antonio Gardano, had shown a distinct preference for publication in oblong quarto, as had most music printers in the same period.9 The heirs continued their father's practice in this regard, as did Angelo Gardano, at least for the first few years of his solo printing career. But tastes in format were changing in late sixteenth-century Italy. Upright quarto had gradually begun to replace oblong quarto, particularly in the publications of Girolamo Scotto in the mid-1560s.10 Other printers followed, including Angelo Gardano, but then only much later in his printing career. Virtually all of Angelo Gardano's publications in the 1570s still adhered to the oblong quarto scheme, with only a handful of upright quarto or folio volumes; only very occasionally, smaller formats such as octavo or duodecimo were employed. Angelo Gardano's printing practices in regard to format began to change only in the decade of the 1580s. For example, in 1582, Angelo Gardano issued at least 25 publications in the oblong quarto scheme, and only three in upright quarto (and apparently no folio publications at all); and yet these few upright quarto volumes were more than he had published in any year during the 1570s. Already by the next year, 1583, however, Angelo published 9 upright quarto vol 

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umes, although he still issued at least 20 in oblong quarto format. Oblong and upright vied for hegemony until 1589, when, for the first time, the upright quarto format dominated the Gardano output with 18 publications in upright quarto with only 11 in oblong quarto. Thereafter, Angelo Gardano's use of the oblong quarto format dropped off considerably. In the later period, when upright quarto figured as standard, the firm of Angelo Gardano often appears to have had a logical motivation for imposing a handful of editions each year in the antiquated oblong quarto format. For example, in 1597, of the 14 publications found in the checklist in Appendix I.A, only 4 are cast into oblong quarto. Three of these editions were reprints of books published at a time when the oblong quarto format proved more popular: the anthology Madrigali a tre voci de diversi eccellentissimi autori . . .libro primo (159716), initially published in 1551; the Magnificat cum quatuor vocibus of Morales, issued by Antonio Gardano in 1545 (M3594) and later printed in oblong quarto by his heirs in 1575 (M3600) and again by Angelo Gardano in 1583 (M3601); and Paien's Il primo libro de madrigali a due voci (P76), first printed in 1564. Here it may have been simply easier to allow the old format to stand, since to restructure these oblong quarto publications into upright quarto in the new edition would have required reformatting on the compositor's part and considerable more difficulty with proofreading. The fourth of these oblong quarto editions, Monte's Il decimottavo libro de madrigali a cinque voci (no RISM number, Vogel et al., Bibliografia 779), although first published in 1597, fits into an entire series of Monte's madrigal books in oblong quarto issued by a number of printers, reaching back to Monte's Madrigali a cinque voci . . .libro primo of 1554 (Dorico, M3327), and Antonio Gardano's edition of Monte's Il primo libro de madrigali a quattro voci of 1562 (M3332). Perhaps Angelo Gardano or the composer himself, still alive at the time, preferred to continue the series of madrigal books in the same format. After all, these madrigal partbooks were often bound together by voice part, and such a practice would have been made more difficult with books in differing formats. It is also possible that by 1597 the effect of oblong quarto was one of a conscious archaism, lending a subtle traditional authority through its format alone. No one has adequately explained the reason for the shift from oblong to upright quarto. Printing in partbooks by its very nature, given the fewer changes of staff in oblong than in upright format, suggests oblong quarto to be the most convenient form of publication. 11 For example, Giaches Wert's Il primo libro de madregali a quatro voci . . .of 1570 (W868) has six staves per page (typical of its oblong quarto format), and thus requires the singers to make a visual shift in staves only five times. On the other hand, Orazio Vecchi's Madrigali a sei voci . . .libro primo of 1583 (V1040), has as many as eight staves cast into  

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upright quarto (also typical of its format), and thus requires seven such visual shifts. The move from oblong to upright quarto entailed other complications, since the actual dimensions of the printed portion of the page expanded by about 10%. The printed portion of Wert's madrigal book just mentioned (the staves alone excluding headers and footers) averages 11.9 x 17.8 cm. (I Vnm), while the corresponding portion of the just cited book by Vecchi runs 16.9 x 13.8 cm. (I Vnm). In short, the shift from oblong to upright quarto transformed the streamlined oblong form into a somewhat stockier shape on a larger sheet in its upright incarnation. Obviously the larger space permitted more music per page in its upright form, even with the added disadvantage of additional staff changes per page. Perhaps the longer pieces written in the latter part of the Renaissance simply required more space. On the other hand, why the shift from oblong to upright quarto format occurred may rest less with reasons of practicality than with a desire to impress customers with a façade of modernity and exclusivity. Antonio Gardano, for instance, seems to have reserved upright quarto for a few works of special importance, such as Willaert's Musica Nova of 1558-59 (which also appears to have been printed on somewhat larger sheets of paper than usual), 12 although, as we have seen, upright format had already been used by Scotto a decade and a half earlier. The adoption of the upright quarto format by other Venetian printers may well have forced Angelo Gardano to move to the upright format simply to remain competitive in the market, especially if the more traditional oblong quarto was viewed as old-fashioned. While he occasionally published reprints in the archaic older format (as mentioned above), the upright style dominated the company's production throughout the last decades before his death. Clearly Angelo Gardano favored the quarto format, at first the oblong version and later upright; the folio format appeared in his output only rarely. It seems that he never issued more than two publications using folio format in any given year, and he printed little more than a dozen such volumes in the course of his career. Invariably the folio format was reserved for the most serious of sacred polyphonic publications, plainchant, or some editions of instrumental music, especially those in score or for keyboard. The heirs of Antonio Gardano seem to have printed their first folio editions in 1570, Francesco Corteccia's Responsoria omnia quintae ac sextae feriae sabbathique maioris hebdomadae paribus vocibus . . .(C4153-4). Five years may have elapsed before the siblings again published a folio edition, Placido Falconi's Introitus et Alleluia per omnes festivitates totius anni cum quinque vocibus (F86) of 1575. Throughout the remainder of the decade of the 1570s, Angelo Gardano issued folio editions of only two more sacred publica 

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tions: Victoria's Liber primus qui missas, psalmos, magnificat (1576, V1427) and Porta's Missarum liber primus (1578, P5180). In the plague year of 1577, during which the company produced only three editions, two of these were in foliothe Musica de diversi autori la Bataglia francese et Canzon delli ucelli (157711) and Tutti i madrigali di Cipriano di Rore a quattro voci (R2513), both editions in open score. Perhaps most remarkable is how rarely Angelo Gardano utilized the folio format; throughout the decade of the 1580s, Angelo seems to have published only one instrumental folio edition, Girolamo Dalla Casa's Il vero modo di diminuir, con tutte le sorti di stromenti di fiato, et corda, et di voce humana (1584, RISM, Écrits imprimés, 1:249). The only other Gardano issues from the 1580s and 1590s that employed the folio format were the liturgical editions of 1587Balbi's edition of the Graduale, et antiphonarium and the Officium et Missa Ss. Trinitatisas well as the Graduale romanum of 1591 (Crawford and Borders, Renaissance Liturgical Imprints: 2650, 8794, 746, respectively). Angelo evidently felt that the format of these editions merited special mention, since his 1591 booklist explicitly indicated a number of them as having been printed in "foglio real." All other folio editions printed by Angelo Gardano appear to have originated in the first decade of the seventeenth century, and most correspond to the previously mentioned categories: the sacred Falsi bordoni omnium tonorum . . .cum quatuor, quinque, et sex vocibus concinendi (16011), the accompanying score (or basso seguente part) to Lappi's Missarum . . .spartitura de' bassi delle messe a otto voci . . .libro primo (1602, L678), Antegnati's Spartitura de bassi dei concerti a tre chori (1603, A1266) and his L'Antegnata, intavolatura de ricercari d'organo (1608, A1268), Merulo's Libro secondo di canzoni d'intavolatura d'organo . . .a quattro voci (1606, M2379), and finally, a new genre in Rasi's Vaghezza di musica per una voci sola (1608, R290). The oblong octavo format, formerly used with the villotta publications of Antonio Gardano, continued to be employed by the heirs for the lighter secular forms, as in Il quinto [-sesto] libro delle villotte alla napoletana . . .a tre voci (157020-1), the reprints of Il primo [-secondo, quarto] libro delle villotte alla napoletana . . .a tre voci (15715-7), Andrea Gabrieli's Greghesche et Iustiniane . . .a tre voci . . .libro primo (1571, G65), and the Ioanne de Antiquis anthologies Il primo [-secondo] libro delle villanelle alla napolitana a tre voci (15745-6). Later, however, after Alessandro's departure from the firm, Angelo Gardano used the octavo format but rarely. Other than the two editions from 1579Vincenzo Ostiano's Il primo libro delle napolitane a tre voci (O150) and the Agostino Scozzese Il primo libro di canzoni alla napolitana a tre, a quattro, & a cinque voci (S2630)Angelo never appears to have used this format again. Instead, he cast the lighter secular forms, such as Vecchi's  

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Canzonette . . . libro primo [-secondo] a quattro voci (V1010, V1017) of 1580 into what for him was a relatively novel format at the time, the upright quarto. The commissioned Lodi spirituali novamente composte, et datte in luce ad instantia della Venerabile Congregatione dell'Humiltà (15806) seems to have been Angelo's only edition in 12°. The few editions in folio, octavo, and other formats remain as testaments to Angelo Gardano's relative conservatism as a printer. Collation The collation of the 1570 edition of Il primo libro de madrigali a cinque voci of Girolamo Vespa (V1318) may be considered typical of the practices of the heirs of Antonio Gardano and later of Angelo, for both oblong and upright quarto. 13 The I Bc exemplar of this book may be described as follows: 5 vol. in 4° obl.: A-D4 I-M4 E-H4 N-Q4 R-Vfinis.4 [$2(-I2,N2) signed], sign. line Madregali di Hieronimo Vespa A 5, 16 leaves, pp. [2] 1-29 [30].14 As always, the gathering sequence proceeds sequentially through the Latin or Italian alphabets, beginning with the canto partbook, followed by the tenore, the alto, the basso, and the quinto.15 Here I have ordered the partbooks in the more usual modern arrangement, with alto preceding tenore, and thus the E-H4 follows the I-M4. No signature appears on the title page of the canto partbook, and as this was standard practice, no comment has been made. Note that the first two pages of each gathering are signed, with the second leaf signature omitted in the I and N gatherings; the signature line Madregali di Hieronimo Vespa A 5 appears only on the first sheet of each gathering (but of course, as with the signature itself, it is absent from A)in this exemplar it is identical in each of its appearances.16 Both the signatures and signature lines most often appear in the same type as the headers,17 usually italics in oblong and roman in upright quarto. All of the pages in the Vespa edition carry numbers, with the exception of the first two pages of each partbook, consisting of the title page and dedication page, and the final page on which the tavola is printed. The Gardano approach to numbering pages, however, clearly underwent modifications from one edition to the next. In many simple books, such as Vespa's, the numbers refer both to pages and pieces or sections of pieces, since two-part compositions covering two pages carry consecutive numbers and the numbers remain the same for each piece from book to book. Occasionally, as in Marc'Antonio Pordenon's Il terzo libro de madrigali of 1571 (P5103, I Bc), the page numbers double as the num 

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bers assigned to a piece, as in the alto and quinto partbooks, where three pages numbered 28 may be found in each partbook to designate the alto secondo and sesto voices respectively of a Dialogo a 7, "I vidi in terra." On the other hand, in Isnardi's Missae of 1573 (I116, I Bc), the numbering on each page without a doubt refers to pages, as it is consecutive in each partbook yet the pieces begin on differently numbered pages from partbook to partbook. 18 The few octavo volumes in the output of the heirs of Antonio Gardano and of Angelo Gardano appear to have gatherings in eights, as seen in the canto partbooks of Il quarto [-quinto] libro delle villotte alla napoletana de diversi (15717, 157020, I Bc), both 8° obl.: A-C8 [$4 signed].19 Similarly, the unusual 12° Lodi spirituali (15806, A Wn) has a collational formula 12°: A-B12 E-F12 C-D12 G-Hfinis12 [$6(-A2,E2,C2,G2) signed]. No generalizations can be made about the rare folio editions. Some, like the quarto editions, appear to have been gathered in fours or eights but numbered by folio rather than by page as in many of the quarto and octavo editions. The collational formula for Corteccia's 1570 Responsoria omnia quintae ac sextae feriae sabbathique maioris hebdomadae paribus vocibus (C4153, I Bc), for instance, a folio edition gathered in fours, would be 2°: A-R4 S2 [$2 signed], 70 leaves, ff. [1-2] 3-22 [1] 23-46 [1] 47-68 [=70 ff.], as well as the 1587 Graduale, et Antiphonarium (Crawford and Borders, Renaissance Liturgical Imprints: 2650,US, BE), 2°: A-G4 Hfinis2 [$2 signed], 30 leaves, ff. [1] 2-30. But the 1587 Officium, et Missa Sanctissimae Trinitatis (Crawford and Borders, Renaissance Liturgical Imprints: 8794, US BE) is folio gathered in sixes, 2°: A-B6 [$3 signed], 12 leaves, ff. [1] 2-12, and the 1591 Graduale Romanum (Crawford and Borders, Renaissance Liturgical Imprints: 746, US BE) provides an example of a folio edition gathered in eights.20 Although the signatures in the exemplar of Vespa's edition described above present no errors, mistakes occasionally do crop up in the signature process of Gardano editions. In a copy of the Paolo Isnardi Missae quatuor vocum of 1573 (I116, I Bc), for example, the Q signature was originally printed as an N; a typeset Q has been superimposed over the error. In another Gardano book, Monte's 1576 edition of Il terzo libro de madrigali a sei voci (M3364, I Vnm), the C signature, originally signed D, has been scraped off and the C has been inserted (at the printing shop or at the binder's) by hand. Other times, the incorrect signatures are simply allowed to stand, as in a copy of the 1573 edition of Porta's Il terzo libro di madrigali a cinque voci (P5189, I Bc), where the R signature, incorrectly appearing as Q, was hand cancelled and reprinted, but where the Rij remained Qij. Occasionally, mistakes in gathering arrangements or misfoldings may at first appear to be signature errors. One exemplar of Il quarto libro de madrigali a quattro voci of 1581 by Philipp de Monte (M3374, I Vnm), displays the C gathering bound into the  

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canto partbook in an inverted position. In Monte's L'undecimo libro delli madrigali a cinque voci of 1586 (M3379, I Vnm), the P gathering in the basso partbook is misfolded, consequently altering the given order of the folios to P2, P1, P4, P3. Finally, in the tenor partbook of Asola's Le vergini of 1576 (A2611, I Bc), with the signature formula 4° obl.: D-F4, the sheets were mistakenly folded so that D4, instead of resting against E1, wraps around the entire E gathering and thus follows E4. The result is that pp. 5 and 6 follow p. 14. While a few publications by Angelo Gardano might consist of only one or two gatherings of fours, as in the four partbooks of Asola's Messa pro defunctis a quattro voci pari of 1576 (A2529, I Bc) collated 4° obl.: A4 C4 B4 D4 or his Falsi Bordoni per cantar salmi . . .a quatro voci (15751, A2520, I Bc) collated 4° obl.: A-B4 E-F4 C-D4 GHfinis4, most had from three to five gatherings. In larger publications, such as those in a single score volume or false score, when the alphabet became exhausted the standard practice was to move on to a second alphabet with double letters, as seen in the collation of Gasparo Fiorino's 1574 Libro secondo. Canzonelle a tre e a quattro voci (F950, GB Lbl), 4° upr.: A-Z4 AA4. 21 Gardano publications with many gatherings per partbook were less likely to have signatures that moved through the alphabet from one partbook to another. As such, in Andrea and Giovanni Gabrieli's colossal Concerti . . .libro primo et secondo (158716, G58, G85, I Vnm), each of the twelve partbooks begins with a gathering in four signed A and the subsequent gatherings continue on through the alphabet, as do the partbooks of Palestrina's 1589 Hymni totius anni . . .quotuor vocibus (P738, I Bc) and Vecchi's Le veglie di Siena of 1604 (V1053, I Vnm). While gatherings of four leaves appear most frequently, now and then Gardano partbooks concluded with a single bifolio, as in Lodovico Agostini's Il primo libro de madrigale a cinque voci of 1570 (A402, I Bc), with the collation 4° obl.: A-C4D2 I-L4M2 E-G4H2 N-P4Q2 R-T4Vfinis2. More rarely, in a full gathering of four leaves, one or more of the final blank leaves may simply be cut out by the printer and left as stubs, as appears to have been the case in an exemplar of Sessa D'Aranda's Il primo libro de madrigali a quatro voci (157112, S2842, GB Lcm), collated 4° obl.: A-D4(-D4) I-M4(-M4) E-H4(-H4) N-Qfinis4(-Qfinis4), or in the tenor partbook of Andrea Gabrieli's 1572 Primus liber missarum sex vocum (G53, I Bc), collated 4° obl.: E-H4 (-H3,H4). More common was a concluding gathering of six folios, as in Sabino's 1579 Madrigali a sei voci . . .libro primo (S45, I Vnm), collated 4° obl.: A-B4C6 G-H4I6 D-E4F6 K-L4M6 N-O4P6 Q-R4S6 [$2 signed in the gatherings of 4, $3 signed in the gatherings of 6]. Each of the twelve volumes of a copy of the 1587 edition of Tommaso Graziani's Missa cum Introitu (G3701, I Vnm), oddly enough, is gathered in sixes rather than the more common four plus two, with the collational formula 4° obl.: A6 C6 B6 D6 E6 G6 F6 H6 I6 K6 L6 M6.22  

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The anomalies in gathering structure found late in Angelo Gardano's career may very well have owed their origins to the influence of his son-in-law, Bartolomeo Magni. 23 Thus we find the collational formula 4° upr.: D12 [$6 signed] in the bass partbook of Wert's Il decimo libro de madrigali a cinque voci of 1608 (no RISM or Vogel et al., Bibliografia numbers, US BE), a formula mirrored five years later in Magni's edition of Jean de Macque's Il sesto libro de madrigali a cinque voci (M96, I Bc), 4° upr.: A12 C12 B12 D12 Q12 [$6 signed]. Other unusual collational formulas appear in the quintus partbook of Giovanni Valentini's Motecta IIII. V. & VI vocum . . .liber primus (V87, US SFsc), 4° upr.: R4S8 [$2 signed in R, $4 signed in S, S4 mistakenly signed V3] and Gesualdo's Madrigali a cinque voci, libro quarto (G1737, US BE), 4° upr.: D12 [$6 signed; D6 signed as E2], both from 1611, the year of Angelo's death. Printer's Devices The heirs of Antonio Gardano, and after the dissolution of the partnership Angelo Gardano alone, used at least eleven different printer's devices during the entire period from 1569 until 1611 (see the summary in Table 10.1), all of which copied to some extent the standard emblem of their father. Antonio Gardano had utilized as his standard printer's device the image of a lion and a bear supporting a rose (probably a symbol honoring Gardano's patron Leone Orsini).24 The motto "Concordes virtute et naturae miraculis" appears on a ribbon draped over the two animals' shoulders.25 According to Mary S. Lewis, the elder Antonio Gardano had used at least seven different printer's devices in his lifetimefive medium-sized emblems in succession (1542-44, 1545-50, 1550-59, 1559-69, and 1569) and a very small mark and another quite large one throughout his entire period of activity.26 The heirs continued to use the last of the medium-sized printer's devices that they inherited from their father, Printer's Device I, on the title pages of virtually all of their oblong quarto editions published between 1569 until the division of the firm in 1575 (see Plate 1), and it was used until at least 1578, in Balbi's Ecclesiasticarum cantionum quatuor vocum (B737, I Bc).27 During the same period, the handful of octavo editions published by the firm employed on their title pages the diminutive Printer's Device II that Antonio Gardano had used for his octavo format publications during the last decade of his life (see Plate 2).28 The heirs and later Angelo Gardano printed few editions in octavo format, but they evidently utilized this printer's device in any format where they placed a premium on space. It seems to have served them well for many yearsfrom Il quinto libro delle villotte (157020, I Bc) until at least the 1604 edition of the Musica de diversi eccellentiss. auttori. A cinque voci (16048, US Cn).29 Specimens of the massive Printer's Device III, first employed by Antonio  

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Table 10.1 Printer's Devices Gardano Heirs, 15691575; Angelo Gardano, 15751606; Angelo Gardano & Fratelli, 16061611 Printer's Device Size Illustrated Approximate Dates of Use I 50 x 57 mm. Plate 1 15691578 II 37 x 39 mm. Plate 2 15691604 III 100 x 118 mm. Plate 3 15691597 IV 55 x 66 mm. Plate 4 15761587 V 53 x 61 mm. Plate 5 15791586 VI 58 x 67 mm. Plate 6, 12, 16 15871605 VII 57 x 67 mm. Plate 7, 13 15871611 VIII 22 x 33 mm. Plate 8 15891604 IX 51 x 60 mm. Plate 9 15901609 X 57 x 67 mm. Plate 10 15911607 XI 41 x 42 mm. Plate 11, 14, 17 16071611 Gardano as early as 1539 and used by him as late as 1562 30 (see Plate 3), may be found in the publications of the heirs as well, such as in Corteccia's Responsoria omnia and Responsoria . . . residuum of 1570 (C4153, C4154, both I Bc, S2v and HH2v, respectively) and as late as 1597 in Giovanni Gabrieli's Sacrae symphoniae (G86, US Cn, H6v).31 Within a few years after the departure of Alessandro from the firm in 1575, Angelo Gardano had acquired at least two new medium-sized printer's devices, apparently to replace the aging Printer's Device I. The new Printer's Device IV (see Plate 4) rearranged the order of the animals to bear-lion, without the initials above the elevated rose. Printer's Device IV was already being used by 1576 on the title page of the upright quarto anthology, Musica di XIII. autori illustri a cinque voci (15765, I Vnm), and during 1578 it appears as if both Printer's Devices I and IV were utilized with the same frequency. Several editions from 1578, including Asola's Vespertina omnium solemnitatum psalmodia (A2532, I Bc) and his Secundus chorus vespertinae omnium solemnitatum psalmodiae (A2538, I Bc), actually use both Printer's Devices I and IV on the title pages of their various partbooks. In the former exemplar, the cantus partbook exhibits Printer's Device IV, while the tenor and bassus use Printer's Device I. In the exemplar of the latter edition, three of the four partbooks carry Printer's Device IV on the titlepage, but that of the bassus displays Printer's Device I. Printer's Device IV doesn't succeed in entirely replacing Printer's Device I until at least 1579, when the older device would have been about a decade old.  

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With the phasing out of the venerable Printer's Device I, evidently Angelo felt the need for a second medium-sized emblem to alternate with Printer's Device IV. By 1579, in Merulo's Il primo libro de madrigali a quattro voci (M2369, I Vnm) and Tigrini's Musica super psalmos omnes (T791, I FZd), another device had appeared. The newly-fashioned Printer's Device V was probably carved in imitation of the worn Printer's Device I, since it reverted to the order of lion-bear and again placed the initials ''A G" above the elevated rose (see Plate 5). In many of his publications in the following decade, Angelo often alternates Printer's Devices IV and V. 32 By the mid-1580s, Printer's Devices IV and V, now having been employed for about a decade, appear on the title pages of Monte's 1587 Il duodecimo libro delli madrigali a cinque voci (M3381, I Vnm) and the same composer's L'undecimo libro delli madrigali a cinque voci of 1586 (M3379, I Vnm), respectively, although they must have been getting somewhat worn. Consequently, over the next few years, Angelo began to use five new printer's devices, some of which he would employ even into the next century. Printer's Devices VI and VII may already be found on title pages by 1587, the former in Vecchi's Canzonette a sei voci . . .libro primo (V1026, US BE; see Plate 6) as well as the folio Officium, et missa sanctissimae trinitatis (Crawford and Borders, Renaissance Liturgical Imprints: 8794, US BE), and the latter on the title pages of Andrea Gabrieli's Il primo libro de madrigali a sei voci (G67, US BE; see Plate 7) and the folio Graduale, et antiphonarium of 1587 (Crawford and Borders, Renaissance Liturgical Imprints: 2650, US BE). Both seem to have been modelled on Printer's Devices IV, with the bear-lion configuration and no initials above the elevated rose. To a casual eye, both Printer's Devices VI and VII might appear to be produced from the same block, but very subtle differences (such as the direction of the tuft at the end of the lion's tail) inform us that two separate blocks have been used (compare Printer's Device VI on Plates 6, 12, 16,33 to Device VII on Plates 7,13). These marks too began to wear out over a period of about a decade. We still see Printer's Device VI on the title page of the 1605 edition of Giovanni Maria Nanino's Il primo libro de madrigali a cinque voci (N28, US BE; see Plate 12) and Printer's Device VII even as late as the title page of the 1611 edition of Gesualdo's Madrigali a cinque voci, libro quarto (G1737, US BE). The tiny Printer's Device VIII, found on the title page of Andrea Gabrieli's 1589 Madrigali et ricercari . . .a quattro voci (G77, G78, GB Lbl; see Plate 8),34 again features the lion-bear arrangement with initials above the elevated rose, and thus gives the appearance of almost a miniature of Printer's Devices I or V. It does not seem to have been fashioned for octavo editions, since virtually none were printed by Angelo in this period, but rather for those places in larger editions where space was at  

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a premium, as in the Gabrieli edition just cited where an impressive compartment surrounds both the letter type and this small device in a central oval. Nor did Printer's Device VIII replace the slightly larger Printer's Device II, still found on the title pages of Riccio's Sedecim psalmi in 1590 (R1292, D Rp) and much later in the Musica de diversi eccellentiss. autori. A cinque voci (16048, US Cn). Evidently Angelo used both Printer's Device II and VIII somewhat sparingly, since both lasted many decades. 35 The frenetic activity of the firm during the late 1580s and wear on the existing printer's devices evidently led Angelo Gardano to commission at least two more medium-sized printer's emblems by the early 1590sPrinter's Devices IX and X. Presumably modelled after Printer's Device IV, VI, or VII, both of these newer replacements favor the bearlion configuration and lack initials above the elevated roseneither preserved the elegance of the earlier blocks. Printer's Device IX, found as early as the 1590 edition of Vecchi's Motecta . . .quaternis, quinis, senis, & octonis vocibus (V1005, US BE; see Plate 9) and almost 20 years later in the Madrigali a cinque voci by Tomaso Pecci (160927, P1107, I Vnm), turned the animals into fierce but dwarf-like caricatures of their nobler ancestors.36 Printer's Device X, not as carefully crafted as its earlier cousins, also seems to have been employed on title pages for several decades, as early as Guami's 1591 Il quarto libro de madrigali a cinque & sei voci . . . (G4805, US BE; see Plate 10) and late in Angelo Gardano's career, as in the 1607 Basso generale per l'organo dei salmi a otto [sic] voci of Belli (B1754, I Bc). Late in his life, Angelo may have realized that his worn printer's devices may not have been making the best impression (so to speak!), so another, Printer's Device XI, was introduced. It was somewhat smaller than the midsized blocks of previous decades. As with the diminutive Printer's Device II, it featured the lion on the left and the bear on the right, with no initials above the rose (see Plates 11, 14 17). Angelo Gardano employed this device as early as 1607, in Gesualdo's Madrigali a cinque voci [libro primo] (G1723, I Vnm), and continued to use it until the year of his death, in Valentini's Motecta IIII. V. & VI. vocum . . .liber primus (V87, US SFsc) of 1611.37 A few other devices, part of larger designs, shall not be assigned numbered designations in this study. For instance, the famous compartment that adorns the title page of Antonio Gardano's publication of Willaert's Musica Nova of 1558-59 (155938, W1126) was recycled by the heirs fifteen years later on the title page of the 1574 edition of Gasparo Fiorino's Libro secondo. Canzonelle a tre e a quattro voci (F950, GB Lbl). Carved as a part of this elaborate design and centered at the very bottom, we find the familiar bear and lion, the elevated rose, and the motto "Concordes virtute et naturae miraculis" on a banner draped over the creatures' shoulders. Similarly, on the title page of the 1578 edition  

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of Costanzo Porta's Missarum liber primus (P5180, I Bc), the lion and the bear, albeit without rose, motto, or initials, assist a putto to support a heart-shaped oval in which the sacred house of Loreto appears. Finally, the title page of Vecchi's L'amfiparnaso. Comedia harmonica of 1597 (V1048, I Vnm) 39 features a compartment carved from a single block that had been used decades before by Antonio Gardano for his 1568 edition of the Novus Thesaurus Musicus,40 with coat of arms at the top with wreath-bearing angels on either side, and herms on either side below (the left with a male torso dissolving into a marble pedestal below, and a similar female torso on the right). As part of the very bottom of the compartment, the by now familiar lion-bear motif again appears. No attempt will be made here to describe those rarely used incised blocks occasionally used in place of printer's devices, such as coats of arms or, occasionally, special cuts used to illustrate sacred music.41 Dozens of publications eschew all of the standard Gardano printer's devices for designs used on an ad hoc basis for specific editions, such as coats of arms of patrons involved with the publication, and no doubt many of these editions may be considered "vanity press" editions of some sort.42 As such, these devices may have been specially ordered and many likely remained the property of the patron or composer rather than Angelo Gardano, although the 1575 inventory did list some coat of arms designs in the printing shop. Clearly this summary dealing with the "figliuoli di Antonio Gardano" and later Angelo alone can only lay out the general parameters for the use of their printer's devices. Barring the examination of all exemplars of every edition published by the firm (probably an impossible task within a single scholar's lifetime), it would be difficult to decisively categorize every printer's device used, although clearly the majority of Gardano marks have been classified here along with at least a tentative chronology of their appearance and disappearance. Naturally this description awaits further refinement as other scholars examine the hundreds of editions in question. Title Page and Interior Compartments, Frames, and Ornaments43 Sometimes Gardano partbooks were identified simply with roman type at the head of the title page. But in many of the oblong quarto publications from the years immediately after the death of Antonio Gardano, the heirs framed the name of the partbook at the head of a title page in a complicated series of type ornaments forming a long decorative unit with pointed endsa design inherited from their father (Ornament I; see the summary of ornaments on Table 10.2). Inside this frame, usually about 13 mm. in height but variable in length depending on the number of type  

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ornament pieces used, the name of the partbook was typeset. To see the possible variations in these arrangements, compare this style of frame as printed by Antonio Gardano in his last decade with a similar arrangement in publications by his heirs: the Madrigali ariosi a 4, libro secondo (156010, A Wn) and Wert's Il secondo libro de madrigali a cinque voci of 1564 (W862, I VC) 44 to Agostini's Enigmi musicali of 1571 (A403, US BE; see Plate 1, top line). By the later 1570s, however, these type ornament frames occur much less frequently. Occasionally, one of the larger lines of text on the title page of these oblong quarto editions from the 1570s and 1580s displayed an ornamental leaf on either side, probably also inherited from Antonio Gardano (Ornament II). Compare, for instance, the leaves from the title page of the Wert edition published by Antonio Gardano in 1564 (cited above) to those from the heirs' 1571 edition of Agostini's Enigmi musicali (cited above; see Plate 1, second line).45 These leaf ornaments were still used on occasion even decades later, as on the title page of Massaini's Sacri cantus of 1592 (M1271, US Cn). In the late 1570s, when Ornament I was still in use46 but was gradually being phased out, Angelo began to use a compartment carved from a single block within which the name of the partbook was typeset (Ornament III). Included in this design and others that Angelo employed in the next few decades were music-making cherubs. Note, for example, its use at least as early as 1578 on the title page of Asola's Vespertina omnium solemnitatum psalmodia (A2532, I Bc), with the cherubs on either side of the scrolled designs in addition to the grotesque faces toward the center. This compartment was used extensively at the head of title pages throughout the 1580s,47 but with somewhat less frequency thereafter, although it was employed even as late as 1605 on the title page of Giovanni Maria Nanino's Il primo libro de madrigali a cinque voci (N28, US BE; see Plate 12, head of the page).48 Although this compartment could have been employed as part of a title page frame, as could several others whose description follows, it does not seem to have been designed specifically for use with similarly designed pieces. Another set of incised blocks for partbook identification also came into use around the time of the departure of Alessandro Gardano from the company in 1575. Like the block just described, these designs also feature cherubs making music (Ornament IV; see Plate 4, head of the page).49 But while the former block permitted the name of the partbook to be typeset within its slot, the members of latter group actually had the name of the partbook carved into the slots themselves and thus required no typesetting to designate the voice parts. While these blocks were less versatile than a true compartment, they would naturally receive somewhat less wear, since each was restricted to the printing of individual partbook title pages that corresponded to the name carved into the slot.  

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Ornament I II III IV(a-e)

V VI VII VIII (a-f)

IX X(a-d)

XI(a-d)

XII(a-c) XIII(a-c) XIV XV XVI XVII XVIII XIX XX

Table 10.2 Ornaments Gardano Heirs, 15691575; Angelo Gardano, 15751606; Angelo Gardano & Fratelli, 16061611 Size Illustrated Approximate Dates of Use small type orns. Plate 1 1569-78 6 x 11 mm. Plate 1 1571-92 18 x 134 mm. Plate 12 1578-1605 a) 17 x 135 mm. Plate 4 1576-1604 b) 17 x 135 mm. c) 17 x 134 mm. d) 17 x 135 mm. e) 17 x 134 mm. 18 x 135 mm. Plate 13 1591-1602 20 x 138 mm. Plate 10 1592-97 22 x 137 mm. Plates 14 1611 a) 22 x 57 mm. Plates 6, 7, 9 1580-1609 b) 22 x 21 mm. c,c') 71 x 18 mm. d,d') 71 x 18 mm. e,e') 16 x 59 mm. f) 16 x 18 mm. small type orns. Plate 15 1580-1609 a,a') 71 x 21 mm. Plates 10, 13 1590-1608 b,b') 71 x 21 mm. c,c') 25 x 60 mm. d) 24 x 15 mm. a) 22 x 149 mm. Plate 16 1590-97 b) 36 x 18 mm. c) 36 x 18 mm. d) 23 x 30 mm. a) 27 x 138 mm. Plate 11 1594-1611 b,b') 141 x 27 mm. c) 27 x 138 mm. a) 24 x 124 mm. Plates 14, 17 1610-11 (b,b') 140 x 25 mm. c) 24 x 136 mm. 10 x 59 mm. Plate 19 1584-1603 9 x 62 mm. Plate 18 1587-97 5 x 60 mm. Plate 20 1590 11 x 70 mm. Plate 21 1591-98 12 x 28 mm. Plate 15 1597-1604 20 x 41 mm. Plates 21, 22 1591-1609 15 x 34 mm. Plate 23 1609

 

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In other words, in printing a four-partbook set, a compartment with a typeset partbook designation would have received four times as much use as each of these other blocks. Further restricting the use of the latter blocks was the adoption of Italian names in the slots, i.e. CANTO, TENORE, and so on, thus limiting their use in most cases to works with title pages in Italian. Probably these limitations and the subsequent lack of wear led to the use of these ornaments over many decades, from as early as 1576 on the title page of the Musica di XIII. autori illustri a cinque voci (15765, I Vnm) through publications such as Monte's Il duodecimo libro delli madrigali a cinque voci of 1587 (M3381, I Vnm), and in the next two decades, Patarini's Salmi a quattro voci (P1016, GB Lbl) of 1595 and the 1607 edition of Belli's Basso generale per l'organo dei salmi a otto voci (B1754, I Bc). Evidently the restrictions apparent in the use of blocks with carved designations of partbooks eventually led Angelo Gardano to favor compartments with central slots for setting type. By 1591, when Ornament III was receiving less and less use, we begin to see another similar compartment introduced (Ornament V). As with Ornament III, this compartment depicts cherubs, one on each side, which face inward and blow horns into fantastic winged, breasted torsos that face outward from the central irregular slot; decorative urns embellish each end. Already in use for Quintiani's Cantica deiparae virginis octo vocibus concinenda of 1591 (Q115, I Rvat), it was still employed in the next century, as in the Gardano edition of Vecchi's Canzonette . . .libro secondo a quattro voci of 1602 (V1021, US SFsc; see Plate 13, head of the page). 50 One other compartment introduced around this period seems to assume a similar function. For the well-known Il trionfo di Dori (159211, US Wc),51 Angelo Gardano employed another block depicting music-making cherubs (Ornament VI; see Plate 10, head of the page). Here two such beings, placed upon the decorative carved wooden scrollwork, adorn each side of a central slot. From left to right: a sitting cherub reads from a partbook, another sitting cherub plays the lute without access to written music; to the immediate right of the central slot a sitting cherub reads music from a partbook, while the cherub to the far right plays what appears to be a small viol held against the neck. Gardano used the same block as late as 1597 to produce the title page of Bianciardi's Il primo libro de madrigali a cinque voci (B2605, I Vnm).52 In his last years, Angelo Gardano introduced another similar compartment (Ornament VII). The design encompasses considerably more scrollwork adornment but now with a winged cherub head facing inward from the middle of each side and a small grotesque head facing outward on each end. Several of the publications from 1611, the year of Angelo's death, carry this compartment on the title page, including Anerio's Recreatione armonica. Madrigali a una et doi voci (A1120, GB  

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Lbl), 53 Sigismondo d'India's Libro secondo de madrigali a cinque (I25, US SFsc), and Valentini's Motecta IIII. V. & VI. vocum . . . liber primus (V87, US SFsc; see Plate 14).54 In many of the upright quarto publications that began to rival the oblong format of the firm's production during the 1580s, Angelo Gardano began to replace the compartments appearing at the head of title pages with full-page compartments made up of incised blocks intended to be used together as a title page border.55 Such designs were rare, if not non-existent, in the Gardano's oblong quarto format production. Only occasionally, for certain extraordinary editions, we might find some elaborate compartments fashioned from a single piece of wood or metal, as in the 1574 edition of Fiorino's Libro secondo. Canzonelle a tre e a quattro voci (F950, GB Lbl), itself having been used on the title page of Antonio Gardano's edition of Willaert's legendary Musica Nova of 155859,56 or the classical frame with central oval found on the title page of Andrea Gabrieli's Madrigali et ricercari . . .a quattro voci of 1589 (G77, G78, GB Lbl; see Plate 8), or others found in Gardano publications from the 1600s.57 The most widely employed of these new compartments, however, had a more versatile modular usage. Many of the blocks for partbook designations used at the head of many Gardano title pages (described above) often functioned as the upper crosspiece in these compartments, while the other modular pieces of the compartment were clearly carved together with the intention of forming the remaining title page border.58 At other times, the partbook designation was typeset along with the other title page information inside the modular compartment, and the head piece was composed of other compartment modules. A decorative title page compartment composed of ten separate pieces, Ornament VIII, already makes its appearance by 1580 in Andrea Gabrieli's Il secondo libro de madrigali a sei voci (G72, I Vnm), although here the head of the design does not give us the name of the partbookinstead, it is composed of three cuts that are purely decorative in nature. Most of these sections represent wooden scroll work, grotesque heads, urns, and vegetation. Note that these blocks often travel in pairs, often almost identical or identical reverse images of one another, since the left and right sections of the compartment as a whole usually form a symmetrical pattern.59 Plates 6, 7, and 9 represent typical title page configurations of Ornament VIII. This compartment was widely used for many upright quarto publications, often in combination with Ornaments III or IV,60 from at least around 1580, the date of the Gabrieli edition cited above, until about 1591, as in Vecchi's Canzonette . . .libro primo a quattro voci (V1014, I Vnm) from that year. Isolated examples of its use may be found even into the next century.61 Around the same time that the firm began to employ Ornament VIII as a compartment on its title pages, a decorative frame composed of type  

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ornaments makes an appearance in a few of Angelo Gardano's publications (Ornament IX). The pattern consists of abstract floral and vine designs composed of small type ornaments placed within single rules on either side that create its boundaries. 62 Unlike the compartment Ornament VIII, this frame appears to have been used with much less frequency. We find it on the title pages of both the 1580 and 1581 editions of Vecchi's Canzonette . . .libro primo a quattro voci (V1010-V1011, I Bc and I Vnm, respectively), Asola's Prima pars musices continens officium haebdomadae sanctae of 1583 (A2552, I Bc); in 1604, surrounding the tavola of Fontanelli's Secondo libro de madrigali senza nome, a cinque voci (F1481, W892 [sic], US Wc, C4v;see Plate 15);63 and encompassing two dedicatory poems in Bottaccio's 1609 Primo libro delle canzoni da sonare a quattro, & otto voci (B3795, US BE,Q2r). Evidently title page compartments in upright quarto proved popular enough for Angelo Gardano to purchase another set of incised cuts to use when Ornament VIII began to wear (Ornament X). In Guami's Il quarto libro de madrigali a cinque & sei voci, con alcuni dialoghi a otto & a dieci of 1591 (G4805, US BE, see Plate 10),64 the compartment Ornament VI was used to head this new set of cuts below that eschewed the more decorative, scrolllike effect of Ornament VIII for neo-pagan designs.65 The grotesque faces, winged, breasted creatures, and frowning winged cherub heads of Ornament X populate this new order of adornment throughout the next decade. Unlike the other compartments described here, it seems as if Ornament X always had to rely upon an unrelated head piece or series of compartment pieces, since it seems to have lacked the equivalent of a matched upper crosspiece. Consequently, Gardano would use as the top member of the compartment either an incised block with the name of the partbook indicated (as in Ornaments III-VII) or, in those cases where the partbook designation was typeset with other title page information within the full-page compartment, other nonrelated decorative cuts. For example, in one of its first appearances, the Dialoghi musicali (159011, B Br, A1r; see Plate 16), the classical grotesques of Ornament X (a-c) were combined with blocks depicting two music-making cherubs and another small grotesque design (Ornament XI) to form an expanded version of the standard compartment.66 During the first few years of the seventeenth century, the use of Ornament X had dwindled somewhat, although we still find it on the title pages to Vecchi's Canzonette . . .libro quarto a quattro voci of 1603 (V1028, US SFsc) and with Ornament VIII (a-b-a') on the title pages to the 1608 edition of Wert's Il decimo libro de madrigali a cinque voci (no RISM or Vogel et al., Bibliografia numbers, US BE). While Ornament X with an occasional turn to Ornament XI seems to have dominated the decorative features of Angelo Gardano's title page frames in the 1590s, another element makes an early appearance and  

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gains ascendancy only in the new century (Ornament XII; see Plate 11). This new compartment continues the neopagan themes of Ornament X, with cupids firing arrows at fantastic winged monsters, fauns chasing naked winged women, and bare-breasted female beings serenely supported by winged fauns sporting erections. These designs take up considerably more space than had their predecessors, although the overall outer measurements remain close to the configurations of the previous frame arrangements. Already in 1594 Ornament XII (a) may be found not on the title page, but at the head of the dedication page to Merulo's Sacrorum concentuum octonis, denis, duodenis et sexdenis vocibus modulandorum . . .liber primus (M2365, D Kl); all of its component parts may be seen in Vecchi's Selva di varia ricreatione (159512, I Vnm). 67 At times elements of Ornament XII were used in combination with Ornament X, as in title pages to the two Striggio editions from 1596, Il terzo [-quarto] libro de madrigali a cinque voci (S6972, S6973, both in I Vnm), where in each case Ornament XII (a) surmounts Ornament X (ad). As Ornament X became worn in the first years of the seventeenth century, the Gardano firm relied more heavily on Ornament XII, using it in its musical publications at least until the death of Angelo Gardano. For example, in the year of Angelo's death, 1611, the first musical publication of Heinrich Schütz, Il primo libro de madrigali (S2272, D Kl), appeared with the impression of Ornament XII on its title page.68 Evidently in the last years before Angelo Gardano's death the wear became apparent on Ornaments X and XII, since, as mentioned above, the use of the old Ornament VIII was revived. At the same time, another compartment was introduced (Ornament XIII). These designs were somewhat more crudely cut than any of the previous blocks, with single rules setting off each piece from the surrounding space and somewhat abruptly terminating the natural continuation of the designs. The humanoid figures appearing here exhibit dwarf-like faces, unlike the more elegant renditions of the human face in the older ornaments. Nevertheless, Ornament XIII retains the more detached and somewhat more decorative effects of Ornament X rather than depicting the turbulent sexual excesses of Ornament XII, although it lacks the artistic merit and depth perspective of Ornament X. Ornament XIII may have been purchased by Angelo's soon-to-be successor Bartolomeo Magni, since it makes its appearance only shortly before Angelo's death, as in the title page to Costa's Il primo libro di madrigali a cinque voci of 1610 (C4222, US BE; see Plate 17).69 As with Ornaments VIII and X, Ornament XI was occasionally employed with an unrelated head block as the upper crosspiece of the full-page compartment (see, for instance, Plate 14).70 Some of the blocks used for title pages made their way to the dedication page or tavola in many of Angelo Gardano's publications, especially from the time when frames became more common in the 1580s.  

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For instance, Ornament VIII (e) already being used for title page decoration in 1580, appears in that year at the head of the dedication page of Vecchi's Canzonette . . .libro primo a quattro voci (V1010, I Bc, K1v). Other frame pieces from Ornament VIII continue to be used for the same purpose for many years; in 1596, Angelo employed elements of Ornament VIII (a-b-a') as a decorative frieze at the head of the dedication page to Trombetti's Il primo libro de madrigali a cinque voci (159026, T1278, US BE, D1v; see Plate 18). Ornament XI (d) finds a place below the tavola of Fontanelli's 1604 Secondo libro de madrigali senza nome, a cinque voci (F1481, W892 [sic], C4v; see Plate 15). Finally, Ornament XII (a), also employed in the 1590s and beyond, may be found at the head of the dedication page to Il secondo libro de madrigali a cinque voci of Alessandro Orologio from 1595 (O124, I Vnm, D1v) and Ornament XII (c) eleven years later on the dedication page of Gagliano's Il quarto libro de madrigali a cinque voci (160611, G112, I Bc, A2r). At the same time that Angelo began to use compartments for framing entire title pages on a regular basis, he seems to have begun to acquire other blocks used mostly for dedication pages and tavole. These very small ornamental designs tend to separate the large typeset rubrics of these pages from their smaller typed contents. A winged cherub's head with sloped carved curving designs on either end (Ornament XIV) may be seen on the dedication page of Monte's Il quinto libro de madrigali a sei voci (M3377, I Vnm, A1v) of 1584, in Nanino's Il terzo libro de madrigali a cinque voci (158618, N31, A1v; see Plate 19), 71 and in a similar location in the Madrigali a cinque voci, libro terzo of Gesualdo from 1603 (G1732, I Vnm, A1v). Also apparently first used in the 1580s was a design of a similar size (Ornament XV) but with a central grotesque face and winged figures on each side, with scrollwork similar to that of Ornament XIV. It adorns the dedication pages of Graziani's Psalmi omnes ad vesperas cum Magnificat of 1587 (G3702, I Bc, A1v), Trombetti's Il primo libro de madrigali a cinque voci (159026, T1278, US BE, D1v; see Plate 18),72 and Giovanni Gabrieli's Sacrae symphoniae of 1597 (G86, US Cn, A2r). The Gardano shop used an even smaller cut (Ornament XVI), with a central winged cherub's head and scrollwork, on the dedication page of Feliciani's Brevis ac iuxtum ritum ecclesiae annua psalmodia ad vespertinas horas octo canenda vocibus (15909, F200, GB Lbl, A1v; see Plate 20).73 The largest such ornamental design (Ornament XVII) features a central grotesque face, with winged grotesque figures on each side and grotesque heads facing outward on each end, all connected with scrollwork. The massive 1591 edition of the Graduale romanum employed this incised block immediately below the name "Angelus Gardanus" and above Angelo's impressive Latin dedication of the volume (Crawford and Borders, Renaissance Liturgical Imprints: 746, US BE, A2r; see Plate 21);74 it may be found later in the  

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decade on the dedication page of the Luca Bati Il secondo libro de madrigali a cinque voci (159811, B1282, I Vnm, D2r). During the 1590s, Angelo seems to have developed a taste for somewhat squatter incised blocks featuring a central grotesque face with carved designs on either side (Ornaments XVIII-XX). Vecchi's well-known 1597 edition of L'amfiparnaso, among its many unique ornamental blocks, places Ornament XVIII at the head and Ornament XIX at the foot of its note to readers (V1048, I Vnm, A2v, A3r); 75 the former continued to be used into the next decade, as in the tavola of Fontanelli's Secondo libro de madrigali senza nome, a cinque voci of 1604 (F1481, W892 [sic], C4v; see Plate 15, immediately below ''DELLI MADRIGALI"; Ornament XI[d] falls at the bottom). Ornament XIX had already been used earlier for Angelo's note to readers in the 1591 Graduale romanum (Crawford and Borders, Renaissance Liturgical Imprints: 746, US BE, A2r; see Plate 21, bottom of the page) and almost two decades later was still used on the dedication page of the 1609 Motetti a otto voci . . .libro secondo of Lodovico Spontoni (S4175, US BE, A1v; see Plate 22, above the dedication proper). Another design with a grotesque head and urns on either side, Ornament XX, was apparently used only in the last decade of Angelo's printing career, as seen on the dedication page of Bottaccio's 1609 Il primo libro delle canzoni da suonare a quattro, & otto voci (B3795, US BE, Q1v; see Plate 23).76 It should not come as any surprise that blocks with the same designs acquired by the heirs and later Angelo Gardano might have been purchased by other printers. Such seems to have been the case with Ornaments VI, IX, X, XII, and XIII, and perhaps the others as well. Ornament VI, combined with Ornament VI, combined with Ornament X (a-b) and Ornament XII (a), appears on the title page of Vecchi's In septem regij prophetae psalmos vulgo poenitentiales . . .senis vocibus concinuntur, liber quartus (V1070, GB Lbl), published by Tini and Besozzi in 1601.77 In the first edition of Marenzio's Il quarto libro de madrigali a sei voci, issued by Giacomo Vincenti in 1587 (M510, US BE), the same small, ornamental type pieces of Angelo Gardano's Ornament IX were used throughout to comprise small frames for typeset capitals; pieces almost identical to Ornament IX were used in Germany and the Low Countries as well in the late sixteenth and seventeenth centuries.78 In 1605, Agostino Tradato in Milan published Serafino Cantone's Motecta, cum letaniis . . .quinque vocum. Liber secundus (no RISM number, I AOc) with a title page compartment using the same design as Gardano's Ornament XII, although a slot for typesetting the partbook name appears to have been rudely cut out of the top member (Ornament XII[a]).79 An apparent intact Ornament XII (a) also appeared in Sigismondo d'India's Le musiche . . .da cantar solo (I24), published in Milan by the heir of Simon Tini and Filippo Lomazzo in 1609.80 The Gardano firm may have acquired Ornament XIII after  

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the design had aleady been used by other Venetian firmsAlessandro Raverii published Leon Leoni's 1607 Bella Clori, secondo libre de madrigali a cinque voci (L1991, F A, D1r) in Venice and utilized four blocks with the same designs as Ornament XIII on its title page a number of years before the Gardano firm began to employ it with any frequency. 81 The same style blocks, Ornament XIII (b-b'-c) were still used in Rossi's Madrigaletti a due voci, printed by Alessandro Vincenti in 1628 (R2762). While it is impossible to say whether these were exactly the same blocks owned by the Gardano firm, at least the striking similarity of their designs leads one to assume that they were all produced by the same artist. Our knowledge of the use of similar compartments, frames, and ornaments by other printers in the period is bound to expand as research into the production of music books in northern Italy during the late Renaissance continues.82 Initials As with so many other parameters of the Gardano typography, so with initials the siblings continued to use the incised blocks inherited from Antonio Gardano upon his death in 1569. Obviously, large roman type capitals in a number of sizes were often used at the beginning of subsections or for editions in the smallest formats.83 But for the opening initials of dedications and most pieces in quarto and folio, the Gardano siblings continued to make use of no fewer than six of the initial blocks employed by Antonio Gardano in his last years (see Table 10.3). Virtually all Gardano editions from the 1570s, 1580s, and even beyond, employ Group I initials, the large and elegant horsemen capitals (31 by 32 mm.)84 with a white letter and a double-line frame, first used by Antonio Gardano in Willaert's monumental Musica Nova of 1558-59 and used throughout his last decade of production (see Plates 18, 19, 20, 24).85 The relatively long lifespan of these blocks after the death of Antonio Gardano can be explained by the fact that they were most often employed in the 1570s only for the opening of dedications, while smaller initials were more commonly used on the more numerous interior pages. As the firm gradually shifted its emphasis from oblong quarto to upright quarto, the more ample format permitted these rather large initials to be used on virtually every page, as in Vecchi's Canzonette . . .libro primo [secondo, terzo] a quattro voci (V1012, V1019, V1022 [158535], all I Vnm) and Mazzone's Il primo libro delle canzoni a quattro voci of 1591 (M1685, I Vnm).86 In heavy use throughout the 1570s, 1580s, and into the middle 1590s, by the beginning of the new century the initials had deteriorated quite badly, as can be seen at the opening of most pieces in the 1600 reprint of Vecchi's Canzonette . . .libro terzo a quattro (V1025, US SFsc). Nevertheless, this group of initials was used on occasion up to  

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Initial Group I II III IV V VI(a-b) VII(a-b) VIII IX X XI XII XIII XIV

Table 10.3 Initials Gardano Heirs, 15691575; Angelo Gardano, 15751606; Angelo Gardano & Fratelli, 16061611 Approximate Size Illustrated Approximate Dates of Use 31x32 mm. Plates 18, 19, 20, 24 1569-1611 23x22 mm. Plate 25 1569-1611 19x19 mm. Plate 25 1569-1599 17x16 mm. Plate 26 1569-99 17x16 mm. Plate 27 1569-98 a) 54x48 mm. Plate 28 1575-91 b) 27x27 mm. a) 23x22 mm. Plates 29 1574-1607 b) 18x19 mm. 33x33 mm. Plate 30 1576-1603 20x20 mm. Plates 24, 29 1579-1604 42x43 mm. Plate 22 1590-1611 25x25 mm. Plate 32 1595-1611 40x36 mm. Plate 33 1600-11 23x23 mm. Plate 34 1608-9 45x46 mm. Plate 23 1609

Angelo Gardano's death, as in Gesualdo's Madrigali a cinque voci, libro quarto of 1611 (G1737, US SFsc). The smaller initial Groups II, III, IV, and V, all first used by the family patriarch, Antonio Gardano, tended to be placed only internally rather than heading opening dedications in the editions of the heirs and then Angelo Gardano. A most common set in the 1570s was Group II, comprised of medium-sized initials (23 x 22 mm.), featuring a white letter, animals, and a two-line frame, already employed by the late Antonio Gardano for six years (see Plate 25, opening initial). 87 A few unrelated initials also travelled with Group II, such as some featuring horsemen (similar in design but not size to Group I) and another with a man reading, both with measurements similar to Group II.88 While some editions feature Group II initials exclusively, and then only at the opening of compositions,89 a more common practice was to mix Group II with other initial sets. Groups III90 (19 x 19 mm.; see Plate 25, second initial) and IV91 (17 x 16 mm.; see Plate 26) both feature various human figures, a shaded background, a white letter, and a double-line frame.92 Group V93 (17 x 16 mm.; see Plate 27) exhibits a landscape with a white  

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letter surrounded by a two-line frame. All three of these sets tend to mix with Group II for heading compositions in the Gardano editions of the 1570s. Also inherited from Antonio Gardano, but rarely used, were Group VI initials, featuring black gothic letters on a white background surrounded by a double-line frame (in two sizesa: 54 x 48 mm., and b: 27 x 27 mm.; see Plate 28). 94 Their extremely generous size and elaborate makeup seems to have limited their use to the great folio publications, such as Victoria's Liber primus qui missas of 1576 (V1427, I Bc), Porta's Missarum liber primus of 1578 (P5180, I Bc), and especially throughout the editions of chant: the Officium, et missa sanctissimae trinitatis and the Graduale, et antiphonarium, both from 1587, as well as the Graduale romanum of 1591 (Crawford and Borders, Renaissance Liturgical Imprints: 8794, 2650, 746, respectively, all three in US BE).95 In the mid-1570s a new set of initials, Group VII, the first introduced here that had not been inherited from Antonio Gardano, appears in combination with Groups II-V. As with Group II (the "animal" initials), here too a number of differently styled initials travel together. Many of these initials (a: 23 x 22 mm.; see Plate 29, first initial) exhibit a white letter, vegetation with an occasional flower, and a double-line frame; but sometimes a letter may carry only a single-line frame and feature flowers over vines, or even a fleur-de-lis. In addition, a few of the initials measure somewhat smaller (b: 18 by 19 mm.) and usually display flowers and carry a single-line frame. Since all of these types travel together, and thus presumably were kept together in the shop, all have been included here as part of Group VII. The publications of 1574 are the first to commonly include this group of initials, as in Rore's Il quinto libro di madrigali a cinque voci (15748, I Vnm). Group VII proved even more popular than the aging Group II at the head of pieces in the later 1570s, as in the 1578 Ingegneri Il primo libro de madrigali a quatro voci (I51, I Vnm). Here, Group VII dominates the choice of initials for the opening of compositions, even to the point of appearing in place of a Group I initial in the dedication, although Group II and III initials also may be found at the head of a few pieces. Group VII initials may be found with great frequency in the publications of Angelo Gardano throughout the 1580s, as in Merulo's 1584 Il primo libro de motetti a quatro voci pari (M2363, I Vnm), where Group VII dominates the publication. While the series still appears with some frequency in the last decade of the century, it is usually found mixed with initials from other groups. Isolated use of Group VII appears even into the seventeenth century, as in Marenzio's Il sesto libro de madrigali a cinque voci of 1603 (M558, I Vnm, C3v-C4r). Some large and rarely-used initials also make their first appearance in the mid-1570s. Evidently the massive size of these Group VIII initials  

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(33 x 33 mm.) caused Angelo Gardano to limit their use in this period to his oversized publications, such as the folio edition of Victoria's Liber primus qui missas of 1576 (V1427, I Bc), where, opening the dedication, a white letter P in a double-line frame apparently depicts the beheading of Holofernes by Judith. 96 These initials seem to have had very little use; another, a white letter S with a satyr playing a trumpet-like instrument in a wooded setting, also with a double-line frame and with the same measurements as the initial above, appears along with the similarly-sized Group I (the venerable "horsemen" initials) to open compositions found in the Dialoghi musicali de diversi eccelentissimi autori (159011),97 the 1595 edition of Orologio's Il secondo libro de madrigali a cinque voci (O124, I Vnm, D2v), and Vecchi's Canzonette . . .libro quarto a quattro voci of 1603 (V1028, US SFsc, G3r; see Plate 30). The entire series may simply have consisted of substitute blocks for those initials in Group I too worn to receive additional use.98 In the late 1570s, as Group II (the "animal" initials) and the other initials inherited from Antonio Gardano became more worn, Angelo employed the flower and vegetable Group VII much more often. Evidently the intense use he made of these medium-sized initials caused him to invest in another similarly sized set of blocks, subsequently used throughout the 1580s and 1590s for the openings of compositions, along with Groups II, VII, and the other inherited sets. The new Group IX, much like Ornament VIII employed for title pages around the same time, utilizes a white letter, grotesque faces, classical urns, carved scroll work, and even vegetation, without any sort of frameconsequently, the borders are always irregular. Nevertheless, the size corresponds to those used in previous years to head compositions (20 x 20 mm.; see Plates 24 and 29, second initial in both, and Plate 31). One rather unusual member that travelled with this set was a tiny compartment, a carved border that would allow a space for a typeset roman capital inside.99 This group of initials was first put into use at the end of Angelo's first decade of publication, as can be seen throughout Cartari's Il primo libro de madrigali a cinque voci (no RISM or Vogel et al., Bibliografia numbers, US BE) of 1579, into the 1580s, as in Graziani's Missa cum introitu of 1587 (G3701, I Bc, A3r, A5r),100 well into the 1590s, as throughout Giovanelli's Gli sdruccioli of 1598 (G2456, I Vnm), and even now and then (but with much less frequency) in the first decade of the 17th century, as in Vecchi's Le veglie di Siena of 1604 (V1053, TB2r). Almost invariably, Group IX is used in conjunction with other groups, especially Group VII.101 The new emphasis on upright quarto from the 1580s onward and the realization of more space for printing finally led Angelo Gardano in the 1590s and 1600s to purchase initials significantly larger than those commonly used in the interior of a book during the 1570s and 1580s.  

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While ample initials such as Group VI had been employed for folio publications and the relatively large Group I for dedications early on, the latter had been used ever more as a source for incipit initials for individual pieces throughout publications in the 1580s and beyond. Consequently, by the early 1590s Angelo had acquired Group X, another set of large initials that mostly replaced the function of Group I at the opening of dedications; he also used these as incipit initials in the body of publications themselves. These large white initials (42 by 43 mm.; see Plate 22) display a white letter with grotesque and mythological figures in generous flowing designs within a double-line frame. As with Group IX, these too included among their members a small compartment that allowed for the insertion of a roman type capital. 102 Group X may already be seen as early as 1590 in the Dialoghi musicali de diversi eccellentissimi autori (159011).103 Use of these large initials continues uninterrupted during the remainder of Angelo Gardano's life, as throughout the 1598 edition of Tonelli's Madrigali a cinque voci, libro primo (T952, I Vnm), Gesualdo's Madrigali a cinque voci, libro quarto of 1604 (G1736, I Vnm), and in Angelo's last year, India's Libro secondo de madrigali a cinque voci of 1611 (I25, GB Och, US SFsc). Unlike some of the other groups discussed above, the use of these initials appears to have continued steadily until Angelo Gardano's death. Apparently Angelo began to employ yet another set of initials, Group XI, shortly after he acquired Group X. Group XI (25 x 25 mm.; see Plate 32) surrounded a white letter with figures similar to the much larger and recently acquired Group X, including garbed putti with cornucopia, winged figures, humanoid torsos with vegetation, or simple vegetation within a two-line frame. We can already see it used in Orologio's Il secondo libro de madrigali a cinque voci of 1595 (O124, I Vnm, E3r). Gardano placed a similarly patterned but much larger Group X initial at the opening of this edition's dedication. The other incipits feature Group I and Group VIII. Obviously, in keeping with past practice, Angelo tended to favor the larger initials, such as Group VIII or X (or much earlier, Group I), for the opening initial of a dedication, and would use the smaller series, such as Group XI or one of the earlier sets for the incipits of each composition within the body of his publications. The seventeenth century brought another newly acquired set of initials to the fore, Group XII. Already by 1600, throughout Lappi's Sacra omnium solemnitatum vespertina psalmodia (L672, US BE), this somewhat large set of initials made its appearance (40 x 36 mm.; see Plate 33). These white letters are decorated with various human figures and landscapes or indoor scenes, surrounded by a double-line frame. Needless to say, they were used until the last year of Angelo Gardano's production, 1611, throughout Gesualdo's Madrigali a cinque voci, libro quarto (G1737, US BE).  

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Another set of initials, closely related to Group XI in size (23 x 23 mm.), but eschewing neo-classical figures for biblical and indoor scenes surrounded by a double-line (on occasion a single-line) frame, was Group XIII. These initials may be found in publications produced late in Angelo Gardano's printing career, as in Wert's Il decimo libro de madrigali a cinque voci of 1608 (no RISM number, US BE, D2v, D3v), his Il duodecimo libro de madrigali . . .a 4. a 5. a 6. & 7 from the same year (no RISM number, US BE, M3v; see Plate 34), as well as throughout Pecci's Madrigali a cinque voci of 1609 (P1107, I Vnm, US BE). As with Group VIII, Group XIV may have simply served as a replacement for similarly-sized initials in other series that had become too worn for use. Found at the opening of the dedication to Paolo Bottaccio's Il primo libro delle canzoni da suonare a quattro, & otto voci of 1609 (B3795, US BE, Q1v), this massive white letter S (45 x 46 mm.; see Plate 33) presents a faun and perhaps a goddess meeting in a forest, surrounded by a double-line frame. Other specimens of this group are yet to surface. While the classifications of the sets of initials given above may (with the possible exceptions of Group VIII and XIV) seem clear-cut, certainly their usage tends to lead anyone who examines the publications of Angelo Gardano into some confusion. The editions of the heirs of Antonio Gardano and later Angelo Gardano often mixed series of similar sizes within a single edition, and even employed different initials for the same composition from one partbook to another. For instance, the edition of Porta's Missarum liber primus of 1578 (P5180, I Bc) uses initials from Groups I, II, III, V, VI, and VII, and Marenzio's Il sesto libro de madrigali a cinque voci of 1603 (M558, I Vnm) initials from Groups I, VII, X, and XII. These mixtures appear to be more of the rule than the exceptionthe Gardano firm generally did not aim for consistency in its use of a given group of initials in the period under consideration. Nor is it unusual to find corresponding pages in different partbooks printed with different incised blocks, although more commonly all corresponding pieces in each partbook begin with the same initial, as would be expected with the use of skeleton formes from partbook to partbook. In Antegnati's Il primo libro de madrigali a quattro voci of 1571 (A1267, I Vnm), a Group II initial with a gazelle-like creature begins the madrigal "Ahi che son io" in the canto partbook (D3v). But in the tenore and basso partbooks (H3v, Q3v), the same madrigal begins with a differing Group II initial featuring what looks like a griffin (for the same letter A). On the following page, the same situation is reversed, with the canto featuring the griffin and the other two partbooks the gazelle. Either typesetters also had no qualms about mixing unrelated initial sets from partbook to partbook, especially if the size of the two initials was roughly the same, as in the 1587 edition of Monte's Il duodecimo libro delli madrigali a cinque voci (M3381, I Vnm), where Group IX in one partbook  

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is replaced with Group VII in another (C2r, P2r vs. L2r, G2r, T2r), or Group VII by Group II (D3r, H3r, Q3r vs. M3r, V3r), or perhaps we are dealing with some sort of resetting of type. 104 Sometimes an initial may be merely inverted from one partbook to the next, as on a page from Monte's Il primo libro de madrigali spirituali a cinque voci of 1581 (M3317, I Vnm), where the Group VII initial S appears in the correct position in all partbooks but the tenore, where it is found inverted (F1r). Angelo Gardano's Group X style initials were used by other printers in Venice. Rossi's Il secondo libro delle sinfonie è gagliarde (Amadino, 1608; R2764) appears to utilize the Group X style initial at the opening of the dedication to Don Alessandro d'Este, Duke of Modena and Reggio.105 The study of initials from partbook to partbook requires a huge amount of detailed research, and clearly a single individual could spend a lifetime studying the many hundreds of publications and thousands of exemplars involved here. Likely the most fruitful and efficient path for future research in this area will arise from the work of scholars who focus their research on individual composers and editions to provide further typographical data and refinements to the material covered here. Typefaces As with format, the Gardano heirs continued the custom of their father by utilizing the type they inherited after the death of Antonio in 1569. After the division of the business in 1575, Angelo Gardano continued using these type fonts. But the Gardano family also invested in new fonts at various stages in the development of the firm. In all, the heirs and later Angelo Gardano employed at least four polyphonic music fonts in addition to a plainchant font, a lute tablature font, a keyboard font, nine different fonts of roman type, four fonts of italic type, and seven fonts of gothic type. Descriptions of these typefaces may be found immediately below, for the Gardano heirs from 1569 until 1575 and for Angelo Gardano from 1575 until his death in 1611. Music Fonts Polyphonic Music Font I10.3/11.0 mm. (staff height/height of minim on outer line)106 A font inherited from Antonio Gardano (Lewis, Antonio Gardano, Music Font IV, 1:54, Plates 35-36) and frequently used six staves to the page in oblong 4° format. As such, it is the most common music font in the first decades of his heirs' activity, as seen in Agostini's Enigmi musicali . . .il primo libro a sei con dialoghi a sette otto et dieci of 1571 (A403, US BE; see Plate 25). This type font probably corresponds to an entry in the family's inventory of 1575 for "un Canto Comun ordinario Con le madre ponzoni et forme."107  

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Polyphonic Music Font II11.7/12.1 mm. A font also inherited from Antonio Gardano (Lewis, Antonio Gardano Music Font V, 1:54, Plate 2) and commonly used with larger formats, especially the 4° upright, often with eight staves to the page with text underlay as in Andrea Gabrieli's Il primo libro de madrigali a sei voci of 1587 (G67, US BE; see Plate 24). Nine staves or more are commonly found in editions without text, fewer than eight with additional text at the bottom of the page. 108 During the period in which Angelo Gardano began to experiment seriously with the upright quarto format, he tried using this larger font at five staves per page in oblong format (as opposed to the typical six) in a number of editions, such as Francesco Manara's Madrigali a sei voci (M267, I Vnm) and the Pordenon Il primo libro de madrigali a quattro voci (158011, P5106, I Vnm), both from 1580, as well as Merulo's Il primo libro de motetti a quattro voci pari of 1584 (M2363, I Vnm), and even years later in Massaini's 1592 Sacri cantus quinque paribus vocibus concinendi . . . liber secundus (M1271, US Cn). This font was probably recorded in the inventory of 1575 as "Un Canto figurato ditto della Pegorina Con le sue madre ponzoni et forme."109 Polyphonic Music Font III8.7/8.9 mm. It is not clear whether this font was inherited from Antonio Gardano or not.110 This tiny font was used when small music type proved to be a necessity, as in the 8° oblong editions of the 1570s (see Il quinto libro delle villotte alla napoletana de diversi, 157020, I Bc) or the miniature score folio publication of 1577, Tutti i madrigali di Cipriano di Rore a quattro voci (R2513, I Bc). Doubtless it was this font referred to in the 1575 inventory as "un Cantino picollo delle Villotte Con madre ponzoni et forme." Polyphonic Music Font IV15.8/16.0 mm.111 Inherited from Antonio Gardano (Lewis, Antonio Gardano Music Font VI, 1:54, Plate 3) and used only in folio editions, such as the Victoria Liber primus qui missas, psalmos, magnificat of 1576 (V1427, I Bc). Antonio Gardano had evidently acquired this font to produce the large folio choirbooks that he published in 1562.112 The 1575 inventory likely referred to this typeface when it designated "un Canto grande per real forma Con madre et ponzonj." Roman Plainchant Font21.5:4.32 (5.6) x 11.3 (12.0) mm.113 Antonio Gardano used a plainchant font for musical examples in his edition of Aiguino's treatise La Illuminata of 1562,114 although no measurements of this font have appeared in print. If it is not the  

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same as that used by the heirs and Angelo Gardano described above, then the latter may have been purchased by Antonio's heirs. At the division of the family firm in 1575, the font was apparently described with another as "Doi Canti fermi Con madre ponzoni et forme." It was used in the massive Angelo Gardano editions of the Graduale, et antiphonarium, the Officium et missa sanctissimae trinitatis (Crawford and Borders, Renaissance Liturgical Imprints: 2650, 8794, respectively, both from 1587 and in US BE), and the Graduale romanum of 1591 (Crawford and Borders, Renaissance Liturgical Imprints: 746, in US BE; see Plate 28). No examples of a second font, mentioned in the inventory, have been found, unless this set was taken by Alessandro Gardano upon his departure from the firm and later used in his plainchant editions (see below). Lute Tablature Font The 1575 inventory mentioned a "ponzonj de Intabolatura de lauto et madre et forme." This too had been part of the patrimony left by Antonio Gardano to his children. The elder Gardano had used the same font, for which he possessed the punches and matrices, for all of his lute publications. 115 But Angelo and Alessandro Gardano published few editions using lute tablature, and apparently issued none during their partnership from 1569 to 1575. Angelo Gardano once again employed this typeface in his 1585 Barbetta edition of Intavolatura de liuto (B906, GB Lbl) and in subsequent lute publications as well, and Alessandro Gardano also appears to have had access to the same font after his departure from the family business (see below). Keyboard Font As with the lute tablature font, so with keyboard music did Angelo continue to use the same font inherited from his father. Angelo Gardano's edition of Facoli's Il secondo libro d'intavolatura, di balli d'arpicordo (1588, F57, I Rsc)116 and of Merulo's Libro secondo di canzoni d'intavolatura d'organo (1606, M2379, F Pn)117 utilized the same keyboard typeface as did Antonio Gardano in his publication of Cavazzoni's Il primo libro de intabolatura d'organo (no date, C1573, I Bc).118 Angelo produced a handful of such publications in later years, including music by Abundante, Vecchi, Merulo, and Andrea Gabrieli.119 But keyboard works per se never comprised more than a handful of his issues. The 1575 inventory doubtless refers to this font with its entry "Intaboladura d'organo ponzoni madre et forme."120

 

In the last decade of the sixteenth century, however, the demand arose for basso continuo parts for concerted works,121 and the

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Gardano firm characteristically began to fill this growing demand. The first such parts appear in the Gardano output in 1601, with Lappi's Missarum octonis vocibus, liber primus (L677) and Palestrina's Motectorum quinque vocibus liber quartus (P722), and continuing with at least 3 such parts in 1605 and in 1607, 4 in 1609, at least 6 in 1608 and 1610, and 8 in 1611 (6 of these before Angelo's death). Consequently it appears that the demand for basso continuo parts continued to grow. These parts, many probably compiled by the publishing house itself rather than the composer, went by a number of different appellations ''spartitura de' bassi" (L678), "basso ad organum" (F813, F815, M3438), "basso continuato" (F1101), "parte organica" (B565, M2367), "basso continuo" (B744, I16, I17, N362), "parte continuata" (V1553), "partimento de bassi per l'organo" (B2595), "basso generali pro organo" (B1769), "partimento pro organista" (T1059), and "partidura delli bassi continuati" (160821/V1055) among other names. 122 Generally speaking, most of these may probably be referred to as "bassi seguenti," since they usually reproduce the lowest sounding voice of the texture at any given moment; no figures may appear at all. As such, these parts would require no special font, and would in theory use the same polyphonic type as any other partbook. Text Fonts The standard bibliographical method of measuring blocks of text obviously would have only a limited application in descriptions of music books, since large blocks of text tend to occur only in dedications. Unfortunately, the dedications often comprise less than the usual 20 lines of type123 or indeed are lacking altogether in many reprints. In addition, many other fonts other than that used for the dedication may be found in a typical Gardano book from the period in question. Rather than entirely overlook the issue of text fonts, I have listed the measurements of 20line blocks when known. Otherwise, in the brief summary below, I have relied upon the somewhat variable measurements of the font's face height/x-height/capital height.124 Roman Type Fonts Roman Font I4.0/2.1/3.0 mm. (20 lines=81.0 mm.125) This font, inherited from Antonio Gardano (Lewis, Antonio Gardano Text Font V, Roman Title Page Text Typeface XII), deserves recognition as the most common of all the roman text fonts used by the firm.126 The heirs and later Angelo Gardano employed this font in oblong quarto editions for title pages, dedications, and many tavole.  

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In upright quarto format the font had the same uses as in oblong quarto, with additional functions for underlaid text, headers, and footers in the body of an edition (see Plates 18-20, 22-24, 26, 30, 32-34). Roman Font II4.6/2.2/3.4 mm. (20 lines=94.5 mm. 127) The measurements of this font appear similar to one that Antonio Gardano had used only in the early 1540s (Lewis, Antonio Gardano Text Font II and Roman Title Page Text Typeface V);128 consequently, it would seem more likely that this font was newly acquired after Antonio's death. The ample size seems to have restricted its use to larger format publications, as in the dedication to the folio Costanzo Porta Missarum liber primus of 1578 (P5180, I Bc). Roman Font III3.5/1.7/2.7 mm. This font has no parallel in the type of Antonio Gardano. A smaller roman font than the standard Roman Font I, it is found only occasionally in editions published by Angelo Gardano, as in the dedication to Aurelio Della Faya's Il secondo libro de madrigali a 5 voci, 1579 (D1401, I Vnm, A1v, line 3). Roman Font IV7.0/2.7/4.4 mm. This large font appears to have been acquired after the death of Antonio Gardano. It was used only in the more expansive formats, such as in the dedication to the folio Costanzo Porta Missarum liber primus of 1578 (P5180, I Bc). Since the Gardano heirs and later Angelo published few folio editions, this font had only infrequent use. Roman Font V5.3/2.6/3.7 mm. The publications of Antonio Gardano apparently did not utilize this font either. Used only rarely, it may be found at the head of the index to the 1591 edition of the Graduale romanum (US BE, EE8v) and on the title page of Orazio Vecchi's Le veglie di Siena of 1604 (V1053, I Vnm, A1r, line 5). Roman Font VI8.2/3.8/6.4 mm. (20 lines=164.0 mm.129) This is another font that did not appear in the publications of Antonio Gardano. Relatively rare, it may be found only in Angelo Gardano's occasional large-format publication, as on the title page of Andrea and Giovanni Gabrieli's Concerti (158716, G58, G85, I Vnm, the last line of the title page of each partbook), for the body of the dedication of the Graduale, et antiphonarium of 1587 (US BE, A1v), the dedication of the Officium, et missa sanctissima trinitatis of 1587  

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(US BE, A1v), and in the introduction to the 1591 edition of the Graduale romanum (US BE, A2r; see Plate 21). Roman Font VII6.4/3.1/4.5 mm. This also seems to be a font apparently used only in the infrequent larger format editions, and cannot be found in the publications of Antonio Gardano. Roman Font VII may be seen on the title page of Andrea and Giovanni Gabrieli's Concerti (158716, G58, G85, I Vnm, A1r in all partbooks, lines 7-9). Roman Font VIII2.6/1.3/1.7 mm. (20 lines=53 mm. 130) Not used by Antonio Gardano, this tiny type was employed only in extraordinary circumstances, as in the massive single-page index to the 1591 Graduale romanum (US BE, EE8v). The capitals from this type font may also be found on line 5 of the title page to Pallavicino's 1609 Il quinto libro de madrigali a cinque voci (P792, US BE). Roman Font IX14.0/4.9/9.9 mm. A huge type font, not used by Antonio Gardano, is found on the fourth printed line of the title page of the 1587 Graduale, et antiphonarium (US BE, A1r) and for the name "Angelus Gardanus" in the message to the readers in the Graduale romanum of 1591 (US BE, A2r; see Plate 21). Roman Font Capitals No purpose would be served by listing all roman capitals used by the family business. But there are at least eleven different sizes of such capitals from as small as 1.7 up to 9.7 mm., in addition to many that likely from part of the full roman fonts cited above. Angelo also used two massive roman capital fonts, measuring 26.0 mm. (throughout the 1587 Officium et missa sanctissimae trinitatis and Graduale, et antiphonarium, and the 1591 Graduale romanum [all in US BE]) and 12.8 mm. (as on the title pages, under the initial ornament, in both of the 1587 publications cited directly above). Italic Type Fonts Italic Font I5.6/2.2/2.4 mm. A font inherited from Antonio Gardano (Lewis, Antonio Gardano Font IV [and italic Title Page Text Typeface III? ), this was the most common of the italic text fonts in the 4° oblong quarto publications (that is, most of the publications issued in the first two decades of the firm's activity, in the 1570s and 1580s) for text underlay, headers, and footers in the body of the edition (see Plates 25, 27, and 31).  

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Italic Font II4.1/1.9/2.6 mm. (20 lines=82 mm. 131) It is not known whether or not Antonio Gardano employed this font in his publications,132 but his son Angelo Gardano used this very small italic font for the text underlay in octavo publications, some of the oblong quarto editions from the later 1580s and 1590s, and upright quarto editions. It may be seen in the text underlay of the octavo Il quinto libro delle villotte alla napoletana de diversi . . . a tre voci (157020, I Bc) and in the body of the dedication to Della Faya's Il secondo libro de madrigali a 5 voci of 1579 (D1401, I Vnm, A1v). It is used with increasing frequency in the mid-1580s as the type font for the body of dedications, text underlay, and headers and footers, as in the oblong quarto edition of Giovanni Maria Nanino's Il terzo libro de madrigali a cinque voci (158618, N31; see Plate 29), Monte's L'undecimo libro delli madrigali a cinque voci from the same year (M3379, I Vnm), in the letter to the readers in the upright quarto edition of Balbi's Musicale essercitio . . . a cinque voci (158912, B742, I Vnm, A2r), and as text underlay throughout Giovanelli's Il primo libro de madrigali a cinque of 1594 (G2463, US BE). Italic Font III4.8/2.2/2.9 mm. This font does not appear to have been inherited from Antonio Gardano. His son Angelo employed it occasionally in 4° upright publications, and thus it is found more frequently in the later decades of the firm's activity, in the 1590s and 1600s, when ever more editions were cast into upright quarto. See, for instance, the title page of Antonio Tonelli's Madrigali a cinque voci, libro primo of 1598 (T952, I Vnm, D1r, line 6 of text). But early examples of 4° upright also utilize the font, such as in the body of the dedication to Andrea Gabrieli's Il primo llibro [sic] de madrigali a sei voci (G66, I Bc, I1v) of 1574, published by the Gardano heirs. Italic Font IV7.7/3.0/4.5 mm. This generous italic font, not employed by Antonio Gardano, was apparently used only for the occasional largeformat publications, and may be found on the title page of Andrea and Giovanni Gabrieli's Concerti (158716, G58, G85, I Vnm, A1r of each partbook, line 10). Gothic Type Fonts Gothic Font I13.7/7.9/11.6 mm. Gothic fonts tended to be employed by the Gardano sons in folio editions, and owing to the small number of such editions issued by the heirs of Antonio Gardano and later by Angelo, clearly this category of typefaces remained the least used in the firm's production. It is  

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not surprising that many of these typefaces were simply inherited from Antonio Gardano. Clearly this huge font (probably Lewis, Antonio Gardano Gothic Title Page Text Typeface I) could only be used in large editions, as for some of the rubrics in the body of the folio edition of Costanzo Porta's Missarum liber primus of 1578 (P5180, I Bc), on the title page to the folio 1587 Graduale, et antiphonarium (US BE, A1r, text line 5), and on the title page of the 1587 Officium, et missa sanctissimae trinitatis (US BE, A1r, text line 7). Gothic Font II5.4/3.1/4.8 mm. Another font inherited from Antonio Gardano (Lewis, Antonio Gardano Text Font VI), this type font served for the text underlay in Porta's 1578 Missarum liber primus (P5180, I Bc). Gothic Font III8.9/5.3/5.9 mm. A gothic font that was evidently inherited from Antonio Gardano (Lewis, Antonio Gardano Gothic Title Page Text Typeface II) and used for rubrics in the body of the book both in Porta's Missarum liber primus cited above and for the publisher's imprint on the title page of Victoria's folio Liber primus qui missas, psalmos, magnificat of 1576 (V1427, I Bc, A1r). Gothic Font IV6.6/4.3/5.8 mm. No corresponding font is found in the publications of Antonio Gardano. In the output of Angelo Gardano, it was used for rubrics in the index of the Victoria 1576 Liber primus qui missas, psalmos, magnificat (I Bc, MMfinis4v). Gothic Font V4.9/2.9/3.9 mm. No corresponding font may be found in the publications of Antonio Gardano. His son Angelo employed this font in the body of the index to Victoria's Liber primus missas, psalmos, magnificat (cited immediately above). Gothic Font VI11.0/6.3/10.0 mm. Apparently not inherited from Antonio Gardano, this massive font served on the title page and as the text underlay for the Graduale, et antiphonarium of 1587 (US BE, A1r, text lines 6, 7, and passim), the title page and the text underlay for the 1587 Officium, et missa sanctissimae trinitatis (US BE, A1r, text line 8, and passim), and in the body as text underlay and for some rubrics in the 1591 edition of the Graduale romanum (see Plate 28).  

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Gothic Font VII7.7/5.0/6.7 mm. Apparently not inherited from Antonio Gardano, Angelo also used this gothic font for the title page (text lines 8, 9) and for the rubrics throughout the 1587 Graduale, et antiphonarium, for the rubrics throughout the Officium, et missa sancticssimae trinitatis from the same year, and as rubrics for the 1591 Graduale romanum (cited immediately above). The 1575 inventory that divided the Gardano patrimony indicated that the firm owned the punches for only 8 different text fonts, less than half of the 20 total listed here. Doubtless the printers felt no need to keep punches or matrices for the fonts that they rarely used. Indeed, they may simply have borrowed or leased these unusual fonts from other printers, especially the roman and gothic fonts that were used for the firm's rather rare production of especially large formats. Paper, Watermarks, and Corrections Already by 1389, the City Council of Bologna had mandated the four sizes allowed for the manufacture of paper. The officials had the various dimensions carved into a stone plaque that was placed in the wall of the medieval Guild of Apothecaries (the guild to which the papermakers belonged). 133 Naturally, Antonio Gardano and later his heirs continued to make use of the standard sizes of paper employed in northern Italy for centuries before themprobably a small sheet known as reçute for most of their publications before the late 1580s, i.e. those in oblong quarto. Reçute, about 45 by 31 cm. as represented on the Bologna tablet, can be folded twice into a quarto of about 15.5 by 22.5 cm.; after trimming, the resulting partbook would measure about 15 by 21 cm., the average size of the folio in an oblong quarto Gardano edition. The later upright quarto editions of Angelo Gardano, common from the 1580s onward, measure closer to 22 by 16 cm., and perhaps the somewhat larger meçane, with a folded size of about 25 by 17 cm., would have been used for those editions.134 The deckle edges (i.e. the edges that are untrimmed) found in many of the surviving exemplars, suggest that little of the paper was actually wasted in trimming, not surprising given its high cost.135 The traditional use of watermarks by musicologists has been for manuscript studies, as in the cases of the Bach cantata chronology, the stag watermark of the Esterhazy family and the provenance of Haydn symphonies, the additions of Süssmayr to the Mozart Requiem, and innumerable manuscript studies of the Renaissance.136 Nevertheless, a number of research uses have been found for watermarks in musical editions published in this period. The watermark profile has been used, for instance, to show that Petrucci retained the same date on the colo 

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phon for books that are distinct printings of the same publication. Too, an anomalous watermark can signal the presence of cancels, inserted sheets, standing type, and mixed issues, and obviously to support other evidence supplied by press corrections, headlines, and other anomalies. Evidence from the watermark profile has also been employed to suggest an occasional hiatus in the preparation of a book, the size of print runs, and shop habits for the use of presses. 137 Still, the study of watermarks to provide evidence for provenance or dating has only minor importance when confronted by an elephantine body of printed material, however, such as in the music printed by the Gardano brothers. The massive number of sheets of paper used in the surviving Gardano editions, easily in the thousands (even if only a single exemplar of each edition is examined) clearly limits research in this area. Many libraries prohibit tracings, and reproduction by any photographic means proves expensive. In addition, a watermark often falls just where the sheet is cut, and thus the center of the watermark must be reconstructed. Also, until now the dates and provenance of the Gardano publications do not appear to have been much of a problemwhile manuscripts may be dated by means of watermarks in many cases, only rarely does a sixteenth-century music book lack a date of publication. Unlike the earlier practice of Petrucci,138 there is little evidence so far that Antonio Gardano139 or his children reissued a publication under an old date or falsely dated their editions. Naturally the testimony of watermarks may corroborate various other types of dating procedures that can probably be marshalled with more accuracy to date a suspect publication.140 But clearly the study of watermarks in a published edition might have one advantage over traditional forms of research connected to musical manuscriptsa comparison can be carried out between different exemplars of the same edition to determine the presence of any cancels, inserted sheets, and other printing practices. Given the huge number of editions and exemplars that survive from the Gardano brothers' workshops, it seems unlikely that any thorough exploration of the watermark situation could be completed within the lifetime of any one individual. Future comparisons effected by scholars of selected editions should give us a better idea of the Gardano practices during the preparation of individual publications. Mary S. Lewis has noted that composers or patrons may have requested a specific grade of paper for a particular edition, in which case we would see the same style of watermark throughout an edition. She remarked that each of the folio editions that she had examined used a single style watermark throughout, as had one octavo publication.141 Since the heirs continued so many aspects of their father's practice, it is not surprising that one sees similarities between editions published by Antonio and those editions issued after his death. For instance, Porta's  

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Musica sex canenda vocibus . . . liber primus of 1571 (P5178, I Bc), published in the then unusual format, at least for the heirs, of upright quarto, may be considered a subsidized publication. The coat of arms of Giulio de Rovere replaces the lion and bear printer's device characteristic of the Gardano on their title pages, and a flowery dedication sings the patron's praises. Here, the same paper is used throughout, with a crown watermark and a countermark of CO. One would expect, of course, that a book cast into an unusual format, as here, would probably carry the same style of watermark throughout, since the paper would have likely been special ordered. But it is also tempting to consider the possiblity that a mix of different papers, of varying provenance and somewhat different quality, might give us a subtle clue about the printer's attitude toward the music being printed. What of the standard oblong quarto vocal partbook? Can the use of a uniform watermark style indicate a collection more prizedby the patron, composer, or printerthan one that uses a series of unrelated papers? Might there be a correlation here between those publications that we might term "vanity press" publicationsthose subsidized by the composer or a composer's patronand those issued by the printer himself? However tempting this theory might appear, the thousands of watermarks in the Gardano exemplars examined to date fail to support it. I have found no correlation whatsoever among use of a single style of watermark or several styles in a single edition, a printer's device as opposed to some other title page ornaments (such as a family crest), or an anthology instead of an edition of the works of a single composer. While individual patrons might have requested a single type of high-quality paper throughout, there is no indication from the publications already examined that this was a standard practice. 142 Paper, manufactured and packed, moved overland or by boat and then stored in a warehouse, must have been sorted by quality and size rather than by watermark. Indeed, standard practice generally seems to have entailed mixing papers with differing watermark styles within a single publicationover fifty years ago, McKerrow wrote "It seems quite clear that many printers bought their paper in job-lots, and it is common to find a number of different watermarks in a book about the printing of which there appears to have been nothing abnormal."143 It is extremely rare to be able to identify completely identical watermarks between editions. In practice, it is usually necessary to settle on resemblance between watermarkssimilar style of watermarksrather than exact matches, although countermarks also provide a valuable means of comparing similar watermark types. Paper was the most costly component of the printing process, and the large amount of paper needed to supply the printing presses of northern Italy virtually assured that paper would not lie around unused for a long period of time. This would also  

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explain the mix of watermarks in most publications of the period. 144 As we have seen (in Chapter 6), most of the watermarks on papers from the Gardano editions from Venice that can be related to similar marks from the standard watermark reference works appear to have come from local mills in the Veneto. While in the books issued by the Gardano heirs and later Angelo Gardano a number of standard watermark types appear again and againan angel, a cardinal's hat, a circle and other hollow shapes surmounted by a star, an anchor, a bull's head, a crown, a starrelated papers can often be distinguished through the counter-marks.145 The paper in the 1570 Vespa Il primo libro de madrigali a cinque voci (V1318, I Bc) uses, among other watermarks, an anchor (countermark AA). Anchors figure commonly enough in the paper used by the Gardano, but the countermark AA is found far less often. The same watermark and countermark can be found in the 1576 edition of Rore's Il primo libro de madrigali cromatici a cinque voci (R2486, I Vnm). It is highly improbable that the sheets of these editions issued six years apart were created from the same moulds, since the lifetime of a paper mould averaged only between one and four years.146 But the same style of watermark and countermark would suggest at the very least that these papers might have come from the same mill. In the hundreds of Gardano publications that I have been able to handle (as opposed to those examined only in photocopy or microfilm form), the greatest chronological span between two similar papers was only twelve yearsthe circle surmounted by a star (NB with trifoil countermark),147 found in one of the sheets from a partbook of Gradenigo's 1574 Il primo libro de madrigali a cinque voci (G3262, I Bc) and the same style of mark and countermark on one of the sheets for the Corona di dodici sonetti (158611, I Vnm). Most common is the use of a single paper type for a year or two, but the most persistent watermark among the Gardano editions must be the angel within an oval surmounted by a star (countermark NB with trifoil), used in numerous publications from 1576, as in the Asola Messa pro defunctis a quattro voci pari (A2529, I Bc), until 1584, as seen in Merulo's Il primo libro de motetti a quattro voci pari (M2363, I Vnm). The lack of uniform paper types in printed editions, however, may act as an important indicator of social and economic conditions. Most of the publications examined from the Gardano firm mix papers of differing provenance, but the disruption of the plague years seems to have radically affected the number of different papers used. During this period, the pressure on the paper supply system likely led Angelo Gardano or his paper suppliers to mix more sheets of various provenance than was usual. For instance, two editions from 1576 exhibit four different papersthe Rore Il primo libro de madrigali cromatici a cinque voci (R2486, I Bc, I Vnm, each exemplar with four types of paper) and Victoria's Liber primus qui missas (V1427, I Bc).148 In contrast, most  

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Gardano publications with more than one paper type combined only two papers at most. In any case, this is clearly an issue that requires much more study. The use of sheets of paper of differing provenance obviously affected the way in which these books have aged. In the 1573 Tigrini Il primo libro de madrigali a quatro voci (T790, I Vnm), the heirs used paper with an angel watermark (IHS with trifoil countermark) for some of the sheets, and only the gatherings formed from this paper have darkened and spotted. Even within related paper types, the quality varied enormously. A number of the Gardano publications exhibit paper with similar watermarks and countermarks that have not weathered time in a uniform manner, as in the Antegnati Il primo libro de madrigali a quattro voci of 1571 (A1267, I Vnm), where all sheets bear an angel watermark (BB with trifoil countermark), but only the N gathering has become quite dark with age. 149 While paper quality probably declined throughout the sixteenth century, even early in the 1600s we find high quality paper in the publications of Angelo Gardano next to paper of a very poor quality. In the 1602 edition of Vecchi's Canzonette . . .libro secondo a quattro (V1021, US SFsc), the paper throughout is clearly of inferior quality, as is true of the 1603 edition of Marenzio's Il sesto libro de madrigali a cinque voci (M558, I Vnm). But in the two Wert editions of 1608, Il decimo libro de madrigali a cinque voci and Il duodecimo libro de madrigali . . . a 4. 5. 6. & 7 (both with no RISM or Vogel et al., Bibliografia numbers, both US BE), the paper can only be judged to be of the highest quality. No doubt Angelo had to rely on his suppliers to provide good quality paper, and naturally he would have attempted to purchase the least expensive but highest quality paper possible. Often the only method to find pasteover corrections in the Gardano publications is identical to that needed to discern watermarksto hold the individual folios against a light source. Generally speaking, the musical editions of the heirs and later Angelo Gardano editions were printed with relative accuracy. Some mistakes, however, were apparently found well after the partbooks had left the shop, and in these cases the errors were evidently corrected in manuscript by the owners of the books themselves.150 But occasionally a mistake would be found by a proofreader in the shop, and the employees of the firm would correct these errors with pasteovers that are nearly undetectable, as had, for example, Aldus Manutius much earlier in the history of Venetian printing.151 Some such pasteovers in the Gardano editions were for text,152 others for individual notes153, and as with the mixing of many paper types during the plague years, so in 1577 does the number of corrections, both pasteovers and manuscript alterations, seem unusually high.154 Only on occasion does it seem that massive pasteover corrections proved necessary.155  

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Inking varied enormously in the Gardano output and was naturally dependent upon the skills of the employees in the firm. No consistent pattern appears to emerge in regard to inking practices, although some examples of poor inking in publications examined from 1574 seem to correspond to a fair number of pasteover corrections as well. In partbooks from eleven editions inspected from that year, I found pasteovers in three of the editions, and poor inking in two. 156 Red ink was employed only rarely in Angelo Gardano's editions, but may be found alternating with black ink on the title pages of some unusual books, such as the two 1587 folio chant editions, the Graduale, et antiphonarium and the Officium et missa sanctissimae trinitatis (Crawford and Borders, Renaissance Liturgical Imprints: 2650 and 8794 respectively, both US BE, both A1r). These preliminary comments on paper, watermarks, and corrections can only represent a small incremental step toward a more comprehensive study of these topics in the massive output by the heirs and Angelo Gardano. In succeeding years scholars will doubtless continue to expand and refine the initial data presented here through their examination of the thousands of Gardano exemplars that still survive.  

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Chapter Eleven The Editions of Alessandro Gardano From late in 1569 until 1575, Alessandro participated in the family business as one of the heirs of Antonio Gardano. During this period the brothers Alessandro and Angelo issued their editions together under the imprint ''figliuoli di Antonio Gardano" or "apud filios Antonij Gardani." Sometime after 1575, Alessandro began a career of his own, and issued over a hundred editions, first in Venice, and then in Rome, ultimately publishing more nonmusical than musical editions. 1 A thorough treatment of Alessandro's typography would necessitate a complete examination of Alessandro's extant musical and non-musical works, and probably a study as well of the musical and non-musical books issued in collaboration with and independently by his collaborators in RomeBasa, Bericchio, Coattino, Donangeli, and Tornieri. Below, in contrast, only several dozen of Alessandro's musical editions shall be compared to the practices of his more prolific brother.2 Consequently, this study can only serve to introduce the musical editions of Alessandro Gardano, who eventually deserves a separate study altogether with greater attention paid to his non-musical publications and his joint publishing ventures in Rome. Format Alessandro Gardano, for his part, appears to have phased out oblong quarto format after 1581, publishing most of his music quartos in the newly-popular upright format, unlike his somewhat more conservative brother in Venice, who continued to print the majority of his publications in oblong quarto until the late 1580s. Folio format also comprised a much greater percentage of Alessandro's musical production during his Roman period (often in collaboration with other printers) than it did with Angelo in Venicein  

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1583, Victoria's Missarum libri duo (V1431); in 1584, Guerrero's Liber vesperarum (G4873); and three editions from 1585, Guerrero's Passio secundum Matthaeum et Joannem more hispano (G4874), Victoria's Motecta festorum totius anni (15856, V1433), and the latter's Officium hebdomadae sanctae (V1432). Alessandro printed at least four more folio musical editions before his career in Rome came to a haltGuidetti's 1586 Verba evangelistae, the 1587 Cantus ecclesiasticus, and the 1588 Praefationes in cantu firmo (for the Verba evangelistae, Crawford and Borders, Renaissance Liturgical Imprints: 2749; the other two editions carry no numbers), and Pietro Paolo Paciotto's Missarum liber primus, quatuor ac quinque vocibus concinendarum from 1591 (P39). 3 Folio format was certainly preferred by Roman printers for Mass publications, and indeed the trend may have been set by the papal chapel itself in emulation of deluxe manuscripts.4 Alessandro Gardano also seems to have printed more editions in octavo than did Angelo. The latter appears to have shunned this format, with the exception of a few editions of lighter Italian forms from the years of partnership with Alessandro and only a couple of editions thereafter. Again, it is Alessandro Gardano who exhibits the most experimentation in this regard, producing a number of musical publications in octavo during the 1580s, always editions of the lighter musicMarenzio's Il terzo libro delle villanelle a tre voci (M599) and the Canzonette spirituali de diversi a tre voci. Libro primo (15857), both from 1585, and four publications from 1588, the Canzonette spirituali de diversi a tre voci . . .Libro primo (15885), Giovanelli's Il primo libro delle villanelle et arie alla napolitana, a tre voci (G2466), and Quagliati's Canzonette . . .a tre voci per sonare et cantar . . .libro primo [secondo] (Q34 [also 158826 for the latter]). Some of the non-musical books he published in collaboration with others during his Roman period also took the form of 12° and 16° upright in addition to the more common formats. Collation The structures of Alessandro's books differed little from those of his more prolific brother Angelo.5 For instance, the quartos were gathered in fours and signed in alphabetical order by partbook. In longer partbook sets, such as the Victoria Motecta quae partim quaternis, partim quinis, alia senis, alia octonis, alia duodenis vocibus concinuntur of 1583 (V1422, US BE), each partbook opens with an A gathering and then proceeds through the alphabet, as in some of the longer music books printed by Angelo. Once the letters of the first alphabet were exhausted, Alessandro, like his brother, went on to an alphabet with double letters, as in the single-volume Il quarto libro delle laudi a tre e a quatro voci (15913, GB Lbl), signed A2C4 2D2.6 Alessandro's publications in octavo format,  

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for the most part, appear to be gathered in eights, as in Paolo Quagliati's Canzonette . . .a tre voci per sonare et cantar . . .libro secondo (158826, Q4, A Wn), AC8 GI8 DF8, 7 while many of the folio editions seem to have been gathered in sixes (common in the sixteenth century),8 as in the Victoria Motecta festorum totius anni cum Communi sanctorum, quae partim senis, partim quinis, partim quaternis, alia octonis vocibus concinuntur (15856, V1433).9 Guidetti's 1587 Cantus ecclesiasticus (GB Lbl) also presents a case of a folio edition gathered in sixes, although with an opening group of four and a closing bifolio (p4AM6N2). One somewhat unusual quirk in Alessandro's signature system may be seen in his edition of Palestrina's Magnificat octo tonorum, liber primus of 1591 (no RISM number, US BE), with a collation of AB4C6DE4 for the cantus partbook (the structure is repeated with subsequent letters of the alphabet in the other three books as well). Here, a gathering of sixes appears amidst gatherings of fours; Angelo's usual practice would have been to place the larger gathering at the very end. Printer's Devices In Alessandro Gardano's first known musical edition from Venice, the Gorzanis Opera nova de lauto . . . libro quarto of 1579 (H. M. Brown, Instrumental Music [15791], A Wn), a female figure, probably Fortune, holds a sail and rides a water serpent,10 but that particular device does not appear to have been used by Alessandro anywhere else (perhaps it might have been employed in his non-musical output). Some of Alessandro's musical editions also exhibit family crests on their title pages, just as in his brother's books, presumably linking the edition to a patron associated with the publication. Nevertheless, only a few printer's devices per se can be seen with any frequency in Alessandro Gardano's editions (see the preliminary summary of Printer's Devices, Ornaments, and Initials in Table 11.1). The medium-sized Printer's Device A was used for title pages of musical publications issuing from Venice in the early 1580s, such as in Costa's Canzonette . . . il primo libro a quattro voci of 1580 (C4217, S Uu; see Plate 35) and Moro's Canzonette alla napolitana . . . il primo libro a tre voci (15819, M3728, I Vnm).12 Unlike the standard device of Angelo Gardano and Antonio Gardano before him, Alessandro's new device portrayed two lions instead of a lion and a bear. These lions support a globe between the initials ".A. .G." (naturally the same initials as Alessandro's brother and father); a banner draped over the animals' shoulders carries the new motto "Aeque fortes aeque concordes."13 Upon Alessandro's move to Rome, he reverted to another mediumsized printer's device modelled after that of his father (and brother), Printer's Device B. While in many detailssuch as the lion-bear order 

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Table 11.1 Preliminary Summary of Printer's Devices, Ornaments, and Initials 11 Alessandro Gardano, 15771591 Printer's Device Size Illustrated Approximate Dates of Use A 54.5 x 59 mm. Plate 35 1580-81 B 55 x 65 mm. Plate 36 1584-88 C 89 x 61 mm. Plate 37 1583-89 D(1-3) 1) 63 x 57 mm. Plate38 1583-87 2) 42 x 37 mm. 3) 76 x 67 mm. Ornament A Small type orns. Plates 35, 38 1578-83 B Small type orns. Plate 38 1583 C Small type orns. Plate 38 1583 D Small type orns. Plate 36 1584 E Small type orns. Plate 36 1584 F Small type orns. Plate 39 1585-87 G(1-3) 1) 44 x 134 mm. Plate 40 1591 2a,b) 117 x 28mm 3) 39 x 139 mm. Initial Group A(1-2) 1) 54 x 48 mm. Plate 28 1585 2) 27 x 27 mm. (Angelo G.) B 25 x 25 mm. Plate 41 1580-89 C 23 x 23 mm. Plate 42 1583 D 25 x 25 mm. Plate 43 1584 E(1-4) 1) 26 x 26 mm. Plate 44 1580-91 2) 20 x 20 mm. 3) 13 x 12 mm. 4) 7 x 7 mm. F 40 x 40 mm. Plate 45 1587 ing, a return to his father's motto, and his initials above the elevated roseit closely resembles Angelo Gardano's Printer's Device V (see Plate 5), it was printed from a different block than any that appear to have been used by his father or brother. Many of Alessandro's publications of both sacred and secular music carry this printer's device on the title page, as in Palestrina's 1584 Motettorum quinque vocibus liber quintus (P728,  

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US BE; see Plate 36), 14 the two books of Anerio's Madrigali of 1585 (A1083, A1084, I Rsc, US Wc, respectively), Marenzio's Madrigali a quattro voci . . .libro primo from the same year (M578, I FA),15 and both the Canzonette spirituali de diversi a tre voci (15885, I Bc) and Quagliati's Canzonette a tre voci per sonare et cantar . . .libro primo [secondo] of 1588 (Q34 [latter also 158826], both A Wn). In addition to incised blocks that identify the printer in some form, Alessandro also employed for his publications of sacred music Printer's Devices C and D. Throughout the 1580s in Rome, Alessandro used Printer's Device C, a Madonna and Child, the Madonna standing on what appears to be the sliver of a moon, and the pair surrounded by an oval-shaped radiant if not flaming aura. Single rules form the perimeter of its rectangular frame. From his first religious publications in Rome, such as the title page to Victoria's Motecta quae partim quaternis, partim quinis, alia senis, alia octonis, alia duodenis vocibus concinuntur from 1583 (V1422, US BE; see Plate 37)16 and Il primo [-secondo] libro delle laude spirituali a tre [voci] (15833 [and S3994], 15834, both GB Lbl), through Il terzo libro delle laudi spirituali a tre e a quattro voci (158811, S3995, GB Lbl) and the Libro delle laudi spirituali dove in uno sono compresi i tre libri già stampati (15892, I Vnm), this design was employed with the frequency of a printer's device, almost as if Alessandro were sublimating his identity and commercial interests for the sake of higher spiritual messagealthough of course his name always appeared on the title page of these publications! Much less frequent in occurrence is Printer's Device D, appearing in several blocks of differing detail and measurements (here called D1, D2, and D3), as on the title page of Stabile's Letaniae Beatae Mariae Virginis of 1583 (S4200, I FA; see Plate 38)17 and at the head of the title page of the Cantus ecclesiasticus of 1587 (US Cn; see Plate 39).18 These devices were mandated by the contract Alessandro had in partnership with Coattino with the publishers Donangeli and Tornieri, to publish books with the "sign of Jesus." In Printer's Device D1, three vectors motion upward from a single point to a central IHS surmounted by a cross, surrounded by a radiant oval. Scrolllike carving extends the oval outward, and a winged cherub's head rests atop the whole. In the somewhat smaller Printer's Device D2, the vectors arise from a heart, and the cross appears to be an elaborate variant of a Greek cross. In a larger version of the design, Printer's Device D3 features square corners with a winged cherub's head in the middle of each of the four sides of the device; in other respects, it resembles Printer's Device D1.19 Without a doubt it was Alessandro's new business location in Rome, center of the Catholic faith, and probably the practices of his new business partners as well,20 that prompted the use of these two religious symbols in place of a standard printer's device.  

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Title Page and Interior Compartments, Frames, and Ornaments In the first years of his independent music printing career, Alessandro Gardano favored simple frames composed of type ornaments both on his title pages as well as within the body of his editions. In Costa's Canzonette . . .il primo libro a quattro voci of 1580 (C4217, S Uu; see Plate 35), for instance, the title page and internal pages are bordered by a simple, vaguely leafy decorative frame composed of small type ornaments, here called Ornament A, 21 set off by single rules that separate the outer design from the internal contents of each page.22 Alessandro used the same type ornament on the title page and elsewhere both in his Hebrew German Rite. Daily Prayers of 1578 (Hebrew Union College, Klau Library) and the edition of Moro's Canzonette alla napolitana . . .il primo libro a tre voci (15819, M3728, I Bc). Ornament A appears very similar but not identical to that used by his brother Angelo at around the same time on the title pages of both the 1580 and 1581 editions of Vecchi's Canzonette . . .libro primo a quattro voci (V1010, V1011, I Bc, I Vnm, respectively), Asola's Prima pars musices continens officium haebdomadae sanctae (A2552, I Bc) of 1583, and much later, surrounding the tavola of Fontanelli's Secondo libro de madrigali senza nome, a cinque voci of 1604 (F1481, W892 [sic], US Wc; see Angelo's Ornament IX on Plate 15). Evidently Alessandro carried this preference for frames with him to Rome, where we see others, Ornaments B and C, as on the title page to his edition of Stabile's Letaniae Beatae Mariae Virginis of 1583 (S4200; see Plate 38). In truth, three separate type ornaments are used to comprise this frame: Ornament A (referred to above), Ornament B (each individual type ornament forms a nearly-closed irregular circle), and Ornament C (four of which come together to form a four-pointed star). He employed other frames formed from at least three other sorts of type ornament, including Ornament D, the very tiny type ornaments that form the upper and lower border of the slot left for the partbook name on the title page of his 1584 edition of Palestrina's Motettorum quinque vocibus liber quintus, and the larger Ornament E, used for the remainder of the frame on the same title page (P728, US BE; see Plate 36). The tiny floral type ornaments, here called Ornament F, frame (in several layers) the title page of Marenzio's 1585 Madrigali a quattro voci . . .libro primo (M578, I FA) and form the outer frame (composed of single ornaments set end to end) of the title page to the Cantus ecclesiasticus of 1587 (US Cn; see Plate 39). Only relatively late in his printing career did Alessandro finally turn to title page compartments with figural designs, as we can see on the title pages of Il quarto libro delle laudi a tre e quatro voci (15913, GB Lbl) and Palestrina's Magnificat octo tonum, liber primus (no RISM number,  

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US BE; see Plate 40), both from 1591, Alessandro's last year as a music publisher. This Ornament G features four separate blocks, perhaps not all meant to be used as part of the same design, since religious symbols in one block are mixed with grotesque ones in the others. 23 As with the ornaments of Angelo Gardano, so it appears that other Venetian printers employed designs similar to those used by Alessandro. This might suggest that Alessandro acquired this type before 1581 while still in Venice. The Scotto heir, in the 1583 edition of Angelini's Il primo libro de madrigali a cinque voci (A1213) makes use of a type ornament seemingly identical to Alessandro's Ornament A at the top of its title page;24 the same printer's 1589 publication of Marenzio's Il terzo libro de madrigali a sei (M508, US BE) employs what appear to be identical type ornaments to Alessandro's Ornaments A, B, and C on the title page. Even on the title page of an edition issued in 1573, well before Alessandro began his independent career, Ornaments A, B, and C may be seen in a Sacrarum caeremoniarum printed in Venice by Regazola.25 Girolamo Scotto used what appears to be Alessandro's Ornament E on the dedication page of Califano's Primo libro delle canzoni of 1567 (C72a) and at the head of the title page of his 1570 edition of Nicolo Dorati's Le stanze della sigra Vittoria Colonna (D3426),26 and a similar if not identical ornament was used by the Vatican press.27 And a type ornament apparently identical to Alessandro's Ornament F may be found on the title page of Dragoni's Il quarto libro de' madrigali a cinque voci, published by Vincenti in Venice in 1594 (D3498)28 and Rossi's Il primo libro delle sinfonie et gagliarde and Il secondo libro delle sinfonie è gagliarde of 1607 and 1608, respectively (R2763, R2764), both published by Amadino;29 quite similar ornaments were in use in the late sixteenth and seventeenth centuries in the Low Countries as well.30 Initials As with all printers of the period, Alessandro often used large roman capitals of various sizes in place of the more elaborate block initials. Most of the initials carved from blocks that Alessandro Gardano employed, however, were never used by his father or brother. One of the exceptions is the small and large set of black calligraphic initials on a white background, with a double-line frame, Group A, used by Antonio Gardano from the 1560s31 and later by Angelo Gardano as his Group VI (A1: 54 x 48 mm., A2: 27 x 27 mm.; see Plate 28).32 It appears that Alessandro might have taken duplicates from this set with him upon his departure from the family firm in 1575, or perhaps he independently secured a duplicate set later on. As always, these initials could only be employed in the largest of formats, as in Alessandro's Roman edition of Victoria's Motecta festorum totius anni (15856, V1433, GB Och).33  

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Alessandro Gardano produced editions with Group B initials much more frequently than with Group A. Group B features white letters, no frame, and grotesque or mythological creatures, carvings, and urns (25 x 25 mm.; see the first initial on Plate 41). Here we come across another anomaly in comparing Alessandro's work to the publications of his brother. One of the few initials that could not be placed into any of the groups used by Angelo Gardano was that which opens the dedication of Merulo's Liber primus sacrarum cantionum quinque vocibus (M2358, I Bc, A1v), published in Venice by Angelo Gardano in 1578. Oddly enough, this initial H, with grotesque face and horns, belongs to the Group B initials used by Alessandro Gardano, first in Venice and then in Rome. How one of these initials worked its way into Angelo's collection isn't clear, although Angelo's Merulo edition was issued while Alessandro was still in Venice. 34 It may be that the affairs and the business of the two brothers was not quite as separate as the division documents of 1575 would have us believe. No initials were used in Alessandro's first independent music publication, the Gorzanis Opera nova de lauto of 1579, but Group B already makes an appearance in at least two publications from 1580Costa's Canzonette . . .il primo libro a quattro voci (C4217, S Uu) and the Marien d'Artois Il primo libro de madrigali a quattro voci (M632, I Vnm). They were still being used in the Libro delle laudi spirituali (15892, I Vnm, B3v) almost a decade later. Two other styles of initials travel with the similarly-sized Group B. Group C, utilized throughout the 1580s, displays natural scenes and human figures, a white initial, a double-line frame, and measures just slightly smaller than the Group B initials (23 x 23 mm.; see Plate 42). Group D, the same size as Group B (25 x 25 mm.; see Plate 43), uses almost an art deco flat abstract design around a white letter, all enclosed within a double-line frame. As initial Groups C and D have been found thus far only in a single letter apiece,35 and since they always seem to travel with Group B, they may simply have been substituted for damaged or worn initials in the Group B series. As with his younger brother, Alessandro also acquired initials with leafy decoration, although in many more sizes. This Group E is frameless and features florid vegetation; the various sizes appear together in the same publications, all with very similar floral designs (E1: 26 x 26 mm. [see Plate 44], E2: 20 x 20 mm., E3: 13 x 12 mm. [see Plate 41, second initial], and E4: 7 x 7 mm.).36 They may be seen as early as the Marien d'Artois edition from 1580 cited above (C4v), and were in use through Alessandro's last year of business, 1591, as throughout the Magnificat octo tonorum, liber primus of Palestrina (P745, I Bc, US BE).37 Varied sizes of factotum frames also appear to travel with the Group E initials, particularly E2. A roman letter typeset into a decorative factotum with these measurements may be seen in Il quarto libro delle laudi a  

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tre e a quatro voci (15913, GB Lbl, A3r). Factotums of other sizes were also employed for typesetting simple roman letters. 38 Occasionally, typeset roman letters were surrounded by pieces of ornamental type such as those used to form title page frames.39 Finally, Alessandro rarely used initial Group F (40 x 40 mm.; see Plate 45), a large white capital with double-line frame, often featuring elaborate vegetation and/or grotesque figures. Obviously, the large size of these initials limited their use to the largest formats, such as the Cantus ecclesiasticus of 1587 (US Cn). While at first seemingly identical to Angelo Gardano's Group X, they are entirely different. Typefaces Music Fonts Polyphonic Music Font A11.2/11.0 mm.40 None of Alessandro Gardano's fonts for printing part-music seem to have any relationship to those used by Angelo Gardano or his father Antonio; Alessandro apparently took none of these fonts with him as his share of the patrimony. It was probably five years after his separation from the firm that he again published a musical edition in partbooks. In Gasparo Costa's Canzonette . . .il primo libro a quattro voci of 1580 (C4217, S Uu), we already see an example of this font, apparently the most common musical type in Alessandro's editionsa typeface he carried with him to Rome and used until the end of his printing career (see Plates 4143). Unlike the practice of Angelo Gardano, who employed a larger musical type for upright quarto, a slightly smaller one for oblong quarto, and an even smaller type for octavo, Alessandro appears to have used the same musical type across any distinction of format. For instance, in Costa's edition, cited above, in upright quarto, and Il primo libro de madrigali a quattro voci of Marien D'Artois from the same year (M632, I Vnm), in oblong quarto, Alessandro employed the same musical type. Later on, in Rome, he used the same typeface, as throughout the 1584 upright quarto edition of Palestrina's Motettorum quinque vocibus liber quintus (P728, US BE) and for sections of the 1587 folio Cantus ecclesiasticus (US Cn, C6vD1r). He even utilized this type for some of his octavo editions printed in Rome, as in the upright Canzonette spirituali de diversi a tre voci. Libro primo (15857, D Mbs). Polyphonic Music Font B16.8/16.8 mm. Only in the large folio editions does Alessandro seem to have employed this more expansive music type, obviously to preserve some sort of artistic balance given the large size of an individual page, as in Victoria's Motecta festorum totius anni cum Communi sanctorum,  

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quae partim senis, partim quinis, partim quaternis, alia octonis vocibus concinuntur (15856, V1433, GB Och). Roman Plainchant Font A9.1 : 2.32 x 6.0. Roman Plainchant Font B13.6 : 3.42 x 8.5. 41 The Cantus ecclesiasticus of 1587 (US Cn), displays both Roman Plainchant Fonts A and B throughout. Roman plainchant font A exhibits the same measurements as the font used by Robert Granjon in Rome for his 1582 edition of the Directorium chori; Granjon also worked with Domenico Basa, an occasional partner of Alessandro Gardano.42 The roman painchant font used by Angelo Gardano (see Chapter 10) was substantially larger than either of these. Lute Tablature Font: Although Alessandro Gardano's fonts for plainchant differed from his brother's, it appears that he did employ the same lute tablature typeface as Angelo. In the Gorzanis Opera nova de lauto, printed in Venice in 1579 (H. M. Brown, Instrumental Music [15791], A Wn), Alessandro employed a lute tablature font identical to that used by Antonio Gardano years before in the Intabolatura di lauto. Libro terzo of Francesco da Milano (154627).43 Angelo Gardano later apparently printed with this typeface as well, as seen in the 1585 Barbetta edition of Intavolatura de liuto (B906, US Wc) and in his later lute publications. Either the Gardano brothers shared the typeface (a doubtful assertion, given Alessandro's self-expressed desire to divorce himself from the firm), or more likely, at or after the division of the family assets in 1575, Alessandro received a casting from the matrices retained by Angelo or somehow obtained the type from the same font independently. Whatever the situation, neither of the brothers produced many lute editions, and one set of type alone without punches and matrices would have been more than sufficient for their limited production. Keyboard Tablature Font: Alessandro Gardano appears to have published no edition using a typeface for keyboard. Text Fonts Roman Type Fonts Roman Font A4.1/1.8/2.8 mm. (20 lines=83.0 mm.)44 This font was widely used throughout Alessandro's solo printing career (see Plates 4144) for title pages, dedications, text underlay, and  

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tavole. Although it may at first appear similar to Angelo's Roman Font I, its measurements are somewhat different, and while many of the letters are shaped alike, the upper-case Q decisively distinguishes the two typefaces. Roman Font B3.3/1.4/2.4 mm. This font came to be used for title pages, extra text, and rubrics, where a smaller roman font was required. See Il terzo libro delle laudi sprituali a tre e a quattro voci (158811, US Cn, F1r). Roman Font C4.5/2.2/3.3 mm. (10 lines=47 mm., i.e. 20 lines=94 mm.) 45 This typeface was employed especially for title pages, dedications, and rubrics. Roman Font D14.0/4.5/9.5 mm. Used for title pages and rubrics, this font may be found in the Cantus ecclesiasticus of 1587 (US Cn, N2v, line 1). Roman Font E8.5/3.9/6.4 mm. An exceedingly common font on title pages, as in the 1584 edition of Palestrina's Motettorum quinque vocibus liber quintus (P728, US BE, N1r, line 4; see Plate 36). Roman Font F6.3/2.6/4.2 mm. (20 lines=132 mm.)46 A font employed for dedications and text underlay in larger formats. Roman Font Capitals In addition to the capitals that form part of the roman fonts above, Alessandro Gardano also employed at least six other sizes of roman capitals from as small as 4.5 mm. up to 12.8 mm. Italic Type Fonts Italic Type Font A3.8/1.8/2.4 mm. (20 lines=84 mm.)47 This italic font occurs frequently in Alessandro's musical publications for text underlay, some dedications, and occasionally even on title pages.48 Although it looks similar in measurements to Angelo Gardano's Italic Font II, the different shapes of the letters between the two groups negates any possibility that they are related.49 Italic Type Font B6.6/2.8/4.4 mm. (20 lines=132 mm.)50 This and the following large italic fonts were used primarily for title pages; see the Moro Canzonette alla napolitana . . .il primo libro a tre voci (15819, M3728, I Vnm A1r, lines 6-7).  

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Italic Type Font C5.4/2.2/3.3 mm. A typeface found on the title page of the Libro delle laudi spirituali (15892, I Vnm, A1r, lines 47). Italic Type Font D6.3/3.2/4.7 mm. This font appears at the head of the tavola in the Moro Canzonette alla napolitana . . .il primo libro a tre voci (15819, M3728, I Vnm, C4v). 51 Gothic Type Fonts Gothic Type Font A6.6/4.2/5.7 mm. This gothic font was used for text underlay in Victoria's Motecta festorum totius anni cum Communi sanctorum (15856, V1433, GB Och), and appears to be quite similar in measurements and in general style (if not identical) to the Gothic Font IV of Angelo Gardano. Alessandro might have taken type castings from matrices owned by the firm at his departure in 1575, since the only full series of initials that he seems to have had in common with Angelo after that date also were gothic, Initial Group A. Obviously his collaborators in Rome might have been able to add other text fonts of their own to any already in Alessandro Gardano's possession. Clearly this brief overview of the typography of Alessandro Gardano awaits expansion and refinement with the study of many more exemplars of his book production and those of his Roman associates. Paper, Watermarks, and Corrections While in Venice, Alessandro Gardano may have relied upon some of the same paper suppliers he had known while in collaboration in earlier years with his brother Angelo, at least for at least some of his publications. For instance, a sheet of the paper used in a gathering of Alessandro Gardano's 1580 edition of the Marien d'Artois Il primo libro de madrigali a quattro voci carries the watermark of an angel within an oval surmounted by a six-pointed star, countermark NB with trifoil (M632, I Vnm, A gathering).52 This watermark and countermark correspond to similar styles of marks used in exemplars of at least six of Angelo Gardano's editions published in the same year.53 But on the other hand, the paper used in an exemplar of Moro's Canzonette alla napolitana . . .il primo libro a tre voci (15819, M3728, I Vnm, B, C [perhaps also A] gatherings) displays a crown watermark with an OO or CO countermark throughout, corresponding to no paper seen in the publications of Angelo Gardano from those years.54 Perhaps Alessandro had less refined judg 

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ment in the matter of buying paper than his brother, since this paper has now turned very dark and spotted. Much of Alessandro Gardano's output as an independent printer appears sloppy. For example, on the dedication page of the canto partbook of the 1580 Marien d'Artois Il primo libro de madrigali a quattro voci (M632, I Vnm, A1v), an incorrect decorative letter C from Alessandro's Group B initials originally opened the flowery praises of Scipione Gesualdo, the patron, but at least it was pasted over with a correct S printed from the same set of initials. In addition, Alessandro (or his employees) seems to have had problems with cleffing, since this publication requires many ledger lines. Unfortunately, Alessandro failed to realize that for the ledger lines to be visible that they must be extended with pieces of type on either side of the notehead. He failed to do this in most cases, and thus many of the ledger lines had to be drawn in by hand. 55 Too, the inking is inconsistent and generally poor throughout, with occasional original ink smears. Other scholars have noted similar sloppy practicesStanley Boorman pointed out the incorrect imposition of the cantus partbook in the 1581 Alessandro Gardano edition of Corfini's Il secondo libro de motetti (C3932) of 1581,56 while Thomas Bridges commented that Alessandro's Venetian edition of Arcadelt's Il primo libro de madrigali a 4 voci (15816, A1336) ''shows a few signs of carelessness," including the inversion or side-placement of ornamental initials, a mixing of Latin with Italian rubrics, misnumbered pages, and musical and textual misprints.57 The move to Rome does not seem to have ameliorated the situation, since an exemplar of the edition of Victoria's Motecta quae partim quaternis, partim quinis, alia senis, alia octonis, alia duodenis vocibus concinuntur of 1583 (V1422) displays numerous musical and textual pasteover corrections.58 We can also see rubrics mistakenly printed in red ink, later printed over in black ink, in the Cantus ecclesiasticus of 1587 (US Cn, B4r, C1v). In the same exemplar, it is unclear whether the first four folios of the preliminary gathering (a), all pasted onto stubs, were original in-house corrections, although they display a papal watermark that is distinct from the other sheets in the exemplar. After Alessandro's removal to Rome, no doubt he was obligated to locate another supplier of paper, and in many cases he probably relied upon the business connections of the other printers with whom he was associated during his Roman period.59 Few of the publications from these years display the sloppiness of the Marien d'Artois edition from 1580, although occasionally the choice of poor quality paper mars a book's adequate preservation.60 Given the small number of Alessandro Gardano's music publications, however, a fair appraisal of his achievements, however modest, can only be realized in the future with a detailed study of all of his publications, including the non-musical works that comprise much of his output.  

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AFTERWORD This history of the Gardano family, the largest print disseminators of musical culture during the Renaissance, now draws to a close. We have seen that the rhythms of the production of the family business corresponded to a great extent to the general economic cycles in Europe during the late sixteenth and early seventeenth centuries, and the Gardano firms, as individual agents, contributed to the structural expansion of the Venetian economy in the last half of the sixteenth century. As individuals and as business people the members of the Gardano family were forced to cope with the same problems faced by other Venetians, including disease, the effects of war, and the shortage of food. The move to buy up land on the Terraferma, not only by the Gardanos but by hundreds of other well-off Venetians, seems to have been instigated at some level by the difficulty in the food supply as well as problems in other sectors of the investment markets; ultimately their investment, the reclamation of land, and the growing emphasis on agricultural expansion contributed to making Venice one of the first cities in Italy that was largely self-sufficient in food supplies. And in the use of his villa on the Terraferma, Angelo Gardano also partook of the rarified neoclassical rural aesthetic so popular in the closing decades of the Renaissance. A lack of documentation unfortunately still obscures many aspects of the Gardano business, and may do so forever. Presumably, however, as a printer of music, Angelo Gardano was largely free of the censorship restrictions faced by printers in a field filled with strife, such as theology. Obviously his brother Alessandro, who chose to publish in fields outside music and moved to Rome (notoriously less liberal than Venice in regard to censorship), might have had more problems with the authorities printing his more controversial publications, such as those books he issued in Hebrew, but if so, no documents have yet come to light to detail any such situations in which he might have found himself. Exactly how the Gardano firms acquired the music they published also has yet to be determined, although various typical situationsoutright copying, piece 

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meal collection of compositions, composers or patrons coming directly to the printer, and other shared arrangementshave been suggested. Clearly the decline of popularity in the anthology and the flourishing of the single composer edition in the last part of the sixteenth century, particularly in the production of Angelo Gardano, greatly hinders our attempts to deal with the printer's role in musical taste. In any case, once published, the Gardano editions probably were both sold at the bookshop in the city of Venice itself and disseminated through the many networks, by land and sea, that had been developed through the centuries by the merchants of Venice. Surviving letters, notarial documents, official government papers, published booklists, extant publications issued by the Gardano firms, and numerous secondary sources have been drawn upon to represent the family members, their relationships to other colleagues in the field of printing, and the hundreds of musical editions they produced. And although this family profile has been finished, it certainly cannot be considered complete. To a great extent, the relationships among the Gardano family members, their business and printing practices, and their place in Venetian life and culture still remain tantalizingly hidden, as do the lives and works of myriad printers in dozens of fields as well as other participants in the cultural milieu of the late Renaissance. Given the lack of surviving documents, certainly the most fertile area that still awaits a thorough exploration deals with the Gardano publications themselves. An attempt has been made with this study to define the parameters of the Gardano music publishing business in the generation dominated by the brothers Angelo and Alessandro, but exemplars of almost a thousand editions await careful study. Only as scholars continue to delve into the bibliographical questions associated with the Gardano firms and other printers and purveyors of culture, and after these ideas begin to be discussed, elaborated, and assimilated to a much greater extent in the scholarly literature, will our understanding of the great cultural splendor of the late Renaissance attain a depth worthy of its subject.  

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PLATES TO PART III  

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Plate 1: Ludovico Agostini, Enigmi musicali. Venezia: Figliuoli di Antonio Gardano, 1571  (A403, A1r). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 2: Il sesto libro delle villotte alla napoletana. Venezia: figliuoli di Antonio Gardano,  1570 (157021, D1r). Photograph reproduced by permission of the British Library, London (shelf mark  General Collection 53.a.24).

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Plate 3: Giovanni Pierluigi da Palestrina, Motettorum quae partim quinis partim senis, partim  octonis vocibus concinuntur, liber tertius. Venezia: Angelo Gardano, 1594 (P715, HH6r). Photograph  courtesy of the Music Library, University of California, Berkeley.

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Plate 4: Giuliano Cartari, Il primo libro de madrigali a cinque voci. Venezia: Angelo Gardano,  1579 (no RISM or Vogel et al., Bibliografia numbers, K1r). Photograph courtesy of the Music Library,  University of California, Berkeley.

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Plate 5: Guglielmo Gonzaga, Cantici beatiss. Mariae Virginis, quod Magnificat inscribitur,  per universos octo tonos modulati, ad usum Ecclesiae Sanctae Barbarae. Prima pars. Venezia:  Angelo Gardano, 1586 (AN432, I1r). Photograph courtesy of the Landesbibliothek und Murhardsche  Bibliothek der Stadt Kassel, Kassel, Germany (shelf mark 4° Mus. 57 c).

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Plate 6: Orazio Vecchi, Canzonette a sei voci . . .libro primo. Venezia: Angelo Gardano, 1587  (V1026, N1r). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 7: Andrea Gabrieli, Il primo libro de madrigali a sei voci. Venezia: Angelo Gardano, 1587  (G67, R1r). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 8: Andrea Gabrieli, Madrigali et ricercari . . . a quattro voci. Venezia: Angelo Gardano, 1589  (G77, G78, E1r). Photograph reproduced by permission of the British Library,  London (shelf mark Music Library RM.15.e.1).

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Plate 9: Orazio Vecchi, Motecta . . .quaternis, quinis, senis, & octonis vocibus. Venezia: Angelo Gardano,  1590 (V1005, E1r). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 10: Gioseffo Guami, Il quarto libro de madrigali a cinque & sei voci, con alcuni dialoghi a otto  & a dieci. Venezia: Angelo Gardano, 1591 (G4805, I1r). Photograph courtesy of the Music Library,  University of California, Berkeley.

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Plate 11: Giaches de Wert, Il duodecimo libro de madrigali . . . a 4. a 5. a 6. & 7. Venezia: Angelo Gardano  & fratelli, 1608 (no RISM or Vogel et al., Bibliografia numbers, K1r). Photograph courtesy of the Music  Library, University of California, Berkeley.

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Plate 12: Giovanni Maria Nanino, Il primo libro de madrigali a cinque voci. Venezia: Angelo Gardano,  1605 (N28, A1r). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 13: Orazio Vecchi, Canzonette . . .libro secondo a quattro voci . . .quinta impressione. Venezia:  Angelo Gardano, 1602 (V1021, G1r). Photograph courtesy of the Frank V. de Bellis Collection, San  Francisco State University.

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Plate 14: Giovanni Valentini, Motecta IIII. V. & VI vocum . . .liber primus. Venezia: Angelo Gardano  & fratelli, 1611 (V87, R1r). Photograph courtesy of the Frank V. de Bellis Collection, San Francisco  State University.

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Plate 15: Alfonso Fontanelli, Secondo libro di madrigali senza nome, a cinque voci.  Venezia: Angelo Gardano, 1604 (F1481, W892 [sic], C4v). From the collections of the Music Division,  Library of Congress. Photograph reproduced by permission of the Music Division, Library of Congress.

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Plate 16: Dialoghi musicali de diversi eccellentissimi autori, a sette, otto, nove, dieci,  undeci, et dodeci voci. Venezia: Angelo Gardano, 1590 (159011). Copyright Royal Library of  Belgium (shelf mark Fétis 2283 C RP, canto, A1r).

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Plate 17: Giovanni Paolo Costa, Il primo libro di madrigali a cinque voci. Venezia: Angelo Gardano & fratelli, 1610 (C4222, A1r). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 18: Girolamo Trombetti, Il primo libro de madrigali a cinque voci. Venezia: Angelo  Gardano, 1590 (159026, T1278, D1v). Photograph courtesy of the Music Library, University of  California, Berkeley.

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Plate 19: Giovanni Maria Nanino, Il terzo libro de madrigali a cinque voci. Venezia: Angelo Gardano,  1586 (158618, N31, A1v). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 20: Andrea Felciani, Brevis ac iuxtum ritum ecclesiae annua psalmodia ad vespertinas horas  octo canenda vocibus. Venezia: Angelo Gardano, 1590 (15909, F200, A1v). Photograph reproduced by  permission of the British Library, London (shelf mark Music Library D.37).

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Plate 21: Graduale romanum. Venezia: Angelo Gardano, 1591 (Crawford and Borders,  Renaissance Liturgical Imprints: 746, A2r). Photograph courtesy of the Music Library,  University of California, Berkeley.

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Plate 22: Lodovico Spontoni, Mottetti a otto voci . . .libro secondo. Venezia: Angelo Gardano & fratelli,  1609 (S4175, A1v). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 23: Paolo Bottaccio, Il primo libro delle canzoni da suonare a quattro, & otto voci. Venezia:  Angelo Gardano & fratelli, 1609 (B3795, Q1v). Photograph courtesy of the Music Library,  University of California, Berkeley.

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Plate 24: Andrea Gabrieli, Il primo libro de madrigali a sei voci. Venezia: Angelo Gardano,  1587 (G67, S4v). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 25: Lodovico Agostini, Enigmi musicali . . .il primo libro a sei con dialoghi a sette otto et dieci.  Venezia: figliuoli di Antonio Gardano, 1571 (A403, C3v). Photograph courtesy of the Music Library,  University of California, Berkeley.

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Plate 26: Giulio Belli, Missarum quatuor vocibus liber primus. Venezia: Angelo Gardano,  1599 (B1758, E4v). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 27: Orazio Battaglioni, Il primo libro de madrigali a cinque et sei voci. Venezia: figliuoli di  Antonio Gardano, 1574 (B1288, S1r). Photograph courtesy of the Music Library, University of  California, Berkeley.

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Plate 28: Graduale romanum. Venezia: Angelo Gardano, 1591 (Crawford and Borders, Renaissance  Liturgical Imprints: 746, DD1r). Photograph courtesy of the Music Library, University of  California, Berkeley.

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Plate 29: Giovanni Maria Nanino, Il terzo libro de madrigali a cinque voci. Venezia: Angelo Gardano,  1586 (158618, N31, A3v). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 30: Orazio Vecchi, Canzonette . . .libro quarto a quattro voci . . .seconda impressione. Venezia: Angelo  Gardano, 1603 (V1028, G3r). Photograph courtesy of the Frank V. de Bellis Collection,  San Francisco State University.

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Plate 31: Giuliano Cartari, Il primo libro de madrigali a cinque voci. Venezia: Angelo Gardano,  1579 (no RISM or Vogel et al., Bibliografia numbers, K2v). Photograph courtesy of the Music Library,  University of California, Berkeley.

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Plate 32: Pietro Lappi, Sacra omnium solemnitatum vespertina psalmodia, cum tribus Beatae  Virginis Mariae canticis, octonis vocibus concinenda. Venezia: Angelo Gardano, 1600 (L672, GG2r  [mistakenly printed FF2]). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 33: Pietro Lappi, Sacra omnium solemnitatum vespertina psalmodia, cum tribus Beatae  Virginis Mariae canticis, octonis vocibus concinenda. Venezia: Angelo Gardano, 1600 (L672, GG3r).  Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 34: Giaches de Wert, Il duodecimo libro de madrigali . . .a 4. a 5. a 6. & 7. Venezia: Angelo  Gardano & fratelli, 1608 (no RISM or Vogel et al., Bibliografia numbers, M3v). Photograph courtesy  of the Music Library, University of California, Berkeley.

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Plate 35: Gasparo Costa, Canzonette . . .il primo libro a quattro voci. Venezia: Alessandro Gardano, 1580  (C4217, A1r). Photograph courtesy of the Music and Manuscript Department, Universitetsbibliothek,  Uppsala, Sweden.

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Plate 36: Giovanni Pierluigi da Palestrina, Motettorum quinque vocum liber quintus. Roma: Alessandro Gardano,  1584 (P728, N1r). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 37: Tomás Luis de Victoria, Motecta quae partim quaternis, partim quinis, alia senis, alia octonis,  alia duodenis vocibus concinuntur. Roma: Alessandro Gardano, 1583 (V1422, altus, A1r).  Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 38: Annibale Stabile, Letaniae Beatae Mariae Virginis et nominis Jesu, una cum quatuor  antiphonis, que post officium dicuntur . . .octo vocum. Roma: Alessandro Gardano, 1583 (S4200, C1r).  Photograph courtesy of the Biblioteca Communale di Fabriano, Ancona, Italy (shelf mark XXVII°15/27).

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Plate 39: Cantus ecclesiasticus officii maioris hebdomadae Iuxta ritum Capellae Sanctissimi  Domini nostri Papae ac Basilicae Vaticana collectus, & emendatus, a Ioanne Guidetto bononiensi.  Roma: ex typographis Iacobi Tornerij . . .Alexander Gardanus, & Franciscus Coattinus socij,  1587 (a1r). Photograph courtesy of the Newberry Library, Chicago.

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Plate 40: Giovanni Pierluigi da Palestrina, Magnificat octo tonum. Liber primus. Roma: Alessandro  Gardano, 1591 (no RISM number, A1r). Photograph courtesy of the Music Library, University of  California, Berkeley.

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Plate 41: Tomás Luis de Victoria, Motecta quae partim quaternis, partim quinis, alia senis, alia octonis,  alia duodenis vocibus concinuntur. Roma: Alessandro Gardano, 1583 (V1422, altus, K4r).  Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 42: Tomás Luis de Victoria, Motecta quae partim quaternis, partim quinis, alia senis, alia octonis,  alia duodenis vocibus concinuntur. Roma: Alessandro Gardano, 1583 (V1422, tenor, 13v).  Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 43: Giovanni Pierluigi da Palestrina, Motettorum quinque vocibus liber quintus. Roma: Alessandro  Gardano, 1584 (P728, L4r). Photograph courtesy of the Music Library, University of California, Berkeley.

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Plate 44: Giovanni Pierluigi da Palestrina, Magnificat octo tonum. Liber primus. Roma: Alessandro  Gardano, 1591 (no RISM number, A2r). Photograph courtesy of the Music Library, University of  California, Berkeley.

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Plate 45: Cantus ecclesiasticus officii maioris hebdomadae Iuxta ritum Capellae Sanctissimi  Domini nostri Papae ac Basilicae Vaticana collectus, & emendatus, a Ioanne Guidetto bononiensi.  Roma: ex typographis Iacobi Tornerij . . .Alexander Gardanus, & Franciscus Coattinus socij,  1587 (a2r[mistakenly printed a3]). Photograph courtesy of the Newberry Library, Chicago.

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APPENDIX I.A CHECKLIST OF THE MUSICAL PUBLICATIONS BY THE HEIRS OF ANTONIO GARDANO AND BY ANGELO GARDANO 15691611 Angelo Gardano appears to have published only music, with the exception of the 1591 booklist of his publications in stock, the Angelo Gardano Indice. The following checklist of his publications from 1569 to 1611 (from 15691575 in collaboration with his brother Alessandro) has a number of advantages over any other available bibliographic source. The RISM Écrits imprimés, Einzeldrucke, and Recueils imprimés volumes, Vogel, Bibliothek, Vogel et al., Bibliografia, Sartori, Musica strumentale, H. M. Brown, Instrumental Music, and older reference works such as Eitner, Musik-Sammelwerke, Eitner, Quellen-Lexikon, and Fétis, Biographie, have all contributed to the list, as have a good number of library catalogues. Nevertheless, in the pursuit of both brevity and ease of use, citations of bibliographic sources have been kept to a minimum. In addition to printed sources, a visit to the Biblioteka Jagiellonska * in Kraków during the summer of 1987 resulted in dozens of new entries, often confirming the survival of books formerly in Berlin and testified to by Eitner.1 Unfortunately, the library catalogue at that time usually indicated only the first volume in a bound collection of partbooks rather than every title found within a given binding. Thus, I occasionally give the call number for a book in Kraków whose title did not appear in the Jagiellonskian* catalogue proper. Doubtless many more such editions remain to be unearthed there, and we eagerly await a complete printed catalogue. Other modifications to references in the printed sources derive from research trips I have made to the Marciana Library in Venice and the Civico Museo Bibliografico Musicale of Bologna, although I have scarcely broken the surface on the riches held in the latter repository.  

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Martin Morell, after a trip to Gdansk *, graciously sent me his copy of a list of Angelo and Alessandro Gardano editions held there before World War II, again confirming the testimony of the older bibliographies (this information was later published as Morell, ''Georg Knoff"). Wolfgang Goldhan, Director of the Music Collection at the Deutsche Staatsbibliothek, formerly in East Berlin, kindly verified the location of a number editions (in Kraków and West Berlin) from the prewar card catalogue of the dispersed Berlin collection. In addition, John Brooks Howard generously made available to me the American RISM card catalogue at the Isham Library at Harvard that provided a number of titles to the checklist, many of which are held at the Music Library at the University of California in Berkeley. Identification of the plainchant publications has been made considerably easier through the assistance of David Crawford and the on-line project he has undertaken with James Borders, Renaissance Liturgical Imprints (RELICS). Cesarino Ruini kindly supplied me with an accurate lists of the lost Gardano editions found in Pitoni, Notitia. It is hoped that the publication of the checklist below might serve to identify additional neglected publications as well as further locations of the already identified plainchant publications. This checklist is conservative, and I have omitted dozens of dubious titles. Only those editions mentioned erroneously in generally dependable modern sources, or those that appear in older sources that do not suggest simple error and may have possible existed, appear in brackets. The dozens upon dozens of the older ghost publications in the literature, most of which seem to have resulted through misprints and error, do not merit legitimization here. In Fétis, Biographie, for example, the number of digit transpositions and errors (such as "1598" for "1589," or "1590" for "1580") and mistaken printer identification renders the work nearly useless as an independent source of information.2 Eitner, Musik-Sammelwerke and Quellen-Lexikon, seem to be consistently more accurate, although even here titles that cannot be supported by any other evidence have generally been eliminated. The works of both Eitner and Fétis were most useful in confirming the locations of surviving exemplars of publications we know exist, or the date of an edition that must have existed (such as a second madrigal book in a series of three, even though it might not have survived). Some older and generally accurate sources, such as Pitoni, Notitia, Draud, Biblioteca, and Heussner and Schultz, Collectio Musica (the latter records items found in German bibliographies to 1625), provided a number of titles for which exemplars were later found, often at auction or in the Biblioteka Jagiellonska* in Kraków. Unfortunately, owing to the often sparse information supplied, the Angelo Gardano Indice generally cannot be used alone to confirm the existence of books that Angelo Gardano published, since many of the editions listed in the Indice were published by his father, Antonio  

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Gardano; a few perhaps by his brother, Alessandro Gardano; and a few apparently even by nonfamily members. Thus, the few editions found in the Angelo Gardano Indice of 1591 that have no other convincing support have been eliminated from this checklist. Instead, the reader is referred to Appendix II, where the Angelo Gardano Indice receives a full annotation. The bibliographic entries for musical editions in the checklists below are structured by date and alphabetically as follows: 1. Date or presumed date. Any questionable editions are placed within brackets, although most ghosts with little support have already been eliminated without comment (the exception here are editions suggested by the RISM volumes for which no reasonable support can be found; these entries may be found in brackets along with the reasons behind their elimination from my list). Generally speaking, entries found only in the Angelo Gardano Indice of 1591 have not been included unless support for such editions having existed can be found elsewhere. 2. Composer. The general procedure here was to adopt the form of the name found in the RISM publications or in The New Grove Dictionary of Music and Musicians. Anthologies and plainchant publications may be found under ANONYMOUS, with the exception of a few titles already found instead under an individual composer's name in the RISM publications. 3. Title of the publication. In the interests of maintaining a standard method for titles, I have opted to include the full RISM or Vogel et al., Bibliografia entry rather than to reproduce a quasi-facsimile of the title pages of those Gardano editions I have had the good fortune to see on microfilm or in situ. 3 If a citation is lacking in the standard bibliographic works, the reader is referred to printed library catalogues or other sources. Within the listings for a given year, publications of a single author are first listed alphabetically by the genre indicated on the title page (canzonette, madrigale, missa, motetus, and offertoria, for example). Within each genre, the books are then arranged by ascending number of voices, and by book number (the first book of madrigals for four voices would precede the second book of madrigals for four voices, but would follow the second book of madrigals for three voices). 4. Place of publication and printer. This information distinguishes the "figliuoli di Antonio Gardano," the rubric used by the Gardano heirs from 1569 through 1575, from individual works published by Angelo in Venice or Alessandro in Venice or in Rome through 1591. It appears that only Angelo continued in business after 1591, although legal action by his brother Matteo's wife and her family resulted in  

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the alteration of Angelo's rubric to "Angelo Gardano et fratelli" from 1606 until Angelo's death in 1611. Thereafter, the "erede di Angelo Gardano," Bartolomeo Magni (husband to Diamante Gardano, Angelo's natural daughter), carried on the family business. In the interest of completeness for 1611, I have listed Magni's publications in that year at the conclusion of the checklist, immediately after Angelo Gardano's output of the same year. 5. Format. Where the number of printed partbooks in a publication may be unclear by the title alone, an attempt has been made to indicate the number of partbooks in the description of locations and exemplars. In a publication of five-voice madrigals, for instance, five partbooks can be assumed. In the case of a madrigal book for five, six, and eight voices, however, I have tried to place an indication of the makeup of the publication, such as "compl.: S,A,T,B,5,6," where that information is available. The format of each partbook, as in oblong quarto or folio, has been indicated after the publisher and place of publication. Most of these formats have been culled from reliable secondary sources and confirmed whenever possible through the examination of more than one such source, by examining an exemplar of the book itself, or through direct correspondence with the appropriate library. 6. RISM number. (New line.) The RISM number(s) is given for each book named by the RISM publications. When no RISM number has been assigned, then an identification in another major published work is given when possible, such as Vogel et al., Bibliografia, Vogel, Bibliothek, H. M. Brown, Instrumental Music, or Crawford and Borders, Renaissance Liturgical Imprints (RELICS). 7. Reprints. (New line.) If a given Gardano book represents a reprint of a publication, I have tried to supply the date of the first edition. If the first edition appeared before 1569, this date refers to a publication of Antonio Gardano, the father of Angelo and Alessandro Gardano, unless followed by the name of another printer within parentheses. Any additional dates refer to reprints by the "figliuoli," Angelo, or Alessandro Gardano only; no attempt has been made to indicate the dates of all editions by other publishers, nor by the Angelo Gardano heirs (Magni). 8. Locations. (New line.) I give the locations as listed in the RISM volumes as well as any additional locations I have discovered or culled from other printed sources, as indicated. Testimony to the existence of an exemplar that now may have disappeared may be entered here, as in those exemplars auctioned off late in the nineteenth or in the twentieth centuries. If a citation from an older source, such as an Eitner reference to Berlin, has been superseded by a modern location,  

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such as Kraków, the latter source alone has usually been given. Where it is unclear whether the older citation and the newer one refer to the same exemplar, both locations appear with the source of the older reference indicated. 9. Other comments. Occasionally the entries below carry comments on the history of a specific exemplar, as, for example, those editions formerly in the collection of the Augsburg merchant Hans Heinrich Herwart (reference is made to Slim, "Augsburg Patrician"), in the library of Georg Knoff of Danzig (reference to Morell, "Georg Knoff"), in the collection of João IV of Portugal (reference to Sampaio, Livraria), or in the court library at Innsbruck (reference to Waldner, "Zwei Inventorien''). 4 These sources give us a sense of the diffusion of the music in a very specific way. On the other hand, very general catalogues, such as those of Draudius and Bolduanus have not been referred to except in unusual cases, since they often lack the specifics (date, place, publisher) that would be needed to identify a Gardano edition and remain mute as to specific locations or histories. Abbreviations cat. = catalogue compl.= complete def. = defective ex(s). = exemplar(s) ms. = manuscript tp. = title page 8° = octavo 16° = sextodecimo upr. = upright org. = organ (i.e. basso continuo/ seguente) part S = soprano, canto, cantus, or discantus partbook T = tenore, tenor partbook 5 = quinto, quintus partbook

coll. = ded. = ed(s).= inc. = no. = prob. = 4° = 12° = obl. = bc =

collection dedication edition(s) incomplete number probably quarto duodecimo oblong basso continuo/seguente part

part. = partitura in RISM, although in truth it may be merely a simple basso seguente part A = alto, altus partbook B = basso, bassus partbook 6 = sesto, sextus partbook, etc.

 

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Checklist of the Musical Publications by the Heirs of Antonio Gardano and by Angelo Gardano 1569 1569 LASSO, Orlando di. Il primo libro de madrigali a quatro voci novamente con ogni dilligentia ristampati.Venezia, figliuoli di Antonio Gardano. 4° obl. 156928, L828. See 1562, 1565, 1576, 1581, 1582, 1592. A Wn (S). 1570 1570 AGOSTINI, Lodovico. Musica di . . .il primo libro de madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. (contrary to Vogel, Bibliothek). A402. A WnI Bc. [1570 ANONYMOUS. Carmina italica musicis modulis ornata.Venezia, Gardano (Draud, Biblioteca, 1612; Heussner and Schultz, Collectio Musica, 82, #600)] 1570 ANONYMOUS. Il quinto libro delle villotte alla napoletana de diversi con una todesca novamente ristampate. A tre voci.Venezia, figliuoli di Antonio Gardano. 8° obl. (12 obl. in Gaspari, Catalogo). 157020. I Bc (S). 1570 ANONYMOUS. Il sesto libro delle villotte alla napoletana de diversi. Con una Zorziana. Novamente stampate. A tre voci.Venezia, figliuoli di Antonio Gardano. 8° obl. 157021. A WnGB Lbl (T)PL Kj (S). 1570 ASOLA, Giovanni Matteo. Missae tres ad voces quinque, quarum nomina sunt. Dum complerentur. Reveillez. Standomi un giorno . . .liber primus.Venezia, figliuoli di Antonio Gardano. 4° obl. A2505. I FZac, I FZd (S,A,B,5), I PS (S,A,T[all inc.]), I Plp (T; but not found in Associazione dei Musicologi Italiani, Cittá di Pisa). 1570 ASOLA, Giovanni Matteo. Missa tres senis vocibus decantandae, quarum nomina sunt. Primi toni. Andreas Christi famulus. Ecoutez . . .liber secundus.Venezia, figliuoli di Antonio Gardano. 4° obl.

A2506.

 

GB Lbl (S,A)I CEc (T[inc.],6), I VEaf (T). Eitner, Quellen-LexikonI Rsc (T). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:229, 2:29).

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1570 BACCUSI, Ippolito. Il primo libro de madrigali a cinque & a sei voci, con doi a sette & otto.Venezia, figliuoli di Antonio Gardano. 4° obl. B36. I VEaf (A,T,6). 1570 BALBI, Lodovico. Il primo libro de madrigali a quatro voci.Venezia, figliuoli di Antonio Gardano. 4° obl. 157023, B735. I Bc (A). 1570 CORTECCIA, Francesco. Responsoria omnia quintae ac sextae feriae sabbathique maioris hebdomadae paribus vocibus . . . iuxta breviarij romani forma restituti, una cum cantico Zachariae & Psalmo Davidis quinquages: ipsis ferijs accomodata.Venezia, figliuoli di Antonio Gardano. Folio. C4153. F Pn (formerly F Pthibault; lacks tp?)GB LblI Bc, I Fd (2 exs., one of which lacks a tp.)I Fn (2 exs., 2nd of which is inc.), I PIuPL Kj (no. C975, bound with the edition cited immediately below). 1570 CORTECCIA, Francesco. Responsoria . . . Residuum cantici Zachariae, prophetae, et psalmi Davidis quinquagesimi pro secundo choro . . . ferijs omnibus maioris hebdomadae ad triduum illud maxime appositum [=2nd book of Responsoria].Venezia, figliuoli di Antonio Gardano. Folio. C4154. GB LblI Bc, I Fd, I Fc, I Fn, I PIuPL Kj (no. C975, bound with edition cited immediately above)US Wc. 1570 FALCIDIO, Giovanni Battista. Missarum cum quinque vocibus liber primus nunc primum in lucem editus. Missa A qualunqu' animal, missa Tribularer, Missa Descendit Angelu, Missa Sancta & immaculata.Venezia, figliuoli di Antonio Gardano. 4° obl. F68. I FZd (S,A[both inc.],B,5). 1570 FIDELIS, Lancilotto. Il primo libro di madrigali aerosi a quatro voci.Venezia, figliuoli di Antonio Gardano. 4° obl. 157025, F709. I Bc (T). 1570 GABRIELI, Andrea. Il secondo libro di madrigali a cinque voci, insieme doi a sei & uno dialogo a otto.Venezia, figliuoli di Antonio Gardano. 4° obl. G62. See 1572, 1588.

I Bc (T), I VEaf (S). 1570 GERO, Jehan. Quaranta madrigali a tre voci . . . il primo libro di madrigali a tre voci.Venezia, figliuoli di Antonio Gardano. 4° obl. G1651 See 1553, 1559.  

D RttI Pu (B).

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1570 GUERRERO, Francisco. Motteta . . . quae partim quaternis, partim quinis, alia senis, alia octonis concinuntur vocibus.Venezia, figliuoli di Antonio Gardano. 4° upr. G4871. B Br (S,A,T,B)E GRc (compl.: S,A,T,B,5,6), E GRcr (inc.), E TU (compl., but B without tp.), E V (lacks T), E Zac (A)I RvatsistinaP C (5,6)US NYhsa (def.). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:84, 2:9). [1570 KERLE, Jacobus de. Il primo capitolo del Trionfo d'amore del Petrarca . . . a 5 vociVenezia, li Figli di Antonio Gardane (Heussner and Schultz, Collectio Musica, 81-2, #599; Pitoni, Notitia, 89)] 1570 LASSO, Orlando di. Il primo libro di madrigali a cinque voci, novamente con ogni dilligentia ristampati.Venezia, figliuoli di Antonio Gardano. 4° obl. L840. See 1555, 1582. A WnD MbsF Pc (5). 1570 LASSO, Orlando di. Il terzo libro de madrigali a cinque voci, novamente con ogni dilligentia ristampati.Venezia, figliuoli di Antonio Gardano. 4° obl. 157026, L841. See 1564. A Wn (S,A,T,5)D MbsF Pc (5)I VEcapP C (B). 1570 LASSO, Orlando di. Libro quarto de madrigali a cinque voci, da lui novamente in Germania composti, et con ogni diligentia ristampati, libro quarto.Venezia, figliuoli di Antonio Gardano. 4° obl. L842. See 1567, 1584, 1593. A Wn (S,A,T,5)B Br (S,A,T,5)D MbsE Bc (S[inc.])F Pc (5)I Fc (5), I Fn, I Rsc, I VEcapUS Cn (T). Vogel, Bibliothekan ex. formerly in Rome, Bibl. Borghese (Willier, "Present Location," 222now prob. F Pc or I Rsc; see Vogel, "Schicksale"). 1570 SABINO, Ippolito. Il primo libro de madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. S44. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 104)I VEaf (lacks 5). 1570 VESPA, Girolamo. Il primo libro de madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. V1318.

 

D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 104)I Bc.

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1570 WERT, Giaches (Jaches) de. Il primo libro de madrigali a quattro voci novamente ristampato.Venezia, figliuoli di Antonio Gardano. 4° obl. W868. See 1561 (Scotto), 1583, 1599. A Wn (B)I Vnm (A)NL At (T). An ex. formerly in the library of Hans Heinrich Herwart (1520-83see Slim, "Augsburg Patrician," 101). 1571 1571 AGOSTINI, Lodovico. Enigmi musicali . . . il primo libro a sei con dialoghi a sette otto et dieci.Venezia, figliuoli di Antonio Gardano. 4° obl. A403. I MOe (S,A,T,B), I Rsc (T,B,5,6)US BE (S). 1571 ANONYMOUS. Il primo libro delle villotte alla napoletana de diversi eccellentiss. autori, novamente ristampato. A tre voci.Venezia, figliuoli di Antonio Gardano. 8° obl. 15715. See 1560. A WnGB Lbl (T). 1571 ANONYMOUS. Il secondo libro delle villotte alla napoletana de diversi con due moresche novamente ristampato. A tre voci.Venezia, figliuoli di Antonio Gardano. 8° obl. 15716. See 1560. A WnGB Lbl (T). 1571 ANONYMOUS. Il quarto libro delle villotte alla napoletana de diversi con due moresche novamente ristampate. A tre voci.Venezia, figliuoli di Antonio Gardano. 8° obl. 15717. See 1562. A WnGB Lbl (T)I Bc (S). 1571 ANTEGNATI, Costanzo. Il primo libro de madrigali a quattro voci con uno dialogo a otto.Venezia, figliuoli di Antonio Gardano. 4° obl. A1267. I Vnm (S,T,B). An ex. was prob. in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 136).

1571 ASOLA, Giovanni Matteo. Le Vergini, a tre voci . . . libro primo.Venezia, figliuoli di Antonio Gardano. 4° obl. A2610. See 1576, 1582, 1603 D Rtt (S,T)I Pu (B). 1571 CORTECCIA, Francesco. Canticorum liber primus, cum quinque vocibus (quae passim motecta appellantur).Venezia, figliuoli di Antonio Gardano. 4° obl. C4156.  

A Wn (B,5)D AsI Fn.

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1571 CORTECCIA, Francesco. Canticorum liber primus, cum sex vocibus (quae passim motecta dicuntur).Venezia, figliuoli di Antonio Gardano. 4° obl. C4155. D AsI Fn. 1571 FAA, Orazio. Il secondo libro de madrigali a cinque, & a sei voci, con due dialloghi [sic], uno a otto & altro a dieci.Venezia, figliuoli di Antonio Gardano. 4° obl. F2. A Wn (compl.: S,A,T,B,5)I MOe. 1571 GABRIELI, Andrea. Greghesche et Iustiniane . . . a tre voci . . . libro primo.Venezia, figliuoli di Antonio Gardano. 8° obl. G65. GB Lbl (T). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 141). 1571 ISNARDI, Paolo. Psalmi omnes ad vesperas per totum annum, una cum tribus Magnificat, quorum unum tum pari, tum plena voce, ut libet cani potest . . . quatuor vocum.Venezia, figliuoli di Antonio Gardano. 4° obl. I110. See 1569, 1580, 1590. I Bc, I FEc. 1571 MARINO, Alessandro. Il primo libro de madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. M679. I Bc (T), I MOe (T,5). 1571 MASSAINI, Tiburtio. Il primo libro de madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. M1290. I MOe (lacks B), I Fn (5). Vogel et al., BibliografiaF CC (S). 1571 MAURO, Mattia de' Servi. Il primo libro de madrigali a quattro voci.Venezia, figliuoli di Antonio Gardano. 4° obl. M1452. I Bc. 1571 MAURO, Mattia de' Servi. Il primo libro de madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl.

M1451. I Bc (T). 1571 PALESTRINA, Giovanni Pierluigi da. Motecta festorum totius anni cum communi sanctorum . . . quaternis vocibus . . . liber primus.Venezia, figliuoli di Antonio Gardano. 4° obl. P690. See 1564, 1574, 1579, 1585, 1601.

 

I Bc (already in Martini coll. by 1745see Martini, Carteggio, 129), I CARp (A,T,B). Ferrarese and Gallo, Biblioteca CapitolareI TVd (ex. missing since WWII).

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1571 PESCIOLINI, Biagio. Il secondo libro de madrigali a sei voci.Venezia, figliuoli di Antonio Gardano. 4° obl. P1536. GB Lbl (S)I Rsc (T,B,5,6). 1571 PORDENON, Marc' Antonio. Il terzo libro de madrigali [a 5].Venezia, figliuoli di Antonio Gardano. 4° obl. P5103. A WnI Bc (lacks S), I VEaf (B). 1571 PORTA, Costanzo. Musica sex canenda vocibus, in nonnulla ex sacris litteris collecta verba, liber primus.Venezia, figliuoli di Antonio Gardano. 4° upr. P5178. I Bc, I PCd. Eitner, Quellen-LexikonD W (not confirmed in Schmieder, Kataloge). 1571 RORE (DE RORE), Cipriano de. Di Cipriano de Rore il secondo libro de madrigali a quatro voci, con una canzon di Gianetto; sopra di Pace non trovo, con quatordeci stanze. Novamente con ogni dilligentia ristampato.Venezia, figliuoli di Antonio Gardano. 4° obl. 157110. See 1557. A WnD Mbs (compl.; T def.)F Pc (5 [RISM, Recueils imprimés]; T [Bibliothèque du Conservatoire, Catalogue])GB Lbl (S,A,T,B; S,A,B)I Fn (S,A), I Tn. Vogel et al., BibliografiaI Vc (S). Eitner, QuellenLexikon, Vogel, BibliothekBerlin (T; not in PL Kj catalogue). 1571 SESSA D'ARANDA. Il primo libro de madrigali a quatro voci, novamente composti, et dati in luce.Venezia, figliuoli di Antonio Gardano. 4° obl. 157112, S2842. See 1583. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 102)F PcGB Lcm. 1571 WERT, Giaches (Jaches) de. Il primo libro de madrigali a cinque voci . . . novamente ristampati.Venezia, figliuoli di Antonio Gardano. 4° obl. W858. See 1558 (Scotto), 1564, 1583. A Wn (lacks B)GB LwaI VEcapPL Kj (T). Müller, Musikalischen Schätze, 406an ex. formerly at Königsberg (S,A,T,5). Eitner, Quellen-LexikonGB Lcm. An ex. formerly in the library of Hans Heinrich Herwart (152083see Slim, "Augsburg Patrician," 103).

1571 WERT, Giaches (Jaches) de. Il quinto libro de madrigali a cinque, sei, et sette voci.Venezia, figliuoli di Antonio Gardano. 4° obl. W878. See 1580.

 

A Wn (lacks B)F Pc (5)GB Lbl (lacks B)I Bc (S), I Vnm (lacks B), I VEaf (compl.: S,A,T,B,5), I VEcapNL DHgm (A).

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1571 WILLAERT, Adrian. I sacri e santi salmi, che si cantano a Vespro et Compieta con li suoi himni, responsorii et Benedicamus . . . a uno choro & a quatro voci . . . con la gionta di dui Magnificat, a quatro voci . . . novamente con ogni dilligentia ristampati, con la gionta di dui Magnificat, a quatro voci.Venezia, figliuoli di Antonio Gardano. 4° obl. W1125. See 1555. D Mbs (contrary to RISM, Einzeldrucke, no ex. in I Bc). 1572 1572 AGOSTINI, Lodovico. Canones, et echo sex vocibus . . . eiusdem dialoghi, liber primus.Venezia, figliuoli di Antonio Gardano. 4° obl. 157213, A405. D As. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:84). 1572 AGOSTINI, Lodovico. Musica di . . . libro secondo de madrigali a quattro voci.Venezia, figliuoli di Antonio Gardano. 4° obl. 15724, A404. GB LcmI Bc, I Vnm (S,T,B). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142). 1572 CASENTINI, Silao. Il primo libro de madrigali a cinque voci, con uno dialogo a sette.Venezia, figliuoli di Antonio Gardano. 4° obl. C1436. I Bc (lacks S,A,B), I VEaf (B). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 135). 1572 GABRIELI, Andrea. Il primo libro di madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. G60. See 1566. B BrD Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 102)I Bc (5), I Fn (lacks B), I MOe (lacks B), I Vc (B), I Vnm (2 exs.; S,A,T,B,5; A)US OB (T). 1572 GABRIELI, Andrea. Il secondo libro di madrigali a cinque.Venezia, figliuoli di Antonio Gardano. 4° obl. G63. See 1570, 1588.

D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 102)GB Lcm, GB Lbl (lacks B), GB LwaI Vnm (B). Eitner, Quellen-LexikonI Fn. 1572 GABRIELI, Andrea. Primus liber missarum sex vocum . . . Missa Quando lieta sperai, Missa Vexilla regis, Missa Ove ch'io posi, Missa Pater peccavi.Venezia, figliuoli di Antonio Gardano. 4° obl. G53.

 

D As, D Rp (A,B)GB Lbl (A,T)I Bc (T), I FZd (lacks S), I TVd. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 140).

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1572 GABRIELI, Andrea. Sacrae cantiones (vulgo motecta appellatae) quinque vocum, tum viva voce, tum omnis generis instrumentis cantatu commodissimae, liber primus.Venezia, figliuoli di Antonio Gardano. 4° obl. G50. See 1565, 1584. I VEcapPL Kj (formerly in the Convent of St. Anna in Augsburg; see Bernstein, "Buyers and Collectors," 32). 1572 INGEGNERI, Marc' Antonio. Il secondo libro de madrigali a cinque voci . . . libro secondo.Venezia, figliuoli di Antonio Gardano. 4° obl. I50. A Wn (A,T,B,5)I Bc (T), I VEaf (T). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142). 1572 ISNARDI, Paolo. Lamentationes Hieremiae prophetae una cum psalmis Benedictus et Miserere . . . cum quinq: vocibus.Venezia, figliuoli di Antonio Gardano. 4° obl. I115. I FEc. 1572 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) quinque, et sex vocum, tum viva voce tum omnis generis instrumentis cantatu commodissimae, liber secundus.Venezia, figliuoli di Antonio Gardano. 4° obl. L853. D As (compl.: S,A,T,B,5/6), D B (A), D RpI Mc (A,T,5; bound with S,B of Antonio Gardano's ed., 1566)PL WRu (A,T,5). 1572 PAIEN, Giovanni. Il primo libro de madrigali a due voci, dove si contengono le Vergine . . . novamente ristampato.Venezia, figliuoli di Antonio Gardano. 4° obl. P75. See 1564, 1597. I Bc (T). Vogel et al., BibliografiaI BRE. 1572 PORTINARO, Francesco. Il terzo libro de motetti a cinque, sei, sette et otto voci.Venezia, figliuoli di Antonio Gardano. 4° obl. P5223. D Rp (S,A,T,B,5)GB Lbl (A)I PS (T,5)PL Kj (5 vols.). 1572 STABILE, Annibale. Il primo libro de madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. Vogel et al., Bibliografia 2641.

See 1581 (Nanino), 1587 (Nanino). PL Kj (T; see Mann, "From Berlin," 27). 1572 VICTORIA (VITTORIA), Tomás Luis de. Motecta, que partim quaternis, partim quinis, alia senis, alia octonis vocibus concinuntur.Venezia, figliuoli di Antonio Gardano. 4° upr. V1421. See 1583 (Alessandro Gardano), 1603, 1604.  

D MÜs (compl.: S,A,T,B,5,6)E V (S,A,T,B; S), E VAc, E VAcp.

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1572 WERT, Giaches (Jacques) de. Il terzo libro de madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. W873. See 1563, 1592. A Wn (lacks B)F Pn (A)GB LwaI Bc (T,B), I Fc (5), I VEcapPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120), PL Kj (T). An ex. formerly in the library of Hans Heinrich Herwart (1520-83see Slim, "Augs- burg Patrician," 103). 1572 ZACCHINO, Giulio. Motecta quatuor vocum noviter in lucem edita.Venezia, figliuoli di Antonio Gardano. 4° obl. Z3. I Bc (lacks B, as it did in Martini's library in 1746see Martini, Carteggio, 206), I Rvat-sistina. 1573 1573 ANNIBALE Padovano. Missarum quinque vocum nunc primum in lucem aeditarum, liber primus.Venezia, figliuoli di Antonio Gardano. 4° obl. A1248. GB Lbl (B)I Bc (S,A,T,5)PL Kj. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137). 1573 ANONYMOUS. Primo libro de madrigali a cinque voci, composti da diversi eccell. autori et raccolti da M. Francesco Antonio Baseo maestro di Capella del Duomo della città di Leccio, novamente posti in luce.Venezia, figliuoli di Antonio Gardano. 4° obl. 157316. E V. [1573 BASEO, Francesco Antonio. See ANONYMOUS.] 1573 FAA, Orazio. Salmi di David profeta con tre Magnificat, et altri componimenti a cinque, sei, & otto voci.Venezia, figliuoli di Antonio Gardano. 4° obl. F3. I Bc (compl.: S,A,T,B,5). 1573 INGEGNERI, Marc' Antonio. Liber primus missarum cum quinque et octo vocibus. -Venezia, figliuoli di Antonio Gardano. 4° obl. I41. D Rp (5)I Bc (compl.: I: S,A,T,B,5; II: S,A,B). Ferrarese and Gallo, Biblioteca CapitolareI TVd (S II, T I,5;

ex. missing since WWII). 1573 ISNARDI, Paolo. Missae quatuor vocum . . . Missa Salvum fac regem, Missa Sit nomen domini, Missa Surge domine, Missa Congregati sunt, Missa Libera me domine; paribus vocibus; Missa pro defunctis; quatuor vocum.Venezia, figliuoli di Antonio Gardano. 4° obl. I116.  

I Bc, I FEc. Ferrarese and Gallo, Biblioteca CapitolareI TVd (ex. missing since WWII).

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1573 MERULO, Claudio. Missarum quinque vocum. Missa Benedicta es coelorum regina, Missa Susanne un giour, Missa Oncques amour, Missa Aspice domine . . . liber primus.Venezia, figliuoli di Antonio Gardano. 4° obl. M2357. A Wn (B,5)D Rp (A)F Pn (T)GB Lcm (S,T,B)I Bu (S), I FZac (lacks S)PL GD (A; Morell, ''Georg Knoff"formerly Marienkirche). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:106), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 140). 1573 PORDENON, Marc' Antonio. Il quarto libro de madrigali . . . a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. P5104. A WnI Bc (lacks S), I VEaf. 1573 PORTA, Costanzo. Il terzo libro de madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. P5189. I Bc, I Fn, I MOe (lacks B). 1573 RINALDO DA MONTAGNANA. Il primo libro de motetti a quatro voci.Venezia, figliuoli di Antonio Gardano. 4° obl. R1724. I Rvat-sistina (perhaps the ex. mentioned by Chiti to Martini in 1746see Martini, Carteggio, 201). 1573 SORTE, Bartolomeo. Il primo libro de madrigali a quatro, cinque, et sei voci, con doi dialoghi a sette.Venezia, figliuoli di Antonio Gardano. 4° obl. S3990. I Bc (compl.: S,A,T,B,5). 1573 TIGRINI, Orazio. Il primo libro de madrigali a quatro voci.Venezia, figliuoli di Antonio Gardano. 4° obl. T790. I Vnm (S,T,B). 1573 ZACCHINO, Giulio. Il primo libro de madrigali a quatro voci.Venezia, figliuoli di Antonio Gardano. 4° obl. Z4. I Vnm (S,T,B). Vogel et al., Bibliografia, Springer et al., Miscellanea (but not confirmed in Bayerische Staatsbibliothek, Katalog)D Mbs (S,T,B). 1574

1574 AGOSTINI, Lodovico. Canzoni alla napolitana a cinque voci . . . libro primo.Venezia, figliuoli di Antonio Gardano. 4° obl. A406.  

I Bc (S,T), I MOe.

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1574 ANONYMOUS. Il quarto libro delle muse a cinque voci composto da diversi eccellentissimi musici, insieme dui mad. a sei, novamente stampati et dati in luce, intitolati benigni spirti.Venezia, figliuoli di Antonio Gardano. 4° obl. 15744. See 1582. A Wn (S,A,T,5)I Bc (S,A,T,5), I Vnm (S,A,T,5). 1574 ANONYMOUS. Il primo libro delle villanelle alla napolitana a tre voci, de diversi musici di Barri; raccolte per Ioanne de Antiquis, con alcune delle sue novam. stamp. libro primo.Venezia, figliuoli di Antonio Gardano. 8° obl. 15745. A WnD Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 108). 1574 ANONYMOUS. Il secondo libro delle villanelle alla napolitana a tre voci, de diversi musici di Barri; raccolte per Ioanne de Antiquis, con alcune delle sue novam. stamp.Venezia, figiuoli di Antonio Gardano. 8° obl. 15746. A WnD Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 108). [1574 ANTIQUIS DA BARRI, Giovanni. See ANONYMOUS, Il primo (-secondo) libro delle villanelle.] 1574 ASOLA, Giovanni Matteo. Le messe a quattro voci pari . . . sopra li otto toni della musica. Insieme con dui altre, l'una de S. Maria a voce piena, l'altra pro defunctis, divise in dui libri delle quali, cinque sono nel presente libro primo lib. le rimanenti saranno nel secondo . . . libro primo.Venezia, figliuoli di Antonio Gardano. 4° obl. A2510. See 1580. I FEc, I Bc (B [only tp. and ded.]). Eitner, Quellen-LexikonA Wn. An ex. was prob. in the Roman Archconfraternity of San Rocco by 1583 (O'Regan, "Music at the Roman Archconfraternity," 550), and an ex. was owned by Giuseppe Antonio Magni of Monza in 1783 (Dalmonte, Duomo di Monza, xxxvi, 97). 1574 BATTAGLIONI, Orazio. Il primo libro de madrigali a cinque et sei voci.Venezia, figliuoli di Antonio Gardano. 4° obl. B1288. US BE (5). Vogel et al., BibliografiaPL Kj (S,A,T[def.],B,5[def.]; for the vicissitudes of this ex., see Olschki, "Contribution," 248-9; Heyer, Versteigerung (which likely also refers to this ex.); and Mann, "From Berlin," 25). 1574 BIANCHI, Caterino. Missarum quinque et sex vocum . . . liber primus. Missa Vestiva i colli a 5. Missa Pater peccavi a 5. Missa Quam pulchrae sunt a 6. Missa sine nomine a 6. Liber primus.Venezia, figliuoli di Antonio Gardano. 4° obl.

B2520.  

I FZd (S,A[inc.],B,5; Sartori, "Finalmente svelati" incorrectly lists S,B,5,6).

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1574 BONIZZONI, Eliseo. Delli Magnificat a quattro voci . . .libro primo.Venezia, figliuoli di Antonio Gardano. 4° obl. B3502. D Kl. 1574 CORONA, Giovanni. Il primo libro de madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. C3950. GB Lbl (prob. the ex. listed by RISM, Einzeldrucke in GB LIsee Fenlon, "Michael Honywood's Music Books," 193). Vogel et al., BibliografiaF CC. 1574 DALLA CASA, Girolamo. Il primo libro de madrigali a cinque & a sei voci, insieme un dialogo a otto . . .libro primo.Venezia, figliuoli di Antonio Gardano. 4° obl. D805. GB Lbl (A,B)I Vnm (S). Vogel et al., BibliografiaF CC. 1574 DUC, Filippo (de). Le vergini . . .libro primo a sei voci con un dialogo a otto nel fine.Venezia, figliuoli di Antonio Gardano. 4° obl. D3612. A Wn (S,6)D Mbs (compl.: S,A,T,B,5,6; prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 94)GB Lbl (S)I Rsc (lacks S and A). 1574 FIORINO, Gasparo. Libro secondo. Canzonelle a tre e a quattro voci . . .in lode & gloria d'alcune signore & gentildonne genovesi.Venezia, figliuoli di Antonio Gardano. 4° upr. F950. B BrGB Ge, GB LblI Rc (Vogel et al., Bibliografialacks pp. 66-7). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:128). 1574 GABRIELI, Andrea. Il primo llibro [!] de madrigali a sei voci.Venezia, figliuoli di Antonio Gardano. 4° upr. G66. See 1587. CH E (B)D Kl, D Mbs (prob. the ex. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 99)I Bc (A), I MAc (5), I MOe (lacks 6), I VEaf (lacks T)NL DHgm (T; Muziekhistorisch Museum, Catalogusformerly Scheurleer coll.). 1574 GALILEI, Vincenzo. Il primo libro de madrigali a quatro et cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. G147.

I Bc (T). 1574 GRADENIGO, Paolo. Il primo libro de madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. G3262.  

I Bc (T).

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1574 LASSO, Orlando di. Il secondo libro di madrigali a cinque voci, novamente con ogni diligentia ristampato.Venezia, figliuoli di Antonio Gardano. 4° obl. 15747, L876. See 1557 (Barré), 1585. A Wn (S,A,T,5)B Br (S,A,T,5)GB LwaI Vnm (S,A,T,5). 1574 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) quinque vocum, tum viva voci, tum omnis generis instrumentis cantatu commodissimae, liber primus.Venezia, figliuoli di Antonio Gardano. 4° obl. L875. See 1562 (Gardano, Neuber), 1586. A Wn (A)D As, D B (B[inc.]), D Rp (compl.: all voices def.). A basso partbook was in the possession of Giuseppe Antonio Magni of Monza in 1783 (see Dalmonte, Duomo di Monza, xxxvi, n. 97). 1574 MANARA, Francesco. Psalmi . . .ad vesperas cum Magnificat et psalmi, quibus utuntur societates in Officio B. M. Virginis, quatuor vocum.Venezia, figliuoli di Antonio Gardano. 4° obl. M266. D Rp (A,T). Eitner, Quellen-LexikonI FEc. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 140). 1574 MANENTI, Giovanni Piero. Madrigali . . .a sei voci.Venezia, figliuoli di Antonio Gardano. 4° obl. M328. GB Lbl (S)I Fn, I Fr (5), I Rsc (T,B,5,6), I VEaf (6), I VEcap (lacks 6). 1574 MARRI, Ascanio. Il primo libro de madrigali a sei voci.Venezia, figliuoli di Antonio Gardano. 4° obl. M726. F Pc. 1574 MERULO, Claudio. Il primo libro de ricercari da cantare, a quattro voci.Venezia, figliuoli di Antonio Gardano. 4° obl. M2374. F Pn (S,A,B)I Ac (T), I VEaf (B). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 136). 1574 MONTE, Philipp de. Madrigali . . .a cinque voci, libro quinto.Venezia, figliuoli di Antonio Gardano. 4° obl. M3358.

See 1592.

 

B Br (S,A,T,5)D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 105)F Pc (formerly Rome, Bibl. Borghesesee Vogel, "Schicksale"), F Pn (A)I Bc, I MOe, I PS (T[inc.]), I Rvat-casimiri (T), I VEcapPL GD (from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff,'' 119), PL Kj (T).

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1574 NASCO, Giovanni. Lamentationi a voci pari . . .a quatro voci con doi Passii, il Benedictus, et le sue antiphone.Venezia, figliuoli di Antonio Gardano. 4° obl. N76. See 1561, 1564. I Bc (T,B), I Ls (2 compl. exs.). 1574 NEGRI (NIGER, NIGRI), Giovanni Maria. Mottettorum liber primus, quinque, sex, octo, vel decem vocum.Venezia, figliuoli di Antonio Gardano. 4° obl. N361. NL At (A)PL Kj (S,A,T,B,5). 1574 PALESTRINA, Giovanni Pierluigi da. Motecta festorum totius anni cum Communi sanctorum . . .quaternis vocibus . . .liber primus.Venezia, figliuoli di Antonio Gardano. 4° obl. P691. See 1564, 1571, 1579, 1585, 1601. A Wn (S)D Rp (S,B). Ferrarese and Gallo, Biblioteca CapitolareI TVd (ex. missing since WWII). An ex. formerly in the library of Hans Heinrich Herwart (1520-83see Slim, "Augsburg Patrician," 84). 1574 RORE (DE RORE), Cipriano de. Il quinto libro di madrigali a cinque voci insieme alcuni de diversi autori novamente con ogni diligentia ristampato.Venezia, figliuoli di Antonio Gardano. 4° obl. 15748. See 1568. A WnB BrF Pc (T)GB Lbl, GB LwaI Bam (5), I Fc (5), I Fn (A,5), I Vnm (S,A,T,5)PL Kj. An ex. formerly in the library of Hans Heinrich Herwart (1520-83see Slim, "Augsburg Patrician," 102). 1574 SPALENZA, Pietro Antonio. Il primo libro di madrigali a quattro voci [with 4 madrigals by A. Barbet and G. F. Maffon].Venezia, figliuoli di Antonio Gardano. 4° obl. 15749, S4037. I Bc. 1575 1575 ANONYMOUS. Il quinto libro delle Muse, madrigali, a cinque voci con uno a sei novamente composti et dati in luce.Venezia, figliuoli di Antonio Gardano. 4° obl. 157512. A Wn (S,A,T,5)HR Ssf (A,5)I Bc (S,A,T,5), I Vnm (S,A,T,5), I VEc.

1575 ANTEGNATI, Costanzo. Sacrarum cantionum [a 5] liber primus.Venezia, figliuoli di Antonio Gardano. 4° obl. A1259.  

A Wn (B,5).

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1575 ASOLA, Giovanni Matteo. Falsi bordoni per cantar salmi, in quatro ordini divisi, sopra gli otto tuoni ecclesiastici . . .& alcuni di M. Vincenzo Ruffo. Et anco per cantar gli hymni secondo il suo canto fermo. A quatro voci.Venezia, figliuoli di Antonio Gardano. 4° obl. 15751, A2520. See 1582. I Bc, I BRE. 1575 FALCONI(O), Placido. Introitus et Alleluia per omnes festivitates totius anni cum quinque vocibus.Venezia, figliuoli di Antonio Gardano. Folio. F86. GB LblI Bc, I Rsc. Iain Fenlon notes an ex. in I MAc (personal correspondence). A copy was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 134). 1575 GABRIELI, Andrea. Libro primo de madrigali a tre voci.Venezia, figliuoli di Antonio Gardano. 4° obl. G68. See 1582, 1590. CH Zjacobi (S,T[inc.])D Mbs (prob. from the library of Han Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 100), D Rtt (T,B[2 exs.])PL Kj (T), PL Wn (S). Pfudel, Mittheilungen, 47a compl. ex. formerly in Liegnitz, Ritterakademie; see also Heussner and Schultz, Collectio Musica, 68, #483. 1575 MANENTI, Giovanni Piero. Madrigali . . .a cinque voci, libro II.Venezia, figliuoli di Antonio Gardano. 4° obl. M329. B Bc (S), B Fr (5)PL Kj (lacks 5; all voices lack last gatherings; see Mann, "From Berlin," who claims 5 is present). Eitner, Quellen-Lexikon, Vogel et al., BibliografiaI Bc, I Fr instead of B Bc, B Fr. Heyer, Versteigerunga compl. but def. ex., formerly in Heyer coll., Cologne. 1575 MARRI, Ascanio. Il primo libro de madrigali a cinque voci.Venezia, figliuoli di Antonio Gardano. 4° obl. M727. GB NO (B). 1575 MILLEVILLE, Alessandro. Libro primo de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M2797. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 102)I MOe (A). 1575 MONTE, Philipp de. Il sesto libro delli madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl.

M3360. See 1588.  

A Wn (S)F Pc (formerly Rome, Bibl. Borghesesee Vogel, "Schicksale")I Fn (S,A,T,5), I VEcap.

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1575 MONTE, Philipp de. Libro quarto de motetti [a 5].Venezia, figliuoli di Antonio Gardano. 4° obl. M3314. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 96)F Pn (A)PL Kj. An ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:266-8, 2:34). See also Heussner and Schultz, Collectio Musica, 100, #763. 1575 MORALES, Cristóbal de. Magnificat . . .cum quatuor vocibus.Venezia, figliuoli di Antonio Gardano. 4° obl. M3600. See 1542 (Scotto), 1545 (Gardano), 1583, 1597. I Ac, I AOc, I Bc (in Martini's coll. by 1745see Martini, Carteggio, 130, 245), I Mc (A,T). 1575 MOSCAGLIA, Giovanni Battista. Il primo libro de madrigali a quattro, a cinque et a sei voci . . .con due dialogi a 8.Venezia, figliuoli di Antonio Gardano. 4° obl. M3783. I VEcap (compl.: S,A,T,B,5). 1575 RORE (DE RORE), Cipriano. Il primo libro de madrigali a quatro voci . . .novamente con ogni diligentia ristampato.Venezia, Angelo Gardano. 4° obl. R2510. See 1550 (Buglhat & Hucher), 1582. A Wn (A,B)F Pc (T[inc.])GB Lbl (S,A,T,B[2 exs.])I Bc (S,B), I Fr (S,A[Vogel et al., Bibliografia2 exs. of each],B), I Vc (S)PL Kj (T). 1575 RORE (DE RORE), Cipriano. Di Cipriano et Annibale madrigali a quattro voci insieme altri eccellenti autori, nuovamente con nuova gionta ristampati.Venezia, figliuoli di Antonio Gardano. 4° obl. 157515. See 1561. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 101)GB Lbl (prob. the copy in Rome, Bibl. Borghese, cited by Eitner, Quellen-Lexikonsee Willier, "Present Location," 222, Vogel, "Schicksale")I Bc, I Vnm (A,B)PL Kj (T), PL Wn (S,A). Vogel et al., BibliografiaNL Uim. Pfudel, Mittheilungen, 17a compl. ex. formerly in Liegnitz, Ritterakademie. 1575 SABINO, Ippolito. Misse sex . . .que vulgo pari voce dicuntur . . .quatuor vocum.Venezia, Angelo Gardano. 4° obl. S40. PL WRu (T I, T II,B), PL Kj (A,T,B).

 

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1575 SACERDOTE, David. Il primo libro di madrigali a sei voci.Venezia, figliuoli di Antonio Gardano. 4° obl. S300. GB Lbl (5). [1575 STABILE, Annibale. See RORE, Cipriano. Di Cipriano et Annibale.] 1575 WERT, Giaches (Jaches) de. Il secondo libro de madrigali a cinque voci . . .novamente con nova giunta ristampati.Venezia, Angelo Gardano. 4° obl. W863. See 1596. A Wn (S,T)D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 103)F Pn (A)GB LwaI Bc (compl., but by 1747, Martini had only Bsee Martini, Carteggio, 268), I MOePL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120), PL Kj (T). [1575 WERT, Giaches (Jaches) de. Il quinto libro delle muse. Madrigali a cinque voci, con uno a sei.Venezia, figliuoli di Antonio Gardano. W880. I VEcap. Prob. a RISM, Einzeldrucke error for 157512, Il quinto libro delle muse.] 1576 1576 ANONYMOUS. Musica di XIII. autori illustri a cinque voci, novamente per Angelo Gardano raccolta et data in luce. Nella quale si contengono i più belli madrigali; che hoggidi si cantino.Venezia, Angelo Gardano. 4° upr. 15765. See 1589. A Wn (S,T)D As, D HR (B), D Mbs (2 exs. of B; compl. ex. prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 96)F Pc, F SgI Bc (S,A; apparently already in Martini's coll. by 1746, and either this or the 1589 ed. was mentioned in a letter from Chiti to Martini in 1746see Martini, Carteggio, 236, 276, 280), I FA (5), I MAg (5), I MOe, I Vnm (A,B,5)PL GD (T,B,5; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120), PL KjUS Cn (5), US NYp (5). Pfudel, Mittheilungen, 17a compl. ex. formerly in Liegnitz, Ritterakademie. Heyer, Versteigerunga compl. but def. ex. formerly in Heyer coll., Cologne. 1576 ASOLA, Giovanni Matteo. Messa pro defunctis a quattro voci pari . . . novamente stampata & data in luce, si vis etiam alterum canere chorum in secundo volumine quaerito, a quattro voci.Venezia, Angelo Gardano. 4° obl. A2529. I Bc. 1576 ASOLA, Giovanni Matteo. Le Vergini.Venezia, Angelo Gardano. 4° obl.

A2611. See 1571, 1582, 1603.  

I Bc (T,B), I Rvat-casimiri.

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1576 BALBI, Lodovico. Madrigali a quatro voci, libro secondo.Venezia, Angelo Gardano. 4° obl. B736. I Ps (A). 1576 BELL'HAVER, Vincenzo. Il terzo libro de madrigali a quatro et cinque voci con uno madrigale a sette, novamente composti et dati in luce.Venezia, Angelo Gardano. 4° obl. Vogel et al., Bibliografia 303. F CC (inc.). [1576 COLA, Matthaeus (COLLINUS, Matthaeus?). Tricinia.Venezia, apud Gardan (Heussner and Schultz, Collectio Musica, 55, #375)] 1576 GABRIELI, Andrea. Ecclesiasticarum cantionum quatuor vocum, omnibus sanctorum solemnitatibus deservientium, liber primus.Venezia, Angelo Gardano. 4° obl. G54. See 1589. D ZI (S,T,B)GB Lbl (B)I Ac. Ferrarese and Gallo, Biblioteca CapitolareI TVd (ex. missing since WWII). An ex. formerly in the library of Hans Heinrich Herwart (1520-83see Slim, "Augsburg Patrician," 84); see also Heussner and Schultz, Collectio Musica, 68, #484; Cless, Unius seculi, 392. 1576 INGEGNERI, Marc' Antonio. Sacrarum cantionum cum quinque vocibus . . .liber primus.Venezia, Angelo Gardano. 4° obl. 142. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 97), D Rp (A,B,5), D WILd (lacks 5)GB LblI TVd (Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII)PL Kj. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:268, 2:34), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137); see also Heussner and Schultz, Collectio Musica, 80, #585; Cless, Unius seculi, 403. 1576 LASSO, Orlando di. Il primo libro di madrigali a quatro voci novamente con ogni dilligentia ristampati.Venezia, Angelo Gardano. 4° obl. 15766, L897. See 1560, 1581, 1582, 1592. A Wn (A,B)NL At (T[inc.]). 1576 LUZZASCHI, Luzzasco. Secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano ([5:] 1577). 4° obl. L3123.

 

D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 104)I Bc, I Rsc (prob. the copy formerly in Rome, Bibl. Borghese, cited by Eitner, Quellen-

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Lexikon, Vogel, Bibliotheksee Willier, "Present Location," 222, Vogel, "Schicksale")PL LEtpn (T,B; Pfudel, Mittheilungen, 70a compl. ex. formerly in Leignitz, Ritterakademie), PL Wn (S,A,5), PL Kj (T)US CHH (5), US SFsc (S[inc.],A,T[inc.]). Eitner, Quellen-LexikonF Pc. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 141). 1576 MACQUE, Jean de (Giovanni de). Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. M85. D Mbs (6)F PcI VEcap (lacks 6)PL Kj (T). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 141). [1576 MAINERIO (MAYNER), Giorgio. Choreae variarum nationum.Venezia, Gardano (Draud, Biblioteca, 1621; Heussner and Schultz, Collectio Musica, 96, #723)]. 1576 MASSAINI, Tiburtio. Concentus quinque vocum in universos psalmos . . .in vesperis omnium festorum per totum annum frequentatos; cum tribus Magnificat, quorum ultimum novem vocum modulatione copulatur.Venezia, Angelo Gardano. 4° obl. M1266. See 1588. I Bc (S,A,5[inc.]). See also Heussner and Schultz, Collectio Musica, 97, #738; Cless, Unius seculi, 408. 1576 MONTE, Philipp de. Il terzo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. M3364. See 1585. F Pc (formerly Rome, Bibl. Borghesesee Vogel, "Schicksale"), F Pn (A)I MOe, I Rsc (T,B,5,6), I Vnm, PL Kj. Vogel et al., BibliografiaI Ps (B[inc.]), NL DHgm (S; Muziekhistorisch Museum, Catalogusformerly in the Scheurleer coll.). See also Heussner and Schultz, Collectio Musica, 100, #764. 1576 RENALDI, Giulio. Madregali et canzoni alla napolitana a cinque voci.Venezia, Angelo Gardano. 4° obl. R1157. GB Lbl (5)I Vnm (S,A,T,5). Vogel, Bibliothek, Eitner, Quellen-Lexikonan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). 1576 RORE (DE RORE), Cipriano. Il primo libro de madrigali cromatica a cinque voci novamente ristampato.Venezia, Angelo Gardano. 4° obl. R2486. See 1542 (Scotto), 1593.  

Gb LblI Bam (5), I Bc (A,B,5[2 exs. of 5?], I Fc (5), I Fn, I Vnm (S,A,T,5)PL Kj (T).

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1576 VESPA, Girolamo. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. V1319. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 104). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:106). 1576 VICTORIA (VITTORIA), Tomás Luis de. Liber primus qui missas, psalmos, magnificat ad Virginem Dei Matrem salutationes, aliaque complectitur.Venezia, Angelo Gardano. Folio. V1427. E Boc (inc.), E TU (inc.), E V (inc.)GB Lbl (inc.)I Bc, I Rsc, I Rsm, I Rvat-sistina, I REsp (enlarged with ms.)P Lf (lacks tp.). An ex. appears to have been in the coll. of the church of St. Louis des Francais in Rome in 1597 (Perkins, "Notes bibliographiques," 62). 1577 1577 ANONYMOUS. Musica de diversi autori la Bataglia francese et Canzon delli ucelli insieme alcune canzoni francese, partite in caselle per sonar d'instromento perfetto: novamente ristampate.Venezia, Angelo Gardano. Folio. 157711. I Bc. Sartori, Musica strumentale 2I MC. 1577 ISNARDI, Paolo. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. I124. GB Lbl (prob. the copy formerly in Rome, Bibl. Borghese, cited in Vogel, Bibliotheksee Willier, "Present Location," 222, Vogel, "Schicksale")I MOe (lacks B). [1577 LUZZASCHI, Luzzasco. See 1576.] 1577 RORE (DE RORE), Cipriano. Tutti i madrigali di Cipriano di Rore a quattro voci, spartiti et accomodati per sonar d'ogni sorte d'istrumento perfetto, et per qualunque studioso di contrapunti.Venezia, Angelo Gardano. Folio. R2513. I Ac, I Bc, I NfPL Kj (inc.). 1578 1578 ANONYMOUS. Madrigali ariosi a quatro voci, composti da diversi eccellentissimi authori, novamente con somma diligentia ristampati. Libro primo.Venezia, Angelo Gardano. 4° obl. 157820. See 1557, 1582. PL Wn (S,A). An ex. formerly in Liegnitz, Ritterakademie (Pfudel, Mittheilungen, 18).

 

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1578 ANTEGNATI, Costanzo. Liber primus missarum sex et octo vocum.Venezia, Angelo Gardano. 4° obl. A1260. See 1587. I Bc (compl.: S,A,T,B,5,6), I PCd. 1578 ASOLA, Giovanni Matteo. Vespertina omnium solemnitatum psalmodia, iuxta decretum sacrosancti Tridentini concilij, duoq; B. Virginis cantica primi toni, cum quatuor vocibus . . .primus chorus extat etiam secundus chorus, ad pares voces concinendus.Venezia, Angelo Gardano. 4° obl. A2532. See 1582. GB Lbl (T)I Bc (S,T,B), I FEc. See also Heussner and Schultz, Collectio Musica, 45, #294; Cless, Unius seculi, 401. 1578 ASOLA, Giovanni Matteo. Secundus chorus vespertinae omnium solemnitatum psalmodiae, iuxta sacrosancti Tridentini concilij decretum, duoq; B. Virginis cantica, primi toni, vocibus quatuor paribus concinendus.Venezia, Angelo Gardano. 4° obl. A2538. See 1583. I Bc, I FEc. 1578 BALBI, Lodovico. Ecclesiasticarum cantionum quatuor vocum omnibus Adventus dominicis, nec non Septuagesimae, Sexagesimae, Quinquagesimae, simul atque quibuscunque totius anni opportunitatibus deservientium.Venezia, Angelo Gardano. 4° obl. B737. D WILdGB Lbl (S)I BcPL GD. Eitner, Quellen-LexikonCelle (S,B). Ferrarese and Gallo, Biblioteca CapitolareI TVd (ex. missing since WWII); see also Heussner and Schultz, Collectio Musica, 46, #301. 1578 INFANTAS, Don Fer(di)nando de las. Sacrarum varii styli cantionum tituli Spiritus sancti, liber primus cum quatuor vocibus.Venezia, Angelo Gardano. 4° upr. I37. E Mc (A,T,B), E Mn (S). See Göhler, Messkataloge, 30 (W79A). 1578 INGEGNERI, Marc' Antonio. Il primo libro de madrigali a quatro voci, novamente con ogni dilligentia ristampati [first ed. from 1570 not demonstrable].Venezia, Angelo Gardano. 4° obl. I51. See 1592.

 

D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 101)GB Lbl (T)I Vnm (S,T,B)US IO (A,T). Eitner, Quellen-Lexikon, Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120).

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[1578? KROPÁCZ *, Georg. Georg Cropatii missarum tomus primus, 5 v., iuxta dodecachordi modos, dorii scilicet, hypodorii & lydii compositus.Venezia (Heussner and Schultz, Collectio Musica, 84, #618. Willer and Cless, Unius seculi, 396, list as 1578, while Draud evidently gave the date as 1548. Gardano, Indice, 2r, indicates "Georgio Cropatio, messe a 5. e 6.")] 1578 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) quinque, et sex vocum, tum viva voce tum omnis generis instrumentis cantatu commodissimae, liber tertius.Venezia, Angelo Gardano, 4° obl. L910. See 1566, 1587, 1599. A Wn (A)D Rp (S,A,T,5)D Bds (B)E Asa (compl.: S,A,T,B,5)GB LblI Bc. 1578 LASSO, Orlando di. Liber septimus . . . sacrarum cantuum quinis vocibus concinendorum, quinq: instumentorum sonis, et vocum concentibus adaptari possunt.Venezia, Angelo Gardano. 4° obl. L911. See 1584. D Rp (A,B,5)D Bds (A[inc.],5)I Bc. 1578 LOMBARDI, Bartolomeo. Mottectorum liber secundus cum quinque vocibus.Venezia, Angelo Gardano. 4° obl. 15782, L2806. A Wn (B,5)D KlI CARc (5). [1578 LUZZASCHI. Luzzasco. Il secondo libro de ricercari a quattro voci. Venezia, Angelo Gardano. H. M. Brown, Instrumental Music (158?)4. The putative date of 1578 derives from a surviving ms. copy of this edition (see Luzzaschi, Il secondo libro de ricercari, 8; tavola 1). The presence of a similar entry in the Gardano, Indice, 5r, suggests that Angelo Gardano published the volume, even though no exemplar has surfaced (an ex. of this publication was found in the court library of Innsbruck in 1665see Waldner, "Zwei Inventorien," 136). The manuscript designs bordering the tp. in the ms. bring to mind the ornamental frames on the musical publications of Alessandro Gardano (see Chapter 11, above). Angelo Gardano rarely used such borders, but we have no proof that the decorator of the ms. was imitating the decoration in the published edition. Chiti was already aware of a ms. copy of this edition in 1746, but not of the edition itselfsee Martini, Carteggio, 245.] 1578 MAINERIO (MAYNER), Giorgio. Il primo libro de balli a quattro voci accommodati per cantar et sonar d'ogni sorte de istromenti.Venezia, Angelo Gardano. 4° obl. M187.

 

GB Lbl (A,T)I Bc (T), I TnUS SFsc (A). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:148); also prob. in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 136).

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1578 MASSAINI, Tiburtio. Missae quinque et sex vocum . . . Missa Rorate coeli, quinque voc.; Missa Nuncium vobis, quinque voc.; Missa Omnes gentes, sex voc.; liber primus.Venezia, Angelo Gardano. 4° obl. M1269. F Pn (T). See also Heussner and Schultz, Collectio Musica, 97, #740; Cless, Unius seculi, 408. 1578 MERULO, Claudio. Liber primus sacrarum cantionum quinque vocibus.Venezia, Angelo Gardano. 4° obl. M2358. F Pc (B)I Bc, I Tn, I TVd (Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII)PL WRu (B,5). Two exs. were in the court library of Innsbruck in 1665 (Waldner, ''Zwei Inventorien," 137, 144); see also Heussner and Schultz, Collectio Musica, 99, #755; Cless, Unius seculi, 393. 1578 MERULO, Claudio. Liber secundus sacrarum cantionum, quinque vocibus.Venezia, Angelo Gardano. 4° obl. M2359. F Pc (B)I Bc, I Bsp, I Mc, I TVd (Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII), I VEcapPL WRu (B,5). A copy was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 144). 1578 MONTE, Philipp de. Il settimo libro delli madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3366. See 1583. A WnF Pc (formerly Rome, Bibl. Borghesesee Vogel, "Schicksale")I MOe (A). See Heussner and Schultz, Collectio Musica, 100, #765. 1578 NICOLETTI, Filippo. Il primo libro de madrigali . . . a cinque voci.Venezia, Angelo Gardano. 4° obl. N676. F PcI VEafPL LEtpn (T,B; Pfudel, Mittheilungen, 74a compl. ex. formerly in Liegnitz, Ritterakademie), PL Wn (S,A,5). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 144). 1578 PELIO, Giovanni. Il primo libro delle canzoni spirituali a cinque voci,Venezia, Angelo Gardano. 4° obl. P1147. D Rp (5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:65). 1578 PORDENON, Marc' Antonio. Il quinto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. P5105.  

A WnI MOe (S,B).

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1578 PORTA, Costanzo. Missarum [a 4,5 and 6 voices] liber primus.Venezia, Angelo Gardano. Folio. P5180. A WnD Mbs (inc.)F PcGB Lbl (def.)I Ac, I Bc, I Bsp, I FERd, I Gi, I LT (def.), I MOd (inc.), I PCd, I PESd, I Rsg, I Rvat-sistina, I Ra (2 exs.), I REm (def.)PL Kj. Eitner, Quellen-LexikonD Rp. Ferrarese and Gallo, Biblioteca CapitolareI TVd (ex. missing since WWII). 1578 ROSSI (Rubeo), Flaviano. Psalmorum vesperarum omnium totius anni dierum festorum . . . lib. primus . . . quatuor vocum.Venezia, Angelo Gardano. 4° obl. R2737. I Bc. 1578 VALENZOLA, Pietro. Madrigali . . . a cinque voci, con uno a sei, et uno dialogo a otto . . . libro primo.Venezia, Angelo Gardano. 4° obl. V144. GB Lbl (compl.: S,A,T,B,5; prob. the copy formerly in Rome, Bibl. Borghese, cited in Vogel, Bibliotheksee Willier, "Present Location," 222, Vogel, "Schicksale"), GB LI (compl.; S def.)I MOe (A,B), I VEaf (S,A,T,B,5; S,A,5; S,T,B)PL Kj, PL LEtpn (T,B; Pfudel, Mittheilungena compl. ex. formerly in Liegnitz, Ritterakademie), PL Wu (S,A,5)US CA (S[inc.],A,T,B,5). Vogel et al., BibliografiaPL Wn. 1579 1579 BACCUSI, Ippolito. Madrigali . . . libro terzo a sei voci.Venezia, Angelo Gardano. 4° obl. B39. D Mbs (6)I Rsc, I Vnm, I VEaf (S,T)PL Kj (T). Eitner, Quellen-Lexikon, Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 121). 1579 CANALE, Floriano. Harmonica officia in triduo dominicae passionis iuxta S. Romanae Ecclesiae ritum accommodata, cum passione dominicae palmarum, & veneris sanctae, quaternis vocibus paribus, & plenis mutato tenore in cantum per octavum.Venezia, Angelo Gardano. 4° obl. C768. I PS (all voices inc.). 1579 CARDILLO, Giacomo Antonio. Primo libro de mottetti a 5.Venezia, Angelo Gardano. No format data available. From Pitoni, Notitia, 96; Draud, Biblioteca, 1637 (without publisher). Angelo Gardano published the second book in 1586 (C986). 1579 CARTARI, Giuliano. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. No RISM or Vogel et al., Bibliografia numbers.

 

US BE (B).

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1579 COLOMBANI, Orazio. Harmonia super vespertinos omnium solemnitatum psalmos sex vocibus decantanda.Venezia, Angelo Gardano. 4° obl. C3421. I Bc. See Heussner and Schultz, Collectio Musica, 55, #379. 1579 CORONA, Agostino. Vespertini psalmi maiorum omnium solemnitatum, senis vocibus decantandi.Venezia, Angelo Gardano. 4° obl. C3949. I Bc. 1579 DELLA FAYA, Aurelio. Il secondo libro de madrigali a 5 voci.Venezia, Angelo Gardano. 4° obl. D1401. I Vnm (S). 1579 DORATI, Nicolò. Madrigali . . .libro primo, a sei voci.Venezia, Angelo Gardano. 4° obl. D3427. I Ls, I Vnm. Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). 1579 FELICIANI, Andrea. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. F203. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 102)GB LblI Bc (this ed. mentioned in letters between Chiti and Martini in 1746-47see Martini, Carteggio, 213, 221, 259). 1579 FELIS, Stefano. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. 15795, F211. D Mbs (6)PL Kj (T; see Mann, "From Berlin," 25). 1579 GATTO, Simon. Missae tres, quinis et senis vocibus . . .liber primus.Venezia, Angelo Gardano. 4° obl. G574. D Mbs (compl.: S,A,T,B,5,6)PL Kj (the ex. belonging to Emil Bohn, listed in Wölffheim, Versteigerung [2:356] and auctioned off in 1929? [S,A,T,B,5; 6 in ms.]). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 139); see also Heussner and Schultz, Collectio Musica, 70, #504. 1579 INGEGNERI, Marc' Antonio. Il secondo libro de madrigali . . .a quattro voci, con due arie di canzon francese per

sonare.Venezia, Angelo Gardano. 4° obl. 153. See 1584.

 

D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 101), D WILdGB Lbl (T)

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I Bc (S[inc.],T), I Fn (T[inc., ed. undesignated]), I Vnm (B)PL Kj (formerly Celle? See Eitner, QuellenLexikon), PL LEtpn (T,B; Pfudel, Mittheilungen, 59a compl. ex. formerly in Liegnitz, Ritterakademie). Sartori, Musica strumentale 1D OWB (T def.). Sartori, Musica strumentale 2, Vogel et al., BibliografiaPL Wn. Vogel, Bibliothek, Eitner, Quellen-LexikonBerlin (S,T[def.]). 1579 LASSO, Orlando di. Motetti et ricercari . . .a due voci, novamente composti et dati in luce, libro primo.Venezia, Angelo Gardano. 4° obl. L917. See 1577 (Berg), 1585. F Pc (S). 1579 LASSO, Orlando di. Motetti . . .a tre voci, novamente composti et dati in luce, libro primo.Venezia, Angelo Gardano. 4° obl. L918. See 1575 (Berg), 1592. I Bc (S,T). 1579 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) sex et octo vocum, tum viva voce, tum omnis generis instrumentis cantatu commodissimae, liber quartus.Venezia, Angelo Gardano. 4° obl. L919. See 1566, 1593. A Wn (A)D B (A,B,5), D RpE TZ (T,5,6)GB Lbl (A)I AOc (S,A), I Bc (A,B), I AOc (S,A)SI Ln (S,A,5). 1579 MACQUE, Jean de (Giovanni de). Madrigali a quattro, a cinque et sei voci.Venezia, Angelo Gardano. 4° obl. M86. I Bc (compl.: S,A,T,B,5/6), I Fd (compl.: A without tp.), I MOe (lacks B), I Rdp (S,A,B). 1579 MERULO, Claudio. Il primo libro de madrigali a quattro voci.Venezia, Angelo Gardano. 4° obl. M2369. I Bc, I Vnm (lacks A). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142). 1579 NANINO, Giovanni Maria. Il primo libro de madrigali a cinque voci, novamente . . .ristampati [first ed. not extant].Venezia, Angelo Gardano. 4° obl. N26. See 1582, 1605.

 

D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 103)GB Lbl (S[inc.], A,T[inc.],B,5; prob. the copy formerly in Rome, Bibl. Borghese, cited in Vogel, Bibliotheksee Willier, "Present Location," 222, Vogel, "Schicksale")I BcPL Kj (T).

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1579 OSTIANO, Vincenzo. Il primo libro delle Napolitane a tre voci.Venezia, Angelo Gardano. 8° obl. O150. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 108). 1579 PALESTRINA, Giovanni Pierluigi da. Motecta festorum totius anni cum Communi sanctorum . . .quaternis vocibus . . .liber primus.Venezia, Angelo Gardano. 4° obl. P692. See 1564, 1571, 1574, 1585, 1601. D B (A,B)F Pa (T)I Ac, I Bc (T). 1579 PALESTRINA, Giovanni Pierluigi da. Liber primus . . .mottectorum, quae partim quinis, partim senis, partim septenis vocibus concinantur.Venezia, Angelo Gardano. 4° upr. P701. See 1569 (Dorico), 1590. D Mbs (compl.: S,A,T,B,5,6; prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 97); D RpE CU (A), E V (lacks A)F Pc (Bibliothèque du Conservatoire, Catalogue lists 1589, prob. in error; Weckerlin, Bibliothèque gives correct date)I Bc, I Ls, I TVd (inc.)PL LEtpn (B; Pfudel, Mittheilungen, 76a compl. ex. formerly in Liegnitz, Ritterakademie), PL Wn (T,5)US BLu. Heyer, Versteigerungcompl. ex. formerly in Heyer coll., Cologne. Ferrarese and Gallo, Biblioteca Capitolare2 inc. exs. (A,B,5 missing since WWII; S,A,T,B,5 extant) in I TVd. 1579 PALLAVICINO, Benedetto. Il primo libro de madrigali a quattro voci.Venezia, Angelo Gardano. 4° obl. P772. I Bc. 1579 SABINO, Ippolito. Madrigali a sei voci . . .libro primo.Venezia, Angelo Gardano. 4° obl. S45. D Mbs (2 exs. of 6; compl. ex. prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 100)F Pn (A)I MOe, I Vnm, I VEaf (A)NL At (T)PL Kj. Eitner, Quellen-Lexikon, Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). See Göhler, Verzeichnis, 1:41 (P84V). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:48). 1579 SCOZZESE, Agostino. Il primo libro di canzoni alla napolitana a tre, a quattro, & a cinque voci . . .nuovamente date in luce.Venezia, Angelo Gardano. 8° obl. S2630. D Mbs (S,A,T,B; prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician,"

 

108).

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1579 SORTE, Bartolomeo. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. S3991. I RscPL LEtpn (T,B; Pfudel, Mittheilungen, 94a compl. ex. formerly in Liegnitz, Ritterakademie), PL Wn (S,A,5). 1579 STRIGGIO, Alessandro. Il primo libro de madrigali a sei voci, novamente . . .con ogni diligenza ristampati [without the previously printed madrigals of other composers].Venezia, Angelo Gardano. 4° upr. S6956. See 1560, 1592. D As, D Mbs (S,T,6)GB Lbl (T,B)I Bc (lacks S,A), I MAc (5), I Vnm (S,A), I VIb (A)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120), PL LEtpn (B; Pfudel, Mittheilungen, 96a compl. ex. formerly in Liegnitz, Ritterakademie), PL Wn (T,5). 1579 TIGRINI, Orazio. Musica super psalmos omnes qui totius anni cursu ad Vesperas et Completorium decantari solent, maxima cantorum commodiatate contexta non solum pueribus sed etiam paribus nec non quatuor ac quinque vocibus, si placet . . .una cum Canticis Beatae Mariae Virginis, liber primus et secundus.Venezia, Angelo Gardano. 4° obl. T791. I FZac (S,A). 1579 VECCHI, Orazio (Tiberio). Mottetti a otto voci, libro primo.Venezia, Angelo Gardano. 4° upr. V1003. I PS (S,B[inc.]). 1580 1580 ANONYMOUS. Lodi spirituali novamente composte, et datte in luce ad instantia della Venerabile Congregatione dell'Humiltà, per commune utilità delle scole della Dottrina Christiana.Venezia, Angelo Gardano. 12° upr. 15806. A Wn. 1580 ANONYMOUS. Il terzo libro delle muse a cinque voci composto da diversi eccellentissimi musici, novamente con ogni diligentia ristampato.Venezia, Angelo Gardano. 4° obl. 15809. See 1561. GB LwaI MOe.

1580 ASOLA, Giovanni Matteo. Le messe a quattro voci pari.Venezia, Angelo Gardano. 4° obl. A2511. See 1574.  

I Bc (S,B), I LsF Pa (T).

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1580 ASOLA, Giovanni Matteo. Il secondo libro delle messe a quattro voci pari . . .composti sopra li toni rimanenti al primo libro insieme con una messa pro defunctis accommodata per cantar a dui chori (si placet).Venezia, Angelo Gardano. 4° obl. A2540. See 1586. F Pa (T)I Bc. 1580 BALBI, Lodovico. Missae quatuor quinque vocum. Una ex quibus alternatim canitur, nuper in lucem edditae, & impressae, quarum nomina sunt haec, Missa Ecce mitto angelum meum, Missa Fuggite il sonno, Missa duodecim toni, Missa Alternatim canenda.Venezia, Angelo Gardano. 4° obl. B738. See 1595. I Bc (S,A,B,5). [1580 COMIS DA COLOGNA, Michele. 1° libro de' madrigali a 6 voci.Venezia, Angelo Gardano (Pitoni, Notitia, 105)] 1580 DIRUTA, Girolamo. Il primo libro de contrapunti, sopra il canto fermo delle antifone delle feste principali de tutto l'anno, a cinque voci.Venezia, Angelo Gardano. 4° obl. D3133. F Pc (A[inc.])I Sac (S). 1580 GABRIELI, Andrea. Il secondo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. G72. See 1586. B Br (5)CH E (B)D As, D Bhm (6), D Kl, D Mbs (2 exs. of B; compl. ex. prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 99)GB Lbl (lacks 6; 2 exs. of B)I Bc, I Bsp, I MAc (5), I MOe (lacks 6), I Nn (5,6), I Rdp, I Vnm (S,A)PL Kj (5). Eitner, Quellen-LexikonBerlin Kircheninstitut. 1580 GABUSSI, Giulio Cesare. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. G95. D WILd (S,A,T,B)HR Ssf (A,5)I Bc (B), I Vnm (B)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). Eitner, Quellen-LexikonCelle (S,B). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 143). 1580 INGEGNERI, Marc' Antonio. Il terzo libro de madrigali a cinque voci . . .con due canzoni francese.Venezia, Angelo Gardano. 4° obl.

155.  

D Mbs (prob. from the library of Hans Heinrich Herwart [1520-

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83]see Slim, "Augsburg Patrician," 104), D WILd (S,A,T,B)GB LwaHR Ssf (A,5)I Bc, I MOe (S,B), I Vnm (B), I VEaf (compl.; B in 2 exs.)PL Kj (1 vol.; formerly Celle? See Eitner, Quellen-Lexikon). Vogel, Bibliothek, Eitner, Quellen-Lexikonan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Heyer, Versteigerunga compl. but def. ex. formerly in Heyer coll., Cologne. 1580 ISNARDI, Paolo. Psalmi . . .quatuor vocum. Venezia, Angelo Gardano. 4° obl. I111. See 1569, 1571, 1590. F Pa (T)I FEc (T). 1580 MAINERIO (MAYNER), Giorgio. Sacra cantica Beatissimae M. Virg. omnitonum sex vocum parium canenda.Venezia, Angelo Gardano. 4° obl. M188. D KNu (B,5; lacks S,A,T). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:150), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 140). 1580 MANARA, Francesco. Madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. M267. I Vnm. 1580 MARENZIO, Luca. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M530. See 1582, 1587, 1602. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 104)GB LwaI Bc, I Nf (inc.; ed. undesignated), I Rsc (A,5[inc.]), I Vnm (B)PL Kj (T,B). See Heussner and Schultz, Collectio Musica, 96, #727 (under Giovanni Marenzio). 1580 MARTINENGO, Gabriele. Madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M997. I MOe (T,5), I VEcap. 1580 MASSAINI, Tiburtio. Sacri cantus quinque paribus vocibus concinendi . . .liber secundus.Venezia, Angelo Gardano. 4° obl. M1270. See 1592. D Kl, D WILdF VE (5)GB Lbl (lacks T)I RscPL Kj (5; formerly Celle? See Eitner, Quellen-Lexikon). See also Heussner and Schultz, Collectio Musica, 97-8, #741; Cless, Unius seculi, 408.

 

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1580 MERULO, Claudio. Il primo libro de madrigali a tre voci.Venezia, Angelo Gardano. 4° obl. M2370. B BrD WILdF Pn (B)GB LblI Bc, I Bsp, I PCd (B), I Vnm (T)US SM (lacks T). Eitner, Quellen-LexikonCelle (S,B). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142). 1580 MONTE, Philipp de. Il quarto libro de madrigali a sei voci, insieme alcuni a sette.Venezia, Angelo Gardano. 4° obl. M3368. See 1592. B Br (B), B MEa (lacks 6)D Mbs (2 exs. of 6; compl. ex. prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 99)F Pn (A)GB Lbl (S)I Bc (B), I Fn (S,A,B,5), I PS (T), I Rsc (T,B,5,6), I VnmPL Kj (T). Eitner, Quellen-Lexikon, Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Heyer, Versteigerungan ex. (S,A,T,B,5) formerly in Heyer coll., Cologne. 1580 NARDO, Cola. Il primo libro de madrigali con le parole di vilanelle [sic] di Cola Nardo di Monte, a quattro voci.Venezia, Angelo Gardano. 4° obl. N54. I Bc (A). 1580 PORDENON, Marc' Antonio. Il primo libro de madrigali a quattro voci.Venezia, Angelo Gardano. 4° obl. 158011, P5106. D WILdI Bc, I Vnm (S,T,B). Eitner, Quellen-LexikonCelle (S,B). See Heussner and Schultz, Collectio Musica, 110, #860? ("M. Anton Pordeneri & Cigneri 4 v. Venet. apud Guardan. 1592"). 1580 PORTA, Costanzo. Liber quinquaginta duorum motectorum, quatuor, quinque, sex, septem, & octo vocum.Venezia, Angelo Gardano. 4° upr. P5181. D FUp (B), D Mbs (lacks 7,8), D Rp (S,B,8)GB Lbl (S,A,T,B,6,7)I Bc (compl.: S,A,T,B,5,6,7,8), I FA (5), I PCd (lacks S,7), I TVd (Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII), I VEcapPL Kj (A,B,7). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:42-3), and another in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137). 1580 RESTA, Agostino. Madrigali a cinque et a sei voci.Venezia, Angelo Gardano. 4° obl. R1198.  

I MOe (A).

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1580 RORE (DE RORE), Cipriano. Il quarto libro d'i madrigali a cinque voci con uno madregale a sei et uno dialogo a otto . . .novamente ristampato.Venezia, Angelo Gardano. 4° obl. 158012, R2499. See 1557. A Wn (T,B,5)B Br (compl.: S,A,T,B,5)GB Lbl, GB LwaI Bam (5)PL Kj (T). Eitner, Quellen-Lexikon, Vogel, BibliothekD Mbs (cannot confirm in Bayerische Staatsbibliothek, Katalog); Eitner, Quellen-LexikonGB Lcm. 1580 SABINO, Ippolito. Madrigali a cinque voci . . .libro secondo.Venezia, Angelo Gardano. 4° obl. S46. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 104)F Pn (A,5)GB Lbl (compl.; the S,A,T,B partbooks prob. those listed by RISM, Einzeldrucke in GB LIsee Fenlon, "Michael Honywood's Music Books," 197), GB LwaI Vnm (S,B), I VEaf (A)PL Kj (T). Eitner, QuellenLexikon, Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Vogel et al., BibliografiaF CC. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:48). 1580 VECCHI, Orazio (Tiberio). Canzonette . . .libro primo a quattro voci, novamente ristampate.Venezia, Angelo Gardano. 4° upr. V1010. See 1581, 1585, 1591, 1613. D Mbs (B)I Bc, I MOe (S,T), I Ps (S,T,B). 1580 VECCHI, Orazio (Tiberio). Canzonette . . .libro secondo a quattro voci.Venezia, Angelo Gardano. 4° upr. V1017. See 1582, 1585, 1595, 1602. I Bc (B). Eitner, Quellen-LexikonI MOe, I Vnm (A; but cannot be confirmed, since it is not in I Vnm cat.). 1580 WERT, Giaches (Jaches) de. Il quinto libro de madrigali a cinque, sei, et sette voci . . .novamente ristampato.Venezia, Angelo Gardano. 4° obl. W879. See 1571.

 

D Mbs (compl.: S,A,T,B,5; T,B,5; prob. some partbooks from the library of Hans Heinrich Herwart [152083]see Slim, "Augsburg Patrician," 103)F Pc (compl.; A in 2 exs.)GB Lbl (A), GB Lwa (A)I Bc (compl.; but by 1747, Martini's coll. had only S,Bsee Martini, Carteggio, 268), I MOe (lacks S,5)NL DHgm (A)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120), PL Kj (A,T,B). Eitner, Quellen-Lexikon, Vogel et al., BibliografiaF Pn (A). Vogel, Bibliothekan ex. formerly in Rome, Bibl. Borghese (now prob. either the copy in F Pc or GB Lblsee Willier, "Present Location," 222, Vogel, "Schicksale").

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1581 1581 ASOLA, Giovanni Matteo. Secundus liber in quo reliquae missae [a 4] octonis compositae tonis. Videlicet, quinti, sexti, septeni, & octavi continentur. Ad facilitatem, brevitatem, mentemque sanctorum Tridentini concilij patrum accommodatae.Venezia, Angelo Gardano. 4° obl. A2543. See 1601. I Bc (S,T). 1581 CAVACCIO, Giovanni. Magnificat omnitonum.Venezia, Angelo Gardano. 4° obl. C1547. D Kl (compl.: S,A,T,B), D Rp (A,T)I Bc. 1581 COSTA, Gasparo. Il primo libro de motetti et madrigali spirituali a cinque voci.Venezia, Angelo Gardano. 4° obl. C4218. D Kl. 1581 GASTOLDI, Giovanni Giacomo. Canzoni a cinque voci . . .libro primo.Venezia, Angelo Gardano. 4° obl. G546. GB LblI MOePL GD (from the coll. of Georg Knoff [d.1605]see Morell, ''Georg Knoff," 120). Not at US BE, as suggested by Harvard RISM catalogue. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:245, 2:31). 1581 GERO, Ihan (Jehan, Jan). Il primo libro de madrigali italiani, et canzon francese, a due voci.Venezia, Angelo Gardano. 4° obl. G1632. See 1541, 1543. Here, expanded by 11 French chansons; see 1593. A WnD AsI Fn (T). 1581 GHIBELLINI (Ghibel, Ghibelli, Gibel, Gibellini), Eliseo. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. G1776. I Bc (5), I MOe (S,A,T,5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120), PL Kj (T). 1581 ISNARDI, Paolo. Missarum cum quinque vocibus liber secundus.Venezia, Angelo Gardano. 4° obl.

I117. F Pn (A,T,B,5)GB Lbl (2 exs.)I Fn, I FZac (S,B)PL Kj. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:65). [1581 LASSO, Orlando di. Il primo libro di madrigali a quattro voci. See 1582.]  

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1581 MACQUE, Jean de (Giovanni de). Madrigaletti et Napolitane a sei voci.Venezia, Angelo Gardano. 4° obl. M87. F Pc (lacks 6)GB LblI Bc (S), I VEafPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). 1581 MARAZZI, Silvio. Motecta quinque vocum liber primus.Venezia, Angelo Gardano. 4° obl. M411. GB Lbl (B). 1581 MARENZIO, Luca. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M539. See 1583, 1593, 1606. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 104)F LYm (S)GB LwaI Bc (A,B), I Fc (5), I Fd (A,B), I MOe (A,T,B), I Nc (A,5), I Rsc (5), I Rvat[-sistina?] (5). 1581 MARENZIO, Luca. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. M500. See 1584, 1603. D Mbs (lacks S,A; prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 98)I Bc (S,B), I PESc (S,A[inc.],5,6), I Rdp (S,A,B), I Rsc (S,T,B,5), I Sd (S,T[2 exs.],B). Vogel, Bibliothek, Eitner, Quellen-LexikonI Nc (6). Vogel et al., BibliografiaI VT cerasa (S). Heyer, Versteigerunga def. ex. (A,T,B,5,6) formerly in Heyer coll., Cologne; see also Heussner and Schultz, Collectio Musica, 96, #726 (under Giovanni Marenzio). 1581 MEL, Rinaldo del. Liber primus . . .mottetorum quae partim quaternis, partim quinis, partim senis, ac unum septenis, alterum vero octonis vocibus concinuntur.Venezia, Angelo Gardano. 4° obl. M2193. D Kl (S,A,T,B,5). An ex. appears to have been in the coll. of the church of St. Louis des Français in Rome in 1583 (Perkins, "Notes bibliographiques," 64). 1581 MICHELI, Domenico. Il quinto libro de madrigali a cinque voci con un dialogo a dieci.Venezia, Angelo Gardano. 4° obl. M2680.

 

D MbsGB LblI MOe (S,B). Eitner, Quellen-Lexikon, Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Eitner, Quellen-LexikonA Wn.

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1581 MONTE, Philipp de. Il quarto libro de madrigali a quattro voci.Venezia, Angelo Gardano. 4° obl. M3374. See 1588. B Br (lacks A)D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 101)F Pc (formerly Bibl. Borghesesee Vogel, "Schicksale"), F Pn (A)I Bc (already in Martini's coll. by 1747see Martini, Carteggio, 269), I Vnm (S,T,B). 1581 MONTE, Philipp de. Il primo libro de madrigali spirituali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3317. D AsF PsgGB Lbl(5)I Bam (5), I VnmPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. An ex. formerly in the library of Hans Heinrich Herwart (1520-83)see Slim, "Augsburg Patrician," 103. 1581 NANINO, Giovanni Maria. Madrigali a cinque voci di Gio(vanni) Maria Nanino et di Annibal Stabile.Venezia, Angelo Gardano. 4° obl. 158110, N29. See 1572 (in RISM, Einzeldrucke, under Stabile), 1587 (in RISM, Einzeldrucke, under Nanino). B BrD Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 103)GB Lbl (prob. the copy formerly in Rome, Bibl. Borghese, cited in Vogel, Bibliotheksee Willier, "Present Location," 222, Vogel, "Schicksale"), GB LwaI Bc, I Bsp, I Nc (lacks T; 2 exs. of A,5), I VEaf (5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120), PL Kj (T). Vogel et al., BibliografiaI Rdp (S,A,B). See Heussner and Schultz, Collectio Musica, 26, #166. 1581 PALESTRINA, Giovanni Pierluigi da. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. P761. See 1604.

 

A WnB Br (A)D B, D Kl, D KNu (S,A,5), D Mbs (prob. from the library of Hans Heinrich Herwart [152083]see Slim, "Augsburg Patrician," 105), D Rp (S,T)E V (S,A,T,B)GB Lbl (S)I Bc (prob. not in Martini's coll. by 1747see Martini, Carteggio, 280)NL At (S,T)PL GD (T,B,5; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120)US NYp (5). Eitner, Quellen-LexikonA Wgm. Vogel et al., BibliografiaUS CA (A,T). See Göhler, Verzeichnis, 1:34 (P93A); prob. this ed. intended; also Heussner and Schultz, Collectio Musica, 105, #809.

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1581 PALLAVICINO, Benedetto. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. P773. See 1606. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 102)I Bc (5). 1581 ROVIGO, Francesco. Madrigali a cinque voci, il primo libro.Venezia, Angelo Gardano. 4° obl. R2987. I VEcap. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:47). 1581 SABINO, Ippolito. Il secondo libro de madrigali a sei voci . . .alcuni di Oratio Crisci del Vasto.Venezia, Angelo Gardano. 4° obl. 158111, S47. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 100)F Pn (A)GB Ckc (BritishUCS,5; Vogel et al., Bibliografiacompl.), GB Lbl (5)I MOePL Kj. Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). See also Heussner and Schultz, Collectio Musica, 120, #948. 1581 SORIANO (SURIANO), Francesco. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. S3986. I Bc (compl.; only B in Martini's coll. by 1747see Martini, Carteggio, 270, 281), I MOe, I Rdp. Vogel et al., Bibliografiaa partbook (T) formerly in the coll. Cortot. 1581 VECCHI, Orazio (Tiberio). Canzonette . . .libro primo a quattro voci . . .terza impressione.Venezia, Angelo Gardano. 4° upr. V1011. See 1580, 1585, 1591. GB Lbl (S,A)I Bc (T,B), I Fn (S,T,B), I Vnm (S)US Cn (A). 1581 WERT, Giaches (Jaches) de. Il settimo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. W884.

 

D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 104)E VGB Lbl (A,B), GB Lwa (A,B)I Bc (already in Martini's library by 1747see Martini, Carteggio, 268), I Fc (5), I Ls, I MOe, I Nc (A,5), I Rdp (S,A,B)NL DHgm (A)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:45), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 141).

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1582 1582 ANONYMOUS. Madrigali ariosi a quattro voci, composti da diversi eccellentissimi autori, novamente con somma diligentia ristampati. Libro primo.Venezia, Angelo Gardano. 4° obl. 15827. See 1557, 1578. I Ac, I Bc (S,T), I Vnm (S,T,B). 1582 ANONYMOUS. Il quarto libro delle Muse a cinque voci composti da diversi eccellentissimi musici novamente ristampati, intitolati Benigni spirti.Venezia, Angelo Gardano. 4° obl. 15826. See 1574. GB LwaI Bc (this ed. is mentioned in letters between Chiti and Martini in 1746see Martini, Carteggio, 213, 221, 259), I Fn, I MOe, I Rsc (formerly Rome, Bibl. Borghesesee Vogel, "Schicksale."). 1582 ASOLA, Giovanni Matteo. Falsi bordoni per cantar salmi.Venezia, Angelo Gardano. 4° obl. 15821, A2521. See 1575. I Bc. 1582 ASOLA, Giovanni Matteo. Le Vergini a tre voci.Venezia, Angelo Gardano. 4° obl. A2612. See 1571, 1576, 1603. A WnI Bc (S), I Bsp, I Fn (T). 1582 ASOLA, Giovanni Matteo. Vespertina omnium solemnitatum psalmodia.Venezia, Angelo Gardano. 4° obl. A2533. See 1578. D DlbGB Lbl (S,A)I BcPL Kj (4 vols). Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1582 BASEO, Francesco Antonio. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. B1153. PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). 1582

BIANCHI, Pietro Antonio. Il primo libro de madrigali a quattro voci.Venezia, Angelo Gardano. 4° obl. 15829, B2594.

 

D Mbs (T,B)I Bc, I Rsc (prob. the copy formerly in Rome, Bibl. Borghese, cited in Eitner, Quellen-Lexikon, Vogel, Bibliotheksee Willier, "Present Location," 222, Vogel, "Schicksale"), I Vnm (S,T,B).

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1582 CAVACCIO, Giovanni. Liber secundus Magnificat omnitonum.Venezia, Angelo Gardano. 4° obl. C1548. D Kl (compl.: S,A,T,B)I Bc (B). 1582 DALLA GOSTENA, Giovanni Battista. Il libro primo di madrigali a quattro voci.Venezia, Angelo Gardano. 4° obl. D810. D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 101)I Vnm (lacks A). 1582 GABRIELI, Andrea. Libro primo de madrigali a tre voci.Angelo Gardano. 4° obl. G69. See 1575, 1590. GB LblI Bc, I Fn (T), I MC (T)PL Kj (see Eitner, Quellen-Lexikon, Vogel, Bibliothek, and Mann, "From Berlin," 12, n. 3)S Uu (S). 1582 LASSO, Orlando di. Il primo libro di madrigali a quattro voci, novamente con ogni diligentia ristampati.Venezia, Angelo Gardano ([B:]1581). 4° obl. 15818, L931, 158210, L943. See 1576, 1592. D Bds-Tü (S,T,B)F Pc (A,B)GB Lbl (S,A,T), GB LcmI Rvatrossiano (S,T,B). Eitner, Quellen-LexikonBerlin (S,T,B; E. Berlin catalogue lists in D B). Vogel et al., BibliografiaF Pthibault, but sold to an unnamed bidder in Paris in 1995 (see Coles and Heath, Book Auction Records, 92:373-4). Prob. the ed. mentioned in a letter from Chiti to Martini in 1746 (see Martini, Carteggio, 212). 1582 LASSO, Orlando di. Il primo libro de madrigali a cinque voci novamente con ogni diligentia ristampati.Venezia, Angelo Gardano. 4° obl. L944. See 1555, 1570. I Bc (5), I MC (5). 1582 LUYT(H)ON, Karel. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. L3115. D Mbs. See Göhler, Verzeichnis, 1:29 (P84V), Heussner and Schultz, Collectio Musica, 94, #712. 1582 LUZZASCHI, Luzzasco. Terzo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. (contrary to

Vogel, Bibliothek). L3124.  

I Bc, I FEc. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 141).

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1582 MACQUE, Jean de (Giovanni de). Secondo libro di madrigaletti et napolitane a sei voci.Venezia, Angelo Gardano. 4° obl. M88. I Fn, I Rsc (lacks 6), I VEafPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:48). 1582 MARENZIO, Luca. Il primo libro de madrigali a cinque voci . . .novamente con ogni diligentia ristampati.Venezia, Angelo Gardano. 4° obl. M531. See 1580, 1587, 1602. A Wn (5)D AsF Pc (formerly Rome, Bibl. Borghesesee Vogel, "Schicksale"), F LYm (S)GB Lbl (A)I Bc, I Fc (5), I Rdp (S,A,B), I Rvat[-sistina?] (5), I Sd (S,T)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 119), PL Kj (S,5). Vogel et al., BibliografiaI Ra. See Heussner and Schultz, Collectio Musica, 96, #727 (under Giovanni Marenzio, 1592). 1582 MARENZIO, Luca. Il terzo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M546. See 1595. A WnD As, D Mbs (prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 104)F LYm (S), F Pc (S,A,T,B; Weckerlin, Bibliothèque lists as compl.), F Pn (S)GB Lbl (3 exs.; S,A,T,B,5; S,A,T,B,5; 5)I Bc (already in Martini's library by 1747see Martini, Carteggio, 267), I Bsp, I Fn (A,5), I MOe (A), I Rdp (S,A,B), I Rsc, I Rvat[-sistina?] (5), I Sac (S,A,T,5), I VEaf (S,T,B,5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 119). Vogel, Bibliothekan ex. formerly in Rome, Bibl. Borghese (prob. the copy now in F Pc, GB Lbl, or I Rscsee Willier, "Present Location," 222, Vogel, "Schicksale"). Vogel et al., BibliografiaF CC, I Ra. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1582 MASNELLI, Paolo. Madregali . . .libro primo a quattro voci.Venezia, Angelo Gardano. 4° obl. 158211, M1253. D Mbs (T,B)I VEaf (T,B), I VEcap. 1582 MONTE, Philipp de. Il primo libro de madrigali a tre voci.Venezia, Angelo Gardano. 4° obl. M3376.

 

I Bc, I BGi, I Rvat-rossiano. Eitner, Quellen-Lexikon, Vogel, BibliothekBerlin. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142).

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1582 MONTEVERDI, Claudio. Sacrae cantiunculae tribus vocibus.Venezia, Angelo Gardano. Format unknown. (The library did not respond to my three separate inquiries on the format of this edition). M3443. I CARp. 1582 NANINO, Giovanni Maria. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. N27. See 1579, 1605. B BrEIRE Dm (B)GB Lbl (Vogel et al., Bibliografiadef.; from the coll. of Michael Honywood, prob. the ex. listed by RISM, Einzeldrucke, in GB LI; see Fenlon, "Michael Honywood's Music Books," 196)I Bc (already in Martini's coll. by 174see Martini, Carteggio, 267), I FnNL DHgm (5). Eitner, Quellen-Lexikon, Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Vogel et al., BibliografiaF CC (S). Meluzzi, Catalogue, 33an ex. (5) was auctioned off at Rome in 1906. 1582 NENNA, Pomponio. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. 158212, N382. D Mbs (T,B,5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:63). This ed. was mentioned in a letter from Chiti to Martini in 1747 (see Martini, Carteggio, 259). 1582 PACIOTTO, Pietro Paolo. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. Vogel et al., Bibliografia 2083. D DS (A,T,B). 1582 PALESTRINA, Giovanni Pierluigi da. Missarum cum quatuor et quinque vocibus, liber quartus.Venezia, Angelo Gardano. 4° upr. P667.

 

A Wn (S,A,T,B,5; A,B)D B (T), D Rp (A,T,B)E TUF Pc (S,A,T,B)GB Lbl (A,T,B,5)I Ac (S,A,T,B[inc.],5), I Bc (already in Martini's coll. by 1745see Martini, Carteggio, 129), I BRd (lacks 5), I FZac (5), I PS (lacks 5), I Rvat-giulia (5), I Rvat-sistina, I VIdPL GD (Morell, "Georg Knoff," 125formerly Marienkirche, prob. from the coll. of Georg Knoff [d.1605]), PL Kj (S,5; bound as call no. P. 300), PL Wu (S,A,T,5). Fétis, Biographie, Becker, Tonwerke list a Roman ed. by Alessandro Gardano in folio, and a quarto ed. in Venice in the same year by Angelo, but this has not been confirmed. Heyer, Versteigerunga compl. but def. ex. formerly in Heyer coll., Cologne. An ex. was prob. in the Roman Archon- fraternity of San Rocco in the late sixteenth century (O'Regan, "Music at the Roman Archconfraternity," 550).

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1582 RORE (DE RORE), Cipriano. Il primo libro de madrigali a quatro voci . . .novamente con ogni diligentia ristampato.Venezia, Angelo Gardano. 4° obl. R2511. See 1575. B Br (S,T,B)F Pc (formerly Rome, Bibl. Borghesesee Vogel, "Schicksale")I Ac, I Bc, I Fn, I Rc (A), I Rvatrossiano (S,T,B). 1582 SABINO, Ippolito. Hymni per totum annum cum vocibus 4 paribus . . .auctor nunc denuo.Venezia, Angelo Gardano. 4° obl. Not in RISM, Einzeldrucke. PL Kj (S,T). 1582 SABINO, Ippolito. Il terzo libro de madrigali a cinque et a sei voci . . .con altri madrigali a sette et ad otto voci, et alcune canzoni alla Napolitana a quattro, a cinque et a sei voci.Venezia, Angelo Gardano. 4° upr. S48. D Mbs (compl.: S,A,T,B,5,6; prob. from the library of Hans Heinrich Herwart [1520-83]see Slim, "Augsburg Patrician," 100)I Ls (compl.[A inc.]), I MOe, I Vnm (5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120), PL Kj (6)S Uu. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:310-1, 2:39). 1582 TIGRINI, Orazio. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. T792. I Bc (prob. sent to Martini by Chiti early in 1746see Martini, Carteggio, 138, 140, 143, 147). 1582 VECCHI, Orazio (Tiberio). Canzonette . . .libro secondo a quattro voci . . .seconda impressione.Venezia, Angelo Gardano. 4° upr. V1018. See 1580, 1585, 1595, 1602. GB Lbl (S,A)I Bc (T), I Fn (S,T,B), I Rc (S)US Cn (A). Eitner, Quellen-LexikonI MOe, Berlin (T,B; not in PL Kj nor E. Berlin catalogues). Vogel et al., BibliografiaPL WRu (T,B). 1582 ZALLAMELLA, Pandolfo. Musica . . .quinque canenda vocibus, nuper impressa.Venezia, Angelo Gardano. 4° upr. Z15. D KlGB LblI BcPL Kj. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137).

1583 [1583 ANONYMOUS. See also GONZAGA, Guglielmo.] 1583 ANONYMOUS. Li amorosi ardori di diversi eccellentissimi musici novamente composti, et dati in luce. Libro primo a cinque voci.Venezia, Angelo Gardano. 4° obl.  

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158312. D MbsF Pn (T)GB Lbl (S,A,T,B; prob. the copy formerly in Rome, Bibl. Borghese, cited in Vogel, Bibliotheksee Willier, "Present Location," 222, Vogel, "Schicksale")I Bc, I Fc, I MOe, I Vnm (S)PL GD (from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 119). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:69), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 144); see also Heussner and Schultz, Collectio Musica, 27, #172. 1583 ANONYMOUS. Villotte mantovane a quattro voci novamente date in luce.Venezia, Angelo Gardano. 4° obl. GG2997a. GB Lbl (A,T). 1583 ASOLA, Giovanni Matteo. Prima pars musices continens officium hebdomadae sanctae, videlicet benedictionem palmarum & alia missarum solemnis . . .cum quatuor vocibus.Venezia, Angelo Gardano. 4° upr. A2552. I Bc (S,B), I VIb (A,T,B[inc.]), I Fn (A). 1583 ASOLA, Giovanni Matteo. In passionibus quatuor evangelistarum Christi locutio, cum tribus vocibus.Venezia, Angelo Gardano. 4° upr. A2548. I Bc, I Bsp, I FEc. 1583 ASOLA, Giovanni Matteo. Secundus chorus vespertinae.Venezia, Angelo Gardano. 4° obl. A2539. See 1578. E Bc (A,T,B)GB Lbl (S,A)I Bc (S), I FEc. 1583 CASULANA DE MEZARI, Maddalena. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. C1519. A Wn (S,T,5)I VEaf (5)PL GD (T,B,5; from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 120). 1583 CAVACCIO, Giovanni. Libro primo di madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. C1556. A Wn (S,T,5)I VEaf (A,T,B). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 143). 1583

DUETO, Antonio. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. D3651.  

PL GD (S,A,T; from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 119).

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1583 FELIS, Stefano. Il secondo libro de madrigali a cinque voci . . .ristampato con aggiontione di molti suoi madrigali novi.Venezia, Angelo Gardano. 4° obl. Vogel et al., Bibliografia 922 (orig. ed. lost). Eitner, Quellen-Lexikon, Vogel et al., Bibliografiaan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, ''Georg Knoff," 121). 1583 FELIS, Stefano. Il quinto libro de madrigali a cinque voci . . . novamente composti et dati in luce.Venezia, Angelo Gardano. 4° obl. Vogel et al., Bibliografia 924. Eitner, Quellen-Lexikon, Vogel et al., Bibliografiaan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). See Göhler, Verzeichnis, 1:10 (P84V); Heussner and Schultz, Collectio Musica, 64, #454. 1583 GABRIELI, Andrea. Psalmi Davidici, qui poenitentiales nuncupantur, tum omnis generis instrumentorum, tum ad voci modulationem accommodati, sex vocum.Venezia, Angelo Gardano. 4° upr. G56. See 1606. D F (lacks 5), D Mbs, D Rp (compl.; S[2 exs.])GB Lbl (5)I Bc, I Bsp, I FEc, I MOe (A), I Rsc (B)PL GD (S,A,T; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 119), PL Kj (lacks 6). 1583 GONZAGA, Guglielmo. [Attribution inferred from the Gardano, Indice, "Duca di Mantoa".] Madrigali a cinque voci, novamente posti in luce.Venezia, Angelo Gardano. 4° obl. 158313, G2997. GB LblI MOe. Eitner, Musik-Sammelwerke, Morell, "Georg Knoff"an ex. formerly in PL GD. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:106), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 143). 1583 GONZAGA, Guglielmo. [Attribution inferred, as above.] Sacrae cantiones quinque vocum in festis duplicibus maioribus ecclesiae Sanctae Barbarae.Venezia, Angelo Gardano. 4° obl. 15831, G2996. A Wn (B,5)D KlI McGB Lbl, GB Lbm tilgen. Eitner, Musik-Sammelwerkean ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:106), and two exs. in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137, 139). 1583 GUERRERO, Francisco. Canticum Beatae Mariae, quod Magnificat nuncupatur, per octo musicae modos variatum.Venezia, Angelo Gardano. (The library failed to respond to my four separate inquiries regarding format information).  

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G4869. See 1563 (Phalèse). E CZ (lacks tp.). Eitner, Quellen-LexikonD Kl (S; but not listed in Kassel, Katalog). 1583 MACQUE, Jean de. Madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. Vogel et al., Bibliografia 1537an ex. formerly in Rome, Bibl. Borghese (see Vogel, "Schicksale"). 1583 MARENZIO, Luca. Il secondo libro de madrigali a cinque voci . . . novamente ristampati.Venezia, Angelo Gardano. 4° obl. M540. See 1581, 1593, 1606. D AsGB Lbl (A), GB Lcm (S,A,T[def.],B[def.])I Bc (apparently not in Martini's coll. by 1747see Martini, Carteggio, 267), I Fn (A,5), I Rdp (S,A,B), I Rsc, I Sac (S,A,T,5), I VIb (B)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 119). Vogel et al., BibliografiaI Ra. Vogel, Bibliothekan ex. formerly in Rome, Bibl. Borghese (prob. the copy in GB Lbl or I Rscsee Willier, "Present Location," 222, Vogel, ''Schicksale"). 1583 MASOTTI, Giulio. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M1265. I Bc, I Vnm (S)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). 1583 MEL, Rinaldo del. Madrigali a quattro, cinque et sei voci.Venezia, Angelo Gardano. 4° obl. M2198. F Pc (compl.: S,A,T,B,5/6; formerly Rome, Bibl. Borghesesee Vogel, "Schicksale"). 1583 MERULO, Claudio. Il primo libro de mottetti a sei voci novamente composti, & dati in luce.Venezia, Angelo Gardano. 4° upr. M2360. See 1595. F Pn (A)GB Lbl (T)I VEcapPL GD (S,A,T; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 119). 1583 MONTE, Philipp de. Il settimo libro delli madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3367. See 1578. B Br (B,5)D Mbs, D Rp (T[inc.])F Pn (A)GB Lbl (S,A,T)I Bc (S,A,T,B; already in Martini's coll. by 1747see

 

Martini, Carteggio, 267), I Fn (S,T,5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 119).

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1583 MONTE, Philipp de. Il primo libro de madrigali spirituali a sei voci.Venezia, Angelo Gardano. 4° obl. M3318. B Br (S,A,T,B,5; 6 inc.)D AsD LEmF Pc (lacks 6; formerly Rome, Bibl. Borghesesee Vogel, "Schicksale")GB Lbl (5)I Bam (5), I PS (lacks 6; def.), I VEaf (T). Vogel, Bibliothek, Eitner, Quellen-Lexikonan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:48). 1583 MORALES, Cristóbal de. Magnificat . . . cum quatuor vocibus.Venezia, Angelo Gardano. 4° obl. M3601. See 1542 (Scotto), 1545 (Gardano), 1575, 1597. D KlE BcGB LblPL Kj. An ex. appears to have been in the possession of Giuseppe Antonio Magni of Monza in 1783 (Dalmonte, Duomo di Monza, xxxvi, n. 97). 1583 PEETRINUS (PEETERS), Jacobus. Il primo libro de madrigali a quatro voci.Venezia, Angelo Gardano. 4° obl. P1137. I Vnm (S,T,B). 1583 SESSA D'ARANDA. Il primo libro de madrigali a quatro voci, novamente composti, et dati in luce.Venezia, Angelo Gardano. 4° obl. S2843. See 1571. I Rdp (lacks T)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120)US Wc. Eitner, Quellen-LexikonI PS. See Göhler, Verzeichnis, 1:42 (P93V); prob. this ed. is intended. 1583 SPONTONE (SPONTONI), Bartolomeo. Libro terzo de madrigali a cinque voci . . . novamente composti, & dati in luce.Venezia, Angelo Gardano. 4° upr. S4172. A Wn (S,T,5)D MbsI Bc (5)PL GD (T,B,5; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). 1583 TROMBETTI, Ascanio. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. 158318, T1274. I Bc (A,T,B,5), I MOe (A,T,5). 1583 VECCHI, Orazio (Tiberio). Madrigali a sei voci, novamente stampati, libro primo.Venezia, Angelo Gardano. 4°

upr. V1040. See 1591.

 

D As, D Mbs (S,T,6)I Bc (lacks A; in 1747, Martini also lacked 6see Martini, Carteggio, 275), I Fn, I Ls, I MOe, I Ps (S,T,B), I Rc (S; Vogel et al., Bibliografiainc.), I Rdp, I Rsc (lacks T), I Sd (lacks T), I Vc, I Vnm (A)PL GD (S,A,T; from the coll. of Georg Knoff

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[d.1605]see Morell, "Georg Knoff," 119), PL Kj (6)US CA (S,A,T,B[inc.],5). Eitner, QuellenLexikonFlorence, Landau coll. (S,T,5). Vogel, Bibliothek2nd entry for Augsburg (State Archive). Vogel et al., BibliografiaI ASs (S). Heyer, Versteigerunga compl. but def. ex. formerly in Heyer coll., Cologne. 1583 WERT, Giaches (Jaches) de. Il primo libro de madrigali a quattro voci . . . novamente ristampato.Venezia, Angelo Gardano. 4° obl. W869. See 1561 (Scotto), 1570, 1599. B Br (lacks A)GB LblI BcNL At (S; Vogel et al., Bibliografia, Vereniging voor Nederlandsche Muziekgeschiedenis, Cataloguscompl.)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120), PL Kj (A,B). 1583 WERT, Giaches (Jaches) de. Il primo libro de madrigali a cinque voci . . . novamente ristampati.Venezia, Angelo Gardano. 4° obl. W859. See 1558 (Scotto), 1571. D MbsF Pn (A)GB Lbl (A,B)I Bc (compl., but by 1747, only S,B in Martini's coll.see Martini, Carteggio, 268), I MOe, I Rse (B)NL DHgm (A)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). Eitner, Quellen-LexikonB Br. 1583 WERT, Giaches (Jacques) de. Il quarto libro de madrigali a cinque voci . . . novamente ristampati.Venezia, Angelo Gardano. 4° obl. W877. See 1567. D MbsF Pn (A)GB Lbl (A,B)I Bc (compl., but by 1747, Martini had only A,B)NL DHgm (A)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). 1584 1584 ANTIQUIS DA BARRI, Giovanni. Madrigali a quattro voci, con un dialogo a otto.[Presumably Venezia, Angelo Gardano]. 4° [upr. or obl.?]. From the Gardano, Indice, Fétis, Biographie; Becker, Tonwerke gives the date as 1585. 1584 ASOLA, Giovanni Matteo. Secunda pars continens officium hebdomadae sanctae, idest lamentationes, responsoria, et alia quae in officiis matutinalibus, ac in processione feriae sextae concinuntur, cum quatuor vocibus.Venezia, Angelo Gardano. 4° obl. A2553. I Bc, I Bsp, I Ls, I PCd. An ex. appears to have been in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 145). 1584 ASOLA, Giovanni Matteo. Secundi chori, quibusdam respondens cantilenis, quae in secunda parte musices maioris

hebdomadae concinuntur, videlicet cantico Benedictus dominus Deus Israel, & psalmo  

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Miserere mei Deus, atque versiculis Heu heu domine. In processione feriae sextae concinendis [cum 4 vocibus].Venezia, Angelo Gardano. 4° obl. A2554. I Bc, I Ls, I PS (B). An ex. appears to have been in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 145). 1584 BELLI, Girolamo. Il primo libro de madrigali a cinque voci . . . novamente composti, et dati luce [sic].Venezia, Angelo Gardano. 4° upr. Vogel et al., Bibliografia 308. Vogel et al., Bibliografiaa compl. ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). 1584 BELLI, Girolamo. I furti . . . il secondo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. B1737. GB LblI MOe (S,A,T,B)NL DHgm (A)US Cn (B). Eitner, Quellen-Lexikonan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Index Aureliensis, Catalogus, 3:488I Rn, I Vnm, prob. in error. 1584 BELLI, Giulio. Canzonette . . . libro primo a quattro voci.Venezia, Angelo Gardano. 4° upr. B1773. See 1595. F PcI Bc (T,B)PL GD (T,B; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). Index Aureliensis, Catalogus, 3:489I Vnm, prob. in error. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 143). 1584 DALLA CASA, Girolamo. Il vero modo di diminuir, con tutte le sorti di stromenti di fiato, et corda, et di voce humana. Di Girolamo Dalla Casa detto da Udene, capo de concerti delli stromenti di fiato, della illustrissima signoria di Venetia. Libro primo [-secondo]. Al molto illustre signor Conte Mario Bevilacqua.Venezia, Angelo Gardano. Folio. RISM, Écrits imprimés, 1:249; H. M. Brown, Instrumental Music 15841-2. I Bc. 1584 DALLA GOSTENA, Giovanni Battista. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. D811. A Wn (S,T,5)PL GD (T,B,5; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). Vogel et al., Bibliografiaan ex. formerly in the coll. Cortot. 1584

DUETO, Antonio. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. D3653.  

A Wn (S,5)PL GD (T,B,5; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120).

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1584 DUETO, Antonio. Il secondo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. D3652. PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120), PL Kj (5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:194, 2:24). 1584 GABRIELI, Andrea. Sacrae cantiones . . . quinque vocum.Venezia, Angelo Gardano. 4° obl. G51. See 1565, 1572. A Wn (B,5)D Kl (compl.: S[inc.],A,T,B,5)GB Lbl (A,B)I Ac (compl.; S[inc.]), I BcPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). Eitner, Quellen-LexikonD Rp. 1584 GUAMI, Giuseppe. Il terzo libro de madrigali a cinque voci, con alcuni a sei, et un dialogo a diece, novamente composti, et dati in luce.Venezia, Angelo Gardano. 4° obl. Vogel et al., Bibliografia 1304. Eitner, Quellen-Lexikon, Vogel et al., Bibliografiaan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). 1584 INGEGNERI, Marc' Antonio. Il secondo libro de' madrigali . . . a quattro voci.Venezia, Angelo Gardano. 4° obl. I54. See 1579. D As. Eitner, Quellen-Lexikon, Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). 1584 INGEGNERI, Marc' Antonio. Il quarto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. I56. D AsGB Lbl (prob. the copy formerly in Rome, Bibl. Borghese, cited in Vogel, Bibliotheksee Willier, "Present Location," 222, Vogel, "Schicksale")HR Ssf (A,5)I Bc, I MOe, I VEaf (compl.: S, B in 2 exs.). Eitner, QuellenLexikon, Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Eitner, Quellen-LexikonI Rsc. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:299, 2:38). 1584 LASSO, Orlando di. Il quarto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. LL954a. See 1567, 1570, 1593.  

GB Lbl.

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[1584 LASSO, Orlando di. Il 6° libro a 5.Per il medemo (i.e. Venezia, Angelo Gardano; perhaps book 5 or 7, published in the same year, was intended; Pitoni, Notitia, 122)] 1584 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) quinque, et sex vocum, tum viva voce tum omnis generis instrumentis cantatu commodissime, liber secundus.Venezia, Angelo Gardano. 4° obl. L948. See 1566. A Wn (A)D Kl (S,A,T,B,5), D Rp (6)D Bds (S,A,T,B,5)E TZ (T,5,6)GB Lbl (A)I AOc (S,A), I Bc (compl.: S,A,T,B,5,6)SI Ln (S,A). 1584 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) quinque, sex et octo vocum, tum viva voce, tum omnis generis instrumentis cantatu commodissimae, liber quintus.Venezia, Angelo Gardano. 4° obl. L949. See 1568 (Correggio). D Kl (compl.: S,A,T,B,5,6), D Rp (A,B,5[2 inc. exs.],6)E TZ (T,5,6)I AOc (S,A), I Bc (A,T,B,6)SI Ln (S,A,5). 1584 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) quinque vocum, tum viva voce tum omnis generis instrumentis cantatu commodissimae, liber septimus.Venezia, Angelo Gardano. 4° obl. L950. See 1578. D KlE TZGB Lbl (A)I AOc (S,A), I Bc (A,B), I VEcapSI Ln (S,A,5). 1584 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) sex vocum, tum viva voce, tum omnis generis instrumentis cantatu commodissimae, liber octavus.Venezia, Angelo Gardano. 4° obl. L951. D Kl, D Rp (A,B,5,6[inc.])E TZ (T,5,6)GB Lbl (A)I AOc (S,A), I Bc (B), I MOe (S,A,T,B)SI Ln (S,A,5). 1584 MARENZIO, Luca. Il primo libro de madrigali a sei voci . . . novamente ristampato. Venezia, Angelo Gardano. 4° upr. M501. See 1581, 1603. D As, D Mbs, D Rp (S,A,B; Eitner, Quellen-Lexikon, Vogel et al., BibliografiaS,A,T,5)D Dl (S,A,T,5,6)E TZ (S,A,B), E Zac (A,6)F A (5), F Pn (formerly F Pthibault)GB Lbl (S,A,B,5), GB Lcm, GB ObI Bc (prob. the ed. mentioned in a letter from Chiti to Martini in 1746see Martini, Carteggio, 211), I Fn, I Ls, I MOe, I Rsc (S,A,B,5,6), I Sd (S,A,B,5,6)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120)US BE (5), US LAu (B,5). Vogel et al., BibliografiaI ASs (S). The 1589 ed. cited in Sartori, "Finalmente svelati," 31, and Sartori, "Biblioteca del Seminario," 143, appears to be an error.

 

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1584 MARENZIO, Luca. Il secondo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. M504. See 1600. D Mbs, D Rp (S,A,T,5)F A (5), F Pn (formerly F Pthibault)GB ObI Bc, I Fn, I Ls, I Rdp, I Rsc (S,A,B,5,6; Vogel et al., Bibliografiacompl.)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120)US BE (5), US PHu (S) [ShaaberSC, 344]. Vogel et al., BibliografiaF A (5). Heyer, Versteigerungan ex. (S,A,T,5,6) formerly in Heyer coll., Cologne. The 1589 ed. listed in Sartori, "Finalmente svelati," 31, and Sartori, "Biblioteca del Seminario," 143, appears to be in error, as does a 1585 ed. by Angelo Gardano of the Terzo libro a sei voci in Sartori, "Finalmente svelati,'' 31. 1584 MEL, Rinaldo del. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. M2199. GB Lbl (5)I VEaf (S)PL GD (S,A,T; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 119). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:50). 1584 MERULO, Claudio. Il primo libro de motetti a quattro voci pari.Venezia, Angelo Gardano. 4° obl. M2363. F Pa (T), F Pn (S,T, II,B; lacks T I)I Vnm (T II,B). Heyer, Versteigerungpoorly preserved T,B formerly in Heyer coll., Cologne. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 139). 1584 MICHELI, Domenico. Missarum quinque cum quinque vocibus liber primus.Venezia, Angelo Gardano. 4° obl. M2681. I Bc (lacks T), I FZac (lacks S), I Ls. 1584 MONTE, Philipp de. Il quinto libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. M3377. GB Lbl (S[inc.],A,T,B,5)I Bc (compl.; [A,5,6:1585!]), I Vnm (lacks 6). Heyer, Versteigerungan inc. ex. (S,A,T,B,5) formerly in Heyer coll., Cologne. Vogel et al., Bibliografia1585, given the discrepancies in partbook dates. 1584 MONTE, Phillip de. Sacrarum cantionum cum quinque vocibus quae vulgo motecta nuncupantur . . . liber sextus.Venezia, Angelo Gardano. 4° obl. From the Gardano, Indice, and Pitoni, Notitia, 176; see also Fétis, BiographiePL GD; Eitner, QuellenLexikonMarienkirche in Danzig, but not listed in Morell, "Georg Knoff". 1584 MONTE, Phillip de. Il 7° libro de' motetti a 6 e 12.Venezia, il Gardano (Pitoni, Notitia, 176)]  

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1584 NASCO, Giovanni. Il primo libro de madrigali a quatro voci, insieme la canzon di Rospi & Rosignuol.Venezia, Angelo Gardano. 4° obl. N81. See 1548, 1554, 1555, 1561. PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). 1584 PALLAVICINO, Benedetto. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. P776. See 1607. F CC (S). 1584 ROTA, Andrea. Motectorum liber primus quae quinque, sex, septem & octo vocibus concinuntur.Venezia, Angelo Gardano. 4° upr. R2782. B Br (compl.: S,A,T,B,5,6)GB Lbl (T,5,6)I Bc, I Bsp (4 vols.), I PSPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:65), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137). 1584 SERAFINI, Serafino. Il primo libro delle canzoni capricciose a quattro voci, novamente stampate.Venezia, Angelo Gardano. 4° obl. S2814. PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 120). 1584 STABILE, Annibale. Il secondo libro de madrigali a 5 voci. Venezia, Angelo Gardano. 4° [obl. or upr.?]. After Fétis, Biographie (books I, III only in RISM, Einzeldrucke). 1584 STABILE, Annibale. Motetti a 5, 6 et 8 voci, libro primo.Venezia, Angelo Gardano. 4° [obl. or upr.?]. After Fétis, Biographie, Becker, Tonwerke (no liber primus, but subsequent books found in RISM, Einzeldrucke). 1584 TOSCANO, Nicolo. Canzonette . . . libro primo a quattro voci.Venezia, Angelo Gardano. 4° obl. T1021. PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 119). 1585 1585

ANGELINI, Orazio. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. A1214.

 

I Bc (T, 5). Vogel et al., Bibliografiaan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121).

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[1585 ANTIQUIS DA BARRI, Giovanni. See 1584.] 1585 BARBETTA, Giulio Cesare. Intavolatura de liuto . . . dove si contiene padoane, arie, baletti, pass'e mezi saltarelli per ballar à la italiana, & altre cose dilettevoli secondo l'uso di questi tempi, accomodato per sonar con sei e sette ordeni de corde.Venezia, Angelo Gardano. 4° upr. B906. GB Lbl, US Wc (H. M. Brown, Instrumental Music mistakenly asserted that a def. ex. survives in US Wc; the surviving exs. are complete, but the page numbers in both were misprinted). [1585 BELLI, Girolamo. Missae. Gardano (Angelo?). Eitner, Quellen-LexikonKraków (not confirmed in PL Kj cat.). Index Aureliensis, Catalogus, 3:488I Vnm, prob. in error.] 1585 BERTANI, Lelio. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. B2115. See 1607. D HR (B; Vogel et al., Bibliografiaa compl. ex. also survives here)GB Lbl (5)I MOe, I Vnm (5)NL At (S,T)PL GD (from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 120). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142). 1585 CAVACCIO, Giovanni. Musica a cinque voci . . . sopra le parole di una leggiadrissima canzon pastorale, & alcune napolitane.Venezia, Angelo Gardano. 4° upr. C1557. A Wn (S,T,5)I RscPL GD (T,B,5; from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 120). 1585 CAVACCIO, Giovanni. Psalmorum quaternis vocibus toto anni tempore vespertinis horis decantandorum adiectis insuper octo Gloria patri, cuiliber tono congruentibus, quae octonis vocibus pro musicorum libito cantari poterunt.Venezia, Angelo Gardano. 4° obl. C1549. I Bc (II: S,A,T,B only). 1585 CROCE, Giovanni. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. C4465. A Wn (S,T,5)B BrD AsI Bc, I Bsp, I RscPL GD (T,B,5; from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 120). 1585 DUETO, Antonio. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. D3654. A Wn (S,5). Vogel et al., BibliografiaF Sg (T). An ex. was in the library of João IV of Portugal in 1649

 

(Sampaio, Livraria, 1:193, 2:24).

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1585 FELIS, Stefano. Il primo libro de madrigali a cinque voci . . . con aggiontione de alcuni madrigali nuovi.Venezia, Angelo Gardano. 4° obl. Vogel et al., Bibliografia 921. Eitner, Quellen-Lexikon, Vogel et al., Bibliografiaan ex. formerly in PL GD (from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 121). 1585 FELIS, Stefano. Liber secundus motectorum quinis senis octonisque vocibus.Venezia, Angelo Gardano. 4° obl. 15852, F206. D Kl (compl.: S,A,T,B,5), D AsI Rc [RISM, Recueils imprimésI Rsc] (B)PL GD (from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 122). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:65). 1585 LASSO, Orlando di. Il secondo libro de madrigali a cinque voci, novamente con ogni diligentia ristampato.Venezia, Angelo Gardano. 4° obl. 158525, L960. See 1557 (Barré), 1574. F Pc (S,A,T,B; Weckerlin, Bibliothèque lists as compl.)I Bc (already in Martini's coll. by 1747see Martini, Carteggio, 267). 1585 LASSO, Orlando di. Motetti et ricercari . . . a due voci, novamente con ogni diligenza ristampati, libro primo.Venezia, Angelo Gardano. 4° obl. L957. See 1577 (Berg), 1579. D Mbs (B[def.])F Pn (S,A)GB Lbl (S[inc.],A). 1585 MARENZIO, Luca. Il terzo libro de madrigali a sei voci. See 1584, MARENZIO, Luca. Il secondo libro de madrigali a sei voci.] [1585 MEL, Rinaldo del. See 1593.] 1585 MEL, Rinaldo del. Liber tertius . . . motectorum partim quinis partim senis vocibus concinuntur.Venezia, Angelo Gardano. 4° obl. 15854, M2194. D As (S,A,T,B,5), D Kl (S,A,T,B,5). 1585 MERLO, Alessandro (Alessandro Romano). Le Vergini, a quattro voci, con la giunta di alcuni madrigali, novamente ristampate.Venezia, Angelo Gardano. 4° obl.

M2323. See 1554 (Scotto), 1562. I VIb (A,B). 1585 MONTE, Philipp de. Il terzo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. M3365. See 1576.

 

B Br (S,A[inc.],T[inc.],B,5[inc.]), B MEaD MbsI Bc (S,A,T,B,5). Eitner, Quellen-Lexikon, Vogel, Bibliothekan ex. formerly in

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PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). [1585 MONTE, Philipp de. Il quinto libro de madrigali a sei voci. See 1584.] 1585 MONTE, Philipp de. Sacrarum cantionum cum sex & duodecim vocibus, quae vulgo motecta nuncupantur . . . liber primus.Venezia, Angelo Gardano. 4° obl. M3319. D Kl (S,A,T,B[inc.],5[inc.],6)F Pn (T). Eitner, Quellen-Lexikonan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:266 [date of 1587 prob. in error]; 2:34), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 139). 1585 PACE, Gio. Battista. Il primo libro de madrigali a cinque voci di Gio. Battista Pace, et Giovan Donato Vopa, discepoli di Stefano Felis da Bari: novamente composti & dati in luce.Venezia, Angelo Gardano. 4° obl. 158530. GB Lbl (S,A,T,B[inc.],5; prob. the ex. listed by RISM, Einzeldrucke, in GB LIsee Fenlon, "Michael Honywood's Music Books," 196). Eitner, Musik-Sammelwerke, Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). 1585 PALESTRINA, Giovanni Pierluigi da. Motecta festorum totius anni cum Communi sanctorum quaternis vocibus . . . liber primus.Venezia, Angelo Gardano. 4° obl. P693. See 1564, 1571, 1574, 1579, 1601. GB Lcm (S,A,T[ms.],B)I Rvat-sistinaP C (B). Eitner, Quellen-LexikonGB Lbl (but not confirmed in British Library, British Library to 1980, British Library, Hirsch Library, Catalogue, Schnapper, British Union Catalogue, or Squire, Printed Music and Music Literature). Eitner, Quellen-Lexikon implied a Roman ed. by Alessandro Gardano in the same year, now confirmed by Iain Fenlon by an ex. in I Ac (A; personal correspondence). [1585 PORTA, Costanzo. Il quarto libro di madrigali a cinque voci. See 1586.] 1585 PORTA, Costanzo. Musica sex canenda vocibus in nonnulla ex sacris litteris collecta verba . . . liber tertius.Venezia, Angelo Gardano. 4° upr. P5182.

 

D Mbs, D WI Ac (S,B,5,6; S,A,T[def.],B,5], I Bc, I MOe, I Vc (6)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121)US R (5). Eitner, Quellen-LexikonD Rp. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:94), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 139).

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[1585 ROMANO. See MERLO.] 1585 SPONTONE (SPONTONI), Alessandro. Il primo libro de madrigali a cinque voci, insieme doi a sei, nuovamente composti, & dati in luce.Venezia, Angelo Gardano. 4° upr. S4168. A Wn (lacks A,B)I Bc (compl.: S,A,T,B,5), I Bsp, I RscPL GD (lacks B; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122)US Cn (T). 1585 STABILE, Annibale. Sacrarum modulationum quae quinis, senis, & octonis vocibus concinuntur, liber secundus.Venezia, Angelo Gardano. 4° upr. S4201. D Rp (S,B,5,6)GB Lbl (S,6)I Nf (compl.: S,A,T,B,5,6), I Rc (5,6), I Rsc (B)P La (S,A,T,B,5)PL GD (S,A,T,5,6; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122), PL Kj (lacks 6)S Sk (A). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:64, 2:6). 1585 STABILE, Pompeo. Il primo libro de madrigali a sei voci, novamente composti et dati in luce [first madrigal by Annibale Stabile].Venezia, Angelo Gardano. 4° obl. 158532, S4205. GB Lbl (S)I Rsc (T,B,5,6)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). Vogel et al., BibliografiaCH Bu. 1585 TRESTI, Flaminio. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. T1169. F ScGB Lbl (5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Vogel et al., BibliografiaF VE. 1585 VECCHI, Orazio (Tiberio). Canzonette . . . libro primo a quattro voci . . . quarta impressione.Venezia, Angelo Gardano. 4° upr. V1012. See 1580, 1581, 1591, 1613, 1613. D HR (B), D Mbs (S,A)F Pc (A; prob. the copy formerly in Rome, Bibl. Borghese, cited in Vogel, Bibliotheksee Willier, "Present Location," 222, Vogel, "Schicksale")I Bc, I Fc, I Rc (S), I Vnm (A)PL Kj. Eitner, Quellen-LexikonI MOe. Eitner, Quellen-Lexikon, Vogel et al., BibliografiaI Rsc. 1585 VECCHI, Orazio (Tiberio). Canzonette . . . libro secondo a quattro voci.Venezia, Angelo Gardano. 4° upr. V1019. See 1580, 1582, 1595, 1602.

 

B Bc, B BrD HR (B), D Kl, D Mbs (A,T,B; S in ms.)GB LblI Bc, I Bsp, I Fc, I Fn (S), I Vnm (A)PL Kj, PL WRu (S,A; Bohn, Bibliographie T,B)US Cn (S). Eitner, Quellen-Lexikon, Vogel et al., BibliografiaI Rsc.

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1585 VECCHI, Orazio (Tiberio). Canzonette . . . libro terzo a quattro voci.Venezia, Angelo Gardano. 4° upr. 158535, V1022. See 1593, 1600. B Bc (S)D HR (B), D Mbs (S,T,B)I Bc, I Bsp, I Fn, I Rsc (S), I Sac (B), I Vnm (A)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121), PL Kj, PL WRu (S,B). Eitner, Quellen-LexikonI MOe. Eitner, Vogel, BibliothekI Rc (S). 1585 VOPA, Giovanni Donato. See PACE, Gio. Battista.] 1586 [1586 ANONYMOUS. See also GONZAGA, Guglielmo.] 1586 ANONYMOUS. Corona di dodici sonetti di Gio. Battista Zuccarini alla Gran Duchessa di Toscana posta in musica da dodici eccellentiss. auttori a cinque voci.Venezia, Angelo Gardano. 4° upr. 158611. A Wn (S,5)D HR (B)I Bc, I Rsc, I Vnm (5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 144). 1586 ANONYMOUS. Musica spirituale composta da diversi eccellentissimi musici a cinque voci, con due dialoghi a dieci, novamente posta in luce.Venezia, Angelo Gardano. 4° obl. 15861. PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). 1586 ASOLA, Giovanni Matteo. Divinæ dei laudes binis vocibus concinendæ. Venezia, Angelo Gardano. No format information available. After Fétis, Biographie. 1586 BALBI, Lodovico. I capricci . . . a sei voci.Venezia, Angelo Gardano. 4° obl. B740. GB LblI MOePL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). 1586 BELLI, Giulio. Missarum cum quinque vocibus liber primus.Venezia, Angelo Gardano. 4° upr. B1745. See 1597, 1603, 1604. I Bc. Index Aureliensis, Catalogus, 3:489I Vnm, prob. in error. 1586

CARDILLO, Giacomo Antonio. Sacrarum modulationum liber secundus [5 v.].Venezia, Angelo Gardano. 4° obl. C986.  

D As, D KlI Bc (lacks A,5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121).

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1586 CARTARI, Giuliano. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. C1264. PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Vogel et al., BibliografiaF CC. 1586 DUETO, Antonio. Il secondo libro de madrigali a quattro voci.Venezia, Angelo Gardano. 4° upr. D3655. F Pn (T)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). 1586 GABRIELI, Andrea. Il secondo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. G73. See 1580. B Br (5)D As (2 exs.), D F (lacks 5), D Rp (lacks T and B)D Bds (5)F Pc (compl.: S [2 exs.])GB Lbl (1 compl. ex., 2 inc.: S,A,T,B,5,6; S,A,T,B,5; S,A,6), GB Lcm (inc.). Vogel et al., BibliografiaI ASs, I FEc, I Rc (S), I Sd (lacks T)PL GD (lacks B; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122), PL KjUS BE (A,5), US Bc (6). Eitner, Quellen-LexikonBerlin, Kircheninstitut. Meluzzi, Catalogue, 21an ex. (B,6) was auctioned off in Rome in 1906. Mentioned by Martini as not being part of his coll. in 1747 (see Martini, Carteggio, 276). 1586 GABUSSI, Giulio Cesare. Motectorum liber primus, quae partim quinque, partimque senis vocibus concinuntur.Venezia, Angelo Gardano. 4° upr. G96. I Bc (compl.: S,A,T,B,5,6), I BspPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121), PL Kj (lacks 6). 1586 GARDANO, Antonio. Di Antonio Gardano il primo libro de canzoni francese a due voci, insieme alcune de altri autori.Venezia, Angelo Gardano. 4° obl. 15868. See 1544. A WnI Vnm (S,T). Heyer, Versteigerungan ex. (S,T) was formerly in the Heyer coll., Cologne. 1586 GIOVANNELLI, Ruggiero. Il primo libro de madrigali a cinque voci. Venezia, Angelo Gardano. 4° obl. G2459. See 1588, 1590, 1594, 1600. GB Lbl (A)I Rdp (S,A[Vogel et al., Bibliografia-def.],B)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Vogel et al., BibliografiaF Pthibault (sold to an unnamed bidder at auction in

 

Paris in 1995; see Coles and Heath, Book Auction Records, 92:267).

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1586 GONZAGA, Guglielmo. Cantici beatiss. Mariae Virginis, quod Magnificat inscribitur, per universos octo tonos modulati, ad usum Ecclesiae Sanctae Barbarae. Prima pars, in primis versibus pro festis duplicibus, quatuor vocibus digesti, ac nunc primum in lucem editi. Addito in octavo tono versu Gloria patri, cum sex vocibus.Venezia, Angelo Gardano. 4° obl. AN432. D Kl (S,A,T,B). 1586 GONZAGA, Guglielmo. Cantici beatiss. Mariae Virginis . . . pars secunda. In secundis versibus pro festis semiduplicibus, quatuor vocibus digesti, ac nunc primum in lucem editi. Addito in octave tono, versus Sicut erat, cum octo vocibus, sub canone quem tres in unum appellant.Venezia, Angelo Gardano. 4° obl. AN433. D Kl (S,A,T,B). 1586 INGEGNERI, Marc' Antonio. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. I57. D AsI MOe, I Rsc (lacks A), I VEaf (compl.: A in 2 exs.), I VEcapPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Vogel et al., BibliografiaF Phanson. Heyer, Versteigerunga compl. ex. formerly Heyer coll., Cologne. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:57), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142). 1586 INGEGNERI, Marc' Antonio. Sacrarum cantionum cum quatuor vocibus . . . liber primus.Venezia, Angelo Gardano. 4° obl. I43. D AsGB Lbl (B)I VEaf (B)PL GD (from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 121). Ferrarese and Gallo, Biblioteca CapitolareI TVd (ex. missing since WWII). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:265; 2:34), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 140). 1586 LAMBARDI, Girolamo (Hieronymus). Sacra cantica B. Mariae Virginis cuiusvis toni, quaternis paribus vocibus canenda.Venezia, Angelo Gardano. 4° obl. L364. D Kl (S,A,T[inc.],B). 1586 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) quinque vocum, tum viva voce, tum omnis generis instrumentis cantatu commodissimae, liber primus.Venezia, Angelo Gardano. 4° obl. L963. See 1562 (Montanus/Neuber, Antonio Gardano), 1574. D Kl (S,A,T,5), D Rp (B)D BdsE Tz (T,5,6)GB Lbl (A)I Ac, I

 

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AOc (S,A, both def.), I Bc (already in Martini's coll. by 1747see Martini, Carteggio, 267), I Bsp, I PCd (S,T,5)SI Ln (S,A,5). Eitner, Quellen-LexikonStadtbibl., Leipzig (S,A,T). Either a compl. ex. of this edition or that immediately below was sold at a Paris auction to an unnamed bidder in 1995 (see Coles and Heath, Book Auction Records, 92:374). 1586 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) quinque vocum, tum viva voce tum omnis generis instrumentis cantatu commodissimae, liber sextus.Venezia, Angelo Gardano. 4° obl. L964. D Kl, D Rp (A,B,5)E TZ (T,5,6)GB Lbl (A)I AOc (S,A), I Bc (A,B)SI Ln (S,A,5). See comment immediately above. 1586 MANENTI, Giovanni Piero. Madrigali ariosi a quattro con alcuni capricci sopra a cinque tempi della gagliarda.Venezia, Angelo Gardano. 4° obl. M331. PL GD (compl.: S,A,T,B; from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 121). 1586 MANENTI, Giovanni Piero. Li Pratolini . . . a cinque voci.Venezia, Angelo Gardano. 4° obl. M330. GB Lbl (S[inc.]; Fenlon, "Michael Honywood's Music Books", 194, indicates a compl. ex., prob. acquired from GB LI, the latter found in RISM, Einzeldrucke)PL GD (from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 121). 1586 MEL, Rinaldo del. Il secondo libro delli madrigaletti a tre voci.Venezia, Angelo Gardano. 4° obl. M2202. See 1604. I BcPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Apparently also listed in RISM, Einzeldrucke, as "Madrigaletti a tre voci . . . libro secondo," M2203, with the same locations. Heyer, Versteigerunga compl. ex. formerly in the Heyer coll., Cologne. 1586 MONTE, Philipp de. L'undecimo libro delli madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3379. I Bc (lacks 5; apparently not yet in Martini's coll. by 1747see Martini, Carteggio, 267), I VnmPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122), PL Kj (Bbound in call no. M.925). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:295, 2:37). 1586 NANINO, Giovanni Maria. Il terzo libro de madrigali a cinque voci [with compositions by Giovanni Maria and Giovanni Bernardino Nanino].Venezia, Angelo Gardano. 4° obl.  

158618, N31.

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D Bds-Tü (only in RISM, Recueils imprimés), D MÜsF PcGB Cfm (A), GB Lbl (A)I Bc (already in Martini's coll. by 1747see Martini, Carteggio, 267), I Fn (S), I MOeNL DHgm (5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, ''Georg Knoff," 121)US BE (S; formerly Cortot coll.). Vogel et al., BibliografiaF CC. 1586 NANINO, Giovanni Maria. Motecta, ut vulgo appellantur, varie & nova inventione elaborata, quae ternis & quinis vocibus concinuntur.Venezia, Angelo Gardano. 4° upr. N24. D Rp (S,T,B)I Bc (S,T,B), I PEc (B)PL GD (S,T,B; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Müller, Musikalischen Schätze, 272an ex. formerly at Königsberg (B). 1586 OROLOGIO, Alessandro. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. O120. I MOePL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). Vogel et al., BibliografiaF CC. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:69). 1586 PORTA, Costanzo. Il quarto libro de madrigali a cinque voci, novamente da Marsilio Cristoffori raccolti.Venezia, Angelo Gardano (B: 1585). 4° upr. P5190. A Wn (S,T,5)D Bds (B)GB Lbl (5)I Bc, I FEcPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121), PL Kj. 1586 TROMBETTI, Ascanio. Il primo libro de madrigali a quattro voci.Venezia, Angelo Gardano. 4° upr. 158621, T1275. D WI Bc, I Bsp (A,T,B), I MOePL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 121). 1586 WERT, Giaches (Jaches) de. L'ottava libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. W885. See 1596. D MbsGB LblI Bc (compl., but by 1747, Martini's coll. had only Tsee Martini, Carteggio, 268), I Fc (5), I MOe. Eitner, Quellen-LexikonBerlin (but not in PL Kj nor E. Berlin catalogues). 1587 1587 ABUNDANTE, Giulio. Il quinto libro de tabolatura da liuto . . . nella qual si contiene fantasie diverse, pass' e mezi & padoane.Venezia, Angelo Gardano. 4° obl. A182. A WnI Bc.

 

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1587 ANONYMOUS. Graduale, et antiphonarium, omnium dierum festorum ordinis minorum, iuxta ritum missalis & breviarij novi per Ludovicum Balbum venetum.Venetiis, apud Angelum Gardanum. Folio. Crawford and Borders, Renaissance Liturgical Imprints: 2650. GB CfmI Bc, I CEcUS BE. 1587 ANONYMOUS. Officium et missa sanctissimae Trinitatis, nunc denuo a fratre Ludovico Balbio Veneto, ac in sacro Divi Antonio templo patavini.Venezia, Angelo Gardano. Folio. Crawford and Borders, Renaissance Liturgical Imprints: 8794. F PcGB CfmI CEcUS BE. 1587 ANTEGNATI, Costanzo. Liber primus missarum sex et octo vocum.Venezia, Angelo Gardano. 4° obl. A1261. See 1578. I Bc (S), I MOd (B,5)PL GD (A; Morell, "Georg Knoff"formerly Marienkirche). 1587 ASOLA, Giovanni Matteo. Il secondo libro delle messe a quattro voci pari.Venezia, Angelo Gardano. 4° obl. Heyer, Versteigerung, 18a compl. ex. supposedly auctioned off in Berlin in 1927. 1587 BACCUSI, Ippolito. Il quarto libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. B40. I MOe, I RscPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). [1587 BALBI, Lodovico. See ANONYMOUS. Graduale.] 1587 BALBI, Lodovico. Ecclesiasticarum cantionum in sacris totius anni Sanctorum sollemnitatibus quatuor vocum parium et plena voce si tenorem in diapason intensum dixeris.Venezia, Angelo Gardano. 4° upr. B741. PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:65; 2:6). 1587 CARTARI, Giuliano. Liber primus missarum quinque vocum.Venezia, Angelo Gardano. 4° upr. C1265. I LsPL GD (Morell, "Georg Knoff," 125formerly Marienkirche, prob. from the coll. of Georg Knoff [d.1605]). Eitner, Quellen-LexikonI PS. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:102; 2:12). 1587

CAVACCIO, Giovanni. Litanie in doi modi con il Pange lingua a doi chori.Venezia, Angelo Gardano. 4° upr. C1550.  

I Mc (I:S,T,B; II:S,A; lacks A I,T II,B II).

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1587 FERRABOSCO, Alfonso (I). Il primo libro de madrigali a cinque.Venezia, Angelo Gardano. 4° upr. F254. I MOePL Kj. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:62). 1587 FERRABOSCO, Alfonso (I). Il secondo libro de madrigali a cinque.Venezia, Angelo Gardano. 4° upr. F255. GB LblI MOePL Kj (S,T,B,5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:62). 1587 GABRIELI, Andrea. Concerti di Andrea, et di Gio: Gabrieli . . . continenti musica di chiesa, madrigali, & altro, per voci, & stromenti musicali, a 6. 7. 8. 10. 12. & 16 . . . libro primo et secondo.Venezia, Angelo Gardano. 4° upr. 158716, G58 (Andrea), G85 (Giovanni). A Wn (compl.: S,A,T,B,5,6,7,8,9,10,11,12)CZ Bm (2 fragments)D As (lacks S), D F, D Mbs (lacks 7-12), D Rp (Sartori, Musica strumentale 1 lists 4 inc. exs. that add up to more than a complete ex.; Vogel, BibliothekRegensburg, Bibl. Haberl [A,T,5,6,7,8,11], and Regensburg, Bibl. Proske)E MO (7)GB Lbl (5)I Bc (in Martini's coll. by 1746see Martini, Carteggio, 148), I Bsp, I BRd, I FEc (lacks 9-12), I MOd (A,B,6,9,11,12), I Sd, I TVd (Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII), I Vnm (lacks 12)US Cn (T). See Göhler, Verzeichnis, 1:11 (W87A; P93V); also Heussner and Schultz, Collectio Musica, 68, #485. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:73; 2:7), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 145, 146). 1587 GABRIELI, Andrea. Il primo libro de madrigali a cinque voci [expanded ed.].Venezia, Angelo Gardano. 4° obl. G61. See 1566, 1572. B BrPL GD (from the coll. of Georg Knoff [d. 1605]see Morell, "Georg Knoff," 122). Müller, Musikalischen Schätze, 174an ex. formerly at Königsberg (lacking 5). 1587 GABRIELI, Andrea. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. G67. See 1574.

 

CH BuD AsF Pc (S)GB Lbl (S)I Bc, I Fn, I MOe (lacks 5), I PAc (lacks 5,6), I Sd (lacks T; Vogel et al., Bibliografialacks 5 and 6 too)PL GD (lacks B; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122), PL Kj (4 vols.)US BE (5). Vogel, Bibliothek, Eitner, Quellen-LexikonS,B,5 in Berlin; A in Berlin [perhaps now together in PL Kj?]; Bibl. Vogel; I Fn, Bibl. Landau (5). Vogel et al., BibliografiaF CC.

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1587 GALILEI, Vincenzo. Il secondo libro de madrigali a quatro, et a cinque voci.Venezia, Angelo Gardano. 4° obl. G149. I Fd (lacks 5)PL GD (compl.: S,A,T,B,5; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). 1587 GRAZIANI (Gratiani), Tommaso. Missa cum Introitu, ac tribus motectis, duodecim vocibus canenda, tribus choris distincta.Venezia, Angelo Gardano. 4° obl. G3701. I Bc (lacks S I), I Ls (compl.: I: S,A,T,B; II: S,A,T,B; III: S,A,T,B), I Vnm. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137). 1587 GRAZIANI(Gratiani), Tommaso. Psalmi omnes ad vesperas cum Magnificat, quatuor vocibus decantandi.Venezia, Angelo Gardano. 4° upr. G3702. I Bc. 1587 INGEGNERI, Marc' Antonio. Il quinto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. I58. A WnD AsGB Obharding (A,T)HR Ssf (A,5)I MOe (S,B,5), I VEaf (compl.; A, T in 3 exs., S, B in 2)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:63). 1587 LASSO, Orlando di. Libro quinto de madrigali a cinque voci, novamente composti, et dati in luce.Venezia, Angelo Gardano. 4° obl. L982. D Bds (S,B), D LEmI Bc (prob. the ed. mentioned in a letter from Chiti to Martini in 1746see Martini, Carteggio, 212), I MOePL GD (from the coll. of Georg Knoff [d.1605]see Morell,"Georg Knoff," 122). Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1587 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) quinque, et sex vocum, tum viva voce tum omnis generis instrumentis cantatu commodissime, liber tertius.Venezia, Angelo Gardano. 4° obl. L978. See 1566, 1578, 1599. D Kl (compl.: S,A,T,B,5), D Rp (B), D Bds (A,5)GB Lbl (A)I Bc (A,B)SI Ln (S,A,5 [lacks tp.]). Eitner, Quellen-LexikonBerlin (A,5; but not in PL Kj nor E. Berlin catalogues), F T (A,T,B). 1587

MARENZIO, Luca. Il primo libro de madrigali a cinque voci . . . novamente con ogni diligentia ristampati.Venezia, Angelo Gardano. 4° obl. M533.  

See 1580, 1582, 1602.

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A WnD As, D BF Pn (formerly F Pthibault)GB Lbl (S,A,T,5)I Bc (A,B,5), I Fn (A,5), I Sd (B), I ST (S), I VIb (B)NL DHgm (A)P C (5). 1587 MASSAINI, Tiburtio. Il terzo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M1292. GB LblPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). 1587 MASSAINI, Tiburtio. Secundus liber missarum quinque vocibus.Venezia, Angelo Gardano. 4° upr. M1273. I Bc, I MOe, I PCd. 1587 MASSAINI, Tiburtio. Psalmi omnes ad vesperas per totum annum decantandi una cum quatuor Magnificat octo vocum.Venezia, Angelo Gardano. 4° obl. M1272. I FZac (I: S,A; II: A,T,B), I LOcl (II: A,T), I Rsc (compl.: I: S,A,T,B; II: S,A,T,B)PL GD (Eitner, QuellenLexikon, Morell, "Georg Knoff," 125formerly in Marienkirche, prob. from the coll. of Georg Knoff [d.1605]). Two exs. were in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 139, 140). 1587 MEL, Rinaldo del. Il terzo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M2205. PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). Vogel et al., BibliografiaF CC (S). Müller, Musikalischen Schätze, 258an ex. formerly at Königsberg (S,A,T,B). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 143). 1587 MELFIO, Bastiano. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M2218. GB Lbl (prob. the ex. listed by RISM, Einzeldrucke, in GB LIsee Fenlon, "Michael Honywood's Music Books," 195)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). 1587 MONTE, Philipp de. Il duodecimo libro delli madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3381.

 

A Wn (T,B,5)B Br (lacks A)I BRq (A), I VnmPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:296; 2:37).

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1587 MONTE, Philipp de. Sacrarum cantionum cum sex vocibus quae vulgo motecta nuncupantur . . . liber secundus.Venezia, Angelo Gardano. 4° obl. M3321. D Kl (S,A,T,B,5[inc.],6), D KNu (S,A,T,B)GB Lbl (S[inc.],A[2 exs.], T,B,5)I MOe (A,B,5,6)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:266,2:34). 1587 MONTEVERDI, Claudio. Madrigali a cinque voci . . . libro primo.Venezia, Angelo Gardano. 4° obl. M3453. PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). 1587 MORALES, Cristóbal de. See 1597.] 1587 MORARI, Antonio. Il primo libro de madrigali a quattro voci.Venezia, Angelo Gardano. 4° obl. M3615. I Bc, I Rvat-rossiano (lacks A), I VEaf (lacks T)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). 1587 NANINO, Giovanni Maria. Madrigali a cinque voci . . . et di Annibale Stabile novamente ristampati.Venezia, Angelo Gardano. 4° obl. 158710, N30, S4199. See 1572, 1581. F PcGB Lbl (S)I Bc (already in Martini's coll. by 1747see Martini, Carteggio, 267), I Fn (S), I MOe, I Rc (T,B), I VCd (S,T,5)NL DHgm (5; Muziekhistorisch Museum, Catalogusformerly Scheurleer coll.)US BE (S[formerly Cortot coll.],B). Vogel et al., BibliografiaF CC. 1587 PALESTRINA, Giovanni Pierluigi da. Mottettorum quinque vocibus liber quartus, ex canticis Salomonis.Venezia, Angelo Gardano. 4° upr. P717. See 1583 (Alessandro Gardano), 1601, 1608. D B, D MbsE Bc (S,A,B,5), E VAcpI Bc, I Rvat-giuliaPL GD (S,A,T,5; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). 1587 PRETI, Alfonso. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. P5429. A Wn (S,T,5)D AsI MOe.

[1587 STABILE, Annibale. See NANINO.] 1587 TRESTI, Flaminio. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. T1170. A Wn (T,B,5)GB Lbl (5)PL GD (from the coll. of Georg Knoff  

[d.1605]see Morell, "Georg Knoff," 122).

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1587 VECCHI, Orazio (Tiberio). Canzonette a sei voci . . . libro primo.Venezia, Angelo Gardano. 4° upr. V1026. B BcD As (compl. in 2 exs.), D Rp (1 ex. lacks B; another lacks T,B)F Pc (formerly Rome, Bibl. Borghesesee Vogel, "Schicksale")GB Lbl, GB Ob (compl.; 2 exs. of A)I Bc (already in Martini's coll. by 1747see Martini, Carteggio, 272), I MOe, I Nc, I Rc (S,B), I Rsc (lacks T), I VEaf (S,T,5; 2 exs. of 6)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123), PL Kj (B)US BE (5), US CHH (lacks B). Vogel, Bibliothekex. formerly in Florence, coll. Landau. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:325, 2:41), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142). 1587 VECCHI, Orazio (Tiberio). Lamentationes cum quattuor paribus vocibus.Venezia, Angelo Gardano. 4° upr. V1004. I Bc. Eitner, Quellen-LexikonI MOe. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:480). 1587 VILLANI, Gabriele. Il primo libro delle toscanelle a quattro voci.Venezia, Angelo Gardano. 4° upr. V1549. PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122), PL Kj. 1587 ZAN(N)OTTI, Camillo. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. Z74. PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). 1588 1588 ANNIBALE Padovano. Il primo libro de ricercari a quattro voci, nuovamente da lui composti.Venezia, Angelo Gardano. 4° obl. A1252. See 1556. I Bc. See Göhler, Verzeichnis, 1:3 (P92A, P93A); Heussner and Schultz, Collectio Musica, 107, #829 [the date given, 1592, may be mistaken]. 1588 ANONYMOUS. L'amorosa caccia de diversi eccellentissimi musici mantovani nativi a cinque voci: novamente composta et data in luce.Venezia, Angelo Gardano. 4° upr. 158814. I MOe (A,T,5). 1588

BACCUSI, Ippolito. Il primo libro delle messe a quattro voci.Venezia, Angelo Gardano. 4° upr. B27.  

I AOc (A,T), I Mc, I MOe, I Rsc.

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1588 BONARDO, Iseppo. Il primo libro delle napolitane a tre voci.Venezia, Angelo Gardano. 4° obl. B3444. A Wn. 1588 CARTARI, Giuliano. Missae duae, ac motecta undecim quorum decem, cum missis, octo, & aliud novem vocum, modulamine canenda, in non nulla ex sacris litteris, verba collecta.Venezia, Angelo Gardano. 4° upr. C1266. D Bds (T II, B II)D Rp (S II, A,T,B)I Bc (I: S,A,T,B; II: T)PL GD (compl.: I: S,A,T,B; II: S,A,T,B; Morell, "Georg Knoff," 125formerly Marienkirche, prob. from the coll. of Georg Knoff [d.1605]), PL Kj. Eitner, Quellen-LexikonI PS. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137). 1588 COSTA, Gasparo. Canzonette . . . libro secondo a quattro voci.Venezia, Angelo Gardano. 4° upr. C4220. I Bc (T), I MOePL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122). Eitner, Quellen-LexikonD KA (A). 1588 FACOLI, Marco. Il secondo libro d'intavolatura, di balli d'arpicordo, pass' e mezzi, saltarelli, padovane, & alcuni aeri novi dilettevoli, da cantar, ogni sorte de rima.Venezia, Angelo Gardano. 4° obl. F57. I Rsc. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:475). 1588 FALCONI(O), Placido. Magnificat octo tonorum, primi versus . . . cum quatuor paribus vocibus decantandi.Venezia, Angelo Gardano. 4° obl. F92. D Kl. 1588 GABELLA, Giovanni Battista. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. G2. GB Lbl (A)PL Kj (A,T,B,5; prob. the ex. formerly in the Heyer coll., Cologne; see Heyer, Versteigerung; Olschki, "Contribution," 161; Mann "From Berlin," 25). Vogel, Bibliothekan alto partbook formerly in Rome, Bibl. Casanatense, but missing in 1890. 1588 GABRIELI, Andrea. Chori in musica . . . sopra li chori della tragedia di Edippo Tiranno, recitati in Vicenza l'anno M. D. LXXXV, con solennissimo apparato.Venezia, Angelo Gardano. 4° upr. G75.

 

A Wn (A,B,5)I Ps (S,T,B)PL Kj (1 vol.). Vogel, Bibliothekan altus partbook in the Vogel coll., Berlin (now PL Kj?). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142).

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1588 GABRIELI, Andrea. Il secondo libro di madrigali a cinque [expanded ed., although without the madrigals for six voices].Venezia, Angelo Gardano. 4° obl. G64. See 1570, 1572. B BrD DIbF CC (S)GB Lbl (lacks 5). Heyer, Versteigerunga compl. ex. formerly in Cologne, Heyer coll., Cologne. 1588 GIOVANNELLI, Ruggiero. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. G2460. See 1586, 1590, 1594, 1600. GB Lbl (S,A,T,B)I BRq (5). Vogel et al., Bibliografiano I BRq, but I Bc instead. 1588 GRAZIANI (GRATIANI), Tommaso. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. G3709. I Bc. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1588 GUAMI, Francesco. Il primo libro de madrigali a quattro et cinque voci, con due a otto.Venezia, Angelo Gardano. 4° upr. G4797. PL GD (compl.: S,A,T,B,5; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123). 1588 GUAMI, Francesco. Ricercari a due voci.Venezia, Angelo Gardano. 4° obl. G4798. A Wn (S,T). 1588 LASSO, Orlando di. Missa decem, variis concentibus ornatae ab . . . Orlando Lasso, cum quatuor vocibus concinendae.Venezia, Angelo Gardano. 4° upr. L983. I Bc. Two exs. were in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 139, 140). 1588 LEONI, Leo. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. L1988. A WnGB Lbl (lacks 5)I VEaf. 1588

MASSAINI, Tiburtio. Concentus quinque vocum in universos psalmos . . . una cum cantico B. Mariae Virginis.Venezia, Angelo Gardano. 4° obl. M1267. See 1576.  

I Bc, I Rsc.

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1588 MONTE, Philipp de. Il quarto libro de madrigali a quattro voci.Venezia, Angelo Gardano. 4° upr. M3375. See 1581. D WI Bc, I Nc (S,T,B)PL Kj (1 vol.)US BE (B). 1588 MONTE, Philipp de. Il sesto libro delli madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3361. See 1575. A Wn (T,B,5)GB LblI Bc (already in Martini's coll. by 1747see Martini, Carteggio, 267). 1588 MONTE, Philipp de. Il terzodecimo libro delli madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3382. A Wn (T,B,5)B MEa (S)D AsI Bc (lacks 5; apparently this ed. was not in Martini's coll. by 1747see Martini, Carteggio, 267), I MOe -PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123), PL Kj (B)US Wc. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1588 MOSTO (MUSTUS), Giovanni Battista. Il terzo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3814. GB Lbl (lacks 5)I MOe. 1588 NANINO, Giovanni Bernardino. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. N21. I Bc, I Ps (S,T,B). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:74). 1588 ORISTAGNO, Giulio. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. O106. GB LblPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:70). 1588 PALLAVICINO, Benedetto. Il quarto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. 158828, P785. See 1596, 1600, 1607. I Sd (S,A[2 exs.],B,5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123).

1588 PERABOVI, Filippo Maria. Il primo libro de madrigali a cinque et a sei.Venezia, Angelo Gardano. 4° upr. P1276.  

PL GD (compl.: S,A,T,B,5; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123).

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1588 PORTA, Costanzo. Quinque vocum musica in introitus missarum, quae in diebus dominicis toto anno celebrantur, iuxta morem Sanctae Romanae Ecclesiae nunc ab auctor diligentissime emendata.Venezia, Angelo Gardano. 4° obl. P5175. See 1566 (Correggio/Betanio). A Wn (B,5)D Rp (S,A,T,B,5; S,B)I Ac (lacks S; B def.), I Bc, I Bsp (lacks B), I CEc (T[inc.]), I PCd (S,A,T,B,5; S,T,5)PL Kj (B)US Wc. Ferrarese and Gallo, Biblioteca CapitolareI TVd (ex. missing since WWII). Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. Chaillon, ''Fonds musicaux," 154F Sg (T), but the title given is too short to distinguish between this edition and that listed below; it seems likely that the RISM volumes also confused the two, given the identical listings for some of the libraries. 1588 PORTA, Costanzo. Musica in introitus missarum quinque vocum quae in solemnitatibus sanctorum omnium toto anno celebrantur, iuxta morem Sanctae Romanae Ecclesiae.Venezia, Angelo Gardano. 4° obl. P5177. See 1566 (Corregio/ Betanio). A Wn (B,5)B Br (A,T,B,5)D Rp (S,A,T,B,5; S,B)I Bc, I Rc (S,B,5)PL Kj (B)US LAu (T). Chaillon, "Fonds musicaux," 154F Sg (T), but the title given is too short to distinguish between this edition and that listed above; it seems likely that the RISM volumes also confused the two, given the identical listings for some of the libraries. 1588 WERT, Giaches (Jaches) de. Il nono libro de madrigali a cinque et sei voci.Venezia, Angelo Gardano. 4° obl. W887. B Br (S II)D Mbs (compl.: S I,S II, A,T,B,5)GB Lbl (S I,A,T,B), GB Lcm (S I,A,T,B)I Bc (lacks S II; this ed. apparently not yet in Martini's coll. by 1747see Martini, Carteggio, 268), I Fn (lacks S I), I MOe, I VEafNL DHgm (A)PL Kj (A,B). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:45), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 141). 1588 ZAN(N)OTTI, Camillo. Missarum cum quinque vocibus liber primus.Venezia, Angelo Gardano. 4° obl. Z75. A Wn (B,5)D KNu (B,5)I FZac (lacks S; surname rendered as Giovanotti in Sartori, "Finalmente svelati," 28)PL GD (A; Morell, "Georg Knoff"formerly Marienkirche). 1589 1589 ANONYMOUS. Musica di tredeci autori illustri a cinque voci, per Angelo Gardano raccolta & data in luce, & di novo ristampata, nella quale si  

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contengono i piu belli madrigali; che hoggidì si cantino, delli infrascritti autori.Venezia, Angelo Gardano. 4° upr. 15896. See 1576. A Wn (A,B,5; Vogel, Bibliothekcompl.)F Pn (A)GB LblI Bc (part of Martini's coll. by 1747; this or the 1576 ed. was mentioned in a letter from Chiti to Martini in 1746see Martini, Carteggio, 236, 276), I MOe (5), I VEcap. 1589 ANTEGNATI, Costanzo. Liber secundus missarum sex, & octo vocum.Venezia, Angelo Gardano. 4° upr. A1263. A Wn (A I, B I)PL GD (Morell, "Georg Knoff," 125formerly Marienkirche, prob. from the coll. of Georg Knoff [d.1605]). 1589 BALBI, Lodovico. Musicale essercitio . . . a cinque voci.Venezia, Angelo Gardano. 4° upr. 158912, B742. GB Lbl (S)I FEc, I VnmPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:483). 1589 BELLI, Giulio. Il primo libro de madrigali a cinque, et a sei voci.Venezia, Angelo Gardano. 4° obl. B1776. GB Lbl (5). Index Aureliensis, Catalogus, 3:489I Vnm, prob. in error. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 143). [1589 FELICIANI, Andrea. See 1590.] 1589 FLORIO, Giorgio. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. F1193. D KNu (S,B)I Sd (6)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123). Eitner, Quellen-LexikonCopenhagen. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:124, 2:15). 1589 GABRIELI, Andrea. Ecclesiasticarum cantionum quatuor vocum.Venezia, Angelo Gardano. 4° obl. G55. See 1576. A Wn (S,T)D MbsF Pn (S,A,B). 1589 GABRIELI, Andrea. Madrigali et ricercari . . . a quattro voci.Venezia, Angelo Gardano. 4° upr.

G77, G78.  

CH BuD W (S,A,T; B=1590)GB Lbl (2 inc. exs.: S,B; S,A,T), GB Lk (inc.)I Bc (A,B), I VEcapPL Kj (S).

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1589 GABRIELI, Andrea. Il terzo libro de madrigali a cinque voci, con alcuni di Giovanni Gabrielli.Venezia, Angelo Gardano. 4° obl. 158914, G76. B BrF Pn (formerly F Pthibault)HR Ssf (A,5)I Vc (T), I Vnm, I VEaf (A). Vogel et al., BibliografiaPL Kj (5). Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. Meluzzi, Catalogue, 21an ex. (T) was auctioned at Rome in 1906. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:69), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142). 1589 GIOVANNELLI, Ruggiero. Gli sdruccioli . . .primo libro a quattro voci.Venezia, Angelo Gardano. 4° obl. G2455. See 1585 (Alessandro Gardano), 1598. B BrI FnPL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123). Eitner, QuellenLexikon, Vogel, BibliothekI Bc. Vogel et al., BibliografiaI MOe. 1589 GIOVANNELLI, Ruggiero. Gli sdruccioli . . .a quattro voci, con una caccia in ultimo a quattro, cinque, sei, sette & otto . . .libro secondo.Venezia, Angelo Gardano. 4° obl. G2473. See 1596. I Fn (compl.: S,A,T,B), I MOePL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123). 1589 INGEGNERI, Marc' Antonio. Liber sacrarum cantionum, quae ad septem, octo, novem, decem, duodecim, sexdecim voces choris & coniunctis & separatis commode etiam cum varijs musicis instrumentis concini possunt.Venezia, Angelo Gardano. 4° upr. I47. D As (compl.: I: S,A,T,B; II: S,A,T,B), D Kl, D Rp (B II)I Mc, I PCd (lacks BII), I PS (S II, T II, B II[all inc.])PL KjS Uu. An ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 124). Two exs. were in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137, 144). 1589 ISNARDI, Paolo. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. I126. D Dl (compl.: S,A,T,B,5,6)I Fn, I MOe (S,T,B). Heyer, Versteigerunga compl. but def. ex. formerly in Heyer coll., Cologne. 1589 LASSO, Orlando di. Cantica divae mariae virginis, quae Magnificat appellantur, secundum octo tonos in templis decantari solitos quatuor vocum, et alia octo quinis vocibus canenda.Venezia, Angelo Gardano. 4° upr. L993. D Kl (compl.: S,A,T,B,5)PL GD (Morell, "Georg Knoff," 125

 

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formerly Marienkirche, prob. from the coll. of Georg Knoff [d.1605]). Two exs. were prob. in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 139, 140). 1589 MACQUE, Jean de (Giovanni de). Il secondo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. M90. GB Lbl (5). [1589 MARENZIO, Luca. Il secondo libro de madrigali a sei voci. See 1584.] 1589 MONTE, Philipp de. Il secondo libro de madrigali spirituali a sei, & sette voci.Venezia, Angelo Gardano. 4° obl. M3322. D Mbs (compl.: S,A,T,B,5,6)GB Lbl (2 compl. exs.; in 1, S[inc.])I Bam (5), I Fn. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1589 NALDI, Romulo. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. N12. I Bc. 1589 PALESTRINA, Giovanni Pierluigi da. Hymni totius anni, secundum Sanctae Romanae Ecclesiae consuetudinem necnon hymni religionum, quattuor vocibus concinendi.Venezia, Angelo Gardano. 4° upr. P738. See 1589 (Torneri, Donangelo [Coattino]). D Rp (S,Bformerly in the Convent of St. Anna in Augsburg; see Bernstein, "Buyers and Collectors," 32)GB LcmI AOc, I Bc (in Martini's coll. by 1745see Martini, Carteggio, 130), I Bsp, I Rvat-sistina, I TVd (Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII)US NYp, US PRu. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. See Göhler, Verzeichnis, 1:34 (P92A); this ed. prob. intended. 1589 PINGIROLO, Gabriele. Vespertini concentus quatuor concinendi vocibus.Venezia, Angelo Gardano. 4° obl. P2390. I Bc (T). Eitner, Quellen-LexikonKraków (but not in PL Kj nor E. Berlin catalogues). 1589 QUINTIANI (QUINZIANI), Lucrezio. Le vaghe canzonette a tre voci.Venezia, Angelo Gardano. 4° upr. Vogel et al., Bibliografia 2298. PL Kj (S; see Mann, "From Berlin," 26). 1589 QUINTIANI (QUINZIANI), Lucrezio. Psalmi ad chorum accomodati, & perbreves quinque vocibus decantandi, qui a Sancta Romana Ecclesia, in quolibet vespertina sanctorum omnium solemniumque dierum psalmodia inter annum concinuntur.Venezia, Angelo Gardano. 4° upr.

Q114.  

I Rvat-casimiri (T).

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1589 RICCIO, Teodoro. Introitus qui in sollennitatibus maioribus et praecipuorum sanct: festis per totius anni circulum in ecclesia decantari solent, cum versiculis & doxologia, harmonicis numeris & vocibus quinque concinnati.Venezia, Angelo Gardano. 4° upr. R1291. US NH (S,A[inc.],T,B,5). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 138). 1589 ROTA, Andrea. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. R2786. I MOePL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123)US Wc. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:67). 1589 STABILE, Annibale. Sacrarum modulationum quae quinis, senis et octonis vocibus concinuntur, liber tertius.Venezia, Angelo Gardano. 4° upr. S4204. B Br (compl.: S,A,T,B,5,6)CH Zjacobi (B)D Rp (B,5)I Rc (5)P La (lacks 6)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123)S Sk (A). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:64, 2:6). 1589 TROMBETTI, Ascanio. Il primo libro de motetti accomodati per cantare et far concerti a 5. 6. 7. 8. 10. et 12.Venezia, Angelo Gardano. 4° upr. 15891, T1277. I Bc (compl.: S,A,T,B,5,6), I Bsp. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:64, 2:6), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137). 1589 TURINI, Gregorio. Cantiones admodum devotae, cum aliquot psalmis Davidicis, in ecclesia Dei decantandis, ad quatuor aequales voces compositae.Venezia, Angelo Gardano. 4° obl. T1396. D KNu (S II), D Rp (compl.: S I,S II,S III,B [2 exs.])D ZI (S I,S III,B)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123). 1589 VECCHI, Orazio (Tiberio). Madrigali a cinque voci . . .libro primo.Venezia, Angelo Gardano. 4° upr. V1043.

 

B BcD AsF PcGB Lbl, GB LcmI Bc (S), I Fn (S,T), I Nc (compl.; T[inc].), I Sc (S)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123)US BE (lacks A,5; 2 exs. of B), US CA (S[inc.],A,T,B[inc.],5[inc.]), US CHH (A,T[inc.],B,5), US NH (compl., T[ms.]), US Wc (Vogel et al., BibliografiaS,B,5 inc.). Vogel et al., BibliografiaI PS (B[inc.]). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 144).

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1589 WERT, Giaches (Jaches) de. Il primo libro delle canzonette villanelle a cinque voci.Venezia, Angelo Gardano. 4° upr. W888. CZ KRa (T)GB Cfenlon (S), GB Ge [inc.], GB LblI Bc (lacks 5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123), PL Kj (S)US LAu (S,T). Eitner, Quellen-Lexikon, Vogel, BibliothekI Fl. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:484), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 141). 1589 ZAN(N)OTTI, Camillo. Il terzo libro de madrigali, con alcune villotte a cinque voci.Venezia, Angelo Gardano. 4° obl. Z77. A Wn (T,B,5). 1589 ZAN(N)OTTI, Camillo. Il primo libro delli madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. Z76. D KNu (S,B), D RpI MOePL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 123). 1590 1590 AICHINGER, Gregor. Sacrae cantiones, quatuor, quinque, sex, octo, et decem vocum, cum quibusdam alijs quae vocantur madrigali.Venezia, Angelo Gardano. 4° obl. A517. D As (2 exs.), D Mbs, D Rp (A,T,B,5,6)GB Lbl (5)US Wc (5). See Göhler, Verzeichnis, 1:1 (W90V, P90A, L92V, L92A, L93V), and Heussner and Schultz, Collectio Musica, 42, #s261-2. 1590 ANONYMOUS. Dialoghi musicali de diversi eccellentissimi autori, a sette, otto, nove, dieci, undeci, et dodeci voci, novamente posti in luce. Con due battaglie a otto voci, per sonar de istrumenti da fiato, di Annibale Padoano et de Andrea Gabrieli, già organisti della Serenissima Signoria di Venetia in S. Marco.Venezia, Angelo Gardano. 4° upr. 159011. See 1592, [1594?]. B BrD As (A)I VEaf (9,10). Prob. the ed. mentioned in a letter from Chiti to Martini in 1746 (Martini, Carteggio, 226). See Heussner and Schultz, Collectio Musica, 29, #189. 1590 BELLASIO, Paolo. Il primo libro de madrigali a sei voci, con un dialogo a dieci.Venezia, Angelo Gardano. 4° upr. B1715. I VEaf (A). Index Aureliensis, Catalogus, 3:475, lists I Rn, I Vnm, prob. in error.

1590 CANCINEO, Michelangelo. Il primo libro de madrigali . . .a quattro, cinque, sei, & otto voci.Venezia, Angelo Gardano. 4° upr. 159021, C786.  

I Bc (compl.: S,A,T,B,5; not yet in Martini's coll. by 1747see Martini, Carteggio, 272, 275).

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1590 CARTARI, Giuliano. Dulcifluum, senis vocibus, melos, super, omnium festorum, psalmos vespertinos, totidemq; vocibus, & geminis tonis, hocest, quarto, & quinto, super geminatum Deiparae canticum.Venezia, Angelo Gardano. 4° upr. C1267. D Rp (A,T,B)I Bc. 1590 FELICIANI, Andrea. Brevis ac iuxtum ritum ecclesiae annua psalmodia ad vespertinas horas octo canenda vocibus.Venezia, Angelo Gardano ([B I:]1589). 4° upr. 15909, F200. D Rp (A I-II,T I-II,B I-II)GB Lbl (S I,S II,B II)I Bc (A I,B I), I FEc (compl.: I: S,A,T,B; II: S,A,T,B), I Ls (Maggini, Catalogocompl.; Sartori, Biblioteca del Seminario, 140inc., prob. in error), I PS (A I)PL Kj (lacks T I). Eitner, Quellen-LexikonHaberl coll. (D Rp?). 1590 GABRIELI, Andrea. Libro primo de madrigali a tre voci.Venezia, Angelo Gardano. 4° obl. G70. See 1575, 1582. A WnF Pn (S,B)I Bc. [1590 GABRIELI, Andrea. Madrigali et ricercari. See 1589.] 1590 GIOVANNELLI, Ruggiero. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. G2462. See 1586, 1588, 1594, 1600. B Br. RISM, Einzeldrucke, Bibliothèque Royale, Catalogue1591; Eitner, Quellen-Lexikon, Vogel et al., Bibliografia1590. See Göhler, Verzeichnis, 1:13 (P92A). 1590 ISNARDI, Paolo. Psalmi . . .quatuor vocum.Venezia, Angelo Gardano. 4° obl. I112. See 1569, 1571, 1580. GB Lbl (S,A)I FEcPL GD (Morell, "Georg Knoff," 125formerly Marienkirche, prob. from the coll. of Georg Knoff [d.1605]). 1590 MASSAINI, Tiburtio. Motectorum quinque vocum . . .liber tertius.Venezia, Angelo Gardano. 4° upr. M1274. GB Lbl (S)I PCd (Bussi, Piacenzacompl.; Sartori, "Finalmente svelati," 200inc., prob. in error). 1590

MAZZA, Francesco. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. M1503. CZ Pnm (T,5). 1590 MONTE, Philipp de. Il quartodecimo libro delli madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl.  

M3383.

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A Wn (T,B,5)B MEa, B Br (S)GB Lbl (5)I MOe (S,A,T,5). Heyer, Versteigerunga compl. but def. ex. formerly in Heyer coll., Cologne. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:295, 2:37). Pitoni, Notitia, 175 contains an entry for a fourth book in this year, but doubtless this edition was intended. 1590 MONTE, Philipp de. Il terzo libro de madrigali spirituali a sei voci.Venezia, Angelo Gardano. 4° obl. M3323. B Br (S,A,T,B,5 [all voices inc.])GB Lbl (5[def.])I Bam (5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:293, 2:37). 1590 MONTEVERDI, Claudio. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3456. A Wn (T,B,5)GB Lbl (5). 1590 PALESTRINA, Giovanni Pierluigi da. Liber primus . . .mottettorum, quae partim quinis, partim senis, partim septenis vocibus concinantur.Venezia, Angelo Gardano. 4° upr. P703. See 1569 (Dorico), 1579. D B (compl.: S,A,T,B,5,6), D Hs (5), D Rp (S,T,5)E Bc, E CU (A,B), E MO (A), E VAcpGB Lbl (6[2 exs.])I Ac (compl.: B in 2 exs.), I Bc (S,B), I FEc, I Rsc (A), I Rvat-giuliaP C (A[inc.])S Skma (5). 1590 RICCIO, Teodoro. Sedecim psalmi qui non solum ad placitum per anni circulum, verum etiam praecipue ad vesperas dominicis & festis diebus decantari possunt; his accesserunt quaedam motecta & quatuor Magnificat, partim nova, partim antea visa, nunc vero aucta cum litanijs octo vocum.Venezia, Angelo Gardano. 4° obl. R1292. D Rp (S II). 1590 TOLLIUS, Jan. Motecta de dignitate et moribus sacerdotum Joannes Tollij amersfordiensis belga ternis vocibus. Lib. 1.Venezia, Angelo Gardano. 4° upr. Müller, Musikalischen Schätze, 379an ex. formerly at Königsberg (B). 1590 TRESTI, Flaminio. Il terzo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. T1173. A Wn (T,B,5)GB Lbl (5). 1590 TROMBETTI, Girolamo. Il primo libro de madrigali a cinque voci [with 2 works by A. Trombetti].Venezia, Angelo Gardano. 4° upr.

159026, T1278.  

I Bc (A,T)US BE (A,T,B,5; all but A def.).

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1590 VECCHI, Orazio (Tiberio). Canzonette . . .libro quarto a quattro voci.Venezia, Angelo Gardano. 4° upr. V1027. See 1603. D Kl, D Rp (S)D Bds (S)GB Ckc (S), GB LblI Bc, I BspNL At (T)PL WRu (lacks S; Vogel et al., Bibliografiacompl.)PL Kj (S,B). Eitner, Quellen-LexikonI MOe. 1590 VECCHI, Orazio (Tiberio). Motecta . . .quaternis, quinis, senis, & octonis vocibus. -Venezia, Angelo Gardano. 4° upr. V1005. D As (compl.: S,A,T,B,5,6,7,8), D Kl, D Mbs, D Rp (lacks S)GB Lbl (S,T,6,7;8[2 exs.]), GB Lcm (inc.)I Bc, I Bsp, I MOd (A), I PS (lacks 8)PL KjUS BE (S,A[def.],T,B,5,6[def.],7,8[def.]), US Cn. Eitner, Quellen-Lexikon lists I MOe (I MOd?). Heyer, Versteigerunga compl. but def. ex. formerly in Heyer coll., Cologne (now US BE?). See Göhler, Verzeichnis, 1:46 (P92A); prob. this ed. intended. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:481), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137). 1590 VECCHI, Orazio (Tiberio). Selva di varia ricreatione . . .nella quale si contengono varij soggetti, a 3, a 4, a 5, a 6, a 7, a 8, a 9, & a 10 voci, cioè madrigali, capricci, balli, arie, justiniane, canzonette, fantasie, serenate, dialoghi, un lotto amoroso, con una battaglia a diece nel fine, & accomodatovi la intavolatura di liuto alle arie, ai balli, & alle canzonette.Venezia, Angelo Gardano. 4° upr. 159031, V1044. See 1595. B Br (compl.: S,A,T,B,5,6, 7,8,9,10)D Kl (S,B,7)DK Kk (7,8,9,10 only in ms.)F Pc (A)I Bc, I Bsp, I Fn (compl.; A[inc.]), I PCd (5,7,10[inc.]), I Rsc (S,A,B,5,6; remaining voices inc.), I Sac (9,10), I Vgc (A)PL Kj. Eitner, Quellen-Lexikon, Vogel, BibliothekI MOe. 1590 WANNINGUS, Johann. Sacrae cantiones quinque et sex vocum accommodatae ad dies festos totius anni praecipuos usitatos in ecclesia numeris musicis exornate.Venezia, Angelo Gardano. 4° obl. W206. B Br (B,5,6)D As (compl.: S,A,T,B,5,6; SchletterKAlacks 6), D Kl (compl.; B, 5 inc.), D W (6)NL At (5)PL Tu (S,A; prob. the copy formerly in the Marienkirche in Elbingsee Eitner, Quellen-Lexikon; Plamenac, "Eastern Europe," 223), PL Wn (B). Eitner, Quellen-LexikonGrimma Landesschule (D Dl[b]? See Willier, "Present Location," 223). See Heussner and Schultz, Collectio Musica, 1103; Cless, Unius seculi, 401. 1590 WANNINGUS, Johann. Sententiae insigniores quinque, sex et septem vocum ex evangeliis dominicalibus excerptae atq; musicis modulis ornate.Venezia, Angelo Gardano. 4° obl.  

W205.

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B Br (B,5,6)D As (lacks 6), D Kl (compl.: S,A,T,B,5,6), D W (6)PL Tu (S,A[inc.]), PL Wn (B; prob. the copy formerly in the Marienkirche in Elbingsee Carstenn, "St. Marienbibliothek," 40, Eitner, Quellen-Lexikon, Plamenac, "Eastern Europe," 223). Eitner, Quellen-Lexikon, Stahl, "Lübecker Stadtbibliothek," 25, Stiehl, "Stadtbibliothek zu Lübeck," 36D LÜh (B,5). 1590 ZALAMELLA, Pandolfo. Responsorij a 4. No format data available. Not in RISM, Einzeldrucke; from the Gardano, Indice, 3r; Pitoni, Notitia, 127. 1591 1591 ANONYMOUS. Graduale romanum. Iuxta ritum missalis noui, ex decreto sacrosancti Concilij Tridentini restituti. Cum additione missarum de sanctis, ut in praecepto S. D. N. Xisti Papae. V. ut patet . . .Magnostudio ac labore multoru[m] eccellentissimoru[m] musicoru[m] emendatu[m]. Venetiis, apud Angelum Gardanum. Folio. Crawford and Borders, Renaissance Liturgical Imprints: 746. D AsGB ObI CEc (def.), I TRfeiningerUS BE (def.), US Cu, US Msu (National Union Catalogue mistakenly lists as US MSp). 1591 ANONYMOUS. La ruzina canzone di Filippo de Monte, insieme un' altra di Cipriano de Rore, et altre madrigali de diversi famosissimi autori a sei voci. Novamente stampata et data in luce.Venezia, Angelo Gardano. 4° upr. 159123. B Bc (S,B,6)D As, D Kl, D KNu (B), D Rp (S,A,T,5)GB Lbl (S)I ASs (?), I Bc (A), I Fn (A,B,5,6), I MOe (S,A,B,5,6), I Rsc (S,A,B,5,6). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:124-5, 2:15), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 144). 1591 BONINI, Pietro Andrea. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. 159117, B3493. B BrI Fm (5)US CA (5[def.]). 1591 BOSCHETTI, Girolamo. Il primo libro de madrigali a 4 voci.Venezia, Angelo Gardano. 4° upr. After Fétis, Biographie. RISM, Einzeldrucke, lists a second book of madrigals from 1593. 1591 CANTONE, Serafino. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. C888. US Wc. 1591 DRAGHI, Bernardino. Il primo libro delle villanelle a tre voci.Venezia, Angelo Gardano. 4° upr. D3488. A WnCH BuGB Lbl (B)I Bc (B), I Sc (S).

 

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1591 FELICIANI, Andrea. Musica in canticum Beatissimae Virginis Mariae quatuor, octo, ac duodecim concinenda vocibus.Venezia, Angelo Gardano. 4° upr. F201. I Bc (A I, B I), I FEc (compl.: I: S,A,T,B; II: S,A,T,B), I PS (A I)PL Kj (7 vols.; Eitner, Quellen-Lexikonlacks A,2). Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1591 GARDANO, Angelo. Indice delli libri di musica che si trovano nelle stampe di Angelo Gardano. See Appendices II.A and II.B. [1591 GIOVANNELLI, Ruggiero, See 1590.] 1591 GUAMI, Gioseffo. Il quarto libro de madrigali a cinque & sei voci, con alcuni dialoghi a otto & a dieci.Venezia, Angelo Gardano. 4° upr. G4805. B Bc (S,B,6)US BE (A). 1591 INGEGNERI, Marc Antonio. Sacrae cantiones, senis vocibus decantandae, liber primus.Venezia, Angelo Gardano. 4° upr. I48. D AsI Mc, I PS (lacks 6). Ferrarese and Gallo, Biblioteca Capitolareex. in I TVd (A,T) missing since WWII. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:34, 2:1), and in the court library of Innsbruck in 1665 (Waldner, ''Zwei Inventorien," 137). 1591 LASSO, Orlando di. Missae . . .cum quinque, et sex vocibus canende, nuperrime impresse.Venezia, Angelo Gardano. 4° upr. L997. D Bds (S,A,B,5,6)GB Lbl (S,A,T,B,6)PL GD (Morell, "Georg Knoff"formerly Marienkirche). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:102, 2:12), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 140). 1591 LEONI, Leo. Bella Clori, secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. L1990. I VEaf (lacks B. Vogel et al., BibliografiaS lacks tp., index). 1591 MARENZIO, Luca. Il quinto libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. 159121, M515. See 1595, 1610.

 

B Bc (S,B,6)D Rp (S,A,5,6)F Pc (A,T,B,5,6)GB ObI Bc, I MOe (S,A,T,B,6), I Rsc (S,A,B,5,6), I VEaf (S,A,T,B,5)US BE (5; Vogel et al., Bibliografia, mistakenly lists T). RISM, Recueils imprimésI ASs (S). See Göhler, Verzeichnis, 1:30 (P92A); prob. this ed. intended.

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1591 MAZZONE, Marc' Antonio. Il primo libro delle canzoni a quattro voci, tra le quali molte ne sono in laude della Madonna Benedetta.Venezia, Angelo Gardano. 4° upr. M1685. I Bc (B), I Vnm. [1591 MONTE, Philipp de. La ruzina canzone. See ANONYMOUS.] 1591 MONTE, Philipp de. Il sesto libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. M3384. I Bc (A,T,5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:294-5, 2:37). 1591 MONTE, Philipp de. Il settimo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. Vogel et al., Bibliografia 799. PL Kj (B, bound in no. M. 925; see also Mann, "From Berlin," 21, 26). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:63). 1591 PALESTRINA, Giovanni Pierluigi da. Magnificat octo tonum.Venezia, Angelo Gardano. 4° upr. P745 (although confused with Alessandro's edition from the same year). See 1591 (Alessandro Gardano). B Br (B)D Kl (compl.: S,A,T,B), D Rp (B)E Asa (S,T)I BRd (S,T,B), I Brq (A), I Mc, I Rvat-sistina (S,T), I TVd (Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII), I VCd (Sartori, "Cattedrale di Vercelli"). Eitner, Quellen-Lexikon"copies" of books 1-2 in Berlin, but not in PL Kj nor E. Berlin catalogues (thus ms.?). See Göhler, Verzeichnis, 1:34 (P92A); prob. this ed. intended; and Heussner and Schultz, Collectio Musica, 106, #815. 1591 PEETRINUS (PEETERS), Jacobus. Liber primus motectorum quinque vocum.Venezia, Angelo Gardano. 4° obl. P1141. D B (5), D Kl (S[inc.],A,T,B,5). 1591 PORTA, Costanzo. Liber primus motectorum quatuor vocum.Venezia, Angelo Gardano. 4° obl. P5173. See 1559. CH Zjacobi (B)GB Lbl (S,A,T[inc.],B). 1591 QUINTIANI, Lucrezio. Cantica Deiparae Virginis, octo vocibus concinenda: quibus etiam in fine canticum unum quarti toni duodecim vocibus decantandum adiunctum est, tum omnis generis instrumentorum tam ad vocis modulationem accomodata.Venezia, Angelo Gardano. 4° upr.

 

Q115.

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I LOcl (A I, B II), I Rvat-casimiri (B I). An inc. ex. was in the possession of Giuseppe Antonio Magni of Monza in 1783 (see Dalmonte, Duomo di Monza, xxxvi, n. 97). [1591 RORE, Cipriano de. La ruzina canzone. See ANONYMOUS.] 1591 SABINO, Ippolito. Missae sex . . .quae vulgo pari voce dicuntur. Quatuor vocum.Venezia, Angelo Gardano. 4° obl. Not in RISM, Einzeldrucke (after British Library, British Library to 1980, 49:410, and confirmed by GB Lbl; also British Library, Supplement, 71). GB Lbl (A[inc.],T,T II,B). 1591 TOLLIUS, Jan. Liber primus motectorum quinque vocum.Venezia, Angelo Gardano. 4° upr. T911. D Kl. 1591 TOLLIUS, Jan. Motectorum quinque vocum liber secundus.Venezia, Angelo Gardano. 4° upr. T912. D Kl. 1591 VECCHI, Orazio (Tiberio). Canzonette . . .libro primo a quattro voci . . .quinta impressione.Venezia, Angelo Gardano. 4° upr. V1014. See 1580, 1581, 1585. D Kl, D Rp (S)F Pc (S)GB LblI Bc, I Rsc (lacks A), I Vnm (A,T)PL Kj (S)US Cn (S), US PHu (B). 1591 VECCHI, Orazio (Tiberio). Madrigali a sei voci . . .novamente ristampati, libro primo.Venezia, Angelo Gardano. 4° upr. V1042. See 1583. D Rp [3 exs.; S,A,T,B,5,6; S,A,T,5; S,A,5,6]F Pc (formerly Rome, Bibl. Borghesesee Vogel, "Schicksale")GB Lbl (compl.; 2 exs. of A), GB LwaI Bc (A), I Nc, I Rc (S[inc.]). Eitner, Quellen-LexikonI MOe. 1591 VILLANI, Gabriele. Il secondo libro delle toscanelle a quattro voci.Venezia, Angelo Gardano. 4° upr. V1550. D As. 1591 WERT, Giaches (Jaches) de. Il decimo libro madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl.

W889.

 

GB LblI Bc (compl.; B still lacking from Martini's coll. in 1747see Martini, Carteggio, 268), I Sd (T), I VEafNL At (B), NL Dhgm (A)PL Kj (A,T,B)US Bp (5). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 141).

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1592 [1592 ANNIBALE Pado(v)ano.(Annib. Patavini). 4. voci.Venezia, apud Gardanum (Draud, Biblioteca, 1613)] 1592 ANONYMOUS. L'amorosa caccia de diversi eccellentissimi musici mantovani nativi a cinque voci novamente ristampata.Venezia, Angelo Gardano. 4° upr. 159212. See 1588. GB LcmI Fm (5). See Göhler, Verzeichnis, 1:60 (P93V); prob. this ed. intended. 1592 ANONYMOUS. Dialoghi musicali de diversi eccellentissimi autori, a sette, otto, nove, dieci, undeci et dodeci voci, novamente posti in luce. Con due battaglie a otto voci, per sonar de istrumenti da fiato, di Annibale Padoano et di Andrea Gabrieli, già organisti della Serenissima signoria di Venetia in San Marco.Venezia, Angelo Gardano. 4° upr. 159210. See 1590, [1594?]. A Wn (lacks T)B Br (lacks S)D As (lacks S, A)GB Lbl (A,5; Vogel, Bibliothek mistakenly lists another compl. ex. here)I TVd (Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII), I VEaf (10). See Göhler, Verzeichnis, 1:60 (P92A). 1592 ANONYMOUS. Spoglia amorosa. Madrigali a cinque voci, de diversi eccellentissimi musici. Novamente ristampata.Venezia, Angelo Gardano. 4° upr. 159215. See 1584 (Scotto), 1600. B BrD Rp (S,A,T,5)F Pn (formerly F Pthibault)I Bc. 1592 ANONYMOUS. Il trionfo di Dori, descritto da diversi, et posto in musica, a sei voci, da altretanti autori.Venezia, Angelo Gardano. 4° upr. 159211. See 1599. D KlI Bc (compl.; in 1747, Martini lacked 5see Martini, Carteggio, 275), I VEaf (S,T,B,5)US Wc. 1592 ANTEGNATI, Costanzo. Salmi a otto voci.Venezia, Angelo Gardano. 4° upr. A1264. D Rp (I: S,A[2 exs.],T[2 exs.],B; II: S,A,T[2 exs.],B[2 exs.])I Ac (compl.; A II def.), I BcPL Kj. Eitner, Quellen-LexikonI PS. Heyer, Versteigerunga copy formerly in Heyer coll., Cologne. 1592

BELLASIO, Paolo. Villanelle a tre voci, con la intavolatura del liuto.Venezia, Angelo Gardano. 4° upr. B1717.  

GB Lbl (B)I Bc (S,T,B).

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1592 BERTI, Caroli. Psalmi omnes qui in vesperis a romana ecclesia toto anno decantantur, quinque vocibus concinendi.Venezia, Angelo Gardano. 4° obl. B2132. D Bds (B)PL Kj. 1592 GIANELLI, Francesco. Il primo libro de madrigali a tre voci.Venezia, Angelo Gardano. 4° obl. G1837. GB LblPL Kj (B). [1592 GUAMI, Francesco. Il primo libro de madrigali a 4, 5, et 6 voci.Venezia, Angelo Gardano. 4° upr. After Fétis, Biographie. RISM, Einzeldrucke lists Book II from 1593, and a Book I a 4, 5, 8 from 1588.] 1592 INGEGNERI, Marc Antonio. Il primo libro de madrigali a quatro.Venezia, Angelo Gardano. 4° obl. I52. See 1578. D As. 1592 LASSO, Orlando di. Il primo libro di madrigali a quattro voci, novamente con ogni diligenza ristampati.Venezia, Angelo Gardano. 4° obl. 159218, L1003. See 1562, 1576, 1581, 1582. GB Lbl (A,B)I Fr (S,A,B)US Ws (S). 1592 LASSO, Orlando di. I motetti . . .a tre voci, libro primo novamente con ogni diligenza ristampati.Venezia, Angelo Gardano. 4° obl. L1001. See 1575 (Berg); 1579. CH Zjacobi (S[inc.])I Nc. 1592 MARENZIO, Luca. Madrigali a quattro voci . . .novamente . . .ristampati, libro primo.Venezia, Angelo Gardano. 4° upr. M581. See 1585 (Alessandro Gardano), 1603. B BcF Pn (formerly F Pthibault)GB DRc (B), GB Lbl, GB LcmI Bc (prob. mentioned in a letter from Chiti to Martini in 1746see Martini, Carteggio, 211), I Rc (S)NL DHgm (S,A,B)PL Kj (S). See Göhler, Verzeichnis, 1:30 (P93V).

[1592 MARENZIO, Luca. Madrigalia . . .liber I. 5. (perhaps the 1582 or 1602 edition was intended here, or that for 4 voices above; Draud, Biblioteca, 1629, gives the first name as "Ioan.")] 1592 MASSAINI, Tiburtio. Sacri cantus quinque paribus vocibus concinendi . . .liber secundus.Venezia, Angelo Gardano. 4° obl. M1271. See 1580.  

D RpI Bc (S,B)PL Kj (B)US Cn (5).

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1592 MASSAINI, Tiburtio. Sacrae cantiones sex vocibus . . .liber primus.Venezia, Angelo Gardano. 4° upr. M1277. D Rp (lacks B). 1592 MASSAINI, Tiburtio. Sacri modulorum concentus, qui senis, 7,8,9,10, ac duodenis vocibus in duos tresve choros coalescentes, non minus instrumentorum, quam vocum harmonia suaviter concini possunt.Venezia, Angelo Gardano. 4° upr. M1275. D Kl (compl.: I: S,A,T,B; II: S,A,T,B), D Rp (compl.; B I in 2 exs.)GB Lbl (S I,S II,T II[inc.],B II[inc.])I Mc, I TVd [inc.], I VEcap. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 145). See also Göhler, Verzeichnis, 1:31 (W94V), and Heussner and Schultz, Collectio Musica, 97, #739. 1592 MERULO, Claudio. Canzoni d'intavolatura d'organo . . .a quattro voci, fatte alla francese . . .libro primo.Venezia, Angelo Gardano. 4° upr. M2375. CH Bu (US AA has only a microfilm). 1592 MONTE, Phillip de. Madrigali . . .a cinque voci, libro quinto.Venezia, Angelo Gardano. 4° obl. M3359. See 1574. I Bc (lacks B). Eitner, Quellen-Lexikon, Vogel et al., BibliografiaNL At (B). 1592 MONTE, Philipp de. Il quintodecimo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3385. B MEa (S)GB LblI Bc (apparently not yet in Martini's coll. by 1747see Martini, Carteggio, 267), I Bsp (lacks 5, B is inc.), I Ls (S[inc.], A,5)NL At (B)PL Kj (B, bound in no. M.925). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:70). 1592 MONTE, Philipp de. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. M3343. See 1569 (Correggio). I Rsc (T,B,5,6). [1592 MONTE, Philipp de. Il 2° libro de' madrigali a 6 ristampati.(Venezia), Angelo Gardano (Pitoni, Notitia, 176)]. 1592 MONTE, Philipp de. Il quarto libro de madrigali a sei voci, insieme alcuni a sette.Venezia, Angelo Gardano. 4°

obl. M3369. See 1580. B Br (6)I Bc (lacks 6). [1592 PORDENON, Marc'Antonio (M. Anton Pordeneri & Cigneri). 4 voc. Venezia, apud Guardan (Draud, Biblioteca, 1619)].  

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1592 ROTA, Andrea. Il primo libro de madrigali a quattro voci.Venezia, Angelo Gardano. 4° obl. R2787. I BcPL Kj (B). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 144). 1592 RUFFO, Vincenzo. Missae Boromeae . . .cum quinque vocibus concinende.Venezia, Angelo Gardano. 4° obl. R3064. I VnmPL GD (S,A,T,B; Morell, "Georg Knoff," 125formerly Marienkirche, prob. from the coll. of Georg Knoff [d.1605]), PL Kj (B,5). Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1592 SCARABELLI (SCARABEI), Damiano. Liber primus motectorum, quae partim quinis, partim senis, partimq; octonis vocibus decantantur.Venezia, Angelo Gardano. 4° upr. S1162. D Rp (S,A,T,5,6)I Bc (S,A,T,5,6). 1592 STRIGGIO, Alessandro. Il primo libro de madrigali a sei voci, novamente con ogni diligenza ristampato.Venezia, Angelo Gardano. 4° upr. S6958. See 1560, 1579. D As (S,A,T,B,6)I Bc (A). 1592 STRIGGIO, Alessandro. Il secondo libro de madrigali a sei voci . . .novamente con ogni diligenza ristampato.Venezia, Angelo Gardano. 4° upr. S6971. See 1571 (Scotto). D As (S,A,T,B,6), D RpI Bc (by 1747, Martini di not yet have this in his coll.see Martini, Carteggio, 275), I Rc (B). 1592 VENTURI DEL NIBBIO, Stefano. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. V1190. D Rp (S,A,T,5)GB LwaI Fm (5). 1592 VENTURI DEL NIBBIO, Stefano. Il primo libro de madrigali pastorali a cinque voci.Venezia, Angelo Gardano. 4° upr. V1191. D Rp (S,A,T,5)I Bc (5), I Fm (5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria,

2:69). 1592 WERT, Giaches (Jaches) de. Il terzo libro de madrigali a cinque voci . . .novamente ristampato.Venezia, Angelo Gardano. 4° obl. W894. See 1563, 1572.  

GB Lbl (A,B)NL DHgm (A).

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1592 WERT, Giaches (Jaches) de. Il sesto libro de madrigali a cinque et sei voci, novamente ristampato.Venezia, Angelo Gardano. 4° obl. W883. See 1577 (Scotto). D B (compl.: S,A,T,B,5)GB Lbl (A,B)NL DHgm (A). 1593 1593 ANONYMOUS. Il lauro verde, madrigali a sei voci di diversi autori. Novamente con ogni diligenza ristampati.Venezia, Angelo Gardano. 4° upr. 15932. See 1583 (Baldini). D KlI Nc (lacks A,6), I Rc (S,B). 1593 BACCUSI, Ippolito. Missarum cum quinque, & novem vocibus, liber quartus.Venezia, Angelo Gardano. 4° upr. B29. GB Lbl (I: S,A,T,B,5; II: A)I Bc (A II, lacks tp. or only tp.?), I Mc (compl.: I: S,A,T,B,5; II: S,A,T,B), I PCd, I VEcap (lacks B I), I VCd. 1593 BERTI, Caroli. Magnificat octo tonum quinque vocibus concinendi, adest etiam Magnificat supra Vestiva i colli . . .liber primus.Venezia, Angelo Gardano. 4° obl. B2133. I Vnm. Eitner, Quellen-LexikonD Hs (S,A,T,5); score and parts in D Rp, although the library cannot confirm its presence. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1593 BOSCHETTI, Girolamo. Il secondo libro de madrigali a quattro voci, et doi a sei, con un eco nel fine a 8.Venezia, Angelo Gardano. 4° upr. B3790. B Br (compl.: S,A,T,B)I Bc, I Bsp. 1593 GABRIELI, Andrea. Intonationi d'organo di Andrea Gabrieli, et di Gio. suo nepote . . .composte sopra tutti li dodici toni della musica . . .libro primo.Venezia, Angelo Gardano. 4° obl. 159310, G80. CH BuF PcGB ObI Bc. Sartori, Musica strumentale 1, H. M. Brown, Instrumental MusicF Pthibault (presumably now F Pn; Sartori, Musica strumentale 1B only; not listed in Bibliothèque Nationale, Musiques anciennes). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:474).

1593 GERO, Ihan (Jehan, Jan). Il primo libro de madrigali italiani, et canzon francese, a due voci [corresponds to the 1543 ed. rather than to first ed. of 1541].Venezia, Angelo Gardano. 4° obl. G1635. See 1543, 1581.  

I Fr (S).

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1593 GIOVANNELLI, Ruggiero. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. G2479. See 1587, 1599, 1607. B BrCH BuEIRE Dm (S,5)GB Ge (lacks S and B)I BcPL Kj. Heyer, Versteigerungan ex. formerly in Heyer coll., Cologne. See Heussner and Schultz, Collectio Musica, 72, #519. 1593 GUAMI, Francesco. Il secondo libro de madrigali a 4. 5. et 6. voci con un dialogo a otto.Venezia, Angelo Gardano. 4° upr. G4799. I Bc (compl.: S,A,T,B,5; not yet in Martini's coll. in 1747see Martini, Carteggio, 273). 1593 LASSO, Orlando di. Il quarto libro de madrigali a cinque voci, novamente con ogni diligenza ristampati.Venezia, Angelo Gardano. 4° obl. L1005. See 1567, 1570, 1584. D HsGB LblI Bc (S)PL WRu (S[def.],T,B[def.]), US NH (A). 1593 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) sex et octo vocum, tum viva voci, tum omnis generis instrumentis cantatu commodissimae, liber quartus.Venezia, Angelo Gardano. 4° obl. L1004. See 1566, 1579. D Kl (compl.: S,A,T,B,5,6)I Bc (A,T,B,5,6). 1593 MARENZIO, Luca. Il secondo libro de madrigali a cinque voci . . .novamente ristampati.Venezia, Angelo Gardano. 4° obl. M542. See 1581, 1583, 1606. A WnD As (2 exs.), D Rp (S)F Pn (formerly F Pthibault)GB Lbl (S,A,T,5)I Bc, I Bsp (A,B), I Fd (S,A,T,B), I Sd (T), I ST (S)NL DHgm (A)US BE (T), US BU (5). 1593 MARENZIO, Luca. Il quarto libro de madrigali a sei voci . . .novamente ristampato. Venezia, Angelo Gardano. 4° upr. M512. See 1587 (Vincenti), 1605. D As, D Rp (S,A,5,6)E TZ (S,A,B)F Pn (formerly F Pthibault)GB Lbl (A), GB LcmI Rsc (compl.; A,B,5[2 exs.],6[2 exs.]), I VEafUS LAu (B,5).

1593 MASCHERA, Florentio. Libro primo de canzoni da sonare a quattro voce.Venezia, Angelo Gardano. 4° obl. M1207. See 1584 (Sabbio), 1596. B BrF Pn (Bformerly F Pthibault). 1593 MAZZONE, Marc' Antonio. Il primo libro delle Magnificat . . .in novo stile, corrente, & commodo non solo a quei, che non hanno il soprano:  

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ma a chei ancora, che non hanno il basso.Venezia, Angelo Gardano. 4° upr. M1686. D Kl (compl.: S,A,T,B). 1593 MEL, Rinaldo del. Il primo libro de madrigaletti a tre voci . . .novamente ristampato.Venezia, Angelo Gardano. 4° obl. M2208. See 1582, 1583. A Wn (T)I Bc (compl.: S,T,B). Eitner, Quellen-Lexikon, Vogel, BibliothekBerlin (but not in PL Kj nor E. Berlin catalogues). An ex. was prob. in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 141). Larson and Pompilio, Cronologia, posit a 1585 original ed. printed by Angelo Gardano in Venice based only on the date of the ded. found here. Given that the ded. letter was signed in Rome, the original edition might just as well have been printed there by Alessandro Gardano, and we have no way of knowing the year. The Angelo Gardano Indice lists no such edition. 1593 MERULO, Claudio. Il secondo libro de motetti a sei voci, con giunta di molti a sette per concerti & per cantare.Venezia, Angelo Gardano. 4° upr. M2364. B Br (compl.: S,A,T,B,5,6,7)D As, D Kl, D Rp (lacks 6,7)I Bc, I Bsp, I VEcap. 1593 MONTE, Philipp de. Eccellenze di Maria Vergine . . .a cinque voci.Venezia, Angelo Gardano. 4° obl. M3324. HR Ssf (A,5)I Vc-correr (A), I Vnm (B). 1593 MONTE, Philipp de. Il sestodecimo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3386. B MEa (S)D BI BcPL Kj (B)US CA (5). 1593 NANINO, Giovanni Maria. Il primo libro delle canzonette a tre voci.Venezia, Angelo Gardano. 4° upr. N32. See 1599. CH Bu (lacks S)D Kl (T,B[inc.]). 1593 NERITI DA SALO, Vincenzo. Canzonette a quattro voci . . .libro primo.Venezia, Angelo Gardano. 4° upr. N406. A Wn (S,A)D KlGB Lwa.

1593 NERITI DA SALO, Vincenzo. Magnificat octo primo [!] chori per omnes tonos, quatuor vocib. decantandi.Venezia, Angelo Gardano. 4° upr. 15931, N405.  

D Kl, D Rp (S).

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1593 OROLOGIO, Alessandro. Canzonette a tre voci . . .libro primo.Venezia, Angelo Gardano. 4° upr. O122. CH Bu (S II,B; lacks S[I])D Kl (S II,B[inc.])GB Lbl (S[I],B). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:475). 1593 PALESTRINA, Giovanni Pierluigi da. Offertoria totius anni, secundum Sanctae Romanae Ecclesiae consuetudinem, quinque vocibus concinenda . . .pars prima.Venezia, Angelo Gardano. 4° upr. P747. See 1593 (Coattino), 1594. GB Lbl (B[def.]). 1593 RORE (DE RORE), Cipriano. Il primo libro di madrigali cromatici a cinque voci . . .novamente ristampato. Venezia, Angelo Gardano. 4° obl. R2487. See 1542 (Scotto), 1576. B Br. 1593 RORE (DE RORE), Cipriano. Il secondo libro de madrigali a cinque voci . . .novamente ristampato.Venezia, Angelo Gardano. 4° obl. Vogel et al., Bibliografia 2406. B Br. 1593 RORE (DE RORE), Cipriano. Il terzo libro de madrigali a cinque voci dove si contengono le Vergine, et altri madrigali . . .novamente ristampato.Venezia, Angelo Gardano. 4° obl. 15936, R2495. See 1552. B Br. 1593 SORTE, Bartolomeo. Vespertina omnium solemnitatum psalmodia, duoque cantica Beatae Virginis ac Hymnus Divi Ambrosij & Augustini, octonis vocibus.Venezia, Angelo Gardano. 4° upr. S3992. D Rp (lacks T II, B II)GB Lwa (compl., I: S,A,T,B; II: S,A,T,B)I Ac (lacks B II). 1593 VECCHI, Orazio (Tiberio). Canzonette . . .libro terzo a quattro voci . . .seconda impressione.Venezia, Angelo Gardano. 4° upr.

V1024. See 1585, 1600. D KlGB LblI Bc (B)PL Kj (S)US SM (Vogel et al., BibliografiaB is def.). Eitner, Quellen-LexikonI MOe. Eitner, Vogel et al., BibliografiaPL WRu (B). Not at US SFsc (RISM Einzeldrucke error). 1593 WILLAERT, Adrian. Fantasie Recercari et Contrapunti a tre voci, di Adriano & de altri autori, appropriati per cantare & sonare d'ogni sorte di stromenti, con due Regina coeli, l'uno di Adriano & l'altro di Cipriano,  

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sopra uno medisimo canto fermo. Novamente con ogni diligenza ristampate.Venezia, Angelo Gardano. 4° obl. 15938. See 1551. GB Lbl (S,B)US BE (B). 1594 1594 ANONYMOUS. Di Bernardino Lupachino et di Ioan Maria Tasso, il primo libro a due voci aggiontovi alcuni canti de diversi auttori, novamente ristampato.Venezia, Angelo Gardano. 4° obl. 159413. See 1559. I Bc (S)PL Kj. [1594? ANONYMOUS. Dialoghi musicali de diversi eccellentissimi autori, a sette, otto, nove, dieci, undeci & dodici voci.Venezia, Angelo Gardano. H. M. Brown, Instrumental Music [1594]6. See 1590, 1592 (both 4° upr.). Vogel, Bibliotheka Berlin antiquarian dealer apparently sold an altus partbook in 1878 (cat. Cohn cxxiii, 9, 1878); exactly which of the two catalogues from that year as found in Coover, Antiquarian Catalogues (''Musique ancienne" or "Theoret., hymnol. und praktische Musik") is unclear.] 1594 ANONYMOUS. Madrigali pastorali, descritti da diversi, et posti in musica da altri tanti autori a sei voci, intitolati il bonbacio. Novamente stampati.Venezia, Angelo Gardano. 4° upr. 15946. See 1600. D Kl. 1594 BATI, Luca. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. 159411, B1281. GB LblI Bc (S), I Fm (5), I PS (S,B,5[inc.])PL Kj (T). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 143). 1594 CARDILLO, Cesare. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. C985. HR Ssf (A,5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:269-70, 2:34). 1594 DUETO, Antonio. Il terzo libro de madrigali a quattro voci.Venezia, Angelo Gardano. 4° upr.

D3656.  

D RpGB Lcm.

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1594 GIOVANNELLI, Ruggiero. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. (contrary to Vogel, Bibliothek). G2463. See 1586, 1588, 1590, 1600. GB Cfenlon (A; from the coll. of the Comtesse de Chamburesee Coles and Heath, Book Auction Records, 92:267)GB Lbl (S,A,T,5)I BamPL Kj (2 vols.)US BE (5). 1594 LEONARDUS, Theodorus. Magnificat quatuor vocum . . . liber primus.Venezia, Angelo Gardano. 4° upr. L1975. D Kl. [1594 LUPACCHINO, Bernardino. See ANONYMOUS.] 1594 MARENZIO, Luca. Il quarto libro de madrigali a cinque voci . . . novamente ristampato.Venezia, Angelo Gardano. 4° obl. M551. See 1584 (Vincenti & Amadino), 1607. B BrD As, D Mbs (T,B,5), D Rp (S)EIRE Dm (B)F Pc, F Pn (formerly F Pthibault)GB Lbl (S,A,T,5)I Bc, I Sac (S), I Sd (T)NL DHgm (A)US BU (5). Sartori, "Finalmente svelati," 31indicates a putative 1603 Gardano rpt. that appears to be in error. 1594 MARENZIO, Luca. Il quinto libro de madrigali a cinque voci . . . novamente ristampato.Venezia, Angelo Gardano. 4° obl. M555. See 1585 (Scotto heir), 1605. B BrD As, D Rp (S)F Pn (formerly F Pthibault)GB Lbl (S,A,T,5)I Bc, I Bsp, I Fn (S,A,T,B), I Sd (T), I ST (S)NL DHgm (A)US BU (5). 1594 MARENZIO, Luca. Il sesto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M557. See 1603, 1604. A WnB BrD AsEIRE Dm (B)F Pn (formerly F Pthibault)GB Lbl (S,A,T,5)I Bc, I Bsp (S,A,T,5), I MOe, I Sd (T), I ST (S)NL DHgm (A)US BE (T), US BU (5), US CA (5). 1594 MARENZIO, Luca. Il terzo libro de madrigali a sei voci . . . novamente ristampato.Venezia, Angelo Gardano. 4° upr. M509.

See 1585 (Scotto heir).

 

D As, D MÜs (T)E TZ (S,A,B)F Pc (S,A; formerly Rome, Bibl. Borghese; Bibliothèque du Conservatoire, Catalogue lists as compl.see Vogel, "Schicksale"), F Pn (formerly F Pthibault)GB Lbl (lacks S), GB Lcm, GB TI Bc (S,B; prob. mentioned in letters between Chiti and Martini in 1746-7see Martini, Carteggio, 212, 259)US LAu (B,5).

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1594 MASSAINI, Tiburtio. Il quarto libro de madrigali a cinque voci . . . novamente composto & dato in luce.Venezia, Angelo Gardano. 4° obl. M1293. GB LblI Rsc, I VEaf (5[def.]). 1594 MEL, Rinaldo del. Il terzo libro delli madrigaletti a tre voci.Venezia, Angelo Gardano. 4° obl. M2210. I Bc (lacks S). 1594 MEL, Rinaldo del. Il quinto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M2209. B BrGB LblI Bc (A,T,B,5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:269, 2:34). 1594 MERULO, Claudio. Sacrorum concentuum octonis, denis, duodenis et sexdenis vocibus modulandorum . . . liber primus.Venezia, Angelo Gardano. 4° upr. M2365. D As (lacks 8,9,10), D Kl (compl.: S,A,T,B,5,6,7,8,9,10), D Mbs (lacks 9,10), D Rp (lacks 6,7,9,10)I Ls (compl.; 7[2 exs.]), I PCd, I TVd (A,T,5,6; Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII)PL Kj (1 vol.)S Uu (lacks A). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 139-40). 1594 MONTE, Philipp de. L'ottavo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. M3387. B Br (lacks 5,6)I Bc (B). 1594 OROLOGIO, Alessandro. Canzonette a tre voci . . . libro secondo.Venezia, Angelo Gardano. 4° upr. O123. CH Bu (S II,B)D Kl (S II,B[inc.])GB Lbl (S[I],B)I Bc (compl.: S[I],S II,B). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:48, 2:4). 1594 PALESTRINA, Giovanni Pierluigi da. Il primo libro di madrigali a quattro voci [enlarged ed.].Venezia, Angelo Gardano. 4° obl. P758. See 1555 (Dorico), 1605. I Rdp (A)PL Kj (see Mann, "From Berlin," 26).

1594 PALESTRINA, Giovanni Pierluigi da. Missarum . . . cum quatuor, quinque, ac sex vocibus . . . liber tertius.Venezia, Angelo Gardano. 4° upr. No RISM number. See 1570 (Dorico), 1598, 1599.  

D RpE CU (S,B,5)I Mc.

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1594 PALESTRINA, Giovanni Pierluigi da. Motettorum quae partim quinis, partim senis, partim octonis vocibus concinantur, liber secundus.Venezia, Angelo Gardano. 4° upr. 15941, P710. See 1572 (Scotto). D B (lacks 6), D Hs (5), D Rp (S,T), [RISM, Recueils imprimésD Tü (lacks 6)]E Asa (S,T,B,5,6), E Bc (S,A,B,5)GB Lbl (6)I Ac (compl.: S,A,T,B,5,6), I Mb (lacks S), I Rvat-giulia (2 exs.; one lacks S), I Rvatsistina (6)S Skma (5)US CA (5). 1594 PALESTRINA, Giovanni Pierluigi da. Motettorum quae partim quinis partim senis, partim octonis vocibus concinuntur, liber tertius.Venezia, Angelo Gardano. 4° upr. P715. See 1575 (Scotto). D B (compl.: S,A,T,B,5,6), D Hs (5), D Rp (S,T,5 [2 exs.])E Bc (S,A,B,5)GB Lbl (S,6)I Ac, I Mb (A,T,B,5,6), I Rsc (A), I Rvat-giulia, I Rvat-sistina (A,6)P C (A)US BE (A,5). 1594 PALESTRINA, Giovanni Pierluigi da. Offertoria totius anni, secundum Sanctae Romanae Ecclesiae consuetudinem, quinque vocibus concinenda . . . pars prima.Venezia, Angelo Gardano. 4° upr. P748. See 1593 (Coattino), 1593. D Hs (5)E CU (S,A,T,5)GB Lbl (B)I Ac (S,A,T,5), I Bc (in Martini's coll. by 1745see Martini, Carteggio, 130), I Mc, I PS (A,T,B), I Rvat-sistina (T), I TVd (Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII)US R, US Wc. [1594 TASSO, Giovanni Maria. See ANONYMOUS.] 1594 TRESTI, Flaminio. Il primo libro delle canzonette a tre voci.Venezia, Angelo Gardano. 4° upr. T1174. D Kl (A,B)GB Lbl (B)I REas (B). 1594 VAROTTO (VAROTUS), Michele (Michael). Sacrae cantiones in omnes anni festivitates, tum vivae voci, tum omnibus musices instrumentis aptiss., quinque vocum.Venezia, Angelo Gardano. 4° upr. V992. D KlF VE (5)PL GD (B,5). Sartori, "Finalmente svelati," 202lists I PCd, apparently in error. 1594 VIRGELLI, Emilio. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. V2108. US Wc. Eitner, Quellen-Lexikon; Huth Library, Catalogue 5:1535-6; Vogel, Bibliothekprivate library of Mr.

 

Huth, London (sold to US Wc sometime between 1911 and 1922? See Willier, "Present Location," 232). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:483).

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1595 1595 AICHINGER, Gregor. Liber secundus sacrarum cantionum (quas vulgo motettas vocant) tum festis praecipuis, tum cuivis tempori accommodatae 6. 5. & 4. vocum. His quoque accedunt missa, & Magnificat, nec non dialogi aliquot octo, & decem vocum.Venezia, Angelo Gardano. 4° upr. A518. A Wn (S,A,5,7,8)D Kl, D Rp (S,A,T,B,5,8). See Göhler, Verzeichnis, 1:1 (L94A, G, L95V, G, L95A dopp., G dopp., L96V, G), and Heussner and Schultz, Collectio Musica, 42, #s262-3. 1595 ARNOLDUS, Flandrus. Sacrae cantiones . . . quatuor vocibus decantandae, liber primus.Venezia, Angelo Gardano. 4° obl. A2477. D KNu (B)PL Kj. 1595 BALBI, Lodovico. Missae quatuor quinque vocum . . . Missae quinque, cum quinque vocibus . . . Missa defunctorum.Venezia, Angelo Gardano. 4° obl. B739. See 1580. I FEc (S,A,T,B,5). 1595 BARGNANI, Ottavio. Il primo libro de canzonette a quattro & a otto voci.Venezia, Angelo Gardano. 4° upr. No RISM or Vogel et al., Bibliografia numbers (Pitoni, Notitia, 126, gives the name as Ottavio Bargnani da Brescia). GB Cfenlon (S). 1595 BELLI, Giulio. Canzonette a quattro voci . . . aggiontovi due canzonette nove.Venezia, Angelo Gardano. 4° upr. B1775. See 1584. D KlD Dlb (T,B; formerly in Grimma Landesschulesee Eitner, Quellen-Lexikon; Willier, "Present Location," 223)I Bc, I FOc (A). Index Aureliensis, Catalogus, 3:489I Vnm, prob. in error. 1595 CLINIO, Teodoro. Sacrae quatuor Christi domini passiones, tribus, quatuor ac senis vocibus concinendae.Venezia, Angelo Gardano. 4° upr. C3213. I Bc (compl.: vox domini: S,T,B; singularia: S,A,T,B; turbarum: S,A,T,B,5,6), I FEc (lacks singularia: S,A,B), I Ls (lacks turbarum S,A). Ferrarese and Gallo, Biblioteca Capitolareex. missing since WWII. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 138).

1595 DALLA GOSTENA, Giovanni Battista. Il secondo libro de madrigali a cinque vociVenezia, Angelo Gardano. 4° upr. D814.  

I Rvat-chigi (S,A). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:11).

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1595 GABRIELI, Andrea. Ricercari . . . composti et tabulati per ogni sorte di stromenti da tasti . . . libro secondo.Venezia, Angelo Gardano. 4° obl. 159513, G81. CH BuI Bc. An ex. was prob. in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:474). 1595 MARENZIO, Luca. Il terzo libro de madrigali a cinque voci . . . novamente ristampati.Venezia, Angelo Gardano. 4° obl. M548. See 1582. B BrD As (compl. in 2 exs.), D Rp (compl.; S in 2 exs.)F PcGB Lbl (S,A,T,5)I Bc, I Fd (S,A,B,5), I Sac (S), I Sd (T), I VEaf (A,5; Associazione dei Musicologi Italiani, Città di Verona5 only), I VEcapNL DHgm(A)US BU (5; Vogel et al., BibliografiaA). Vogel et al., BibliografiaF Phanson. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1595 MARENZIO, Luca. Il settimo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. 159510, M560. See 1600, 1609. B BrF Pn (formerly F Pthibault)GB LblI Bc, I Bsp (S,B), I PS (S,A,B,5; Vogel et al., Bibliografia lists B, 5 as inc.), I ST (S), I VEcapUS BE (T[def.]). 1595 MARENZIO, Luca. Il quinto libro de madrigali a sei voci . . .novamente ristampato.Venezia, Angelo Gardano. 4° upr. 15958, M516. See 1591, 1610. B Bc, B BrD AsE TZ (S,A,B)F Pc (S; formerly Rome, Bibl. Borghesesee Vogel, "Schicksale")GB Lbl(A), GB LcmI Bc (still not in Martini's coll. by 1747see Martini, Carteggio, 275), I Bsp (S,T,B,5,6), I VEaf (S,A,T,B,6)US LAu (B,5). Vogel, BibliothekBerlin, Bibl. Vogel (A; but not in PL Kj nor E. Berlin catalogues). 1595 MARENZIO, Luca. Il sesto libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. M519. See 1609. A Wn (A,B,5)D As, D Rp (S,A,T,B,5,6)E TZ (S,A,B)F Pn (formerly F Pthibault)GB Lbl (compl.; A in 2 exs.), GB Lcm, GB TI Bc (A,T), I Rc (B), I Rsc (compl.), I VEaf, I VEcapPL Kj (A,T,B,5[def.],6)US BE (compl.; all voices def.; 2 exs. of A)US LAu (B,5), US Wc. 1595 MEL, Rinaldo del. Il terzo libro delli madrigali a sei voci.Venezia, Angelo Gardano. 4° upr.

M2211. D Rp.  

Eitner, Quellen-LexikonD DS (A).

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1595 MEL, Rinaldo del. Liber quintus motectorum . . . quae partim senis, partimque octonis, ac duodenis vocibus concinuntur.Venezia, Angelo Gardano. 4° obl. M2197. D Kl (S,A,T,B,5,6), D KNu (B,5)I Bc (lacks T), I Rc (B[inc.]). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:56). 1595 MERULO, Claudio. Il primo libro de mottetti a sei voci . . .novamente ristampati.Venezia, Angelo Gardano. 4° upr. M2362. See 1583. D As, D Kl, D Rp (lacks 6; formerly in the Convent of St. Anna in Augsburg; see Bernstein, "Buyers and Collectors," 32)E V (A,5)I Bc, I Bsp (3 vols.), I FEc. 1595 MOLINARO, Simone. Il primo libro di canzonette a tre e a quattro voci.Venezia, Angelo Gardano. 4° upr. M2929. D Kl (A,B)I Bc (B), I Rvat-chigi (S,A). 1595 MONTE, Philipp de. Il decimosettimo libro delli madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3388. B MEa (S)E VI Bc, I Fn (A)PL Kj (B, bound in no. M.925). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:296, 2:37). 1595 MOSTO (MUSTUS), Giovanni Battista. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. M3816. D Rp, D W (T)I MOe. 1595 NERITI DA SALO, Vincenzo. Il secondo libro di canzonette a quattro voci, con due a otto nel fine.Venezia, Angelo Gardano. 4° upr. N407. D Kl (compl.: S,A,T,B)GB Cfenlon (S)I Bc (B). 1595 OROLOGIO, Alessandro. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. O124. D W (T)GB Cfenlon (S)I Vnm (T)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 124). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:45).

1595 PALESTRINA, Giovanni Pierluigi da. Motettorum quinque vocibus liber quintus. -Venezia, Angelo Gardano. 4° upr. P731.  

See 1584 (Alessandro Gardano).

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D B, D Hs (5), D Rp (S,T,5[2 exs.])E CU (B)GB Lcm (T)I Rsc (A), I Rvat-giulia, I Rvat-sistinaP C (A). While the PL Kj card catalogue listed 4 vols. of this ed., correspondence with the library indicates that this is prob. the compl. ex. now in D B. 1595 PATARINI, Giovanni Maria. Salmi a quattro voci.Venezia, Angelo Gardano. 4° obl. P1016. GB Lbl (S,A). 1595 RORE (DE RORE), Cipriano. Sacrae cantiones quae dicuntur motecta, cum quinque, sex, & septem vocibus, quae partim nunquam antea impressae, & partim iam in alijs libris editae, nunc nuperrime ad unum redactae.Venezia, Angelo Gardano. 4° upr. R2478. See 1544. D Kl (compl.: S,A,T,B,5)E V (A,5)GB Cfenlon (S)I TVd (Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII)PL Kj (1 vol.). An inc. ex. was in the possession of Giuseppe Antonio Magni of Monza in 1783 (see Dalmonte, Duomo di Monza, xxxvi, n. 97). 1595 ROTA, Andera. Missarum cum quatuor, quinque, ac sex vocibus, liber primus.Venezia, Angelo Gardano. 4° upr. R2784. GB Lbl (5,6[lacks tp.])I Bc (compl.: S,A,T,B,5,6), I BspUS NYp. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:64). 1595 ROTA, Andrea. Motectorum quae quinque, sex, septem, octo & decem vocibus concinuntur, liber secundus.Venezia, Angelo Gardano. 4° upr. R2783. B Br (compl.: S,A,T,B,5,6)GB LblI Bc, I BspPL KjUS BE (T). 1595 VECCHI, Orazio (Tiberio). Canzonette . . . libro secondo a quattro voci . . . quarta impressione.Venezia, Angelo Gardano. 4° upr. V1020. See 1580, 1582, 1585, 1602. D Rp (S)I PAcPL Kj (S). 1595 VECCHI, Orazio (Tiberio). Selva di varia ricreatione . . . novamente ristampata & corretta.Venezia, Angelo Gardano. 4° upr. 159512, V1045. See 1590.

 

D As (lacks 8), D MÜs (T,7)F Pc (lacks S), F Pn (S)GB Lbl (8)I Bc (5; prob. the ed. mentioned in letter between Chiti and Martini in 1746see Martini, Carteggio, 212, 221), I Fr (8), I Vgc (T,B,7,8,9,10), I Vnm (8)PL Kj (A,B). Eitner, Quellen-LexikonI MOe. An ex. was prob. in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:309-10, 2:39).

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1595 WERT, Giaches (Jaches) de. L'undecimo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. W890. See 1600. D BGB Lbl (A,B), GB LcmI Bc, I PS (Vogel et al., Bibliografiacompl., but def. in each voice). Eitner, Quellen-Lexikon, Vogel, BibliothekBerlin (but not in PL Kj nor E. Berlin catalogues). Vogel et al., BibliografiaUS Bp (5). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 141). 1595 ZANCHI (ZANGIUS), Liberale (Liborius). Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. Z24. D W (T)I Pca. 1596 1596 AGAZZARI, Agostino. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. A380. A Wn (B)D Rp (S,T,B,5,6)I Bc (prob. the ed. mentioned in letters from Chiti to Martini in 1746-7see Martini, Carteggio, 210, 259), I Sc (A[inc.],T,5). See Heussner and Schultz, Collectio Musica, 41, #255. 1596 ANONYMOUS. Il lauro secco libro primo di madrigali a cinque voci di diversi autori. Novamente ristampato.Venezia, Angelo Gardano. 4° upr. 159612. See 1582 (Baldini). F Pn (formerly F Pthibault)GB LwaI Bc (prob. the ed. mentioned in letters from Chiti to Martini in 1746-7see Martini, Carteggio, 211, 226, 236, 259). 1596 BARERA, Rodiano. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. B916. D KlGB LwaUS NH (T,5). 1596 BELLI, Giulio. Psalmi ad vesperas in totius anni solemnitatibus, octo voc., duoque cantica Beatae Virginis.Venezia, Angelo Gardano. 4° upr. B1752. See 1600, 1607, 1615. E V (A,5)I Bc, I Bsp, I FEc, I FOc. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. Index

Aureliensis, Catalogus, 3:489incorrectly lists as 1597 and in I Vnm. 1596 BIANCIARDI, Francesco. Sacrarum modulationum, quae vulgo mottecta, & quatuor, quinis, senis, septem & octonis vocibus concinuntur, liber primus.Venezia, Angelo Gardano. 4° upr.  

B2599.

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I Bc (compl.: S,A,T,B,5,6; mentioned in letters between Chiti and Martini in 1746see Martini, Carteggio, 230, 238)PL Kj. Eitner, Quellen-LexikonA Wn, but mistaken. 1596 BONELLI, Aurelio. Il primo libro delle villanelle a tre voci.Venezia, Angelo Gardano. 4° upr. B3456. GB Lbl (S I,S II). 1596 CANTONE, Serafino. Sacrae cantiones, sive motecta, tum ad vocis modulationem aptissima, quinque vocum, liber primus.Venezia, Angelo Gardano. 4° upr. C883. D Usch. 1596 DENTICE, Scipione. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. D1662. D KlGB Lwa, GB Ckc (S)I Nc (B), I Rsc (T). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:97, 2:11). 1596 GABRIELI, Andrea. Il terzo libro de ricercari . . . insieme uno motetto, due madrigaletti, et uno capriccio sopra il pass'è mezo antico, in cinque modi variati, et tabulati per ogni sorte di stromenti da tasti.Venezia, Angelo Gardano. 4° obl. G82, 159619. Ch BuI Bc. An ex. was prob. in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:474). 1596 GIOVANNELLI, Ruggiero. Gli sdruccioli . . . a quattro voci . . . libro secondo.Venezia, Angelo Gardano. 4° obl. G2476. See 1589. I Bc (compl.; Martini had only T,B in 1746-7see Martini, Carteggio, 212, 222, 259)NL DHgm (S,T). 1596 MASCHERA, Florentio. Libro primo de canzoni da sonare a quattro voci.Venezia, Angelo Gardano. 4° upr. M1208. See 1584 (Sabbio), 1593. I Ac (B). 1596 MEL, Rinaldo del. Madrigaletti a tre voci . . . libro secondo.Venezia, Angelo Gardano. 4° obl. M2204.

See 1586, 1604. I Bc (S,T,B). 1596 MEL, Rinaldo del. Madrigaletti spirituali a tre voci . . . libro quarto.Venezia, Angelo Gardano. 4° obl. Vogel et al., Bibliografia 717.  

PL Kj (compl.; see Mann, "From Berlin," 19, 26).

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1596 MONTE, Philipp de. Sacrarum cantionum cum quatuor vocibus quae vulgo motecta nuncupantur . . . liber primus.Venezia, Angelo Gardano. 4° obl. M3325. A Wn (B)D KNu (B)I TVd (Ferrarese and Gallo, Biblioteca Capitolareex. missing since WWII)SI Ms * (B). 1596 PALESTRINA, Giovanni Pierluigi da. Missarum cum quatuor, quinque ac sex vocibus . . . liber primus.Venezia, Angelo Gardano. 4° upr. P659. See 1554 (Dorico), 1591 (Alessandro Gardano). D Rp (A,T,B)I Bc (compl.: S,A,T,B,5/6), I Bsp, I VIdPL GD (T,B; Morell, ''Georg Knoff," 125formerly Marienkirche, prob. from the coll. of Georg Knoff [d.1605]), PL Kj (S,5/6, bound in no. P.300), PL Wu (S,A,B,5/6)US R (S,A,T,B). Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1596 PALESTRINA, Giovanni Pierluigi da. Missarum cum quatuor, quinque, ac sex vocibus . . . liber sextus [expanded ed.].Venezia, Angelo Gardano. 4° upr. P677. See 1594 (Coattino). A Wn (compl.: S,A,T,B,5/6)D Rp (S,A,T,B)I Bc, I Mc, I Rvat-sistinaNL At (T)PL Kj (S,5, bound in no. P.300; A, bound in no. P.305), PL Wu (S,A,B,5/6)US NYp. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1596 PALESTRINA, Giovanni Pierluigi da. Motettorum quatuor vocibus, partim plena voce, et partim paribus vocibus, liber secundus.Venezia, Angelo Gardano. 4° obl. P734. See 1587 (Tini), 1604. D Rp (S,A)GB Lbl (lacks T). Ferrarese and Gallo, Biblioteca Capitolareex. in I TVd missing since WWII. 1596 PALESTRINA, Giovanni Pierluigi da. Offertoria totius anni, secundum Sanctae Romanae Ecclesiae consuetudinem, quinque vocibus concinenda . . . pars secunda.Venezia, Angelo Gardano. 4° upr. P750. See 1593 (Coattino). B BrD Hs (5)E CU (T,B)GB Lbl (B)I Mc, I PS (A,T,B)US R, US Wc. Ferrarese and Gallo, Biblioteca Capitolareex. in I TVd missing since WWII. An ex. was owned by Martini in 1747 (see Martini, Carteggio, 289). 1596 PALLAVICINO, Benedetto. Il quarto libro de madrigali a cinque voci . . . novamente ristampato.Venezia, Angelo Gardano. 4° obl.

159616, P786. See 1588, 1600, 1607.  

D Bds (A), D B, D Tü (A)GB LblI Bc (S,A,T,5), I VEaf (S,T,5).

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1596 PICCIONI, Giovanni. Il quarto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. P2230. I Bc (not yet in Martini's coll. by 1747see Martini, Carteggio, 269). 1596 SORTE, Bartolomeo. Missarum liber primus, cum quatuor, quinque, & octo vocibus . . .additisq; Psalmis ad tertiam spectantibus octonis vocibus decantandis.Venezia, Angelo Gardano. 4° upr. S3993. I Bc (compl.: S,A,T,B,5,6). 1596 STRIGGIO, Alessandro. Il terzo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. S6972. I Vnm (T). 1596 STRIGGIO, Alessandro. Il quarto libro de madrigali a cinque voci, novamente posto in luce.Venezia, Angelo Gardano. 4° upr. S6973. I MOe, I Vnm (T). 1596 TRESTI, Flaminio. Il quarto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. T1175. GB Lbl (compl.; Vogel et al., Bibliografia5[inc.]). 1596 WERT, Giaches (Jaches) de. Il secondo libro de madrigali a cinque voci . . .et da lui proprio coretti . . .novamente ristampati.Venezia, Angelo Gardano. 4° obl. W864. See 1561 (Scotto), 1575. GB Lbl (compl.; S, T, and 5 only once part of Honywood coll.see Fenlon, "Michael Honywood's Music Books," 198)NL DHgm (A)US CA (A). 1596 WERT, Giaches (Jacques) de. L'ottavo libro de madrigali a cinque voci . . .novamente ristampato.Venezia, Angelo Gardano. 4° obl. W886. See 1586. D BF Pc (compl.; 5[inc.])I Bc (T,B), I Sd (T), I VEafNL DHgm (A)US CA (A). Heyer, Versteigerunga compl. but def. ex. formerly in Heyer coll., Cologne.

1597 1597 ANONYMOUS. Madrigali a tre voci de diversi eccellentissimi autori novamente con ogni diligenza ristampati. Libro primo.Venezia, Angelo Gardano. 4° obl. 159716. See 1551.  

GB Lbl (B)I Bc (B), I PCd.

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1597 BELLI, Giulio. Missarum cum quinque vocibus liber primus.Venezia, Angelo Gardano. 4° upr. B1746. See 1586, 1603, 1604. D MbsI Bc, I CEc (A,5), I FEc. 1597 BIANCIARDI, Francesco. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. B2605. I Vnm (T only, despite conflicting data in Sartori, "Finalmente svelati," 24). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 143). [1597 CAPILUPI, Geminiano. See VECCHI, Orazio. Canzonette.] [1597 GABRIELI, Andrea, Il 1° libro de' madrigali a 5 . . .ristampato.Venezia, il Gardano (Pitoni, Notitia, 143)] 1597 GABRIELI, Giovanni. Sacrae symphoniae . . .senis, 7, 8, 10, 12, 14, 15, & 16, tam vocibus, quam instrumentis, editio nova.Venezia, Angelo Gardano. 4° upr. G86. A Wn (compl.: S,A,T,B,5-12)D As (lacks S), D Rp (5 exs.: 1} compl.; 2} S,A,5,8,11,12; 3} B; 4} lacks T,B,5,8; 5} lacks A,B; one formerly in the Convent of St. Anna in Augsburg; see Bernstein, "Buyers and Collectors," 33)E MO (7)GB Lbl (5)I BRd (lacks 11-12), I FEc, I PCdPL Kj (8 vols.)SI Ln (A,5)US Cn (T). 1597 MONTE, Filippo de. Il decimottavo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. No RISM or Vogel et al., Bibliografia numbers. B MEa (S)PL Kj (B, bound in no. M.925; see also Mann, "From Berlin," 21, 26). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:296, 2:37). 1597 MORALES, Cristóbal de. Magnificat cum quatuor vocibus.Venezia, Angelo Gardano. 4° obl. M3602. See 1542 (Scotto), 1545 (Gardano), 1575, 1583. E V (A,T,B). Incorrectly listed as 1587 in RISM, Einzeldrucke, but Anglés, Cristóbal de Morales, 29, provides a facsimile of the tp., where the date appears as "M. D. LXXXXVII". 1597 PAIEN, Giovanni. Il primo libro de madrigali a due voci, dove si contengono le Vergine, novamente ristampato.Venezia, Angelo Gardano. 4° obl. P76. See 1564, 1572. I Nn (S).

1597 PELIO, Giovanni. Il secondo libro delle canzoni spirituali . . .a sei voci.Venezia, Angelo Gardano. 4° upr. P1149.  

D WRtl.

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1597 RICCI, Cesarina. Il primo libro de madrigali a cinque voci, con un dialogo a otto.Venezia, Angelo Gardano. 4° upr. R1253. B Gu (A,T,B). 1597 STRIGGIO, Alessandro. Il quinto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. S6974. I Vnm (T). 1597 VECCHI, Orazio (Tiberio). L'Amfiparnaso. Comedia harmonica.Venezia, Angelo Gardano. 4° upr. V1048. See 1610. A Wn (lacks T)D B (compl.: S,A,T,B,5), D Mbs (B), D Rp (S,T,B), D W (S,A)GB Lbl, GB OchI Bc, I Vnm (S), I VIb (B). Vogel et al., BibliografiaI Rv (A). See Göhler, Verzeichnis, 1:46 (L97A). 1597 VECCHI, Orazio (Tiberio). Canzonette a tre voci di Horatio Vecchi, et di Gemignano Capi Lupi da Modena.Venezia, Angelo Gardano. 4° upr. 159721, V1032. B Bc (S)D As (S,B), D B (S), D Rp (B)D LEm? (S,B; Eitner, Quellen-Lexikon, Vogel, Bibliothek list a copy in the possession of Becker in Lancy; Willier, "Present Location," 222, maintains that this coll. is now in D LEm)F Pn (formerly F Pthibault)GB HAdolmetsch (S), GB Lbl (compl.: S I,S II,B)I Bc, I Fr (S), LOcl (S). Eitner (under "Capilupi")PL LEtpn, D Hs; (under ''Vecchi"), I MOe, Berlin Kircheninstitut. Meluzzi, Catalogue, 46an ex. (S II) was auctioned off at Rome in 1906. 1597 VECCHI, Orazio (Tiberio). Convito musicale nel quale si contengono varij sogetti, et capricci, a tre, quattro, cinque, sei, sette, & otto voci, novamente composto, & dato in luce.Venezia, Angelo Gardano. 4° upr. V1050. D As (lacks 5), D Kl (compl.: S,A,T,B,5,6)D LEm (lacks 6)GB Lbl (A), GB LwaI Bc (A,6), I Fn (A)PL GD (lacks A; Morell, "Georg Knoff," 126formerly Marienkirche, prob. from the coll. of Georg Knoff [d.1605]). Eitner, Quellen-LexikonI MOe. See Göhler, Verzeichnis, 1:46 (L97A, F99V, Lb). 1597 VECCHI, Orazio (Tiberio). Sacrarum cantionum . . .quinque sex, septem, & octo vocibus, liber secundus.Venezia, Angelo Gardano. 4° upr. 15974, V1006. D As (compl.: S,A,T,B,5,6,7,8), D B, D Mbs, D Rp (lacks S), [RISM, Recueils imprimésD Tü]GB Lbl (6), [RISM, Recueils imprimésGB Lcm (6)]I Bc, I MOd (A), I PEc (A[inc.])US Cn (S). Eitner, Quellen-LexikonI MOe. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:481), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137).

 

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1598 1598 ARTUSINI, Antonio. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. A2501. I Bc. 1598 BATI, Luca. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. 159811, B1282. D Kl (S,B)I Fm (5), I Rdp (Gargiulo, Luca Bati, 49, corrects RISM, EinzeldruckeS,A,T,5), I Vnm (T). 1598 GIOVANNELLI, Ruggiero. Motecta partim quinis, partim octonis vocibus concinenda . . .liber primus.Venezia, Angelo Gardano. 4° upr. G2449. See 1593 (Coattino). D As (S,A,T,B,5,6,7,8), D Sl (8)I AOc (A,T,B,5,7,8), I Bc, I Ls (compl., but 8 in ms. in Maggini, Catalogo; Sartori, Biblioteca del Seminario, 141, gives S,A,T,B,5)PL GD (Morell, "Georg Knoff," 125formerly Marienkirche, prob. from the coll. of Georg Knoff [d.1605]), PL Kj (7 vols.). 1598 GIOVANNELLI, Ruggiero. Gli sdruccioli.Venezia, Angelo Gardano. 4° obl. G2456. See 1585 (Alessandro Gardano), 1589. I Moe (T), I Vnm (compl.: S,A,T,B)NL DHgm (S,T). Vogel et al., BibliografiaI Bc (A,T,B). 1598 GUAMI, Francesco. Il terzo libro de madrigali a 4 & 5 voci, con un dialogo a 10.Venezia, Angelo Gardano. 4° upr. G4800. I Vnm (T). 1598 LUZZASCHI, Luzzasco. Sacrarum cantionum liber primus, quinis vocibus.Venezia, Angelo Gardano. 4° upr. L3128. D As, D Rp. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:265, 2:34), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 138). 1598 MARENZIO, Luca. L'ottava libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M564.

See 1605.

 

B BrD As, D Rp (S)F Pn (formerly F Pthibault)GB Lbl (2 inc. exs.: S,A,B,5; A,T)I Bc, I Bsp, I Sd (T), I ST (S), I VEcap (S,A,T,5)NL DHgm (A)US BU (5).

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1598 MONTE, Philipp de. Il decimonono libro delli madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M3389. B MEa (S)I Bc (lacks 5; apparently not yet in Martini's coll. by 1747see Martini, Carteggio, 267)PL Kj (bound in no. M.925). 1598 PALESTRINA, Giovanni Pierluigi da. Missarum cum quattuor, quinque, ac sex vocibus . . .liber secundus.Venezia, Angelo Gardano. 4° upr. P661. See 1567 (Dorico). B Br (compl.: S,A,T,B,5/6)D MÜs, D Rp (A,T,B)I BRd, I Mc (A,T,5), I PCd, I Rvat-giulia (2 exs., one inc.: S,A,T,B,5/6 A,T,B,5/6), I Rvat-sistina, I Sd, I VIdPL Kj (S,5/6, bound in no. P.300), PL Wu (S,A,B,5/6). 1598 PALESTRINA, Giovanni Pierluigi da. Missarum liber tertius . . .cum quatuor, quinque, ac sex vocibus . . .liber tertius.Venezia, Angelo Gardano. 4° upr. P665. See 1570 (Dorico), 1594, 1599. A Wn (compl.: S,A,T,B,5/6[inc.])I Rvat-giulia, I VIdPL Kj (S,5), PL Wu (S,A,T,5/6). 1598 PICCIONI, Giovanni. Il primo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. P2231. D F (S,5,6)I Bc (lacks A; Martini did not have this ed. in his coll. in 1747see Martini, Carteggio, 276). 1598 TONELLI, Antonio. Madrigali a cinque voci, libro I.Venezia, Angelo Gardano. 4° upr. T952. I Vnm (T). 1599 1599 ANONYMOUS. Il trionfo di Dori descritto da diversi, et posto in musica a sei voci da altritanti autori novamente ristampato, et con diligenza coretto.Venezia, Angelo Gardano. 4° obl. (contrary to Vogel, Bibliothek). 159910. See 159211. D As. Vogel, BibliothekA Wn. 1599 BELLI, Giulio. Missarum quatuor vocibus liber primus.Venezia, Angelo Gardano. 4° upr.

B1758.

 

I Bc, I FOcUS BE (T,B [both def.]), US Wc. Eitner, Quellen-Lexikonan ex. in Giessen, coll. Strahl (Willier, "Present Location," 226, places many of the items from this library in B Bc or D Bds). Index Aureliensis, Catalogus, 3:490I Vnm, prob. in error.

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1599 CAPILUPI, Geminiano. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. C911. A Wn (S,B)I Fm (5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 124). 1599 CASOLANI, Leonardo. Sacrarum cantionum quae octo, decem, duodecim, & sexdecim vocibus concinuntur, liber primus.Venezia, Angelo Gardano. 4° upr. C1443. GB Lbl (I: S,A,T,B,5; II: B)I Bc (compl.: I: S,A,T,B,5; II; S,A,T,B,5; in Martini's coll. by 1746see Martini, Carteggio, 148)PL GD (I: S,T,B,5; II: S,5; Morell, "Georg Knoff," 126formerly Marienkirche, prob. from the coll. of Georg Knoff [d.1605])S Uu (I:5). 1599 CAVACCIO, Giovanni. Il sesto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. C1560. A Wn (S,B)D Kl (S,B)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 124). 1599 DONATO, Baldissare. Il primo libro de motetti a cinque, a sei, et otto voci.Venezia, Angelo Gardano. 4° upr. D3416. D As (compl.: S,A,T,B,5,6,7,8)GB Lbl (lacks 6,7)S Uu (lacks A). 1599 GIOVANNELLI, Ruggiero. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. G2480. See 1587, 1593, 1607. EIRE Dm tilgenGB Lbl (S,A,T,5)NL DHgm (A). 1599 GIOVANNELLI, Ruggiero. Il terzo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. G2484. See 1589, 1609. GB Lbl (S,A,T,5)I Bc (already in Martini's coll. by 1747see Martini, Carteggio, 266), I LOcl (B)NL DHgm (A). Vogel, BibliothekPL GD. 1599 LASSO, Orlando di. Sacrae cantiones (vulgo motecta appellatae) quinque, et sex vocum, tum viva voce, tum omnis generis instrumentis cantatu commodissimae, liber tertius.Venezia, Angelo Gardano. 4° obl. L1014. See 1566, 1578, 1587.

I Bc (A,T,B,5). 1599 MARENZIO, Luca. Il nono libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M567.  

See 1601, 1609.

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F Pn (formerly F Pthibault)I Bc (already in Martini's coll. by 1747see Martini, Carteggio, 267), I ST (S)NL DHgm (A). 1599 MASSAINI, Tiburtio. Hymni totius anni secundum s. rom. ecclesiae consuetudinem quatuor vocibus concinendi.Venezia, Angelo Gardano. 4° upr. No RISM number. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1599 MONTE, Philipp de. La fiammetta. Canzone . . .insieme altre canzoni et madrigali vaghissimi a sette voci, con uno echo a otto . . .libro primo.Venezia, Angelo Gardano. 4° upr. M3390. D As (S,A,T,B,6,7; lacks 5), D F (S,5,6), D Kl (S,B)I Bc (6), I Fn (lacks B), I Rdp (S,T,B,7). Eitner, QuellenLexikon, Vogel, Bibliothekan ex. formerly in PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 124). 1599 NANINO, Giovanni Maria. Il primo libro delle canzonette a tre voci . . .novamente ristampate.Venezia, Angelo Gardano. 4° upr. N33. See 1593. B Bc (S)D Rp (S)GB Lbl (lacks B). 1599 NERITI DA SALO, Vincenzo. Il terzo libro di canzonette a quattro voci, con un dialogo a sette, et una a otto, nel fine.Venezia, Angelo Gardano. 4° upr. N408. A Wn (S,A)D Kl (S,B). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:491-2). 1599 PALESTRINA, Giovanni Pierluigi da. Missarum . . .cum quatuor, quinque, ac sex vocibus . . .liber tertius [shortened ed.].Venezia, Angelo Gardano. 4° upr. P666. See 1570 (Dorico), 1594, 1598. D Rp (A,T,B)D Dl (compl.: S,A,T,B,5/6)E CU (5/6 [inc.])I Bc (S,T,5), I Mc, I Rvat-giulia, I Rvat-sistinaPL Kj (S,5/6 bound in no. P.300). Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1599 PESCIOLINI, Biagio. Missae, motecta ut dicunt, quae octonis, denis et duodenis vocibus concinuntur . . .itemque canones, et caetera, ed genus, ad musicam spectantia variis vocibus.Venezia, Angelo Gardano. 4° upr. P1533. D B (compl.: I: S,A,T,B; II: S,A,T,B)I Fn (S I,T I[inc.],A II)PL GD (S I,T I,B I,S II; Morell, "Georg Knoff,"

 

126formerly Marienkirche, prob. from the coll. of Georg Knoff [d.1605]).

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1599 WERT, Giaches (Jaches) de. Il primo libro de madrigali a quattro voci . . .et da lui proprio coretti . . .novamente ristampato.Venezia, Angelo Gardano. 4° obl. W870. See 1561 (Scotto), 1570, 1583. NL DHgm (S,T). 1600 1600 AGAZZARI, Agostino. Il primo libro de madrigali a cinque voci con un dialogo a sei, & un Pastorale a otto, a l'ultimo.Venezia, Angelo Gardano. 4° upr. A382. GB Lbl (B)I Bc, Fm (5)PL GD (from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 124). See Heussner and Schultz, Collectio Musica, 41, #256. 1600 ANONYMOUS. Madrigali pastorali descritti da diversi et posti in musica da altri tanti autori a sei voci intitolati Il Bon Bacio di novo ristampati et corretti.Venezia, Angelo Gardano. 4° upr. 16007. See 1594. I Bc. 1600 ANONYMOUS. Spoglia amorosa. Madrigali a cinque voci de diversi ecc.mi musici di novo ristampata et con diligenza corretta.Venezia, Angelo Gardano. 4° upr. 16009. See 1592. I Bc (Martini had only T,B in 1746-7see Martini, Carteggio, 222, 226, 236, 259)NL DHgm (S,T,B,5). 1600 BELLI, Giulio. Psalmi ad vesperas . . .octo vocibus.Venezia, Angelo Gardano. 4° obl. B1753. See 1596, 1607. I PCdPL Kj. 1600 BELLI, Giulio. Sacrarum cantionum quatuor, quinque, sex, octo & duodecim voc., cum litanijs Beatae Virginis Mariae, liber primus.Venezia, Angelo Gardano. 4° upr. B1761. GB Cu (T,6[both def.]), GB Lbl (T,5)I Bc (compl.: S,A,T,B,5,6,7,8), I FOcPL Kj. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. Index Aureliensis, Catalogus, 3:490I Vnm, prob. in error. An ex.

 

was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137). An ex. seems to have been in the possession of Giuseppe Antonio Magni of Monza in 1783, although the date 1600 seems to have been mistakenly listed as 1606 (Dalmonte, Duomo di Monza, xxxvi, n. 97).

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[1600 FRANCHI, Ferrante. See MARENZIO, Luca. Il primo libro delle villanelle.] 1600 GIOVANNELLI, Ruggiero. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. G2464. See 1586, 1588, 1590, 1594. I Bc, I Fc, I Rsc, I VEaf (5)NL DHgm (A)US Wc. 1600 GIOVANNELLI, Ruggiero. Il primo libro delle villanelle et arie alla napolitana, a tre voci.Venezia, Angelo Gardano. 4° upr. G2470. See 1588 (Alessandro Gardano). B Bc (S)GB LblI Bc (S; either this ed. or that published by Alessandro Gardano in 1588 was mentioned in a letter from Chiti to Martini in 1747see Martini, Carteggio, 259)NL DHgm (A,B)PL Kj (A). Meluzzi, Catalogue, 22an alto partbook was auctioned off at Rome in 1906. [1600 GUALTIERI, Attilio. See MARENZIO, Luca. Il quarto libro delle villanelle.] 1600 LAPPI, Pietro. Sacra omnium solemnitatum vespertina psalmodia, cum tribus Beatae Virginis Mariae canticis, octonis vocibus concinenda.Venezia, Angelo Gardano. 4° upr. L672. See 1607. A Wn (S I)I Bc (compl.; I: S,A,T,B; II: S,A,T,B), I McPL KjUS BE (I: S, II: S,A,B [all def.]). [1600 LASSO, Orlando di. See PALESTRINA.] 1600 MARENZIO, Luca. Il settimo libro de madrigali a cinque voci . . .di nuovo ristampati & corretti.Venezia, Angelo Gardano. 4° obl. 160014, M561. See 1595, 1609. A Wn (S,T,5)D As, D Rp (S)D LEmF PcGB Lbl (2 exs., 1 inc.: S,A,T,B,5; S,A,T,5)I Bc (5), I Fd (S,A,T,B), I Nc (S,T,B,5), I Sd (T), I VEaf (B)NL DHgm (A). Vogel et al., BibliografiaUS BU (5). Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1600 MARENZIO, Luca. Il secondo libro de madrigali a sei voci . . .di novo ristampato, & con diligenza corretto.Venezia, Angelo Gardano. 4° upr. M506. See 1584.

 

D AsE TZ (S,A,B)F Pc (S; formerly Rome, Bibl. Borghesesee Vogel, "Schicksale")GB Lbl, GB Lcm (compl.; 5 def.)I Bc (S,T,B,5,6; in 1747, Martini had only Bsee Martini, Carteggio, 275), I VEcapUS LAu (B,5). Vogel, BibliothekBerlin (A), but not in PL Kj nor E. Berlin catalogues.

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1600 MARENZIO, Luca. Il primo libro delle villanelle . . .a tre voci, raccolte da Ferrante Franchi . . .di novo ristampate & corrette.Venezia, Angelo Gardano. 4° upr. M592. See 1584 (Vincenti & Amadino). CZ KRa (T)D Rtt (T)GB Lbl (S,T)I Rc (T)NL DHgm (T,B). Vogel et al., BibliografiaRF SPsc (S). 1600 MARENZIO, Luca. Il secondo libro delle villanelle et arie alla napolitana a tre voci . . .di novo ristampate, & con diligenza corrette.Venezia, Angelo Gardano. 4° upr. M598. See 1585 (Vincenti & Amadino). CZ KRa (T)D Rtt (T)GB Lbl (S,T)I Rc (T)NL DHgm (T,B). Vogel et al., BibliografiaRF SPsc (S). 1600 MARENZIO, Luca. Il terzo libro delle villanelle a tre voci composte.Venezia, Angelo Gardano. 4° upr. M603. See 1585 (Alessandro Gardano). CZ KRa (T)D Rtt (T)GB Lbl (S,T)I Rc (T)NL DHgm (T,B). Vogel et al., BibliografiaRF SPsc (S). 1600 MARENZIO, Luca. Il quarto libro delle villanelle a tre voci . . .raccolte per Attilio Gualtieri . . .di novo ristampate, & con diligenza corrette.Venezia, Angelo Gardano. 4° upr. M607. See 1587 (Vincenti). CZ KRa (T)D Rtt (T)GB Lbl (S,T)I Rc (T)NL DHgm (T,B). Vogel et al., BibliografiaRF SPsc (S). 1600 MARENZIO, Luca. Il quinto libro delle villanelle et arie alla napolitana a tre voci . . .di novo ristampate, & con diligenza corrette.Venezia, Angelo Gardano. 4° upr. M610. See 1587 (Scotto heir). D Rtt (T)GB Lbl (S,T)I Rc (T)NL DHgm (T,B). Vogel et al., BibliografiaRF SPsc (S). 1600 MAROTTA, Erasmo. Aminta musicale . . .il primo libro de madrigali a cinque voci, con un dialogo a otto.Venezia, Angelo Gardano. 4° obl. M714. GB Lbl (S,B,5; Italy, Accademia Nazionale di Santa Cecilia, Cinque secoli di stampa musicale, 65compl.). 1600

MONTE, Philipp de. Musica sopra Il pastor fido . . .over si contengono canzoni, & madrigali vaghissimi . . .libro secondo, a sette voci.Venezia, Angelo Gardano. 4° upr. M3391.

 

D As (lacks 5), D Rp (6)GB Och. Mechelen, Catalogus, no. 17suggested incorrectly that a copy may be found in B MEa. An ex.

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was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:483), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142). 1600 MONTE, Philipp de. Sacrarum cantionum cum quinque vocibus quae vulgo motecta nuncupantur . . . liber septimus.Venezia, Angelo Gardano. 4° upr. M3326. D Rp. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:268, 2:34), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137). 1600 NALDI, Romulo. Mottectorum duobus choris dominicis diebus concinendorum partis hyemalis, liber primus.Venezia, Angelo Gardano. 4° upr. N13. D Rp (I: T,B; II: S,B)I Bc (compl.: I: S,A,T,B; II: S,A,T,B; in 1747, Martini's coll. had only S I and A Isee Martini, Carteggio, 284), I Rdp (I: S,A,T,B; II: B), I Rvat-barberiniPL Kj. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:127). 1600 PALESTRINA, Giovanni Pierluigi da. Litaniae Deiparae Virginis . . . cum quatuor vocibus; additae litaniae, quae in sancta ecclesia Lauretana utuntur, auctore Orlando Lasso.Venezia, Angelo Gardano. 4° obl. P744. GB Lbl (def.)I Bc. 1600 PALLAVICINO, Benedetto. Il quarto libro de madrigali a cinque voci . . . novamente ristampato.Venezia, Angelo Gardano. 4° obl. 160015, P787. See 1588, 1596, 1607. D AsI Bc (compl.; in 1746-7, Martini's coll. had only Bsee Martini, Carteggio, 213, 222, 259), I Rc (T,B), I VCd (T,B,5), I VEaf (S,A,T,B). Vogel et al., BibliografiaNL DHgm (A). 1600 PALLAVICINO, Benedetto. Il quinto libro de madrigali a cinque voci . . . novamente ristampato.Venezia, Angelo Gardano. 4° obl. P791. See 1593 (Vincenti), 1609. D AsF PcI Bc (not yet in Martini's coll. by 1747see Martini, Carteggio, 267), I VEaf (lacks S). Vogel et al., BibliografiaNL DHgm (A). 1600 PALLAVICINO, Benedetto. Il sesto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. P793.

See 1611.

 

D AsF PcGB LblI Bc (compl.; only A in Martini's coll. by 1747see Martini, Carteggio, 267), I Rc (T,B), I VEaf (5). Vogel et al., BibliografiaNL DHgm (A).

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1600 SARTORIUS, Paul. Madrigali a cinque voci . . .libro primo.Venezia, Angelo Gardano. 4° obl. S1081. GB Lbl (S,A,T,B). 1600 VECCHI, Orazio (Tiberio). Canzonette . . .libro terzo a quattro voci . . .terza impressione.Venezia, Angelo Gardano. 4° upr. V1025. See 1585, 1593. B Bc (S)D B (S), D Rp (S)I Bc, I Rsc (prob. the copy formerly in Rome, Bibl. Borghese, cited in Vogel, Bibliotheksee Willier, "Present Location," 222, Vogel, "Schicksale")US SFsc (A). Meluzzi, Catalogue, 46an ex. (A) was auctioned off at Rome in 1906. 1600 WERT, Giaches (Jaches) de. L'undecimo libro de madrigali a cinque voci . . .novamente ristampato.Venezia, Angelo Gardano. 4° obl. W891. See 1595. I Bc (already in Martini's coll. by 1747see Martini, Carteggio, 268), I Rc (T,B), I Sd (T)NL DHgm (A). Heyer, Versteigerungan inc. ex. (S,5) formerly in Heyer coll., Cologne. 1601 1601 ANONYMOUS. Canzonette alla romana de diversi eccellentiss. musici romani a tre voci, novamente composte, et date in luce.Venezia, Angelo Gardano. 4° upr. 16018. D KlGB Lbl (S,T)NL DHgm (T,B)PL Kj (S,T). Müller, Musikalischen Schätze, 54an ex. formerly at Königsberg (S,T). Vogel, BibliothekS formerly in Heyer coll., Cologne. 1601 ANONYMOUS. I diporti della villa in ogni stagione spiegati in quattro canzoni dall' ill. S. Francesco Bozza Cavaliere, et posti in musica da diversi famosi autori, a cinque voci, novamente dati in luce.Venezia, Angelo Gardano. 4° upr. 16017. I Bc (not yet in Martini's coll. by 1747see Martini, Carteggio, 271). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:105). 1601 ANONYMOUS. Falsi bordoni omnium tonorum a diversis eccellentissimis auctoribus modulati, partim plena, et partim pari voce, cum quatuor, quinque, et sex vocibus concinendi: ad etiam duobus choris si placet. Additaequae aliae antiphonae: quarum nomina sunt haec. Quatuor vocum.Venezia, Angelo Gardano. Folio. 16011.

 

I Bc.

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1601 ASOLA, Giovanni Matteo. Secundus liber in quo reliquae missae.Venezia, Angelo Gardano. 4° obl. A2545. See 1581. I Bc (S,B). 1601 BARGNANI, Ottavio. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. B924. I VEcap (S,T,B,5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:172-3, 2:20). 1601 BERTOLUSI, Vincenzo. Sacrarum cantionum . . .sex, septem, octo, & decem vocibus, liber primus.Venezia, Angelo Gardano. 4° upr. B2167. D Rp (S,A,T,B,5,6,7[ms.], 8S Uu (lacks A). 1601 BIANCIARDI, Francesco. Sacrarum modulationum, quae vulgo motecta, & quattuor, quinis, senis, & octonis vocibus concinuntur, liber secundus.Venezia, Angelo Gardano. 4° upr. B2600. D Rp (B)I Bc (compl.: S,A,T,B,5,6; mentioned in letters between Chiti and Martini in 1746see Martini, Carteggio, 230, 238). An inc. ex. was in the possession of Giuseppe Antonio Magni of Monza in 1783 (see Dalmonte, Duomo di Monza, xxxvi, n. 97). 1601 BONA, Valerio. Madrigali et canzoni a cinque voci . . .libro primo.Venezia, Angelo Gardano. 4° upr. 160110, B3438. B Gu (A,T,B)GB Lbl (A,5). 1601 GABRIELI, Andrea. Mascherate di Andrea Gabrieli et altri autori eccellentissimi a tre, quattro, cinque, sei, et otto voci.Venezia, Angelo Gardano. 4° upr. 160111, G79. A Wn (A,B,5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:483). 1601 GIACOBBI, Girolamo. Motecta multiplici vocum numero concinenda, liber primus.Venezia, Angelo Gardano. 4° upr. G1819. B Br (compl.: S,A,T,B,5,6)GB LblI Bc, I Bsp, I CEc (B)US Cn (T,B,5,6). 1601

LAPPI, Pietro. Missarum octonis vocibus, liber primus.Venezia, Angelo Gardano. 4° upr. L677. See 1602, 1615.

 

GB Lbl (T II [def.]), GB Lv (A II)I Bc (compl.; I: S,A,T,B; II: S,A,T,B), I BRq (B II), I Mc (S,A,T,B [I,II]; ''spartitura de bassi," 1602)PL Kj. Eitner, Quellen-LexikonI FEc. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne.

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1601 MARENZIO, Luca. Il nono libro de madrigali a cinque voci . . .di novo ristampato & corretto.Venezia, Angelo Gardano. 4° obl. M568. See 1599, 1609. A Wn (S,T,5)D As, D Rp (S)F PnGB Lbl (5)I Bc (T; Vogel et al., Bibliografia5), I Sac (S[inc.]), I Sd (T)PL Kj (compl., but T lacks tp.). Heyer, Versteigerunga compl. but def. ex. formerly in Heyer coll., Cologne. 1601 MARINIS, Giovanni de. Il secondo libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° upr. 160113, M678. A Wn (B). 1601 PALESTRINA, Giovanni Pierluigi da. Motecta festorum totius anni cum Communi sanctorum . . .quaternis vocibus . . .liber primus.Venezia, Angelo Gardano. 4° obl. P698. See 1564, 1571, 1574, 1579, 1585. US CHH. 1601 PALESTRINA, Giovanni Pierluigi da. Motectorum quinque vocibus liber quartus ex canticis Salomonis.Venezia, Angelo Gardano. 4° upr. P722. See 1583, 1587, 1608, 1613 (Magni). D Hs (5)E CU (S,B), E V (lacks S), E Zac (A)GB Lcm (T)I Bc, I Bsp, I Mc (compl.: S,A,T,B,5,org.), I Rvatsistina (T,B,5)P C (A). The PL Kj card cat. indicated the presence of 5 partbooks, but further correspondence has failed to locate any ex. there. [1601 SORTE, Bartolomeo. Li salmi a 8, libro 2°, stampati come sopra (Venezia, il Gardano. Pitoni, Notitia, 167-8)] 1602 1602 BONELLI, Aurelio. Il primo libro de ricercari et canzoni a quattro voci, con due toccate e doi dialoghi a otto.Venezia, Angelo Gardano. 4° obl. B3457. D As (compl.: S,A,T,B). 1602 GABRIELI, Andrea. Libro primo de madrigali a tre voci.Venezia, Angelo Gardano. 4° obl. GG70a.

See 1575, 1582, 1590. F Pn (B; formerly F Pthibault). 1602 GAGLIANO, Marco da. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. 16026, G108. See 1606.  

B Br (A)D W (T)GB Lbl (S,T)I Bc, I Fm (5).

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1602 LAPPI, Pietro. Missarum . . .Spartitura de bassi delle messe a otto voci . . .libro primo.Venezia, Angelo Gardano. Folio. L678. See 1601, 1615. I BRd, I FEc, I Mc. 1602 MARENZIO, Luca. Il primo libro de madrigali a cinque voci . . .novamente con ogni diligentia ristampati.Venezia, Angelo Gardano. 4° obl. M536. See 1580, 1582, 1587. B BcD Rp (5; Vogel et al., BibliografiaS)F Pc (prob. the compl. but def. ex. formerly in Heyer coll., Colognesee Heyer, Versteigerung; Vogel, "Schicksale"; Olschki, "Contribution," 164)I Bc, I Bsp, I Nc (compl.: A, 5 in 2 exs.), I Sd (T)US BU (5). 1602 NOCETTI (NUCETUS), Flaminio (Flaminius). Missae ac litaniae Beatae Mariae Virginis . . .octonis vocibus concinendae, primus chorus.Venezia, Angelo Gardano. 4° upr. N727. A Wn (S I). 1602 NOCETTI (NUCETUS), Flaminio (Flaminius). Primus concentus, sive sacrae cantiones . . .ex quinis, senis, septenis, octonis, & novenis vocibus confectae.Venezia, Angelo Gardano. 4° upr. N728. D Rp (S,S II,A,T,5[inc.])I Bc (A[1603]). Ferrarese and Gallo, Biblioteca CapitolareI TVd (S,A,T,B,5; but missing since WWII). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:486). 1602 ORLANDI, Sante. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. 16027, O108. GB Lbl (S,T)I Fm (5). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 144). 1602 PECCI, Tomaso. Madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. 16028, P1105. See 1605, 1609. B Br (A)GB Lbl (S,T)I Bc (A), I Fm (5), I SPE (T[inc.]). 1602 PORTA, Costanzo. Hymnodia sacra totius per anni circulum quatuor vocibus.Venezia, Angelo Gardano. 4° upr.

P5183.

 

D Rp (T)I Bc, I FEc, I Rdp (T), I TVd (S,T,B; Ferrarese and Gallo, Biblioteca Capitolaresurvived WWII). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:482).

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1602 SARTORIUS, Paul. Sacrae cantiones sive motecta, senis, septenis, octonis, denis et duodenis vocibus canendae, atque instrumentis pro ecclesiarum & festorum quorundam commoditate, accommodande.Venezia, Angelo Gardano. 4° upr. S1084. D As (compl.: S,A,T,B,5,6,7,8 [2 exs. of each part]), D RpS Uu (lacks 6). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:128), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 138). 1602 VECCHI, Orazio (Tiberio). Canzonette . . .libro secondo a quattro voci . . .quinta impressione.Venezia, Angelo Gardano. 4° upr. V1021. See 1580, 1582, 1585, 1595. B Bc (S)D B (S)I Bc, I Fn (T)US LAu (A), US SFsc (A). Meluzzi, Catalogue, 46an ex. (A) was auctioned off at Rome in 1906. 1603 1603 ANTEGNATI, Costanzo. Liber XIIII. in quo habentur Missa Borromea, Mottecta, Cantionesque gallicae tribus choris.Venezia, Angelo Gardano. 4° upr. 16032, A1265. D ERu (III: S,A,T,B)I PCd (compl., I: S,A,T,B; III: S,A,T,B)RF SPsc (I: A,T; II: S,T,B; III: S,T,B). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 140), and another in the possession of Giuseppe Antonio Magni of Monza in 1783 (see Dalmonte, Duomo di Monza, xxxvi, n. 97). 1603 ANTEGNATI, Costanzo. Spartitura de bassi dei concerti a tre chori.Venezia, Angelo Gardano. Folio. A1266. I PCd. 1603 ARCHADELT, Jacobus. Di Archadelt il primo libro de madrigali a 4.Venezia, Angelo Gardano. 4° obl. 16039, A1338. See 1538 (Antonio Gardanosee Bridges, "Publishing," 398), 1581 (Alessandro Gardano). I Bc (S,A,B). 1603 ASOLA, Giovanni Matteo. Le Vergini.Venezia, Angelo Gardano. 4° obl. A2615. See 1571, 1576, 1582.

I Bc (S,B)PL Kj (5). 1603 BELLI, Giulio. Missarum cum quinque vocibus liber primus.Venezia, Angelo Gardano. 4° upr. B1747. See 1586, 1597, 1604.  

I PCdPL Kj. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne.

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1603 BELLI, Giulio. Psalmi ad vesperas in totius anni festivitatibus, ac tria cantica B. Virginis Mariae, sex vocibus.Venezia, Angelo Gardano. B1762. See 1604, 1607. I PCd. Appears to be a RISM, Einzeldrucke error for the 1604 ed., and correspondence with I PCd confirms this. See also Bussi, Piacenza, 26.] 1603 CAPILUPI, Geminiano. Motectorum sex & octo vocibus, liber primus.Venezia, Angelo Gardano. 4° upr. C909. D Rp (S,T,5,6,7,8)GB Lbl (compl.: S,A,T,B,5,6,7,8)I Bc, I Bsp (5 vols.)PL WRu (lacks 6 and 8). 1603 FONTANELLI, Alfonso. Il primo libro di madrigali senza nome, a cinque voci.Venezia, Angelo Gardano. 4° upr. F1478. See 1595 (Baldini), 1595, 1609. F PcGB Lbl (S,B; Vogel et al., Bibliografia mistakenly lists only S), Och (S,B)I Bc, I MOe (S,A), I Nc (B), I Rdp (A,B,5)US Wc (T). Vogel et al., BibliografiaF Pc. 1603 GESUALDO, Don Carlo (Principe di Venosa). Madrigali a cinque voci [libro primo].Venezia, Angelo Gardano. 4° upr. G1722. See 1594 (Baldini), 1607. D KlGB OchI Fn (T,B), I Rdp (A,B,5). Vogel, Bibliothek lists Berlin (B, but not in PL Kj nor E. Berlin catalogues). Heyer, Versteigerunga compl. but def. ex. formerly in Heyer coll., Cologne. 1603 GESUALDO, Don Carlo (Principe di Venosa). Madrigali a cinque voci [libro secondo].Venezia, Angelo Gardano. 4° upr. G1726. See 1594 (Baldini), 1608. D Mbs (S)GB Lbl, GB OchI Rdp (A,B,5), I Sd (T), I Vnm (S,B)PL Kj (B). 1603 GESUALDO, Don Carlo (Principe di Venosa). Madrigali a cinque voci, libro terzo.Venezia, Angelo Gardano. 4° upr. G1732. See 1595 (Baldini), 1611. F PcGB Lbl, GB OchI Rdp (A,B,5), I Vnm (S,B)PL Kj (B).

1603 MARENZIO, Luca. Madrigali a quattro voci . . .novamente . . .ristampati, libro primo.Venezia, Angelo Gardano. 4° obl. M583. See 1585 (Alessandro Gardano), 1592.

 

GB Lbl. Müller, Musikalischen Schätze, 252an ex. formerly at Königsberg (S). Eitner, Quellen-Lexikon, Vogel et al., BibliografiaD Rp.

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1603 MARENZIO, Luca. Il sesto libro de madrigali a cinque voci . . .novamente ristampato.Venezia, Angelo Gardano. 4° obl. M558. See 1594, 1604. A Wn (S,T,5)D Rp (S)F PcGB Lbl (S,T,B)I Bc, I Nc (S,A,B), I Sac (S), I Vnm. Vogel, Bibliothekan ex. formerly in Rome, Bibl. Borghese (prob. either the copy in F Pc or GB Lblsee Willier, "Present Location," 222, Vogel, "Schicksale"). Vogel et al., BibliografiaF Phanson. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1603 MARENZIO, Luca. Il primo libro de madrigali a sei voci . . .novamente ristampato. Venezia, Angelo Gardano. 4° upr. M503. See 1581, 1584. F Pc (S; Bibliothèque du Conservatoire, Cataloguecompl.; formerly Rome, Bibl. Borghesesee Vogel, "Schicksale")GB Lbl, GB TI VEcapPL Kj (A,6). 1603 MONTE, Phillip de. Il nono libro de madrigali a sei voci.Venezia, Angelo Gardano. 4° obl. Vogel et al., Bibliografia 801. PL Kj (compl.; see Pitoni, Notitia, 175; Heyer, Versteigerung; Olschki, "Contribution," 166; Mann, "From Berlin," 14, 20, 26). [1603 NOCETTI. See 1602.] [1603 PALLAVICINO, Benedetto. Il 5° libro de madrigali a 5, ristampato come sopra (i.e. Venezia, il Gardano; Pitoni, Notitia, 178]) 1603 VECCHI, Orazio (Tiberio). Canzonette . . .libro quarto a quattro voci . . .seconda impressione.Venezia, Angelo Gardano. 4° upr. V1028. See 1590. B Bc (S)D B (S)I Bc, I Fn (T), I PAc, I Vc (A)US SFsc (A). Meluzzi, Catalogue, 46an alto partbook was auctioned off at Rome in 1906. 1603 VICTORIA (VITTORIA), Tomás Luis de. Motecta, que partim quaternis, partim quinis, alia senis, alia octonis, alia duodenis vocibus, in omnibus solemnitatibus per totum annum, concinuntur, noviter recognita, & impressa.Venezia, Angelo Gardano. 4° upr. V1425. See 1572, 1583 (Alessandro Gardano), 1604.

D As (compl.: S,A,T,B,5,6,7,8)GB OchI PS (lacks 8)P Lf (6)S Uu (lacks A). 1604 1604 ANNIBALE, Padovano. Toccate et ricercari d'organo.Venezia, Angelo Gardano. 4° obl.  

A1252.

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D AsI Bc (the ed. was mentioned in letters between Chiti and Martini in 1746-7see Martini, Carteggio, 212, 221, 259). 1604 ANONYMOUS. Musica de diversi eccellentiss. autori. A cinque voci. Sopra i pietosi affetti, del M. R. P. D. Angelo Grillo; raccolta per il padre D. Massimiano Gabbiano da Brescia, monaco cassinense. Novamente posta in luce.Venezia, Angelo Gardano. 4° upr. 16048. D KlUS Cn (T). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:101). [1604 BELLI, Giulio. Missarum cum quinque vocibus liber primus.Venezia, Angelo Gardano. B1748. See 1586, 1597, 1603. I PCd. Appears to be an error for the 1603 ed., confirmed through correspondence with I PCd. See also Bussi, Piacenza, 26.] 1604 BELLI, Giulio. Psalmi ad vesperas.Venezia, Angelo Gardano. 4° upr. B1763. See 1603, 1607. I Bc, I PCd. 1604 BIANCIARDI, Francesco. Vespertina omnium solemnitatum psalmodia, quatuor vocibus.Venezia, Angelo Gardano. 4° upr. B2601. I Bc (mentioned in letters between Chiti and Martini in 1746see Martini, Carteggio, 230, 238). 1604 FONTANELLI, Alfonso. Secondo libro de madrigali senza nome, a cinque voci.Venezia, Angelo Gardano. 4° upr. F1481, W892 [sic]. See 1609. I Bc (T,B,5), I Nc (B), I Rdp (A,B,5), I VEcapPL Kj (S,B)US Wc. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. [1604 GABBIANO DA BRESCIA, Massimiano. See ANONYMOUS.] 1604 GAGLIANO, Marco da. Il secondo libro de madrigali, a cinque voci.Venezia, Angelo Gardano. 4° upr. 160417, G110. I Bc (not yet in Martini's coll. in 1747see Martini, Carteggio, 269). See Göhler, Verzeichnis, 2:31 (L6F); prob. this ed. intended.

1604 GESUALDO, Don Carlo (Principe di Venosa). Madrigali a cinque voci, libro quarto. Venezia, Angelo Gardano. 4° upr. G1736. See 1596 (Baldini).

 

D HVlGB Lbl, GB OchI Rdp (A,B,5), I Vnm (S,B)PL Kj (B). Heyer, Versteigerungan inc. and def. ex. (A,T,B,5) formerly in Heyer coll., Cologne.

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1604 GHISUAGLIO, Girolamo. Il secondo libro de madrigali, a cinque voci.Venezia, Angelo Gardano. 4° upr. G1781. I Bc. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:487). 1604 GIOVANNELLI, Ruggiero. Motecta quinque vocum . . .liber secundus.Venezia, Angelo Gardano. 4° upr. G2451. D As, D MbsGB Lcm (T)I CEc (A,5), I FEc. Eitner, Quellen-LexikonD Rp, I FEc, I Rsc. Ferrarese and Gallo, Biblioteca CapitolareI TVd (S,A,B,5; missing since WWII). 1604 MARENZIO, Luca. Il sesto libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. Vogel et al., Bibliografia 1631. See 1594, 1603. Vogel et al., BibliografiaS formerly in Rome, Bibl. Borghesesee Vogel, "Schicksale". 1604 MASSAINI, Tiburtio. Madrigali a sei voci . . .libro primo.Venezia, Angelo Gardano. 4° upr. M1294. A Wn (B)F Pmeyer (S)I Rsc. 1604 MEL, Rinaldo del. Madrigaletti a tre voci . . .novamente ristampati, libro secondo. Venezia, Angelo Gardano. 4° obl. M2204. See 1586, 1596. GB Lbl (S,B). 1604 MERULO, Claudio. Il secondo libro de madrigali, a cinque voci.Venezia, Angelo Gardano. 4° upr. M2372. I Bc. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142). 1604 OSCULATI, Giulio. Missae quinque vocum . . .liber primus.Venezia, Angelo Gardano. 4° upr. O139. I FEcPL GD. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:131). 1604 PALESTRINA, Giovanni Pierluigi da. Il primo libro de madrigali a cinque voci . . .novamente ristampato.Venezia, Angelo Gardano. 4° upr.

P762. See 1581. I Bc, I Mb (lacks S)PL Kj (S,B,5). 1604 PALESTRINA, Giovanni Pierluigi da. Motectorum quatuor vocibus, partim plena voce et partim paribus vocibus, liber secundus.Venezia, Angelo Gardano. 4° obl.  

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P736. See 1587 (Tini), 1596. GB Lcm (S,A,T)I Ac, I RscUS CHH. Mentioned in letters between Chiti and Martini in 1747 (see Martini, Carteggio, 289). 1604 PRIULI (PRIOLI), Giovanni. Il primo libro de madrigali, a cinque voci.Venezia, Angelo Gardano. 4° upr. P5480. D As (lacks 5), D KlF Pmeyer (S)I VEafPL Kj (B). 1604 STEFANINI (STEFFANINI), Giovanni Battista. Motecta . . .sex & octo vocibus, liber primus.Venezia, Angelo Gardano. Format unknown (the library failed to respond to my four requests for format information). S4727. I VCd (compl.: S,A,T,B,5,6,7,8). 1604 VECCHI, Orazio (Tiberio). Hymni qui per totum annum in Ecclesia Romana concinuntur, partim brevi stilo super plano cantu, partim proprio marte . . .cum quatuor vocibus.Venezia, Angelo Gardano. 4° upr. V1007. GB Lbl (A,T; London, British Library, Seventeenth Century Italian Books, lists only T)I Bc (A), I MOe (?), I PCdS Uu (A,B[inc.]). Ferrarese and Gallo, Biblioteca CapitolareI TVd missing since WWII. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:480), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 145). 1604 VECCHI, Orazio (Tiberio). Le veglie di Siena, overo i varii humori della musica moderna . . .a tre a 4. a 5. & a 6. voci composte e divise in due parti piacevole e grave.Venezia, Angelo Gardano. 4° upr. V1053. A Wn (A,B,5)D As (lacks 5), D B (S), D Kl (compl.: S,A,T,B,5,6)I Baf, I Bc (already in Martini's coll. by 1746see Martini, Carteggio, 212, 221), I Bsp, I Fn, I Nc, I Rli, I Rsc (B), I Vnm (T,5). Eitner, QuellenLexikonI MOe. No ex. in F Pn, as suggested by Eitner, Quellen-Lexikon and Vogel et al., Bibliografia. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:247-8, 2:31), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 144). See also Heussner and Schultz, Collectio Musica, 134, #1067. 1604 VICTORIA (VITTORIA), Tomás Luis de. Motecta, que partim quaternis, partim quinis, alia senis, alia octonis, alia duodenis vocibus.Venezia, Angelo Gardano. No format data available. V1426. See 1572, 1583 (Alessandro Gardano), 1603. I TVd (T,5,6,7,8; FerrrareseFMmissing since WWII). [1604 WERT, Giaches (Jaches) de. Madrigali senza nome a cinque voci, libro secondo.Venezia, Angelo Gardano.

W892.  

I VEcap. A RISM error for Fontanelli, above.]

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1605 1605 BALBI, Lodovico. Messe et motetti con il Te Deum laudamus, a otto voci . . .nuovamente poste in luce da Girolamo Griti.Venezia, Angelo Gardano. 4° upr. B743. PL WRu. 1605 BALBI, Lodovico. Il basso continuo per l'organo delle messe, mottetti et Te Deum laudamus, a otto voci.Venezia, Angelo Gardano. 4° upr. B744. I SacPL Kj. 1605 BELLI, Giulio. Compieta, mottetti, & letanie della Madonna a otto voci, falsi bordoni sopra li otto toni a dui chori spezzati, con li Sicut erat interi.Venezia, Angelo Gardano. 4° upr. B1765. D Bds (T I)I Bc (compl.; I: S,A,T,B; II: S,A,T,B; bc), I CEc (lacks T I, bc), I FEc (lacks bc), I FOc (B I), I SPE (bc)PL KjUS NH. Heyer, Versteigerungan ex. (lacking bc) formerly in Heyer coll., Cologne. Two exs. were in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 139, 140). [1605 BIANCIARDI, Francesco. Canzonette spirituali. See 1606.] 1605 BIANCIARDI, Francesco. Missarum quattour, & octo vocibus, liber primus.Venezia, Angelo Gardano. 4° upr. B2602. I Bc (S,A,T,B; mentioned in letters between Chiti and Martini in 1746see Martini, Carteggio, 230, 238). See Göhler, Verzeichnis, 2:4 (L6F). 1605 CASALI, Lodovico. Mottectorum octonis vocibus, liber primus.Venezia, Angelo Gardano. 4° upr. C1402. D As (I: S,A,T; II: S,T,B)PL WRU (I: S,A,T,B; II: S,A,B; bc). See Göhler, Verzeichnis, 2:14 (L6F). 1605 FATTORIN da Reggio. Il primo libro de madrigali a tre voci.Venezia, Angelo Gardano. 4° upr. F128. A Wn (compl.: S I, S II, B)F Pmeyer (S; Vogel et al., Bibliografiadef.)GB Lbl. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 141). 1605 GABRIELI, Andrea. Canzoni alla francese et ricercari ariosi, tabulate per sonar sopra istromenti da tasti . . .libro quinto.Venezia, Angelo Gardano. 4° obl.

160518, G83.  

D As.

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1605 GABRIELI, Andrea. Canzoni alla francese per sonar sopra istromenti da tasti . . .con uno madrigale nel fine et uno capricio a imitatione . . .libro sesto et ultimo.Venezia, Angelo Gardano. 4° obl. 160519, G84. I Bc. 1605 GAGLIANO, Marco da. Il terzo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. 160513, G111. I Bc. See Göhler, Verzeichnis, 2:31 (L6F); prob. this ed. intended. 1605 GIOVANNELLI, Ruggiero. Il primo libro de madrigali a tre voci.Venezia, Angelo Gardano. 4° upr. G2487. GB Lbl (S[inc.],A,B)I Bc (B)S Skma (A). Heyer, Versteigerungan ex. (A[def.]) formerly in Heyer coll., Cologne. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:196, 2:24). [1605 GRITI, Girolamo. See BALBI, Lodovico.] 1605 LAPPI, Pietro. Psalmi ad vesperas novo quinque vocum concentu, ita decantandi, ut hymnus Gloria in fine cuiusque psalmi, novem vocibus ad libitum decantari queat. Regiae Virginis Deiparae cantica alternis choris, novem, ac decem vocibus concinenda[=title of the 1st choir voices; title lacking for the second choir].Venezia, Angelo Gardano. 4° upr. L681. D Rp (S I, A I, T I; S II; bc)I Bc (compl.; I: S,A,T,B,5,bc; II: S,A,T,B, principal bass), I BRd (I: S,A,T,B,5,bc), I CEc (I: S,A,T,5; II: S,A,T). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:65, 2:6). 1605 MARENZIO, Luca. Il quinto libro de madrigali a cinque voci . . .novamente ristampato.Venezia, Angelo Gardano. 4° obl. M556. See 1585 (Scotto heir), 1594. D LEm (compl.: S,A,T,B,5)F PcI Bc (T), I Sd (A,T[2 exs.],B,5). Heyer, Versteigerung, Olschki, ''Contribution," 165a compl. ex. formerly in Heyer coll., Cologne. 1605 MARENZIO, Luca. L'ottavo libro de madrigali a cinque voci . . .novamente ristampato.Venezia, Angelo Gardano. 4° obl. M565. See 1598. A Wn (S,T,5)F PcI Bc, I Fc, I Sac (S)US Wc. Vogel et al., BibliografiaI ST (S). Heyer, Versteigerungan ex.

formerly in Heyer coll., Cologne. 1605 MARENZIO, Luca. Il quarto libro de madrigali a sei voci . . .novamente ristampato.Venezia, Angelo Gardano. 4° upr.  

M514.

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See 1587 (Vincenti), 1593. F Pc (formerly Rome, Bibl. Borghesesee Vogel, "Schicksale")GB Lbl, GB TI PAc (S,A,T,B), I VEcapPL Kj (A). 1605 MERULO, Claudio. Il terzo libro de mottetti a sei voci.Venezia, Angelo Gardano. 4° upr. M2366. GB Lcm (T)PL Kj (5 vols.). Ferrarese and Gallo, Biblioteca CapitolareI TVd, missing since WWII. An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 145)see also Göhler, Verzeichnis, 2:52 (L6F). 1605 MERULO, Claudio. Ricercari d'intabolatura d'organo . . .novamente . . .ristampati, libro primo.Venezia, Angelo Gardano. 4° obl. M2378. See 1567 (Merulo). I Bc. 1605 NANINO, Giovanni Maria. Il primo libro de madrigali a cinque voci.Angelo Gardano. 4° obl. N28. See 1579, 1582. F PcI BcUS BE (S; formerly Cortot coll.). 1605 ORLANDI, Sante. Libro terzo de madrigali a cinque voci.Venezia, Angelo Gardano. 4° upr. 160514, O110. F Pn (T)I Bc (A). Vogel et al., BibliografiaUS Charding (S,5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:125)see also Göhler, Verzeichnis, 2:58 (L6F). 1605 PALESTRINA, Giovanni Pierluigi da. Il primo libro di madrigali a quattro voci . . .novamente ristampato. Venezia, Angelo Gardano. 4° obl. P760. See 1555 (Dorico), 1594. D Rp (T), D WI Bc (in Martini's coll. by 1745see Martini, Carteggio, 130), I Rvat-sistina (S,A). Vogel et al., BibliografiaF Pthibault (sold to an unnamed bidder at a Paris auction in 1995; see Coles and Heath, Book Auction Records 92:489). 1605 PALESTRINA, Giovanni Pierluigi da. Missarum cum quatuor, quinque, ac sex vocibus . . .liber septimus [expanded ed.].Venezia, Angelo Gardano. 4° upr. P679.

See 1594 (Coattino). GB Ob (compl.: S,A,T,B,5/6; Schnapper, British Union Catalogue mistakenly lists 5, 6 seperately)I Rvatsistina, I SdUS Cn. 1605 PECCI, Tomaso. Madrigali a cinque voci . . .novellamente ristampati.Venezia, Angelo Gardano. 4° upr.  

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160515, P1106. See 1602, 1609. D As (A,T,B,5), D B (B). Vogel et al., BibliografiaD Bds. RISM, Recueils imprimésD B-Tü. Vogel, BibliothekI Nc. 1605 PORTA, Costanzo. Motectorum quinque vocum.Venezia, Angelo Gardano. 4° upr. P5184. I TVd (2 exs.). See Göhler, Verzeichnis, 1:36 (L6F). 1605 PORTA, Costanzo. Psalmodia vespertina omnium solemnitatum octo vocibus decantanda . . .cum quattuor canticis B. Virginis itidem octo vocum, uno tantum excepto bis octo vocibus concinnendo.Venezia, Angelo Gardano. 4° upr. P5185. I Bc (compl.: I: S,A,T,B; II: S,A,T,B; bc), I BRq (org)PL Kj (B II, bc). Ferrarese and Gallo, Biblioteca CapitolareI TVd missing since WWII. 1605 VECCHI, Lorenzo. Missarum octonis vocibus liber primus.Venezia, Angelo Gardano. 4° upr. V1002. B Br (compl.; I: S,A,T,B; II: S,A,T,B; bc)D RpI Bc, I Bsp, I PCd, I Sac (lacks S I,A II,T I)PL Kj (2 vols.)US NYp. See Göhler, Verzeichnis, 2:89 (L6F). 1606 1606 ANONYMOUS. Leggiadre nimphe a tre voci. Alla napolitana de diversi eccellentissimi autori. Novamente con diligentia stampate.Venezia, Angelo Gardano & fratelli. 4° upr. 16068. B Bc (S)F PnGB Lbl (S,T)I Bc (T). 1606 BIANCIARDI, Francesco. Canzonette spirituali a tre voci . . .libro primo.Venezia, Angelo Gardano. [S: 1608; B: 1605!]. 4° upr. B2606. GB Lbl (S,A)I LsPL WRu. See Göhler, Verzeichnis, 1:4 (L6F). 1606 CRIVELLI, Arcangelo. Il primo libro de madrigali a cinque voci, con due a sei, et un dialogo a otto.Venezia, Angelo Gardano & fratelli. 4° upr. C4420. I Bc (A,T,5).

[1606 FONTEIIO. See Nielsen.] 1606 GABRIELI, Andrea. Psalmi Davidici.Venezia, Angelo Gardano. 4° upr. G57. See 1583.  

D BAs (A)I Bc (S,T,5,6).

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1606 GAGLIANO, Marco da. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr. 160610, G109. See 1602. I BcPL Kj (B). 1606 GAGLIANO, Marco da. Il quarto libro de madrigali, a cinque voci.Venezia, Angelo Gardano. 4° upr. 160611, G112. C Tu (5)D KlF PnGB Cu (formerly F Pthibault), I Bc (lacks A)US CA (T). Vogel et al., BibliografiaUS AM (T). 1606 MARENZIO, Luca. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4° obl. M543. See 1581, 1583, 1593. B BcF PcGB Lcm (5). Vogel et al., BibliografiaF Phanson. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1606 MARENZIO, Luca. Mottectorum pro festis totius anni, cum Communi Sanctorum quaternis vocibus, liber primus.Venezia, Angelo Gardano & fratelli. 4° upr. M498. See 1585. I Rsg. Müller, Musikalischen Schätze, 252an ex. formerly at Königsberg. 1606 MASSAINI, Tiburtio. Sacri modulorum concentus 8.9.10.12. 15. ac 16. vocum concinendi . . .opus 31.Venezia, Angelo Gardano. 4° upr. M1285. D As (I: S,A,T,B; II: S,A,T,B; 9,10,12), D ERu (9,10,11,12)I Bc (B[inc.]), I Mc (compl.; I: S,A,T,B; II: S,A,T,B; 9,10,11,12), I RscS Uu (lacks A I and 11). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 137). 1606 MERULO, Claudio. Libro secondo di canzoni d'intavolatura d'organo . . .a quattro voci, fatte alla francese, da lui reviste in tempo di sua vita & date in luce da Giacinto Merulo suo nepote.Venezia, Angelo Gardano & fratelli. Folio. M2379. D TuF PcI Rvat-chigi. 1606 NIELSEN (FONTEIIO), Hans (Giovanni). Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano. 4°

upr. N687. D W (T)F Pn. 1606 PALLAVICINO, Benedetto. Il primo libro de madrigali a cinque voci . . .novamente con diligentia ristampati.Venezia, Angelo Gardano & fratelli. 4° obl.  

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P775. See 1581. I Bc (apparently not yet in Martini's coll. in 1747see Martini, Carteggio, 267). 1606 RUBINI, Nicolò. Primo libro de motetti a quattro, cinque, sei, sette, otto, et diece voci.Venezia, Angelo Gardano & fratelli. 4° upr. 16062, R3036. D As (S,A,T,5,6,8; lacks B,7). [1606 WERT, Giaches de. Il 7° libro de'madrigali a 5, ristampato.Venezia, il Gardano (Pitoni, Notitia, 118)] 1607 1607 BACILIERI, Giovanni. Lamentationes, Benedictus et Evangelia quae publicè in ecclesijs diebus Dominicis Palmarum, & Feriae sextae leguntur, ad novum musicae concentum quinque voc. redacta . . .opus primum.Venezia, Angelo Gardano & fratelli. 4° upr. B564. I Bc (A,T,B), I FEc (5)PL Kj (1 vol.). 1607 BELLI, Giulio. Salmi vespertini a sei [sic] voci che si cantano in tutte le feste dell'anno.Venezia, Angelo Gardano & fratelli. 4° upr. B1764. I Bc, I Ls (lacks S; all parts def.). 1607 BELLI, Giulio. Basso generale per l'organo dei salmi a otto [sic] voci. Che si cantano in tutte le feste de l'anno.Venezia, Angelo Gardano & fratelli. 4° upr. B1754. See 1596, 1600, 1615. GB LblI PCd, I Bc, I Bsf, I Ls. 1607 BERTANI, Lelio. Il primo libro de madrigali a sei.Venezia, Angelo Gardano & fratelli. 4° upr. B2116. See 1585. Sartori, "Finalmente svelati," 1961608. A Wn (A,B,5). 1607 BIANCIARDI, Francesco. Sacrarum modulationum quae vulgo motecta, & quattuor, quinis, senis, & octonis vocibus concinuntur, liber tertius.Venezia, Angelo Gardano & fratelli. 4° upr.

B2603. I Bc (compl.: S,A,T,B,5,6; mentioned in letters between Chiti and Martini in 1746see Martini, Carteggio, 230, 238). 1607 CONFORTI, Giovanni Luca. Passagi sopra tutti li salmi che ordinariamente canta Santa Chiesa, ne i vesperi della dominica, e ne i giorni festivi di tutto l'anno, con in basso sotto per sonar, e cantare con  

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organo, o con altri stromenti . . .libro primo. Venezia, Angelo Gardano & fratelli. 4° upr. C3499. A KRB BrI Vnm. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:473). 1607 GAGLIANO, Marco da. Officiorum defunctorum quatuor paribus vocibus.Venezia, Angelo Gardano & fratelli. 4° upr. G104. I Fr (T,B). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 139). 1607 GESUALDO, Don Carlo (Principe di Venosa). Madrigali a cinque voci [libro primo].Venezia, Angelo Gardano & fratelli. 4° upr. G1723. See 1603. F PcGB Lbl, GB OchI Nc, I Vnm (S,B)US Cn (T). Eitner, Quellen-LexikonFlorence, Landau (T). 1607 GIOVANNELLI, Ruggiero. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano & fratelli. 4° obl. G2482. See 1587, 1593, 1599. I BcUS Wc. 1607 INDIA, Sigismondo d'. Libro primo de madrigali a cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr. I20. See 1606 (Tradate), 1610. I Bc. 1607 LAPPI, Pietro. Sacra omnium solemnitatum vespertina psalmodia.Venezia, Angelo Gardano & fratelli. 4° upr. L673. See 1600. D Rp (I: S,A,T,B; II: S,A[inc.],T,B)I AOc (T I,A II; bc [=1608]), I Bc (compl.: I: S,A, T,B; II: S,A,T,B; bc)PL Kj (S I, B I, S II). 1607 MARENZIO, Luca. Il quarto libro de madrigali a cinque voci . . .novamente ristampato.Venezia, Angelo Gardano & fratelli. 4° obl. M552.

See 1584 (Vincenti), 1594. I Bc (T), I VEcap. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1607 MERULO, Claudio. Ricercari da cantare a quattro voci . . .libro secondo.Venezia, Angelo Gardano & fratelli. 4° obl. M2380.

 

I Bc. Eitner, Quellen-Lexikon"Ricercari d'intavolatura d'organo . . .lib. II". An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:106).

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1607 NEGRO (NEGRI), Giulio Santo Pietro del. Gl'amorosi pensieri. Canzonette, villanelle et arie napolitane a tre voci, da sonare, & cantare su'l chitarone, clavecimbalo, & altri stromenti . . .libro secondo, raccolte da Marcellino Sanarega.Venezia, Angelo Gardano & fratelli. 4° upr. N366. GB Lbl. 1607 ORLANDI, Sante. Libro quarto de madrigali a cinque voci . . .novamente stampato.Venezia, Angelo Gardano & fratelli. 4° upr. No RISM number; from Charbon, Haags Gemeentemuseum, 131. NL DHgm (S,T,B,5). Vogel et al., Bibliografia 2059fragment in I PS (B, pp. 7-14); RISM, Einzeldrucke, identifies this fragment as book II. 1607 PALLAVICINO, Benedetto. Il secondo libro de madrigali a cinque voci . . .novamente ristampato, & corretto.Venezia, Angelo Gardano & fratelli. 4° obl. P778. See 1584. I Bc (apparently not yet in Martini's coll. by 1747see Martini, Carteggio, 267). 1607 PALLAVICINO, Benedetto. Il terzo libro de madrigali a cinque voci . . .novamente ristampato, & corretto.Venezia, Angelo Gardano & fratelli. 4° obl. P781. See 1585 (Vincenti/Amadino). I Bc (apparently Martini had only the 1585 ed. by 1747see Martini, Carteggio, 267). 1607 PALLAVICINO, Benedetto. Il quarto libro de madrigali a cinque voci . . .novamente ristampato.Venezia, Angelo Gardano & fratelli. 4° obl. 160722, P788. See 1588, 1596, 1600. GB OchI Bc (already in Martini's coll. by 1747see Martini, Carteggio, 267). 1607 PRIULI (PRIOLI), Giovanni. Il secondo libro de madrigali, a cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr. P5481. D KlGB Lbl (S). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:167, 2:20), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 143). 1607

RADINO, Giulio. Concerti per sonare et cantar . . .canzone, & ricercari a quattro, & otto, motetti, messe, salmi, & Magnificat, a cinque, sei, sette, dieci, dodeci, & sedici voci. Novamente dati alle stampe da Gio. Maria Radino.Venezia, Angelo Gardano & fratelli. 4° upr. 16078, R29.  

S Uu (S,T,B,5,6,7,8,9,10,12; lacks A,11)PL Kj (1 vol.).

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1607 TORNIOLI, Marcantonio. Canzonette spirituali a tre voci . . .libro primo.Venezia, Angelo Gardano & fratelli. 4° upr. 160711, T1004. GB Lbl. [1607 TRESTI, Flaminio. Il libro 5° de' madrigali a 5.Venezia, il Gardano (Pitoni, Notitia, 189)] 1607 VECCHI, Orazio (Tiberio). Missarum senis et octonis vocibus, liber primus.Venezia, Angelo Gardano & fratelli. 4° upr. 16071, V1008. D B (S), D Rp (B)I Bc (S,A,T,B,bc)PL GD (A,T,B,5,6,7), PL WRu (S,T,B,5,6,7,8). RISM, Recueils imprimésD Tü. Eitner, Quellen-LexikonI MOe. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:481). 1608 1608 ANTEGNATI, Costanzo. L'Antegnata, intavolatura de ricercari d'organo . . .con una nuova regola ch'insegna a suo figliuolo di suonar, & registrar l'organo, con l'indice degl'organi fabricati in casa sua, opera decima sesta.Venezia, Angelo Gardano & fratelli. Folio. A1268. D AsGB Lbl [def.]I Bc. Eitner, Quellen-Lexikonan ex. in the E. von Werra coll. in Constance. 1608 BELLI, Giulio. Missae sacrae quae cum quatuor, quinque, sex, et octo vocibus concinuntur, cum basso generali pro organo.Venezia, Angelo Gardano & fratelli. 4° upr. B1769. CO B (B,5[both inc.])D Mbs (compl.: S,A,T,B,5,6,7,8,bc), D Rp (B)I Bc, I Bsp, I BRd, I PCdPL WRu (lacks 8). [1608 BERTANI, Lelio. See 1607.] [1608 BIANCIARDI, Francesco. Canzonette spirituali. See 1606.] 1608 BIANCIARDI, Francesco. Sacrarum modulationum, quae vulgo motecta, & duabus, tribus, & quatuor vocibus concinuntur, liber quartus.Venezia, Angelo Gardano & fratelli. 4° upr. 16082, B2604. A Wn (S I, S II, bc)I Fn (S II, B, bc), I Sc (S II)PL Kj (1 vol.). 1608 CAPILUPI, Geminiano. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr. C912.

See 1599. I MOe (T,5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:487). 1608 GAGLIANO, Marco da. Il quinto libro de madrigali, a cinque voci.Venezia, Angelo Gardano & fratelli, 1658 [=1608]. 4° upr.  

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G114. C Tu (5)D Mbs, D MÜsF Pn (formerly F Pthibault)GB LblI BcUS CA (T), US AM (T). 1608 GESUALDO, Don Carlo (Principe di Venosa). Madrigali a cinque voci [libro secondo].Venezia, Angelo Gardano & fratelli. 4° upr. G1728. See 1603. F PcI Nc. 1608 GUALTIERI, Antonio. Amorosi diletti a tre voci.Venezia, Angelo Gardano & fratelli. 4° upr. G4794. A WnGB LblI Bc (lacks B; not yet in Martini's coll. by 1747see Martini, Carteggio, 278). [1608 LAPPI, Pietro. See 1607.] 1608 MERULO, Claudio. Ricercari da cantare a quattro voci . . . libro terzo.Venezia, Angelo Gardano & fratelli. 4° obl. M2381. I Bc. Eitner, Quellen-Lexikonlists as "Ricercari d'intavolatura d'organo . . . lib. III". 1608 MONTESARDO, Girolamo. L'allegre notti di Fiorenza . . . dove intervengono i più eccellenti musici di detta città, musiche a una, due, tre, quattro, e cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr. M3439. D Rtt (S). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:98). See also Göhler, Verzeichnis, 2:54 (L8F). 1608 MONTESARDO, Girolamo. Ecclesiastici concentus; una, 2.3.4.5. & 8. vocibus canendi, cum basso ad organum, opera VIII.Venezia, Angelo Gardano & fratelli. 4° upr. M3438. PL WRu (S I, S II, T[inc.],B; lacks bc). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:97). 1608 NEGRI, Marco Antonio. Affetti amorosi a tre voci . . . novamente composti et dati in luce, col suo basso continuo.Venezia, Angelo Gardano & fratelli. 4° upr. N362. B Bc (S I)F Pc (S II)GB Lbl. 1608 PACELLI, Asprilio. Sacrae cantiones quae quinque, sex, septem, octo, novem, decem, duodecim, sexdecim, &

viginti vocibus concinuntus, liber primus.Venezia, Angelo Gardano & fratelli. 4° upr. P28.

 

D ERu (9,10,bc [inc.])I VCd (S,A,T,B,5,6,7,8,9,10,part.)F Ssp (S,T,B,5,6,bc)PL Kj (11 vols.the compl. ex. offered for sale by auction in Berlin in 1929? See Wölffheim, Versteigerung, 2:398), PL WRu (A,B,5,6,7,8,9,10;lacking S,T,part.)S Uu (S,T,B,5,6,7,8,9,10; lacks A and part.).

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1608 PALESTRINA, Giovanni Pierluigi da. Motettorum . . . Organum pro libro quarto motectorum ex canticis Salomonis . . . quinque vocibus.Venezia, Angelo Gardano & fratelli. 4° upr. P726. See 1583 (Alessandro Gardano), 1587, 1601. I Bc. 1608 PEDERSØN (PETREO), Mogens (Magno). Madrigali a cinque voci, libro primo.Venezia, Angelo Gardano & fratelli. 4° upr. P1132. D Kl. 1608 RASI, Francesco. Vaghezza di musica per una voci sola . . . raccolte da Don Bassano Casola.Venezia, Angelo Gardano & fratelli. Folio. R290. I Gu. 1608 TRABACI, Giovanni Maria. Psalmorum pro Vesperis et Completorio totius anni, cum antiphonis, quae in fine horarum per totum annum recitari solent, & quarta missa, quatuor vocum . . .liber primus, cum partimento pro organista.Venezia, Angelo Gardano & fratelli. 4° upr. and 4° obl. (part.). T1059. D BAs (A), D Rp (A,T)GB Lcm (S,A[def.],T[def.],B[def.],bc). See Göhler, Verzeichnis, 2:87 (L8F). 1608 VECCHI, Orazio (Tiberio). Dialoghi a sette et otto voci . . .da cantarsi, et concertarsi con ogni sorte di stromenti, con la partidura delli bassi continuati.Venezia, Angelo Gardano & fratelli. 4° upr. 160821, V1055. D As (compl.: S,A,T,B,5,6,7,8,bc), D B (S), D W (T)GB Lbl (lacks 6,bc)I Bc (lacks T,B,6,8; this ed. was mentioned in letters between Chiti and Martini in 1746-7see Martini, Carteggio, 212, 221, 259), I Vgc (A)S Skma (5). RISM, Recueils imprimés,D Tü. Eitner, Quellen-LexikonI MOe. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:63, 2:6). See also Göhler, Verzeichnis, 1:46 (L8F). 1608 WERT, Giaches de. Il decimo libro de madrigali a cinque voci. Novamente ristampato.Venezia, Angelo Gardano & fratelli. 4° upr. No RISM or Vogel et al., Bibliografia numbers. See 1591. US BE (B). 1608 WERT, Giaches de. Il duodecimo libro de madrigali . . .a 4. a 5. a 6. & 7. con alcuni altri de diversi eccellentissimi autori.Venezia, Angelo Gardano & fratelli. 4° upr.

No RISM or Vogel et al., Bibliografia numbers.  

US BE (B). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:11).

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1609 1609 BIANCHI, Pietro Antonio. Sacri concentus octonis vocibus, tum vivae vocis, tum omnium instrumentorum genere decantandi ([org:] Partimento de bassi per l'organo delli motetti a otto voci).Venezia, Angelo Gardano & fratelli. 4° upr. B2595. A Wn (I: S,A,T,B; II: S,A,T,B; lacks bc)D As, D Rp (lacks bc)GB Lbl (A I, S II)I Bc (lacks S I), I Fn (bc)PL Kc (bc), PL Kj (1 vol.), PL WRu (lacks bc). Ferrarese and Gallo, Biblioteca CapitolareI TVd (S IImissing since WWII). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:132), and in the court library of Innsbruck in 1665 (Waldner, ''Zwei Inventorien," 140). 1609 BOTTACCIO, Paolo. Il primo libro delle canzoni da suonare a quattro, & otto voci.Venezia, Angelo Gardano & fratelli. 4° upr. B3795. S Uu (S,T,B; lacks A)US BE (B). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:104). 1609 BOTTACCIO, Paolo. I sospiri con altri madrigali a cinque, & otto voci . . .libro primo.Venezia, Angelo Gardano & fratelli. 4° upr. B3794. B Bc (compl.: S,A,T,B,5; formerly in Wagener and Strahl coll.see Eitner, Quellen-Lexikon; Willier, "Present Location," 226)I Bc (not yet in Martini's coll. in 1747; see Martini, Carteggio, 270-1). Eitner, QuellenLexikonexs. in Berlin (but not in PL Kj nor E. Berlin catalogues). 1609 FINETTI, Giacomo. Omnia in nocte Nativitatis Domini nostri Iesu Christi, quae ad matinum [!] spectant, quinque vocibus.Venezia, Angelo Gardano [& fratelli]. 4° upr. F812. I Ac (S), I Bc, I CEc (A[inc.],B,5). [1609 FONTANELLI, Alfonso. Il primo libro di madrigali senza nome, a cinque voci.Venezia, Angelo Gardano & fratelli. F1479. Not in F Pc; a RISM error.] 1609 FONTANELLI, Alfonso. Secondo libro de madrigali senza nome, a cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr. AN1498, F1482. D LEm? (lacks 5; Eitner, Quellen-Lexikon, Vogel, Bibliothek list a copy in the Becker coll. in Lancy; Willier, "Present Location," 222, maintains that this coll. is now in D LEm)F Pc, F Pn (listed under Anon.)I Bc. Vogel et al., BibliografiaNL Uim.

 

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1609 GIACOBBI, Girolamo. Prima parte dei salmi concertati a due, e piu chori . . .commodi da concertare in diverse maniere.Venezia, Angelo Gardano & fratelli. 4° upr. G1821. I Bc (compl.: S,A,T,B,5; II: S,A,T,B; bc), I Bsp (compl.; bc in ms.)PL Kcz (bc), PL Kj (A I), PL WRu (lacks S I, T I, B I, A II, bc). Eitner, Quellen-LexikonWgm (9 voices). 1609 GIOVANNELLI, Ruggiero. Il terzo libro de madrigali a cinque voci.Venezia, Angelo Gardano & fratelli. 4° obl. G2486. See 1589, 1599. I MOe. 1609 GRABBE, Johann. Il primo libro de madrigali a cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr. G3259. D Kl. 1609 MARENZIO, Luca. Il settimo libro de madrigali a cinque voci . . .di nuovo ristampati e corretti.Venezia, Angelo Gardano & fratelli. 4° obl. 160923, M562. See 1595, 1600. F PcI Bc. 1609 MARENZIO, Luca. Il nono libro de madrigali a cinque voci . . .di novo ristampato e corretto.Venezia, Angelo Gardano & fratelli. 4° obl. M570. See 1599, 1601. F PcI Bc (all but B prob. already in Martini's coll. by 1747see Martini, Carteggio, 267). 1609 MARENZIO, Luca. Il sesto libro de madrigali a sei voci . . .novamente ristampati.Venezia, Angelo Gardano & fratelli. 4° upr. M520. See 1595. GB Lbl, GB TI Bc, I PAc (S,A,T,B)PL Kj (A,T,B,5)US Cn (T). 1609 MERULO, Claudio. Misse due, cum octo, et duodecim vocibus concinende, additeque lytaniae Beatae Mariae Virginis octo vocum . . .cum parte organica.Venezia, Angelo Gardano & fratelli. 4° upr.

M2367. I Bc (I: S,A,T,B; II: S,A,T,B; III: S/T, A/B; lacks bc)PL Kc (bc), PL Kj (I: S,A,T,B; II: S,A,T; III: S/T, A/B), PL WRu (I: S,A,T,B; II: T; III: S/T, A/B). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 145). 1609 NENNA, Pomponio, Il quarto libro de madrigali a cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr.  

N384.

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D LEmDK KkGB LblI Bc (already in Martini's coll. in 1747see Martini, Carteggio, 259, 272), I Bsp, I Nc. Heyer, Versteigerunga compl. ex. formerly in Heyer coll., Cologne. 1609 NENNA, Pomponio. Il sesto libro de madrigali a cinque voci, novamente stampati.Venezia, Angelo Gardano & fratelli. 4° upr. N389. See 1607 (Sottile). F Pc (formerly Rome, Bibl. Borghesesee Vogel, "Schicksale")I Bc (already in Martini's coll. by 1747see Martini, Carteggio, 272), I Bsp, I VEcap. Vogel et al., BibliografiaF Pthibault (presumably now in F Pn). 1609 NENNA, Pomponio. Il settimo libro de madrigali a cinque voci . . .novamente stampati.Venezia, Angelo Gardano & fratelli. 4° upr. N393. See 1608 (Sottile). F PcI AN (5 only), I Bc. Meluzzi, Catalogue, 34an ex. (5) was auctioned off at Rome in 1906. 1609 ORLANDI, Sante. Libro quinto de madrigali a cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr. O111. F Pn (T)PL Kj (B; see Eitner, Quellen-Lexikon, Vogel et al., Bibliografia, Mann "From Berlin," 26). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:64). 1609 PALLAVICINO, Benedetto. Il quinto libro de madrigali a cinque voci . . .novamente ristampato.Venezia, Angelo Gardano & fratelli. 4° upr. P792. See 1593 (Vincenti), 1600. GB OchI Bc (A,T,B), I FA (S,T,5)US BE (B). 1609 PECCI, Tomaso. Madrigali a cinque voci . . .novamente ristampati.Venezia, Angelo Gardano & fratelli. 4° upr. 160927, P1107. See 1602, 1605. F Pn (formerly F Pthibault)GB OchI Bc, I VnmUS BE (S). 1609 SPONTONI, Lodovico. Mottetti a otto voci . . .libro secondo, novamente dati in luce.Venezia, Angelo Gardano & fratelli. 4° upr. S4175. D As (compl.; I: S,A,T,B; II: S,A,T,B; bc)I Bc (lacks S I,S II and bc; by 1747, Martini's coll. did not yet

include thissee Martini, Carteggio, 283)PL WRu (lacks S II,A I and bc)S Uu (lacks A I and bc)US BE (compl. but def.). 1610 1610 BACILIERI, Giovanni. Vesperae octonis vocibus, unà cum parte organica concinendae . . .opus secundum.Venezia, Angelo Gardano [& fratelli]. 4° upr.  

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B565. D BAs (A), D Bds (S,A,T)I Bc (I: S,A,T,B; II: S,A,T,B; bc)PL Kj. Eitner, Quellen-LexikonI PS. Heyer, Versteigerunga compl. ex. formerly in the Heyer coll., Cologne. An ex. seems to have been in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 138). 1610 COSTA, Giovanni Paolo. Il primo libro di madrigali a cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr. C4222. I TSmt (S)US BE (compl.; all voices def.). 1610 INDIA, Sigismondo d'. Novi concentus ecclesiastici binis ternis vocibus concinendi ([bc:] Basso continuo delli concerti ecclesiastici a doi & tre voci).Venezia, Angelo Gardano ([bc]: Angelo Gardano & fratelli). 4° upr. I16. GB Lbl (B, bc)I Bc (compl.: S I,S II,B,bc). 1610 INDIA, Sigismondo d'. Libro primo de madrigali a cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr. I21. See 1606 (Tradate), 1607. GB Lbl (B,5), GB OchI Rc (S,B,5). 1610 INDIA, Sigismondo d'. Liber secundus sacrorum concentuum . . .ternis, quaternis, quinis, senisque vocibus, concinendorum ([bc:] Basso continuo del secondo libro de concerti a 3. 4. 5. & 6. voci).Venezia, Angelo Gardano & fratres ([bc:] Angelo Gardano & fratelli). 4° upr. I17. D Mbs (compl.: S I,S II,T,B,5,bc)GB OchI Bc (lacks bc), I PCd (bc). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:95), and perhaps two exs. in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 145). 1610 INDIA, Sigismondo d'. Delle villanelle alla napolitana, a tre voci . . .libro primo.Venezia, Angelo Gardano & fratelli. 4° upr. I23. See 1608 (Carlino & Vitale). B Bc (S I)F Pc (S II)GB Lbl, GB OchI Bc (by 1747, not yet in Martini's coll.see Martini, Carteggio, 278)PL Kj (S I,B). 1610 MARENZIO, Luca. Il quinto libro de madrigali a sei voci . . .novamente ristampato.Venezia, Angelo Gardano & fratelli. 4° upr. M518.

See 1591, 1595. F Pc (formerly Rome, Bibl. Borghesesee Vogel, "Schicksale")GB Lbl. 1610 VECCHI, Orazio (Tiberio). L'Amfiparnaso . . .novamente ristampata.Venezia, Angelo Gardano & fratelli. 4° upr.  

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V1049. See 1597. I Bc (compl.: S,A,T,B,5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 1:203-4, 2:26). 1610 VILLANI, Gasparo. Letanie della Beata Vergine, da cantarsi a otto voci, con la parte continuata per l'organo . . .libro primo.Venezia, Angelo Gardano & fratelli. 4° upr. V1553. GB Lbl (A I,S II)I Bc (I: S,B; II: A,T,B), I Mcap(d) (compl.; I: S,A,T,B; II: S,A,T,B; bc), I PCd (lacks bc). An ex. was prob. in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:484). 1610 VILLANI, Gasparo. Missa, psalmi ad Vesperas, et motecta sexdecim vocibus concinenda.Venezia, Angelo Gardano & fratelli. 4° upr. V1551. D BAs (A I)GB Lbl (A I,S II,T IV)I ASc (S II), I Bc (compl.; I: S,A,T,B; II: S,A,T,B; III: S,A,T,B; IV: S,A,T,B; bc; in Martini's coll. by 1746see Martini, Carteggio, 148), I CEc (I: A,T,B; II: A,B; bc). Eitner, Quellen-LexikonI Rsc (8 vols.). 1610 VILLANI, Gasparo. Psalmi omnes, qui per annum ad Vesperas decantari consueverunt . . .duodecim vocibus, liber tertius.Venezia, Angelo Gardano & fratelli. 4° upr. V1552. D BAs (A I), D Rp (I: A,T,B; II: T,B; III: S,T; bc)GB Lbl (A I,S II)I Bc (compl.; I: S,A,T,B; II: S,A,T,B; III: S,A,T,B; bc), I CEc (I: A,T,B; II: A,B; bc). Eitner, Quellen-LexikonI Rsc (A I,A II,T I,B I,B II,bc). 1611 (Angelo Gardano & Fratelli) 1611 ANERIO, Giovanni Francesco. Recreatione armonica. Madrigali a una et doi voci.Venezia, Angelo Gardano & fratelli. 4° upr. A1120. GB Lbl (T,B)I Bc (bc)PL Kj (S; see Mann, "from Berlin," 24). 1611 BAL[L]ESTRA, Raimondo. Sacrae symphoniae . . .septem, octo, decem, duodecim vocibus, liber primus, editio nova.Venezia, Angelo Gardano & fratelli. 4° upr. B769. D Kl (I: S,T,B; II: 5,6,7,9,10; bc). An ex. was in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 139). 1611 FINETTI, Giacomo. Motecta binis vocibus concinenda, una cum basso ad organum accomodata . . .liber secundus.Venezia, Angelo Gardano & fratelli. 4° upr.

F815.  

D Rp (bc; lacking S,T). Eitner, Quellen-LexikonD Kl (bc), but not found in Kassel, Katalog.

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1611 FINETTI, Giacomo. Psalmi ad vesperas in solemnitate sanctissimi corporis Christi decantandi octo vocibus . . .una cum basso ad organum . . .quibus adduntur duo Cantica Beatae Virginis.Venezia, Angelo Gardano & fratelli. 4° upr. F813. D BAs (A I), D Rp (I: S,A,B; II: S,A; bc). Eitner, Quellen-LexikonA KR. 1611 FLACCOMIO, Giovanni Pietro. Il primo libro delli madrigali a tre voci . . .col basso continuato per sonare ([bc:] Basso continuato per sonare con cimbalo et altre istrumenti di consonanza).Venezia, Angelo Gardano & fratelli. 4° upr. F1101. A Wn (S I,S II,B; lacks bc)D Kl (bc)E V (B)GB Lbl (B). Vogel et al., Bibliografia fails to mention any extant bc. 1611 FLACCOMIO, Giovanni Pietro. Liber primus concentus, in duos distincti choros, in quibus vespere, misse, sacreque cantiones in nativitate Beate Marie virginis aliarumque virginum festivitatibus decantandi continentur.Venezia, Angelo Gardano & fratelli. 4° upr. F1100. E V (I: S,A,T,B; II: S,T,B)S Uu (I: S,A,T,B; II: B)US NYhsa (I: S,B; II: A,T). 1611 GESUALDO, Don Carlo (Principe di Venosa). Madrigali a cinque voci, libro terzo.Venezia, Angelo Gardano & fratelli. 4° upr. (contrary to Vogel, Bibliothek). G1733. See 1603. D HVl (S,T,B,5), D Mbs (A,T,B,5; S[ms.])I Bc (S; by 1747, Martini's coll. did not have this ed.see Martini, Carteggio, 277), I Fn (S,T,B,5), I Nc, I Rsc (S)US SFsc (S,5). 1611 GESUALDO, Don Carlo (Principe di Venosa). Madrigali a cinque voci, libro quarto.Venezia, Angelo Gardano & fratelli. 4° upr. G1737. See 1596 (Baldini), 1604. C Tu (5)F Pn (S; formerly F Pthibault)I NcUS BE (B), US CA (T), US SFsc (S,5). 1611 INDIA, Sigismondo d'. Libro secondo de madrigali a cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr. I25. GB Lbl (B), GB OchI Rc (S,B,5)US SFsc (5). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:95), and in the court library of Innsbruck in 1665 (Waldner, "Zwei Inventorien," 142).

1611 MECHI, Giovanni Battista. Motecta quinque et octo vocum . . .liber primus.Venezia, Angelo Gardano & fratres. 4° upr.  

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M1690. D Mbs (compl.; I: S,A,T,B,5; II: S,A,B,bc)GB LblI Bc, I Bsp. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:103). 1611 MERULO, Claudio. Terzo libro de canzoni d'intavolatura d'organo . . .a cinque voci fatte alla francese, et date in luce da Giacinto Merulo suo nepote.Venezia, Angelo Gardano ['& fratelli' apparently not found on the tp.?]. Folio. 161120, M2382. F Pc. 1611 PALLAVICINO, Benedetto. Il sesto libro de madrigali a cinque voci . . .novamente ristampato.Venezia, Angelo Gardano & fratelli. 4° upr. P794. See 1600. GB OchI Bc (A,T,B), I MOe. 1611 SCHÜTZ, Heinrich. Il primo libro de madrigali [a 5] di Henrico Sagittario allemanno.Venezia, Angelo Gardano & fratelli. 4° upr. S2272. D Kl, D W. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:94). 1611 TRABACI, Giovanni Maria. Il secondo libro de madrigali a cinque voci.Venezia, Angelo Gardano & fratelli. 4° upr. T1061. D MÜs. 1611 VALENTINI, Giovanni (I). Motecta IIII. V. & VI. vocum . . .liber primus.Venezia, Angelo Gardano & fratelli. 4° upr. V87. US SFsc (5). 1611 VILLANI, Gasparo. Ad deum . . .ad Deiparamque Virginem, in Sereniss. Alex. Farnesii II . . .natali die . . .gratiarum actiones, viginti vocibus concinendae, liber quartus [Missa, Hymnus, Domine ad adiuvandum, Magnificat, Te deum].Venezia, apud Angelum Gardanum & fratres. 4° upr. V1556. GB Lbl (A I,S II,T IV)I Bc (compl.; I: S,A,T,B; II: S,A,T,B; III: S,A,T,B; IV: S,A,T,B; V: S,A,T,B; bc; in Martini's coll. by 1746see Martini, Carteggio, 148)PL WRu (I: T,B; II: S,A,T; III: S,T,bc).An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:484), and in the court library of Innsbruck in 1665

(Waldner, "Zwei Inventorien," 139). 1611 VILLANI, Gasparo. Psalmi omnes, qui per annum ad Vesperas decantari consueverunt . . .octo vocibus, liber quintus.Venezia, Angelo Gardano & fratelli. 4° upr.  

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V1554. D Mbs (compl.; I: S,A,T,B; II: S,A,T,B; bc)GB Lbl (A I,S II)I PCd (lacks bc). [S.D. BARTEI, Girolamo. Libro dei madrigali a 6 voci.Venezia, Angelo Gardano. B1067. I PS (B[inc.]). This fragment is identical to the contents of B1059, Il primo libro di madrigali a cinque voci.Venezia, Amadino, 1592. A RISM error. See Vogel et al., Bibliografia 252] [S.D. ORLANDI, Sante. Madrigali a 5, libro 2. No place, no publisher given. O109. I PS (B, pp. 7-14). Book III was published by Angelo Gardano in 1605. Vogel et al., Bibliografia 2059 identifies it as Orlandi's Libro quarto de madrigali a cinque voci.] [S.D. ANONYMOUS. Magnificas. Recolhidas por Angelum Gardanum, a 4 (Sampaio, Livraria, 2:490)] [S.D. ANONYMOUS. Outras oit to Magnificas. Que comessaô por & exult. Pello mesmo (i.e. Angelum Gardanum), a 4 (Sampaio, Livraria, 2:490)] [S.D. TROMBONCINO, Bartolomeo. Intabolatura da cantar in liuto (Draud, Biblioteca, 1613, gives no indication of the publication's title but clearly names "Bartolom."; Gardano, Indice, 8v, failed to give a Christian name but indicated the publication's title as cited here; H. M. Brown, Instrumental Music, 299, suggested the unlikely possibility that Ippolito Tromboncino was intended). 1611 (Magni) 1611 BIANCHI, Andrea. Vespertina omnium solemnitatum iuxta rictum S.R.E., quinque vocum, cum basso ad organum.Venezia, erede di Angelo Gardano. 4° upr. B2498. D Rp (A,T,B,5)I Ls (S,A,T,B,5; Sartori, "Biblioteca del Seminario," 137, adds "org."), I PS [inc.]. 1611 BIANCHI, Andrea. Bassus ad organum psalmorum omnium solemnitatum quinque vocum.Venezia, erede di Angelo Gardano. 4° upr. B2499. I Bc. 1611 FILAGO, Carlo. [Motecta Caroli Philagij, lib. I, a 1.2.3. & 4.v].Venezia, erede di Angelo Gardano. 4° upr. F728. I CEc (S[lacks tp.]). 1611 TOMASI, Biagio. Il primo libro de madrigali a cinque voci, con la parte grave accomodata per il clavicembalo, spinetta, et altro simile instromento.Venezia, erede di Angelo Gardano. 4° upr.  

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T919. I Bc (S,A,5). Israël, Gymnasial BibliothekD F (compl.: S,A,T,B,bc). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livraria, 2:126). 1611 TOMASI, Biagio. Il primo libro de sacri fiori ad una, due, tre, & quattro voci con la parte grave.Venezia, erede di Angelo Gardano. 4° upr. T918.  

D F (compl.: S,A,T,B,bc).

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APPENDIX I.B PRELIMINARY CHECKLIST OF THE PUBLICATIONS BY ALESSANDRO GARDANO (15771591) Alessandro Gardano, after departing the family firm in 1575, published more non-musical than musical publications, as can be seen in the following appendix. The entries for the musical editions published by Alessandro have been compiled with the same criteria as for Appendix I.A. However, since many of the libraries now holding his non-musical publications have no RISM sigla, and since it was thought that other styles of library sigla for current locations of these books might not be familiar to musicologists, the reader is directed instead to the literature cited in each non-musical entry. Alessandro, when working at the behest of another on a non-musical book, often placed his name only in a colophon at the very back of the edition. Unfortunately, many library catalogues give only the title page information, and not that found in the colophon. 1 Only with a thorough study of the output of all the collaborators of Alessandro Gardano, including Basa, Berrichia, Coattino, Donangeli, and Torneri, will the full extent of his nonmusical publications be knownconsequently the heading for this appendix, "Preliminary Checklist of the Publications by Alessandro Gardano." Doubtless even more of the non-musical editions on which Alessandro collaborated in Rome will come to light as a result of the publication of new and more accurate library catalogues as well as additional volumes in the series Istituto Centrale, Edizioni.  

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Preliminary Checklist of the Publications by Alessandro Gardano (15771591) 157778 1577CARO, Joseph Ben Ephraim. Schulhan arukh [4 vols.].Venezia, A. 1578 Gardoni [sic]. 12° upr. [Amram, Makers of Hebrew Books, 87, Busi, Edizioni, 92, and Steinscheider, Catalogus, 2:c.3081, give as 1577-78; British Library, Short-Title Catalogue, 151; Short-Title Catalogue of Books, 1:359]. 1578 FALLOPPIO, Gabriele. Secreti diversi, et miracolosi . . .novamente ristampati.Venezia, Alessandro Gardano. 8° upr. [Adams, Catalogue, 1:424; Hallett Dale, Wellcome, 114; Moranti, Cinquecentine, 2:601; Short-Title Catalogue of Books, 1:580; U. S. National Library of Medicine, Catalogue, 176]. 1578 JEWS. [German rite. Daily prayers, with directions in Judeo-German].Venezia, A(lessandro) Gardano. 8° upr. [Hebrew Union College, Dictionary, 16:157; Short-Title Catalogue of Books, 2:185)]. 1579 1579 GORZANIS, Giacomo. Opera nova de lauto . . .messa in luce da suo figliolo Massimiliano, libro quarto.Venezia, Alessandro Gardano. 4° obl. G3037, H. M. Brown, Instrumental Music, [15791]. The H. M. Brown, Instrumental Music [156?3] dating is in error, since Alessandro Gardano did not begin to publish under his own name until after 1575. A WnI Bc, I TSsc (tp. cut). The A Wn copy lacks a tp., but likely all three of these exs. represent the same edition. 1580 1580 ALESSIO Piemontese. De'secreti parte prima [-terza] Di nuovo riveduta, corretta, & ampliata in più luoghi. Con la tavola.Venezia, Alessandro Gardano. 8° upr. [Short-Title Catalogue of Books, 1:36; U. S. National Library of Medicine, Catalogue, 14]. 1580 AMPHIAREO, Vespasiano. Opera nella quale s'insegna scriuere varie sorti di lettere.Venezia, Alessandro Gardano. 4° obl. [obl. is correct.]  

[Istituto Centrale, Edizioni, 1:122; Istituto Centrale, Edizioni (2nd ed.), 1:128].

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1580 CAVACCIO, Giovanni. Missae quinque et septem vocum.Venezia, Alessandro Gardano. 4° obl. C1546. I Mc (S,A,T,B,5). 1580 COLIN, Pierre. Messe . . .a quattro voci novamente ristampate & correte.Venezia, Alessandro Gardano. 4° obl. C3317. See 1556 (Du Chemin?). GB Lbl (B). An ex. was prob. in the Roman Archconfraternity of San Rocco by 1581 (O'Regan, ''Music at the Roman Archconfraternity," 550). 1580 COSTA, Gasparo. Canzonette . . .il primo libro a quattro voci.Venezia, Alessandro Gardano. 4° upr. C4217. I MOeS Uu. An ex. was prob. in the library of João IV of Portugal in 1649 (Sampaio, Livreria, 2:149); see also Göhler, Verzeichnis, 2:15 (L6F). 1580 MARIEN D'ARTOIS, Ambrosio. Il primo libro de madrigali a quattro voci.Venezia, Alessandro Gardano [ms. addition "1583"]. 4° obl. M632. I Vnm (lacks A). 1580 MORALES, Cristóbal de. Missarum quatuor cum quatuor vocibus (Missa Aspice Domine, Missa de Beata Virgine, Missa Vulnerasti cor meum, Missa Ave Maria).Venezia, Alessandro Gardano. 4° obl. M3591. See 1544 (Dorico). D Mbs. 1581 1581 AGOSTINI, Lodovico. L'echo, et enigmi musicali a sei voci . . .libro secondo.Venezia, Alessandro Gardano. 4° obl. 15815, A407. I Bc, I FEc (5), I MOe, I VEaf. An ex. was in the court library of Innsbruck in 1665 (Waldner, Zwei Inventarien, 142). 1581 ARCHADELT, Jacobus. Di Archadelt il primo libro de madrigali a 4 voci novamente con ogni diligentia ristampato et corretto.Venezia, Alessandro Gardano. 4° obl.

A1336. See 1538 (Antonio Gardanosee Bridges, "Publishing," 398), 1603 (Angelo Gardano).  

F Pn (formerly F Pthibaultsee Paris, Bibliothèque National, Musique anciennes, 73).

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1581 [BARGAGLI, Girolamo.] Dialogo de' giuochi che nelle vegghie sanesi si vsano di fare. Del materiale Intronato.Venezia, Alessandro Gardano. 8° upr. [Istituto Centrale, Edizioni, 2:31; Newberry Library, Dictionary, 4723; Sartori, "Dinastia," 190; Short-Title Catalogue of Books, 2:358]. 1581 CORFINI, Jacopo. Il secondo libro de motetti . . .a 5.6.7.8.X.XII. voci.Venezia, Alessandro Gardano. 4° upr. C3932. I Bc (compl.: S,A,T,B,5,6), I Ls. An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livreria, 2:66). 1581 MORO, Giacomo. Canzonette alla napolitana . . .il primo libro a tre voci, con uno dialogo et due canzonette a quattro voci.Venezia, Alessandro Gardano. 4° upr. 15819, M3728. I Bc, I Vnm (S). 1581 PESCIOLINI, Biagio. Terzo libro de madrigali a sei voci.Venezia, Alessandro Gardano. 4° obl. P1537. I MOe. 1583 1583 ANONYMOUS. Il primo libro delle laude spirituali a tre voci. Stampata ad instanza delli Reverendi Padri delle Congregatione dello Oratorio [pieces ed. by F. Soto?].Roma, Alessandro Gardano. 4° upr. 15833, S3994. See 1585, 1589. GB LblI Bc, I Fr, I Rv (2 exs.). An ex. formerly in Berlin (Alaleona, Storia, 211; Eitner, Musik-Sammelwerke), but the cat. in Kraków lists only the ed. from 1585. 1583 ANONYMOUS. Il secondo libro delle laude spirituali a tre voci. Stampata ad instanza delli Reverendi Padri delle Congregatione dello Oratorio [pieces ed. by F. Soto?].Roma, Alessandro Gardano. 4° upr. 15834. See 1585, 1589. GB LblI Bc, I Fr, I Rv (2 exs.). An ex. formerly in Berlin (Alaleona, Storia, 211; Eitner, Musik-Sammelwerke), but Eitner failed to mention whether it is this ed. or that of 1585. 1583 PALESTRINA, Giovanni Pierluigi da. Mottetorum quinque vocibus liber quartus.Roma, Alessandro Gardano. [T,B:] 1583; [S,A,5:] 1584. 4° upr.

P716.  

See 1587, 1601, 1608 (all printed by Angelo Gardano).

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D B, D Rp (A,B)I Rc, I TVd (A,B,5; Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII). An ex. was in the coll. of Padre Martini in 1745 (Martini, Carteggio, 130); a compl. but def. ex. formerly in Heyer coll., Cologne (Heyer, Nachlass). [1583 SOTO, Francisco. See ANONYMOUS. Il primo (-secondo) libro delle laude spirituali.] 1583 STABILE, Annibale. Letaniae Beatae Mariae Virginis et nominis Jesu, una cum quatuor antiphonis, que post officium dicuntur . . .octo vocum.Roma, Alessandro Gardano. 4° upr. S4200. I FA (T/B). 1583 VICTORIA (VITTORIA), Tomás Luis de. Missarum libri duo quae partim quaternis, partim quinis, partim senis concinuntur vocibus.Roma, [colophon:] Alessandro Gardano (Domenico Basa). Folio. V1431. A WnB BrE GRcr (lacks tp.), E TzGB Cu (lacks tp.), GB Lbl, GB LcmI Bc, I Fd, I LT, I Mcap (d), I MOd, I NOVd, I Od, I Pc, I Rc (lacks tp.; inc.), I Rvat-giulia, I Rvat-sistina, I VIdP C (inc.)US NYhs (def.). I Rsc (Eitner, Quellen-Lexikon; Haberl, Musikkatalog des päpstlichen Kapellarchivs). An ex. was in the court library of Innsbruck in 1665 (Waldner, Zwei Inventarien, 133), and formerly in the church of St. Louis des Francais in Rome (Perkins, "Notes bibliographiques," 65; Staehelin, "San Luigi dei Francesi," 121). 1583 VICTORIA (VITTORIA), Tomás Luis de. Motecta quae partim quaternis, partim quinis, alia senis, alia octonis, alia duodenis vocibus concinuntur [with 7 new pieces].Roma, Alessandro Gardano. 4° upr. V1422. See 1572, 1603, 1604 (all printed by Angelo Gardano). CO B (S II)D Rp (S,T,7,8; A,T,B,6,7,8)E GRcr (S,A,B), E SE (A,T,B,6,7[2 exs.],8), E TZ (lacks A)F Pc (A)GB Lbl (6 partbooks)I Ls (S[inc.],A,T[inc.],B[inc.],5,6[inc.], 7,8), I Rsg, I Sac (S[inc.])US BE (lacks S; some parts def.). E Bc (Anglés, Música española, 33). 1584 1584 AZPILCUETA, Martin de. Commentarius de alienatione rerum ecclesiarum In principium, & gloss. summar. 12.q.2 et de spoliis clericorum.Romae, in officina Iacobi Tornerij, & Iacobi Bericchiae (excudebant Alexander Gardanus, & Franciscus Coattinus). 4° upr.  

[Istituto Centrale, Edizioni, 1:286; Istituto Centrale, Edizioni (2nd ed.), 1:289].

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[1584 AZPILCUETA, Martin de. Relectio cap. ita quorumdam. See 1585] 1584 GUERRERO, Francisco. Liber vesperarum.Roma, Domenico Basa ([colophon:] Alessandro Gardano). Folio. G4873. E MA, E P, E SE (inc.), E VI Ac, I Pc, I Rvat-sistina. 1584 MARENZIO, Luca. Madrigali spirituali . . .a cinque voci . . .libro primo.Roma, Alessandro Gardano. 4° upr. M525. A WnD Mbs (S,T) GB Lbl (S,T)I FA (A,B), I Ls (A,T,B), I Rsc, I Vlevi (T)PL KjS Uu. [1584 PALESTRINA, Giovanni Pierluigi da. Motettorum quinque vocibus liber quartus. See 1583.] 1584 PALESTRINA, Giovanni Pierluigi da. Motettorum quinque vocibus liber quintus.Roma, Alessandro Gardano. 4° upr. P728. See 1595 (Angelo Gardano). D MbsE TUI Bc (S), I Rc, I Rvat-sistina, I Spd, I TVd (A,B,5; Ferrarese and Gallo, Biblioteca Capitolareex. survived WWII)PL GD (lacks B; from the coll. of Georg Knoff [d.1605]see Morell, "Georg Knoff," 122)US BE (A,T,B,5, all inc.). A compl. but def. ex. formerly in Heyer coll., Cologne (Heyer, Nachlass). 1585 1585 ANERIO, Felice. Madrigali spirituali . . .a cinque voci . . .libro primo. Roma, Alessandro Gardano. 4° upr. A1083. A Wn (lacks 5)I Rsc. An ex. was in the court library of Innsbruck in 1665 (Waldner, Zwei Inventarien, 142). 1585 ANERIO, Felice. Madrigali . . .a cinque voci . . .secondo libro.Roma, Alessandro Gardano. 4° upr. A1084. S Skma (B)US Wc. 1585 ANONYMOUS. Canzonette spirituali de diversi a tre voci. Libro primo.Roma, Alessandro Gardano. 8° upr. 15857. See 1588. D MbsI Bc (S). An ex. was in the court library of Innsbruck in 1665 (Waldner, Zwei Inventarien, 141). 1585 ANONYMOUS. Il primo libro delle laudi spirituali a tre voci. Stampata ad instanza delli Reverendi Padri della Congregatione del Oratorio [pieces ed. by F. Soto?].Roma, Alessandro Gardano. 4° upr.

 

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15859. See 1583, 1589. A WnI Bc, I Fn, I Mb, I Rli, I RscPL Kj. 1585 ANONYMOUS. Il secondo libro delle laudi spirituali a tre et 4. voci. Stampato ad instanza delli Reverendi Padri della Congregatione dell'Oratorio [pieces ed. by F. Soto?].Roma, Alessandro Gardano. 4° upr. 158510. See 1583, 1589. A WnI Bc, I Fn, I Mb, I Rli, I Rsc. An ex. formerly in Berlin (Eitner, Musik-Sammelwerke), but Eitner failed to distinguish between this ed. and that of 1583. 1585 AZPILCUETA, Martin de. Commentarius de anno Iobelaeo, et indulgentiis omnibus in ff. in Leuitico.Romae, ex officina Iacobi Tornerij, & Iacobi Bericchiae (excudebant Alexander Gardanus et Franciscus Coattinus). 4° upr. [Istituto Centrale, Edizioni, 1:288; Istituto Centrale, Edizioni (2nd ed.), 1:290; Moranti, Cinquecentine, 1:159]. 1585 AZPILCUETA, Martin de. Operum. Tomus secundus [pt. 2].Romae, ex typographia Iacobi Tornerij, excudebant Alexander Gardanus, & Franciscus Coattinus. 4° upr. [Adams, Catalogue, 1:86; Istituto Centrale, Edizioni, 1:289 (unclear reference); Istituto Centrale, Edizioni (2nd ed.), 1:291, indicates 8° upr.; Moranti, Cinquecentine, 1:158; see also 1586, below]. 1585 AZPILCUETA, Martin de. Relectio cap. Ita quorundam de Iudaeis, in qua de rebus ad Sarracenos deferri prohibitis, & censuris ob id latis, non segniter disputantur.Romae, ex officina Iacobi Tornerii & Iacobi Berichiae (excudebant Alexander Gardanus, & Franciscus Coattinus). 4° upr. [Index Aureliensis, Catalogus, 2:522; Istituto Centrale, Edizioni, 1:287 (gave as 1584, but this entry cancelled in Istituto Centrale, Edizioni {2nd ed.}, 1:365); Istituto Centrale, Edizioni {2nd ed.}, 1:290; Moranti, Cinquecentine, 1:168]. 1585 AZPILCUETA, Martin de. Relectio non modo tenebrosi, sed et tenebricosi cap. Accepta, de restit. spoliat. composita, et pronunciata, anno 1547.Romae, ex officina Iacobi Tornerij, & Iacobi Berichiae (excudebant Alexander Gardanus & Franciscus Coattinus). 4° upr. [Istituto Centrale, Edizioni, 1:288; Istituto Centrale, Edizioni (2nd ed.), 1:290]. 1585 AZPILCUETA, Martin de. Relectiones duae in cap. Si quando. et in cap. Cum contigat. de rescriptis.Romae, ex officina Iacobi Tornerij, & Iacobi Berichiae (excudebant Alexander Gardanus, & Franciscus Coattinus). 4° upr.  

[Istituto Centrale, Edizioni, 1:288; Istituto Centrale, Edizioni (2nd ed.), 1:291].

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1585 BELLARMINO, Robert. Institutiones linguae hebraicae.Romae, ex officina D. Basae, apud A. Gardanum, & F. Coattinum. 8° upr. [Ascarelli, Cinquecentine, 247; Busi, Edizioni, 47; Moranti, Cinquecentine, 3:1185; New York Public Library, Imprint, 263; Short-Title Catalogue of Books, 3:30]. 1585 BENI, Iacopo. De priuilegiis I. Consultorum liber.Romae, ex typographia Iacobi Tornerij & Iacobi Birichiae (excudeba[n]t Alexander Gardanus & Franciscus Coattinus). 4° upr. [Adams, Catalogue, 1:112; Istituto Centrale, Edizioni, 2:116]. 1585 BENI, Iacopo. De privilegiis I. consultorum liber.Romae, ex typographia Iacobi Tornerij, et Ascanio Donangeli (excudebant Alexander Gardanus, et Franciscus Coattinus). 4° upr. [Istituto Centrale, Edizioni, 2:116]. 1585 GIOVANNELLI, Ruggiero. Gli sdruccioli . . .il primo libro de madrigali a quattro voci.Roma, Alessandro Gardano. 4° upr. G2452. See 1589, 1598 (both Angelo Gardano). I Rc (S). 1585 GUERRERO, Francisco. Passio secundum Matthaeum et Joannem more hispano.Roma, Alessandro Gardano. Folio. G4874. I LT, I Rvat[-sistina?]. 1585 MARENZIO, Luca. Madrigali a quattro voci . . .libro primo.Roma, Alessandro Gardano. 4° upr. M578. See 1592, 1603 (both Angelo Gardano). A WnI FA (T), I Nc (compl.: S,A,T,B; 2nd ex. S,T,B). 1585 MARENZIO, Luca. Motecta festorum totius anni, cum Communi Sanctorum, quaternis vocibus . . .liber primus.Roma, Alessandro Gardano. 4° upr. M494. See 1606 (Angelo Gardano). I Rsc (A)PL Kj (S,T,B)US NYp (the compl. ex. acquired through auction at Berlin in 1929? See Wolffheim, Versteigerung, 2:388). 1585

MARENZIO, Luca. Il terzo libro delle villanelle a tre voci compose . . .nel modo che hoggidi si usa cantare in Roma; raccolte da Christoforo Ferrari.Roma, Alessandro Gardano. 8° upr. M599. See 1600 (Angelo Gardano). A WnGB Lbl (S)I Bc (B). 1585 PALESTRINA, Giovanni Pierluigi da. Motecta festorum totius anni cum Communi sanctorum quaternis vocibus . . .liber primus.Roma, Alessandro Gardano. Format unknown.  

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No RISM number. Eitner, Quellen-Lexikon; Iain Fenlon has seen an ex. in I Ac (A only; personal correspondence). 1585 PEREIRA, Benito. De Communibus omnium rerum naturalium principijs & affectionibus libri quindecim.Romae, Ex Officina Iacobi Tornerij, & Iacobi Biricchiae. 4° upr. [Moranti, Cinquecentine, 2:1038]. [1585 SOTO, Francisco. See ANONYMOUS. Il primo (-secondo) libro delle laudi spirituali.] 1585 VAZ MOTTA, João. Oratio habita . . .1585 quum incipere explicare lib. Paradoxarum Marci Tulli.Romae, tip. Alex. Gardanus et Fr. Coattinus. 4° upr. [Ascarelli, Cinquecentine, 294]. 1585 VICTORIA (VITTORIA), Tomás Luis de. Motecta festorum totius anni cum Communi sanctorum, quae partim senis, partim quinis, partim quaternis, alia octonis vocibus concinuntur [with motets by Guerrero and Soriano].Roma, [colophon:] Alessandro Gardano (Domenico Basa). Folio. 15856, V1433. E BA (lacks tp.; inc.), E C (lacks tp.), E Tc (lacks tp.), E TZ (inc.), E VAc, E VAcp (lacks tp.)GB Och (inc.)I Fd, I LT, I Mc, I NOVd, I NV, I Rc, I Rvat-giulia, I Rvat-sistina, I REsp, I VcP C (2 exs.)US NYhs. 1585 VICTORIA (VITTORIA), Tomás Luis de. Officium hebdomadae sanctae.Roma, [colophon:] Alessandro Gardano (Domenico Basa). Folio. V1432. D Rp (lacks tp.)E TzGB Lbl (lacks tp.)I LT (lacks tp.), I MOd (lacks tp.), I Rc, I Rsc, I Rvat-giulia, I Rvatsistina, I REm (lacks tp.), I REsp (lacks tp.), I Td (lacks tp.), I VId. A def. ex. formerly in Heyer coll., Cologne (Heyer, Nachlass). 1585 VITI, Niccolò. Discorsi d'intorno a tumori ed ossi frontespiziali.Roma, Alessandro Gardano, & Francesco Coattini compagni. 4° upr. [British Library, Short-Title Catalogue, 734; Hallett Dale, Wellcome, 351; Short-Title Catalogue of Books, 3:399; U. S. National Library of Medicine, Catalogue, 598]. 1586 1586 AZPILCUETA, Martin de. Commentaria in septem distinctiones de paenitentia.Romae, apud Iacobum Tornerium (excudebant Alexander Gardanus, & Franciscus Coattinus socij). 4° upr.  

[Istituto Centrale, Edizioni, 1:288; Istituto Centrale, Edizioni (2nd ed.), 1:291].

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1586 AZPILCUETA, Martin de. Enchiridion, siue Manuale de oratione, et horis canonicis.Romae, ex officina Iacobi Tornerij et Iacobi Berichiae (excudebant Alexander Gardanus, et Franciscus Coattinus). 4° upr. [Istituto Centrale, Edizioni, 1:288; Istituto Centrale, Edizioni (2nd ed.), 1:291]. 1586 AZPILCUETA, Martin de. Miscellanea centum de oratione; Praesertim de Psalterio, & Rosario virginis matris Mariae: & de institutione recta oratorum, & actis quibusdam eorum, & de pertinentibus ad illa.Romae, ex officina Iacobi Tornerij, & Iacobi Biricchiae (excudebant Alexander Gardanus & Franciscus Coattinus). 4° upr. [Istituto Centrale, Edizioni, 1:288-9; Istituto Centrale, Edizioni (2nd ed.), 1:291; Moranti, Cinquecentine, 1:168]. 1586 AZPILCUETA, Martin de. Operum. Tomus secundus [pt. 1].Romae, ex typographia Iacobi Tornerij, excudebant Alexander Gardanus, & Franciscus Coattinus, 1585-86. 4° upr. [Adams, Catalogue, 1:86; Istituto Centrale, Edizioni, 1:289 (unclear reference; see 1585); Istituto Centrale, Edizioni (2nd ed.), 1:291; Moranti, Cinquecentine, 1:158]. 1586 ESTÈVE, José. Ad Sixtum quintum pont. max. Philippi II nomine obedientiam praestante Ioanne Fernandez de Velasco oratio habita.Romae, apud A. Gardanum & F. Coattinum. 4° upr. [Ascarelli, Cinquecentine, 99; British Library, Short-Title Catalogue, 237]. 1586 ESTÈVE, José. De potestate coactiua quam Romanus Pontifex exercet in negotia saecularia Liber primus.Romae, ex. typog. Iacobi Tornerij, & Bernardini Donangeli (excud. Alexander Gardanus, & Franciscus Coattinus). 4° upr. [Adams, Catalogue, 1:410]. 1586 G., P. Familiaris quaedam epistola e Roma missa, in qua quid actum sit in translatione obelisci explicatur.Romae, apud A. Gardanum & F. Coattinum, impensis B. Grassi. 4° upr. [Ascarelli, Cinquecentine, 101-2; British Library, Short-Title Catalogue, 283]. 1586 GUIDETTO, Giovanni Domenico. Verba evangelistae. [Verba Christi. Verba turbarum.] Cantus ecclesiasticus passionis domini nostri Jesu Christi secundum Mattheum, Marcum, Lucam, et Joannem . . .a Joanne Guidetto bononiensi . . .in tres libris divisus. Liber primus.Roma, Alexandrum Gardanum. Folio. Crawford and Borders, Renaissance Liturgical Imprints: 2749.

 

B BrD LrF PcI Bc, I FZd, I MAc? (Fenlon, Music and Patronage, 1:206, mentioned a copy in Mantua; in personal correspondence, Fenlon placed it in the Archivio di Santa Barbara, now in the Archivio Storico Diocesano, Mantua), I RvatUS PHu, US PRu, US UI (inc.). See Heussner and Schultz, Collectio Musica, 75, #541.

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1586 LUIZ DE SAO FRANCISCO. Globus canonum, et arcanorum linguae sanctae.Roma, Alessandro Gardano and Francesco Coattino, for Bartolomeo Grassi. 4° upr. [Adams, Catalogue, 2:176; British Library, Short-Title Catalogue, 397; Harvard College Library, Catalogue, 1:382-3]. 1586 MACQUE, Giovanni de. Ricercate et canzoni francese a quattro voci . . .novamente composte et dati in luce.Roma, Alessandro Gardano. Format unknown. No RISM or Vogel et al., Bibliografia numbers. T said to have existed in the Graglia coll. in Cuneo (Torino)see Lippmann, "Giovanni de Macque," 243; Sartori, "Biblioteche italiane," 157; Sartori, "Madrigali del Passerini," 185-6. 1586 OTTINELLUS, Caesar. De curanda porrigine.Romae, apud A. Gardanum & F. Coattinum. 8° upr. [Adams, Catalogue, 2:31; Ascarelli, Cinquecentine, 185; British Library, Short-Title Catalogue, 479]. 1586 OTTINELLUS, Caesar. De fundo, dotali consilium.Romae, apud A. Gardanum & F. Coattinum. 8° upr. [Adams, Catalogue, 2: 31; Ascarelli, Cinquecentine, 185; British Library, Short-Title Catalogue, 479]. 1586 OTTINELLUS, Caesar. De reditibus. ecclesiae. post translationem percipiendis.Romae, apud A. Gardanum & F. Coattinum. 8° upr. [Adams, Catalogue, 2:31; Ascarelli, Cinquecentine, 185; British Library, Short-Title Catalogue, 479; Moranti, Cinquecentine, 2:977]. 1586 OTTINELLUS, Caesar. De retinenda, indemnitate consilium.Romae, apud A. Gardanum & F. Coattinum. 8° upr. [Adams, Catalogue, 2:31; Ascarelli, Cinquecentine, 185; British Library, Short-Title Catalogue, 479]. 1586 OTTINELLUS, Caesar. Paradoxum. Ad L. haereditatum, ff. ad l. Falcidiam.Romae, apud A. Gardanum & F. Coattinum. 8° upr. [Adams, Catalogue, 2:31; Ascarelli, Cinquecentine, 186; British Library, Short-Title Catalogue, 479]. 1586 OTTINELLUS, Caesar. Si familia. furtum. fecisse. dicatur. consilium.Romae, apud A. Gardanum & F. Coattinum. 8° upr. [Adams, Catalogue 2:32; Ascarelli, Cinquencentine, 186; British Library, Short-Title Catalogue, 479]. 1586 PARIGIOLI, Lorenzo. Trattato della mutazione dell'aria.Roma, Aless. Gardano e Fr. Coattino. 8° upr. [Ascarelli, Cinquecentine, 190]. 1586 SALVIANI, Sallustio. De calore naturali acquisititio [sic], et febrili libri duo.Romae, ex typographia Jacobi

Tornerij, & Bernardini Donangeli. [Colophon:] Romae, excudebant Alexander Gardanus, & Franciscus Coattinus. 8° upr.  

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[Adams, Catalogue, 2:174; British Library, Short-Title Catalogue, 600; Hallett Dale, Wellcome, 304; U. S. National Library of Medicine, Catalogue, 522]. 1586 SEGUIN (DE), Sebastien. Apud SS. Sixtum V P.M. Legati Oratio habita idibus Januarii MDLXXXVI.Roma, Ales. Gardano e Fr. Coattino. 8° upr. [Ascarelli, Cinquecentine, 257]. 1587 1587 ANONYMOUS. Canon missae cum praefationibus et aliis nonnullis quae in ea fere communiter dicuntur.Romae, ex typographia Iacobi Tornerij (excudebant Alexander Gardanus, et Franciscus Coattinus socij). Folio. [Adams, Catalogue, 1:656; Istituto Centrale, Edizioni, 3:281]. 1587 ANONYMOUS. Cantus ecclesiasticus officii maioris hebdomadae Iuxta ritum Capellae Sanctissimi Domini nostri Papae ac Basilicae Vaticana collectus, & emendatus, a Ioanne Guidetto bononiensi eiusdem Basilicae perpetuo Clerico Beneficiato nunc primum in lucem editus.Roma ex typographia Iacobi Tornerij . . .Alexander Gardanus, & Franciscus Coattinus socij. Folio. F PcGB LblI Bc, I Bsf, I RvatPL KjS HsUS Cn. 1587 ANONYMOUS. Compendium privilegiorum Congregationis Regularis observantiae S. Bernardi Cister.Romae, tip. Alexander Gardanus. 8° upr. [Ascarelli, Cinquecentine, 75]. 1587 ANONYMOUS. Missale fratrum Carmelitarum Ordinis beatae Dei genitricis Mariae.Romae, ex typographia Iacobi Tornerij (excudebant Alexander Gardanus, & Franciscus Coattinus). Folio. [Istituto Centrale, Edizioni, 3:123]. 1587 CAGNATI, Marsilio. Variorum obseruationum libri quatuor. Quorum duo posteriores nunc primum accessere. Ejusdem disputatio de ordine in cibis seruando.Romae, apud Bernardinum Donangelum. [Part II has a separate tp.:] Disputatio de ordine in cibis seruando.Romae, apud Alexandrum Gardanum, & Franciscum Coattinum. 8° upr. [British Library, Short-Title Catalogue, 136; Istituto Centrale, Edizioni, 3:21; Moranti, Cinquecentine, 1:316-7; Short-title Catalogue of Books, 1:324; U. S. National Library of Medicine, Catalogue, 97]. 1587 CATENA, Giovanni Girolamo. Vita del gloriosissimo papa Pio quinto. Con vna raccolta di lettere di Pio V a diuersi principi, & le risposte.Roma, Alessandro Gardano et Francesco Coattino. 8° upr.

 

[Adams, Catalogue, 1:255; Ascarelli, Cinquecentine, 55; British Library, Short-Title Catalogue, 158; Istituto Centrale, Edizioni, 3:173; Laurentini, Incunaboli e cinquecentine, 122; Scotta and Thellung, Cinquecentine, 82; Short-Title Catalogue of Books, 1:380].

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1587 CATULLUS, Gaius Valerius. Catulli poematum liber unus. Tibulli libri quatuor. Propertij libri quatuor. Horatij libri quatuor.[Romae], apud Alexandrum Gardanum, & Franciscum Coattinum. 16° upr. [Adams, Catalogue, 1:258; Istituto Centrale, Edizioni, 3:183]. 1587 CAVALIERI, Giovanni Battista. Triumphum martyrum.Roma, [Alessandro] Gardano e Coattino. Format unknown. [Ascarelli, Cinquecentine, 57]. 1587 CICERO, Marcus Tullius. De officiis. Cato maior, vel De senectute. Laelius, vel De amicitia. Paradoxa . . .Fuluii Ursini in hunc tomum scholia.Romae, apud Alexandrum Gardanum, et Franciscum Coattinum socios. 8° upr. [Istituto Centrale, Edizioni, 4:41]. 1587 GIOVANNINI, Angelo. Gravissimorum et Praestantissimorum auctorum sententiae.Romae, Ex Typographia Iacobi Tornerij. [Colophon: Apud Alexandrum Gardanum & Franciscum Coattinum.] 12° upr. [Ascarelli, Cinquecentine, 117; Scotta and Thellung, Cinquecentine, 147]. 1587 GRASSIS, Paris de. De caeremoniis Cardinalium & Episcoporum in eorum Dioecesibus libri duo.Romae, apud Bernardinum Donangelum, excud. Alexander Gardanus, & Franciscus Coattinus, socij. 8° upr. [Adams, Catalogue, 1:500]. [1587 GUIDETTI, Giovanni Domenico. See ANONYMOUS. Cantus ecclesiasticus.] 1587 LANCELLOTUS, Joannes Paulus. Institutiones iuris canonici quibvs ivs pontificivm singvlari methodo libris qvatvor comprehenditur.Romae, ex tipographia Bernardini Donangeli, 1587 (colophon: excudebant Alexander Gardanus, et Franciscus Coattinus socii). 8° upr. [National Union Catalogue, 313:587, and the Harvard on-line catalogue (HOLLIS), give only Donangeli; colophon kindly confirmed through personal communication with David Warrington, Harvard Law School Library, Special Collections Librarian]. 1587 LUMBARDI, Giovanni Battista. Canticorum Beatae Mariae virginis, liber primus, quatuor vocibus.Roma, Alessandro Gardano. 4° [upr. or obl.? The library did not respond to three separate inquiries on the edition's format]. L3078. I VCd (T). See Cless, Unius seculi, 399. 1587 MINADOI, Tommaso. Historia della guerra fra turchi, et persiani, descritta.Roma, nella stamperia di Iacomo Tornerio, & Bernardino Donangeli ( . . .apresso Alessandro Gardano, & Francisco Coattino compagni). 4° upr.

 

[Coles and Heath, Book Auction Records, 92:445; New York Public Library, Imprint, 264; Shaaber, SixteenthCentury Imprints, 357; Valli, Catalogo, 360-1].

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1587 PEREGRINUS, Leelius. Oratio de utilitate moralis philosophiae.Romae, apud A. Gardanum & F. Coattinum socios. 4° upr. [Ascarelli, Cinquecentine, 199-200; Bruni and Evans, Italian Seventeenth Century Books, 43, 233; Short-Title Catalogue of Books, 2:542]. 1587 SALVIANI, Sallustio. De urinarum differentiis causis et judiciis libri duo.Romae, ex typographia Jacobi Tornerii, & Bernardini Donangeli. [Colophon:] Romae, excudebant Alexander Gardanus, & Franciscus Coattinus Socii. 8° upr. [Adams, Catalogue, 2:174; British Library, Short-Title Catalogue, 600; Hallett Dale, Wellcome, 304; Moranti, Cinquecentine, 3:1215-6; U. S. National Library of Medicine, Catalogue, 522]. 1587 TOMMASI, Francesco. Tractatus de peste.Romae, ex typographia I. Tornerij & B. Donangeli; A. Gardanus & F. Coattinus. 8° upr. [Ascarelli, Cinquecentine, 285; British Library, Short-Title Catalogue, 675]. 1587 TORNERIUS, J., ed. Poematum veterum poetarum obscenitate sublata volumen primum.Romae, ex typographia I. Tornerij; excudebant A. Gardanus & F. Coattinum. 16° upr. [Scotland National Library, Short-Title Catalogue, 292]. 1588 1588 ALAVA, Leon de. Concio habita coram . . .Sixto V. feria quarta cinerum anni MDLXXXVIII.Romae, apud Alexandrum Gardanum & Franciscum Coattinum. 4° upr. [Istituto Centrale, Edizioni, 1:46; name of entry in Istituto Centrale, Edizioni (2nd ed.) changed to Léon de Alava, Domingo, and thus should appear in the ''L" volume]. 1588 ANONYMOUS. Canzonette spirituali de diversi a tre voci novamente ristampati. Libro primo.Roma, Alessandro Gardano. 8° upr. 15885. See 1585. I Bc (B), I Rc (T). 1588 ANONYMOUS. Compendium priuilegiorum Congregationis regularis obseruantiae s. Bernardi Cistercien. ordinis Hispaniae.Romae, excudebant Alexander Gardanus, & Franciscus Coattinus socij. 8° upr. [Istituto Centrale, Edizioni, 4:156]. 1588 ANONYMOUS. Il terzo libro delle laudi spirituali a tre e a quattro voci stampata ad instanza delli Reverendi Padri della Congregatione dell' Oratorio [pieces ed. by F. Soto?].Roma, Alessandro Gardano (Iacomo Torneri). 4° upr. 158811, S3995.

 

See 1589.

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A WnGB LblI Bc, I Rc, I Rv (3 exs.)US Cn, US Wc. Ex. formerly in Berlin (Alaleona, Storia, 212; Eitner, Musik-Sammelwerke). An ex. was apparently part of the Manhattan College Library coll. (Short-Title Catalogue of Books, 2:229) auctioned off in 1991-92, and personal correspondence with Manhattan College, Christie's International, and Christie's South Kensington, Ltd., has revealed no trace of its present owner. 1588 AZPILCUETA, Martin de. Commentarius de datis, & promissis pro iustitia, vel gratia obtinendis, in extravagantem.Romae, ex typographia Iacobi Tornerij (excudebant Alexander Gardanus, & Franciscus Coattinus socij). 4° upr. [Istituto Centrale, Edizioni, 1:289; Istituto Centrale, Edizioni (2nd ed.) 1:291]. 1588 AZPILCUETA, Martin de. Commentarius de usuris resolutorius aliquot dubiorum manualis confessar.Romae, ex typographia Iacobi Tornerii (excudebant Alexander Gardanus & Franciscus Coattinus). 4° upr. [Istituto Centrale, Edizioni, 1:289; Istituto Centrale, Edizioni (2nd ed.), 1:291]. 1588 AZPILCUETA, Martin de. Enchiridion, siue Manuale confessariorum, et poenitentium . . .Quarto ab eodem . . .recognitum.Romae, ex thypographia Iacobi Tornerij (excudebant Alexander Gardanus, & Franciscus Coattinus]. 4° upr. [Adams, Catalogue, 1:86; Istituto Centrale, Edizioni, 1:289; Istituto Centrale, Edizioni (2nd ed.), 1:291]. 1588 CLAVIJO (CLABIXI), Bernardo. Motecta ad canendum tam cum quattuor, quinque, sex, & octo vocibus, quam cum instrumentis composita.Roma, Alessandro Gardano. 4° upr. C2641. D Rp (B)E V (compl.: S,A,T,B,5,6). 1588 GIOVANNELLI, Ruggiero. Il primo libro delle villanelle et arie alla napolitana, a tre voci.Roma, Alessandro Gardano. 8° upr. G2466. See 1600 (Angelo Gardano). F Pmeyer (B)GB Lbl (S[inc.])I Fc (A). Either this ed. or that published by Angelo Gardano in 1600 was mentioned in a letter by Chiti to Martini in 1747 (see Martini, Carteggio, 259). 1588 GUIDETTO, Giovanni Domenico. Praefationes in cantu firmo, iuxta ritum sanctae romanae ecclesiae . . .editae a Ioanne Guidetto bononiensi.Roma, Jacobi Torneri (colophon: Romae, excudebant Alexander Gardanus, et Franciscus Coattinus socii). Folio. F PcI Bc, I PCd. 1588 LANCELLOTUS, Joannes Paulus. Institutiones iuris canonici.Romae, Jacobi Torneri (colophon: excudebant Alexander Gardanus, et Franciscus Coattinus socii). 8°.  

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[National Union Catalogue, 313:588, and the New York Academy of Medicine on-line catalogue, give only Torneri; colophon kindly confirmed by personal communication with Edward T. Morman, New York Academy of Medicine Library, Rare Book Room Librarian]. 1588 MEDINA, Bartholomé de. Breve instruttione de' confessori: come si debba amministrare il Sacramento della Penitentia. Divisa in due libri. Tr. P. Gonzales.Roma, A. Gardano & F. Coattini. 16° upr. [Ascarelli, Cinquecentine, 170; Moranti, Cinquecentine, 2:892; New York Public Library, Imprint, 265; ShortTitle Catalogue of Books, 2:370]. 1588 PALESTRINA, Giovanni Pierluigi da. Lamentationum hieremiae prophetae, liber primus.Roma, Alessandro Gardano. 4° upr. P742. D Rp (compl.: S,A,T,B)GB Lbl (B). An ex. was in Berlin (Eitner, Quellen-Lexikon, but not in PL Kj nor E. Berlin catalogues). See Göhler, Verzeichnis, 1:34 (P89Vprob. this ed. intended); see also Heussner and Schultz, Collectio Musica, 105, #813. 1588 QUAGLIATI, Paolo. Canzonette . . .a tre voci per sonare et cantar . . .libro primo.Roma, Alessandro Gardano. 8° upr. Q3. A WnGB Lbl (S)I Rc (A). 1588 QUAGLIATI, Paolo. Canzonette . . .a tre voci per sonare et cantar . . .libro secondo.Roma, Alessandro Gardano. 8° upr. 158826, Q4. A WnGB Lbl (S)I Rc (A). 1588 SALVIANI, Sallustio. Variarum lectionum de re medica libri tres.Romae, ex Typographia Jacobi Tornerij, & Bernardini Donangeli. [Colophon:] Romae, Excudebant Alexander Gardanus, & Franciscus Coattinus Socii. 8° upr. [Adams, Catalogue, 2:174; Ascarelli, Cinquecentine, 252; British Library, Short-Title Catalogue, 600; Hallett Dale, Wellcome, 304; Moranti, Cinquecentine, 3:1216; U. S. National Library of Medicine, Catalogue, 522]. [1588 SOTO, Francisco. See ANONYMOUS. Il terzo libro delle laudi spirituali.] 1588 TORNERIUS, J., ed. Poematum veterum poetarum obscenitate sublata volumen secundum.Romae, ex typographia I. Tornerij; excudebant A. Gardanus & F. Coattinus. 16° upr. [Scotland National Library, Short-Title Catalogue, 292]. 1589 1589 ANONYMOUS. Libro delle laudi spirituali dove in uno sono compresi i tre libri già stampati e ridutta la musica a più brevità e facilità con

 

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l'accrescimento delle parole, e con l'aggiunta de molte laudi nuove, che si canteranno nel modo che dentro si mostra. Stampata ad instanza delli Reverendi Padri della Congregatione dell' Oratorio [3-4 voices].Roma, Alessandro Gardano e F. Coattino compagni (Iacomo Tornieri). 4° upr. 15892 (not in RISM, Einzeldruckesee 1588). See 1583, 1585, 1588. GB Lbl (2 exs.)I Bc, I Fc, I Rsc, I Vnm. 1589 ROSCIUS, Julius Hortinus. Emblemata sacra s. Stephani caelii montis intercolumnis affixa.Impressum Romae apud Alexandrum Gardanum & Franciscum Coattinum. 8° upr. [Ascarelli, Cinquecentine, 249; Harvard College Library, Catalogue, 1:616-7; Praz, Studies, 2:143; Scotta and Thellung, Cinquecentine, 272-3. The Harvard entry maintained that the second volume of the RosciusTempesta Triumphus martyrum was printed in Rome for Alessandro Gardano and Francesco Coattino in this year, yet it is unclear if that edition might indeed be the same as this one]. [1589 SOTO, Francisco. See ANONYMOUS.] 1591 1591 ANONYMOUS. Il quarto libro delle laudi a tre et quatro voci. Stampate ad instantia delli Reverendi Padri della Congregatione del' Oratorio [ed. by F. Soto?].Roma, Alessandro Gardano (G. Donangeli). 4° upr. 15913, S3996. B Bc, B BrGB Lbl (3 exs.)I Bc, I Nf, I Rc, I Rv. An ex. was formerly in Berlin (Alaleona, Storia, 212; Eitner, Musik-Sammelwerke); an ex. was prob. in the library of João IV of Portugal in 1649 (Sampaio, Livreria, 2:623). 1591 PACIOTTO, Pietro Paolo. Missarum liber primus, quatuor, ac quinque vocibus concinendarum.Roma, Alessandro Gardano. Folio. P39. A WnI Fd, I FA, I FEd, I Od, I Ras, I Rsc, I Rsg, I Rsm, I Rvatsistina, I Rvat-giulia, I SdPL Kj (1 vol.). 1591 PALESTRINA, Giovanni Pierluigi da. Magnificat octo tonum. Liber primus.Roma, Alessandro Gardano. 4° upr. Not in RISM, Einzeldrucke (although confused with Angelo's edition from the same year). See 1591 (Angelo Gardano). I Bc, US BE (formerly Heyer coll.see Heyer, Nachlass). An ex. was in the library of João IV of Portugal in 1649 (Sampaio, Livreria, 1:34; 2:1); Martini knew of this ed. through a ms. copy by Chiti (see Martini, Carteggio, 289). 1591 PALESTRINA, Giovanni Pierluigi da. Missarum cum quatuor, quinque, ac sex vocibus, liber primus [expanded ed.].Roma, Alessandro Gardano ("impensis Jacobi Tornerij"). 4° upr.  

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P658. See 1554 (Dorico), 1596 (Angelo Gardano). A Wn (compl.: S,A,T,B,5/6)D B (S,T), D MÜs, D Rp (S)GB Lcm (S,A)I Bc (already owned by Martini in 1747see Martini, Carteggio, 289), I MAC (S,A,5/6), I Rli, I Rsc, I Rsg, I Rvat-giulia (4 exs.), I Rvat-sistinaUS R (5/6). An ex. in ms. (!) was in the Lumley Library ca. 1596 (Jayne and Johnson, Lumley Library, 286). [1591 SOTO, Francisco. See ANONYMOUS.]  

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APPENDIX II.A ANNOTATION OF THE 1591 GARDANO BOOKLIST 1. The original text of the booklist is transcribed from the facsimile in Gardano, Canzoni francesi, taken from the original in the Bibliothèque Nationale in Paris (since the last page of the original was omitted from the facsimile, reference is made here to the other transcriptions of Gardano's IndiceThibault, "Deux catalogues," and Mischiati, Indici). The original orthography and typefaces have been preserved, with the exception of the modernization of the long s and the elimination of ligatures. All editorial annotations appear within brackets. Unless otherwise indicated, publications issued between 1569 and 1575 carry the names of "li figliuoli di Antonio Gardano" or an Italian or Latin equivalent. In those books published from 1575 until 1591, the name of "Angelo Gardano'' or its equivalent will be assumed. All other printers' names will be indicated within brackets, and unless otherwise indicated, Venice is always the city of publication. 2. RISM Einzeldrucke or Recueils imprimés numbers are given when available. Otherwise, reference will be made to H. M. Brown, Instrumental Music, Vogel et al., Bibliografia, or Vogel, Bibliothek, and Crawford and Borders, Renaissance Liturgical Imprints (RELICS); when any such reference is lacking, please see Appendix I.A. Where identification of an edition is problematic, the questionable elements in the brackets will appear in italics, and a question mark may be found before any entry in which the identification of the book may be more suspect than usual. 3. The 1591 Angelo Gardano Indice, however complete in terms of composers' names, titles, and number of voices, lacks dates of publication. Consequently, in identifying these editions, reference has always been made to the Gardano book published nearest to 1591, using this year as a terminus ante quem (might there be an exception here? On f. 7r of the list, an edition of Wert's 6th book of 5 6-voice madrigals was printed by Gardano in 1592. Postdating a publication by a year seems not to have been unusual; see Agee and Owens, "Musica Nova," passim).  

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Annotation of the 1591 Gardano Booklist INDICE, DELLI LIBRI DI MVSICA CHE SI TROVANO NELLE STAMPE Di Angelo Gardano, In Venetia. 1591. [f. 1v:] MVSICA A Due voci. A 2.

Duo di Ian Gero [1581, G1632]

A 2.

Duo di Antonio Gardano [15868]

A 2.

Duo di Orlando Lasso [1585, L957]

A 2.

Duo di Francesco Guami [1588, G4798] A Tre Voci.

A3

Madrig. di Filippo di Monte [1582, M3376]

A 3.

Madrigali di Claudio Merulo [1580, M2370]

A 3.

Madrig. di Andrea Gabrieli [1590, G70] Madrig. di Rinaldo del Mel p. 2. [?P1590, Tini, Vogel et al., Bibliografia 711bis; 21586, M2202]

A 3. A 3.

Vergine di Don Matteo Asola [1582, A2612]

A 3.

Motetti di Orlando Lasso [1579, L918]

A 3.

Motetti di Io: Maria Nanino [1586, N24]

A 3.

Motetti di Claudin [sic] Monteuerde [1582, M3443]  

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Motetti Ioannis Tollij [?1591, T911 (a 5); an ed. a 3 was published in Heidelberg in 1597 (T913)]

A 3. A 3.

Canzon Serafin Serafini [?1584, S2814 (Libro primo a 4)]

A 3.

Canzon Bernardin Draghi [1591, D3488]

A 3.

Canzon d'Isepo Bonardi [1588, B3444] Napolitane de Diuersi p. 2. 3. 4. 5. 6. [P15715; 215716; ?3157111 (Scotto); 415717; 5157020; 6157021]

A 3. A 3.

Napolit. de Diuersi Autori da Barri p. 2. [P15745; 215746]

A 3.

Villotte di Iulio Zachino [?1573, Z4 (Primo libro de madrigali a 4)] Villotte di Iacomo Gorzanis [?1571, G3036 (Secondo libro di napolitane a 3, Scotto)]

A 3. A 3.

Villotte di Thomaso Cimello [1545, C2487 (Antonio Gardano)]

A3

Villotte di Gio : Leonardo Primauera 3. [?157031, P5451 (Scotto)]

A3 &a 4. A 3.

Villotte di Gasparo Fiorino [1574, F950] Greghesche e Iustiniane di Andrea Gabrieli [1571, G65] [f. 2r:]

A 4. &a 5. a4

Messe di Gio : Palestina [sic] 4. [1582, P667] Messe di Io : Matteo Asola. a voce pari p. & 2. [P1580, A2511; 21576, A2529] Messe Octonis, a voce piena, del ditto p. 2 [P1586, A2564 (Vincenti & Amadino); 21581, A2543; there is a slight possibility that the 1574 Messe a quattro voci pari sopra li otto toni della musica . . .a voce piena . . .libro primo (A2510) may be intended here.]

a4

 

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Messa del ditto da morti [1576, A2529] Messe di Girolamo Belli [?Giulio Belli, 1586, B1745 (a 5)] Messe di Orlando Lasso [1588, L983] Messe del ditto [1591, L997] Messe di Camillo Zanotti [1588, Z75] Messe di Annibal Padoano [1573, A1248] Messe di Claudio Merulo [1573, M2357] Messe di Francesco Portinaro [?1572, P5223 (Terzo libro di motetti a 5,6,7,8)] Messe di Paulo Isnardo 2. [1581, I117] Messe di Simon Gatto [1579, G574 (a 3,5,6)]

A 4. A 4. A 4. A5 &a 6. A 5. A 5. A 5. A 5. A 5. A 5. & 6.

A 5. Messe di Georgio Cropatio & 6. [1578 (Georg Kropácz Draud, Biblioteca, 1634, gave the date as 1548; Eitner, Quellen-Lexikon, presented the date as 1578 in v: 458; no copy of such an edition is known to exist)] A 5. Messe di Iulian Cartari [1587, C1265] A 8. Messe & Motetti del Ditto [1588, C1266] A 6. Messe di Andrea Gabrieli [1572, G53] a6 Messe di Costanzo Antegnati p. 2. & 8. [P1587, A1261; 21589, A1263] a 12. Messa di Thomaso Gratiani [1587, G3701] Messe di Costanzo Porta, in foglio Real [1578, P5180]  

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Messe di Iacobo Kerle, in foglio Real [1562, K446 (Antonio Gardano)] Graduale Romano, Di Canto fermo Nouamente ri- stampato & ridotto iusto il rito del Missal Nouo. [Crawford and Borders, Renaissance Liturgical Imprints: 746] Gradual & Antiphonario de Santi, dell' ordine di S. Francesco, in Canto fermo, & foglio Real. [Crawford and Borders, Renaissance Liturglical Imprints: 2650] Officio della Sanctiss. Trinità, di Canto fermo, in foglio Real. [Crawford and Borders, Renaissance Liturglical Imprints: 8794] [f. 2v:] Opere diuerse Latine. A 4

Salmi di Adriano. [1571, W1125]

a 4

Salmi di Paolo Isnardo [1590, I112] Salmi di Hippolito Baccusio [?; a 2nd book was published by Amadino in 1594 (B30), a 3rd in Verona by Dalle Donne in the same year (B31)]

a 4 a 4

Salmi di Gio : Matteo Asola p. & 2. Choro [1582, A2533; 1583, A2539]

a 4

Falsi Bordoni del Ditto [1582, A2521/15821]

a 4

Salmi di Flauiano Rossi [1578, R2737]

a 4

Salmi Thomaso Gratiani [1587, G3702]

a 4

Salmi di Gabriele Pingirolo [1589, P2390]

a 4

Salmi di Io : Cauatio p. & 2. Choro [1585, C1549]

a 5

Salmi di Don Tiburtio Massaino [1588, M1267]

a 5

Salmi di Don Lucretio Quintiani [1589, Q114]  

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Salmi Gio : Dominico di S. Gemini [?]

a6

Salmi di Giulian Cartari [1590, C1267]

a6

Sette Salmi penitentiali, di Andrea Gabrieli [1583, G56]

a8

Salmi di Don Tiburtio Massaino [1587, M1272]

a8

Salmi di Andrea Feliciani [15909, F201]

a 4. & 5

Hymni di Gio : Palestina [sic] [?1589, P738 (a 4)]

a4

Hymni d'Hippolito Sabino a voce pari [?1575, S40 (Misse . . .que vulgo pari voce dicuntur)

a4

Magnificat di Morales, in quarto [1587, M3602]

a4

Magnificat di Morales, in foglio Real [15621, M3597 (Antonio Gardano)]

a4

Magnificat di Gio : Palestina [sic] [1591, P745]

a4

Magnificat Iacobo de Kerle [1561, K444 (Antonio Gardano)]

a4

Magnificat D. Placido Falconi, a voce pari [1588, F92]

a4

Magnificat del Duca di Mantua p. & 2. Choro [1586, AN4323] Magnificat di Io : Cauatio p. & 2. Choro [Probably first and second books intended: P1581, C1547; 21582, C1548]

a4 a4

Magnificat di Ier : Lombardi, a voce pari [1586, L364]

a 4. & a 5

Magnificat d'Orlando Lasso [1589, L993]

a6

Magnificat di Georgio Mainerio, a voce pari. [1580, M188]  

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Magnificat di Andrea Feliciani [1591, F201]

a 8 & 12.

Magnificat di D. Lucretio Quintiani [1591, Q115] [f. 3r:]

a5

Introiti di Costanzo Porta Dominicali. [1588, P5175]

a5

Introiti Festiui del Ditto. [1588, P5177]

a8

Litanie di Annibal Stabile [1583, S4200 (Alessandro Gardano, Rome)]

a8

Litanie di Io : Cauatio [1587, C1550]

a4

Passij di Gio : Matteo Asola, le Turbe [1583, A2552]

a3

Passij del Ditto, Pars Christi. [1583, A2548]

a4

Lamentationi, & Responsi, del Ditto [1584, A25534]

a4

Lamentationi di Gio : Nasco, a voce pari. [1574, N76]

a4

Lamentationi di Oratio Vecchi, a vo: pari. [1587, V1004]

a4

Lamentationi di Valerio Bona [?1590, B3428 (Litaniae, Tini, Milan)]

a4

Responsorij di Iacobo Kerle [1561, K443 (Antonio Gardano)] Responsorij di Pandolfo Zalamella [1590, Responsoria Hebdomadae Sanctae. Lost; see Pitoni, Notitia, 127] [f. 3v:] Mottetti A 4.

a4

A 4.

Mottetti di Gio : Palestina [sic] p. [1585, P693]

a4

Mott : di Costanzo Porta [1591, P5173]  

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Mott : di Claudio Merulo, a voce pari [1584, M2363]

a4

Mott : di Andrea Gabrieli [1589, G55]

a4

Mott : di Marc' Antonio Inzegneri [1586, I43]

a4

Mott : di Ludouico Balbi [1578, B737]

a4

Mott : del ditto, a voce pari [1587, B741]

a4

Mott : di Rinaldo da Montagnana [1573, R1724]

a4

Mott : di D. Ferdinando de las Infantas [1578, I37] Mott: & Salmi di Gregorio Turino, a voce pari, [1589, T1396] Mottetti A 5, & piu voci.

a4

A 5. 6. 7.

Mottetti di Gio ; Palestina [sic] p. [1590, P703]

a5

Cantica del Ditto lib. Quarto [1587, P717] mott : d'Orlando Lasso p.2.3.4.5.6.7.8. [P1586, L963; 21584, L948; 31587, L978; 41579, L919 (a 6,8); 51584, L949 (a 5,6,8); 61586, L964; 71584, L950; 81584, L951]

a 5, a 6. a6

mott di Filippo di Monte p. 2. [P1585, M3319; 21587, M3321] mott: del Ditto Sesto [1584 (lost; see Eitner, Quellen-Lexikon, 7:37, and Pitoni, Notitia, 176)]

a5 a5

mott : di Andrea Gabrieli [1584, G51]

a5

mott : del Duca di Mantua [15831, G2996]

a5

mott : di Costanzo Porta p. [1555, P5171 (Antonio Gardano)]  

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mott, del Ditto 3. [1585, P5182]

a 4. 5. 6. 7. 8

mott : del Ditto [1580, P5181]

a 4. 5. 6. 7. 8.

mott : di Oratio Vecchi [1590, V1005]

a 4. 5. 6

mott : & madrig : di Gregorio Aichinger [1590, A517]

a 5. 6. 8

mott : di Annibal Stabile p. 2. 3. [P?; 21585, S4201; 31589, S4204]

a 5. 6. 7. 8. 10. 12

mott : di Ascanio Trombetti [1589, T1277] [f. 4r:]

a5

mott : di Marc' Antonio Inzegneri p. [1576, I42]

a 6. 7. 8. 10 & 12

mott : del Ditto [1589, I47]

a5

mott : di Iachet [155317, J14]

a 5.

mott : di Iacom' Antonio Cardillo 2. [1586, C986]

a5

mott : Rinaldo del Mel 3. [15854, M2194]

a5

mott, & madrig : di Gasparo Costa [1581, C4218]

a5

mott : di Iacobo Peetrino [1591, P1141]

a5

mott : di Pandolfo Zalamella [1582, Z15]

a5

mott : di Syluio Marazzo [1581, M411]

a5

mott : di Bartolomeo Lombardo 2. [15782, L2806]  

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mott : di Costanzo Antegnati [1575, A1259]

a5

mott : di Gombert [15522, G2983 (Antonio Gardano)]

a5

mott : di Dominico Phinot [1552, P2016 (Antonio Gardano)]

a5

mott : del Conte [1547, E596 (Antonio Gardano)]

a5

mott : di Io : Pionnier. [1548, P2423 (Antonio Gardano)]

a5

mott : Io : Tollij : p: 2. [P1591, T911, 21591, T912]

a5

mott : di Francesco Corticcio [1571, C4156]

a6

mott : del Ditto [1571, C4155]

a 5. &6

mott : Io : mariae Nigri [1574, N361]

a5a 6

mott : Io : VVaningo [1590, W206] mott : di Iacobo Vaet [P1562, V26; 21562, a 5 & 6, V27 (both Antonio Gardano)] mott : di Claudio Merulo [1583, M2360]

p. a 5 & 2. a6 a6 a 5. 6. &8

mott : di Stef. Felis 2. [15852, F206] [f. 4v:] Madrigali A 4. Madrigali di Archadelt p. 2. 3. [P?15816, A1336 (Alessandro Gardano, Venice); or ?155814, A1330 (Antonio Gardano); or ?ca. 1565 (Antonio Gardano; see Bridges, "Publishing," 189ff.); 2156015, A1373; 3155622, A1378] madrig, di Verdelot [156520, V1237] madrig, di Gio : Nasco [1584, N81]  

a4

a4 a4

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madrig, del Sessa d' Aranda [1583, S2843]

a4

madrig, Ariosi de diuersi Autori [15827]

a4

madrig, di Oratio Tigrini Aretino [1573, T790]

a4

madrig, di Marc' Antonio Pordenon [158011, P5106]

a4

madrig, di Iulio Zachino [1573, Z4]

a4

madrig, di Ludouico Agustini [15724, A404]

a4

madrig, di Fra Mauro de Serui [1571, M1452]

a4

madrig, di Costanzo Antegnati [1571, A1267]

a4

madrig, di Lancilloto Fidelis [157025, F709]

a4

madrig, di Iachet Berchem [1556, B1979 (Antonio Gardano)]

a4

Capriccio del Ditto p. 2. 3. [1561, B1981 (Antonio Gardano)]

a4

madrig, di Vicenzo Ruffo 3. 1560, R3085 (Antonio Gardano)]

a4

madrig, di Francesco Biffetto [1547, B2630 (Antonio Gardano)]

a4

madrig, de L'Hoste da Reggio [1556, L2319 (Antonio Gardano)]

a4

madrig, della Fama [15487 (Antonio Gardano)]

a4

Villotte di Baldissera Donato [155815, D3410 (Antonio Gardano)]

a4

madrig, del Ditto 2. [1568, D3414 (Antonio Gardano)]  

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madrig, di Steffano Rossetti [1560, R2726 (Antonio Gardano)] madrig, de diuersi Quarto [?156510, Madregali ariosi a quatro voci, composti da diversi (Antonio Gardano)]

a 4 a 4

madrig, di Saluador Essenga [15668, E828 (Antonio Gardano)] madrig, del Martoretta [?21552, L353, or ?1554, L354 (both Antonio Gardano)] madrig, di Antonio Molino p. [?1568, I dilettevoli, M2947 (Claudio da Correggio)]

a 4 a 4 a 4

madrig di Vicenzo Cossa [1569, C4183 (Antonio Gardano)] madrig, di Filippo Azzaiuoli [?156414, A2981 (Il primo libro de villotte a 4, Antonio Gardano)]

a 4

a madrig, di Io : Iacomo Kisler 4 [?1591, Giov. Giacomo Khisel, Musica il primo libro de madrigali & motetti, a 4 & 5 voci (Amadino); see Göhler, Verzeichnis, 1:21; Heussner and Schultz, Collectio Musicae, 83, #608, provide the title and date, but no printer] a madrig, di Francesco Farina 4 [?] [f. 5r:] a Villotte di Adriano 4 [155329, W1118 (Antonio Gardano) a Villotte di Antonino Barges 4 [155018, B922 (Antonio Gardano)] a Villotte Mantuane 4 [Vogel, Bibliothek, 15837] a Villotte Padoane del Fiore p. 2. 4 [P156414; 2155919 (both Antonio Gardano)] a Villotte pad : di Filippo Azzaiuoli 3. 4 [156924, A2986 (Antonio Gardano)] a Balli da Cantar & sonar, di Francesco Bendusi. 4 [1553, B1914 (Antonio Gardano)]  

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Balli da Cantar & sonar di Giorgio Mainerio. [1578, M187]

a4

Battaglia Francese di Ianequin [1545, J446 (Antonio Gardano)]

a4

Canzon Francese del Ditto 2. [15608 (Antonio Gardano)] Partidura della Battaglia Francese & Canzon delli Vccelli & altre [157711] Partidura delli Madrigali di Cipriano de Rore primo & Secondo libro a 4. Insieme di Annibale Padoano. [1577, R2513; ?Insieme di Annibale Padoano, 157515? If so, a duplication of entry on 5v]

a4 a4

a4

Mascharate di Lodouico Nouello [1546, N801 (Antonio Gardano)] Canzoni di Costanzo Antegnati, da Cantar & sonar [?If not a duplication of 1571, A1267, Il primo libro de madrigali a quattro voci con uno dialogo a otto, listed on 4v above, then unknown]

a 4. & a 8. a4

Vergine di Alessandro [Merlo] Romano [1585, M2323]

a4

Vergine di Benedetto Pesenti [?]

a4

Ricercari di Annibale Padoano [1588, A1252]

a4

Ricercari di Claudio Merulo [1574, M2374]

a4

Ricercari di Luzzasco Luzzaschi 2. [1578? (see Appendix I.A for date)]

a4

madrig, di Giulio Rinaldi [156932, R1156 (Antonio Gardano)] Quinta parte aggionta alli mad: di Cipriano p. [A lost ad libitum quinta voce later added to Rore's first book of madrigals?] [f. 5v:]

a4

A4

Madrigali di Cipriano de Rore p. [1582, R2511]  

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madrig; di Cipriano & Annibale [157515]

a 4

madrig; di Claudio Merulo [1579, M2369]

a 4

madrig; di Filippo de Monte 4. [1588, M3375]

a 4

madrig, & Ricercari d' Andrea Gabrieli [1590, G78]

a 4

madrig, di Marc' Antonio Inzegneri 2. [1584, I54]

a 4

madrig, di Antonio morari [1587, M3615]

a 4

madrig, di Iacobo Peetrino 2. [?P1583, P1137]

a 4

madrig, Iaches de VVert [1583, W869]

a 4

madrig, Ludouico Balbi 2. [1576, B736]

a 4

madrig, Gio : Pier manenti [1586, M331]

a 4

madrig, Ascanio Trombetti [158621, T1275]

a 4

madrig, Di Antonio Dueto p. 2. [P.?; 21586, D3655]

a madrig, di Gio : d' Antiquis, da Barri 4 [Prob. lost; the reference in Fétis, Biographie, may very well have been taken from this entry in the Angelo Gardano Indice. A slight possibility remains that this is a duplicate of the entry on 1v for the villanelle a 3, 15745-6.] a Sdruccioli di Ruggier Giouanelli p. 2. 4 [both 1589, PG2455; 2G2473] a Toscanelle di Gabriel Vilani 2. 4 [1591, V1550] a Canzonette d' Horatio Vecchi p. 2. 3. 4. 4 [P1591, V1014; 21585, V1019; 3158535, V1022; 41590, V1027]  

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Canzon Gasparo Costa 2. [1588, C4220]

a4

madrig, d' Orlando Lasso [158210, L943]

a4

Canzoni di Marc' Ant : Mazzoni [1591, M1685] Canzon Serafin Serafini 2. [?1584, S2814 (Il primo libro delle canzoni capricciose a quattro voci)] [f. 6r:] Madrigali a 5 & piu voci.

a4

a5

Madrigali de Tredeci Autori Illustri, [15896]

a 6. 7. 8. 10. 12.

Concerti di Andrea Gabrieli [158716, G58 (Andrea), G85 (Giovanni)]

a 2. a 3. a 4 a5a6

Chori in musica del Ditto [1588, G75]

a5

madrigali del Ditto p. 2. 3. [P1587, G61; 21588, G64; 3158914, G76]

a6

madrigali del Ditto p. 2. [P1587, G67; 21586, G73] mad, di Filip: di Monte 5. 6. 7. 11. 12. 13. 14. [51574, M3358; 61588, M3361, 71583, M3367; 111586, M3379; 121587, M3381; 131588, M3382; 141590, M3383]

a5

a5

mad : Spirituali del Ditto p. [1581, M3317] mad, del Ditto 3. 4. 5. 6. 7. [31585, M3365; 41580, M3368; 51584, M3377; 61591, M3384; 71591, Vogel et al., Bibliografia 799]

a6

a6

mad : Spirituali del Ditto p. 2. 3. [P1583, M3318; 21589, M3322; 31590, M3323]

a5

mad. di Ruggier Giouanelli p. 2. [P1590, G2462; 2?first surviving ed. 1593, G2479]

a5

mad. di Luca Marenzio p. 2. 3. [P1587, M533; 21583, M540; 31582, M546]  

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mad : del Ditto p. 2. 5. [P1584, M501; 21584, M504; 5159121, M515] mad : di Gioseffo Guami p. 4. [P1565, G4804 (Antonio Gardano); 4 1591, G4805] Canzon di Oratio Vecchi p. [1587, V1026] mad : del Ditto p. [1589, V1043] mad : del Ditto p. [1591, V1042] Selua di varia ricreatió del dit. [159031, V1044] Canzon Ruzina [159123] mad : Paulo Bellasio [1590, B1715] mad : Francesco mazza [1590, M1503] mad : Pier' Andrea Bonini [159117, B3493] mad : di Leon Leoni p. 2. [P1588, L1988; 21591, L1990] mad : Flaminio Tresti p. 2. 3. [P1585, T1169; 21587, T1170; 31590, T1173] mad : Claudio monteuerde p. 2. [P1587, M3453; 21590, M3456] mad : di Camillo Zanotti p. 3. [P1587, Z74; 31589, Z77] mad : del Ditto [1589, Z76] mad : di Paulo Isnardi 2. [1577, I124] mad : del Ditto [1589, I126] mad, di Giulio Belli. [1589, B1776]  

a6 a 5 & 6. a 6. a5 a6 a 3.4.5.6.7.8.9.10 a6 a6 a6 a5 a5 a5 a5 a5 a6 a5 a6 a5&6

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[f. 6v:] a5

Vergini & Madrig: di Gio: Palestina [sic] [1581, P761] Madrig, di Iacobo Peetrino p. [?1583, P1137 (Il primo libro de madrigali a 4; what of entry on 5v for 2. a 5?] madrig, di Gio: Cauaccio p. 2. 3. [P1583, C1556; 2?1585, C1557 (Musica a cinque voci); 3?]

a5 a5 a5

madrig, di Romulo Naldi [1589, N12]

a5

Musicale esercitio Di Ludouico Balbi [158912, B742]

a 4. & 5

madrig, di Francesco Guami [1588, G4797]

a5

madrig, di Giulio d'Oristagno [1588, O1606]

a5

madrig, di Gio: Battista Gabella 2. [1588, G2]

a5

madrig, di Thomaso Gratiani [1588, G3709]

a5

madrig, di Gio: Battista Mosto 3. [1588, M3814] madrig, di Gio: Maria Nanino p. 2. 3. [P1582, N27; 2?158710, N29 ( . . .et di Annibale Stabile); 3 158618, N31]

a5 a5

madrig, di Marc' Ant: Inzegneri 4. & 5. [41584, 156; 51587, I58]

a5

madrig, di Alfonso Ferabosco 2. [1587, F255]

a5

madrig, di Tiburtio Massaino 3. [1587, M1292]

a5

madrig, di Vicenzo Galilei p. 2. [P1574, G147 (a 4, 5); 21587, G149 (a 4,5)]  

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madrig, Don Bastiano Melfio [1587, M2218] madrig, d'Orlando Lasso p. 2. 5. [P1582, L944; 2158525, L960; 51587, L982] madrig, di Rinaldo del Mel 3 [1587, M2205] madrig, di Giulian Cartari 2. [1586, C1264] Musica Spiritual de Diuersi Autori [15861] madrig. di Antonio Dueto p. 2. [P1584, D3653; 21585, D3654] madrig, di Costanzo Porta 3. & 4. [31573, P5189; 41586, P5190] madrig, di Alessandro Spontone [1585, S4168]

a 5 a 5 a 5 a 5 a 5 a 5 a 5 a 5

a madrig, di Stefano Felis p. 2. 5. 5 [P1585, Vogel et al., Bibliografia, 921; 21583, Vogel et al., Bibliografia, 922; 51583, Vogel et al., Bibliografia, 924] a madrig, Gio: Batt: Pace, & Gio: Dom: Vopa 5 [158530] a madrig, di Oratio Angelini 2. 5 [1585, A1214] a madrig, di Giulio Masotti 5 [1583, M1265] a madrig, di Giulio Rinaldi 5 [1576, R1157] a madrig, del Duca di Mantoa 5 [158313, G2997] a madrig, d' Alsseandro [sic] Mileuille 5 [1575, M2797] a madrig, di Paulo Gradenigo 5 [1574, G3262] a Madrig, di Bartolomeo Spontone 3. 5 [1583, S4172]  

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[f. 7r:] a 5

Amorosi ardori [158312]

a 5

madrig, di Madalena Casulana [1583, C1519]

a 5

madrig, di Anton Baseo p. 2. [P1582, B1153; 2?]

a 5

madrig, di Cipriano Rore p. 4. 5. [P1576, R2486; 41580, R2499; 515748]

a 5

madrig, Hippolito Sabino 2. [1580, S46]

a 5

madrig, d' Anibal Coma p. [1568, C3475 (Antonio Gardano)]

a 5

madrig, delle Muse 2. 3. 4. [2155916 (Antonio Gardano); 315809; 415826]

a 5

madrig, di Dominico Michieli 5. [1581, M2680]

a 5

madrig, di Heliseo Ghibellini [1581, G1776]

a 5

madrig, del Pordenon 3. 4. 5. [31571, P5103; 41573, P5104; 51578, P5105]

a 5

madrig, di Ascanio Marri [1575, M727] madrig, d' Aurelio la Faya [?1579, D1401 (Il secondo libro de madrigali a 5 voci)]

a 5 a 5

madrig, Spirituali di Gio: Matteo Asola [?] madrig, di Bartolomeo Sorte p. [?1573, S3990 (Il primo libro de madrigali a quatro, cinque, et sei voci, con doi dialoghi a sette)] madrig, di Pasqual Tristabocca [?158620, T1246 (Il secondo libro a cinque voci, erede di G. Scotto)]

a 5 a 5 a 5

Canzoni di Gio: Iacomo Gastoldi [1581, G546]  

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Canzoni di Giaches vvert [1589, W888] Madrig, del Ditto p. 2. 3. 4. 5. 6. 7. 8. 9. [P1583, W859; 21575, W863; 31572, W873; 41583, W877; 51575, W880; 6?1584, W882 (Scotto), or ?1592(!), W883 (Angelo Gardano); 71581, W884; 81586, W885; 9 1588, W887]

a 5. 6.

a6

Napolitane di Gio: de Macque 2. [1582, M88]

a6

madrig, del Ditto 2. [1589, M90]

a6

madrig, di Giorgio Florio [1589, F1193]

a 5. &6

madrig, di Filippomaria Peraboui [1588, P1276]

a6

madrig, di Marc' Ant: Inzegneri [1586, I57]

a6

madrig, di Hippolito Baccusi 3. & 4. [31579, B39; 41587, B40]

a6

Furti di Girolamo Belli [1584, B1737]

a6

Caprici di Ludouico Balbi [1586, B740]

a6

madrig, di Antonio Dueto p. 2. [P1583, D3651; 21584, D3652]

a6

madrig, di Pompeo Stabile [158532, S4205]

a6

madrig, d'Hippolito Sabino 2. 3. [2158111, S47; 31582, S48 (a 5, 6)]

a6

madrig, di Nicolo Dorati [1579, D3427]

a6

madrig, di Dauid Hebreo [Sacerdote] [1575, S300]  

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[f. 7v:] a5

Madrigali di Ieronimo da Vdine p. [1574, D805]

a5

Villotte del Agustini [1574, A406] madrig, Archangelo da Reggio [Archangelo Borsaro da Reggio, after Sampaio, Livraria, 2:127; edition evidently lost, since it may be found in Waldner, ''Zwei Inventorien," 144) madrig, Gio : Florio [?1586, F1194 (Giovanni Florio, Quarto libro, Vincenti)]

a5

a5 a5

madrig, di fra mauro de Serui [1571, M1451]

a5

madrig, di Oratio Faà p. 2. [P1569, F1 (Antonio Gardano); 21571, F2]

a5

madrig, di Alessandro marino [1571, M679]

a5

madrig, di Bernardin Cima [?]

a5

madrig, di Ieronimo Tastauino [1569, T291 (Antonio Gardano)] manoli Blessi [?156416 (Il primo libro delle greghesche a 4, 5, 6, 7, 8, Antonio Gardano)] madrig, di Vicenzo Ruffo p. 2. 3. 4. [(All published by Antonio Gardano:) P1562, R3073; 2155725, R3075; 3(ca. 1555)32, R3079; 41558, R3082] Canzon di Gio : Nasco [1562, N83 (Le canzon e madrigali a 6, con un dialogo a 7, Antonio Gardano)]

a5 a5

a 5. &6 a5

madrig, di Gio: Nasco 2. [1557, N84 (Antonio Gardano)]

a 4. 5. 6. 7 a6

Peccorina di Adriano [1559, W1126 (Antonio Gardano)] madrig, di Verdelot [156116 (Antonio Gardano)]  

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madrig, di Baldissara Donato [1560, D3413 (Antonio Gardano)]

a 4, 5, 6

madrig, del Animuccia [1547, A1241 (Antonio Gardano)]

a5

madrig, di Francesco menta [1564, M2277 (Antonio Gardano)]

a5

madrig, di Hippolito Ciera [1561, C2154 (Antonio Gardano)]

a5

madrig, di Sper'in Dio Bertoldo [1561, B2128 (Antonio Gardano)]

a5

madrig, di Francesco Corticcio [1547, C4160 (A 5,6; Antonio Gardano)] madrig, di Bernardino Lupachino p. 2. [Both Antonio Gardano: P1547, L3083; 2? 1546, a 4, L3082]

a5 a5

madrig, di Stefano Rossetti [1560, R2725 (Antonio Gardano)]

a5

madrig, di Francesco Rosselli [156222, R2718 (Antonio Gardano)]

a5

madrig, di Bernardo Iacomini [1563, G1826 (Antonio Gardano)]

a5

madrig, di Saluador Essenga [?1561, E827 (Secondo libro, Antonio Gardano)] madrig, de diversi p. [157316, Primo libro de madrigali a cinque voci, composti da diversi eccell. autori et raccolti da M. Francesco Antonio Baseo (?)]

a5

a6

Canones & Ecco di Lodouico Agustini [157213, A405]

a5

Enigmi del Ditto [1571, A403 (a 6)]

a5

madrig, del Ditto [1570, A402] [f. 8r:]

a5

madrig, d' Alessandro [Merlo] Romano [1565, M2325 (Antonio Gardano)]  

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madrig, di Sylao Casentini [1572, C1436] madrig, del Parabosco [1546, P885 (Antonio Gardano)] madrig, di antonio Petosa [?] madrig, di Biasio Pesciolini [?1571, P1536 (Secondo libro a 6) madrig, di matteo Fleccia [1568, F1117 (a 4, 5; Antonio Gardano) madrig, di Florio Zacchardi [?] madrig, di Francesco alcharoti [1567, A750 (a 5,6; Antonio Gardano)] madrig, di Paulo magri da Bologna [?] madrig, di Sisto Galli [?]

a5 a5 a5 a5 a5 a5 a5 a5 a5

[f. 8v:] Intabolature Diverse. Messe d'organo di Hieronimo d'Vrbino. [H. M. Brown, Instrumental Music, 154?3, C1573 (Antonio Gardano)] Balli d'Arpicordo, di Marco Faccoli libro 2. [1588, F57] Intabolatura di Liuto, di Iulio Cesare Barbetta. [1585, B906] Intab : di Liuto, di Iulio Abundante, ditto dal Pestrino. [1587, A182 (quinto libro)] Intab : di Liuto di Francesco da Milano. [prob. 156117 (Antonio Gardano); the claim of a 1586 ed. printed by Antonio Gardano made in Chaillon, "Fonds musicaux," 154, on which H. M. Brown, Instrumental Music, based the supposition of his (1586)3, is absurd; in 1586, Antonio had already been dead for 17 years!] Intab : di Liuto di Iacomo Gorzanis, Cieco, da Trieste. [1561, G3031 (Antonio Gardano)]  

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Intab : di Liuto, di Dominico Bianchini. [1554, B2597 (Antonio Gardano)] Intabolatura di Liuto, di Ieronimo Celidonio Vicentino, sopra Tutti li Madrig: de Cipriano Rore a 4 [Perhaps there may be a connection here between Dalla Casa's two 1584 volumes, which contain quite a few intabulations of pieces by Rore (Brown, Instrumental Music, 15841-2). What relationship might this have with the score publication of these works, 15775?] Intabolatura del Tromboncino da Cantar in Liuto. [?]  

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APPENDIX II.B CHRONOLOGICAL ORDERING OF THE 1591 GARDANO BOOKLIST BY DATE OF PUBLICATION No effort has been made in the compilation below to preserve the original orthography or fonts of the 1591 publication as presented in Appendix II.A, although the original abbreviations remain. Following the presumed date of each publication is the location in which the entry may be found in the 1591 list, followed by the composer's name, also as it appears in the Angelo Gardano Indice. The surname (if any) is placed first to facilitate rapid identification. Within a given year, entries may be found arranged alphabetically, either by composer surname or, in the case of anthologies, where "anonymous" would fall alphabetically. The title of the work as it appears in the Angelo Gardano Indice follows. The material within brackets adheres to the guidelines set forth in the annotated version of the 1591 list in Appendix II.A.  

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Chronological Ordering of the 1591 Gardano Booklist by Date of Publication 1545 1v: Cimello, Thomaso 1545 5r: Ianequin

1546?7v: Lupachino, Bernardino 1546 5r: Novello, Lodovico 1546 8r: Parabosco

1547 7v: Animuccia 1547 4v: Biffetto, Francesco 1547 7v: Corticcio, Francesco 1547 4r: El Conte 1547 7v: Lupachino, Bernardino

1548 4v: 1548 4r: Pionnier, Io:

Villotte a 3 [Antonio Gardano, C2487] Battaglia francese a 4 [Antonio Gardano, J446] Madrig. 2. a 5 [a 4; Antonio Gardano, L3082] Mascharate a 4 [Antonio Gardano, N801] Madrig. a 5 [Antonio Gardano, P885] Madrig. a 4.5.6 [Antonio Gardano, A1241] Madrig. a 4 [Antonio Gardano, B2630] Madrig. a 5. [a 5,6; Antonio Gardano, C4160] Mott: a 5 [Antonio Gardano, E596] Madrig. p. a 5 [Antonio Gardano, L3083] Madrig. della Fama a 4 [Antonio Gardano, 15487] Mott: a 5 [Antonio Gardano, P2423]

8v: [Dalla Casa] D'Urbino, 154? Hieronimo

Messe d'organo [Antonio Gardano, C1573/H. M. Brown, Instrumental Music 154?3]

1550 5r: Barges, Antonino

Villotte a 4 [Antonio Gardano, B922/155018]

1552 4r: Gombert 1552?4v: Martoretta 1552 4r: Phinot, Dominico

Mott: a 5 [Antonio Gardano, G2983/15522] Madrig. a 4 [Antonio Gardano, 2-L353, or 3-L354 (1554)] Mott: a 5 [Antonio Gardano, P2016]

 

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1553

5r: Bendusi, Francesco

1553

4r: Iachet

1553

5r: Willaert, Adriano

1554

8v: Bianchini, Dominico

1555 1555?

3v: Porta, Costanzo 7v: Ruffo, Vicenzo

1556 1556

4v: Arcadelt 4v: Berchem, Iachet

1556

4v: L'Hoste da Reggio

Balli da cantar e sonar a 4 [Antonio Gardano, B1914] Mott: a 5 [Antonio Gardano, J14/155317] Villotte a 4 [Antonio Gardano, W1118/155329] Intab: di liuto? [Antonio Gardano, B2597] Mott: p. a 5 [Antonio Gardano, P5171] Madrig. 3. a 5 [Antonio Gardano, R3079/(ca.1555)32] Madrigali 3. a 4 [Antonio Gardano, A1378/155622] Madrig. a 4 [Antonio Gardano, B1979] Madrig. a 4 [Antonio Gardano, L2319]

1557? 1557

7v: Nasco, Gio: 7v: Ruffo, Vicenzo

Madrig. 2. a 6 [a 5; Antonio Gardano, N84] Madrig. 2. a 5 [Antonio Gardano, R3075/155725]

1558 1558

4v: Donato, Baldissera 7v: Ruffo, Vicenzo

Villotte a 4 [Antonio Gardano, D3410/155815] Madrig. 4. a 5 [Antonio Gardano, R3082]

1559 1559

7r: 5r:

1559

7v: [Willaert,] Adriano

1560 1560

4v: Archadelt 7v: Donato, Baldissara

1560

5r: Ianequin

Madrig. delle Muse 2. a 5 [Antonio Gardano, 155916] Villotte padoane del fiore 2 [Antonio Gardano, 155919] Peccorina a 4,5,6,7 [Antonio Gardano, W1126] Madrigali 2. a 4 [Antonio Gardano, A1373/156015] Madrig. a 5 e 6 [Antonio Gardano, D3413] Canzon francese 2. a 4 [Antonio Gardano, 15608]

 

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1560 4v: Rossetti, Steffano 1560 7v: Rossetti, Stefano 1560 4v: Ruffo, Vincenzo

Madrig. a 4 [Antonio Gardano, R2726] Madrig. a 5 [Antonio Gardano, R2725] Madrig. 3. a 4 [Antonio Gardano, R3085]

Capriccio p. 2. 3. a 4 1561 4v: Berchem, Iachet [Antonio Gardano, B1981] 1561 7v: Bertoldo, Sper'in DioMadrig. a 5 [Antonio Gardano, B2128] 1561 7v: Ciera, Hippolito Madrig. a 5 [Antonio Gardano, C2154] 1561?7v: Essenga, Salvador Madrig. a 5 [Antonio Gardano, 2-E827] 1561 8v: Francesco da Milano Intab: di liuto [Antonio Gardano, 156117] 1561 8v: Gorzanis cieco, da Intab: di liuto [Antonio Gardano, G3031] 1561 2v: Kerle, Iacobo de Magnificat a 4 [Antonio Gardano, K444] 1561 3r: Kerle, Iacobo Responsorij a 4 [Antonio Gardano, K443] 1561 7v: Verdelot Madrig. a 6 [Antonio Gardano, 156116] Messe in foglio real [Antonio Gardano, K446] Magnificat in foglio real a 4 [Antonio Gardano, M3597/15621] 1562?7v: Nasco, Gio: Canzon a 5 e 6 [a 6, 7; Antonio Gardano, N83] 1562 7v: Rosselli, Francesco Madrig. a 5 [Antonio Gardano, R2718/156222] 1562 7v: Ruffo, Vicenzo Madrig. p. a 5 [Antonio Gardano, R3073] 1562 4r: Vaet, Iacobo Mott: p. a 5 [Antonio Gardano, V26] 1562 4r: Vaet, Iacobo Mott: 2. a 6 [a 5,6; Antonio Gardano, V27]

1562 2r: Kerle, Iacobo 1562 2v: Morales

Madrig. a 5 1563 7v: Iacomini, Bernardo [Antonio Gardano, G1826] 1564 5r: 1564?4v: Azzaiuoli, Filippo

Villotte padoane del fiore, p. a 4 [Antonio Gardano, 156414] Madrig. a 4 [?; a duplication of 4v, Villotte a 4, Antonio Gardano, A2981/156414?]

 

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1564? 7v: Blessi, Manoli 1564

7v: Menta, Francesco

1565? 4v: Diversi 1565 6r: Guami, Gioseffo 1565

8r: [Merlo] Romano, Alessandro

1565

4v: Verdelot

1566

4v: Essenga, Salvador

1567

8r: Alcharoti, Francesco

1568 1568

7r: Coma, Anibal 4v: Donato, Baldissera

1568

8r: Fleccia, Matteo

1568? 4v: Molino, Antonio

1569 1569

5r: Azzaiuoli, Filippo 4v: Cossa, Vicenzo

1569

7v: Faà, Oratio

1569

5r: Rinaldi, Giulio

1569

7v: Tastavino, Ieronimo

1570 1570

7v: Agustini, Lodovico 1v: Diversi

1570

1v: Diversi

a5 [Greghesche, a 4-8: Antonio Gardano, 156416] Madrig. a 5 [Antonio Gardano, M2277] Madrig. quatro a 4 [Madregali ariosi; Antonio Gardano, 156510] Mad: p. a 5 e a 6 [Antonio Gardano, G4804] Madrig. a 5 [Antonio Gardano, M2325] Madrig. a 4 [Antonio Gardano, V1237/156520] Madrig. a 4 [Antonio Gardano, E828/15668] Madrig. a 5 [a 5,6; Antonio Gardano, A750] Madrig. p. a 5 [Antonio Gardano, C3475] Madrig. 2. a 4 [Antonio Gardano, D3414] Madrig. a 5 [a 4,5; Antonio Gardano, F1117] Madrig. p. a 4 [I dilettevoli, Claudio da Correggio, M2947] Villotte pad: 3 a 4 [Antonio Gardano, Madrig. a 4 [Antonio Gardano, Madrig. p. a 5 [Antonio Gardano, Madrig. a 4 [Antonio Gardano, Madrig. a 5 [Antonio Gardano,

A2986/156924] C4183] F1] R1156/156932] T291]

Madrig. a 5 [A402] Napolitane 5. a 3 [157020] Napolitane 6. a 3 [157021]

 

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1570 4v: Fidelis, Lancilotto 1570?1v: Primavera, Gio. Leonardo

Madrig. a 4 [F709/157025] Villotte a 3. [Scotto, P5451/157031]

Enigmi a 5 1571?7v: Agustini, Lodovico [a 6; A403] 1571 1v: Diversi Napolitane p. a 3 [15715] 1571 1v: Diversi Napolitane 2. a 3 [15716] 1571?1v: Diversi Napolitane 3. a 3 [Scotto, 157111] 1571 1v: Diversi Napolitane 4. a 3 [15717] 1571 4v: Antegnati, Costanzo Madrig. a 4 [A1267] 1571?5r: Antegnati, Costanzo Canzoni da cantare e sonar a 4 ed a 8. [A duplication of 4v, Primo libro de madrigali a 4 voci con uno dialogo a 8?] 1571 4r: Corticcio, Francesco Mott: a 5 [C4156] 1571 4r: Corticcio, Francesco Mott: a 6. [C4155] 1571 7v: Faà, Oratio Madrig. 2. a 5 [F2] 1571 1v: Gabrieli, Andrea Greghesche e Iustiniane, a 3 [G65] 1571?1v: Gorzanis, Iacomo Villotte a 3 [Secondo libro, Scotto; G3036] 1571 7v: Marino, Alessandro Madrig. a 5 [M679] 1571 4v: Mauro de Servi, Fra Madrig. a 4 [M1452] 1571 7v: Mauro de Servi, Fra Madrig. a 5 [M1451] 1571?8r: Pesciolini, Biasio Madrig. a 5 [Secondo libro a 6, P1536] 1571 7r: Pordenon Madrig. 3. a 5 [P5103] 1571 2v: [Willaert,] Adriano Salmi a 4 [W1125] Canones ed Ecco a 6 1572 7v: Agustini, Lodovico [A405/157213] 1572 4v: Agustini, Ludovico Madrig. a 4 [A404/15724]  

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1572

8r: Casentini, Sylao

1572

2r: Gabrieli, Andrea

1572? 2r: Portinaro, Francesco 1572

7r: Wert, Giaches

1573 2r: Annibal Padoano 1573? 7v: Diversi autori 1573

2r: Merulo, Claudio

1573

7r: Pordenon

1573

6v: Porta, Costanzo

1573

3v: Rinaldo da Montagnana

1573? 7r: Sorte, Bartolomeo 1573

4v: Tigrini Aretino, Oratio

1573

4v: Zachino, Iulio

1573? 1v: Zacchino, Iulio

1574 1574

7v: Agustini 1v: Diversi autori da Barri

1574

1v: Diversi autori da Barri

1574

7v: [Dalla Casa] da Udine, Ieronimo

1574

1v: Fiorino, Gasparo

1574

6v: Galilei, Vincenzo

1574

6v: Gradenigo, Paulo

1574

5r: Merulo, Claudio

Madrig. a 5 [C1436] Messe a 6 [G53] Messe a 5 [Terzo libro de motetti a 5-8, P5223] Madrig. 3. a 5 e 6 [W873] Messe a 5 [A1248] Madrig, p. a 5 [157316] Messe a 5 [M2357] Madrig. 4. a 5 [P5104] Madrig. 3. a 5 [P5189] Mott: a 4 [R1724] Madrig. p. a 5 [4-6 voci, con doi dialoghi a 7; S3990] Madrig. a 4 [T790] Madrig. a 4 [Z4] Villotte a 3. [Madrigali a 4; Z4] Villotte a 5 [A406] Napolit. p. a 3 [15745] Napolit. 2. a 3 [15746] Madrigali p. a 5 [D805] Villotte a 3, a 4 [F950] Madrig. p. a 5 [a 4, 5; G147] Madrig. a 5 [G3262] Ricercari a 4 [M2374]

 

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1574 6r: Monte, Filip. di 1574 3r: Nasco, Gio. 1574 4r: Nigri, Io: Marie 1574 7r: Rore, Cipriano

1575 4r: Antegnati, Costanzo 1575 7r: Marri, Ascanio 1575 6v: Mileville, Alessandro 1575 5v: [Rore,] Cipriano e [Padovano] Annibale 1575?2v: Sabino, Hippolito 1575 7r: [Sacerdote,] David hebreo 1575 7r: Wert, Giaches 1575 7r: Wert, Giaches

1576 2r: Asola, Io. Matteo 1576 2r: Asola, Io. Matteo 1576 5v: Balbi, Lodovico 1576 4r: Inzegneri, Marc'Antonio 1576 6v: Rinaldi, Giuli 1576 7r: Rore, Cipriano

1577 5r: 1577 6r: Isnardi, Paulo 1577 5r: Rore, Cipriano de, insieme di Annibale Padovano

Mad: 5. a 5 [M3358] Lamentationi a voce pari a 4 [N76] Mott: a 5 e 6 [N361] Madrig. 5. a 5 [15748] Mott: a 5 [A1259] Madrig. a 5 [M727] Madrig. a 5 [M2797] Madrig. a 4 [157515] Hymni a voce pari a 4 [Misse sex . . . que vulgo pari voce dicuntur . . . quatuor vocum, S40] Madrig. a 6 [S300] Madrig. 2. a 5 e 6 [W863] Madrig. 5. a 5 e 6 [W880] Messe a 4 a voce pari, 2 [A2529] Messa da morti [A2529] Madrig. 2 a 4 [B736] Mott: p. a 5 [I42] Madrig. a 5 [R1157] Madrig. p. a 5 [R2486] Partidura della Battaglia Francese e Canzon delli Uccelli e altre [157711] Mad: 2. a 5 [I124] Partidura delli madrigali primo e secondo libro a 4 [? this entry seems to be an

 

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amalgam of 157515, a partbook madrigal anthology with works by these two composers (see 5v), and the 1577 score of Rore's first two books a 4, R2513 (see 5r). Clearly at least the score publication was intended here] 3v: Balbi, Mott: a 4 1578 Ludovico [B737] Mott: a 4 1578 3v: Infantas, D. [I37] Fernando de las Messe a 5, a 6 1578?2r: Kropácz, [Heussner and Schultz, Collectio Musica, 84, #618, indicated that Willer and Cless name 1578 as the year of its appearance; Draud, Biblioteca, 1634, gave the date as Georg 1548; no such edition is known to survive] Mott: 2. a 5 1578 4r: Lombardo, [L2806/15782] Bartolomeo Ricercari 2. a 4 1578?5r: Luzzaschi, [See Appendix I.A for evidence attesting to the presumed date of this lost edition] Luzzasco Balli da cantar e sonar a 4 1578 5r: Mainerio, [M187] Giorgio 1578 7r: Madrig. 5. a 5 Pordenon [P5105] 1578 2r: Porta, Messe in foglio real Costanzo [P5180] 1578 2v: Rossi, Salmi a 4 Flaviano [R2737] 7r: Baccusi, Madrig. 3. a 6 1579 Hippolito [B39] 1579?7r: [Del]la Madrig. a 5 [Il secondo libro, D1401] Faya, Aurelio 1579 7r: Dorati, Madrig. a 6 Nicolo [D3427] 1579 2r: Gatto, Messe a 5, a 6 Simon [Missae tres, quinis et senis vocibus, G574] 1579 1v: Lasso, Motetti a 3 Orlando [L918] 1579?3v: Lasso, Mott: 4 a 5, a 6 Orlando [a 6, a 8, L919]  

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15795v: Merulo, Claudio

Madrig. a 4 [M2369]

15807r: 15802r: Asola, Io. Matteo 15802v: Mainerio, Georgio 15801v: Merulo, Claudio 15806r: Monte, Filip: di 15804v: Pordenon, Marc'Antonio 15803v: Porta, Costanzo 15807r: Rore, Cipriano 15807r: Sabino, Hippolito

Madrig, delle muse 3. a 5 [15809] Messe a voce pari p. a 4 [A2511] Magnificat a voce pari a 6 [M188] Madrigali a 3 [M2370] Mad: 4. a 6 [M3368] Madrig. a 4 [R5106/158011] Mott: a 4-8 [P5181] Madrig. 4. a 5 [R2499] Madrig. 2. a 5 [S46]

Madrigali p. a 4 [Alessandro Gardano, Venice, A1336/15816; or ca. 1565, Antonio Gardano (see 15814v: Archadelt Bridges, ''Publishing," 189ff.); or Antonio Gardano, 155814/A1330] 15812r: Asola, Io. Messe octonis a voce piena, 2 Matteo [A2543] 15812v: Cavatio, Io. Magnificat p. choro a 4 [C1547] 15814r: Costa, Mott: e madrig: a 5 Gasparo [C4218] 15817r: Gastoldi, Canzoni a 5 Gio: Iacomo [G546] 15811v: Gero, Ian Duo a 2 [G1632] 15817r: Ghibellini, Madrig. a 5 Heliseo [G1776] 15812r: Isnardo, Messe 2. a 5 Paolo [I117] 15814r: Marazzo, Mott: a 5 Sylvio [M411] 15817r: Michieli, Madrig. 5. a 5 Dominico [M2680] 15816r: Monte, Mad: spirituali p. a 5 Filip. di [M3317]  

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1581

6v: Palestina [sic], Gio:

1581

7r: Sabino, Hippolito

1581

7r: Wert, Giaches

1582 1582

4v: Diversi autori 7r:

1582

2v: Asola, Gio. Matteo

1582

2v: Asola, Gio. Matteo

1582

1v: Asola, Don Matteo

1582

7r: Baseo, Anton

1582

2v: Cavatio, Io:

1582

5v: Lasso, Orlando

1582

6v: Lasso, Orlando

1582

7r: Macque, Gio: de

1582

6r: Marenzio, Luca

1582

1v: Monte, Filippo di

1582

1v: Monteverde, Claudin [sic]

1582

6v: Nanino, Gio: Maria

1582

2r: Palestina [sic], Gio.

1582

5v: Rore, Cipriano de

1582

7r: Sabino, Hippolito

1582

4r: Zalamella, Pandolfo

1583 1583

7r: 5r:

Vergini e madrig: a 5 [P761] Madrig. 2. a 6 [S47/158111] Madrig. 7. a 5 e 6 [W884] Madrig. ariosi a 4 [15827] Madrig. delle Muse 4. a 5 [15826] Falsi bordoni a 4 [A2521/15821] Salmi, p. choro a 4 [A2533; see also 1583] Vergine a 3 [A2612] Madrig. p. a 5 [B1153] Magnificat 2 choro a 4 [C1548] Madrig. a 4 [L943/158210] Madrig. p. a 5 [L944] Napolitane 2. a 6 [M88] Mad: 3. a 5 [M546] Madrig. a 3 [M3376] Motetti a 3 [M3443] Madrig. p. a 5 [N27] Messe a 4, a 5 [P667] Madrigali p. a 4 [R2511] Madrig, 3. a 6 [a 5, 6; S48] Mott: a 5 [a 5, 6; S48] Amorosi ardori [158312] Villotte mantuane [Vogel, Bibliothek, 15837]

 

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1583 3r: Asola, Gio: Matteo

Passii, le turbe a 4 [A2552] 1583 3r: Asola, Gio: Matteo Passii, pars Christi a 3 [A2548] 1583 2v: Asola, Gio. Matteo Salmi, 2. choro a 4 [A2539; see also 1582] 1583 7r: Casulana, Madalena Madrig. a 5 [C1519] 1583 6v: Cavaccio, Gio: Madrig. p. a 5 [C1556] 1583 7r: Dueto, Antonio Madrig. p. a 6 [D3651] 1583 6v: Felis, Stefano Madrig. 2. a 5 [Vogel et al., Bibliografia 922] 1583 6v: Felis, Stefano Madrig. 5. a 5 [Vogel et al., Bibliografia 924] 1583 2v: Gabrieli, Andrea Sette salmi penitentiali [G56] 1583 6v: [Gonzaga] Duca di Mantoa Madrig. a 5 [G2997/158313] 1583 3v: [Gonzaga] Duca di Mantua Mott: a 5 [G2996/15831] 1583 6r: Marenzio, Luca Mad: 2. a 5 [M540] 1583 6v: Masotti, Giulio Madrig. a 5 [M1265] 1583 4r: Merulo, Claudio Mott: a 6 [M2360] 1583 6r: Monte, Filip. di Mad: 7. a 5 [M3367] 1583 6r: Monte, Filip: di Mad. spirituali p. a 6 [M3318] 1583?6v: Peetrino, Iacobo Madrig. p. a 5 [P. a 4; P1137. 5v entry gives 2. a 4; does either refer to P1137?] 1583 4v: Sessa d'Aranda Madrig. a 4 [S2843] 1583 6v: Spontone, Bartolomeo Madrig. 3. a 5 [S4172] 1583 3r: Stabile, Annibal Litanie a 8 [Roma, Alessandro Gardano, S4200] 1583 5v: Wert, Iaches de Madrig. a 4 [W869] 1583 7r: Wert, Giaches Madrig. p. a 5 e 6 [W859] 1583 7r: Wert, Giaches Madrig. 4 a 5 e 6 [W877]  

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1584?5v: Antiquis da Barri, Madrig. a 4 Gio: d' [Lost; Fétis, Biographie provides the date] 1584 3r: Asola, Gio: Matteo Lamentationi, e responsi a 4 [A2553, A2554] 1584 7r: Belli, Girolamo Furti. a 6 [B1737] 1584 6v: Dueto, Antonio Madrig. p. a 5 [D3653] 1584 7r: Dueto, Antonio Madrig. 2. a 6 [D3652] 1584 3v: Gabrieli, Andrea Mott: a 5 [G51] 1584 5v: Inzegneri, Madrig, 2 a 4 Marc'Antonio [154] 1584 6v: Inzegneri, Madrig, 4 a 5 Marc'Ant: [156] 1584 3v: Lasso, Orlando Mott: 2 a 5, a 6 [L948] 1584 3v: Lasso, Orlando Mott: 5 a 5, a 6 [A 5,6,8; L949] 1584 3v: Lasso, Orlando Mott: 7 a 5, a 6 [L950] 1584 3v: Lasso, Orlando Mott: 8 a 5, a 6 [L951] 1584 6r: Marenzio, Luca Mad: p. a 6 [M501] 1584 6r: Marenzio, Luca Mad: 2. a 6 [M504] 1584 3v: Merulo, Claudio Mott: a voce pari a 4 [M2363] 1584 6r: Monte, Filip: di Mad. 5 a 6 [M3377] 1584 3v: Monte, Filippo Mott: sesto a 5 [Lost; see Pitoni, Notitia, 176; Eitner, Quellen- Lexikon, 7:37] 1584 4v: Nasco, Gio: Madrig. a 4 [N81] 1584?1v: Serafini, Serafin Canzon a 3 [a 4; S2814] 1584?5v: Serafini, Serafin Canzon 2. a 4 [Il primo libro; S2814. Is either this entry or that above represented by this RISM number?] 1584?7r: Wert, Giaches Madrig, 6. a 5 e 6 [Erede di G. Scotto; W882. Or perhaps ?1592(!), Angelo Gardano, W883]  

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1585

6v: Angelini, Oratio

1585

8v: Barbetta, Iulio Cesare

1585? 6v: Cavaccio, Gio: 1585

2v: Cavatio, Io:

1585

6v: Dueto, Antonio

1585

6v: Felis, Stefano

1585

4r: Felis, Stef.

1585

1v: Lasso, Orlando

1585

6v: Lasso, Orlando

1585

4r: Mel, Rinaldo del

1585

6r: Monte, Filip: di

1585

3v: Monte, Filippo di

1585

6v: Pace, Gio: Batt:, & Gio: Dom: Vopa

1585

3v: Palestina [sic], Gio.

1585

3v: Porta, Costanzo

1585

5r: Romano [Merlo], Alessandro

1585

6v: Spontone, Alessandro

1585

3v: Stabile, Annibal

1585

7r: Stabile, Pompeo

1585

6r: Tresti, Flaminio

1585

5v: Vecchi, Horatio

1585

5v: Vecchi, Horatio

1586

6v: Diversi autori

Madrig, 2. a 5 [A1214] Intabolatura di liuto [B906] Madrig. 2. a 5 [Musica a cinque voci; C1557] Salmi a 4, p. e 2. choro [C1549] Madrig. 2. a 5 [D3654] Madrig, p. a 5 [Vogel et al., Bibliografia 921] Mott: a 5. 6. e 8. [F206/15852] Duo a 2 [L957] Madrig, 2. a 5 [L960/158525] Mott: 3, a 5 [M2194/15854] Mad:, 3 a 6 [M3365] Mott. p. a 6 [M3319] Madrig, a 5 [158530] Mottetti p. a 4 [P693] Mott: 3. a 6 [P5182] Vergine a 4 [M2323] Madrig, a 5 [S4168] Mott: 2 a 5,6,8 [S4201] Madrig, a 6 [S4205/158532] Mad: p. a 5 [T1169] Canzonette 2. a 4 [V1019/158535] Canzonette 3. a 4 [V1022] Musica spiritual a 5 [15861]

 

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1586? 2r: Asola, Io. Matteo 1586 7r: Balbi, Ludovico 1586? 2r: Belli, Girolamo [Giulio] 1586 4r: Cardillo, Iacom'Antonio 1586 6v: Cartari, Giulian 1586 5v: Dueto, Antonio 1586? 7v: Florio, Gio: 1586 6r: Gabrieli, Andrea 1586 1v: Gardano, Antonio 1586 2v: [Gonzaga] Duca di Mantua 1586 2v: [Gonzaga] Duca di Mantua 1586 7r: Inzegneri, Marc'Ant: 1586 3v: Inzegneri, Marc'Antonio 1586 3v: Lasso, Orlando 1586 3v: Lasso, Orlando 1586 2v: Lombardi, Ier: [Lambardi] 1586 5v: Manenti, Gio: Pier. 1586 1v: Mel, Rinaldo del 1586 6r: Monte, Filip. di 1586 6v: Nanino, Gio: Maria 1586 1v: Nanino, Io. Maria 1586 6v: Porta, Costanzo 1586? 7r: Tristabocca, Pasqual

Messe octonis, a voce piena. p. [Vincenti & Amadino; A2564] Caprici a 6 [B740] Messe a 4 [a 5; B1745] Mott: 2 a 5 [C986] Madrig, 2. a 5 [C1264] Madrig. 2. a 4 [D3655] Madrig, a 5 [Vincenti; Quarto libro; F1194] Madrigali 2. a 6 [G73] Duo a 2 [15868] Magnificat p. choro a 4 [AN432] Magnificat 2. choro a 4 [AN433] Madrig. a 6 [157] Mott: a 4 [143] Mott: p°. a 5, a 6 [L963] Mott: 6. a 5, a 6 [L964] Magnificat a voce pari a 4 [L364] Madrig. a 4 [M331] Madrig. a 3, 2° [M2202] Mad: 11. a 5 [M3379] Madrig, 3. a 5 [N31/158618] Motetti a 3 [N24] Madrig, 4. a 5 [P5190] Madrig, a 5 [Erede di G. Scotto; Secondo libro; T1246/158620]

 

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15865v: Trombetti, Ascanio 15867r: Wert, Giaches 8v: Abundante, Iulio, ditto 1587dal Pestrino 15872r: 15872r: 15872r: Antegnati, Costanzo 15877r: Baccusi, Hippolito 15873v: Balbi, Ludovico 15872r: Cartari, Iulian 15873r: Cavatio, Io. 15876v: Ferabosco, Alfonso 15876r: Gabrieli, Andrea 15876r: Gabrieli, Andrea 15876r: Gabrieli, Andrea 15876v: Galilei, Vicenzo 15872r: Gratiani, Thomaso 15872v: Gratiani, Thomaso 15876v: Inzegneri, Marc'Ant: 15876v: Lasso, Orlando 15873v: Lasso, Orlando

Madrig. a 4 [T1275/158621] Madrig. 8. a 5 e 6 [W885] Intab: di liuto [Quinto libro; A182] Gradual & antiphonario de santi, dell' ordine di S. Francesco, in canto fermo, e foglio real [Crawford and Borders, Renaisance Liturgical Imprints: 2650] Officio della sanctiss. trinità, di canto fermo, in foglio real [Crawford and Borders, Renais-sance Liturgical Imprints: 8794] Messe a 6, 8, p. [A1261] Madrig, 4 a 6 [B40] Mott: a voce pari a 4 [B741] Messe a 5 [C1265] Litanie a 8 [C1550] Madrig, 2. a 5 [F255] Concerti a 6,7,8,10,12 [G58 (Andrea), G85 (Giovanni)/158716] Madrigali, p. a 5 [G61] Madrigali p. a 6 [G67] Madrig, 2. a 5. [A 4,5; G149] Messa a 12 [G3701] Salmi a 4 [G3702] Madrig, 5. a 5 [158] Madrig, 5. a 5 [L982] Mott: 3 a 5, a 6 [L978]

 

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1587 6r: Marenzio, Luca 1587 6v: Massaino, Tiburtio 1587 2v: Massaino, Don Tiburtio 1587 6v: Mel, Rinaldo del 1587 6v: Melfio [Melsio], Don Bastiano 1587 6r: Monte, Filip: di 1587 3v: Monte, Filippo di 1587 6r: Monteverde, Claudio 1587 2v: Morales 1587 5v: Morari, Antonio 1587? 6v: Nanino, Gio: Maria 1587 3v: Palestina [sic], Gio. 1587 6r: Tresti, Flaminio 1587 6r: Vecchi, Oratio 1587 3r: Vecchi, Oratio 1587 6r: Zanotti, Camillo

1588 5r: Annibale Padovano 1588 1v: Bonardi, Isepo 1588 2r: Cartari, Iulian 1588 5v: Costa, Gasparo 1588 8v: Faccoli, Marco 1588 2v: Falconi, D. Placido 1588 6v: Gabella, Gio: Battista

Mad: p. a 5 [M533] Madrig, 3. a 5 [M1292] Salmi a 8 [M1272] Madrig, 3. a 5 [M2205] Madrig, a 5 [M2218] Mad: 12 a 5 [M3381] Mott: 2 a 6 [M3321] Mad: p. a 5 [M3453] Magnificat in quarto a 4 [M3602] Madrig, a 4 [M3615] Madrig. 2. a 5 [With Annibale Stabile, presum-ably primo libro; N29] Cantica lib. quarto a 5 [P717] Mad: 2. a 5 [T1170] Canzon p. a 6 [V1026] Lamentationi a vo: pari a 4 [V1004] Mad: p. a 5 [Z74] Ricercari a 4 [A1252] Canzon a 3 [B3444] Messe e motetti a 8 [C1266] Canzon 2. a 4 [C4220] Balli d'arpicordo [F57] Magnificat a voce pari a 4 [F92] Madrig, 2 a 5 [G2]

 

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1588

6r: Gabrieli, Andrea

1588

6r: Gabrieli, Andrea

1588

6v: Gratiani, Thomaso

1588

1v: Guami, Francesco

1588

6v: Guami, Francesco

1588

2r: Lasso, Orlando

1588

6r: Leoni, Leon

1588

2v: Massaino, Don Tiburtio

1588

5v: Monte, Filippo de

1588

6r: Monte, Filip. di

1588

6r: Monte, Filip. di

1588

6v: Mosto, Gio: Battista

1588

6v: Oristagno, Giulio d'

1588

7r: Perabovi, Filippomaria

1588

3r: Porta Dominicali, Costanzo

1588

3r: Porta Dominicali, Costanzo

1588

7r: Wert, Giaches

1588

2r: Zanotti, Camillo

1589 1589

6r: Tredici autori illustri 2r: Antegnati, Costanzo

1589

6v: Balbi, Ludovico

1589

6r: Belli, Giulio

1589

7r: Florio, Giorgio

Chori in musica, a 2, a 3, a 4, a 5, a 6 [G75] Madrigali 2. a 5 [G64] Madrig, a 5 [G3709] Duo a 2 [G4798] Madrig, a 4 e a 5 [G4797] Messe a 4 [L983] Mad: p. a 5 [L1988] Salmi a 5 [M1267] Madrig. 4. a 4 [M3375] Mad: 6. a 5 [M3361] Mad: 13. a 5 [M3382] Madrig, 3 a 5 [M3814] Madrig. a 5 [O106] Madrig, a 5 e 6 [P1276] Introiti a 5 [P5175] Introiti festivi a 5 [P5177] Madrig, 9. a 5 e 6 [W887] Messe a 5 [Z75] Madrigali a 5 [15896] Messe 2. a 6, 8 [A1263] Musicale esercitio. a 5 [B742/158912] Mad: a 5 e 6 [B1776] Madrig, a 6 [F1193]

 

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1589

6r: Gabrieli, Andrea

1589

3v: Gabrieli, Andrea

1589

5v: Giovanelli, Ruggier

1589

5v: Giovanelli, Ruggier

1589

4r: Inzegneri, Marc'Antonio

1589

6r: Isnardi, Paulo

1589

2v: Lasso, Orlando

1589

7r: Macque, Gio: de

1589

6r: Monte, Filip: di

1589

6v: Naldi, Romulo

1589?

2v: Palestina [sic], Gio.

1589

2v: Pingirolo, Gabriele

1589

2v: Quintiani, Don Lucretio

1589

3v: Stabile, Annibal

1589

3v: Trombetti, Ascanio

1589

3v: Turino, Gregorio

1589

6r: Vecchi, Oratio

1589

7r: Wert, Giaches

1589

6r: Zanotti, Camillo

1589

6r: Zanotti, Camillo

1590 1590

3v: Aichinger, Gregorio 6r: Bellasio, Paulo

1590?

3r: Bona, Valerio

Madrigali 3. a 5 [G76/158914] Mott: a 4 [G55] Sdruccioli p. a 4 [G2455] Sdruccioli 2. a 4 [G2473] Mott: a 6,7,8,10, e 12 [I47] Mad: a 6 [I126] Magnificat a 4 & a 5 [L993] Madrig, 2. a 6 [M90] Mad. spirituali 2. a 6 [M3322] Madrig. a 5 [N12] Hymni a 4 & 5 [a 4 only; P738] Salmi a 4 [P2390] Salmi a 5 [Q114] Mott: 3. a 5,6,8 [S4204] Mott: a 5,6,7,8,10,12 [T1277] Mott: e salmi a voce pari, a 4 [T1396] Mad. p. a 5 [V1043] Canzoni a 5 [W888] Mad: 3. a 5 [Z77] Mad: a 6 [Z76] Mott: e madrig: a 4. 5. 6 [A517] Mad: a 6 [B1715] Lamentationi a 4 [Milano, Tini, Litaniae; B3428]

 

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1590 2v: Cartari, Giulian

Salmi a 6 [C1267] 1590 2v: Feliciani, Andrea Salmi [F201/15909] 1590 1v: Gabrieli, Andrea Mad. a 3 [G70] 1590 5v: Gabrieli, Andrea Madrig. e ricercari a 4 [G78] 1590 6r: Giovanelli, Ruggier Mad. p. a 4 [G2462] 1590 2v: Isnardo, Paolo Salmi a 4 [I112] 1590 6r: Mazza, Francesco Mad: a 6 [M1503] 1590? 1v: Mel, Rinaldo del Mad. p. a 3 [Milano, Tini; Vogel et al., Biblio-grafia 711bis] 1590 6r: Monte, Filip. di Mad: 14. a 5 [M3383] 1590 6r: Monte, Filip: di Mad. spirituali 3. a 6 [M3323] 1590 6r: Monteverde, Claudio Mad: 2. a 5 [M3456] 1590 3v: Palestina [sic], Gio. Mottetti p. a 5,6,7 [P703] 1590 6r: Tresti, Flaminio Mad: 3. a 5 [T1173] 1590 5v: Vecchi, Horatio Canzonette 4. a 4 [V1027] 1590 3v: Vecchi, Oratio Mott: a 4,5,6,7,8 [V1005] 1590 6r: Vecchi, Oratio Selva di varia ricreation a 3.4.5.6.7.8.9.10 [V1044/159031] 1590 4r: Waningo, Io: Mott: a 5 a 6 [W206] 1590 3r: Zalamella, Pandolfo Responsorij a 4 [Lost; see Pitoni, Notitia, 127] 1591 6r: 1591 2r: 1591 6r: Bonini, Pier'Andrea

Canzon ruzina a 6 [159123] Graduale romano di canto fermo  . . .justo il rito del missal novo [Crawford and Borders, Renais-sance Liturgical Imprints: 746] Mad: a 5 [B3493/159117]

 

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Canzon a 3 1591 1v: Draghi, [D3488] Bernardin Magnificat a 4 a 8 & 12 1591 2v: Feliciani, [F201] Andrea Mad. 4., a 5 & a 6 1591 6r: Guami, [G4805] Gioseffo Madrig. a 4 1591?4v: Kisler, Io:[Acc. to Göhler, Verzeichnis, 21, no. 428: Giov. Giacomo Khisel. Musica il pr. lib. de Iacomo madr. & motetti, à 4. & 5. v . . .Venetia, appr. Amadini. 4. 1591; Heussner and Schultz, Collectio Musica, 83, #608, give full title and date of 1591, but no printer] 1591 2r: Lasso, Messe a 5, a 6 Orlando [L997] 1591 6r: Leoni, Mad: 2. a 5 Leon [L1990] Mad: 5. a 6 1591 6r: Marenzio, [M515/159121] Luca Canzoni a 4 1591 5v: Mazzoni, [M1685] Marc'Ant: Mad: 6. a 6 1591 6r: Monte, [M3384] Filip. di Mad: 7. a 6 1591 6r: Monte, [Vogel et al., Bibliografia 799] Filip: di Magnificat a 4 1591 2v: Palestina [P745] [sic], Gio. Mott: a 5 1591 4r: Peetrino, [P1141] Iacobo 1591 3v: Porta, Mott: a 4 Costanzo [P5173] Magnificat a 8 & 12 1591 2v: Quintiani, [Q115] D. Lucretio 1591?1v: Tollij, Motetti a 3 Ioannis [T911 (a 5); if so, a dupl. of entry on 4r] 1591 4r: Tollij, Mott: p. a 5 Io: [T911] 1591 4r: Tollij, Mott: 2. a 5 Io: [T912] Canzonette p. a 4 1591 5v: Vecchi, [V1014] Horatio Mad. p. a 6 1591 6r: Vecchi, [V1042] Oratio

1591 5v: Vilani, Gabriel

Toscanelle 2. a 4 [V1550]

 

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?7r: Asola, Gio: Matteo ?2v: Baccusio, Hippolito ?7r: Baseo, Anton ?7v: [Borsaro] da Reggio, Archangelo ?6v: Cavaccio, Gio: ?8v: Celidonio Vicentino, Ieronimo ?7v: Cima, Bernardin ?5v: Dueto, Antonio ?4v: Farina, Francesco ?8r: Galli, Sisto ?2v: Gio: Dominico di S. Gemini ?6r: Giovanelli, Ruggier ?8r: Magri da Bologna, Paulo ?5r: Pesenti, Benedetto ?8r: Petosa, Antonio ?5r: [Rore], Cipriano ?3v: Stabile, Annibale ?1v: Tollij, Ioannis ?8v: Tromboncino

Madrig. spirituali a 5 Salmi a 4 [2. lib., 1594, Amadino, B30; 3. lib., 1594, Verona, Dalle Donne, B31] Madrig, 2. a 5 Madrig, a 5 [Identity taken from Sampaio, Livraria, 2:127] Madrig. 3. a 5 Intabolatura di Liuto . . .sopra Tutti li Madrig: de Cipriano Rore a 4 [Unknown; but perhaps there is a connection here with Dalla Casa's two 1584 volumes, which contain quite a few intabulations of pieces by Rore: see H. M. Brown, Instrumental Music, 15841-2, RISM, Einzeldrucke, 1:49.] Madrig, a 5 Madrig. p. a 4 [2. lib., 1586, above] Madrig. a 4 Madrig, a 5 Salmi a 5 Mad: 2. a 5 [First surviving ed. Angelo Gardano, 1593, G2479] Madrig. a 5 Vergine a 4 Madrig, a 5 Quinta parte aggionta alli mad: p: [A lost ad libitum 5. voce?] Mott: p. a 5,6,8

Motetti a 3 [?1591 a 5 (T911); an ed. a 3 was publ. in Heidelberg, 1597 (T913)] Intabolatura da cantar in liuto [H. M. Brown, Instrumental Music 157?that entry is based on the Angelo Gardano Indice, but it seems unlikely that these pieces were by Ippolito Tromboncino as he suggested; see also Draud, Biblioteca, 1613.] ?8r: Zacchardi, Madrig, a 5 Florio

 

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NOTES Notes to Chapter 1 1. See Krummel and Sadie, Music Printing and Publishing, 83. Krummel, ''Printing and Publishing," represents an earlier version of this material; here reference will be made to Krummel and Sadie, Music Printing and Publishing alone. 2. Borsa, in Clavis Typographorum, 1:1556, 2:244, 263, 276, mistakenly indicated the opening year of the Gardano heirs production (1570 instead of 1569), the beginning of Alessandro's printing activity under his own name in Venice (1576 instead of 1577), as well as the concluding year for Alessandro's Venetian printing activity (1583 instead of 1581). 3. T. Carter, in "Music-Selling," 486, n. 12, suggested an attrition rate for lost publications at about 15%20%. My analysis of the Angelo Gardano Indice (the checklist of publications to be found at the Gardano bookshop) would indicate an attrition rate closer to 5%10% for books printed by Angelo Gardano. 4. See Pompilio, "Editoria musicale a Napoli," 81. I have rounded off the numbers here; Pompilio's figures are far too precise to be accurate. 5. The checklists in Appendices I.A and I.B provide the basis for these figures; see also Tables 9.29.4. 6. Let it be noted that between 1569 and 1611 Angelo Gardano issued 150 more editions of music than the last ten firms on this list combined! For bibliographical catalogues and other information regarding these printers, the reader is directed to M. Lewis, "Antonio Gardane" and Antonio Gardano; Bernstein, The Scotto Press; Lesure and Thibault, Adrian le Roy et Robert Ballard; Vanhulst, Pierre Phalèse; Heartz, Pierre Attaingnant; Jackson, "Berg and Neuber"; Weaver, Descriptive Bibliographical Catalogue and Waelrant and Laet; Meissner, Antwerpener Notendrucker and Forney, "Tielman Susato"; Cusick, Valerio Dorico; Pogue, Jacques Moderne; Edwards, "Claudio Merulo"; Teramoto and Brinzing, Johannes Petreius; and Stellfeld, Éditions musicales plantiniennes; all passim. 7. Eitner, in Quellen-Lexikon, 4:1503, estimated for Antonio Gardano 60 editions (15381569); for the heirs 8 (15701575); for Angelo about 35 (15761606); and for Alessandro, 9 (15831591). Sartori (in Sartori, "Dinastia," passim; Sartori, Dizionario, 74; Sartori, "Gardane (Gardano), Antonio," cols. 13778) pointed to the 351 entries in the Gardano trade list of 1591 as evidence of the output of the firm (although the booklist actually contains the names of about 450 publicationssee Appendix II for more discussion of the Angelo Gardano Indice). Thomas Bridges tentatively proposed that the output of Angelo Gardano "was even greater than his father's" (see Bridges, "Gardane [Gardano]," 159), but he seems to have accurately gauged Alessandro's musical production. Krummel rated the production of the Gardano brothers as "prodigious," the total nearing 3,000 for  

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the entire life of the firm for over a century, and maintained that Angelo's production totals reached 30 just before 1600 (in Krummel and Sadie, Music Printing and Publishing, 83). In reality, Angelo's total comes to nearly 40 musical publications as early as 1587, and at least 30 for a number of years before that (see Table 9.3, and Appendix I.A). 8. Fumagalli referred to Angelo and Alessandro merely in passing as successors to their father (in Fumagalli, Lexicon Typographicum Italiae, 486). Pastorello, apparently unfamiliar with Eitner's work and relying only on editions that she had seen, placed the entire output of the heirs at 12 editions (157075), Angelo's at 30 (157698), and Alessandro's at 2 (158183; see Pastorello, Tipografi, editori, librai, 3940cf. criticisms of Pastorello's work in Quondam, "'Mercanzia d'onore'," 567). Ascarelli avoided mentioning precise numbers, but evidently relied on Pastorello for her figures (in Ascarelli, Tipografia cinquecentina, 192); the updated version of the same book, however, more closely reflects the dates of the brothers' activity (see Ascarelli and Menato, Tipografia del '500, 125, 3723). Unfortunately, even as late as 1977, we still can find absurd numbers, probably taken directly from Pastorello's outdated work: "Antonio published 29 editions between 1539 and 1569; the sons of Antonio, 12 editions between 1570 and 1575, and Angelo, 30 editions between 1576 and 1599" (in Grendler, Roman Inquisition, 23, n. 81). 9. Chrisman, in Lay Culture, 4, considered any printer that produced over 100 books "major," and Grendler, in Roman Inquisition, 4, deemed those publishers issuing 900 to 1,000 editions (like the Gardano heirs) "giants"; but keep in mind that the giant Gardanos stood on the shoulders of their father Antonio. 10. As enumerated in Dreyfus, Type Specimen Facsimiles, 1:x. Few scholars studying old books have access to the wide variety of documents available for institutions such as the presses of Plantin and the University of Cambridge (see Voet's Golden Compasses, esp. vol. 2, The Management of a Printing and Publishing House in Renaissance and Baroque, also his Plantin Press, iii, and McKenzie, Cambridge University Press, passim, and his "Printers of the Mind," 7). 11. Some striking approaches have been taken in recent decades by Stanley Boorman, who, in "Petrucci's TypeSetters" and elsewhere, explores the various scribal habits of different type-setters in Petrucci's Motetti de la Corona I; he does the same for the early career of Antonio Gardano in "Some Non-Conflicting Attributions," both passim. 12. See Schmid, Ottaviano dei Petrucci, Haberl, "Drucke von Ottaviano Petrucci," Vernarecci, Ottaviano de' Petrucci, and Vogel, "Notendrucke." No purpose would be served here by listing the numerous references to Petrucci from the twentieth century (for such a list, see Krummel and Sadie, Music Printing and Publishing, 3689), but certainly the most innovative approaches to Petrucci publications in recent years have been taken by Stanley Boorman in his dissertation (Boorman, "Petrucci at Fossombrone: A Study") and in a number of important articles (see the numerous entries in the Select Bibliography). 13. Boorman, in "Case of Work and Turn," 3045, 31920, "Petrucci at Fossombrone: The Motetti," 299, and "Petrucci at Fossombrone: A Study," passim, suggests that while the earliest Petrucci editions printed at Venice were in three separate impressions, as admitted by Petrucci himself, evidence of the later editions printed in Venice and Fossombrone would imply that only two impressions were needed. 14. See, for instance, the list of bibliographical works in note 6 above. 15. In addition, some scholars are now beginning to focus on music printing in the incunabulum period before Petrucci; see, for instance, Duggan, Italian Music Incunabula. 16. See the Angelo Gardano Indice; the entry in my bibliography describes the various facsimiles and transcriptions that have been made of the Indice through the years. Appendix II treats the trade list extensively. Mischiati, in Indici, 17ff., presented transcriptions of such trade lists issued by music printers, with varying degrees of accuracy, from 1591 onward. 17. Beltrami, "Lineamenti di storia," and Beltrami, Storia della popolazione di Venezia, provide comprehensive

data on the population of the Veneto during the period in question; Beltrami, in Storia della popolazione di Venezia, 68ff., also compared these data to those available for other regions in Italy.  

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Notes to Chapter 2 1. From his Discorso sopra la prima Deca di Tito Livio, lib. ii, cap. 19; quoted in Sestan, "Politica veneziana," 613, n. 1; see also 635, n. 2, for additional historical quotations concerning Venetian decline. 2. For the famous quote from Priuli's diaries, see, among other sources, Fanfani, Storia del lavoro, 267; Ventura, "Aspetti storico-economici," 656; and Woolf, "Venice and the Terraferma," 4278. 3. See Livi et al., "Problème d'histoire," 289ff. Braudel pointed to the year 1501 as the traditional date of the beginning of Venice's long period of decadence, but he added that the research conducted in the last decades had changed this outdated view (in Braudel, "Vita economica," 834). 4. As explored by Livi et al. in "Problème d'histoire," 294ff. 5. See Molmenti, Lo splendore, 9f., under the heading "Principî di decadimento." 6. Molmenti, in Lo splendore, 553ff., discussed these perceived abuses under the rubric "La corruzione del costume." He does, however, save his final judgment of decadence for the last part of his three-volume work, entitled simply "Il decadimento." 7. From Chambers and Pullan, Venice, 1678. 8. See Cozzi, Doge Nicolò Contarini, 31112, cited in Sella, "Declino dell'emporio realtino", 99; translation from Sella, "Crisis and Transformation", 88. 9. From James Howell, A Survey of the Signorie of Venice (London, 1651), 3940, and John Raymond, Il Mercurio Italico: an Itinerary . . .through Italy in the years 1646 and 1647 (London, 1648), 2034; cited in Sella, Commerci e industrie, 701. 10. I am indebted to the clear exposition and elaboration of these principles in Rapp, Industry and Economic Decline, 4ff. 11. Some Gardano editions in library collections of Germany and Spain, for instance, owe their presence there to sixteenth-century patterns of distribution and aquisition; see Appendix I. 12. As suggested by Braudel in "Vita economica," 1012. 13. Not everyone would agree with Braudel and others concerning the prosperity of Venice in the late 1500ssee Fenlon, "Foglio volante editoriale," 23940; Stella, "Crisi economica veneziana," 17; and Woolf, "Venice and the Terraferma," 4312. The latter suggested that the continual crises and recoveries of the sixteenth century contradict Braudel's conclusion that the later sixteenth century was one of prosperity for Venice. Woolf termed it "a generally extremely troubled period.'' I would maintain that most research of the last four decades, however, would tend to support Braudel's hypothesis. 14. Cf. Clark, European Crisis, 6ff., and for Italy in particular, N. S. Davidson, "Northern Italy," passim. 15. Braudel, in Mediterranean World, 230, argued that the entire Mediterranean basin remained free from the spectre of decadence until the opening decades of the 1600s; G. Luzzatto, Storia economica, provided a detailed analysis of the Venetian economy from the early Middle Ages through the Renaissanceunfortunately, the book concluded immediately before this period was considered; Quazza, Decadenza italiana, 3547, offered a capsule summary of relatively recent literature that dealt with Venetian decadence (see also Bulferetti, "Problema della 'decadenza' italiana"); Romano, in "Storia economica", presented a brief summary of the entire economic situation in Italy from the fourteenth through the eighteenth centuries; Aymard, "Fragiltà di un'economia avanzata", covered some of the same material, although in the context of Italy as a whole; Branca and Ossola, in Crisi e rinnovamenti, presented a number of different perspectiveshistorical, social, political, and artisticon this "crisis and renovation in the autumn of the Renaissance in Venice;" see also Krantz and Hohenberg, Failed Transitions; finally, Grubb, in

"When Myths Lose Power," dealt at length with the historiographical treatment of Venetian decadence in the last few decades of the twentieth century.  

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16. For a summary of these conflicts that takes account of the most recent research, see Cozzi et al., Repubblica di Venezia, ii, 40ff., 53ff., 117ff. 17. See Ashtor, Levant Trade and "Venetian Supremacy," both passim. 18. See Barkan, "Déclin de Venise," passim; Braudel, Mediterranean World, 342; and Braudel et al., "Déclin de Venise," 36. 19. As maintained by Braudel in Mediterranean World, 8456. 20. These issues were discussed in Beltrami, Penetrazione economica, 46ff.; Chambers, Imperial Age, 54ff.; Cozzi et al., Repubblica di Venezia 1, passim; Lane, Venice: A Maritime Republic, passim; G. Luzzatto, Storia economica, 162ff., 242ff.; Rubinstein, "Italian Reactions," 198ff.; and Woolf, "Venice and the Terraferma," 429ff. 21. Sella, "Crisis and Transformation," 89. 22. As discussed in Braudel, "Vita economica," 96; Cozzi, Doge Nicolò Contarini, 349; R. Davis, "Influences de l'Angleterre," 186; Lane, ''Mediterranean Spice Trade," 5837, "Venetian Shipping," 219, 2267, and Venetian Ships, 140ff., 2434; G. Luzzatto, "Decadenza di Venezia," 1659, and Storia economica, 2401, 2546; Sella, Commerci e industrie, 3, 6 (n.4), "Crisis and Transformation," 89, and "Declino dell'emporio realtino," 100, 109; Stella, "Crisi economica Veneziana," 406; Tadic, "Commerce en Dalmatie," 251; and Tucci, "Ciclo d'affari," passim. 23. Of course, not all trade was conducted over the sea. In the closing decades of the Cinquecento, most Mediterranean powers relied upon land routes as often as possible to avoid the problems associated with maritime piracy. For delivery of much of its merchandise, Venice used an overland route from Livorno across the Italian peninsula (for raw Spanish wool), a land route from Naples, and a new land route through the Balkans from the Adriatic to the Bosphorus. See Braudel, Mediterranean World, 129ff., 1423, 28493, 308ff., 880ff.; Cozzi, Doge Nicolò Contarini, 323ff.; Lane, "Marine marchande," "Venetian Shipping" (esp. 2346), Venetian Ships (esp. 217ff.), and Venice, passim; Romano, "Marine marchand," passim; Sella, Commerci e industrie, 1621; and Tenenti, Piracy, passim. For an update of older writings and a reexamination of new material on the Venetian Arsenale and shipbuilding in the sixteenth century, see R. C. Davis, Shipbuilders. 24. I borrow these three categories from Kellenbenz, "Déclin de Venise," 111. 25. See Braudel, "Vita economica," 87; Kellenbenz, "Déclin de Venise," passim; G. Luzzato, Storia economica, 2545; Sella, Commerci e industrie, 11, and "Crisis and Transformation," 8990; and Stella, "Crisi economica veneziana," 468, 65. Furs seem to have been the primary import for overland trade in exports with the Hanseatic cities; see Dollinger, German Hanse, 2589, 4245. 26. For population figures of the period, consult Beloch, Popolazione d'Italia, passim; Beltrami, Penetrazione economica, 12, and Storia della popolazione di Venezia, 71; Braudel, "Vita economica," 96ff.; Sella, "Industrie europee," passim; and Woolf, "Venice and the Terraferma," 416. According to Beloch, the Papal States vied with Venice and the Terraferma in terms of size, while the Kingdom of Naples ranked as the zone with the largest population in Italy with 2,700,000 inhabitants at mid-century. 27. From a paltry 1,310 pieces of cloth in 1516, Venetian manufacturers took advantage of the depopulation and devastation inflicted elsewhere by the terrible Italian wars in the first half of the century to increase their production of woolen cloth to an astounding 28,729 pieces in 1602, from which the level of production would again decline to a mere 1,922 in 1713 (see Sella, Commerci e industrie, 117ff., and "Rise and Fall," 10817). 28. The courts and upper middle classes of both the East and West sought Venetian silk woven from silver and gold thread. At the apparent height of the silk trade in 159596. Venice imported almost 500,000 lbs. of raw silk from Syria and Persia, both for the busy looms of its silk manufacturing industry (2,397 pieces measuring over 700,000 meters in 1602) and for reexport. The vitality of this sector contrasts markedly with the more established silk industry in Florence, then in decline (see Braudel, Mediterranean World, 4312;  

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G. Luzzatto, "Decadenza di Venezia," 1778, and his Storia economica, 258; and Sella, Commerci e industrie, 1113). 29. See Braudel, Mediterranean World, 4278; Braudel et al., "Déclin de Venise," 513; G. Corti, "Industria del vetro," 6523; N. S. Davidson, ''Northern Italy," 160; G. Luzzato, Storia economica, 258; Rapp, Industry and Economic Decline, 610; Sella, Commerci e industrie, 34, 1324, "Declino dell'emporio realtino," 100, "Industrial Production," 236, and "Rise and Fall," 107. 30. On these developments, the reader is referred to G. Luzzatto, Storia economica, 2612; Rapp, Industry and Economic Decline, 9; Sella, "Industrie europee," 288, 300; Sestan, "Politica veneziana," 40; and Touring Club Italiano, Venezia, 15884 and passim. 31. As explored in his Venetian Printing Press, 97100. Brown did maintain, however, that the music presses were not affected by what he saw as a general downturn in the printing industry at the end of the century, although in this passage he failed to mention the prolific output of Angelo Gardano (1078). 32. See Grendler, Roman Inquisition, 225ff. 33. In G. Luzzatto, Storia economica, 260, the author has no recourse but to refer back to the antiquated works of Cicogna and Pastorello. He estimated the publication of 4416 editions in the last half of the century, an average of about 90 editions total from Venetian presses in each year. But Angelo and Alessandro Gardano alone issued close to 1,000 editions in Venice, including at least 38 musical editions from the press of Angelo Gardano in 1587 (see Appendix I.A). In 1575 the Gardano firm seems to have maintained only two printing presses; given the other, larger printing concerns in Venice at the time, it is clear that these general estimates of Venetian book production prove nearly useless. 34. I discuss these issues in my "Privilege and Venetian Music Printing," 1278, and "Venetian Privilege and Music-Printing," 35. 35. See Grendler, Roman Inquisition, 225ff. 36. Eisenstein, in Printing Press, 1:60, makes the same point with earlier printers, that "they not only sought ever larger markets for their own products; but they also contributed to, and profited from, the expansion of other commercial enterprises." Here, of course, the spread of water-powered mills for pulping rags for paper, the presence and diffusion of optical glass (a specialty of Venice), and the growing schooling systems would have contributed a great deal to the spread and profitability of printing (see Cipolla, Before the Industrial Revolution, 179). 37. See Kellenbenz, "Déclin de Venise," 12730. 38. For more details on these topics, consult Beltrami, "Ricordo del Priuli," passim; Braudel, Mediterranean World, 531, and "Vita economica," 8990, 101; Chambers and Pullan, Venice, 174-5; U. Corti, "Francazione del debito pubblico," passim; Cozzi, Doge Nicolò Contarini, 313ff.; N. S. Davidson, "Northern Italy," 164; Lane, "Public Debt," passim; G. Luzzatto, "Decadenza di Venezia," 166, and his Storia economica, 154-5; Pullan, "Occupations and Investments," 383ff.; Sella, Commerci e industrie, 1, and "Declino dell'emporio realtino," 99; Stella, "Crisi economica veneziana," 19-20; Tucci, "Banco della Piazza di Rialto," passim; and Woolf, "Venice and the Terraferma," 437. 39. A conference held in Venice during June and July of 1957, one that included many of the most important scholars of sixteenth- and seventeenth-century Venetian history, was unambiguously titled "Aspetti e cause della decadenza economica veneziana nel secolo XVII;" its proceeds are published in Aspetti e cause. Richard Tilden Rapp, in a fascinating study that deals with the issue of relative vs. absolute decline, avoids the typical focus of historians, "When did decadence occur?" for the intriguing question "Was Venice worse off at the end of the seventeenth century?" (Rapp, Industry and Economic Decline, 1-2, and passim). 40. See Pompilio, "Editoria musicale in Napoli," 81.

41. As discussed in Bellettini, "Publishing in the Provinces," 293 and passim; Bianconi, Seicento, 7582; and Krummel, English Music Printing, 1112, and his "Musical Functions," 328. See Koenigsberg, "Decadence or Shift?," esp. 9ff., for an idiosyncratic analy 

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sis of the exalted artistic position of Venice as opposed to a general cultural decline elsewhere in Italy after the Renaissance. 42. For preliminary discussions of these immense topics, see Aspetti e cause, 4, 910; Braudel, Mediterranean World, 233, 6846, 893, and "Vita economica," 92ff.; Braudel et al., "Déclin de Venise," 25ff.; Clark, European Crisis, 8f., 26ff.; N. S. Davidson, "Northern Italy," 15860; Fanfani, Storia del lavoro, 436; Le Roy Ladurie, Times of Feast, passim; Utterström, "Climatic Fluctuations," 28ff.; and Woolf, ''Venice and the Terraferma," 436, n. 65. Richards, Precious Metals, offers a number of articles that explore the issue of the influx of precious metals on the economies of Europe, Asia, and the New World during this period. 43. See Beltrami, Penetrazione economica, 89; Braudel, "Vita economica," 979; N. S. Davidson, "Northern Italy," 1635; J. C. Davis, Decline of the Venetian Nobility, 40ff.; Fanfani, Storia del lavoro, 429; Hobsbawm, "Crisis," 18; Logan, Culture and Society, 234; G. Luzzatto, "Decadenza di Venezia," 1634, and Storia economica, 162ff., 251ff.; Sestan, "Politica veneziana," 40; Stella, "Crisi economica veneziana," 20ff.; Tucci, "Psychology of the Venetian Merchant," Ventura, "Aspetti storico-economici" and "Considerazioni"; and Woolf, "Venice and the Terraferma," all passim. A restructuring of the agricultural sector occurred across Europe in this period, as mentioned in Clark, European Crisis, 156. As previously indicated, as early as 1509 Girolamo Priuli had already lamented the neglect of maritime commerce and a turn to landed investment by Venetian nobles. 44. By the 1620s the English shipped about 6,000 pieces of high-quality broadcloth to the Levant on an annual basis and thereafter increased its exports, while Venetian production declined from about 28,719 pieces of fine cloth in 1602 to 1,922 in 1713, roughly where production had stood two centuries earlier. See Cipolla, "Economic Decline," 13741, R. Davis, "Influences de l'Angleterre," 201ff.; Hobsbawm, "Crisis," 1820; and Sella, "Rise and Fall," 10910, 11520. Mackenney, Tradesmen and Traders, 122ff., and Rapp, Industry and Economic Decline, 112ff., contest the role of the guilds in promoting stagnation of commerce. Rapp places the blame squarely on the Venetian government. 45. Consult Beltrami, Penetrazione economica, 9; Braudel et al., "Déclin de Venise," 51ff.; Rapp, Industry and Economic Decline, 12; and Sella, Commerci e industrie, 846, 12331. 46. See Barkan, "Déclin de Venise," passim; Braudel, Mediterranean World, 342; Sella, Commerci e industrie, 29ff., 613; and Sella, "Rise and Fall," 11820. 47. Beutin, "Décadence économique," 889; Braudel et al., "Déclin de Venise," 74; and Kellenbenz, "Déclin de Venise," passim, detail aspects of these German-Venetian trade connections. 48. See Braudel et al., "Déclin de Venise," 75; Cipolla, "Economic Decline," 1402; Comune di Venezia, Venezia e la peste, passim; Kellenbenz, "Déclin de Venise," passim; Sella, Commerci e industrie, 513; and Sella, "Crisis and Transformation," 978. 49. Aspects of this capitulation in the spice trade were explored in R. Davis, "Influences de l'Angleterre," 186, 190ff., 197; G. Luzzatto, "Decadenza di Venezia," 1745; and Sella, Commerci e industrie, 49, 239, 34ff., "Crisis and Transformation," 907, and "Declino dell'emporio realtino," 1023. Since the French also exploited the eastern Mediterranean for their spice trade, it is not surprising that by 1628, the English and Dutch supplied spices to the French as well (Braudel et al., "Déclin de Venise," 589). 50. See Beutin, "Décadence économique," 989; R. Davis, "Influences de l'Angleterre," 196; Rapp, Industry and Economic Decline, 11; and Sella, "Crisis and Transformation," 95. 51. As discussed in Beltrami, Penetrazione economica, 910; Beutin, "Décadence économique," 88; Cipolla, "Economic Decline," 127, 132, 141; R. Davis, "Influences de l'Angleterre," 20911, 2259; Ferraro, Family and Public Life, 415; Kellenbenz, "Déclin de Venise," 17880; G. Luzzatto, Storia economica, 258; Mattozzi, Produzione e commercio, passim; Poni, "Archéologie de la fabrique," passim; Rapp, Industry and Economic Decline, 108, 1402, 156; and Sella, Commerci e industrie, 55, 668, 758, 879, 114ff., 12331, "Crisis and Transformation," 1003, "Declino dell'emporio realtino," 1138, "Industrial Production," 23746, and "Rise and Fall,"

10811.  

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52. See Cipolla, "Economic Decline," 143, and R. Davis, "Influences de l'Angleterre," 2289. Brian Pullan has suggested that the growing divergence between the commercial fortunes of northern and southern Europe during the seventeenth century might be broadly attributable to countries of the Mediterranean putting religious orthodoxy above economic performance, while the countries of the Atlantic seaboard fostered more open societies that tolerated outsiders and minorities of differing persuasions in the cause of economic growth (Clark, European Crisis, 18; Pullan, "Roles of the State," 2967). This proposal seems to derive from Weber's famous hypothesis regarding the Protestant ethic (M. Weber, Protestant Ethic, passim). Schama, Embarrassment of Riches (pp. 297, 3223, and passim), however, finds little in Dutch life and culture to support that thesis. Rather than couching the causes of the decline of Mediterranean economies in religious terms, it seems far more likely that the older, established, and more regulated markets of the Mediterranean simply could not successfully compete with the new, unfettered commerce of the North (Beutin, ''Décadence économique," 91). Rapp, "Unmaking of the Mediterranean," passim, also explored many factors involved in the decline of the Mediterranean and Venice in particular, and convincingly maintained that the cost reduction effected by northern powers, not their religion, was the major factor in their commercial success. Certainly the government regulation of printing in Geneva seems to have been as strict as that farther South; see Kingdon, "Business Activities," 26874. 53. See Rapp, Industry and Economic Decline, 4ff.; Sella, "Crisis and Transformation," 101ff.; and Sestan, "Politica veneziana," 44ff. Notes to Chapter 3 1. These issues are treated by Pullan in his Rich and Poor, 2889, and "Wage-Earners and the Venetian Economy," 1512, 164. For a contemporary description of the shortages of food, and the rioting and disease that followed, see Chambers and Pullan, Venice, 10813. 2. See Helleiner, "Population of Europe," 54; Rodenwaldt, Pest in Venedig, 172 (290); and Sartori, "Dinastia," 176, 183. 3. The war and its effect on printers was mentioned by T. Carter in "Music Publishing in Italy," 236. See Bryant, "Andrea Gabrieli," and Fenlon, "In destructione Turcharum," for discussions of musical celebrations of the victory at Lepanto. 4. Such rapid recoveries appear to have been typical of many printing firms, and what is surprising is the normality of most business operations in the Renaissance even during crisis. For instance, Plantin, even during the Spanish Fury, seems to have had little difficulty persuading his creditors to accept real property on both sides of the battle line dividing the Low Countries, and interest rates were still quite modest (see Kingdon, "Christopher Plantin," 308). 5. The estimates of the Venetian population at the advent of the plague have varied from author to author. Among others, see Beloch, "Populazione di Venezia," passim; Beltrami, "Lineamenti di storia," passim, and Storia della popolazione di Venezia, 57 and passim; Comune di Venezia, Venezia e la peste, 97; and Rodenwaldt, Pest in Venedig, 170ff. and passim. 6. H. F. Brown, Venetian Printing Press, 2389, indicated that the issuance of printing privileges by the Venetian Senate came to a complete halt in that year; see also Pullan, Rich and Poor, 317. Although no Senate privileges were issued for music books in 1577, the Riformatori dello Studio di Padova and the Venetian Council of Ten continued their censorship duties in that year; see my articles "Privilege and Venetian Music Printing," 2956, and "Venetian Privilege and Music-Printing," 36. 7. See Comune di Venezia, Venezia e la peste, 139. Girolamo Savina had been the notary for the Gardano family since at least 1577; see Archivio di Stato di Venezia (hereafter ASV), Archivio notarile, Atti, Girolamo Savina, b. 11887, ff. 28r28v.  

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8. This plague epidemic was treated in Comune di Venezia, Venezia e la peste, 1556; Mattozzi, Produzione e commercio, passim; Pullan, Rich and Poor, 3167; Pullan, "Wage-Earners and the Venetian Economy," 149; and Sella, "Industrial Production," 242. In Comune di Venezia, Venezia e la peste, 12930, a printed document shown at the Venetian plague exposition of 1979 shows that, notwithstanding the denials by the Venetian government over plague in the city, in June of 1576 Milan put a halt to all commercial dealings with Venice and the surrounding Terraferma territories affected by the epidemic. 9. Resumption of normal work roles was discussed in Beltrami, "Lineamenti di storia," passim, his Penetrazione economica, 24, and Storia della popolazione di Venezia, passim; Helleiner, "Population of Europe," 84; Hirst, Conquest of Plague, 14; Pullan, "Plague and Perceptions," 108, his Rich and Poor, 3223, and "Wage-Earners and the Venetian Economy," 159 and passim; and Chapter 7. 10. The Priuli comment was treated in Fanfani, Storia del lavoro, 267; Stella, "Crisi economica veneziana," 201; Ventura, "Aspetti storico-economici," 656; and Woolf, "Venice and the Terraferma," 4278. 11. See Woolf, "Venice and the Terraferma," 4345. Slicher van Bath, Agrarian History, 1967, adhered to the notion that the great population increase caused the discrepancy between the quickly inflating agricultural prices on one hand the more sluggish growth of industrial prices and wages on the other. 12. For some discussions of investment in land, see N. S. Davidson, "Northern Italy," 1645; Stella, "Crisi economica veneziana," 278; and Ventura, "Aspetti storico-economici," 67. Rapp, "Real Estate," 290, called the 3.5%5% return for agricultural investments and the 6.4% as a long-term average for commerce in "close proximity'' (!). 13. See G. Luzzatto, Storia economica, 2534, and Tucci, "Psychology of the Venetian Merchant," passim. 14. Consult Livi et al., "Problème d'histoire," passim, for an analysis of the historiography of decadence, and specifically as it relates to investments in land (294ff.). 15. As detailed by Aymard in Venise, Raguse, 78ff.; Beltrami, Storia dell'agricoltura, 30ff.; Braudel, Mediterranean World, 1241; Dal Pane, "Politica annonaria," 342ff.; Lane, Venice: A Maritime Republic, 3067; Mattozzi et al., "Politico e il pane," 2778; and Stella, "Crisi economica veneziana," 19ff. 16. See Beltrami, Storia dell'agricoltura, 33; Stella, "Crisi economica veneziana," 207; Ventura, "Aspetti storicoeconomici," 68, and "Considerazioni," 689; and Woolf, "Venice and the Terraferma," 4202, 437 (2.47 hectares constitute an acre). 17. For more on land acquisition, refer to Beltrami, Penetrazione economica, 513; Braudel, Mediterranean World, 599; and Woolf, "Venice and the Terraferma," 4201. Beltrami, Penetrazione economica, 512, cited Pietro Morosini, Capitano of Padua, who wrote in 1611 that Venetian nobles, citizens, and people held one-third of lands in the Padovano; the Church one-third; and one-third were held by the Padovani; Woolf, "Venice and the Terraferma," 424, cited figures for 1661 (from Beltrami's work) indicating about 70% of this land was owned by the patriciate, 23% by other Venetian citizens or residents, and about 5% by the Church, although he cautions that the ecclesiastical holdings were probably underestimated. 18. A rivalry documented in Braudel, Mediterranean World, 245. Sicily even blocked grain shipments to Venice in 1590, and the Serenissima was forced to turn to the North for grain supplies (Aymard, Venise, Raguse, 155ff.). 19. See Cozzi, Doge Nicolò Contarini, 312; N. S. Davidson, "Northern Italy," 163; and Pullan, "Wage-Earners and the Venetian Economy," 1545. Aymard, Venise, Raguse, 1123, presented a chart of all grains entering Venice for the period 1566 to 1595. From around 69% of its total consumption of grain imported during 1566, by 1594 only 24% came from outside of Venice and its dominions. 20. More details on these exports may be found in Beltrami, Storia dell'agricoltura, 213, 49; Dal Pane, "Politica annonaria," 337; and Woolf, "Venice and the Terraferma," 419.  

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21. From Doni's Attavanta, Villa, cited in Molmenti, Lo splendore, 362; in adjacent pages Molmenti provides an elegant exposition of the Venetian ideal of the villa; see also Ventura, "Aspetti storico-economici," passim. 22. See Chapter 8, and Sartori, "Dinastia", 191. Angelo Gardano reported that he received about ten stara of wheat in his tax declaration of 1582. It has been estimated that 4 stara (or staia) of wheat would feed one person annually, and thus the amount of wheat that Angelo received would feed more than two people for the whole year. The longest that he could have stored even the best quality grain was for two years. Wheat could only be sold legally in those places so designated by the Venetian Signoria, but doubtless an extensive black market trade in grain might have been found in times of plenty (Mattozzi et al., "Politico e il pane," 278, 281). Woolf, "Venice and the Terraferma,'' 439, pointed out that leasing of property was clearly widespread in the seventeenth century, and wondered whether rent payments were made in money or in agricultural products. Already by 1582, as is clear in his tax declaration, Angelo Gardano was leasing many of his mainland properties and taking payments in both forms. 23. Also see Sartori, "Dinastia," 182. Cheese and butter making were clearly a part of villa life (Ventura, "Aspetti storico-economici," 73), but it is not clear whether transporting milk from the Terraferma to Venice would have been practical for the Gardano family. 24. In Rosci, "Forme e funzioni," passim, photographs of villas (probably somewhat larger than the Gardano villa) feature a tower as the colombaia. 25. Palladio described two essential buildings in what he considered a true villa: one in which the owner and his family lived, and another for the functions dealing with the agricultural output and the animals (Ventura, "Aspetti storico-economici," 723). Obviously, the Gardano country house was not a villa of this magnitude, but with its space for doves it combined the roles of both buildings in the Palladian plan. And yet the Gardano villa seems to be relatively large by some standards. Tommaso Garzoni (Piazza univerale, 1665) maintained that the identity of the contemporary nobility itself "consists of having a vineyard on four pertiche of land [slightly over 1,000 sq. ft.], with a cottage in the middle where one sometimes goes for pleasure" (Tucci, "Psychology of the Venetian Merchant," 350). See Cavalca, "Evoluzione della casa," passim, for descriptions of country dwellings in the Veneto; a contemporary drawing of houses similar in size to the Gardano country dwelling may be seen on p. 32 of that article, at the far right of Fig. 5; that on p. 40, at the far right of Fig. 11, is particularly intriguing, since it is found in the Padovano, where the Angelo Gardano kept his villa. A photograph of an extant dwelling of a similar size to Angelo's may be found in Rosci, "Forme e funzioni," 30. 26. See Chapter 9. The document describing the villa and its contents may be found in ASV, Giudici di Petizion, Inventari, b. 343, no. 28. Unfortunately, no transcription of the document is found in Sartori, "Dinastia." 27. This link was convincingly made by Ventura in "Aspetti storico-economici," 66. Notes to Chapter 4 1. As maintained by Grendler in Roman Inquisition, 288. Only rarely, as in the case of Willaert's Musica Nova (first issued by Antonio Gardano in 1558 with the date of 1559), did politics or religion appear to directly affect the publication of music. In this case, it was not owing to any political content, but only the desperation of Duke Alfonso II of Ferrara to be certain that no one else reprinted the music for which he had paid a princely sum and which was supposed to have been his exclusive property (see Agee and Owens, "Stampa della 'Musica Nova'" and Newcomb, "Editions of Willaert's Musica Nova," both passim). A fascinating case of religious censorship was explored by David Crook in "An Instance of Counter-Reformation Music Censorship" (at the Jesuit College in Munich), a paper presented at the meeting of the American Musicological Society at Montreal on 5 November  

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1993. Angelo Gardano, not surprisingly, apparently never had a difficult problem with the censor; see Pesenti, "Libri censurati a Venezia," passim. 2. In the 1520s, sacred musical editions far outnumbered the secular editions printed. In the 1530s, however, the printing of sacred music had fallen into a decline and that of secular music increased rapidly. See Bautier-Regnier, "Édition musicale italienne," passim; T. Carter, "Music Publishing in Italy," 213; Lockwood, Counter-Reformation, 1456; and Pompilio, "Editoria musicale a Napoli," 847, 99101. 3. Bernstein, in "Publication of Palestrina's Music," discusses the different markets catered to by printers in Rome and Venice. 4. I have placed the small number of instrumental music books in the category of secular music, although a strong argument could be made for placing some of them in the sacred category as well. Unlike T. Carter, in his "MusicSelling," 489, I consider spiritual madrigals sacred music. 5. See T. Carter, "Music Publishing in Italy," passim, and Pompilio, "Editoria musicale a Napoli," 81, 99. 6. As detailed in Bouwsma, Venice and the Defense, passim, and Grendler, Roman Inquisition, 2802. 7. See Braudel, Mediterranean World, 7278; for essays on Jews in relation to Venetian trade, consult Arbel, Trading Nations; for a recent general overview of Jews in Venice and problems with the Inquisition, see Pullan, Jews of Europe, passim. 8. N. Davidson, in "Inquisition," 23ff., describes this ambience. Black, in Italian Confraternities, 2689, pointed out one exceptional case where a converted Jew even joined a Venetian religious confraternity. 9. Pullan, Rich and Poor, 552, and more recently, Ravid, "Prohibition against Jewish Printing," passim. For more discussion of Hebrew books in Venice, see Amram, Makers of Hebrew Books, and Bloch, "Venetian Printers," both passim, and Roth, History of the Jews, 245ff. 10. See Bloch, "Venetian Printers," 89; H. F. Brown, Venetian Printing Press, 1056; N. Davidson, "Inquisition," 357; Milano, Storia degli ebrei, 6435; and Roth, History of the Jews, 87ff., 1501, and 25761. 11. In addition to Appendix I.B, see Amram, Makers of Hebrew Books, 342; Bloch, "Venetian Printers," 87; Bridges, "Publishing," 213; Istituto Centrale, Edizioni italiane, vols. 14 and second ed., vol. 1, passim; Marshall, Short-Title Catalogue, 2:185, 3:30; and Steinscheider, Catalogus Librorum Hebraeorum, 1:c.1481. 12. See N. Davidson, "Inquisition," 23; Pullan, Rich and Poor, 552; Roth, History of the Jews, 2002, and Jews in the Renaissance, 271304; and Shulvass, Jews, 2416. 13. As detailed in Pullan, Rich and Poor, 5523. Jews, as second-hand dealers, also supplied rags for the papermaking industry (see Roth, History of the Jews, 174). 14. Plantin was lent Hebrew type for a similar publication in 1563 (R. De Roover, "Cost Accounting," 228). Many Jews worked in the publishing business as editors or correctors, but were rarely independent (Bonfils, Jewish Life, 94). I deem it highly improbable that the division of the assets of the Gardano family firm in 1575 were precipitated by Alessandro's desire to publish somewhat exotic Jewish literature, as hinted at by Bridges in his "Publishing," 213. 15. See Grendler, Roman Inquisition, 3; Mackenney, Tradesmen and Traders, 223; and Pottinger, French Book Trade, 278. 16. See Beloch, "Populazione di Venezia," 14; Chrisman, Lay Culture, 3; Febvre and Martin, Coming of the Book, 109; Mackenney, Tradesmen and Traders, xiii; McKerrow, Introduction to Bibliography, 284; and Quondam, "'Mercanzia d'onore'," 62. 17. Both Cipolla, in Literacy and Development, 579 and Grendler, in Schooling in Renaissance Italy, 467, explore

the question of literacy in Venice during this period. 18. See Grendler, Schooling in Renaissance Italy, 434, 51ff., 60. Latin and Italian were the only languages used with any frequency at the Gardano presses; any knowledge of  

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Hebrew needed for Alessandro's few books in that language was likely supplied by the same people who provided him with the Hebrew type. 19. As reported by Pottinger in his French Book Trade, 271. 20. See Fanfani, Storia del lavoro, 121ff.; Grendler, Schooling in Renaissance Italy, 435; Mackenney, Tradesmen and Traders, 23; and ASV, Archivio delle Arti, Libreri, Stampatori, e Ligadori, b. 163, passim. 21. Catharina Gerlach is the exception that proves the rule. After the death of her husband Johann Berg in 1575, Catharina guided his printing business until marrying Dietrich Gerlach in 1565; after Gerlach's death, she continued the business on her own. See Göllner, "Berg, Johann," 171; Göllner, "Gerlach, Dietrich," 260; and the dissertation of Susan Jackson, "Berg and Neuber." Lucieta Gardano dictated her last will and testament rather than writing it herself; we cannot determine if she was indeed literate. But her sister-in-law Angela Capis explicitly confessed that she could not read or write. See Sartori, "Dinastia," 192, 202; Voet, Golden Compasses, 1:145-6; and ASV, Giudici di Petizion, Inventari, b. 343, no. 28 (unfortunately, not transcribed in Sartori, "Dinastia''). 22. Brown and Hopkins, "Wage-Rates and Prices," 293; Davis, Shipbuilders, 25, 34; Fanfani, Storia del lavoro, 326; Febvre and Martin, Coming of the Book, 131; Pullan, "Wage-Earners and the Venetian Economy," 171; and Voet, Golden Compasses, 2:343-6. 23. In the most common Venetian monetary system, a ducat of account was equal to the value of six lire and four soldi, with 20 soldi equal to one lira; see Black, Italian Confraternities, 165; Braudel, Civilization and Capitalism, 2:218, 3:302; Braudel, Mediterranean World, 458; Hirsch, Printing, Selling, and Reading, 37f.; Lane and Mueller, Money and Banking, passim; Lane, Venice: A Maritime Republic, 333; Papadopoli Aldobrandini, Monete di Venezia, passim; Pullan, "Wage-Earners and the Venetian Economy," 158. Lane, in Venice: A Maritime Republic estimated 250 working days per year; Mackenney, in Tradesmen and Traders, 17, 131, determined 90 holidays in all, and thus would seem to suggest 275 working days. But since Mackenney fails to spell out how Sundays might fit into this scheme, I have opted to use Lane's 250 working days in my calculations below. 24. See Voet, "Making of Books," 60; R. De Roover, "Cost Accounting," 235-6, and "Business Organization," 108-9; and Voet, Golden Compasses, 2:43-4. 25. See T. Carter, "Music-Selling," 495-7. 26. The figure of 10% was suggested by Hirsch in Printing, Selling, and Reading, 71-2, from an analysis by Ferdinand Geldner of the Drach firm in Speyer in the last part of the fifteenth century. 27. Cited by Kingdon in "Plantin Breviaries," 143. 28. At Florence in 1605, it cost nine lire 10 soldi to bring 48 Florentine lbs. of books from Venice by carriage (T. Carter, "Music-Selling," 488, n.21), about the cost of 7 or 8 average music books. 29. See Bernstein, "Girolamo Scotto," 297; T. Carter, "Music-Printing," 43; and Chapter 8. 30. F. E. De Roover, in "New Facets," 222, gave prices for incunabula from the 1470s at three to eight ducats. Using prices in quattrini from the records of Ferdinand Columbus (see Chapman, "Printed Collections," 51ff.), it appears that Petrucci's editions cost significantly more than Antico's later musical editionsPetrucci's Motetti A cost him 247 quattrini, the equivalent of three lire 13 soldi, more than half a ducat. See also Heartz, Pierre Attaingnant, 107ff., for a discussion of music book prices in the first part of the sixteenth century. 31. Unless otherwise indicated, all editions are referred to in this study with numbers taken from RISM, Écrits imprimés, Einzeldrucke, and Recueils imprimés. 32. Discussed by Turrini in Accademia Filarmonica, 32, and tav. V. It seems as if most bookshops would have bound partbooks for a rather sizable fee (the bookseller Morosi in Florence earned almost 20% of his income in 1590 from bookbinding; see T. Carter, "Mu-

 

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sic-Selling," 495-6). But small shops that specialized in binding also took nourishment from the active book trade; for instance, Florence hosted nine bookshops and one bindery in 1561 (Fanfani, Storia del lavoro, 108). 33. See Turrini, Accademia Filarmonica, 82, and M. Lewis, Antonio Gardano, 1:89-91. Perhaps the entry refers to Rore's Il terzo libro di madregali dove si contengono le Vergini of 1560 (156021). Whether this price covered both of the "due copie" mentioned in the inventory is not clear, although judging for the amounts paid for other volumes, it would appear more likely that this amount represented the price paid for each set of partbooks. 34. See T. Carter, "Music-Selling," 496, n. 44, and Mischiati, Indici, 92-106. From T. Carter, "Music-Printing," 634, it would seem as if printing costs for Florentine musical publications may have been almost double that of Venetian editions. 35. As cited in Grendler, Roman Inquisition, 12-13. 36. The price of wheat in Venice fluctuated during this period from less than ten lire to about thirty, and in extraordinary years, such as in 1590, almost forty lire per staro (or staio, stero; about 83 liters or 62 kilograms). Per capita annual consumption of wheat was about three to four stara. Assuming the average daily wage of a laborer to be 29 soldi, and the average cost of a staro of flour about 20 lire, and as much as 250 days of work per year, slightly more than 6 soldi earned on a working day would have been spent on wheat (i.e. bread) consumption for an individual. See Aymard, Venise, Raguse, 17 and passim; Braudel, "Vita economica," 94; Chambers and Pullan, Venice, 463; Mattozzi et al., "Politico e il pane," 284ff.; and Pullan, Rich and Poor, 356. 37. Any estimate of the buying power of workers vis-à-vis the purchase of music is bound to be fraught with difficulty, but I felt a need to bring the purchase of these books to a more comprehensible level. I have used, among others, the following sources: Mackenney, Tradesmen and Traders, 98, who presented a table with the number of days' work required for minimal subsistence for Venetian masters, workers, and families; Chambers and Pullan, Venice, 13, cited Marin Sanudo (1493) who gave the cost of mutton as three soldi per pound, oil four soldi per pound, and a cartload of wood 28 soldi. Nevertheless, by 1570, lamb was reported to have sold at six soldi per pound (Chambers and Pullan, Venice, 111). Brown and Hopkins, "Wage-Rates and Prices" and Brown and Hopkins, "Builders' Wage-Rates," passim, demonstrated that the wage across Europein England, Alsace, France, Münster, Augsburg, Vienna, and Valencialost about half its purchasing power of consumables over the course of the sixteenth century (the authors attribute the decline in purchasing power to the great rise in the European population during the period); Fanfani, in Storia del lavoro, 44, estimated the rise in prices in Italy from ca. 1500 to 1620 at about 1:2 or 1:2 1/2; cf. also Romano, "Storia economica," 1828-33. Consequently, here I have doubled the prices as cited by Sanudo to account for inflation and decline of purchasing power into the end of the next century. At any rate, clearly the price of a music book was within the reach of many more people than centuries earlier, when in Spain around 800, a manuscript book cost roughtly the same as two cows! (see Cipolla, Before the Industrial Revolution, 178). 38. T. Carter, in "Music and Patronage," 71, referred to a purchase in 1585 by Jacopo Corsi of 41 sets of partbooks from Venice at a cost of 42 Florentine lire, or about one lira per set (the lira in Florence was worth a bit less than that in Venice). Some of these must books have been printed by Angelo Gardano. 39. These professions were cited by T. Carter in "Music-Selling," 495-6. Clearly I use the term "middle class" in the broadest possible context. For more on the middle class and music, see W. Weber, "Muddle," passim. 40. See Vanhulst, "Plantin et le commerce international," passim, and "Suppliers and Clients," 568; see also his "Diffusion des éditions," passim, for details regarding the general diffusion of polyphonic music throughout the Low Countries during the period.  

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Notes to Chapter 5 1. Perhaps one of the more pessimistic among us, Krummel, in "Musical Functions," 336, argues that while "printed partbooks are collectively our most important source for the music" of the Renaissance and early Baroque, "to see them individually as a specific index of musical taste during their period . . .is indeed problematical." 2. Another idea put forth by Krummel, in "Musical Functions," 3356. Ongaro, in "Library," 3578, also points to the relative difficulty of assessing to what degree surviving collections reflect contemporary musical taste. 3. Bellettini, in "Publishing in the Provinces," 297, pointed out the difficulties of assessing the financial arrangements of early printing houses from the surviving books. 4. See, for instance, Kerman, Elizabethan Madrigal, 2637, and Krummel, "Musical Functions," 336. 5. Such instances of both increasing and decreasing sizes of press runs, although not for music, is recounted by McKenzie in "Printers of the Mind," 14. 6. See my "Venetian Music Printing Contract" for a preliminary analysis of the size of press runs for musical editions in the Renaissance. 7. As suggested by Krummel in "Musical Functions," 335. 8. Ibid., 336. Here reference is to those anthologies that were compiled using previous reprinted pieces or newly printed works, not those that are essentially single-composer editions with a few added pieces by others or an anthology of pieces composed conceptually as a unit; these categories were presented by Ongaro in "Venetian Printed Anthologies," 43. 9. See M. Lewis, Antonio Gardane, 1038, and her "Printed Music Book," 903. Only in a footnote to the latter article does she add that "one cannot assume that every book lacking a dedication was issued as a commercial venture;" see also 9167. 10. The trend toward single-composer editions in the last half of the sixteenth century took place not only in Italy; the same occurs in the Low Countries, for instance; see Bain, "Music Printing," passim, and Weaver, Waelrant and Laet, 103. Ongaro, in "Venetian Printed Anthologies," 456, discusses the apparent surge in anthology production in Venice during the 1560s, but almost all of this came from the Scotto printing house (22 anthologies), not the Gardano (only 9), whose production of anthologies fell after the death of Antonio Gardano in 1569. 11. Boorman, in "Early Music Printing," 225, points out that usually the only attempt toward unity in most singlecomposer editions might be on the basis of genre. The printers themselves, of course, often attempted to give some order to their single-composer collections, particularly in the last half of the sixteenth century, by the ordering of pieces by means of mode. 12. See M. Lewis, "Printed Music Book," 907, 912. 13. The author enumerates these categories in "Printing and Patronage," 260511, as well as "Publishing of Palestrina's Music," typescript 911. 14. M. Lewis acknowledges as much in "Printed Music Book," 907: "Such dedications may, of course, also represent acknowledgement of a more general sort of patronage." 15. In my "Music Printing Contract," 601, for instance, it is clear that the Scotto firm in Venice was simply paid a fee for printing Paolo Ferrarese's music in 1565. No judgment by the printer regarding the quality of the music printed appears to come into play. 16. See Sherr, "Publications of Guglielmo Gonzaga," 123.

17. As explored by M. Lewis in "Printed Music Book," 916. 18. See his Pierre Attaingnant, 104. 19. As proposed by Boorman, "Early Music Printing," 225, 229, and M. Lewis, Antonio Gardano, 1:5. 20. An intriguing point, made by M. Lewis in Antonio Gardano, 1:5. 21. Ibid., 78. 22. See Boorman, "What Bibliography Can Do," 2256.  

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23. The author made this assertion in her Printing Press, 1:1303. 24. Such seems to have been the case with Francesco Scudieri, a musician active in Venice in the middle of the sixteenth century, whose music library appears to have been comprised primarily of popular anthologies; see Ongaro, "Library," 359, 375. 25. These cases are treated by Kingdon in "Patronage, Piety, and Printing," 206. 26. Kingdon explored these relationships in "Business Activities," passim, and his "Patronage, Piety, and Printing," 225; see also Voet, Golden Compasses, 1:5591. 27. See Bellettini, "Publishing in the Provinces," 295308. 28. As detailed by Heartz in Pierre Attaingnant, 8790. 29. Baldini's role was briefly summarized by Cavicchi in "Baldini, Vittorio," 1589. 30. See M. Lewis, "Antonio Gardane's Early Connections," 211, and Pogue, "Sixteenth-Century Editor," 2179. 31. I make this suggestion in my "Privilege and Venetian Music Printing," 5165, and my "Venetian Privilege and Music-Printing," 1523. In a fascinating article, "Rore's Setting," Mary S. Lewis explores what at first appears to be an instance of outright copying between Gardano and Scotto in two editions Rore's "Vergine bella'' from 1548. However, after closer examination on her part, she makes a persuasive argument that readings in both editions are closely related to a manuscript version in Wolfenbüttel 293, and that while all three may have been copied from a common source, that none of the three were copied from each other. Certainly the situation is not a siimple onesee, for instance, a recent exploration of readings in sets of so-called parallel editions between Antonio Gardano and Girolamo Scotto in Mary S. Lewis's "Twins, Cousins, and Heirs", passim. 32. For more on the Venetian privilege, see my articles "Privilege and Venetian Music-Printing" and "Venetian Privilege and Music Printing," both passim. 33. Hamm, in "Manuscript Structure," 167 and passim, and "Catalogue of Anonymous English Music," 4950 and passim, proposed this hypothesis in regard to music of the Dufay era. 34. Hamm expanded his hypothesis to include music of the sixteenth century in "Inter-relationships," esp. 16; see also my articles "Ruberto Strozzi," 616, and "Filippo Strozzi," 2307; Fenlon, "Introduction," 236; and M. Lewis, "Antonio Gardane's Early Connections," 20910, 2123, Antonio Gardano, 1:89, and her "Rore's Setting," 3945. 35. Such a process was alluded to by Boorman in "Printed Music Books," 25989. 36. See Voet, Golden Compasses, 2:2836. 37. Bellettini, in his "Publishing in the Provinces," 3089, suggests that payments from printers to clients seem to have been rare, and indeed little evidence for this sort of arrangement can be found in the sixteenth century. Nevertheless, M. Lewis, in "Rore's Setting," 395, indicates (with little direct evidence) that a composer selling his music outright to a publisher/patron/investor (rather than directly to a printer) might have been a standard practice. In any case, the printer would seem to have had little financial stake in such a transaction. Bernstein, in "Financial Arrangements," 50, points to an English source that suggests printers indeed paid composers in Italy in the 1550s to induce them to provide exclusive rights to their music; perhaps this is the case that proves the rule. 38. The reader is referred to the literature cited in my "Venetian Music Printing Contract," 62. Bellettini, in "Publishing in the Provinces," suggests that most of the printed works of the seventeenth centurybulky historiographical works and works connected with local eruditionwere directly commissioned by the authors themselves. 39. See Cusick, Valerio Dorico, 95103.

40. Cited by M. Lewis in "Antonio Gardane's Early Connections," 221. 41. See, for instance, Bellettini, "Publishing in the Provinces," 30812, where the author examines some of the implications of commissions on business practices in Romagna during the seventeenth century. 42. M. Lewis cites editions of the music of Castellino, Lucario, and Corvo; see her "Antonio Gardane's Early Connections," 212, n. 12. In the same article, 21524, Lewis  

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posits a close connection between local Venetian composers and Antonio Gardano, relationships that could have only helped Gardano in his acquisition of new music. 43. The letter is transcribed in Sherr, "Publications of Guglielmo Gonzaga," 1223. 44. See M. Lewis, "Zarlino's Theories," 242ff. 45. For more on Festa's attempts at publication and his lost counterpoints, see my "Costanzo Festa's Gradus ad Parnassum" and my Costanzo Festa: Counterpoints on a Cantus Firmus, both passim. 46. The letter is transcribed and translated in my "Venetian Music Printing Contract," 5961. 47. See Bernstein, "Printing and Patronage," passim, and her "Financial Arrangements," 47; T. Carter, "Another Promoter," 8969, "Music-Printing," 626, and ''Music-Selling," 489, n. 22. 48. Discussed by Voet in Plantin Press, iiiv, and Golden Compasses, 2:814. 49. Lewis described this apparently unique instance in "Antonio Gardane's Early Connections," 221. 50. See Appendix I.B, years 158391, for all such known instances. For most of his musical publications, however, Alessandro typically used his name alone on the imprint; see Chapter 8 for details of Alessandro's participation in the partnership agreements. 51. Richardson, in Print Culture in Renaissance Italy, passim, presents a masterly description of this artistic ambience. 52. See M. Lewis, Antonio Gardano, 1:1734. 53. These rules were mentioned by Heartz in Pierre Attaingnant, 121. Forney, in "Orlando di Lasso's 'Opus 1'," 55, incorrectly cited Voet, "Making of Books," 523, in maintaining that the normal procedure in print shops was to have the author serve as proofreader. Instead, Voet wrote that "the real task of correction was assumed by the proofreaders," even though Plantin often sent proofs to the authors and did not wait for their return to begin printing. 54. M. Lewis presented this hypothesis in "Antonio Gardane," 22538, and her "Rore's Setting," 4005. 55. See Forney, "Orlando di Lasso's 'Opus 1'," 34, 55, and passim. Notes to Chapter 6 1. See Febvre and Martin, Coming of the Book, 1125, and Hirsch, Printing, Selling, and Reading, 36. 2. Even as late as the eighteenth century, paper amounted to 40% of the cost of editions in small issues, and up to 60% in large press runs; see Todd, "Bibliography and the Editorial Problem." Although the statement that paper exceeded the cost of labor can be considered generally true, the printing contract for the Libro primo de musica de la salamandra of 1526 specified 8 ducats for the wages for the master and apprentice as well as another 8 ducats for living expenses for two months; the cost of paper was only 10 ducats total. In Plantin's edition of Vergil, other costs for labor may have been hidden, such as unrecorded expenses of room and board for the work. See Blackburn, "Printing Contract," 347, 353; R. De Roover, "Cost Accounting," 231, 235; R. De Roover, "Business Organization," 10910; Febvre and Martin, Coming of the Book, 114; and Voet, Golden Compasses, 2:19, 385. 3. The books in Marescotti's Florentine bookshop, not a particularly large concern when compared to that of Giunti firms of Florence or Venice, were valued at the massive sum of 3385 scudi (T. Carter, "Music-Printing," 49). Plantin's workshop inventory listed bales of books stored in attics and lofts, in addition to stored paper (Voet, Golden Compasses, 1:275; 2:44). 4. See Voet, Golden Compasses, 1:1668.

 

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5. Sartori, in "Dinastia," 182, presents a transcription of the inventory. To determine the number of books found per bale, I have relied upon T. Carter, "Music-Printing," 47, who estimated the number of copies of books per bundle found in Marescotti's shop in Florence by dividing the number of pages in each publication into the total size of the bundle in reams. 6. The arrangements to obtain paper by the Estienne in these years were chronicled in Kingdon, "Business Activities," 2624. 7. See Bellettini, ""Publishing in the Provinces," passim, and Boorman, "Petrucci at Fossombone: Some New Editions," 140. 8. Obviously the sparser production of Alessandro Gardano made identification of watermarks used in his publications extremely difficult. Only two were found from his Venetian period (1580-81), and none identified from his time in Rome. 9. Of course, most of the watermarks seen did not appear similar, even distantly, to those in Briquet. Of the thousands examined, only fewer than four dozen resulted in matches close enough to be included. Adding to the difficulty was the fact that typical watermarks appear less often in the last two decades of Angelo Gardano's lifeinstead, marks that passed for countermarks in earlier decade (often simple initials), began to be used as watermarks themselves had earlier on. None of these could be identified in the standard watermark source books. 10. The statistics are presented as follows: a) date of Gardano publication, b) RISM number, c) siglum of current exemplar location of Gardano edition, d) Briquet number, from Les Filigranes, and e) place and date of similar paper, also from Briquet. For the "figliuoli" (156975) and Angelo Gardano (15751611): a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a. a.

1570 1570 1570 1570 1571 1571 1571 1571 1572 1572 1572 1572 1572 1574 1574 1575 1576 1578 1578

b. A402, F709 b. 157020 b. C41534 b. V1318 b. I110 b. M679 b. P5103 b. W878 b. A404 b. G63 b. G53 b. I50 b. P75 b. 15744 b. L876 b. 157515 b. R2486 b. I51 b. L910

c. c. c. c. c. c. c. c. c. c. c. c. c. c. c. c. c. c. c.

I Bc I Bc I Bc I Vnm I Bc I Bc I Bc I Bc, I Vnm I Vnm I Vnm I Bc I Bc I Bc I Vnm I Vnm I Vnm I Vnm I Vnm I Bc

d. 662 d. 3460 d. 5926 d. 3050 d. 3482 d. 662 d. 4855 d. 3507 d. 3480 d. 660 d. 3480 d. 635 d. 660 d. 631 d. 3501 d. 650 d. 3050 d. 634 d. 647, 3507

a. a. a. a.

1578 1578 1579 1580

b. M187 b. M2359 b. I53 b. I55

c. c. c. c.

I Bc I Bc I Vnm I Vnm

d. 654 d. 654 d. 654 d. 654, 634

a. 1580 b. M2370 a. 1580 b. M3368 a. 1580 b. S46

c. I Vnm c. I Vnm c. I Vnm

d. 634 d. 634 d. 634

e. Udine, 1587; e. Udine, 1564; e. Udine, 1571; e. Salò, 1578; e. Bergamo, 1572; e. Udine, 1587; e. Verona, 1577; e. Vicenza, 1573; e. Reggio-Emilia, 1545; e. Salò, 1583; e. Reggio-Emilia, 1545; e. Vicenza, 1570; e. Salò, 1583; e. Udine, 1561; e. Vicenza, 1545; e. Ferrara, 1570; Vicenza, 1576; e. Salò, 1578; e. Vicenza, 1567; e. Vicenza, 1541; Vicenza, 1573; e. Udine, 1576; e. Udine, 1576; e. Udine, 1576; e. Udine, 1576; Vicenza, 1567; e. Vicenza, 1567; e. Vicenza, 1567; e. Vicenza, 1567;

 

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a. 1582 b. B2594 c. I Vnm d. 3467, 3466 a. 1586 b. G73 c. US BE d. 4856 a. 1586 b. 15868 c. I Vnm d. 3050 a. 1586 b. N31 c. US BE d. 667 a. 1587 b. G3701 c. I Vnm d. 660, 659 a. 1587 b. M3381 c. I Vnm d. 660, 659 a. 1587 b. N30 c. US BE d. 660 a. 1591 b. V1014 c. I Vnm d. 4857 a. 1592 b. R3064 c. I Vnm d. 731 a. 1593; b. M3324 c. I Vnm d. 209 For Alessandro Gardano in Venice: a. 1580 b. M632 c. I Vnm d. 652 a. 1581 b. M3728 c. I Vnm d. 4855

e. e. e. e. e. e. e. e. e. e.

Venice, 1570; Ferrara, 1561; Verona, 1585; Salò, 1578; Vicenza, 1598; Salò, 1583; Syracuse, 1586; Salò, 1583, 1589; Syracuse, 1586; Salò, 1583, 1589; Verona, 1588; Reggio-Emilia, 1592; Verona, 158296.

e. Salò, 1576; e. Verona, 1577.

11. As above, but using Mosin, * Anchor Watermarks for d.; see also Mosin*, passim: a. 1576b. V1427 c. I Bc d. 1659 e. Montenegro, 1565/75; a. 1587b. G58, G85, 158716 c. I Vnmd. 142021, 142330 e. throughout the former Yugoslavia, 156585. 12. See Armstrong, Robert Estienne, 47f.; Febvre and Martin, Coming of the Book, 11011; Kingdon, "Business Activities," 2645; and Voet, Golden Compasses, 2:3856. 13. As explored by Forney in "Orlando di Lasso's 'Opus 1'," 49, "Tielman Susato," 2578, and "New Documents," Table IV, doc. 1. 14. Armstrong, Robert Estienne, 47; T. Carter, "Music-Printing," 63; Chrisman, Lay Culture, 8; R. De Roover, "Cost Accounting," 2301, 235; Febvre and Martin, Coming of the Book, 10912, 131; McKenzie, Cambridge University Press, 1:1234; Sartori, "Dinastia," 182; Voet, Golden Compasses, 1:437. R. De Roover, in "Business Organization,'' 113, showed that in 1564 Plantin only had two presses in operation, and in 1565 five; thus the figure of three presses for Plantin given by the Florentine document for 1563 is probably accurate. 15. See Braudel, Civilization and Capitalism, 2:298ff., in which four categories of businesses are enumerated: a) the tiny family workshop; b) scattered workshops with a number of individual units, as in textile manufactures; c) concentrated manufactures, with several operations being carried out in the same spot; and d) factories with machinery, running water, and steam power (obviously a later development). According to Chrisman, Lay Culture, 9, all large-scale printers in Strasbourg had at least two presses in their shops. 16. Press numbers were mentioned in R. De Roover, "Business Organization," 1148; Febvre and Martin, Coming of the Book, 1307; Moxon, Mechanick Exercises, 302; and Voet, Golden Compasses, 2:31821, 335. 17. See M. Lewis, Antonio Gardano, 1:86, and Weaver, Waelrant and Laet, 64. 18. As pointed out in Chrisman, Lay Culture, 510. 19. See Blackburn, "Printing Contract," 347. 20. Moxon, Mechanick Exercises, 302. Plantin used his daughters as proofreaders; evidently the firm insisted that although one daughter could read the texts in a number of languages, she could not understand their contents! (Chrisman, Lay Culture, 22). 21. A transcription of this letter was first published in Bertolotti, Musici alla corte dei Gonzaga, 456, and reproduced in Sartori, "Dinastia," 193. Here I depend on the more reliable transcription published in Sherr, "Publications of Guglielmo Gonzaga," 123.  

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22. This may be considered a standard Gardano issue; see Vogel et al., Bibliografia, no. 1349, where the six volumes contain 22 pp. each, a relatively common length for partbooks in the Gardano production. 23. Records of the Cambridge University Press indicate little correlation between the size of a book and the number of weeks taken to produce it; the times fluctuate from as little as 17 weeks to 31 weeks for books comprising 245 sheets, and as little as 8 weeks to 97 weeks for books comprising 167 sheets. See McKenzie, Cambridge University Press, 1:103; see also McKenzie, "Printers of the Mind," 1522, and Voet, Golden Compasses, 2:303. 24. An instance cited by Boorman in "Non-Conflicting Attributions," 135, n. 43. 25. See M. Lewis, Antonio Gardano, 1:75, and McKenzie, "Printers of the Mind," 14. Lewis (7584) presents a fascinating discussion of concurrent printing practices in Antonio Gardano's shop in 1539, even though I find the evidence that she marshals somewhat unconvincing. On her observations of deteriorating block initials in books published within a relatively short time, I would refer to inking practices with the Gardano heirs that would lead one to assume initial deterioration from an examination of extant publications where none actually exists (for a more convincing demonstration of this principle, see Boorman, "Petrucci at Fossombrone: Some New Editions," 13641). In terms of the chronology itself, ''mazo" in Venetian does mean "maggio" in Italian, as indicated in countless Venetian documents, and not "marzo" as Schmidt had maintained. This, in turn, would lead to a reassessment of the 1539 chronology. Third, we have no assurance that stacks of paper came to the printer with uniform styles of watermarks, as Lewis assumed. McKenzie argued that no primary evidence exists to show that any printing house did not habitually print several books concurrently; it is possible that the testimony of the Angelo Gardano letter lends some credence to the possibility that, whether standard practice or not, work on a single edition did periodically occupy the entire workforce, at least for a single specialized printing shop. 26. See Chrisman, Lay Culture, 7; Febvre and Martin, in Coming of the Book, 1312, suggested closer to 3,000; the company of Giunti claimed it could print 3,0003,500 sides per day per press (T. Carter, "Music-Printing," 63, n. 66); see also Voet, Golden Compasses, 2:1703. 27. While much evidence suggests that between 1,000 and 1,500 copies was a typical press run for books of general interest in the sixteenth century (see, for instance, Heartz, Pierre Attaingnant, 1201, and Voet, Golden Compasses, 2:172), 500 printed copies seems to have been typical for a standard music book (see Agee, "Venetian Music Printing Contract," passim, and Blackburn, "Printing Contract," which examined the contract for the Libro primo de musica de la salamandra [Rome, 1526]). On the other hand, Larson, in "Racchiano," citing Filangieri, Documenti, 6:354, mentioned a contract dated 1587 that stipulated the printing of only 200 copies of a music book containing 17 five-voice motets and three Masses, to be printed in Venice. Pedrell, in Thomae Ludovici Victoria, lxxxv, also cited a contract from 1598 for printing 200 copies of some rather large books (80 folios) of the music of Victoria. McKenzie, in Cambridge University Press, 1:98101, points to the widely varying numbers in the Cambridge press runs. 28. Stevenson, in "New Uses of Watermarks," 1656, estimated the production of the well-ordered mid-seventeenth century printing establishment of Thomas Cote at about 1,000 sheets a day, printing and perfected, on one press. If these numbers were applied to a standard Gardano press run, say, of 500 copies with four or five gatherings, it is clear that in a pinch the establishment should have been capable of turning out an entire edition in a few days if necessary. 29. See Armstrong, Robert Estienne, 46, 70; Armstrong assumed that at this time Estienne had at least one press, maybe two. 30. I would like to thank Jane R. Bernstein for providing me with this information prior to the forthcoming publication of The Scotto Press.  

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31. See my "Venetian Music Printing Contract," 60. 32. I am much indebted to Martin Morell for discovering this source and sending me a copy of his transcription of the document, found in ASV, Archivio notarile, not. Zuanne Figolin, atti, f. 5627 (1578), sixth gathering, [ff. 7v8r]. 33. Although it is clear from the document that the two had a written agreement ("il patto . . .tra noi in scrittura"), no contract per se has yet come to light. 34. Obviously the partbook format of most polyphonic printed music at the time was prone to creating misunderstandings. In the first decades of the seventeenth century, for instance, one scribe recording a printing contract evidently tried to avoid any possibility of confusion by being extremely explicit in his description: "100 books of music in 4 volumes that are 25 for each one" (Toffetti, "Che detti Iacomo," 123). 35. See Appendix II.A and II.B, and the Angelo Gardano Indice, 3v. 36. Stanley Boorman, in "Case of Work and Turn," 3156, estimated that Petrucci, who utilized the painstaking multi-impression process at the opening of the sixteenth century, could probably set, print, and perfect copies of only about three sheets per week; at least this seems to have been the case in 1503. 37. Boorman, in "Early Music Printing," 226, reasonably asserted that for each line of content in a musical volume there is at least twice as much labor involved as for a non-musical volume. However, it can also be said that any given page of a musical volume contains only a fraction of lines typical in a non-musical publication, and thus the total amount of time expended on setting the text per page of a musical volume would be proportionately less. 38. These estimates were taken from Chrisman, Lay Culture, 6, and Voet, Golden Compasses, 2:313, 318. 39. See McKenzie, "Printers of the Mind," 813. 40. Ibid. The amount of work put out by a given worker from week to week as well as fluctuations from individual to individual were great during the hand press period. Most of the real output of the printers was well below the elastic hypothetical norm that McKenzie put forward. 41. For instance Potter, in "Nicolò Zoppino," explored the book trade network of Perugia by examining books published outside of the city. 42. The booklist is treated in detail in Appendix II. 43. See Cozzi, "Società veneziana," 12, and Palumbo-Fossati, "L'interno della casa dell'artigiano," passim. Bryant, in "Alcuni osservazioni preliminari," details the music making in Venice as seen by foreign ambassadors of the period. 44. See M. Lewis, Antonio Gardano, 1:235. 45. The life of Matthio Gardano is explored to some extent in Chapters 7 and 9. 46. Documented in Mackenney, Tradesmen and Traders, 1068, and Turrini, Accademia Filarmonica, passim. 47. See Bernstein, "Buyers and Collectors," passim. 48. Bernstein, in "Musica Transalpina," explores the markets for Italian and Netherlandish publications of music. 49. See Febvre and Martin, Coming of the Book, 1145. We also learn from F. E. De Roover, in "New Facets," 229, that Girolamo Strozzi wrote to a friend in the late fifteenth century and indicated that it was unwise to allow any bookseller to have more than two or three copies of a given edition at a timethose should be paid for before any more were forthcoming. In T. Carter, "Music-Selling," 493, a Florentine book shop with a large musical inventory suggests that it kept on hand only two or three copies of any given edition.

50. The reader is referred to T. Carter, "Music-Selling," 4905, his "Music Trade," 2901, and R. De Roover, "Business Organization," 110. 51. See Appendix II; see also Fenlon, "Foglio volante editoriale," 244ff., where we see that Tini in Milan had at least eleven books printed by Gardano in stock at the end of the sixteenth century. T. Carter, in "Music-Selling," 48891 (see especially n. 28), demon 

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strated that both the large firm of Giunti and the small Morosi shop both stocked a great number of Venetian titles; Giunti listed approximately 180 Gardano editions. 52. These channels were explored in Kingdon, "Patronage, Piety, and Printing," 435, and in his "Plantin Breviaries," 1405; see also Vanhulst, "Suppliers and Clients," passim, and Voet, Golden Compasses, 2:522. 53. As explored by Kingdon in "Business Activities," 2668. 54. See Bernstein, "Girolamo Scotto," passim, and Febvre and Martin, Coming of the Book, 138. 55. T. Carter points out this this practice in "Music-Selling," 488, n. 21. 56. I have searched through thousands of notarial documents in Venice, and while some additional documentation may be found, little survives in the files of those notaries known to have been habitually consulted by the Gardano family. 57. O'Regan, in "Music at the Roman Archconfraternity," analyses the archives of the Roman Archconfraternity of San Rocco in the late sixteenth century to determine its printed musical holdings; some of these had been published by Alessandro and Angelo Gardano. 58. Unfortunately, an earthquake later destroyed this collection; see João IV, Primeira parte, passim, and Sampaio, Livraria, passim. Only two of Alessandro Gardano's Venetian editions were found in this incomplete library inventory, and none from his years of printing in Rome. 59. As maintained by Bernstein in "Musica Transalpina," typescript p. 2. 60. See Forney, "Antwerp's Role," passim, and Vanhulst, "Suppliers and Clients," 56671 and passim. 61. Cipolla, in Money, Prices, and Civilization, 54ff., stresses the advantages of shipping by sea rather than by land. 62. In the first half of the century, the avid collector of books of all kinds, Ferdinand Columbus, lost over 1500 books when they "sank into the sea" (Chapman, "Printed Collections," 39), and in 1575, the printer Henri Estienne was embarrassed by the loss of a book shipment in the wreck of a boat on the river Aar (Kingdon, "Business Activities," 266). 63. Morell, "Georg Knoff," 1145, suggests the overland route as the most likely means of transportation for music books from Venice north to Danzig. 64. A map of these routes appears in Lane and Mueller, Money and Banking, 137. 65. See the Bibliographie Lyonnaise, sixième série, 3889, 2, 5 Dec. 1584; cited in Bridges, "Publishing," 221. 66. See Bernstein, "Musica Transalpina," typescript pp. 35, and M. Lewis, "Antonio Gardane's Early Connections," 2214. 67. Consult Bernstein, "Girolamo Scotto," 301 (who cited Kapp, Geschichte des deutschen Buchhandels, 1:7724), and Estienne, Frankfurt Book Fair, 109, 1212. 68. This assertion is based on Göhler, Verzeichnis, and Heussner, Collectio Musica, both passim, and most of the Gardano editions found listed here were published by Angelo in Venice. Alessandro seems only to have had two books listed for sale in the fair cataloguesthe 1588 edition of Palestrina's Lamentationum hieremiae prophetae, liber primus, for sale in Frankfurt in 1589, and the 1580 Canzonette . . .il primo libro a quattro voci of Gasparo Costa, on sale in 1606. The printer was probably dead by the time of the sale of this latter book (see Chapter 8). Since it had been printed by Alessandro in Venice, it may have been stored in Angelo's Venetian shop and remaindered by him after his brother's death.

69. See Morell, "Georg Knoff," 109 and passim. Of these editions, 4 were published by the Gardano heirs between 1572 and 1575, 150 by Angelo from 1576 to 1600, and only 1 issued by Alessandro Gardano in Rome. 70. For the Herwart holdings, see Slim, "Augsburg Patrician," passim, and Appendix I.A. See also Göllner, "Augsburger Bibliothek Herwart," which treats the bibliophile's collection of lute tablatures now in the Bayerische Stattsbibliothek, Munich. 71. An inventory of the Innsbruck collection of music books may be found in Waldner, "Zwei Inventarien," 13346; unfortunately, more precise data regarding the Innsbruck collection cannot be provided since the inventory gives minimal title information, without  

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dates, and lists no publishers. Only three publications by Alessandro Gardano can be clearly identified as having been in the Innsbruck library, although the title list indicates that the collection might have contained up to a dozen more of his books. 72. See Stockbauer, Kunstbestrebungen, 127 (cited in Bridges, "Publishing," 222). Notes to Chapter 7 1. The exception appears to be a single edition of the chansons of Jacques Buus in 1543 (B5194), where the composer's name appears on the imprint of some extant copies; see M. Lewis, "Antonio Gardane's Early Connections," 221. 2. This reference may be found in ASV, Scuola di San Teodoro, Mariegola, registro 1, on the page headed by "+ 1562 Ser Andrea de Gabrieli di Zoni." I would like to thank Prof. Jonathan Glixon for directing me to these records. 3. See Lane, "Family Partnerships," passim, and Lane, Venice, 138. 4. "Maggior fratello"; taken from ASV, Archivio notarile, Atti, Zuanne Figolin, f. 5624, vol. I, 12th gathering ("Extravaganza I"), [ff. 32v43v, unnumbered, with 4 bifolios inserted after f. 34]; transcribed in Sartori, "Dinastia," 180ff. 5. The relevant document may be found in ASV, Archivio notarile, not. Marc'Antonio Cavanis, Atti, b. 3283 (1570), ff. 79v80r. For a reproduction a photograph of the memorial stone and accompanying inscription, see Antonio Gardano, Canzoni francesi, 73, and Sartori, "Dinastia," 208. 6. See Gramigna and Perissa, Scuole di arti, 969. For more about the history and artistic plan of the church of San Salvador and its relationship to the Scuola Grande di San Teodoro, see Gallo Scuola Grande, 464, and Tafuri, Venice and the Renaissance, 1550. 7. The reader is directed to my "Privilege and Venetian Music Printing," 184, and "Venetian Privilege and MusicPrinting," 35. 8. See Lane, Venice, 253. The documents recording the division of the Gardano family firm may be found in ASV, Archivio notarile, Atti, Zuanne Figolin, f. 5624, vol. I, 181r183r, and in the 12th gathering, "Extravaganza I," [ff. 32v34v, unnumbered, with four bifolios inserted after f.34], and vol. II, 49v52v; these documents are transcribed with varying degrees of accuracy in Sartori, "Dinastia," 17989, 207. 9. The document is found in ASV, Archivio notarile, not. Giovanni Figolin, b. 5620, 52r54v. 10. ASV, Scuola di San Teodoro, b. 14, registro [first foliated section], parti, 15521602, 54v, preserves the record. Although a Ruberto Strozzi was unanimously elected as an officer of the Scuola on 6 March, 1570 (ASV, Scuola di San Teodoro, b. 14, registro [the second foliated section], parti, 15521602, 64v), the famous expatriate Florentine music patron by that name appears to have died in 1566, four years before this event (see my "Ruberto Strozzi," passim). 11. See ASV, Scuola di San Teodoro, b. 14 as cited in note 10, 88v. 12. Recorded in ASV, Archivio delle Arti; Libreri, Stampatori, e Ligadori, b. 163, [2r]. 13. A somewhat inaccurate family tree may be found in Bridges, "Publishing," 368; a more convincing genealogy may be seen in Sartori, "Dinastia," 197. 14. The document may be found in ASV, Archivio notarile, Testamenti, not. Paolo Lion, b. 582, no. 86; see a transcription in Sartori, "Dinastia," 207, which, however, lacks the closing authentication of the document. Two mistakes crop up here, one owing to Angelo's mistake and the other to Sartori's. First, in his will, Angelo

incorrectly dated the document that divided the company from 3 May 1575, whereas the original document carried the date of 2 May (see Sartori, "Dinastia," 180); further, Sartori (or whoever supplied the transcriptions on which he relied) mistakenly assumed mazo to represent marzo rather than maggio. The date on the original 1575 document clears up the problem. 15. See ASV, Giudici di Petizion, Inventari, b. 343, no. 24; transcribed by Sartori in "Dinastia," 201.  

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16. The measure of a campo varied from province to province on the mainland; for instance, the Paduan campo was the equivalent to slightly less than a modern acre; the campo of Treviso was equivalent to somewhat more than an acre (see Beltrami, Storia dell'agricoltura, 34, and Chambers and Pullan, Venice, 460). 17. From M. Lewis, Antonio Gardano, 1:23, citing Thomas Grendler, as found in ASV, Dieci Savii sopra le Decime in Rialto, Condizione di Decima, 1566, San Marco, b. 126, no. 56. Lewis based her discussion of the Gardano family's acquisition of properties on documents from the 1575 division transcribed in Sartori, "Dinastia"; she also partially reproduced Sartori's transcriptions (6712). 18. The documents survive in ASV, Giudici di Petizion, Inventari, b. 343, no. 24 (no. 25 is a copy of no. 24, lacking the final inscriptions); see Sartori, "Dinastia," 200ff., for a transcription of these papers. The two land purchases of 25 campi and 26 campi from Tempesta referred to in Sartori, "Dinastia," 200, probably may be considered duplicates, notwithstanding the discrepancy between the numbers involved; after all, we are dealing not with the documents themselves, but a later citation of their existence. Almost all of the property acquisition entries may be found in duplicate in the Gardano documents, and occasionally in triplicate as well. 19. Also apparently listed in duplicate in the document transcribed in Sartori, "Dinastia," 200. 20. See Sartori, "Dinastia," 180, 1889. It has not been determined when the house in Padua came into the possession of the family, although documents indicate that the Gardano paid an annual livello to the Casa di Dio. Livelli were a means of avoiding charges of usury under canon law and largely replaced the purchase of government bonds by the Venetian nobility and upper classes during the last half of the sixteenth century. In this case, the Gardanos may have exacted a loan from the Casa di Dio by fictitiously selling their house to the institution and receiving a large sum in exchange; then, the family may have fictitiously leased the property back in exchange for the annual payment. These were considered relatively lucrative for those receiving the yearly payments at a relatively high percent of interest, and safe as well, since the lender retained claim to the entire estate of the borrower and not just the property in question (see Chambers and Pullan, Venice, 462, and especially Pullan, "Occupations and Investments," 380, 38892). While the yearly livello was unspecified in the 1575 documents, in 1606 the yearly payment stood at the modest sum of 10 lire; this document also locates the house in the parish of Agnus Dei (ASV, Giudici di Petizion, Inventari, b. 343, no. 33). Unfortunately, this part of the document is eliminated in the transcription found in Sartori, "Dinastia," 2023. 21. Alessandro Gardano later sold the 14 fields he received from the property division of 1575 to his uncle, Stefano Bindoni. Although we don't know when this sale took place, we learn of it in a document from 1606: "Un'jnstrumento . . .de Vendita de messer Allexandro Garda[n]o, et messer steffano Bindoni de campi quatordese in Villa de caselle, é Morelle" (ASV, Giudici di Petizion, Inventari, b. 343, no. 24; a variant transcription is found in Sartori, "Dinastia," 201). While the tax document of 1582 indicated that Alessandro had ceded the 14 fields to Bindoni ("pago à messer steffano Bindonj . . .per la quarta parte che aspetta à ser Alessandro gardane miò fratello per hauerla cessa al sopradetto messer steffano"ASV, Dieci Savi sopra le Decime, b. 157bis, no. 767 [1582]; see the variant transcription in Sartori, "Dinastia,'' 191), it is unclear whether Alessandro sold the property to Bindoni later, or if Bindoni bought the fields and simply held them for Alessandro's return from Rome, or if some kind of livello was being exacted here. In any case, as the document makes clear, it was Angelo who administered the property. 22. Other purchases of real estate were subsequently made by Angelo; these will be discussed in Chapters 8 and 9. Nor were members of the Gardano family the only musicians in Venice who made such investments; Edwards, in "Claudio Merulo," 271ff., details similar land acquisitions by Claudio Merulo, organist at St. Mark's. 23. See M. Lewis, "Antonio Gardane," 585ff.  

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24. I refer to documents in ASV, Archivio notarile, Atti, Zuanne Figolin, f. 5624, vol. I, 181r183r; transcribed in Sartori, "Dinastia," 179. 25. See the family tree in Sartori, "Dinastia," 197, and another in Bridges, "Publishing," 368. See also Cioni, "Bindoni, Agostino," passim; Pastorello, Tipografi, editori, librai, 13; and Sartori, Dizionario, 289. Pastorello gave a single title (from 1551) for books printed by Stefano Bindoni, but with entries of only 2 editions attributed to Alessandro Gardano and a mere 30 for Angelo Gardano (p. 40), it would be an understatement to term her book counts notoriously unreliable. Nevertheless, Pastorello, Tipografi, editori, librai remains a helpful source for names and relationships among printers. 26. The ASV, Archivio notarile, Atti, Zuanne Figolin, f. 5624, vol. I, 12th gathering ("Extravaganza I"), [ff. 32v34v, unnumbered, with four bifolios inserted after f. 34], preserves these papers; transcribed in Sartori, "Dinastia," 180ff. 27. In addition to its transcription and discussion by Sartori in "Dinastia," 181ff., the inventory has been referred to many times, most recently in M. Lewis, Antonio Gardano, passim. 28. See M. Lewis, Antonio Gardano, 1:52, 678. 29. I refer the reader to my "Privilege and Venetian Music Printing," 51ff., and "Venetian Privilege and MusicPrinting," 15ff.; Bernstein, "Financial Arrangements," 435; Heartz, Pierre Attaingnant, 159; and M. Lewis, Antonio Gardano, 1:52. 30. See my "Privilege and Venetian Music Printing," 634, and "Venetian Privilege and Music-Printing," 212. 31. "Piero buselo ala Insegna del lion et orso"; found in ASV, Esecutori contro la Bestemmia, Notatorio, Terminazioni, b. 56 (154260), 64r. 32. The origin of Antonio Gardano's lion and bear trademark was first identified by Geneviève Thibault; see Heartz, Pierre Attaingnant, 158, and further discussion in M. Lewis, Antonio Gardano, 1:42f. 33. See Pastorello, Tipografi, editori, librai, 17. 34. Bernstein, in "Financial Arrangements," 413, and Pastorello, in Tipografi, editori, librai, 79, document these temporary partnerships. 35. See Bernstein, "Financial Arrangements," for other evidence of cooperation between music publishers in Venice. 36. These chests, painted or not, held household items in most Venetian homes; see Palumbo-Fossati, "L'interno della casa dell'artigiano," 1212. 37. Unlike the records of silver owned by the old aristocratic families, the Gardano inventories contain no such items. However, the household items of a well-to-do artisan in Venice included only 50 pieces of pewter, less than a quarter of such items owned by the Gardano (Palumbo-Fossati, "L'interno della casa dell'artigiano," 125, 128). 38. Palumbo Fossati maintained that the large number of mirrors in many Venetian inventories suggests a certain sensitivity to light and color among Venetians of the Cinquecento (a sensibility, incidently, often mentioned in connection to the visual arts in the Serenissima). The gilding on the mirror was also characteristic of items owned by the highly visible merchants with newly acquired wealth during the same period (see Palumbo-Fossati, "L'interno della casa dell'artigiano," 125, 142). 39. Unfortunately, this drawing of the Gardano properties on the Terraferma has not been found, although it appears to have still existed in 1606 ("Vn dessegno de campi da caselle in Bergamina"ASV, Giudici di Petizion, Inventari, b. 343, no. 24, partially transcribed in Sartori, "Dinastia," 199ff.). 40. Mary S. Lewis, in Antonio Gardano, 1:334, severely underestimated the value of the Gardano estate. 1200

ducats, which she gave as the total value of the estate, was clearly the value of the printing firm alone, as evidence by the payment to Alessandro of 300 ducats, his quarter share. Alessandro took his quarter of the other assets in household goods and property on the Terraferma, and these were assigned no monetary value in the documents. I would estimate the total monetary worth of the estate at least double the value ascribed to it by Lewis.  

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41. A few exceptions gleaned from an examination of his later editions are noted in Chapter 11. 42. Giazotto, in Harmonici concenti, 15, maintained that Alessandro Gardano married Laura Scotto, related to the Venetian music printing firm of the same name. Unfortunately, the reference the author gave to the Venetian State Archive, Repertorio Stato Libero, 1568, f. 37, appears to be utter fantasyno such section exists in the archive. Nor is there any indication that the adoption of the label "Angelo Gardano et fratelli" in the Venetian editions after 1605 has any relation to the return of Alessandro to the Venetian firm; in truth, Angelo's alteration of his imprint most likely had to do with the suit filed by his brother Matthio's widow, as discussed in Chapter 9. 43. The document is found in ASV, Scuola di San Teodoro, Mariegola, r. 1, on the page headed by "+1562 Ser Andrea de Gabriel di Zoni." 44. See Stockbauer, Kunstbestrebungen, 127; cited in Bridges, "Publishing," 222. The issuing of such an invitation by Albrecht V might have been instigated by Orlando di Lasso. Lasso was a close friend of the printer Adrian Le Roy, and he must have met Antonio Gardano and his sons as well. Lasso's first public recognition as a composer came in 1555 with Antonio Gardano's publication of Il primo libro di madrigali a cinque voci (L757; see Forney, "Orlando di Lasso's 'Opus 1'," 33 and passim, where the author maintains that Lasso may have been the editor of the Antwerp issue of the music in the same year). Too, the Gardano family issued many other first editions and reprints of his music (documents show that Lasso was a frequent visitor to Venice; see Erb, Orlando di Lasso, 6, 810, 13, 16, 22, who cites Leuchtmann, Orlando di Lasso: Sein Leben, passim). 45. ASV, Giudici di Petizion, Inventari, b. 343, no. 24, preserves the document; it is partially transcribed in Sartori, "Dinastia," 199ff. 46. See ASV, Archivio notarile, Atti, not. Girolamo Savina, b. 11887, ff. 28r28v. In Sartori, "Dinastia," 197, 201; other references to Alvise (or Aloysio) Facini (or Faccini) are incorrectly rendered as Alvise (de) Fanin. 47. Mention of the list is made in ASV, Giudici di Petizion, Inventari, b. 343, no. 24; partially transcribed in Sartori, "Dinastia," 199ff. 48. ASV, Archivio notarile, Atti, not. Girolamo Savina, b. 11888, ff. 401v402r, preserves the document. On Bindoni's life, see Cioni, "Bindoni, Agostino," 4967. 49. Bernstein, in "Girolamo Scotto," passim, documents these connections. 50. The will may be found in ASV, Archivio Notarile, Testamenti, not. Giacomo Carlotti, f. 277, no. 255 (see also Sartori, "Dinastia," 192). 51. I include the one publication of 1569 from the presses of the Gardano heirs in what I deem a "long" decade of the 1570s. 52. See Pompilio, "Editoria musicale a Napoli," 83. 53. Only the output of the heirs and then Angelo Gardano will be considered in this summary. Alessandro will be treated separately in Chapters 7-8. Pompilio, in "Strategie editoriale," 266, presented an account of all composers whose editions were printed by the Gardano press in Venice from 1570 until 1630, but without a breakdown by decade. Marenzio topped that list with 49 editions, followed by Monte with 41, Palestrina with 35, Orazio Vecchi with 33, Andrea Gabrieli with 32, and Wert with 22. Similar summaries appear on following pages of the cited article for the firms of Scotto, Vincenti-Amadino, Amadino, and Vincenti. 54. See M. Lewis, Antonio Gardano, 1:1067. 55. The French chanson had declined precipitously in popularity in Italy around 1550, after the madrigal became firmly entrenched as the most popular Italian secular musical form. Consequently, Italian publications of French chansons virtually disappeared; see Bernstein, "Musica Transalpina," typescript p. 7.

56. As discussed in M. Lewis, Antonio Gardano, 1:17. 57. See Sartori, "Dinastia," 18990, and Zappella, Marche dei tipografi, 1:419, 423. 58. See Bernstein, "Scotto. Melchiorre Scotto," 422, and Pompilio, "Strategie editoriale,"  

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2579, 267. The chart on p. 266 of the latter does not refer to the Gardano production, but rather to the output of all Venetian musical presses. Presumably, such a chart is lacking for the Gardano production, although in this article all other firms have similar graphs to chart their productivity. 59. For more on Merulo's printing career, the reader is referred to Bridges, "Merulo, Claudio," 3378, and Edwards, "Claudio Merulo," esp. chapter 3. 60. See Edwards, "Claudio Merulo," passim but particularly chapter 3, and Nielson, "Rampazetto, Francesco," 3834. Notes to Chapter 8 1. Alessandro did make one payment in 1589; see ASV, Scuola di San Teodoro, Mariegola, r. 2 [unnumbered but alphabetically arranged folios, on the page headed by:] "G | + 1566 Ser Andrea Gotta Nonzolo +." 2. These records are preserved in ASV, Archivio delle Arti, Libreri, Stampatori, e Ligadori, b. 163, ff. [2r], 12r, 17r, 21r21v, 23v. 3. See Bernstein, "Publication of Palestrina's Music," typescript p. 4, and Cusick, Valerio Dorico, 1324 and passim. 4. Discussed by Cioni in "Basa, Domenico," 456, and Sartori in Dizionario, 20. For more on Basa's career in Rome, see Giorgetti Vichi, Annali della Stamperia, passim. 5. See Masetti Zannini, Stampatori e librai a Roma, 168, 187, 194, 2056; Sartori, Dizionario, passim; and Appendix I.B. 6. It is interesting to note that Robert Granjon used a plainchant font in his Directorium chori of 1582 that had measurements identical to that later used by Alessandro Gardano in his 1587 edition of Guidetti's Cantus ecclesiasticus; Granjon also collaborated with Domenico Basa, Alessandro's erstwhile partner, in creating types for the Vatican press; see Vervliet, "Robert Granjon à Rome," 187, 211. 7. See Vita Spagnuolo, "Atti notarili," 289, 534. 8. Ibid., 29, 54. 9. I would like to thank David Warrington, Special Collections Librarian at the Harvard Law School Library, and Edward T. Mormon, Rare Book Room Librarian for the New York Academy of Medicine, for kindly communicating the contents of the colophons for these two volumes. 10. Vita Spagnuolo, "Atti notarili", 29, 55. Two books mentioned in the transactions, the 1500 copies of the Diurni and the 276 of the "atti del Brutus," have not been identified. 11. ASV, Scuola di San Teodoro, Mariegola, r. 2 [unnumbered but alphabetically arranged folios, on the page headed by:] "G | + 1566 Ser Andrea Gotta Nonzolo +," preserves this reference. 12. Vita Spagnuolo, "Atti notarili," 2930, 56. 13. See ASV, Scuola di San Teodoro, Mariegola, r. 2 [unnumbered but alphabetically arranged folios, on the page headed by:] "G | + 1566 Ser Andrea Gotta Nonzolo +," and r. 3 [unnumbered but alphabetically arranged folios, on the page headed by:] "Jesus Maria. | G | 1566 Ser Allessandro Gardano Librer: 1593 : 1603+." Unfortunately, Alessandro's name does not appear in the 1603 Venetian Necrologia, and no other evidence has yet been found to confirm this date of death. I perused the Venetian Necrologie in the years immediately before and after 1603, hoping to find an entry for the death of Alessandro Gardano, but to no avail. Again, I am much indebted to Jonathan Glixon for pointing out the Scuola Grande di San Teodoro entries; without them, any death date of Alessandro Gardano would be utter speculation. I found no evidence for the claim in Eitner, Quellenlexikon, 3:148, that Alessandro Gardano was resident in Venice in 1619, nor that his name disappears after 1623; Eitner did not

name any source for this information, repeated in Sartori, "Gardane (Gardano), Antonio," c. 1377, and Bridges, "Publishing," 214.  

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14. The reference may be found in ASV, Scuola di San Teodoro, Mariegola, r. 1 [unnumbered but alphabetically arranged folios, on the page headed by:] "+ Ser Andrea de Gabriel di Zoni"; r. 2 [unnumbered but alphabetically arranged folios, on the page headed by:] "G l + 1566 Ser Andrea Gotta Nonzolo +"; and r. 3 [unnumbered but alphabetically arranged folios, on the page headed by:] "Jesus Maria. l G l 1566 Ser Allessandro Gardano Librer: 1593 : 1603+." 15. See ASV, Archivio delle Arti, Libreri, Stampatori, e Ligadori, b. 163, 21rff. Although the trade guilds were generous patrons of the arts during the Renaissance, little documentation survives for these activities (see Humfrey and Mackenney, "Venetian Trade Guilds," passim). 16. Mention is made of this in ASV, Archivio delle Arti, Libreri, Stampatori, e Ligadori, b. 163, 51r, 54r. 17. The reader is referred to ASV, Archivio delle Arti, Libreri, Stampatori, e Ligadori, b. 163, 77v78v: "messer Angelo Gardan.Non fu ballottado per esser debitor di Tanse." 18. See ASV, Archivio delle Arti, Libreri, Stampatori, e Ligadori, b. 163, 81v, 84r84v, 86r. 19. As pointed out in Cipolla, Money, Prices, and Civilization, 3ff., payment to land-lords in goods produced from the land by the peasants themselves had constituted a common practice since the early Middle Ages. 20. For the original documents, see ASV, Dieci Savi sopra le Decime, b. 157bis, no. 767 [1582]; transcribed in Sartori, "Dinastia," 191. 21. In ASV, Giudici de Petizion, Inventari, b. 343, no. 24; also transcribed in Sartori, "Dinastia," 201: "1582. 18. Febraro, contratto di nozze de madonna lucieta Gardana et messer Bartolomeo Gardignan, con la notta delle robbe da lei receuute." 22. ASV, Archivio notarile, Atti, not. Girolamo Savina, b. 11893, ff. 46r47r, records this transaction. 23. Found in ASV, Archivio notarile, Atti, not. Girolamo Savina, b. 11892 (1582), ff. 360v361r. 24. See Carapezza, "Mira, Leandro." Jane R. Bernstein brought to my attention that the Scotto family included several of Mira's madrigals in their publications. Oddly enough, even with Angelo's business dealings with Mira, it seems that only one Mira composition printed by the Gardano was issued by Angelo, in the Spoglia amorosa of 1592 (159215). 25. As in the Liber primus . . .mottettorum, quae partim quinis, partim senis, partim septenis vocibus concinantur (P701) of 1579, first printed by Dorico in 1569, or the 1571 and 1574 editions issued by the Gardano heirs and the 1579 Angelo Gardano edition of Palestrina's Motecta festorum totius anni cum Communi sanctorum . . .quaternis vocibus . . .liber primus (P690, P691, P692), first published by Antonio Gardano in 1564. 26. For more on this topic, see Bernstein, "Publishing of Palestrina's Music." 27. Some sources list simultaneous editions for Alessandro Gardane in Rome, in folio, and for Angelo Gardano in Venice, in quarto, but I have not seen any exemplar of the alleged Alessandro Gardano edition; RISM, Einzeldrucke, gives a single entry, P667. 28. See Lincoln, "Zoilo, Annibale," 704, and Lockwood, "Palestrina, Giovanni Pierluigi da," 123. 29. For a detailed overview of the printing privilege in Venice, see my "Privilege and Venetian Music Printing" and "Venetian Privilege and Music-Printing," both passim; for a list of all privileges granted for music in the sixteenth century for which documentation survives in the ASV, see the former, 176ff., and the latter, 27ff. 30. In M. Lewis, Antonio Gardano, 1:638, the author hypothesized that the new invention of Antonio Gardane might have been a new sort of forme for staff alignment. 31. As in Francesco Viola's request in 1558 for a Venetian privilege on "L'opera titolata Musica Nuova de messer

Adriano Vuilaret," the famous Musica Nova of 15581559 (W1126). See Agee, "Privilege and Venetian Music Printing," 107ff.; Agee and Owens,  

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"Stampa della 'Musica Nova'," passim; and Newcomb, "Editions of Willaert's Musica Nova," passim. 32. See my "Privilege and Venetian Music Printing," 7985, 149ff., and "Venetian Privilege and Music-Printing," 236. 33. The document is found in Haus-, Hof- und Staatsarchiv, Vienna Reichshofrat, Impressoria, Kart. 22, ff. 194r195v. I would like to thank Robert Lindell for bringing this document to my attention and for sending me a photocopy of the document from Vienna. 34. See Crawford and Borders, Renaissance Liturgical Imprints, 2684; see also Biblioteca Musicale L. Feininger, Fonti liturgiche a stampa, 1:114, 123, 137, 4523. 35. ASV, Archivio notarile, not. Gerolamo Savina, b. 11896, f. 759v (1584), preserves this reference. Nicholas S. Davidson, "Northern Italy," 167, mentioned that armed bands terrorized the Papal States, Tuscany, and the Veneto from 1575 until 1595. 36. This privilege is preserved in ASV, Senato Terra, R. 57 (158687), ff. 19v20r; see my "Privilege and Venetian Music Printing," 3046. 37. I would like to thank Martin Morell for bringing these documents to my attention; they are found in ASV, Avogaria di Comun, Notatorio, R. 2071/21, 9 ottobre 1585, and ASV, Archivio notarile, Atti, not. Marc'Antonio Figolin, b. 5811, 2nd set of numbering, ff. 148r148v. 38. See my "Privilege and Venetian Music Printing," 299. Gaetano Gaspari, in his Catalogo della Biblioteca Musicale, 3:260, indicated that he believed that this edition of Vecchi's Book I was indeed the first edition, notwithstanding the rubric "novamente ristampate." 39. See RISM, Einzeldrucke V1011, V1012, V1018, V1019, etc. 40. In Gaspari, Catalogo della Biblioteca Musicale, 3:261, we learn that the Marquis Filippo Bruti Liberati, in a letter of 15 March 1851, indicated that his friend Count Pietro Leopardi of Recanati possessed a copy of Canzonette di Oratio Vecchi da Modena Libro Secondo a quattro voci. Terza impressione nuovamente ristampata. In Verona presso Sebastiano dalle Donne, 1585 (in 4°, 24 pp.). Although I know of no such surviving edition, Martin Morell has suggested that a copy might exist or have existed in the Biblioteca Leopardiana in Recanati. 41. "per fugir le lite et spese hanno deliberato piu tosto per vie de communi amici." 42. See note 40 for a possible exception. 43. For more information on the issue of collusion and competition among music printers, see my "Privilege and Venetian Music Printing," 51ff., and Music-Printing," 15ff.; Bernstein, "Financial Arrangements," 43ff.; and M. Lewis, Antonio Gardano, 1:30ff. 44. See ASV, Archivio notarile, Atti, not. Gerolamo Savina, b. 11906, ff. 525v528r. 45. See Pompilio, "Editoria musicale a Napoli," 83. 46. Pompilio, in "Strategie editoriale," 262, 265, presents these statistics. 47. Ibid., 270, displays a graph of percentages of editions per author for Venetian printing as a whole in this decade. 48. Ibid., 256, referred to the Gardano booklist of 1591 to maintain that 80% of Angelo Gardano's editions in the 1580s were madrigals. While this percentage may represent the number of madrigal publications in the booklist, it does not follow that this represents the entire production of the shop. First, many sacred titles do not appear in the 1591 booklist, as is clear from a brief comparison of Appendix I.A and Appendix II.B. Perhaps 80% of the titles were secular because more of the sacred titles were printed for ecclesiastical clients as vanity press runs and thus

were unavailable at the Gardano shop and not found in the Angelo Gardano Indice. A less probable scenario, although one perhaps more likely after than before the Council of Trent, would have the secular music selling more slowly or hardly at all to the general public while the sacred publications were snatched off the shelves. In any case, it is true that other music printers published comparatively more sacred music as a percentage of their general output than Angelo Gardano.  

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49. Here I will consider not only the decade of the 1580s but the entire output of Alessandro through his last editions of 1591. 50. Doubtless many more of these await to be discovered. 51. See Pompilio, "Strategie editoriale," 258, 267; on the latter page, the chart shows a falling off of activity in the late 1580s and early 1590s. 52. For more on these printers, see Bridges, "Amadino, Ricciardo," 13840; Bridges, "Vicenti, Giacomo," 4601; and Pompilio, "Strategie editoriale," 25960. Notes to Chapter 9 1. The Indice is transcribed and annotated in Appendices II.A and II.B; much of the following discussion is drawn from these appendices. 2. See Mischiati, Indici, 17, where the Gardano list appears first of 67 such lists printed between 1591 and 1798. Pollard and Ehrman, in Distribution of Books, trace the development of book distribution by catalogue from the early fifteenth-century broadsides to octavo booklets by the middle of the sixteenth century. It is in this latter format that the Angelo Gardano 1591 booklist appears. 3. See Bridges, "Gardane [Gardano]," 159, and Sartori, Dizionario, 74. 4. For this citation see ASV, Archivio notarile, Atti, not. Zuanne Figolin, f. 5624, vol. I, 12th gathering ("Extravaganza I"), on four bifolios inserted after f. 34; transcribed in Sartori, "Dinastia," 181ff.; citation on 182. 5. Bridges speculates on this possibility in "Publishing," 189ff. 6. Other types of catalogues include books available at a given time and place from a number of publishers, as in the famous catalogue of the Leipzig book fairs compiled by Georg Willer; see Pollard and Ehrman, Distribution of Books, for more on the dissemination of books by means catalogue, and Göhler, Messkataloge and Verzeichnis, for information on musical editions offered for sale at the German book fairs in the period. 7. Heartz, in Pierre Attaingnant, 108, seems to imply that the volumes of Petrucci, produced under the laborintensive multiple impression process, remained unsold for long periods on the bookstore shelf owing to their high cost. I believe that the Angelo Gardano Indice provides evidence that the same fate awaited many of the cheaper musical editions produced later by the single impression process. 8. However, the edition was on sale at a book fair in Germany only a few months after its publication. Nevertheless, it is not known if the patron (the monastery of San Giorgio Maggiore) was selling it there, or if Scotto made some clandestine copies for his own profit. See my "Venetian Music Printing Contract," passim. 9. See ASV, Archivio notarile, not. Francesco Alcaini, f. 37, no. 32. 10. Pastorello, in Tipografi, editori, librai, transcribed many such designations of location as they appear in Venetian publications themselves, but no entry for an "insigna della giesia" appears. 11. These records may be found in ASV, Scuola di San Teodoro, r. 3 [unnumbered but alphabetically arranged folios, beginning on the page headed by:] Jesus Maria. l G," and ASV, Scuola di San Teodoro, b. 14, registro [first foliated section], parti, 15521602, 81r, and registro [second foliated section], parti, 15521602, 121r, 123r. The Scuola Grande di San Teodoro evidently maintained close ties with the Scuola dei Merciai (Gallo, "Scuola Grande di San Teodoro," 466), and doubtless it is no coincidence that Matthio Gardano, a member of the scuola, was a mercer as well. 12. See ASV, Archivio delle Arti, Libreri, Stampatori, e Ligadori, b. 163, R. 1, Atti, 15781597, and R. 2, Atti, 15971617, both passim.

13. ASV, Scuola di San Teodoro, Mariegola, R. 13, passim, records his activity in the scuola. 14. See ASV, Archivio delle Arti, Libreri, Stampatori, e Ligadori, b. 163, R. 1, Atti, 15781597, passim, and R. 2, Atti, 15971617, passim.  

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15. The will is now found in ASV, Archivio notarile, Testamenti, not. Giovanni Battista Padovin, b. 1224, no. 158; partially transcribed in Sartori, "Dinastia," 1945. 16. See Cioni, "Bindoni, Agostino," 497. 17. Boorman, in "Raverii, Alessandro," 387, and Sartori, in Dizionario, 128, summarize the printer's activities. 18. The will was holographic, and thus, after the death of Bindoni, an annotation on the outside of the document indicates that on 3 October 1599, seven months after Bindoni himself had drafted the instrument, Angelo Gardano presented the document to a notary for verification. Six days later, on 9 October 1599, three witnesses wrote at the bottom of the document that they recognized the writing of Bindoni, having seen it many times. The remaining annotations deal with Bindoni's family members who came to read the will and the legitimation of the document by the Venetian Signoria. It appears that the family probably accepted the terms of Bindoni's will, since no other documents pertaining to its provisions have come to light. 19. See ASV, Giudici di Petizion, Dimande, b. 21, second and last bundle, in a bifolio near the end; transcribed in Sartori, "Dinastia," 199. 20. In the document just cited, Angelo referred to Iacobo Capis as Angela's "padre," but in subsequent documents, such as ASV, Giudici di Petizion, Inventari, b. 343, no. 28 (15 May 1606), Giacomo Capis is named as her "fratello." 21. ASV, Scuola di San Teodoro, b. 14, Registro, Parti, 15521602, 81r. 22. See ASV, Giudici di Petizion, Inventari, b. 343, no. 24; transcribed in Sartori, "Dinastia," 199ff. 23. Presumably this was the same residence, in the same location, already being rented to Angelo Gardano by Giulio Michiel in 1582 (ASV, Dieci Savi Sopra le Decime, b. 157bis, no. 767); in all likelihood the property had been inherited by another member of the noble family, Marc'Antonio Michiel. 24. Three such publications are known to exist: 15862, Diletto spirituale canzonette a tre et a quattro voci composte da diversi ecc.mi musici. Raccolte et scritte da Simone Verovio. (Roma, M. van Buyten, 1586); 15863, with the same title as above, followed by Intagliate et stampate dal medesimo. Con l'intavolatura del cimbalo et liuto. (Roma, 1586); and 159216, with the same title as 15863 (Roma, [M. van Buyten], 1592), with the same contents as 15862 [sicRISM, Recueils imprimés]. Perhaps Angelo Gardano was intrigued by the unusual engraved plate technique. See Bridges, "Verovio, Simone" for more information and for facsimiles of the Verovio plates. 25. As explored by Voet in Golden Compasses, 1:33842 and all of 1:chapter 11. 26. For the elder Antonio Gardano's place in the larger cultural milieu of Venice, see M. Lewis, Antonio Gardano, 1:25ff., and Giazotto, Harmonici concenti, 9ff. In Masetti Zannini, Stampatori e librai a Roma, 243ff., we find a transcriptions of books owned by bookmen and their widows sometimes numbering into the hundreds of items. Palumbo-Fossati, "L'interno della casa dell'artigiano," 133, mentioned that fewer books may be found in the Venetian inventories than we might expect, given the preeminent position of Venice in the printing trade; the author suggested that lists of books may have been drawn up separately from the standard household inventories. However, since a few books are mentioned in a specific way here, it seems unlikely that Angelo owned any more volumes outside of the contents of the printing shop; the Angelo Gardano Indice probably represents a reasonable picture of the Gardano inventory, at least for 1591. 27. From the documents connected to the struggle between Angela Capis and Angelo Gardano, it would appear that Matthio and his family lived with Angelo until after Matthio's death. 28. Portraits were a common household items in Venice late in the sixteenth century, as for that matter were portraits of the Madonna; see Palumbo-Fossati, "L'interno della casa dell'artigiano," 131, 144. 29. More than 40% of the dwellings whose size was revealed in research for Palumbo-

 

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Fossati, "L'interno della casa dell'artigiano" (p. 120), had only 2 or 3 rooms. Consequently, by this measure the Gardano apartments must have seemed spacious. 30. See ASV, Giudici di Petizion, Inventari, b. 343, no. 28; unfortunately not transcribed in Sartori, "Dinastia." 31. Palumbo-Fossati, in "L'interno della casa dell'artigiano," 1412, maintained that frescoes were rare in Venetian rooms, while draped coverings were relatively common in more well-to-do surroundings. Perhaps this house on the mainland already included frescoes of the sort that were to distinguish Venetian country dwellings during the time of Palladio. 32. See ASV, Giudici di Petizion, Inventari, b. 343, no. 33; transcribed in Sartori, "Dinastia," 2023, but lacking the final document. 33. M. Lewis explores this ambience in Antonio Gardano, 1:2530. 34. The will had been drawn up in Angelo's home in the Merceria, and was signed by two witnesses. See ASV, Archivio notarile, Testamenti, not. Paolo Lion, b. 582, no. 86; transcribed and partially reproduced in facsimile in Sartori, "Dinastia," 2057. 35. Angelo specifically mentioned in his will that Magni had helped him with the "division with the heirs of my brother, and other important negotiations." As we have seen, negotiations concerning the division of the assets began five years earlier, in 1606. 36. See Boorman, "Magni," and Sartori, Dizionario, 913. 37. Heartz, in Pierre Attaingnant, 22, suggested that the instances of a would-be printer marrying a bookman's widow or heir are so numerous that it would appear that printing enterprises were rarely established by any other means. Sartori, in "Dinastia," 198, asserted that Angelo Gardano was married, although he could not place when the marriage occurred or to whom. But the legitimization of Angelo's daughter Diamante, referred to in the 1606 inventory of family papers (ASV, Giudici di Petizion, Inventari, b. 343, no. 24; transcribed in Sartori, "Dinastia," 201), would suggest to me, given that no document has yet been found that maintains that Angelo was married, that he was not. 38. The official death notice for Angelo Gardano dates from 7 August 1611 in ASV, Provveditori alla Sanità, Necrologia, R. 843 (1611), although a note at the conclusion of Angelo's will suggests that Angelo died on the 6th; presumably the Venetian health authorities only received the news on the following day. 39. See ASV, Provveditori alla Sanità, Necrologia, R. 843 (1611), 7 August 1611; transcribed in Sartori, "Dinastia," 207. 40. I have not yet located the earlier agreement from 1607; see ASV, Giudici di Petizion, Inventari, b. 344, no. 69. 41. In 1598, the Scuola Grande di San Teodoro, often considered the poorest of the scuole grandi, had five musicians singing on a float for the procession that celebrated the peace treaty between King Henry IV of France and King Phillip II of Spain in 1598. See Glixon, "Far una bella procession," 1912, 207. 42. See Arnold, "Music at a Venetian Confraternity," and Arnold, "Music at the Scuola," both passim; Glixon, in "Music at the Scuole," treats music at these institutions during the last half of the Cinquecento; see also T. Carter, Music in the Late Renaissance, 116, and Bryant, "Musica nelle istituzioni," 441, both of which cite Francesco Sansovino, Venetia, città nobilissima et singolare (1604). Since the musicians worked for the scuola, the family should not have been asked to pay for their services along with all of the other funeral expenses. In any case, no record of such expenses survive in the family's papers. 43. See Glixon, "Venetian Scuole Grandi" (article), 197200; for more detail in connection to the scuole grandi in this period, the reader is referred to Glixon, "Venetian Scuole Grandi" (diss.).

44. Eisenstein, in Printing Press, 1:72, while discussing literature rather than music, pointed out that "the printer, who duplicated a seemingly antiquated backlist, was still providing the clerk with a richer, more varied literary diet than had been provided by the scribe." The same, of course, was true for Angelo Gardano and musical editions with his booklist of 1591.  

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45. See Pompilio, "Editoria musicale a Napoli," 83, and his "Strategie editoriale," 2567, 262, 265. 46. Pompilio, "Strategie editoriale," 2701, presents graphs that indicate the total percentages of editions for individual authors in all Venetian music published during the decade. 47. See Mischiati, Indici, 92ff., Pompilio, "Strategie editoriale," 25961, 2689, and Thibault, "Deux catalogues," passim. Vincenti's entries lack the specificity of the Angelo Gardano booklist, but they have the added advantage of price indications (prices are not found in the Angelo Gardano Indice). 48. As detailed by Boorman in "Magni," 32930, and Sartori in "Dinastia," 2078. Notes to Chapter 10 1. See Vervliet, Sixteenth Century Printing Types, passim. 2. The standard guides for bibliographical description include McKerrow, Introduction to Bibliography; Bowers, Principles of Bibliographical Description; and many articles, among which are Foxon, Thoughts on the History and Greg, Collected Papers. In particular, Bowers, in Principles of Bibliographical Description, 3-18, makes the critical distinctions among simple catalogues, descriptive or bibliographical catalogues, and descriptive, critical, or analytical bibliographies. The specific areas of bibliographic concern fostered by the Germanic, English, and French lines of study were pointed out by D. W. Krummel in Bibliographies, 4-5. 3. I make no attempt here to describe the actual printing process itself, including the single impression process used by Angelo and Alessandro Gardano. The reader is referred to Krummel and Sadie, Music Printing and Publishing, 11-28; Lewis, Antonio Gardano, 1:63-89; McKerrow, Introduction to Bibliography, and Moxon, Mechanick Exercises, both passim; and Voet, Golden Compasses, esp. 2:chapters 4-5. 4. No distinction is made here between a woodcut device and an incised metal device, but I avoid the word "woodcut" to avoid misidentifying incised metal. According to McKerrow, Introduction to Bibliography, 117, after 1570 virtually all ornamental initials were printed from incised metal blocks. 5. See Lewis, Antonio Gardano, 1:35-9. Paper sizes in Italy were already being standardized into four categoriesimperialle, realle, meçane, and reçuteas early as 1389 (as transmitted in a document and a marble slab from Bologna; see Gasparinetti, "Early Italian Papermaking," passim, and Briquet, Filigranes, 1:2-4). 6. Stevenson lamented the lack of knowledge regarding formats, even among booksellers, librarians, and bibliographers, in his Observations on Paper as Evidence, 3-18. 7. See Draud, Biblioteca, 1616. 8. McKerrow, in Introduction to Bibliography, 164-74, and Bowers, in Principles of Bibliographical Description, 193-6, discussed a few of the problems associated with the designation of format; see also Krummel, "Oblong Format," 312-3 for definitions of oblong and upright, and Labarre, Dictionary and Encyclopedia of Paper, 44-5, 60, 109-11, 174-5, 217-8, 246-72, 314, and 328-60, for definitions of chain-lines, countermarks, folio, format, oblong, octavo, quarto, upright, and watermark. Heawood, in "Position on the Sheet," provides a fascinating examination of watermark placement on the paper itself, while Heartz, in "Typography and Format," 702-3, discusses music editions in particular. 9. Naturally, Mary S. Lewis must be considered the foremost authority on the editions of Antonio Gardano; see especially her "Antonio Gardane," and Lewis, Antonio Gardano, passim. 10. Scotto appears to have been the first Venetian music printer to have used the upright orientation, in Doni's Dialogo della musica of 1544 and several other editions. He subsequently dropped it and took it up again only in 1564, when he used it exclusively for his quarto and octavo publications until his death. I would like to thank Jane R. Bernstein for altering me to Scotto's use of the upright format prior to the publication of her Scotto Press.  

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11. This reason and others are given for the adoption of oblong quarto in Krummel, ''Oblong Format," 324. But Krummel does not explain why publishers then switched to upright quarto in the closing decades of the sixteenth century. 12. See Lewis, Antonio Gardano, 1:39. 13. Of course, it is precisely the anomalous editions, not those exhibiting the usual practices, that provide the most intriguing data to be found in descriptive bibliography. It is hoped that the norms described here will serve as a guide against which scholars may compare the data from those unusual editions of the Gardano production that may come to light. 14. This description generally follows those procedures set forth in McKerrow, Introduction to Bibliography and Bowers, Principles of Bibliographical Description, passim, with modifications made necessary owing to the partbook format. Italian practices in this period were surprisingly uniformsee Sayce, Compositorial Practices, esp. 23, 28, 43. 15. Only rarely do we find signatures other than letters, as in the 1572 edition of Giovanni Paien's Il primo libro de madrigali a due voci (P75, I Bc), where the signatures of the tenor partbook appear as 4° obl.: F-K4 *4. 16. In many of the Gardano editions, slight differences may be noted among the signature lines. 17. The headers in most Gardano editions name the partbook in upper-case letters, and now and then designate musical subdivisions using both upper- and lower-case letters, such as in "Seconda parte." 18. For instance, in the cantus partbook, the Missa pro defunctis begins on p. 33, but in the altus, 34, and in the bassus, 32. 19. In this exemplar of 157020, bifolio B2/7 is missing. 20. Fewer than three gatherings survive in this exemplar of the 1591 Graduale Romanum: A8 and DD-EE8 (A1,A8). 21. From the microfilm of the exemplar at the Isham Library, it appears as if the last folio of the final gathering has been removed. The double letter signature might also be seen in the collation of the quinto partbook of the 1580 Il quarto libro de madrigali a sei voci of Philipp de Monte (M3368, I Vnm), 4° obl.: N-P4 PP4; not surprisingly, this partbook has four gatherings while the other five have only three apiece; the sesto partbook begins with a Q gathering. Another exception to the usual one letter/one gathering may be seen in the alto partbook (I Bc) of the 1575 edition of the Morales Magnificat . . .cum quatuor vocibus (M3600), collated 4° obl.: L-P4 P32. 22. The sexta pars is signed G, the septima pars F. 23. See, for instance, Massaino's Sacri modulorum concentus . . .opus 31 of 1606 (I Rsc), which doubles up letters already used in the signatures. That is, the cantus book is configured A-B4C6AA4BB6, and seven other books in the edition exhibit similar signatures (see Boorman, "Printed Music Books," 2594). Of course, by 1606, it is quite likely that Magni already worked under Angelo. 24. As detailed by Heartz in Pierre Attaingnant, 158, and by Lewis in Antonio Gardano, 1:20-1. Zappella, in Marche dei tipografi, 1:230, describes the device and motto. 25. Zappella, Marche dei tipografi, 1:423, gives the motto among many others, but credits it only to Antonio and Alessandro Gardano, failing to mention Angelo, who used it longer than either of the other two! 26. Discussed in Lewis, Antonio Gardano, 1:41-3. As pointed out in McKerrow, Introduction to Bibliography, 151-2 n. 1, a 5% difference in measurement might he expected from one incised block impression to another. The reader should take this into account when utilizing the measurements below. All measurements begin with the vertical followed by the horizontal.

27. See Lewis, Antonio Gardano, 1:41 (Mark VII), 1:Plate 9. Examples of this mark may be seen in most of the oblong quarto editions published in these years. Obviously the ".A..G." on either side of the elevated rose could represent the initials of either "Angelo Gardano" or "Alessandro Gardano," or for all of the heirs of "Antonio Gardano."  

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28. Treated in Lewis, Antonio Gardano, 1:41 (Mark VI), 1:Plate 8. 29. Fraenkel, Decorative Music Title Pages, Plate 21, reproduces in facsimile the printer's device as found in Barbetta's Intavolatura de liuto of 1585 (B906, US Wc). 30. See Lewis, Antonio Gardano, 1:41 (Mark I), 1:Plate 4. 31. A facsimile of this printer's device may also be found in Zappella, Marche dei tipografi, 2:fig. 801. 32. In 1586, for example, Angelo published at least three editions using Printer's Device IV on the title pages, including the Corona di dodici sonetti (158611, I Vnm), Antonio Gardano's Il primo libro de canzone francese (15868, I Vnm), and Lambardi's Sacra cantica B. Mariae Virginis (L364, D Kl). In the same year he also published at least three editions using the alternate Printer's Mark V, including the prima pars and pars secunda to Duke Guglielmo Gonzaga's Cantici Beatiss. Mariae Virginis (AN432-3, D Kl) and Monte's L'undecimo libro delli madrigali a cinque voci (M3379, I Vnm). 33. A facsimile of Printer's Device VI also appears in Chatrian, Biblioteca Capitolare di Aosta, Plate XV. 34. A facsimile of the tenore partbook may also be seen as Plate I of Gabrieli, Complete Madrigals. 35. For instance, two later editions using Printer's Mark VIII on their title pages include Vecchi's Selva di varia ricreatione (159512, V1045, I Vnm) and Vecchi's Le veglie di Siena of 1604 (V1053, I Vnm). 36. Another facsimile of this printer's device can be seen in Coro Polifonico Cremonese, Musica e musicisti, 31. 37. A facsimile of Printer's Device XI, from a Magni publication of 1620, may be found in Coro Polifonico Cremonese, Musica e musicisti, 31. 38. A facsimile of this elaborate design appears in Feldman, City Culture, xxv; Krummel and Sadie, Music Printing and Publishing, 256; Lewis, Antonio Gardano, 1:Plate 26; and Zenck, Adriani Willaert, x, among other locations. 39. A facsimile of this title page may be found in Vecchi, L'amfiparnaso, iii. 40. See Lewis, "Printed Music Book," 909. 41. For instance, the title pages of Corteccia's 1570 Responsoria and Responsoria . . .residuum (C4153, C4154, I Bc) carry a compartment of four parts, with a central depiction of the crucifixion attended by three saints (see the facsimile of both title pages from these exemplars in D'Accone, Francesco Corteccia, xxxiii-xxxiv); Berti's Psalmi omnes of 1592 (B2132, D Bds) and his Magnificat octo tonum quinque vocibus of 1593 (B2133, I Vnm) both employ the same medium-sized illustration depicting the Annunciation on their title pages; in Sorte's Vespertinum omnium solemnitatum psalmodia . . .of 1593 (S3992, GB Lwa), the Madonna and Child are illustrated in an oval surrounded by scrollwork, topped by an irregular space filled with a cross and the initials "C P". 42. Most of these devices were printed with blocks, but a few were also engraved on plates, such as the depiction of St. Anthony of Padua receiving the stigmata on the title page of the 1587 Graduale, et antiphonarium (Crawford and Borders, Renaissance Liturgical Imprints: 2650, US BE). 43. Many of these designs have a similar placement and thus all will be referred to as "Ornaments," but only for purposes of simple identification. The peculiar bibliogrphic description of each design will be explained below; see Bowers, Principles of Bibliographical Description, especially 141-59, for an explanation of the differences among compartments, frames, and ornaments. 44. See Lewis, Antonio Gardano, 1:Plate 23 for a facsimile of the A Wn title page and Lewis, Antonio Gardano, 1:Plate 24, for a facsimile of the title page from I VC. 45. The impression of the leaf measures 6 x 11 mm. (on its side, point up or down) in this latter exemplar.

46. As on the title pages of Mainerio's Il primo libro de balli a quattro voci (M187, I Bc) and Rossi's Psalmorum vesperarum . . .liber primus (R2737, I Bc), both from 1578.  

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47. I found one unusual case where this compartment was found at the bottom of a title page, and typeset within it the imprint "Appresso Ange. Gard."; see the 1582 edition of Vecchi's Canzonette . . .libro secondo a quattro voci (V1018, US Cn, G1r). 48. The impression made by the incised block in this exemplar measures 18 x 134 mm. (A1r), and the central slot approximately 9 x 42 mm. In one exemplar of Marenzio's Il sesto libro de madrigali a cinque voci of 1603 (M558, I Vnm, A1r), this compartment is inverted (although the typesetting of CANTO is correct within the slot and can be read normally). 49. The following descriptions and measurements were based on the 1587 edition of Monte's Il duodecimo libro delli madrigali a cinque voci (M3381; I Vnm, A1r, I1r, E1r, N1r, R1r): a) The impression of the canto block, 17 x 135 mm., depicts, among carved wooden scroll designs, three crouching cherubs reading music from individual partbooks on each side (six in all). A small grotesque face adorns the space above the central carved letters designating the partbook. The CANTO lettering is carved into an irregular slot about 4 x 25 mm. b) The impression of the alto block, 17 x 135 mm., the outer cherub on each side reads his partbook while sitting, the next in on each side reads his crouching, and the one placed on either side of the center plays a lute. A grotesque head adorns the lower center. ALTO is carved into a irregular central slot, 5 x 20 mm. c) The impression of the tenor block, 17 x 134 mm., depicts two cherubs on each side, formed into a viol consort. Grotesque faces may be found at the center top and on both sides of each group of cherubs. Carved into an irregular slot in the center, about 4 x 29 mm., we find the carved lettering TENORE. d) The impression of the bass block, 17 x 135 mm., displays two cherubs on each side holding partbooks for singing birds. Grotesque heads face outward from the center, and smaller faces may be found above and below the center. Carved into an irregular slot in the center, 4 x 28 mm., is the lettering BASSO (see Plate 4). e) The impression of the quinto block, 17 x 134 mm., abandons cherubs for singing birds, two on each side, reading from music stands placed on either end of the block. The fantastic torso of a female faces outward on the left, of a male outward on the right. Grotesque faces are found above and below the center. Carved into an irregular slot, 4 x 29 mm., is the word QUINTO. 50. The incised block impression measures about 18 x 135 mm. and the central slot approximately 8 x 46 mm. in this Vecchi exemplar (G1r). 51. See a facsimile of the title page to this edition and exemplar in Fraenkel, Decorative Music Title Pages, Plate 23. 52. This impression measures 20 x 138 mm. and the irregular slot about 9 x 44 mm. in I Vnm (D1r). 53. A facsimile of the title page from this exemplar may be seen in Fraenkel, Decorative Music Title Pages, Plate 72. 54. This impression measures about 22 x 137 mm. and the irregular slot approximately 10 x 33 this Valentini exemplar (R1r). 55. Bowers, in Principles of Bibliographical Description, 141ff., drew a relatively clear distinction between compartments on one hand, and frames on the other. Compartments were carved from a single block with the center portion cut out, as with Ornament III, V, VI, and VII above, or if cut into a number of pieces or designed in a number of pieces, at least intended to form a single design when assembled. Frames, on the other hand, were title page enclosures made up of separate cuts which show no evidence of having been carved together for use specifically as a title page border, as with Ornament I, above. Both types are arranged here by function on the title page, and thus are referred to simply by the more general rubric "ornament."

56. Oddly enough, this edition purports to praise the ladies of Genova, although the city pictured in the ornamental design is Venice! 57. See Gabrieli, Complete Madrigals, Plate I, for a facsimile of the title page to the tenore partbook of the Gabrieli edition in the CH Bu exemplar. A facsimile from one  

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edition issued in the last decade of Angelo's life that employs the same compartment on the title page is found Merulo, Canzoni d'intavolatura, Plate 2 (from Merulo's 1606 Libro secondo di canzoni d'intavolatura d'organo, M2379, F Pn)here, a block cut portrait of Merulo occupies the central oval. An impression of this block may also be seen on the title page of Leggiadre nimphe a tre voci from the same year (16068, F Pn). On the title page of Sigismondo d'India's Libro secondo de madrigali a cinque voci of 1611 (I25, GB Och), we see a similarly shaped compartment with a central oval, although using a somewhat more neo-pagan arrangement of satyrs and grotesque heads rather than the more subdued classical frame in the 1606 publications. 58. An example of a compartment on the top line combined with modular compartment pieces occurs on the title page of Andrea Gabrieli's Psalmi Davidici of 1583 (G56, I Bc), with Ornament III as its head piece combined with Ornaments VIII, c-f (described below) on either side and at the foot of the page. 59. The following measurements and descriptions refer to the compartment sections of Ornament VIII, as represented in Vecchi's 1587 Canzonette a sei voci . . .libro primo (V1026, US BE, N1r; see Plate 6): a) block at left top, 22 x 57 mm., description from left to rightelaborated in carved decoration (almost scroll work), a winged humanoid creature facing left, a face, and a winged cherub's head facing left; block a', on the far right, is a mirror image of this design with the same measurements. b) center top block, 22 x 21 mm., found between a and a'a single, grotesque bearded face within carved decoration. c) upper block on the left side, 71 x 18 mm., described from top to bottoma decorative urn with two small grotesque heads facing outward, in turn supported by two small heads facing outward and leading down into scrollwork; at the base is a grotesque bearded head supported by a small pedestal and surrounded by scrollwork; on the far right upper side, c' features the same design with the same measurements. d) lower block on the left side, 71 x 18 mm., described from top to bottoma child's torso surrounded by carved decoration, fruit below supported by more carved decoration, the bottom of which features a small bearded face supported on a carved pedestal; on the far right lower side, d' features the same design with the same measurements. e) left block on bottom, 16 x 59 mm., described from left to righta grotesque bearded head with headband within carved decoration, a potted plant with a small face below, and another grotesque bearded head with headband within carved decoration; at the bottom right, e' features the same design and the same measurements. f) center bottom block, 16 x 18 mm.a carved pedestal that appears to be supporting a flame (?). 60. As on the title pages of Graziani's Psalmi omnes ad vesperas cum Magnificat, quatuor vocibus decantandi of 1587 (G3702, I Bc) and Mazzone's Il primo libro delle canzoni a quattro voci of 1591 (M1685, I Vnm), respectively. 61. Late instances of Ornament VIII (a-b) are found on the title page of Wert's Il decimo libro de madrigali a cinque voci of 1608 (no RISM or Vogel et al., Bibliografia numbers; US BE), and Ornament VIII (a-d) may be seen on the title pages of Pecci's Madrigali a cinque voci (160927, P1107, I Vnm). 62. A different, very slender decorative frame composed of type ornaments may be found throughout Angelo Gardano's publication of the Lodi Spirituali . . .datte in luce ad instantia della Venerabile Congregatione dell'Humiltà (15806). The very unusual format of this publication, 12° upright, may have occasioned the use of these tiny type ornaments. Since I have found no other instances of it in my examination of the Gardano firms' publications, I do not reproduce it here. 63. A photocopy of the tavola of the Fontanelli publication was kindly sent to me by Don Giuseppe Zivelonghi of the Biblioteca Capitolare of Treviso (no partbook or gathering was specified).  

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64. A facsimile of this new compartment may also be seen on the title page to the well-known Il trionfo di Dori (159211, US Wc) in Fraenkel, Decorative Music Title Pages, Plate 23. 65. The measurements and description of the designs of Ornament X as measured in US BE and shown on Plate 10 (see also Plate 13) are as follows: a) upper left side, 71 x 21 mm., described from top to bottoma female armless figure clothed with leaves around her waist, whose head is surrounded by a classical-style capital dangling leafy garlands on either side, her pedestal legs supported below by a carved platform enclosing a grotesque face; on the upper right side, a' has a similar measurements and design. b) lower left side, 71 x 21 mm., described from top to bottombelow a capital, a winged cherub's head, with a grotesque creature below grasping the carved decoration, all set on a thin classical base; lower right side, b' has similar measurements and design. c) bottom left block, 25 x 60 mm., described from left to rightall within decorative carving, first a winged breasted creature, followed by a small face in a carved frame topped with a three pointed jester hat, and ending with a repeat of the first figure; at the bottom right, c' has the same measurements and design. d) bottom center block, 24 x 15 mm.a small oval face within a carved design. 66. Angelo Gardano, Dialoghi musicali, presents all 12 partbooks of this edition in facsimile, and each partbook title page uses this arrangement for the compartment; another facsimile of this title page may also be seen in Gabrieli, Complete Madrigals, Plate II (B Br). Ornament XI (a) may also be found at the top of the dedication page of Vecchi's L'amfiparnaso of 1597 (V1048, I Bc) in Vecchi, L'amfiparnaso, Plate V. The following are the measurements and description of the blocks of the compartment that form Ornament XI, taken from the Dialoghi musicali, B Br: a) block at head of title page, 22 x 149 mm., described from left to rightcavorting, music-making winged cherubs, the first with a viol, the second a partbook, the third a lute, the fourth a small viol under the chin, the center cherub with a partbook, the sixth with his back to us, pointing to the seventh with a partbook, the eighth with a lute, and the ninth with what appears to be a small wind instrument, all frolicking on decorative carvings. b) upper left side block, 36 x 18 mm., a cherub playing a viol under the chin, atop a decorative urn. c) upper right side block, 36 x 18 mm., a cherub playing a lute atop a decorative urn. d) bottom center block, 23 x 30 mm., a grotesque bearded face as part of and surrounded with a decorative carved frame. 67. The measurements and description of the various block impressions that comprise Ornament XII on the title page of the Vecchi edition just cited are as follows: a) upper block, 27 x 138 mm., described from left to rightwithin decorative carving, a winged nude female figure appears to be fleeing a clean-shaven satyr, who grabs her leg; at the center, a decorative urn sprouting vegetation, followed by a bearded satyr grasping the leg of another winged female figure. b) left side, 141 x 27 mm., described from top to bottomfrom a classical capital there appear to hang two armless female torsos whose bodies end as serpent-like appendages, wrapping around a central motive of urns, vegetation, and grotesque faces. The upper half of the block moves down to a decorative urn sprouting vegetation, held on the head of a winged satyr with an erection, himself supported on a narrow column moving down into another urn and a classical base below; at the right side, b' has the same measurements and design. c) bottom block, 27 x 138 mm., described from left to rightall within decorative carving, a bearded winged male torso becomes a serpent in the lower body, about to be shot by a cherub carrying a bow and arrow, at

 

center a decorative urn, and then another cherub pointing his arrow at another bearded, winged male with the lower body of a snake.

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68. The arrangement in this case is XII (c) followed below by XII (b-b'), and at the very bottom by XII (a). 69. The measurements and description of Ornament XIII as found in this exemplar are as follows: a) upper block, 24 x 124 mm.a relatively symmetrical design, with an urn sprouting vegetation at the center, with putti on either side, and what appear to be small carved dragon heads sprouting from stems on either end. b) left side, 140 x 25 mm., described from top to bottoma putto whose lower body dissolves into stem carving, leading into a fruit-bearing urn, on top of the head of a cherub, whose lower body dissolves into a stemmy base; on the right side, b' has the same design with the same measurements. c) bottom block, 24 x 136 mm.another symmetrical design, with a central cherub with its lower body dissolving into vegetation/carving, holding a garland of fruit in each hand; on either side of the garlands, a rabbit on a shelf, and on either end, a nude upper female torso with limbs dissolving into vegetation/carving. 70. In this case, with XI (b-b') on the sides and XI (c) below. 71. The impression of the block measures 10 x 59 mm. in this exemplar. 72. In this exemplar, the impression measures 9 x 62 mm. 73. The impression of this cut measures 5 x 60 mm. in this exemplar. 74. In this copy of the Graduale romanum, on the page cited, the impression of this design measures 11 x 70 mm. 75. Ornament XVIII measures 12 x 28 mm. in this exemplar, Ornament XIX 20 x 41 mm. See also the facsimiles in Vecchi, L'amfiparnaso, vi-vii. 76. The impression of this block measures 15 x 34 mm. in this exemplar. 77. As seen in the canto partbook; see Fenlon, "Michael Honywood's Music Books," 185. Seven years later, Soderini's Canzona à 4. & 8. voci . . .libro primo, printed in Milan by Tini and Lomazzo (160820, S3821), utilized the same combination; see Romano, Storia dell'economia italiana, Plate 19. No location was given for this exemplar, but RISM, Einzeldrucke lists only a single surviving copy in I Bc. 78. See Dreyfus, Type Specimen Facsimiles, 1:Plates 2 (Conrad Berner, Frankfurt, 1592), 3 (Johann Berner, Frankfurt, 1622), 8 (Widow of Dirck Voskens, Amsterdam ca. 1695), and 11 (Widow of Daniel Elsevier, Amsterdam, 1681). 79. For a facsimile of this title page, see Chatrian, Biblioteca Capitolare di Aosta, Plate 17. The solid lines above and below the insertion of the typeset "ALTUS" leads me to believe that the block itself had been altered from its original state. 80. India, Primo libro de musiche, tav. ii, presents a facsimile of this dedication page (A2r, exemplar location unspecified). 81. For a facsimile of this title page, see Avignon, Bibliothèque Municipale, 121, no. 864. 82. Bernstein, in "Burning Salamander," 484, remarks that selling, renting, borrowing, and copying of block designs as well as other typographical materials was a common practice among sixteenth-century printers (citing Hirsch, Printing, Selling and Reading, 49). In the sixteenth century, the cutting of punches, the striking of matrices, mould-making, and casting were separate from printing and done by private contractors; the same must have been true for the incising of blocks. Only in the seventeenth century would typefoundries, where printers could pick out any style of type and block in any quantity, become more commonplace. It is clear from all of these practices that throughout the period many printers could have access to the same typographic materials (see H. Carter, View of Early Typography, 10-13, 86-7, where he details the dissemination of the same types; of particular interest is "The History of Typefounding and Punchcutting," 93-116). Given the central role of Venice in printing, it is not

surprising that Venice would have been the center of the type trade as well; as late as 1615, printers in Milan ordered a polyphonic music font from Venice (see Toffetti, "Che detti Iacomo," 10-11, 18). 83. For example, in the oblong octavo villotte publications (157020 and 15717, both I Bc).  

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84. Since the measurements given as follows are generic, without reference to specific exemplars and pages, all of these measurements of initials should be considered approximate; often one even finds slightly different measurements from letter to letter within a series. 85. See Lewis, Antonio Gardano, 1:48; 1:50, Series X; and 1:Plate 13. 86. Angelo Gardano employed Group I initials throughout even his earliest upright quarto publications, as in the Musica di XIII. autori illustri a cinque voci . . .(15765, I Vnm). 87. Found in Lewis, Antonio Gardano, 1:50, Series XIII; and 1:Plate 13. 88. These initials may be seen together with the standard animal initials in the Il quarto libro delle muse a cinque voci . . .intitolati benigni spirti (15744, I Vnm); the small horseman initial S may be seen at the opening of C2v and corresponding pages of the other partbooks, while the D with a man reading substitutes for the standard elephant D only in the alto partbook, 13v. 89. As in Dalla Casa's Il primo libro de madrigali a cinque & a sei voci . . . libro primo (D805, I Vnm) of 1574. 90. Apprently the same as in Lewis, Antonio Gardano, 1:50, Series IX; and 1:Plate 13. 91. Probably the same initials as found in Lewis, Antonio Gardano, 1:50, Ser. VII; and 1:Plate 13. 92. Both Groups III and IV were still being used together at the end of the century, as in Giulio Belli's Missarum quatuor vocibus liber primus of 1599 (B1758, US BE, M2v, M5v, for Group III; E4v, F1r, L1r for Group IV). 93. Likely the same initial blocks described in Lewis, Antonio Gardano, 1:50, Ser. VIII; and 1:Plate 13. 94. These must be the same as those described in Lewis, Antonio Gardano, 1:50, Ser. XII; and 1:Plate 13. As seen on my Plate 28, occasionally the same initial appears to be cut down a bit and carries only a single-line frame, although this may due merely to poor inking. 95. One oversized variant of this initial, measuring 81 x 76 mm., may be seen in the 1591 Graduale Romanum (US BE, 2v). Here, an angel seems to announce something to a figure that appears to be King David. Otherwise, the style of the letter and the double-line frame corresponds to the designs of Group VI. In addition, one large gothic T, 47 x 57 mm., similar in style to the large group VI letters, with a black capital but lacking any frame, is used in the 1587 Officium, et missa sanctissima trinitatis (US BE, A5v, B3r, B5r). As with some other anomalous initials, these may have simply been mismatched replacements for initial blocks that had seen too much wear. 96. GB Lbl, I Bc (A2r). The Musica di XIII. autori illustri a cinque voci (15765; I Bc ex. [A1v, I1v], I MOe [A1v, I1v, E1v, N1v, R1v], I Vnm [I1v, N1v, R1v) employs a large white initial on the dedication page, about 36 by 36 mm. and depicting a faun and a ram with decorative floral tracings without any frame. As such, it seems to fit into no category of initials used by Angelo Gardano at the time, but may very well have travelled as part of this group. 97. See Angelo Gardano, Dialoghi musicali, D4v. 98. Of course, the P initial has a biblical subject, while the S depicts a pagan scene. Since these two large letters were employed decades apart, it is possible that they are not related at all, even though their size and general style would suggest otherwise. 99. See, for instance, Merulo's Il primo libro de madrigali a quattro voci of 1579 (M2369, I Vnm, A4r, D4r, K4r). 100. See the modern edition in Graziani, Missa cum introitu. 101. Oddly enough, Angelo Gardano's Group IX bears a close similarity to Alessandro Gardano's Group E, the 20 x 20 mm. size only. I have found among Angelo's publications only one example that might appear to be Alessandro's smaller 13 x 12 mm. Group E initial, but despite their close similarity of size and even of design, they appear to be distinct and probably unrelated (see Angelo Gardano's 1594 edition of Giovanelli's Il primo libro de

madrigali a cinque voci, G2463, US BE, Pfinis4r). 102. See, for instance, Tonelli's Madrigali a cinque voci, libro primo of 1598 (T952, I Vnm, E3r).  

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103. Modern facsimiles of these initials may be found in Angelo Gardano, Dialoghi musicali (exemplar unspecified), the opening pages of any of the first seven partbooks. I have also found three similarly-sized initials that open the dedication pages of the three great folio chant editions, the Officium, et missa sanctissimae trinitatis (a Q), the Graduale, et antiphonarium (a P), both from 1587, and the 1591 Graduale romanum (a C; see Plate 21), all in US BE (A1v, A1v, and A2r, respectively). Each measures 43 x 41 mm., and all three consist of a double-line frame, a white letter, and elaborate vegetation motifs, but none of the mythical figures that populate Group X. The large C from the Graduale romanum, for instance, uses a vegetative motif, whereas the C in Angelo Gardano, Dialoghi musicali, A2r, has an urn and grotesque faces. But other than these three instances, I have not seen them used elsewhere, and thus do not classify them as a distinct group of initials. Angelo may simply have borrowed them for printing the large folio editions, and only purchased a large set of his own when it was clear that in the future he would be using upright for most new publications rather than oblong quarto. 104. As previously indicated, the initial D treated here, in which a man reads a book, travelled with Group II, the "animal" series. 105. See Birnbaum, Jewish Musicians, 32. 106. Here I employ the system put forth in Heartz, "Typography and Format," 703ff., and adopted in Lewis, Antonio Gardano, 1:56. The first number refers to the height of the staff; the second to a minim in millimeters, measured on an outer line. My measurements do not always precisely coincide with those of Lewis. 107. For this and the other entries in the 1575 inventory referred to below, I have used my own transcriptions from the original document in the Venetian State Archive. For published transcriptions of this part of the inventory, see Lewis, Antonio Gardano, 1:671-2, or Sartori, "Dinastia", 182. See also Plates 27, 29, and 31 for additional samples of this musical typeface. 108. See also Plates 26, 32, 33, and 34 for additional examples of this typeface with eight staves per page. The Andrea and Giovanni Gabrieli Concerti . . .libro primo et secondo (158716, G58, G85, I Vnm), presents nine staves per page without any text underlay in most cases; unusual is the ten staves per page on 14v and most of its corresponding pages in other partbooks (used in all parts but the basso and the settima, which each carry only nine staves apiece). Plate 30 demonstrates an unusual six staves per page, since extra text occupies the space at the bottom. 109. See Lewis, Antonio Gardano, 1:61. The literature on "la Pegorina," or Willaert's Musica Nova, seems endless; see Agee and Owens, "Stampa della 'Musica Nova'" for a recent summary. 110. Lewis, Antonio Gardano is mute about the type used in Antonio Gardano's villotte publications from the 1560s. It would seem logical that this music font was used for those publications, even though it cannot be found among the list of types used by Antonio in Lewis, Antonio Gardano, 1:54. However, in personal correspondence, Lewis has indicated that the octavo editions of Antonio Gardano do not appear to use fonts different than those in other formats. 111. Lewis, in Antonio Gardano, 1:54, gives the measurement of this font as 15.9 mm./18.8 mm. But an examination of her 1:Plate 3 clearly shows that the latter number should be much lower, as here. 112. As mentioned in Lewis, Antonio Gardano, 1:61. 113. The system of measurement employed here is based on that developed by Mary Kay Duggan for incunabulum chant type (see Duggan, Italian Music Incunabula, passim and esp. 79, and Duggan, "System," passim). All numbers represent millimeter measurements, the initial number being the height of the four-line staff, followed after the colon by the measurement of the notehead of a virga (on the second or third line) squared without points (with points in parentheses), followed after the x length of the virga without points (with points in parentheses).  

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114. Lewis, in Antonio Gardano, 1:68 n. 14, indicates that Antonio Gardano used a plainchant font in this publication, but no measurements of the font have been published. 115. See Lewis, Antonio Gardano, 1:61 and 1:Plate 25; cf. also Giovanni Maria da Crema, Intabolatura de lauto, passim. 116. A facsimile page is reproduced in Facoli, Collected Works [vi]. 117. Merulo, Canzoni d'intavolatura, [xx], Plate 1, presents a page in facsimile. 118. As reproduced in Lewis, Antonio Gardano, 1:Plate 41. 119. See Gabrieli, Ricercari, passim. 120. It should be apparent that this font is not a "tablature" in the modern sense; the term was used to apply to many different styles of fonts during the period in question. 121. See H. M. Brown, Sixteenth-Century Instrumentation, 24. H. M. Brown, in Instrumental Music, 439, provides a list of "editions with basso continuo parts" published in the sixteenth century. In spite of its position as the very first publication on Brown's list, the 1575 folio edition of Placido Falconi's Introitus et Alleluia (F86) does not include a basso continuo part (its early date would also seemingly obviate such an assertion); instead, the music is laid out here in false score, with no indications for any instrumental performance. Evidently the citation derives from sources such as Gaspari, Biblioteca musicale, 2:68, or Eitner, Quellenlexikon, 3:385, where the edition is listed as a "Partitura in foglio" of "Part. in fol." respectively. All of the other editions with bassi seguenti found in H. M. Brown, Instrumental Music are, appropriately, from the last decade of the century. 122. These designations were taken from RISM, Einzeldrucke, Recueils imprimés, and H. M. Brown, Instrumental Music. 123. McKerrow, Introduction to Bibliography, 306 n. 1, favors 10 lines of text as a standard measure; Bowers, Principles of Bibliographical Description, 305, 20 lines; Gaskell, in New Introduction, 14, suggests that in addition to the 20-line measurement the face height of the font be multiplied by 20 and combined in a formula with xheight and capital height. 124. These principles were adopted by Mary S. Lewis in her, Antonio Gardano (see 1:48ff.), and I have regularized them to some extent in my formulae. The three numbers separated by slashes refer in millimeters respectively to 1) face height, or the distance from the top of an ascender to the bottom of a descender. This number varies the most of the three numbers referred to here since it measures the upper and lower limits of the impressions made by two separate pieces of type, rather than a single piece of type; 2) x-height, which refers to the height of the letter x (I have usually measured the letter o, since x was rarely available in the Italian-language editions); and 3) capital letters, and again, I have whenever possible tried to find a letter O. 125. Measurement from Paolo Bottaccio, Il primo libro delle canzoni da sonare a quattro, & otto voci, 1609 (B3795, US BE, Q1v), and Marenzio's Il secondo libro de madrigali a sei voci, 1584 (M504, US BE, N1v). 126. Lewis, in Antonio Gardano, 1:49, 55, gives the text fonts used by Antonio Gardano; all subsequent references to Lewis, Antonio Gardano, in these descriptions refer to these pages. Sometimes my own measurements of the font impressions differ somewhat from the Lewis descriptions. Lewis differentiates those types used in title pages and those used in the body of the editions themselves. I see no reason to make such a distinction, although it is true that many of the upper case Roman letters indeed appear to be used only for title pages. Other mixed fonts have upper case letters used for the title pages but upper and lower case letters utilized in the body of the editions. 127. Measurements taken from Victoria's 1576 Liber primus qui missas, psalmos, magnificat (V1427, I Bc, A2r). 128. According to Lewis, Antonio Gardano, 1:49, this font was last used by Antonio Gardano in 1542.

129. Measurements from the Graduale, et antiphonarium of 1587 and the Graduale Romanum of 1591 (both US BE, A1v and A2r, respectively). 130. Measurements taken from the 1591 edition of the Graduale Romanum (US BE, EE8v).  

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131. The 20-line measurement was taken from Palestrina's Hymni totius anni . . . quatuor vocibus of 1589 (P738, I Bc, K4v of the cantus). 132. The measurements as found in Lewis, Antonio Gardano, 1:49, 55, and mine vary considerably, and thus no definitive link can be drawn here between similar italic typefaces between father and son(s). It would seem likely, however, that this font might have been used by Antonio Gardano in his octavo editions of the 1560s, such as the villotte, since Angelo would used it for similar publications in the 1570s. 133. See Gasparinetti, "Early Italian Papermaking," 25-6. 134. Lewis, in Antonio Gardano, 1:36-42, treats the use of paper and the watermarks associated with the editions of Antonio Gardano, including his use of reçute and meçane. See Labarre, Dictionary and Encyclopedia of Paper for definitions of any of the terms used in papermaking. 135. For example, see the Agostini Musica di . . . libro secondo de madrigali a quattro voci (15724, A404, I Vnm), an oblong quarto edition, where deckle edges may be found on folios D4, E3, G1, G4, H1, H3, and O2. Or, in upright quarto, Giovanelli's Gli sdruccioli of 1598 (G2456, I Vnm) with deckle edges on folios A4, C3, H1, H3, H4, I1, I3, I4, D3, D4, E4, F1, F2, F3, F4. 136. As discussed in LaRue "Abbreviated Descriptions," "Classification of Watermarks," and "Watermarks and Musicology." The reader is also referred to Gerardy, "Datierung mit Hilfe des Papiers" and the annotated bibliography of watermark research in Hudson, "Musicology and Paper Study.'' 137. See Boorman, "Printed Music Books," 2588-91; Lewis, Antonio Gardano, 1:39-42; and Bühler, "Last Words on Watermarks"; Noble, "Ottaviano Petrucci"; Stevenson, "New Uses of Watermarks," "Observations on Paper," and "Paper as Bibliographical Evidence"; the latter all passim. 138. For more on these practices, consult Boorman, "Petrucci's Type-Setters," 245, and "Petrucci at Fossombrone," 128ff. 139. See Lewis, Antonio Gardano, 1:40. 140. For example, RISM, Einzeldrucke assigns the number of B1067 to a printed fragment of the Libro dei madrigali a 6 voci by Girolamo Bartei, printed in Venice by Angelo Gardano at some unknown date. Without even examining the watermark, it is clear that the music type and the decorative initial here were never used by Angelo Gardano. In truth, this fragment belongs to Bartei's Il primo libro di madrigali a cinque voci published by Amadino in Venice in 1592 (B1059), as a casual examination of its footer, "Mad. di Girolamo Bart. a 5.[!]" and the surviving table of contents in I PS (kindly sent to me in a photocopy by D. Alfredo Pacini) also reveal. 141. As maintained in Lewis, Antonio Gardano, 1:42. 142. For example, I have found nine exemplars of publications with a family crest on the title page and flowery dedications that maintain a single watermark throughout; another eight, likewise with a family crest on the title page and a flowery dedication, mix papers with different watermarks. Gaskell, in New Introduction, 142-3, suggests both that suppliers of paper would often mix different lots and that ephemeral jobs were to be printed on such mixtures of paper. 143. See McKerrow, Introduction to Bibliography, 101 n., and also Stevenson, "New Uses of Watermarks," 151 (who also cites McKerrow) and Stevenson, "Watermarks are Twins", 57-60. 144. Among many other sources, see Mosin *, Anchor Watermarks, xxviii-xxxii. 145. Mosin*, in Anchor Watermarks, xxxiii, laments Briquet's underestimation of countermarks. It is clear from my examination of the publications of Angelo Gardano that a few watermarks occur again and again, and only the distinguishing countermark can place a paper's maker.

146. See Ibid., xxx. I have been unable to compare these watermarks side by side, since they reside in different cities.  

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147. Either the N is reversed here, or the countermark is inverted with respect to the watermark proper, with the trifoil positioned below the letters. Venetian papers in particular feature the trifoil between two letters, and often move this mark to the edge of the sheet (see Heawood, "Position on the Sheet," 41). 148. I found only one publication (of the books examined) with at least four different paper types from before the plague years: the anthology Il quarto libro delle muse a cinque voci (15744, I Bc, I Vnm, at least four paper types in each exemplar). 149. Other examples that may be cited are in the edition of Monte's 1581 Il quarto libro de madrigali a quattro voci (M3374, I Vnm), where the watermarks of a Greek cross (countermark BS with trifoil) are consistent throughout, but where the A, C, and D gatherings have turned considerably darker than the others; or the Madrigali ariosi a quattro voci (15827, I Vnm), where the B and L gatherings appear much darker than those around them, even though all share the same angel in oval surmounted by star watermark (NB with trifoil countermark). 150. With the exception of the manuscript corrections of folio signatures, it is virtually impossible to determine if manuscript changes were made in the Gardano shop itself or later by the owners of an exemplar without a comparison of many surviving exemplars of a single edition. However, in one such case, it does indeed appear that corrections were possibly made in the shop. In Giacobbi's 1601 Motecta multiplici vocum numen concinenda, liber primus (G1819, US Cn), S1r, at the end of line 8, where the last few notes and staff lines have failed to make an impression, the last few pitches and the accompanying staff lines have been written in by hand. 151. See Simpson, Proof-Reading, 19-24. 152. Agostini's 1574 Canzoni alla napolitana a cinque voci . . . libro primo (A406, I Bc), B1r, line 2, exhibits a correction slip bearing the words "Non posso," pasted over text that cannot be ascertained. 153. As in Dalla Casa's Il primo libro de madrigali a cinque & a sei voci . . . libro primo of 1574 (D805, I Vnm), B1r, staff 6, at end of line, where the notes d-c replace the original c-d. 154. I noted at least three pasteover corrections (C1v, staff 7, m. 2; E4v, staff 1, m. 4; F2v, staff 4, m. 2) as well as three note corrections in manuscript (likely made after purchase: C3v, staff 3, m. 3; C4v, staff 11, m. 3; F2r, staff 2, m. 1) in the Musica de diversi autori la Bataglia francese et Canzon delli ucelli (157711, I Bc), and in Rore's Tutti i madrigali . . . a quattro voci, spartiti (R2513, I Bc), eight pasteover corrections (B2r, staff 16, last m.; C4r, staves 13-16, mm. 1-3; C4v, staff 2, m. 1; D2r, staff 5, last m.; F2r, staff 15, m. 1; E2v, staff 7, m. 7, and staff 14, m. 3; H1v, staff 7, m. 5). Without an examination of many exemplars of a single edition, it is probably impossible to determine whether manuscript corrections were made in the shop, although the care with which correction slips were printed and pasted in would seem to validate that possibility. 155. In the Rore and Annibale Madrigali a quattro voci (157515, I Vnm), Q2r, staff 4, a large pasteover cancels a mistaken repetition of a long group of notes. In the 1587 edition of Andrea Gabrieli's Il primo libro de madrigali a sei voci (G67, US BE), T1r, blank staves at the bottom of the page were cancelled with a pasteover carrying the appropriate printed pitches that had been unintentionally omitted. 156. Pasteovers may be throughout in Agostini's Canzoni alla napolitana a cinque voci . . . libro primo (A406, I Bc), Dalla Casa's Il primo libro de madrigali a cinque & a sei voci (D805, I Vnm), and Gradenigo's Il primo libro de madrigali a cinque voci (G3262, I Bc); poor inking was noted in Monte's Madrigali . . . a cinque voci, libro quinto (M3358, I Bc) and Rore's Il quinto libro de madrigali a cinque voci (15748, I Vnm); all of these publications were issued in 1574. One particularly poignant example of poor inking may be found in the Rore publication, D4vthe thumprint of one of the Gardano heirs or, more likely, one of their employees!  

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Notes to Chapter 11 1. See Appendix I.B, and Bernstein, The Scotto Press, passim. 2. While documents record the household items that Alessandro Gardano carried with him upon separation from the family in 1575, he apparently took little with him from the printing concern since he was paid 300 ducats for his share in the printing business (see Chapter 7). Nevertheless, from evidence of the surviving editions, referred to below, it indeed appears that he may have removed a few of the shop materials when he left the family business. 3. For the formats of Alessandro's musical publications, see Appendix I.B. Bridges, in "Publishing," 214, maintained that Alessandro Gardano published the second edition of Guidetti's Directorium chori (the first in folio), but he failed to mention any date for such a surviving edition and cited no source for the statement. I have been unable to confirm that Alessandro published any edition of this work. The 1589 Roman edition by Coattino, a frequent partner of Alessandro Gardano in Rome, utilizes what appears to be Alessandro's Group E initials (20 x 20 mm.; US Cn, A2r, A5r), his Ornament D (US Cn, A7v), and Roman Plainchant Font A (for all typeface, initial, and ornament and frame information, see below). However, the general typeface similarities suggest only that the two printers occasionally cooperated, something we already know from the imprints found on their joint publications. More telling is the fact that Alessandro's name fails to appear anywhere on the Coattino edition of the Directorium chori. 4. See Bernstein, "Publishing of Palestrina's Music," typescript pp. 1, 9. 5. Alessandro's technique in assigning signatures, however, may not have been as accurate as his brother's. For instance, Boorman, in "Printed Music Books," 2600, revealed an incorrect imposition of the cantus partbook in Alessandro's edition of Jacopo Corfini's Il secondo libro de motetti . . . a 5.6.7.8.X.XII. voci (C3932, I Bc). 6. $2 signed (-A2, F2, L2, M2, N2, O2, P2, Q2, R2, S2, T2, V2, X2, Y2, Z2, AA2, DD2). 7. $4 signed (-all 3s, and A2, A4, G2, G4, D2, D4; H2 and H4 misprinted E2 and E4, respectively; E2 and E4 are misprinted H2 and H4, respectively). 8. According to McKerrow, Introduction to Bibliography, 30-1 n. 2. 9. The defective state of the GB Och exemplar, seen on microfilm at the Isham library, suggests a collation of p2(p2)A-R6 ($6 signed; after the P gathering, only Q1 and R4 appear to remain). Jeffrey Kurtzman kindly provided me with materials he collected while examining exemplars of the folio edition of Victoria's Officium hebdomadae sanctae (V1432, D Rp, I GUBd) of 1585; he gave the signature as AN6O3 (81 folios) [it is unclear whether O3 is O4(O4)]. He also provided me with material on Guerrero's 1584 folio Liber vesperarum (G4873, I Ac), rendering the collation as AZ6AACC6 (312 pp.). 10. See also Zappella, Marche dei tipografi, 1:1823. 11. Owing to the small number of musical editions published by Alessandro Gardano, and consequently the few editions I have been able to examine, the results of this summary, particularly in regard to the dates of use, can only be considered preliminary in nature. 12. The printer's device measures 54.5 x 59.0 mm. in the I Vnm exemplar of the Moro publication. This printer's device also appears on the title page of at least one non-musical publication, the Bargagli Dialogo de' giuochi che nelle vegghie sanesi si usano di fare of 1581; see Sartori, "Dinastia," 190. 13. See Zappella, Marche dei tipografi, 1:230, 419, and 2:fig. 802. 14. The device measures 55 x 65 mm. on the title page of this exemplar. 15. A photocopy of this title page was graciously sent to me by dott. Giancarlo Castagnari of the Biblioteca Communale of Fabriano.

16. The device measures 89 x 61 mm. in this exemplar. 17. Printer's Device D1 measures 63 x 57 mm. on the title page of this exemplar. 18. Printer's Device D2 measures a smaller 42 x 37 mm. on the title page of this exemplar. A facsimile of the title page of this edition may also be seen as tav. VII of Sartori, Dizionario.  

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19. Although no facsimile of Printer's Device D3 appears in this study, it measures 76 x 67 mm. on N2v of the 1587 Cantus ecclesiasticus (US Cn). 20. Zappella, in Marche dei tipografi, 2:fig. 869, presents a facsimile of Printer's Device D1; she associated it with Alessandro's partners Giacomo Tornieri and Giacomo Bericchia, who used it both before and after their association with Alessandro. 21. Bowers, in Principles of Bibliographical Description, 145, maintained that descriptions of type ornaments "can scarcely be described precisely enough for actual identification." Consequently, facsimiles are given below for Ornaments A through E, all vaguely floral type ornaments, without measurements. 22. Oddly enough, Angelo Gardano uncharacteristically employed a frame (although different in style) for the internal pages of his Lodi spirituali (15806) in the same year. 23. Ornament F consists of four blocks, measured in the US BE exemplar: 1) 44 x 134 mm.; a central IHS, surrounded by a carved oval and surmounted by a face, is held on each side by an angel; vaguely floral patterns frame a face looking outward at each end. 2a) 117 x 28 mm.; from top to bottoma winged breasted torso dissolves into carved ornamentation and a grotesque face, two birds, another carved face surrounded by more floral and architectural ornament, and at the bottom, two nude male figures on a pedestal supporting it all; 2b has the same design and the same measurements. 3) 39 x 134 mm.; winged breasted creatures face outward from either side of a central trapezoidal slot, approximately 19 x 56 mm., for typesetting the printer's name; grotesque faces surrounded by carved ornament adorn each end. 24. A facsimile may be found in Olschki, "Contribution à la bibliographie," 8:243. 25. See Biblioteca Musicale L. Feininger, Fonti litugiche a stampa, fig. 43. 26. Facsimiles in Davidsson, Musikbibliographische Beiträge, 1920, and Olschki, "Contribution à la bibliographie," 9:155, respectively. Although Olschki and RISM, Einzeldrucke give the date of the latter publication as 1570, the date on the title page of the alto partbook reproduced by Olschki is "M. D LXXI." 27. In Vervliet, Type Specimens of the Vatican, 60. 28. See Olschki, "Contribution à la bibliographie," 9:157. 29. Birnbaum, Jewish Musicians, 301, gives facsimiles. 30. See Dreyfus, Type Specimen Facsimiles, 1:Plates 89 (Widow of Dirck Voskens, Amsterdam, ca. 1695), 11 (Widow of J. Adamsz. and Abraham Ente, Amsterdam, ca. 1700). 31. See description and facsimile in Lewis, Antonio Gardano, 1:50, Series XII; and 1:Plate 3. 32. Since these are apparently the same type of blocks employed by Alessandro's brother and father, no separate facsimile is given here. 33. Angelo would use his initials from this set, his Group VI, in the great folio publications, such as the Graduale, et antiphonarium and the Officium et missa sanctissimae trinitatis of 1587, as well as in the Graduale romanum of 1591 (Crawford and Borders, Renaissance Liturgical Imprints: 2650, 8794, and 746, respectively, all in US BE). 34. Another such crossover between the decorative initial collection of the brothers may be seen in Alessandro Gardano's edition of the Marien d'Artois Il primo libro de madrigali a quattro voci from 1580 (M632, I Vnm, D3v), when both brothers were still active in Venice. It appears as if this small decorative horseman initial, rarely

used by Angelo Gardano but almost always used with his Group II initials, somehow found its way into the d'Artois publication. 35. I have found Group C only for the letter G, and Group D only for the letter A. 36. The very small 7 x 7 mm. initial rarely occurs, but may be found in Giacomo Moro's Canzonette alla napolitana . . . il primo libro a tre voci (15819, I Vnm, B4r). 37. Angelo's Group IX initials that feature vegetation (as opposed to carvings or urns) appear similar, but not identical to Alessandro's medium-sized Group E (20 x 20 mm.). In the quintus of Giovanelli's Il primo libro de madrigali a cinque (G2463, US BE, Pfinis4r),  

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Angelo Gardano employed a floral letter D the same size as Alessandro's, 13 x 12 mm., but the character of each design is fundamentally distinct. 38. Anerio's Madrigali spirituali . . . a cinque voci . . . libro primo of 1585 (A1083, I Rsc) clearly displays factotums of two different sizes (unfortunately, since these were seen only in microfilm, at Isham Library, Harvard University, they could not be measured). 39. See Palestrina's 1584 Motettorum quinque vocibus liber quintus (P728, US BE, I2r) and Guidetti's 1587 Cantus ecclesiasticus (GB Lbl, F1r). 40. The system used to measure polyphonic music type here follows that used above for the output of Angelo Gardano: staff height followed by the height of a minim on an outer line. 41. Here I use the system adopted to describe the chant font of Angelo Gardano, above: the height of the four-line staff, followed after a colon by the height of a virga notehead squared followed by the total height of a virga. 42. See Vervliet, "Robert Granjon à Rome," 187, 211. 43. A facsimile may be found in Lewis, Antonio Gardano, 1:Plate 25. 44. Measurements from Palestrina's 1591 Magnificat octo tonum. Liber primus (no RISM number, US BE, A2r; see Plate 44). 45. For these measurements see Il terzo libro delle laudi spirituali a tre e a quattro voci (158811, US Cn, A2r). 46. Measurements from the Cantus ecclesiasticus, 1587 (US Cn, a2r; see Plate 45). 47. The non-musical edition from 1581, Dialogo de' giuochi (US Cn, B2r), preserves the measurements given here. 48. Unlike Angelo, Alessandro often used more typefaces on his title pages, including many more lower-case letters and italic capitals. 49. It does, however, bear a great similarity in size and appearance to the typeface used in Molino's I dilettevoli, published in Venice by Claudio Merulo in 1568 (M2947, I Vnm). 50. Measurements from the Cantus ecclesiasticus, 1587 (US Cn, a2v). 51. All of the italic capitals I have seen in Alessandro's publications appear to have been taken from one of the four fonts described here. 52. Either the N in reversed, or the entire countermark is inverted with respect to the countermark, the trifoil positioned below the letters. 53. That is, Manara's Madrigali a sei voci (M267, I Vnm, most of the gatherings), Marenzio's Il primo libro de madrigali a cinque voci (M530, I Vnm, K and L gatherings), Merulo's Il primo libro de madrigali a tre voci (M2370, I Vnm, E and F gatherings), Monte's Il quarto libro de madrigali a sei voci (M3368, I Vnm, A and G gatherings), Pordenon's Il primo libro de madrigali a quattro voci (158011, P5106, I Vnm, A, B, and F gatherings), and Sabino's Madrigali a cinque voci . . . libro secondo (S46, I Vnm, A, C, K, and M gatherings). 54. However, as indicated above, a paper with a similar watermark and countermark is used in the heirs' 1571 edition of Porta's Musica sex canenda vocibus . . . liber primus (P5178, I Bc). 55. As seen throughout the canto, tenore, and basso partbooks in I Vnm. 56. See Boorman, "Printed Music Books," 2600. 57. Bridges discusses this in his "Publishing," 2145.

58. As seen in the US BE exemplar. In the bassus partbook, I1v, line 2, for the sixth note a minim G was pasted over what had been printed as an F; on the same page, line 5, a correction slip with "predica[n]da" covers another unascertained word; on I2r, line 4, the fifteenth element, a low D was pasted over a low F; K2v, an E initial at the opening covers the mistaken original, now obscured; in the septimus partbook, on D1r, "Tertius" was pasted over "Secundus" at the head of the page. 59. For instance, none of the watermarks found in the editions seen from the Roman period correspond explicitly (i.e. with watermark and countermark) to any that I have found in the publications of Angelo Gardano. 60. See, for example, Palestrina's 1591 Magnificat octo tonorum, liber primus (no RISM number, US BE). The paper has darkened considerably in this exemplar, and the leaves are thin and fragile.  

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Notes to Appendix I.A 1. For a nonscholarly description of the vicissitudes of the Berlin music collection, see N. Lewis, Paperchase. 2. Such errors, confirmed by no other serious sources, are also pointed out by Vanhulst in "Lassus et ses éditeurs," 89, n. 55. 3. In M. Lewis, Antonio Gardano, for instance, entries are distinguished as to those taken from microfilm, others examined in situ, and still others not examined at all. While I have seen well over 300 Gardano editions (some in more than one exemplar), mostly in situ but others only on photocopy or microfilm, this amounts to only one-third of the family's production in the period in question. Consequently, I have chosen as my standard (whenever possible) the modern bibliographical works, however flawed, rather than opt for a mix of primary and secondary sources. In those cases where the modern bibliographical sources display gross inaccuracies, I have attempted to add corrections with commentary after the entry. 4. See also João IV, Primeira parte, an earlier transcription of the book inventory. Sampaio, Livraria includes a facsimile of the 1649 index, but the original lacks dates, place of publication, and publisher. Nevertheless, often these can be inferred when an edition was issued only once or even a very few times. I cite Waldner, "Zwei Inventorien" only when the publication cited must have been a Gardano edition with a year of publication that can be determined. Note to Appendix I.B 1. Illustrative examples of this would be the editions of the Lancellotus Institutiones iuris canonici, published in Rome by Donangeli in 1587 and by Torneri in 1588; in both cases Alessandro Gardano's name may be found only in the colophon. In the Harvard catalogue HOLLIS and the New York Academy of Medicine on-line catalogue, however, Gardano's name is absent altogether. I would like to thank David Warrington and Edward T. Morman of these two insitutions, respectively, for graciously finding exemplars of these editions and confirming the presence of the name of Gardano in the colophon.  

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. "Printed Collections of Polyphonic Music Owned by Ferdinand Columbus." Journal of the American Musicological Society 31 (1968): 34-84. Charbon, Marie H. Haags Gemeentemuseum: Catalogus van de Muziekbibliotheek. Deel II. Vocale Muziek van 1512 tot ca 1650. Catalogi van de Muziek-Bibliotheek en de Collectie Muziekinstrumenten. Amsterdam: Knuf, 1973.  

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Charteris, Richard. A Catalogue of the Printed Books on Music, Printed Music and Music Manuscripts in Archbishop Marsh's Library, Dublin. Kilkenny, Ireland: Boethius Press, 1982. Chatrian, Giorgio. Il fondo musicale della Biblioteca Capitolare di Aosta. Il Gridelino: Quaderni di Studi Musicali. Torino: Centro Studi Piemontesi, Fondo "Carlo Felice Bona," 1985. Chrisman, Miriam Usher. Lay Culture, Learned Culture: Books and Social Change in Strasbourg, 1480-1599. New Haven: Yale University Press, 1982. Christ Church, Oxford University. Catalogue of Printed Music Published Prior to 1801 Now in the Library of Christ Church Oxford. Edited by Aloys Hiff. Oxford: Humphrey MilfordOxford University Press, 1919. Cioni, Alfredo. "Basa, Domenico." Dizionario biografico degli italiani 7: 45-9. Roma: Istituto della Enciclopedia Italiana, 1970. . "Bindoni, Agostino." Dizionario biografico degli italiani 10: 496-8. Roma: Istituto della Enciclopedia Italiana, 1968. Cipolla, Carlo M. Before the Industrial Revolution: European Society and Economy, 1000-1700. 2nd edition. New York: W. W. Norton, 1980. . "The Economic Decline of Italy." In Crisis and Change in the Venetian Economy in the Sixteenth and Seventeenth Centuries, edited by Brian Pullan, 127-45. London: Methuen, 1968. Also found in The Economic Decline of Empires, edited by Carlo M. Cipolla, 196-214. London: Methuen, 1970. This article is a revision and expansion of Cipolla's "The Decline of Italy: The Case of a Fully Matured Economy," The Economic History Review, 2nd series, no. 5 (1952): 178-87, also found in Italian in Storia dell'economia italiana: Saggi di storia economica. Vol. 1, Secoli settimo-diciasettesimo, edited by Carlo M. Cipolla, 605-23. Biblioteca di Cultura Economica, 24. Torino: Edizioni Scientifiche Einaudi, 1959. . Literacy and Development in the West. Baltimore, Md.: Penguin Books, 1969. . Money, Prices, and Civilization in the Mediterranean World, Fifth to Seventeenth Century. Princeton: Princeton University Press, The University of Cincinnati, 1956. Cipolla, Carlo M., ed. Storia dell'economia italiana: Saggi di storia economica. Vol. 1, Secoli settimodiciasettesimo. Biblioteca di Cultura Economica, 24. Torino: Edizioni Scientifiche Einaudi, 1959. Ciriacono, Salvatore. "Mass Consumption Goods and Luxury Goods: The De-Industrialization of the Republic of Venice from the Sixteenth to the Eighteenth Century." In The Rise and Decline of Urban Industries in Italy and in the Low Countries (Late Middle Ages-Early Modern Times), edited by Herman Van der Wee, 41-61. Studies in Social and Economic History, 1. Leuven: Leuven University Press, 1988. Cisilino, Siro. Stampe e manoscritti preziosi e rari della Biblioteca del Palazzo Giustinian Lolin a San Vidal. Venezia: Fondazione Levi, 1966. Clark, Peter, ed. The European Crisis of the 1590s: Essays in Comparative History. London: George Allen and Unwin, 1985. Clercx, Suzanne. "Les Éditions musicales anversoises du XVIe siècle et leur rôle dans la vie musicale des PaysBas." De Gulden Passer 34 (1956): 238-49. Climent, José. Fondos musicales de la región valenciana. 2 vols. (Vol. 1, Catedral Metropolitana de Valencia; Vol. 2, Real Colegio de Corpus Christi Patriarca). Valencia: Instituto de Musicología, Institución Alfonso el Magnánimo, Diputación Provincial de Valencia, 1979-84. Coles, Reinhild and Wendy Y. Heath. Book Auction Records: A Priced and Annotated Annual Record of International Book Auctions. Vol. 92: For the Auction Season 1994-1995. Folkestone, Kent, U.K.: Dawson, 1996.

(Details the dispersal of some of the most precious books from the Bibliothèque de la Comtesse de Chambure.) Collection Musicale André Meyer. Manuscrits autographes. Musique imprimée et manuscrite. Ouvrages théoriques, historiques et pédagogique. Livrets. Iconographie. Instruments de musiques. Abbeville: Paillart, [1961? ].  

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Davidson, Nicholas S. "Northern Italy in the 1590s." In The European Crisis of the 1590s: Essays in Comparative History, edited by Peter Clark, 157-76. London: George Allen and Unwin, 1985. Davidson, Nicolas. "The Inquisition and the Italian Jews." In Inquisition and Society in Early Modern Europe, edited and translated by Stephen Haliczer, 19-46. Totowa, N. J.: Barnes and Noble, 1987. Davidsson, Åke. Bibliographie der musiktheoretischen Drucke des 16. Jahrhunderts. Biblioteca Bibliographica Aureliana, 9. Baden-Baden: Heitz, 1962.  

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Gabrieli e il suo tempo: Atti del convegno internazionale (Venezia 16-18 Settembre 1985), edited by Francesco Degrada, 293-317. Studi di Musica Veneta, 2. Firenze: Olschki, 1987. . "Introduction." In Atti del XIV Congresso della Società Internazionale di Musicologia: Trasmissione e Recezione delle Forme di Cultura Musicale, Bologna, 27 agosto-1 settembre 1987, Ferrara-Parma, 30 agosto 1987, edited by Angelo Pompilio, Lorenzo Bianconi, Donatella Restani, and F. Alberto Gallo, 1:235-8. Torino: Edizioni di Torino, 1990. . "Michael Honywood's Music Books." In Sundry Sorts of Music Books: Essays on the British Library Collections Presented to O. W. Neighbour on his 70th Birthday,  

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Fraenkel, Gottfried S. Decorative Music Title Pages: 201 Examples from 1500 to 1800. New York: Dover, 1968. François-Joseph Fétis et la vie musicale de son temps 1784-1871. Exposition organisée à l'occasion du centième anniversaire de l'achat de la collection Fétis. Bruxelles: Bibliothèque Royale Albert 1er, 1972.  

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Fumagalli, Giuseppe. Lexicon Typographicum Italiae: Dictionnaire géographique d'Italie pour servir à l'histoire de l'imprimerie dans ce pays. Firenze, 1905; reprint, Firenze: Giuntina, 1966, "Ristampa xerografica completata da tre supplementi con indici cumulativi" (G. Fumagalli, Giunte e correzioni, Firenze, 1939; Marino Parenti, Nuova giunta, Milano, 1941; M. Parenti, Seconda giunta, n.p. [Sansoni], n.d.) Gabrieli, Andrea. Complete Madrigals, 2: Madrigals a 4, Greghesche a 4, 5, and 7. Edited by A. Tillman Merritt. Recent Researches in the Music of the Renaissance, 42. Madison, Wisc.: A-R Editions, 1981. . Ricercari composti e tabulati per ogni sorte di stromenti da tasti. Facsimile edition. Bibliotheca Musica Bononiensis, sezione iv, n. 47. Bologna: Forni, 1972. Gallo, Rodolfo. "La Scuola Grande di San Teodoro di Venezia." Atti dell'Istituto Veneto di Scienze, Lettere ed Arti, Classe di Scienze Morali e Lettere 120 (1961-62): 461-95. Garbelotto, Antonio. "Catalogo del fondo musicale fino all'anno 1800 della Biblioteca Communale di Macerata." In Studi sulla Biblioteca Communale e sui tipofrafi di Macerata, edited by Aldo Adversi, 79-122. Macerata: Cassa di Risparmio della Provincia di Macerata, 1966. [Gardano, Angelo]. Indice delli libri di musica che si trovano nelle stampe di Angelo Gardano. Venezia: Angelo Gardano, 1591. A partial facsimile of this book may be found in Antonio Gardano, Canzoni francesi, edited by Virginio Fagotto and G. Francesco Malipiero, 57-71. Collana di Musiche Veneziane Inedite o Rare, 8. Milano: Ricordi, 1973. (Evidently owing to an oversight, the facsimile lacks the last page of the 1591 publication). Inaccurate transcriptions of this original Gardano booklist may be found, without comment and with various alterations from the original copy, in Geneviève Thibault, "Deux Catalogues de libraires musicaux: Vincenti et Gardane (Venise 1591)." Revue de musicologie 11 (1930): 8-18, and in Oscar Mischiati, Indici, cataloghi, e avvisi degli editori e librai musicali italiani dal 1591 al 1798. Firenze: Olschki, 1984, 83-92. []. Dialoghi musicali, de diversi eccellentissimi autori, a sette, otto, nove, dieci, undeci, and dodeci voci. Venetia: Angelo Gardano, 1590. Facsimile edition. Corpus of Early Music, 29. Bruxelles: Editions Culture et Civilisation, 1970. []. Musica de diversi autori; la Bataglia Francese et Canzon delli Ucelli, insieme alcune canzoni francese. Venetia: Angelo Gardano, 1577. Facsimile edition. Bibliotheca Musica Bononiensis, sezione IV, n. 50b. Bologna: Forni, 1971. Gardano, Antonio. Canzoni francesi. Edited by Virginio Fagotto and G. Francesco Malipiero. Collana di Musiche Veneziane Inedite o Rare, 8. Milano: Ricordi, 1973. Gargiulo, Piero. Luca Bati madrigalista fiorentina, con l'edizione moderna del 'Secondo libro de madrigali a cinque voci' (1598). 'Historiae Musicae Cultores' Biblioteca, 60. Firenze: Olschki, 1991. Garros, Madeleine, and Simone Wallon. Catalogue du fonds musical de la Bibliothèque Sainte-Geneviève de Paris (manuscrits et imprimés). Catalogus musicus, 4. Kassel: International Association of Music Libraries/International Musicological Society, 1967. Gaskel, Philip. A New Introduction to Bibliography. New York and Oxford: Oxford University Press, 1972. Gaspari, Gaetano. Catalogo della Biblioteca Musicale G. B. Martini di Bologna. 5 vols. Edited by Napoleone Fanti, Oscar Mischiati, and Luigi Ferdinando Tagliavini. Studi e Testi di Musicologia, 1-5. Bologna: Forni, 1961. Gasparinetti, A. F. "Notes on Early Italian Papermaking." Paper Maker 27 (1958): 25-30. Gerardy, Theo. "Datierung mit Hilfe des Papiers." In Datierung und Filiation von Musikhandschriften der JosquinZeit, edited by Ludwig Finscher, 217-28. Quellenstudien zur Musik der Renaissance, 2. Wiesbaden: Harrassowitz, 1983.

Giazotto, Remo. Harmonici concenti in aere veneto. Roma: De Santis, 1954. Giorgetti Vichi, Anna Maria. Annali della Stamperia del Popolo Romano (1570-1598). Roma: Istituto di Studi Romani, 1959.  

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Giovanni Maria da Crema. Intabolatura de lauto. Venezia: Antonio Gardano, 1546. Facsimile edition. Genève: Minkoff, 1981. Glixon, Jonathan. ''Far una bella procession: Music and Public Ceremony at the Venetian scuole grandi." In Essays on Italian Music in the Cinquecento, edited by Richard Charteris, 190-220. Sydney, Australia: Frederick May Foundation for Italian Studies/University of Sydney, 1990. . "Music at the Scuole in the Age of Andrea Gabrieli." In Andrea Gabrieli e il suo tempo: Atti del convegno internazionale (Venezia 16-18 Settembre 1985), edited by Francesco Degrada, 59-74. Studi di Musica Veneta, 2. Firenze: Olschki, 1987. . "Music at the Venetian Scuole Grandi, 1440-1540." Ph.D. diss., Princeton University, 1979. . "Music at the Venetian Scuole Grandi, 1440-1540." In Music in Medieval and Early Modern Europe: Patronage, Sources, and Texts, edited by Iain Fenlon, 193-208. Cambridge: Cambridge University Press, 1981. . "A Musician's Union in Sixteenth-Century Venice." Journal of the American Musicological Society 36 (1983): 392-421. Göhler, Albert. Die Messkataloge im Dienste der musikalischen Geschichtsforschung. 1901; reprint, Hilversum: Knuf, 1965. . Verzeichnis der in den frankfurter und leipziger Messkatalogen der Jahre 1564 bis 1759 angezeigten Musikalien. 1902; reprint, Hilversum: Knuf, 1965. Göllner, Marie Louise [Martinez-]. "Die Augsburger Bibliothek Herwart und ihren Lautentabulaturen." Fontes Artis Musicae 16 (1969): 29-48. . "Berg, Johann." In Music Printing and Publishing, edited by Donald W. Krummel and Stanley Sadie, 171. New York: Norton, 1990. . "Gerlach, Dietrich." In Music Printing and Publishing, edited by Donald W. Krummel and Stanley Sadie, 260. New York: Norton, 1990 Goldthwaite, Richard A. Wealth and the Demand for Art in Italy 1300-1600. Baltimore, Md.: Johns Hopkins University Press, 1993. Gonzago, Restituto Navarro, Antonio Iglesias, and Manuel Angulo, eds. Catalogo musical del Archivo de la Santa Iglesia Catedral Basilica de Cuenca. 2nd ed. Cuenca: Ediciones del Instituto de Musica Religiosa, 1973. Goovaerts, Alphonse. Histoire et bibliographie de la typographie musicale dans les Pays-Bas. Mémoires couronnés et autres mémoires publiés par l'Académie Royale des Sciences, des Lettres et des Beaux-Arts de Belgique, 29. Bruxelles: L'Académie Royale, 1880. Gottwald, Clytus. Katalog der Musikalien in der Schermar-Bibliothek Ulm. Veröffentlichungen der Stadtbibliothek Ulm, 17. Wiesbaden: Harrasowitz, 1993. Gramigna, Silvia, and Annalisa Perissa. Scuole di arti, mestieri e devozione a Venezia. Intro. by Giovanni Scarabello. Venezia: Arsenale Cooperativa Editrice, 1981. Graziani, Tommaso. Missa cum introitu ac tribus motectis a 12 voci in 3 cori, Venezia 1587. Intro. and transcription Vittorio Bollato, edited by Ludovico Bertazzo. Corpus Musicum Franciscanum, 6/1. Padova: Centro Studi Antoniani, 1992. Greg, W. W. Collected Papers. Edited by J. C. Maxwell. Oxford: Clarendon Press, 1966. Grendler, Paul F. The Roman Inquisition and the Venetian Press, 1540-1605. Princeton: Princeton University Press,

1977. . Schooling in Renaissance Italy: Literacy and Learning, 1300-1600. Baltimore, Md.: Johns Hopkins University Press, 1989. Grubb, James S. "When Myths Lose Power: Four Decades of Venetian Historiography." Journal of Modern History 58 (1986): 43-94. Guillo, Laurent. Catalogue de la musique imprimée avant 1801 conservée dans les bibliothèques de Lyon, Grenoble et la région. Grenoble: ACORD-Les Cahiers de la Pensée Sauvage, 1986. Haberkamp, Gertraut. Die Musikhandschriften der fürst Thurn und Taxis Hofbibliothek  

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Regensburg. Thematischer Katalog. Kataloge Bayerische Musiksammlungen, 6. München: Henle, 1981. . Thematischer Katalog der Musikhandschriften der fürstlich Öttingen-Wallerstein'schen Bibliothek Schlob Harburg. Kataloge Bayerische Musiksammlungen [no series number given]. München: Henle, 1976. Haberl, Fr. Xav. Bibliographischer und thematischer Musikkatalog des päpstlichen Kapellarchives im Vatikan zu Rom. Bausteine für Musikgeschichte, 2. Leipzig: Breitkopf & Härtel, 1888. . "Drucke von Ottaviano Petrucci auf der Bibliothek des Liceo Filarmonico in Bologna." Monatshefte für Musikgeschichte 5 (1873): 49-92. Hale, J. R., ed. Renaissance Venice. London: Faber and Faber, 1974. Hallett Dale, Henry. A Catalogue of Printed Books in the Wellcome Historical Medical Library. Vol. I: Books Printed Before 1641. London: Wellcome Historical Medical Library, 1962. Hamm, Charles. "A Catalogue of Anonymous English Music in Fifteenth-Century Continental Manuscripts." Musica Disciplina 22 (1968): 47-76. . "Interrelationships between Manuscript and Printed Sources of Polyphonic Music in the Early Sixteenth CenturyAn Overview." In Quellenstudien zur Musik der Renaissance, edited by Ludwig Finscher, 1-13. Wolfenbütteler Forschungen, 26. Wiesbaden: Harrasowitz, 1983. . "Manuscript Structure in the Dufay Era." Acta Musicologica 34 (1962): 166-84. Harmon, R. Alec. A Catalogue of the Printed Music and Books on Music in Durham Cathedral Library. London: Oxford University Press, 1968. Harvard College Library. Department of Printing and Graphic Arts. Catalogue of Books and Manuscripts. Part II: Italian 16th Century Books. Edited by Ruth Mortimer. 2 vols. Cambridge, Mass.: Belknap Press of Harvard University Press, 1974. Heartz, Daniel. "Au pres de vousClaudin's Chansons and the Commerce of Publisher's Arrangements." Journal of the American Musicological Society 24 (1971): 193-225. . Pierre Attaingnant, Royal Printer of Music: A Historical Study and Bibliographical Catalogue. Berkeley and Los Angeles: University of California Press, 1969. . "Typography and Format in Early Music Printing with Particular Reference to Attaingnant's First Publications." Music Library Association Notes 23 (1967): 702-6. Heawood, Edward. "The Position on the Sheet of Early Watermarks." The Library, fourth series, 9 (1929): 38-47. . Watermarks Mainly of the 17th and 18th Centuries. Monumento Chartae Papyraceae Historiam Illustrantia, 1. Hilversum, Holland: The Paper Publications Society, 1950. Hebrew Union CollegeJewish Institute of Religion. Dictionary Catalog of the Klau Library, Cincinnati. 32 vols. Boston: G. K. Hall, 1964. Helleiner, Karl F. "The Population of Europe from the Black Death to the Eve of the Vital Revolution." In The Economy of Expanding Europe in the Sixteenth and Seventeenth Centuries. Vol. 4 of The Cambridge Economic History of Europe, edited by E. E. Rich and C. H. Wilson, 1-95. Cambridge: Cambridge University Press, 1967. Heussner, Horst, and Ingo Schultz. Collectio Musica: Musikbibliographie in Deutschland bis 1625. Catalogus Musicus, 6. Kassel: International Association of Music Libraries, International Musicological Society, 1973. Heyer, Wilhelm. Versteigerung von Musikbüchern praktischer Musik und Musiker-Autographen des 16. bis 18.

Jahrhunderts aus dem Nachlass des Herrn Kommerzienrates Wilhelm Heyer in Köln im Geschäftslokal der Firma Leo Liepmannssohn. Montag, 9. Mai und Dienstag, 10. Mai 1927. Berlin: Liepmannssohn and Henrici, 1927. Hilmar, Ernst. "Ergänzungen zu Emil Vogels 'Bibliothek der gedruckten weltichen Vocalmusik italiens, aus den Jahren 1500-1700'." Studien zur italienisch-deutschen Musikgeschichte. Analecta Musicologica 4 (1967): 154-206.  

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Hirsch, Rudolf. Printing, Selling, and Reading: 1450-1550. Second printing with a supplemental annotated bibliographical introduction. Wiesbaden: Harrassowitz, 1974. Hirst, L. Fabian. The Conquest of Plague: A Study of the Evolution of Epidemiology. Oxford: Clarendon Press, 1953. Hobsbawm, E. J. "The Crisis of the Seventeenth Century." In Crisis in Europe 1560-1660, edited by Trevor Aston, 5-58. New York: Basic Books, 1965. Howell, Almonte. "John [João] IV, King of Portugal." The New Grove Dictionary of Music and Musicians. London: Macmillan, 1980, 9:671. Hudson, Frederick. "Musicology and Paper StudyA Survey and Evaluation." In Essays in Paper Analysis, edited by Stephen Spector, 34-60. Washington, D.C.: The Folger Shakespeare Library; London and Toronto: Associated University Presses, 1987. Huth Library. A Catalogue of the Printed Books, Manuscripts, Autograph Letters, and Engravings, Collected by Henry Huth, with Collations and Bibliographic Descriptions. 5 vols. London: Ellis and White, 1880. Humfrey, Peter, and Richard Mackenney. "The Venetian Trade Guilds as Patrons of Art in the Renaissance." Burlington Magazine 128 (1986): 317-30. Huys, Bernard. Catalogue des imprimés musicaux des XVe, XVIe et XVIIe siècles, Fonds Général. Bruxelles: Bibliothèque Royale de Belgique, 1965. . Catalogue des imprimés musicaux des XVe, XVIe et XVIIe siècles, Fonds Généal. Supplément. Bruxelles: Bibliothèque Royale Albert Ier, 1974. . De Grégoire le Grand à Stockhausen. Douze siècles de notation musicale. Catalogue de l'exposition rédigé par Bernard Huys. Bruxelles: Bibliothèque Royale Albert Ier, 1966. . Trésors musicaux de la Bibliothèque Royale Albert Ier 1220-1800. Catalogue de l'exposition rédigé par Bernard Huys. Bruxelles: Bibliothèque Royale Albert Ier, 1975. Index Aureliensis. Catalogus Librorum Sedecimo Saeculo Impressorum. Prima pars. 11 vols. Genève: Fondation Index Aureliensis, 1962-96. India, Sigismondo d'. Il primo libro di musiche da cantar solo. Edited by Federico Mompellio. Instituta et Monumenta, 1:4. Cremona: Athenaeum Cremonense, 1970. Ioly Zorattini, Pier Cesare. "Gli ebrei a Venezia, Padova e Verona." In Storia cultura veneta, edited by Girolamo Arnaudi and Manlio Pastore Stocchi, vol. 3/I, 537-76; vol. 4/II, 281-312. Vicenza: Neri Pozza, 1980. Iowa, University of. Graduate College. An Exhibit of Music and Materials on Music Early and Rare. AMS-MLA. State University of Iowa, April 1953. Iowa City: The Graduate College and the University Libraries, State University of Iowa, 1953. Israël, Carl. Die musikalischen Schätze der gymnasial Bibliothek und der Peterskirche zu Frankfurt a. M. Programm des stadtischen Gymnasiums zu Frankfurt a. M. Frankfurt am Main: Mahlau and Waldschmidt, 1872. . "Übersichtlicher Katalog der Musikalien der Ständischen Landesbibliothek zu Cassel." Zeitschrift des Vereins für hessische Geschichte und Landeskunde. Neue folge, 7. Supplement. Kassel: Freyschmidt, 1881. Istituto Centrale per il Catalogo Unico delle Biblioteche Italiane e per le Informazioni Bibliografiche. Le edizioni italiane del XVI secolo. Censimento nazionale. Vol. 1 (A), Roma: ICCU, 1985; vol. 2 (B), Roma: ICCU, 1989; vol. 3 (C-Ch), Roma: ICCU, 1993; vol. 4 (Ch-Cz), Roma: ICCU, 1996.

. Le edizioni italiane del XVI secolo. Censimento nazionale. 2nd ed. Vol. 1 (A), Roma: ICCU, 1990. Italia. Accademia Nazionale di Santa Cecilia. Cinque secoli di stampa musicale in Europa. [Catalogo]. Museo di Palazzo Venezia, 12 giugno 1985-30 luglio 1985. Napoli: Electa Napoli, 1985. Italia. Direzione Generale per le Antichità e Belle Arti. Esposizione Internazionale "La Musica nella Vita dei Popoli," Francoforte sul Meno, giugno-agosto, MCMXXVII. Catalogo della sezione italiana. Roma: Casa Editrice d'Arte Bestetti e Tumminelli, 1927.  

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Jackson, Susan. "Berg and Neuber: Music Printers in Sixteenth-Century Nuremberg." Ph.D. diss., City University of New York, 1998. Janson, H. W. "The Birth of 'Artistic License': The Dissatisfied Patron in the Early Renaissance." In Patronage in the Renaissance, edited by Guy Fitch Lytle and Stephen Orgel, 344-53. Princeton: Princeton University Press, 1981. Jayne, Sears, and Francis R. Johnson, eds. The Lumley Library: The Catalogue of 1609. London: Trustees of the British Museum, 1956. João IV, King of Portugal. Primeira parte do index da livraria de musica do muyto alto, e poderoso rey dom Ioao o IV. nosso senhor. Edited by Joaquim Antonio da Fonseca e Vasconcellos. Lisboa: Imprensa Portugueza, 1874. Johnson, Alfred Forbes. A Catalogue of Italian Engraved Title-Pages in the Sixteenth Century. Supplement to the Bibliographical Society's Transactions, 11. Oxford: Oxford University Press for the Bibliographical Society, 1936. Kahl, Willi. Katalog der in der Universitäts- und Stadtbibliothek Köln vorhandenen Musikdrucke des 16., 17. und 18. Jahrhunderts. Beitrage zur Rheinischen Musikgechichte, 27. Köln: Arno Volk, 1958. Kapp, Friedrich. Geschichte des deutschen Buchhandels, bis in das siebzehnte Jahrhundert. Edited by Albrecht Kirchoff and A. von der Leyden. Leipzig: Börsenverein der deutschen Buchhändler, 1886. (This is vol. 1. Vols. 24, by Johann Goldfriedrich, were published in 1913.) Kassel. Landesbibliothek. Katalog. Microfilm at the Music Library of the University of California, Berkeley. Kastner, Santiago. Inventário dos inéditos e impressos musicais (Subsídios para um Catálogo). [Vol. 1]. Coimbra: Biblioteca da Universidade, 1937. Kellenbenz, Hermann. "Le Déclin de Venise et le relations économiques de Venise avec les marchés au nord des Alpes." In Aspetti e cause della decadenza economica veneziana nel secolo XVII. Atti del Convegno 27 giugno-2 luglio 1957. Venezia, Isola di San Giorgio Maggiore, 109-83. Venezia-Roma: Istituto per la Collaborazione Culturale, 1961. Kerman, Joseph. The Elizabethan Madrigal: A Comparative Study. American Musicological Society Studies and Documents, 4. N.p.: American Musicological Society, 1962. Killing, Joseph. Kirchenmusikalische Schätze der Bibliothek des Abbate Fortunato Santini: Ein Beitrag zur Geschichte der Katholischen Kirchenmusik in Italien. Düsseldorf: Schwann, [1910]. King, A. Hyatt, and O. W. Neighbor. "Printed Music from the Collection of Alfred Cortot." British Museum Quarterly 31 (1966-67): 8-16. Kingdon, Robert M. "The Business Activites of Printers Henri and François Estienne." In Aspects de la propagande religieuse, edited by Henri Meylan, 258-75. Travaux d'Humanisme et Renaissance, 28. Genève: Droz, 1957. . "Christopher Plantin and his Backers, 1575-1590: A Study in the Problems of Financing Business during War." In Mélanges d'histoire économique et sociale en hommage au professeur Antony Babel à l'occasion de son soixante-quinzième anniversaire, 2 vols., 1:303-16. Genève: n.p., 1963. . "Patronage, Piety, and Printing in Sixteenth-Century Europe." In Festschrift for Frederick B. Artz, edited by David H. Pinkney and Theodore Ropp, 19-36. Durham, N.C.: Duke University Press, 1964. . "The Plantin Breviaries: A Case Study in the Sixteenth-Century Business Operations of a Publishing House." Bibliothèque d'Humanisme et Renaissance, Travaux et Documents 22 (1960): 133-50. Kirsch, Winfried. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur mitte des 16.

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.Venetian Ships and Shipbuilders of the Renaissance. Baltimore, Md.: Johns Hopkins University Press, 1934. .Venice: A Maritime Republic. Baltimore, Md.: Johns Hopkins University Press, 1973. .Venice and History: The Collected Papers of Frederic C. Lane. Forward by Fernand Braudel. Baltimore, Md.: Johns Hopkins University Press, 1966. Lane, Frederick C., and Reinhold C. Mueller. Money and Banking in Medieval and Renaissance Venice. Vol. 1: Coins and Moneys of Account. Baltimore, Md., and London: Johns Hopkins University Press, 1985. Larson, Keith A. "Racchiano, Giovanni Battista." The New Grove Dictionary of Music and Musicians. London: Macmillan, 1980, 15:524. Larson, Keith A., and Angelo Pompilio. "Cronologia delle edizioni musicali napoletane del Cinque-Seicento." In Musica e cultura a Napoli dal XV al XIX secolo, edited by Lorenzo Bianconi and Renato Bossa, 103-39. Quaderni della Rivista Italiana di Musicologia, 9. Firenze: Olschki, 1983. LaRue, Jan. "Abbreviated Descriptions for Watermarks." Fontes Artis Musicae 4 (1957): 26-8. . "Classification of Watermarks for Musicological Purposes." Fontes Artis Musicae 13 (1966): 59-63. . "Watermarks and Musicology." Acta Musicologica 33 (1961): 120-46. Laurentini, Giuliano. Incunaboli e cinquecentine della Biblioteca dei Cappuccini di Firenze. Firenze: Biblioteca Provinciale dei Cappuccini, 1988. Lepschy, Anna Laura, John Took, and Dennis E. Rhodes, eds. Book Production and Letters in the Western European Renaissance: Essays in Honour of Conor Fahy. London: The Modern Humanities Research Association, 1986. Lerner, Edward R. "Music Prints in the Cathedral Library of Brescia." Fontes Artis Musicae 11 (1964): 75-8. Le Roy Ladurie, Emmanuel. Times of Feast, Times of Famine: A History of Climate since the Year 1000. Translated by Barbara Bray. Garden City, N.Y.: Doubleday, 1971. Lesure, François, and Geneviève Thibault. Bibliographie des éditions d'Adrian le Roy et Robert Ballard (15511598). Publications de la Société Française de Musicologie, deuxième série, 9. Paris: Société Française de Musicologie, 1955. Leuchtmann, Horst. Orlando di Lasso: Briefe. Wiesbaden: Breitkopf & Härtel, 1977. . Orlando di Lasso: Sein Leben. Versuch einer Bestandsaufnahme der biographischen Einzelheiten. Wiesbaden: Breitkopf & Härtel, 1976. Lewis, Mary S. "Antonio Gardane's Early Connections with the Willaert Circle." In Music in Medieval and Early Modern Europe: Patronage, Sources, and Texts, edited by Iain Fenlon, 209-26. Cambridge: Cambridge University Press, 1981. . "Antonio Gardane and His Publications of Sacred Music, 1538-55." 2 vols. Ph.D. diss., Brandeis University, 1979. . Antonio Gardano: Venetian Music Printer, 1538-1569. A Descriptive Bibliography and Historical Study. Vol. 1, 1538-1549; Vol. 2, 1550-1559. Garland Reference Library of the Humanities, 718-9. New York and London: Garland Publishing, 1988-97. . "Composer and Printer in the Sixteenth Century: Gardane, Rore, and Zarlino." Paper read at the annual meeting of the American Musicological Society, Minneapolis, Minnesota, 19-22 October 1978.

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Sayce, R. A. Compositorial Practices and the Localization of Printed Books 1530-1800. A Reprint with Addenda and Corrigenda. Occasional Publication, 13. Oxford: Oxford Bibliographical Society/Bodleian Library, 1979. First printed in The Library, fifth series, 31 (1960): 1-45. Schall, Richard. Das Inventar der Kantorei St. Anna in Augsburg: Ein Beitrag zur Protestantischen Musikpflege im 16. und beginnenden 17. Jahrhundert. Catalogus  

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Musicus, 3. Kassel: International Association of Music Libraries/International Musicological Society, 1965. . "Die Musikbibliothek von Raimund Fugger d. J.; ein Beitrag zur Musiküberlieferung des 16. Jahrhunderts." Acta Musicologica 29 (1957): 126-37. Schama, Simon. The Embarrassment of Riches: An Interpretation of Dutch Culture in the Golden Age. New York: Knopf, 1987. Schanzin, Hans Peter. "Musik-Sammeldrucke des 16. und 17. Jahrhunderts in schweizerischen Bibliotheken." Fontes Artis Musicae 4 (1957): 38-42. Schletterer, H. M. Katalog der in der Kreis- und Stadt-Bibliothek, dem Staedtischen Archive und der Bibliothek des Historischen Vereins zu Augsburg befindlichen Musikwerke. Beilage zu den Monatshefte für Musikgeschichte, Jahrgang 10, 11. Berlin: Trautwein, 1878-79. Schmid, Anton. Ottaviano dei Petrucci da Fossombrone, der erste Erfinder des Musiknotendruckes mit beweglichen Metalltypen und seine Nachfolger im sechzehnten Jahrhunderte. 1845; reprint, Amsterdam: Grüner, 1968. Schmieder, Wolfgang. Katalog der Herzog-August Bibliothek Wolfenbüttel. Der ganzen Reihe zwölfter Band. Musik: alte Drucke bis etwa 1750. 2 vols. Frankfurt am Main: Vittorio Klostermann, 1967. Scotland National Library, Edinburgh. A Short-Title Catalogue of Foreign Books Printed up to 1600. Books Printed or Published Outside the British Isles Now in the National Librrary of Scotland and the Library of the Faculty of Advocates, Edinburgh. Edinburgh: Her Majesty's Stationery Office, 1970. Scotta, Giovanna M., and Gisella Thellung, eds. Le cinquecentine della Biblioteca della Fondazione. Collana della Fondazione Marco Besso, 8. Roma: [Fondazione Marco Besso], 1981. Sella, Domenico. Commerci e industrie a Venezia nel secolo XVII. Civiltà Veneziana Studi, 11. Venezia-Roma: Istituto per la Collaborazione Culturale, 1961. . "Crisis and Transformation in Venetian Trade." A revision and translation of Sella, "Il declino dell'emporio realtino." In Crisis and Change in the Venetian Economy in the Sixteenth and Seventeenth Centuries, edited by Brian Pullan, 88-105. London: Methuen, 1968. . "Il declino dell'emporio realtino." In La civiltà veneziana nell'eta barrocca, 99-121 [Firenze]: Sansoni-Centro di Cultura e Civiltà della Fondazione Cini, 1959. . "Industrial Production in Seventeenth-Century Italy: A Reappraisal." Explorations in Entrepreneurial History, second series, 6 (1969): 235-53. . "Le industrie europee (1500-1700)." In Storia economica d'Europa, 6 vols., edited by Carlo Cipolla, 2:287-344. Torino: UTET, 1979-80. . "The Rise and Fall of the Venetian Woolen Industry." In Crisis and Change in the Venetian Economy in the Sixteenth and Seventeenth Centuries, edited by Brian Pullan, 106-26. London: Methuen, 1968. An Italian version may be found in Storia dell'economia italiana: Saggi di storia economica, edited by Carlo M. Cipolla, 1:533-56. Biblioteca di Cultura Economica, 24. Torino: Edizioni Scientifiche Einaudi, 1959; from the French "Les Mouvements longs de l'industrie lanière à Venise aux XVIe et XVIIe siècles," AnnalesEconomies, Sociétés, Civilisations 12 (1957). Sestan, Ernesto. "La politica veneziana del Seicento." In Fondazione Cini, La civiltà veneziana nell'eta barrocca, 37-66. [Firenze]: Sansoni-Centro di Cultura e Civiltà della Fondazione Cini, 1959. Shaaber, M. A. Sixteenth-Century Imprints in the Libraries of the University of Pennsylvania. N.p.: The University of Pennsylvania Press, 1976.

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Stockbauer, J. Die Kunstbestrebungen am bayerischen Hofe unter Herzog Albert V. und seinem Nachfolger Wilhelm V. nach den im k. Reichsarchiv vorhandenen Correspondenzacten. Quellenschriften für Kunstgeschichte und Kunsttechnik des Mittelalters und der Renaissance, 8. Wien: Braumüller, 1874; reprint, Osnabruck: Zeller, 1970. Tadic, Jorjo. "Le Commerce en Dalmatie et à Raguse et la décadence économique de Venise au XVIIème siècle." In Aspetti e cause della decadenza economica veneziana nel secolo XVII. Atti del Convegno 27 giugno-2 luglio 1957. Venezia, Isola di San Giorgio Maggiore, 237-74. Venezia-Roma: Istituto per la Collaborazione Culturale, 1961. Tafuri, Manfredo. Venice and the Renaissance. Translated by Jessica Levine. Cambridge, Mass.: MIT Press, 1989.  

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INDEX OF COMPOSERS This index comprises entries for composers whose names are found either in the body of the text or in the appendices. A Abundante, Giulio, 122, 259, 382, 399 Agazzari, Agostino, 298, 308 Agostini, Lodovico, 100, 106, 120, 150 (Plate 1), 174 (Plate 25), 200, 203, 206, 209, 344, 370, 380-81, 388-90, 446n. 135, 447n. 152, 447n. 156 Aichinger, Gregor, 274, 294, 368, 402 Alcarotti, Giovanni Francesco, 382, 388 Anerio, Felice, 137-38, 347, 450n. 38 Anerio, Giovanni Francesco, 108-9, 337 Angelini, 140, 250, 377, 397 Animuccia, Paolo, 381, 385 Annibale Padovano, 208, 265, 274, 282, 318-19, 363, 372-73, 390-92, 400, 447n. 155 Antegnati, Costanzo, 97, 119, 132, 203, 213, 220, 260, 270, 282, 316, 330, 363, 369-70, 372, 389, 391, 399, 401 Antiquis da Barri, Giovanni, 245, 373, 396 Archadelt (Arcadelt), Jacobus, 75, 146, 316, 344, 369, 386, 393 Arnoldus Flandrus, 294 Artusini, Antonio, 304 Asola, Giovanni Matteo, 3, 61, 63, 72, 100, 102, 106, 110, 131, 139, 200, 203, 210, 214, 216, 220, 227-28, 232, 236, 241, 245-46, 255, 260, 313, 316, 361-64, 366, 378, 391, 393, 395-96, 398, 405 Attaingnant, Pierre. See under General Index Azzaiolo, Filippo, 371, 387-88 B Baccusi, Ippolito, 201, 223, 260, 265, 286, 364, 379, 392, 399, 405 Bacilieri, Giovanni, 327, 335-36 Balbi, Lodovico, 63, 69, 101, 126, 201, 217, 220, 228, 255, 260, 270, 294, 322, 367, 373, 376, 379, 391-92, 398-99, 401 Bal[l]estra, Raimondo, 337

Barbetta, Giulio Cesare, 122, 143, 251, 382, 397 Barera, Rodiano, 298 Barges, Antonio, 371, 385 Bargnani, Ottavio, 294, 313 Bartei, Girolamo, 340, 446n. 140 Baseo, Francesco Antonio, 236, 378, 405 Bati, Luca, 112-13, 290, 304 Battaglioni, Orazio, 176 (Plate 27), 210 Bellasio, Paolo, 274, 282, 375, 402 Bell'Haver, Vincenzo, 217 Belli, Girolamo, 246, 251, 363, 379, 396, 398 Belli, Giulio, 88, 104, 108, 175 (Plate 26), 246, 255, 270, 294, 298, 302, 305, 308, 316-17, 319, 322, 327, 330, 375, 398, 401, 443n. 92 Bendusi, Francesco, 371, 386 Berchem, Jachet, 370, 386-87 Bertani, Lelio, 251, 327 Berti, Caroli, 283, 286, 438n. 41 Bertoldo, Sperindio, 381, 387 Bertolusi, Vincenzo, 313 Bianchi, Andrea, 340 Bianchi, Caterino, 210 Bianchi, Pietro Antonio, 236, 333 Bianchini, Dominico (detto Rossetto), 383, 386 Bianciardi, Francesco, 88, 108, 298-99, 302, 313, 319, 322, 325, 327, 330  

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Biffetto, Francesco, 370, 385 Bona, Valerio, 313, 366, 402 Bonardo, Iseppo, 266, 362, 400 Bonelli, Aurelio, 299, 314 Bonini, Pietro Andrea, 278, 375, 403 Bonizzoni, Eliseo, 211 Borsaro, Archangelo, 380, 405 Boschetti, Girolamo, 278, 286 Bottaccio, Paolo, 110, 113, 119, 172 (Plate 23), 333, 445n. 125 Buus, Jacques, 34, 426n. 1 C Califano, Michele, 140 Canale, Floriano, 223 Cancineo, Michelangelo, 274 Canova da Milano, Francesco, 143, 382, 387 Cantone, Serafino, 113, 278, 299 Capilupi, Geminiani, 303, 306, 317, 330 Cardillo, Cesare, 290 Cardillo, Giacomo Antonio, 223, 255, 368, 398 Cartari, Giuliano, 117, 153 (Plate 4), 180 (Plate 31), 223, 256, 260, 266, 275, 363, 365, 377, 398-400, 403 Casali, Lodovico, 322 Casentini, Silao, 206, 382, 390 Casolani, Leonardo, 306 Casulana de Mezari, Maddalena, 241, 378, 395 Cavaccio, Giovanni, 72, 232, 237, 241, 251, 260, 306, 344, 364-65, 376, 393, 395, 397, 399, 405 Cavazzoni, Girolamo, 122 Celidonio Vicentino, Ieronimo, 383, 405 Ciera, Ippolito, 381, 387 Cima, Bernardin, 380, 405 Cimello, Tomaso, 75, 362, 385

Clavijo (Clabixi), Bernardo, 356 Clinio, Teodoro, 294 Cola (Collinus?), Matthaeus, 217 Colin, Pierre, 344 Colombani, Orazio, 224 Coma, Annibale, 378, 388 Comis da Cologna, Michele, 228 Conforti, Giovanni Luca, 327-28 Corfini, Jacopo, 146, 345, 448n. 5 Corona, Agostino, 224 Corona, Giovanni, 211 Corteccia, Francesco, 61, 96, 99, 102, 201, 203-4, 369, 381, 385, 389, 438n. 41 Cossa, Vincenzo, 371, 388 Costa, Gasparo, 136, 139, 141-42, 184 (Plate 35), 232, 266, 344, 368, 374, 393, 400, 425n. 68 Costa, Giovanni Paolo, 111, 166 (Plate 17), 336 Crivelli, Arcangelo, 325 Croce, Giovanni, 251 Cropatio. See Kropáz D Dalla Casa, Girolamo, 97, 211, 246, 380, 382-83, 385, 390, 443n. 89, 447nn. 153, 156 Dalla Gostena, Giovanni Battista, 237, 246, 294 Della Faya, Aurelio, 124, 126, 224, 378, 392 Del Conte, See El Conte Dentice, Scipione, 299 Diruta, Girolamo, 228 Donato, Baldissare, 306, 370, 381, 386, 388 Doni, Antonfrancesco, 19, 436n. 10 Dorati, Nicolò, 140, 224, 379, 392 Draghi, Bernardino, 278, 362, 404 Dragoni, Giovanni Andrea, 140 Duc, Filippo (de), 211 Dueto, Antonio, 241, 246-47, 251, 256, 290, 373, 377, 379, 395-98, 405

E El Conte, Bartholomei, 369, 385 Essenga, Salvadore, 371, 381, 387-88 F Faa, Orazio, 204, 208, 380, 388-89 Facoli, Marco, 122, 266, 382, 400, 445n. 116 Falcidio, Giovanni Battista, 201 Falconi(o), Placido, 96, 214, 266, 365, 400, 445n. 121 Farina, Francesco, 371, 405 Fattorin da Reggio, 322 Feliciani, Andrea, 112, 169 (Plate 20), 224, 275, 279, 365-66, 403-4 Felis, Stefano, 224, 242, 252, 369, 377, 395, 397 Ferrabosco, Alfonso, 261, 376, 399 Festa, Costanzo, 34-35 Fidelis, Lancilotto, 201, 370, 389 Filago, Carlo, 340 Finetti, Giacomo, 333, 337-38 Fiorino, Gasparo, 100, 104, 109, 211, 362, 390 Flaccomio, Giovanni Pietro, 338, 382 Flecha, Mateo d. J., 382, 388 Florio, Giorgio, 270, 379, 401 Florio, Giovanni, 380, 398  

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Fontanelli, Alfonso, 110, 112-13, 139, 164 (Plate 15), 317, 319, 333 Fonteiio. See Nielsen Francesco da Milano. See Canova da Milano, Francesco G Gabella, Giovanni Battista, 266, 376, 400 Gabrieli, Andrea, 3, 63, 69-70, 86, 97, 100, 103-4, 109, 121-22, 124-26, 156 (Plate 7), 157 (Plate 8), 173 (Plate 24), 201, 204, 206-7, 211, 214, 217, 228, 237, 242, 247, 256, 261, 266-67, 270-71, 274-75, 282, 286, 295, 299, 302, 313-14, 322-23, 325, 361-63, 365, 367, 373-74, 389-90, 395-96, 398-99, 401-3, 429n. 53, 439-40nn. 57, 58, 441n. 66, 444n. 108, 447n. 155 Gabrieli, Giovanni, 3, 100, 102, 112, 124-26, 261, 302, 399, 444n. 108 Gabussi, Giulio Cesare, 228, 256 Gagliano, Marco da, 88, 112, 314, 319, 323, 326, 328, 330-31 Galilei, Vincenzo, 211, 262, 376, 390, 399 Galli, Sisto, 382, 405 Gardano, Antonio (see also under General Index), 36, 256, 361, 398, 438n. 32 Gastoldi, Giovanni Giacomo, 232, 378, 393 Gatto, Simon, 224, 363, 392 Gero, Ihan (Jehan, Jan), 201, 232, 286, 361, 393 Gesualdo, Don Carlo (Principe di Venosa), 3, 88, 101, 103-4, 112, 114-15, 118, 317, 319, 328, 331, 338 Ghibellini (Ghibel, Ghibelli, Gibel, Gibellini), Eliseo, 232, 378, 393 Ghisuaglio, Girolamo, 320 Giacobbi, Girolamo, 313, 334, 447n. 150 Giacomini, Bernardo, 381, 387 Gianelli, Francesco, 283 Giovan(n)elli, Ruggiero, 63, 86, 88, 117, 126, 135, 256, 267, 271, 275, 287, 291, 299, 304, 306, 309, 320, 323, 328, 334, 349, 356, 373-74, 402-3, 405, 443n. 101, 446n. 135, 449-50n. 37 Giovanni Dominico di S. Gemini, 365, 405 Giovanni Maria da Crema, 445n. 115 Gombert, Nicolas, 369, 385 Gonzaga, Guglielmo, 30, 34, 40-41, 44, 154 (Plate 5), 242, 257, 365, 367, 377, 395, 398, 438n. 32 Gorzanis, Giacomo, 62, 136, 141, 343, 362, 382, 387, 389 Grabbe, Johann, 334

Gradenigo, Paolo, 131, 211, 377, 390, 447n. 156 Graziani (Gratiani), Tommaso, 100, 112, 117, 262, 267, 363-64, 376, 399, 401, 440n. 60, 443n. 100 Gualtieri, Antonio, 331 Guami, Francesco, 267, 283, 287, 304, 361, 376, 401 Guami, Gioseffo, 104, 110, 159 (Plate 10), 247, 279, 375, 388, 404 Guerrero, Francisco, 135, 202, 242-43, 347, 349, 448n. 9 Guidetti (Guidetto), Giovanni Domenico, 73, 135-36, 138-39, 142-44, 146, 188 (Plate 39), 194 (Plate 45), 351, 353, 356, 430n. 6, 448n. 3 I India, Sigismondo d', 88, 109, 113, 118, 328, 336, 338, 440n. 57, 442n. 80 Infantas, Don Fer(di)nando de las, 42, 220, 367, 392 Ingegneri, Marc'Antonio, 40-41, 61, 63, 72, 116, 207-8, 217, 220, 224-25, 228-29, 247, 257, 262, 271, 279, 283, 367, 373, 376, 379, 391, 396, 398-99, 402 Isnardi, Paolo, 61, 99, 204, 207-8, 219, 229, 232, 271, 275, 363-64, 375, 391, 393, 402-3 J Jachet de Mantua (Jacobus Collebaudi), 368, 386 Jan(n)equin, Clément, 75, 372, 385-86 K Kerle, Jacobus de, 202, 364-66, 387 Khisel, Giovanni Giacomo, 371, 404 Kropáz (Cropatio), Georg, 221, 363, 392 L La Martoretta, Giandomenico, 371, 385 Lambardi, Girolamo (Hieronymus), 257, 365, 398, 438n. 32 Lappi, Pietro, 88, 97, 118, 123, 181-82 (Plates 32-33), 309, 313, 315, 323, 328 Lasso, Orlando di, 3, 36, 51, 55, 61, 72, 86, 200, 202, 207, 212, 217, 221, 225, 237, 247-48, 252, 257-58, 262, 267, 271-72, 279, 283, 287, 306, 311, 361, 363, 365, 367, 374, 377, 392, 396-99, 401-2, 404, 429n. 44 Leonardus, Theodorus, 291 Leoni, Leo(ne), 114, 267, 279, 375, 401, 404 Le Roy, Adrian. See under General Index  

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L'Hoste (Oste, Dell'Oste) Spirito, detto L'Hoste da Reggio, 370, 386 Lombardi, Bartolomeo, 221, 368, 392 Lumbardi, Giovanni Battista, 354 Luppachino, Bernardino, 290, 381, 385 Luyt(h)on, Karel, 237 Luzzaschi, Luzzasco, 63, 217-18, 221, 237, 304, 372, 392 M Macque, Jean de (Giovanni de), 101, 218, 225, 233, 238, 243, 272, 352, 379, 402 Magri, Paolo, 382, 405 Mainerio (Mayner), Giorgio, 218, 221, 229, 365, 372, 392-93, 438n. 46 Manara, Francesco, 121, 212, 229, 450n. 53 Manenti, Giovanni Piero, 212, 214, 258, 373, 398 Marazzi, Silvio, 233, 368, 393 Marenzio, Luca, 3, 40, 63, 72-73, 86, 88, 113, 116, 119, 132, 135, 138, 229, 233, 238, 243, 248-49, 262-63, 279, 283, 287, 291, 295, 304, 306-7, 309-10, 314-15, 317-18, 320, 323-24, 326, 328, 334, 336, 347, 349, 374-75, 39596, 400, 404, 429n. 53, 439n. 48, 450n. 53 Marien d'Artois, Ambrosio, 141-42, 145-46, 344, 449n. 34 Marinis, Giovanni de, 314 Marino, Alessandro, 204, 380, 389 Marotta, Erasmo, 310 Marri, Ascanio, 212, 214, 378, 391 Martinengo, Gabriele, 229 Martoretta. See La Martoretta Maschera, Florentio, 287, 299 Masnelli, Paolo, 238 Masotti, Giulio, 243, 377, 395 Massaini (Massaino), Tiburtio, 86, 106, 121, 204, 218, 222, 229, 263, 267, 275, 283-84, 292, 307, 320, 326, 364-65, 376, 400-1, 437n. 23 Mauro, Mattia de'Servi, 204, 370, 380, 389 Mazza, Francesco, 275, 375, 403 Mazzone, Marc'Antonio, 114, 280, 287-88, 374, 404, 440n. 60

Mechi, Giovanni Battista, 338-39 Mel, Rinaldo del, 72, 86, 233, 243, 249, 252, 258, 263, 288, 292, 295-96, 299, 320, 361, 368, 377, 397-98, 400, 403 Melfio, Bastiano, 263, 377, 400 Menta, Bastiano, 381, 388 Merlo, Alessandro (Alessandro Romano), 252, 372, 381, 388, 397 Merulo, Claudio (see also under General Index), 4, 61-63, 88, 94, 97, 103, 111, 116, 121-22, 131, 141, 209, 212, 222, 225, 230, 243, 249, 284, 288, 292, 296, 320, 324, 326, 328, 331, 334, 339, 361, 363, 367, 369, 372-73, 390, 393, 395-96, 430n. 59, 440n. 57, 443n. 99, 445n. 117, 450, n. 53 Micheli, Domenico, 233, 249, 378, 393 Milleville, Alessandro, 214, 377, 391 Mira, Leandro, 67-68, 431n. 24 Molinaro, Simone, 296 Molino, Antonio, 75, 371, 388, 450 n. 49 Monte, Philipp de, 3, 61, 63, 72, 74, 86, 95, 99-100, 103, 108, 112, 119-20, 126, 212, 214-15, 218, 222, 230, 234, 238, 243-44, 249, 252-53, 258, 263-64, 268, 272, 275-76, 278, 280, 284, 288, 292, 296, 300, 302, 305, 307, 310-11, 318, 361, 367, 373-75, 391, 393, 395-98, 400-4, 429n. 53, 437n. 21, 438n. 32, 439n. 49, 447nn. 149, 156, 450n. 53 Montesardo, Girolamo, 331 Monteverdi, Claudio, 63, 239, 264, 276, 361, 375, 400, 403 Morales, Cristóbal de, 34-35, 95, 215, 244, 302, 344, 365, 387, 400, 437n. 21 Morari, Antonio, 264, 373, 400 Moro, Giacomo, 136, 139, 144-45, 345, 448n. 12, 449n. 36 Moscaglia, Giovanni Battista, 215 Mosto (Mustus), Giovanni Battista, 268, 296, 376, 401 N Naldi, Romulo, 272, 311, 376, 402 Nanino, Giovanni Bernardino, 258-59, 268 Nanino, Giovanni Maria, 72, 103, 106, 112, 126, 161 (Plate 12), 168 (Plate 19), 178 (Plate 29), 225, 234, 239, 25859, 264, 288, 307, 324, 361, 376, 398, 400 Nardo, Cola, 230 Nasco, Giovanni, 213, 250, 366, 369, 380, 386-87, 391, 396 Negri (Niger, Nigri), Giovanni Maria, 213, 369, 391 Negri, Marco Antonio, 331 Negro (Negri), Giulio Santo Pietro del, 329 Nenna, Pomponio, 239, 334-35

Neriti da Salò, Vincenzo, 288, 296, 307 Nicoletti, Filippo, 222 Nielsen (Fonteiio), Hans (Giovanni), 326  

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Nocetti (Nucetus), Flaminio (Flaminius), 315 Novello, Lodovico, 372, 385 O Oristagno, Giulio, 268, 376, 401 Orlandi, Sante, 315, 324, 329, 335, 340 Orologio, Alessandro, 112, 117-18, 259, 289, 292, 296 Osculati, Giulio, 320 Ostiano, Vincenzo, 97, 226 P Pace, Giovanni Battista, 253, 377, 397 Pacelli, Asprilio, 331 Paciotto, Pietro Paolo, 135, 239, 358 Paien, Giovanni, 95, 207, 302, 437n. 15 Palestrina, Giovanni Pierluigi da, 3, 61, 63, 67-68, 73, 85-86, 88, 100, 123, 136-42, 144, 152 (Plate 3), 185 (Plate 36), 189 (Plate 40), 192-93 (Plates 43-44), 204, 213, 226, 234, 239, 253, 264, 272, 276, 280, 289, 292-93, 296-97, 300, 305, 307, 311, 314, 320-21, 324, 332, 345-47, 349-50, 357-59, 362, 365, 376, 394, 397, 400, 402-4, 425n. 68, 429n. 53, 431n. 25, 446n. 131, 450nn. 39, 44, 60 Pallavicino, Benedetto, 88, 125, 226, 235, 250, 268, 300, 311, 318, 326-27, 329, 335, 339 Paolo Ferrarese, 41-42 Parabosco, Girolamo, 382, 385 Patarini, Giovanni Maria, 108, 297 Pecci, Tomaso, 104, 119, 315, 324-25, 335, 440n. 61 Pedersøn (Petreo), Mogens (Magno), 332 Peetrinus (Peeters), Jacobus, 244, 280, 368, 373, 376, 395, 404 Pelio, Giovanni, 222, 302 Perabovi, Filippo Maria, 268, 379, 401 Pesciolini, Biagio, 205, 307, 345, 382, 389 Pesenti, Benedetto, 372, 405 Petosa, Antonio, 382, 405 Phinot, Dominique, 369, 385 Piccioni, Giovanni, 301, 305

Pingirolo, Gabriele, 272, 364, 402 Pionnier, Iohannes, 369, 385 Pordenon, Marc'Antonio, 98-99, 121, 205, 209, 222, 230, 284, 370, 378, 389-90, 392-93, 450n. 53 Porta, Costanzo, 63, 96-97, 99, 104-5, 116, 119, 124, 127, 129-30, 205, 209, 223, 230, 253, 259, 269, 280, 315, 325, 363, 366-68, 377, 386, 390, 392-93, 397-98, 401, 404, 450n. 54 Portinaro, Francesco, 207, 363, 390 Preti, Alfonso, 264 Primavera, Giovan Leonardo, 362, 389 Priuli (Prioli), Giovanni, 321, 329 Q Quagliati, Paolo, 135-36, 138, 357 Quintiani (Quinziani), Lucrezio, 108, 272, 280-81, 364, 366, 402, 404 R Radino, Giulio, 329 Rasi, Francesco, 97, 332 Renaldi, Giulio, 218, 377 Resta, Agostino, 230 Ricci, Cesarina, 303 Riccio, Teodoro, 104, 273, 276 Rinaldo da Montagnana, 209, 367, 372, 388, 390-91 Rore (de Rore), Cipriano de, 27, 34, 36, 59, 61, 97, 116, 121, 131, 205, 213, 215, 218-19, 231, 240, 278, 289, 297, 372-73, 375, 378, 383, 391-94, 405, 419n. 31, 447nn. 154-55, 447n. 156 Rosselli (Roselli, Roussel), Francesco, 381 Rossetti (Rossetto), Stefano, 371, 381, 387 Rossi (Rubeo), Flaviano, 223, 364, 392, 438n. 46 Rossi, Salomone, 120, 140 Rota, Andrea, 250, 273, 285, 297 Rovigo, Francesco, 235 Rubini, Nicolò, 327 Ruffo, Vincenzo, 285, 370, 380, 386-87 S Sabino, Ippolito, 100, 202, 215, 226, 231, 235, 240, 281, 365, 378-79, 391, 393-94, 450n. 53 Sacerdote, David, 216, 379, 391

Sartorius, Paul, 312, 316 Scarabelli (Scarabei), Damiano, 285 Schütz, Heinrich, 3, 111, 339 Scotto, Girolamo. See under General Index Scozzese, Agostino, 97, 226 Serafini, Serafino, 250, 362, 396 Sessa d'Aranda, 100, 205, 244, 370, 374, 395 Soderini, Agostino, 442n. 77 Soriano (Suriano), Francesco, 235 Sorte, Bartolomeo, 209, 227, 289, 301, 314, 378, 390, 438n. 41 Spalenza, Pietro Antonio, 213 Spontone (Spontoni), Alessandro, 254, 377, 397  

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Spontone (Spontoni), Bartolomeo, 244, 377, 395 Spontoni, Lodovico, 113, 171 (Plate 22), 335 Stabile, Annibale, 72, 75, 138-39, 187 (Plate 38), 207, 216, 250, 254, 264, 273, 346, 366, 368, 395, 397, 402, 405 Stabile, Pompeo, 254, 379, 397 Stefanini (Steffanini), Giovanni Battista, 321 Striggio, Alessandro, 111, 227, 285, 301, 303 Susato, Tilman. See under General Index T Tasso, Giovanni Maria, 290 Tastavin, Geronimo, 380, 388 Tigrini, Orazio, 103, 132, 209, 227, 240, 370, 390 Tollius, Jan, 276, 281, 362, 369, 404-5 Tomasi, Biagio, 340-41 Tonelli, Antonio, 118, 126, 305, 443n. 102 Tornioli, Marcantonio, 330 Toscano, Nicolo, 250 Trabaci, Giovanni Maria, 332, 339 Tresti, Flaminio, 254, 264, 276, 293, 301, 330, 375, 397, 400, 403 Tristabocca, Pasquale, 378, 398 Trombetti, Ascanio, 244, 259, 273, 276, 368, 373, 399, 402 Trombetti, Girolamo, 112, 167, 276 Tromboncino, Bartolomeo, 383, 405 Tromboncino, Ippolito, 405 Turini, Gregorio, 273, 367, 402 V Vaet, Jacobus, 369, 387 Valentini, Giovanni, 101, 104, 109, 163 (Plate 14), 339 Valenzola, Pietro, 223 Varotto (Varotus), Michele (Michael), 293 Vecchi, Lorenzo, 325

Vecchi, Orazio (Tiberio), 3, 63, 69-72, 88, 95-98, 100, 103-5, 108-114, 117, 122, 124, 132, 139, 155 (Plate 6), 158 (Plate 9), 162 (Plate 13), 179 (Plate 30), 227, 231, 235, 240, 244-45, 254-55, 265, 273, 277, 281, 289, 297, 303, 312, 316, 318, 321, 330, 332, 336-37, 366, 368, 373, 375, 397, 400, 402-4, 429n. 53, 432n. 40, 438nn. 35, 39, 439n. 47, 440n. 59, 441nn. 66-67, 442n. 75 Venturi del Nibbio, Stefano, 285 Verdelot, Philippe, 27, 369, 380, 387-88 Verovio, Simone, 434n. 24 Vespa, Girolamo, 98, 131, 202, 219 Victoria (Vittoria), Tomás Luis de, 3, 73, 96-97, 116-17, 121, 127, 131, 134-36, 138, 140, 142-43, 145-46, 187 (Plate 37), 190-91 (Plates 41-42), 207, 219, 318, 321, 346, 350, 445n. 127, 448n. 9 Villani, Gabriele, 265, 281, 373, 404 Villani, Gasparo, 88, 337, 339-40 Virgelli, Emilio, 293 Vopa, Giovanni Donato, 253, 377, 397 W Waelrant, Hubert. See under General Index Wanningus, Johann, 277-78, 369, 403 Wert, Giaches (Jaches) de, 3, 34, 40-41, 44, 61, 63, 73, 86, 95-96, 101, 106, 110, 119, 132, 160 (Plate 11), 183 (Plate 34), 203, 205, 208, 216, 231, 235, 245, 259, 269, 274, 281, 285-86, 298, 301, 308, 312, 321, 327, 332, 373, 379, 390-91, 395-96, 399, 401-2, 429n. 53, 440n. 61 Willaert, Adrian, 96, 104, 109, 114, 206, 289-90, 364, 371, 380, 386, 389, 414n. 1, 431n. 31, 444n. 109 Z Zaccardi (Zachardi), Florido, 382, 405 Zacchino, Giulio, 208-9, 362, 370, 390 Zallamella, Pandolfo, 240, 278, 366, 368, 394, 403 Zanchi (Zangius), Liberale (Liborius), 298 Zan(n)otti, Camillo, 265, 269, 274, 363, 375, 400-2 Zarlino, Gioseffo, 34, 36 Zoilo, Annibale, 68-69  

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GENERAL INDEX The General Index cites only those materials found in the text proper and an occasional substantive endnote. Individual publications are always cited first under their printer, then alphabetically under composer, or for those works without a single or known composer, by title. Composers are not cited separately as authors of publications, but only when they are discussed individually in the text; for a complete list of composers found both in the text and in the appendices, please see the Index of Composers. A Accademia Filarmonica of Verona, 27, 44 Albrecht V, Duke of Bavaria, 59, 429n. 44 Amadino, Ricciardo, printer in Venice, 73, 75, 88 (See also Vincenti, Giacomo, and Vincenti, Giacomo, and Ricciardo Amadino): publications: Bartei, Il primo libro di madrigali a cinque voci (1592), 446n. 140; Rossi, S., Il primo libro delle sinfonie et gagliarde (1607), 140, and Il secondo libro delle sinfonie è gagliarde (1608), 120, 140 Ancona, 14 anthologies, 29-33. See also under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs Antico, Andrea, 33 Antwerp. See Netherlands, the Asola, Giovanni Matteo, 3, 61, 63, 72 Attaingnant, Pierre, French printer, 4-5, 30, 32-33 B Balbi, Lodovico, 63, 69 Baldini, Vittorio, printer in Ferrara, 32 Ballard, Robert, printer in Paris, 32 banks. See Venice, banking in Basa, Domenico, printer in Rome. See under Gardano, Alessandro Belli, Giulio, 88 Berg, Johann, and Ulrich Neuber, printers in Nuremberg, 4 Bericchio, Giacomo, printer in Rome. See under Gardano, Alessandro Bernstein, Jane R., 29, 44 Bianciardi, Francesco, 88

Bindoni, Stefano, bookseller in Venice. See under Gardano, Angelo Bonelli, G. M., printer in Venice, 57 book production, speed of, 41-43 bookbinding, 27, 95, 416n. 32 Boorman, Stanley, 31, 146 Boselli, Piero, printer in Venice, 57 Botero, Giovanni, 7 Bottieta, Tomas, printer in Venice, 57 Braudel, Fernand, 8, 26, 408nn. 3, 13 Bridges, Thomas, 146, 415n. 14 Briquet, Charles M., 38 Brown, Horatio F., 11 Buglhat, Johannes de, printer in Ferrara, 57 Buus, Jacques, 34 C Cambridge University Press, 43 Capis, Angela (widow of Matthio Gardano) and Iacobo. See under Gardano, Angelo Catholic Church and its role in music publication, 35. See also Council of Trent; Counter Reformation Cavaccio, Giovanni, 72 Coattino, Francesco, printer in Rome. See under Gardano, Alessandro  

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collation. See under Gardano, Alessandro; Gardano, Angelo; Gardano Heirs compartments, frames, and ornaments. See under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs concurrent production, 40-41, 423n. 25 Contarini, Niccolò, 7, 19 continuo. See Gardano, Angelo: basso seguente (continuo) parts corrections of editions in-house. See under Gardano, Alessandro; Gardano, Angelo Corteccia, Francesco, 61 Council of Trent, 20, 432n. 48. See also Counter Reformation Counter Reformation, 20-22, 62, 85-88 Corfu, 8 Crete, 8 Cyprus, 8 D Dalle Donne, Sebastiano, printer in Verona, 71, 75, 432n. 40 dedications, 29 Donangeli, Bernardino, printer in Rome. See under Gardano, Alessandro Doni, Antonfrancesco, 19 Dorico, Valerio, printer in Rome, 4, 34-35, 63; publication: Philipp de Monte, Madrigali a cinque voci . . .libro primo (1554), 95 Dorico, Valerio, and heirs, 4 Dutch, the. See Netherlands, the E Editio Medicaea. See Typographia Medicaea, Graduale editions. See anthologies; single-composer editions education, 24-25, 31, 82 Eisenstein, Elizabeth, 31 England, 7, 9-10, 14-15, 19, 45, 408n. 9 Estienne, François, French printer, 37-38, 45 Estienne, Henri, French printer, 32, 37-38, 45 Estienne, Robert, French printer, 32, 41

F Facini, Alvise, husband of Angelica Gardano, 54, 60 fascicle manuscripts, 33 Festa, Costanzo, 34-35 Figliuoli di Antonio Gardano. See Gardano Heirs Fondaco dei Tedeschi. See Venice, Fondaco dei Tedeschi fonts. See music typefaces; text typefaces under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs formats. See under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs Forney, Kristine, 36 France, 9, 14-15, 25, 30, 32, 46, 70. See also Attaingnant, Pierre; Ballard, Robert; Estienne, François; Estienne, Henri; Estienne, Robert; Le Roy, Adrian François I, King of France, 32 Frankfurt Book Fair, 46 Fugger, Ulrich, 32 G Gabrieli, Andrea, 3, 63, 69-70, 86 Gagliano, Marco da, 88 Gardano, Alessandro, printer in Venice 1569-1581 and Rome 1583-1591. See also Gardano family; Gardano Heirs his achievements, 5, 62 as agent for Angelo Gardano in Rome, 68, 71-72, 75 anthologies, his production of, 30, 32 and the Auditor camerae of Rome, 65 Basa, Domenico, as his partner in Rome, 64, 134, 143 Bericchio, Giacomo, as his partner in Rome, 64, 134 his book distribution network, 8, 43-47 and censorship, 20-23, 147 cessation of his printing in Rome, 65, 72 Coattino, Francesco, as his partner in Rome, 64-65, 134, 138 collation, his practices of, 135-36 compartments, frames, and ornaments, his use of, 139-40 composers most represented in his output, 3, 61, 72-73 corrections of editions in-house, 146 Counter Reformation, its influence on his production, 20-21, 73

his death, 65, 430n. 13 difficulties in compiling an authoritative checklist of his publications, 64-65 diffusion of his editions outside of Italy, 45-47  

and the dissolution of the family firm (1575), 52-59, 75, 78, 134, 140-41, 143, 145

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Donangeli, Bernardino, as his partner in Rome, 64, 134, 138 fonts (see Gardano, Alessandro: music typefaces; text typefaces) formats, his use of, 57, 134-36 the Gardano Indice, his books possibly found on, 75-77 and Granjon, Robert, printer in Rome, 143, 430n. 6; publication: Guidetto, Directorium chori (1582), 143 Hebrew books, his production of, 22-23, 62 as heir of Lucieta Gardano, 60 household items taken from the patrimony in 1575, 58-59 his imprint, 36, 64 initials, his use of, 140-42 inking practices, 146 instrumental music in his output, 21, 46 music typefaces, 57, 64, 122, 142-43, 145 musical reprints, 72-73, 88 his name, spelling of, 62, 72-73 non-musical editions in his output, 134-36, 146 number of editions issued, 3-5, 20, 62-65, 72-73, 79 paper, his acquisition and use of, 64, 145-46 partnerships in Rome, conditions of, 64-65 position within the Gardano family, 54 possible means of music acquisition, 33-35 printer's devices, his use of, 62, 64, 72-73, 136-38 his printing activities in Rome after 1581, 63-65, 134-46 his printing activities in Venice after 1575, 20-21, 59, 134-46 publications: Anerio, Madrigali spirituali . . .a cinque voci . . . libro primo [-secondo] (1585), 137-38; Arcadelt, Il primo libro de madrigali a 4 voci (1581), 75, 146; Bargagli], Dialogo de' giuochi che nelle vegghie sanesi si usano di fare (1581), 448n. 12; Bellarmine, Institutiones linguae hebraicae (1585), 23; Canzonette spirituali de diversi a tre voci. Libro primo (1585), 135, 142;

Canzonette spirituali de diversi a tre voci. Libro primo (1588), 135, 138; Caro, Schulhan aruch (1577-78), 23, 62; Corfini, Il secondo libro de motetti (1581), 146; Costa, Canzonette . . . il primo libro a quattro voci (1580), 136, 139, 141-42, 184 (Plate 35); Falloppio, Secreti diversi, et miracolosi (1578), 62; Giovanelli, Il primo libro delle villanelle et arie alla napoletana a tre voci (1588), 135; Gorzanis, Opera nova de lauto . . . libro quarto (1579), 62, 136, 141, 143; Guerrero, Liber vesperarum (1584), 135, and Passio secundum Matthaeum et Joannem more hispano (1585), 135; Guidetto, Cantus ecclesiasticus (1587), 73, 135-36, 138-39, 142-44, 146, 188 (Plate 39), 194 (Plate 45), Praefationes in canto firmo (1588), 73, 135, and Verba evanglistae (1586), 73, 135; Jews, German Rite, Daily Prayers (1578), 23, 62, 139; Lancellotto, Istituta canonica (1587, 1588), 64-65; Libro delle laudi spirituali dove in uno sono compresi i tre libri già stampati (1589), 138, 141, 145; Il terzo libro delle laudi spirituali a tre e a quattro voci (1588), 144; Il quarto libro delle laudi a tre e a quattro voci (1591), 135, 139, 141-42; Marenzio, Madrigali a quattro voci . . . libro primo (1585), 138-39, Madrigali spirituali . . . a cinque voci . . . libro primo (1584), 73, and Il terzo libro delle villanelle a tre voci (1585), 135; Marien d'Artois, Il primo libro de madrigali a quattro voci (1580), 141-42, 145-46; Moro, Canzonette alla napolitana . . . il primo libro a tre voci (1581), 136, 139, 144-45; Motecta festorum totius anni . . . quaternis vocibus . . . liber primus (1585), 73; Paciotto, Missarum liber primus, quatuor ac quinque vocibus concinendarum (1591), 135; Palestrina, Magnificat octo tonorum, liber primus (1591), 136, 139-41, 189 (Plate 40), 193 (Plate 44), and Motettorum quinque vocibus liber quintus (1584), 137-39, 142, 144, 185 (Plate 36), 192 (Plate 43);  

Il primo [-secondo] libro

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delle laude spirituali a tre (1583), 138; Quagliati, Canzonette . . . a tre voci per sonare et cantare . . . libro primo [-secondo] (1588), 135-36, 138; Stabile, Letaniae Beatae Mariae Virginis (1583), 75, 138-39, 187 (Plate 38); Victoria, Missarum libri duo (1583), 134-35, and Motecta festorum totius anni (1585), 135-36, 140, 142-43, 145, and Motecta quae partim quaternis . . . alia duodenis vocibus concinuntur (1583), 135, 138, 146, 186 (Plate 37), 190-91 (Plates 41-42), and Officium hebdomadae sanctae (1585), 135 Rome, his departure for, 45, 59, 63-64, 73 sacred music in his output, 20-21, 46, 72-73, 137 scarcity of primary research materials on, 4, 148 Scuola Grande di San Teodoro of Venice, his participation in, 51, 59, 63, 65 secular music in his output, 20-21, 72-73, 137 and single-composer editions, 29-30, 32 Terraferma of Venice, his properties on the, 5, 53-65, 134, 138 text typefaces, 64, 143-45 Tornieri, Giacomo, as his partner in Rome, 64-65, 134, 138 watermarks, 38, 421n. 10 Gardano, Angelica, 25, 54-55, 60, 77-78. See also Gardano family Gardano, Angelo, printer in Venice 1569-1611. See also Gardano family; Gardano Heirs his achievements, 5 anthologies, his production of, 30, 32, 61-62, 72, 86, 88, 148 his apartments in the Merceria, described, 66, 81 Avanzo, Francesco d', his dispute with, 69 and basso seguento (continuo) parts, 122-23 and Bindoni, Stefano, his uncle and bookseller in Venice and Padua, 56, 60, 66, 79, 83-84 his book collection, 81-82 his book distribution network, 8, 43-47, 148 his book production, speed of, 42-43 his booklist (see under Gardano, Angelo: publications, Indice) Capis, Angela (widow of Matthio Gardano) and Iacobo, his dispute with, 79-84 Carafa, Alfonsio, his dispute with, 71 and censorship, 20-22, 147

collation, his practices of, 98-101, 135 compartments, frames, and ornaments, his use of, 105-114 composers most represented in his output, 3, 61-62, 72, 85-86, 88 and concurrent production, 40-41 corrections of editions in-house, 132-33 Correggio, Camillo de, as his agent in Ferrara, 71 Counter Reformation and, 20-22, 85-88 dalle Donne, Sebastiano, his dispute with, 69-70 diffusion of his editions outside of Italy, 45-47 and dissolution of the family firm (1575), 52-59 as dominant member of the family business, 51 doubtful role in Venetian intellectual life, 81-83 and Figolin, Zuanne, his notary, 54 his final illness, death, funeral, and burial, 56, 83-85, 89 fonts (see Gardano, Angelo: music typefaces; text typefaces) formats, his use of, 57, 93-98, 117, 134-35 Gardano, Alessandro, as his agent in Rome, 71-72 Gardano, Diamante, as his heir, 83, 85 Gardano, Matthio, as his silent partner, 61, 78-84 Gonzaga, Duke Guglielmo, his dealings with, 30, 34, 40-41, 44 as heir and executor of Lucieta Gardano, 60-61 his imprint, 36, 59, 80 the Indice delli libri di musica che si trovano nelle stampe di Angelo Gardano (see under Gardano, Angelo: publications) initials, his use of, 114-20, 140-42 inking practices, 133  

instrumental music in his output, 21, 46, 86, 97

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inventory of his household possessions (1606), 54, 80-82 inventory of his household possessions and printing shop after his death (1611), 83-85 Magni, Bartolomeo, as his assistant and heir, 83, 85, 87, 89, 101, 111 Mira, Leandro, as his agent in Rome, 67-68 Mulium ab Aquila, his agent in a dispute, 60 musical genres represented in his book production, 21 musical reprints, 28, 61, 72, 85-87 music typefaces, 57, 120-23, 142-43 numbers of editions issued, 3-5, 59, 61-63, 72, 74-77, 82-83, 86-89 page numbering practices of, 98-99 and Palestrina, Giovanni Pierluigi da, 67-68, 85-86, 88 paper, his acquisition and use of, 17, 38, 76, 128-32, 145-46 Paris, his receipt of books from, 46-47 patrons of his bookshop in Venice, 43-44, 59 plague, its devastating effect on the business, 17, 97, 132 possible means of music acquisition, 33-35 his possible trip to Bavaria, 47 printer's devices, his use of, 101-5, 136-37 and the Printing Guild of Venice, 54, 66, 78 printing presses, the number in his firm, 39 printing privileges, his applications for, 52 his proofreaders, 39-41 publications: Anerio, Recreatione armonica. Madrigali a una et doi voci (1611), 108-9; Antegnati, L'antegnata, intavolatura de ricercari d'organo (1608), 97, and Spartitura de bassi dei concerti (1603), 97; Asola, Falsi bordoni (1575), 100, Messa pro defunctis a quattro voci pari (1576), 100, 131, Prima pars musices continens officium haebdomadae sanctae (1583), 110, 139, Secundus chorus vespertinae (1578), 102, Le vergini (1576), 100, and Vespertina omnium solemnitatum psalmodia (1578), 102, 106; Balbi, Ecclesiasticarum cantionum quatuor vocum (1578), 101, and Musicale essecitio . . . a cinque voci (1589), 126; Barbetta, Intavolatura de liuto (1585), 122, 143;

Bati, Il secondo libro de madrigali a cinque voci (1598), 112-13; Belli, Giulio, Basso generale per l'organo dei salmi a otto voci (1607), 104, 108, and Missarum quatuor vocibus liber primus (1599), 175 (Plate 26); Bianciardi, Il primo libro de madrigali a cinque voci (1597), 108; Bottaccio, Il primo libro delle canzoni da suonare (1609), 110, 113, 119, 172 (Plate 23); Cartari, Il primo libro de madrigali a cinque voci (1579), 117, 153 (Plate 4), 180 (Plate 31); Corona di dodici sonetti (1586), 131; Costa, Giovanni Paolo, Il primo libro di madrigali a cinque voci (1610), 111, 166 (Plate 17); Dalla Casa, Il vero modo di diminuir (1584), 97; Della Faya, Il secondo libro de madrigali a 5 voci (1579), 124, 126; Dialoghi musicali (1590), 110, 117-18, 165 (Plate 16); Facoli, Il secondo libro d'intavolatura (1588), 122; Falsi bordoni omnium tonorum (1601), 97; Feliciani, Brevis ac iuxtum ritum ecclesiae (1590), 112, 169 (Plate 20); Fontanelli, Secondo libro de madrigali senza nome, a cinque voci (1604), 110, 112-13, 139, 164 (Plate 15); Gabrieli, A., Madrigali et ricercari . . . a quattro voci (1589), 103-4, 109, 157 (Plate 8), Il primo libro de madrigali a sei voci (1587), 103, 121, 126, 156 (Plate 7), 173 (Plate 24), and Il secondo libro de madrigali a sei voci (1580), 109; Gabrieli, A. and G., Concerti libro primo et secondo (1587), 100, 124-26; Gabrieli, G., Sacrae symphoniae (1597), 102, 112; Gagliano, Il quarto libro de madrigali a cinque voci (1606), 112;

 

Gesualdo, Madrigali a cinque voci [libro primo] (1607), 104, Madrigali a cinque voci, libro terzo (1603), 112, Madrigali a cinque voci, libro quarto (1604), 118, and Madrigali a cinque voci, libro

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quarto (1611), 101, 103, 114-15; Giovanelli, Il primo libro de madrigali a cinque (1594), 126, and Gli sdruccioli (1598), 117; Gonzaga, Cantici beatiss. Mariae Virginis., quod Magnificat inscribitur (1586), 40-41, 154 (Plate 5), Madrigali a cinque voci (1583), 40, 44, and Sacrae cantiones quinque vocum (1583), 40, 44; Graduale, et antiphonarium (1587), 69, 97, 99, 103, 116, 122, 124-25, 127-28, 133; Graduale romanum (1591), 68-69, 97, 99, 112-13, 116, 122, 124-25, 127-28, 170 (Plate 21), 177 (Plate 28); Graziani, Missa cum Introitu (1587), 100, 117, and Psalmi omnes ad vesperas cum Magnificat (1587), 112; Guami, Il quarto libro de madrigali a cinque & sei voci (1591), 104, 110, 159 (Plate 10); Indice delli libri di musica che si trovano nelle stampe di Angelo Gardano (1591), 28, 42-44, 74-77, 85, 97, 432n. 48; India, Libro secondo de madrigali a cinque (1611), 109, 118; Infantas, Sacrarum varii styli (1578), 42; Ingegneri, Il primo libro de madrigali a quatro voci (1578), 116, and Il primo libro de madrigali a sei voci (1586), 40-41; Lappi, Missarum . . . spartitura (1602), 97, 123, Missarum octonis vocibus, liber primus (1601), 123, and Sacra omnium solemnitatem vespertina psalmodia (1600), 118, 181-82 (Plates 32-33); Lodi spirituali (1580), 98-99; Madrigali a tre voci de diversi . . . libro primo (1597), 95; Manara, Madrigali a sei voci (1580), 121; Marenzio, Il sesto libro de madrigali a cinque voci (1603), 116, 119, 132; Massaini, Sacri cantus (1592), 106, 121; Mazzone, Il primo libro delle canzoni a quattro voci (1592), 106, 121; Merulo, Libro secondo di canzoni (1606), 97, 122, Il primo libro de madrigali a quattro voci (1579), 103, Il primo libro de motetti a quatro voci pari (1584), 116, 121, 131, Liber primus sacrarum cantionum (1578), 94, 141, and Sacrorum concentuum . . . libro primus (1594), 111; Monte, Il quarto libro de madrigali a quattro voci (1581), 99-100, Il sesto libro delli madrigali a cinque voci (1588), 74, Il settimo libro delli madrigali a cinque voci (1583), 74, L'undecimo libro delli madrigali a cinque voci (1586), 74, 100, 103, 126, Il duodecimo libro delli madrigali a cinque voci (1587), 103, 108, 119-20, Il terzodecimo libro delli madrigali a cinque voci (1588), 74, Il quartodecimo libro delli madrigali a cinque voci (1590), 74, Il decimottavo libro de madrigali a cinque voci (1597), 95, Il terzo libro de madrigali a sei voci (1576), 99, Il quinto libro de madrigali a sei voci (1584), 74, 112, and Il primo libro de madrigali spirituali a cinque voci (1581), 120; Morales, Magnificat . . . cum quatuor vocibus (1583), 95; Musica de diversi autori la bataglia francese et canzon delli ucelli (1577), 97; Musica de diversi ecc. auttori. A cinque voci (1604), 101, 104; Musica di XIII. autori illustri a cinque voci (1576), 102, 108;

Nanino, G. M., Il primo libro de madrigali a cinque voci (1605), 103, 106, 161 (Plate 12), and Il terzo libro de madrigali a cinque voci (1586), 112, 126, 168 (Plate 19), 178 (Plate 29); Officium et missa ss. Trinitatis (1587), 97, 99, 103, 116, 122, 124-25, 127-28, 133; Orologio, Il secondo libro de madrigali a cinque voci (1595), 112, 117-18; Ostiano, Il primo libro delle napolitane (1579), 97; Paien, Il primo libro de madrigali a due voci (1597), 95; Palestrina, Hymni totius anni (1589), 100, Missarum cum quatuor et cinque vocibus, liber quartus (1582), 68, Motectorum quinque vocibus liber quartus (1601), 123, Motettorum quae partim quinis partim senis partim octonis vocibus concinuntur, liber tertius (1594, P715), 152 (Plate 3), and Il primo libro de madrigali [spirituali] a cinque voci (1581), 68; Pallavicino, Il quinto libro de madrigali a cinque voci (1609), 125;  

Patarini, Salmi a quattro voci (1595), 108;

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Pecci, Madrigali a cinque voci (1609), 104, 119; Pordenon, Il primo libro de madrigali a quattro voci (1580), 121; Porta, Missarum liber primus (1578), 96-97, 104-5, 116, 119, 124, 127; Quintiani, Cantica Deiparae Virginis, octo vocibus concinenda (1591), 108; Rasi, Vaghezza di musica (1608), 97; Riccio, Sedecim psalmi (1590), 104; Rore, Musica de diversi autori la Bataglia francese (1577), 59, Il primo libro de madrigali cromatici a cinque voci (1576), 131, and Tutti i madrigali . . . a quattro voci (1577), 59, 97, 121; Sabino, Madrigali a sei voci . . . libro primo (1579), 100; Schütz, Il primo libro de madrigali (1611), 111; Scozzese, Il primo libro di canzoni alla napolitana (1579), 97; Spontoni, L., Motetti a otto voci . . . libro secondo (1609), 113, 171 (Plate 22); Striggio, Il terzo [-quarto] libro de madrigali a cinque voci (1596), 111; Tigrini, Musica super psalmos omnes (1579), 103; Tonelli, Madrigali a cinque voci, libro primo (1598), 118, 126; Il trionfo di Dori (1592), 108; Trombetti, G., Il primo libro de madrigali a cinque voci (1590), 112, 167 (Plate 18); Valentini, Motecta IIII. V. & VI vocum . . . liber primus (1611), 101, 104, 109, 163 (Plate 14); Vecchi, O., L'anfiparnaso. Comedia harmonica (1597), 105, 113, Canzonette . . . libro primo a quattro voci (1580), 70-71, 97-98, 110, 112, 139, Canzonette . . . libro primo a quattro voci (1581), 70-71, 110, 139, Canzonette . . . libro primo a quattro voci (1585), 70-71, 114, Canzonette . . . libro primo a quattro voci (1591), 109, Canzonette . . . libro secondo a quattro voci (1580), 70-71, 97-98, Canzonette . . . libro secondo a quattro voci (1582), 70-71, Canzonette . . . libro secondo a quattro voci (1585), 70-71, 114, Canzonette . . . libro secondo a quattro voci (1602), 108, 132, 162 (Plate 13), Canzonette . . . libro terzo a quattro voci (1585), 114, Canzonette . . . libro terzo a quattro voci (1600), 114, Canzonette . . . libro quarto a quattro voci (1603), 110, 117, 179 (Plate 30), Canzonette a sei voci . . . libro primo (1587), 103, 155 (Plate 6), Madrigali a sei voci . . . libro primo (1583), 95-96, Motecta . . . quaternis, quinis, senis, & octonis vocibus (1590), 104, 158 (Plate 9), Selva di varia ricreatione (1595), 111, and Le veglie di Siena (1604), 100, 117, 124; Victoria, Liber primus qui missas, psalmos, magnificat (1576), 96-97, 116-17, 121, 127, 131; Wert, L'ottava [sic] libro de madrigali a cinque voci (1586), 40, Il decimo libro de madrigali a cinque voci (1608), 101, 110, 119, 132, and Il duodecimo libro de madrigali (1608), 119, 132, 160 (Plate 11), 183 (Plate 34) rent payments by tenants on his Terraferma properties, 19, 52-53, 414nn. 22-23 his reputation, 66 de Rovere family, his dispute with, 52-53

sacred music in his output, 20-22, 46, 62, 72, 85-88, 432n. 48 scarcity of primary research materials on, 4, 148 Scuola Grande di San Teodoro, his participation in, 51, 54, 66, 78 secular music in his output, 20-22, 62, 72, 86-88, 432n. 48 single-composer editions, his production of, 29-30, 32, 34, 148 taxes paid by, 66-67 Terraferma, his properties on, 5, 19, 52-60, 66-67, 81-82, 147, 414nn. 22-23, 25 text typefaces, 120, 123-28, 142 his tradelist (see under Gardano, Angelo: publications, Indice) typefaces (see Gardano, Angelo: music typefaces; text typefaces) watermarks, 38, 94, 128-32, 421n. 10 his wealth, 58-59, 66-67 his will, 54, 83 Wert, Giaches de, his dealings with, 34, 40-41, 44, 73  

his workers, 17, 39-41

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Gardano, Angelo, & Fratelli. See Gardano, Angelo Gardano, Antonio, printer in Venice 1538-69. See also Gardano family, Gardano Heirs anthologies, his production of, 30, 62, 418n. 10 collaboration with other printers, 57 commercialization of music printing, his role in, 30-31 compartments, frames, and ornaments, his use of, 105-6 and concurrent production, 41 his copying of music printed by others, 33 education of his children, 24-25 external subsidies of his editions, 29 his final illness, death, and burial, 3, 16, 51-52, 55 fonts (see Gardano, Antonio: music typefaces; text typefaces) format, his use of, 93-94, 96-97, 128-29 the Gardano Indice (1591), his books found on, 74-77 initials, his use of, 114-17, 140 music typefaces, his use of, 57, 120-23, 142-43 number of musical editions issued, 4, 55-56, 82-83 paper, his use of, 128 price of his books, 27 printer's devices, his use of, 101-2, 104-5, 136-37 his printing privileges, 33, 68, 71 publications: Aiguino, La illuminata (1562), 121; Archadelt, Primo libro di madrigali a 4 (possible lost edition), 75; Buus, Il primo libro di canzoni francese a sei voci (1543), 34; Cavazzoni, Il primo libro de intabolatura d'organo (n.d.), 122; Cimello, Villotte a 3 (1545), 75; Fior de Mottetti tratti dalli Mottetti del Fiore (primus, secundus liber, 1539/1545, and 1539), 33; Francesco da Milano, Intabolatura di lauto libro terzo (1546), 143; Jannequin, Battaglia francese (1545), 75; Madrigali ariosi a 4. Libro secondo (1560), 106;

Monte, Il primo libro de madrigali a quattro voci (1562), 95; Morales, Magnificat cum quatuor vocibus (1545), 95; Novus thesaurus musicus (1568), 105; Rore, Motetta . . . quinque vocum (1545), 36, and Musica . . . sopra le stanze del Petrarcha (1548), 36; Verdelot, La piu divina, et piu bella musica . . . a sei voci (1541), 27; Wert, Il secondo libro de madrigali a cinque voci (1564), 106; Willaert, Musica nova (1558-9), 96, 104, 109, 114, 414n. 1; Zarlino, Quinque vocum moduli, motecta vulgo nuncupata . . . liber primus (1549), 34, 36 his reputation, 5 role in Venetian intellectual life, 81-83 and Scotto, Girolamo, 33, 57, 71 similarities of his later publications to those of his heirs, 93 subsidies of his editions, 34 Terraferma of Venice, his properties on the, 17, 55, 81-84 text typefaces, his use of, 120, 123-28, 142 typefaces (see Gardano, Antonio: music typefaces; text typefaces) Gardano, Antonio, nephew of Angelo Gardano, 80-83. See also Gardano family Gardano, Diamante, 25, 83, 85. See also Gardano family Gardano, Lucieta. (See also Gardano family): and the dissolution of the family firm (1575), 52-59; her dowry, 67, 77-78, 81; her education, 25; as silent partner of Angelo Gardano, 67; Terraferma of Venice, her properties on the, 5, 53-59, 66-67; her will, 60-61 Gardano, Matthio. (See also Gardano family): and dissolution of the family firm (1575), 52-59, 78; as silent partner of Angelo Gardano, 61, 67, 78-79; as heir of Lucieta Gardano, 61; his occupation, 44, 78, 80; Printing Guild of Venice, his lack of participation in, 78; Terraferma of Venice, his properties on the, 5, 53-59; his widow's dispute with Angelo Gardano, 80-83

Gardano, Fra Pacifico, 54-55, 78. See also Gardano family Gardano family. (See also Gardano, Alessandro; Gardano, Angelica; Gardano, Angelo; Gardano, Antonio; Gardano, Antonio, nephew of Angelo Gardano; Gardano, Diamante; Gardano, Lucieta; Gardano, Matthio; Gardano, Fra Pacifico):  

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and Cavanis, Marc'Antonio, their notary, 51; illnesses in, 16, 60-61, 83; inventory of household and business items (1575), 56-59, 74-75, 80-82, 84, 105, 120-22, 128; problems in securing food, 16, 147; scarcity of primary research materials on, 4, 148; Terraferma of Venice, their properties on the, 5, 17-19, 52-60, 66-67, 146, 81-84, 147, 414n. 25; Venetian state and society, parallels with, 5, 16, 18, 147 Gardano Heirs, printing firm in Venice 1569-1575 their achievements, 5 anthologies, their production of, 61-62 their book distribution network, 8, 43-37 their books kept in storage, 38 collation, their practices of, 93, 98-100 compartments, frames, and ornaments, their use of, 93, 105-7, 109, 113 family firm, division of (1575), 17, 51-53, 55-61, 75, 78, 80, 134 fonts (see Gardano Heirs: music typefaces; text typefaces) imprint, their first, 51 initials, their use of, 93, 114-16, 119 inking practices, 133 inventory of household and business items (1575), 56-59, 74-75, 80-82, 84, 105, 120-22, 128 music typefaces, their use of, 56-57, 93, 120-23 musical reprints, 61, 86 number of musical editions issued, 3-5, 16-17, 55-56 page numbering practices of, 98-99 paper, their use of, 38, 93, 128-32 printer's devices used, 93, 101-5 printing presses, number of in firm, 39 their printing privileges, 52 printing techniques similar to their father, 93 proofreaders, 39-41

publications: Agostini, Enigmi musicali (1571), 106, 120, 150 (Plate 1), 174 (Plate 25), and Il primo libro de madrigali a cinque (1570), 100; Antegnati, Il primo libro de madrigali a quattro voci (1571), 119, 132; Battaglioni, Il primo libro de madrigali a cinque et sei voci (1574), 176 (Plate 27); Corteccia, Responsoria omnia (1570), 96, 99, 102, and Responsoria . . . Residuum (1570), 96, 102; Falconi, Introitus et alleluia (1575), 96; Fiorino, Libro secondo. Canzonelle a tre e a quattro voci (1574), 100, 104, 109; Gabrieli, A., Greghesche et Iustiniane . . . a tre voci . . . libro primo (1571), 97, Il primo libro [sic] de madrigali a sei voci (1574), 126, Primus liber missarum sex vocum (1572), 100; Gradenigo, Il primo libro de madrigali a cinque voci (1574), 131; Isnardi, Missae quatuor vocum (1573), 99; Lasso, Il primo libro de madrigali a quattro voci (1569), 51, 55; Monte, Madrigali . . . a cinque voci, libro quinto (1574), 74; Morales, Magnificat cum quatuor vocibus (1575), 95; Pordenon, Il terzo libro de madrigali (1571), 98-99; Porta, Musica sex canenda vocibus . . . liber primus (1580), 129-30, and Il terzo libro di madrigali a cinque voci (1573), 99; Il primo [-secondo] libro delle villanelle (1574), 97; Il primo libro delle villotte alla napoletana (1571), 97; Il secondo libro delle villotte alla napoletana (1571), 97; Il quarto libro delle villotte alla napole- tana (1571), 93-94, 97, 99; Il quinto libro delle villotte alla napoletana (1570), 97, 99, 101, 121, 126; Il sesto libro delle villotte alla napoletana (1570), 97, 151 (Plate 2); Rore, Il quinto libro di madrigali a cinque voci (1574), 116; Sessa d'Aranda, Il primo libro de madrigali a quatro voci (1571), 100; Tigrini, Il primo libro de madrigali a quatro voci (1573), 132; Vespa, Il primo libro de madrigali a cinque voci (1570), 98, 131; Wert, Il primo libro de madrigali a quatro voci (1570), 95-96 sacred music in their output, 62 scarcity of primary research materials on, 4, 148 secular music in their output, 62  

Terraferma of Venice, their properties on the, 5, 17-19, 52-60, 66-67, 146, 81-84, 147, 414n. 25

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text typefaces, their use of, 56-57, 93, 120, 123-28 typefaces (see Gardano Heirs: music typefaces; text typefaces) War of Cyprus (1570-73), its effect on their production, 16, 56 watermarks, 38, 128-32, 421n. 10 their workers, 39-41 Gardignan, Bartolomeo, husband to Lucieta Gardano, 67 gatherings. See collation under Gardano, Alessandro; Gardano, Angelo; Gardano Heirs Gerlach, Catherina, printer in Nuremberg, 416n. 21 Germany, 9-10, 14, 45-47. See also Berg, Johann, and Ulrich Neuber; Gerlach, Catherina; Petreius, Johannes Gesualdo, Don Carlo, 3, 88 Giolito de' Ferrari, printer in Venice: publication: Lodovico Domenichi, Dialoghi (1562), 27 Giovanelli, Ruggiero, 63, 86, 88 Giudici, Niccolò de, printer in Rome: publication: Libro primo de musica de la salamandra (1526), 37, 40 Giunti printing firm in Florence, 35, 44 Gonzaga, Guglielmo, Duke of Mantua, 30, 34, 40-41, 44 Graduale. See under Gardano, Angelo: publications, Graduale, et antiphonarium and Graduale romanum; and Typographia Medicaea, Graduale Granjon, Robert, printer in Rome. See under Gardano, Alessandro Gregory XIII, Pope, 68 Grendler, Paul, 11 Griffio, Giovanni, printer in Venice, 57 H Haberl, Fr. Xav., 4 Hamm, Charles, 33 Harvard University Law School Library, 64 Hebrew books. See Gardano, Alessandro and Jews Henri III, King of France, 32 Herwart, Hans Heinrich, 46 Holland. See Netherlands, the

I illiteracy. See education Index of Prohibited Books, 12 India, Sigismondo d', 88 Infantas, Fernando de las, 42 Ingegneri, Marc'Antonio, 40-41, 61, 63, 72 initials. See under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs inking practices. See under Gardano, Alessandro; Gardano, Angelo; Gardano Heirs Isnardi, Paolo, 61 Italy and the number of musical editions published in, 3-4, 20, 22 J Jews, 12, 22-24, 62. See also Gardano, Alessandro: Hebrew books, his production of João IV, King of Portugal, 45 K Keyboard fonts. See music typefaces under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs Knoff, Georg, 46 L Laet, Jan de, printer in Antwerp, 39. See also Waelrant, Hubert, and Jan de Laet and Heirs Lane, Frederic C., 26 Lappi, Pietro, 88 Lasso, Orlando de, 3, 61, 72, 86, 429n. 44 League of Cambrai, 9 Leipzig Book Fair, 46 Lepanto, Venetian victory at, 23 Le Roy, Adrian, printer in Paris, 32 Lewis, Mary S., 29, 39, 57, 93, 101, 129 literacy. See education Livorno (Leghorn), 14-15 lute tablature. See music typefaces under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs Luzzaschi, Luzzasco, 63 M

Machiavelli, Niccolò, 6 madrigal, 21-22, 46, 62, 72, 86, 432n. 48 Magni, Bartolomeo: as assistant, heir, and successor to Angelo Gardano, 83, 85, 87, 89: possible influence on the printing practices of Angelo Gardano, 101, 111; publication: Macque, Il sesto libro de madrigali a cinque voci (1613, M96), 101; sacred music, his production of, 22; secular music, his production of, 22 Manuzio, Aldo, printer in Venice, 26-27, 132 Manuzio, Paulo, printer in Venice and Rome, 32  

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Marenzio, Luca, 3, 63, 72-73, 86, 88 Massaini, Tiburtio, 86 McKerrow, Ronald B., 130 Mel, Rinaldo del, 72, 86 Merulo da Correggio, Claudio, printer and composer in Venice, 4, 61-63, 88; publication: Antonio Molino, I dilettevoli (1568), 75 Mira, Leandro, 67-68 Moderne, Jacques, printer in Lyons, 4, 33; publication: Motetti del fiore (1532, 1539), 33 Molmenti, Pompeo, 6 Monte, Phillip de, 3, 61, 63, 72, 86, 95 Monteverdi, Claudio, 63 Morales, Cristóbal de, 34-35 Morosi, Piero di Giuliano, bookseller in Florence, 26, 44-45 Moxon, Joseph, 40 multiple-impression process. See Petrucci, Ottaviano de' musical reprints, 61, 85. See also under Gardano, Angelo; Gardano, Antonio; Gardano Heirs musical taste, 28-36 music literacy. See education music typefaces. See under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs N Nanino, Giovanni Maria, 72 Naxos, 8 Negroponte, 8 Netherlands, the, 9-10, 12, 14-15, 19, 32, 45, 92, 140, 412n. 52, 418n. 10. See also Laet, Jan de; Plantin, Christophe; Susato, Tielman; Verovio, Simone; Waelrant, Hubert; and Waelrant, Hubert, and Jan de Laet and Heirs Neuber, Ulrich, and Johann Berg, printers in Nuremberg, 4 New York Academy of Medicine, 64-65 Nicolini, Domenico, printer in Venice, 66 O

Orsini, Leone, 101 Ottoman empire, 8-9, 13-14, 16, 22-23 P page numbering practices. See under Gardano, Alessandro; Gardano, Angelo; Gardano Heirs Palestrina, Giovanni Pierluigi da, 3, 61, 63, 67-68, 73, 85-86, 88 Pallavicino, Benedetto, 88 Paolo Ferrarese, 41-42 papacy and its patronage of Paolo Manuzio, 32 papal chapel, 35 papal interdict of 1606, 22 paper, 17, 37, 76, 420n. 2. See also under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs Petreius, Johannes, German printer, 4 Petrucci, Ottaviano de', printer in Venice and Fossombrone, 4-5, 27, 30, 129; publication: Odhecaton A (Venice, 1501), 4 Phalèse, Pierre, and heirs, 4 Philip II, King of Spain, 32 plague. See Venice: plague of 1575-77; plague of 1630-31 Plantin, Christophe, printer in the Netherlands: his book collection, 81; his book production, speed of, 43; clients for his music books, 27; distribution network for his books, 44-45; education of his daughters, 25, 40; his imprint, 35; inventory of his unsold books, 37, 44; number of musical editions issued, 4; paper, amount spent on, 37; Philip II, King of Spain, patronage by, 32; printing presses, number of used in his firm, 39; his profits and trade discounts, 26; real property offered to his creditors during war, 412n. 4; his workers, 39

Porta, Costanzo, 63 Portugal, 9, 12, 45 pressmen. See workers under Gardano, Angelo; Gardano Heirs press runs, size of, 28-29, 41-42, 423n. 27 printer's devices. See under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs Printing Guild of Venice. See Venice: Printing Guild of printing press, the cost of, 39 printing privileges, 33-34, 52, 68-71 Priuli, Girolamo, 6, 18-19 proofreaders, 36, 40. See also under Gardano, Angelo; Gardano Heirs R Rampazetto, Francesco, printer in Venice, 33, 35, 57, 62 Rapp, Richard Tilden, 408n. 10 Raverio, Alessandro, printer in Venice, 79;  

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publication: Leoni, Bella Clori (1607), 114 Regazola, Egidio, printer in Venice: publication: Sacrarum caeremoniarum (1573), 140 reprints. See musical reprints Romagna, subsidies of printing in, 32 Rore, Cipriano de, 27, 34, 36, 61 S Schmid, Anton, 4 Schütz, Heinrich, 3 Scotto, Girolamo, printer in Venice commercialization of music printing, his role in, 30-31 his death, 62 distribution network for his books, 45, 60 and Gardano, Antonio, 33, 57, 71 the Gardano Indice (1591), editions of his possibly found on, 75 number of musical editions issued, 4 partnerships with other printers, 57 printing presses, number of in his firm, 39 publications: Califano, Primo libro delle canzoni (1567), 140; Corona, il terzo libro delle canzoni alla napolitana, a tre voci (1571), 75; Doni, Dialogo della Musica (1544), 436n. 10; Dorati, Le stanze della sigra Vittoria Colonna (1570), 140; Gorzanis, Villotte a 3, secondo libro (1571), 75; Paolo Ferrarese, Passiones, lamentationes (1565), 35, 41-42, 76; Primavera, Villotte a 3 (1570), 75 and Scotto, Melchiorre, his heir, 62 his reputation, 5 upright format, his use of, 94, 96, 436n. 10 Scotto, Melchiorre, printer in Venice

his declining output from the 1580s onward, 62, 73, 88 as heir of Girolamo Scotto, 62 publications: Angelini, Il primo libro de madrigali a cinque voci (1583), 140; Marenzio, Il terzo libro de madrigali a sei (1589), 140 his tradelist (1596), 27 signatures. See collation, practices of under Gardano, Alessandro; Gardano, Angelo; Gardano Heirs single-composer editions, 29-30, 32, 34, 72, 418n. 10 single-impression process, 5, 30, 93 Spain, 8-10 Splendor, Domenico, printer in Venice, 57 Stabile, Annibale, 72 Stampa, Gaspara, 82 Strozzi, Filippo, 34-35 Strozzi, Ruberto, 426n. 10 Susato, Tielman and Jacob, printers in Antwerp, 4, 39; publication: Lasso, Le quatoirsiesme livre a quatre parties (1555), 36 T taxes paid by Angelo Gardano, 66-67 Terraferma of Venice (See also under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano, Lucieta; Gardano, Matthio; Gardano family; Gardano Heirs): country villas in, 6, 17, 19; domination by the city of Venice, 9, 413n. 17; general ownership of land on, 6, 18, 52-59; as haven in times of plague, 17; paper mills, as home to, 17, 30-31, 38, 131; Priuli, Girolamo, on, 6, 18-19; its reclamation from the water, 11, 18; trade in products from, 15 text typefaces. See under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs Thirty Years War. See Germany Tini (with Besozzi and Lomazzo) firm, printers in Milan, 75; publications: India, Le musiche . . .da cantar solo (Tini and Lomazzo, 1609), 113;

Soderini, Canzona à 4. & 8. voci . . .libro primo (Tini and Lomazzo, 1608), 442n. 77; Vecchi, In septem regij prophetae psalmos . . .liber quartus (Tini and Besozzi, 1601), 113 Tornieri, Giacomo, printer in Rome. See under Gardano, Alessandro Tradato, Agostino, printer in Milan: publication: Cantone, Motecta, cum letaniis . . .quinque vocum. Liber secundus (1605), 113 Turks. See Ottoman empire Turrini, Giuseppe, 27 type fonts, 38. See also music typefaces; text typefaces under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs Typographia Medicea:  

publication: Graduale de tempore iuxta ritum sancrosancate romanae ecclesiae (1614), 69

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V Van Buyten, M., printer in Rome, 434n. 24 Vecchi, Orazio, 3, 63, 69-70, 72, 88 Venice (See also Terraferma of Venice): banking in, 12-13; as center of commerce in merchandise, 10; as clearing-house for financial transactions, 10, 12-13; climatic changes in, 13, 79; its commercial networks, 31, 35, 43-47; Cyprus as a colony of, 8; decadence and economic success of, 5-15; Dutch colony in, 12; education in, 24-25; its empire in the fourteenth century, 8; famine and disease in, 16, 79; Fondaco dei Tedeschi, 10, 46; food shortages and grain supplies to, 18-19, 413nn. 18-19, 417n. 36; German textile industry, as middleman in, 10, 14; Hebrew books, production of, 22-23; as important industrial center, 10-12; industries, success of some in the face of general decline, 12, 15; its labor force, size of, 23-24; and the League of Cambrai, 9; Lepanto, its victory at, 23; its luxury industries, decline of, 14; musical editions published in, total number of, 3, 13; its Merceria, 43, 47, 52; music making by its citizens, 43; musical reprints published in by the Gardano family, 61, 72, 85-88; Ottoman empire, city's dependence on, 8-9, 13-14;

Ottoman empire, loss of Venetian colonies to, 8, 13; papal Interdict of 1606 and its effect on printing in, 22; and pirates, 10, 45, 409n. 23; plague of 1575-77 and its effect on printing, 16-18, 59-61, 413n. 8; plague of 1630-31, 14; population of, 11; precious metals, and their influence on the decline of, 13; printing, its decline, 11-12; Printing Guild of, 11-12, 54, 63, 66, 78; printing privileges issued by, 11-12, 33, 52, 68, 71; San Giorgio Maggiore, monastery in, 35, 41; San Salvador, church in, 51-52, 83, 85; Scuola dei Merciai of, 433n. 11; Scuola Grande di San Giovanni Evangelista, confraternity in, 84; Scuola Grande di San Teodoro, confraternity in, 51, 54, 59, 63, 65, 78, 80; shipbuilder, declining role as, 9-10;silk, raw and finished, for export from, 11, 15, 409n. 28; spice trade, its participation in, 6, 8-9, 14; SS. Giovanni e Paolo, church in, 66; its trade routes, 8-9, 45-47; War of Cyprus (1570-73), 16-18, 56; wars with Genoa, 8; woolen cloth manufacturing in, 11, 14-15, 409n. 27, 411n. 44; workers in its printing trade, 17, 23-26 Vernarecci, D. Augusto, 4 Verovio, Simone, Dutch engraver, 434n. 24 Victoria, Tomás Luis de, 3, 73 Villani, Gasparo, 88 Vincenti, Alessandro, printer in Venice: publication: Rossi, S., Madrigaletti a due voci (1628), 114 Vincenti, Giacomo, printer in Venice, 27, 73, 75, 88-89 (See also Amadino, Ricciardo and Vincenti, Giacomo, and Ricciardo Amadino); publications: Dragoni, Il quarto libro de' madrigali a cinque voci (1594), 140; Marenzio, Il quarto libro de madrigali a sei voci (1587), 113 Vincenti, Giacomo, and Ricciardo Amadino, 45, 73, 75. See also Amadino, Ricciardo and Vincenti, Giacomo Vogel, Emil, 4

W Waelrant, Hubert, and Jan de Laet and Heirs, printers in Antwerp, 4, 39 War of Cyprus. See Venice, War of Cyprus (1570-73) watermarks. See under Gardano, Alessandro; Gardano, Angelo; Gardano, Antonio; Gardano Heirs Weaver, Robert, 39 Weber, Max, 412n. 52 Wert, Giaches de, 3, 34, 40-41, 44, 61, 63, 73, 86 Z Zante, 8 Zarlino, Gioseffo, 34 Zoilo, Annibale, 68-69  

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