i n P Si ie x t t ey e na tn h -d C The musical culture of the Low Countries in the early modern period was eP n a flourishing one, apparent beyond the big cathedrals and monasteries, o t and reaching down to smaller parish churches. Unfortunately, very few u manuscripts containing the music of these parish churches have survived l ry from the period, and what we know rests to a huge extent on six music books y preserved from St Peter’s Church, Leiden.   p H h This book describes the manuscripts, their provenance, history and o repertory, and the zeven-getijdencollege, the ecclesiastical organisation o l which ordered the music books, in detail. Zeven-getijdencolleges have their l roots in fifteenth-century piety, founded on the initiative of individuals and an town administrators throughout Holland, principally to ensure that prayers ny and Masses were said for those in the afterlife. Music, both chant and d polyphony, played an important part in these commemorative practices; the volume also looks at the choristers and choirmasters, and how such services were organised. ERIC JAS is a lecturer in music at the university of Utrecht. E Studies in Medieval and Renaissance Music r general editors: Tess Knighton (ICREA-IMF/CSIC, Barcelona) i Piety and c Helen Deeming (Royal Holloway, University of London) J a s Cover image: Inked calligraphic initial in ms. 1438 Polyphony on the first opening of Johannes Cleve’s Peccata mea (f. 1v). Erfgoed Leiden en Omstreken. Cover design: riverdesignbooks.com in Sixteenth-Century Holland The Choirbooks of St Peter’s Church, Leiden Eric Jas studies in medieval and renaissance music 18 Piety and Polyphony in Sixteenth-Century Holland Studies in Medieval and Renaissance Music issn 1479-9294 General Editors Tess Knighton Helen Deeming This series aims to provide a forum for the best scholarship in early music; deliberately broad in scope, it welcomes proposals on any aspect of music, musical life, and composers during the period up to 1600, and particularly encourages work that places music in an histor- ical and social context. Both new research and major reassessments of central topics are encouraged. Proposals or enquiries may be sent directly to the editors or the pub- lisher at the addresses given below; all submissions will receive careful, informed consideration. Professor Tess Knighton, Institucio Mila i Fontanals/CSIC, c/ Egipciaques, Barcelona 08001, Spain Dr Helen Deeming, Department of Music, Royal Holloway, University of London, Egham, Surrey tw20 0ex Boydell & Brewer, PO Box 9, Woodbridge, Suffolk ip12 3df Previously published titles in the series are listed at the back of this volume. Piety and Polyphony in Sixteenth-Century Holland The Choirbooks of St Peter’s Church, Leiden Eric Jas the boydell press © Eric Jas 2018 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 The right of Eric Jas to be identified as the author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988 First published 2018 The Boydell Press, Woodbridge ISBN 978-1-78327-326-3 The Boydell Press is an imprint of Boydell & Brewer Ltd PO Box 9, Woodbridge, Suffolk IP12 3DF, UK and of Boydell & Brewer Inc. 668 Mt Hope Avenue, Rochester, NY 14620–2731, USA website: www.boydellandbrewer.com A CIP catalogue record for this title is available from the British Library The publisher has no responsibility for the continued existence or accuracy of URLs for external or third-party internet websites referred to in this book, and does not guarantee that any content on such websites is, or will remain, accurate or appropriate This publication is printed on acid-free paper Typeset in Adobe Arno Pro by Sparks Publishing Services Ltd—www.sparkspublishing.com Contents List of Illustrations vii Preface and Acknowledgements xii List of Abbreviations xiv Introduction 1 1 The Zeven-Getijdencolleges 4 The Zeven-Getijdencolleges in Holland 5 The Getijdencolleges Considered Individually 16 2 The Seven Hours in St Peter’s Church at Leiden 44 The Zeven-Getijdencollege 50 The Foundation of Boudijn van Zwieten 51 The Daily Marian Lof Services 55 The Endowments of 1460–1520 57 Exceptional Masses, Processions and Meals 65 The Constitution of the Vocal Ensemble 66 The Zangmeesters 68 Complaints about the Singers 76 Schoolmasters, Chant and Polyphony 79 The Organist 81 The Reformation 83 3 The Choirbooks of St Peter’s Church 85 Anthonius de Blauwe 86 Manuscripts 1438, 1439 and 1440 98 Manuscripts 1441, 1442 and 1443 106 The Later History of the Choirbooks 140 4 The Repertoire of the Choirbooks 142 The Composers 142 Conflicting Ascriptions 148 The Works of Johannes Flamingus 157 The Leiden Transmissions 164 The Genres 166 The Ordering of the Repertoire 184 Contemporary Choirbooks from the Low Countries 189 Epilogue 196 vi Contents Appendix 1 Archival Documents 198 I Complaints about the Singers 198 II Documents Concerning Anthonius de Blauwe 205 III Documents Concerning the Later History of the Choirbooks 212 Appendix 2 Descriptions and Inventories of the Choirbooks 218 Codicological Introduction 218 Inventories of the Manuscripts 220 Manuscript 1438 224 Manuscript 1439 235 Manuscript 1440 254 Manuscript 1441 267 Manuscript 1442 282 Manuscript 1443 303 Appendix 3 Watermarks 311 Alphabetical List of Compositions 319 Alphabetical List of Composers 340 Concordant Manuscripts and Printed Editions 349 Bibliography 394 Index 409 Illustrations Plates  1 Map of Holland from Le miroir du monde by Abraham Ortelius (Amsterdam 1598) with the towns with a zeven-getijdencollege boxed 9  2 Undated copper engraving of the Nieuwe Kerk at Delft. Leiden, University Library, COLLBN P 323 N 196 11  3 Undated copper engraving of the Oude Kerk at Delft. Leiden, University Library, COLLBN P 323 N 232 17  4 Copper engraving of the church of St Bavo at Haarlem from the Beschryvinge ende lof der stad Haerlem in Holland (Haarlem: Adriaen Rooman, 1628), between p. 288 and p. 289 22  5 Undated copper engraving of the church of St John at Gouda. Leiden, University Library, COLLBN P 325 N 184 26  6 Copper engraving of the Oude Kerk at Amsterdam as it was before 1544. Leiden, University Library, COLLBN P 317 N 050 29  7 Copper engraving of the church of St Lawrence at Alkmaar, c. 1730. Leiden, University COLLBN P 316 N 124 35  8 Anonymous painting of St Peter’s church at Leiden. Museum De Lakenhal 47  9 Town plan of Leiden (c. 1581) from Guicciardini’s Descrittione di tutti i Paesi Bassi 49 10 Straetbouc Leiden 1588–1597 (SA II, inv. no. 5153), with the house that belonged to Anthonius de Blauwe boxed (bottom centre) 90 11 Detail of Plate 9, with the church of St Peter and the location of the Heilige-Geesthuis encircled and the approximate position of Anthonius de Blauwe’s house marked with an asterisk (bottom right) 91 12 Letter from Anthonius de Blauwe to zangmeester Job at Gouda, with in dorso inscription placed above it 97 13 The colophon of ms. 1440 99 viii Illustrations 14 The upper parts of the tables of contents of mss. 1438, 1439 and 1440 100 15 Two text scripts in ms. 1439: f. 4v (top) with a littera gothica textualis formata; f. 6v (bottom) with a littera gothica cursiva formata 102 16 Inked calligraphic initial in ms. 1438 on the first opening of Johannes Cleve’s Peccata mea (f. 1v) 103 17 Inked calligraphic initial in ms. 1438 at the beginning of the secunda pars of Johannes Cleve’s Peccata mea (f. 4v) 103 18 Selection of blind stamps from the original covers of ms. 1440 105 19 Ms. 1441, upper part of f. 37v 107 20 Upper part of table of contents of ms. 1441 108 21 Ms. 1442, detail from f. 64v (Hand I) 109 22 The hands of scribes A (left) and II (right) in ms. 1443 111 23 The hand of scribe A in ms. 1443 on ff. 125v–126r 112 24 The hand of scribe A in ms. 1443 on f. 122v 112 25 Ms. 1441, f. 105v compared to ms. 1443, f. 116v in similar reductions 113 26 Ms. 1441, ff. 105v–106r compared to ms. 1443, ff. 116v–117r, each reduced to approximately the same size 114 27 Ms. 1441, graphemes of Hand A 115 28 Ms. 1443, f. 68v (Hand A) 117 29 Ms. 1443, f. 147r (left) and f. 377r (right) compared 118 30 Hand of Flamingus in ms. 1443: f. 355v (left, in rhombic notation) and f. 390v (right, in teardrop notation) 119 31 Ms. 1442, f. 1v (hand A) 121 32 Ms. 1442, f. 220v (left) compared to ms. 1443, f. 106v (Hand A; right) 121 Illustrations ix 33 Ms. 1442, f. 130v (Hand A’) 123 34 Ms. 1442, f. 289v (Hand A′; left) compared to ms. 1443, f. 323v (Hand A; right) 124 35 Two choirbook fragments that were used as binding material for Kenningboek N (1553–1570) in the Oude Rechterlijke Archief in Leiden 125 36 The two motets from the fragments in Plate 35 as copied into ms. 1441 125 37 G-, C- and F-clefs in ms. 1439 (De Blauwe) and in ms. 1441 (hand A) 130 38 Fusae flags in ms. 1439 (De Blauwe) and in ms. 1441 (hand A) 131 39 Semiminim rests in ms. 1439 (De Blauwe) and in ms. 1441 (hand A) 132 40 Text script in ms. 1441: f. [4]v with a littera gothica cursiva formata, and f. IIIIv with a littera gothica cursiva libraria 133 41 Details of ms. 1439, ff. 290v and 291v showing De Blauwe’s littera gothica cursiva libraria 133 42 Ms. 1438, f. 212v and ms. 1443, f. 7v in similar reductions 135 43 Ms. 1438, f. 212v (left) and ms. 1443, f. 7v (right), each reduced to approximately the same size 135 The author and publisher are grateful to all the institutions and individuals listed for permission to reproduce the materials in which they hold copyright. Every effort has been made to trace the copyright holders; apologies are offered for any omission, and the publisher will be pleased to add any necessary acknowledgement in subsequent editions. Permissions Plates 1 and 4: Utrecht University Library, Special Collections Plates 2, 3, 5, 6 and 7: Leiden University Library Plate 8: Museum De Lakenhal, Leiden Plates 9–11, 13–17 and 19–43: Erfgoed Leiden en Omstreken Plate 12: Streekarchief Midden-Holland, Gouda Plate 18: Photos by Constant Lem, used with permission