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The formation of an exceptional library: early printed

music books at Valladolid Cathedral

T h e Castilian city of Valladolid houses the largest Spanish historical library of printed music from

the 16th and early 17th centuries. The collection of the Archivo Musical of Valladolid Cathedral spans a period of almost 90 years, from Adrian Willaert’s first book of motets of 1539,1 through to the Missas, motetes by Sebastián López de Velasco published in 1628.2 The collection comprises 105 entries, repre­senting 102 different editions; 35 per cent contains secular repertory, around 90 per cent is by non- Spanish composers, and the collection includes a few unica.3 The Spanish musicologist Higinio Anglés first made scholars aware of the collection through his 1948 inventory. Although incomplete and not without error, it has served a valuable purpose, par­ticularly for researchers working on specific compos­ers or musical publications.4 Despite the importance of the collection as a whole, until now there has been no attempt to understand the way in which it was assembled, even if Anglés did evocatively suggest that it could be regarded as ‘a testament to the musi­cal art performed in the royal palace and other noble homes of the city in the sixteenth century’.5

Certainly, Valladolid experienced an intense aristo- cratization during the 16th century, particularly since it became Charles V’s main place of residence, both for his family and, to a large extent, for his government.6 The Venetian ambassador Andrea Nav- agero, who visited the town in 1527 on the occasion of the birth of Philip II, described it as follows:

In Valladolid there are many craftsmen o f all kinds and everything they make is very good quality, especially the silver...; perhaps this is due to the fact that the court habitually resides here and consequently there are many nobles living in Valladolid, and lords who have fine houses, and among them the Count o f Benavente who

has a beautiful palace. There are also many local and foreign merchants who live there, due to the convenience o f attending the Castilian fairs which are held in Medina del Campo, Villalon and Medina del Rioseco.7

Even though the court was installed in Madrid from 1562, and was only briefly reconstituted in Val­ladolid from 1601 to 1606, the transformation of the town continued unhindered. Nearly all of the upper and middle nobility built palaces there and this attracted all kinds of workers, servants, traders, secretaries and so forth. More than a few of them finished up as authors and writers of books as well as, and above all, being notable consumers of books. Fine libraries were also assembled by many of the jurists who served at the Royal Court (Chancilleria) with its swarm of lawyers, counsellors and judges. Similar libraries were assembled by members of the substantial university community. The town— not proclaimed a city until 1596—was geared towards satisfying the needs of its people and was renowned for its public festivities, book dealers and print shops.8 In the words of Bennassar, the city was the leading centre of cultural effervescence in the north of Spain and no other had been home to so many high-quality artists, nor had been so adaptable to foreign influences.9

The main aim of this article is to account, as far as is possible, for the manner in which the collection of printed music belonging to Valladolid Cathedral was assembled and thus to focus on the links that existed between some of the agents who inhabited the urban socio-economic environment and the possible circumstances that allowed for the exist­ence of such a notable library. The final part of this study aims to add to knowledge concerning the

v oEarly Music, Vol. xxxvn, No. 3 © The Author 2009 . Published by Oxford University Press. All rights reserved. doi:10.1093/em/cap038, available online atwww.em.oxfordjournals.org

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circulation of foreign music in the Iberian penin­sula, thus complementing other recent scholarship that has shown the reception of imported music to have been significantly more extensive than was pre­viously believed.10

The Valladolid collection has been divided into three sections: large printed editions in choirbook format, individual partbooks, and volumes com­prising numerous partbooks bound together as compilations. Anglés numbered the choirbooks in Arabic numerals 1-7, also numbering the individual partbooks 1-44, and the bound compilation vol­umes in roman numerals I-IX, but with no subsys­tem to allow for the separate identification of any of the individual titles within them. The separation of the two last groups is not appropriate, given that dif­ferent editions are bound together in both groups. As his catalogue has been cited for the last 60 years, I have retained his numbering of the works, but have expanded them to eradicate confusion and to allow for the easy identification of all works that formerly existed as separate volumes. This has been done simply by numbering each separate edition con­secutively and placing these new numbers in square brackets following the Anglés numbers. The choir­books in the collection are thus now numbered 1 [1]—7[7], the partbooks are now numbered i[8]- 44(63], and the compilations from I [64]-IX [105]. This means that, for example, the two distinct works by Philips, Gemulae sacrae and Deliciae sacrae, bound together and numbered by Anglés as I, are now distinguishable as 1(64] and I [65].11 These new numberings will be used throughout this study and permit more precise cross-referencing to the accom­panying inventory (see the Appendix). The collec­tion is now catalogued in this way in the Archivo Musical of Valladolid Cathedral and thus the books can henceforth be referenced according to the call numbers given in the Appendix.12

The seven books in choirbook format contain a repertory similar to that of any comparable insti­tution. They are liturgical works by Spanish com­posers or composers who worked in Spain with the exception of the renowned Portuguese Duarte Lobo. All of these editions are found in profu­sion throughout the peninsula.13 This group also includes a copy of the slightly smaller Agenda

defunctorum of Juan Vásquez, the oldest of these prints and a work that survives in far fewer copies. Certainly, the changes introduced in the Requiem rite converted this book into an ‘old’ one at an early date.14 Many of these large printed choirbooks were purchased for cathedral use by their chapters. They were paid for either from the sale of the belong­ings of individuals or, more frequently, through the offices of an intermediary, perhaps a musician or bookseller, who offered the cathedral a copy ‘to be evaluated, priced, and acquired’ if desired.15 It is not uncommon to find within this latter group chapelmasters who had managed to have their works published and who sent a copy to the chap­ter in the hope of obtaining some kind of reward. In such cases, the chapter would often assign the eval­uation to an ‘expert’, usually the maestro de capilla or another renowned member of the chapel. This is how Guerrero’s Liber vesperarum was acquired by Valladolid Cathedral in 1585, just a year after publication,16 and how the 1607 book of Magnifi­cats by Sebastián de Vivanco entered the collection in 1608.17 Logically, the same system applied to the acquisition of partbooks. A good example is the cir­culation that the Sicilian composer Giovanni Pietro Flacommio achieved for his Liber primus... vespere, missa, sacreque cantiones in 1611. The composer was serving in the Spanish royal chapel at the time and applied himself to sending the set of nine partbooks (eight for the two choirs plus the ‘pars organi’) to various cathedrals including Plasencia, Seville and Jaén.18 Two copies of this publication are found in the Valladolid collection, although I have not been able to find written testimony confirming whether one arrived in this manner.19 Something very simi­lar may have occurred with López de Velasco who also circulated copies of his works and whose Libro de missas, motete is found in duplicate copies in Valladolid.20

Partbooks form the largest proportion of the Valladolid collection with 96 different publications (100 in total, including duplicates). The partbooks are notable for both their number and content, especially bearing in mind that they form part of a cathedral collection as well as the rarity of some of the publications and authors. Some 38 per cent of the books are madrigals, compared with 41 per cent

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motets and 22 per cent Masses and other liturgical genres.21 Among the best-known composers repre­sented are Arcadelt, Guerrero, Marenzio, Merulo, Monte, Palestrina, Wert, Rore, Morales and Lassus. This includes unica by the last three on the list: Girolamo Scotto’s 1566 edition of the Liber primus of five-voice motets by Lassus (28(43]), Angelo Gardano’s 1597 reprint of the Morales Magnificat settings (2(9]), as well as the Quinque missarum 05 of 1563 with works by Morales and Joannis Lupi (III [86]), and the Libro secotido of Rore’s Madrigali cromatici 05 issued in Venice by Girolamo Scotto in 1562 (III [78]). Other unica bring the total in the collection to ten, including madrigals (3), motets (2) and ricercars (1), over a long time-span to as late as 1618.22 Additionally, there is another group of books for which only a small number of copies survive, either in Spain or elsewhere. These include works by Bernardino Clavijo del Castillo (VIII [98 ]), Severin Cornet (VI), Richard Dering (21(34]), Stefano Limido (27(42]), Jacob Antonio Mortaro (24(38]), Pedro Alvares de Moura (IV+VII(9o]), Camillo Perego (11(70]), Giovanni Dominico Ripalta (25(39]), Francesco Vecoli (IV+VI1[89]), Giovanni Veggio (5(12]), and the edition of the Libro primo delle muse prepared by Antonio Barre (11(68]).23

Most of the books in the collection are V enetian edi­tions, but not exclusively. Table 1 shows the distribu­tion of the cathedral collection in terms of decades and places. Just as Venice is over-represented, the number of books from presses in Antwerp, Lyon and Milan is less than representative of their relevance in European terms, let alone Paris from which no book in the col­lection originates. The accessibility of these editions depends, logically, not only on commercial distribu­tion networks, but also on another series of partially related factors such as political and religious alliances, and relationships established by specific individuals. The mere eleven editions in the collection that were printed in Antwerp, one of the principal European book centres, date from no earlier than 1579. The city fell to the Duke of Parma in 1585 in the name of Philip II, thus intensifying relations with Spain and facilitat­ing interchange between the two centres. Moreover, the only publications prior to 1585 are the Cantiones turn sacrae ... turn profanae (1579) by Jacob de Brouck (19(32]) and the three books by Severin Cornet all published in 1581 (VI [94, 95 and 96]). Brouck was in the service of the Catholic Emperors Ferdinand I and Maximilian II, members of the Spanish royal fam­ily, while Cornet served Archduke Ferdinand Charles of Austria from 1581. The works of both composers were issued by Christopher Plantin, who had good

Table 1 Places o f publication o f the 16th- and 17th-century music editions in the Archivo Musical o f Valladolid Cathedral

Decade

Place 15305 1540s 1550s 1560s 1570s 1580s 1590s 1600s 1610+ total

Venice 1 9 5 14 11 6 13Antwerp 1 3 2Rome 1 1 3 3Milan 1 2Madrid 1Lyon 1 1LisbonNaples 1Palermo 1Parma 1SalamancaSeville 1total 1 9 8 15 14 13 23

* Both the Victoria editions (40) and the Lopez de Velasco (44) are duplicates.

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distribution in Spain through his agent in Salamanca Jan Poelman (Juan Pulman in Spanish) who included Valladolid among the cities where he did business and about whom we know that he received ‘8 bales [with] 2 Cantiones Severini Corneti [valued at] 40’.24 Poelman surely received the Cantiones musicae and the Chansons franfoyses in the Valladolid library, and these editions were also to be found in the Jesuit Col­lege in Salamanca, now preserved in the University Library there.25 Both English composers represented in the collection, the widely distributed Peter Philips (d.1628) and Richard Dering (d.1630), worked in the Low Countries due to their Catholic allegiances, and published in Antwerp in the early years of the 16th century. Three books by Philips are found in the collection, while Dering’s Canzonette (21 [33 ]) appears to be the only copy present in Spain, as far as I can ascertain.

Only six of the books emanate from Milan, all published around 1600 except for Taglia’s madrigals closing collection II which was published in 1555. It has been suggested that ‘political and commercial reasons underlined the increment of Italian prints compared to Franco-Flemish repertory in Spain at the beginning of the seventeenth century’, among other reasons due to the Spanish military presence in the city of Milan which ‘was considered the gateway’ into Italy,26 but Italian editions were already domi­nant during the closing decades of the 16th century. Another reason for the small number of Milanese prints in the present collection could be because most of the trade with that city was conducted across the Mediterranean, generally via Barcelona, whereas the principal itinerary for foreign books coming into Castile was from Nantes via Bilbao.27 At the beginning of the 17th century, when novelties began to be introduced through Madrid, there was a parallel shift to Mediterranean imports, now princi­pally through Cartagena. To some extent, this helps explain the closer connection with and the greater presence of books from Milan around 1600.

The Roman editions also represent a minority. Mainly comprising works by Palestrina, Victoria and Guerrero, they also include the 1555 madri­gal collection by Barré, the unique copy of the motets of Bartei of 1618, as well as books by Pedro Alvares de Moura and Clavijo del Castillo.28 Equally significant is the small yet suggestive number of

publications from southern Italy: motets by Rogier published in Naples and the Primo libro di ricercari by Raval from Palermo that attest to the ties that the crown maintained with its Neapolitan and Sicilian viceroyalties.29 The madrigals by Veggio published in Parma in 1575 should also be included here. The two Lyon editions are also otherwise unknown in Spain: II primo libro de madrigali of Regolo Vecoli (1577) and the unique Sacrae cantiones of L’Estocart (1582). Both composers worked in the city at around the same time. Table 1 shows that the greatest number of books in the collection are publications of the 1590s. After 1600, the numbers of prints from Venice and Antwerp are equal, while those from Madrid start to be of some importance, both by Spanish compos­ers as well as by foreigners working in Spain such as Stephano Limido whose Armonia espiritual was pub­lished in 1624. In total, there are eight Spanish prints, ranging from the Agenda defunctorum ofVasquez to the two copies of the Libro de missas, motetes, salmos, magnificas y otras cosas tocantes al culto divino by Lopez de Velasco (44[63 and 63bis]).

A good number of the composers included in the collection seem to have had some links with the Spanish crown or kingdom, but they are in fact the minority. A large number are relatively unknown, mostly minor Italian masters, including instrumen­talists or organists with a small number of publica­tions to their name and a narrow sphere of influence. The presence of their music in Valladolid is perhaps remarkable, and no doubt demonstrates the distri­bution in Castile of what might be called secondary repertories, a phenomenon that also appears to have been common in Catalonia.30 But alongside these little-known authors is Palestrina, the single most represented composer in the Valladolid library, sole author of 15 books in the collection, including two copies of his Liber tertius ... motettorum for five, six and eight voices published by Scotto in 1575 (13 [23] and 14 [26]). Both copies are bound with other volumes by Palestrina, his first and second books of motets, but in each collection they correspond to different printings (13 [21] and [22]; 14 [24] and [25]). There is even a third edition of the Liber secun- dus printed in 1577 (31 [47])- The Liber quartus also appears to have gone through two printings in 1595 and 1601. Nevertheless, these are not the only books by Palestrina preserved in the archive: it also includes

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the Fifth, Eighth, Ninth and Tenth books of Masses, the Offertoria of 1593 and the madrigals of 1581. It thus comprises publications by Palestrina published between 1569 and 1601, and serves to corroborate the composer’s recognition in Spain, establishing the Valladolid collection as the most abundant that is preserved, if not the most varied.31

Together with duplicate copies of books by Palest­rina, as well as others mentioned above by Flaccomio and López de Velasco, the collection also includes additional duplicates of publications by the renowned Spanish masters Tomás Luis de Victoria and Fran­cisco Guerrero. In the case of Guerrero’s widely distributed Motteta (Venice, 1570),32 Borgerding has suggested that one possible reason for its popularity may be that Guerrero’s musical style already reflected Counter Reformation attitudes, since he had adapted his motets to the most valued compositional trends practised following the Council of Trent.33 Similarly, the collection also includes duplicated copies of Vic­toria’s motets published in Venice in 1572 and Rome in 1583 (26 [40] and i6bis [41] respectively), one of which belonged to the chapelmaster Miguel Gómez Camargo. The same is true for his Missae, Magnifi­ca t... psalmi at alia published in 1600 (40 [59] and 40(59bis]). All these books contain repertory that could be sung in everyday liturgical usage. Although they show signs of use, none of them is preserved in such a bad state as to suggest that the chapter may have bought a replacement copy for one that had been worn out through use, although new sets could have been purchased had one or more of the original partbooks been lost. We know, nonetheless, that it is not unusual to find two identical copies preserved in cathedral archives on account of one having belonged to the choir and another, for example, having been used in a smaller side chapel.34

This high number of duplicate (occasionally tripli­cate) books suggests that the collection in its entirety was formed through diverse pathways, in addition to the usual means of purchase by the chapter. It can be shown, for example, through comparison with the earliest known inventory of the polyphonic books owned by the then collegiate church, that books were also acquired through private donations by individuals.35 This unpublished document, of great value given the lack of earlier information about the institution, reveals that among 26 of the books

or groups of books of Masses, motets, Magnificats, hymns and other Divine Office forms in the inven­tory, are ‘fifteen books of motets that were given by the prior, don Pero Gomez de Villarroel’ as a gift.36 This man was head of the then collegiate church of Valladolid and came from a local family of wealthy merchants who had recently acquired their title of nobility. Two donations were also made by the chapel­master and prebendary Juan Valderas of Masses by Morales.37 The second reference to him in the inven­tory notes ‘five books of Masses that were given by the racionero Valderas, printed in Venice in the house of Hieronymous Scotto in 1543’. This is clearly a reference to the Quinque missarum harmonia diapente, id est quinque voces referens Moralis Hispani, Ioannis Luppi (Venice: Girolamo Scotto, 1543), of which the cathe­dral owns a copy albeit from the 1563 reprint (which appears to be the only surviving copy (III [86] )).38

In addition to the aforementioned, the collegiate church owned other editions such as the widely known Liber quindecim missarum (Rome: A. Antico, 1516) or (Nuremberg: Petreia, 1539), Morales’s Mis­sarum liber primus (Rome: V. & L. Dorico, 1544) as well as the Liber primus missarum by Carpentras (Avignon: Jean de Channay, 1532), a quite up-to-date repertory inasmuch as all but the first of these books were published only a few years prior to the com­pilation of the inventory in 1547. Along with other editions included in this earlier inventory, none of these books has been preserved.39 Although a fire at the collegiate church in 1548 damaged the library, this was probably not the reason for their disappear­ance given that the books used to be kept in a chest that was the responsibility and in the custody of the chapelmaster and kept in a different location.

The donation of musical prints to religious institu­tions was a widespread practice, sometimes with the intention of achieving corresponding spiritual rec­ompense, or as a way of paying off some kind o f‘debt’ to the church.40 Such ‘gifts’ could be made by the liv­ing, as an offering, and in such cases it was custom­ary to donate one or a small number of books, chosen with the liturgical needs of the institution in mind. Larger donations were normally the result of inherit­ances, following the death of the donor. The donation that stands out amongst all of them in their diversity is the library of Ferdinand Columbus cited above. It was through this kind of mortis causa transmission

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that secular repertories found their way into religious institutions, and it is beyond the scope of the present study to consider the way in which they may have been used in their new religious homes.41

Another privately owned library at the beginning of the 17th century was that of Jerónimo de León, a little-known chapelmaster of Valladolid Cathe­dral. Jerónimo donated his collection of about 100 music prints and manuscripts to the cathedral in 1629.42 The document that details its contents comprises three folded leaves of folio size. On the page that serves as the cover, in quarto, there is an annotation on the lower-left margin ‘delivered to the illustrious Sr Chantre, 26 June 1629’. The description of the contents begins by repeating almost exactly the text on the cover: ‘Inventory of the books and sheet music left to this holy church of Valladolid by The Most Reverend and Master of its Chapel, Jerónimo de León according to his will (dictated to) Cristobal de Madrigal on 25 June162.9 , h e d ie d o n th e 2 6 t h o f th e s a m e (m o n th a n dyear)’ .43 The fact that he made his will only the day before his death suggests that his departure from this world was sudden.

The Memorial is a very thorough inventory, writ­ten by an amanuensis who took the trouble to iden­tify the format of each book or volume for nearly all of the entries, giving the number of books of which each was comprised (where necessary), the name of the composer and the genre to the point that it allows reliable identification of nearly every work.44 It also includes a valuation of the books, except for the loose music sheets, among which are included two works by Jerónimo de León himself, a now lost Mass and Magnificat. Another hand added a series of brief comments in the left-hand margin along­side a number of entries, nearly all along the lines of ‘the church has no need for this’ (‘no la a menester la iglesia’ ), and consistently by the books of madrigals. Added alongside another entry that reads ‘Another set of six books of Madrigals by Luca Marenzio valued at thirty reales’ (‘Otro juego de seis libros de Madrigales de Luca Marencio que valen treinta reales’) is annotated ‘they are Italian in the posses­sion of Maestro Padilla’ (‘son ytalianos teñóles el maestro Padilla’), a reference to Jerónimo de León’s successor and an indirect reference to the use of these sources in the cathedral. Perhaps these anno­

tations were made in October 1629 when, according to the chapter minutes, ‘the precentor and the preb­endary Alvarez Gómez de la Cruz’ were requested ‘to put the books of plainsong and polyphony in order and to hand them over to the chapelmaster (then Juan de Padilla), and to do the same with those that came from the maestro who died’.45

From the information contained in the Memorial, which will be the basis for further research, I wish to present here some conclusions concerning this collec­tion of printed music. It begins with a list of the six larger books, of folio size or larger, that includes Rogi- er’s Missae sex which still forms part of the collection (5[5])- After this group and the theoretical treatises, the inventory itemizes the partbooks that make up the bulk of the collection. In total, I have identified and matched 57 of the possible 82 prints with books still in the cathedral collection, a clear indication that the vast majority of the collection has been preserved. Unfortunately, however, many of these works are nowincomplete. In total, tlicy represent almost 70 per centO f ttie surviving volumes. In th e A p p e n d ix , th e se h e m s

are shown with a shaded background. As far as can be ascertained, the entire madrigal collection in the cathedral derives from Jeronimo’s donation except for the 1611 Flaccomio print. It is also the source of all the printed sources earlier than the 1570s, with the-excep- tion of Palestrina’s Liber primus... motettorum of 1569 and the two editions of motets by Lassus (28 [43 and 44]). The oldest edition in the collection is Willaert’s Motecta liber primus of 1539, and the two most recent, both unica, are Francia Romano’s Primo libro de mad- rigali of 1613 (20(33]) ar>d the 1618 Liber litaniarum by G. Bartei (42(51]). In fact, all of the preserved unica, with the dubious exception of the L’Estocart (32(48]) and Lassus (28(43] )> belonged to Jerónimo.46

It is notable that the earliest works should be included in the compilations numbered II, III and IX, which additionally contain a large number of books bound together: eleven, ten and seven volumes respectively. Compilation II comprises books of madrigals in four voices, while compi­lation III gathers together five-voice madrigals. Compilation IX, on the other hand, is a collection of Venetian madrigal books issued between 1561 and 1563, as well as the book of Masses by Morales and Lupi. The first two collections are easily iden­tifiable within Jeronimo’s inventory. Compilation

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II is described as ‘four books of Madrigals in Ital­ian by different composers bound in cardboard covered with red leather. Sixteen reales’ (‘quatro libros enquadernados de carton cubiertos de cuero Colorado de Madrigales en ytaliano de diferentes Autores. Dieziseis reales’). Immediately follow­ing are ‘Another five books with the same binding of Madrigals by Cipriano Roreli valued at twenty reales’ (‘Otros cinco libros de la misma enquader- nacion de Madrigales de Cipriano Roreli que valen beinte reales’) that correspond to compilation III. The two volumes are preserved in the cathedral archive with their carefully executed original bind­ing. Compilation IX is described as ‘four books in octavo landscape with motets by Adrian valued at ten reales’ (‘quatro libros de quartilla a la larga de motetes de Adriano que valen 10 reales’ ). This is a less precise entry, but comparison of the value with other individual titles generally valued at less than five or six reales suggests that this book must nec­essarily contain more than one title.47 It was not unusual to bind several volumes together with the intention of reducing the cost, both to book dealers and owners. Despite this custom, the large number of titles bound together in these three compilations is still notable, and could perhaps reflect a tactic by some book dealer to get rid of ‘old’ books as they were often designated.48

Comparison of the chapelmaster’s library with the surviving music prints in the cathedral archive, logically enough, reveals many shared characteris­tics, such as their international breadth, the presence of books by prestigious composers alongside those of second rank, as well as a similar range of places where the books were printed. Forty-six titles were published in Venice, four in Antwerp— among them Marenzio’s madrigal books of 1593 and 1594 (15[28], 15[27]), as well as five Roman editions ranging from Barre’s early madrigal book through to the motets of Bartei of 1618 described above. Only two books are of Milanese ori­gin: the motets of Taglia and Ripalta.

Leon’s collection of books is all the more remark­able when it is considered in the context of its owner. He may be described at best as a second-rate com­poser with nothing more than a local reputation, of whom very little music is preserved and about whom existing knowledge is insignificant. He is in no way comparable to other high-ranking individuals who

donated their music libraries to cathedrals, such as the bishop Juan Bernal Díaz de Luco, who donated 44 ‘Libros de música’ to Calahorra Calahorra in 1556, including numerous Italian editions. The unmask­ing of such an unusual donor, a man of limited reputation who owned a similar quantity of printed music, is as yet unparallelled among other known bibliophile donors of his age, and raises many ques­tions, underscoring the need to explore further the importance of such minor figures within the history of the book.

The earliest information concerning León dates from 1622, when, as chapelmaster in Medina del Campo (the town near Valladolid famous for its trade fairs), he unsuccessfully contested the vacancy for that position at Plasencia Cathedral. He finally obtained the same post in Valladolid as a result of the persistent recommendation of the previous chapelmaster, Juan Ruiz de Robledo, who ‘through personal attempts had accepted a canonry in the church in Berlanga which the Lord Constable had awarded him, and so, with the permission of the chapter would shortly leave to reside there ... that the chapter would be served by accepting in his place as chapelmaster Jerónimo de León, maestro de capilla in Berlanga, of whom the aforesaid made very good account’ .49 After having recommended to him on previous occasions to prepare himself for the job to the best of his ability, the Valladolid chapter finally admitted him to the position on 3 November 1627. Evidence that he gradually became more appreci­ated during his tenure in Valladolid is found in the chapter’s decision, taken ‘in sacris’ on 6 June 1629, to give him a prebend that had fallen vacant. This deci­sion, however, caused a mutiny among the cathedral musicians to the point that all those involved were dismissed. A short time later, on 20 November, some of the singers and instrumentalists sought to be readmitted, to which the chapter replied emphati­cally in the negative and with the express prohibi­tion ‘that any canon should propose the readmission of the dismissed musicians, with a fine of 20 ducats, nor that the secretary should receive any petition pertaining to the matter’. The penalty was extremely high. This suggests that it was indeed a serious conflict and it may not be mere coincidence that the chapelmaster died only two weeks after being granted the canonry: the canonry was granted on 6

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June, Jerónimo dictated his will on 25 June, died the following day and was buried on 27 June.

How would León have acquired such a music col­lection? Was it possibly donated to him by a family member or friend? A sentence in the Memorial per­haps offers the key in its description of him as a man of ‘great curiosity with a desire to see good authors from within the profession and to collect their works’ (‘grande curiosidad y deseo que tenía de ver buenos autores de la facultad y recoxer sus obras’). It seems, then, that his legacy was the result of his being a collector, together with his desire to learn from the works of other masters and would explain the presence of both practical and theoretical works. It is possible that any deficiencies that he may have shown in his own work may have led him to depend to a greater extent on these possessions.

This leads to a related question as to how he came to acquire the collection. It seems quite plausible that this occurred as a result of purchases made throughout his life, particularly if some of the books were gifts from ‘Christian de Fru?, Flemish mer­chant, resident of this city [of Valladolid] ’ named on f .3V of the Memorial. His period of employment in Berlanga del Duero might also have offered him an appropriate avenue to acquire the occasional book through the lord of the village, the Duke of Frias, Constable of Castile and the highest representative of the king in his absence. This position was held at the time by Don Bernardino Fernández de Velasco y Tovar (1609-52), who granted the maestro Juan Ruiz the canonry in the collegiate church. He was interested in both religion and music, and may have helped increase León’s collection.

León’s position in Berlanga del Duero followed his tenure in Medina del Campo, the obvious place with which to associate the kernel of his collection. Situated only 45km from Valladolid, this town was one of the principal centres for the book trade in Spain. From the 1540s to the 1590s, it constituted the leading book- distribution centre within the kingdom of Castile, including the Americas, for the products of printers and paper mills from across Europe. Previously it had competed with Salamanca, but rose to the height of its fame when European book dealers decided to estab­lish permanent shops in the town. This development coincides exactly with the dates of the oldest editions in Jeronimo’s collection. The shops in Medina traded

all year round, and were able to carry stock from other printers and thus operate as wholesalers. They dealt with books in newly printed reams from Lyon, Venice, Antwerp, Genoa, Rome and Paris, and their products were stored in the many warehouses in Medina del Campo, from where they were distributed following a hierarchical distribution network. The first links in the chain were five important cities: Salamanca, Alcalá de Henares, Valladolid, Seville and Toledo. In turn, each city had its own area of influence in which busi­ness gradually changed from wholesale to retail. Nev­ertheless, books continued to be sent directly from Medina to other clients and towns such as Mexico City, Granada, Madrid, Zamora, Burgos, Plasencia, Avila, Vitoria, Pamplona and Santiago de Compost­ela, among others.

Foreign books arrived in the town along two dif­ferent routes, principally from the Atlantic, and secondarily from the Mediterranean. They mostly entered through Bilbao and to a lesser degree through Laredo and Santander on the northern coast. After the formalities required by the offices of taxation and the Inquisition, they were trans­ported on wagons to their destination in Medina del Campo. When books were destined for Seville or Lisbon, even though the business was conducted through Medina, the merchandise arrived directly in both centres by sea. Transporting books to Medina via the Mediterranean was out of the question due to the high costs.

The work of Anastasio Rojo Vega regarding this history of the book trade in Medina del Campo is most revealing. He points out that ‘in 1540 there was hardly a major printer or book dealer in Europe who did not have either a shop or agent in Medina’. Caspar Trechsel and the Giunta, Osandon, Seneton, Rainaud, Rovillo, Tingui, Beraud, Baudin and Landry families were established there.50 The only exception was Christopher Plantin who traded in Salamanca. For example, at the time of the death of Benito Boyer who had set himself up in Medina del Campo in 1556, the book dealers who owed him money included Pierre Landry (Lyon), Diego Martinez (Lisbon), Antonio de Máriz (Coimbra), Dominico Basa (Rome), Girolamo Scotto and the heirs of Tomaso Giunta and Filippo Giunta in Ven­ice, as well as others in Paris and Nantes. Concern­ing other book dealers in Medina, the surviving

38 6 E A R L Y M U S I C A U G U S T 2 0 0 9

inventory of Trechsel’s shop includes more than 80 titles comprising 153 volumes of music.51 From this we can see that there were 22 volumes of madrigals, 26 books of motets, five books of Masses, eight of chansons and 18 of instrumental music. The printers of the identifiable books were principally Venetian, but also from Paris and Lyon, and the composers include Rore, Vincenzo Ruffo, Rinaldo di Montagnana, Verdelot, Jhan Ghero, Willaert and Gombert, among others. All of these com­posers appear in León’s collection. Comparison between his Memorial and the Trechsel inventory reveals between 12 and 14 concordances, quite a high rate given that the latter document dates from 1571, and the chapelmaster’s collection included books published as late as 1618 .1 am not necessarily suggesting a direct relationship between the two, simply offering evidence of the context of supply and interconnection.

The book market in Medina del Campo and more generally experienced changing fortunes from the beginning of the 17th century when it entered a deep depression. At the beginning of the century only one of the large houses remained, that of Pierre Landry of Lyon, flanked by the crumbling businesses run by the widows of the once-great merchants Benito Boyer, Juan Boyer, Ambrosio Duport and Hilario Benefont. In 1610, Pierre Landry decided to close his business and abandon the importation of books to Castile as well as the supply to his branches in Sala­manca, Zaragoza, Seville, Barcelona and Lisbon. The inventory from the stocktaking of his shop shows that he had books to the value of 102,000 reales, twice the sum of what might be considered the value of a large book-dealing business of the 16th or 17th centuries. Everything was offered for sale at reduced prices, and it could have been from such a sale that León assembled part of his library. Despite this situ­ation, sporadic contact was maintained with foreign booksellers who continued to send books to Medina. New titles continued to arrive up until around 1620, although only in small numbers and generally on specific order. This might account for some of the more recent editions in the chapelmaster’s collec­tion, such as the unica of Bartei (1618) and Francia Romano (1613) discussed above.52

With distribution dissipated, the market focused on individual clients such as jurists, theologians

and physicians who were the principal buyers of books in the region. Given that ‘European books had become excessively expensive for cities in crisis’, there was much more trade in ‘old and second-hand books, nearly all dating from the sixteenth century’. This would also explain the case of the 1614 sale in Valladolid of the library of don Pedro de la Vega, president of the Chancery for 3,150 reales, or that of licenciado Simón Rodríguez Calvo for 187,500 maravedíes, over 5,000 reales,53

There are many more questions to be answered concerning León’s collection, such as whether it was used by the cathedral after its donation. We know that the chapelmaster who replaced Jerónimo took some of the collections of madrigals and that he undoubtedly used Rogier’s Missae sex. Bearing in mind that most of the books are in small format and appropriate for being read by small ensembles, they could have been used by the institution’s minstrels or perhaps for didactic purposes either by the choirboys or the chapel singers themselves. There are, indeed, inscriptions and annotations by young choirboys on the opening and closing pages of many of the books. They might also have served as material to be cho­sen and copied into other formats. Such an example is found in Ms.17 of the cathedral, a partbook of the tenor voice lent by the ‘Church of Valladolid ... in 1650 ... to Antonio de Andrade y Harón’ and which was possibly intended for use by the minstrels given the large amount of untexted secular music it con­tains. It includes works such as ‘Ahi dispietato amor’ by Striggio from II secondo libro di madrigali (7(14] ), Palestrina’s O bone Jesu Christe and O Domine Jesu Christe from his first and third books of motets (13[21]), 13(23] ). This serves to verify the possible use of the printed repertory in the cathedral, including the secular music, by the minstrels.54

There is still no explanation for the provenance of some 30 per cent of the printed music in the Archivo at the Cathedral of Valladolid, including the two interesting books by Flaccomio of 1611, the Duarte Lobo of 1602,55 or Dering’s Canzonette for three voices and continuo of 1620. This will form the basis for subsequent research in which the cities of Val­ladolid and Medina del Campo, and the booksellers active there in the early 17th century, will be the prin­cipal focus.

Translated by John Griffiths

E A R L Y M U S I C A U G U S T 2 0 0 9 3 ^ 7

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Appendix: Printed music in Valladolid Cathedral, 1539-1628

Key: works shown in italics are unica; works shown in bold are duplicated in the collection; works with shaded background definitdy belonged to Jeronimo de Leon (possibly others belonged to him, but only the confirmed books are indicated here); when two copies o f a given edition art catalogued under the same number, they are distinguished by the suffix (bis), for example, 10[18] andio[i8 bis]. Readers will note that there is no no.37 in the list (in the first column) as this was erroneously omitted by Angles.The total number o f editions is 105. The following can be considered one collection: 22 [35] + 35 [52]; 22 [36] + 3$ [51]; and 17 [30] +■ 28 [44]. 10 [18] and 40 [59] and 44 [63] have the same numbering.

No. Composer Title Voices Printer City Year RISM/CNCE Voice parts held

Choirbooks

i l l ] Victoria, Tomás Liber Primus qui Missas, Angelo Cardano. Venice 1576 V1427

L. de Psalmos, Magnificat2 [2] Guerrero, Francisco Liber Vesperarum Alessandro Gardano Rome 1584 04873

3 [3] Victoria, Tomás M issae.. .Liber Secundus Francesco Coattino Rome 1592 V1434

L. de

4 U] Vivanco, Liber Magnificarum Artus Taberniel Salamanca 16 0 7 V2249Sebastián de

5 W Rogier, Philippe Missae sex Juan de Flandes Madrid 1598 R1937

6 [6] Lobo, Duarte Cantica Beata Mariae Johannes Moretus Lisbon 1605 L2590

Virginis, vulgo Magnificat

7 [7 ] Vásquez, Juan Agenda Defunctoruma Martin de Montesdoca Seville 1556 V996

Partbooks

1 [8 ] Arcadelt, Jacob Primo Libro di madrigali.. 4 Giacomo Vincenzi & Venice 1585 A1344 SATB completenovamente ristampato RicciardoAmadino

2 [9] Morales, M agnificat 4 Angelo Gardano Venice 1597 m 3 602 ATBCristóbal de

3 [10] Wert, Giaches Il Settimo libro de Madrigali 5 Angelo Gardano Venice 1581 W884 SATB5 complete

4 [a] Contino, Giovanni M odulationum .. .Liber 6 Girolamo Scotto Venice 1560 C3535 B56

Primus5 [12] Veggio, Giovanni Il Primo Libro de Madrigali 4 Seth Viotti Parma 1575 V1090 SATB complete

Agostino

6 [13] Vecoli, Regolo Il Primo Libro de Madrigali 5 Clément Baudin Lyon 15 77 V1085 SATB5 complete

7 [l4 l Striggio, Alessandro Il Secondo Libro de 5 Heirs o f Girolamo Venice 1579 CNCE 45906 STB5Madrigali Scotto

7 [15] Striggio, Alessandro Il Secondo Libro de 6 Heirs o f Girolamo Venice 1579 CNCE 459IO ST B 5+6Madrigali Scotto

8 [16] Rogier, Philippe Sacrarum Modulationum, 4 -5-Ó-8 Felice Sfigliola Naples 1595 RI936 SA T B 56 complete

quas vulgo M otecta... Liber Primus

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Appendix l continued

No. Composer Title Voices Printer City Year RISM /CNCE Voice parts held

9 [17] Flaccomio, Giovanni Pietro

Primo Libro delli Madrigali 3+bc Angelo Gardano & Fratelli

Venice 1611 F1101 B

10 [18] Flaccomio, Giovanni Pietro

Liber Prim us...Vespere, Missa, Sacraeque Cantiones...

2 choirs Angelo Gardano & Fratelli

Venice 1611 F1100 I: SATB; II: STB; Pars organi

10 [18 bis] Flaccomio, Giovanni Pietro

Liber Prim us.. .Vespere, Missa, Sacraeque Cantiones...

2 choirs Angelo Gardano & Fratelli

Venice 1611 FllO O I: SATB; II: STB

11 [19] Guerrero, Francisco Motettac 4 ,5,6 ,8 Heirs o f Antonio Gardano

Venice 1570 G487I SAB56

12 [20] Philips, Peter Cantiones Sacrae 5 Pierre Phalèse Antwerp 1612 P1973 ATB13 [21] Palestrina,

Giovanni Pierluigi da

Liber Prim us... Motettorum

5, 6 ,7 Heirs o f Valerio & AloysioDorico

Rome 1569 P700 TB

13 [22] Palestrina, Giovanni Pierluigi da

Liber Secundus... Motettorum

5 ,6 ,8 Girolamo Scotto Venice 1573 P705 TB

13 [23] Palestrina, Giovanni Pierluigi da

Liber Tertius... Motettorumd

5, 6,8 Heirs o f Girolamo Scotto

Venice 1575 P711 TB

14 [24] Palestrina, Giovanni Pierluigi da

Liber Prim us.. .Motectorum 5, 6 ,7 Angelo Gardano Venice 1579 P693 STB56

14 [25] Palestrina, Giovanni Pierluigi da

Liber Secundus Motettorum 5 ,6 ,8 Heirs o f Girolamo Scotto

Venice 1580 P708 STB56

14 [26] Palestrina, Giovanni Pierluigi da

Liber Tertius Motettorum 5, 6,8 Heirs o f Girolamo Scotto

Venice 1575 P711 STB56

15 [27] Marenzio, Luca M adrigali.. .novamente posti in luce...aggiuntovi vi di più uno M adrigale... a 10 voci

6 ,10 Pierre Phalèse & Jean Bellero

Antwerp 1594 M522 SATB56 complete

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Appendix 1 continued

No. Composer Title Voices Printer City Year RISM /CNCE Voice parts held

15 [28] Marenzio, Luca M adrigali.. .in un corpo ridotti nuevamente posti in luce.. .aggiunto vi di più uno m adrigale.. .a 10 voci

5 Pierre Phalèse & Jean Bellero

Antwerp 1593 M572 SATB5 complete

16 [29] Giovanelli, Ruggiero Sacrarum modulationum quas vulgo Motecta.. .Liber prim us.. .secunda editio

5.8 Giacomo Vincentii Venice 1598 G2447 SATB678

17 [30] / 28(44]

Lassus, Orlande de Sacrae Cantiones nunc primum omni diligentia in lucem editaee

5 .6 Girolamo Scotto Venice 1565 L786 6

18 [31] Lobo, Duarte Natalitiae noctisResponsoria .. .M isa ... Beatae Mariae Virginis Antiphonae.. .Salve...

4,8,11 Johannes Moretus Antwerp 1602 L2589 I: AB; II: SATB

19 [32] Brouck, Jacob de Cantiones tum Sacrae... tum Profanae

5, 6,8 Christophe Plantin Antwerp 1579 B4613 T with T56

20 [33] Francia Romano, Gregorio

Primo Libro de Madrigali 5 Heirs o f Angelo Cardano Venice 1613 N O T IN RISM SB OR CNCE

21 [3 4 ] Dering, Richard Canzonette 3 + bc Pierre Phalèse Antwerp 1620 D1321 S2

22 [35] / 3 5 [5 2 ]

Molinaro, Simone Secondo Libro de Motettif 8 Heirs o f Simone & Giovanni F. Besozzi

Milan 1601 M2934 B2

22(36/1]

/3 5 (5i]

Varotto, Michele Liber Primus M issarum8 8,12 Heirs o f Francesco & Simone Tini

Milan 1595 V994 ? + II

22(36/2]/

3 5 [5i]

Varotto, Michele Liber Primus M issarumh 8,12 Heirs o f Francesco & Simone Tini

Milan 1595 v 9 9 4 B2 + III

23 [3 7 ] Felis Barensis, Stephano

M otettorum.. .Liber Tertius

5 Heirs o f Giovanni Scotto

Venice 159 1 F208 ATB

24 (38] Mortaro, Antonio Messa, Salmi, Motetti et Magnificat

3 choirs Heirs o f Simone Tini & F. Besozzi

Milan 1599 M 3741 I : S1S2TB + II; SAT B; III : SATB; bc missing

25 [3 9 ] Ripalta, Giovanni Dominico

Missa, Psalmi, ad Verperas, Magnificat, Motecta et Psalmorum

8 + bc Agostino Tradate Milan 16 0 4 R1733 I : ATB; II : ATB + Partitura bassi

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Appendix 1 continued

No. Composer Title Voices Printer City Year RISM /CN CE Voice parts held

26 [40] Victoria, Tomás L. de

Motecta1 4 .5.6 ,8 Heirs o f Antonio Gardano

Venice 1572 V1421 S(2 copiesJATB

26 bis [41] Victoria, Tomás L. de

Motecta) 4,5,6,8,12 Alessandro Gardano Rome 1583 V1422 SB57B2 (2 copies)

27 [42] Limido, Stephano Arm onia Espiritual 5 Tomás Junta Madrid 1624 L2423 SATB5 complete28 [43] Lassus, Orlande de Sacrae Cantiones vulgo

Motecta..Liber Primus5 Girolamo Scotto Venice 1566 1-792 ATB5

28 [44] Lassus, Orlande de Sacrae Cantiones.. .Liber Secundusk

5 .6 Girolamo Scotto Venice 1565 L786 ATB5

29 [4 5 ] Cantone, Serafino Salmi e Versetti 5 Agostino Tradate Milan 1602 C885 B30 [46] Monte, Philippe de Decimosettimo libro

delli M adrigali...5 Angelo Gardano Venice 1595 M3388 SATB5

31 [4 7 ] Palestrina, Giovanni Pierluigi da

M otettorum .. .Liber Secundus

5,6 ,8 Heirs o f Girolamo Scotto

Venice 1577 P707 B

32 [48] L'estocart, Paschal Sacrae Cantiones... Liber Primus

4 ,5 ,6,7 Barthélémy Vincent Lyon 1582 1.2071 STContB

33 [4 9 ] Palestrina, Giovanni Pierluigi da

Primo Libro de M adrigali... 5 Angelo Gardano Venice 1581 P761 SATB5 complete

3 4 [50] Palestrina, Giovanni & Bart. Le Roy

Una Messa a otto sopra il suo Confitebor.. .una Messa a quattro sopra Panis quem ego.. .di Lupo

8, 4 Heirs o f Girolamo Scotto

Venice 1585 15855 I: ATB; ILATB

35 [51] Varotto, Michele Liber Primus Misarum 8,12 Heirs o f Francesco & Simone Tini

Milan 1595 V99 4 A1B1

35 [52] M olinaro, Simone Secondo Libro de Motetti1 8 Heirs o f Simone Tini & Giovanni F. Besozzi

Milan 1601 M 2934 B2

36 [53] Various authors (ed.) Francesco Ant.

Baseo)

Primo libro de M adrigali... composti da diversi autori

5 Heirs o f Antonio Gardano

Venice 1573 157316 SATB5 complete

38 [54] Raval, Sebastián Primo Libro di Ricercari... per Liuti, Cimbali & Viole di arco.. .quattro 0 sei opere con parole spirituali

4,8,12 Giovanni Antonio Franceschi

Palermo 1596 R445 SATB complete

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No. Composer Title Voices Printer City Year RISM /CN CE Voice parts held

39 [55] Palestrina, Giovanni Pierluigi da

Missarum, Liber Quintus 4 .5,6 Heirs o f Girolamo Scotto

Venice 159 1 P671 5

39 [56] Palestrina, Giovanni Pierluigi da

Missarum, Liber Octavus 4 .5.6 Heirs o f Girolamo Scotto

Venice 1599 P681 5

3 9 [57 ] Palestrina, Giovanni Pierluigi da

Missarum, Liber Nonus 4 ,5,6 Heirs o f Girolamo Scotto

Venice 1599 P683 5

3 9 [58] Palestrina, Giovanni Pierluigi da

Missarum, Liber Decimus 4 ,5,6 Heirs o f Girolamo Scotto

Venice 1600 P685 5

4 0 [59] Victoria, Tomás L. de

Missae, Magníficat, Motecta, Psami & alia quam plurim a...

8,9 ,12 + 4 Juan de Flandes Madrid 16 0 0 V1435 I: SATB; II: SATB; pars organi

40 [59 bis] Victoria, Tomás L. de Missae, Magníficat, Motecta, Psami & alia quam plurim a...™

8,9 ,12 + 4 Juan de Flandes Madrid 16 0 0 V1435 I: SAB; II: AB; 1: S2

41 [60] Guerrero, Francico Motecta 4,5 ,6 ,8 ,12 Giacomo Vincenzi Venice 1597 G4877 B

42 [61] Bartei, Girolamo Litaniarum Liber cum Motectis nonnullis, ut aiunt Concertatis & non concertatis cum basso continuo ad organum (op.13)

4 Bartolomeo Zannetti Rome 1618 B1063 A TB

43 [62] Palestrina, Giovanni Pierluigi da

M otectorum .. .Liber Quartus

5 Angelo Gardano Venice 16 0 1 P698 ATB5

4 4 [63] López de Velasco, Sebastián

Libro de Missas, Motetes, Salmos, Magnificas y otras cosas tocantes al culto divino

8 ,10 ,11 ,12 Typographia Regia Madrid 1628 L 28 2 2 I : SATS2B; II: SATB

44 bis [63 fcis] López de Velasco, Sebastián

Libro de Missas, Motetes, Salmos, Magnificas y otras cosas tocantes al culto divino

8 ,10 ,1 1 ,12 Typographia Regia Madrid 1628 L2822 I : SS2B ; II: ATB

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Appendix l continued

No. Composer Title Voices Printer City Year RISM /CNCE Voice parts held

PARTBOOKS BOUND TOGETHER AS COMPLIATIONS

I [64]) Philips, Peter Gemulae sacrae 2,3, bc Pierre Phalèse Antwerp 16 13 P 1977 bcI [6 5 ] Philips, Peter Deliciae sacrae 2,3, bc Pierre Phalèse Antwerp 16 16 P1980 bcII [66] Various Authors M adrigali...a notte

negre.. .Libro Secondo4 Girolamo Scotto Venice 1552 155218 SATB complete

II [67] Various Authors (ed.) Barrè, Antonio

Libro Primo delle Muse. 4 Antonio Barrè Rome 1555 155527 SATB complete

II [68] Gero, Jhan Libro primo delliM adrigali.. .a notte nere

4 Girolamo Scotto Venice 1549 G 1647 SATB complete

II [69] Veggio, Claudio M a Primo Libro di M adrigali.. .ristampato

4 Antonio Cardano Venice 1545 V1088 SATB complete

II [70] Perego, Camillo Tutti li suoi M adrigali... 4 Girolamo Scotto Venice 1555 P1320 SATB complete

II [71] Berchem, Jacquet de

Primo Libro degli M adrigali...

4 Girolamo Scotto Venice 1555 B1978 SATB complete

II [72] Montagnana, Rinaldo da

Canzone...con alcuni Madrigali aierosi.. .Libro Primo..ancora una Canzone di Fra Daniele Vicintino

4 Girolamo Scotto Venice 1558 R1722 SATB complete

II [7 3 ] Ruffo, Vincenzo Primo Libro de Madrigali a notte negre

4 Antonio Gardano Venice 1545 R3065 SATB complete

II [7 4 ] Lassus, Orlande de M adrigali.. .Libro prim o... 4 Girolamo Scotto Venice 1562 L771 SATB complete

II [75 ] Verdelot, Philippe I Madrigali del Primo et Secondo Libro...corretti da Claudio da Correggio

4 Claudio da Merulo Venice 1566 156 6 22 SATB complete

II [7 6 ] Taglia, Pietro Primo Libro de M adrigali... 4 Francesco & Simone Moscheni

Milan 1555 T28 SATB complete

III [7 7 ] Rore, Cipriano de Madrigali Cromatici, Libro Primo

5 Girolamo Scotto Venice 1562 R2084 SATB5 complete

I I I [78] Rore, Cipriano de Madrigali Cromatici, Libro Secondo

5 Girolamo Scotto Venice 1562 NOT IN RISM SATB5 complete OR CNCE

I I I [7 9 ] Rore, Cipriano de Madrigali Cromatici, Libro Terzo

5 Girolamo Scotto Venice 1562 R2493 SATB5 complete

III [80] Rore, Cipriano de Madrigali Cromatici, Libro Quarto

5 Girolamo Scotto Venice 1562 R2497 SATB5 complete

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No. Composer Title Voices Printer City Year RISM /CNCE Voice parts held

I l l [81] Fiesco, Ginlio M adrigali.. .et quattro dialoghi...

4 0 ,6,7,8 Girolamo Scotto Venice 1563 F715 SATB5 complete

III [82] Various Authors Libro Primo delle M use... gionta d’una Canzon et uno Madrigale a Otto

5 + 8 Girolamo Scotto Venice 1561 1561s SATB5 complete

III [83] Various Authors I dolci et harmoniosi concerti...Libro Primo

5 Girolamo Scotto Venice 1562 15625 SATB5 complete

HI [84] Various Authors I dolci et harmoniosiconcerti.. .Libro Secondo

5 Girolamo Scotto Venice 1562 15626 SATB5 complete

III [85] Various Authors; (ed.) Bene, G. dal

Musica spirituale. Libro Primo di canzon et madrigali

5 Girolamo Scotto Venice 1563 15637 SATB5 complete

I I I [86] Morales, Cristobal + Luppi, Joantiis

Quinque Missarum 5 Girolamo Scotto Venice 1563 NO T IN RISM O RCN CE

SATB5 complete

IV + V II [87] Palestrina, Giovanni Pierluigi da

M ottetorum... Liber Quartus11

5 Heirs o f Girolamo Scotto

Venice 1596 P721 TB5

IV + V II [88] Palestrina, Giovanni Pierluigi da

Offertoria totius ann i... Pars secunda

5 Francesco Coattino Rome 1593 P749 TB5

IV +V II [89] Vecoli, Francesco Primo Libro de Motetti 5 Heirs o f Girolamo Scotto

Venice 1580 V 1082 TB5

IV + V II [90] Moura, Pedro Àlvares de

Liber Primus Motetorum 4 ,5.6,7 Niccolo Mutii Rome 1594 M 3953 TB5

V [91] Rore, Cipriano de Sacrae Cantiones quae dicuntus Motecta

5.6,7 Angelo Gardano Venice 1595 R2478 a 5

V [92] Merulo, Claudio Primo Libro de Motetti 6 Angelo Gardano Venice 1595 M 2362 a 5

V [93] Belli, Giulio Psalmi ad Vesperas... Magnificam

8 Angelo Gardano Venice 1596 B1752 a 5

V I [94] Cornet, Severin Cantiones Musicae 5,6 ,7,8 Chistopher Plantin Antwerp 1581 C3945 ContBó

V I [95] Cornet, Severin Chansons Franyoyscs 5,6,8 Chistopher Plantin Antwerp 1581 C3946 ContBó

V I [96] Cornet, Severin Madrigali 5,6 ,7,8 Chistopher Plantin Antwerp 1581 C3947 ContBó

V III [97] Guerrero, Francisco Motteta1’ 4,5,6,8 Heirs o f Antonio Gardano

Venice 1570 G4871 SAB56

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Appendix 1 continued

No. Composer Title Voices Printer City Year R1SM /CNCE Voiceparts held

V III [98] Clavijo Del Castillo, Bernard.

Motecta ad canendum ... Quam cum instrumentis composta

4 .5.6 ,8 Alessandro Gardano Rome 1588 C2641 SAB56

IX [99] Willaert, Adrian Motecta Liber Primus 4 Girolamo Scotto Venice 1539 W1106 AIX [100] Willaert, Adrian Motecta Liber Secundus 4 Antonio Cadano Venice 1545 W1109 AIX [ioi] M antova, Jachet M otecta.. .Liber Primus 4 Antonio Gardano Venice 1545 Jit AIX[l02] Various Authors Diverse m odulaciones...

fructus4 Antonio Gardano Venice 1549 154910 A

IX [io3 ] Gombert, Nicola M otecta.. .Liber Primus 4 Antonio Gardano Venice 1541 G2979 AIXU04] Morales,

Cristobai deMotecta 4 Antonio Gardano Venice 1546 M3606 A

IXU05] Verdelot Et Altri.

M otteti.. .Libro Primo 4 Girolamo Scotto Venice 1549 15499A A

“'Not catalogued by Anglés because it was then held in the Archivo General Diocesano; it probably belonged to ‘Joan de Bustillo. Maestro’.RISM M 3602 gives the date 1587 instead o f 1597. The siglum can be retained since it is a unicum.

'" [ his has been missing since at least 2004 according to a note by López-Calo.Duplicate o f 14 [26]; as it is bound with other editions, a separate number has to be maintained.

eThis partbook belongs to no.28 [44]; it was erroneously catalogued separately.This partbook belongs to no.35 which contains motets by M olinaro (35 [52]) and Varotto’s Liber Primus Missarum (34 [51]) although these are bound in in­

verse order. They should have the same number.gNot referred to in Anglés. Incomplete; it ends with the voiceparts for Choir II o f Varotto’s Mass ai2.Not referred to in Anglés. Contains the B2 o f Varotto’s Masses a8 and all the voiceparts o f Choir III for the Mass ai2. Together with the parts preserved in no.35,

the following survive: I: AB; II: B; III. Clearly there are two separate volumes which would not have been used directly for performance.'SATB bound in vellum notated with chant and with inscription ‘De la Santa Iglesia Catedral de Valladolid’. The separate S partbook bound in plain vellum and inscribed: ‘Este libro de canto de órgano es de el Señor maestro de capilla de esta sancta iglesia cathedral de Valladolid. Año de mil seiscientos i setenta y siete’ . This partbook thus belonged to Miguel Gómez Camargo and the full set to Jerónimo.JNot included by Anglés. One o f the copies o f B2, although bound in the same vellum, has an inscription on the cover (‘octavus’), while the other partbooks are blank. Not included b y Anglés; as a result the partbook for 6 was erroneously catalogued as no.17.

*See notes.mThe partbook o f Cantus II, Choir I, in almost folio size (like the organ score), contains the extra voices for the pieces 09 (Missa pro Victoria), and a u (Missa Laetatus; M agnificat tone VI and the psalm Laetatum), as well as a sequence o f works 04, copied complete in this partbook in choirbook format (Te Deum laudamus; Vetii creator spiritus; Pange lingua; Ave maris Stella; Nunc dimittis; Asperges; Vidi aquam and Et misericordiae eius). It is included in this collection because o f its similar vellum binding, as opposed to the dyed leather and stamped gold cover o f the previous collection. A complete set would be obtained by adding this part to 40 [59].nAnglés made IV and VII into two different collections although they are in fact only one; the first includes TB and the second only 5.“This edition was also found in 11 [18], although it is now lost.

Soterraña Aguirre is a lecturer at Valladolid University and specializes in Spanish music of the 15th and 16th centuries. Her doctoral thesis was published in 1998 as Un manuscrito para un convento: El ‘Libro de Música’ dedicado a Sor Luisa en 1633. Estudio y edición crítica (Valladolid, 1998). She currently heads two research projects: ‘El mundo musical urbano en la corona de Castilla: producción, difusión y recepción’ (I+D, HUM2006) and ‘Catalogación y estudio de los fondos musicales del Archivo Musical de la Catedral de Valladolid’. She is an Honorary Research Fellow at Melbourne University. sote.aguirre@ gmail.com

1 Adrian Willaert, Motecta liber primus (Venice, 1539), RISM W1106. RISM sigla are used throughout this study, from series a / i for the single­author works and from series b / i for the anthologies. Italian sources not included in either o f these are referenced according to the on-line database EDIT 16 (http://edit16.iccu.sbn.it/web_iccu/ ihome.htm). Library names are also cited according to RISM sigla.2 S. López de Velasco, Libro de Missas, motetes, salmos, magnificats (Madrid, 1628), L2822.

3 Among known historical libraries the most noteworthy is that of Ferdinand Columbus (1488-1539), son of Christopher Columbus, who donated his collection of 172 books of printed music from before 1535 to Seville Cathedral, though it is now widely dispersed (see C. W. Chapman, ‘Printed collections of polyphonic music owned by Ferdinand Columbus’, Journal o f the American Musicological Society, xxi (1968), pp.34-84). Chronologically the collection in Valladolid Cathedral follows on from the Columbus collection. Others of relevance are held at the Conservatorio Superior de Madrid, originally from the Monasterio de Uclés, centre of the Orden de Santiago, that contained over 80 partbooks printed during the 16th century of which 43 are extant (see T. Knighton, Catálogo de los impresos musicales de la Colección de Uclés (Cuenca, 2009)), or that o f Tarazona Cathedral with 34 surviving volumes (see P. Calahorra Martínez, ‘Los fondos musicales del siglo XVI de la Catedral de Tarazona. I. Inventario’, Nassarre, viii (1992), pp.9-56).

4 H. Anglés, ‘El Archivo musical de la Catedral de Valladolid’, Anuario Musical, iii (1948), pp.59-108. Recently J. López-Calo has reproduced the

contents in ‘Catálogo del Archivo Musical (I). Volúmenes encuadernados’, vol.i of La música en la Catedral de Valladolid, 7 vols. (Valladolid, 2007), pp.222-42.

5 Anglés, ‘El Archivo musical’, p.6o: ‘testimonio del arte musical ejecutado en el palacio real y otras casas nobles de la villa del siglo XVI’.

6 On the sojourns of Charles V and Philip II in Valladolid, see B. Bennassar, Valladolid en el Siglo de Oro. Una ciudad de Castilla y su entorno agrario en el siglo XVI (Valladolid, 1989), p.118, n.11. In addition, Valladolid was the habitual residence of the Empress Isabel and her family.

7 A. Navagero, ‘Viaje por España del Magnifico Micer Andrés Navagero. Embajador de Venecia al Emperador Carlos V ’, in J. García Mercadal, Viajes de extranjeros por España y Portugal (Madrid, 1952), i, p.876.

8 Music books printed in Valladolid during the 16th century include B. de Molina, Arte de canto llano (1503,1506 and 1509); L. de Narváez, Los seys libros del Delphin de música de cifras para tañer vihuela (1538); E. de Valderrábano, Libro de música de vihuela, intitulado Silva de Sirenas (1547); T. de Santa María, Libro llamado arte de tañer fantasía (1565); E. Daza, Libro de música en cifras para vihuela, intitulado El Parnaso (1576); G. de la Cintera, Coplas y chistes muy graciosos para cantar y tañer al tono de la vigüela (1580); F. de Montanos, Arte de Música theórica y práctica (1592); and the anonymous Modo de cantar el Deus in adjutorium deum intende printed by A. Merchán in 1599-

9 Bennassar, Valladolid en el siglo de Oro, pp.453ff. Erasmus’s influence in Valladolid and its university serves as a classic example of the penetration of

new European ideas. The role of music in the city is the subject of the research project ‘El mundo musical urbano en la Corona de Castilla: Madrid, Sevilla y Valladolid /Urban soundscapes in Renaissance Spain’ currently co-ordinated by the author. The articles here by John Griffiths, Cristina Diego and Juan Ruiz reflect this work, as well as the chapter ‘La musique dans son contexte urbain: la vie musicale à Valladolid au XVIe siècle’ in Cristina Diego’s doctoral thesis ‘Un nouvel apport à l’étude de la musique espagnole de la Renaissance: le manuscrit 5 de la cathédrale de Valladolid et son contexte’ (Université de Paris IV-Sorbonne, 2005).

10 Abundant references to this are found, for example, in I. Fenlon and T. Knighton (eds.), Early music printing and publishing in the Iberian world (Kassel, 2006).

11 Further books in the section of the collection with Arabic numeration were bound together: nos. 7 [14-15] 13 [21-22-23], 14 [24-25-26), 15 [27-28],22 [35-36], 28 [43-44]. 35 [51-52] and 39 [55- 56- 57- 58].

12 Since January 2007 I have been leading a group that is working to catalogue and digitize the music holdings of the Archive of Valladolid Cathedral, enabling a recataloguing of the collection. So far more than 2,000 works have been catalogued, principally from loose sheets. Even though it represents only a small part of the total of the archive’s holdings, we hope to be able to open the site for consultation on the internet soon.

13 An example of this is Rogier’s Missae sex found in E-CoAC, E-Mn, E-MA, E-PAS, E-Tc, E-V, E-Zac, as well as in several Latin American cathedrals including MEX-Pc, Sucre (Bolivia) and Cuzco (Peru). Vivanco’s Magnificats

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are found in E-SE and E-Tc, and also in Puebla and US-NYhsa, a manuscript of Spanish provenance. A similar case is Guerrero’s Liber vesperarum found in Seville, Segovia and Mexico cathedrals (16 copies were sent to the Americas in 1601). Regarding this book, its works and its influence, see J. Ruiz Jiménez,La librería de canto de órgano. Creacwn y pervivencia del repertorio del Renacimiento en la actividad musical de la catedral de Sevilla (Granada, 2007), pp.99-133.

14 The only known copies of this are in Spain E-BA, E-Bc and E-V. Anglés was not able to include it in his inventory as it was at that time located in the Archivo General Diocesano in Valladolid.

15 Ruiz Jiménez, La librería de canto de órgano, pp.i43Íf: ‘ser evaluado, tasado y adquirido’.

16 ‘A 25 dias del mes de octubre el s°r presidente y cab° determinaron se conprasen los libros de magnificas y imnos y missas de gerrero Passo por mi su s° el D°r Al° de mendoca’ (‘On 25 October the President and Chapter agreed to buy the books of Magnificat, Hymns and Masses of Guerrero. Declared before me, Dr Alonso de Mendoza’) (Actas Capitulares [AC], 1585, f.59r). The Masses may have been the more recent second book of 1582, rather than the first book.

17 ‘Veinte ducados al maestro de capilla de Salamanca por un libro de magnificats de su composición que envió’ (‘Twenty ducats to the chapelmaster for a book of Magnificats composed by him that he sent’ ) (AC, 1-10-1608, f.288r). The now lost book of Masses by Juan Esquivel de Barahona published in 1608 and bought for 5 ducados on 13 February 1609 was also acquired in this manner (AC, f.30ir).

18 Ruiz-Jiménez, La librería de canto de órgano, p.198.

19 G. P. Flaccomio, Liber Primus concentus in duos distincti chows in quibus Vespere, Missa, Sacreque Cantiones in nativitate Beatae Mariae Virginis aliarunque virginum festivitatibus decantandi continentur (Venice, 1611), moo.

20 The composer sent copies to at least the cathedrals of Oviedo, Granada,

Teruel, Palencia and the Capilla Real in Granada— which did not accept it.Today it is preserved in Spain in E-Bc, E-JA, E-Mn, E-MO, E-PAS, E-V (2 copies), E-VAc and E-VAcp.

21 If an edition contains Masses or other liturgical forms I have considered it as belonging to this third group, although it may also include motets. Outside the three groups there are only the Cantiones turn sacrae... turn profanae by J. Brouck (19(32]); the Libro de ricercari by S. Raval (38(54]) and the Chansons françoyses by S. Cornet(VI [95]).22 These are the 1563 edition of madrigals by Giulio Fiesco (III [81]), that o f 1573 prepared by Antonio Baseo (36(53]) and the 1613 book by Gregorio Francia Romano. The 1582 motet books by L’Estocart (32(48]) and Girolamo Bartei of 1618 (42(61]) and the Libro de ricercari by Sebastian Raval printed in 1596 (38(54]).

23 As far as I have been able to ascertain, only one copy survives outside Valladolid, for, among others, the following publications: Libro primo delle muse, ed. Barré; those of Clavijo del Castillo, G. Domenico Ripalta, Stefano Limido, Camillo Perego,Pietro Taglia, Pedro Âlvares de Moura.

24 I. Fenlon, ‘Artus Taberniel: music printing and the book trade in Renaissance Salamanca’, in Early music printing, p.125.

25 This library holds the same collection of editions bound together as in Valladolid, but in a different order (see Fenlon, ‘Artus Taberniel’, p.146), and a further example of the books bound together in a single volume is located in the Bibliothèque Nationale in Paris. The fact that the three books were published in the same year and are by the same author may account for this.

26 E. Ros-Fâbregas, ‘Script and print: the transmission of non-Iberian polyphony in Renaissance Barcelona’, in Early music printing, p.317. On Milan as an example of a Counter Reformation city presided over by Cardinal Borromeo and the role of the printing press there, see I. Fenlon ‘Music printing and the book trade’, pp.119-21.

27 An insufficient number of music inventories have been studied to allow solid conclusions concerning the distribution of books in Spain. A number of observations can be made, however, especially concerning booksellers, given that their inventories list the material that they had for sale. From these we know that books from Milan were readily available in Barcelona in the early 17th century, but apparently not to the same extent in Medina del Campo.

28 Only one other copy survived in both cases. Pedro Alvares de Moura’s Liber primus motetorum (IV+VII[9o]) is held in the Biblioteca Geral of Coimbra University, and Clavijo del Castillo’s Motecta ad canendum ... Quam cum instrumentis composta of Clavijo del Castillo (VIII [98]) Regensburg.

29 On relations between Raval and the Viceroy of Sicily, see O. Rees, ‘Printed music, Portuguese musicians, Roman patronage: two case studies’, in Early music printing, pp.292-4. Other composers represented in the Valladolid collection who had connections with Spain’s Italian dominions include Felis who was employed in the cathedrals o f Bari and Naples, and Baseo, chapelmaster in Lecce.

30 Ros-Fabregas, ‘The transmission of non-Iberian polyphony’, pp.297-339.

31 Also represented in Valladolid Cathedral in Ms.22 (Masses) and Ms.17 (motets). On the circulation and esteem of Palestrina sources in Spain, see J. Lopez-Calo, ‘Palestrina a la controriforma musicale in Spagna’, in Palestrina e la sua presenza nella musica e nella cultura europea dal suo tempo ad oggi (Palestrina, 1991), pp.239-50, and O. Rees, ‘Roman polyphony at Tarazona’, Early Music, xxiii (1995),p p .4 ri-i9 .

32 The collection catalogued as 11(19] has recently disappeared, with only VIII [97] remaining.

33 T. M. Borgerding, ‘The motet and Spanish religiosity ca. 1550-1610’, Ph.D. diss., University of Michigan (1997), pp.25—7.

34 An example is that o f Duarte Lobo and his book of Masses (1621) o f which two exemplars are preserved in Seville

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Cathedral, one in the choir, and the other belonging to the chapel o f the Virgen de la Antigua ‘para los ministriles en los versos que alternan con la capilla en las salves...’ (‘for the minstrels in the verses who alternate with the choir in the Salves’). See Ruiz-Jiménez, La librería de canto de órgano, p.309.

35 Archivo Histórico Provincial de Valladolid (AHPV), Legajo 22, ff.48ff. The music collection described in the inventory is large by comparison with other institutions of greater renown, such as the inventory made in Zaragoza a year earlier. Nonetheless, in the Valladolid inventory, there is a noticeably smaller number of manuscripts copied on parchment, and a greater presence of small anthologies and partbooks. This was therefore probably a less valuable collection and which made more extensive use of materials that were not prepared by or in the cathedral itself. On Zaragoza, see T. Knighton, ‘La circulación de la polifonía europea en el medio urbano: libros impresos de música en la Zaragoza de mediados del siglo XVI’, in Música y cultura urbana en la Edad Moderna, ed. A. Bombi et al. (Valencia, 2005), pp.337- 4 9 -36 ‘quince libros de motetes que dio el prior don Pero Gómez de Villarroel.’He was evidently a man interested in letters inasmuch as he was the dedicatee of Antonio de Segovia’s Murmuración de vicios, a manera de diálogo entre dos amigos (Valladolid, 1547).37 Juan Valderas was a temporary chapelmaster who filled the position on various occasions during the absences o f others. I have not been able to determine if the reason for this circumstance is attributable to him fulfilling other more highly valued functions in the cathedral or if it was due to his musical talent being insufficient for him to hold the position permanently.

38 The first reference to Valderas reads: ‘Five books of Masses by Morales that were given the prebendary Valderas’. Considering that this is a reference to an edition, it could be either the Quinqué missae Moralis Hispani, ac Jacheti liber primus cum quinqué vocibus (Venice, 1540), or the Liber primus quinqué missarum cum

quinqué vocibus, excellentissimi musici Moralis Hispani, ac Jacheti (Venice, 1542).

39 They could be the Magnificats...cum quatuor vocibus. Liber primus by Morales (Venice, 1545) (Item 2), or any one of another four or five less identifiable editions.

40 See, for example, the case of the two books of polyphony donated by Jorge de Santa Maria in ‘recognition of his great debt to the service’ (‘reconoscimiento de lo mucho que devía al servicio’) of Toledo Cathedral, in M. Noone, ‘Printed polyphony acquired by Toledo Cathedral, 1532-1669’, in Early music printing, p.251.

41 Other examples are found inE. Ros-Fábregas, ‘Libros de música en bibliotecas españolas del siglo XVI’, Pliegos de Bibliofilia, xv/3 (2001), pp.37-62; xvi/4 (2001), pp.33-46; and xvii/i (2002), pp.17-54, or the already mentioned collection from the Monasterio de Uclés, probably donated by a knight of the Order of Santiago.

42 I would like to thank Carmelo Caballero Fernández-Rufete for allowing me access to this document.

43 ‘Memorial de los libros y papeles de música que dexo a esta santa iglesia de Valladolid Señor M° Reverendo y Maestro de capilla della Jerónimo de León por su testamento a Cristóbal de Madrigal en 25 de junio de 629, falleció a 26 del dicho (mes y año).’

44 It has been impossible for me to identify, for example, ‘Otro juego de quatro cuadernos de madrigales con cubierta de papel de estraza’ (‘Another set o f four books of madrigals with brown paper covers’) (Item 28).

45 ‘chantre y el racionero Alvarez Gómez de la Cruz pongan en razón los libros de canto llano y de canto de órgano y que los entreguen al maestro de capilla (entonces Juan Padilla), lo mismo que los del maestro que murió.’ AC, 20 October 1629 (f.504r).

46 One of the items in the Memorial of Jerónimo’s books lists: ‘quatro cuadernos de madrigales de Pascalio Lestocartio’ (‘four books of madrigals by Pascalio Lestocartio’). As far as I can determine, no madrigals by this composer were ever published. It was certainly not a manuscript as the scribe

would have annotated ‘de mano’ (by hand) as elsewhere in the document. It is possible that it is a reference to the Sacrae cantiones by L’Estocart which are held in the cathedral (32(48]). Something similar could have occurred with Lassus’s Sacrae cantiones (28(43]). One of the entries in the inventory includes ‘seis libretes de canciones ytalianas que valen 12 reales’ (‘six partbooks of Italian songs valued at 12 reales'). This does not refer to madrigals, but ‘canciones’. The books listed either side of this in the inventory are by Wert and Monte, single-author volumes each valued at 5 reales, as opposed to 12. The copy that includes the Sacrae cantiones also contains the Sacrae cantiones ... liber secundus, which would account for the sixth partbook.

47 In determining value, as well as format, the name of the author of the first book in each compilation also evidently carried some weight.48 Copies often remained for a long time in the shops of book merchants: an example would be Vásquez’s Agenda defunctorum found in the Valladolid collection. This book was printed in 1556 but was still in the inventory of Barcelona book merchant Onofre Gori in 1595. See Ros-Fábregas, ‘Libros de música’, inventario 61/1-2. On the longevity of music books, see T. Carter, ‘Music-selling in late sixteenth-century Florence: the bookshop of Piero di Giuliano Morosi’ , Music & Letters, lxx (1989), pp.483-504, especially pp.490-1, and T. Knighton, ‘Petrucci’s books in early sixteenth-century Spain’, in Petrucci e la stampa musicale. Atti del convegno internazionale, ed. G. Cattin andP. dalla Vecchia (Venice, 2005), pp.623-42, esp. pp.623 and 633.

49 ‘por particulares intentos había aceptado una canonjía de la iglesia de Berlanga que el señor Condestable le había dado, y así, con licencia del Cabildo se iría a su residencia con brevedad ... que el cabildo se serviría de recibir en su lugar en el magisterio a Hierónimo de León, maestro de capilla de Berlanga, de quien el dicho hizo tan buena relación.’ AC, 5 November 1627 (f.448).

50 ‘en 1540 casi no queda imprenta ni librero europeo importante que no

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cuente con tienda y corresponsal en Medina.’ A. Rojo Vega, ‘El negocio del libro en Medina del Campo. Siglo XVI y XVII’, in Investigaciones Históricas. Época Moderna y Contemporánea, vol.ii (Valladolid, 1988), pp.19-26. Through an account of a visit in 1551 to the bookstores of Medina by the inquisitor Valdés, it is known that there were 17 book dealers of French, Flemish, Italian and Spanish origin, as well as one shop run by a Greek. In addition, there were some 40 smaller retail book stores.

51 I wish to thank John Griffiths for having facilitated this document from the AHPV, Legajo 7060, ff.237ff.

52 In total, there are six books issued between 1600 and 1618: Victoria’s Masses of 1600 (40(59]); Ripalta, Missa, psalmi, ad verperas of 1604 (25(39]); Flaccomio, Liber primus.. .vespere, Missa, sacraeque cantiones of 1611 (io[i8]); and Peter Philips, Cantiones sacrae of 1612 (12(20]), as well as the two books cited.

53 A. Rojo Vega, Impresores, libreros y papeleros en Medina del Campo y Valladolid. Siglo XVII (Salamanca, '994)i P-51-

54 This is only a first approximation of the reception and interpretation of this repertory from the viewpoint of the church; a much more comprehensive study of this field is needed.

55 Rees has suggested that this book was brought to Valladolid by Cardenal Coloma, although it is more probable that it belonged to Leon’s collection. What is beyond doubt is that the edition of Barre’s madrigals published in Rome padded out his library; see Rees, ‘Printed music’, pp.283-98.

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