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Soterran a A g u irre R in co n

The formation o f an exceptional library: early printed

music books atValladolid Cathedral

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 Willaerts
first book of motets of 1539,1 through to the Missas,
motetes by Sebastin Lpez de Velasco published in
1628.2 The collection comprises 105 entries, repre
senting 102 different editions; 35 per cent contains
secular repertory, around 90 per cent is by nonSpanish composers, and the collection includes a
few unica.3 The Spanish musicologist Higinio Angls
first made scholars aware of the collection through
his 1948 inventory. Although incomplete and not
without error, it has served a valuable purpose, par
ticularly for researchers working on specific compos
ers 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 Angls did evocatively suggest
that it could be regarded as a testament to the musi
cal art performed in the royal palace and other noble
homes of the city in the sixteenth century.5
Certainly, Valladolid experienced an intense aristocratization 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 Navagero, who visited the town in 1527 on the occasion
of the birth of Philip II, described it as follows:

he

In Valladolid there are m any craftsmen o f all kinds and

everything they make is very good quality, especially
the silv e r...; perhaps this is due to the fact that the court
habitually resides here and consequently there are m any
nobles living in V alladolid, and lords who have fine
houses, and am ong them the C ount o f Benavente who

has a beautiful palace. There are also m any local and

foreign merchants who live there, due to the convenience
o f attending the Castilian fairs which are held in Medina
del Cam po, V illalon and M edina del Rioseco.7

Even though the court was installed in Madrid

from 1562, and was only briefly reconstituted in Val
ladolid 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 exist
ence of such a notable library. The final part of this
study aims to add to knowledge concerning the

Early Music, Vol. xxxvn, No. 3 The Author 20 0 9 . Published by Oxford University Press. All rights reserved.
doi:10 . 1093 /em/cap038 , available online atwww.em.oxfordjournals.org

v o
:i 1

circulation of foreign music in the Iberian penin

sula, thus complementing other recent scholarship
that has shown the reception of imported music to
have been significantly more extensive than was pre
viously believed.10
The Valladolid collection has been divided into
three sections: large printed editions in choirbook
format, individual partbooks, and volumes com
prising numerous partbooks bound together as
compilations. Angls numbered the choirbooks in
Arabic numerals 1-7, also numbering the individual
partbooks 1-44, and the bound compilation vol
umes in roman numerals I-IX, but with no subsys
tem 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 dif
ferent 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 con
secutively and placing these new numbers in square
brackets following the Angls numbers. The choir
books 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 Angls 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 accom
panying inventory (see the Appendix). The collec
tion is now catalogued in this way in the Archivo
Musical o f 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 o f any comparable insti
tution. They are liturgical works by Spanish com
posers or composers who worked in Spain with
the exception of the renowned Portuguese Duarte
Lobo. All of these editions are found in profu
sion throughout the peninsula.13 This group also
includes a copy o f the slightly smaller Agenda
380

EARLY MUSIC

AUGUST

2009

defunctorum of Juan Vsquez, 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 belong
ings 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 chap
ter in the hope of obtaining some kind of reward. In
such cases, the chapter would often assign the eval
uation to an expert, usually the maestro de capilla
or another renowned member of the chapel. This
is how Guerreros Liber vesperarum was acquired
by Valladolid Cathedral in 1585, just a year after
publication,16 and how the 1607 book of Magnifi
cats by Sebastin de Vivanco entered the collection
in 1608.17 Logically, the same system applied to the
acquisition of partbooks. A good example is the cir
culation 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
Jan.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 simi
lar may have occurred with Lpez 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

motets and 22 per cent Masses and other liturgical

genres.21 Among the best-known composers repre
sented are Arcadelt, Guerrero, Marenzio, Merulo,
Monte, Palestrina, Wert, Rore, Morales and Lassus.
This includes unica by the last three on the list:
Girolamo Scottos 1566 edition of the Liber primus
of five-voice motets by Lassus (28(43]), Angelo
Gardanos 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 Rores 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
o f 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 edi

tions, but not exclusively. Table 1 shows the distribu
tion 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 col
lection originates. The accessibility of these editions
depends, logically, not only on commercial distribu
tion 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 facilitat
ing 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 fam
ily, 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
Venice
Antwerp

15305
1

1540s
9

Rome
M ilan
M adrid
Lyon
Lisbon
Naples
Palermo
Parma
Salamanca

5
1

1560s

1570s

14

11
1

1580s
6
3

1590s

1600s

1610+

total

13
2

2
1
1

1
1
1

Seville
total

1550s

1
1

15

14

13

23

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

EARLY MUSIC

AUGUST 2009

38l

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 Col
lege 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 Derings 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 Taglias 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 domi
nant during the closing decades o f 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 princi
pally through Cartagena. To some extent, this helps
explain the closer connection with and the greater
presence o f 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 madri
gal collection by Barr, the unique copy of the
motets of Bartei o f 1618, as well as books by Pedro
Alvares de Moura and Clavijo del Castillo.28 Equally
significant is the small yet suggestive number of
382

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2009

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 LEstocart (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 compos
ers as well as by foreigners working in Spain such as
Stephano Limido whose Armonia espiritual was pub
lished 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 instrumen
talists or organists with a small number of publica
tions to their name and a narrow sphere of influence.
The presence of their music in Valladolid is perhaps
remarkable, and no doubt demonstrates the distri
bution 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 secundus 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

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
composers 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 Palest
rina, as well as others mentioned above by Flaccomio
and Lpez de Velasco, the collection also includes
additional duplicates of publications by the renowned
Spanish masters Toms Luis de Victoria and Fran
cisco Guerrero. In the case of Guerreros widely
distributed Motteta (Venice, 1570),32 Borgerding has
suggested that one possible reason for its popularity
may be that Guerreros 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 Vic
torias motets published in Venice in 1572 and Rome
in 1583 (26 [40] and i6bis [41] respectively), one of
which belonged to the chapelmaster Miguel Gmez
Camargo. The same is true for his Missae, Magnifi
c a 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 tripli
cate) 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 inven
tory, 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 chapel
master and prebendary Juan Valderas of Masses by
Morales.37 The second reference to him in the inven
tory 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 cathe
dral 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), Moraless Mis
sarum 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 com
pilation 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 disappear
ance 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 institu
tions was a widespread practice, sometimes with the
intention of achieving corresponding spiritual rec
ompense, or as a way of paying off some kind o fdebt
to the church.40 Such gifts could be made by the liv
ing, as an offering, and in such cases it was custom
ary 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 inherit
ances, 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

EARLY MUSIC

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383

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 o f Jernimo de Len,
a little-known chapelmaster of Valladolid Cathe
dral. Jernimo donated his collection o f 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, Jernimo de Len according to his
will (dictated to) Cristobal de Madrigal on 25 June

tations were made in October 1629 when, according

to the chapter minutes, the precentor and the preb
endary Alvarez Gmez 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 collec
tion of printed music. It begins with a list of the six
larger books, of folio size or larger, that includes Rogiers 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 now

16 2.9 , h e d ie d o n th e 2 6 t h o f th e s a m e ( m o n t h a n d

incomplete. In total, tlicy represent almost 70 per cent

year).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, writ
ten by an amanuensis who took the trouble to iden
tify 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 Jernimo de Len himself, a now lost
Mass and Magnificat. Another hand added a series
of brief comments in the left-hand margin along
side 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 o f 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 posses
sion of Maestro Padilla (son ytalianos teles el
maestro Padilla), a reference to Jernimo de Lens
successor and an indirect reference to the use of
these sources in the cathedral. Perhaps these anno
384

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2009

O f ttie surviving volumes.

In t h e A p p e n d i x , t h e s e 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 Jeronimos donation except for
the 1611 Flaccomio print. It is also the source of all the
printed sources earlier than the 1570s, with the-exception of Palestrinas Liber primus... motettorum of 1569
and the two editions of motets by Lassus (28 [43 and
44]). The oldest edition in the collection is Willaerts
Motecta liber primus of 1539, and the two most recent,
both unica, are Francia Romanos Primo libro de madrigali 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 LEstocart (32(48])
and Lassus (28(43] )>belonged to Jernimo.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 compi
lation 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 iden
tifiable within Jeronimos inventory. Compilation

II is described as four books of Madrigals in Ital

ian 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 follow
ing are Another five books with the same binding
of Madrigals by Cipriano Roreli valued at twenty
reales (Otros cinco libros de la misma enquadernacion 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 bind
ing. 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 nec
essarily 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 chapelmasters library with
the surviving music prints in the cathedral archive,
logically enough, reveals many shared characteris
tics, 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 Marenzios
madrigal books of 1593 and 1594 (15[28], 15[27]), as
well as five Roman editions ranging from Barres early
madrigal book through to the motets of Bartei of 1618
described above. Only two books are of Milanese ori
gin: the motets of Taglia and Ripalta.
Leons collection of books is all the more remark
able when it is considered in the context of its owner.
He may be described at best as a second-rate com
poser 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 Daz de Luco, who donated
44 Libros de msica to Calahorra Calahorra in 1556,
including numerous Italian editions. The unmask
ing 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 ques
tions, underscoring the need to explore further the
importance of such minor figures within the history
of the book.
The earliest information concerning Len 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 Jernimo de Len, 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 appreci
ated during his tenure in Valladolid is found in the
chapters decision, taken in sacris on 6 June 1629, to
give him a prebend that had fallen vacant. This deci
sion, 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 emphati
cally in the negative and with the express prohibi
tion 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

EARLY MUSIC

AUGUST 2009

385

June, Jernimo dictated his will on 25 June, died the

following day and was buried on 27 June.
How would Len have acquired such a music col
lection? Was it possibly donated to him by a family
member or friend? A sentence in the Memorial per
haps 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 tena 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 mer
chant, 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 o f Castile and the highest representative
of the king in his absence. This position was held at
the time by Don Bernardino Fernndez 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 Lens collection.
Lens 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 bookdistribution 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 estab
lish permanent shops in the town. This development
coincides exactly with the dates of the oldest editions
in Jeronimos collection. The shops in Medina traded
386

EARLY MUSIC

AUGUST

2009

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, Alcal
de Henares, Valladolid, Seville and Toledo. In turn,
each city had its own area of influence in which busi
ness gradually changed from wholesale to retail. Nev
ertheless, 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 Compost
ela, among others.
Foreign books arrived in the town along two dif
ferent 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 trans
ported 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 o f 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
o f 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 Mriz (Coimbra),
Dominico Basa (Rome), Girolamo Scotto and the
heirs of Tomaso Giunta and Filippo Giunta in Ven
ice, as well as others in Paris and Nantes. Concern
ing other book dealers in Medina, the surviving

inventory of Trechsels 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
o f 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 com
posers appear in Lens 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 chapelmasters collection included
books published as late as 16 18 .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 Sala
manca, 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
Len assembled part of his library. Despite this situ
ation, 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 chapelmasters collec
tion, 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 Simn Rodrguez Calvo for 187,500
maravedes, over 5,000 reales,53
There are many more questions to be answered
concerning Lens collection, such as whether it was
used by the cathedral after its donation. We know
that the chapelmaster who replaced Jernimo took
some of the collections of madrigals and that he
undoubtedly used Rogiers 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 institutions 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 cho
sen 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 Harn and which
was possibly intended for use by the minstrels given
the large amount of untexted secular music it con
tains. It includes works such as Ahi dispietato amor
by Striggio from II secondo libro di madrigali (7(14] ),
Palestrinas 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 Derings Canzonette for three
voices and continuo of 1620. This will form the basis
for subsequent research in which the cities of Val
ladolid and Medina del Campo, and the booksellers
active there in the early 17th century, will be the prin
cipal focus.
Translated by John Griffiths

EARLY MUSIC

AUGUST 2009

3^7

E AR L Y
MU S I C

388

Appendix: Printed music in Valladolid Cathedral, 1539 -16 28

Key: works shown in italics are unica; works shown in bold are duplicated in the collection; works with shaded background definitdy belonged to Jeronim o de
Leon (possibly others belonged to him , but only the confirm ed books are indicated here); when two copies o f a given edition art catalogued under the same
number, they are distinguished b y the suffix (bis), for example, 10[18] a n d io [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 num ber 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.
Printer

City

Year

RISM /CNCE

Liber Primus qui Missas,

Psalmos, M agnificat
Liber Vesperarum
M issae.. .Liber Secundus

Angelo Cardano.

Venice

1576

V1427

Alessandro Gardano
Francesco Coattino

Rome
Rome

1584

04873

159 2

V1434

Liber M agnificarum

Artus Taberniel

Salamanca

16 0 7

V 2249

Missae sex
Cantica Beata M ariae
Virginis, vulgo Magnificat
Agenda Defunctoruma

Juan de Flandes
Johannes Moretus

M adrid
Lisbon

1598

R1937

16 0 5

L2590

M artin de M ontesdoca

Seville

1556

V996

Giacom o Vincenzi &

RicciardoAm adino
Angelo Gardano

Venice

1585

A 1344

SATB complete

Venice

1597

m 3 602

ATB

Angelo Gardano
Girolam o Scotto

Venice
Venice

158 1

W884

SATB5 complete

1560

C3535

B 56

Composer

Title

6 [6]

Victoria, Toms
L. de
Guerrero, Francisco
Victoria, Tom s
L. de
Vivanco,
Sebastin de
Rogier, Philippe
Lobo, Duarte

7 [7 ]

Vsquez, Juan

No.

AUGUST

C hoirbooks

2009

3 [3]

ill]
2 [2]

4 U]
5 W

Voices

Voice parts held

Partbooks
1 [8 ]

Arcadelt, Jacob

2 [9]

Morales,
Cristbal de
Wert, Giaches
Contino, Giovanni

3 [10]
4 [a]

7 [l 4 l

Veggio, Giovanni
Agostino
Vecoli, Regolo
Striggio, Alessandro

7 [15]

Striggio, Alessandro

8 [16]

Rogier, Philippe

5 [12]
6 [13]

Prim o Libro di madrigali..

novamente ristampato
M agnificat

Il Settimo libro de Madrigali

M odulationum .. .Liber
Primus
Il Primo Libro de Madrigali

Seth Viotti

Parma

1575

V 1090

SATB complete

Il Prim o Libro de M adrigali

Il Secondo Libro de
Madrigali
Il Secondo Libro de
Madrigali
Sacrarum M odulationum ,
quas vulgo M otecta...
Liber Primus

Clment Baudin
Heirs o f Girolam o
Scotto
Heirs o f Girolam o
Scotto
Felice Sfigliola

Lyon
Venice

15 77

V1085

SATB5 complete

1579

CNCE 459 0 6

STB5

Venice

1579

CNCE 459IO

ST B 5+ 6

Naples

1595

RI936

S A T B 5 6 complete

6
4 -5 --8

Appendix l continued
No.

Composer

Title

Voices

Printer

City

Year

R ISM /C N C E

Voice parts held

9 [17]

Flaccomio, Giovanni
Pietro
Flaccomio, Giovanni
Pietro

Prim o Libro delli M adrigali

3+bc

Venice

1611

F1101

Liber Prim us...V espere,

M issa, Sacraeque
C antiones...
Liber P rim u s.. .Vespere,
M issa, Sacraeque
Cantiones...
Motettac

2 choirs

Angelo Gardano &

Fratelli
Angelo Gardano &
Fratelli

Venice

1611

F1100

I: SA TB; II: STB;

Pars organi

2 choirs

Angelo Gardano &

Fratelli

Venice

1611

F llO O

I: SA TB; II: STB

4 ,5 , 6 ,8

Heirs o f Antonio
Gardano
Pierre Phalse
Heirs o f Valerio &
AloysioDorico

Venice

1570

G487I

SAB56

Antwerp
Rome

1612
1569

P1973
P700

ATB
TB

10 [18]

10 [18 bis]

Flaccomio, Giovanni
Pietro

11 [19]

Guerrero, Francisco

12 [20]

Philips, Peter
Palestrina,
Giovanni
Pierluigi da
Palestrina,
Giovanni
Pierluigi da
Palestrina,
Giovanni
Pierluigi da
Palestrina,
Giovanni
Pierluigi da
Palestrina,
Giovanni
Pierluigi da
Palestrina,
Giovanni
Pierluigi da
M arenzio, Luca

13 [21]

13 [22]

13 [23]
EARLY

14 [24]

MU S I C

14 [25]

AUGUST

14 [26]

15 [27]

Cantiones Sacrae
Liber Prim u s...
M otettorum

5
5 , 6 ,7

2009

Liber Secundus...
Motettorum

5 ,6 ,8

Girolam o Scotto

Venice

1573

P705

TB

Liber T ertius...
M otettorumd

5, 6,8

Heirs o f Girolam o
Scotto

Venice

1575

P711

TB

Liber P rim u s.. .M otectorum

5 , 6 ,7

Angelo Gardano

Venice

1579

P693

STB56

Liber Secundus Motettorum

5 ,6 ,8

Heirs o f Girolam o
Scotto

Venice

1580

P708

STB56

Liber Tertius Motettorum

5, 6,8

Heirs o f Girolam o
Scotto

Venice

1575

P711

STB56

M adrigali.. .novamente

6 ,10

Pierre Phalse &

Jean Bellero

Antwerp

1594

M522

SATB56 complete

posti in luce...aggiuntovi
vi di pi uno M adrigale...
a 10 voci

389

390

Appendix 1 continued

E ARL Y

Composer

Title

Voices

Printer

City

Year

R ISM /C N C E

Voice parts held

15 [28]

Marenzio, Luca

Pierre Phalse & Jean

Bellero

Antwerp

1593

M 572

SATB5 complete

16 [29]

Giovanelli, Ruggiero

5.8

Giacom o Vincentii

Venice

1598

G 2447

SATB678

17 [30] /
28(44]

Lassus, Orlande de

5 .6

Girolam o Scotto

Venice

1565

L786

18 [31]

Lobo, Duarte

4,8,11

Johannes Moretus

Antwerp

1602

L2589

I: AB; II: SATB

19 [32]

Brouck, Jacob de

5, 6,8

Christophe Plantin

Antwerp

1579

B 46 13

T with T56

20 [33]

Francia Romano,
Gregorio
Dering, Richard
M olinaro, Simone

M adrigali.. .in un corpo

ridotti nuevamente posti
in lu ce .. .aggiunto vi di
pi uno m adrigale.. .a
10 voci
Sacrarum m odulationum
quas vulgo M otecta.. .Liber
prim us.. .secunda editio
Sacrae Cantiones nunc
prim um om ni diligentia
in lucem editaee
Natalitiae noctis
Responsoria .. .M isa ...
Beatae M ariae Virginis
Antiphonae.. .Salve...
Cantiones tum Sacrae...
tum Profanae
Primo Libro de M adrigali

Heirs o f Angelo Cardano

Venice

1613

Canzonette
Secondo Libro de M otettif

3 + bc

Pierre Phalse
Heirs o f Simone &
Giovanni F. Besozzi
Heirs o f Francesco &
Simone Tini
Heirs o f Francesco &
Simone Tini
Heirs o f Giovanni
Scotto
Heirs o f Simone Tini &
F. Besozzi

Antwerp
M ilan

1620
1601

N O T IN RISM SB
OR CNCE
S2
D1321
B2
M2934

M ilan

1595

V994

? + II

M ilan

1595

v 994

B2 + III

Venice

15 9 1

F 208

ATB

M ilan

1599

M 3741

Agostino Tradate

M ilan

16 0 4

R 1733

I : S1S2TB + II;
SAT B; III :
SATB; bc
missing
I : ATB; II : ATB
+ Partitura bassi

MUS I C

No.

AUGUST
2009

21 [3 4 ]
22 [35] /

3 5 [5 2 ]

22(36/1]

Varotto, Michele

Liber Prim us M issarum 8

8 ,12

/3 5 (5 i]
22(36/2]/

Varotto, Michele

Liber Prim us M issarum h

8 ,12

Felis Barensis,
Stephano
M ortaro, Antonio

M otettorum .. .Liber
Tertius
Messa, Salmi, Motetti
et Magnificat

Ripalta, Giovanni
Dom inico

Missa, Psalmi, ad Verperas,

M agnificat, Motecta
et Psalm orum

8 + bc

3 5 [5 i]

23 [3 7 ]
24 (38]

25 [3 9 ]

3 choirs

Appendix 1 continued
No.

Composer

Title

Voices

Printer

City

Year

RISM /C N C E

Voice parts held

26 [40]

M otecta1

4 . 5 . 6 ,8

Venice

1572

V1421

S(2 copiesJATB

Motecta)

4,5,6,8,12

Heirs o f Antonio
Gardano
Alessandro Gardano

Rome

1583

V1422

SB57B2 (2 copies)

27 [42]
28 [43]

Victoria, Toms
L. de
Victoria, Toms
L. de
Lim ido, Stephano
Lassus, Orlande de

Tom s Junta
Girolamo Scotto

Madrid
Venice

1624
1566

L2423

1-792

SATB5 complete
A TB5

28 [44]

Lassus, Orlande de

5 .6

Girolam o Scotto

Venice

1565

L786

ATB5

29 [4 5 ]
30 [46]

Cantone, Serafino
M onte, Philippe de

Agostino Tradate
Angelo Gardano

M ilan
Venice

1602
1595

C885
M3388

B
SATB5

31 [4 7 ]

Palestrina,
Giovanni
Pierluigi da
L'estocart, Paschal

5,6 ,8

Heirs o f Girolam o
Scotto

Venice

1577

P707

Sacrae Cantiones...
Liber Primus
Prim o Libro de M adrigali...

4 ,5 , 6 ,7

Barthlmy Vincent

Lyon

1582

1.2071

STContB

Angelo Gardano

Venice

1581

P761

SATB5 complete

8, 4

Heirs o f Girolam o
Scotto

Venice

1585

15855

I: ATB; ILATB

8,12

Heirs o f Francesco &

Simone Tini
Heirs o f Simone Tini &
Giovanni F. Besozzi
Heirs o f Antonio
Gardano

M ilan

1595

V9 9 4

A1B 1

M ilan

1601

M 2934

B2

Venice

1573

1573 16

SATB5 complete

Giovanni Antonio
Franceschi

Palermo

1596

R445

SA T B complete

26 bis [41]

32 [48]
33 [4 9 ]

E AR L Y
MUS I C

Palestrina,
Giovanni
Pierluigi da
Palestrina,
Giovanni &
Bart. Le Roy

Arm onia Espiritual

Sacrae Cantiones vulgo
Motecta..Liber Primus
Sacrae C antiones.. .Liber
Secundusk
Salmi e Versetti
Decimosettimo libro
delli M adrigali...
M otettorum .. .Liber
Secundus

AUGUST
2009
391

35 [51]

Varotto, Michele

Una M essa a otto sopra il

suo C onfitebor.. .una
M essa a quattro sopra
Panis quem ego.. .di Lupo
Liber Prim us M isarum

3 5 [52]

M olinaro, Simone

Secondo Libro de M otetti1

36 [53]

Various authors (ed.)

Francesco Ant.
Baseo)
Raval, Sebastin

Primo libro de M adrigali...

composti da diversi autori

Primo Libro di Ricercari...

per Liuti, Cimbali & Viole
di arco.. .quattro 0 sei opere
con parole spirituali

4,8,12

3 4 [50]

38 [54]

392

Appendix 1 continued

E AR L Y
MU S I C
AUGUST
2009

No.

Composer

Title

Voices

Printer

City

Year

RISM /C N C E

Voice parts held

3 9 [55 ]

Palestrina,
Giovanni
Pierluigi da
Palestrina,
Giovanni
Pierluigi da
Palestrina,
Giovanni
Pierluigi da
Palestrina,
Giovanni
Pierluigi da
Victoria, Tom s
L. de

M issarum, Liber Quintus

4 . 5,6

Heirs o f Girolamo
Scotto

Venice

15 9 1

P 671

M issarum, Liber Octavus

4 . 5.6

Heirs o f Girolamo
Scotto

Venice

1599

P 681

M issarum, Liber Nonus

4 , 5,6

Heirs o f Girolam o
Scotto

Venice

1599

P683

Missarum, Liber Decimus

4 , 5,6

Heirs o f Girolamo
Scotto

Venice

16 0 0

P685

Missae, Magnficat,
Motecta, Psami & alia
quam p lu rim a...
Missae, Magnficat,
Motecta, Psami & alia
quam plurim a...
Motecta
Litaniarum Liber cum
Motectis nonnullis, ut
aiunt Concertatis & non
concertatis cum basso
continuo ad organum
(op.13)
M otectorum .. .Liber
Quartus

8 ,9 ,12 + 4

Juan de Flandes

Madrid

16 0 0

V 1435

8 ,9 ,12 + 4

Juan de Flandes

M adrid

16 0 0

V 1435

I: SA T B; II:
SA T B; pars
organi
I: SAB; II: AB;

3 9 [56]

3 9 [5 7 ]

3 9 [58]

4 0 [59]

40 [59 bis]

41 [60]
42 [61]

43 [62]

4 4 [63]

Victoria, Tom s L. de

Guerrero, Francico
Bartei, Girolamo

Palestrina,
Giovanni
Pierluigi da
Lpez de Velasco,
Sebastin

44 bis [63 fcis] Lpez de Velasco,

Sebastin

Libro de Missas, Motetes,

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

1: S2

Giacom o Vincenzi
Bartolomeo Zannetti

Venice
Rome

1597
1618

G 4877

B1063

B
ATB

Angelo Gardano

Venice

16 0 1

P698

ATB5

8 ,10 ,11,12

Typographia Regia

M adrid

16 28

L 2822

I : SA TS2B;
II: SA TB

8 ,1 0 ,1 1,12

Typographia Regia

M adrid

16 2 8

L2822

I : SS2B ; II: ATB

4 ,5 ,6 ,8 ,12

Appendix l continued
No.

Composer

Title

Voices

Printer

City

Year

RISM /C N C E

Voice parts held

2,3, bc
2,3, bc

Antwerp
Antwerp
Venice

16 13

P 19 77

16 16

P 1980

Pierre Phalse
Pierre Phalse
Girolam o Scotto

15 52

1552 18

bc
bc
SATB complete

Antonio Barr

Rome

1555

155527

SA TB complete

Girolam o Scotto

Venice

1549

G 1647

SA TB complete

Antonio Cardano

Venice

1545

V 1088

SA TB complete

Venice
Venice

1555

P 1320

Girolam o Scotto
G irolam o Scotto

1555

B1978

SATB complete
SATB complete

Girolam o Scotto

Venice

1558

R 17 22

SATB complete

Antonio Gardano

Venice

1545

R3065

SATB complete

Girolam o Scotto
Claudio da M erulo

Venice
Venice

156 2

L771

15 6 6

15 6 6 22

SATB complete
SATB complete

Francesco & Simone

Moscheni

M ilan

1555

T 28

SATB complete

Girolam o Scotto

Venice

156 2

R 2084

SATB5 complete

Girolamo Scotto

Venice

1562

NOT IN RISM SATB5 complete

OR CNCE

Girolam o Scotto

Venice

15 6 2

R2493

SATB5 complete

Girolam o Scotto

Venice

15 6 2

R 2497

SATB5 complete

PARTBOOKS BOUND TO GETH ER AS COM PLIATIONS

II [7 6 ]

Gemulae sacrae
Deliciae sacrae
M adrigali...a notte
negre.. .Libro Secondo
Various Authors (ed.) Libro Primo delle Muse.
Barr, Antonio
Gero, Jhan
Libro primo delli
M adrigali.. .a notte nere
Veggio, Claudio M a
Primo Libro di
M adrigali.. .ristampato
Perego, Camillo
Tutti li suoi M adrigali...
Berchem,
Prim o Libro degli
Jacquet de
M adrigali...
M ontagnana,
C anzone...con alcuni
Rinaldo da
M adrigali aierosi.. .Libro
Prim o..ancora una
Canzone di Fra
Daniele Vicintino
Ruffo, Vincenzo
Prim o Libro de Madrigali
a notte negre
Lassus, Orlande de
M adrigali.. .Libro p rim o ...
Verdelot, Philippe
I M adrigali del Prim o et
Secondo Libro...corretti
da Claudio da Correggio
Taglia, Pietro
Prim o Libro de M adrigali...

III [7 7 ]

Rore, Cipriano de

I I I [78]

Rore, Cipriano de

I I I [7 9 ]

Rore, Cipriano de

III [80]

Rore, Cipriano de

I [64])
I [6 5 ]
II [66]
II [67]
II [68]
II [69]
II [70]
II [71 ]
II [72]

E ARL Y

II [7 3 ]

MU S I C

II [7 4 ]
II [7 5 ]

Philips, Peter
Philips, Peter
Various Authors

AUGUST
2009

393

M adrigali Cromatici, Libro

Primo
M adrigali Cromatici, Libro
Secondo
M adrigali Cromatici, Libro
Terzo
M adrigali Cromatici, Libro
Quarto

394

Appendix 1 continued

EAR L Y
MU S I C
AUGUST

Composer

Title

Voices

Printer

City

Year

R ISM /C N C E

Voice parts held

I l l [81]

Fiesco, Ginlio

4 0 ,6,7,8

Girolamo Scotto

Venice

1563

F715

SATB5 complete

III [82]

Various Authors

5+ 8

Girolam o Scotto

Venice

1561

1561s

SATB5 complete

III [83]

Various Authors

Girolam o Scotto

Venice

1562

15625

SATB5 complete

HI [84]

Various Authors

Girolam o Scotto

Venice

1562

15626

SATB5 complete

III [85]

Various Authors;
(ed.) Bene, G. dal

Girolam o Scotto

Venice

1563

15637

SATB5 complete

I I I [86]

Morales, Cristobal +
Luppi, Joantiis

M adrigali.. .et quattro

dialoghi...
Libro Prim o delle M u se ...
gionta duna Canzon et
uno Madrigale a Otto
I dolci et harm oniosi
concerti...Libro Primo
I dolci et harmoniosi
concerti.. .Libro Secondo
Musica spirituale. Libro
Primo di canzon
et madrigali
Quinque Missarum

Girolamo Scotto

Venice

1563

2009

No.

IV + V II [87] Palestrina,
Giovanni
Pierluigi da
IV + V II [88] Palestrina,
Giovanni
Pierluigi da
IV + V II [89] Vecoli, Francesco

M ottetorum ... Liber

Quartus11

Heirs o f Girolamo
Scotto

Venice

1596

N O T IN RISM SATB5 complete

ORCNCE
TB5
P 721

Offertoria totius a n n i...

Pars secunda

Francesco Coattino

Rom e

1593

P749

TB5

Primo Libro de Motetti

Venice

1580

V 10 8 2

TB5

IV + V II [90] M oura, Pedro

lvares de
Rore, Cipriano de
V [91]

Liber Primus M otetorum

4 , 5. 6,7

Heirs o f Girolam o
Scotto
Niccolo M utii

Rome

1594

M 3953

TB5

Sacrae Cantiones quae

dicuntus M otecta
Primo Libro de Motetti
Psalmi ad V esperas...
Magnificam

5. 6,7

Angelo Gardano

Venice

1595

R2478

Angelo Gardano
Angelo Gardano

Venice
Venice

1595
1596

M 2362

B 1752

Cantiones Musicae
Chansons Franyoyscs
Madrigali

5,6 , 7 ,8

Chistopher Plantin
Chistopher Plantin
Chistopher Plantin

Antwerp
Antwerp
Antwerp
Venice

15 8 1

C3945

15 8 1

C3946

1581

C3947

1570

G4871

ContB
ContB
ContB
SAB56

V [92]
V [93]

M erulo, Claudio
Belli, Giulio

V I [94]
V I [95]
V I [96]

Cornet, Severin
Cornet, Severin
Cornet, Severin
Guerrero, Francisco

V III [97]

Motteta1

5,6,8

5,6 , 7 ,8
4,5,6,8

Heirs o f Antonio
Gardano

Appendix 1 continued
No.

Composer

Title

Voices

Printer

City

Year

R1SM /CN CE

Voiceparts held

V III [98]

C lavijo Del Castillo,

Bernard.

Motecta ad canendum ...

Q uam cum instrumentis
composta

4 . 5 .6 ,8

Alessandro Gardano

Rome

1588

C2641

SAB56

IX [99]
IX [100]
IX [io i]
IX [l02]

Willaert, Adrian
W illaert, Adrian
M antova, Jachet
Various Authors

Girolam o Scotto
Antonio Cadano
Antonio Gardano
Antonio Gardano

Venice
Venice
Venice
Venice

1539

W1106
W1109
Jit
154910

A
A
A
A

IX [io 3 ]

Gom bert, Nicola

M orales,
Cristobai de
Verdelot Et
Altri.

M otecta Liber Primus

Motecta Liber Secundus
M otecta.. .Liber Primus
Diverse m odulaciones...
fructus
M otecta.. .Liber Primus
Motecta

Antonio Gardano
Antonio Gardano

Venice
Venice

1541

1546

G2979
M3606

A
A

M otteti.. .Libro Primo

Girolam o Scotto

Venice

1549

1549 9A

IXU04]
IXU05]

4
4
4
4

1545
1545
1549

E ARL Y
MU S I C
2009

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 V I and the psalm Laetatum), as well as a sequence o f works 04, copied complete in this partbook in choirbook form at (Te Deum
laudamus; Vetii creator spiritus; Pange lingua; A ve maris Stella; Nunc dimittis; Asperges; Vidi aquam and Et misericordiae eius). It is included in this collection
because o f its sim ilar 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].

395

AUGUST

'Not catalogued b y Angls because it was then held in the Archivo General Diocesano; it probably belonged to Joan de Bustillo. M aestro.
RISM M 3602 gives the date 15 8 7 instead o f 15 9 7. The siglum can be retained since it is a unicum.
'" [ his has been m issing since at least 2004 according to a note by Lpez-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 b y M olinaro (35 [52]) and V arottos Liber Primus Missarum (34 [51]) although these are bound in in
verse order. T hey should have the same number.
gNot referred to in Angls. Incomplete; it ends with the voiceparts for Choir II o f V arottos Mass ai2.
Not referred to in Angls. Contains the B2 o f V arottos Masses a8 and all the voiceparts o f Choir III for the M ass ai2. Together with the parts preserved in no.35,
the following survive: I: AB; II: B; III. Clearly there are two separate volum es 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 rgano es de el Seor maestro de capilla de esta sancta iglesia cathedral de Valladolid. Ao de mil seiscientos i setenta y
siete . This partbook thus belonged to M iguel Gm ez Cam argo and the full set to Jernimo.
JNot included by Angls. 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 Angls; as a result the partbook for 6 was erroneously catalogued as no.17.
*See notes.

nAngls made IV and V II into two different collections although they are in fact only one; the first includes TB and the second only 5.
This edition w as also found in 11 [18], although it is now lost.

Soterraa 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 Msica dedicado a Sor Luisa en 1633. Estudio y edicin crtica (Valladolid, 1998). She currently
heads two research projects: El mundo musical urbano en la corona de Castilla: produccin, difusin y
recepcin (I+D, HUM2006) and Catalogacin 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 single
author 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. Lpez 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
o f 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 o f 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 Ucls, centre of the
Orden de Santiago, that contained over
80 partbooks printed during the 16th
century o f which 43 are extant (see T.
Knighton, Catlogo de los impresos
musicales de la Coleccin de Ucls
(Cuenca, 2009)), or that o f Tarazona
Cathedral with 34 surviving volumes
(see P. Calahorra Martnez, Los
fondos musicales del siglo XVI de la
Catedral de Tarazona. I. Inventario,
Nassarre, viii (1992), pp.9-56).
4 H. Angls, El Archivo musical de la
Catedral de Valladolid, Anuario
Musical, iii (1948), pp.59-108. Recently
J. Lpez-Calo has reproduced the

396

EARLY MUSIC

contents in Catlogo del Archivo

Musical (I). Volmenes
encuadernados, vol.i of La msica en
la Catedral de Valladolid, 7 vols.
(Valladolid, 2007), pp.222-42.
5 Angls, 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 o f the Empress Isabel and
her family.
7 A. Navagero, Viaje por Espaa del
Magnifico Micer Andrs Navagero.
Embajador de Venecia al Emperador
Carlos V , in J. Garca Mercadal, Viajes
de extranjeros por Espaa 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 Narvez, Los seys libros
del Delphin de msica de cifras para
taer vihuela (1538); E. de Valderrbano,
Libro de msica de vihuela, intitulado
Silva de Sirenas (1547); T. de Santa
Mara, Libro llamado arte de taer
fantasa (1565); E. Daza, Libro de msica
en cifras para vihuela, intitulado El
Parnaso (1576); G. de la Cintera, Coplas
y chistes muy graciosos para cantar y
taer al tono de la vigela (1580); F. de
Montanos, Arte de Msica therica y
prctica (1592); and the anonymous
Modo de cantar el Deus in adjutorium
deum intende printed by A. Merchn in
15999 Bennassar, Valladolid en el siglo de
Oro, pp.453ff. Erasmuss influence in
Valladolid and its university serves as a
classic example of the penetration of

AUGUST 2009

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
Valladolid au XVIe sicle in Cristina
Diegos doctoral thesis Un nouvel
apport ltude de la musique
espagnole de la Renaissance: le
manuscrit 5 de la cathdrale de
Valladolid et son contexte (Universit
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
o f the total of the archives holdings,
we hope to be able to open the site for
consultation on the internet soon.
13 An example of this is Rogiers 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). Vivancos Magnificats

are found in E-SE and E-Tc, and also

in Puebla and US-NYhsa, a manuscript
of Spanish provenance. A similar case is
Guerreros 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 Jimnez,
La librera de canto de rgano. 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 o f this are

in Spain E-BA, E-Bc and E-V. Angls
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 Jimnez, La librera de canto de
rgano, pp.i43f: ser evaluado, tasado y
adquirido.
16 A 25 dias del mes de octubre el sr
presidente y cab determinaron se
conprasen los libros de magnificas y
imnos y missas de gerrero Passo por
mi su s el Dr Al de mendoca (On
25 October the President and Chapter
agreed to buy the books o f Magnificat,
Hymns and Masses o f Guerrero.
Declared before me, Dr Alonso de
Mendoza) (Actas Capitulares [AC],
1585, f.59r). The Masses may have been
the more recent second book o f 1582,
rather than the first book.
17 Veinte ducados al maestro de
capilla de Salamanca por un libro de
magnificats de su composicin que
envi (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-Jimnez, La librera de canto de
rgano, 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), m oo.
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 franoyses 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 LEstocart (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. Barr; those o f Clavijo
del Castillo, G. Domenico Ripalta,
Stefano Limido, Camillo Perego,
Pietro Taglia, Pedro lvares 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 o f the
books bound together in a single
volume is located in the Bibliothque
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-Fbregas, Script and print:
the transmission of non-Iberian
polyphony in Renaissance Barcelona,
in Early music printing, p.317. On
Milan as an example o f a Counter
Reformation city presided over by
Cardinal Borromeo and the role o f the
printing press there, see I. Fenlon
Music printing and the book trade,
pp.119-21.

27 An insufficient number o f music

inventories have been studied to allow
solid conclusions concerning the
distribution o f books in Spain. A
number o f 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 Mouras
Liber primus motetorum (IV+VII[9o])
is held in the Biblioteca Geral of
Coimbra University, and Clavijo del
Castillos 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 Spains 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 o f 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 r i-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 o f Michigan (1997),
pp.257.
34 An example is that o f Duarte Lobo
and his book o f Masses (1621) o f which
two exemplars are preserved in Seville

EARLY MUSIC

AUGUST 2009

397

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-Jimnez, La librera de canto de
rgano, p.309.

quinqu 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.

35 Archivo Histrico 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 o f 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 circulacin de la
polifona europea en el medio urbano:
libros impresos de msica en la
Zaragoza de mediados del siglo X VI,
in Msica 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 Gmez de Villarroel.
He was evidently a man interested in
letters inasmuch as he was the dedicatee
of Antonio de Segovias Murmuracin
de vicios, a manera de dilogo 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 Quinqu missae Moralis
Hispani, ac Jacheti liber primus cum
quinqu vocibus (Venice, 1540), or the
Liber primus quinqu missarum cum

398

EARLY MUSIC

AUGUST

40 See, for example, the case o f the two

books o f polyphony donated by Jorge
de Santa Maria in recognition o f his
great debt to the service
(reconoscimiento de lo mucho que
deva 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 in
E. Ros-Fbregas, Libros de msica en
bibliotecas espaolas 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 Ucls, probably donated
by a knight of the Order o f Santiago.
42 I would like to thank Carmelo
Caballero Fernndez-Rufete for
allowing me access to this document.
43 Memorial de los libros y papeles de
msica que dexo a esta santa iglesia de
Valladolid Seor M Reverendo y
Maestro de capilla della Jernimo de
Len por su testamento a Cristbal de
Madrigal en 25 de junio de 629, falleci
a 26 del dicho (mes y ao).
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
Gmez de la Cruz pongan en razn los
libros de canto llano y de canto de
rgano y que los entreguen al maestro
de capilla (entonces Juan Padilla), lo
mismo que los del maestro que muri.
AC, 20 October 1629 (f.504r).
46 One of the items in the Memorial of
Jernimos 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

2009

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 LEstocart which
are held in the cathedral (32(48]).
Something similar could have occurred
with Lassuss Sacrae cantiones (28(43]).
One o f the entries in the inventory
includes seis libretes de canciones
ytalianas que valen 12 reales (six
partbooks o f Italian songs valued at 12
reales'). This does not refer to
madrigals, but canciones. The books
listed either side o f 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 Vsquezs
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-Fbregas,
Libros de msica, 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, Petruccis books in early
sixteenth-century Spain, in Petrucci e
la stampa musicale. Atti del convegno
internazionale, ed. G. Cattin and
P. dalla Vecchia (Venice, 2005),
pp.623-42, esp. pp.623 and 633.
49 por particulares intentos haba
aceptado una canonja de la iglesia de
Berlanga que el seor Condestable le
haba dado, y as, con licencia del
Cabildo se ira a su residencia con
brevedad ... que el cabildo se servira
de recibir en su lugar en el magisterio
a Hiernimo de Len, maestro de
capilla de Berlanga, de quien el dicho
hizo tan buena relacin. AC, 5
November 1627 (f.448).
50 en 1540 casi no queda imprenta ni
librero europeo importante que no

cuente con tienda y corresponsal en

Medina. A. Rojo Vega, El negocio del
libro en Medina del Campo. Siglo XVI
y XVII, in Investigaciones Histricas.
poca Moderna y Contempornea, vol.ii
(Valladolid, 1988), pp.19-26. Through
an account of a visit in 1551 to the
bookstores of Medina by the inquisitor
Valds, 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.

54 This is only a first approximation of

the reception and interpretation o f 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 Leons collection.
What is beyond doubt is that the
edition of Barres madrigals published
in Rome padded out his library; see
Rees, Printed music, pp.283-98.

jrobert

haijWchords
Early keyboard instruments,
commissions and restorations.
Colour brochure on request.
Full concert hire service.

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: Victorias
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,

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