The Recorder Tutors in t Uitnement Kabinet

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Carpenter Jennifer The Recorder Tutors in t Uitnement Kabinet Master of Music. Musicology August 2005 58 pp 11 illustrations 3 tables works cited 23 titles. Paulus Matthysz a prominent music printer in Amsterdam during the seventeenth. century published Jacob van Eyck s Der Fluyten Lust hof and a collection entitled t Uitnement. Kabinet Three extant copies of Lust hof include a tutor Vertoninge op de Handt fluit. presumably by Matthysz and a tutor by Gerband van Blanckenburgh Onderwyzinge op. deHandt Fluyt Their content is not correlated with Lust hof and they were presumably. designed for inclusion in the Kabinet II Confusion over the tutors conception has led to. published misinformation jeopardizing their historical worth The casual generalizations. regarding the two tutors can be refuted by reestablishing the interrelationship between the tutors. and the two collections This paper employs a comprehensive study into their origins in order to. rectify how the tutors are referenced in the twenty first century. ILLUSTRATIONS iii,I INTRODUCTION 1,II THE GOLDEN AGE 7. The Political Situation 7,Economic Prosperity 9,Religion 10. Foreign Relations 11,The Musical Environment 13,Music Printing 17. III THE RECORDER IN THE SEVENTEENTH CENTURY NETHERLANDS 20. Instrument Types 22,Two Seventeenth Century Recorder Tutors 28. Fingering Systems in the Two Tutors 32, IV INTERRELATIONSHIP BETWEEN THE TUTORS AND COLLECTIONS 35.
Jacob van Eyck s Der Fluyten Lust hof 36,Der Fluyten Lust hof I 1649 c1655 37. Der Fluyten Lust hof II 1646 1654 38,Foreign Influences on the Lust hof 40. Paulus Matthysz s t Uitnement Kabinet 43,Foreign Influences on t Uitnement Kabinet 46. Recorder or Violin in t Uitnement Kabinet 47, The Intrinsic Relationship between the Collections and Tutors 51. Positing a Theory 52,V CONCLUSION 54,WORKS CITED 57.
ILLUSTRATIONS,Figure Page,1 Depictions of the Recorders in the Tutors 21. 2 The First and Last Pages of the Recorder Tutor by P M 29. 3 Handwritten Copy of Matthysz s Tutor attributed to Jonas Palmquist 30. 4 Title Page to the Second Volume of t Uitnement Kabinet 31. 5 Fingering Charts from Matthysz s and Blanckenburgh s Tutors 32. 6 Page Three of Blanckenburgh s Tutor 34,7 Title Page of Der Fluyten Lust hof I 37. 8 Title Page of Der Fluyten Lust hof II and Dedication Letter to Huygens 39. 9 English Keyboard Idioms in the work of van Eyck 42. 10 Title Page to t Uitnement Kabinet I 48,11 Letter to Huygens from van Eyck 54. Table Page,1 Comparative Chart of Publication Histories 2. 2 Sixteenth and Early Seventeenth Century Recorder Types 23. 3 Distribution Records for Der Fluyten Lust hof and t Uitnement Kabinet 52. INTRODUCTION, Paulus Matthysz1 1613 14 1684 a prominent music printer in Amsterdam during the.
seventeenth century was responsible for printing Jacob van Eyck s c 1590 1657 Der Fluyten. Lust hof II 1646 I 1649 and a collection entitled t Uitnement Kabinet I 1646 II 1649. comprising the largest amount of printed music for the solo recorder Two of Matthysz s. printings of Der Fluyten Lust hof included an instructional tutor Vertoninge en Onderwyzinge op. de Hand fluit 1649 reprint 1655 presumably by Matthsyz himself an additional printing. includes another tutor written by Gerbrand van Blanckenburgh entitled Onderwyzinge hoeman. alle de Toonen op de Handt Fluyt 1655 see Table 1 for comparative chart of publication. These two tutors are the only surviving treatises devoted primarily to the recorder between. Ganassi s Fontegara 1539 and the onset of the late seventeenth century English recorder. tutors 2 Their content is not correlated with Der Fluyten Lust hof and they were presumably. designed for inclusion in t Uitnement Kabinet II the title page of which refers to a short. instruction for the recorder although one does not exist in this collection Confusion over the. tutors conception has led to published misinformation jeopardizing their historical worth The. Richard Griscom and David Lasocki The Recorder A Research and Information Guide New York. Routledge 2003 299 His proper name is Paulus Matthyszoon The Dutch commoly abbreviate the suffix szoon. as sz without an ending period Nearly every reference to this publisher refers to him as Matthysz and I will do the. same throughout this paper, An anonymous Venetian manuscript Tutto il besognevole per sonar il flauto da 8 fori con practica et. orecchia exists with a publication date of 1630 The dating is awkward for it shows a recorder in three joints with. Baroque turnery which is not believed to exist this early in the century The date 1630 is presumably incorrect with. a date in the late 17th century or even 1730 seeming more plausible. casual generalizations regarding the two tutors can be refuted by reestablishing their contextual. foundation obtainable through examining the interrelationship between the tutors and the two. collections The intent of this paper is to employ a more comprehensive study into their origins. in order to rectify how the tutors and the corresponding instruments are referenced in the twenty. first century, Table 1 Comparative Chart of Publication Histories of Both van Eyck s Der Fluyten Lust. hof and Matthysz z Anthology t Uitnement Kabinet,Van Eyck Matthysz. 1644 Euterpe oft Speel Goddinne Der Goden Fluit hemel. 1646 Der Fluyten Lust hof II 1st edition t Uitnement Kabinet I. 1649 Der Fluyten Lust hof I 1st edition t Uitnement Kabinet II. 1654 Der Fluyten Lust hof II 2nd edition t Uitnement Kabinet I. 1655 Der Fluyten Lust hof I 2nd edition t Uitnement Kabinet II. Includes the recorder tutor Vertoninge en Onderwyzinge op de Hand fluit by Matthysz. Includes the recorder tutor Onderwyzinge hoeman alle de Toonen op de Handt Fluyt by Blanckenburgh. The prominence of printed recorder music reflects the Dutch s affinity for the instrument. in the seventeenth century In spite of its prominence no common seventeenth century Dutch. recorders have survived resulting in problems discerning the types of instruments played. Instrument makers and scholar performers including Fred Morgan and Eva Leg ne made steps. towards realizing the van Eyck recorder by utilizing the sources of information about the. instrument for which he may have conceived his variations the two recorder tutors the internal. evidence of the music itself and iconographic evidence presented in seventeenth century Dutch. paintings The missing link between the Renaissance recorders of Ganassi and the three part. Baroque recorder is thought to be the instrument that van Eyck utilized for his Der Fluyten Lust. hof Therefore the presence of two explicative tutors alongside van Eyck s collection seemed to. provide the groundwork to recreate a transitional recorder aptly called the van Eyck recorder. If the intended source of publication for these two recorder tutors was indeed another. compilation then the accuracy of the given terms of van Eyck fingerings and van Eyck. recorder is not wholly apposite The resultant development of transitional recorders from this. information is not incorrect however erroneous conjectures concerning the two tutors are. rampant among publications due to confined research into their conception. Thurston Dart first discusses one of the two tutors in his 1952 article Four Dutch. Recorder Books 3 Blanckenburgh s Onderwyzinge op de Handt Fluyt is briefly discussed. alongside Matthysz s Der Goden Fluit hemel 1644 and van Eyck s Der Fluyten Lust hof. Eerste 1649 and Tweede 1654 Deel Dart notes the tutor was written at the request of the. publisher but does not make a connection to Matthysz s two anthologies of t Uitnement Kabinet. A brief description of the tutor s instructions found within his article appears again in the. writings of Ruth van Baak Griffioen4 and David Lasocki5 who both provide the same translation. of Blanckenburgh s instructions Mary Vinquist in her dissertation Recorder Tutors of the. Seventeenth and Eighteenth Centuries Technique and Performance Practice only acknowledges. Thurston Dart Four Dutch Recorder Books Galpin Society Journal 5 March 1952 57 60. Ruth van Baak Griffioen Jacob van Eyck s Der Fluyten Lust hof 1644 c 1655 Utrecht Vereniging. voor Nederlandse Muziekgeschiedenis 1991 381, Griscom and Lasocki The Recorder 299 Both Griffioen and Lasocki utilize Dart s summary of the. fingering instructions and advice, Blanckenburgh s tutor with no mention of an instructional tutor by Matthysz 6 Both Eva Leg ne.
and Fred Morgan recognize the presence of two tutors but identify van Eyck s collection as the. source of the tutors even going as far as identifying one as the preface to van Eyck s Lust hof 7. Leg ne Morgan and Vinquist8 all misidentify the depicted recorder as an image included by van. Eyck Louis Peter Grijp in his Dutch Music of the Golden Age misappropriates Vertonige en. Onderwyzinge op de Hand fluit to van Eyck 9, In 1980 Eva Leg ne discovered two ivory recorders in the Rosenborg Castle Museum in. Copenhagen Noting their resemblance to the recorder pictured in the preface to van Eyck s Der. Fluyten Lust hof 1649 Leg ne ascertained that they were made prior to 1673 when they were. first listed in the collection of the Royal Castle in Copenhagen 10 The recorders were transferred. to the Rosenborg Castle sometime between 1673 and 1696 when they began to appear in. Rosenborg s inventories 11 On the basis of the drawings in the van Eyck collection prominent. recorder maker Fred Morgan made a prototype of the recorder that ultimately was unsuitable for. playing the van Eyck divisions Upon hearing about the Rosenborg recorders Morgan visited. Copenhagen in 1982 in order to measure and play them Although he was unable to measure the. recorders at the time he concluded after playing them that these instruments were suitable for. playing the van Eyck variations 12, Mary Vinquist Recorder Tutors of the Seventeenth and Eighteenth Centuries Technique and. Performance Practice Ph D diss University of North Carolina at Chapel Hill 1974. Eva Leg ne The Rosenborg Recorders Journal of the American Recorder Society 25 2 1984 50. Fred Morgan A Recorder for the Music of J J van Eyck Journal of the American Recorder Society 25 2 1984. 47 Leg ne refers to a handwritten copy of the preface to van Eyck s collection while Morgan states the. introduction to the collection shows a clearly drawn recorder. Vinquist 6 The recorder depicted is attributed to van Eyck in her description. Louis Peter Grijp Dutch Music of the Golden Age in Hoogsteder Exhibition of Music and Painting in. the Golden Age The Hague Hoogsteder and Hoogsteder Zwolle Waanders Publishers 1994 67 Grijp states. Vertonige en Onderwyzinge op de Hand fluit is by van Eyck from his Lust hof 1649. Leg ne The Rosenborg Recorders 50 The collection lists Tve Fl ter af Eenhorn Two recorders of. unicorn i e ivory,Leg ne The Rosenborg Recorders 50. The discrepancy lies not with Leg ne s and Morgan s discoveries but in their labeling of. the standard the recorder presumably depicted in van Eyck s preface The picture in question is. used in both tutors Leg ne mistakenly refers to the handwritten copy of Matthysz s tutor as the. preface to van Eyck s 1649 edition of Lust hof 13 Morgan does the same when he reprints the. wood block printed version of the recorder which is present in both tutors see Figure 3 1 Van. Eyck did not include a preface to his collections other than a dedicatory poem and letter in honor. of the statesmen poet and musician Constantijn Huygens 1596 1687 14 The preface guised. tutors added by the publisher Paulus Matthysz were not intended for inclusion by van Eyck. The two tutors have been examined and attention to their appropriation is found briefly in. the writings of Lasocki15 and Griffioen 16 each concisely verifies the tutors inherent relationship. with the Kabinet Lasocki recognizes the tutors close association with van Eyck further. acknowledges their independent conception from the Lust hof and notes their designation for the. first and second edition of the Kabinet 17 He discerns their frequent misappropriation in. addressing the gaps in knowledge of the recorder in the seventeenth century the uphill battle. equated with separating the tutors from van Eyck s collection is duly realized 18 The multiple. writings in which the tutors are inappropriately referenced warrant further attention. In order to properly discuss the tutors and their related musical anthologies it is. necessary to establish the social and economic background in which the resources in question. Leg ne The Rosenborg Recorders 50 The handwritten copy is attributed to Jonas Palmquist 1667. 1702 a Swedish nobleman Leg ne speculates that Palmquist may have drawn his own recorder. Griffioen 48 52 The poem and letter first appear with the collection Euterpe oft Speel Goddinne 1644. and were reprinted in the 1649 and c 1655 editions of Lust hof. Griscom and Lasocki The Recorder A Research and Information Guide 299. Griffioen 377 Footnote 1 mentions the tutors independence from van Eyck s Lust hof Griffioen does. note that they were both probably designed for inclusion for Kabinet II. The preface to the second edition of the Kabinet is the only reference to a recorder instructional tutor. David Lasocki Gaps in our Knowledge of the Recorder in the Seventeenth Century and How They. Could be Filled in The Recorder in the Seventeenth Century Proceedings of the International Recorder. 1 CHAPTER I INTRODUCTION Paulus Matthysz1 1613 14 1684 a prominent music printer in Amsterdam during the seventeenth century was responsible for printing Jacob van Eyck s c 1590 1657 Der Fluyten Lust hof II 1646 I 1649 and a collection entitled t Uitnement Kabinet I 1646 II 1649 comprising the largest amount of printed music for the solo recorder

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