Santa Maria and the Printing of Instrumental Music

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Santa

Mariaand he Printing

of nstrumentaln Sixteenth-

CenturySpain

Music

]oHN GiurrirnsTheUniversi

ty

of Melbour

ne

(Austréli

a)WARREN E. HULTBERGran

eSchool

of Music,

Potsdam

(Nl., EUA)

I

SEPARATALivra de bammagc

ma Macaria

Santiago Kartner.Ed. Maria Fcrnanda Cidrais

Rodrigues, Manuel Morais, RuiVeiera Nery. Lisbon: Pundagaoaloustc Gulbenkian, 1992



i

Scarcity

of information

concerning

the processes

andpractices

of music

printing

insixteenth-century

Spain

has irtually

excluded

its consideration

in musicological

studies.he alu

eof suc

hinsight

in the case

of nstrumental

music

isparticularly

signicant,

notonly rom he viewpoi

ntof printin

gpractices,

butalso or the mplications

concerninghedisseminati

onand se f printe

dmusic

for solo nstruments.

Theprincipal

informa-ionavailabl

econcerning

the printing

of nstrumental

music

in sixteenth-century

Spainoncer

nstheObm

sde music

apam ecl

uarpa

y uibuelu

(Madrid:

Francisco

Sénchez,

1578)fAntoni

o

deCabezé

n-

and he Librademusic

a

pam Vi/

auelu

imitulad

o

Orp/

scuicu

bm

(Seville: Martinde Montcsdoca, 1554) by Miguel de Fuenllana(l). 'I`his study presentsnformation

concerning

the printing

of Tomés

de Santa

Maria’s

libro llamudo

arte detuiier uutusi

u,produced

in Valladolid

in 1565

by the printer

Francisco

Fernzlndez

dcCordoba.

It is based

on a study

of the contract

made

between

the author

and rinter

fortheprintingof the bookdiscover

edby ohn Grifthsand tudie

dhere

bybothauthors,ndon a comparati

vestudty

of the surviving

exemplars

of the Arte cle imer uutusiaad

ebyWarre

nHultberg.

The ssues

thatconcerns

ushere

are he elationship

betweenutho

randprinter

,quality

control

typographical

alterations

made

during

printing,

thetime ake

n

in boo

k

productio

n,

cost

s

andprots

,

the size f impressio

ns,

and he socia

lmplications of the dissemination of nstrumental music.he contract

for printing

the Artede uiier uutusia

wasdrawn

up by he escribunouan deRoza

s,and s date

d5july, 156

5(Z).

It is similar n form and ontent

to typical

(1) The Cabezon

contract

is reprinted n Cristobal

Pérez

Pastor,

"Escrituras

deconcierto

para mprimir H>ros“

(RevimdeArchiver,

Biblioteca:

y Mureor,

3“ Epoca,

1 (1987),

365–571;

the Fuenllana

contract

is reprinted

in Klaus

Wagner,

[limb:deMonterdoca

y supremu:

Comribucién

ul ettudio

de a mprema

y bibhbgrafsh

teizdlana

del igloXVI, Seville:

Universidad

dcSevilla,

1982),

pp.110-lll.Charles

jacobs

also

discusses

typographical

variants

in the xtant

copies

of thiswork

in thePreface

tohiseditio

n,Miguel

de uenllana,

Orpbémba

Lyra

(Oxford:

Clarendon

Press,

1978),

pp.¤rv-1¤rviii].

nw ma Amimamt

iemnepmd

in hoArdiivo -Iisrérico

Provincial

deValladolid.

Pmtocolor,

Iezujo

278,

folios

576377.

·l il 1.lIC UKLUIHCIILD D LUIDCI VCU lu un. nnuuvu 1n.:•vun.v n auui



548 • JOHN GRIFFITHS/WARREN

E. HULTBERG _

sixteenth-century

printing ontracts,

and s composed

with the customary

prolixity

ofcontemporary

Spanish

legal ocuments.

Themain hrust

of the contract

may e summa-ise

d

as ollows

:

1) hat Sant

a

Mari

a

was equire

d

to be prese

nt

at he printin

g

in orde

r

to

supervise correction of the proofs; 2) that 1500 copies were to be producedj withprintingeginning

in anuary

1564;

3) that he price f the printingwas

tobe determined

by hequantity

of paper

used,

at he ate f 25 eader

per printedream;

4) that a token

paymentf 20ducad

orwasmad

eat he signin

g,a furthe

r100 ucad

orwere

due n completion

ofprinting,

and he balance

of payment

was o be made

from he sale of the rstexem-lars

.The emaind

erof the docume

ntdeals

withpenalty

clauses,

nancial

protection

andthe egal ecurit

yavailable

to each

party n the case

of default.

Thedocument

is transcri-edand ranslat

edbelow,

omitting

those

passages

of a general

legal

nature

andwhichav

e

nodirec

t

relevanc

e.

Abbreviatio

ns

in the origina

l

are pelt out n full, and amen

d-ents r additions areshown n brackets.

En a noble

villa de Valladolid

a cincoia

sdelme

sde ullio de mill y quinien

—os y sessenta

y tres anos

ante

mi elescribano

y testigos

deyuso

escritos

pare-iero

npresentes

de la una.

parte

fraytomas

de santa

maria

de a orden

desanto

domyngo

rresidente

en el monas-eriode sant

odomyngo

de a gibdad

deguadalajara

y de a otra parte

franciscoernand

ezde cordob

aynpresor

de sumagested

vezino

desta

dicha

villa y dize-onque or quant

oel dich

ofray oma

sesanta

maria

da a enpremir

al dichorancisc

ofernandez

de cordoba

un ibroquese yntitul

a

arte par

a

tane

r

fantasi

an texla y en biyuel

ay harp

aporendeuello

sestaban

concertados

y se concer-aro

nen a orm

ae maner

asiguiente

In the noble

townof Valladolid

on hefthdayof uly of the yea

r1563,

beforee he notar

yand elow-

signedwitnes-e

sappeared

present

asonepartyFrayoma

sde Sant

aMaria

of the order

ofSant

o

Doming

o,

reside

nt

at he mona

s-eryof Sant

oDomingo

in the city ofGuadalajara,

and s he other

party

Fran-isc

oFernandez

de Cordoba,

printer

ofHis Majest

y[and]citize

nof this sai

down,and stated

that nasmuch

as hesaid Fra

yTomas

de Santa

Maria

hasgiven

to the said Francisco

FernandezeCordo

baa boo

kto print calle

dthe

Art of Playin

g

Fantas

ia

on he Keyboar

d,ihuela and Harp, regarding whichheyare n accord

andareagreed

in thefollowing

formandmanner.

ptimeramente

el dicho

fray omas

desanta

maria

se obligo

de entregar

aldicho

francisco

fernandez

de cordoba

elrregistro

deldicho

libropara

el tiempolu

e

seubier

e

de vnoremi

r

buen

o

e cor-

Firstly,

the said Fray

Tomas

de Santaari

aobligates

himself

tohand

over othesai

dFrancisco

Fernandez

deCordobahe registe

r[manuscript?]

of the saidmnlc for the time rnmiirprl m nrinr it in11l1.C L\HJL|.l.LC\.I. LU L}l1l1L 1L lll



SANTA

MARIA

AND THE PRINTING

OF INSTRUMENTAL

MUSIC...

• 349

regido

sin altar osa

alguna

y a deasis-ir a la ynprisio

ny lo a de corregi

rsin

queel dicho

francisco

fernandez

decor-doba

sea

obligado

a corregirlo

y que sipor culp

adeno esta

rbien orrigid

ose

perdiere

algun

pliego

o forma

sea

quentae o paga

rdeel dich

opadre

fray omasesant

amaria

mostrando

la oroba

sena-ad

ade u man

o

good

order

and orrected,

without

lackingnythin

g,and has o be prese

ntat the

printing,

andhas o correct

it, so hatthesai

dFrancisco

Fernandez

deCordobaotbeobligate

dto do t, and f for rea

-on f notbeing

wellcorrected,

any heetf pape

r0r_form

be ost, he saidFrayoma

sdeSant

aMaria

shallbe espon-aiiéiiiap

ayiiioi_if,"showing·hee

tsigned

byhim.Ithevpioof

Yten El dicho

francisco

fernandez

decordoba

se obligo

de ynpremir

myll yquinientos

libros

del punto

y letraquepara

ello senalare

el dicho

padre

fraytomas

deSanta

maria

y a de comenzarhaze

rladich

aynprision

desde

el mesehener

oprimero

que iene

delano emylly quinient

osy sesent

ae quatr

oy a

debenyr

el dicho

padre

fray omas

a deestar

presente

quando

se comenzare

la-enpresion

y el dicho

francisco

fernandezecordob

aa deserobligad

oa no alca

ra mano

de a dicha

ynprision

hasta

quese acabe

nlos dicho

smyll y quinient

osibros

Andalso:

Thesaid rancisco

Fernandeze Cordob

aobligated

himself

to print1500

books

of music

and extwhich

thesaid

Fray

Tomas

deSanta

Maria

will ini-tial,and t is to begi

nin the mont

hof

january,

rst month

of next ear

1564,ndFrayToma

sde Sant

aMariahas o

come

and e present

when

printing

starts,ndheisai

dFrancisco

Fernandez

deCor-ob

ais require

dnot to ceas

eprintingntil the said nrintino nf the cairl 150

0U»I.1\.1l

LI.1.\.·

DGILI t!L1.L1.I.1L15 UI

copies

iscomplete.

J 1

\.1.\.a Du LJUU

Yten.

El dicho

padre

fray tomas

desanta

maria

seobligo

de pagar

al dichorancisc

ofernandez

decordoba

por cadaresm

ade papel que e dier

eynpresael dich

olibro a veint

ee tres rreale

sorcada

una resma

y el papel

a de serbuen

papel

quenosea

negro

ni sumvdoviiiiriréi

éiriiipapéi

QQEIQQad

oa o toma

r

iséiiiiiii

And also:

The said

father

Fray

TomaseSant

aMaria

obligates

himself

to paythesai

dFrancisco

Fernandez

deCordobawenty-

threerauler

for every

ream

ofpaper

that s given

to him, printed,

ofthe sai

dbook,

and he paper

is to be ofgood uality

,neither

darknordamaged,nd f it shoul

dbepoorpaper

,he s not

obliged

to ake

it.

Yten.

El dicho

padre

fray omas

desantallkillki UIU 3.1 UICIIU IIHIICISCU

Andalso:

The said

father

Fray

Tomasin Ham

m

Marin crave tn rlwn mirl I-iran-IL Ljdllld. 1V1d.ll¢1. KLGVC LU \.llC



350 jOHN GRIFFITHS/WARREN

E.-HULTBERG

_

de cordoba

en senal

e parte

de pagoeint

educados

en mypresencia

e delosestigo

s

dest

a

escritur

a

de o qual o doy

fee que cabada laynprision seobligoe le pagar

a cunplimiento

de cientducados

y odemas

que

montare

en os di-chos

libros

sea

obligado

a se o pagarelpreci

oque e hizier

ede os prime

-os libros que se bendieren

y que losdichos

librosnde qued

ar.2...... £—- — J-

todos ellos € I'lf€ IZ{·1II1€ [1[€en pode

rdel dich

ofran-

.. J- -.....1..L- L-....- ..— ..—cisc

o

ternancr

ez

oecorooo

a

hast

a

se

a

aca

-ado depagar de odos ellos

cisco

Fernandez

de Cordoba

as a tokennd s partof the payme

nttwenty

duca-or n the presen

ce

of me and he wit-

nesses to this document of"which I givefaithfulestiomony

and,

oncompletionf theprinting

,obligates

himself

topayin fulllment 100 ducado

s,and he re-

mainder

of he otal ost

of he said

bookseobligat

eshimself

topay rom he alef the rstbook

sand he book

sare o

remain n the p06ession

of the saidFran-cisc

o

Fernand

ez

de Cordob

a

until pay

-ent orall of them snalised.Yten.

que i el dicho

francisco

fernandezecordob

anohizier

eladich

aynpresionegu

ndicho

es quel dicho

padre

fraytomas

de santa

maria

lepueda

conpelaror odo remedi

oy rrigordederech

osque nprima

los dichos

libros

segunich

oI

pagar

porque no se

aobligado

a lecada

rresma

mas

de tan..... ..— ..,.—1-r ..-_-rr- —-soramen

teveynte

rreales

porque

coneste

pacto

e condicion

sehaze

esta

con-ordi

ay se e aya de yr pagan

doesteregi

ocomo

dicho

es - .

Andalso:

That f the said

Francisco

Fer-ande

zde Cordob

adoes

not make

thesaid

printing

according

to the aforesaidcondition

s],the sai

dFrayToma

sde

Santa

Mariamaycompel

him by allmeans

and igour

of the aw o printthe ai

dbooks

according

to he aid

agree-ent

,and woul

dnot be obligate

dto

pay or each

ream

more

than wentyeale

r,because

with his pact nd ondi-ion the agreeme

ntis mad

e,and he

would

have

to pay his price

as s stated.

Ytenel dicho

padre

fray omas

desantaari

asea

obligado

y se obligo

deno equitar

al dicho

francisco

fernandez

decordoba

eldicho

libro opena

de e pagarientducad

osde ynterese[

s]con mas

todos

losdanos

yntereses

e menos

casosue e e siguiere

ny rrecrecicr

eny par

ao ansi ener

y guardar

cumplir

e pagarbligaro

nsus

personas

e bienes

mueblesrrayze

sderechos

y aciones

avidos

emr aver v el clichn rancisc

o

fernande

z

|J\IL HVML [ h. \I\.L \. l t|·I.1\.IJ\¤\.I lb]. l I\¤ \» •

Andalso:

Thesaid

Fray

Tomas

deSantaari

a

is oblige

d

andobligat

es

himsel

fot to withdra

wthe said boo

kfrom

Francisco

Fernandez

de Cordoba

underenalt

yof payin

gonehundre

dducadorn interes

tin additio

nto all the dama

-es,

interest

and iscredit

thatmay

follownd rise

,and n orde

rto hav

eand ro-

tect such]

comply

and ay,

they bligateheir persons

,goods nd property, ues

and awsuit

s

pas

t

and future, and the



SANTA

MARIA

AND THE PRINTING

OF INSTRUMENTAL

MUSIC,.

• 351

decordoba

para

mas

seguridad

derechauntamen

teconsig[ui]o

por su ador

allicencia

do

alema

n

rrelato

r

dest

a

rreal3l1(lI€ 1'1Cl2l

q11CSI3l.')HI‘f0g0 ql1 € fuese SU

.,,,l,,, ,,1 1T,1,

Qaiéiaéuii

Ljtiiiado

re principa

lagacior

en la dicha rrazon y el dicholicenciado

aleman

dixoque e plazia

desalir e salio por tal ado

rdel dich

orancisco

fernandez

decordoba.,

said Francisco

Fernandez

de Cordoba,or greate

rsecurity

jointly under

thelaw, btaine

d

ashisguarant

or

theLicen

-iado

Aleman,

relator

of this oyal ourthowas resen

t,whomhe aske

dto be

hisguarantor

and rincipal

payer

in thesaid aus

e,and he said icencia

doAle-

man said hat he was

agreeable

to be,and s uc

hbecame

guarantor

of he saidrancis

coFernandez

deCordoba

....

[Thenormal

formulae

of egal uarantee

and rotection

follow.]

'

.....

.en estimon

yode o qual otorgaro

nnte

myel dicho

escribano

estandos

pre-sentes

por estigos

pedro

dearze

y alonsoesalaz

arescribanos

y alonso

hernandezlocret

er[?] estant

esen est

adicha

villay los dicho

sotorgantes

que o el dichoscriba

nodoy ee que onozc

olo rma-

ronde sus nombres

que an estados

.....

.

.....

..in testimon

yof which hey uthori

-ed

before

me he said

notary

in the pre-sence

of the witnesses

Pedro

de ArzeandAlonsoSalaza

r,notaries,

andAlonsoHernandez,

?????,

being

in thissaid

town,nd hesai

dauthorisers

whom the saidotar

ygiveaithfu

ltestimony

that know,igne

dtheir ame

sas hey ad ttest

ed.....

[Certication

of error correction

follows.]

[signed:]

_

Francisco

Fernandez

deCordoua

Fray

Tomas

deSanta

Maria1 icencia

do

Alema

nante

my uan deRocas

- before

me,uandeRozas

In evaluating

the nformation

found

in the contract,

reference

is made

to the Cabe-onandFuenllan

acontracts

mentioned

above

aswellas o the contract

for the printingf El Pamarro y Esteba

nDaza 5).

(3)This ocume

nt.

als

o

from he AHPnValladoli

d

isbein

g

prepar

ed

forpublicati

on

bvGrifth

s.



SANTA

MARIAAND THE PRINTING

OF INSTRUMENTAL

MUS1C...

• 555

According

to the Santa

Maria

contract,

theproof heet

of each

pliego,

bi-folio,

of thebook

was

to be clecked

by he author

and igned

byhim o indicate

hissatisfaction

withits accura

cy.Thisconditio

nis similarly tate

din the Daz

acontract.

In Fuenllana’s

case,he ask wa

sto be performe

dbya prox

yin viewof the author’

sblindness.

ln Cabezon’sas

e,the conditio

nis not as stringen

t.While her

eis no ormal tipulatio

nof checkin

gproofs

in the contract,

it was

agreed

that he printer ha de erzer

may articular

quenta

ycuidado

ile que,

como

dicho

er, a mpreriorz

re hega

cortforrne

al dicho

original"

[had otake

particular

care

that,as stated,

the mpression

be n accord

with he said riginal]

andthat todo

rlor lichor ihrorhim le ir imprerro

ra plum

:y rerzglo

nconel clich

eoriginalin remitirni parar om lgum

ide um

aplane

a a otra" all the books

have

to be printedag

eand ine accordi

ngto the origina

lwithout

shifting

anything

fromone age

to anot-er] 7).

Of the 1500

copies

called

for n the contract,

onlyabout

a dozen

are nown

to haveurvive

dinto he wentiet

hcentury.

Three

copies

are ound

in Spanish

libraries:

in the. Bibliotec

ade a Universid

adin Barcelo

na(E:Bu),

the Biblioteca

deSan orenzo

del Esco-ial (E:E)

,and he Bibliotec

ade Menénd

ezy Pelay

oin Santand

er(E:SM).

The presentocatio

nof the op

yheld t he orme

rBiblioteca

de a Casa

Ducal

deMedinaceli

in MadridE:Mmc

)has ot bee

nestablished

Another

copy

is held at he Bibliotheque

Nationale

inParis

(F:Pn)

andhas been

reprinted

byMinkoff.

Two copies

are n Great

Britain,

one atthe Britis

hLibrary

in London

(GB:Lb1)

and at the Euing

Musical

Library

in GlasgowGB:Ge

).

Thiscop

y

has ee

n

reprinte

d

byGreg

g.

Sixcopie

s

are n the USA

,

two n the

Houghton Library of the Harvard University Library, theso-called "Stetson” copy (US:CAtetson)

and he so-called

"ELKAN"copy

(US:CA

ELKAN).Further

copies

are n theNewberry

Library,

Chicago

(US:Cn),

the NewYorkPublic

Library

(US:NYp),

theSibleyMusi

cLibrary,

Eastman

School

of Music,

University

of Rochester

(US:R),

and he Ldiraryf Congre

ssin Washingt

on(US:Wc).

The US:NYp

copy

formerly

belonged

to theBibliotheque

AlbertCortot

in Lausanne,

Switzerland

Another

copy,

whose

provenancehasnotbee

nestablished,

was eprinted

in facsimile

byArteTripharia,

Madrid,

c.1975.

Itdiffers

in various

ways

fromother extant

copies

examined.

A copy

formerly

heldbyDeutsche

Staatsbibliothek,

Berlin,was ost during

WorldWar I. The ollowing

observa-ions re mad

eon he basi

sof comparis

onof the ollowin

gtwelve

exemplars:

E:E,

E:SM,:V,F:Pn,GB:Ge

,GB:Lbl,US:C

AStetson,

US:CA

ELKAN,US:Cn,

US:R,

US:Wc,

andArteTriphari

a.lthough

there

areslightdifferences

between

thevarious

copies,

thebasic

measu-ement

sof the bookare28.

5cm>

<21cm.Edge

sare airly smoot

hon most opie

s,and

none

arecarelessly

cut.None

of the copies

examined

have

watermarks,

but he papereet

sEuropean

standards

of the ime. Handwritten

notes

are ound

in several

copies,

I n1 is u • l *1 l




E. HULTBERG

some

being

corrections

from he Errata.

Theprinting

process

is typical

for books

of thistype rom he period

:wood-blocks

for texts

use

several

sizes

of fonts,

while he musicxampl

es

usemovabl

e

woode

n

typewitheac

h

note

,

clefor sign with]ts own sectio

n

of

staff.

Several

additional

blodts

arealso mployed.

Those

used

fordiagrams

and he coat-of-

armson the title pag

eappear

to have

been

specialy

cut,while hose

bearing

theprinter's

devices

arealso ound

in other

Fernandez

deCordoba

prints.hecopie

sexamined

are similar n many

respects:

problems

such

as omitted

orincorrect

folionumbers,

material

in the Errata

not ncluded

in the main ext,are ypicalf all. The prefator

ymaterial

is in the same

order

in all of the exemplars

with theexception

of US:R,

which

has een

bound

incorrectly.

The onsiderable

differences

betweenhechapte

rtitlesasshow

nin the Tahl

aand he manne

rin whic

hthechapte

rsareheade

dn the ext are he same

in all the extant

copies.her

eareveprincipa

lvariants

among

thesurviving

exemplars

thatdemonstratehat evisio

nof the plate

swas

made

during

thecourse

of printing.

These

are ummarizeds ollows

: 1. The Dedication

of the book

to the Reverendissimo

S.Don F. Bernardo

de Fres-eda

,included

in the unnumbered

prefatory

folios,

appears

in two orms.

In some

copiesant

aMaria s referre

dto as "deh orde

nde or predicdor

er"(sic)

[E:SM,

E:V, F:Pn,B:G

e,GB.Lbl,

US:CA

ELKAN,ArteTripharia]

and n others

as rlela

orden

de imctoomingo? The wo version

suse a different ecorativ

einitial "D" to commenc

ethe ext,

and here

arenumerous

other ifferences

in the ypography.2. In the woodc

utthat llustrate

sthe keyboa

rdof the momicor

diofound

in Libro ,on ol.

56,the etter G" s printe

don he hird white ey rom he eft of the diagra

min

mostexemplars,

corresponding

to the heoretical

Gamaut.

In twocopies,

however,

thisletter s missin

g[E:SM,

US:CA

Stetson].

This appears

to be a_

correction

to the sameoodbloc

k,and s he onlychang

emade

to he entire

page.3. Two differen

tversions

of the diagram

ofa vihuela

occur

in the surviving

copies

inLibro on ol 56v

.Thisdiagra

mshows

partof the body f a vihuela

withahexagram

oftablature

representing

thengerboard,

showing

theposition

of various

notes

upon t inG-tuning.

The version

found

in exemplars

E:V,F:Pn,

andUS:Cn,

gives

single

tablaturegure

sshowing

some

of the principal

notes,

with he ablature

set n inverted

form asfound

in the ablature

of LuisMilan’s

ElMaestro

of 1536.

All other xemplars

examinedho

weach

respective

note n its three

octaves,

shown

as vertically

aligned

chords,

withthe ablatur

ereversed

to the standard

Italian-Spanish

format

used

in all other ources

ofvihuela

music.

It would

thus appear

that his more

complete

and more

conventionalersio

nisa correcti

onof the rstdescrib

ed.`

4. The wo chapte

rs

foun

d

in Libro I. fol. 82v

.

Delmnd

n

delmir br dm umm harmsnnuysynu nuunnu nn 1.41uLv LA, LVL UAV, 1/vv IVUWV WVU WJH IHJ WVJ I/VA•UJ (/WALOJ



SANTA MARIA AND THE PRINTING OF INSTRUMENTAL MUSIC... • 355

con ardoi alms,

y lar doraltar on ar clothexar

andDelmode

deerirunduoconotrorin cleurul

eareheade

dasCap

.XXXVH

andCap.

XXXVIII espectively

in most

exem-lars

.In the F:P

nand Arte Triphari

acopies,

the numerals

are given

incorrectly

asXXXVI andXXXVII. In all copie

s,chapters

35 and 36`are

bothnumbered

XXXV inthe ext. v

5. The music

example

on ol.122v

of Libro I, in Cap.

LIII,Del rzodo

de empler

elmomcordio

y la vihuela,

alsooccurs

in twoversions.

Theexample

is set on two stavesndexempla

rsdifferonly n their concludi

ngmeasures.

The wo versions

are dentieder

eby the note

sthat begi

nthe secon

dstaff.

The rst version,

beginning

with theascending

octave

a-a'

on he second

staff s found

in exemplars

E:E,E:V,US:CA

Stetson,S:Cn

,US:R,

and US:Wc.

The second

version,

identiable

by the descending

octave

c-C

- at the] of the second staff s found in. GB.Lbl,

US:CA

ELKAN,andArte Tripharia.TL- -,-L- —..-1——;— aL— —.. L- [-.....1 L—.—.

the exemplars

E:SM,

FiPn, GB:Ge,

-.. .1...— ..—-2..— £,.II 2....... a....,. -..m.....the only onsistencres

thatcanpe ouno

petween

tnese

versions

tau mto wo groups.xempla

rsE:E,US:R

,andUS:W

chave

the same

versions

of the vepages

described:orde

ndesanct

oDomingo",

G on the keyboard

diagram,

chords

on he vihuela,

chapterumberin

gXXXVH

andXXXVIII,and hea-a'

music

example.

Another

group,

GB:Ge,B:Lbl

,and US:C

AELKAN,hav

ea differen

tset of consistenci

es:"de os'Predictor

es”sic),G on the keyboard,

chords

on the vihuela,

chapter

numbering

XXXVII, XXXVHI,and hec-Cmusi

c

exampl

e.

Fromall thes

e

observatio

ns

it is impossibl

e

toconclu

de

that

twoseparate editions of the Arte le uiier Fuutarie were produced, but ather that variousorrections

were made

during

the course

of printing.

This s in agreement

with Santaaria’

scomment

at the end of the book’s

Errata

where

he comments

Adoierture

queulguuor

hierror

dertor

no ertuu

en odos

lor lihror,porque

re corrigieron

u ru tiempo[Note hat sever

alof thes

eerrors

arenot n all the books

because

theywere orrected

intime] 8)

.The nformatio

ncollected

here

is too nconsistent

and nsufcient

to permit achronology

of these

corrections

tobeestablished.

IThe size f the print run of the Artede urier Fuuteri

u,like he other hre

ebooksnde

r

considerati

on,

was arg

e

in contempor

ary

terms

.

In specialis

ed

area

s

suc

h

as medi

-ineand aw, printruns n Spain were oftenas smallas hree or four hundred copies,hilebooks

withgreater

expected

circulation

were

oommonly

printed

in batches

ofeighthundred

to a thousand

volumes.

For he our books

under

consideration

here,

the printruns wer

esignicantly

larger.

The smallest,

Orpheriicu

Lyra,

is 1000

copies,

with hebooks

of Santa

Maria

andDaza

being

halfasgreat

again,

1500

copies

each.

TheCabezonontra

ctspecies

a runof 1200

regular

copies

withan extra

twenty-ve

to be printed

onspecial

paper.

The sizeof these

print runs s too arge

to argue

that the books

were

(8)Libr

o

H. ol.123

.




E. HULTBERG

intended

for use n restricted

noble

or aristocratic

circles.

Indeed,

the arge

number

ofintabulations

in the anthologies

of instrumental

music

suggests

both heir didactic

andrecreational

use.

Theywere

obviously

an mportant

means

of disseminating

highqualityrtmusi

cto a secto

rof societ

ythat woul

dhave

had irtually

no access

to t prior o theinvention

of music

printing.abl

e1 break

sdown

the957works

contained_

in the printed

Spanish

instrumentalepertor

yintosixcomposition

algenres.

It includes

all the worlcs

in the keyboard

tablatu-esof Veneg

asdeHenestro

saandCabez

onand he vihuel

atablatures

of Milan,Narvaez,udarr

a,Valderrabano,

Pisador,

Fuenllana

and Daza.

The category

of intabulations,ccounti

ngforalmos

thalf he epertor

y,includes

arrangements

of vocal

works

aswellasoriginal

accompanied

songs

which,

in the vihuela

tablatures

especially,

are not alwaysossibl

etodistinguis

hfromarrangeme

nts.Such

a highproportion

of arrangements

con-rms heir mportan

cein the epertor

y,particularly

in lightof the broadening

social

basef art musi

coccasioned

by he advent

of music

printing.

It is a phenomenon

analagousith he ole of keyboa

rdarrangements

of opera

and ymphonic

music

thatproliferatedn the nineteent

hcentury.

Theabstract

works

areprimarily

thekeyboard

tieutor

and hesynonymous

vihuela

furzturiur,

butalso nclude

works

ofsimilar tyle esignated

as rer orquatro

in the keyboard

tablatures.

Liturgical

works,

settings

of plainsongs,

hymns,

psalms,uhordouer

,etc, are exclusiv

eto the keyboar

dliterature.

Included

among he miscella-eou

sworks

are ouetor,

iluor,ugar,

freely-composed

glorur,

eutruder,

mler, and imm-ter.The mall numbe

r

of danc

es

and ariatio

n

set

s

is obviou

s

from he statistic

s.TABLE

1: The enres

ofSpurzirh

imtrumerztul

muric

[Intabu-ations

l Abstract

lLitt1r,¢1ical

l Miscel-wo

rks` works

Htimus works

IVariations

l Dances

l TOTAL

KeyboardVihuela li?

70

233

97l

20

26

10

20

2 267

11 690 I

TOTAL

Percentagef repertor

y

468

49%

303321-

%

9710%

46

5%

30

3%15

957% l

Oi oriainal compositions.

the abstract

compositions

are the highest n number,

LII ULIBIIMIL \.\.lLA.llJ\}UILA\}Aa•.|, Luau •••.ru•n.••̀ .¤. wv—.rvu••-v—v -—— —— ..-.¤——.· l' · I • 1 F .1 . *1"I,, .,E....—1- -.[ Z—-..-...-...-1 ....a.Mmmine-inn hu- Ann 1-hir-A nI· 1-hn rnnnrrnnr3CCOllI1I1[1

g

IUI UUE I.llll.L1 U1 UIC ICIJCLLULY.'I'I·¤¤ •-unnnrln nl- 1nch·111Y•n|‘\t¤I af



SANTA

MARIAAND THE PRINTING

OF INSTRUMENTAL

MUSIC...

· 557

teenth

century

was he ability o mprovise

counterpoint,

or to perform

one’s

ownworksriginall

yconceived

through

the mprovisatory

process.

It is perhaps

this hat aooountsor the productio

n

of suc

h

a larg

e

numbe

r

of copie

s

of the Arte de uner Fantasi

a.

As

well as being

a valuable

treatise

on keyboard

technique,

its principal

objectiire,

and hesubstance

of ts ibro segundo

is to nstruct

the eader

in how o master

the artof poly-- phoni

cimprovisation.

So, longside

thewider issemination

of art music

that arose

fromtechnological

innovation,

printing

also ermitted

non—professional

amateur

musicians

to` perform

,improvise

and compose

in a manner

that had ormerly

been

the exclusiveomai

nof a professio

nalelite. Wer

eit otherwis

e,it woul

dbe difcult o justify he

production

of so many

copies

of a heoretical

treatise

such

asSanta

Maria's.In additio

ntodetail

sof the size nd he mpressi

onof eac

hbook

forwhichwehaveontractu

al

informatio

n,

Tabl

e

2 also ive

s

comparati

ve

gure

s

of the cost

s,

price

s

and

prots.

Books

of music

were

cheap

to produce,

affordable

to buy,

and he protmarginser

eapparently

generous.

Printing

costs

were

established

according

to the volume

ofpaper

used,

although

the manner

in which

costs

were

expressed

varies

fromcontract

tocontract.

In the case

of the Artede uner Funtusiu,

Santa

Mariawas

charged

23 eales

foreach

printed

ream

of paper.

As the manuscript

for Cabezon's

Obrur

was

prepared

inalready

paginated

format,

theamount

of paper

was

quantiable

in advance,

so he ontractnlystipulate

sa at charg

eof 50()

0reules

plusan additional

110 eules

on completionorpurcha

seof the ype and orms

.Thecontra

ctforFuenllan

a’sOrphenicu

Lyra tipula-esa cost f two muruueel

ies

perpliego

,

while he Daz

a

contra

ct

state

s

a cost f 21 eele

ser ream.

Forease

of comparison

these

gures

areexpressed

in Table

2 in murueetlieser folio 9)

.One ea

mof pape

ryields

1000

foliosof quarto

size,

therefore

for Santaaria’

sbook,

the 23 reeles

(782

mrs) per ream maybe expressed

as a cost of 0.782rs/

folio.Similarly,

the Cabezon

contract

estimates

125

pliegos

(250

folios)

at a total. cost f 500

0reules

for he entire

impression.

All thecopies

ofeach

foliowould

thus avecost20 eule

s(680

mrs).

For he 1225

copies,

this may e converted

to 0.56

mr for eachrinte

dfolio.The act hat he editio

nonlycontain

s215 olios woul

dhave

given

theprinter a slightlygreate

rprot rom he ob. n the cas

eof Daz

aprinting,

el Purnussoas printe

din octav

oformat,

so the net costof 0.30

rnr per octavo

folio has beenouble

d.It appea

rsthat musi

cbooks

were

sold nbound

as Pérez

Pastor

mentions

thatjuan Boye

r,the famou

sbookmercha

ntfrom Medin

adel Camp

o,obtained

a copy

ofCabezon's

Ohrus

in 1591

andhat t bound

the ollowing

year

by uan deSarria

a ihrerorom Alcala e Henare

s(10).

I I

(9)Spanish

prices

were

calculated

bv he bstract

unit f themaravedi.

Thegold

currentv

unit.

theduotdo

was

valued

at375mrs nd he silver eal at 34mrs].

1 1 u l I Y\ . NF ' . I! 6 I {p.365

.




E. HULTBERG

TABLE

2: Printing

costs,

impressions

and rots

FT f I

No of copies

printedNo of olios n boo

ketail rice

*Printing

cost er olioCost

of impression

*Revenue

from mpression*rotmargi

n

Santa Maria1500196400.7857,27860,000372

%

Cabezon122515630.56173,74089,06397

%

Fuenllana100085681.0085,00068,000469

%

.

Daza150019136.6053,550*04,00081

%

}

* All prices

are

in memvetlies.

.+ Thi

sprice

isbased

on he stimate

in he ontract

that 5 eams

of paper

would

be equired.

lt isestima-ed er

ethat90 eam

swould

have

been

used

In this ase,

Daza

would

have

had

to pay

64,260

mrs,

the ost

peroctavo

folio

would

have

been

0.36

mrs,

and

theprot

margin

considerably

less,

317%.

Thecosts

of printing

are quite imilar per olio. The highest

ratewas

charged

toFuenllana,

and ould

bedue o a number

of factors

about

which

wecanonlyspeculate.hes

emight nclud

epaper

costs

or the smaller

size f the mpression.

The osts

of theCabezon

andDaza

books

are almost

identical,

whereas

the Arte cle uiier Fantasia

wasmore

expensive,

presumably

because

the abour

involved

in typography

is much

greateror a boo

ksetwithsmall ext ype hanonewhic

huses

the arger

pieces

of ablature

type.he etail pric

eof book

swasestablish

edgovernmentally

by assessors

at court,

inconjunction

with the ssuing

of the printing

licence

to the author.

The itle page

of theArte le uner Funtusi

ustates:

"Tassado

por os Seiiores

delConsejo

Realu veynte

reeles,uduruer

poile pupel' Taxe

dby he ords of the Roya

lCouncil

at twenty

reules,

eacholum

eofpaper]

.Thedifferen

cebetween

production

costs

and elling

price

was ubstan-ial,permittin

gthe autho

rto mak

ea handso

meprot.Sant

aMaria's

potential

protwas72%

,an averag

eof 5 reule

sperboo

ksold.

Theprotmargin

forOrphenicu

Lyru

wouldav

eyielded

Fuenllana

signicantly

mote;

the 469%

prot margin

is equivalent

to 20reules

pet volume.

The prot margins

for the Cabezon

andDaza

books,

published

onlytwo year

sapart,

are emarkably

similarand demonstrate

a consistency

in the ofcialricin

gmechanism.

_LProtmargin

sof suc

hproportion

may eem

unsually

high n the rst nstancejbuit doe

snot appea

rthat heir author

senjoyed

greater

prosperity

than composers

at anyother

point n history.

Firstly,

it must be aken

into account

that revenue

fromisalesnclude

dtheequivale

ntof a royalty

,and hus ompensati

onfor he authors

’sintellecnralmoert

vwas

built nto he price.

Secondlv.

there

is evidence

that he author-

also ookon



SANTA MARIA AND THE PRINTING OF INSTRUMENTAL MUSIC... • 359

a certain

degree

of nancial

riskwithpublication.

There

is little information

availableoncerni

ngmarketing,

or dealings

with-

booksellers.

The nvolvement

ofa bookseller

asathird pattywouldnecessar

ilyhave

diminished

revenue.

There

is also ittle,evidence

toindicate

-the

period

of time equired

to dispose

of the ull stock

of an edition.

Theonlyinformation

presently

available

concerns

thesale

of Cabezon’s

Ohms.

A document

citedy Pére

zPastor

suggests

that sales

must

have

been

slow.

In May1581,

thebooksellerla

sde Roble

s,incidentally

one f the witnesses

to he Cabezon

contract,

took800 opiesf the Ohm

sat an agree

dprice of 8,0()

0reules,

promising

payment

in eight annualnstallmen

tsof 1,00

0reules.

Thus,

no more

than400 opies

canhave

been

soldduringhe rst hre

eyears

of publication

(ll). By1586

Robles

had nly paid2,000

reules,

sugges-ing that he hadprobabl

ynot sold mor

ethan 200copie

sin the nterveni

ngveyear

s.ssuming

sale

at he ofcial rice,

thebookseller

obtained

about

one uartet

ofthe protmargin

foreach

volume

sold.

Thisevidence

indicates

the evel f nancial

riskborne

bythe autho

r.Hernando

de Cabezon

would

have

tecouped

the printing

costs

from he salef the rst310 opie

s,andonlyafter hat point oul

dthe ventur

ehave

been

considered

inanyway rotabl

e.-

Thegranting

of printing

licences

in Spain

was

a egal equirement,

and he mannern which opyrig

htand egal protectio

nwas ecur

edbythe autho

r.The icenc

eissued

bviiiaiiiigipetitioned

iii-Easily-

Qéiiaiéi

iiiiiaé

piétiisiyvpagésiiai

Qiiiiiisaiisimvriiatiiiisilicenc

min 1557

,and his was grante

din Novemb

erof that yea

rwith

copyright

privileges

tor ten years.

Owing

to a stated

shortage

or paper,

among

othereason

s,printingwasdelaye

d,and sohis icenc

ewas enewe

din April 156

3,with the

.eriod

ofcopyright

commencing

from he date

of he icence

renewal.

A conation

of he Ltwo icenc

esis printe

din the Artede uner Funtus

m.The nee

dforprotectio

nwasappa

-entlynotmerely

legal

formality.

The nly nown

instance

of music

piracy

in Spain

duringhisperio

dconcerns

Orphenicu

him.On 14 anuary,

1555,

Fuenllana

gave

authority

to hisservant

juan Ruizbefore

the notary

Mateo

de Almonacid

"pum

que endu

su Lihrodemusica

para ihuela

y recoju

losexemplures

deuneedition

fmudulentu

huciendo

cumpliro estuhleci

doen el privilegi

ode mpresio

nque osee

”[thathe might sell hisboo

kof

vihuela

music

and ollect

copies

of a fraudulent

edition

in accordance

with that which

isestablished

in the publishing

tights hat he possesses],

and o inspect

copies

of his booko se

e"syson or mi mundu

doynpresor

o de estumpu

por ellos echu"

[if they re hoserdere

dto be printe

dbyme, r from a printin

gdone

by hem] 12).hile nsufcien

cyof dat

astill limitsus o speculati

onconcerning

certain

aspects

ofthis study

,a pictur

eemerges

thatenhances

our mage

of printed

instrumental

music

andits role n sixteenth-

centurySpain.

Interpretation

of detail

concerning

the printing

and

(11)

Pérez

Pastor,

"Escrituras",

p.370.

A(12

)

Thi

s

docume

nts

is eprint

ed

inWagn

er,

Marti

n

deMontesdo

my

su rens

a,

p.112

.



360 • jOHN GRIFFITHS/WARREN

E. HULTBERG

publication

of music

permits

a greater

understanding

of the mpact

of music

printing

onmiddle

class

society

of the ime. t can e concluded

fromourstudy

of the contract

drawnp or the printin

gof theArtede uner untus

mthat, ve

nasa treatise

qitwas ntende

dto

circulate

widely,

justaswas he case

with he music

collections

considered

here.

Althoughewcopie

sof eac

hof thes

ebooks

are xtant,

it can e conrmed

that hey were

producedn larg

enumbers

at a reasonable

price,

with he expectation

that hey irculate

widelymon

gawide ecto

rof societ

ythat must av

eincluded

theurban

professional

bourgeoi-ie n addition o the traditional onsumer

sof ne music

.Examination

of the contracts,ogeth

erwith the comparis

onof the survivin

gexemplars

of the Artede uner Funtusmndicat

esthat her

eexisted

a healthy

liaison

between

authors

andprinters

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their product.

Santa Maria and the Printing of Instrumental Music

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Transcript of Santa Maria and the Printing of Instrumental Music