Cell 12

Musik im Humanistenkreis 16. Jahrhundert

Positive organ

Samuel Mareschal (1554 - 1640)
from 1576/77 on professor of music in Basel at the university and cathedral organist
Psalm 33: Resveilles vous chacun fidele
Jean-Claude Zehnder, 'Ab Yberg' (SZ) table positive, maker unknown, Southern Germany(?), end of the 16th century, changed in the 18th century
P/C 1985 and 1995; CD Historisches Museum The instrument is exhibited in the hall on the 1st floor.
It was originally played in a private house chapel in Ab Yberg near Schwyz, probably for private services.
Baldachin organ for home music-making on a positive organ.

Vocal ensemble with instruments

Claudin de Sermisy (1490? - 1562) Tant que vivray

Maria Christina Kiehr, soprano, Gerd Turk, tenor, Willem de Waal, bass-baritone, Otto Rastbichle,rbass, Nicolas Stroesser , recorder, Renee Stock , viola da gamba, Brian Feehan and Karl-Ernst Schroder, Flute, Brett Leighton, virginal Willem de Waal, conductor
P 1989/C 1987; Ex libris CD 6093
Home music-making in the noble society with five singers, cornet and trombone

Although the composition of the ensemble heard here deviates from that in the picture - there are four singers, a recorder, lute and virginal -, the piece is a fairly accurate reflection of the musical character.

The same music was used to accompany a German text in Basel in the 16th century.
This was common practice and has been handed down through various manuscripts preserved in the Basel university library (see musical example no. 3, Ein Christenliches Leben, unnd rechte freide

Vocal ensemble (religious song)

Claudin de Sermisy (1490?-1562) (musical setting) Ein Christenliches Leben, unnd rechte freide
Maria Christina Kiehr, soprano, Gerd Turk, tenor, Willem de Waal, bass-baritone, Otto Rastbichler, bass
P 1989/C 1987; Ex libris CD 6093
Home music-making in the aristocratic society wlth five singers, cornetto and trombone
Music by Tant que vivray (see musical example 2) was used to accompany a Gewr text in BaseI in the 16th century. This was a frequent practice and has been handed down through various manuscripts preserved in the Basel university library,

Hurdy-gurdy

trad. France Turlubino
Jean Clament, Hurdy-gurdy P/C 1994; silex Y225109
French folk-music with a single hurdy-gurdy.
The two fiddles supported the melody of the hurdy-gurdy, thereby enhancing the predominant sound of the hurdy-gurdy.
A group of peasants making music with two fiddles and a hurdy-gurdy

Recorder quartet

James Harden (before 1560 - 1626)
A fancy for four recorders (alto, tenor, basset and bass)

Flanders Recorder Quartet
Bart Spanhove, Paul Van Loey, Joris Van Goethem, Fumiharu Yoshimine
P/C 1999; OPS 30-239

Four nymphs making music, probably with recorders.
The painting could, however, depict three recorders and a musette (small bagpipe)

Trumpets and Kettledrums

Anonymous, ca. 1700
March for trumpet ensemble and kettledrums
Trumpet ensemble of the Schola Cantorum Basiliensis, conducted by Edward H. Tarr

P/C 1990; HM851-2
Although the music is of a later origin, the function of the ensemble remained the same.
Music for mounted parades with four trumpets and a pair of drums as representatives of the City of Delphi (in the form usual at the time).

Clavichord

Antonio de Cabezón (1510 - 1566) Discante sobre la pavana italiana

llton Wjuniski, clavichord P/C 1997; HMC 905236
Home music-making in the noble society. A lady sitting at a rectangular keyboard instrument (probably a clavichord).
Another rectangular keyboard Instrument, probably a virginal, is seen on the Zurich painting further to the right; it is missing here.

Viola da gamba

Jacques Arcadelt (1505 - 1568)
II bianco e dolce cigno, Madrigal a 4 1539
Labyrinto (Concerto di Viole), dir. Paolo Pandolfo P/C 1997; HMC 905234
Arcadelt's setting of the madrigal is also preserved in the Basler Lieder Handschriften originating from the 16th century, which are accommodated in the Basel University Library.
Home music-making in the high society with a viola da gamba player. Only one of the four viola da gamba players portrayed in the Zurich painting are depicted here.

Lute

Ach jungfraun wolt ihr mit tantzenn mit Nachtanz fur Laute aus der Tabulatur von Emanuel Wurstisen, Handschrift, Basel 1591
Karl-Ernst Schroder, Renaissance lute P 1989/C 1987; Ex libris CD 6093
This plMe represents the Basel repertoire of the late 16th century.
The Wurstisen manuscript from 1591is now preserved in the Basel University Library.
The lute is ascribed here to Terpsichore, the Muse of Dance. At the same time, it is one of

Virginal

Salve puella mit Nachtanz fur Virginal
aus der Tabulatur von Emanuel Wurstisen, Handschrift, Basel 1591 Brett Leighton, virginal
P 1989/C 1987; Ex libris CD 6093
This musical example originates from the Basel Wurstisen manuscript from 1591, thereby coinciding with 1574 Basel virginal as regards both the time and the place of origin.

Introduction cell 12
Vocal ensemble with instruments Claudin de Sermisy (1490? - 1562) Tant que vivra Maria Christina Kiehr, sporano, Gerd Türk, tenor, Willem de Waal, bass-baritone, Otto Rastbichler, bass, Nicolas Stressen, recorder, Renée Stock, viola da gamba, Brian Feehan and Karl-Ernst Schröder, lute, Brett Leighton, virginal, Willem de Waal, conductor P 1989/C 1987; Ex libris CD 6093
Vocal ensemble (sacred songs) Claudia de Sermisy (1490? - 1562) (musical setting) Ein Christliches Leben, unnd rechte freide Maria Christina Kiehr, soprano, Gerd Tür, tenor, Willem de Waal, bass-baritone, Otto Rastbichler, bass P 1989/C 1987; Ex libris CD 6093
Hurdy-gurdy trad. France Turlubino Jean Clament, Hurdy-gurdy P/C 1994; silex Y225109 French folk-music with a single hurdy-gurdy
Recorder quartet James Harden (before 1560 - 1626) A fancy for four recorders /alto, tenor, basset and bass) Flanders Recorder Quartet Bart Spanhove, Paul van Loey, Joris Van Goethem, Rumiharu Yoshimine P/C 1999; OPS 30-239
Trumpets and Kettle-drums Anonymus, ca. 1700 March for trumpet ensemble and kettle-drums Trumpet ensemble of the Schola Cantorum Basiliensis, conducted by Edward H. Tarr P/C 1990; HM851-2 Although the music is of later origin, the function of the ensemble remained the same.
Clavichord Antonio de Cabezòn (1510 - 1566) Discante sobre la pavana italiana Ilton Wjuniski, clavichord P/C 1997; HMB 905236
Viola da gamba Jacques Arcadelt (1505 - 1568) Il bianco e dolce cigno, Madrigal a 4 1539 Labyrinth (Concerto di Viole), dir. Paolo Pandolfo P/C 1997; HMC 905234 Arcadelt’s setting of the madrigal is also preserved in the Basler Lieder Handschriften originating from the 16th century, which are accommodated in the Basel University Library
Lute Ach jungfraun wolt ihr mit tantzenn mit Nachtanz für Laute aus der Tabulatur von Emanuel Wurstisen, Handschrift, Basel 1591 Karl-Ernst Schröder, Renaissance lute P 1989/C 1987; Ex libris CD 6093 This piece represents the Basel repertoire of the late 16th century. The Wurstisen manuscript from 15912 is now preserved in the Basel University Library
Virginal Salve puella mit Nachtanz für Virginal Aus der Tabulatur von Emanuel Wurstigen, Handschrift, Basel 1591 Brett Leighton, Virginal P 1989/C 1987; Ex libris CD 6093 This musical example originates from the Basel Wurstisen manuscript from 1591, thereby coinciding with 1574 Basel virginal as regards both the time and the place of origin.

Object Description

The theory and practice of music were part of general education in scholarly circles in the 16th and early 17th centuries.1511 saw the publication in Basel of the first printed book on musical instruments in German, entitled 'Musica getutscht und auBgezogen,' written by Sebastian Virdung with woodcuts by Urs Graf.The Basel legal scholar Bonifacius Amerbach (1495 - 1562) owned a remarkable music library and a number of different instruments .His handwritten manuscripts were later passed on to the university and are still preserved in the university library. Some of his instruments, unfortunately now lost, were acquired by the doctor and musician Felix Platter (1536 - 1614).The musical manuscripts from the Amerbach circle and a Flemish virginal dating from 1572 from the collection of the Basel merchant and city councilor Andreas Ryff (1550 -1603) are witnesses of the domestic music-making of the time.A large contemporary oil painting of The Castalian Fountain completes the exhibition. It is thought to have originated from the collection of Felix Platter and was painted probably in Southern Germany around 1540. The allegorical portrayal of music shows the nine muses, each with a specific instrument and musical ensembles usual at the time.

 
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