Judenkünig 151?: Description


Thematic Index


Title Page:

(f. 1r) Utilis & compendiaria introductio, qua ut fundamento iacto quam facillime musicum exercitium, instrumentorum & Lutine, & quod vulgo Geygen nominant, addiscitur labore studio & impensis Joannis Judenkunig de Schbebischen Gmundt in communem omnium usum & utilitatem typis excudendem primum exhibitum. Viennae. Austriae.

 

Summary of Preface:

The Latin preface contains rudimentary instructions on reading tablature and left-hand fingering.


A wood cut on f. A3r gives the German tablature symbols:



  6th  course 5th  course 4th  course 3rd  course 2nd course 1st  course
Open A 1 2 3 4 5
1st fret B a b c d e
2nd fret C f g h i k
3rd fret D l m n o p
4th fret E q r s t v
5th fret F x y z 7 9

6th fret
G		 _
a		 _
b		 _
c		 _
d		 _
e

7th fret
H		 _
f		 _
g		 _
h		 _
i		 _
k

8th fret
I		 _
l		 _
m		 _
n		 _
o		 _
p


There is also an explanation of rhythm signs and meters with a chart (f. A3v-A4r). 

The next page contains an interesting, if somewhat crude, woodcut portrait of a lutenist and violist entitled: "HANS JUDEN KUNIG BIRTIG VON S[CHWEBISCHEN] LUTENIST Y[ETZ] Z[U] W[IEN]." The abbreviations in this title follow the title page of Judenkünig 1523. The lutenist (Judenkünig himself?) is seated with his lute resting on a table; the violist is standing (!) and bowing a larger viola da gamba.

Tuning instructions are on f. B4v ("Regula qua cordas congrue aptare & suis interse numeris & modulis concinnas facere potes") and indicate that Judenkünig's lute had octaves on the three lower (bass) courses, unisons on the third and second courses, and a single string first course. 

Contents:

1. Ode prima Mecoenas atavis (f. B1v) 
2. Ode 2. Iam satis terris (f. B1v) 
3. Ode 3. Sic te diva potens Cypri (f. B1v)
4. Ode 4. Solvitur acris hyems (f. B1v)
5. Ode 5. Quis multa gracilis (f. B2r)
6. Ode 6. Scriberis vario (f. B2r)
7. Ode 7. Laudabunt alii (f. B2v)
8. Ode 8. Lydiadic per omnes (f. B2v)
9. Ode 9. Vides ut alta stet (f. B2v)
10. Ode 11. Tu ne quesieris (f. B2v)
11. Ode 18. libri secundi. Non ebur neque aureu (f. B3r) 
12. Ode 12. li. tertii. Miserarum est (f. B3r) 
13. Ode 7. libri quarti. Diffugere nives (f. B3r) 
14. Ode prima ex libro Epodon. Ibis liburnis inter alta navium (f. B3r) 
15. Ode 11. Pecti nihil me sicut (f. B3v) 
16. Ode 13. Horrida tempestas (f. B3v)
17. Ode 17. Mollis inertia (f. B3v)
18. Ode 16. Altera iam bellis (f. B4r)
19. Ode 17. Iam iam efficaci dominus (f. B4r)
20. Phaleutium Hendecasyllabum. Vivamus mea lesbia atque amemus (f. B4r)
21. Madonna katerina. Oder hast du mich genummen (f. C1r)
22. Christ ist erstanden (f. C1r)
23. Und wer er nit erstanden (f. C1r)
24. Der hoff dantz (f. C1v)
25. Ich traw der lieben woll (f. C2r)
26. Zart schönste fraw (f. C2v)
27. Nach lust (f. C2v)
28. Nach willen dein (f. C3v)
29. Zucht er und lob (f. C3v)
30. Von edler art (f. C4r)
31. Hast du mich genumen (f. C4v)
32. Wo sol ich mich hin keren (f. C4v)

Location:

RISM lists two extant copies of this book: in A:Wn and D:Mbs. 


Bibliography (1980+):

Radke, Hans. "Zur Spieltechnik der deutschen Lautenisten des 16. Jahrhunderts." Acta Musicologia, 52, no. 2 (1980): pp. 134-47.

 

Facsimile: 

None. A microfilm from the A:Wn copy is available; the pages appear to be scrambled in this copy, but all of the pieces are there. 

 

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