An early-seventeenth-century collection of sacred vocal music and its Augsburg connections.

Despite extensive study of the sixteenth and seventeenth centuries, relatively little is known about the repertories of specific churches of the time, and about how their music was acquired and used. One institution about which valuable information has emerged in recent years is the Lutheran Church of St. Anna in Augsburg. In particular, understanding of the church's musical life was augmented with my discovery of some printed music editions purchased in June 1618 by Adam Gumpelzhaimer (1559-1625), the music director of St. Anna's church and school for forty-four years. (1) Gumpelzhaimer purchased the materials for St. Anna and itemized them, together with their prices, in Augsburg, Staatsund Stadtbibliothek, Autogr. 54. In view of limited information about the day-to-day planning of St. Anna's collection, the 1618 document provided new evidence about how Gumpelzhaimer organized its purchases. Additional insight was gained into his management and use of the collection as well as his musical interests as a res ult of uncovering most of the actual printed editions. Further information about these matters can now be reported in view of my discovery of an inventory with a larger number of early music printed editions than those cited in the 1618 document. Rather then being located in Augsburg, the new inventory is found in the Musikabteilung mit Mendelssohn-Archiv of the Staatsbibliothek zu Berlin PreuBischer Kulturbesitz. This new document, which is the focus of the present article, adds substantially to our knowledge of Gumpelzhaimer's collecting activities for St. Anna and his contribution to its musical life.

Before studying the document and its music, it may be useful to place the inventory into perspective by reviewing salient details about Gumpelzhaimer and other major collectors in Augsburg. In recognition of his birth in Trostberg in Upper Bavaria, Gumpelzhaimer stylized his name as "Adamus Gumpelzhaimerus Trostbergensis [or 'Trosberga'] Boius [or 'Bavarus']." His musical training was undertaken at the Benedictine Abbey of St. Ulrich and St. Afra in Augsburg, where one of his teachers was Jodocus Entzenmuller. In 1581 Gumpelzhaimer was appointed cantor and preceptor at the Lutheran Church and School of St. Anna, Augsburg, positions he held until his death in 1625. He collected a large quantity of music by his contemporaries, for both himself and St. Anna, as well as copying a considerable number of their works, something that is well illustrated in his score-books located in Berlin and Cracow. (2) Toward the end of his life he sold many of his music manuscripts and printed editions to St. Anna, and documented them in a catalog of its music holdings; (3) sadly, many items from his library are now lost. (4) Perhaps Gumpelzhaimer's most famous publication was his Compendium musicae... (Augsburg: Valentin Schonig, 1591; RISM A/I, G 5116), (5) which deals with the rudiments of music and reflects the methods he used in the instruction of students at St. Anna. The book, which underwent thirteen editions between 1591 and 1681, provides both German and Latin versions of its text as well as including many music examples by various composers, himself included. He was a major contributor to Augsburg's musical life and published a large quantity of sacred vocal music. (6)

Apart from its churches, Augsburg's most prominent music collectors during the sixteenth and seventeenth centuries were a group of successful entrepreneurs. These included Hans Heinrich Herwart (1520-1583), most of whose collection was purchased in 1585 and 1594 by Duke Wilhelm V of Bavaria and is now found in the Bayerische Staatsbibliothek, Munich; (7) Johann Jakob Fugger (1516-1575), whose collection passed into the hands of his patron, Duke Albrecht V of Bavaria, and is now located in the same library; (8) three other members of the Fugger family, Raimund (1528-1569), his brother Georg (1518-1569), and the latter's son, Philipp Eduard (1546-1618), whose collections eventually came to reside in the Osterreichische Nationalbibliothek, Vienna; (9) and Marcus Welser the younger (1558-1614), whose music collection is now found in libraries in Augsburg and Regensburg. (10) Although incapable of matching the purchasing ability of its wealthy businessmen, Augsburg's composers also collected music during this peri od, among them Adam Gumpelzhaimer and Gregor Aichinger (b.1564-1565; d.1628). (11) Music from the major printing presses in Venice and Antwerp form the great bulk of the items collected by these individuals. Germany, too, supplied them with printed music editions, including items from the Augsburg printing presses of Valentin Schonig and Johannes Praetorius. These collectors played a crucial part in the survival of a vast amount of invaluable music, and much remains to be discovered about their endeavors. (12)

INVENTORY

Fortunately, more light can be shed on Gumpelzhaimer's collecting activities for St. Anna as a result of the discovery of the aforementioned inventory cataloged at Staatsbibliothek zu Berlin PreuBischer Kulturbesitz, Mus. ms. autogr. theor. Gumpeltzhaimer [sic] (see figs. 1 and 2). At this point, it would be useful to study its features, since these provide a context for the discussion of its musical evidence.

The document consists of a single manuscript leaf measuring 31.3 cm x 20.4 cm and is guarded and bound in a folder with red covers. In the middle of the leaf there is a watermark, and this consists of a circle that encloses a centerpiece on either side of which are the letters C and Z. The letters belong to the paper manufacturer Carl Zollern (also known as Carl Zeller), who lived in Augsburg until his death in 1611, and whose paper mill was nearby on the river Sinkel. (13) Before it was bound, the leaf must have been folded, since impressions of two folds are still visible. The older of these folds is the horizontal one in the middle of the leaf. A strip of paper has been pasted over the verso of the fold because the document is damaged at this point (the most likely cause of the damage will be revealed later). A faint impression of a second fold, but this time a vertical one, appears to the left of center and shows no signs of deterioration. On the verso of the leaf there are two identical stamps in red ink that read "Ex / Biblioth. Regia / Berolinensi" (see fig. 2). The Be rlin Library, then known as the Konigliche Bibliothek, used this stamp between 1795 and the 1840s. (14) In addition to the inventory, the recto of the leaf includes two penciled inscriptions (see fig. 1). The first one, at the top left, records the document's pressmark, "Mus. ins. autogr. theor. / Gumpeltzhaimer," and was added by one of the librarians at the Berlin Royal Library. The second inscription, at the bottom left, reads "Von der Hand / des Augsburg. Cantor / Adam Gumpeltzhaimer." A comparison with Gumpelzhaimer's autographs verifies that the hand responsible for copying the inventory is indeed that or Adam Gumpelzhaimer. (15) More will be revealed about the document's provenance, including the person who added the aforementioned inscription, but before doing so it would be helpful to discuss the inventory.

Adam Gumpelzhaimer's handwritten inventory, which is in black ink, is spread over five columns (see the recto of the leaf in fig. 1). The columns are separated by lines that are ruled the full length of the page. In the first column, Gumpelzhaimer indicates publication dates. Gumpelzhaimer's inscriptions in the next column comprise an indication of when he compiled the document, "M DC VIII. Mense Septemb:" (September 1608); a list of early printed music editions (a few words of which overlap into the third column); and comments about purchasing and binding. In the final three columns, Gumpelzhaimer indicates the costs involved: 8 gulden and 4 kreuzer was paid for "the costs of these above listed, unbound songbooks" ("dise obuerzeichnete gsangbuech Costen / ungebunden"); 2 gulden and 7 kreuzer was paid "to the bookbinder for binding eight partbooks in wood, providing clasps and sprinkling the outer edges" ("dem Buchbinder von. 8. Stim[m]en in / bretter zubind geben, Clausurn und / gsprengt am schnidt"); and 1 0 gulden and 7 kreuzer was the combined total ("Summa"). Although partly obscured in figure 1, Gumpelzhaimer inscribes the monetary values he used at the top of the final three columns: "FI."(florin or gulden), "k." (kreuzer), and "hale" (haller, haller, hallenses, or heller). This currency was widely used when Gumpelzhaimer compiled his document. (16)