CLEMENT VIII, Pope.
RULES FOR PLAYING THE ORGAN
Caeremoniale episcoporum.
Venice, Ex Typographia Nicolai Misserini, September 1600£3,750.00
FIRST EDITION thus. 4to. pp. (iv) 132 (iv). Roman letter. T-p in red and black within woodcut border, colophon *(Kk4v) in red and black, woodcut printer’s device. 7 pp. of printed music in red and black. Full-page woodcut to O4r within typographical border depicting mass with bishops present. Headers and occasional text in red, woodcut initials, one to M4r pasted down over erroneous initial. T-p a little dusty and stained, first two quires with light waterstaining to blank upper margin, very small wormtrack to blank outer edge of a few ll. of quire T, quire Ff with light waterstain to lower margin and outer corner, the odd smudge or inkstain, mostly to gutter or outer corner, a few ll. very lightly foxed at blank outer edge. A good copy in early C17 red panelled morocco, large cornerpieces with cherubs, smaller floriated cornerpieces and double fillets, gilt, rubbed, outer edges gilt. C17 ex libris inscription to lower blank margin of t-p, inked over. Numerous C17 marginalia in ink and red crayon.
Very rare first Venetian edition of this attractively printed guide codifying the vestments and actions of all participants in ceremonies carried out in the presence of bishops. Two Roman editions appeared in the same year, both printed in October as stated on to their title-pages. It contains choral music for various prayers and tones to be used in daily services, with variations, and for the sung confession during the mass. Its prescriptions for the use of the organ and choral music in worship remained until the Second Vatican Council of 1965.
The work is divided into two books: the first deals, inter alia, with what a bishop must do following his election, his dress, including the mitre and crook and the use of shaded canopies, his duties and privileges, his behaviour to his superiors (legates, cardinals, nuncios, etc.) and the behaviour of his assistants, including reverences, genuflections, etc.; the second concerns the offices of the holy mass when taken by the bishop and when conducted in his presence and absence, including services for the anniversary of the death of his professor, for the occasion of his own last illness and death, and prayers for his successor.
The prescriptions for the organ and choral music (ff. 51-52) state that music should be heard on Sunday or festival where the ‘people are accustomed to abstain from menial work.’ There are exceptions, however, including solemn festivals such as Advent (except the third Sunday, called gaudete), the Annunciation, and the Mass of the Dead, when only plainchant can be used. The arrival of bishops or other important prelates should be accompanied by the playing of the organ. Describing both call-and-response between the cantor and organ and the use of the organ to accompany the choir, the guide describes the use of music during matins, vespers and the mass, stating when the organ should be played, including the Kyrie, Gloria and Agnus Dei, etc. The use of ‘profane,’ ‘sportive,’ or any other kind of musical instruments besides the organ is forbidden entirely, and the author condemns any kind of singing that invokes levity or lasciviousness, or in any way distracts worshippers from contemplation of the divine.
Adams L985. USTC 821166. EDIT16 CNCE 11271. OCLC notes only four copies of this ed. in the US, at Eastman School of Music, Catholic University of America, Notre Dame and UT Austin.In stock
