George Grove.

A dictionary of music and musicians (A.D. 1450-1889) by eminent writers, English and foreign : with illustrations and woodcuts (Volume 4) online

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Counterpoint, Composition, Sight-reading, and
general musical knowledge, after passing which
a candidate is entitled to a First Class diploma
admitting him to a fellowship in the College.
This examination is only open to candidates
who have previously been examined for and
obtained the certificate of associateship, and to
musical graduates of the English Universities.
An idea of the growth of this institution may
fairly be gained by comparing the numbers of
candidates for examination in diSerent years.
Whereas 7 presented themselves in July 1866,
38 came up in 1876, and 244 in 1886. Of Fel-
lows, Associates and Members the College now
numbers about 600, a position which the Hon.
Secretary, Mr. E. H. Turpin, and the Hon.
Treasurer, Mr. Wesley, have greatly assisted in
securing and maintaining for the institution.
To the latter gentleman is due the proposal to
establish a Pension Fund for organists incapaci-
tated by age or illness, a proposal which is likely
to be followed up. Other features of the College
work are the Organists' Register, and the
prizes for composition.

Since June, 1887, the press representation of
the College has been effected through the ' Musi-
cal World,' a part of which weekly paper is
under the superintendence of Mr. E. H. Turpin,
and is devoted to organ news and articles of
special importance to organists, besides occa-
sional reports of the lectures delivered at the
College meetings. It would be impossible in
a small space to give an adequate idea of
the number and interest of these addresses,
which are largely attended by strangers and
friends; the list of those that were heard in


the year i8!'6-7 includes 'Ancient Keyboard
Music,' by Mr. Hipkins ; ' Musical Elocution,'
by Mr. Ernest Lake ; ' False Relations,' by
Mr. James Turpin ; ' Organ Construction,' by
Mr. Richardson; and 'How to enjoy Music,'
by Mr. Banister. [L.M.M.]

ORGANOPHONE. A variety of the Har-
monium invented by the late A. Debain of Paris,
wherein the reeds or vibrators are raised within
instead of being beneath the channels. The
result of this disposition is the production of a
tone-quality assimilating to that of the American
organ. [A.J.H.]

ORGENYI. For name read Orgeni, Anna
Maria Aglaia, and add that her real name is
Von Gbrger St. Jorgen, and that she was born in
1841 at Rima-Szombath, Galicia. She sang for
a few nights at the Lyrique, Paris, in 1879, as
Violetta. In iSSi she re-appeared in England,
and sang with success at the Crystal Palace,
Philharmonic, and other concerts. She is now
a teacher of singing at the Dresden Couserva-
torium. [A.C.]

ORIANA, The Triumphs of. P. 61 1 a, 1. 4,
for in 1601 read in 160.:^ (after Queen Elizabeth's
death, as is proved by Ai'ber's Stationers' Regis-
ter). The book was printed in 1601, but the pub-
lication delayed till two years afterwards, probably
because the Queen disliked the title of Oriana.

ORNITHOPARCUS, vol. ii. p. 6ix J. It will
be observed that the date of the publication
of the first edition of the Microlos;us of Or-
nithoparcus is stated variously as 1516 and 1517-
The former date is that given by Panzer (vii.
p. 196), on the authority of the Catalogue of
Count Thott's Library (vii. p. 172). But no
trace of this edition — if it ever existed — can now
be found, and it seems certain that the work
was first printed in 15x7. The following are
the various editions through which it passed : —

1. Leipzig, Jan. 1517. The colophon runs as
follows : —

Excussum est hoc opus Lipsiaein aedibus Valentin! |
Schumari. Mese Januario, Anni virginei partus De |
cimiseptinii supra SBt^quimillesimu Leone de | cimopont.
max. ac Maxiniiliano | gloriosissimo Tiujatore orbi ter-
ras I praesidentibus. |

This is the fu'st edition, and only one copy is
known to e.xist, viz. in the Bibliothfeque Na-
tionale at Paris, the whole of sheet A of which
is wanting. It was described by Fetis, who
however confuses it with the second edition.

2. Leipzisr, Nov. 151 7. Described in Panzer
(ix. 496). The colophon is : —

Excussum est hoc opus, ab ipso autbore denuo casti-
gatum, I recognitumq,: Eipsie in edibus Ualentini Schu-
luanni, calco- | graphi solertissimi : Mense Nouebr :
Anni virginei partus de- | cimi septimi supra sesquimil-
lesimu. Leone decimo Pont. Max. J^ac Maximiliano
iuuictissimo imijatore orbi terra*, psidetibus. |
This edition, though the colophon clearly proves
the contrary, is generally described as the first.
Copies of it are in the British Museum ; Kgl.
Bibliothek, Berlin ; Hofbibliothek, Darmstadl ;
Library of St. Mark's, Venice; University of
Bonn, and the 'Rosenthal Antiquariat,' Munich
(May 1888). ^ '


3. Leipzig, 1 5 19. The colophon runs :^

Excussum est hoc opus: denuo castigatum recoimi
tumq,: | Lipsie in edibus Ualentini Schumann! : calco
graphi solertissi \ mi : Mense Aprili ; Anni virgiue
partus vndeuigesimi supra | sesquimillesimum. ]

There are copies of this at Berlin (Royal Li
brary), Munich (Royal Lilirary), Konigsbeir
(see 'M<matshefte fiir Mnsikge.schichte,' 1S70
p. 47), Gottingen (Universitj' Library) and Brus
sels (see ' Catalogue de la Bibliotheque de F. J
Fetis,' p. 621). A copy is said (' Monatshefc(
fiir Musikgeschichte,' viii. p. 22) to be in thi
Rathsschulbibliothek of Zwickau. Fetis say
there is an edition of 152 1 at the Bibliotlu-qui
Rationale in Paris, though on enquiry iMay
18SS) the only copy found there was that of .Jan
15 1 7. The colophon he quotes is that of th'
1 5 19 edition, but he seems to have imagined tha
' undevigesimi ' m.eant twenty-one, instead
nineteen. His statement has been copied b;

4. Cologne, 1533. The title-page runs : —

Andrse Ornitoparchi Meyningensis, De arte cantani'
micrologus, libris quatuor digestus, omnibus mii-ic:
studiosis non tam utilis quam necessarius, dil:;:.! ntt
recognitus. Coloniae, apud Joannem Gymnicum, hujj

A copy of this edition is in the Bibliothfeque d
Conservatoire National de Musique, Paris ,st
M. Weckerlin's Catalogue, p. 209).

5. Cologne, 1535. An edition without cole
phon, similar to the ]ireceding. A copy is i
the Royal Library at Munich.

6. Gerber (Lexicon, ed. 1813, iii. p. 61^
quotes Schacht's ' Bibl. Music' (16S7) to tli
effect that there exists an edition in oblong Svi
printed by Johannes Gymnicus at Cologne i
1540, but no copy of this is known to exist.

Add to the account of Ornithoparcus that I
was M.A. of Tiibingen, and in October 151
was connected with the University of Wiitci
berg. [W.B.S

ORRIDGE, Ellen Amelia, bom in Londoi
1856, was taught singing by Manuel Garcia ;
the Royal Academy, and gained the Llewelly
Thomas bronze and gold medals for decli
matory singing in 1876 and 1877, the certifica'
of merit, the Parepa-Rosa medal, and the Chri
tine Nilsson 2nd prize in 1878. While still
student she sang in a provincial tour with Sin
Reeves in 1S77. She made a successful debi
at the Ballad Concerts, Nov. 21 of the san
year, and was engaged for the whole seaso
iSliss Orridge afterwards worthily maintaint
the reputation acquired at the outset of h
career, and gave promise that in the future si
would become one of our best contralto co
cert singers. She sang at Mr. Ganz's conce
in a selection from Berlioz's ' Romeo and Julie
May 28 ; at the Richter in Stanford's 46
Psalm, May 30 ; in the ' Nuits d'jfet^ ' ai
Choral Symphony, Oct. 24, 1881 ; at the Pb
harmonic in the last work, Feb. 9 ; at the Syi
phony Concerts in Schumann's ' Faust,' June
1S82 ; at the Crystal Palace, at the Popul
Concerts, etc. She died Sept. 16, 1883,
typhoid fever, at Guernsey, where she had go




a short holiday ; the news of her death was
leived with universal regret, on account of lier
liability and kindhness of disposition. [A.C.]
3SB0RXE, G. A. Add day of birth, Sept. 24.
d that his father was lay-vicar as well as
;anist. During his residence in Brussels he
ight the present king of the Netherlands, by
lOm he was afterwards decorated. Line 5
m end of article, omit the words string
[irtets, and add to list of works, three trios

piano and strings, a sextet for piano, flute,
)e, horn, cello, and double-bass. Of the
,ny duets for piano and violin, thirty-three
re written with De Beriot, the greater part
which are original, one was written in con-
iction with Lafont, one with Artot, and two
;h Ernst.

3TELL0. Line 3 of article, for in read
c. 4. Add: — 2. Opera in 4 acts; libretto,
nded on Shakespeare, by Arrigo Boito, music
Verdi. Produced at La Scala, Milan, Feb. 6,


3TT0, Melitta, n^e Alvslebex, bom 1845^
Dresden, was taught singing there by Thiele at
i Conservatorium, and made her debut at the
jra in the autumn of 1 86 1 as Margaret of Va-
3, appearing subsequently as Irene and Bertha,
e remained a member of the company until
73, having married Max Otto, an actuary, in
56. Her parts comprised Anna in ' Hans Heil-
r,' Eowena in ' Temjiler und Jtidin,' Queen of
ght, Alice, Martha, Eva, etc. She acquired a
>at reputation as a concert singer, and was the
soprano at the Beethoven Centenary at Bonn
1 87 1. She first appeared in England at
me. Schumann's concert, St. James's Hall,

March 20, 1873 ; at the Crystal Palace, March
22 ; at Manchester, in Bach's Passion music;
at the Albert Hall, April 2 and 7. She made a
great success, and remained in England until
1875, appearing most frequently at the Crystal
Palace and Albert Hall, notably in the revivals
of ' Theodora,' Oct. 30, 1S73, and the ' Christmas
Oratorio,' Dec. 15, 1873. She sang at the Phil-
harmonic, March 25, 1874 ; at the Leeds Festival
in ' St. John the Baptist ' and Schumann's ' Pa-
radise and the Peri,' etc., in 1874 ; at the Sacred
Harmonic, the Wagner, Mr. Bache's, the Ballad,
and principal provincial concerts, etc. She re-
turned to Dresden in 1875, and sang in opera
there and at Berlin and Hamburg. She was
engaged at Hamburg in 18S0 and gave 'Gast-
spiele ' at Leipzig. In the same year she was
re-engaged at the Dresden opera. [A.C.]

OIJ PEUT-ON, etc. After note 2 add in

OURY, Mme. Line 4 of article, for 1806
read iSoS.

OUSELEY, Sir P. A. G. P. 618 a, 1. 8, after
Dr. Corfe insert who was succeeded in 1884 by
Dr. C. H. H. Parry.

OVERTURE. P. 621 &, I. 4, for clarinet
read chalumeau.

OXFORD. In the additional list of Doctors
of Music given on p. 624 b, add to Wiiinwright
his Christian name. Robert; and that of Mar-
shall, William. At end of paragraph add that
in 1883 an honorary degree of Mus. D. was con-
ferred upon Mr. C. V. Stanford. For the ad-
ditional information promised at end of article,
see Degrees in Appendix, voL iv. p. 609.


\ACCHIEROTTI, Gaspako. P. 626 a, at
beginning of secon d paragraph, add that on
his second visit to London he was engaged
Sheridan for the season (1782-3) at a salary of
150, with a benefit. Six lines below, correct
B date of Galuppi's death to 1784. [J.M.]

PACHMANN, Vladimir de, bom at Odessa,
ily 27, 1848. His father was a professor in
e University there, and an amateur violinist
considerable celebrity. Before taking up his
sidence in Russia, he had lived in Vienna,
lere he came in contact frequently with
!ethoven, Weber, and other great musicians of
e time. He was his son's teacher, and ulti-
itely sent him, at the age of 18, to the Con-
rvatorium of Vienna, where he remained two
ars under Professor Dachs. He obtained the
Id medal, and returned to Russia in 1869,
len he made his first appearance as a pianist,
ving a series of concerts which were very
ccessful, although the young artist was not
ntented with his own performances. He
> According to Baptie's Cictionaiy.

refused to appear again for eight years, during
which time he engaged in hard study. At the
end of this long period of probation, he played at
Leipzig, Berlin, and elsewhere, but a':jain he was
his own severest critic, and after a time he once
more retired for two years. Being at last satis-
fied with his own achievements, he gave three
concerts in Vienna, and subsequently three in
Paris, and was uniformly successful. On May
20, 1882, he appeared in London at one of Mr.
Ganz'sorchestral concerts, playing the Eb Concerto
of Beethoven, and achieving a brilliant success.
Since this time he has occupied a very high
position in the estimation of musicians and the
public. He has played in all the principal
cities of Europe, and when in Copenhagen
received the rank of Chevalier of the illustrious
order of Dannebrog. Although his individuality
is too strong and too little under control to .
allow of his being considered a perfect player of
concerted music, yet as a solo player, more
especially of the works of Chopin, he is justly
and unreservedly admired. In April 1884 he



married his pupil, Miss Maggie Oket, who had
attained very considerable success as a pianist.
She reappeared at a Crystal Palace Concert on
Nov. 26, 18S7, in Schumanirs Concerto. [M.]
PACINI, Giovanni. Line 2 of article, Jot-
Feb. 19 read Feb. 17. P. 627 a, 1. 5, the date
given applies only to ' L'ultimo giorno di
Pompei ' ; ' Niobe ' was produced in 1S26.

PADILLA-Y-EAMOS. See Artot in Ap-
pendix, vol. iv. p. 524, note 3.

PAER, Ferdinando. Line 14 of article, /or
1799 read 1801.

PATSIELLO, Giovanni. P. 634 a, 1. 20 from
bottom, ybr in the same year read in the follow-
ing year.

PALADILHE, ]&mile. Add the following
to the article in vol. ii. p. 634 : — The first im-
portant woik of Paladilhe's, ' Suzanne,' having
had but a moderate success in spite of the merit
of its first act, a delicately treated idyll, the
young composer turned his attention to the
concert-room, and produced a work entitled
' Fragments Symphoniques ' at the Concerts
Populaires, March 5, 1SS2. It is a composition
of no extraordinary merit, but some of the songs
which he wrote at the time are exceedingly
graceful. On Feb. 23, 1885, his 'Diana' was
brought out at the Opdra-Coniique, but only
played four times. The libretto was dull and
childish, and the music heavy and crude, with-
out a ray of talent or passion. Undismayed by
this failure, Paladilhe set to work on a grand
opera on Sardou's drama ' Patrie.' Legouv^,
who has always shown an almost paternal affec-
tion for Paladilhe, and who was anxious to make
amends for the failure into wliicli he had led the
composer by Ids libretto of 'L'Amour Africain,'
obtained from Sardou the exclusive right of com-
posing the music for Paladilhe. The work was
given at the Opi^ra, Dec. 20, 18S6, and at first
was successful beyond its merits. His operatic
method is that of thirty years ago, and he is
deficient in real invention. He has disregarded
the course of musical development, and thus,
though he is young in years, his style is already
old-fashioned. In Jan. 1881 he was decorated
with the Le'gion d'Honneur. [A.J.]

PALESTRINA. P. 636 5, 1. 12 from bottom,
for 1563 read 1564. P. 640 a, 1. 7, /or 1562
read 1582,

PANOFKA, Heineich. Add that he died at
Florence, Nov. 18, 1S87.

PAPPENHEIM. Mme. See vol. iii. p. 54 a.

PARISH ALVARS, Eli as. Line 2 of article
for in 1 816 read Feb. 28, 1808.

PARISIENNE. After reference at end of
first paragraph, add in Appendix.

PARRATT, Walter, was bom Feb. 10, 1841,
at Huddersfield, Yorkshire, where his father,
ThomMs Parratt, was a fine organist and at the
head of his profession. The boy displayed much
precocity and was thoroughly grounded by his
lather at an early age. At 7 years old he took
the service in church, and at the age of 10 he


played on one occasion the whole of the 48 pre
ludes and fugues of Bach by heart, withou
notice. He thus laid the foundation of tha
affectionate and intimate knowledge of Bach.'i
music which now distinguishes him. His pre
dilection for the organ was no doubt groundec
on his father's example and on his familiarit'
withConacher's organ factory, which he haunteJ
when very young. At any rate he was ai
organist from the beginning. At ii years 0'
age he held his first appointment at Armitagt
Bridge Church. After a few months he wiu
sent to school in Loudon, and became a pupil 0'
George Cooper's ; but the school was unsatia
factory, and in a short time he was recalled t(
Huddersfield, and became organist of St. Paul'i
where he remained till 1861. In that year hi
received the appointment of organist to Lon
Dudley, at "Witley Court in Worcestershire
Here he had time and opportunity for study,
which he availed himself. His next steps were ti
the parish church, Wigan, in 1S6S ; to Magdalei
College, Oxford, in 1 8 7 2 , and to St. George's Chapel
Windsor, his present post, rice Sir G. Elvey, i]

1882. In 1873 he took the degree of IMiis. Bac
at Oxford, and in 1 883 was chosen Professor
the Organ in the Royal College of Music. H(
is conductor of the Madrigal Society of Windsor
and ' Passed Grand Organist ' of the Freemasons

His publications comprise an anthem, ' lifi
and Death,' to words by Dean Stanley, a valse
caprice, three songs, and a piece or two for tht
organ in the 'Organist's Quarterly.' He wroti
the music for the performance of 'Agamemnon
at Oxford in June 1S80, and to ' The Story
Orestes,' Prince's HaU, June, 18S6. Mr.Parratt*
gifts are very great. His playing needs no en
comium, and in addition his memory is prodi
gious, and many stories of curious feats are tolc
among his friends. His knowledge of literatur
is also great and his taste of the finest. H
has been a considerable contributor to this Die
tionary, and supplied the chapter on music t
Mr. Humphry Ward's ' Reign of Queen Vic
tori a ' (Longmans, 1S87). He is a very har,
worker, and the delight of his colleagues, friendj j
and pupils. Nor must we omit to mention thai
he is an extraordinary chess-player. [G. ;

PARRY, C. H. H. Line 13 from end c,
article, /or A minor read Ab. Add that hr
received the degree of Mus. D. from the Uni
versity of Cambridge in 1883, and in the sam.
year succeeded Dr. Corfe as Choragus of thi!
University of Oxford, receiving the degree t
Mus. D. in the following year. He is Piofessc
of Composition and Musical History in th
Royal College of Music. To the list of his worli
the following are to be added : — Symphony i »
G, no. I, Birmingham Festival, 1882; Do, ni
2, in F, Cambridge University Musical Societ'

1883, and (in a remodelled form) Richter, 1887
music to ' The Birds ' of Aristophanes, Can
bridge, 1883; 'Suite Moderne,' Gloucest<
Festival, 1886, and at a London Symphon
Concert in the following winter ; Sonata f<
piano and violoncello in A; Theme and vai i-







ions for piano in D minor ; Partita for piano
id violin in U minor ; Trio for PF. and strings
B minor ; Quintet for strings in E b ; two sets
'Characteristic popular tunes of the British
les,' arranged for PF. duet ; two sets of English
^cs, and one set of Shakespearean sonnets
mgs) ; Choral Ode, set to Shirley's words,
?he glories of our blood and state,' from ' The
mtention of Ajax and Ulysses,' Gloucester Fes-
ral, 1883 ; Do. ' Blest Pair of Sirens ' (Milton)
ich Choir, May 17, 1S87, and Hereford Festi-
1, 1S88; and Oratorio 'Judith,' Birmingham
sstival, 1888. [M.]

PARSIFAL. Add that the first performance
)k place at Bayreuth, July 28, 1882. On
)v. 10 and 15, 1884, it was performed as a
ttcert under Mr. Barnby's direction at the
bert Ha]I, with Malten, Gudehus, and Scaria
the principal parts.

PAET-BOOKS. The Polyphonic Composers
the 15th and i6th centuries very rarely pre-
ited their works to the reader in Score,
oske, indeed, tells us that examples are some-
les to be met with, both in MS. and in print,
the genuine jPartitura cancellata — i. e. the
le barred Score, as opposed to the semblance
a Score resulting from Hucbald's method of
iting between an unlimited number of hori-
itai lines,^ or the early practice of employing,
in the Eeading MS., a single Stave com-
jhending lines and spaces enough to include
5 aggregate compass of an entire composition.^
Dreover, the English Student will scarcely need
be reminded that our own Morley has given
amples, in genuine Score, at pp. 131-142, and
iny other places, of his ' Plaine and Easie
troduction.' But examples of this kind are
re enough to serve as the exceptions which
ove tlie rule ; since, in all ordinary cases, the
(lyphonists preferred to give their works to
e world in the separate Parts, and generally,
separate volumes, well known to students
mediaeval Music as ' the old Part-Books.'
Of these Part-Books, the greater number
ly be divided into three distinct classes.
In the first class — that of the true repre-
itative Part-Book — each Vocal-Part was tran-
ribed, or printed, in a separate volume.
In the second class, the Parts were indeed
inscribed, or printed, separately ; but, in the
■m called, in early times, Caiitus lateralis :
',. side by side, and one above the other, in
ch a manner that the whole number of Parts
uld be seen, at one view, on the double pages
the open book, and that all the performers could
ig, at once, from a single copj' of the work.
In the third class, the plan employed was that
town in Germany as Tafel-Musik ; the Parts be-
g arranged side-ways and upside-down, so that
wperforrners, seated at the four sides of the little
ble on which the open book was placed, could
ch read their own Parts the right way upwards.
The most famous, and, with one exception
^7) l*y f*r tl>e most perfect and beautiful
ecimens of the first class are those published,

> See TOl. iU. p. 427 a. > See vol. Ui. i>. 428.

at Venice and Fossombrone, at the beginning of
the i6th century, by Ottaviano dei Petrucci, the
inventor of the art of printing Music from move-
able types. Of these now exceedingly rare and
costly Part-Books, more than fifty volumes have
been catalogued, since the time of Conrad
Gesner, who, however, in his ' Pandecta' mentions
some few which cannot now be identified. Many
of these are now known only by an unique ex-
emplar, which, in some few cases, is imperfect. A
ricli assortment of these treasures is preserved at
the Liceo Comunale at Bologna ; and most of the
remainder are divided between the Libraries of
Vienna, Munich, and the British Museum — the
last-named collection boasting eleven volumes,
comprising ten complete and two imperfect sets
of Parts. In the following complete list of
Petrucci's publications, as far as they are now
known,' those in the British Museum are indi-
cated by an asterisk, and those at Bologna,
Munich, Vienna, Rome, and Berlin, by the
letters B, M, V, R, and Ber.

Harmonice 3Iusices Odhecaton. A. Venice, 1501,4 May 14. (B. and

Paris Conservatoire.)
Canti B. numero cinquanla. B. Venice, LWl, Feb. 5. (B. unique.)
Canti C, numero ceuto cinquanta. C. Venice, 1503, Feb. 10. (V.

Motetti A, numero trentatre. A. Venice, 1502. May 9. (B. unique.)
Slotetti B, numero trentatre. B. Venice 3Iay ]0. (B. unique.)
Motetti 0. Venice. 15i>i, Sept. 15. (Imp'^rf. B. M. V.)
Motetti o 5. Lib. I. Venice, 1605, Nov. 2S. (V. unique, imperf.)
Missse Josquin. Venice. 1502. Sept. 27. (Ber. unique.)
Missarum Josquin. Lib. I. Venice. 1502. Dec. 27. (V. unique.)

„ „ (Reprint). Fossombrone. 1514. Mar. 1. (B.M.V. R.)

„ ,, (Keprint). Fossombrone, 1.516. May 29. C*un;que.)5

„ „ Lib. II. Venice, 1.503, Dec. 27. (V. unique.)

„ „ CEeprint). Fossombrone, 1515, April 11. (V.R.)

„ „ Lib. III. Venice, 1503, Dec. W. (V. unique.)

„ „ (Reprint). Fossombrone. 15U, Mar 1. (* unique. )5

„ (Reprint). Fossombrone. 1516, May 29. (V. unique.)
Missse Obreth. Venice, 1503. Mar. 24. (M. V. Ber.)
Missse fihiselin. Venice. 1503, July 15. (V. Ber.)
MissffiBrumeL Venice, 1.503, June 17. (V. Ber.)
Missse Petri de la Rue. Venice. 1,=«3 Oct. .31. (• B. V. R. Ber.)
M ssse Alexandri Africoli. Venice, 1504 Mar. 23. (B. V. R. Ber.)
Missse de Orto. Venice. 1505, Mar. 22. (• Imperf. M. V.)
Missse Henrici Izak. Venice, 1.5015, Oct. 20. (» B. V.)
Miss* Caspar. Venice. 1509. (V.)

Missse Antonii de Feuin. Fossombrone, 1,515. Xov. 22. (• V.)
Missarum Joannis Mouton. Lib. I. Fossomtirone. 1.51,5, Aug. 11 (• Y.)
Missarum diversorum. Lib. I. Venice. 1508, Mar. 15. (* M. V.)
Fragmenta Missarum. Venice. 1505. (B, unique,)

,, ,. (Reprint). Venice. 1.5(9. (V. unique.)

Lamentationes JeremisB. Lib. I. Venice, 15(i6 Apr. 8. (B. unique.)
Lib. II. Venice lOi! May 9. (B, unique.)
Intabulatura de Lauto. Lib. I. Venice, l,5(ff. (Ber. unique.)
,, ,, Lib. II. Venice. 1507. (Ber. unique.)

aib. III. caret,)

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