Exemplar in modū accentuādi || scđm ritū chori eccl’ie Patauieñ.||

Modus accētuādi vsu & ritu eccłie Patauieñ. ꝑ Io.|| Winterburger Viēne solerti arte imp̃ssus feliciter fi⸗||nit’ octauo kalendas Marcij. Anno dñi. 1513.|| (i6r)

Winterburger’s mark in red on the very last printed page (i6v): upright square, printed in red; circle with cross on the top, in the circle a snake and an arrow, right and left the Initials „I“ and „W“; ornamented background.

Vienna

Liturgical book

Commissioned by W. Fröschl, bishop of Passau. Early example of single-impression type. Humanist influence is perceptible in the directions for reading lessons in church. Beneath the printer’s mark is a note that records that the book was corrected by the choral vicars of the cathedral of Passau, and Johannes Staindel, its custos.

Winterburger’s tetrastich over printer’s mark: “Signa vides lector: hyberna ex arce Ioannes || Anguineas inter iaculum amentabile spiras. || Anguis vt etatem: cariosas ille lituras || Comit, in inuidiam gerit artis tela decorem.”
Below the printer’s mark: “Iste libellus est correctus ꝑ vica⸗||rios Chori & Johannem Stain⸗||del Custodem Eccłie Patauieñ.”

Woodcut on title page: arms of Wigileus Fröschl, surrounded by decorative osier frame surmounted by singing birds. The lappets of the mitre are inscribed “STEFFANVS SANCTVS”, recalling St Stephen the Protomartyr, patron of the cathedral of Passau. The woodcut is dated 1513.

Latin

[1], 1-69

A-Wn 303.500-D

D-Mbs (1), A-Wn

multiple impression; single impression

Günther-Hantzsch

Rotunda

red staff lines, red initials, red text, red type on title page

fols. a2v-a3r: tiny notes (puncta, 1.5 mm) either on or under a single line alternating up and down (each note has its own piece of staff), composed of single types, all in black. These indicate the correct accentuation of the words being sung. They are cut sufficiently small that the single line of music and the text underlay are no taller than the line-height of the text font. There are also separate black notes (including ♮ sign) printed in black on red staff lines, which are printed from short sections. There are also corrected words stuck over errors, e.g. a2r.

Hufnagel notation

staff lines 160.0 x 7.00 mm, block length 1.5, 2.5, 5.0, 8.0, 12.5 18.5 mm; virga 5.0 mm

see remarks on printing.

chant

Instructions on the correct singing of readings in the office and the mass, followed by a collection of examples for various feasts. The instructions insist on the correct observance of syllable quantities; see a2r: “Sit ergo lector ac regens in officio sibi commisso prouidus; ponderando quantitatem sillabarum: earundemque qualitatem sub quo accentu queque locetur; Sunt enim tante potestatis: vt etiam psallendo: regulatum tonum sub sillabis verborum secula seculorum amen in sillabis crescere faciant: et in medio versus acuant tonum: qui alias deprimeretur. […] Quantitas sillabarum in mensura temporis pendet; Breuis enim tempus vnum; & longa sillaba duo tempora occupat; Hinc longa naturaliter altior apparet quam breuis; Pretermissa ergo mensura temporum circa sillabas: non fit debita pronunciatio; Et idcirco recte sunt reprehendendi: qui non solum sillabam longam: sed & dictiones et orationes tam celeriter pronunciant. vt vix percipi possunt.”

A-KN, *A-Wn, CZ-VB, *D-Mbs, D-Mbs, GB-Lbl

Dolch, W., E. Langer, and I. Schwarz, Bibliographie der Österreichischen Drucke des XV. und XVI. Jahrhunderts. Wien: Gilhofer & Ranschburg, 1913 (nº 75)
Lindmayr-Brandl, Andrea, Elisabeth Giselbrecht, and Grantley McDonald, “Introduction,” in Early Music Printing in German-Speaking Lands, ed. Andrea Lindmayr-Brandl, Elisabeth Giselbrecht and Grantley McDonald. London: Routledge, 2018: 1–17. (14)