Vienna: Johann Singriener the Elder & Hieronymus Vietor, 1514, vdm: 78
IOANNIS REVCHLIN PHORCENSIS || Scænica Progymnasmata, Hoc est Ludi-||cra præexercitamenta.|| SEBASTIANVS BRANT.|| Accipe Vangionum præsul uenerande, Ioannis || Capnionis nostri comica dulciloqui || Quo duce Germanos comœdia prisca reuisit || Et meruit soccis Rhenus inire nouis.|| Barbarico ex fumo, flammas meus ille decoras || Capnion elicuit, gratia multa uiro.|| Multum docta cohors, multum cirrata iuuentus || Debet Capnioni, multa Thalia meo.||
Viennæ Pannoniæ in ædibus Hieronymi Vietoris || & Ioannis Singrenii. Anno. M.D.XIIII.||
C4v: Mark of Leonardus Alantsee with shield (LA) held by two griffons, surrounded by trees scaled by putti.
Vienna
Humanist book
For the second edition of the Scaenica printed by Singriener in 1523 see vdm 81.
A1r: poem by Sebastian Brant on title page
C2v: ACTA LVDIS FEBRVIS, IN AEDIBVS ILLV-||stris principis & ReuerÄ“di dñi Ioannis Camerarii Dalbur-||gii, Vangionum Episcopi Heidelberge, […] Mo-||dos fecit Daniel Megel, Ioannes Richartzhuser || recensuit.|| Pridie Kal.Februarias. Anno. M.cccc. xcvii.||
C2v-C3r: speech given at first performance by Valentin Helfant
C3r-C3v: poem by Jacob Trach to Reuchlin
C4r: poem to Johann Richartshausen by Adam Werner von Themar
Latin
GB-Lbl C.28.i.8
PL-WRzno, A-Wn
woodcut
Antiqua (Roman)
Antiqua is used throughout the whole print. The text for the four choruses is given below the musical notation.
Mensural notation
example on A4r: 108 x 49 mm (all three lines of music together).
B2r: 108 x 69 mm.
B3r: 112 x 46.5 mm.
B4v: 114 x 51 mm.
Compared to some other editions, the woodcuts here are very neatly cut.
dramatic chorus
Four polyphonic choruses at the end of the first four acts:
1. Mortalium iocunditas (A4r, for three voices)
2. Digna sunt apolline (B2r , for four voices)
3. Musis, poetis, & sacro (B3r, for three voices)
4. Cedant fori contentio (B4v, for three voices)
Daniel Megel
*A-Wn, *GB-Lbl, H-Bu, H-Gc, PL-WRzno
[Strasbourg]: Johann Grüninger, 1498, vdm: 596 [Basel]: Johann Bergmann von Olpe, 1498, vdm: 73 [Leipzig]: [Melchior Lotter the Elder], [1503 c.], vdm: 101 [Leipzig]: [Martin Landsberg], [1504], vdm: 605 Pforzheim: Thomas Anshelm, 1508, vdm: 588 Pforzheim: Thomas Anshelm, 1509, vdm: 76 Tübingen: Thomas Anshelm, 1511, vdm: 77 Tübingen: Thomas Anshelm, 1512, vdm: 102 Leipzig: Jacob Thanner, 1514, vdm: 75 Leipzig: Valentin Schumann, 1514, vdm: 586 Leipzig: Valentin Schumann, [1514], vdm: 590 Leipzig: Jacob Thanner, 1515, vdm: 79 Leipzig: Valentin Schumann, 1515, vdm: 592 Leipzig: Valentin Schumann, 1515, vdm: 593 Tübingen: Thomas Anshelm, 1516, vdm: 80 Leipzig: Valentin Schumann, 1518, vdm: 607 Cologne: Eucharius Cervicornus, 1519, vdm: 611 Leipzig: Valentin Schumann, 1519, vdm: 613 Cologne: Eucharius Cervicornus, 1519, vdm: 612 Leipzig: Nickel Schmidt, 1521, vdm: 614 Leipzig: Valentin Schumann, 1521, vdm: 615 Leipzig: Jacob Thanner, 1521, vdm: 616 Vienna: Johann Singriener the Elder, 1523, vdm: 81 Cologne: Eucharius Cervicornus, 1528, vdm: 617 Cologne: Johannes Gymnich the Elder, 1534, vdm: 100 Cologne: Johannes Gymnich the Elder, 1537, vdm: 82 Cologne: Johannes Gymnich the Elder, 1540, vdm: 83
The printer’s mark is hand coloured in red.
A-Wn
Very heavily annotated with red and black; many marginal comments, underlined words etc. In the musical example on f. B2 an early modern hand has written: Discan. Altus, Bassus, Tenor underneath the voices. Tenor and Bassus were originally assigned to the incorrect voices, but these labels were subsequently cancelled and re-assigned.
In musical example on f. B4v: all notes are coloured in red.
PL-WRzno