Musical Delicacies

— Early Music Concert Series —

Frisch auff – Music from Codex Jacobides

Previously unpublished music from Prague in the time of Rudolf II.

Wednesday 21 October 2020 19:00 — Aula, Janáček Academy (JAMU), Komenského náměstí 6, 602 00 Brno, Czech Republic.

Cancelled due to coronavirus measures. You can watch another concert with a similar programme on YouTube.
Aegidius Sadeler (1570–1629), view of Prague (1606).
Stone alias “Charles” Bridge — Old Town Bridge Tower.


►►►  Song texts.

Michael Praetorius (1571 — 1621) Courante La Durette   (CJ fol. 7v–8r,  Terpsichore nr. 103)
Bransle simple de Novelle   (CJ fol. 5v–6r,  Terpsichore nr. 2:4)
Bransle gay   (CJ fol. 6v,  Terpsichore nr. 2:5)
Jacob Regnart (1540 — 1599) Nun bin ich einmal frey   (CJ fol. 32v,  Lieder nr. 3)
Anonymus Courante   (CJ fol. 8v)
Jacob Regnart (1540 — 1599) Jungfraw eure wanckelmut   (CJ fol. 32r,  Lieder nr. 26)
Panno wrtkawost twa
Anonymus Saltarella   (CJ fol. 20r)
Jacob Regnart (1540 — 1599) Wer sehen will zween lebendige Brunnen   (CJ fol. 31r,  Lieder nr. 15)
Stephan Laurentius Jacobides Præambulum Stephani Laurentij Jacobidis   (CJ fol. 1r)
Jean Planson (ca. 1559 — after 1611) La Rousée de joly mois de may   (Airs fol. 38r,  CJ fol. 7v)
Anonymus Fantasia   (CJ fol. 26r)
Cœlestium   (CJ fol. 25v)
Jesu tu nobis influas   (CJ fol. 25r)
Entraj di Lag   (Entrée de Luth)   (CJ fol. 11r)
Jacob Regnart (1540 — 1599) Ohn dich ich mus mich aller freüden maßen   (CJ fol. 30v,  Lieder nr. 1)
Bez tebe bywam wssi radosti zbawen
Anonymus Eradi Magio   (CJ fol. 8v–9r)
Jacob Regnart (1540 — 1599) Ich hab vermeint, ich sey zum besten dran   (CJ fol. 31r,  Lieder nr. 13)
Anonymus Ich ging ein mal spatziren   (CJ fol. 3v)
Ennemond Gaultier (ca. 1575 - 1651) Sarabanda de Gaultier   (CJ fol. 12v)
John Dowland (1563 — 1626) My Lord Willoughby’s Welcome Home   (Folger fol. 9v,  Sampson fol. 11v)
Jacob Regnart (1540 — 1599) Wer wirdet trösten mich wenn ich verleüre dich   (CJ fol. 31v,  Lieder nr. 16)
Jacob Regnart (1540 — 1599) Es müht ir vil mein zugestanden glück   (CJ fol. 30v,  Lieder nr. 52)
Někoho obtězuge me sstěstj
Anonymus Frisch auff mein liebes Tochterlein   (CJ fol. 33v)
Jacob Regnart (1540 — 1599) Wann ich gedenck der Stund   (CJ fol. 32v,  Lechner nr. 3)
Jean Planson (ca. 1559 — after 1611) La Rousée de joly mois de may   (Airs fol. 38r,  CJ fol. 7v)

Sources used

CJ Codex Jacobides, Národní muzeum, České muzeum hudby, Prague, Manuscript XIII B 237.
Folger Folger Dowland, The Folger Shakespeare Library, Washington, D.C., Manuscript 1610.1.
Sampson Henry Sampson Lute Book, Manuscript, Private Library Robert Spencer, London.
Lieder Jacobus Regnardus, Teutsche Lieder mit dreyen stimmen, München (Adam Berg) 1583.
Lechner Leonardus Lechner, Neue Teutsche Lieder, Nürnberg (Katharina Gerlachin) 1586.
Airs Jehan Planson, Airs mis en musique (a quatre parties), Paris (Adrian le Roy & la vefue R. Ballard) 1593.
Terpsichore Michael Prætorius, Terpsichore, Musarum Aeoniarum Quinta, Wolfenbüttel (Fürstliche Druckerey) 1612.

About the project

The concert is part of the project “Codex Jacobides — previously unpublished music from Prague in the time of Rudolf II”.

Project: Codex Jacobides — previously unpublished music from Prague in the time of Rudolf II
Fr 14.08.2020
Frisch auff
St. John’s Church,
Nieblum, Föhr (DE)
Sa 15.08.2020
Frisch auff
St. Lawrence Church,
Johann-Adolf-Str., Tönning (DE)
15 €
We 19.08.2020
Frisch auff
Kunín château,
Kunín 1 (CZ)
We 21.10.2020
Frisch auff
Janáček Academy (JAMU)
Komenského nám. 6, Brno
Th 22.10.2020
Frisch auff
Institute of Archaeology,
Mikulčice-Trapíkov 736 (CZ)
Fr 23.10.2020
Gala concert
Codex Jacobides
Czech Museum of Music,
Karmelitská 2/4, Prague
Th 29.10.2020
On-line concert
Frisch auff
Institute of Archaeology,
Mikulčice-Trapíkov 736 (CZ)
Fr 23.07.2021
Frisch auff
St. Christopher’s Church,
Nonnenhorn (DE)

About the programme

The beginnings of European instrumental music are inseparably linked with the lute, which particularly in the 16th and 17th centuries became the most widespread and most popular instrument played in the homes of wealthy citizens and the nobility. The references to the lute in the Bohemian Lands date as far back as the 14th century.

The lute tablature fragment CZ-Pnm XIII B 237 is one of the most significant Czech documents of late renaissance literature for the lute. It is evident that the scribe tried to divide the manuscript into sections, each comprising a certain type of repertoire. For example, the following sections stand out: preludes, fantasies, passamezzos, arrangements of Regnart’s villanelles and of Italian vocal compositions, French and Italian dance songs, intavolations of Latin sacred compositions, courantes, etc.

We do not know any details about Štěpán Vavřinec Jacobides, the author of the only known non-anonymous Czech composition for the lute (Præambulum, fol. 1r). He may be identical to a certain Štěpán Jacobides Záhořanský, who is mentioned among the pupils of the school belonging to the Church of Saint Henry in Prague and who in 1622 dedicated some poems to two Prague burgers. His compositional activity would presumably fall in the same time period.

Emperor Rudolf II (1552–1612),
King of Bohemia 1575–1611.

Another hint for the dating is provided by the numbering of the intabulations of the villanelles by Jacob Regnart. Their first part, which appeared in print in 1576, contained only 22 compositions. In the tablature, however, the song Jungfraw, ewre wanckelmut (fol. 32r) is mentioned as number 27, which corresponds to its position in the full edition (Teutsche Lieder mit dreyen Stimmen) which was first published in 1583, then in 1584, 1587, 1593 and 1611. In his capacity as Kapellmeister to Emperor Rudolf II, Regnart stayed in Prague twice: from 1579, where the full edition did not exist yet, and from 1595 until his death in 1599.

Folio 32r: Chce mi se wdatiLib mich als ich dich
(click to enlarge image).

The tablature contains an significant, unique arrangement of Regnart’s song Chce mi se wdatiLib mich als ich dich (Fol. 32r), which Jiří Tichota called attention to already in 1967. One may assume that some of the other songs preserved here anonymously likewise stem from this author. This assumption is supported not only by musical similarities, but also by the fact that they are placed next to Regnart’s other compositions. Some songs invite to real detective research; for example, the Czech incipit to Regnart’s otherwise completely unknown composition Chce mi se wdati is not a translation of the German Lib mich als ich dich, pointing to the existence of a Czech text (Chce mi se wdati was classified as a “national” by the song collectors of the Czech National Revival!).

Some compositions of the fragment are written for a 10-course lute. Instruments of this kind were not widely used until after 1600. The manuscript originated in the first two or three decades of the 17th century; Czech sentences and the names of the compositions indicate that the scribe and user of the collection was Czech.

Repertoire-wise, the manuscript ranks beyond doubt among the student lute books, a specific category of musical memorabilia of the 16th and early 17th century. Three out of four of the other manuscripts that are preserved in Czechia and comprise lute music notated in German tablature appear to originate from the same environment.

A prominent place is always given to contemporary dances; their multifaceted range testify to the lively cultural contacts and the important position that Prague held in Central Europe. Besides widely popular Italian, French, Spanish and English dances together with dance arrangements of German and French songs, we also find numerous Polish and Hungarian pieces. Their presence documents, among other things, the attention that Hungary attracted as the place where the struggle for existence was taking place, against the Turkish expansion.

Intavolations – adaptations of vocal music for the lute – were very popular. Besides the already mentioned arrangements of Regnart’s villanelles, this manuscript contains examples of Italian madrigals (Jacquet de Berchem, Philippe Verdelot), arrangements of French and German songs, as well as an adaptation of a three-part setting of a sacred Latin text (Jesu tu nobis influas – Cœlestium), where the transcribing amateur demonstrates his lack of understanding of mensural notation and ignorance of the principles of musica ficta. One piece for two lutes has also been preserved.

This fragment is the sole tablature of Bohemian origin for the Renaissance lute that shows evidence of an interest in serious, artistic forms of music. Apart from Jacobides’ Præambulum, there are three surviving preludes which, beyond doubt, already belong to the modern French school, and a a masterly fantasy by Francesco da Milano; their inclusion in this manuscript proves that quite demanding and artful music had its admirers and devotees among the Prague lutenists.

(This text is based on Jiří Tichota’s preface to the edition of Codex Jacobides.)


Bettina Pahn

Joachim Held — Bettina Pahn.

Bettina Pahn was born in Erfurt. She studied initially violoncello and continued studying singing at the Music Academy “Hanns Eisler” in Berlin und in Frankfurt with Elsa Cavelti. Since June 2012 she is trained by the internationally renowned Dutch vocal coach Margreet Honig. Her agile lyrical soprano voice soon arose interest from various conductors within the genres oratory, early music and Lied.

The German soprano established herself as a leading singer for historically informed performances through concerts and recordings with Ton Koopman, through concerts at important venues such as the Carnegie Hall in New York and the Concertgebouw in Amsterdam, and through guest performances at the Händel Festival in Göttingen and at the Schleswig-Holstein Music Festival. So far four volumes of CDs with Ton Koopman have been released, devoted to the music of Dieterich Buxtehude. The second volume Opera Omnia VII – Volume 3 was awarded the Echo-Klassik 2009 reward. Between 2012 and 2014, she recorded numerous solo cantatas by Buxtehude under the direction of Ton Koopman.

Bettina Pahn sang also under the direction of, for instance, Frieder Bernius, Pierre Cao, Peter Rundel and Patrick Peire.

Bettina has a long-standing successful cooperation with her duo partner, the Echo laureate Joachim Held (lute). The duo performed with great applause at the Händel Festival in Göttingen in 2007, at the Schwetzinger Festspiele in June 2008, and at the Schleswig-Holstein Festival in August 2009. Together with the Ensemble Sarband the performed at the Händel Festival in Halle in 2011. Their first CD, comprising German folk songs, was released by Hänssler in the autumn 2007, and in July 2009 followed the CD Stille Nacht (Silent Night) with old German Christmas songs. In July 2011 they followed an invitation to the Innsbrucker Festwochen für Alte Musik. For 2015 they are invited to the Itinéraire Baroque festival in Périgord.

In September 2014 Bettina Pahn and Tini Mathot (pianoforte) recorded a CD for the label Naxos with songs the of the second generation of the Berlin “Liederschule”. In 2015 she recorded Carl Philipp Emanuel Bach’s secular songs for Naxos. In 2020 and 2021 she will record a CD with Telemann cantatas and chamber music, as well as a CD with compositions by Fanny Hensel and Clara Schumann for Hänssler Classic.

Joachim Held

Joachim Held was born in Hamburg. He received his musical education at the Schola Cantorum Basiliensis as a student of Eugen Dombois and Hopkinson Smith, graduating with a “Diploma of Period Music” in 1988. From 1988–1990 he studied with Jürgen Hübscher at the Musik­hochschule Karlsruhe, graduating with a “Künstlerische Abschluss­prüfung”. In 1990 he was awarded the second prize at the Concours Musica Antiqua of the Flandern Festival in Brügge, marking the beginning of an an intensive international concert activity as soloist, chamber musician and continuo player.

Since 1993 (L’incoronazione di Poppea in the Salzburg Festival) Joachim Held performed regularly under the direction of Nikolaus Harnoncourt. Under Harnoncourt he also participated in the production of Henry Purcell’s King Arthur at the Salzburg Festival.

Since 1992 Joachim Held appeared with Il Giardino Armonico (Milan) in numerous concerts and on recordings (amongst others on the Vivaldi Album with Cecialia Bartoli for Decca). Since 2005 Joachim Held’s solo-CDs are released world-wide by Hänssler Classic. That year appeared the Schele Manuskript Hamburg 1619 CD (co-produced with the Swiss Radio DRS2 Zurich) and the Erfreuliche Lautenlust with music by Austrian composers for the Baroque lute. This CD was awarded the “Echo Klassik 2006” for the best solo recording of music from the 17th/18th centuries. In 2006 the CD German Lute Music of the Baroque was released by Hänssler Classic in cooperation with Deutschlandfunk Köln. In 2007 followed Che Soavita, Italian lute music of the Baroque, and in June 2008 Musique pour le roi, French lute musique of the Baroque. In 2010 he devoted the CD Merry Melancholy to the music of the time of John Dowland. In 2013 his CD with the lute music of Johann Sebastian Bach was released, in 2017 with the early compositions of Silvius Leopold Weiss, and in 2019 a CD with Polish lute music of the renaissance.

As a soloist Joachim Held appeared amongst others at the Musikfestspielen Potsdam Sanssouci, at the International Bach Festival Schaffhausen, the Schwetzinger Festspiele, the Bachfesttage in Köthen, the Concerti a San Maurizio in Milan, the Early Music Forum Budapest, the Hausmusik concert series of the ORF Vienna, the Lute Society London, the Schleswig-Holstein Music Festival, the Bachwoche Ansbach and the Händel festivals in Halle an der Saale and in Göttingen.

Since September 2007, Joachim teaches at the Royal Conservatory in The Hague; since 2010, he is Professor for Historical Lute Instruments at the Hochschule für Künste in Bremen.

Marta Kratochvílová

Marta Kratochvílová — Jan Čižmář.

Marta Kratochvílová studied flute at the Conservatory in Pardubice and then at the Janáček Academy of Performing Arts in Brno. Subsequently, she completed studies in France at the Conservatoire National de Région de Strasbourg, where she specialized on baroque and renaissance traverse flute with Jean-François Alizon and Nancy Hadden, and on chamber music with Martin Gester and Patrick Blanc. She attended masterclasses and workshops by prominent figures such as Paul McCreesh, Barthold Kuijken, Jan Latham-Koenig and Sir Neville Marriner. In France she performed in the ensembles Le Parlement de Musique, Le Masque, Bohemia Duo and NotaBene. At renaissance workshops (Ferrara, Munich, Stuttgart, Basel) she performed regularly with the Consort of traverso players from Strasbourg.

She performs regularly throughout Europe, primarily in chamber projects with her artistic partners, including artists such as Christophe Coin, Jan Čižmář, Karel Fleischlinger, Joel Frederiksen, Marc Hervieux, Martin Jakubíček, Petr Kolař, Ján Krigovský, Martyna Pastuszka, Emmanuel Soulhat, Marcin Świątkiewicz, Marc Vonau, and the ensembles {oh!} Orkiestra Historyczna or Plaisirs de Musique, of which she is a founding member. She is also the artistic leader of the renaissance flute consort Tourdion.

As a teacher with many years of experience she is invited to presentations and masterclasses throughout Europe; she teaches also privately baroque and renaissance traverso playing and historical interpretation.

CD: Codex Jacobides, Praga circa 1600.

Jan Čižmář

Jan Čižmář is a versatile performer focusing on historical plucked instruments. He performs regularly in Europe, Asia and the USA with ensembles such as the Royal Concertgebouw Orchestra, Orchestra of the Age of Enlightenment, Orchestra of the Eighteenth Century, Rotterdam Philharmonic Orchestra, Capella Cracoviensis and {oh!} Orkiestra Historyczna, and under conductors such as Frans Brüggen, Christopher Hogwood, Giovanni Antonini, Yannick Nézet–Séguin and Christina Pluhar. He appears also as soloist with of baroque and renaissance repertoire, and is the artistic leader of the ensemble Plaisirs de Musique.

After graduating in guitar and musicology in his native city Brno he studied at the Royal College of Music in London, where he began playing the lute in the class of Jakob Lindberg. He continued his studies at the Royal Conservatory of The Hague with the teachers Nigel North, Joachim Held, Mike Fentross and Christina Pluhar. He was the founder and editor of the Czech guitar magazine Kytara and contributes regularly to other musical periodicals. He is also intensely involved with publishing and research activities in the field of early music.

Jan Čižmář taught lute and related instruments at the Karol Szymanowski Academy of Music in Katowice in Poland and at the Academy of Ancient Music of the Masaryk University in Brno; currently he is teaching at the Janáček Academy of Music and Performing Arts (JAMU) in Brno. He regularly gives courses and masterclasses in Europe and overseas.

He appears on some dozens of CDs; his first solo CD was released in 2020 (Supraphon), dedicated to the music of Codex Jacobides.

Thank you

The concert takes place with financial support from the Česko-německý fond budoucnosti, the Ministry of Culture of the Czech Republic and the Statutory City of Brno.

Česko-německý fond budoucnosti Logo of Ministry of Culture Logo Statutárního města Brna Archeologický ústav AV ČR v Brně National museum Česká loutnová společnost