{"id":8333,"date":"2026-07-06T15:09:17","date_gmt":"2026-07-06T13:09:17","guid":{"rendered":"https:\/\/www.mdw.ac.at\/mdwpress\/?p=8333"},"modified":"2026-07-06T16:00:42","modified_gmt":"2026-07-06T14:00:42","slug":"mdwp017-011","status":"publish","type":"post","link":"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-011\/","title":{"rendered":"The Merulo Toccata in Codex Vienna, Minorite Convent, 714"},"content":{"rendered":"<h3 class=\"author\"><em>Mario Aschauer<\/em><\/h3>\n<p><head><\/p>\n<style>\n        .tsquotation strong {\n            font-weight: bold;\n        }\n        .tsquotation em {\n            font-style: italic !important;\n        }\n.tsquotation {\n line-height: 1.4 !important;   \n}\n        .bibliography {\n            margin-top: -1em !important;\n            padding-left: 22px;\n            text-indent: -22px;\n        }\nfigure {\n            margin: 0;\n }<\/p>\n<p> table {\n      line-height: 1.4;\n    border-collapse: collapse;\n    width: 100%;\nfont-family: 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id=\"zp-ID-8333-4511395-ESDU5IWT\" data-zp-author-date='Aschauer-2026' data-zp-date-author='2026-Aschauer' data-zp-date='2026' data-zp-year='2026' data-zp-itemtype='bookSection' class=\"zp-Entry zpSearchResultsItem\">\n<div class=\"csl-bib-body\" style=\"line-height: 1.35; padding-left: 1em; text-indent:-1em;\">\n  <div class=\"csl-entry\">Aschauer, Mario. 2026. \u201cThe Merulo Toccata in Codex Vienna, Minorite Convent, 714.\u201d In <i>\u2018Per Aures Ad Animum\u2019. The Harpsichord in the Sixteenth Century II: Italy<\/i>, edited by Augusta Campagne and Markus Grassl. mdwPress. <a class='zp-ItemURL' href='https:\/\/doi.org\/10.21939\/harpsichord-italy-16c'>https:\/\/doi.org\/10.21939\/harpsichord-italy-16c<\/a>. <a title='Cite in RIS Format' class='zp-CiteRIS' data-zp-cite='api_user_id=4511395&item_key=ESDU5IWT' href='javascript:void(0);'>Cite<\/a> <\/div>\n<\/div>\n\t\t\t\t<\/div><!-- .zp-Entry .zpSearchResultsItem -->\n\t\t\t<\/div><!-- .zp-zp-SEO-Content -->\n\t\t<\/div><!-- .zp-List -->\n\t<\/div><!--.zp-Zotpress-->\n\n\n<\/p><\/div><\/div>\n<div class=\"bdaia-toggle close\"><h4 class=\"bdaia-toggle-head toggle-head-open\"><span class=\"bdaia-sio bdaia-sio-angle-up\"><\/span><span class=\"txt\">Outline<\/span><\/h4><h4 class=\"bdaia-toggle-head toggle-head-close\"><span class=\"bdaia-sio bdaia-sio-angle-down\"><\/span><span class=\"txt\">Outline<\/span><\/h4><div class=\"toggle-content\"><p>\n<a href=\"#1\">Appendix<\/a><br \/>\n<a href=\"#2\">Bibliography<\/a><br \/>\n<\/p><\/div><\/div>\n<hr>\n<p><!-- \n\n<p style=\"text-align: right;\">[btn btnlink=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/10.1515_9783839425015-001.pdf\" btnsize=\"medium\" bgcolor=\"#b2b2b2\" txtcolor=\"#000000\" btnnewt=\"1\" nofollow=\"1\"]CHAPTER PDF <img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wordpress\/wp-content\/uploads\/download-1459070_1280.png\" style=\"vertical-align: middle\" alt=\"Download-Logo\" width=\"17\" height=\"17\">[\/btn]\n\n --><\/p>\n<p>It is all but a miracle that the friars of the Vienna Minorite Order have been able to shield the treasures of their music archive against the perils of time for over 400&#160;years. Around 1600, the monastery began to establish itself as an elite musical institution in Vienna.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn1\" class=\"footnote-ref\" id=\"fnref1\" role=\"doc-noteref\"><sup>1<\/sup><\/a><\/span><\/span> One of its most significant members, Father Alexander Giessel (1694\u20131766) was most likely a student of imperial court <em>Capellmeister<\/em> Johann Joseph Fux \u2013 the highest ranking musician of the Holy Roman Empire at the time \u2013 and friends with court organist Gottlieb Muffat.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn2\" class=\"footnote-ref\" id=\"fnref2\" role=\"doc-noteref\"><sup>2<\/sup><\/a><\/span><\/span> Inspired by Athanasius Kircher\u2019s art and natural science collections, Giessel earned a reputation as compiler of a similar collection of \u2018rarities of nature, mussel shells and other growths of the sea, minerals, fossils, marble and rocks, antiquities, antique coins, more recent commemorative coins, copper engravings, artfully cut stones, art and masterworks, etc.\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn3\" class=\"footnote-ref\" id=\"fnref3\" role=\"doc-noteref\"><sup>3<\/sup><\/a><\/span><\/span> Furthermore, he made perhaps the most important contributions to the monastery\u2019s library and archive of classical keyboard manuscripts, similar to Padre Martini\u2019s collection in Bologna.<\/p>\n<p>Among the archive\u2019s treasures, now catalogued under call number XIV.714, is a manuscript codex containing more than 500&#160;keyboard pieces. As such, Codex&#160;714 is one of the largest collections of early 17th-century keyboard music. However, its size is only a minor factor in what makes the codex so extraordinary \u2013 and mysterious.<\/p>\n<p>We know next to nothing about the provenance of Codex&#160;714. Riedel<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn4\" class=\"footnote-ref\" id=\"fnref4\" role=\"doc-noteref\"><sup>4<\/sup><\/a><\/span><\/span> compiled a first inventory of pieces updated by Hill<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn5\" class=\"footnote-ref\" id=\"fnref5\" role=\"doc-noteref\"><sup>5<\/sup><\/a><\/span><\/span> along with a black and white facsimile, now long out of print. The breadth of keyboard genres ranges from magnificats, hymn variations, and other chant-based organ music to intabulations of secular vocal and ensemble music. While some scholars have called it the product of an anonymous German organist scribe,<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn6\" class=\"footnote-ref\" id=\"fnref6\" role=\"doc-noteref\"><sup>6<\/sup><\/a><\/span><\/span> others have argued for Prague as its place of origin.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn7\" class=\"footnote-ref\" id=\"fnref7\" role=\"doc-noteref\"><sup>7<\/sup><\/a><\/span><\/span> The fact that the codex contains organ music for both Catholic and Protestant liturgies \u2013 making it all but unique among 17th-century keyboard manuscripts \u2013 could be explained by Prague\u2019s exceptionally ecumenical climate during the Thirty Years\u2019 War. On the other hand, like Friedrich W. Riedel has suggested, the extraordinary breadth of repertoire could also be the product of a wide-travelled musician such as Vincenzo Scapitta whose career led him from Italy to Innsbruck, Olomouc, and Warsaw before he fled to Vienna in 1655 and died there a year later.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn8\" class=\"footnote-ref\" id=\"fnref8\" role=\"doc-noteref\"><sup>8<\/sup><\/a><\/span><\/span> This would explain, beyond the striking denominational diversity of the repertoire, the geographical spread of its composers. Codex&#160;714 is the venue for an unlikely encounter between composers such as Merulo and Frescobaldi from the deep Catholic South and Protestant figureheads Jan Pieterszoon Sweelinck and Samuel Scheidt from the far North of Germany and The Netherlands. At any rate, the pieces in the manuscript that were most likely copied from contemporary prints suggest the first three decades of the 17th century as the codex\u2019 period of creation.<\/p>\n<p>Opening the manuscript\u2019s ornate heavy leather cover reveals another unusual aspect. The music is notated in a <em>scala decemlinealis<\/em>, a ten-line staff with treble and bass clef, recommended by 16th- and 17th-century music theorists for analytical purposes rather than keyboard notation.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn9\" class=\"footnote-ref\" id=\"fnref9\" role=\"doc-noteref\"><sup>9<\/sup><\/a><\/span><\/span> Moreover, each staff spans the space of the entire double page as another unusual feature.<\/p>\n<p>The existence of Codex&#160;714 has been recognized by music scholars ever since the late 19th century. Since then, most scholarship has been interested in the pieces by individual composers such as Hassler<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn10\" class=\"footnote-ref\" id=\"fnref10\" role=\"doc-noteref\"><sup>10<\/sup><\/a><\/span><\/span> and Sweelinck.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn11\" class=\"footnote-ref\" id=\"fnref11\" role=\"doc-noteref\"><sup>11<\/sup><\/a><\/span><\/span> Markus Grassl has recognized Codex&#160;714 as singular source for the instrumental music of Liberale Zanchi and Carolus Luython.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn12\" class=\"footnote-ref\" id=\"fnref12\" role=\"doc-noteref\"><sup>12<\/sup><\/a><\/span><\/span> Siegbert Rampe shows a similar situation for the music of Johann Feldmayr.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn13\" class=\"footnote-ref\" id=\"fnref13\" role=\"doc-noteref\"><sup>13<\/sup><\/a><\/span><\/span> Also for seven canzonas by Giovanni Valentini Codex&#160;714 constitutes the only source.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn14\" class=\"footnote-ref\" id=\"fnref14\" role=\"doc-noteref\"><sup>14<\/sup><\/a><\/span><\/span> All of this notwithstanding, more than 90% of the repertoire remains untranscribed and unrecorded. This is particularly true for the great number of anonymous compositions which, traditionally, receive the least scholarly interest.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn15\" class=\"footnote-ref\" id=\"fnref15\" role=\"doc-noteref\"><sup>15<\/sup><\/a><\/span><\/span><\/p>\n<p>However, even for a prominent composer such as Claudio Merulo Codex&#160;714 has fascinating aspects in store that have hitherto attracted little attention. This is particularly true for the \u2018Tocata .1. toni | Clau: Correg:\u2019on fols.&#160;87<span class=\"Hochgestellt\">v<\/span>\u201389<span class=\"Hochgestellt\">r<\/span> that is published as \u2018Primo tuono. Toccata Seconda\u2019 in the first book of toccatas printed by Simone Verovio in 1598.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn16\" class=\"footnote-ref\" id=\"fnref16\" role=\"doc-noteref\"><sup>16<\/sup><\/a><\/span><\/span> For this piece, Codex&#160;714 features a version with significant textual divergencies from the printed version.<\/p>\n<p>Already Bob Judd in his 1988 dissertation showed that the second volume of the so-called Torino organ tablatures<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn17\" class=\"footnote-ref\" id=\"fnref17\" role=\"doc-noteref\"><sup>17<\/sup><\/a><\/span><\/span> contains two fascinating oddities among the Merulo toccatas it contains:<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn18\" class=\"footnote-ref\" id=\"fnref18\" role=\"doc-noteref\"><sup>18<\/sup><\/a><\/span><\/span> the eighth toccata (\u2018Quarto tuono. Toccata ottava\u2019) from the first book and the eighth toccata (\u2018Ottavo tuono. Toccata ottava\u2019) from the second book of toccatas<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn19\" class=\"footnote-ref\" id=\"fnref19\" role=\"doc-noteref\"><sup>19<\/sup><\/a><\/span><\/span> each in two versions, here referred to as a and b. While the b-versions, further in the back of the volume, present a text very close to the Verovio prints, the a-versions, more toward the front, show numerous, in part considerable variants from the print. Judd categorizes these variants into eight classes including added or missing ties, different or missing pitches, different rhythms, octave displacement, and different presentation of ornaments. Furthermore, the a-version of the toccata from the first book lacks the lengthy imitative section of the printed version. By the same token, several measures which are not in the printed version were actually inserted. All in all, Judd suggests that the model for the a-versions was \u2018an exemplar far removed from the print.\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn20\" class=\"footnote-ref\" id=\"fnref20\" role=\"doc-noteref\"><sup>20<\/sup><\/a><\/span><\/span> His comparative transcription of the a- and b-versions illustrates that, apart from the architectural differences, it is a distinctly more modest style of ornamentation that characterizes the a-versions \u2013 or, in other words, the b-versions show a decided \u2018intensification\u2019 of the ornamental vocabulary. Essentially, this refers to the strongly increased use of <em>biscrome<\/em> in the b-versions and their sparing occurrence in the a-versions. Judd concludes, \u2018it is highly likely that the [a versions] [\u2026] are early versions of toccatas printed at the end of Merulo\u2019s life, and comparison with the printed versions allows a revision process to be seen, in which Merulo\u2019s primary emendations appear to have been the elaboration of ornamentation and the addition or alteration of imitative sections.\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn21\" class=\"footnote-ref\" id=\"fnref21\" role=\"doc-noteref\"><sup>21<\/sup><\/a><\/span><\/span><\/p>\n<p>Curiously, the a-versions in the Torino tablature are part of a group of toccatas ascribed to Merulo for which no printed concordances are known. These pieces show a striking stylistic likeness to the a-versions. This has led Judd to hypothesize that they may, in fact, constitute a group of early toccatas from Merulo\u2019s tenure in Venice, 1557\u201384. They could have been connected to the book of \u2018Toccate d\u2019Organo\u2019 Merulo had announced as \u2018settimo libro\u2019 in his \u2018Ordine de\u2019 libri d\u2019intavolature d\u2019organo, che promette successivamente dare in luce Claudio Merulo da Correggio\u2019 on the backside of the title page of the 1567 <em>Ricercari<\/em>.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn22\" class=\"footnote-ref\" id=\"fnref22\" role=\"doc-noteref\"><sup>22<\/sup><\/a><\/span><\/span> In more recent times, Luigi Collarile has argued that the scarcity of <em>biscrome<\/em> in these pieces may, in fact, be evidence in favor of this connection since the edition would have been printed with moveable type and a multitude of 32nd-notes would have constituted an all but insurmountable technical challenge.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn23\" class=\"footnote-ref\" id=\"fnref23\" role=\"doc-noteref\"><sup>23<\/sup><\/a><\/span><\/span> He also proposed that, therefore, the Torino tablature may, in fact, be evidence in favor of the theory that this early book of toccatas was actually published and that simply no copy of it survives today.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn24\" class=\"footnote-ref\" id=\"fnref24\" role=\"doc-noteref\"><sup>24<\/sup><\/a><\/span><\/span><\/p>\n<p>The \u2018Tocata .1. toni | Clau: Correg:\u2019on fols.&#160;87<span class=\"Hochgestellt\">v<\/span>\u201389<span class=\"Hochgestellt\">r<\/span> in the Minorite Codex&#160;714 constitutes yet another case of a manuscript text that considerably deviates from the 1598 Verovio print. Already a cursory glance at the transcription (see App.) shows, similar to the Torino tablatures, a more modest use of <em>biscrome.<\/em> However, unlike the Torino tablatures, they are not all but absent. Rather, there are passages where both versions show <em>biscrome<\/em>, sometimes in different rhythmical variants such as in mm.&#160;67\u20138. In this case both versions use groups of <em>crome<\/em> and <em>biscrome<\/em>, but in reverse order. There are also passages where the Codex&#160;714 version offers a reading with <em>biscrome<\/em> while the print version \u2018reduces\u2019 to <em>crome \u2013 <\/em>like the end of m.&#160;19.<\/p>\n<p>Like in the Torino a-versions, Codex&#160;714 seems to prefer bigger note values instead of the remarkable abundance of (unnecessarily) tied notes in the print. Augusta Campagne has suggested<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn25\" class=\"footnote-ref\" id=\"fnref25\" role=\"doc-noteref\"><sup>25<\/sup><\/a><\/span><\/span> that the \u2018tie chain notation\u2019 in the Verovio prints could be reflective of a difference in performance practice between organ and harpsichord as described, for example, by Diruta. In order not to lose \u2018more than half of the harmony\u2019 on the harpsichord, Diruta writes, keys need to be re-struck several times.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn26\" class=\"footnote-ref\" id=\"fnref26\" role=\"doc-noteref\"><sup>26<\/sup><\/a><\/span><\/span> Accordingly, perhaps the \u2018tie chain notation\u2019 is meant to be played tied on organ, but untied on harpsichord. If this was, indeed, Merulo\u2019s intention it seems to have been introduced as part of the preparations for the Verovio prints while the earlier versions make little to no use of it.<\/p>\n<p>The a-versions in the Torino tablatures feature a fascinating difference concerning the imitative sections in \u2018ricercare style\u2019. The a-version of the toccata in fourth tone omits the imitative passage altogether.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn27\" class=\"footnote-ref\" id=\"fnref27\" role=\"doc-noteref\"><sup>27<\/sup><\/a><\/span><\/span> In the toccata in eighth tone, mm.&#160;45\u201350, it is retained, but notated in doubled note values.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn28\" class=\"footnote-ref\" id=\"fnref28\" role=\"doc-noteref\"><sup>28<\/sup><\/a><\/span><\/span> This has led Domen Marin\u010di\u010d to conclude that perhaps a change of tempo was implied in the a-version.<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn29\" class=\"footnote-ref\" id=\"fnref29\" role=\"doc-noteref\"><sup>29<\/sup><\/a><\/span><\/span> In contrast, the Codex&#160;714 version of the toccata in first tone is almost identical with the formal architecture of the print version.<\/p>\n<p>It features the entire imitative section in \u2018ricercare style\u2019 in the shorter note values of the print (mm.&#160;75\u2013c.&#160;125). In fact, with m.&#160;62 it even contains one measure of musical material that is not in the print.<\/p>\n<p>Unlike the a-versions of the Torino tablatures the cadences in the Codex&#160;714 version often remain remarkably plain while the Verovio print offers much more ornamented formulas like, for example, in m.&#160;16, 20, 26, 29, etc. It seems, of course, unlikely that the performer of Codex&#160;714 was expected to play the plain versions. The print version, however, makes them more explicit and thus pushes an improvisatory practice more into the realm of a <em>res facta <\/em>of sorts \u2013 perhaps resulting from a change of target groups.<\/p>\n<p>In summary, many questions about the Codex&#160;714 version of the toccata remain unanswered. It is probably fair to describe the character of the print version as \u2018revised\u2019 or \u2018reworked\u2019, but the differences in this category are moderate in number and scope. More importantly, the print appears to make an effort to perhaps put in more concrete terms what the manuscript version leaves open, particularly in terms of cadential ornamentation and adaptation on a specific keyboard instrument. The question whether the publication confers the status of a \u2018definitiveness\u2019 upon the Verovio version is difficult to answer. Surely, after the <em>urtext<\/em> revolution of the 20th century we are likely inclined to accept this proposition. However, the existence of the Codex&#160;714 version could also suggest the interpretation that both manuscript and print versions share a common nucleus that they transmit in individual manifestations. In this light, the Verovio version could be understood as <em>exemplum<\/em> for one (of many) possible renditions of Codex&#160;714. After all, it is as a school in elegance and gracefulness that Diruta recommends Merulo\u2019s keyboard works to his readers: \u2018Et in somma chi vuol sonarlo con politezza, e leggiadria, studia l\u2019Opere del Signor Claudio, che in quelle trouer\u00e0 quel che in ci\u00f2 fa bisogno.\u2019<span class=\"Hochgestellt_footnote\"><span><a href=\"#fn30\" class=\"footnote-ref\" id=\"fnref30\" role=\"doc-noteref\"><sup>30<\/sup><\/a><\/span><\/span><\/p>\n<div style=\"width: 850px;\" class=\"wp-video\"><video class=\"wp-video-shortcode\" id=\"video-8333-1\" width=\"850\" height=\"478\" preload=\"metadata\" controls=\"controls\"><source type=\"video\/mp4\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video-Merulo.mp4?_=1\" \/><a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video-Merulo.mp4\">https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/Video-Merulo.mp4<\/a><\/video><\/div>\n<span class=\"caption-text\"><b>Video 1:<\/b> \u2018The Merulo Toccata in Codex Vienna, Minorite Convent, 714\u2019. Mario Aschauer, harpsichord. Harpsichord by Joel Katzman (Amsterdam, 1999) after Alessandro Trasuntino (Venice, 1531).<\/span><\/p>\n<h4 id=\"1\">Appendix<\/h4>\n<p>Claudio Merulo: <em>Toccata seconda del primo tuono<\/em><\/p>\n<p>Comparative transcription by Mario Aschauer<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-1-scaled.jpg\" alt=\"Nine pages containing a comparison of printed keyboard sheet music titled \u201cToccata. I. toni\u201d and \u201cPrimo tuono. Toccata Seconda.\u201d The notation shows complex polyphonic passages with flowing sixteenth-note runs and counterpoint, typical of late Renaissance or early Baroque compositions.\" width=\"1999\" height=\"2560\" class=\"alignnone size-full wp-image-8341\" style=\"width:90%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-1-scaled.jpg 1999w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-1-234x300.jpg 234w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-1-800x1024.jpg 800w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-1-117x150.jpg 117w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-1-768x984.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-1-1199x1536.jpg 1199w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-1-1599x2048.jpg 1599w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-1-850x1089.jpg 850w\" sizes=\"auto, (max-width: 1999px) 100vw, 1999px\" \/><br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-2-scaled.jpg\" alt=\"Nine pages containing a comparison of printed keyboard sheet music titled \u201cToccata. I. toni\u201d and \u201cPrimo tuono. Toccata Seconda.\u201d The notation shows complex polyphonic passages with flowing sixteenth-note runs and counterpoint, typical of late Renaissance or early Baroque compositions.\" width=\"1890\" height=\"2560\" class=\"alignnone size-full wp-image-8342\" style=\"width:90%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-2-scaled.jpg 1890w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-2-222x300.jpg 222w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-2-756x1024.jpg 756w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-2-111x150.jpg 111w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-2-768x1040.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-2-1134x1536.jpg 1134w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-2-1512x2048.jpg 1512w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-2-850x1151.jpg 850w\" sizes=\"auto, (max-width: 1890px) 100vw, 1890px\" \/><br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-3-scaled.jpg\" alt=\"Nine pages containing a comparison of printed keyboard sheet music titled \u201cToccata. I. toni\u201d and \u201cPrimo tuono. Toccata Seconda.\u201d The notation shows complex polyphonic passages with flowing sixteenth-note runs and counterpoint, typical of late Renaissance or early Baroque compositions.\" width=\"1887\" height=\"2560\" class=\"alignnone size-full wp-image-8343\" style=\"width:90%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-3-scaled.jpg 1887w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-3-221x300.jpg 221w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-3-755x1024.jpg 755w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-3-111x150.jpg 111w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-3-768x1042.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-3-1132x1536.jpg 1132w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-3-1509x2048.jpg 1509w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-3-850x1153.jpg 850w\" sizes=\"auto, (max-width: 1887px) 100vw, 1887px\" \/><br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-4-scaled.jpg\" alt=\"Nine pages containing a comparison of printed keyboard sheet music titled \u201cToccata. I. toni\u201d and \u201cPrimo tuono. Toccata Seconda.\u201d The notation shows complex polyphonic passages with flowing sixteenth-note runs and counterpoint, typical of late Renaissance or early Baroque compositions.\" width=\"1862\" height=\"2560\" class=\"alignnone size-full wp-image-8344\" style=\"width:90%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-4-scaled.jpg 1862w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-4-218x300.jpg 218w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-4-745x1024.jpg 745w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-4-109x150.jpg 109w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-4-768x1056.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-4-1117x1536.jpg 1117w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-4-1490x2048.jpg 1490w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-4-850x1169.jpg 850w\" sizes=\"auto, (max-width: 1862px) 100vw, 1862px\" \/><br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-5-scaled.jpg\" alt=\"Nine pages containing a comparison of printed keyboard sheet music titled \u201cToccata. I. toni\u201d and \u201cPrimo tuono. Toccata Seconda.\u201d The notation shows complex polyphonic passages with flowing sixteenth-note runs and counterpoint, typical of late Renaissance or early Baroque compositions.\" width=\"1877\" height=\"2560\" class=\"alignnone size-full wp-image-8336\" style=\"width:90%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-5-scaled.jpg 1877w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-5-220x300.jpg 220w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-5-751x1024.jpg 751w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-5-110x150.jpg 110w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-5-768x1048.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-5-1126x1536.jpg 1126w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-5-1501x2048.jpg 1501w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-5-850x1159.jpg 850w\" sizes=\"auto, (max-width: 1877px) 100vw, 1877px\" \/><br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-6-scaled.jpg\" alt=\"Nine pages containing a comparison of printed keyboard sheet music titled \u201cToccata. I. toni\u201d and \u201cPrimo tuono. Toccata Seconda.\u201d The notation shows complex polyphonic passages with flowing sixteenth-note runs and counterpoint, typical of late Renaissance or early Baroque compositions.\" width=\"1880\" height=\"2560\" class=\"alignnone size-full wp-image-8337\" style=\"width:90%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-6-scaled.jpg 1880w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-6-220x300.jpg 220w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-6-752x1024.jpg 752w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-6-110x150.jpg 110w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-6-768x1046.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-6-1128x1536.jpg 1128w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-6-1504x2048.jpg 1504w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-6-850x1158.jpg 850w\" sizes=\"auto, (max-width: 1880px) 100vw, 1880px\" \/><br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-7-scaled.jpg\" alt=\"Nine pages containing a comparison of printed keyboard sheet music titled \u201cToccata. I. toni\u201d and \u201cPrimo tuono. Toccata Seconda.\u201d The notation shows complex polyphonic passages with flowing sixteenth-note runs and counterpoint, typical of late Renaissance or early Baroque compositions.\" width=\"1877\" height=\"2560\" class=\"alignnone size-full wp-image-8338\" style=\"width:90%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-7-scaled.jpg 1877w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-7-220x300.jpg 220w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-7-751x1024.jpg 751w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-7-110x150.jpg 110w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-7-768x1048.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-7-1126x1536.jpg 1126w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-7-1501x2048.jpg 1501w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-7-850x1159.jpg 850w\" sizes=\"auto, (max-width: 1877px) 100vw, 1877px\" \/><br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-8-scaled.jpg\" alt=\"Nine pages containing a comparison of printed keyboard sheet music titled \u201cToccata. I. toni\u201d and \u201cPrimo tuono. Toccata Seconda.\u201d The notation shows complex polyphonic passages with flowing sixteenth-note runs and counterpoint, typical of late Renaissance or early Baroque compositions.\" width=\"1871\" height=\"2560\" class=\"alignnone size-full wp-image-8339\" style=\"width:90%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-8-scaled.jpg 1871w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-8-219x300.jpg 219w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-8-748x1024.jpg 748w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-8-110x150.jpg 110w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-8-768x1051.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-8-1123x1536.jpg 1123w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-8-1497x2048.jpg 1497w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-8-850x1163.jpg 850w\" sizes=\"auto, (max-width: 1871px) 100vw, 1871px\" \/><br \/>\n<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-9-scaled.jpg\" alt=\"Nine pages containing a comparison of printed keyboard sheet music titled \u201cToccata. I. toni\u201d and \u201cPrimo tuono. Toccata Seconda.\u201d The notation shows complex polyphonic passages with flowing sixteenth-note runs and counterpoint, typical of late Renaissance or early Baroque compositions.\" width=\"1875\" height=\"2560\" class=\"alignnone size-full wp-image-8340\" style=\"width:90%; display: block; margin-left: auto; margin-right: auto;\" srcset=\"https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-9-scaled.jpg 1875w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-9-220x300.jpg 220w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-9-750x1024.jpg 750w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-9-110x150.jpg 110w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-9-768x1048.jpg 768w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-9-1125x1536.jpg 1125w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-9-1500x2048.jpg 1500w, https:\/\/www.mdw.ac.at\/mdwpress\/wp-content\/uploads\/01-Full-score-merulo-toccate-1-9-850x1160.jpg 850w\" sizes=\"auto, (max-width: 1875px) 100vw, 1875px\" \/><\/p>\n<h4>Endnotes<\/h4>\n<hr class=\"HorizontalRule-1\" \/>\n<ol>\n<li id=\"fn1\">\n<p>Friedrich W. Riedel, \u2018Die Wiener Minoriten und ihre Musikpflege\u2019, in: <em>Singende Kirche<\/em> 16 (1996), 161\u20135.<a href=\"#fnref1\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn2\">\n<p>Friedrich W. Riedel, \u2018Die Musikpflege der Minoriten\u2019, in: <em>750 Jahre Minoriten in Wien: 1124\u20131974<\/em>, ed. Landulf Honickel (Vienna, 1974), 83\u201390.<a href=\"#fnref2\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn3\">\n<p>Obituary in <em>Wienerisches Diarium, oder Nachrichten von Staats, vermischten, und gelehrten Neuigkeiten<\/em> 49 (18&#160;June 1766), 5\u20136, &lt;<a href=\"https:\/\/anno.onb.ac.at\/cgi-content\/anno?aid=wrz&amp;datum=17660618&amp;seite=5&amp;zoom=33\"><span class=\"Hyperlink\">https:\/\/anno.onb.ac.at\/cgi-content\/anno?aid=wrz&amp;datum=17660618&amp;seite=5&amp;zoom=33<\/span><\/a>&gt; (accessed on 20&#160;Dec. 2024): \u2018Donnerstag den 12. dieses [i.e., 12&#160;June 1766] ist in dem Herrn entschlaffen, der Wohlehrw\u00fcrdige P. Alexander Giessel, Minoritenordens der \u00f6sterreichischen Provinz, Chorregent in dem Kloster zum H.&#160;Kreutz allhier, welcher durch die von ihm mit ungemeiner M\u00fche und Flei\u00df gemachte vortreffliche Sammlung von Seltenheiten der Natur, Conchilien, und andern Meergew\u00e4chsen, Mineralien, Versteinerungen, Marmor und Steinerten, Alterth\u00fcmern, alten M\u00fcnzen, neuern Schaupfenningen, Kupferstichen, antiquen Steinen von eingeschnittener und erhabener Arbeit, Kunst und Meisterst\u00fccken etc. welches alles beysammen in dem Klostermuseo zu sehen ist, sich vielen Verdienst und bey der gelehrten Welt Ruhm erworben hat, in dem 73.&#160;Jahr seines Alters.\u2019 (Translation by the author).<a href=\"#fnref3\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn4\">\n<p>Friedrich W. Riedel, <em>Das Musikarchiv im Minoritenkonvent zu Wien (Katalog des \u00e4lteren Bestandes vor 1784)<\/em>, Catalogus Musicus&#160;I (Kassel, 1963), 43\u201372.<a href=\"#fnref4\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn5\">\n<p>Robert Hill (ed.), <em>Vienna, Minoritenkonvent, Klosterbibliothek und Archiv, MS XIV.714<\/em>, 17th-Century Keyboard Music: Sources Central to the Keyboard Art of the Baroque 24 (New York\/London, 1988), xi\u2013xxv.<a href=\"#fnref5\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn6\">\n<p>Lydia Schierning, <em>Die \u00dcberlieferung der deutschen Orgel- und Klaviermusik aus der ersten H\u00e4lfte des 17.<\/em><em>&#160;Jahrhunderts<\/em>, Schriften des Landesinstituts f\u00fcr Musikforschung Kiel 12 (Kassel, 1961), 60\u20132 and 117\u201324; and Hill, <em>Vienna, Minoritenkonvent<\/em>,v.<a href=\"#fnref6\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn7\">\n<p>Jan Pieterszoon Sweelinck, <em>Complete Organ and Keyboard Works<\/em>, ed. Siegbert Rampe, vol. 1.2: <em>Toccatas<\/em> (Kassel, 2003), vi\u2013vii.<a href=\"#fnref7\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn8\">\n<p>Riedel, \u2018Die Musikpflege der Minoriten\u2019 (see n.&#160;2), 85.<a href=\"#fnref8\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn9\">\n<p>Mario Aschauer, \u2018\u201cStudy, practice, and a reasonable working method\u201d: Toward a History of Creative Process Pedagogy Between 1500 and 1850\u2019, in: <em>The Oxford Handbook of the Creative Process in Music<\/em>, ed. Nicolas Donin (online ed., Oxford Academic, 8&#160;May 2018), &lt;<a href=\"https:\/\/doi-org.ezproxy.rice.edu\/10.1093\/oxfordhb\/9780190636197.013.11\"><span class=\"Hyperlink\">https:\/\/doi-org.ezproxy.rice.edu\/10.1093\/oxfordhb\/9780190636197.013.11<\/span><\/a>&gt; (accessed on 21&#160;Sept. 2024).<a href=\"#fnref9\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn10\">\n<p>Vincent J. Panetta, \u2018Hans Leo Hassler and the Keyboard Toccata: Antecedents, Sources, Style\u2019, PhD diss., Harvard University, 1991, 218\u201350.<a href=\"#fnref10\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn11\">\n<p>Pieter Dirksen, <em>The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance and Influence<\/em> (Utrecht, 1997), 68\u201373.<a href=\"#fnref11\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn12\">\n<p>Markus Grassl, \u2018Luythons Instrumentalmusik: Anmerkungen zu Autorschaft und Kontext\u2019, in: <em>Clavibus unitis<\/em> 10\/3 (2021), 75\u201398, &lt;<a href=\"https:\/\/www.acecs.cz\/media\/cu_2021_10_03_grassl.pdf\"><span class=\"Hyperlink\">https:\/\/www.acecs.cz\/media\/cu_2021_10_03_grassl.pdf<\/span><\/a>&gt; (accessed on 20&#160;Dec. 2024); idem, \u2018Paralipomena zur Instrumentalmusik im Umkreis Rudolfs&#160;II.: Liberale Zanchi und seine Canzonen in A-Wm XIV.714\u2019, in: <em>Wiener Musikgeschichte. Ann\u00e4herungen \u2013 Analysen \u2013 Ausblicke. Festschrift f\u00fcr Hartmut Krones zum 65.<\/em>&#160;<em>Geburtstag<\/em>, ed. Julia Bungardt, Maria Helfgott, Eike Rathgeber and Nikolaus Urbanek (Vienna\/Cologne\/Weimar, 2009), 67\u201386.<a href=\"#fnref12\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn13\">\n<p>Siegbert Rampe (ed.), <em>Organ and Keyboard Music at the Salzburg Court 1500\u20131800 <\/em>(Kassel, 2005), vi.<a href=\"#fnref13\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn14\">\n<p>Siegbert Rampe (ed.), <em>Organ and Keyboard Music of the Imperial Court Chapel Vienna, 1500\u20131700: Collection of First Editions <\/em>(Kassel, 2006), viii.<a href=\"#fnref14\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn15\">\n<p>A selection of <em>unica <\/em>from the Codex is featured on my album <em>Keyboard Music from Codex Vienna, Minorite Convent, 714<\/em> (Aulicus Classics 2022).<a href=\"#fnref15\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn16\">\n<p>Claudio Merulo, <em>Toccate d\u2019intavolatura d\u2019organo <\/em>[\u2026] <em>libro primo <\/em>(Rome: Simone Verovio, 1598), 33\u20138, &lt;<a href=\"https:\/\/www.digitale-sammlungen.de\/de\/details\/bsb00094272\"><span class=\"Hyperlink\">https:\/\/www.digitale-sammlungen.de\/de\/details\/bsb00094272<\/span><\/a>&gt; (accessed on 20&#160;Sept. 2024).<a href=\"#fnref16\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn17\">\n<p>I-Tn Mss. Giordano 2.<a href=\"#fnref17\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn18\">\n<p>Robert Floyd Judd, \u2018The Use of Notational Formats at the Keyboard: A Study of Printed Sources of Keyboard Music in Spain and Italy c.&#160;1500\u20131700, Selected Manuscript Sources Including Music by Claudio Merulo, and Contemporary Writings Concerning Notations\u2019, 2&#160;vols., PhD diss., University of Oxford, 1989, ii, 238\u201371, &lt;<a href=\"https:\/\/www.academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile\"><span class=\"Hyperlink\">https:\/\/www.academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile<\/span><\/a>&gt; (accessed on 15&#160;Oct. 2024).<a href=\"#fnref18\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn19\">\n<p>Claudio Merulo, <em>Toccate d\u2019intavolatura d\u2019organo<\/em> [\u2026] <em>libro secondo<\/em> (Rome: Simone Verovio, 1604), 34\u20138, &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00094273\"><span class=\"Hyperlink\">https:\/\/mdz-nbn-resolving.de\/details:bsb00094273<\/span><\/a>&gt; (accessed on 20&#160;Sept. 2024).<a href=\"#fnref19\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn20\">\n<p>Judd, \u2018The Use of Notational Formats\u2019 (see n.&#160;18), 255.<a href=\"#fnref20\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn21\">\n<p>Ibid., 270.<a href=\"#fnref21\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn22\">\n<p>Claudio Merulo, <em>Ricercari d\u2019intavolatura d\u2019organo<\/em> [\u2026] <em>libro primo<\/em> (Venice, 1567).<a href=\"#fnref22\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn23\">\n<p>Luigi Collarile, \u2018Claudio Merulo nell\u2019intavolatura tedesca di Torino: Il problema delle fonti\u2019, in: <em>Organo pleno: Festschrift f\u00fcr Jean-Claude Zehnder zum 65.&#160;Geburtstag<\/em>, ed. Luigi Collarile and Alexandra Nigito (Bern, 2007), 89\u2013112, at 103.<a href=\"#fnref23\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn24\">\n<p>Ibid., 111.<a href=\"#fnref24\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn25\">\n<p>Private communication with Augusta Campagne. A corresponding publication is forthcoming.<a href=\"#fnref25\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn26\">\n<p>Girolamo Diruta, <em>Il Transilvano<\/em> <em>dialogo sopra il vero modo di sonar organi, &amp; istromenti da penna<\/em> (Venice: Giacomo Vincenti 1593), 6, &lt;<a href=\"http:\/\/hdl.loc.gov\/loc.music\/muspre1800.100422\"><span class=\"Hyperlink\">http:\/\/hdl.loc.gov\/loc.music\/muspre1800.100422<\/span><\/a>&gt; (accessed on 25&#160;Sept. 2024).<a href=\"#fnref26\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn27\">\n<p>Judd, \u2018The Use of Notational Formats\u2019 (see n.&#160;18), 243\u20138.<a href=\"#fnref27\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn28\">\n<p>Ibid., 265\u20136.<a href=\"#fnref28\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn29\">\n<p>Domen Marin\u010di\u010d, \u2018\u201cNach seinem selbst gefallen mit der Mensur wexln\u201d: Instances in Sixteenth-Century Keyboard Music Where Ornamentation and Changing Note Values Might Induce the Player to Vary the Beat\u2019, in: <em>\u2018Universum rei harmonicae concentum absolvunt\u2019: The Harpsichord in the Sixteenth Century<\/em>, ed. Augusta Campagne and Markus Grassl (Vienna, 2024), 79\u2013111, at 89\u201390, &lt;<a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-ornamentation-note-values\/\"><span class=\"Hyperlink\">https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-ornamentation-note-values\/<\/span><\/a>&gt; (accessed on 22&#160;Sept. 2024).<a href=\"#fnref29\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<li id=\"fn30\">\n<p>Diruta, <em>Il Transilvano<\/em> (see n.&#160;26), 6.<a href=\"#fnref30\" class=\"footnote-back\" role=\"doc-backlink\">\u21a9\ufe0e<\/a><\/p>\n<\/li>\n<\/ol>\n<h4 id=\"2\">Bibliography<\/h4>\n<p><\/p>\n<p class=\"bibliography\">Mario Aschauer, \u2018\u201cStudy, practice, and a reasonable working method\u201d: Toward a History of Creative Process Pedagogy Between 1500 and 1850\u2019, in: <em>The Oxford Handbook of the Creative Process in Music<\/em>, ed. Nicolas Donin (online ed., Oxford Academic, 8&#160;May 2018), &lt;<a href=\"https:\/\/doi-org.ezproxy.rice.edu\/10.1093\/oxfordhb\/9780190636197.013.11\"><span class=\"Hyperlink\">https:\/\/doi-org.ezproxy.rice.edu\/10.1093\/oxfordhb\/9780190636197.013.11<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Luigi Collarile, \u2018Claudio Merulo nell\u2019intavolatura tedesca di Torino: Il problema delle fonti\u2019, in: <em>Organo pleno: Festschrift f\u00fcr Jean-Claude Zehnder zum 65.&#160;Geburtstag<\/em>, ed. Luigi Collarile and Alexandra Nigito (Bern, 2007), 89\u2013112<\/p>\n<p class=\"bibliography\">Pieter Dirksen, <em>The Keyboard Music of Jan Pieterszoon Sweelinck: Its Style, Significance and Influence<\/em> (Utrecht, 1997)<\/p>\n<p class=\"bibliography\">Girolamo Diruta, <em>Il Transilvano<\/em> <em>dialogo sopra il vero modo di sonar organi, &amp; istromenti da penna<\/em> (Venice: Giacomo Vincenti 1593), &lt;<a href=\"http:\/\/hdl.loc.gov\/loc.music\/muspre1800.100422\"><span class=\"Hyperlink\">http:\/\/hdl.loc.gov\/loc.music\/muspre1800.100422<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Markus Grassl, \u2018Luythons Instrumentalmusik: Anmerkungen zu Autorschaft und Kontext\u2019, in: <em>Clavibus unitis<\/em> 10\/3 (2021), 75\u201398, &lt;<a href=\"https:\/\/www.acecs.cz\/media\/cu_2021_10_03_grassl.pdf\"><span class=\"Hyperlink\">https:\/\/www.acecs.cz\/media\/cu_2021_10_03_grassl.pdf<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Markus Grassl, \u2018Paralipomena zur Instrumentalmusik im Umkreis Rudolfs&#160;II.: Liberale Zanchi und seine Canzonen in A-Wm XIV.714\u2019, in: <em>Wiener Musikgeschichte. Ann\u00e4herungen \u2013 Analysen \u2013 Ausblicke. Festschrift f\u00fcr Hartmut Krones zum 65. Geburtstag<\/em>, ed. Julia Bungardt, Maria Helfgott, Eike Rathgeber and Nikolaus Urbanek (Vienna\/Cologne\/Weimar, 2009), 67\u201386<\/p>\n<p class=\"bibliography\">Robert Hill (ed.), <em>Vienna, Minoritenkonvent, Klosterbibliothek und Archiv, MS XIV.714<\/em>, 17th-Century Keyboard Music: Sources Central to the Keyboard Art of the Baroque 24 (New York\/London, 1988)<\/p>\n<p class=\"bibliography\">Robert Floyd Judd, \u2018The Use of Notational Formats at the Keyboard: A Study of Printed Sources of Keyboard Music in Spain and Italy c.&#160;1500\u20131700, Selected Manuscript Sources Including Music by Claudio Merulo, and Contemporary Writings Concerning Notations\u2019, 2&#160;vols., PhD diss., University of Oxford, 1989, &lt;<a href=\"https:\/\/www.academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile\"><span class=\"Hyperlink\">https:\/\/www.academia.edu\/attachments\/50221810\/download_file?st=MTcyMjY5NDI1Miw4MC4xMDkuMjM4LjIwMCwxMzcxNjE5&amp;s=profile<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Domen Marin\u010di\u010d, \u2018\u201cNach seinem selbst gefallen mit der Mensur wexln\u201d: Instances in Sixteenth-Century Keyboard Music Where Ornamentation and Changing Note Values Might Induce the Player to Vary the Beat\u2019, in: <em>\u2018Universum rei harmonicae concentum absolvunt\u2019: The Harpsichord in the Sixteenth Century<\/em>, ed. Augusta Campagne and Markus Grassl (Vienna, 2024), 79\u2013111, &lt;<a href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-ornamentation-note-values\/\"><span class=\"Hyperlink\">https:\/\/www.mdw.ac.at\/mdwpress\/mdwp003-ornamentation-note-values\/<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Claudio Merulo, <em>Ricercari d\u2019intavolatura d\u2019organo<\/em> [\u2026] <em>libro primo<\/em> (Venice, 1567)<\/p>\n<p class=\"bibliography\">Claudio Merulo, <em>Toccate d\u2019intavolatura d\u2019organo <\/em>[\u2026] <em>libro primo <\/em>(Rome: Simone Verovio, 1598), &lt;<a href=\"https:\/\/www.digitale-sammlungen.de\/de\/details\/bsb00094272\"><span class=\"Hyperlink\">https:\/\/www.digitale-sammlungen.de\/de\/details\/bsb00094272<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Claudio Merulo, <em>Toccate d\u2019intavolatura d\u2019organo<\/em> [\u2026] <em>libro s<\/em><em>econdo<\/em> (Rome: Simone Verovio, 1604), &lt;<a href=\"https:\/\/mdz-nbn-resolving.de\/details:bsb00094273\"><span class=\"Hyperlink\">https:\/\/mdz-nbn-resolving.de\/details:bsb00094273<\/span><\/a>&gt;<\/p>\n<p class=\"bibliography\">Vincent J. Panetta, \u2018Hans Leo Hassler and the Keyboard Toccata: Antecedents, Sources, Style\u2019, PhD diss., Harvard University, 1991<\/p>\n<p class=\"bibliography\">Siegbert Rampe (ed.), <em>Organ and Keyboard Music at the Salzburg Court 1500\u20131800 <\/em>(Kassel, 2005)<\/p>\n<p class=\"bibliography\">Siegbert Rampe (ed.), <em>Organ and Keyboard Music of the Imperial Court Chapel Vienna, 1500\u20131700: Collection of First Editions <\/em>(Kassel, 2006)<\/p>\n<p class=\"bibliography\">Friedrich W. Riedel, <em>Das Musikarchiv im Minoritenkonvent zu Wien (Katalog des \u00e4lteren Bestandes vor 1784)<\/em>, Catalogus Musicus&#160;I (Kassel, 1963)<\/p>\n<p class=\"bibliography\">Friedrich W. Riedel, \u2018Die Musikpflege der Minoriten\u2019, in: <em>750 Jahre Minoriten in Wien: 1124\u20131974<\/em>, ed. Landulf Honickel (Vienna, 1974), 83\u201390<\/p>\n<p class=\"bibliography\">Friedrich W. Riedel, \u2018Die Wiener Minoriten und ihre Musikpflege\u2019, in: <em>Singende Kirche<\/em> 16 (1996), 161\u20135<\/p>\n<p class=\"bibliography\">Lydia Schierning, <em>Die \u00dcberlieferung der deutschen Orgel- und Klaviermusik aus der ersten H\u00e4lfte des 17. Jahrhunderts<\/em> Schriften des Landesinstituts f\u00fcr Musikforschung Kiel 12 (Kassel, 1961)<\/p>\n<p class=\"bibliography\">Jan Pieterszoon Sweelinck, <em>Complete Organ and Keyboard Works<\/em>, ed. Siegbert Rampe, vol.&#160;1.2: <em>Toccatas<\/em> (Kassel, 2003)<\/p>\n<p class=\"bibliography\"><em>Wienerisches Diarium, oder Nachrichten von Staats, vermischten, und gelehrten Neuigkeiten<\/em> 49 (18&#160;June 1766)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Mario Aschauer &nbsp; It is all but a miracle that the friars of the Vienna Minorite Order have been able to shield the treasures of their music archive against the perils of time for over 400&#160;years. Around 1600, the monastery began to establish itself as an elite musical institution in Vienna.1 One of its most &hellip;<\/p>\n","protected":false},"author":7,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[271],"tags":[],"class_list":["post-8333","post","type-post","status-publish","format-standard","hentry","category-harpsichord-in-the-sixteenth-century-2-italy"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.9 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>The Merulo Toccata in Codex Vienna, Minorite Convent, 714 &#8211; mdwPress<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.mdw.ac.at\/mdwpress\/mdwp017-011\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Merulo Toccata in Codex Vienna, Minorite Convent, 714 &#8211; mdwPress\" \/>\n<meta property=\"og:description\" content=\"Mario Aschauer &nbsp; It is all but a miracle that the friars of the Vienna Minorite Order have been able to shield the treasures of their music archive against the perils of time for over 400&#160;years. 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