- Old libr. stamp of the "R.K. Kerk van den H. Joseph te Ha[arlem]" on the title-p. of the work by H. DIRUTA. Spine-ends (sl.) dam.; leather over backstrip dried and sl. worn; several sl. worn/ rubbed spots on covers; lacks ties.
= Provenance: the library of Jan (J.W.N.) Valkestijn (1928-2017), director of the music institute of the Haarlemse Kathedrale basiliek Sint Bavo and director of the Cathedral Choir. An important and remarkable primary source for the study of 17th cent. Dutch music theory. Johannes Albertus Bannius, canon of Haarlem from 1628 onwards and later on archpriest, was a self-taught composer, who through his contacts and friendship with i.a. René Descartes, P.C. Hooft, Constantijn Huygens and Maria Tesselschade Roemers Visscher had close contact with members of what became eventually known as De Muiderkring. Apart from composing several songs on poems by Tesselschade and Hooft, Ban was especially intent on developing a musical system based on the "musica flexanima" (music of the spheres), which is characterized as follows by Darmschroder and Williams in their Music Theory from Zarlino to Schenker: "music wherein the text was vividly expressed by following strict rules concerning melody, rhythm and concord". The present manuscript consists of two autograph pieces and one transcript by Bannius and was written in the early stages of Bannius' musical career. Furthermore there are numerous blank leaves between the three manuscript sections of the book, suggesting that Bannius intended to write or copy more relevant pieces on music. He has entered his owner's entry on the first free endaper in full as follows: "Joannes Albertus Bannius Sale et zelo [crossed out and replaced by] memento Aeternitatis [signed] 1617". On the specific contents of the manuscript the following short information can be given: the transcribed work by Girolamo Mancini (called Diruta after his place of birth), was published as Il transilvano and consisted of two parts (the first part was published in 1593 and the second in 1609). It was one of the first treatises specifically devoted to the art of playing the organ and keyboard and especially the first part became a popular manual (first published in 1593, it was reprinted in 1597, 1612 and 1625). The Tractatus brevis (...) shows Bannius' interest in the concept of the "music of the spheres" which, on the one hand despite the significant scientific discoveries in the fields of astronomy and physics in the 16th century and on the other hand because of the numerous newly published classical texts on music, persisted well into the 17th century to influence music theories. The third short piece included in this manuscript is titled Pro pleniori intelligentsia (...) and repeatedly refers for elucidation of points discussed to a work (by Bannius?) titled "Musica universa". See also Gregoriusblad, year 92, no.2, p.84ff. SEE ILLUSTRATION PLATE CIII.