L. Senfl: A Catalogue Raisonné of the Works and Sources 1

Ludwig Senfl (c. 14901543) is the most important composer of the German speaking areas during the first half of the 16th century. Although his importance in music history has already been acknowledged during the 19th century, profound research remained difficult. Due to two fragmentary editions scholars up to the present day have only an inadequate picture of the scope and the transmission of Senfls compositions; this is the reason why a deeper investigation in his encompassing uvre, which covers all known genres of his time, is still lacking. The two volumes of the Senfl-Catalogue fill this gap. During a six-year research project, which started in 2008 and was led by Birgit Lodes, Stefan Gasch and Sonja Tröster prepared an encompassing reference book for the works of Ludwig Senfl. Providing all fundamental information, it will enable researchers to draw a comprehensive and coherent picture of Senfls uvre and of the musical culture of his time. The core of the catalogue raisonné forms the first volume. This book presents all of Senfls compositions (including lost and misattributed works) and structures them according to genres. Every piece is described in detail: each record provides ample information about the text set to music, pre-existent melodies, a musical incipit, remarks on the musical structure and comments concerning the transmission and the authenticity of a composition. Being the first detailed catalogue raisonné for a Renaissance composer, the Senfl Catalogue is an innovation in the field of Renaissance musical studies. The volume, which is in focus here, facilitates profound research on the composers style as well as a characterisation of his uvre and thus provides clues for a long desired chronological classification. As it was possible to connect individual compositions with certain places, occasions, and individuals, the information presented in this volume also sheds more light on Senfls involvement in humanist, aristocratic, catholic and protestant circles and allows new approaches to the cultural history of the Renaissance not only from a musicological point of view but also for scholars of various disciplines.