Here you will find a list of the tablatures we are currently working on, as well as those we will begin working on soon. E-LAUTE is a dynamic edition that is continually growing, developed by a large, interdisciplinary team. The results are updated on an ongoing basis.
Several editorial features are currently under development (a brief overview can be found under ‘Use’ → ‘How to use the E-LAUTE edition’). A critical report is being compiled on an ongoing basis, but is not yet publicly accessible; work on this is ongoing. Our documentation on the edition and the platform is available under ‘Use’. For information on our publications, presentations, and other (including technical) innovations and updates, see ‘project’
| Wien (Wien university) | |
| Description: | According to Judenkünig’s biography, it is documented that, owing to his confirmed membership in the Gottsleichnams (Corpus Christi) or Fronleichnams Brotherhood at St. Stephen’s, he resided in Vienna from 1518 to 1525 in the so-called Gundlachhaus (renamed the 'Köllner Hof' in 1548), one of the city’s commercial hubs, situated close to the university. It is also believed that he may have been present in Vienna or its environs prior to 1518, and he is thought to have died in 1526. Entries relating to Hans Judenkünig appear in the memorial book of the Gottsleichnams Brotherhood from the second quarter of 1518 until the second quarter of 1525 (not 1526!): Vienna, Diocesan Archive, Bruderschaftsbuch der Gottsleichnamsbruderschaft bei St. Stephan in Wien, 1504–1530; DAW/Manuscripts/Account Book of the Gottsleichnams Brotherhood at St. Stephen in Vienna, 1504–1513, without foliation. Almost concurrently, Hans Singriener was recorded there from the first quarter of 1518 to the third quarter of 1525, and again from the second to the fourth quarter of 1528, while Judenkünig’s name is marked with a death cross. |
| Comment: | The erroneous claim that Judenkünig was entered in the book up to the second quarter of 1526 can be traced from the writings of Koczirz through to Martin Just; see the bibliography. |
| Wien (Wien city) |
| Wien (Wien region) |
| Description: | Hans Judenkünig’s prints Utilis et compendiaria introductio and Ain schone kunstliche vnderweisung, both published by Johannes Singriener in Vienna in 1523, rank—alongside the publications of Sebastian Virdung (Musica getutscht, Basel 1511) and Arnolt Schlick (Tabulaturen etlicher Lobgesang, Mainz 1512)—among the earliest instructional books for instrumental music and constitute the first printed collections notated in German lute tablature for 'Lautten und Geygen'. |
| Description: | Judenkünig divided his two books into three parts, each of which could be used as an independent instructional manual (“büechlein”) and each with its own methodological emphases and pedagogical priorities. The first print — Utilis et compendiaria introductio — is intended for a university or, at least, academic milieu. It is written in Latin and opens with a humanist preface. The second print — Ain schone kunstliche vnderweisung — is written in German and survives in two versions: one for the beginner who 'knows nothing at all' ('an dem anfang gar nichts' weiß) and 'cannot sing' ('nit singen kan'), sig. [a]v–[i iv]v; and the other ('das ander puechlein') for the more advanced student, sig. kr–[l iv]v). In his instructional book Judenkünig combined musica disciplina with instrumental practice, thereby contributing to the establishment of the pedagogical humanist tradition within the disciplinary discourse of music. The contemporary reception of these prints is evidenced by manuscripts: Lautentabulatur des Stephan Craus (A-Wn Mus.Hs. 18688), Tabulatur auf die Laute (PL-WRk 352), Lautenbüchlein des Jakob Thurner (A-Wn Cod. 9704), and Codex Istvanffy (H-Ba K 53/II); for more, see Schöning 2021; Schöning 2025a: 503–521. |
| Description: | Crown – Double-contoured arch – Unadorned, with distinguishing mark – Star (single-contoured) above the crown. In this example the two prints (Utilis et compendiaria introductio and Ain schone kunstliche vnderweisung) are bound together. The manual foliation (in ink), which is continued in the manuscript Lautentabulatur des Stephan Craus (A-Wn Mus.Hs. 18688), indicates that this manuscript likewise belonged to Judenkünig’s two prints. See the introductory texts by Adolf Koczirz in DTÖ, 18/2; 37: XLV–XLVI. On the consistent dating of both prints to the year 1523, see the introductory texts by Martin Kirnbauer in Kirnbauer 2003b: 271–272. |
| Comment: | Watermarks cited here are taken from the WZIS database. |
| Wien (Wien university) | |
| Description: | According to Judenkünig’s biography, it is documented that, owing to his confirmed membership in the Gottsleichnams (Corpus Christi) or Fronleichnams Brotherhood at St. Stephen’s, he resided in Vienna from 1518 to 1525 in the so-called Gundlachhaus (renamed the 'Köllner Hof' in 1548), one of the city’s commercial hubs, situated close to the university. It is also believed that he may have been present in Vienna or its environs prior to 1518, and he is thought to have died in 1526. Entries relating to Hans Judenkünig appear in the memorial book of the Gottsleichnams Brotherhood from the second quarter of 1518 until the second quarter of 1525 (not 1526!): Vienna, Diocesan Archive, Bruderschaftsbuch der Gottsleichnamsbruderschaft bei St. Stephan in Wien, 1504–1530; DAW/Manuscripts/Account Book of the Gottsleichnams Brotherhood at St. Stephen in Vienna, 1504–1513, without foliation. Almost concurrently, Hans Singriener was recorded there from the first quarter of 1518 to the third quarter of 1525, and again from the second to the fourth quarter of 1528, while Judenkünig’s name is marked with a death cross. |
| Comment: | The erroneous claim that Judenkünig was entered in the book up to the second quarter of 1526 can be traced from the writings of Koczirz through to Martin Just; see the bibliography. |
| Wien (Wien region) |
| Wien (Wien city) |
| Description: | Hans Judenkünig’s prints Utilis et compendiaria introductio and Ain schone kunstliche vnderweisung, both published by Johannes Singriener in Vienna in 1523, rank—alongside the publications of Sebastian Virdung (Musica getutscht, Basel 1511) and Arnolt Schlick (Tabulaturen etlicher Lobgesang, Mainz 1512)—among the earliest instructional books for instrumental music and constitute the first printed collections notated in German lute tablature for 'Lautten und Geygen'. |
| Description: | Judenkünig divided his two books into three parts, each of which could be used as an independent instructional manual ('büechlein') and each with its own methodological emphases and pedagogical priorities. The first print — Utilis et compendiaria introductio — is intended for a university or, at least, academic milieu. It is written in Latin and opens with a humanist preface. The second print — Ain schone kunstliche vnderweisung — is written in German and survives in two versions: one for the beginner who 'knows nothing at all' ('an dem anfang gar nichts' weiß) and 'cannot sing' ('nit singen kan'), sig. [a]v–[i iv]v; and the other ('das ander puechlein') for the more advanced student, sig. kr–[l iv]v). In his instructional book Judenkünig combined musica disciplina with instrumental practice, thereby contributing to the establishment of the pedagogical humanist tradition within the disciplinary discourse of music. The contemporary reception of these prints is evidenced by manuscripts: Lautentabulatur des Stephan Craus (A-Wn Mus.Hs. 18688), Tabulatur auf die Laute (PL-WRk 352), Lautenbüchlein des Jakob Thurner (A-Wn Cod. 9704), and Codex Istvanffy (H-Ba K 53/II); for more, see Schöning 2021; Schöning 2025a: 503–521. |
| Description: | [Proof in progress]: Crown – Double-contoured arch – Unadorned, with distinguishing mark – Star (single-contoured) above the crown. In this example the two prints (Utilis et compendiaria introductio and Ain schone kunstliche vnderweisung) are bound together. The manual foliation (in ink), which is continued in the manuscript Lautentabulatur des Stephan Craus (A-Wn Mus.Hs. 18688), indicates that this manuscript likewise belonged to Judenkünig’s two prints. See the introductory texts by Adolf Koczirz in DTÖ, 18/2; 37: XLV–XLVI. On the consistent dating of both prints to the year 1523, see the introductory texts by Martin Kirnbauer in Kirnbauer 2003b: 271–272. There is a gap in the original numbering of Introductio: fol.[6v] … fol.15r. The reason for this gap remains unknown. Since the printed gatherings run continuously, it may be assumed that another part (of a manuscript?) was inserted between the printed pages. |
| Vendabona (Wien city) |
| Vienna (Wien city) |
| [München] (München city) |
| Description: | grape with stalk |
| Comment: | fol. 42–43; fol. 67–68 |
| Text Incipits/Titles in the Source | ID | Cont. Type | Fols./P. new | Fols./P. orig. | Orig. N. | Section | Catalogues | Audio | Comment |
|---|---|---|---|---|---|---|---|
| Ach gott von hymel sich dar eyn (Ach Gott vom Himmel siehe darein) | Agr_1529-1_nxy | tab | |||||
| Alhie sind alle drey stymmen vbereinander (Hier sind alle drei Stimmen übereinander) | Agr_1529-1_nxy | tab | |||||
| Die art der Composition (Die Art der Komposition) | Agr_1529-1_nxy | tab | |||||
| Musica instrumentalis deudsch ynn welcher begriffen ist (Musica instrumentalis deutsch in welcher begriffen ist) | Agr_1529-1_n00 | text |
| Description: | tttttttttttttttttttttt |
| Description: | 55555555555555555555555 |
| Comment: | 7777777777777777 |
| Description: | 00000000000000000 |
| Nurenbergk (Nürnberg city) |
| [München] (München city) | |
| Description: | provenance |
| Comment: | Herwart Collection |
| Description: | trefoil |
| Comment: | fol. 17 |
| Description: | angel with outstretched arm |
| Comment: | fol. 12–13; 14 |
| Description: | cardinal's hat with cross |
| Comment: | fol. 18–19 |
| Description: | gothic letter with coat of arms with star and chevron |
| Comment: | fol. 11 |
| Description: | gothic letter with coat of arms |
| Comment: | fol. 2; 4 |
| [München] (München city) | |
| Description: | provenance |
| Comment: | Herwart Collection |
| Description: | crossbow in circle with lily |
| Comment: | fol. 4–5; fol. 17 |
| Description: | anchor in circle with star |
| Comment: | fol. 12–13 |
| Description: | two crossed arrows with star |
| Comment: | fol. 3 |
| Description: | trimount with cross |
| Comment: | fol. 20–21 |
| Description: | gothic letter with coat of arms |
| Comment: | fol. 9 |
| Text Incipits/Titles in the Source | ID | Cont. Type | Fols./P. new | Fols./P. orig. | Orig. N. | Section | Catalogues | Audio | Comment |
|---|---|---|---|---|---|---|---|
| Prima pars Bataglia de li Ucelli (La battaglia) | D-Mbs_Mus.ms._268_n1 | tab | 2v-3r | ||||
| Monpere in paro (Mon pere in paro*[?]) | D-Mbs_Mus.ms._268_n2 | tab | 6v | ||||
| O passi sparsi a doi leuti pari (O passi sparsi) | D-Mbs_Mus.ms._268_n3 | tab | 7v-8r | ||||
| Cosi mi guida Amore (Cosi mi guida amore) | D-Mbs_Mus.ms._268_n4 | tab | 8v-9r | ||||
| Bongior mamie (Bonjour ma mie) | D-Mbs_Mus.ms._268_n5 | tab | 9v-10r | ||||
| Prima p[ar]s o disleal Amore (O disleal' Amore) | D-Mbs_Mus.ms._268_n6 | tab | 16v | ||||
| [untitled] ([untitled]) | D-Mbs_Mus.ms._268_n7 | tab | 17r-18r |
| Text Incipits/Titles in the Source | ID | Cont. Type | Fols./P. new | Fols./P. orig. | Orig. N. | Section | Catalogues | Audio | Comment |
|---|---|---|---|---|---|---|---|
| prima parte Bataglia de ucelli (La battaglia) | D-Mbs_Mus.ms._269_n01 | tab | 2v | ||||
| Seconda pars [Bataglia de ucelli] (La battaglia) | D-Mbs_Mus.ms._269_n02 | tab | 3r | ||||
| Terzia pars [Bataglia de ucelli] (La battaglia) | D-Mbs_Mus.ms._269_n03 | tab | 3v | ||||
| Quarta pars [Bataglia de ucelli] (La battaglia) | D-Mbs_Mus.ms._269_n04 | tab | 4r | ||||
| Mon pere (Mon pere in paro*[?]) | D-Mbs_Mus.ms._269_n05 | tab | 6v | ||||
| [Cosi mi guid'amore] (Cosi mi guida amore) | D-Mbs_Mus.ms._269_n06 | tab | 7r | ||||
| Bon jor mamie in quarto (Bonjour ma mie) | D-Mbs_Mus.ms._269_n07 | tab | 12v-13r | ||||
| prima pars [Jo Mi sono Giovinella] (Io mi son giovinetta) | D-Mbs_Mus.ms._269_n08 | tab | 14v | ||||
| Jo Mi sono Giovinella (Io mi son giovinetta) | D-Mbs_Mus.ms._269_n09 | tab | 14v | ||||
| [O s'io potessi donna] (O s'io potessi donna) | D-Mbs_Mus.ms._269_n10 | tab | 18v-19r |
| Text Incipits/Titles in the Source | ID | Cont. Type | Fols./P. new | Fols./P. orig. | Orig. N. | Section | Catalogues | Audio | Comment |
|---|---|---|---|---|---|---|---|
| Der Bentzennawer jnn Tanntz Weiss (Benzenauer) | D-KA_DonMus.Autogr._1_n1 | tab | 1r–1v | ||||
| Der Bentzennawer gar gútt (Benzenauer) | D-KA_DonMus.Autogr._1_n2 | tab | 1v–2r | ||||
| Der schwartz Knab Dantz weiss gefloriert (Schwarzknabe) | D-KA_DonMus.Autogr._1_n3 | tab | 2r–3v | ||||
| Sannct Jacobs Danntz (Sant Jakob Tanz) | D-KA_DonMus.Autogr._1_n4 | tab | 3v–4r | ||||
| Der schwartz Knab (Schwarzknabe) | D-KA_DonMus.Autogr._1_n5 | tab | 4r–4v | ||||
| Volgt der Moristgers dantz (Moresca) | D-KA_DonMus.Autogr._1_n6 | tab | 4v–5r | ||||
| Der Schwarmz Knab dantz weiss (Schwarzknabe) | D-KA_DonMus.Autogr._1_n7 | tab | 5r–6r | ||||
| Der hoppen danntz darúff (Hüpftanz) | D-KA_DonMus.Autogr._1_n8 | tab | 6v |