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Description:
| The Craus Tablature is an example of the contemporary reception of Judenkünig’s teaching in the Vienna region; see Judenkünig’s prints Utilis et compendiaria introductio, Vienna [1523] and Ain schone kunstliche vnderweisung, Vienna 1523. Other manuscripts demonstrating the reception of Judenkünig include 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.
In the Craus Tablature, the connection to Judenkünig’s two volumes is evidenced by the contemporary, continuous foliation of the two prints and the Craus Tablature itself – see the original foliation in ink in this manuscript and in the Vienna copy of Judenkünig’s volumes (bound together under the shelfmark A-Wn MS47356-8°): the original foliation in Judenkünig’s volumes begins with fol. 1r and ends with fol. 56r, and in the Craus Tablature, the same hand and same ink begins with fol. 57r and ends with fol. 90r, DTÖ 18/2, 37: XLVI; RISM, BVII: 352.
There are several concordances with the Tabulatur auf die Laute (PL-WRk 352). The main scribe (Scribe B) from the second part of this tablature bears a very strong resemblance to the first hand (Scribe A) from the Craus tablature (if they are not indeed identical). Several pieces in the two manuscripts are identical or nearly identical, as are the symbols of the German lute tablature: 'Madona Katharina', fol. 39r, 'Preambulum', fol. 39v, 'Ein niderlendisch Triúm, poúr aúoir', fol. 42v–43r, 'Cara Cassa', fol. 43r, 'Recercare', fol. 47v–48r, and their counterparts in the Craus tablature: 'Matunna Katarina', fol. 23r–23v, 'priambúlúm', fol. 25r, 'Preambúlúm. Preambúlúm', fol. 25v, 'Cara Cossa', fol. 25r, 'Recerkare', fol. 23v–24r.
The scribes chose the same signs for the lowest course in the German lute tablature. Strikingly, the shapes of these symbols are almost identical – much like the letters and numbers, particularly those that frequently vary in other manuscripts, such as 'k', '2', 'b', '5', and 'f'. Since the Tabulatur auf die Laute is securely dated to the 1530s–1540s by internal evidence, it is reasonable to assume that the Craus tablature can likewise be placed in this period. |
