Jan z Lublina [John of Lublin]
- Piotr Poźniak
[John of Lublin]
(flc1540). Polish organist. He may have been organist at the convent in Kraśnik, near Lublin. It is not known whether he was the Jan z Lublina who received the bachelor's degree from Kraków University. He was the owner and perhaps the main compiler of a manuscript organ tablature Tabulatura Ioannis de Lyublin canonic: regularium de Crasnyc 1540 (PL-Kp 1716; facs. in MMP, ser.B, i, 1964; ed. in CEKM, vi, 1964–7). The tablature contains 520 pages and is the largest extant 16th-century organ tablature in Europe. Various dates are found in it, ranging from 1537 to 1548, and although most of it is written in the same hand three other hands may be distinguished on a comparatively small number of leaves.
The manuscript begins with a Latin treatise on the art of composition which includes many music examples; later in the manuscript, among the various pieces, are supplements to the treatise under the following headings: ‘conclusiones finales super claves ad discantum’; ‘conclusiones super claves ad cantum transpositum’; ‘clausulae seu colores in cantum choralem interponendae’; and ‘concordantiae pro cantu chorali in tenore’ and ‘concordantiae ad bassam’ (i.e. examples of setting three parts to a cantus firmus in the tenor or bass). The manuscript ends with instructions on organ tuning. The treatise demonstrates a practical approach to the problem of writing music on a cantus firmus: its author did not enter deeply into the mathematical speculations customary in earlier and even contemporary treatises, but discussed methods, illustrating them with music examples. The manuscript's compiler was conscious of the changes – mainly in tonality – taking place at that time in the leading musical centres, and the contents of the tablature show that he was aware of the best work in Europe: they include works by Brack, Brumel, Girolamo Cavazzoni, Costanzo and Sebastiano Festa, Heinrich Finck, Lupus Hellinck, Jacotin, Janequin, Josquin, Rotta, Sandrin, Senfl, Sermisy, Stoltzer, Verdelot, Johann Walter (i), Martin Wolff and Wuest. Polish composers include Mikołaj z Krakowa, Mikołaj z Chrzanowa, Seweryn Koń and ‘N. Z’; there are also many anonymous compositions. The works were probably copied mainly from Kraków sources. The repertory is varied both in form and purpose: there are elaborations and simple intabulations of vocal works, both sacred and secular, and sacred organ works to be performed ...