Thiemo Wind e Jacob van Eyck en de anderen e Summary

SUMMARY

Jacob van Eyck (c1589/90-1657) was one of the most remarkable figures in Dutch
musical life during the Golden Age. The blind nobleman was city carillonneur of
Utrecht and gained international renown as the greatest bell expert of his time. In
addition he played the ‘handfluyt’(‘hand flute’), the instrument known today as the
soprano or descant recorder. About 150 solo pieces for this instrument have survived
in the two volumes of Der Fluyten Lust-hof, which were published during Van Eyck’s
lifetime by Paulus Matthijsz in Amsterdam. This repertoire forms the main subject of
this dissertation. In the 1990s, the author presented the first complete modern edition
of Der Fluyten Lust-hof, the so-called ‘New Vellekoop Edition’.
Several other musicians in the Dutch Republic composed solo works that can be
considered as recorder repertoire: Paulus Matthijsz, Jacob van Noordt, Johan Dicx,
Pieter de Vois, and anonymi. These composers, called ‘the others’ in this dissertation,
produced thirty solo pieces, which offer the opportunity to bring Van Eyck’s creative
output into perspective.
The dissertation consists of three main parts. An introductory chapter with a bird’s
eye view of the recorder in the Golden Age, precedes Chapters 2-8 focusing on the
life and works of Jacob van Eyck. The second part, Chapters 9 and 10, is devoted to
‘the others’ and is, in a way, a reflection of the first. Finally, Chapters 11-14 explore
several aspects of performance practice: the instrument, time (tempo and rhythm),
ornaments and delivery.

The flourishing economy of the Dutch Republic at the end of the sixteenth and the
first half of the seventeenth centuries had a positive influence on painting and
literature, but less so on musical composition. Music played a minor role in the
Stadholderly courts, whereas the Calvinist religion stood in the way of church music.
In its printed form, the music of Jacob van Eyck and ‘the others’ was aimed primarily
at amateurs. The repertoire must have found its way predominantly into the family
circles of a well-to-do class. The fact that Van Eyck’s music was reprinted once or
even two times, might easily lead to the assumption that the recorder was one of the
most played instruments. This, however, should be put into perspective: according to
the title pages, the music was found suitable for ‘allerley speel-tuygh’ (‘all kinds of
instruments’).
The recorder frequently shows up in Dutch paintings. Again, one should use caution
in drawing conclusions regarding the popularity of the instrument. In the pastoral art
of painting, recorders were a common attribute in the hands of shepherds and
shepherdesses. In many cases, the recorder served as a phallic symbol, whether to
express transience (vanitas) or not. The depicted hand flutes are usually of a smaller
type. In this, the Netherlands differed from other regions like France and Italy, where
the alto recorder with lowest note G' was the more common type. The small size of the
soprano recorder (with lowest note C'') made the instrument a good fit for children’s
hands, and it was therefore suitable for the young and the old. Moreover, the
instrument was played by both sexes, in all layers of society. The combination of
these factors makes a broad popularity plausible.

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 Thiemo Wind e Jacob van Eyck en de anderen e Summary

Jacob van Eyck asserts himself as an exponent of this recorder culture. Almost
immediately after the completion of Der Fluyten Lust-hof, the Chapter of Saint John’s
in Utrecht increased the salary of its carillonneur ‘on the condition that on occasion in
the evening he would entertain the people strolling in the churchyard with the sound
of his little flute.’

Van Eyck was not from Utrecht; he was probably born in Heusden, a small garrison
town near ‘s-Hertogenbosch. Both his father and his mother were of noble birth. In
Heusden, he became an expert in the area of bells and carillons, although the town had
only one small carillon in the tower of the town hall. The local organist performed the
carillonneur’s duties. Van Eyck was only responsible for the monthly changing the
pegs of the carillon’s automated drum.
Undoubtedly, the opportunities in Heusden were too limited for him to fully develop
his talents. After several visits to Utrecht, Van Eyck was appointed carillonneur at the
city’s Dom Church in 1625. He later held similar positions at the Janskerk (St. John’s
Church), the Jacobikerk (St. James’ Church), and the town hall. In 1628, he was
entrusted with the technical supervision of the bells of all Utrecht parish churches and
the town hall, thus acquiring the title of ‘Director of the Utrecht bell-works’. Several
Dutch cities – the Hague, Deventer, Nijmegen, Arnhem, and others – requested his
specialist’s skills. Van Eyck played an important role in the development of the
carillon. He discovered the (over-) tone structure of bells, and how they can be tuned
by changing their shape. Various intellectuals including Isaac Beeckman, René
Descartes and Constantijn Huygens reported his findings. This practical knowledge
found its pinnacle in Van Eyck’s collaboration with the bell-founders François and
Pieter Hemony. In Utrecht, they installed new carillons in the towers of the Jacobikerk
and Nicolaikerk (St. Nicholas’ Church). The Hemony carillon of the Dom dates from
1664, seven years after Van Eyck’s death.

Van Eyck was well into his fifties when his first compositions appeared in print. He
dedicated them to Constantijn Huygens, the influential secretary of the Dutch
Stadholder, who was a distant relative of the blind musician. The collection consists
of two volumes: the first, issued in 1644, was titled Euterpe oft Speel-goddinne
(‘Euterpe, or the Goddess of instrumental music’), the second appeared in 1646 as
Der Fluyten Lust-hof II (‘The Flute’s Garden of delight’, II). When a revised and
greatly extended reissue of Euterpe was published in 1649, it was called Der Fluyten
Lust-hof I. New printings appeared in 1654 (first volume) and c1656 (second volume).

Most of the works are sets of variations on the best-loved melodies of the time, such
as French airs de cour and international ‘tophits’ like Dowland’s ‘Lachrymae’,
‘Amarilli mia bella’ by Caccini, and ‘Questa dolce sirena’ by Gastoldi, as well as on
melodies from the Genevan Psalter. The themes reflect a Dutch song culture, most of
them can be traced to the many Dutch songbooks of that period.
The variation technique was called ‘breecken’ (breaking), and involved the gradual
division of notes from the theme into groups of smaller note values, i.e. diminution.
This process leads to increasing virtuosity: whole notes are divided into halves, then
quarter notes, eight notes, etc. In vocal music, the art of diminution was already
fading. In the purely instrumental practice of variation, it had a long future, extending
well into the nineteenth century. A variation was called ‘modo’ (the Italian for
‘manner’), modo 1 being the theme, modo 2 the first variation, etc.

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The instrumental art of variation can be considered a form principle. In Van Eyck’s
works, congruent and incongruent variations can be distinguished. In the first
category, a variation has the same form schedule as the theme. If the theme contains a
repeat sign, this sign turns up in the variation again. In incongruent variations, the
form scheme differs.
Within a set of variations, Van Eyck usually maintained one type, so the dichotomy
can also be applied to sets as a whole. Most pieces from Der Fluyten Lust-hof are of
the congruent type. The incongruent type is represented by themes with ornamented
reprises, themes with a through-composed modo 2 and sets of variations in which Van
Eyck applied a technique that we have called schakeling (‘linking’).
Little originality can be attributed to the ornamental patterns that Van Eyck and his
contemporaries applied; they formed a lingua franca. Van Eyck used various
techniques to create a gradual progression in the process of breaking. By exposing the
contrast between a jumpy and a more fluent style, one stage of breaking could
generate two variations. Also triplets or 32nd notes could serve for the expansion. Van
Eyck was particularly fond of octave echoes.

Van Eyck the carillonneur also played variations. This raises the question how both
aspects of his musicianship related. Since carillonneurs improvised, no carillon
repertoire of the time has survived. Yet the mystery can be unraveled. Stylistic
features give evidence that the variations on psalms and other liturgical songs did not
belong to Van Eyck’s regular recorder repertoire. He simply took his carillon practice
as the starting point.
In the psalm variations, Van Eyck has searched for a suitable ‘recorderistic’ variant.
The whole and half notes of the themes offered few possibilities and breaking them
could easily have a dry result. Van Eyck experienced special problems in creating
psalm variations dominated by 16th notes. Apparently, as a carillonneur he did not go
beyond eighths notes.
The observed developments lead to the assumption that the art of variation as
performed by the carillonneur Van Eyck was mainly monophonic, at least as far as
this concerns the psalms. The basis was formed by a ‘linear harmony’: the succession
of consonant intervals, often appearing in the form of broken triads. Reverberation of
the bells automatically resulted in a mild form of true harmony. Van Eyck made use
of quasi-polyphony as well. As a recorder composer, he searched for a more fluent
style and more diversity of note values. Many carillons in Van Eyck’s time had a
compass of two octaves, just like the recorder, making separate bass-lines practically
impossible.
The relationship raises the question where in Der Fluyten Lust-hof the influence of the
carillon ceases to exist and where ‘real’ carillon music begins. Labeling variations as
carillon compositions would be contradictory to the idea that bell players improvised.
It is the sum of the parts – the complete body of figurations – that makes a variation
point towards the carillon or not. The focus on harmony and dialogue is a decisive
factor. Only occasionally, this focus is so evident, that variations can safely be argued
to be veiled carillon works: modo 2 and modo 3 from ‘Psalm 140, ofte tien Geboden’
[NVE 6] and ‘Psalm 15’ [NVE 126]. Striking similarities between the two works show
that Van Eyck was guided by the force of habit. Especially ‘Psalm 140, ofte tien
Geboden’ must have played a prominent role in Van Eyck bell practice. The melody
was not just used for psalm 140, but also for the Ten Commandments, which
belonged to the ‘daily bread’. A frequent performance increases the chance that
improvisation solidifies into fixed patterns and habits.

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This insight invites us to look at Der Fluyten Lust-hof from a new perspective. Modo
2 from ‘Onan of Tanneken’ [NVE 18] appears to be a transcription of the two-part
model for violin and bass that is found in Nicolas Vallet’s Apollos soete Lier,
compressed to monophony. Also modo 3 of the ‘Eerste Carileen’ [NVE 63b] and the
second set of variations on ‘Wat zalmen op den Avond doen’ [NVE 52] seem to
originate in the carillon practice.

Chapter 6 examines Van Eyck’s art of variation for significance from different
perspectives. The dichotomy improvisation versus composition appears to be
problematic. The variations of the blind Van Eyck are often shown as examples of
improvisation, which is in contradiction with notational fixation. The assumption that
he was a skilled improviser, does not exclude composition. Van Eyck might have used
his memory to help him to attain real composition. Der Fluyten Lust-hof shows that
complete pieces were filed in his memory. Small deviations, on the other hand, reveal
that improvisation played a role. Based on the dichotomy improvisation versus
composition Der Fluyten Lust-hof cannot be interpreted in a unequivocal way. Many
levels will have existed. It seems safer to speak about composition rather than
improvisation, especially because Van Eyck made the effort to commit his inventions
to paper. Der Fluyten Lust-hof should be interpreted as a random indication of a work
that was always in progress, or better, in process.
More than once listeners can imagine themselves being the guest of an improvising
Van Eyck, who casually tosses his figurations off. In other works the process of
thinking seems to have outpaced the action. These variations attract the attention
because they are more whimsical, less predictable, or because they relate to the theme
in an unusual way: regular breaking gets additional interest. One could say that these
variations go beyond technique. This, for instance, applies to the four works that
consist of a theme with through-composed modo 2: ‘Doen Daphne’ [NVE 3, ‘modo
4’], ‘Sarabande’ [NVE 10], ‘l’Amie Cillæ’ [NVE 20] and ‘Lossy’ [NVE 107].
Der Fluyten Lust-hof contains two variations in which the composer seems to deny
the characteristic quality of the theme: modo 2 of ‘Lavolette’ [NVE 133] and modo 3
of ‘Waeckt op Israël’ [NVE 80]. The transmutation results in pieces that drift far away
from the theme. Both cases bear witness to a certain sense of humor. ‘1. Balet, of
Vluchste Nimphje van de Jaght’ [NVE 116] can be interpreted as true program music.
It is questionable if and how much Van Eyck’s creative output has undergone a
stylistic development. The ornamental patterns as such hardly show any individuality,
nor does the elementary process of breaking give space to fundamental changes of
course. On the other hand: whatever the genesis of a work may have been, it is certain
that at some time the seed was sown. This makes the question relevant.
The best insight is offered by the themes that Van Eyck took as a starting point more
than once. Only occasionally a development can be perceived, in the sense that a work
can be regarded as an improvement or refinement of an earlier piece. The most
interesting object is formed by the two sets of variations on the ‘Engels Nachtegaeltje’
[NVE 28 & 115] (the second set is called ‘Den Nachtegael’). ‘Den Nachtegael’ is
sharper, more theatrical, more exuberant, and can be considered a crystallized version
of the ‘Engels Nachtegaeltje’. This might be regarded as a rare example of stylistic
development.
The through-composed modo 2 of ‘Doen Daphne’ [NVE 3, ‘modo 4’] follows a
version of the theme that differs from the one on which the other variations are based.
The first version is the earliest one, originating from Jan Starter’s Friesche Lust-hof
(1621). This source introduced the melody in the Dutch Republic. This makes it likely

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that the through-composed modo 2 is Van Eyck’s earliest ‘Daphne’. Perhaps the three
other through-composed modos 2 are early works as well.
The ornamental art of variation was on bad terms with the ideals of the new Italian
music in which the expression of affects formed the highest ideal. Giulio Caccini
described the diminution practice as ‘tingling for the ears’. It is unlikely that Van
Eyck pretended to answer to the new ideals; his recorder playing in the churchyard
was a matter of carefree entertainment. In general, one could say that his music
focuses on untroubled cheerfulness, and not on moving the heart. There are
exceptions, however. He also composed variations on themes that because of their
moving character go far beyond everyday cheerfulness, such as ‘Lachrimae’ [8 & 59],
‘Amarilli mia bella’ [NVE 36 & 68] and ‘Blydschap van myn vliedt’ [NVE 114]. Van
Eyck shows a sensitive ear for the affective qualities of these melodies. In ‘Courant,
of Ach treurt myn bedroefde’ [NVE 12] and ‘Si vous me voules guerir’ [NVE 24], the
variations avoid normal procedures in such a way, that a special affective meaning
can be suspected. This can also be said for ‘Ballette Bronckhorst’ [NVE 50].
The ideas behind the new Italian music originated from the Classical art of rhetoric.
Like an orator, a composer or musician had to convince his audience. The affect was
an important tool, but the art of eloquence included more. Variation works do not
follow the several stages of a good oration. Repetition, an inextricable part of the
variation genre, even seems to be square with the basic principles of rhetoric.
However, rhetorical practices do play a role. Quintilian, for instance, pointed at the
effect of amplification through increasing force, comparison and accumulation.
Musical parallels can be found in Van Eyck’s variations: the increasing number of
notes, leading towards increasing tension; the comparison with the theme and former
variations; the accumulation of variations. A musical parallel of the gradual
accumulation (gradatio) can be found in the principle of linking.
Aside from rhetorical ideas, the art of variation can also be interpreted in a more basic
manner, from the joy of changing. Varying is not necessarily a form principle, it is a
value in itself. A suitable model is that of the homo ludens, the playing human, as
described by Johan Huizinga in his study of the same name (1938). That melodic
embellishment persisted for such a long time in the art of variation, proves how strong
the pleasure of varying has been felt through the ages. In the art of variation, the
element of play manifests itself in several ways.

In addition to the variation works, Der Fluyten Lust-hof also contains a few other
compositions, including two preludes, three fantasias, and a ‘Batali’. The preludes
mark the opening of both volumes, which indicates that their title should be
interpreted literally. They seem to be intended as a warm-up for the fingers, to control
the breath and to test the condition of the instrument.
The three solo fantasias differ vastly, suggesting that Van Eyck freely did whatever
occurred to his mind, which was a basic principle of the fantasia. The ‘Fantasia &
Echo’ [NVE 16] is a monophonic counterpart of the echo fantasias as they were
composed for keyboard by Sweelinck. Van Eyck proves himself a master of the ‘free’
form. He enthusiastically borrowed, associated and transformed, and made the most
of limited material. Within a tight structure, there is a balance between unity and
diversity. The ‘Phantasia’ [NVE 90] contains a string of mostly sequence-like, tonally
little uniform sections, for which the name prelude would be a better fit. The
‘Fantasia’ [NVE 145] can be placed in the tradition of the Italian solo ricercare. It is
one of Van Eyck’s most whimsical and original compositions, a fantasia in the true
sense of the word.

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The ‘Batali’ [NVE 47] is neither a variation work nor a ‘free’ composition. It gives a
musical description of a battle (‘bataille’), including the preparations. At the time,
such pieces were quite popular. They usually combine fixed formulas, characteristic
for battle music itself. Van Eyck’s ‘Batali’ remained in the repertoire until the
beginning of the eighteenth century.

Chapter 8 examines transmission and authenticity. The printed sources contain many
errors. Because of his blindness, Van Eyck had limited control of the process of
dictation, writing, typesetting, and printing. In 1644, he asked Constantijn Huygens to
check the printed notes, apparently with a second edition in mind. The letter makes
mention of several communicative stages between the composer and the performer
which can blur the intentions and actually have done so. Scrutinizing the processes
gives insight into the problem area of transmission.
The sources cannot always be trusted in the supply of accidentals, which is a more
general problem in printed music of the seventeenth century. Ambiguity is often
caused by the uncertainty with regard to leading notes. The variations on ‘Doen
Daphne’ are examined for the possibility of B and B-flat in measures 4 and 24. Van
Eyck seems to have been receptive to both possibilities. The application of accidentals
may have been of secondary importance in his practice. It is advisable to respect
discrepancies, as long as the sounding result is not strange to the ears.
In the final variation of a set, Van Eyck has often extended the final note by one or
more measures. In case of repeats, logic dictates that these small codas should be
saved for the seconda volta. Some examples hint at this indeed. In the application of
repeat signs, the manuscripts that were sent to Paulus Matthijsz must have been rather
untidy.
The printed sources of Der Fluyten Lust-hof are not always clear in which variations
go with each other and form a whole set. ‘Doen Daphne’, ‘Amarilli mia bella’, and
‘De eerste licke-pot’ each pose their own problems. The transmission of ‘Stil, stil a
reys’ [NVE 15] is completely chaotic. The reconstruction presented here differs from
the one that the author gave in the New Vellekoop Edition.
In 1649, the first volume of Der Fluyten Lust-hof contained five duets, all linked to
monophonic sets of variations. So much is wrong with these, that Van Eyck’s
authorship can be excluded. Paulus Matthijsz, especially interested in turning
monophonic compositions into multi-part music, could be unmasked as a ‘duet smith’.

The works of ‘the others’ appeared in the collections Der Goden Fluit-hemel (1644)
and in the two volumes of ’t Uitnemend Kabinet (1646, 1649). Each time when music
of Jacob van Eyck was printed, Paulus Matthijsz published an anthology as well, in
the same sexto-oblong format. One could speak of ‘twin editions’. Der Goden Fluit-
hemel (‘The Gods’ Flute-Heaven’) contains pieces for one, two and three melody
instruments. The title pages mention the recorder and the violin. ’t Uitnemend Kabinet
(‘The Excellent Cabinet’) was primarily presented for string instruments. The second
volume, however, was accompanied by a Vertoninge en onderwyzinge op de hand-
fluit, a recorder instruction written by Paulus Matthijsz. Nowadays this instruction is
erroneously associated with Der Fluyten Lust-hof. In a part of his 1649 print run, the
titles of the monophonic pieces from the Kabinet were transferred to the table of
contents of Der Fluyten Lust-hof I, printed at the same time.

Of the others, Paulus Matthijsz (1613/14-1684) was the only non-professional

musician. Matthijsz, the eldest son of a Danish schoolmaster who had settled in

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Harderwijk, had his shop and printing office in the Stoofsteeg of Amsterdam. He was
the first important music printer in the northern Netherlands. Three monophonic
pieces from Der Goden Fluit-hemel bear his initials. They are the work of an
independent mind, who dealt with the themes in a free manner and had other habits in
breaking than Van Eyck.

The organist and carillonneur Jacob van Noordt (c1616-1680) played an ivory
recorder, as a contemporary poem stated. Eighteen recorders were found in his study
when Van Noordt was declared bankrupt in 1671. The greater part of his career Van
Noordt was organist of the Oude Kerk (Old Church) in Amsterdam. The solo
compositions by his hand include eight variation works and a prelude. The melodies
of five ‘Petits branles’ were complemented with ornamented reprises, which –
through the diversity of note values – represent a mixed style. The figurations are not
particularly lively, the result is rather restless, stiff and heavy. A stylistic feature that
can be regarded as a personal ‘finger print’, is a fondness of octave breaking. ‘Frere
Frapar’ reminds of Van Eyck in its form and content. ‘Malle Symes’ and ‘Repicavan’
are themes that were also varied by Van Eyck, which invites a comparison of the
works of both Jacobs. An octave shift in ‘Malle Symes’ gives full evidence that the
piece was created with the recorder in mind. Van Noordt’s prelude is typically a
warm-up piece. Within the key of C major all regions of the hand flute are exhausted
through sequences.

Johan Dicx (? – 1666) was a confidant of Van Eyck, as well as his successor and the
first heir of the blind musician, who had remained unmarried and childless. Little is
known about his person; the three variation works even form the earliest sign of life.
Dicx may have been the assistant to whom Van Eyck dictated his music, which would
explain how Dicx was able to publish music by his own hand. Examining Dicx’
bookish art of variation is a sobering experience. The figurations are predictable; they
keep safely near the thematic notes.

Pieter (Alewijnsz) de Vois (c1580/81-1654), the blind organist of the Sint-Jacobskerk

(St. James’s Church) in the Hague, was one of the most gifted pupils of Jan
Pieterszoon Sweelinck. When Sweelinck died in 1621, De Vois was the first asked to
succeed his master as organist of the Oude Kerk in Amsterdam. De Vois already
enjoyed a privileged position when he was still studying with Sweelinck: as a
violinist, he performed the table music in the Amsterdam town hall, while Sweelinck
accompanied him on the harpsichord. The fact that ’t Uitnemend Kabinet primarily
was aimed at string players, is a reason to consider De Vois’ works from this
collection as violin music. That does not change the fact that they are playable on
recorder as well.
The ‘Pavane de Spanje’ can be tied to the recorder because of its appearance in Der
Goden Fluit-hemel. With this work, Pieter de Vois followed in the footsteps of
Sweelinck, who composed keyboard variations on the same tune. Although this
happened decades earlier, Sweelinck’s influence can still be felt. Both other solo
pieces by De Vois are fantasias, one in F major, the other in g minor. Fifth and fourth
relationships in the treatment of the material seem to echo a polyphonic keyboard
practice. De Vois took the opening soggetto of his F major fantasia from a violin
sonata by Marco Uccellini.
A remarkable piece by De Vois is ‘Je ne puis eviter’, which in the course of the
composition also bears the names of Steven van Eyck and ‘J.’[Jacob] van Eyck. The

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composition looks like a pasticcio. Steven van Eyck, a son-in-law of De Vois, was not
related to Jacob van Eyck. The incomplete piece is a result of pottering. De Vois and
Steven van Eyck probably provided the unembellished theme with one through-
composed modo 2. Consequently, Matthijsz rearranged the form and asked Jacob van
Eyck to compose the last ten measures.

Der Goden Fluit-hemel contains eleven anonymous solo pieces. On stylistic grounds,
three of them can be attributed to Paulus Matthijsz . Three ‘Petits Brandes’ are
probably by Jacob van Noordt. A ‘Stemme Nova’ can be identified as a composition
by Jacob van Eyck.
The works of the others show that Van Eyck was no isolated figure with his solo
works for recorder. He should be seen as a protagonist of a recorder and a variation
culture. Van Eyck surpasses the others in the number of works, sometimes also in his
power of expression or inventiveness. In general, however, it should be said that the
works of the others measure up with his works. It makes sense to put Van Eyck’s
significance as a composer in the right perspective. We do him and his colleagues
justice by considering Van Eyck as a primus inter pares.

The instrument, time (tempo and rhythm), ornaments and delivery are the aspects of
performance practice that are discussed in the chapters 11-14. This is the third and last
part of the dissertation. Jacob van Eyck played the hand flute, a soprano recorder with
c'' (sounding: notation: c') as lowest note. Surviving instruments and fingering charts
demonstrate that standardization was still part of a distant future in recorder making.
For many decades, twentieth-century recorder players tended to perform Van Eyck’s
music on an instrument with a cylindrical bore that became known as ‘Ganassi
recorder’. Gradually the insight grew that this is not a suitable instrument for the
repertoire. The new, three-jointed baroque recorder cannot be considered a
historically proper candidate either, since this distinguished instrument came into
existence after Van Eyck’s death. The idea grew that there must have been a
transitional type, for which the term ‘early Baroque’ was coined. The discovery of
two ivory recorders in the Rosenborg Castle (Copenhagen) has created new myths.
In the discussions about the instrument, little attention has been paid to the specific
features of Van Eyck’s music. In the absence of external evidence, this question from
the inside is crucial. The notes demand a steady sound spectrum. The low register can
possibly be more modest (softer, less rich of overtones), but the difference may at
most be marginal. For the virtuosic repertoire of Van Eyck, the instrument should
respond easily and be flexible.
Der Goden Fluit-hemel contains pieces for three soprano recorders, suggesting that
standardized pitches did exist in the Dutch Republic of the seventeenth century. A
pitch of approximately A415 was most common; some surviving wind instruments are
a half step higher. In the 1670s, the Baroque recorder came into fashion. It is likely
that the music of Van Eyck and the others has been played on this new instrument. As
the ‘Van Eyck recorder’ is doomed to remain a myth, the issue of the instrument asks
for pragmatics solutions. ‘If it sounds good, it is good’, one could quote Duke
Ellington.

Also regarding to the tempo, questions are abundant. What should be the tempo
relationship between the theme and the variations? Should one tempo be maintained?
How can the ‘right’ tempo be established? An argument that one tempo should reign a
whole variation sequence, is offered by the process of schakeling (linking). Any

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concession towards speed could be explained as a loss of tension and a loss of face.
No tempo indications appear in the sources. It is not necessary to strive at all costs for
the limits of what is technically feasible.
Many of the themes were dance melodies. Dance types have their own characteristics,
one of which is the tempo. For psalm melodies a tempo of 67 half notes per minute
was found suitable in the early eighteenth century. Establishing the right tempo can be
a complicated issue. Natural tension, technical limitations, affects, rules – in many
cases the performer has to weigh the pros and cons. One relief: the right tempo is an
elastic concept.
Van Eyck was not insensitive to the power of rhythm, he dealt flexibly with it. Small
rhythmical deviations between works that are virtually identical, bear witness to a
lively, improvisatory practice. Inequality as a means of expression is chiefly
associated with French music (notes inégales) of the late seventeenth and early
eighteenth centuries nowadays. However, it existed already in Van Eyck’s time. The
variation work ‘Wel Jan &c.’ [NVE 87] could, with some caution, suggest a familiarity
with inequality. ‘l’Amie Cillæ’ [NVE 20] seems to beg for it.

Seventeenth-century musicians were expected to be skillful in supplying notated

music with their own improvised ornaments. It gave them a creative role next to the
composer. The Dutch art of variation for the recorder, however, leaned on the same
ornamental patterns that were common in the improvised art of diminution. This
raises the question: are performers expected to show initiative in this direction?
Paulus Matthijsz and Jacob van Noordt were not afraid of applying embellishments in
their reproduction of the themes. Although Van Eyck exercised more restraint, also in
his works incidental ornaments appear in the theme. Performers could take the
examples as a guide.
In the area of trills, the groppo (cadential trill) and tremolo (‘free’ trill) can be
distinguished. Of the groppo, the Lust-hof gives some written-out examples. Trills
were usually not incorporated in printed music, which does not mean that they should
be left out. Gerbrandt van Blanckenburgh, in his Onderwyzinge for the hand flute
from c1656, gave instructions for ‘trammelanten’ (‘tremblants’), referring to both
trills and finger vibrato. Recorder players can consult Dutch and foreign keyboard
manuscripts, which are quite informative about the use of tremoli and tremoletti.

The final chapter of the dissertation is devoted to delivery. In music that is primarily
intended as a form of light entertainment, the role of the performer seems extra
important. There is little to enjoy when music by Van Eyck or ‘the others’ is
performed in a mechanical manner. Performers have to play with the notes in their
delivery. The fundamentals of musical delivery are based on the principles of
Classical rhetoric. The pronuntiatio should be pleasant, persuasive, and moving,
Quintilian wrote. Cicero distinguished accuracy, brightness, elegance, and an apt
expression. One should discover means of delivery that suit one’s own constitution
best. It is of critical importance that an orator (musician) remains true to himself,
without seeking refuge in an unnatural, mannered delivery.
Van Eyck’s virtuosic recorder music requires good technical control, a Lust-hof is no
battle-field. Van Eyck was capable of more than he usually showed. There was a term
for this, sprezzatura, coined by Baldassare Castiglione in 1528. This neologism more
or less meant carelessness, negligence, an easy, almost casual way of behaving. Van
Eyck’s sprezzatura is suggested by a contemporary poem, stating that he ‘scattered
around’ his ‘superhuman measures’ from an ‘agile mouth’s breath’.

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 Thiemo Wind e Jacob van Eyck en de anderen e Summary

Bright, charming, natural, free, easy, unaffected, without dryness – those are qualities
that should be looked for. Respect for the notes and expression are not mutually
exclusive. It is up to the musician to recognize the expressive possibilities behind the
notes and to translate them into a lively performance. Der Fluyten Lust-hof was not
only written by but also for a homo ludens, a playing human.

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