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Military Music of the Infantry of the

Dutch Republic during the Dutch Revolt

M.E. Geerdink--Schaftenaar me fecit AO. MMXV

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© “Wassenbergh” society for Re-enactment and Living History / Marc Geerdink-Schaftenaar, 2015 – 2016. The distribution of this document is wholeheartedly encouraged. If you would like to publish (parts of) the content of this document, please do so with a reference of your source.

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Military Music

of the Infantry of the

Dutch Republic

during the Dutch revolt

3rd

expanded and revised edition

Marc Geerdink-Schaftenaar

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DISCLAIMER All marches and signals for the army of the Dutch Republic are reconstruction, based on the very little information that is available. This document and the musical pieces in it are therefore NOT a historical source, unless specified. I urge everyone not to mention these pieces as authentic and/or historical. To be honest: it’s all just guesswork. I am, despite my vast historical knowledge, no expert in the field of military music, nor claim to be one. I just hope that one day, somewhere, someone finds a contemporary source with a good description of the marches and signals used by the army of the Dutch Republic during the Dutch Revolt, which would make this book totally obsolete. Until then, this is probably the closest that you’ll find about military music of that time. The author. Front: German picture of a drummer, 2

nd quarter of the 17

th century.

Page. 3, above: decorative print with musicians, from “Deuteromelia” by Thomas Ravenscroft, 1609; below: decoration from the second book of the “Syntagma Musicum” by Michael Praetorius, 1619. Page. 5: etching of a drummer by Hendrick Goltzius and Jacob de Gheyn, 1587. Page 8: decoration from the second book of the “Syntagma Musicum”. Page 9: Several drums and kettledrums (“herpauk”, from: ‘heer’, army), as used by the armies of the 16

th and 17

th

centuries. German print, second half of the 16th

century.

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Introduction

One thing we do know about the military music of the time of the Dutch Revolt, - in the Netherlands better known as the Eighty-Years War (1568 - 1648), is that about every regiment had their own signals and marches. Remarkably enough, almost nothing of that has been preserved. For decades now, British re-enactment groups play marches and signals from the English Civil Wars (1642 – 1651) at events. They have found these and reconstructed them, based on the few resources they have. But they also have written some marches and signals as well, in lieu of original material. The only piece that has been extensively described is the “Wilhelmus”, which became known throughout Europe – and beyond,- as the march of the new Republic of the United Netherlands. This march is a quicker, livelier version of the current national anthem of the Kingdom of the Netherlands. Other marches and signals are virtually unknown. No clear descriptions or sheet music have been preserved. I have not found much more, other than the remark that mostly well-known melodies were played. Due to lack of any contemporary Dutch music, most Dutch re-enactors play the English music, or beat generic marching cadences. The Company of Foot of the Dutch Republic of the re-enactment society MARS was looking for military music for their portrayal. They did not want to use English signals. Miraculously, I stumbled upon a music piece of the composer Jacob van Eyck: the Batali, published in his book “Der Fluyten Lust-Hof” from 1654. A Batali is a music piece that is based on military music. The performers of the group Camerata Trajectina wrote in a comment regarding their performance of the piece that some signals had been identified such as “La Charge” and “Boute-selle” (“mount up”). Specifically mentioned in the pieces by Van Eyck are the “Alarm” (though described as being a piece used in plays), a soldiers’ song called “Ick wou wel dat den Krygh an ginck” ( “I wish the war would begin”) and of course the “Wilhelmus”. With this, and other contemporary music, I have made reconstructions, hoping to create a series of marches and signals that could be used by the Company of MARS and other re-enactment groups. This resulted into a first version of this document with military music. In due time, I have found more music and sources, from which I could work further, and thus expanded this document. Finally, I want to mention that I wrote the music using the programme MuseScore. Marc Geerdink-Schaftenaar Julianadorp, January – November 2015.

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Warumb Spielleuth geht vorn an,

Wann Fechter wöllen Schulen han,

Drum, das sie ihn machen ein Muth,

So einer mit andern fechten thut,

Um Gelt, oder ein schönes Kränsslein,

Wie der Knab tregt am Schwerdte feyn.

In dem Fechter Gelt nemmen ein,

Under dens trincken wir gern Wein,

Fordern dazu auch unzern Lohn,

Lahn sorgen, wo sie er her an,

Derowegen ohn Lohn und Trunck,

Wir ihn spielen selten genung.

A musician – probably a drum major? – holding an early version of a ‘Jingling Johnny’, with a fifer and a drummer by his side. Illustration and poem from the “Neu Künstliches Fechtbuch” by Jacob Sutor von Baden, published by Johann Bringern, Frankfürt am Main, 1612.

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Content

PART 1. I. A short history of military music Page. 10

II. The six signals “ 14

III. Some marches “ 22

IV. Marches and music from other countries “ 28

PART 2.

V. Popular melodies “ 42

Closing remarks “ 84

Sources “ 85

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PART 1.

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I. A short history of military music Music has been used practically everywhere to accompany soldiers. Many different types of wind instruments were used, like the carnyx1 of the Celts, or the flutes of the Greeks. The Romans introduced the bagpipes in Europe. The Chinese were the first to use drummers in their armies. Through the Middle East, this custom also reached Europe, where percussion was known as ‘Turkish music”, after the music of the Ottoman Mehterhane. From them the Europeans later also adopted other ‘exotic’ instruments like cymbals and “Jingling Johnnies”.

Drummer and fifer of the Landsknechte, around 1500-1530.

The drums that were carried grew in size over time; different ways of carrying these were possible, but many prints show that the large drum was carried and played under the left arm. In the army of the Dutch Republic, every company had two drummers. All drummers of the companies were lead by a “tamboerijn-majoor” (drum-major), who was part of the staff of the regiment. The Swiss and German mercenary armies of the 15th and 16th centuries had drummers and fifers. The short fife, then known as the “Schweitzerpfeiff or “Feldpfeiff”2, became well known

1 A long horn, of which the beaker is shaped like the head of an animal.

2 Michael Praetorius, “Syntagmatis Musici”, 2

nd part “De Organographia”. 1619.

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throughout Europe; the fifer and drummer together formed “das Spiel” which was placed near the colours. Different prints show flutes of different lengths. The flutes were carried in a tube of wood or leather. Many prints show fifers carrying multiple flutes, also of different lengths. The English and Dutch armies officially had no fifers. It is however very plausible that they were present, albeit that they were hired personally by the regimental commanders, and therefore not officially enlisted in the payment rolls. Later in the 17th century, the popularity of the fife declined. In the 18th century however, it made a glorious return, especially in Great Britain and the United States. The latter only abolished the fife and drums for the infantry in 1917. Today, it is mostly an instrument for the Navy; in the Netherlands, we have the fifers and drummers of the Royal Marine Corps. Drummers had an important function in the armies of the 16th and 17th centuries: besides their task as a musician to beat the marching cadences and orders, they had a diplomatic function. In rank and payment they were equal to a non-commissioned officer, which was expressed by their clothing, often decorated with gold or silver lace. As a diplomat, they had to be able to speak several different languages, as well as know the music of other armies. Bonaventura Pistofilo describes in his book “Il Torneo”3 what a drummer should be able to do:

“In general, the drummer has to be witty, lively, practical and experienced. He must be able to play in the style of all nations, and must be acquaint with all different signals [sonate] which are used in war, such as the Reveille, Gathering, The “Uplifting” [here it means the drawing of the sword, red.], Halt, March, Changing [of formation?], Dismissal, Ordinance[?], To Arms, Skirmish [fight in open order, red.], Opening of the Ranks, Closing the Ranks, Engaging the Enemy, Inviting the Enemy to Battle, Answering of Calls, Right About Turn[?], Trot, Gallop, Walk [Step?], Charge, Retreat, [?], “Till Death”, Salute, To Work, Burying the Dead, 4 […]“ “Because the knights can originate from different countries, and the mercenaries usually follow different exercises, it happens that they enter the field in a great variation of formations, each in their own manner, which they use in war, like […], crosses, triangles, […], half moons, […], squadrons in different formations, and others, so the Drummer must be adequate in all signals […], and second, with the [musical] styles of all prominent Nations, like the Italian, the Spanish, French, from Wallonia, Germany, Poland, and the Turkish […].”

The image we have now of the “little drummer boy”, which sadly also is popular at re-enactments, is certainly incorrect. The drum was of such a size that a drummer had to be physically strong, and his diplomatic function demanded a certain level of intelligence and education. Although there was a chance that he could be wounded in battle by a bullet, it was considered unfair to deliberately kill a drummer, -even though his role as a diplomat would also be not without risk: one case is known of a drummer who did not survive his mission; his body was returned to his own lines, neatly stuffed inside his drum.

3 The chapter “De’ Tamburi e di simili voci di Strumenti da Guerra” from: ”Il Torneo di Bonaventura Pistofilo Nobile

Ferrarese dottor di legge e cavaliere. Nel Teatro di Pallade dell ‘ordine Militare, et Accademico...”, Bologna, 1627, Presso Clemente Ferrone. 4 “[…] La Diana, la Raccolta, Il far alto, il Fermarsi, Marciare, Cambiare, Bandire, l’Ordinanza, fora fora Capitano,

Dar all’ armi, Scaramucciare, Serra battaglia, Allarga battaglia, Star in battaglia, Invitar il nemico a battaglia, Rispondere alle chiamate, Volta faccia, Trottare, Galoppare, Correre, Chiamare, la Battaglia, la Ritirata, a Vituperio, a Morte, l’Allegrezza, Far fassine, e Sepelire i Morti, percio che la maggior parte delle dette sonate, converrà ancora toccare in questa occasione della Barriera, come si dirà, e molte si practicher’anno in riguardo delle Inventioni”. “Il Torneo…”, page 111. The number of different signals mentioned here by Pistofilo is interesting, especially in comparison with what is later described by Henri Hexham, or the six “Calls of War” by Charles I.

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Most likely, the melodies on the flute existed before the drum parts: someone plays a popular tune on the fife, and the drummer plays along. This is how military music, with marches and signals to communicate orders, must have developed in time. The work of Thoinot Arbeau, which will be discussed later in detail, gives a first description of military music and its function. Playing from sheet music was usually not done; they played from hearing, and thus passed on the melodies. The quote that “not one in ten thousand drummers can read music” was perhaps a bit exaggerated, but there was some truth in it5. It explains how there can be many variations to some melodies. I can imagine that in the 16th and 17th centuries, popular tunes were chosen to write the signals, on one hand to make it easier to recognize for the soldiers, and on the other, to make it easier for the musicians to play. Based on this theory, I have reconstructed the signals in this document.

5 William Tans’ur, “The Elements of Musick Display’d”. Londen, 1772, printed for Stanley Crowder, sold by the

author and his son.

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Woodcut of military instruments: kettle drums, drums and fifes. The drums have tension ropes underneath. Illustration from: Michael Praetorius, “Syntagmatis Musici”, 2

nd part “De Organographia”. 1619.

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II. The six signals In 1632, Charles I of England had six signals written down for his armies, the “Calls of War” or “Points of War”:

Call : all troops assemble and take up positions;

Preparative : the troops close the files and await their first orders;

Troop’ : the troops line up for battle;

March : (the English March;) is played to make the soldiers march in time;

Battallia : the troops engage the enemy: the pikemen level their pikes, the musketeers load and fire their muskets;

Retreat : the troops make an orderly retreat. Before these commands, a warning signal was given, i.e. the ‘Voluntary’. Different writers of the time described several other signals; Thomas Fisher, a veteran who had fought in the Low Countries for 26 years, mentions in his book “Warlike directions”6 also A gathering, A Charge, A Reliefe, A Battery and A Call for proclamation, alas without music notations. Pistofilo describes no less than 18 different signals – again, without music notations. Several British re-enactmentgroups portraying a regiment from the English Civil War, use also other signals like Reveille, Tattoo and Make Ready, a signal for loading. They also wrote their own pieces in lieu of original signals. Henri Hexham describes in his book regarding the exercise of the Army of the States General7 that the drummers must know how to play the following:

Reveille : the signal for the soldiers to wake up;

Vergadering : the Call;

Charge : the Battallia;

Retraite : the Retreat;

Een Langzame mars [a slow march]

Een Haestige mars [a quick march] Following the wishes of the group, I have composed six signals, based on contemporary music, mostly using the ‘Batali’ by Jacob van Eyck. These signals are:

1. Reveille 2. Assembly 3. Preparative 4. Charge 5. Retreat 6. Tattoo

These signals can be used for several different occasions, as I will discuss further in the accompanying descriptions. There is no warning signal. Some signals are based on contemporary melodies. This will be described with every signal.

6 “Warlike Directions: OR THE SOVLDIERS PRACTICE. Set forth for the benefit of all such as are, or will be

Scholars of Martiall DISCIPLINE. But especially for all such Officers as are not yet setled, or rightly grounded in the Arte of WARRE. By a Practitioner in the same Art, T. F. The second EDITION, corrected and amended”, 1643. 7 “Principij ofte De Eerste Gronden van de Oorloghs-Konste Ghelijckse in dese vereenichde Nederlanden

gepractiseert wort, onder het Gouvernement van sijne Hoogheyt, mijn heer den Prince van Orangien”, 1642.

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The description of the duties of a drummer [Dutch: ‘Tamborijn’ or Tromslager], and of the drum-major [‘Tambourijn Major’], from: Henri Hexham, “Principij ofte De Eerste Gronden van de Oorloghs-Konste Ghelijckse in dese vereenichde Nederlanden gepractiseert wort, onder het Gouvernement van sijne Hoogheyt, mijn heer den Prince van Orangien”, 1642, page 2.

Soldiers of the Württemberg militia at the Siege of Vilingen, 1633

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1. Reveille The Reveille is a signal to wake up the soldiers. It is played in the morning at a time given by the commander. After the signal, the men make themselves ready. The composition for the Reveille is based on a very old and well known song “Nu Daghet in den Oosten” [“Now morning breaks”]. The melody itself is quite tricky, but when simplified, it is easily converted to a military signal. A song about dawn seemed fitting for this reconstruction.

2. Assembly The Assembly is played to gather the soldiers when there were messages to be read to them. It was also played when a drummer was sent to the enemy for negotiations. The Assembly is based on the first lines of a well known song: “De Zingende Schaare-Slyper”, better known as “Komt Vrienden in den Ronde” [“The singing knife grinder” or “Come friends and gather round”]. Here I also chose a song that fitted the signal, that could be simplified to a signal. Although someone once told me it was played during marches, I have not found any reference of it earlier than the late 18th century; however, there are many other songs that have the same first line, and know the same cadence and rhythm.

Assembly

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3. Preparative With this signal, the soldiers are ordered to break up camp, and/or prepare to march. Also, it can be used to prepare the soldiers for receiving orders. The signal is based on the first lines of the “Batali” by Jacob van Eyck. It seemed fitting that Van Eyck used this as the beginning of his piece. Also its simplicity makes it very useful.

Preparative

4. Charge The Charge is a signal used in battle, that warns the soldiers that they will soon engage the enemy. The files close, the muskets are loaded, and the pikes are levelled. It can also be played to have the men regroup after an engagement. This signal is based on further lines from the “Batali” by Van Eyck; the beginning is somewhat the same (three short notes, one long, but now only played twice), but then followed by a series of quick beatings. It is played to encourage the soldiers.

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5. Retreat This is played when the unit disengages from the fight, and needs to retreat in an orderly fashion, i.e. to regroup. The English retreats I have found are played slowly. This piece is based on a slow piece for flute by Van Eyck, the “Courante Mars”, this is also reduced to a simple form.

Retreat

6. Tattoo The most well known signal is the Tattoo. It is derived from the order to the innkeepers and owners of drinking houses “Doe den tap toe” [“Turn off the tap”, “Stop serving drinks”]. The watch went around the town or the village to gather the soldiers, who had to return to their quarters after this signal was given, and were not longer allowed to walk the streets. The term “Taptoe” was taken to England by the English troops in Dutch service, from which the word “Tattoo” is derived. Later, the tattoo became the signal for ceasing all activities and the end of the working day8. Because the working day ends with this signal, I have used a dance tune, an allemande9 named “Wat sal men in den avond doen” [“What shall one do in the evening”], also known as the allemande “Slapen gaan” [“Going to sleep”] (see also page 71). This allemande is the first part of the signal, and can be played by a fifer and a drummer. The second part is a drum signal, based on the last lines of the “Batali” by Van Eyck, the slow finale with which the piece and the day in the life of the soldier are brought to an end.

8 The German word for Tattooe, “Zapfenstreich”, has the same origin: when the inn keeperhad to close the cask

with a bung (“der Zapfen”), the officier would draw a line in chalk (“der Streich”) over it, in order to check if the cask had not been opened after closing time. Another explanation would be that a stroke (“Streich”) with the sword would be given on the bung, signalling that the distribution of drinks should cease. 9 An allemande (from: allemagne [Germany],also: almand, almaine, almand; several ways of spelling in different

languages are possible) is a form of dance that originated in Germany. It went into decline there after 1600, but gained popularity in France and England, and via these countries, it was again introduced back in Germany. It is a slow step in quadruple time.

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Tattoo

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7. Signals of the Sealed Knot The Royalist Regiments that are part of the Sealed Knot10 have developed signals during the years, in order to use military music to communicate orders. A number of these signals are written down here, that is the “Preparative” (make ready to receive orders), “Make ready” (loading of the muskets) and the “March”11. These are also not original signals, but modern interpretations, just like the aforementioned signals.

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“The Sealed Knot” was founded in 1968 and is thus the oldest re-enactment society in Great Britain portraying the English Civil War. With thousands of members, it is now also the largest re-enactment society in Europe. Besides battle re-enactments and historical displays, they also do historical research of the period, and develope educational material. The Sealed Knot is a registered charity. Official website: http://www.thesealedknot.org.uk/. 11

“SK Royalist Drum Calls”, https://www.youtube.com/watch?v=njMKkbtfn1k. Thanks to Rachel Perkins.

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Frontispiece of the book “Orchesogaphie” by Thoinot Arbeau, published in France in 1589, privileged by King Henry IV. The book was reprinted many times and is one of the most famous books on dance and music from the 16th and 17th centuries. Besides discourses about dance and music, as well as about etiquette for young gentlemen, it also contained descriptions of military music. The book is written in the form of a dialogue between a dancing master, Arbeau, and his pupil, Capriol.

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III. Several marches Drums were also used when on the march, although a specific speed or steps per minute is never given (other than perhaps “slow” or “fast”), as in later infantry manuals. The sound of one or more drums however is quite inspirational, one immediately starts to step up in time to the beat. When entering a town, the command certainly would have been given to strike up the drums, in order to have the men, marching in time with the weapons shouldered, make a very martial appearance. Thoinot Arbeau – a pseudonym of Jehan Tabourot (1519 – 1595) – describes in his book “Orchesographie”12 the purpose of marching, and how music can aid in that: it prevents the soldiers of getting confused, and it makes them walk faster. He describes how one would always start marching with the left foot, as we still do today, since the left foot is “weaker”. The steps are given by the drum, and the beats emphasise when the soldier must take a step with the left foot. Arbeau gives examples of the French and Swiss manner of drumming. It is one of the earliest mentions of military music. I will address more on this book later. What is quite annoying is that we know that there were Dutch marches as well: Marin Mersenne describes in 1636 English, German, Spanish and Dutch marches. But he doesn’t give any musical notations. He does confirm what Arbeau says about French and Swiss marches13. Songs were played as well as steps to which could be marched. The next marches are based on well known songs of the period. Many descriptions are given how the drums must follow the melodies played by the flutes, and this is how the marches are also composed. NB: All melodies are written for the fife in b-flat, of which below is given the range of notes:

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“ORCHESOGRAPHIE ET TRAICTE EN FORME DE DIALOGUE, PAR LEQUEL TOUTES PERSONNES PEUVENT facilement apprendre & practiquer l'honneste exercice des dances. Par Thoinot Arbeau demeurant a Langres”. Imprimé au dit Langres par Jehan des Preyz Imprimeur & Libraire, tenant sa boutique proche l'Eglise Sainct Mammes dudit Langres. 1589.” 13

Marin Mersenne, “Harmonie Universelle, contenant la Theorie et la Pratique de la Musique […].” Vol. 3, Proposition XXVIII. Parijs, 1636, Sebastien Cramisoy, Imprimeur ordinaire du Roy, rue Saint Jacques, au Cicognes.

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“In times of peace, I change this fife into a flageolet, or I sing melodious tunes on it; But when war comes, I will mix the accords with the drums to much more harmony.”

A French depiction of a fifer, 1

st half of the 17

th century.

Depiction of a fife with an explanation of the fingering, from: “Der FLUYTEN LUST-HOF, Vol Psalmen, Paduanen, Allemanden, Couranten, Baletten, Airs, &c.” by Jacob van Eyck.

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1. March “Wilhelmus” The Wilhelmus as we know it now [as the national anthem of the Netherlands] is the melody written by Valerius. The melody is derived from the French soldiers’ song “Autre chanson de la ville de Chartres assiegee par le Prince de Condé, sur un chant nouveau” or: “Au la folle enterprise du Prince de Condé”, a song about the failed siege of Chartres in 1568. This melody is livelier and was, in different settings, a popular melody to which many lyrics were written until far into the 19th century. The melody was well known everywhere, and was regarded as the national march of the Dutch Republic. Here are two versions: the first is a slow version as written by Valerius, not so much a march, but a more solemn tune to be played at ceremonies; the melody by the flutes can be accompanied by a long drum roll. The second, here as “March Wilhelmus”, is a jolly quickstep to be played when marching.

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2. March “Waer dat men sich al keerd of wend” The title is from the song “Loflied op den Hollanders en den Zeeuw” [“Ode to the Hollanders and the Zeelanders”] from the “Nederlandtsche Gedenck-clank” [“Netherlands Remembrance melodies”] by Valerius. The melody itself is older and known as “Pots hondert duysent slapperment”. This popular melody is used among others by Bredero for his songs “O Jannetje, mijn soete beck” and “Nu Heereman, nu Jong gesel”, but there are dozens of lyrics written to it.

3. March “Ick wou wel dat den Krijgh an ginck” This song is part of the “Batali” by Van Eijk; it is an old soldiers’ song of which the lyrics sadly have been lost. It literally means: “I wish the war would begin”. The melody is also known as “Van den Kryg” [“Of War”] in part two of “Oude en nieuwe Hollantse boeren lieties en contredansen” [“Old and new Dutch peasants’ songs and contredances”].

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4. March “Slaet op den Trommele” This song comes from “Een nieu Geusen Liedtboeck” [“A new Sea-beggars’ song book”] and can be found in several song books until today, which says enough about its popularity. The melody is a bit tricky, but it is very pleasant in two voices.

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Frontispiece of “Il Torneo” by Bonaventura Pistofilo, 1627. The book is a manual for ‘the knight’ for the tournament and for war. It holds manuals for the pike, halberd, several other weapons and the musket. Many of the texts regarding military music are copied from the book “Oplomachia” which was written by Pistofilo six years earlier.

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IV. Marches and music from other countries Drummers had a special status in the 17th century, because they also acted as diplomats. A drummer had to know the marches and music from other countries as well. As I mentioned before, there were several national marches, and just as today we know the national anthems of other countries, so did they know the national marches of the time of other nations. Gawen Smithe solicited in 1587 for the job of drummer, and listed the twelve different national marches he knew:

“Thenlishe Marche, Th’allmaigne Marche, The Flemish Marche, The French Marche, The Pyemonnt Marche, The highe Allmaigne, The Gascoigne Marche, The Spanish Marche, Th’emperours Marche, The Italian in postr.,The Battery, The Italian at length, Besides all manner of Dannces and songes to be sownded on the Drume wth the fyffe.”

Cadences The aforementioned Thoinot Arbeau describes in his book a cadence used by the French troops. It is of eight counts, of which the first five are beaten; one steps with the left foot on every first and fifth beat, and with the right foot on every third and seventh beat. This is not a national march, but a common step used by the French troops in that period. Arbeau then gives examples of variations of these beats, of which the basis, - beats on the first five counts,- remains the same:

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Arbeau emphasises that here should be no drumbeats on every count, in order to prevent the soldiers stepping on the wrong beats. As an example he mentions the Swiss drummers, who give a rest on every fourth beat, and three counts of rest after the fifth:

[Arbeau: The drummer of the Swiss gives a rest after the third count and three counts of rest at the end; but it comes down to the same, because the foot is always put down on the first and fifth count. Capriol: this manner of marching to the drum looks very good when executed properly.]

In a modern transcription, these cadences are written down as followed:

French March

Swiss March

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2. Ordinances from “Oplomachia” and “Il Torneo” The books by Bonaventura Pistofilo appeared 32 and 38 years respectively after the first edition of the “Orchesographie”. In “Oplomachia”, he describes the benefit and purpose of military music. The French cadence of five beats, as described by Arbeau, are also mentioned as a cadence to march to. Instead of a musical notation, he gives a phonetic notation, as in “ta pa ta pa ta”. These five beats can also be used for executing the different manuals of arms in three movements, executing each movement on the 1st, 3rd and 5th beat.

A part of the chapter “Dell’ osservatione del tempo del tamburo”, page 52 and 53; and illustrations nrs. 6, 7 and 8 (page 61), from Pistofilo’s “Oplomachia”. The illustrations show the movements with the pike, executed in three steps. In order to have the soldiers execute the order in unison, the drum is beaten to signal the movements. The three movements are executed on the 1

st, 3

rd and 5

th beat.

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In “Il Torneo”, he compares the different styles of different countries. He describes how every cadence to which the knight or soldier marches (which he calls “ordinanza”, - ordinance or order,) consists of a number of steps. The Spanish order is in five or seven steps, whilst the Italian is in four. The steps in the Spanish, French, Neapolitan, Italian and German styles consist of five beats, the Swiss of four. After every series of beats, the drummer pauses or a number of beats (Spanish and Neapolitan), or the drummer strikes an extra beat (Italian). Here also, it is given that a step is taken on every 1st, 3rd and 5th count. According to Pistofilo, the French and Swiss styles are quicker than the Italian and German styles. He further describes that the Spanish and Neapolitan styles are quite similar, though the first uses much more elaborate strikes like double beats and quick short beats (“trillo’s”). Unfortunately, Pistofilo keeps it short, and only gives a further comparison to Italian and Spanish ordinances, because these are quite similar to each other anyway (although he says that anyone my correct him on this if this would not be the case). He distinguishes between ordinances in two measures and four measures. He points out with each ordinance how many steps a soldier must take, and when to make the step. Below, each ordinance is written down twice as a cadence; the upbeat is a warning signal for the soldier, used to give the soldier time to lift up his foot. [Note: “maat” means ‘measure’, red.]

Italian ordinances in two measures

Spanish ordinance in two measures

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The “Spanish Ordinance” in four measures, from “Il Torneo”, page 122.

The ordinance is written down twice; the first ordinance is like it should be played, as an explanation, the “phonetic” notation (‘ta’, ‘pa’ and ‘ra’) is also given; with the second, the numbers are given when the soldier is supposed to take a step. The symbol below the first notes signals the upbeat to which the soldier lifts up his foot, so that he can place it sown on 1. The stems on the notes signify if the beat should be struck with the left- or right drum stick. The double notes signify a double stroke, at which one beat should be given slightly before the other. The “3” above the notes signify a “trillo”, a short series of three strokes (two 1/32

nd and a 1/16

th beat).

Finally, the dot above the note signifies that this beat should be struck louder.

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Italian ordinance in four measures

Spanish ordinance in four measures

With the Ordinances in four measures, we see with the Spanish ordinance some symbols, these being the double stroke (with the first notes) and a “trillo”, a series of three quick beats (two 1/32nd beats and one 1/16th beat). According to Pistofilo, the knights must pause after every four or five steps (after which they can decide to start with the right foot instead of the left with the next series of beats), the common soldier must keep marching. Pistofilo was hoping that some day, a universal military march would be developed which would be used by all knights. However, his intentions were better than the ordinances he wrote.

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3. The English March What is truly a national march is the English March. This march was established by King Charles I of England, but is much older, presumably even from the 15th century. Charles hated it that drummers played several variations to it, and opposed these frivolities as much as possible. With this warrant, every drummer was expected to play the same. Thomas Fisher describes in his book “Warlike Directions” the necessity of the soldiers to know the march, and for the drummers to play in unison:

“I have thought meete for the benefit of each Drummer which is not yet perfect in the March, to prick downe the old English March newly revived in the plainest forme I could invent. Wishing that all Drummers would leave off other forms invented, either by themselves, or others herein unskilfull, that there may be an uniformitie in this Kingdome, as in all other Nations.”

The march is preceded by the “Voluntary”, a warning signal for the troops.

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Above: An example of the warrant of 1632, with which the English March was established by King Charles I. Copies of this warrant were sent to all districts, in order for all the drummers to learn it. This copy was sent to William Stanley count of Derby, and his son. Right: The English March, from the library of Samuel Pepys ( 23 February 1633 – 26 May 1703).

36

4. English signals Besides the March and the Voluntary, there were five other signals, as mentioned earlier, the so-called “Calls of War”. These have been included here for the sake of completeness.

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5. The Scots March Scotland, as an independent nation, also had its own march. The Scottish troops in service of the Dutch Republic will certainly have brought this march with them. We know from the memoirs of the Scottish officer Robert Monro, who served in the Swedish army, that the Dutch troops knew this march as well; he writes about an action on March 24th 1632:

“[…] his Excellence the Rex-chancellor caused the Dutch Regiments marching towards the enemy, to beate the Scots march, thinking thereby to affright the enemy; but it fell out contrary; the Dutch that marched in the Van with the Scots march being charged by the enemy, made a base retreate, […]”14

14

Robert Monro, “MONRO, HIS EXPEDITION WITH THE WORTHY SCOTS REGIMENT (CALLED Mac-Keys Regiment) […]”, Part II, page 113.

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6. Marche de Henri IV This march, also known as “Vive Henri IV” or “Vive le Roi Henri”, is a very well known song in honour of the popular king Henri IV of France (13 December 1553 – 14 May 1610). The melody comes from Toinot Arbeau; it is the dance “Cassandre”, a “Branle Couppé” from the “Orchesographie”. The lyrics were written not much later on a variant of the melody. The song became very popular and was regarded as the national anthem of France. During the Restoration of the Bourbon dynasty after the Napoleonic era, new lyrics were written to the melody, which were thought to be more dignified and suitable for royalty, instead of the original, more bawdy lyrics (see page 68).

Left: the original melody of the dance “Cassandre” from the “Orchesographie”.

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7. Ottoman music What many drummers play nowadays is a simple cadence that followed the steps of the soldiers: “left… left… left – right – left...”. It is not completely unauthentic, because it is Ottoman, and forms the basis for a lot of Ottoman military music. In a modern transcription, it looks like this:

Ottoman march

This cadence can be heard in the “Turkish music” by among others Mozart and Beethoven. Although Ottoman music was not unknown in Europe, and many percussion instruments were introduced in military bands (called “Turkish music”), it is unlikely that Turkish marches would be played. Only in the 18th century, Ottoman musicians were brought over to teach European musicians to play “Turkish” music. Page 40: Three prints form the series “Les Misères et Les Malheurs de la Guerre” by Jacques Callot, 1633, printed with the Kings’ privilege. This series of 18 prints (including a frontispiece) show the horrors of war. Soldiers plunder villages, are executed by hanging, burning or at the stake for several offenses, are wounded or get killed in battle, and those who survive are murdered by vengeful peasants. Top: plate 2, “L’enrôlement des Troupes”; when enlisting new recruits, the drum is uses as a table for writing. Middle: plate 11, “La Pendaison”; beneath a tree, where soldiers are hanged, soldiers are throwing dice on a drum to gamble for the possessions of the convicts, as the Roman soldiers did under the cross on which Jesus Christ was crossed (Matthew 27:35, Luke 23:34). Bottom: plate 17, “La Revanche des Paysans”; peasants ambush soldiers and take revenge for the years of plundering. A drum lies torn in the background.

40

41

PART 2.

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V. Popular melodies As said earlier, military music developed out of popular melodies. Since the forming of professional military units, soldiers developed their own songs, which found their way back into society. An example are the songs of the Landsknechten and Reisläufer, the German and Swiss mercenaries of the 15th and 16th centuries, who developed their own culture in regards of clothing, habits and music. These songs tell of the harsh life of the soldier, which is always precarious: sometimes things go well, there’s enough food and drink and the comfort of a beautiful woman, but more often times are bad and there is want of everything. These songs were, together with lots of other material, reprinted regularly in songbooks. During the 17th, 18th and 19th centuries, several editions were printed of song books, which preserved many songs. For a long time, these were regarded as common, but these books gained a renewed popularity in the 19th and 20th centuries. Many songs were rediscovered; they were mentioned and played again, whereby it was not uncommon to write more modern versions. A number of songs and melodies are gathered here from original sources or later editions. Together, they give a good example of music from the 16th and 17th centuries. These songs have been chosen mostly because they are soldiers’ or drinking songs, and because many of the melodies came from abroad to the Netherlands, to which new lyrics were written; one example is the song about the siege of Grol, which originally was a Christmas song from Catalonia.

Above: Delft blue tile, showing a drummer from the rear. Page 41: Drummer and Fifer, etching by Rudolph Meyer (1605 – 1638).

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Neemt mij in der hand, Hoort in ‘t kort verklaren Wat ons hier in ’t land Al is wedervaren.

This round for four voices is the opening tune of the ”Neder-landtsche Gedenck-Clanck” [“Dutch Remembrance Melody”] by Valerius, which tells of the history of the Dutch Revolt up to then, in several songs.

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1.

Wilhelmus van Nassouwe,

Ben ick van duytschen bloet, Het Vaderlant getrouwe, Blijf ick tot 'sLants behoet, Een Prince van Oranjen Ben ick vry onverveert, Den Coninck van Hispanjen Ick altyt hebb' ge-eert.

2.

In Godes vrees te leven

Heb ick altyts getracht; Daerom ben ick verdreven, Van Lant en goet gebracht, Maer God sal my regeeren, Als een goet instrument, Dat ick sal wederkeeren, Noch in mijn regiment 3.

Lyd' u myn ondersaten,

Die oprecht syt van aerd, God sal u niet verlaten, Al syd' ghy nu beswaert, Die vroom begeert te leven, Die bidde nacht en dag, Dat God my kracht wil geven Dat ick u helpen mach. 4.

Lyf, goet, en al te samen

Heb ick u niet verschoont Myn broeders hoog van namen, Die hebben't oock betoont. Graef Adolf is gebleven Te Vrieslant inden slag Syn siel, in 'teeuwig leven, Verwacht den jongsten dag.

5.

Een edel Prins geboren

Van Keyserlick geslacht Een Vorst des rijcx verkoren Ick altydt ben geacht. Voor Godes woord en leere Heb ick vry onversaegt, Gelyck een held met eere Myn edel bloet gewaegt. 6.

Mijn schilt en myn betrouwen

Zyt ghy (o God myn Heer!) Op u soo wil ick bouwen; Verlaet my nemmermeer: Op dat ick vroom mach blyven, U Dienaer t'aller tyt, De tyranny verdryven, Die menigh hert doorsnyt. 7.

Voor al die my beswaren

En myn vervolgers zijn, Wil my (o God!) bewaren In desen droeven schyn. Dat sy my niet verrasschen In haren boosen moet, Haer handen niet en wasschen, In myn ontschuldig bloet.

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8.

Als David moste vluchten

Voor Saül den tyran; Soo heb ick moeten suchten Met menig Edelman: Maer God heeft hem verheven, Verlost uyt aller noot, Een Coninckryck gegeven In Israel seer groot. 9.

Nae 'tsuer sal ick ontfangen,

Van God den Heer oock 'tsoet. Waer kan meer na verlangen Myn Vorstelick gemoet, Dan dat ick hier mach sterven Met eeren in het veld, En't eeuwig ryck beerven, Als een getrouwen held? 10.

Niet doet my meer erbarmen

In mijn swaer ongeval Dan datmen siet verarmen Des Conincx Landen al. Dat u de Spanjaerts krencken O edel Nederlant! Als ick dat gae bedencken, Myn edel harte brant. 11.

Als een Prins opgeseten

Blyf ic met myn heyrkracht Vanden tyran vermeten, Heb ick den slag verwacht, Die by Maestricht begraven Zeer vreesde myn gewelt, Myn ruyters sachmen draven Zeer moedig door het velt.

12.

Soo het de wil des Heeren

Had op die tydt geweest Ick had wel willen keeren Van u dit swaer tempeest Maer d'Heere van hier boven Die alle ding regeert, En die elck een moet loven, En heeft het niet begeert. 13.

Seer Christlick was gedreven

Myn Princelyck gemoet, Stantvastich is gebleven Myn hert in tegenspoet. Den Heer heb ick gebeden Uyt mynes herten gront, Dat hy myn saeck en reden Uytvoere t'aller stont. 14.

Oorlof mijn arme schapen,

Die zijt in grooten noot, U Herder sal niet slapen, Al lijdt ghy veel aenstoot. Tot God wilt u begeven, Syn heylsaem woord neemt aen, En een vroom Christen leven: Want 'tis hier haest gedaen. 15.

Voor God wil ick belijden

En voor zijn groote macht, Dat ick tot geenen tijden Den Coning heb veracht; Dan dat ick Godes eere Most voorstaen aldereest, Gehoorsaemheyt den Heere Bewysen moste meest.

This song is an acrostic: the first letters together form the name WILLEM VAN NASSOV. More lyrics were written to this melody; there are several in the “Een nieu Guese Liede Boecxken” [“A new Beggars Song Book”] like “Hoe die Spaensche Hoeren comen claghen, om datmen de Spaengiaerts wil verjaghen” [“The Lamentation of the Spanish Whores about the Spaniards being driven away”]15, “Van die incoemste van de Princersse” [The Princess’ Entry”]16 en “Een Claechliedt over de vermaerde Coopstadt van Antwerpen” [“Lamentation over the commercial town of Antwerp”]17.

15

Folia f98r, song nr. 70. 16

Folia 106v, song nr. 69. 17

Folia 135v, song nr. 86

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47

48

Ein schön Lied, zun ehren gemacht dem Prinzen von Uranien. Im Thon wie der Graff zu Rom. (1582)

1. Wilhelmus von Nassawe

bin ich von teutschem blut, dem vaterland getrawe, bleib ich bis in den todt, Ein printze von Uranien bin ich frey unerfehrt, den könig von Hispanien hab ich allzeit geehrt. 2. In Gottes forcht zu leben,

hab ich alzeit betracht, darumb bin ich vertrieben, um land und leut gebracht, Aber Got sol mich regieren, als ein gut instrument, das ich mag widerkehren, wol in mein regiment. 3. Leid euch mein untersassen

die auffrecht sein von art, Gott wird euch nicht verlassen, all seit jhr nun beschwert, Wer from begert zu leben, der bitt gott nacht und tag, das er mir krafft wöll geben, das ich euch helffen mag. 4. Leib und gut als zusammen,

habe ich nit gespart, mein brüder hoch mit namen, haben euch auch verwart, Graff Adolff ist geblieben, in Friesland in der schlacht, sein seel im ewigen leben, erwardt den jüngsten tag. 5. Edel und hochgeboren,

von keyserlichem stamm, ein fürst des reichs erkoren, als ein from christenman, Für Gottes wort geprisen, hab ich frey unverzagt, als ein held ohne furcht mein edel blut gewagt.

6. Mein schild und mein vertrawen,

bistu o Gott mein herr, auff dich so wil ich bawen, verlas mich nimmer mehr, Das ich doch from mag bleiben, dir dienen zu aller stund, die tyranney vertreiben, die mir mein hertz durchwund.

7. Von allen die mich beschweren,

und mein verfolger sein, mein Gott wölst doch bewaren, den trewen diener dein, Das sie mich nit verraschen, in jhrem bösen mut, jr hende nit thun waschen, in meim unschüligen blut. 8. Als David muste fliehen,

for Saulo dem tyrann, so hab ich müssen weichen, mit manchem edelman, Aber Gott thet jhn erheben, erlösen aus aller not, ein königreich gegeben, in Israel sehr gros. 9. Noch sawr werd ich empfangen,

von Gott meim herren das süß, darnach so thut verlangen, mein fürstlich gemüt, Das ich doch möge sterben, mit ehren in dem feld, ein ewigs reich erwerben, als ein (so) getrewer heldt.

10. Nichts thut mich mehr erbarmen,

in meinem widersput, denn das man sicht verarmen, des königs landen gut, Das euch die Spanier krencken, o edel Niderland gut, wenn ich daran gedencken, mein edel hertz das blut.

Pages 46-47: The oldest publication of the ‘Wilhelmus’, from the “Brussels Manuscript”, around 1570. On the right page is written: “Composed and Written by Master Philips van Marnicx van Sinte Aldegonde excellent poet”. The illustration show horsemen from Captain Bexkens’ Company “who showed the enemy inhumane conduct”.

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11. Als eim printz auffgesessen,

mit meiner heereskrafft, wol von dem feind vermessen, hab ich die schlacht verwacht, Der bey Mastrich lag vergraben, beförchtet mein gewalt, mein reuter sach man traben, sehr mutig durch das feld. 12. So es der wil des herren,

auff die zeit wer gewest, het ich gern wöllen kehren, von euch dis schwere tempest, Aber der herr dort oben, der alle ding regiert, den man alzeit mus loben, der hat es nit begert.

13, Sehr christlich war getrieben,

mein fürstelich gemüt, standhafftig ist geblieben, mein hertz in widerspüt, Den herrn hab ich gebeten, aus meines hertzen grundt, das er mein sach wöll richten, mein unschuld machen kundt. 14. Urlaub mein armen schaffen,

die sein in grosser not, ewer hirt der sol nit schlaffen, und seid jhr nun verstrewt, Zu Gott wölt euch begeben, sein heilsam wort nempt an, als fromme christen leben, sol hie bald sein gethan.

15. Vor Gott wil ich bekennen,

und seiner grossen macht, das ich zu keinen zeiten, den könig hab veracht, Dann das ich gott den herren, der höchsten maiestet, hab müssen obedieren, in der gerechtigkeit.

Here, the acrostic form the name WILLEM VON NASSUV; another German version spell out the name as WILLEM VON NASSAUW . From: “Lieder-Büchlein, Darinn begriffen sind Zwei hundret und sechtzig Allerhand schöner weltlicher Lieder, allen Jungen Gesellen und züchtigen Jungfrawen zum newen Jahr, in Druck verfertiget” [“Das Ambraser Liederbuch”], 1582. Reprinted in 1845 by Joseph Bergmann.

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“Chanson composee à la loüange et hoñeur de Monseigneur le Prince d'Orange: Selon le translateur Flameng, dont la lettre capitalle de chacun vers porte le nŏ de son Excellĕce.

Et se chante sur la mesme vois. A sçavoir de Chartre.” (1582)

1. Guillelmus lon m'appelle

de Nassau sans remord; la patrie fidelle seray iusqu'à la mort; ie suis Prince d'Orange francq et sans nulle peur, i'ay faict au Roy d'Espaigne toute ma vie honneur. 2. Vivant en bonne crainte,

Dieu suivre fay debvoir; pourtant faut par contrainte hors mon pays me voir; mais Dieu par me conduire comme un bon instrument, me fera tout reduire en mon gouvernement. 3. Instamment en souffrance

ne serez peuples miens; ayez donc esperance en Dieu gardant les siens; et qui à luy s'adonne, le prie nuict et iours, que sa force il me donne pour estre leur secours. 4. L'Eternel peult cognoistre

si de mon bien et corps ne vous ay faict paroistre iusqu'à mes freres forts: le Conte Adolf en Frise mourut en combatant, son ame és cieux transmise le dernier jour attent. 5. Ayant ma progenie

des grands nobles empereurs, suis de la Germanie un des esleu seigneurs; parquoy sans crainte ou doute de Dieu tiendray la loy, voire tant qu'auray goute de noble sang en moy. 6. Mon bouclier et defence

c'est toy, mon Seigneur Dieu, sur toy i'ay esperance, conduis moy en ce lieu, a fin qu'en ton service ie demeure constant, et dechasse le vice du cruel inconstant.

7. Enten moy et me garde,

mon Dieu, encontre tous qui apres moy font garde, car ie suis ton serf dous; garde moy de l'outrage des tirants inhumains, et qu'en mon sang leur rage ne lavent, et leur mains. 8. David fut mis en fuite

par Saul le tirant; aussi ay-je eu poursuite, du danger me tirant avec maint gentil-homme; mais Dieu l'a relevé, luy donnant le royaume d'Israel eslevé. 9. Estant d'angoisses quitte,

recevray la vigueur de mon Dieu, qui m'aquite de misere et langueur; voila pourquoy desire, comme un bon campion, de mon corps au camp gire pour regner en Sion. 10. N'estoit que ie vous aime

o noble Pays bas, pas ne feroy d'estime de vous voir mis au bas; mais l'Espagnol vous gaste o bon pays du Roy, o nations ingratte, mon coeur pleure d'esmoy. 11. Attendant la bataille

comme un prince romain, mes gents en plain camp baille pres Mastrecht, ou soudain le tirant, par grand crainte, son camp a remparez, ou mes reytres emprainte trotter en plain terrez. 12. S'il eust esté à l'heure

de Dieu la volonté, sans plus longue demeure du joug vous eusse osté; mais le Dieu debonnaire qui tout à ordonné, ne vous voulut complaire; gloire luy soit donné.

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13. Si comme un noble Prince

tousiours estois poussez, or qu'angoisse m'advince nen futz oncq repoussez; mais prenant patience i'ay prié l'Éternel, faire innocence, cognoistre que suis tel.

14. Adieu mes brebiettes,

ne vueilles sommeiller; combien qu'esparses Estes le pasteur veut veiller; vueilles donc tout ensuivre Iesus Christ le parfaict; des paines d'icy vivre tantost serons deffaict.

15. Un jour devant la face

de Dieu feray paroir que ie n'ay par audace rien faict de mon voloir; mais mon Dieu me commande d'executer sa loy, voila pourquoy me bande, ne mesprisant le Roy.

G V I L A M E D E N A S S A V

Song on a loose leaflet in the collection of the Royal Library in The Hague. From: Fl. van Duyse, “Het Oude Nederlandse Lied – Wereldlijke en geestelijke liederen uit vroegeren tijd”, Volume 2, 1905.

.

52

1. Slaet op den trommele van dirredomdeine, slaet op den trommele van dirredomdoes, slaet op den trommele van dirredomdeine, Vive le Geus is nu de loes. 2. De Spaensche pocken, licht als sneeuw vlocken, de Spaensche pocken, loos ende boos, de Spaensche pocken, onder ‘s Paus rocken, de Spaensche pocken groeyen altoos. 3. De Spaensche Inquisitie, voor Godt malitie, de Spaensche Inquisitie, als draecx bloet fel, de Spaensche Inquisitie ghevoelt punitie, de Spaensche Inquisitie ontvalt haer spel. 4. Vive le Geus! wilt christelick leven, Vive le Geus! houdt fraye moet; Vive le Geus! Godt behoed u voor sneven, Vive le Geus! edel christen bloet. 5. De Paus en Papisten, Godts handt doet beven, de Paus en Papisten, zijn teynden haer raet; de Paus en Papisten, wreet boven schreven, ghy Paus en Papisten soect nu oflaet.

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6. Oflaet in tijts noch, Godts woort te krencken, oflaet in tijts noch, u godtloos spel; oflaet in tijts, och wilt u bedencken oflaet in tijts, en valt Godt niet rebel. 7. Tswaert is getrocken, certeyn Godts wraec naect, tswaert is ghetrocken, daer Joannes aff schrijft; tswaert is ghetrocken, dat Apocalipsis maect naect, tswaert is ghetrocken, ghy wert nu ontlijft. 8. Tonschuldich bloet, dat ghy hebt verghoten, tonschuldich bloet roept over u wraeck; tonschuldich bloet te storten heeft u niet verdrooten, tonschuldich bloet, dat dronct ghy met den Draeck. Granvelle 9. U vleyschen arm, daer ghy op betroude, u vleyschen arm beswijckt u nou; u vleyschen arm, die u huys boude, u vleyschen arm wijckt van u schou. Prince 10. Princen der princelijcker Geusen Prince, princelick met u gheest haer doch regeert; princelick drijvense u eer, aldus bemintse, princelick wert u rijck alsdan vermeert.

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1. Merck toch, hoe sterck nu in’t werck sich al steld, Die ’t allen tij soo ons vrijheit heeft bestreden. Siet hoe hij slaeft, graeft en draeft met geweld Om onse goet en ons bloet en onse steden. Hoor de Spaensche trommels slaen! Hoor Maraens trompetten! Siet hoe komt hij trecken aen

Bergen te besetten. Berg op Zoom, hout u vroom, Stut de Spaensche scharen; Laet ’s Lands boom end’ sijn stroom Trouwelijk toch bewaren.

2. ’t Moedige, bloedige, woedige swaerd Blonck en het klonck dat de voncken daeruijt vlogen. Beving en leving, opgeving der aerd, Wonder gedonder nu onder was, nu boven; Door al ’t mijnen en ’t geschut, Dat men daeglijcx hoorde. Menig Spanjaert in sijn hut In sijn bloet versmoorde. Berg op Zoom hout sich vroom, ’t Stut de Spaensche scharen ’t Heeft ’s Lands boom end’ sijn stroom Trouwelijck doen bewaren. 3. Die van Oranjen quam Spanjen aan boord; Om uijt het velt als een helt ’t gewelt te weeren; Maer also dra Spinola ’t heeft geen gehoord, Treckt hij flox heen op de been met al sijn heeren. Cordua kruijd spoedig voort, Sach daer niet te winnen. Don Velasco liep gestoort: ’t Vlas was niet te spinnen! Berg op Zoom hout sich vroom, ’t Stut de Spaensche scharen ’t Heeft ’s Lands boom end’ sijn stroom

Trouwelijck doen bewaren.

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1. Waer datmen sich al keert of wend, End’ waermen loopt of staet; Waer datmen reijst of rotst, of rend, End’ waermen henen gaeet. Daer vintmen, ‘tsij oock op wat Ree, D’Hollander end’de Zeeuw, Sij loopen door de woeste Zee, Als door het bosch de Leeuw. 2. In koud’ en heete Landen al, Gelegen Zuijd’ of Noord, Of Oost, of West, op berg’ n dal, Men van haer spreecken hoort. Sij krijgen menig Schip en Boot Wt ’t Indiaensche Rijck. Daer zijn geen Volcken, oock hoe groot, In veelen haers gelijkck. 3. Het drijft haer alles op de hand. Hoe menig Schip en Schuijt Beseijlter wel dit soete Land? Of tijd’van hier oocl uijt? Wat vaerter menig of en an? Wat komt haer al niet voor? Daer met s’haer handel drijven dan De heele Werelt door.

4. 't Vereenigd' vry-gevochten volck maeckt Spanjen d' oorlog' moe, sulcx dat hy zynen vreden tolck dit land moet senden toe; wie soud' oyt hebben dit gedacht, dat d' hoogmoet van Papou, dat soo een groote, trotse macht so buygsaem worden sou? 5. Venetiaen en Savoyard, met and're volck'ren veel, hadd' Spanjen oock al me verward en sat haer op de keel; hy meynd', hy soud'se slocken op, gantsch dempen en verslaen: maer 't Staten volck op Spanjaerts kop daer self haest heeft gegaen. 6. O Neerland! so ghij maer en bout Op God den Heer altijdt, V pijlen t’saem gebonden hout, End’ t’saem eendrachtig zijt; So kan u Duijvel, Hel noch Doot, Niet krencken noch vertreen, Al waer oock Spanjen noch so groot, In ’s werelts machten een.

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Een Nieu Liedeken vande Berchse soldaten,

hoe sy de stadt aen Parma vercochten. (1589)

Tune: Tedesca, also known as: Bruinsmadelijn

1. Seght, ghy Bergsche soldaten, hoe waert ghy so gesint, dat ghy hebt gaen verlaten 't welck u wel had gedient? Moet ghy nu niet met my bekinnen, dat ghy waert berooft van sinnen end' oock al siende blindt?

2. Had ghy niet be[s]t ghebleven vereenicht met Hollant, want het was u vergeven al u groot onverstant; ghy moet nu be[s]t u cragen wagen, en daer toe meer slaghen dragen, nu ghy diendt den vyant. 3. U weelde gaet verkeeren, ghy meucht wel wesen gram, ten Bergh waert ghy als heeren, elck hoer scheen een madam; Neus en Leckerbeet vileyne, langhen Floor en magher Heyne was daer den hoogen stam. 4. Dit waren d' Edelmannen die daer hadden bevel; Jan van Maestricht gebannen, ook Spillebeen kent men wel, oock Lenaert Spronck en Houte Pen, alsulcken volck vreesde men; wat docht u van dat spel?

5. Mager Heyn, wilt hooren, was edel van persoon, een papen kint geboren, daer toe een hoeren soon; alsulck ghespuys was daer den adel, saten als graven inden sadel, blinckten van goude schoon. 6. Vyerslot had oock besteken een Judas spel seer vals, te Bergen ist gebleken, daer van is veel geschals; dits oock een boer van zijnen vader, en daer toe een lant-verrader, hy can Spaens ende Wals. 7. Eerst waerdy als Romeynen geacht en oock befaemt, maer nu zydy vileynen van alle man genaemt, om dat ghy ginckt den Bergh vercoopen ende zijt daer uyt gheloopen als schelmen onbeschaemt.

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8. Daer toe oock al u daden, die ghy daer hebt ghedaen, gaet ghy nu selfs versmaden, den Spaengiaert hangen aen; ghy moet nu nae haer pijpen danssen, 't sy voor steden oft voor schanssen; u loon suldy ontfaen. 9. Moetwilligh waerdy seere tegen reden en recht, ghy woudt selfs blijven heere, nochtans waerdy maer knecht; den heere die ghy hadt ghesworen, die en woudy geensins hooren, u saecken stonden slecht. 10. Die u mosten betalen, stont ghy ten dienste niet, dus zydy sonder falen wel weert wat u geschiet; God en wil dat niet gehingen dat den knecht zijn heer sal dwingen; dus naeckt u swaer verdriet. 11. Waerom woudy niet hooren nae de heeren valjant van Dordrecht uytvercooren, die daer stelden te pant haer lijf en goet tot een verstijven, dat ghy soudt daer binnen blijven, betalen u contant. 12. Cornels en capiteynen hebben getekent daer, die 't metter herten meynen als dat ghy sout voorwaer tot alder tijt de stadt bewaren, soo ghy deedt voorleden jaren; maer ghy zijt nu onclaer. 13. Den Spangiaert sal u trouwen met woorden wel bedocht, denct oft u is berouwen, dat ghyse hebt aengesocht; u hoogen moet en mach niet baten; nu ghy hebt de stadt verlaten, sydy oock al verkocht.

14. Ghy kreeght wel uwen wille, beloften schoon van als, maer swegen al stille, haer hert docht binnen vals; ghy hebt aen haer veel trots bedreven, dat en sullen sy niet vergeven, maer brengen u om den hals 15. Sy sullen daer op toeleggen om te corten uwen steert; men salt 't noch hooren segghen, want ghy zijt straffens weert; ten Bergh en waerdy niet om dwinghen, sy sullen u hier en daer voortbringhen te voet en oock te peert. 16. Ghy sult nu singhen hooren, in een Latijns beduyt, van eenen Paep geschooren sijn snorcken overluyt; ghy sult nu leeren nijgen en stuypen, smorgens vroegh een misken suypen al eer ghy rijt om buyt. 17. Ghy hebt veel quaets bedreven aen man, vrou ende kint, die ghy brocht om haer leven, 't was vyant ofte vrient; u leven dat ginck Godt verdrieten, ghy sult comen al te nieten, u straffe die begint. 18. Ghy zijt nu wel bedegen met den duyvel van Dort, nu ghy hem hebt gecreghen die zijn leven vercort; men sach hem binden ende smijten, hy moet zijnen doot stront schijten als hy gevangen wort. 19. Oorlof int concluderen, dit dient oock wel verhaelt, dat sy nu vast mineren die ten Bergh zijn betaelt; hier of daer wort d'een ghevanghen, en de rest mach worden ghehangen, verdienste niet en faelt.

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20. Ick bid u, trou soldaten, betracht altijt u eer, en wilt oock niet verlaten den dienst van uwen heer; al quam u schoon den vyant terghen, 't sy voor Heusden of voor Bergen, end' ander steden meer.

21. Hout u cloeck als Romeynen, getrou tot inder doot; en slacht niet de vileynen, en vreest geenen aenstoot; fy hen! alle die overloopers ende oock die stee vercoopers, haer schanden die is groot.

22. Prince, Heer en Godt almachtich, eeuwich ghebenedijt. u stercke hant seer crachtigh voert voor ons uyt den strijdt; al 't voornemen van ons vyanden wilt dat maken heel ter schanden, want ghy ons heylant zijt.

This melody is the “Danza Tedesca” (German dance) by the Italian composer Giorgio Mainerio (around 1635-1582) from his “Il primo libro de balli”18. The next melody also comes from this book, the “Danza Ungaresca” or “Hungarian Dance”19.

18

Giorgio Mainerio, “Il primo libro de balli accomodati per cantar et sonar d'ogni sorte de instromenti di Giorgio Mainerio Parmeggiano Maestro di Capella della S. Chiesa d'Aquilegia”. Venice, 1578, Angelo Gardano. 19

Hungarian lyrics to this melody first appeared in the “Vásárhelyi Daloskönyv”, a Hungarian book with songs and dances from 1672.

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Tune: Finche avro vita

1. Als wy soldaeten t'saem te velde gaen, trompetten, trommelen seer lustigh slaen, den boer geeft ons den wijn, al ist hem pyn. [:Gheen blyder tocht; dat 'taltydt dueren mocht.:] 2. Maer als wy liggen in 's vyandts gewest, om ons te moorden ieder doet syn best; windt, reghen, hitt' en vorst, hongher en dorst. [:Zelden genucht, die niet en wordt besucht.:]

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Gebedt voor de belegeringe van 's Hertogen-bos

Tune: Te rogamus audi nos, from the Litaniae Omnium Sanctorum.

1. Ghy die in den Hemel woont En van daer de Vorsten croont Die hier wagen goet en leven Om den vyant te doen beven Die vertredet uwe eer. Wilt ons horen lieve Heer. 2. Gevet den Nassouschen helt, Die getogen is te velt En, versien met cloecke mannen, Heeft zijn tenten wtgespannen Voor den Bos, al sijn begeer. Wilt ons horen lieve Heer. 3. Geeft hem wijsheyt ende cracht, Deckt hem met u trouwe wacht, Laet getroost sijn ruyters draven, Laet gerust zijn knechten graven, Geeft hem gunstich wint en weer. Wilt ons horen lieve Heer. 4. Sendet uwen Engel wt Dat hy onsen leger sluyt Met sijn bulderende raders. Hoedt den Prince voor verraders, Dat geen aenslach hem en deer. Wilt ons horen lieve Heer.

5. Weest gestadich aen sijn sy Als hy op de batery Spelet met zijn grove ballen. Laet de muyren voor hem vallen, De rondelen storten neer. Wilt ons horen lieve Heer. 6. Neemt den vyant zijnen moet, Neemt hem wijsheyt ende spoet, Neemt hem coren ende haver, Neemt hem crijger ende graver, Neemt hem harnas en geweer. Wilt ons horen lieve Heer. 7. Maeckt vertsaechtheyt inde stat, Maeckt de wakers moe en mat, Maeckt onveylich hare straten, Maeckt onwillich haer soldaten, Seeg' en segen van haer keer. Wilt ons horen lieve Heer. 8. Maeckt den oversten veracht, Doet verdwijnen sijne macht, Maket dat de borgerye Weygere sijn heerschappye En de Staten hulde sweer. Wilt ons horen lieve Heer.

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9. Comt den Spaignaert voor den dach Om ons heyr te bieden slach Of de stede te ontsetten, Uwen adem moet hem pletten En wech-blasen als een veer. Wilt ons horen lieve Heer. 10. Sent hy hen in haren noot Wijn of voeder, cruyt of loot, Latet blijven onderwegen, Latet van ons zijn gecregen, Smijt sijn wagenen om-veer. Wilt ons horen lieve Heer. 11. Laet Philips van sijnen schat Niet ontfangen dit noch dat, Geeft dat hy na lange hopen In zijn eygen nest gecropen Suyg' zijn poten als een beer. Wilt ons horen lieve Heer. 12. Maket zijnen buydel leck, Sent hem dierte en gebreck, Dat zijn crijchsvolck onbetalet Haren schaed' aen hem verhalet Die nu teren op haer smeer. Wilt ons horen lieve Heer. 13. Jaget eenmael' wt den Bos Beyde wollef ende vos, Schickt daer uwe trouwe knapen, Weydet de verdoolde schapen Met u goddelijcke leer. Wilt ons horen lieve Heer. 14. Wilt de palen van ons lant Schutten met u hoge hant, Hoedtse voor bedeckte lagen En voor onvoorsiene slagen, En verlaetse nimmermeer. Wilt ons horen lieve Heer.

15. Brenget weer den gulden tijdt, Maeckt ons dit verwoesten quijt, Slaet u cudde weder gade, Dat den dief haer niet en schade Noch den huyrlinck niet en scheer. Wilt ons horen lieve Heer. 16. Geeft dat yder soet en stil Mach na-leven uwen wil, Dat de groote mette cleyne Niemant dien als u alleyne, En hem redelijck geneer. Wilt ons horen lieve Heer. 17. Geeft den bouwer op het lant Vruchten van het geen hy plant, Geeft de poorters inde steden Vele heyls en vele vreden, Datse winnen cost en cleer. Wilt ons horen lieve Heer. 18. Legget onder onsen voet Die soo dorst na onse bloet. Dat hem alle menschen haten, Dat zijn vrienden hem verlaten, Dat hem sellef hy verteer. Wilt ons horen lieve Heer. 19. Geeft de Vaticaensche pry Dubbelt voor haer moordery, Smacktse schiedelijck her-onder Dat den Hemel sich verwonder, Want zy pralet veel te seer. Wilt ons horen lieve Heer. 20. Ghy sijt die de crijgen vuert, Ghy sijt die de machten stuert, Ghy cont wonderlijck behouwen, Op u jonste wy vertrouwen, Niet op ruyter ofte speer. Wilt ons horen lieve Heer.

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Tune: Baise-moi, ma Jeanneton / El desembre congelat 1. Fred'rick Hendrick van Nassou, prince van Orangien, dien' mijn vader-land getrou tegen 't machtigh Spangien; dies ick 't Bataviers ghemoed wil betuyghen door mijn bloed, en mijn frissche leven voor haer vryheyd geven. 2. Die my altijd in het veld en in sware tochten hebb' voor in de spits gestelt, ridderlijck ghevochten; of ick schoon was, jongh en teer, 'k socht mijn vromigheyd en eer in u dienst te leeren, 't vaderlant ter eeren. 3. Als ick eerst reed in den slagh aen mijn broeders zijde, daer betoond' ick als de dagh, dat ick socht te strijden, en dat ick, met bus en swaerdt, onverschrickt en onvervaert, wou mijn leven waghen in mijn jonghe daghen.

4. Krijghsluy, ghy sult tuygen zijn van mijn vrome daden, hoe dat swarigheydt noch pijn my kon overladen; hoe dat donder noch geschut heeft mijn dapperheyd ghestut, en hoe vorst noch regen kon mijn siel bewegen. 5. Voor de vryheyd en Gods woord, voor de rust der vromen, ben ick een metale poort, niemand hoeft te schromen; wie sich voor de wetten stelt, dien ben ick een trouwer helt, en ick sal hem kroonen en met deughd' beloonen. 6. Noch de vyand, noch de nijd my het hert benouwen, want ick, midden in den strijd, met een vast betrouwen, sie, hoe God my uyt gevaer heeft verlost soo menigh jaer, die my in dees tyden noch wel sal bevryden.

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7. Wildy dat ick voor u tree? volght dan oock mijn gangen; want tot onderlinge vree, streckt al mijn verlangen; burgers, drijft wech twist en haet, die ons land soo dapper schaet, en vlecht al u sinnen met den band van minnen 8. Ick ben een recht Hollands hert in u siel geboren, och! wat waert my groote smert, als gij ginght verloren; mijn Heer Vaders wyse raed en mijns broeders vrome daed suldy in mijn wercken trouwelijck bemercken.

9. Vaert doch wel vereenight Land, en ghy Heeren Staten! strengelt vast des eendrachts band en wilt d' ondersaten stieren, dat ons driftigh schip mag door menigh banck en klip, door u wijse peylen, al 't gevaer ontseylen. 10. Dan so sal Godts zegen staen als een hof te bloeyen, en sal blincken als de maen en in voorspoet groeyen: heb' ick dan by u verdient, dat ick ben der Landen vriend, vlecht dan oock mijn daden aen u lauwer-bladen.

This tune was known under a French and Spanish name; the melody found its way to the Netherlands through France. It was used in the 20th century for the now popular Dutch Christmas carol “Midden in de Winternacht”.

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Le Berger et la Bergère

1. Le berger et la bergère Sont à l’ombre d’un boisson, Et sont si près, l’un de l’autre Qu’à grand peine les voit-on. Chorus: Tu ne l’entens pa, lirlon lirlette, Tu ne l’entens pa, lirlon lirlé.

2. Et sont si près, l’un de l’autre Qu’à grand peine les voit-on, Le berger print la bergère, Si le rue à recullon. 3. Le berger print la bergère, Si le rue à recullon: Holà! Holà! dit la bergère, Holà! mon petit mignon. 4. Holà! Holà! dit la bergère, Holà! mon petit mignon. Et quoy! baise-t-on les filles, En ton pays à la façon?

5. Et quoy! baise-t-on les filles, En ton pays à la façon? Excusez-moy, ma maistresse, C’est la grand’ affection. 6. Excusez-moy, ma maistresse, C’est la grand’ affection Qui me poinct et me commande De vous baiser de la façon. 7. Qui me poinct et me commande De vous baiser de la façon. Laissez-moy faire, friande, Seyez-vous sur mon giron.

8. Mettez vos lèvres déclose, Seyez-vous sur mon giron; Il faut fairede toute chose Le profit à la saison.

From: Anonymous, “LA FLEUR des CHANSONS AMOUREUSES ou sont comprins tous les airs du court. Recueillis aux cabinets des plus rares poëtes de ce temps.” Rouen, 1600, Adrien de Launay, “devant le palais Au Compas d’or. Avec Privilége de Roy”. Reprinted, Brussels, 1866, Imprimerie de A. Mertens et fils, Rue d’Escalier, 22.

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The tune came to the Netherlands and became known as “Lijntjes Oven is Bestoven” or “Hout u kanneke”. Many lyrics to this tune are of a quite bawdy and sexual nature, like this one: a wife of a dim-witted husband has two lovers coming to her house, one short after another. When her husband arrives early, there is quite a scene: the first lover points at the second and hastily makes his escape.

1. Hout al aen, laet ons vrolic springen! Ick sal ons singhen een nieu liet En met genuechte wat voort gaen bringen, Van dat nu cortelinghe is gheschiet: Al van een vrouwe die quam in rouwe En moeste lijden groot verdriet. 2. Dit vrouken gent seer fray van leden, Tgaet so gheerne moy en fris, En Hanneken is so wel te vreden Mach hi sitten aenden dis. Eten en drincken gheen achterdincken, Van waer dat haer ghecomen is. 3. Twee jongers hebben dit vernomen: Elck leyde haer vanden sijnen voort En begheerden thuerent thuys te comen En seyden mijn liefste lieveken hoort: 'Ick sal u gheven, sonder sneven, Een roy cuers met een trijpen boort!' 4. Die ander sprack al sonder quelen: 'Ghi sijt die liefste dien ick weet. Laet mi eens in u craemken spelen; Ick sal u gheven een nieu hooftcleet!' Dat vrouken seyde ras, sonder beyden: 'Weest morghen te clocke acht bereet!' 5. Dat vrouken ras dat ginc zijn gangen, Haer tweeste boelken die quam daer, Si seyde: 'Mijn liefste, sonder verlanghen, Coemt morghen ten thienen, sonder vaer. Clopt tuwer bate, ick sal u in laten En acht op mijn man niet een haer!'

6. Smorghens vroech al voor den daghe, Dat vrouken gheliet haer seer cranck, Maer lacen, wat haer Hanneken vraechde: Twas 'Neemt te werckewaert uwen ganck En laet mi rusten, met cleender lusten; die siecte mach vergaen, Goddanck!' 7. Te clocke acht quam den eersten En speelde totten thienen zijn spel. Met dien so quam daer ooc den tweesten En clopte metten rinck seer snel. Den vrijer opspranck teghen zijnen danck: 'Het is u man en niemant el!' 8. Dat vrouken was seer haest beraden En heeft hem op den solder ghestelt. Den anderen ghinc zijn pack ontladen, Den eersten was alle zijn vruecht ghevelt: 'Ras nu, met liste, in dees kiste! Mijn man coemt, ick hebt twaelf ghetelt!' 9. Die man quam thuys en meende gaen eten, Daer en was niet met allen bereet... Ras heeft hi daer zijn wijf gesmeten En seyde: 'Ghi vuyle hoere wreet! Hi salt betalen, rasch sonder falen Dier boven is; den Heere weet!' 10. Den ruyter van boven sprack met liste: 'Hi moet gheven den helft van dien, Die daer licht al in die kiste, Hi heeft haer uryne besien! Ic hebber ghelaten thaerden bate Om haer ghesontheyt! Adieu, wi vlien!'

11. Oorlof wi nemen int ghemeene En bidden elck wie dat ghi sijt, Oudt, jonck, groot en cleene, Dat ghi u van sulcke meesters bevrijt. Die vroukens bedriegen haer mans en liegen En makense hannekens breedt en wijt.

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A variation on this tune was produced by the Belgian folk group Laïs under the name “(Houd uw) Kanneke” on their album “Dorothea” (2000, Virgin Music). The lyrics are about a girl who falls victim to rape. A German version is about a girl who desperately wants a man “to chase away boredom”, which she already did earlier with the farm hand. 1. Tsou een meisken gaen om wijn Hout u canneken vaste,

savons inde maneschijn By nachte, by nachte

Hout u canneken, proper Dianneken hout u canneken vaste.

2. Wat vants in hare weghen staen Hout u, enz.

Een fijn gesel en dat was waer By nachte, enz.

Hout u canneken, enz. 3. Den ruyter sprac dat meysken toe Oft sij sijnen wille wou doen 4. Hoe weygerich dat dat meysken was, Hy swanckse neder int groene gras 5. Doen hy sijn willeken hadde gedaen, Schoon lief ghij moecht wel thuyswaerts gaen 6. Die ons dit lideken eerstmael sanck Syn bellekens en gaven geen geclanck.

1. Es hett ein Schwab ein Töchterlein Halt die Kanne feste,

Es wolt nicht lenger ein Megdlein sein, Bei Nachte, fein Sachte,

Halt die Kanna, schöne bas Anna, Halt die Kanna feste.

2. Sie woll doch haben einen Man, Halt die, enz.

Der ihr die Weil vertreiben kan. Bei Nachte, enz.

Halt die Kanna, enz. 3. Ach Mutter gib mir einen Man Der mir die Weil vertreiben kan. 4. Ach Tochter, du bist viel zu klein, Du schleffst noch wol ein Jar allein. 5. Ach Mutter, ich bin eben gerecht, Ich habs versucht mit unserm Knecht. 6. Hast dus versucht mit unserm Knecht, So bistu Pfaffen und Mönchen gerecht. 7. Das Annalein hat ein roten Rock, Darunter steht ein Zimmerstock. 8. We rist der uns dis Liedlein sang, Ein freyer Hoffman ist ers genant. 9. Er singt uns das und noch wol mehr, Gott behüt alle zarten Jungfrawen ihr Ehr.

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Drinck-Liedt, op de peeckel-haringh

Tune: Qu'il est bon bon bon

1. Haringh is so bon, bon, bon, Om eens op te drincken: Sa, ontsteeckt de ton, ton, ton, Laet de Bekers klincken: Daer, daer, daer heb-je van het Nat; [:Drinckt vry, daer is noch meer in ´t Vat.:] 2. Maetje dat geldt jou, jou, jou, Soo ien proper teuchje: Wiljer tweetjes nou, nou, nou, Elck die drinck sen meuchje: Drie, drie, drie maeckt een Claver-blat: [:Drinckt vry, daer is noch meer in’t vat.:]

3. Daer was drooghte, ja, ja, ja, Geef jy ’t sulcken neepje? Schenker kom, kom, dra, dra, dra, Brenght ons vocht uyt ’t Scheepje; Soo, soo, soo, wel bekomje dat: [:Drinckt vry, daer is noch meer in ’t vat.:] 4. ’t Steeltje moeter by, by, by, ‘Sel te beter klemmen: Peeckel-haringh, wy, wy, wy Doen jou lustigh swemmen. Sa, sa, sa Vrienden haestje wat: [:Drinckt vry, en laet geen Bier in ’t vat.:]

5. ’t Vaetje rommelt, och, och, och! ’t Kraentje wil niet loopen. Heeft de Brouster noch, noch, noch? Jaese, sou ick hoopen. Wy, wy, wy singhen overluyt: [:Ons Paters-vaetje dat is uyt.:]

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This dance comes from the “Orchesographie” by Toinot Arbeau. In Great Britain it is known as the Christmas carol “Ding dong, merrily on high”.

Vive Henri quatre, vive ce Roi vaillant, Vive Henri quatre, vive ce Roi vaillant, Ce diable à quatre a le triple talent, De boire et de battre, et d'être un vers galant, De boire et de battre, et d'être un vers galant.

There are more verses to this song, but those are written in the 18th and 19th centuries, and therefore not included here.

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Original verses (1548): 1. So treiben wir den Winter aus durch unsre Stadt zum Tor hinaus mit sein Betrug und Listen, den rechten Antichristen.

2. Wir stürzen ihn von Berg zu Tal, damit er sich zu Tode fall'; wir jagen ihn über die Heiden, daß er den Tod muß leiden.

3. Nun hab'n wir den Winter ausgetrieben, so bringen wir den Sommer herwied'r, den Sommer und den Maien, die Blümlein mancherleien.

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Nun treiben wir den Pabst heraus Nu drijven wy den Paus heraus 1. Nun treiben wir den Bapst hinaus Aus Christi Kirch und Gottes Haus, darinn er mördlich hat regiert, unzählich viel Seeln verführt. 2. Troll dich aus, du verdammter Sohn, du rote Braut von Babylon, du bist der Greul und Antichrist, voll Lügens, Mords, und arge List. 3. Dein Ablaßbrief, Bull und Decret liegt nun versiegelt im Sekret, damit stahlstu der Welt ihr Gut, und schändst dadurch auch Christi Blut. 4. Der Römisch Götz ist ausgethan, den rechten Bapst wir nehmen an, das ist Gotts Sohn, der Fels und Christ, auf dem sein Kirch erbauet ist. 5. Er ist der höchste Priester zart, vom Kreuz er aufgeopfert ward, Sein Blut für unser Sünd vergoß, recht Ablaß aus sein Wunden floß. 6. Sein Kirch er durch sein Wort regiert, Gott Vater selbst ihn investiert, er ist das Haupt der Christenheit, dem sei Lob, Preis in Ewigkeit. 7. Es geht ein frischer Sommr herzu, verleih uns, Christus, Fried und Ruh, bescheer uns, Herr, ein seligs Jahr, vorm Bapst und Türken uns bewahr.

1. Nu drijven wy den Paus heraus Uut Cristus kerck en Godes huys Daer in hy moordelijc heeft geregeert En ontellijck veel sielen vervoert. 2. Haest u hier uut ghy verdoemde zoon Ghy roode Bruyt van Babilon Ghy zijt den grouwel, en Antecrist Vol lueghenen moort, en erghelist. 3. Dijnen aflaets brief bullen en decreet Leyt nu verseghelt int secreet Daer mede staelt ghy der weerelt haer

goet En schendet daer duer oock Cristus bloet. 4. Den Roomschen Godt is uut ghedaen Den rechten Paus wy nemen aen Dat is Gods schoon den steen en crist Op dien dat zijn kerck ghetimmert ist. 5. Hy is den hooghsten priester saert Aenden cruyce dat hy gheoffert wart Sijn bloet voor onsen sonden vergoot Rechten aflaet uut sinen wonden vloot. 6. Sijn kerck hy door zijn woort regeert Godt vader selfs ons instruweert Hy is dat hooft der Cristenheyt Hem si lof prijs inder eewicheyt. 7. Ons compt eenen fraeyen somer toe Verleen ons Christus vrede en verhou Verleent ons Heere een salich jaer Voor Paus en Torcken ons bewaer.

Martin Luther wrote to the song “So treiben wir den Winter aus” [“Thus we drive out Winter”] the parody above: this time it is not the antichrist (in the form of Winter) that is driven out, but the pope. The Dutch translation appeared soon halfway into the 16th century. The other three variations to this tune came from different sources.

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Was woll´n wir auf den Abend tun, Slawen wollen wir gahn Schönst Jungfrau wollt Ihr mit mir gahn Slawen wollen wir gahn Slaven gahn ist wohl getan Mond und Stern am Himmel stahn Slaven wollen wir gahn

Unser liebe Fraue Vom kalten Bronnen, Bescher' uns armen Landsknecht Ein' warme Sonnen ! Last uns nicht erfrieren, Wohl in des Wirtes Haus Ziehen wir mit vollem Säckel, Und leerem wieder aus. [bis]

This song from the 15th century was rediscovered in the 19th century, and new verses were added. More verses were added in the 20th century, as well as a chorus; several up-tempo performances were produced on albums. Only the original verse is written here.

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Ein feste Burg ist unser Gott Vår Gud är oss en väldig borg

1. Ein feste Burg ist unser Gott, ein gute Wehr und Waffen. Er hilft uns frei aus aller Not, die uns jetzt hat betroffen. Der alt böse Feind mit Ernst er’s jetzt meint, groß Macht und viel List sein grausam Rüstung ist, auf Erd ist nicht seinsgleichen. 2. Mit unsrer Macht ist nichts getan, wir sind gar bald verloren; es streit’ für uns der rechte Mann, den Gott hat selbst erkoren. Fragst du, wer der ist? Er heißt Jesus Christ, der Herr Zebaoth, und ist kein andrer Gott, das Feld muss er behalten. 3. Und wenn die Welt voll Teufel war und wollt uns gar verschlingen, so fürchten wir uns nicht so sehr, es soll uns doch gelingen. Der Fürst dieser Welt, wie sau’r er sich stellt, tut er uns doch nicht; das macht, er ist gericht’: ein Wörtlein kann ihn fällen. 4. Das Wort sie sollen lassen stahn und kein’ Dank dazu haben; er ist bei uns wohl auf dem Plan mit seinem Geist und Gaben. Nehmen sie den Leib, Gut, Ehr, Kind und Weib: lass fahren dahin, sie haben’s kein’ Gewinn, das Reich muss uns doch bleiben.

1. Vår Gud är oss en väldig borg, han är vår sköld och värja. Han hjälper oss ur nöd och sorg och allt som vill oss snärja. Nu mörkrets furste vred han vill oss trampa ned. Stor makt och mycken list hans rustning är förvisst. Likväl vi må ej frukta. 2. Vår egen kraft är här för svag, vi vore snart nedgjorda, men för oss går till strid och slag vår hjälte, Herrens smorda. Du frågar vem han är. Han namnet Kristus bär. Vår Herre Sebaot, vem kan stå honom mot? Han fältet skall behålla 3. Och vore världen än så stor och full av mörkrets härar, så länge Gud ibland oss bor alls intet oss förfärar. Må världens furste då förgrymmad mot oss stå. Han skadar dock ej här, ty dömd han redan är. Ett ord kan honom fälla 4. Guds ord de måste låta stå, det kan de ej fördärva. Med oss skall Gud i striden gå, hans Ande gör oss djärva. Vi fritt och glatt till mods ger ära, liv och gods. Det allt de taga må, stor vinst de icke får. Guds rike vi behåller.

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This hymn was written by Martin Luther; it was soon translated into Swedish and English [“A mighty fortress is our God”]. The story goes that the Swedish King Gustav Adolf was very fond of this hymn, and that it was sung before every battle. A Dutch translation appeared only in the 19th century. The melody is livelier than the version we know today.

Book of hymns from 1529, with an early version of “Ein Feste Burcht ist Under Gott”.

Also Scandinavian in origin is this march, of which the oldest known written version is from 1614. It is still one of the oldest marches that is in use in the Danish army, and is called –very suitably,- the “Old Danish March”.

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1. Der in den Krieg will ziehen, Der soll gerüstet sein, Was soll er mit ihm führen? Ein schönes Fräuwelein, Ein langen Spieß, ein kurzen Degn, Ein Herren wölln wir suchen, Der‘s Geld und B’scheid soll gebn. 2. Und geit er uns dann kein Gelde, Leit uns nit viel daran, So laufen wir durch die Wälde Kein Hunger fasst uns nit an, Der Hühn’, der Gäns hab’n wir so viel, Das Wasser aus dem Brunnen Trinkt der Landsknecht wann er will. 3. Und wird mir dann geschossen Ein Flügel von meinem Leib, So darf ichs niemand klagen, Es schad’t mir nit ein Meit, Und nit ein Kreuzer an meinem Leib, Das Geld wölln wir verdämmen, Das der Schweitzer vom Händschuh geit.

4. Und wird mir dann geschossen, Ein Schenkel von meinem Leib, So tu ichs nachher kriechen, Es schad’t mir nit ein Meit. Ein hülzen Stecken ist mir gerecht, Noch eh das Jahr herubekumt Geb´ ichs ein Spittelknecht. 5. Ei wird ichs dann erschossen, Erschossen auf breiter Heid. So trägt man mich auf Spießen Ein Grab ist mir bereit. So schlägt man mir den Pummerlein pum, Der ist mir neunmal lieber Als aller Pfaffen Gebrumm. 6. Der uns das Liedlein neus gesang Von neuen gesungen hat Das hat getan ein Landsknecht Gott geb im ein fein gut Jar Er singt uns das, er singt uns mehr Er muss mich noch wol werden Der mirs g’lag‘ bezalen muss.

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1. Frisch auf, gut G’sell, lass rummer gan! Tummel dich, gut’s Weinlein! Das Gläslein soll nich stille stan, tummel dich! Tummel dich, tummel dich, tummel dich, gut’s Weinlein! Tummel dich, tummel dich, tummel dich, gut’s Weinlein! Tummel dich, gut’s Weinlein! 2. Er setzt das Gläschen an den Mund, tummel dich, gut’s Weinlein! Er trinks‘ heraus bis auf den Grund, tummel dich! Tummel dich, &c. 3. Er hat sein‘ Sachen recht gethan, tummel dich, gut’s Weinlein! Das Gläslein soll herummer gan, tummel dich! Tummel dich, &c. 4. Schenk ein, lang’s her, gieb’s diesem Herrn, tummel dich, gut’s Weinlein! Er trinkt ihm auch gewisslich gern, tummel dich! Tummel dich, &c.

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1. Ich gieng für einer Fraw Wirtin Haus, Man fraget mich, wer ich were, Ich bin ein armer schwartzen Knab, Ich eß und trincke gerne. 2. Man führt mich in die Stuben hinein, Da bot man mir zu trincken, Mein äuglein lies ich umbher gan, Den Becher lies ich sinken. 3. Man satzt mich oben an den Tisch, Als ich ein Kauffman were, Und da es an ein Zahlen gieng, Mein Seckel der war leere 4. Und da man bu solt schlaffen gan, Man wiß mich wol in die Schewre, Da stund ich armen schwartzen Knab, Mein Lachen ward mir thewre.

5. Und da ich in die Schewre kam, Da fieng ich an zu nisten, Da stachen mich die Hageldorn, Dazu die rauhen Distel. 6. Da ich des Morgens frü auffstund, Der Reiff lag auff dem Dache, Da mußt ich armer schwartzen Knab Meins Unglücks selber lachen. 7. Ich nam mein Schwert wol in die Hand, Ich gürts wol an die Seiten, Da ich kein Geld im Seckel hett, Zu Fussen must ich reiten. 8. Ich macht mich auff, ich macht mich

darvon, Ich macht mich wol auf die Straßen, Da begegnet mir ein Kaufmann gut, Seine Tasch must er mir lassen.

Instead of “Schwarzen Knab” [‘Black boy’], the word “Schwartenhals” [“Black neck”] is also often used; the melody is known by that name. “Schwartenhals” (‘Black neck’ or ‘Dirty neck’) was a nickname for poor folk, especially the Reisläufer and Landsknechten. The soldiers were named that because they left their necks uncovered, which was thus darkened by the sun and by dirt.

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This German march is named after Gottfried Heinrich, duke of Pappenheim (29 May 1594 – 7 November 1632), an Imperial Field Marshal during the Thirty Years War. He commanded a unit of Cuirassiers, and played a major part in the fight against the Swedish armies. He was deadly wounded, as was his adversary the Swedish King Gustav II Adolf, in the battle of Lützen (6 November 1632). The march was quite popular and was used by the German poet Friedrich Schiller20 in 1799 as theatre music for his piece “Wallensteins Tod” [“the Death of Wallenstein”]. He was also the author of “Geschichte des Dreißigjährigen Kriegs” [“History of the Thirty Years War”] and was set on not only having period correct costumes, but also the use of contemporary marches instead of having new military music written for the play21.

20

Friedrich Schiller (from 1802 onwards Von Schiller), 10 November 1759 – 9 May 1805. German playwright, philosofer and poet. He also wrote a first volume on a –never published – series of books on the Dutch Revolt, “Geschichte des Abfalls der vereinigten Niederlande von der Spanischen Regierung” [“History of the secession of the United Netherlands from the Spanish government”]. This book was published in 1788; an expanded version appeared in 1801. 21

Ursula Kramer, “Theater mit Musik: 400 Jahre Schauspielmusik im europäischen Theater”. Bielefeld, 2014, transcript Verlag.

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1. Wir zogen in das Feld. [bis] Da hätten wir weder Säckl noch Geld, Strampede mi, A la mi presente al vostra signori. [bis] 2. Wir kamn vor Siebentod, [bis] Da hätten wir weder Wein noch Brot. Strampede mi &c. 3. Wir kamen vor Friaul, [bis] Da hätten wir allesamt groß Maul. Strampede mi &c. 4. Wir kamn vor Benevent, [bis] Da hätten wir uns die Hand verbrennt. Strampede mi &c. 5. Wir kamen vor Triest [bis] Da hätten wir allesamt die Pest, Strampede mi &c. 6. Wir kamen auch vor Rom, [bis] da schossen wir den Papst vom Thron. Strampede mi &c.

This German song probably originated during the Imperial campaign against Rome in 1527, in which German mercenaries were used. The Italian lyrics are a bastardisation of "Strombette mit all'armi! Presente alle vostra signori", which roughly translates to “The trumpet calls me to arms! I am present, my Lord”. In the next English song by Thomas Ravenscroft (about 1588 – 1635) is a French lyric included. This is from the time that English regiments fought in service of the Dutch Republic; it means: “Excuse me, can I help you with anything?” Despite it being friendly, it was said when one walked into someone on purpose in a pub, which made the other spill his drink. In short, it was a way of picking a fight.

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1. We be souldiers three, Pardona moi je vous an pree, Lately come forth of the low country, With never a penny of mony. 2. Here, good fellow, I drink to thee, Pardona moi je vous an pree, To all good fellowes where ever they be, With never a penny of mony. 3. And he that will not pledge me this, Pardona moi je vous an pree, Pays for the shot, what ever it is, With never a penny of mony. 4. Charge it againe, boy, charge it again, Pardona moi je vous an pree, As long as there is any incke in thy pen, With never a penny of mony.

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1. We be three poor mariners Newly come from the seas; We spend our lives in jeopardy While others live at ease. Shall we goe daunce the round,

the round, the round, And shall we goe daunce the round,

the round, the round, [: And he that is a bully boy Come pledge me on the ground,

the ground, the ground. [bis]

2. We care not for these martiall men That doe our states disdaine; But we care for those marchant men Who doe our states maintaine. To them we daunce this round,

a round, a round To them we dance this round,

a round, a round [: And he that is a bully boy Come pledge me on this ground,

the ground, the ground.[bis]

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Chorus: When Cannons are roaring and Bullets are flying, he that would honour win must not fear dying.

1. Brave Mars begins to rouse, and he does bend his browes Borias bursts out in blowes, great Etnaes fire. He that may losse the field, yet let him never yeeld thogh thousands should be kilde let Souldiers try it. 2. Though Constantin be dead, Who left us honour, And taught brave Christian Kings, under his banner. Paganes amazèd stood, in a great wonder, To see brave Christians come, like claps of Thunder. 3. Raised are the worthies nine, and now ascending, Even by a power divyne, now peace is ending, So many Christian Kings, with them to enter, Against their feircest Foes, that's brave adventure.

4. Sojers with swords in hands, to the walls comming, Horse-men about the streets, ryding and running, Sentinells on the walls, arme, arme, a crying, Pittards against the ports, wyld fire a flying. 5. Trumpets on Turrets hye, these are a sounding, Drumes beating out alowd, echoes resounding. Larim-Bells in ilk place, they are a ringing, Women with stones in laps, to the walls bringing. 6. Captains in open fields, on their foes rushing, Gentlemen seconds them, with their Picks pushing. Ingyniers in the Trench, earth, earth up-rearing, Gun-powder in the mynes, Paganes up-blowing.

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7. Portculzies in the ports they are down letting, Burgers come flocking by, too, their hands setting. Ladders against the wall, they are uprearing, Women great timber loggs to the walls bearing.

Robert Monro mentions the song in his book22. It was sung by English troops in Germany in the 1620’s.

22

Monro, Part I, page 65.

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This well-known Turkish march was composed by the Polish composer Wojciech Bobowski (or Albertus Bobovius), better known as Ali Ufqi Bey (1611 – 1675). He was captured and sold as a slave as a young man. Because he could read and write music, he soon came to the Ottoman court. It is there that he converted to Islam. He developed into a gifted composer and translator; in the end, he spoke 16 languages, including Polish, Turkish, Arabic, Hebrew, Latin, French and German. He translated the Anglican catechism in Turkish, and wrote a guidebook on Islam in Latin, with the intention to increase mutual understanding. He also translated the Genevan Book of Hymns, and converted the music notations to the Turkish notation system. His bible translation in Turkish is still used today. After 19 years he was declared a free man. He remained at court as a dragoman, a translator and mediator at the Ottoman court. This march is known today as the “Hücum marşı” or assault march, a popular march often played by Mehterhane ensembles all over the world.

Original transcription of the Nevâ-Ceng-i Harbî.

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Closing remarks The search for more military music continues. Military music is –unfortunately! - not a very popular subject, not only in re-enactment, but also in historical studies. I hope that I have made some contribution to this research with this document. It is my intention that this document will keep expanding in due time; it is, in my opinion, still not complete. Ultimately, it has to be brought into practice, where drummers of different groups will cooperate in the field, thus creating a more uniform sound. In the mean time, all information, tips and tricks are most certainly welcome. Anyone interested in making a contribution is hereby cordially invited.

German drummers and fifers, first half of the 17th

century.

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Sources I. Contempory sources ARBEAU, Thoinot [Jehan Tabourot], “ORCHESOGRAPHIE ET TRAICTE EN FORME DE DIALOGUE, PAR LEQUEL TOUTES PERSONNES PEUVENT facilement apprendre & practiquer l'honneste exercice des dances. Par Thoinot Arbeau demeurant a Langres”. Imprimé au dit Langres par Jehan des Preyz Imprimeur & Libraire, tenant sa boutique proche l'Eglise Sainct Mammes dudit Langres. 1589.” Lengres, 1596, Johan des Preyz. BARIFFE, Capt. William, “MILITARY DISCIPLINE of the YOUNG ARTILLERY-MAN. Wherein is Discoursed and Showne the Postures both of Musket and Pike the excact way &c.”, third, revised edition. London, 1643, John Dawson, sold by Andrew Crooke (“at the sign of the Green Dragon in Pauls’ Church-yard”). EYCK, Jacob van, “Der FLUYTEN LUST-HOF, Vol Psalmen, Paduanen, Allemanden, Couranten, Baletten, Airs, &c.”, second revised edition. Amsterdam, 1654, “in de Stoof-steegh, in ’t Muzyk-boek”. FISHER, Thomas, “Warlike Directions: OR THE SOVLDIERS PRACTICE. Set forth for the benefit of all such as are, or will be Scholars of Martiall DISCIPLINE. But especially for all such Officers as are not yet setled, or rightly grounded in the Arte of WARRE. By a Practitioner in the same Art, T. F. The second EDITION, corrected and amended.” LONDON, 1643, “Printed by Thomas Harper, and are to be sold at his House in Little Britaine”. HEXHAM, Henri, “Principij ofte De Eerste Gronden van de Oorloghs-Konste Ghelijckse in dese vereenichde Nederlanden gepractiseert wort, onder het Gouvernement van sijne Hoogheyt, mijn heer den Prince van Orangien”. The Hague, 1642, Aert Meurs, “Boeck-vercooper woonende inde Veen-straet”. MÉNESTRIER, Claude-François, “Des Representations en Musique Anciennes et Modernes”. Paris, 1681, René Guignard, rue Saint Jacques, au grand saint Basile. MONRO, Robert, “MONRO, HIS EXPEDITION WITH THE WORTHY SCOTS REGIMENT (CALLED Mac-Keys Regiment) levied in August 1626”. London, 1637, William Jones in Red-Crosse streete. PISTOFILO, Bonaventura, “Oplomachia di Bonaventura Pistofilo nobile Ferrarese. Dottore e Cavaliere. Nelle quale con dottrina morale, politica e militare, e col mezzo delle figure si stratta per via di teoriea, e di pratica del maneggio, e dell’ uso delle Armi. Distinta in tre discorsi di Picca, d’Allabarda, e di Moschetto”. Siena, 1621, Hercole Gori. PISTOFILO, Bonaventura, ”Il Torneo di Bonaventura Pistofilo Nobile Ferrarese dottor di legge e cavaliere. Nel Teatro di Pallade dell ‘ordine Militare, et Accademico. All’ Illustrissimo Signor Michelangelo Baglioni Marchese di Morcone”. Bologna, 1627, Presso Clemente Ferrone. RAVENSCROFT, Thomas, “Deuteromelia”. London, 1609, Thomas Adams, “dwelling in Paules Church-yard at the signe of the White Lion”. VALERIUS, Adrianus [Adriaen Valéry], ”Neder-landtsche Gedenck-Clanck. Kortelick openbarende de vornaemste geschiedenissen van de seventhien Neder-Landtsche Provintien, ’t sedert den aenvang der Inlandsche beroerten ende troublen, tot den Iare 1625. […]” Veere, 1626, heirs to the author.

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II. Secondary sources and facsimiles BERGMANN, Joseph, “Das Ambraser Liederbuch vom Jahre 1582”. Stuttgart, 1845, “gedrückt auf kosten des Literarischen Verein bei K. Fr. Hering & Comp.” BRNARDIC, Vladimir, “Men-at-Arms 457, Imperial Armies of the Thirty Years War (1) – Infantry and artillery”. 2009, Osprey Publishing. BYRNE, Maurice, “The English March and Early Drum Notation”, from: The Galpin Society Journal, Vol 50 (March 1997), pages 43-80. DUYSE, Fl. van, “Het Oude Nederlandse Lied – Wereldlijke en geestelijke liederen uit vroegeren tijd”, part 2. The Hague, 1905, Martinus Nijhoff / Antwerpen, 1905, De Nederlandse Boekhandel. GAUTHREAUX, Guy Gregoire, “Orchestral Snare Drum Performance: a historical study”. Doctoral thesis, Louisiana State University and Mechanical College, May 1989. GILES, Howard, “Drumming in the English Civil War”. 2000-2015, Eventplan ltd, www.eventplan.co.uk. JOHN, Eckhard, Dr. (editor), "Populäre und traditionelle Lieder. Historisch-kritisches Liederlexikon". Zentrums für Populäre Kultur und Musik der Albert-Ludwigs-Universität Freiburg, Breisgau. http://www.liederlexikon.de KNAW / MEERTENS INSTITUUT, www.liederenbank.nl KNUTSON, C en J. Nordin, “Drums and Phifes Duetie, Scottish Music for Fife and Drum (circa 1630)”. Minneapolis, 1993, Clan Tartan Historical Re-enactment. LUMMEL, H.J. van, “NIEUW GEUZENLIED-BOEK, waarin begrepen is den gantschen handel der Nederlanden, beginnende anno 1564 uit alle oude Geuzenlied-boeken verzameld”. Utrecht, 1871, J.J.H. Kemmer. POULIN, David, “Renaissance Fife and Drum Book”. 2006, Sociedad de la Entrada. ROBERTS, Keith, “Elite Series 25, Soldiers of the English Civil War (1) – Infantry”. 1989, Osprey Publishing. TAPPERT, Wilhelm, “Deutsche Lieder aus dem 15., 16. Und 17. Jahrhundert für eine Singstimme mit begleitung des Pianoforte”. Berlin, about 1870, C.A. Challier & Co. WINSTOCK, Lewis, “Songs and Music of the Redcoats: A History of the War Music of the British Army 1642-1902”. London, 1970, Leo Cooper ltd.

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III. Recordings CAMERATE TRAJECTINA,

“Bavianen en Slijkgeuzen – Liederen van Remonstranten en Contra-remonstranten uit het begin van de 17e eeuw” (CD), 1995;

“De Vrede van Münster – Politieke muziek uit de Tachtigjarige Oorlog (1568-1648)” (CD), 1998;

“Peeckelharing – Muziek rondom Frans Hals (CD)”, 2003. Globe Records. COLLEGIUM CANTORUM DER UNIVERSITÄT SAARBÜCKEN, “Der Schwartenhals: schöne alte Landsknechtlieder” (LP). Wedemark, 1984, Thorofon Schallplatten KG. COLLEGIUM TERPSICHORE (o.l.v. Fritz Neumeyer) en ULSAMER COLLEGIUM (o.l.v. Josef Ulsamer), “Tanzmusik um 1600”(CD). 1998, Eloquence. MARQUESS OF WINCHESTERS’ REGIMENT, The, “The Six Calls of War”, https://www.youtube.com/watch?v=8wS9fCt71hQ. Uploaded 11 December 2008, The Marquess of Winchesters’ Regiment of the English Civil War Society (ECWS). SINBAYASHI, Toshiya, “Van Eyck Batali”, https://www.youtube.com/watch?v=RibxpDeqjtE. Uploaded 9 November 2014. SPORNE, Blake, “SK Royalist Drum Calls”, https://www.youtube.com/watch?v=njMKkbtfn1k. Uploaded 31 May 2013, The Sealed Knot. TARLETONS’ JIG, “For King and Parliament. Popular Music from the English Civil Wars 1640-1660” (LP). 1986, NMP Records.

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Marc Geerdink-Schaftenaar, “Military Music of the Infantry of the Dutch Republic during the Dutch Revolt”.

November 2015 – September 2016. Translated from “Marsen en Signalen voor de infanterie tijdens de 80 Jarige Oorlog”, V 3.3.9, September 2016. This is a publication by “Wassenbergh” society for Re-enactment and Living History, www.wassenbergh.com