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(28.) The quote is cited from his music theory treatise Quaestiones musicae (Wittenberg: Georg Rhau, 1536 [vdm 569]).
Harmoniae * * * * A Wittenberg: Rhau 1535 (VD16 S 8015; vdm 92) B Wittenberg: Rhau 1538 (VD16 ZV 23089; Prosodia: vdm 143) Augsburg: Steiner 1539 (VD16 S 7823, S 8017, S 8043; Prosodia: vdm 566) C Nuremberg: Petreius 1539 (VD16 S 7824, S 8018, S 8044; vdm 145) D Cologne: Gymnich 1540 (VD16 S 7825, S 8019, S 8045; vdm 567) * = half title
Louis launched the (unintentionally long) project of publishing in practical new editions the major collections of polyphonic music published by the Wittenberg printer Georg Rhau (or Rhaw) between 1538 and 1545 (Georg Rhau: Musikdrucke aus den Jahren 1538 bis 1545 in Praktischer Nenausgabe).
Rhau was primarily concerned with producing printed music for use in the Lutheran liturgy.
Rhau is a publisher unfamiliar to many, even in the field of Renaissance musicology, but his contribution to the sacred music literature of the sixteenth century was extremely important.
Although the volumes of the Musikdrucke emphasize Rhau's activities as a printer of music, it is impossible to divorce these labors from his efforts as a publisher of Reformation pamphlets.
Rhau's Officia de Nativitate presents seventy-seven motets on texts from the Propers and Ordinaries of the Mass for the major feasts of the Christmas season, including the Feasts of the Circumcision (or New Year), Epiphany, and the Purification of the Blessed Virgin Mary (or Presentation of the Lord), with multiple settings by different composers for each feast.
Rhau adheres to normal sixteenth-century practice by usually printing only the polyphonic portions of the music, omitting the chant intonations and the verses of the sequences performed alternotim.