Philippe De Monte's Primo Libro De Madrigali a Tre Voci (1582)

UNIVERSITY OF CALGARY

Philippe de Monte's Primo libro de madrigali a tre voci (1582)

A Modern Edition and Analysis

Aaron Cary Dalton

A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS

DEPARTMENT OF MUSIC

CALGARY, ALBERTA APRIL, 2010

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1*1 Canada Abstract

One of the most important secular vocal genres of the sixteenth century was the Italian madrigal. From 1520 to 1620, composers of many nationalities contributed to what is now a vast repertoire. None, however, was as prolific as Philippe de Monte (1521-1603), who published no fewer than thirty-four madrigal collections. It is paradoxical, then, that he and his works have been so little studied. Of the hundreds of volumes of modern editions of early polyphony published in recent decades, only five have been dedicated to Monte's secular madrigals. This study aims to improve our knowledge of Monte's work by transcribing and discussing his first (and only) book of three-voice madrigals, published in 1582 (RISM A/I: M3376).

n Acknowledgements

I must first of all express my profound gratitude to my advisors, Dr. Kenneth DeLong and Dr. Janet Youngdahl, for their unflagging support and encouragement during this study. I also wish to thank Dr. Friedemann Sallis and Dr. Joelle Welling for their support outside of this particular endeavour. They have all been an invaluable source of information and inspiration.

The poetry translation was a collaborative effort between me and Maria Oss-cech, to whom I am particularly thankful, and without whom it would not have come to fruition.

I also wish to express thanks to Prof. Emila Spoldi and Dr. Francesca Cardel for their proofing of the translations.

I express appreciation for the staff of the Civico Museo Bibliografico Musicale (par ticularly Ms. Barbara Ventura), the Biblioteca comunale dell'Archiginnasio, and the

Biblioteca di Casa Carducci for their assistance in locating and retrieving the musical and textual source materials. I wish to also thank the staff of the University of Calgary library for their invaluable research support over many years: Marilyn Nasserden, Sylvia

Polachuk, Cindy Murrell, and Nancy Allison.

Above all, I am infinitely grateful to my wife, Adele. Her patience and support have been my staff and stay.

in iv

Table of Contents

Abstract ii Acknowledgements iii Table of Contents iv List of Tables vi List of Figures vii

I Introduction, Context, and Analysis 1 1 Introduction 2 1.1 Historical Background 2 1.2 The Development of the Madrigal 4 1.3 The Composer and His Music 8 2 The Three-Voice Madrigal 16 2.1 The canzone villanesca alia napolitana 17 2.2 The Classic Madrigal 22 2.3 The Modern Classic Madrigal 23 3 Monte's Three-Voice Madrigals: An Analysis 38 3.1 "O beata colei" 42 3.2 "Vago monte" 45 3.3 "Volentier canteriei" 52 3.4 Conclusion 54

II The Edition and Apparatus 56 4 The Sources 57 4.1 Music 57 4.2 Texts 61 5 Critical Report 68 5.1 Editorial Methods 68 5.2 Specific Issues 71 5.3 Critical Notes 74 6 Texts and Translations 76 7 The Modern Edition 94 1. Amor, che sol dei cor leggiadri ha cura 95 2. O beata colei, ch'al fin puo dire 99 3. Oime dov'e'l mio core? 103 4. Chi non sa come altrui duo chiari lumi 107 5. Vostro fui, vostro son, e sard vostro Ill 6. Ne pur si duro esilio & lontanza 115 7. Mentr'ameranno i nudi pesci l'onde 119 8. Vago monte, fiorite ombrose piagge 124 9. 0 mia lieta ventura, hor quale stella (prima parte) 128 10. Io so, che non m'inganna sogno, od ombra (seconda parte) 134 11. Non vedete voi donna il mio tormento? 138 12. Volentier canterei de vostri honori 143 13. O chi potra mai ben chiuder'in versi 149 14. S'io odo alcun felice, e lieto amante 154 15. Vissimi un tempo in dolce foco ardendo 159 16. Dico, che da quel punto, ch'infiammarsi 164 17. Dolce mia vita, da cui vivo & moro 168 18. La bocca, onde l'asprissime 174 19. Poi c'hor e dolce ogni passato scempio 179 20. Spesso a consiglio i miei pensier convoco 184 21. Ahi dove (lasso me) prieghi & parole 189 22. Qual piu scontento amante alberga in terra 193 23. Ove lontan da la mia fida luce (prima parte) 197 24. Cos! d'un Olmo sospirando a l'ombra (seconda parte) 202 25. Quel desir, c'hebbi in su la vista prima 206 26. Piango, che Amor con disusato oltraggio 211 27. Satiati Amor, ch'a piu doglioso amante 216 28. Ardo, sospiro, & piango, & si mi piace (prima parte) 221 29. Et son del mio languir cosi contento (seconda parte) 225 Bibliography 229 Appendices 239 A Zarlino's 10 Rules of Text Underlay 240

v List of Tables

1.1 Monte's madrigal publications between 1580 and 1584 14

2.1 Three-voice madrigal collections published before 1601 34

3.1 Mode, Mensuration, and Cleffing in Monte's first book of three-voice madri gals 40

4.1 Poems and sources in Monte's book of three-voice madrigals 64

vi List of Figures

2.1 "La cortesia voi donne predicate" from Orlando di Lasso and others, Can- zoni villanesche and Villanelle , edited by Donna G. Cardamone (Madison: A-R Editions, 1981), 20-2 19 2.2 "Come, donna, poss'io" from Jacobus Arcadelt, Opera Omnia, volume 7, edited by Albertus Seay (American Institute of Musicology, 1969), 187. . 24 2.3 Text and translation of "Deh ferma, Amor" from Gabrieli's Primo libro de madrigali a tre voci (1575). Translation from: Andrea Gabrieli, Complete Madrigals 1, edited by A. Tillman Merritt (Madison: A-R Editions, 1981), xxix. (The author slightly altered the last couplet for length.) 25 2.4 "Deh ferma, Amor" from Andrea Gabrieli, Complete Madrigals 1, edited by A. Tillman Merritt (Madison: A-R Editions, 1981), 63-5 26 2.5 Cadence tones in Gabrieli's "Deh ferma, Amor" (HypoAeolian mode) . . 32 2.6 "Deh ferma, Amor" measures 5-10 and 14-20. Key pitch similarities in the music for lines 2 and 4 of the poetry 33

3.1 Text and translation of "O beata colei" from Monte's Primo libro de madri gali a tre voci (1582). Translation by author 42 3.2 Cadence tones in Monte's "O beata colei" (G Dorian mode) 44 3.3 Text and translation of "Vago monte" from Monte's Primo libro de madri gali a tre voci (1582). Translation by author 45 3.4 Cadence tones in Monte's "Vago monte" (HypoAeolian mode) 47 3.5 Marked-up score of Monte's "Vago monte." 48 3.6 Text and translation of "Volentier canterei" from Monte's Primo libro de madrigali a tre voci (1582). Translation by author 52 3.7 Cadence tones in Monte's "Volentier canterei" (G Dorian mode) 54

4.1 Title page of the canto partbook 58 4.2 Dedication page of the canto partbook 59 4.3 The first madrigal in the canto partbook, "Amor, che sol dei cor leggiadri ha cura." . . . 60 4.4 Prima parte delle stanze di diuersi illustri poeti, page 209. Source for the poetry of "Mentr'ameranno i nudi pesci l'onde." 63

5.1 "Oime dov'e'l mio core"-Canto: Typical melismatic underlay 72 5.2 "Oime dov'e'l mio core'-Canto: Typical melismatic underlay problem . . 72 5.3 "Ardo, sospiro, & piango": Melisma under semiminims 72 5.4 "Vissimi un tempo"-Alto: Scraped rest 73

vn 1

Part I

Introduction, Context, and Analysis

In the area of the late-sixteenth-century madrigal we are far from

having all of even the most important music available for study in

modern score. It should therefore be a statement of first principle

that in this area we need editions more than articles or monographs.

Anthony Newcomb, "Review: [untitled]," Musical Quarterly 60/1

(1974): 125. 2

Chapter 1

Introduction

One of the most important secular vocal genres of the sixteenth century was the Italian madrigal. The transition from the less-serious, soprano-dominated frottola of the early sixteenth century to the more declamatory madrigal of the latter part of the century was a slow one, and was a result of many developments in Italian culture. The most important of these were the rediscovery of Petrarch and the flood of secular music publication that accompanied the introduction of music printing by movable type.

From 1520 to 1620, composers of many nationalities contributed to what is now a vast repertoire. None, however, was as prolific as Philippe de Monte (1521-1603), who published no fewer than thirty-four madrigal collections. It is paradoxical, then, that he and his works have been so little studied. Of the hundreds of volumes of modern editions of early polyphony published in recent decades, only five have been dedicated to Monte's secular madrigals. This study aims to improve our knowledge of Monte's work by transcribing and discussing his first (and only) book of three-voice madrigals, published in 1582 (RISM A/I: M3376).

1.1 Historical Background

The development of the madrigal was informed by earlier Italian secular forms, the French chanson, and developments in literary tastes and social conditions. Perhaps the most important development was the "rediscovery" of Petrarch by Cardinal Pietro Bembo

(1470-1547). Bembo was intensely interested in literature and desired to restore the prestige the Italian language once held before the passing of Dante and Petrarch. He was 3 the first to compile rules of Italian grammar (Le Prose della volgar lingua, 1525). In his prose writing he imitated the great Boccaccio {Decameron), but in his lyric poetry he strove to imitate Petrarch. His writings were instrumental in the revival of Petrarchan verse that lasted throughout the century.l The "higher" lyric verse forms popular at this time were the old canzone, sonnet, sestina, ballata, and the poetic madrigal proper (an entirely free-form structure not to be confused with the trecento form of the same name).2

The historical backdrop of these developments is, of course, humanism. At its core, humanism is the study of the linguistic and rhetorical traditions of classical antiquity. Of particular importance was the Latin translation, by Giorgio Valla in 1498, of Aristotle's

Poetics. Aristotle's placing of instrumental music as one of the imitative arts generated the pervasive sixteenth-century notion that music could move human emotions. Greek drama and its emphasis on clear textual declamation further focused the Renaissance composer's attention on text setting. It was in the madrigal that these ideas coalesced.3

The intent of the musical madrigal was to sensitively set poetic texts. This included choosing texts of literary quality with attributes suitable (to whatever degree) to mimetic treatment. This included composing music designed to mirror the text. Madrigals were through-composed works whose structure was determined by the composer's reading of the poem. Word painting in various forms was also a central component. The texture was varied; imitation and homophony alternated freely, and voices were often grouped in different ways. Another central characteristic of the madrigal was the disposition of voices, a texture in which every voice was equal and independent. The lowest voice

1. For more information on Bembo's role in the development of the madrigal, see Dean T. Mace, "Pietro Bembo and the Literary Origins of the Italian Madrigal," The Musical Quarterly 55, no. 1 (1969): 65-86. 2. For a more in-depth discussion of specific poetic forms comprising both the frottola and madrigal, see Don Harran, "Verse Types in the Early Madrigal," Journal of the American Musicological Society 22, no. 1 (1963): 27-53. 3. The New Grove Dictionary's "Humanism" article provides an excellent summary of musical humanism. 4 often provided harmonic support—particularly at cadences—but it also often carried the melodic line and participated in points of imitation.

The Italian madrigal was extremely popular and achieved a pan-European "market penetration." The wide consumption of this music established Italy (Venice in particular) as the printing capital of the world. French, Franco-Flemish, German, English, and even

Spanish composers all contributed to the madrigal repertoire.

1.2 The Development of the Madrigal

The first collection of pieces to bear the name "madrigal" was Madrigali de diversi musici: libro primo de la Serena (Rome, 1530). As was typical of the early prints, it contained a mixture of genres, including some French chansons. In it were found eight madrigals by Verdelot. A few years later (1533-34) the first two volumes of Verdelot's four-voice madrigals were published. They were immediately popular and were reprinted. A single- volume edition was published in 1540, which was reprinted numerous times over the following decades. 1537 saw the publication of a third four-voice collection, two books for five voices were published shortly thereafter, and in 1541 his first book for six voices was printed. By this time Verdelot was one of the acclaimed masters of the new genre.

Another such master published in Venice; namely, Jacques Arcadelt. The majority of his madrigals can be found in five books for four voices and a book for three voices, all published between 1539 and 1544. Arcadelt's first book, and more specifically the madrigal // bianco e dolce cigno, was wildly popular and is considered the epitome of the early, classic madrigal. This first book was reprinted no fewer than forty times before the mid-seventeenth century and is perhaps the most popular in the history of the genre.

The second quarter of the century saw the continuation of the genre at the hands of Willaert. While there is no evidence that Verdelot or Arcadelt ever lived in Venice, 5

Willaert played a central, physical role in the city's musical life. He lived there from

1527 until his death in 1562 and was the maestro di cappella at San Marco. Willaert's madrigals were not printed collectively until 1559 (Musica nova), but most were composed in the 1540s (as evidenced by correspondence of the time). Willaert (together with Rore) standardized the five-voice texture.4 Unlike Verdelot and Arcadelt, who preferred modern

Petrarchist poetry, Willaert focused his attention on Petrarch himself. It was Willaert who solved the "problem" of dealing with longer texts (namely, the sonnet) by setting them in two parts, and his works display a dense, motet-like texture.

The middle of the century saw a number of changes in the genre. First was the sheer volume of available texts. Petrarch remained popular, but other major modern poets such as Bernardo Tasso (the father of the famous Torquato) and Sannazaro also became very fashionable. This period also saw the rise of madrigal cycles. These works were collections of madrigals setting individual stanzas of larger poetic works (such as

Petrarch and Ariosto's Orlando Furioso).5 The other major development in the genre was the changing harmonic language.6

Cipriano di Rore is of course the representative composer of this period. His first books (for five voices, 1542 and for four voices, 1550) were almost equal to Arcadelt's first in popularity and number of reprints. Rore strongly favoured the five-voice texture.

Six of his ten books were specifically five voices, two were four-voice, and two were mixed.

He wrote a single six-voice madrigal {L'alto signor, 1557) and a single eight-voice (Amor se cost dolce, 1557). In his hands a new style of notation came to light, namely cromatico

4. The bulk of Willaert's madrigals are for five-voices, but most of his early work was for four, and there were a scattered few for six and seven voices. 5. The most notable publications include Antonio Barre's // primo libro delle muse a cinque voci (1555) and Berchem's setting of ninety-three stanzas from Orlando Furioso, Primo, secondo et terzo libro del capriccio di Jachetto Berchem con la musica da lui composta sopra le stanze del Furioso, 4w (1561). 6. The most important treatise that deals with harmony in the mid to late sixteenth century is Gioseffo Zarlino, Le istitutioni harmoniche (Venice, 1558). 6 or note nere.7 More than any previous composer, Rore was a reader and interpreter of the poetry. His musical settings went beyond the text itself and instead attempted to express what he saw as the fundamental meaning of the poem. This often resulted in his disregarding formal divisions in the texts (such as the 8/6 break of the Petrarchan sonnet) and to run lines together as appropriate. The third quarter of the century saw the continuation and development of the styles of Willaert and Rore by such composers as Orlando di Lasso and Andrea Gabrieli. This time period also saw the rise of the hybrid madrigals; that is, combinations of the madrigal and the lighter forms such as the villanesca.8

The year 1580 was pivotal in the history of the madrigal. It was the year Andrea

Gabrieli published his last book of madrigals and the year Luca Marenzio published his first. It was the beginning of the shift of important developments in the madrigal from

Venice to Rome, Ferrara, and Mantua. The most important composers of this time were

Marenzio (Rome, with ties to Ferrara) and Wert (Mantua, with ties to Ferrara). Both composers favoured the thicker vocal textures. Marenzio published six books for six- voices, nine for five voices, and only two for four. The only three-voice works Marenzio published were villanelle. Wert published eleven books specifically for five voices, a twelfth for four to seven voices, and a single book for four voices.

In their hands the madrigal became ever more ornamented and chromatic. While the classic madrigal was intended for amateur performance, music of this last half of the

7. This style is marked by the general use of shorter note values and a change in mensuration symbol from misura comune to misura di breve. The increased number of filled-in note heads created a blacker page (thus nere). The term cromatico is related to the word croma, which is an alternate name for the fusa, not harmonic chromaticism. The following journal articles are the central sources for discussions of note nere madrigals: James Haar, "The note nere Madrigal," JAMS 18 (1965): 22-41; Don Harran, "Some Early Examples of the Madrigale Cromatico," Acta Musicologica 41, no. 3-4 (1969): 240-6; Ruth I. DeFord, "Tempo Relationships between Duple and Triple Time in the Sixteenth Century," Early Music History 14 (1995): 1-51. 8. For an extensive discussion of the hybrid madrigal see Ruth I. DeFord, "Musical Relationships between the Italian Madrigal and Light Genres in the 16th Century," Musica Disciplina 39 (1985): 107-68; Concetta Assenza, La canzonetta dal 1570 al 1615 (Lucca: Libreria musicale italiana, 1997). ( century became more and more demanding. One can also see an ever-growing tendency for the overtly dramatic. Wert's late madrigals, for example, show two extremes of dramatic presentation. First is a style that can only be described as mannerist. In it Wert uses extremes of tessitura, jarring harmonies (such as the tritone), and sudden silences to express the meaning of the texts.9 The other extreme is almost pure recitation, in which the music is austere in its simplicity so as to not interfere with the text. This trend toward the dramatic was also reflected in the changing poetic tastes of this time.

The last quarter of the sixteenth century saw the rise of the pastoral (exemplified by

Guarini's play II pastor fido) and a return to the grand epic (as seen in Torquato Tasso's

Gerusalemme liberata).10

This brings us to the end of the century and the rise of the "seconda pratica." The most important composer of madrigals in this vein were Wert, Luzzaschi, Gesualdo, and of course Monteverdi at the turn of the century. The texts of this time became ever more intense and in some cases the texts were commissioned by the composer himself to fulfill such requirements.11 The harmonic language became more and more chromatic and the structure of the madrigal began to break down. By the turn of the century, the madrigal as a polyphonic, unaccompanied vocal work began to disappear, replaced, by composers such as Monteverdi, by the solo and continuo madrigals.

In this progressivist shuffle many composers have been overlooked or lost altogether.

The textbook, progressive view is not incorrect, but it is insufficient. Throughout the last part of the sixteenth century, madrigals in a more classical vein continued to be composed

9. Prime examples include Solo e pensoso and Giunto a la tomba, both published in Wert's seventh book of madrigals for five voices (1581). 10. For an excellent discussion of the mannerist/expressionist aspects of the late-sixteenth-century madrigal, see Susan McClary, Modal Subjectivities: Self-Fashioning in the Italian Madrigal (University of California Press, 2004). 11. Gesualdo's choice of texts and his relationship with Torquato Tasso in particular are discussed at length in Alfred Einstein, The Italian Madrigal (Princeton University Press, 1949), 688-717. 8 and published.12 The most important of these overlooked composers was Philippe de

Monte.

1.3 The Composer and His Music

Philippe de Monte was born in 1521. This is confirmed by an engraved portrait dated

1594 that states Monte was 73 at the time and also from the dedication of his Pastor Fido

(1600) which also gives his age. There exists no concrete proof of Monte's birthplace. For a long time it was thought that his last name was an Italianization of his birthplace, which would therefore be Mons. Certain sixteenth-century documents were discovered, however, that refer to him as "Philippus de Monte von Mechel," meaning he was born in Mechelen, in what is now central Belgium.13 His will mentions several relatives and confirms that he had at least two siblings. It is likely that he received his first musical training as a choir-boy at St. Rombouts Cathedral in Mechelen. It is known that he was employed in

Naples as an instructor to the children of a Genovese banker named Domenico Pinelli.

We know that one of the children began attending the university in Padova in 1552, so it was likely that Monte had to begin seeking other employment around that time. Seeing as his first book of madrigals (which was for five voices) appeared in Rome in 1554 with a dedication not authorized by him, it is likely he had left Italy by that time. There is still little known about these years. There is mention of a certain Philippe de Monte as a petit vicaire at the Cambrai Cathedral at various intervals from 1548-56, but it cannot be proven that this is the composer himself. If indeed it was, he appeared to have used

Cambrai as a sort of base as he worked in surrounding areas. Cambrai is of significance

12. An excellent treatment of the continuation of the unaccompanied madrigal after the turn of the century can be found in Keith Austin Larson, "The Unaccompanied Madrigal in Naples from 1536 to 1654 (Italy)" (PhD diss., Harvard University, 1985). 13. Brian Mann, The Secular Madrigals of Filippo di Monte, 1521-1603 (Ann Arbor, Michigan: UMI Research Press, 1983), 1. 9 to Monte's later life at the very least. We do know, however, that he was in England

1554-5 in the chapel of Philip II of Spain (when he was the consort of Mary Tudor). He left the court and returned to the Low Countries for an indeterminate amount of time.

In 1555 the imperial vice-chancellor, Seld, referred to Monte as one of the best singers in the Low Countries and an expert at musica reservata. In 1556 the Cambrai Monte is mentioned one final time as he was leaving his duties as petit vicaire due to illness.

Whether or not this was indeed the composer, he must have been on his way to Italy around this same time as a number of his madrigals appeared in anthologies, and he composed a dedicatory piece, II piii forte di Roma, for the wedding of Isabella de' Medici and Paolo Giordano Orsini in 1557. Monte must have been known in Venetian circles as well, since he was considered as the successor to Willaert as maestro di cappella at San

Marco in 1562.

Monte's most fertile period began in 1568, when he was appointed Kapellmeister at the court of Maximillian II in Vienna. Not unlike Bach in Weimar, however, he was not their first choice. Monte was at least third on the list, after Palestrina (who turned down the post because the salary was too low) and one Gabriel Martinengo. His duties included the recruiting of musicians for the court. The recruitment of a young female musician from Mechelen named Martha, the arrival of the Italian composer Stefano Rossetto, and the arrival of the young Giovanni Battista Dalla Gostena (a student of Monte's) resulted in a period of remarkably high quality chamber music at the imperial court.14

The wedding of the emperor's brother, Archduke Karl II, to Maria of Bavaria in Vienna in 1571 was an event of great importance during Maximilian II's last years. The chapels of Duke Albrecht V of Bavaria (under Lasso) and of the Archduke Karl (under Annibale

14. Robert Lindell, "Filippo, Stefano and Martha: New findings on chamber music at the Imperial court in the second half of the 16th century," in Atti del XIV congresso della Societa Internazionale di Musicologia, Bologna, 1987: Trasmissione e recezione delle forme di cultura musicale (Edizioni di Torino, 1990), 869-75. 10

Padovano) provided the music. Both Monte and Lasso received generous rewards for dedicating books of music to the emperor, and other important musicians were present

(for example Alessandro Striggio, Giulio Cesare Brancaccio, and Maddalena Casulana).

Monte provided Latin madrigals for two key events in the celebrations: the wedding banquet and an allegorical tournament.

Likely as a reward for his energetic efforts, Maximilian II appointed Monte as the

Treasurer at Notre Dame Cathedral in Cambrai in 1572. After Maximilian's death, his successor, Rudolf II, awarded Monte a canonicate at the same cathedral (1577), meaning that by this point at the latest Monte must have been a priest. However, Rudolf refused

Monte's request to retire to Cambrai to be close to his family. It is likely that Monte's relationship with the reclusive emperor became strained at this point.15 Rudolf II did not care much about music. He retained the musical establishment of his father, but more because music was a part of imperial presence. He had no interest in losing (let alone replacing) a musician as respected as Monte; but on the other hand, Monte certainly must have realized that he was nothing more than a part of the imperial machine. Despite this, it appears he made the most of his position and continued to be highly productive. The emperor was no longer a central dedicatee, however, and Monte cultivated a lucrative relationship with a wide variety of musical and religious patrons. Monte remained with the court and died in Prague in 1603.

One thing that we do have is a small but rich collection of extant letters.16 Two of the most recent discoveries are particularly frank. They consist of a letter to Rudolf II petitioning the immediate payment of certain arrears, and another in which he gives a

15. There exists a letter from Monte to Lasso dated 1578 in which Monte describes how Rudolph II had ridiculed his request to retire. 16. Robert Lindell, "Die Briefe Filippo di Montes: Eine Bestandsaufnahme," Studien zur Musikwis- senschaft, Austria 39 (1988): 37-54; Paul Bergmans, Quatorze lettres inedites du compositeur Philippe de Monte (Bruxelles: Academie Royale de Belgique, 1921). 11 detailed account of a dispute between three professional colleagues.17 Extensive corre spondence exists between Monte and one of his former pupils, Gian Vincenzo Pinelli, as well as a handful of letters to Orlando di Lasso. We know Monte and Byrd exchanged motets in 1583 and 1584, but the reason for the exchange, or whether or not there was additional correspondence, is unknown. Some say they became personally acquainted during Monte's time in England. Mann believes it is more likely that it was "a symbol of solidarity and support from one of Europe's most prominent Catholic composers sent to a younger English composer whose religion was under attack."18 In a letter from one Dr.

Seld in Brussels (the vice-Chancellor to Albert V of Bavaria) Monte was described as "a quiet, unassuming man, gentle as a girl," knowing Italian, Latin, French, and Flemish, and being "without any doubt the best composer in the whole country."19 And if the sheer volume of works he produced was not testament enough to his industriousness,

Monte had his motto engraved on a portrait done of him in 1594: "Riene sans peine"

(essentially, "no pain, no gain").

The word "prolific" is not adequate to describe Monte's output during his time at the Imperial court. He is credited with approximately 40 masses, 250 motets, at least

5 books of spiritual madrigals, 34 books of secular madrigals, and 1 book of French chansons (with an additional 22 chansons in other collections). What is conspicuous by its absence is German lieder. After 1567, Lasso published at least 90 German vocal works, mostly lieder, but also psalms and other sacred texts. We know Monte was completely fluent in German, and the language spoken at court was primarily German, so why no

German-language songs? This is question for another time, but it likely has to do with a stronger cultural connection between Vienna and Italy, and the much stronger sense

17. Richard Wistreich, "Philippe de Monte: New Autobiographical Documents," Early music history: Studies in medieval and early modern music 25 (2006): 257. 18. Mann, The Secular Madrigals of Filippo di Monte, 1521-1603, 8. 19. Gustave Reese, Music in the Renaissance (New York: W. W. Norton & Company, Inc., 1959), 295. 12 of German-ness in Munich. Monte's secular madrigals were very successful as evidenced by the number of reprints and his inclusion in various anthologies. His popularity and productivity reached a high point, however, in 1580. (Table 1.1 on page 14 lists just the books of madrigals he published during this time.) Starting with his ninth book for five voices (1580) his books were no longer reprinted (with the sole exception of his fourth for four voices (1581) which was reprinted once in 1588). This phenomenon was not unique to Monte. A look at the reprint history of Lasso's and Wert's works from around this time also shows a similar reduction in popularity.

As mentioned before, 1580 was a pivotal year in the history of the madrigal. It was a pivotal year in Monte's own creative life as well. Of specific interest are the dedications of his eighth and tenth books for five voices, both to his patron Rudolf II. They are unique documents that provide a rare insight into the political and cultural climate in which

Monte found himself.

Imperial Majesty, when we see that until now every one is doing his best

to lead music to greater perfection by means of a new style, it necessarily

follows that music has not yet attained the perfection that it might. Since I

am one of those whose profession is music, I have done all I could to find a

way to give more pleasure to those who should and can form a judgment on

it, but it is perhaps true that the more I try the less I succeed. Nevertheless, I

do what I can, particularly to give pleasure to those for whom it is necessary

in order to restore their spirits, wearied by the necessities of political life,

and if I deserve no praise for what I have accomplished, I at least deserve no

blame for my intention. ... Prague, May 4, 158020

Since one sees and knows from experience, Sacred Imperial Majesty, that

20. Translation from Mann, The Secular Madrigals of Filippo di Monte, 1521-1603, 242. 13

in the same way that men are dissimilar both in the physiognomy and in all

the parts of their bodies, they are also different in thought, taste and action,

it follows that things made by nature as well as by man's artifice, since they

are in greater or lesser conformity with [other] things made by nature or man,

will be more or less appreciated or abhorred by these men.

Speaking now of music, which is my profession, I can say that since the

harmony which music renders can only be appreciated because of that con

formity which it has with those who listen to it, every one who would give a

judgment in these matters can say with more reason, "this music pleases me,"

than say, "it is good because it pleases me." This is because one is accustomed

to making judgments concerning the quality of music, and of the variety of

proportions with which composers are accustomed to arrange the intervals of

their music, and [even] of the considerable trouble that it might have taken

to compose—all things hardly demonstrable at all.

It appears, then, that this diversity of opinion clearly demonstrates the

imperfection of both the art and its practitioners, since it can still be seen and

shown that men of great judgment customarily take delight in that manner

of music which does not normally please many of those who compose it. And

since there is so much room for error in all this, and even more if one sought

to force men's nature into making something which is contrary to their own

nature seem good to them; I have tried, and I am still trying, by a change

in style, to give some pleasure to those who have been little pleased with my

other compositions. .. .Vienna, 26 June 158121

Obviously Monte was well aware that tastes were changing, and that he was failing in his self-professed role as Rudolf's "David." It took six years for Monte to effect a

21. Translation from Mann, The Secular Madrigals of Filippo di Monte, 1521-1603, 245. 14

Book Year eighth book for five voices 1580 ninth book for five voices 1580 fourth book for six voices 1580 first book for five voices (spiritual) 1581 tenth book for five voices 1581 fourth book for four voices 1581 first book for three voices 1582 first book for six voices (spiritual) 1583 fifth book for six voices 1584

Table 1.1: Monte's madrigal publications between 1580 and 1584

substantial change in style, starting with his eleventh book for five voices in 1586.22

Before the 1580s, Monte's madrigals were of the serious type. He relied heavily (almost exclusively) on the poetry of Petrarch and of the neo-Petrarchists. The eleventh book for five voices was a complete break, and from 1586 through the 1590s he embraced wholeheartedly the lighter, homophonic textures of the canzonetta-madrigal. The last decade of his life saw a return to more melancholic poetry and a richer contrapuntal style as he returned to the more serious madrigal. During the transitional period of 1580 to

1584, the first book for three voices is stylistically anomalous, looking backwards than forwards, as will be shown in chapter 3.

In modern scholarship, Monte has not been entirely neglected. He warranted a place in a chapter heading and even a few pages of discussion in Einstein's monumental work.23

He is at least given a paragraph or two in all of the major summary works (Reese,

Atlas, Brown).24 His sacred works have been published in their supposed entirety in modern edition25 and two aborted attempts at publishing a complete series of his secular

22. Mann, The Secular Madrigals of Filippo di Monte, 1521-1603, 336. 23. Einstein, The Italian Madrigal, 498-511. 24. Reese, Music in the Renaissance; Allan W. Atlas, Renaissance Music: Music in Western Europe, 1400-1600 (New York: Norton, 1998); Howard M. Brown and Louise K. Stein, Music in the Renaissance (Upper Saddle River, NJ: Prentice Hall, 1999). 25. Philippe de Monte, Complete Works / Philippe de Monte, ed. Georges van Doorslaer, vol. 1-31 15

madrigals have resulted in the publication of four of his collections.26 An additional

one-off publication (of his seventeenth book for five voices) is also available.27 His name

appears in the journal literature from time to time, but most of the research focuses on

his biography.28 At least three dissertations deal specifically with Monte's sacred works;29

another three deal at least tangentially with his works in general;30 and at least four treat

specifically his secular madrigal output.31 Only three monographs deal specifically with

Monte himself.32 The two most recent and complete publications that discuss Monte and

his music are the published dissertation of Brian Mann33 and the Italian monograph,

Poesia e musica nei madrigali a cinque voci di Filippo di Monte (1580-1595) by Cecilia

Luzzi.34

(New York: Broude Bros., 1965). 26. Philippe de Monte, Philippi de Monte opera: New complete edition, ed. Rene Bernard Lenaerts, vol. 1-4, D (Leuven University Press, 1977-88), comprised of the first, second, third, and eleventh books for five voices. 27. Philippe de Monte, Madrigali a 5 voci (1595), ed. O Szabolcs Barlay and Janos Dobra (Budapest: Editio Musica, 1987). 28. For example: Lindell, "Die Briefe Filippo di Montes: Eine Bestandsaufnahme"; Pietro Revoltella, "Una lettera autografa di Filippo di Monte al nobile padovano Orso Orsato," Rassegna veneta di studi musicali 2-3 (1986): 297; Wistreich, "Philippe de Monte: New Autobiographical Documents." 29. Jacquelyn Hale, "The sacred motets of Philippe de Monte: An analytic overview of the "First Book of Five-Voice Motets" (1572)" (master's thesis, University of North Texas, 1997); George Albert Michael, "The Parody Mass Technique of Philippe de Monte (Volumes I and II)" (PhD diss., New York University, 1959); Paul Matthews Oberg, "The Sacred Music of Philippe de Monte" (PhD diss., University of Rochester, 1944). 30. Thomas Lloyd, "A comparative analysis of 18 settings of Petrarch's 'Tutto'l dipiango; e poi la notte, quando'" (DMA, University of Illinois at Urbana-Champaign, 1994), among others. 31. Raymond Clement Alexis Gobin, "The Madrigal Cycles of Philippe de Monte" (PhD diss., North western University, 1984), etc.; Robert Lindell, "A Study of the Six and Seven Voiced Madrigals of Filippo di Monte" (PhD diss., Universitaet Wien [Austria], 1980), etc. 32. Georges Van Doorslaer, La vie et les oeuvres de Philippe de Monte (Hildesheim, Germany: Olms, 1980); Cecilia Luzzi, Poesia e musica nei madrigali a cinque voci di Filippo di Monte (1580-1595) (Firenze: L.S. Olschki, 2003); Mann, The Secular Madrigals of Filippo di Monte, 1521-1603. 33. Mann, The Secular Madrigals of Filippo di Monte, 1521-1603. 34. Luzzi, Poesia e musica nei madrigali a cinque voci di Filippo di Monte (1580-1595). 16

Chapter 2

The Three-Voice Madrigal

The primary reason I have chosen to explore Monte's first book of three-voice madrigals is the texture. In the discussion of the madrigal, the importance of texture is largely ignored; the vast majority of madrigals are for four and five voices, and the three-voice texture stands somewhat to the side.1 By 1582, only seventeen three-voice madrigal books had been published, and these by lesser-known composers (with the exception of a book each by Festa, Arcadelt, and Gabrieli). In all, before 1600, only thirty volumes of three-voice madrigals were published (see table 2.1, page 34);2 whereas, many hundreds of madrigal collections for four or more voices were published by this same time. The three-voice texture also engages the composer in unique ways. Issues of counterpoint, voice groupings, and cadential hierarchy are all complicated by the thinner texture.3 The fact that this texture is so infrequent in the serious madrigal makes it a fertile field for focused study.

1. The three-voice texture was most common in the lighter secular forms (primarily the villanesca). Hundreds of such volumes were printed before 1600. The only monographs that deal specifically with the three-voice texture deal with it outside of the context of the madrigal: C.S. Adams, The French Chanson for Three Voices about 1550 (Madison, Wisconsin: A-R Editions, 1981); Andrew Kirkman, The Three- voice Mass in the Later Fifteenth and Early Sixteenth Centuries: Style, Distribution and Case Studies (New York: Garland Publishing, 1995). 2. The "Vogel" column refers to the canonical Bibliografia della musica italiana vocale profana pub- blicata dal 1500 al 1100 by Emil Vogel. In it, all known publications of Italian secular vocal music are listed and their contents cross-referenced with other publications. This is an invaluable resource, and it provides a method of uniquely identifying a given publication. 3. In the case of cadential description, for example, thicker textures allow for richer definitions. See: Putnam Aldrich, "An Approach to the Analysis of Renaissance Music," Music Review 30 (1969): 1-21; Glen Edward Ethier, "A methodology for the analysis of melodic accent in Renaissance sacred polyphony" (PhD diss., University of British Columbia, 1996). 17

2.1 The canzone villanesca alia napolitana

The three-voice texture was most commonly found in the lighter secular genres: partic ularly the villanesca, which first appeared in southern Italy in 1537. The name "canzone villanesca alia napolitana" is best translated as "peasant songs in the Neapolitan manner."

The adjective, villanesca, is derived from the noun, villano (rude, peasant, common), and was often used to describe diverse forms of dialect poetry. The villanesca is effectively a strambotto4 expanded by the addition of a refrain after each couplet.5

Figure 2.1 on page 19 shows a typical villanesca, entitled "La cortesia voi donne predicate" by Vincenzo Fontana. It is a characteristic example of the genre. It is a strophic song in which the uppermost part dominates the texture. The tune is made up of well-rounded melodic periods, every period corresponding to one line of the poem. Since formal subdivisions are short and often repeated, cadences occur frequently. The tune is supported by homophonic counterpoint with the occasional imitative pattern at the beginning of a phrase (see m. 16). The melodic and rhythmic patterns are closely tied to the accentuation of the text, which is set strictly syllabically. One common characteristic not seen in this piece is the phenomenon of truncated text, or text repeated unnaturally

(eg. "tu — tu — tu — tu mai lassato"). Patterns of repeated notes frequently occur, particularly in the refrain. Metrically unaccented cadences are common as a result of paroxytonic accents in the poetry.6 Not uncommon in the genre as a whole is a shift to ternary rhythms just before the cadence. Parallel fifths are also common at, or just preceding, a cadence (though not evident in this particular piece). The pace of a villanesca is light, but not necessarily dance-like.

4. The strambotto is most commonly a poem of eight lines with a rhyme scheme of ABABABCC. Unlike the ottava stanza, however, the line length and metre is not prescribed. 5. Donna G. Cardamone, The canzone villanesca alia napolitana and Related Forms, 1537-1570 (Ann Arbor: UMI Research Press, 1981), 38. 6. Paroxytone words (words with an acute accent on the penultimate syllable) are a characteristic feature of the Italian language as a whole. 18

The upper voice is supported by a bass line which moves primarily by leap, empha sizing harmonically decisive tones such as the tonic, dominant, and subdominant. The melody is essentially an ornamentation of the harmony, unfolding in step-wise patterns of short scales or figures which revolve around a central tone. The middle voice follows the tune closely in parallel thirds (with an occasional sixth). It has no melodic indepen dence of its own and is little more than a duplication of the top part. The total ambitus of a villanesca seldom exceeds two octaves. This particular one is even narrower. One exclusive feature of villanesca cadences, which one can see quite clearly in this piece, is the leading tone in the inner part rather than in the top. This is different even from the other lighter forms such as the French chanson and frottola. It is possible that this characteristic (almost invariable) disposition of voices is an attempt to recapture the sound-ideal of the performance tradition of the chordal accompaniment of popular tunes on stringed instruments.7

7. Cardamone, The canzone villanesca alia napolitana and Related Forms, 1537-1570, 129. 19

[7] La cortesia voi donne predicate

Vicenzo Fontana mmm^mmm 1. La cor- (e- si- a, la cor- te- sia voi 2. Se la dice- te, se la dice- te 3. Quan- do ve ten- go. quando ve ten- go 4. Va' fi- glia mi- a, va' fi- glia mia. ca

Tenor

1. La cor- te- si- a, la cor- te- sia voi 2. Se la dice- te, se la dice- te 3. Quan- do ve ten- go. quando ve ten- go 4. Va- fi- glia- mi- a. va' fi- glia mia, ca

Bassus te mmmmm^m ¥= ^fei^fefc 1. La cor- te- Sl- a, la cor- te- sia vol 2. Se la dice- te. se la dice- te 3. Quan- do ve ten- go. quando ve ten- go 4. Va' fi- glia nn- a, va' fi- glia mia, ca

^^mm^^M^Em^^m=mM m p^n donne pre- di- ca te. La cor- te- SI- a, la perche non me_a- ma- te, Se la di ce- te, se mente, ve n'en- tra- te, Quan- do ve ten- go, quan se voi pre- di- care, Va' li glia mi- a, va'

mm ^E ms mmm^m=^^^ donne pre- di- ca- te. La cor- te si a, la perche non raea- ma- te. Se la di ce- te, se mente, ve n'en- tra- te, Quan do ve_ ten- go. quan se voi pre- di- care. Va' fi- glia_ mi- a, va m fe?=^ m m donne pre- di- ca te, La te- a, la perche non mejt- ma- te, Se la dice- te. se mente, ve n'en- tra- te, Quan- do ve ten- go, quan se voi pre- di- care, Va' fi- glia mi- a, va' (a) page 1 of 3

Figure 2.1: "La cortesia voi donne predicate" from Orlando di Lasso and others, Canzoni villanesche and Villanelle , edited by Donna G. Cardamone (Madison: A-R Editions, 1981), 20-2. =a.:- :.-.... :4=: >-- 1 ^ itf-\--ro"...«t -it --*--•-H -+^ 4=r- — wm^^ ==W-= ._4_ —J- ^ •1 i -u — -4^ cor- te- si a voi donne pre- di- ca te. Ma 4— i. ma ma- i. ma ma- la dice- te perche non me a- ma- te, Et ha- i, et ha- i. et -do ve ten- go mente. ve n'cn- tra- te, E senza. e senza. e fi- glia mia, ca se voi pre- di- care. L'o- pe- re. To- pe- re, To-

^•-- **"ff T•--t t^==t w^~ -^m^= cor- te- sia voi donne pre- di- ca- te, Ma ma- i, ma ma- i. ma la dice- te perche non me a- ma- te. Et ha- i, et ha- i. et -do ve ten- go mente. ve n'en- tra- te, E senza, e senza. e li- glia mia, ca se VOI pre- di- care, L'o- pe- re. To- pe- re, l'o-

cor- te- sia voi donne pre- di- ca te. Ma ma l. ma ma- I, ma la dice- te perche non me a- ma te, Et ha i, et ha- i. et -do ve ten- go mente, ve n'en- tra- te. E senza, e senza, e fi- glia mia, ca se voi pre- di- care, L'o- pe- re, l'o- pe- l'o-

^mmmmmmm mai non l'os- ser- va- te. vi so di- hai pieta di tan- to mto mar- ti- senza cau- sa me voi far mo- -pe- re bo- ne ti bi- so- gna

^Pp^P^^P=fi=l pI^B^lPi^BI mai non l'os-ser- va- te, VI ta de- hai pieta di tan- to mio senza cau- me voi far -pe- re bo- ti bi- so-

pH mai non l'os- ser- te, vi so dire. l-i. Voi In de le s t'__ hai pieta di tan- to mio mar- ti- re. senza cau- sa me voi far mo- ri- -pe- re bo- ne ti bi- so- gna fa (b) page 2 of 3

Figure 2.1: "La cortesia" continued... 21

mmmmm. _ come dico i- o, Voi lo ve- de- te s'e come dico i- o, '^mm^^m^m come di- - co i- o, Voi lo ve- - de- le s'e come di- - co i- o,

:£=£=£=^ come dico i- o, Voi lo ve- de- le s'e come dico'- o,

Sol ch'io ti par- lo, (sol ch'io ti par- lo,) di- ci, "va' con di-

Sol ch'io ti par- lo, (sol ch'io ti par- lo,) di- ci, "va' con di- o,'

Sol ch'io ti par- lo, (sol ch'io ti par- lo,) di- ci, "va' con di-

I \ t ^ ij^=^l^^iip^p^#^^p|^^^^fi^ Sol ch'io ti par- lo, (sol ch'io ti par- lo,) di- ci, "va' con_ di- o. "

^i ±^M=^^Mmsi^mi^=^mmm Sol ch'io ti par- lo, (sol ch'io ti par- lo,) di- ci, "va' con di- (c) page 3 of 3

Figure 2.1: "La cortesia" continued... 22

2.2 The Classic Madrigal

The villanesca, however, must be differentiated from the classical madrigal for three voices, which has its roots in the madrigals of Festa and Arcadelt. The intent of the musical madrigal was to sensitively set poetic texts. This meant the composer also took on the role of poetic interpreter. The composer attempted to depict his or her understanding of the poem (both its meaning and structure) using variations in texture, cadential hierarchy, and various forms of word painting. Figure 2.2 on page 24 shows the first page of Arcadelt's "Come, donna, poss'io" from his first book of three-voice madrigals

(1542). Neither the music nor the text is strophic but are instead through-composed.

Like the villanesca, the music is still laid out in well-rounded melodic periods—essentially one period per poetic line—but the cadential structure is more nuanced. In the madrigal, the text rules, and the cadential structure usually takes into account the grammar and structure of the poem. One never encounters textual truncation or the repetition of incomplete text fragments (such as the "stutter" effect spoken of above) in the musical madrigal. For the most part, homophony is the exception. Even a cursory glance at the

Arcadelt score reveals the centrality of imitation and variety of counterpoint. Melisma is used with much more frequency in the madrigal than in the villanesca. Despite the paroxytonic nature of the Italian language, metrically accented cadences are much more common. The rules of counterpoint are more strictly followed (parallel fifths are avoided, for example), and the metre is much more stable. (The villanesca can switch quite freely from double to triple time.)

The disposition of voices is also dramatically different. While the total ambitus of the classical three-voice madrigal is only slightly wider than the two octaves found in the villanesca, the function of the individual voices is not at all the same. The melody of the piece is shared equally among the three voices. (For example, the alto voice opens the 23

Arcadelt madrigal.) The middle voice is completely independent of the top voice, and the bass is not simply a type of continue It does, however, provide harmonic support at the cadences, often making (or audibly avoiding) a V/I motion.

2.3 The Modern Classic Madrigal

The continuation of this classical style can be seen in the three-voice madrigals of Andrea

Gabrieli. Gabrieli was almost a decade older than Monte, but their first madrigals were published in the same year (1554). His first book for three voices was published in 1575 and was reprinted the same year as Monte's publication. It contains thirty madrigals, all of them between forty and sixty breves in length (a length common across the genre). The majority of the madrigals (twenty-two out of thirty) are settings of stanzas from Orlando

Furioso. Gabrieli selected three- and four-stanza groupings which he set separately but sequentially. This choice of poetic source is in and of itself "old-fashioned." Gabrieli's other works showed a much greater predilection for lighter, pastoral texts. The classic madrigal focused almost exclusively on Petrarchan and neo-Petrarchan poetry.

The four- and five-voice madrigals of the period were becoming increasingly "man nerist." They focused on poems with strong contrasts and metaphors, and they sought to depict as thoroughly as possible every suitable word of the text. (Marenzio's "Solo e pensoso" [1599] is an excellent example of this.) Gabrieli was an early part of this shift, but this book mimics the more restrained, classic style one sees in the works of Arcadelt and Verdelot. This approach favoured texts that provided some, but not a great number, of opportunities for mimetic treatment. Direct musical imitation still occurred, but the classic style emphasized a more rhetorical reading of the poem, rather than the poem being simple fodder for madrigalian pictorialism.

The madrigal, "Deh ferma, Amor," is an excellent example of the madrigals of this 24

me. don - na.

fl s

" Jon na. poss 1 o. Sen - za voi •• F h J. J)

*> • • "r- 0, Sen za voi lief a - ver

—J J P 1"— Sen - za voi lief a

B '° i

lief j - ver l"al ma e' de - sio. Se ben si

I'al ma e'l

pen-sic

- ser mai. Cre - • - - gia «

V seen - des - ser gia - mai. Cre - a - ti sol dal

mor a-seen - des - ser gia - ma - i. Cre - a - ti sol dal

Figure 2.2: "Come, donna, poss'io" from Jacobus Arcadelt, Opera Omnia, volume 7, edited by Albertus Seay (American Institute of Musicology, 1969), 187. 25 collection. (See figure 2.3, page 25 for the text. The music is found in figure 2.4, page 26.)

"Deh ferma, Amor" is the third in a four-stanza group taken from Orlando Furioso (canto

32, stanza 20).8 This stanza (like all the others in Orlando Furioso) is an ottava stanza.9

The imagery of the text is restrained, but images such as "free as the wind," "running,"

"fast," and "slow" are at least to a degree susceptible to musical representation. Musically, the equality of the voice parts is evident. The bass voice does display some harmonic function (primarily V/I motion at cadences), but it is no more separated from the other voices than it is in earlier madrigals. The true aesthetic ideal is polyphony, not a duet over a bass. The counterpoint is almost entirely imitative, but not canonic. Usually the point of imitation breaks down part way through, dissolving into free counterpoint.

Deh ferma, Amor, costui die cosi sciolto Oh stop him, Love, as he hastens away, Dinanzi al lento mio correr s'affretta; Free as the wind, and I run sluggishly after him; 0 tornami nel grado onde m'hai tolto Or restore me to the condition whence you took Quando ne a te ne ad altri era soggetta! me, Deh, come e il mio sperar fallace e stolto, When I was subject neither to you nor to anyone. Ch'in te con prieghi mai pieta si metta; Alas, how vain and foolish are my hopes Che ti diletti, anzi ti pasci e vivi Of ever winning you to pity by entreaties! Di trar da gli occhi lagrimosi rivi! You delight—yea, it is meat and drink to you— (Ariosto, ottava stanza, Orlando Furioso canto In drawing rivers of tears from people's eyes 32, stanza 20)

Figure 2.3: Text and translation of "Deh ferma, Amor" from Gabrieli's Primo libro de madrigali a tre voci (1575). Translation from: Andrea Gabrieli, Complete Madrigals 1, edited by A. Tillman Merritt (Madison: A-R Editions, 1981), xxix. (The author slightly altered the last couplet for length.)

8. These four stanzas are a soliloquy by Bradamant after waiting months in vain for the return of her beloved Ruggiero. The four stanzas go through the first few "stages of grief": shock and denial, "Ts it true then,' she cried"; pain and guilt, "He knows that I love and adore him"; anger and bargaining, "Oh stop him, Love"; reflection and loneliness, "But on what can I put the blame if not on my own unreasoning desire?" 9. An ottava stanza is a poem of eight endecasillabi with a rhyme scheme of ABABABCC. An en- decasillabo is a poetic line in which the primary stress is on the tenth syllable and a secondary stress either on the fourth or sixth. Most commonly these lines consist of eleven total syllables, but they can also have as few as ten or as many as twelve. In some extreme cases they can have as many as sixteen syllables. 26

[25] Deh ferma, Amor

Ariosto Terza Stanza / Canto \ for J J J,—-M Deh ferma„_A- mor, costui che r r r Z:=F M r M "Deh ferma,A- mor, costui che cosi scioi- to, che Basso \ 'f H - r~m PP^ 3^fc "Deh. ferma,A-mor, costui che

P'' p r r •t p ^ $=4 J J J> i' J' .h cosi sciol- to Di- nan- zi al len to mio correr s'af- M r r f H^ r r r cosi sciol- to Di- nan- zi al len to mio yp ff r r r t t r cosi sciol- to Di- nan- zi al len-

,U * J I J- J' -i- P r o_ tor- na- mi nel gra- do_pn-de m'hai tol- J ^ r r r M F r r M M r o tor- na- mi nel gra- do_on-de m'hai tol- to, onde m'hai tol- ?5PSt r r r r J. f p IT r o tor- na- mi nel gra- do_pn-de m'hai tol- (a) page 1 of 3

Figure 2.4: "Deh ferma, Amor" from Andrea Gabrieli, Complete Madrigals 1, edited by A. Tillman Merritt (Madison: A-R Editions, 1981), 63-5. to Quan- do nea te nd ad al- trie- ra sog- get- |" P P ^EE£E^ t- r r r r p J1' J> ^ ^^ - to Quan-do ne a te nead al- trie- ra sog- get- ta,ne_ad al-trie-ra sog-

•to Quan-do nea te ne_ad al- trie- ra sog- get-

ta! Deh,- mio spe-rar fal- la- ce_e J ^NF^ : r 9 -FJ f i i yM P {*• m~L —0- - get- ta! Deh, co- me_ejl mio spe- fal-la ce e stol-

Chc ti di- let- ti, anzi ti pa- scije vi-

P P r (T ? P P g

•let- ti. anzi ti pa- scie vivi, anzi ti

Che ti di- let- ti, anzi (b) page 2 of 3

Figure 2.4: "Deh ferma, Amor" continued... 28

J^ J^J) J) J^ ^ ^m ^ p F r r r E • vi, anzi ti pa- scie vi- Di trar da glk)c- chi la- gri- f p r CJI r * f r g^ "Mr r ^ • scie vi- Di trar da glipc- chi la- gri- ]*•• # f m M. yr T p ^P ti pa- sae vivi Di trar da gHoc- chi la-

30 J^ |7 |T

• mo- si, la- gri- mo- si di trar da 7 P^P ^ r yi F-M T Pf—M r •mo- si n- vi, la- gri- mo- si ridi trar da glipc- n r r p ^ gri- mo- si vi, di trar da glipc- r r r c J 1 J- glipc- chi la- gri- mo- si, la- gn- mo- si n- vi!" Mr r + r r J r 1" r- M r chi la- gri- rno- si n- vi, la- gri- mo- si ri- ^ y r r r ^ chi la- - gri- mo- si ri- vir (c) page 3 of 3

Figure 2.4: "Deh ferma, Amor" continued... 29

"Deh ferma, Amor" is in HypoAeolian mode and opens with the alto voice outlining the

Aeolian triad.10 As is common with madrigals of the 1530s and 40s, the piece elaborates itself by not only exploring the range of cadences surrounding the final, but also lightly- taken cadences to other degrees of the mode. The music opens with a head-motif in whole and half notes depicting the speaker's lament. Over the first few bars the note values diminish, and by the first cadence (m. 6), the motion is primarily in quarter and eighth notes. This cadence is on C, lightly taken, with the alto voice being the only one to cadence, and it does so on the first word of the next line of text. This completely elides the first and second lines of the poem. From here, the note values continue to diminish with the exception of the dotted half note used in measure 6 to set the word lento (slow). The pace continues to quicken, finally resulting in a flurry of sixteenth notes in measures 8 and 9. This gradual diminution is used to depict the sense of the verb affrettarsi (to hasten or to hurry) that ends the couplet. This first period ends on a structural cadence on the final, A, that is significantly stronger than the first at measure 5, but is still attenuated by the dropping out of the basso before completing the leap to A from E. This period encompasses the first couplet of the poem, and its cadences coincide well with the text, whose only punctuation is the final semi-colon (a strong, but non-terminal, punctuation mark). Despite the apparent contrapuntal skill of this particular section (it is indeed intended to set this specific text), the text and music are coupled quite loosely. Compared to the mannerist works of the likes of Gesualdo and Monteverdi, Gabrieli displays a certain neutrality that could be considered "classic reserve."

The opening head-motif returns in measure 10 to set line 3. The only modifications

10. While the distinction between authentic and plagal modes in polyphony is a largely academic one, the fact that the authentic reciting tone, E, is completely avoided at cadences, but the plagal reciting tone, C, is recurring, a classification of HypoAeolian seems appropriate. (See figure 2.5, page 32 for structural cadence pitches.) 30 are due to the altered entry order of the voices. As before, this phrase also ends with a very lightly-taken cadence on the mediant, C, in measure 14. This cadence is even weaker than its counterpart in measure 5 as no voices actually sing the cadence pitch. (The alto voice instead sings the fifth above the C as it starts the next line of poetry.) The extreme diminution seen in the first musical period was specific to the text, so the specific mode of continuation seen in measures 14-20 is different, but the music is strikingly similar regardless. First of all, all three voices start with the opening figure of measure 6 (three eighth notes followed by a quarter or half note). Secondly, the melodies still focus on the same key pitches (see figure 2.6, page 33). The cadence in measure 17 is strong and structural. The cadence pitch is sounded in all voices simultaneously, approached in the bass voice by a strong leap of a fifth. The strength of this cadence further emphasizes the initial quatrain as both a fundamental structural unit (the first half of the stanza) and the end of the first complete grammatical unit (terminated by an exclamation point).

The next line of poetry is set with a similar head-motif to that of lines 1 and 3.

While the gesture is recognizable, the pitch content has changed. Instead of outlining a triad on the final, the voices here sound a minor triad on D. This shift is yet another example of the subtleties embodied by the classical style. It is at this half-way point in the stanza that a fundamental shift takes place in the tone of the poetic voice. It moves from a pathetic entreaty to a railing against fate. Despite the opening on D, this phrase still cadences on C. This is the strongest C cadence so far with all the voices arriving simultaneously, two of the three voices sounding the cadence pitch, and the bass reaching the C by a strong fifth leap. The phrase is still mercilessly elided with line 6, however, the transition taking place in a string of homorhythmic eighth notes (the three-eighth note figure from measure 6). This setting of line 6 is unique in the work in that it is the only section in strict homorhythm. This texture provides a prayer-like background for the words prieghi (prayers or pleas) and pietd (pity or mercy). Again unlike the previous 31 two musical periods, this period cadences in measure 23 on D instead of A. This is a structural cadence, attenuated only by the alto voice's immediate continuation to the next line of text.

From this point on, there is the barest of similarities with previous music. (There is still an echo of the figure heard in measures 6, 15, and 21: three eighth notes followed by a quarter or half note.) This last section, as in many of the madrigals of the classic period, presents a more complex point of imitation in a quasi-stretto which is repeated with alternation and variation through to the end. The rhythm of line 7's music is quick and light, primarily composed of eighth and sixteenth notes. This lilt serves to ironically highlight the verb dilettarsi (to enjoy oneself) as well as evoke the pastoral allusion of the verb pascere (to graze). The irony is made apparent in the final line where it becomes known what exactly the subject "feeds and lives" on: the pain and suffering of others.

The final line is repeated twice with nearly identical music. The constantly descending lines clearly denote the rivers of tears spoken of in the text. The piece ends with the plagal cadence to the tierce de picardie, stereotypical of pieces in the Aeolian modes.

If one examines the thematic similarities between the music for each line of poetry, one can easily hear an even higher level structure. While there are definite alterations, the music used to set each of the first three couplets is essentially the same. The music of the last couplet is altogether different. This maps excellently with the standard ottava rhyme scheme (which happens to be the one used in this stanza) of ABABABCC and embodies a classic sense of proportion and balance.

So, while madrigalisms are present in a modest way, Gabrieli is more concerned with setting the rhetorical meaning and structure of the poem into music than with depicting individual words. Musical and poetic cadences are planned to coincide, and the weight of the cadences match as closely as possible. Together with the lack of mannerist chromaticism, this approach is characteristic of early madrigal writing, which by 1575 32 was already considered "classic."

For this and the other madrigals analyzed in this study, a diagram of the cadence tones is provided. (See figure 2.5 on page 32.) The diagram begins and ends with a whole note representing the final of the piece. The major cadence points are then presented. Empty note heads represent strong, structural cadences. Filled note heads represent evaded or lightly-taken cadences. The slurs link the evaded cadences to the structural cadence to which it belongs. These diagrams are useful in determining the mode of a piece and provide a way of visualizing its modal structure. Note that unlike Classical music, in which the the very point is the opposition of tonalities and the ultimate resolution of that tension, modal music focuses on the final. Cadences on other pitches and the occasional modal mixture do not represent departures from that final as much as a brief, exploratory look. This mode of composition persisted well into the Baroque era.

*•» - a - a - t»- #

Figure 2.5: Cadence tones in Gabrieli's "Deh ferma, Amor" (HypoAeolian mode) 33

-M—\ -*. _ Kt iU «-.•=- :r * -•• r lo l)i- ii .in /i.i kn m mio correr s JI- - • a .*.. >© i -r_- .--" 'ii- M Swli'l- Ii> Di- ii.m /ial U-ii- to I1H

fi"^ V-- ... T. ." r

ktl SI Mini- 111 P.nl l I Lll

*-*' tret- i*spii§ ta: *=#- m / -

- rcr s"af- frei I.I i.i i* LCI s'at- tret- ta. * +- m

to miii un K' s .ii 1101 -10

» fl -~*^ *=F r-- V- ^SSP* to Quan-1 do nca le nead ul- tri ra sog- get-

» - 7*

•tii Quan-do ncj te ncid a! L*t- M ns-.iu.il- lilt" r.i •.!•>,

^^ -to (Juan-Jo nfa tt" ncad.il- inc cct-

fer*^--* . k r- la' Dfh._ me £• it mio spe-i ,sr tal- la- OJcj tol-

3^==^-^=^:^=^==;^ g^i: -7—r- .'^

I la! Deh co nitfejlmiiispc I lar fal-la- vtl'l

-JE fi—

ta' Deh.. _ mcc.il miospc-rai ial-la- stol-

(b) measures 14-20

Figure 2.6: "Deh ferma, Amor" measures 5-10 and 14-20. Key pitch similarities in the music for lines 2 and 4 of the poetry. 34

Table 2.1: Three-voice madrigal collections published before 1601.

Vogel Title Year Composer(s)

2602 I Madrigali a tre voci con alcuni alia 1541 Girolamo Scotto

misura breve

971 Di Constantio Fest il Primo Li- 1541 Costanzo Festa, Jehan Gero,

bro de Madrigali a tre voci, con Clement Janequin

la gionta de quaranta Madrigali di

Ihan Gero... Aggiuntovi similmente

trenta Canzoni francese di Ianequin

93 Primo Libro di Madrigali 1542 Jacques Arcadelt, Costanzo

d'Archadelt a tre voci, insieme Festa

alcuni de Const. Festa. Con la

gionta di dodese Canzoni francese

et sei Motetti novissimi.

1146 Quaranta Madrigali di Ihan Gero 1543 Jehan Gero, Clement

insieme trenta Canzoni francese di Janequin

Clement Ianequin. A tre voci

973 11 vero Libro de Madrigali a tre voci 1547 Costanzo Festa, Giacomo

Fogliano

974 11 Primo Libro di Madrigali a 1551 Costanzo Festa, Giacomo

tre voci novamente ristampato (No Fogliano

original is listed. Possibly a reprint

of Vogel 973 above.)

Continued on next page 35

Table 2.1 - continued from previous page

Vogel Title Year Composer(s)

1181 11 Primo Libro di Madrigali a tre 1551 Andrea Gabrieli

voci a note negre

1147 Ihan Gero Primo a tre 1553 Jehan Gero

1319 11 Primo Libro de Madrigali a tre 1554 Hoste da Reggio

voci

1150 Di Ihan Gero il Secondo Libro di 1556 Jehan Gero

Madrigali a tre voci

2604 11 Secondo Libro delle Muse, a tre 1562 Hoste da Reggio

voci

85 11 Primo Libro de Madrigali, a tre 1565 Giovanni Animuccia

voci, di Gio. Animuccia. Con al-

cuni Motetti et Madrigali spirituali,

non piu stampati.

2605 Madrigali a tre voci 1570 Hoste da Reggio

1028 Libro Primo de Madrigali a tre voci 1575 Andrea Gabrieli

1572 11 Primo Libro de' Madrigali a tre 1577 Silvio Marazzi

voci

1831 11 Primo Libro de Madrigali a tre 1580 Claudio Merulo

voci

2909 11 Primo Libro de Madrigali a tre 1582 Pietro Vinci

voci

Continued on next page 36

Table 2.1 - continued from previous page

Vogel Title Year Composer(s)

735 Primo libro dei madrigali per 1582 Philippe de Monte

tre voci

713 11 Primo Libro delli Madrigaletti a 1586 Rinaldo del Mel

tre voci

3021 11 Primo Libro de Madrigali a tre 1589 Pietro Vinci

voci

593 La fausta Selva. Madrigali a tre 1590 Oratio Colombani

voci.

711 11 Primo Libro delli Madrigaletti a 1590 Rinaldo del Mel

tre voci. Nuovamente rimessi in-

sieme...

1484 Madrigali a tre voci di... Libro 1590 Domenico Lauro, Francesco

Primo. Stivori

295 Madrigali a 3. a 4. a 5. a 6. a 7. et 1591 Paolo Bellasio

a 8. voci

511 Madrigali novi a tre voci 1591 Jean di Castro

1206 11 Primo Libro de Madrigali a tre 1592 Francesco Gianelli

voci

712 11 Secondo Libro delli Madrigaletti 1593 Rinaldo del Mel

a tre voci

196 11 Primo Libro de Madrigali a tre 1594 Ippolito Baccusi

voci

Continued on next page 37

Table 2.1 — continued from previous page

Vogel Title Year Composer(s)

716 11 Terzo Libro delli Madrigaletti a 1594 Rinaldo del Mel

tre voci

2322 Madrigali a tre voci... con due 1595 Sebastian Raval

Madrigali a cinque voci, et un

Madrigale ad otto voci

60 Madrigali a tre voci de Felice Anerio 1598 Felice Anerio

romano 38

Chapter 3

Monte's Three-Voice Madrigals: An Analysis

This book was commissioned by the publisher Angelo Gardano and was dedicated to

Madelena Casulana (fl. 1566-83, whose three books of madrigals were the first by a woman to be printed). In full, the dedication reads as follows:

Seeing that the genre of three-voice madrigals was almost extinguished (a

kind of music so delightful and natural, and, when it comes from a good hand,

so perfect and excellent), I decided to resuscitate it and return it once again

to the world. For this reason I turned to our most excellent Lord Filippo di

Monte and asked him if he would wish to be of some help in fulfilling my

intention. This he did most liberally, as is customary with his gentle nature,

and merit Your Ladyship, who is a great connoisseur of this and all other

forms of gentility.

It will happen, perhaps, that seeing these [madrigals] made welcome in

the world, I shall gradually turn to some other excellent musicians and ask

them, by favoring me with some similar compositions of theirs, to help this

honorable idea of mine, just as I already ask Your Ladyship, a woman of such

estimation and reputation in things such as these. For thus did that one judge

you, who in his poetry worthily called you "the Muse and Siren of this our

age." Like him, I give you every reverence, kiss your hand, and recommend

myself to you forever.

Venice, 20 August, 1582

Your Ladyship's servant, 39

Angelo Gardano1

As previously discussed, the three-voice madrigal was never mainstream, and such collec tions were rare. It appears Gardano wanted to stimulate a greater focus on this particular texture. By this time, the madrigal was becoming ever more ponderous; eventually it collapsed under its own weight. Perhaps Gardano's intent was to keep alive the ease of counterpoint and classic clarity found in the early (specifically three-voice) madrigal, unsullied by the villanella, canzonetta, and extreme mannerist affectations of the late- sixteenth-century madrigal. While Monte had not yet published any three-voice works, he was an established traditionalist, and he would have been a logical choice as the first composer in Gardano's planned series. Regardless, Monte's book appears to be a singular collection, for there is no evidence that Gardano ever commissioned another work of this type, nor did such works appear in any greater number after the publication of this book.

Like Gabrieli's, Monte's three-voice madrigals are most emphatically not dressed-up villanellas or canzonettas but are madrigals in the fullest sense of the word. Instead of the treble-dominated, strophic structure of the more popular forms, these madrigals demonstrate an independence of line and are through-composed. They embody a classical style—a return to the simpler madrigal idiom of Arcadelt and Verdelot. The total ambitus of the works are only slightly wider than two octaves on average (never more than three), the rhythms are straightforward, and chromaticism (in the "mannerist" sense) is almost non-existent. Regarding vocal parts, it is clear that for Monte the designations "canto,"

"alto," and "basso" were relatively abstract, representing roles more than specific vocal ranges. Seventeen of the twenty-nine pieces are set with an SAT (Cl, C2, C4 or Cl, C3,

C4) texture.2 There is only one piece that is written with an actual bass clef; namely,

1. Translation found in Mann, The Secular Madrigals of Filippo di Monte, 1521-1603, 248. 2. This is the terminology generally used in current madrigal discussions with respect to cleffing. The issue is a thorny one because it is by no means clear that the modern understanding of the soprano, tenor, or bass clef was understood to belong to a specific voice type (which happens at least by the time 40 the TTB-textured madrigal "S'io odo alcun felice" (C3, C4, F4). The remaining eleven are set with at least one G clef, and in two instances (the madrigals "Dolce mia vita" and

"Piango, che Amor") there are two G clefs, producing what is essentially an all-soprano texture (G2, G2, C2 and G2, G2, C3). (See table 3.1 on page 40.)

Table 3.1: Mode, Mensuration, and Cleffing in Monte's first book of three-voice madrigals

Madrigal Mode Mensuration Cleffing

1 Dorian * CI, C2, C4

2 G Dorian * CI, C2, C4

3 Phrygian * CI, C2, C4

4 F Ionian * G2, C2, C3

5 Hypolonian * G2, CI, C3

6 Mixolydian * G2, CI, C2

7 HypoMixolydian * CI, C3, C4

8 HypoAeolian * CI, C3, C4

9 Dorian C CI, C2, C4

10 Dorian C CI, C2, C4

11 Dorian mixed CI, C3, C4

12 G Dorian C CI, C3, C4

13 G HypoDorian c CI, C3, C4

14 G Dorian c C3, C4, F4

Continued on next page

of Bach). The terminology used here attempts to be precise in the designating of where the ambitus of the part lies while intentionally not addressing the somewhat unanswerable question of which vocal type the part was intended for. This issue is further complicated by the fact that a fixed pitch standard simply did not exist at this time, and parts could be transposed arbitrarily to fit the available singers. 41

Table 3.1 - continued from previous page

Madrigal Mode Mensuration Cleffing

15 Phrygian C CI, C3, C4

16 Phrygian C CI, C3, C4

17 Hypolonian c G2, G2, C2

18 Ionian c G2, CI, C3

19 Mixolydian c G2, CI, C3

20 Mixolydian c G2, C2, C3

21 HypoAeolian c CI, C3, C4

22 Aeolian c CI, C3, C4

23 G Dorian c G2, C2, C3 24 F Ionian c G2, C2, C3

25 Aeolian c G2, C2, C3

26 Aeolian c G2, G2, C3

27 Mixolydian c CI, C3, C4

28 Dorian c CI, C3, C4 29 Mixolydian c CI, C3, C4

Over his career, Monte set more of Petrarch's poetry than any other madrigal com poser. While his preference gradually shifted to the neo-Petrarchists, such as Bembo and

Sannazaro, he still focused almost exclusively on "serious" texts. It is not until 1586 and his eleventh book of five-voice madrigals that Monte finally embraced the pastoral, epi grammatic works of Tasso and Guarini. This book of three-voice madrigals is composed exclusively of neo-Petrarchan verse, and it is one of only two collections whose texts are 42

drawn solely from the so-called poeti minori (minor poets).3 As such, these texts are

generally difficult to find. Many of the authors are unknown, and very few have modern

collected works. (Specific information on the poetry sources can be found in part 2.)

With the villanesca and the classic madrigal as formal prototypes, one can now ap

proach Monte's madrigals with sufficient context. I have chosen three madrigals that are

representative of the book as a whole: the second, "O beata colei" (music on page 99,

text in figure 3.1 on page 42); the eighth, "Vago monte" (marked-up score on page 48,

text in figure 3.3 on page 45); and the twelfth, "Volentier canterei" (music on page 143,

text in figure 3.6 on page 52).

3.1 "0 beata colei"

O beata colei, ch'al fin puo dire, 0 blessed is she who in the end can say: Io tenni un senza cor molt'anni in vita. 1 kept alive for many years one without a heart. Io gli fei parer dolce ogni martire I made every pain appear sweet Ne l'eta sua piu bella, & piu fiorita; In his most beautiful and happy age. Ne gli lasciai provar gli sdegni, & l'ire I did not allow him to experience the scorn and Del timor, ch'a morir gli amanti invita; rage Et quel, ch'a l'un fu caro, a l'altro piacque; Of fear, which invites death to lovers; Perch'io sua tutta, & ei mio tutto nacque. And what to one was dear, to the other it (Lodovico Martelli, ottava stanza) pleased, Because I was his everything, and in me all was born. Figure 3.1: Text and translation of "O beata colei" from Monte's Primo libro de madrigali a tre voci (1582). Translation by author.

The text for "O beata colei" is an ottava stanza with the not-uncommon rhyme scheme variant, ABABABAA. It is set in G Dorian mode and opens with an expansive step-wise

ascent (inverted in the bass voice) in half and quarter notes. Given the relatively quick

3. This phrase, "minor poet," is one commonly used in the discussion of Italian poetry. It does not carry the pejorative connotations common to the English word; rather, it is an indication of a poet's output and dissemination. Such poets include Bernardo Tasso, Francesco Maria Molza, and Remigio (Firoentino) Nannini—all well-respected poets, but none producing the output of Bembo or Torquato Tasso. 43 motion one hears in the rest of the piece, this opening figure provides a serene, church-like backdrop for the word beata (blessed, blissful). The clear cadence on F in measure 7 is elided with the next line—a homorhythmic declaration of the spoken text which makes up the second line of the poem. This line (terminated by a period in the text) ends with an emphatic cadence on D in measure 13. It is interesting to note Monte's slight reworking of the text in the bass voice. It is unclear why he felt this was necessary. The alto voice has an almost identical figure, and the alto's underlay would fit fine (better in fact) under the bass voice. This is the only instance of such reworking in the collection.

Lines 3 and 4 are a single grammatical unit with no intermediate punctuation. Monte reflects this musically by utterly denying the cadence one expects to arrive on G in measure 19, the end of the third line of the poem. The introduction of the E flats in the setting for line 4 changes the sound of the mode to that of G Aeolian. The line even cadences in measure 22 on a tierce de picardie, stereotypical of Aeolian pieces. Similar mode mixture is heard in "Vago monte" (the eighth madrigal of this collection, discussed below). There, however, it serves a rhetorical purpose. In "O beata colei," the modal shift does not appear to serve any mimetic function.

Lines 5 and 6 are likewise a single complete thought, and the lines have no separating punctuation. Monte again completely avoids the first cadence (on F on the downbeat of measure 30) and ends with an emphatic cadence on D in measure 34. This time, however, Monte makes doubly sure we are expecting that first F cadence. In measures 25 and 28 Monte teases the listener with fleet, lightly-taken, but resolved internal cadences on F. The result is an even greater sense of denial when the primary cadence is seemingly ignored.

The final couplet is comprised of two self-contained (but still connected) grammatical units, separated by a semi-colon. The modal mixture continues through line 7—the bass voice rife with E flats. Line 7 terminates with a strong cadence on G in measure 42. The 44 cadence is attenuated by the lingering sound of the E flat and the inner voice dropping out instead of resolving the leading tone. The sense of G Dorian is firmly re-established, however, in the last period and the final affirmed by an emphatic cadence on G at the end of the piece.

All the aspects of the modern classic madrigal discussed in the previous chapter can be seen in this piece. Explicit word painting is not the central goal; in fact, the text provides very few opportunities for such. Words that would have been seized upon by the likes of Marenzio and Gesualdo—martire (pains), fiorita (flowered, flourishing), or ire (anger, rage) for example—are ignored by Monte. What is most valued is a musical emulation of the structure of the text.

O ^"~V 0 O m~~\ O O I ^~o ^~o

Figure 3.2: Cadence tones in Monte's "O beata colei" (G Dorian mode) 45

3.2 "Vago monte"

Vago monte, fiorite ombrose piagge, I wander the mountain, the flourishing shady Lago d'ogn'altro piu lucente, e chiaro, shore, Gai uccelletti, adorne Ninfe, e sagge, A lake more bright and clear than any other, Ch'udito havete il mio lamento amaro Cheerful little birds, beautiful and wise Nymphs, Se mai fortuna il mio bel sol qui tragge, You all heard my bitter lament. Che de la luce sua m'e tanto avaro, If only fortune would draw my beloved Sun here, L'angoscie mie dirle vi piaccia, come For she hides her light from me. Morte ogn'hor chiamo, e lei sola per nome. Of my anguish, please inform her, and how I call (Gandolfo Porrino, ottava stanza) upon Death every hour, and her alone by name.

Figure 3.3: Text and translation of "Vago monte" from Monte's Primo libro de madrigali a tre voci (1582). Translation by author.

"Vago monte" is another ottava stanza with the rhyme scheme ABABABAA, set in

HypoAeolian mode. The counterpoint is strictly imitative. The opening figure unifies the entire piece. Almost every line of poetry is set with some variation of this motive. (Refer to the marked-up score found in figure 3.5, page 48 to see occurrences of the motive throughout the piece.) The opening declaration is followed by a rest, mirroring the comma in the poetry. This first line ends with an lightly-taken cadence on C (m. 4) that clearly overlaps with the following musical phrase. The second line ends with a structural cadence on A (m. 8). While a strong cadence might not be expected given the poetic text (the third line being a continuation of the initial grammatical unit), it is possible to grammatically break at this point and still keep the sense of the poem. As punctuated, the second-person plural subject associated with the verb in line 4 ("ch'udito havete" or

"have all heard") refers to all the nouns enumerated to that point (the mountain, the shore, the lake, as well as the nymphs and birds). By breaking at the end of the second line, Monte chooses to associate the initial places solely with the verb vago (I wander) and associates the birds and nymphs solely with the verb udire (to hear).

The third line is set with eighth-note motion depicting the happy birds and nymphs and ends in measure 12 with a clear (but attenuated) cadence on G. The cadence is 46 weakened by lack of the basso voice and the immediate continuation of the next line.

The fourth line continues with the primarily quarter note movement established to this point but abruptly slows to half and whole notes over the words lamento amaro (bitter lament). The C cadence that ends this line (m. 17) is the strongest yet. The C is sounded in the canto and basso voice and held for a full whole note. The only weakening is the alto's immediate continuation of the text. While the text has no punctuation here, it is indeed the end of a grammatical unit. This edition's English translation also breaks at this point.

In line 5 (m. 20), the word sol (sun) is subtly coloured with an ascending eighth note figure denoting the rising of the sun for which the poetic voice is longing. The

Phrygian E cadence at m. 22 is relatively strong, again only attenuated by the immediate continuation to the text of line 6 in the bass voice. Starting in measure 19, C sharps and F sharps begin to appear frequently. The result is a type of mode mixture that is unusual for a piece of such a short length. The C sharp creates a type of internal tierce de picardie sound (commonly heard in Aeolian pieces). The F sharp, however, gives the sense of A Dorian. This unusual change in sound coincides with a shift in the tone of the poem. The first tercet is almost bucolic, and the musical setting is likewise benign.

In the last five lines, the poetic voice begins to express his or her longing and desire.

The modal mixture creates an appropriate feeling of tension and pain. While line 6 does technically end with a cadence on A, one would have a difficult time hearing it. The cadence pitch is first reached by the basso at m. 25 and is held for a full dotted whole note. By the time the canto and alto voices reach their goal pitches of C sharp and E, the A is all but forgotten.

The eighth note movement of line 6 is abruptly transformed to motion by quarter and half notes as the music of line 7 highlights the words I'angoscie mie (my anguish).

This is further aided by the C/C sharp cross-relation between the canto and alto voices 47 at the beginning of the phrase. The line ends with a clear Phrygian cadence on A at the downbeat of measure 32. The modal mixture continues almost to the very end of the piece, constantly portraying the pain and frustration of the speaker. The piece ends with a strong cadence on the final, A.

In this madrigal, Monte imposed his personal reading of the poem's grammar and structure without regard for the poem's original punctuation. This is a practice intro duced by another of the classic madrigal composers, Cipriano di Rore. This is not to say, of course, that one reading is preferred over another. By eschewing terminal punc tuation until the very end of the poem, the poet conveys the sense of wandering and aimlessness introduced in the very first line. Monte could just have well mirrored this intent by avoiding all but the final cadence. Instead, he chose to highlight the concrete meaning of the text by breaking it into logical grammatical units. Note, too, that despite the mode mixture in the second half, the structural cadence pitches outline the A-minor triad (figure 3.4, page 47).

y —^% r —rj n m fj M vs(ft\y O m>- * *»

Figure 3.4: Cadence tones in Monte's "Vago monte" (HypoAeolian mode) 48

8. Vago monte, fiorite ombrose piagge from II primo libro de madrigali a tre voci (1582) Gandolfo Porrino Philippe de Monte

J- 60 Canto ft ES Va - go mon - te flo - ri - te om-l

Alto :^=3EE £==

Va - go mon-te Basso ft W3^ Va - go mon - te fio -

^^ bro - se piag ge La - go d'o-gn'al - tro piii lu - cen -_ *— m —C- —^— =&

fio - ri-te_pm I bro - se piag - ge La go d'o-gn'al - tro r r feSEfe ^ ri-te_pm - bro - se / piag ge La go d'o - gn'al-tro piii_

Lightly-taken cadence on C 1 J JM } } J te e chia Gai uc-cel \ let-ti a-dor - ni Nin m

piu lu - cen-te_e chia - ro Gai uc-cel- 7 F P p M lu - cen - te_e chia -/ ro Gai uc-cel-let-ti_a-dor - ni

(a) page 1 of 4

Figure 3.5: Marked-up score of Monte's "Vago monte.': 49

r Mini fe_e sag Ch'u - di - to haA

m P= let-ti a-dor - ni Nin fe_e sag Ch'u di - to have - te il

Nin - fe_e sag - ge Ch'u-di - to ha - ve-te il mio la Clear cadence on G

ipp ve-te il mio la men - to a Se mai for- w * la - men to ama - ro se mai for tu - na il mio bel W to a - ma I ro se mai for-

Strongest cadence yet, on C

n? u tu na il mio bel sol_ qui trag ge Che

sol qui trag ge £S v^-* tu - na il mio bel sol_ qui trag - ge Che de la

Strong Phrygian cadence on E (b) page 2 of 4

Figure 3.5: Marked-up score of Monte's "Vago monte" continued... 50

^3B P^ de la lu - ce sua m'e tanto a-va { ro m'e tanto ava ro L'an-go feS: ^^ Che de la lu - ce sua m'e tanto_ava 4 ro L'an - go- * p pr lu-ce sua m'e tan - to a - va L'an - Drawn out. attenuated cadence on A

scie mie dir le vi piac cia , m— —m—0- dfc^H scie mie dir le vi piac cia co- r r r go - scie dir - le vi piaccia

#FH^

me Mor te_pgn'hor chia mo e lei so - la per 1 —<2

me Mor te_pgn'hor chia lei so la P^ me \ Mor-te_p-gn'hor chia - mo e lei

Unexpectedly strong cadence on A

Figure 3.5: Marked-up score of Monte's "Vago monte" continued. 51

PP Efi * * o me e lei la per

me.

per no me e lei la per no

I J M ' " J me. so la per no me.

Music engraving by LilyPond 2.12.3—www.lilypond.org

(d) page 4 of 4

Figure 3.5: Marked-up score of Monte's "Vago monte" continued... 52

3.3 "Volentier canteriei"

Volentier canterei de vostri honori, Gladly I would sing of your honours, S'io sperassi con l'arco del mio ingegno If I could hope, with the bow of my genius, Ir sol vicin, non che toccarne il segno. To get a little closer, or even to touch the mark. Ma d'onde havrebbe il mio voler le braccia But what does my desire expect my body A tirar tanto, se'l spatio e si lungo, To do if the distance between us is so great Ch'io pur a pena col pensier vi giungo: That I can barely even reach you with my Pero meglio e che'l cor v'inchini, e taccia, thoughts? Che volendo far satio il gran desire Perhaps it is better that my heart bows to you, Senza poter compiutamente dire, but remains silent, Forse l'havreste voi Madonna a sdegno. Than trying to satisfy this great desire (Pietro Barignano, madrigal) Without being able to appropriately express my love, In case you would disdain it, my lady. Figure 3.6: Text and translation of "Volentier canterei" from Monte's Primo libro de madrigali a tre voci (1582). Translation by author.

The text of "Volentier canterei" is a poetic madrigal; that is, a completely free-form structure. In this case, it consists of ten endecasillabi with a rhyme scheme of ABBCB-

BCDDB and is divided into two major units (lines 1-3, and 4-10) and three smaller grammatical units (lines 1-3, 4-6, and 7-10). The music is in transposed (G) Dorian, and—being notated in C —this piece makes extensive use of the shorter note values of the fusa and semi-fusa. The counterpoint is almost entirely imitative. In fact, the sheer con sistency of the imitation—each poetic line receiving a distinct and contrasting thematic figure—is part of the individual interest of this piece.

The first line ends in measure 4 with a clear cadence on G with an unusual trailing

F sharp in the alto voice. Sixteenth note runs are used to highlight the verb cantare (to sing). The second line is repeated twice, a sixteenth note run being used in all cases to set the word arco (bow, as in bow and arrow), representing the arrow in flight. This line ends in measure 9 with a cadence on C that is at least as strong as the previous one.

The final line of this unit ends in measure 12 with a very lightly taken cadence on D.

This is surprising given that line 3 is the end of both a grammatical unit (terminated by 53 a period) and the first structural unit.

Line 4 is repeated twice with no apparent word painting and ends on the downbeat of measure 18 with a cadence on D. Line 5 is divided into two halves. The first fragment is repeated twice, the second time in strict homorhythm. It ends with an emphatic cadence on D. This maximizes the contrast with the following phrase, which slows right down, moving from motion by eighths and sixteenths to motion by halves and quarters. This is done to highlight the text "se'l spatio e si lungo" ("if the space/distance is so great"). This phrase ends with another cadence (this time Phrygian) on D. Line 6 ends in measure

25 with a structural cadence on the final, G. Given the colon in the text, this is not unexpected.

The last four lines are set with no evident word painting and no strong cadences until the end of the piece. Given that the last four lines of the poem form a single unit, this is also not unexpected. It is in this last section of the piece that one perceives a shift in affective tone. The beginning of the piece is characterized by fast motion and an easy diatonicism. On the whole, the note values are slower in this last section. The melancholy, resigned sighs of measures 25-27, the Phrygian cadences (realized and hinted at) all serve to darken the tone. The cadences in this last section are: in measure 29 on

F; a Phrygian cadence on D in measures 30 and 31 is repeated twice, with the semi-tone motion moving from the alto to the bass voice; and the exact nature of the cadence in measures 32 and 33 is unclear. There is a repeated semi-tone descent similar to the repeated Phrygian cadence seen in measure 29, but the roots of the chords are C, A, and F. This is the most absolute elision heard so far. The piece ends with an emphatic cadence on the final, G.

"Volentier canterei" is anomalous in that the musical and textual cadences do not appear to coincide. The cadential hierarchy is very shallow, and major structural divisions are ignored (figure 3.7, page 54). An examination of the rest of Monte's book shows 54 that this is not uncommon among the madrigals notated in C . On the whole, these works appear to be treated more loosely; however, they remain madrigals in their textual content, imitative counterpoint, and independent disposition of voices.

-9— „ ^~h 0\ ^=

Figure 3.7: Cadence tones in Monte's "Volentier canterei" (G Dorian mode)

3.4 Conclusion

The history of the madrigal is largely narrated as a continual line of development, as composers gradually explored ever more extreme forms of text/music mimesis. This progressivist approach, however, has resulted in a myopic, distorted view of the true historic narrative. Specifically, there is great emphasis placed on the works of Willaert and Rore as representing a more general trend toward the mannerist madrigals of the

1580s. In light of Monte's book of three-voice madrigals (and indeed, Monte's work as a whole up to 1586), I am disinclined to accept this wholly. I do not mean to diminish the importance or uniqueness of these two great composers; in fact, it is their uniqueness that I feel must be emphasized. Accepting them as a type of the madrigal composer of the 1560s is unwise. The decisive movement away from the fleetness and delicacy of the classic idiom toward the ponderousness of mannerism should be dated much closer to

1580 than 1560.

By focusing solely on this progressive narrative, a large repertoire has been ignored.

With the exception of Lasso (and to a lesser extent, Gabrieli), the madrigal of the 1560s and 70s is little discussed. What other composers published during this time? What was the prevailing style of the madrigals of this period? We know that unaccompanied madrigals continued to be published (primarily in southern Italy) even after the genre 55 largely disintegrated in the early seventeenth century. What is the nature of the re lationship between the madrigals of Arcadelt, the madrigal of the 1560s and 70s, and these turn-of-the-century works? Evidently the progressivist view is too narrow; there is another story to be told here, that of the continuation and smaller-scale developments of the classic madrigal idiom throughout the century.

The most prolific madrigal composer in the history of the genre was Philippe de

Monte. He was highly respected by his contemporaries both as a composer and as a person, and his works were very popular. The neglect he has suffered is not due to his being a second-rate composer; rather, his conservative style does not cleanly fit in the developmental continuum espoused in modern pedagogy surrounding the history of the sixteenth-century madrigal. It is hoped that this edition and discussion will stimulate continued study of this important composer and encourage further transcriptions of his work in order to more fully understand the history of this important musical genre. 56

Part II

The Edition and Apparatus

The music historian focuses first on works of music, whatever else he

might survey. These are his primary texts.

Gary Tomlinson, Monteverdi and the End of the Renaissance (Uni

versity of California Press, 1987), ix. 57

Chapter 4

The Sources

4.1 Music

To the best of my knowledge, there exist only three complete exemplars of Monte's book of three-voice madrigals, all in Italy. The one referenced for this study is found in the Civico Museo Bibliografico Musicale of Bologna as shelf mark T.137.l (Given the limited time and resources available, I was unable to directly reference the following two sources.) Another set is supposedly housed at the Biblioteca Apostolica Vaticana in the

De Rossi fonds, section MAG, shelf mark Stamp.Ross.6136.2 A third set can apparently be found at the Biblioteca del Civico Istituto Musicale Gaetano Donizetti in Bergamo.3

The library does not have its own online catalog, but the materials appear to be found in the Piatti Lochis fonds, shelf mark 8603. More detailed information on these holdings and other partial holdings can be found via the invaluable Servizio Bibliotecario Nazionale

() and its nation-wide library catalogue ().

You can reach the entry for Monte's book by first clicking on Ricerca avanzata in the left sidebar and then entering IT\ICCU\DE\89081100329 in the Identificativo SBN search field. All of the URLs are valid as of 03 April 2010.

1. The library's main page is found at . The particular entry for these partbooks is found at . Digital photos of the partbooks can now be found in their digital collection at . 2. Their main website is found at . Their search engine does not allow for permanent links, so one would have to re-initiate the search. 3. **DI FILIPPG DJ MONTE ^ MAESTRO =bl CAPJEL-LA D EX LA SAC.- CES- MABSTA ; : ' ' jilU'lMP E,E:A t'.'0'R E; R'O- \> O L P O S' £ C O- N O.O'^ ' . '' 11- F R I M 0 tlBRO P E' M A ©; R-I/3 A L I A TRI V "& C,I

I» Veneris Appreile Angeio Gstrdsttio " M D LXXXUi ~~

Figure 4.1: Title page of the canto partbook. L L A V I R T V O SJ S^I'M A SlCNGRA LA SIGNORA MADALENA CASYtANA DI ME2ARII Sigawa r»ia 0ffeg,»a»difsit»a»

EdwMsdoqaaS (cento ii ftoied* i Madrigal* a treaoci (Muficatattto comm«da» & diictte* isol* c qtiaudo otetw da qualche buonaiuaao laoso eccetieiwe,& pert'etta) deiiberai di la- fdtaitiSquafidinuoaorilornaiaal aion4o»&p«fd mi aoifi ainoftra£ec«!kati(sirooSi~ oasrFi1ippodiMoatc»& io pregai, cts'egli aoleife dar ainto i q»«Ia ails Inscntiooc. II ehe(ccmei fotito dclla (mgcrwilnatura) hi fattoliberatifsimaflieuw, & ro«n"higiaman- daw ua giaiioJlbro; il qualeftampatofi dedica al coolio malors,& tnerirodi V. 8. oaiina con«{cit^diqaefta,&d,ogDialtrahoBota«gtnn1cazxAMcrrafotfe»chca«d«Bdoqae- M.C.-^,^:.^^^^^! ft{ &fSi] ul ijioado oil tiolgero di roaiw in inane a qualchWakro di qacfti eccclkiwifs, Mafi

L poSeStrlia tl*«6 0iq«fti ftoftta «a Ma&.8t Sirco*, .U. quale .cooeolc toeodo ogm «ajgj« «BOT» bad© !a«iuo, & mi taccomandopec femp«»' Di Venpda It so Agofc i j 9 *.

Serttitwe Aogeto Gardaso,

Figure 4.2: Dedication page of the canto partbook. € JC J? T O

m» tkt[diettuSgght •- « sr

M«l/tty|wp? ^

M c#« elilwo »fpfo c«$ offlmo rip/.? * h dshumara A*r,ot

' tgni uirfu JesRjsIte t jjm Am« ' $gni jrfrfti A*« «g»< «!»{« fttoflke e • jw« . Ognl-h&zz?

ui aium i m m g fjf ti«£{{i pf g • JJJ fjfcrfg i.^j

mii.§m pn clt'» m nii^f.it f b m$a tuta im :;;$|s iw

Figure 4.3: The first madrigal in the canto partbook, "Amor, che sol dei cor leggiadri ha cura." en o 61

4.2 Texts

Up until 1580, Monte was a serious Petrarchist. In fact, from his first book (1554) to

1580 he set more of Petrarch's poetry than any other composer in the history of the madrigal. In the 1570s this trend began to move more toward Bembo and Sannazaro

(whose poems appear more frequently in Monte's works than any other single poet after

Petrarch). Starting in 1580, however, Monte began to turn more to the poeti minori for texts, often setting only one or two poems of any given poet. This particular collection of madrigals is one of the few composed entirely of such poets. He drew the vast majority of these texts from two two-volume lyric anthologies edited by Lodovico Dolce.

The lyrics in early printed music editions are notorious for their lack of punctuation, accents, and sometimes, legibility. Their linear layout also obscures the versification of the original poetry. To insure the most correct view possible of the texts, the actual an thologies are required. These anthologies were reprinted many times, and it is impossible to know for sure which edition(s) Monte had in his possession. The given texts and trans lations are as they are found in the music print. The texts of the anthologies were used only as a reference and aid in determining punctuation and meaning. No philological analysis is attempted, nor is the list of sources exhaustive.4

I directly referenced the following sources:

• The 1575 reprint of Prima parte delle stanze di diuersi illustri poeti. Raccolte da

m. Lodouico Dolce a commodita & utile de gli studiosi della lingua thoscana found

at the Biblioteca comunale delPArchiginnasio in Bologna, inventory 35765, shelf

mark "8. T. V. 27 op. 2". (Identificativo SBN: IT\ICCU\RAVE\020749)

• The 1572 reprint of La seconda parte delle stanze di diuersi autori nuouamente

4. For a complete list of poetic sources and other musical settings of the poems, please see Luzzi, Poesia e musica nei madrigali a cinque voci di Filippo di Monte (1580-1595), 293-392 (more specifically pp 306-10). 62

mandata in luce also found at the Biblioteca comunale dell'Archiginnasio at the

same shelf mark as above. (Identificativo SBN: IT\ICCU\BVEE\021228)

• The 1547 print of Rime di diuersi nobili huomini et eccellenti poeti nella lingua

Thoscana. Libro secondo found at the Biblioteca di Casa Carducci in Bologna,

inventory "fcm 21596", shelf mark "4. b. 314". (Identificativo SBN:

IT\ICCU\TO0E\030779)

• The 1547 reprint of Rime di M. Remigio fiorentino. Nuouamente stampate. Et

con somma diligentia corvette also found at the Biblioteca di Casa Carducci in

Bologna, inventory "fcm 22316", shelf mark "4. d. 265". (Identificativo SBN:

IT\ICCU\BVEE\021956)

There is at least one North American exemplar of the 1581 reprint of the delle stanze volumes, albeit in very fragile condition, found at the University of Michigan Special

Collections, call number "850.8 D357 1581." There is apparently a copy of the Rime di diversi volumes in fair condition at Yale University, "BEINECKE Hb83 D687 1565."

Brian Mann's dissertation states there is a copy of the delle stanze anthologies at the

University of California, but the librarians I spoke to said they do not have (nor have they ever had) these materials. They do, however, have a copy of the Rime di diversi volumes, call number "Bancroft PQ4212.A3; G5 1588." Unfortunately, my inquiry brought to their attention a catastrophic mis-housing of the materials that rendered them inaccessible.

As of August 2007, the volumes were in restoration for an estimated two year period.

Please see table 4.1 on page 64 for the list of specific sources and page numbers referenced for this study. *.\ -It I

ir. .. •-, j' :,'•'• •'?:."(. tkifct

:£*,<*

Figure 4.4: Prima parte delle stanze di diuersi illustri poeti, page 209. Source for the poetry of "Mentr'ameranno i nudi pesci l'onde."

03 CO 64

For the sake of space, the form or source name is ommitted if it is the same as the previous entry.

Table 4.1: Poems and sources in Monte's book of three-voice madrigals

Page First Line Author/Form Source

1 Amor che sol dei cor Unknown / ottava Prima stanze, 416

leggiadri ha cura stanza

2 0 beata colei ch'al fin Lodovico Martelli 291

puo dire:

3 Ohime dov'e'l mio Bernardo Tasso 255

ben, dov'e'l mio

core?

4 Chi non sa com'altrui Giovanni Vendramin Seconda stanze, 178

duo chiari lumi

5 Vostro fui, vostro son Bernardo Tasso Prima stanze, 257

e saro vostro

6 Non pur si duro es- Luigi Alamanni 207

silio o lontananza,

7 Mentre ameranno i Luigi Alamanni 209

nudi pesci l'onde,

8 Vago monte, fiorite Gandolfo Porrino Seconda stanze, 190

ombrose piagge,

Continued on next page 65

Table 4.1 - continued from previous page

Page First Line Author/Form Source

9-10 0 mia lieta ventura, Pietro Barignano / Secondo rime, 158v

or quale stella Io sonnet

so che non m'inganna

sogno od ombra:

11 Non vedete voi, Pietro Barignano / 66u

donna, il mio tor- madrigal

mento?

12 Volentier canterei de' Pietro Barignano / 66 v

vostri onori, madrigal

13 0 chi potra mai ben Cavalier Gandolfo / Seconda stanze, 189

chiudere in versi ottava stanza

14 S'io odo alcun felice e Angelo Di Costanzo 162 5

lieto amante

15 Vissimi un tempo in Vincenzo Quirino Prima stanze, 437

dolce foco ardendo

16 Ohime che da quel Angelo Di Costanzo Seconda stanze, 153

punto ch'infiammarsi

17 Dolce mia vita, da Francesco Maria Prima stanze, 144

cui vivo e moro Molza

18 La bocca onde Ercole Bentivoglio 262

l'asprissime parole

Continued on next page

5. In Luzzi's book, the page number for this poem is misprinted as page 62. 66

Table 4.1 — continued from previous page

Page First Line Author/Form Source

19 Poi ch'or e dolce ogni Ercole Bentivoglio 260

passato scempio

20 Spesso a consiglio i Angelo Di Costanzo Seconda stanze, 154

miei pensier convoco

21 Ahi dove, lasso me, Unknown Prima Stanze, 416

prieghi e parole

22 Qual piu scontento Vincenzo Quirino 436

amante alberga in

terra

23-24 Ove lontan da la Remigio (Fiorentino) Rime di M. Remigio,

mia fida luce Cosi Nannini / sonnet 21w

d'un olmo sospirando

a l'ombra

25 Qual desir ch'ebbi in Angelo Di Costanzo Seconda stanze, 156

su la vista prima, / ottava stanza

26 Piango ch'amor con Unknown Prima stanze, 412

disusato oltraggio

27 Saziati, Amor, ch'a Unknown 413

piu doglioso amante

Continued on next page 67

Table 4.1 - continued from previous page

Page First Line Author/Form Source

28-29 Ardo, sospiro e pi- Remigio (Firoentino) Rime di M. Remigio,

ango e si mi piace E Nannini / sonnet 17u-18r

son del mio languir

cosi contento 68

Chapter 5

Critical Report

5.1 Editorial Methods

5.1.1 Order of Works

The order of the works in the original source has been preserved. There are no titles provided in the sources; instead, the first line of each poem has been used.

5.1.2 Text

Abbreviations in the original text are expanded without comment unless they are in some way questionable or unclear, and archaic conventions of typography, such as the use of i or j and u or v, have been modernized. Accents have been added consistent with modern practice, but fundamentally, the orthography is unchanged. Repetitions of text shown in the original by an idem sign (ij) are enclosed in angle brackets in the edition. Text underlay follows that of the principal source unless otherwise indicated in the critical notes. Word divisions follow modern practices as set forth in the Italian dictionary, Garzanti. If there is a textual discrepancy between voices, the orthography or word choice found in the majority of voices is used without comment. Exceptional cases will be mentioned in the critical notes. In the edition, no punctuation has been added.

In the "Texts and Translations" section, however, punctuation has been added to the

Italian as found in the poetry sources, and the English punctuation has been modernized to maximize the clarity of the text. 69

5.1.3 Incipits and Range Finders

The original clef, key signature, mensuration sign, and first notated pitch or ligature in

each voice part is shown in an incipit at the beginning of each work before the brace. The

range of each voice is shown before the modern clef, key signature, and meter signature

showing the range of pitches as they appear in the modern clef.

5.1.4 Part Names

The original designation of voice parts is retained.

5.1.5 Clefs

Without regard to the designation of a voice part, (a) parts originally in any G clef,

Cl, or C2 (C on the first or second line respectively) are transcribed in treble clef; (b)

parts originally in C3 or C4 clefs are transcribed in transposed treble clef; and (c) parts

originally in C5 or any F clef are transcribed in bass clef.

5.1.6 Meters and Barlines

All mensural signs of the same type are consistently transcribed in the same meter.

Barlines are inserted between the staves in order not to obscure the the pitch durations

as written, nor suggest any particular metrical emphasis. The measures are numbered

continuously through all parts

5.1.7 Note Values

The note values have been consistently halved. The ratio is easily perceived by examining

the incipits. In all cases, the mensuration sign was carried over directly to the modern

equivalent. The last note in the last measure of a piece is transcribed as a whole note with fermata regardless of its appearance in the source, unless it arrives after a measure 70 begins, in which case it is transcribed as a value sufficient to fill the measure, and it is also provided with a fermata.

5.1.8 Tempo

The issue of tempo is all but intractable. The sources themselves provide no informa tion, and sixteenth-century treatises are contradictory. Pieces notated in y are most comfortable performed between 50 and 75 beats per minute per half note. Pieces in

C are comfortably performed at the same number of beats per minute but on the quarter note.

5.1.9 Accidentals

Any accidental printed in the source is printed on the staff. Accidentals only affect the note they precede and any immediately succeeding notes on the same pitch. The ^ sign is transcribed as either a sharp or a natural as appropriate. Cautionary accidentals are placed on the staff in parentheses and may be considered as optional. Accidentals conveying musica ficta are placed above the staff in small type. These accidentals are not to be understood as optional; the editor considers them obligatory in accordance with conventions of the time. These conventions include (a) raised leading tones at cadences;

(b) accidentals that correct successive or simultaneous diminished or augmented fourths, fifths, or octaves; (c) accidentals that follow the principle of una nota super la, that is, that prevent a melodic tritone when a voice ascends above la in the prevailing hexachord; (d) accidentals that achieve progression to a perfect consonance from the nearest imperfect consonance. Accidentals above the staff are valid only for the note over which they appear; they are repeated within a measure whenever necessary. 71

5.1.10 Ligatures

Ligatures are shown by full horizontal brackets above the pitches in question.

5.2 Specific Issues

5.2.1 Text Underlay

For the most part, the placement of syllables under a melisma is clear. Figure 5.1 on page 72 is a typical example. In some cases, however, the syllables are not properly spaced, as in figure 5.2, page 72. In cases such as these, one can turn to Gioseffo Zarlino and his "10 rules of text underlay" (appendix A, page 240) that he presents in part three of he Istitutioni Harmoniche, On the Modes. In this specific case, Zarlino's rule #4 proscribes placing syllables on notes smaller than a minim. The result is placing the final syllable of "desio" on the final minim.

If, however, the melisma consists entirely of semi-minims (as seen in figure 5.3, page 72) then these rules are not sufficient. In this case one could argue for two dif ferent settings. The word "soavi" technically has three syllables (so-a-vi). It would be natural, then, to underlay a syllable under each semi-minim. That said, "soavi" is gener ally pronounced as having only two syllables (soa-vi). In that case, the separation of the first two syllables would sound unnatural, and one would instead place the first syllable melismatically under the first two semi-minims. Here, the editor has chosen the latter approach.

5.2.2 Notational Irregularities

The manuscript is in very good condition and is fully legible. Bleed-through and some water damage makes microfilm copies unreliable, but physical examination (or examina tion by photo) is unproblematic. The one irregularity is found in the alto voice of the 72 fifteenth madrigal, "Vissimi un tempo" (see figure 5.4, page 73). One would have serious problems synchronizing the voices if one relied solely on the microfilm copy. The photo, however, clearly shows the rest having been scraped off. Limited time and resources made it impossible for the editor to compare this source with the other two extant alto partbooks.

ii i H^'jf':'* *B *lte" "8?IPi

eUntiftwfo 4®*ii%s r* m^

Figure 5.1: "Oime dov'e'l mio core"-Canto: Typical melismatic underlay

fjSfthtfotw . fi J - >. AimrfM® .. Awe

Figure 5.2: "Oime dov'e'l mio core"-Canto: Typical melismatic underlay problem

1 li fmat 1 haft Canto Alto Basso

Figure 5.3: "Ardo, sospiro, & piango": Melisma under semiminims 73

Microfilm Photo

Figure 5.4: "Vissimi un tempo"-Alto: Scraped rest 74

5.3 Critical Notes

The notes below will follow the format: madrigal #, voice (CAB), measure, short descrip

tion; longer description if necessary. They appear first in order of madrigal appearance,

then by voice type (voice groupings coming before individual voices), and finally by measure number.

3, CAB, 27-28, ambiguous underlay; If one adheres to Zarlino's rule #4, then the semi-minim should not carry its own syllable, and thus should be divided as it appears in the edition.

3, C, 14-16, ambiguous underlay; If one follows Zarlino's rule #4 and does not place syllables on the semiminims, then the underlay should appear as it does in the edition.

3, A, 26-27, ambiguous underlay; One must elide "mio" and "amore" instead of "amore" and "ambitiose" in order for all three voices to clearly begin the new line of text ("Ambi- tiose") at the same time.

6, CAB, 39-40, ambiguous underlay; The underlay for the Canto part is unambiguous.

The Alto and Basso parts, however, are less clear. While "soave" is technically three syllables, the first is too weak to stand on its own. Since in the Canto part (and in common usage) the first two syllables are elided, the editor chose underlay the text as it appears in the edition.

6, B, 9, superfluous B sharp; While it is quite common for the diesis symbol (X ) to function as a natural (either cancelling a previous flat or denying a standard ficta condi tion), in this case there is no circumstance under which the B would ever be mistakenly flatted.

10, CAB, 5-6, awkward elision; Eliding "ecco" and "io" over two pitches is exceedingly awkward. There does not appear, however, to be a more satisfactory solution than what is presented in the edition. 75

11, B, mis-matched mensuration sign; In this case there is no difference in proportion between the upper two voices. This was likely a printing error, and, while it has been retained in the incipit, the edition brings it in to harmony with the other voices.

14, C, 4-5, ambiguous underlay; The elision of "tranquilli" and "ardori" is what takes place in the other voices.

15, A, 10, ambiguous underlay; If one follows Zarlino's rules, the second syllable of

"pascendo" should appear on the longer note, and thus the choice of underlay in the edition.

15, A, 12, extraneous semi-breve rest; In the Bologna source, this rest has been manually scraped off.

15, A, 15, superfluous B sharp.

15, B, 14, superfluous B sharp.

16, C, 5, ambiguous underlay; The word "il" is not generally sustained over a melisma.

The "il" was thus moved on its own under the last note of the melisma.

18, A, 12-13, ambiguous underlay; In the Canto and Basso parts, the first two syllables of "soavemente" are elided. The underlay of the Alto part has been similarly divided.

19, A, 15, superfluous B sharp.

23, B, 8, notated B sharp ignored.

28, CAB, 8-9, "soavi" set as two syllables; While technically it has three, it is always pronounced as two, and having the 2nd syllable emphasized in the Canto part is incorrect. 76

Chapter 6

Texts and Translations

Amor, die sol dei cor leggiadri ha cura,

Ne mai scaldar degnossi alma villana:

Di salir vivo al ciel l'huomo assicura

Con ottimo riposo, & lode humana,

Amor ogni virtu semplice, & pura

Ogni bellezza vil, caduca, & vana;

E ne ripete pur ch'io mi distempre,

Che'n voi raddoppia la mia vita sempre?

(Unknown, ottava stanza)

(Love, which only embraces graceful hearts, never deigns to arouse the common soul.

Love assures man a place in heaven with the ultimate repose, and human praise, with every simple and pure virtue and every beauty, common, ephemeral, or vain; And it recurs again and again, despite my weakness, because in you, my life is ever enriched?)

O beata colei, ch'al fin puo dire,

Io tenni un senza cor molt'anni in vita.

Io gli fei parer dolce ogni martire

Ne l'eta sua piu bella, & piu fiorita; 77

Ne gli lasciai provar gli sdegni, & l'ire

Del timor, ch'a morir gli amanti invita;

Et quel, ch'a l'un fu caro, a l'altro piacque;

Perch'io sua tutta, &; ei mio tutto nacque.

(Lodovico Martelli, ottava stanza)

(O blessed is she who in the end can say: I kept alive for many years one without a heart. I made every pain appear sweet in his most beautiful and happy age. I did not allow him to experience the scorn and rage of fear, which invites death to lovers; And what to one was dear, to the other it pleased, because I was his everything, and in me all was born.)

Ohime dov'e'l mio ben? dov'e'l mio core?

Chi m'asconde il mio core? e chi me'l toglie?

Dunque ha potuto sol desio d'honore

Darmi fera cagion di tante doglie?

Dunque han potuto in me piu che'l mio amore

Ambitiose, e troppo lievi voglie?

Ahi sciocco mondo, e cieco, ahi cruda sorte,

Che ministro mi fai de la mia morte.

(Bernardo Tasso, ottava stanza)

(Alas, where is my beloved? Where is my heart? Who is hiding my heart? And who has taken her from me? Is it possible that the desire for honour alone has caused me such suffering? Is it possible that more important to me than my love were futile and 78 frivolous ambitions? Ah! Foolish and blind world! Ah! Wicked fate! You make me the minister of my own death!)

Chi non sa com'altrui duo chiari lumi

Facciano oscura notte il piu bel giorno,

Come accenda d'amore, e non consumi

La santa fiamma a un cor posta d'intorno,

Come la tenebrosa notte allumi

Un sguardo a par del Sol di luce adorno,

Lei miri, e in lei vedra chiaro le tante

Gran meravaglie della luci sante.

(Giovanni Vendramin, ottava stanza)

(Who knows of another two eyes, clear as crystal, that turn the darkest night into the most beautiful day, that arouse love, but do not consume the holy flame that dwells in the heart, that illuminates the darkness of night by a glance, like the light of the Sun.

Look at her, and you will clearly see the many great marvels of these holy lights.)

Vostro fui, vostro son, e sara vostro,

Fin che vedro quest'aere, e questo cielo;

Vili prima saran le perle, e l'ostro:

Negre, & ardenti fien le nevi, e'l gelo,

Che'l tempo spenga mai questa ardor nostro

Per cangiar clima, 6 variar di pelo; 79

Anzi crescera sempre il mio bel foco

Quanto andrd piu cangiando etate, e loco.

(Bernardo Tasso, ottava stanza)

(Yours I was, yours I am, and yours I ever will be, as long as I can see this air and this heaven. Until worthless are the pearls and the purple. Until black and fiery are the snow and ice. May time never extinguish our passion, regardless changes in place or fashion.

Instead, may this beautiful flame ever increase as I pass through time and space.)

Non pur si duro esilio & lontanza

Ma morte stessa non torra dal core

Donna gentil di voi quella sembianza

Ch'in si saldo lavor vi sculse Amore,

Et s'altro che sospir nulla m'avanza,

Leve m'e'l sospirar, caro'l dolore,

Dolce il languir, soave ogni tormento

Che per voi lunghe giorno & notte sento.

(Luigi Alamanni, ottava stanza)

(Neither exile, nor distance, nor death itself could take from me, gentle woman, the image of your face that Love engraved upon my heart with such steadfast work, and if I am left with nothing but longing, easy will be the sighs, dear the pain, sweet the languor, and gentle each torment which I feel for you day and night.)

7. 80

Mentr'ameranno i nudi pesci l'onde,

L'alte selve i Leon, gli armenti i prati,

L'api i dipinti fior, gli Augei le fronde,

L'alma Fenice gli Arabi odorati,

Amor, ch'a gentil cor mai non s'asconde

Dolci sembianti, &; stili alti & onorati,

Mentre il ciel volgera le notti, e i giorni.

Scaldaro l'alma ne vostri occhi adorni.

(Luigi Alamanni, ottava stanza)

(While the simple fish will love the waves, the lions the high forests, the herds the meadows, the bees the colourful flowers, the birds the branches, the Phoenix spirit the perfumed Arabs, Love, which never hides from gentle hearts, will love beautiful faces, and high and honoured classes, as long as the nights turn into days. I will ever warm my soul in your beautiful eyes.)

Vago monte, fiorite ombrose piagge,

Lago d'ogn'altro piu lucente, e chiaro,

Gai uccelletti, adorne Ninfe, e sagge,

Ch'udito havete il mio lamento amaro

Se mai fortuna il mio bel sol qui tragge,

Che de la luce sua m'e tanto avaro,

L'angoscie mie dirle vi piaccia, come

Morte ogn'hor chiamo, e lei sola per nome.

(Gandolfo Porrino, ottava stanza) 81

(I wander the mountain, the flourishing shady shore, a lake more bright and clear than any other, cheerful little birds, beautiful and wise Nymphs, you all heard my bitter lament. If only fortune would draw my beloved sun here, for she hides her light from me.

Of my anguish, please inform her, and how I call upon death every hour, and her alone by name.)

9-10.

O mia lieta ventura, hor quale Stella

M'e si benigna? quest'e'l mio bel Sole:

Queste son quelle luce altiere e sole,

Per cui porto nel cor piaga si bella?

Questa e ben quella bocca? ella e ben quella;

Ond'escon cosi dolci le parole:

Certo questa e la man, che spesso suole

Stringermi il cor: la tocco ella e pur ella:

Io so, che non m'inganna sogno, od ombra

Ecco io l'abbraccio: & io son pure io stesso

Chiedero pur mercede hor che mi lice.

So che non mi avverra, come si dice,

Tra la spiga e la man qual muro e messo.

Ohime che e pure il sogno: e via si sgombra.

(Petronio Barbati, sonnet)1

(O, happy fortune, which star Is so kind to me? Is this my beautiful Sun? Are these the high and lonely lights for which I carry in my heart this beautiful wound? Is this

1. One source lists the author as Bartolomeo Carlo Piccolomini. 82 indeed that mouth? It is indeed the one; from which come sweet words: certainly this is the hand that often presses upon my heart. I touched it. It is indeed she. I know. Let not the dream deceive me. Behold, I embrace it: and I am myself, I will ask for mercy now that I may. I know that it will not come to pass, as they say, between the fruit and the hand a wall is erected. Alas, it is only a dream: and it dissipates away.)

11.

Non vedete voi donna il mio tormento?

Piacciavi dunque a tempo porci fine

Anzi, che morte piu mi s'avicine:

Deh pieta del mio mal vi stringa il core

Si, come strinse il mio vostra bellezza:

Che se'n voi scema un di quella durezza,

Ch'io chiamo sol cagion del mio dolore;

In compagnia d'Amore

Andro sempre cantando in dolce accento;

Hor son d'arder per voi troppo contento.

(Pietro Barignano, madrigal)

(Do you not see my torment, woman? End it, I pray you. In fact, may death come even closer! May pity take hold of your heart. Yea, even as your beauty does mine. For if this harshness one day vanishes, which I call the only cause of my pain, in the company of Love I will go ever singing with sweet accents. Then I would gladly burn for you.)

12.

Volentier canterei de vostri honori, 83

S'io sperassi con l'arco del mio ingegno

Ir sol vicin, non che toccarne il segno.

Ma d'onde havrebbe il mio voler le braccia

A tirar tanto, se'l spatio e si lungo,

Ch'io pur a pena col pensier vi giungo:

Pero meglio e che'l cor v'inchini, e taccia,

Che volendo far satio il gran desire

Senza poter compiutamente dire,

Forse l'havreste voi Madonna a sdegno.

(Pietro Barignano, madrigal)

(Gladly I would sing of your honours, if I could hope, with the bow of my genius, to get a little closer, or even to touch the mark. But what does my desire expect my body to do if the distance between us is so great that I can barely even reach you with my thoughts? Perhaps it is better that my heart bows to you, but remains silent, than trying to satisfy this great desire without being able to appropriately express my love, in case you would disdain it, my lady.)

13.

O chi potra mai ben chiuder'in versi

L'alto valor con l'humil cortesia?

Le gratie, che compagne eterne fersi

A lei, che par non fu giamai, ne fia?

Che co'bei modi, e con gli andar diversi

D'habiti adorni in somma leggiadria,

Col rider, e parlar pien di salute 84

Mostra quanta dal Ciel cade virtute.

(Cavalier Gandolfo, ottava stanza)

(O, who could ever immortalize in verse your great worth and humble courtesy? The graces, which become eternal companions in her, whose equal I never shall be? How her refined manners, and various movements, her clothes beautifully but simply adorned, her laughter, and speech full of joy, show that from heaven falls virtue.)

14.

S'io odo alcun felice, e lieto amante

Narrar gioioso i suoi tranquilli ardori,

E quante volte del suo amor costante

Raccoglie frutti, non pur frondi, e fiori,

Dico d'invidia colmo in quell'istante,

In voi spiega Fortuna i suoi favori;

Solo io lunghi al mio ben qui mi disfaccio;

E nulla stringo, e tutto il mondo abbraccio.

(Angelo Di Costanzo, ottava stanza)

(If I hear another happy and glad lover joyfully narrate his peaceful passions, and how often of this constant love he harvests fruit, not just branches and flowers, filled with envy, in that instant I will say, in you are Fortune's favours explained. Instead, I am here, tormented and longing for my beloved. I hold nothing, even though I embrace the entire world.)

15. 85

Vissimi un tempo in dolce foco ardendo

Senza altra tema di future pene,

Et del lume di quella il cor pascendo,

Che per sua lontananza hora mi tiene

Privo d'ogni dolcezza; onde piangendo

La vo cercando intorno a queste arene

Intorno a questi monti, &: sovra l'onde:

Ne altro ch'Eco al mio mal mi risponde.

(Vincenzo Quirino, ottava stanza)

(I once lived in a sweet burning fire without fear of future pain, and my heart grazed on her light. But now she keeps me distant, deprived of every sweetness; therefore, I cry.

I go searching for her along the shores, along the mountains, and on the sea: not even an echo answers my pain.)

16.

Ohime, che da quel punto, ch'infiammarsi

Vidi d'ira il tuo vago, e divin volto

Senti dentro il mio cor tosto sgombrarsi,

Quant'havea speme in tanti mesi accolto;

E da l'alma confusa dileguarsi

Ogni piacere: onde a me stesso volto

Dissi, Ahi perduti mal graditi affanni,

Quest'e l'ultimo di di miei dolci anni.

(Angelo Di Costanzo, ottava stanza)

(Alas, the moment I saw your graceful and divine face inflamed with anger, I felt 86 my heart emptying of all the hope it had harboured for so many months; and from my confused soul, every pleasure dispersed; therefore, I said to myself alas, long forgotten and unwelcome sufferings, this is the last day of my sweet years.)

17.

Dolce mia vita, da cui vivo & moro,

Perche altro far volendo, non saprei,

Che come avaro intento al suo thesoro

In te tutti son spesi i pensier miei,

Altri che te mio ben nessuno adoro.

Ne conosco altro ciel, non altri Dei,

Che amor mi strinse con si forte nodo,

Che scioglier non si pud per alcun modo.

(Francesco Mario Molza, ottava stanza)

(Sweet is my beloved, for whom I live and die, for even if I wanted another, I would not know what to do. Like the miser, intent on his treasure, in you I spend all my thoughts. I adore none other but you. I do not know another heaven, nor other Gods, whose love binds me with knots so strong, that I could not by any means untie them.)

18.

La bocca, onde l'asprissime parole

Solean uscir, ch'ir mi facen dolente;

Vie piu di quanti mai fur sotto il Sole

Hor nutre l'alma mia soavemente

D'odor di fresche rose, e di viole, 87

Cui cede ogn'altro die l'Arabia sente,

Et d'Ambrosia e di Nettare la pasce,

Che tra le perle, e i bei rubini nasce.

(Ercole Bentivoglio, ottava stanza)

(The mouth, from which the harshest words used to be uttered, which anger made me suffer in countless ways, now gently feeds my soul with the smell of fresh roses, and violets, which yields all that which the Arab smells, and that on which Ambrosia and

Nectar grazes, that between the pearls and the beautiful rubies, he may be born.)

19.

Poi c'hor e dolce ogni passato scempio,

E dolce il rimembrar gli antichi strazi,

Poi che piu di sospir l'aria non empio

Benigni fati, e poi che sete sazi

De le lagrime mie, dei martir empio,

Tempo e c'humilmente vi ringrazi:

E che ringrazi Amor, che'l cor me svelse,

E diello a lei, che tra le belle scielse.

(Ercole Bentivoglio, ottava stanza)

(Now that every past devastation is sweet, and sweet are the memories of ancient agonies, now that the air is no longer filled with my sighs, benign fates, now that your thirst is satisfied by my pain-filled tears, the time has come to humbly thank you: I thank thee, Love, who broke my heart, and gave it to her, whom thou chose from amongst the beautiful.) 88

20.

Spesso a consiglio i miei pensier convoco

Per dimandarli, homai, di noi, che fia?

E s'havra qualche fine il nostro foco,

O se fortuna havrem sempre piu ria?

E cosi stando veggio in spatio poco

Venirne mille a la memoria mia:

Ma al fine ogni un di lor m'e duro, e forte,

Che non fanno trattar altro, che morte.

(Angelo Di Costanza, ottava stanza)

(Often I summon my thoughts to council to ask them, what will become of us? Is our fire going anywhere? Or will fortune always stand against us? And so, standing watch in a tiny space, come to my memory a thousand thoughts: but in the end each one of them is hard to me, and stressful. They discuss nothing, but death.)

21.

Ahi dove (lasso me) prieghi & parole

Spend'io, se non fra quercie, ontani, & faggi

Se non tra selve ombrose oscure, & sole;

Dove s'alcun pur v'e, son Dei selvaggi?

Voi avre almen; che i gigli, k. le viole

Destando; temperate ai solar raggi:

Deh fate udir ch'io restero contento

A la mia Donna il grave mio lamento.

(Unknown, ottava stanza) 89

(But where (miserable me) can I spend my prayers & words, if not among oaks, alders,

& beeches? If not among the woods, shadowy and dark? Where, if there is anyone, they are only savage Gods? At least you will have the budding lilies and violets tempered under the rays of the sun. I will remain content as long as you make my love hear my grave lament.)

22.

Qual piu scontento amante alberga in terra

Di me, ch'ad hora ad hor la morte invoco.

Qual con piu cruda: & dispietata guerra

Vinto si trova, & posto in maggior foco?

Qual ne l'empia prigion d'Amor si serra

Con piu catene in piu riposto loco?

Di me, che vo tra voi lasso piangendo,

Di tema, & di desire il cor pascendo.

(Vincenzo Quirino, ottava stanza)

(What more unhappy lover exists on Earth than me, who hour by hour invokes death?

Who, with more cruel and merciless war, finds himself defeated and placed in greater peril? Who, locked in the cruel prison of Love, is tied with more chains in a more secluded place than me? Wandering amongst you, weary and weeping, my heart grazes on fear and desire.)

23-24.

Ove lontan da la mia fida luce

Quest'occhi volgero, quest'occhi lasso 90

Ch'avezzi a si bel lume a caiscun passo

Volgonsi pure ove lor stella luce?

Ecco ch'io parto, e'l mio dolor m'e duce,

Che partendo mia gioa indietro lasso:

E son come huom de propri lumi casso;

Poi ch'ella ove io men vo non mi conduce.

Cosi d'un Olmo sospirando a l'ombra

Tirsi dolente lamentar s'udiva

D'ellera cinto le selvagge chiome:

Et spesso fuor della sampogna usciva

De la sua Flori il dolce amato nome,

Che di dolci pensier l'alma gl'ingombra.

(Remigio [Fiorentino] Nannini, sonnet)

(To where, far from my faithful light, shall I (alas) turn these eyes, these weary eyes, that are accustomed to such beautiful light as they follow their shining star? Behold, I leave, and my pain guides me. For in parting, I leave my joy behind, and I am as a blind man because she does not lead my way. Like an Elm sighing in the shade, Thyrsus's painful laments are heard By Ivy (Hedera), surrounded the wild foliage: and often, out of the bagpipes is heard the sweet, beloved name of your Flori (Nymph), of whom sweet thoughts encumber your soul.)

25.

Quel desir, c'hebbi in su la vista prima

Quando ne' tuoi begli occhi amor m'apparse,

Sempre stara dalla mia mente in cima, 91

Finche'l mio corpo venga a cener farse;

Che nulla al Mondo prezza, e nulla stima

Quanto ben senza te potria trovarse;

Tua fu dal'hora, e tua sara mia vita

Infin al di de l'ultima partita.

(Angelo Di Costanza, ottava stanza)

(This desire I felt when I first saw you, when in your gorgeous eyes, love appeared to me, forever will it remain at the front of my mind, until my body becomes ash; without you, no one in the world can tell how much love one can find; yours I was then, and yours

I shall ever be, beloved, until the day of the final parting.)

26.

Piango, ch'amor con disusato oltraggio

Di nuova fiamma il cor m'incende & rode:

Sospiro, che un fiorito, &; verde Maggio

Piu sfortunato amante hoggi non gode:

Dogliomi sol, che un chiaro, & vivo raggio

Di duo begli occhi, lagrimar non m'ode;

Che fin forse darian pietosi alquanto

Al lamento, ai sospiri, al duro pianto.

(Unknown, ottava stanza)

(I cry because love, with excessive force, has reignited my heart with a new and consuming flame. I sigh, because the unfortunate lover no longer enjoys such a happy and green May. I am tormented alone, because a clear and lively ray from two beautiful 92 eyes does not hear my weeping. For if they could, perhaps they would show pity to my cries, my sighs, and my unwavering lament.)

27.

Satiati Amor, ch'a piu doglioso amante

Di me non impiagasti il core ancora:

Ridi fortuna, che fra tante, &; tante

Alme infelici la mia piu t'honora.

Godete donna sola hoggi fra tante;

Che'l mondo di belta vanta, ed adora,

Ch'in piu di mille carte scritto sia

Vostra durezza con la doglia mia.

(Unknown, ottava stanza)

(Be satisfied, Love, that more painful lovers than myself have not yet wounded your heart. Laugh, fortune, that among so many unhappy souls, mine honours you most.

Enjoy, woman, that today you are the only one of whose beauty the world boasts and adores. But may it be written in a thousand pages how harsh you have been with my pain.)

28-29.

Ardo, sospiro, k, piango, &; si mi piace

Passar la vita in si suavi pene,

Cos! gradito e'l duol che'l cor sostene

Che l'alma gode, k, pur s'afflige, & sface;

Et da si degna & honorata face 93

Tant'amara dolcezza al cor mi viene,

Che la mia guerra, & l'aspre mie catene,

Aprezzo piu, che libertate, o pace;

Et son del mio languir cosi contento

Ch'io vita bramo sol, per vivo sempre

In cosi dolce, in cosi caro stato;

Ma temo che'l mio tristo ultimo fato2

Non cangi presto quest'amate tempre

E resti con la vita il foco spento.

(Remigio [Fiorentino] Nannini, sonnet)

(I burn, I sigh, and I cry, and yes, it pleases me to spend my life in such sweet pain.

How pleasant is the pain that my heart sustains that my soul enjoys, even as it withers; and from such a worthy and honoured face such bitter sweetness comes to my heart, that my battle and my harsh chains, I appreciate more than freedom or peace; and I am so content with my languish that I long only to live, to live forever in so sweet, in so dear a state; but I fear that my sad, final fate will be that this unrequited love will not soon change, and you will remain, with life, an extinguished flame.)

2. The last tercet as found in the poetry sources reads: Ch'io credo (lasso) che l'estremo fato / (O non sia) cangera l'amate tempre; / Et fia con la mia vita il foco spento. 94

Chapter 7

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lk *P¥ i » m salir vivo al ciel l'huo - mo as - si ^m Di salir vivo al ciel l'huo-l 3=£ £ Di salir vivo al ciel l'huo-mo as -

x>_ IrJ J J 0 0 &- ^^ • 1— wm cu ra Con ot - ti mo n - po so, Con ot - timo ri J , J. y J J r r , r —a— mo as-si - cu ra Con ot - ti mo n - po so, Con ot - timo ri m 0 d d — P £ J I J P3S si - cu - ra Con ot - ti - mo ri - po so, Con ot - timo ri

20, «J ,' J J'pUpJ'J^ £ 0 0 po - so, e lo de hu - ma na, A-mor

IP? £ 10 ' 0 =2 po SO, lo de hu - ma na, 3E ' J C »* F=^ po - so, e lo de hu - ma - na 97

25,

o - gni vir tii sem - pli cei_e pu - ra A-mor o - gni vir • i ,

J • J j 3=^

mor gni vir - tii sem plice<_e pu ra A J p ^ i A-mor o-gni vir - tii A-mor o-gni vir-

30, r B r fr a f # tu A-mor o gni vir-tii sem-plice<_e pu - ra O - gni bel lez-za vil. J li tJ- i J —*t *— mor o - gni vir-tii sem-plice<_e pu ra O - gni bel-

3E I J. J tii sem - plice^ pu - ra O - gni bel-

35, r r SEE'vSt ca - du ca, e va na; ne ri-pe-te J hbb ^ ^ lez-za vil, ca I ducat e va na; ne ri-pe-te j J J^'I'J'Jfv rf rr Jv lez-za vil, ca du-ca<_e va - na; E ne_ ri-pe-te 98

V ^=f W m 4 a pur_ ne n pe-te pur_ -ch'io mi di-stem - PP pur E ne ri-lpe - te pur ch'io mi_ di stem -

ff: IT nr^ ZH pur ne_ ri - pe-te pur ch'io mi di - stem

4>_ £ d i- £ £ S d d pre, Che'n voi rad - dop pia

i m * * # pre, Che'n voi rad - dop pia

3E J J »--

pre, Che'n voi rad-dop pia

4£ J>

£ £ p=p H —o— dop pia> la mia vi ta sem pre?

m ~a m rad - dop pia> la mia vi ta sem pre?

—a— voi rad - dop pia> la mia vi - ta sem pre? 99

2. O beata colei, ch'al fin puo dire from 17 primo libro de madrigali a tre voci (1582) Lodovico Martelli Philippe de Monte

J = 60 Canto * J J /J ^p O be -J a - ta co

Alto ^ H* - * -a O be

Basso SEg *JF£ • 4

O be - a - ta co - lei,

£ * lei, <0 be J a ta co - lei,> ch'al fin puo di - re, Io ^=F^ f a - ta co lei, ch'al fin puo di re, Io

m * p< j r J r ch'al fin puo di - re, Io

*V 0 # £^^£

ten-ni un sen-za cor Io ten-ni un sen-za cor mol-

ZEt. —*V ^ **— -* * m -* **- ten-ni un sen-za cor Io ten-ni un sen-za cor mol-fan re M rfP *=t± w=m ten-ni un sen-za cor Io ten-ni un sen-za cor mol - ti e 100

2 J. J> r J

t'an-ni in vi ta. Io gli fei par - er dol ce o

m -a- =fc ni in vi ta. Io gli fei iH* -0- mol - fan ni Io gli fei par-er dol - ce_p lk > J ^P(I,(iJ' 3E 33 ^=j» £ gm mar ti re Ne l'e-ta sua piii

—*—^—*—m — ^ pa-rer dol-ce_p gni mar - ti re Ne l'e ta sua piu ?=f=r rT' P r gni mar ti re Ne l'e-ta sua piu bel-la<_e

2k %

bel-laj_e piu fio - ri - ta; Ne gli la - sciai pro var_ lE=5 mv * bel - la,_e piu fio-ri ta;

r r (i ^ ^ piu fio-ri ta; Ne gli la - sciai pro - var_ 101

25, "* Jf££t ff£ ft J J J gli sde gni<_e l'i - re gli l - it t & P^ Ne gli la-sciai pro - var_ gli sde

J'i'j^J'r,r t pfj^ Ne gli la - sciai pro - var_ gli sde

29, ^^ f P- ^ 122 sde-gni<_e l'i - re Del ti-mor. ch'a mo-rir gli_a-man

I ' #n£ * J =s gni^e l'i - re Del ti-mor, ch'a mo-rir gli_a I- man

r r r r P^ =a gni^ l'i - re Del ti-mor, ch'a mo - rir gli_a -

33, afe• ^ —f- I -sfi ti in vi ta; quel, ch'a l'un fu ca ro, a

•0 ^ G- - ti in vi ta; E quel, ch'a l'un fu ca-ro. a l'al-tro piac-que; dz l> J r =2=

man-ti in vi - ta; E quel, ch'a l'un fu ca - rOj_a l'al - tro 102

3JL 3EE£ SE ^ £ l'altro piacque; quel, ch'a l'un fu ca - ro, ^ fe ^Pf E quel, ch'a l'un fu ca - ro, l'al - tro piac

^^ |* • ^ piac - que; E quel, ch'a l'un fu ca - ro,

4>_ *: ^ l'al-tro piac que; Per-ch'io sua tut - ta. ei

* ? que; Per J ch'io sua tut - ta, ± J £p r r r' l'al tro piac que; Per-ch'io sua tut-ta

*L /T\ Efe£ * ,r iJfe&JJ PP^PJ'l rm , J e ei mio tut - to nac que. tt ^? # § ei e ei mio tut to nac que. t> ¥f» * J J p JU'j'J'J- pppls ei e ei mio tut to nac - que. 103

3. Oinie dov'e'l mio core? from II primo libro de madrigali a tre voci (1582) Bernardo Tasso Philippe de Monte

60 Canto 3E W ^ £ Ohi me do v'e'l mio

Aito y $'• 3E s * Ohi - me dov'e'l mio ben?_ do -

Basso fc 3^ ' f If |» f Ohi - me dov'e'l mio

*. ^=== r r P * « 6=P ben? do - v'e'l mio co re? Chi m'a-scon - de il ^^m

v'e'l mio co re? Chi m'a- J- h J> J> ^^ ben? do-v'e'l mio co - re? Chi m'a - scon - de il mio co -

2L ^^ ^ E mio co re?

scon - de il mio co re?

re?

'&- m-^^ m mio co re?> e chi me'l to - glie? Dun quejia potu-to

—*— scon-de il mio co re?> e chi me'l to glie? Dun- s J 'r J J £ re?> e chi me'l to - glie? Dun - quejia potu-to

*>_ PPPPrJ. J- p^,Jl>J r r, r r, c r J r sol_ de si o d'ho - no re Dar mi fe - ra ca- i we*% m -a—v quejia potu-to soL de o d'ho no-re Dar - mi fe - ra

«p—•> #^ #^

sol Dun-quejia potu-to sol de - sio d'ho-no-re Dar - mi fe - ra ca- lk ^f=+ m * PP^ £ gion di tan - te do glie Dun quejian po-tu-tqjn me

2>_ r r p f m quejian po - tu - tqjn me> piii che'l mio a - mo

*• *

me piu che'l miq_a-mo - fe ^ ^ quejian po - tu - tqjn me> piu che'l mio a - mo

J J f r J' 3= P y |* ^ f re Am bi - tio-se, e trop - po lie - vi vo glie? Ahi scioc- %

*=—«-£# & -a— m - re Am bi - tio-se, e trop - po lie vi vo glie? PP 33= S re Am - bi - tio-se^ trop-po lie - vi vo glie? Ahi

P » 3E tt —* » r co mon - do, e cie co, Ahi scioc-co mondo, e cie

Ahi scioc-co mon do, Ahi scioc-co mon - do, e ciec'

P=^ -&• m scioc - co mon - do, Ahi scioc - co mon do,e cie 106

36, £p? ^=4 co, ahi cru-da sor te. Che mi £ £=£ r j r J- ahi cru-da sor - te. Che mi-ni stro mi fai che ?a= £ P=P^ Ppi co, ahi cru-da sor - te, Che mi-ni - stro mi fai Che

4>_ r r ' ,i PP ^ P^P ni stro mi fai de la mia mor te che mi-ni

» P^ •4*—# *—*• 4 mini stro mi fai de la mia mor te che mi-ni - stro mi

f |» J

mi-ni - stro mi fai

4£ ^N fcEES ^^ stro mi fai de la mia mor-te de la mia mor te. ¥^ m fai de la mia mor de la mia mor te. ^ p r p * >mm de la mia mor te de la mia mor te. 107

4. Chi non sa come altrui duo chiari lunii from II primo libro de madrigali a tre voci (1582) Giovanni Vendramin Philippe de Monte

j- 60 Canto -t& 5fe P^P Chi non sa J. > J r r Chi non sa co - m'al

„. ^0 9 V i • • w in ph i* t *ifmU 1r non s<1 > co-m'al - trui duo chia - ri

Y 1 i \ /V b p ' * p p J a J J *i.roJ 4 » i . \jP. r *7 1 . r 1 trui duo chia - ri lu

• p - • * i • i \ii; a, i ) J trui duo chia - ri lu mi

lu - mi Fac cia-no o-scu-ra not - te Fac - cia-no o - scu - ra not-te il 108

^ " rJ

not-te>Jl piu bel gior - no. Co- *E£ ^ 4* ^ il piu bel gior no. Co-me accen da l'a - mo - re, e

P p J. » 0 0 0 \» P

piu bel gior no, Co-me_accen-da l'a - mo-re<_e non con-

1 >_ p—P—p

-me accenda l'a mo-re, e non con \ su - mi e non con- fejj£ i 1 P r r r A r pf non con h su - mi Co me accenda l'a mo - re, e non con- Q « i» ' i» P » f

SU mi Co - me accen-da l'a-mo-re, e non con - su

19 P P «1

su - mi La san - ta fiam-m'a un cor po sta d' in -tor - • P ^ i^^ su - mi La san - ta fiam-m'a un cor_ po sta d'in-tor r r JIJJJufiPPf J=E mi La san-ta fiam-m'aun cor po - sta d'in-tor 109

>* p ^^ no, Co - me la te - ne - bro - sa not-te

2&, 0 0 t n r. 0 m ^t bro - sa not-te > al V lu mi Un sguar-d'a par del Sol. > h J- y^hi i J J. v J r j J mi Un sguar-d'a par del sol di

* * n m mi al - lu mi Un sguar-d'a par del sol.

30, ±1

di lu-ce a dor-no, Lei mi - ri,

« Upw rye =gp —* lu ce a dor-no, Lei mi - ri, i r ' r r di lu-ce_a - dor - no, Lei mi-ri, _ejn lei ve- 110

3>_ =^=F ^^

ri,> e in lei ve dra chia - ro le tan te Gran fe£ fej£ e in lei ve dra chia - re le tan te Gran

dra chia ro le tan te Gran

3Jl /T\ m |» f »• Tf~

me - ra - vi glie de le lu ci san te.

m 3E mer - a - vi glie de le lu-ci san te. /7\ ) 0 |* p m — i — 3E me - ra - vi glie de le lu - ci san te. Ill

5. Vostro fui, vostro son, e sard vostro from II primo libro de madrigali a tre voci (1582) Bernardo Tasso Philippe de Monte

J- 60 *-fl (2- Canto »E Vo - stro fui, vo stro son, Alto HW .I ({:' fl ' t p^ Vo stro fui, vo - stro son,_ (2- Basso H3E i$ * - r P • ^^ Vo-stro fui, Vo -

* ? m r t PPMP # F—i* _ _ e sa ro vo ff: Nf^j P • ^^ e sa ro vo - stro. L S stro fui, vostro son, e sa-ro vo

stro, Fin che ve-dro que stq_ae-r'e que-sto cie

• |* P=£ ^^ Fin che ve drd que-sto_ae-r'e que - sto cie r r [i ?zi p p stro, Fin che ve - drd que-stq_ae - r'e que-sto 112

1>_

^ lo; Vi - li pri ma sa - ran le ji W=E r r P l= £'• P , P lo; Vi - li pri ma sa-ran le per-lej_e To stro:

£ cie lo; Vi - li pri - ma sa-ran le per-le<_e l'o

V- m W per-le<_e l'o stro: Ne - gre<_e ar den - ti fian le r f K r r * j le per le. e l'o stro: Ne gre<_e ar-den - ti m * fi- stro: le per-le^ l'o - stro: Ne - gre<_e ar-den-ti fian le ne-

2k m P^ ne-vi,_e'l ge lo- Che'l tern -po spen-ga d P Pf^P £ fian le ne-vi. e'l ge lo, Che'l tern po I m vi^e'l ge lo, Che'l tem-po spen-ga mai que- 113

25,

mai_ que ] st'ar-dor no stro Per can-giar cli • P p^ spen-ga mai que -| st'ar - dor no - stro Per can giar cli - ma^j) l» P P mm fe r ii r st ar-dor no stro Per can-giar cli

29, fe p—1» # ^ w=m ma, o va - n ar di pe lo; An zi ere - sce-ra p r r va n - ar di pe lo; An - zi ere sce-ra sem • l| £=^ ma^ va - ri - ar di pe lo; An zi ere -

33, # H f (9 r r r, c r sem - prejl mio bel fo co An - zi ere sce-ra sem - 3=£ £ 17 #S »~ pre An -| zi ere - sce-ra il mio sem - pre p m ZMH T' p —^ ^ sce-ra sem - pre

3£ 0 » m V £ pre iL mio bel fo co Quan-to_an-dr6 piu_ can-

^ ^ M ^ 33 bel fo co Quan - to_an dro piu

pre>Jl mio bel fo - co Quan-to_an-dro piu

4>_ /7S 0 M f» 3E r r i PE m gian - do_e - ta te. e lo CO.

k ^ I ' i 1 & 3E £^3 £ j J ^ ', r dro piu> can gian-do_e - ta te, e lo co. P3 m m £E£E dro piu> can - gian-do_e - ta te, e lo co. 115

6. Ne pur si duro esilio & lontanza from II primo libro de madrigali a tre voci (1582) Luigi Alamanni Philippe de Monte

J- 60 Canto ^ S3E

Non pur si du roe -

Alto

Non pur si du - ro e - Basso ^£ $ # i^^ Non pur si du-ro_e - si

M- p =m P ^ r r ? * si - lio o Ion - tan an za Ma mor-te stes - sa =#= = 3Q P^ SI lio o Ion tan-an - za Ma mor te stes - sa JJJ J i lio e Ion - tan - an - za Ma mor - te stes - sa

* 0 r =f: £ non tor-ra dal co - re Don na gen-til di voi quew tt ^5 •4 S*

non tor-ra dal co re Don na gen - til

•4 # £ \-g> * # m? » 4 1 • «5" non tor-ra dal co - re Don - na gen-til 116

1*. PE

la sem - bian za Don- J \>r J ^^ di voi quel la sem-bian za di voi quel-la sem -

^m Ty Don-na gen - til

J>_ ff: m P -»-

na gen - til di voi quel-la sem A bian M r r bian za Don - na gen } til di voi quel - la sem - bian- J'V r J

di voi quel-la sem-bian za di voi quel - la sem-bian

za Ch'in si sal-do la vor

|* o ^^£ za Ch'in si sal \ do la-vor Ch'in si sal - do la-vor

J -* tr- *- J S'^'JS' J * # za Ch'in si sal - do la - vor_

23, -fS> 0 <9 0- 3E -f> 0 P~

do la - vor> vi scul-se A mor - e, E s'al-tro che so-spir

ts> 0—0 £ ^ -0 0 si sal - do la vor> vi scul-se A mor - e, E s'al-tro che so-spir E

I- m 0 * ~~vi scul-se A - mor e, E s'al-tro che so-spir~~

~~28, f 0 d d ?z=~~

~~sal-tro che sospir nul I la m'avan za, Le-ve m'e'l~~

~~3E »**=* 4 0 * m s'al-tro che sospir nul - la m'a - van za. ^££ 0—a—*—p.m—*-^r m *—* E s'al-tro che sospir nul - la m'avanza, Le-ve m'e'l sospir~~

~~33, ^m m^m? so-spir-ar, Le-ve m'e'l so-spir-ar, ca ro il do-lo~~

~~I i* * *—* Le-ve m'e'l so-spir ar, ca - ro il do - lo J J i J J m ar, Le-ve m'e'l so-spir ar, ca ro il do-lo 118~~

3JL __ K- £ r r i [i f I* =^ mm re, Dol - cejl languir, Dol Lcejl Ian - guir, soa ve_pgni tor-men - j 1 iJ' r r n* ^^ ^ - re, Dol {cejl languir, Dol - cejl Ian A guir, soa - ve o-gni tor- 3=T P IP? re, dol - cejl languir. Dolcejl Ian - guir, soa - ve o-gni tor-

~~43L 3EE£ P F fc^F~~

~~to Che per voi lun-ge gior-no_e not-te~~

~~^^ F^ PP £ $mm 33 men-to Che per voi lun-ge gior no e not-te~~

~~^ * TT men - to Che per voi lun-ge gior no e not - te sen~~

~~4>_ /7\ £ * J 7ftl? P sen - to Che per voi lun-ge giorno_e not-te sen to. p' p F P *£H * r i E r r ^ sen-to Che per voi lun-ge gior no e not-te sen to. f7\ J' jt J J„| -&-~~

~~to Che per voi lun-ge gior no e not - te sen to. 119~~

~~7. Mentr'ameranno i nudi pesci l'onde from II primo libro de madrigali a tre voci (1582) Luigi Alamanni Philippe de Monte~~

~~j. 60 Canto 3E w ^ 4 S Mentre arae ranno i nu - di pe-sci Ton f J J Alto m? n r M re Mentre ame I ranno i nu - di~~

~~Basso * a 3^ —si **- Men-tre ame-~~

~~«7—o~ P=£ de. Men - tre a - me-ran - no i * J m pe - sci Ton de, Men-tre_a-me ran-no i nu - di pe-sci Ton~~

~~ran-nqj nu - di pe - sci Ton de.~~

~~Wm nu - di pe - sci Ton de, L'al - te sel ve i Le-on, FFFff^Ff de, L'al te sel-ve i Le~~

*•• 0 ^^ * Men - tre_a - me-ran-nqj nu - di pe-sci Ton de, L'al - te sel- 120 3=£ —*— ¥^£ gli_ar-men tij pra L'al - pij di- f-—0- 0 W- £ f ^ ff|» on, gli_ar-men - tij pra ti, L'al-pH di|pin-ti fior, gli_Au-

~~3=m£ ^Jh^ V*7 1 ' 1 *— r p r vej Le-on, gli_ar - men-ty pra - ti, L'al-py di-pin-ti fior.~~

~~'*_ 1 J~~

~~£ SZ gei le fron de, L'al - pH di pin - ti fior, gl'au gei le fron~~

~~PE —zr glj_Au-gei le fron de~~

~~20,~~

~~^ ww.n* r PP de, L'al ma Fe - ni ce gli_A - ra bi o - do-ra- J 0 0 Ttrvi W=r r r, M w de. L'al-ma Fe ni ce gli_a - ra [ bi o - do-~~

~~^ ^^ s=m j i JJJJ'J J r^ L'alma Fe - ni ce gli_A - ra - bi_p - dora - 121~~

25, S J1 r f J J f J1 t r ^ ti, A mor, ch'a gen-til cor A - mor, ch'a gen-til cor m ra - ti, mor, ch'a gen-til cor Amor, ch'a fe I —_ ^ ^ _ w— ti, A-mor, ch'a gen-til cor A - mor, ch'a gen-til cor mai

~~29, J J P p F pp. r ^^ * * *M i I J -1 mai non_ s'a-scon-de mai non_ s'a-scon - +-L-P-~~

~~gen - til cor mai non s a - scon de mai non s a - scon- l|$ V r >V'[i r J » r r r jP zxsr non s a - scon de mai non s'a - scon de~~

~~33, f J, za: J ,PPP J r , ^ de Dol ci sem-bian ti. sti - li al ti e or - na- ?z= §fe - de Dol - ci sem - bian ti. sti - li al-~~

~~P m I* HE PPJ,JIm J r Dol - ci sem-bian ti. e sti lial - 122~~

~~38, 0 P 3EEf!E~~

ti, Men trejl ciel vol-ge ff-«-* m 0 I* r^=t*

~~ti e or-na ti, Men-trejl ciel vol - ge - ra le not - tit_ej gior £ 5E fe # ti_e or-na - ti, Men - trejl ciel vol-ge - ra~~

~~; J J J # p PI i r* i , £P^ ra le not - ti, e i gior - ni. Seal - dero l'al * * $EI t=t~~

~~ni. Scal-~~

~~^ 0 01 0 m ^ trejl ciel vol - ge - ra> le not-ti_e,j gior - ni Seal - dero l'al-ma~~

~~4 £ J • ft p,r r ' r P, r^ ma ne vo-stri oc chi Seal - de | ro l'al-ma ne voI-stri_pc-chi_a-dor - ni £~~

~~dero l'al-ma ne vo-stri oc-chi a dor ni Seal- In i*r r J r Seal - dero l'al-ma ne vo-stri oc - chi a - dor ni Seal- 123~~

~~50, /T\ m • |» ^ Seal - derd l'al - ma ne vo stri oc chi a dor m. »~~

~~^ dero l'alma ne vo stri oc chi a - dor ni.~~

~~P^P ^ dero l'alma ne vo stri oc chi a - dor ni. 124~~

~~8. Vago monte, fiorite ombrose piagge from II primo libro de madrigali a tre voci (1582) Gandolfo Porrino Philippe de Monte~~

~~J =60 Canto pp mm Va - go mon - te. fio - ri - te om-~~

~~Alto B3- ^F= Va - go mon-te, Basso Bui 3B PP Va - go mon - te, fio~~

~~w 0 — 0 f d f>'~~

~~bro - se piag ge, La - go d'o-gn'al - tro piii lu - cen i * r r fio - ri-te_pm (• bro - se piag ge. La - go d'o-gn'al - tro~~

* ft ^^ ^ ri-te_pm-bro - se piag - ge, La - go d'o-gn'al-tro piu_ k. w=m m J1 ) h b } J te, e chia ro. Gai uc-cel let-ti. a-dor - ni Nin m T=$=& piu lu - cen-te^ chia - ro, Gai uc-cel m ) ' v 11 m lu - cen - te,e chia - ro, Gai uc - eel - let-ti. a-dor - ni 125 l$L ^B

~~fe<_e sag ge, Ch'u - di - to ha- E$ r ,r n r r let-ti, a-dor - ni Nin fe^ sag ge, Ch'u mdi - to ha-ve - te il Nin - fe^e sag - ge. Ch'u-di - to ha-ve-te il mio la~~

~~•>_ ?=PP {j ^: 3E ve-te il mio la men - to a - ma ro Se mai for • } J 3J J- r?r J # mio la - men to ama - ro se mai for tu - na il mio bel EPP'1 A men to a - ma ro se mai for -~~

~~J>_ 3E 3: s TFf wm tu - najl mio bel soL qui trag - ge. Che 4~~

~~sol qui trag ge. E~~

~~tu - na il mio bel sol. qui trag - ge, Che de la 126~~

~~23, 7 Ji J> r Y ^ ^ m de la lu - ce sua m'e tanto_a-va } ro m'e tanto_ava \ ro, L'an-go - f '»r p dir - le vi piac cia, fee w^H -goscie mie> dir I - scie mie dir - le vi piac cia,~~

~~3>_ m tF=Ph * § CO me Mor te_pgn'hor chia -| mo, e lei so - la per —fr m~~

~~me Mor \ te_pgn'hor chia mo, e lei so - la m -i i y -i ^^ CO me Mor-te_p-gn'hor chia - mo. e lei 127~~

~~J7\ * * £ no me e lei so - la per no me. fe§ m P^ 3E per no me e lei so la per no me.~~

~~33=~~

~~SO la per no me. 128~~

~~9. O mia lieta ventura, hor quale stella (prima parte) from II primo libro de madrigali a tre voci (1582) Petronio Barbati Philippe de Monte~~

~~J = 60 Canto m -e- *#^ O mia lie - ta ven - tu - rajior~~

~~Alto fe ^ =± ^± ft ii h £ o mia lie - ta ven - tu - ra. hor Basso Hte ^± P^f O mia lie - ta ven - tu - ra,hor~~

Jl Jl r 'n r ii , F % 9 p r ^^ qua-le stel - la O mia lie - ta ven-tu-ra<_hor qua le stel• *=> KiJ ]> h J1 3F 3j* *^-# qua-le stel - la O mia lie - ta ven-tu-ra, hor M ff f qua le stel - la O mia lie - ta ven-tu-ra, hor

~~la M'e si be - ni - gna?~~

~~P —zr qua - le stel la M'e si be - ni gna.< ^ iS £ qua - le stel la M'e si be - ni gna/ 129~~

~~>_ 3E3 que - sto_e'l mio bel so le: que - sto_e'l J' J> l> r » J i que sto e'l mio bel so - le: que - sto_e'l~~

~~E tt que sto_e'l mio bel so - le:~~

~~1 1 t t r r •^—l> #I J MM mio bel so - le: Que ste son quel-le lu-ci_al-te-re_e~~

~~fe ^=^ J) E h S =^£ —* *— 3^ mio bel so - le: Que - ste son quel - le lu - ci_al-te - re_e E fe fe fe ^* ^ tt mio bel so - le:> Que - ste son quel - le lu-ci_al-te re e~~

~~^ p p P Jj J* J * n •• J' fe so - le. Per cui por - to nel cor |> * * J' J so le, Per cui por - to nel cor~~

~~£ W& ^ m & cor> pia - ga si bel la? if )'• J' J> i J! t t/ r —F=- ^- Sr— v ^^ cui por - to nel cor> pia - ga si bel la? Que-sta_e ben E ^m m —z^- cui por - to nel cor> pia - ga si bel la?~~

~~)' J; JI J'~~

~~Que-sta_e ben quel-la boc ca? m 7 J' i. J fe=j quel-la boc ca? Que-sta_e ben quel-la boc~~

~~•V Q Que-sta_e ben quel-la boc ca? Que-sta_e ben~~

~~1 £ fr h h =4F~~

~~Que - sta_e ben quel-la boc ca? el la_e ben quel-~~

~~^=* ^s & £ •T —* * iJf ^iJ J^—' * C P" p ca? _el-la_e ben quel~~

~~;^ > n P r PP quel-la boc ca? el - la_e ben quel la; 131~~

~~'A i J J' J' fcf ^ J> h h la; On - de e-scon co - si dol ci le pa - ro S^EE3 '' > J J> J> 1P la; On - de e-scon co - si dol - ci le pa - ro~~

~~^^ £ P^P On - de e - scon co - si dol ci le pa - ro~~

~~20, t ife^£ J! Ji J' p f p fe le: Cer-to questa_e la man. che ^N£ . Jl Jl i V # le Cer - to que sta_e la man,~~

~~22,~~

~~spes so suo le che~~

~~PP —*•• 1 W sta_e la man,> che spes so suo - le che spes-so suo - P3=¥ E^ sta e la man,> che spes-so suo - le~~

~~2£ =fe=^ f^F^ fe spes - so suo le Cer - to que sta_e la man, che spes so te ^fe? fe JE^ t ^ le Cer - to questa_e la man. che~~

~~•p p- fe ' p ft t? ffwf r i ^l le> che spes - so suo le Cer to que - sta_e la~~

~~suo le Strin - ger-mijl cor: la toe-co~~

~~—*-•_ -m •* r—*•-m — ^ spes so suo le Strin - ger-mijl cor: la mm 5=S man, che spes-so suo le Strin-ger-mijl cor: la~~

~~p i' P * [i ^m ^ & la toe - co el - la_e pur el - la: el - la_e pur el~~

~~^i m £ m TFp toe - co la toe - co_el - la_e pur el - la: el - la_e pur 1 1 1 J J' i J p j> p J r ^ ^ toe - co la toe - co_el - la_e pur el la: el - la_e pur 133~~

~~30, ^ s=? ' ,T J' r M J1 J ii! ^ la_e pur el - la: el-la_e pur el-la_e pur el la: tt _/T\ ^m *^+ m t 1f el la: el-la e pur el-la_e pur el - la_e pur el - la:~~

~~fci „ f i» P v r el la el - la_e pur el - la_e pur el - la: 134~~

~~10. Io so, che non m'iiiganna sogno, od ombra (seconda parte) from II primo libro de madrigali a tre voci (1582) Petronio Barbati Philippe de Monte~~

~~A J =60 Canto -e-1 « IF ^^ Io so. che non m'in-~~

~~Alto ^ fe ^ J- j_J> h Io so, che non m'in - gan - na~~

~~Basso S ^ S = J~~

~~Io so,~~

~~PE ^m 3• p p J p E gan-na so gno. Io so, che non m'in - gan-na B5 ^5 so - gno<_pd om bra Io ; t )f 3 M'^ Io so, che non m'in - gan-na so gno^jjd om~~

~~p- pp£J ' J J> jiJJJJ.piift r p ^ J'J^ so gn'od om bra Ecco io l'abbrac~~

*h• .ft rn ftJ* J! ^ P P P P S —*— so, che non m'in-ganna so gn'od om - bra Ecco io Tab y JM J ^? —*— bra so gno^d om bra 135

~~k. J j! J> i J r ,P J JiiuJ' * CIO: et io son pur io stes m brac cio: et 10 son pur. io stes - _h_ ' ' * EJ* m Ec-co io l'ab-brac cio: et io son pur io stes~~

~~EES J|J» i i P' PPT P so Chie - de-ro pur mer - ce de~~

~~1 i •^—i #J> ^ so Chie - de-ro pur mer ce de~~

~~^ 1 h r J J> de> hor che mi li ce. So~~

~~f * |>: PPT P J J' J > I) >, * J' ^EE=S de - ro pur mer-ce - de>_hor che mi li - ce. So che non 3^ £ *=£ de - ro pur mer-ce - de>_hor che mi li - ce. 136 x>_~~

~~^^ J! p Up p p ^^ che non m'av-ver-ra, co-me si~~

~~fe=£ ^^ m'av-ver - ra, co-me si di ce , J' J J! V I. * * M P HP So che non m'av-ver - ra, co-me si di lk fe J J> J J I) =fc J j> J di - ce, Tra la spi ga_e la man qual mu-rq_e mes-so. Ohi -~~

£ t h J' J m Tra la spi ga_e la man qual mu-rq_e mes - so. Ohi 4 tt tt £ « - ce, Tra la spi - ga_e la man qual mu-ro_e mes - so. Ohi a } P" (Ipl ^ me. Ohi me ch'e pur il so - fcS ^ fe —s— me ch'e pur il so - gno: Ohi me Ohi v J> J> PC f P M J me ch'e pur il so gno: Ohi-me ch'e pur il so - 137

~~20, t h J> J> •» ' J |Ji ^ gno: ch'e pur il so gno: ch'e pur il so f=k # ¥ PP me ch'e pur il so gno: Ohi me ch'e pur il so p r t 3 r J gno: ch'e pur il so gno: Ohi-me ch'e pur il~~

~~2a, /C\ J' r,r,eJ EPtV f p^^ pn= - gno: e vi a si_ sgom bra.~~

~~^^ "JJ J —u- gno:_e vi a si sgom bra.~~

~~I ^m —o- so gno: vi si sgom bra. 138~~

~~11. Non vedete voi donna il mio tormento? from II primo Hbro de madrigali a tre voci (1582) Pietro Barignano Philippe de Monte~~

~~J =60 Canto =H-e Non ve - de - te voi don - na il~~

~~r: tt Alto =e lip v - p p p" Non ve - de~~

~~Basso fr^=?T~~

~~mio tor - men to?~~

~~^^ # ^ p=p - te voi don-na il mio tor - men to? Piac- |t p ""fdi)i»l bbp. jJl ' Jk' hi.p |! P pp Non ve - de te voi don-na il mio tor - men to?~~

~~J! k. i i ^ ^ ' h < Piac - cia-vi dun-que_a tem-po por - ci fi - ne An-~~

~~Bl ^l a££^ - ciavi dun-que_a temp po por ci / ; J! iUj. J' J' f {I p lip~~

~~Piac - cia-vi dun-que_a tern - po por-ci 139~~

~~>_ tt zi, che mor te piu mi~~

~~i^—i* ^^E £ feE ne An - zi, che mor te piu mi~~

~~ne An zi, che mor te piu mi~~

~~t^ J d~ ?=p s a - vi - ci ne Deh pie ta del mio mal~~

~~tt ^ms a - vi ci - ne: Deh pie - ta~~

~~Ui. m ffi ¥ ^ VI strin gajl co - re Si, co - me strinsejl mio vo- 3=*= P P_C P P ta> del mio mal vi strin gajl co - re Si, co - me strin-se il £ =E ^s VI strin - gajl co re Si, co - me 140~~

~~iy ^=$ *=* TFi P P P stra bel - lez - za: vo - stra bel - lez J S 9 f P —* strin -sejl mio vo stra bel~~

'k. P It P P^ lez - za:> Che se'n voi sce-ma un di vo fe^E za: Che se'n vio sce-ma un di vo- j' J' yti > J lez za: Che se'n voi sce-ma un di vo stra lk I!" J' P It stra du - rez za, Ch'io chia - mo sol ca - gion

~~- stra du - rez - za, Ch'io chia mo ^^ fe Ji J ,J> J' £ fc du - rez za, Ch'io chia-mo sol ca - gion~~

~~fe* P£ & chia - mo sol cagion> del mio do - lo re; In com-pa-^ B ) v 9~~

~~sol ca - gion del mio do - lo re; In - com-paJ~~

*i J! JM% J' ^ . , r=\* - WM chia - mo sol cagion> del mio do - lo re; In - com-pa-

~~23, J £ £ 2^2 (IPMJJJJ| J gnia d'A-mo - re An-dro sem pre can - tan ? r ?~~

~~gnia d'A - mo - re An - dro sem - ppi 2^Z^Z gnia d'A-mo - re An - dro sem - pre can •~~

~~P P P P , P j'^ ^ do An-dro sem- Jt |t P • - 0 P > 1—P * P P 0—> m y y P P p P r p p P P P P £E^f# pre can - tan do~~

~~jU J J jijijijiji ^ 4 * pre can - tan do in dol ce accen-to;~~

~~m mm mm m m _ m ' tip i»~~

~~do> An-dro sem-pre can-tan do in dol ce accen-to; PK£N JE^ l< J> J> >iuiBSi ^ 5^ tan do> An-dro sem - pre can-tan do in dolce accen-to;~~

~~30, /7\ J _h *• -* * Hor son d'ar - der per voi trop po con - ten to. iE~~

~~Hor son d'ar - der per voi trop - po con-ten to.~~

~~£ p r v T Hor son d'ar - der per voi trop - po con ten to. 143~~

~~12. Volentier canterei de vostri honori from II primo libro de madrigali a tre voci (1582) Pietro Barignano Philippe de Monte~~

~~A J = 60 Canto W -e-*- TJH>* (•• J' J' J! J>J»J> Jp Vo - len-tier can Alto IHU C' =^= feZ Vo - len-tier~~

~~Basso m^^ *w=~~

~~(P PJi P >i [i- PP' pp.V^w te - rei de' vo stri ho-no l» I* 'f fl ft fi r * i» ) M p p» can te - rei de' vo stri ho- v Jl Jl J * ir p * VFP E £ M (i Vol - en-tier can ter - ei de' vo-stri ho-no~~

~~Anp * T J J' J J> Ji Jjijiji^^~~

~~n, S'io spe ras si con l'ar f—Htf~~

no - n, S'io spe P P p^p^^ n. s'io spe-ras - si con l'ar CO 144 l=§= £ 00 0. ^ -*—' *- V V ft co del miojn-ge - gno S'io spe-ras - si con l'ar |F (! p^pjlte ^ P j' P P ras - si con l'ar co del miojn-ge - gno £^£ £ del miojn-ge - gno con

~~Jl p p P p p J p M P P, IS•0 # co del mio in - ge gno 0 0 yy v p g TO ££~~

~~con l'ar co del miojn-ge - gno Ir EEEE 0w J J p M ft p J P J f £ ^5 l'ar co del miojn - ge - gno Ir sol vi -~~

* * P\\ ' p'n * ,JJ ' J*-l | P P 'J;i figni'JUPFP',J '^ Ir sol vi - cm, non che toe - car ne il IP P v ffpP sol vi - cin_ non che toc-car-ne il se Jl P h 3E cm_ non che toe - car - nejl se - gno. 145

~~d'ha - vreb mio~~

~~l>.~~

~~£ ^ d'hav-reb b'il mio vo ler le brae cia fe ^ * mio vo - ler le brae cia Ma don de _ * mi ^ Ma don d'ha - vreb b'il mio vo - ler le brae m # s don d>'ha-vreb-b'il mio vo - ler le brae~~

~~b'il mio vo ler le brae cia 146~~

~~'k. 1> J n Ji i1^ * *E cia ti-rar tan - to, A ti-rar tan - to. se'l spa - s r ,P p M "r r cia ti-rar tan to, A ti-rar tan - to se'l spa-~~

~~& t PP r ^ ti-rar tan to, A ti-rar tan - to, se'l spa -~~

~~2 >. ^EEE£ J'J> J. i *f ^ tio_e si lun go, ch'io pur a pe-na col pen-sier r 1> & m^ tio e si lun go, Ch'io pur a pe-na col pen- ^m * ^ ? tio e si lun go, Ch'io pur a pe-na col pen - sier~~

~~24,~~

~~^^ ^ m vi giun - go: Pe - ro_ me - gliQ_e~~

~~E ±4* sier vi giun go: Pe - ro_ me-glio_e 6JJ ^2 vi giun - go: Pe - ro me glio_e_~~

~~% i h ^ p P Che'l cor v'in chi ni, e tac i J' J' fHJIJJIII ^ me - gliq_e pe - ro me-glio_e> che'l cor v'in chi ni, e tac - ^2 ^m £ ro_ me-glio_e>~~

~~2k S^S p^£ p 2' p *f cia. Che vo - len - do far sa-tiojl gran de - si re ± ^=F cia, Che vo - len - do far sa tiojl gran de - si - ± ^SEpE Che vo-len do far sa tio il gran de~~

~~3>_ & ^ Sen - za po-ter com pi - ta-men - te di re, £~~

~~re Sen - za po - ter com •~~

~~^ \< sJ- 1' P P P si - re Sen za po-ter com-pi - ta-men - te 148~~

~~33, Jl *= /p P v p'V For - se l'ha vre - ste voL Jl p- P f ^ di re, For se l'ha-vre - ste voL~~

~~35, /T\ P J' ^J 'P P' PJ'J f r «J se l'ha-vreste voi>. Ma - do-na a sde gno. /7\ *=* Hyp M> p p I'^^ff ^¥^ voi_ ._ Ma do-na a sde gno. /7\ ^ P ' P P P pp _ Ma-don - na a sde gno. 149~~

~~13. O chi potra mai ben chiuder'in versi from II primo libro de madrigali a tre voci (1582) Cavalier Gandolfo Philippe de Monte~~

~~J- 60 M Canto nW n C ^i»^ 'r P P^ O chi po - tra mai~~

~~# P Alto IHILC M ^RT= J=l O chi po ; == Basso HKc M tP r r r O chi po -~~

~~^ ^^2 ben chiu - der in ver - si L'al-to va-lor con •p—p p p1 p- V V p fc^^2 tra mai ben chiu - der in ver - si L'al-to va 1 J p p r Ei=^Z tra mai ben chiu - der in ver - si L'al-to va~~

~~>_ 2=3 I1 J'j'J } , J P P P P P P P l'hu - mil cor - te - si a? Le gra-tie, che com-pa-gne_e- ^^^i l> i . J' £ lor con l'hu-mil cor - te - si a?~~

~~J' r J' J' *=! J' I' JJ E * p=£ B£ lor con l'hu-mil cor - te - si - a? Le gra-tie, che com-pa-gne_e- 150~~

~~2L Jl ^ M" p P P ter-ne fer si Le gra-tie, che com-pa-gne_e-~~

~~ff • D ^ 1' 6 ^ ^ Le gra-tie, che com-pa-gne_e ter-ne fer si com-pa-gne_e~~

~~ter - ne fer - si lei. che 3 p P »r m ter - ne fer - si A lei,.~~

~~£ ter - ne fer - si lei, che par non fii gia -~~

~~^_ U; JU' , Jl JlJa J»J>Ji 33 * £ J' P P P par non fu gia - mai,_ ne fi - a? Che co' bei i , P % P £sfe ft*entyk r 'p che par non fu gia - mai,. ne fi-a? Che~~

~~mai, ne a? 151~~

~~^_ l^^.E m £ mo di. e con gli_an dar di - ver - - SI -br~.~~

~~co' bei mo - di, con gli_an-dar di-ver - si Che~~

*, >j P P P Che co' bei mo di.

~~/ A F=S=S P^P Che co' bei mo di. e con gli_an- fe! V P ff CO bei mo di, con gli_an-dar di-ver si~~

~~£ P P P con gli_an-dar di-ver si l$L H> 9' 9 9 J' ^^* dar di - ver si D'ha - bi-ti_a-dor-ni_in som - ma leg-gia « «. £ ^=? Q con gli_an-dar di-ver - si> D'ha - bi-ti_a-dor-nijn som - ma leg-gia~~

*: U ff '' fe E PP con gli_an-dar di-ver - si D'ha - bi-ti_a-dor-niJn som-ma leg-gia 152

~~18, >N J E P^PPE Jl ,r dri - a, Co'l ri der, par - lar pien at p & ^^ dri - a. Col ri der, e par -lar #=k ? P P P P P P ft ft dri a, Col ri - der, e par - lar~~

~~20, t=s=? ^ 0 m r pr p^m di sa - lu te Mo-stra quan e± p p PPr r r ,t Mi pien di sa - lu te Mo - stra quan-ta dal ciel~~

~~^ r 2•* P" P P pien di sa-lu - te Mo - stra quan-ta dal ciel~~

~~23, p (; r « * r p p > > J j! )i> ^ ta dal ciel ca de vir tu- £ ^ '* % p p ^ Mo stra quan - ta dal ciel ca de 52? f P' P F P ^ Mo stra quan - ta dal ciel ca de 153~~

~~25, T=ir ^ J P P" , P P # te Mo-stra quan - ta dal ciel Mo stra quan s £~~

~~vir tu te Mo stra quan-ta dal cieL t= v^ a- ^ vir tu te Mo stra quan -~~

~~2;i ^7\ J' J'J * n > J S^# ta dal ciel ca de vir - tu te. *EE# *-T* Jl J ffi ^ FP f. ca de ca de vir-tu te. te ^^ #P ta dal ciel ca - de vir tu te. 154~~

~~14. S'io odo alcun felice, e lie to amante from II primo libro de madrigali a tre voci (1582) Angelo Di Costanzo Philippe de Monte~~

~~J- 60 Canto *E ^^ P P P^ S'io o - do al-cun fe 1 Alto -e-1 i&nw T i, Ji J) J' J S'io o - do al-cun fe Basso =e= y us - ^£ S'io do al k. •• J> P P P p p^ fc^i^E ft ft ft? ce~~

~~^ F^m £ £ li - ce. e lie to a - man - te Nar -~~

~~# i* =£ P f ''^JjEfP^m ? ^2 cun fe - li ce<_e lie-tq_a - man - te Nar-rar gio -~~

>_ £=P ^ Hi > I* soj suoi tran - quil li ar do ri, E quan - te l> Ji J> > « J> Ji ^ ss ^ * m rar gio - io - so i suoi tran quil-li_ar - do - ri, I. 1 '> I. J J> i' flff 3 ^ =fc* ^ P=i 10 SO 1 SUOI tran - quil-li_ar-dor - i, 155

-m—•- 0 m mJ % 1$ ^ p 'PP,P W P^ vol-te del. suo a - mor_ co-sta-nte Rac- J! ^m ^ ^ M E ^ £ E quan - te vol - te del- suo a-mor co-stan - te m £ P^f jij)iBPi' ^ ffl^ quan - te vol - te deL suo a - mor_ co-stan - te

~~>_ M * feEB 7 V 1=P ' F, P P co-glie frut ti,~~

~~•p p- V ?=EE 'MM Rac - co-glie frut ti.~~

~~S t=± i=t=% ^izzizzi Rac - co-glie frut ti.~~

~~i ti,> non pur fron de, e fio n,~~

~~^m ^ ti,> non pur fron-de^ fio n. Di - co £ ti,> non pur fron-de^ fior Di - co d'in - 156~~

~~£ & 3=F i ^ ^ Di CO d'in-vi-dia col-mo in ] fJ 1p (! J Wtopf J 3=^ £ d'in - vi-dia col - mo in P P T t p f! „ t>p- „ vi-dia col - mo Di co d'in-vi-dia col - mo'in~~

*k. P Pi P J P P , P £ ' P quel-1'i-sta - nte, In voi spie ga for - tu - naj suoi fa- ^5 £ r * r ^ quel-l'is - tan-te. In voi spie-

~~'A J' > J ^^ quel-1'i-stan - te, In voi spie - ga for - tu - naj~~

~~'i. ^=* •0e—#• ^ V V ?=^~~

~~vo ri i suoi fa - vo ri; In voi spie - ga for - tu - naj mm^ V i P [i 7 P P P' P ga for-tu-naj suoi fa vo - ri; In voi spie - ga for- 5 ** PT p suoi fa-vo - ri; In voi spie - ga for - tu na I suoi 157~~

~~12_ r t m m SUOl fa-vo - ri; Sol' io lun - gi_al mio ben~~

~~it- ^ m f~~

~~fa vo n; Sol' io lun -~~

~~22, q J Jl T r P P P , T> r T P P P lun - gi_al mio ben> Sol' io lu - ngi_al mio ben qui mi di - *E£~~

~~Sol' 10 lun gi_al mio ben qui~~

~~m *=£~~

~~gi_al mio ben~~

~~%. ^^^Z V 1' P ^ sfac cio qui mi di - sfac cio; E nul - la~~

~~mi dis fac CIO;~~

*=±I £ mio ben> qui mi dis fac CIO; 158

~~26, /TN~~

~~stri - ngo, tu to il mo-ndo ab brae - cio.~~

~~^HT B? nul-la strin go^ tut - tojl mon-do_ab brae - cio. /7\ S t^t V V V E ? E nul-la strin - go<_e tut - to il mon-do ab - brae cio. 159~~

~~15. Vissimi un tempo in dolce foco ardendo from II primo libro de madrigali a tre voci (1582) Vincenzo Quirino Philippe de Monte~~

~~J. 60 Canto tt -e i»" r P r r ^^ Vis-simi_un tern pojn dol - ce~~

~~Alto =&:= m * J.~~

~~Vis simijin tern - pqjn~~

~~Basso ft ^^ # P-~~

~~Vis - si-mi_un tem - pqjn dol~~

J' Jl Mr, n J' , Jl P P fo-co ar-den do Sen-za al-tra te-ma di fu - tu - re pe #—l* mi * ft: z J m. m z dol-ce fo-co ar-den do Sen za al - tra te - ma di fu - tu-re Jl "r P J j J ^ J- p it J J* M f ce foco ar-den - do Sen - za_al-tra te-ma di fu-tu-re pe

~~>_ ^ PP ne. Et del lu - me di quel - la~~

~~$m p !• i tf P ^ me di quel - la>_il cor pa f- seen do, Che mi~~

~~me di quell lail cor_ pa - seen do,~~

~~^ £ £ _il cor pa-seen - do.~~

~~'y. 1 P P' P J J' J! Jl per sua Ion-tan - an za ho ra mi tie - ne Pri~~

~~V V v% tEE^t Che per sua Ion - tan - an~~

~~Ifc* ) V t Che per sua Ion-tan - an za ho - ra mi tie lX I J J -J J1 J »J»J~~

~~vo d'o gni dol - cez - za; on - de pian F 3J 1 v P SiS za ho-ra mi tie - ne Pri - vo d'o - gni dol cez - za; on - de~~

~~fc3E? r r r F Pr * ne Pri - vo d'o - gni dol - cez - za; on - de pian - gen 161~~

1 2_ J r P r gen - do on - de pian gen do La vo cer-J -* 0^- * * p p \> v v E=f= pian - gen do La vo cer can-do_in-tor-nq_a que - ste_a-re jfel * * p P" p ^ do on - de pian - gen do La vo cer-can-do in tor-no a lk &=$=* J* J> r J> ^—# 4 P^ j p r p can-dojn - tor-no_a ques - te_a-re ne La vo cer-can-do in - tor-no a

~~• * ^ ^ i=t ne La vo cer can-dojn - tor-no_a que - ste_a-re J j' j' Ji m * fe m s? que - ste_are ne in - tor-no_a que - ste_a-re ne La~~

~~20, 1 ^ J F P P g r que - ste_a-re ne In - tor-no_a que-sti mon •0 0 ^^^ m *=5 ^^ ne In tor-nq_a que - sti mon ^5 m t=t •0—* vo cer-can-dojn-tor-nq_a que - ste_a - re ne In - tor-no a 162~~

~~22, 0 |» = ^ ^ ti. so - vra P^ -# *- m V P B B P "P ti, _e so vra Ton P P P f1 PPJ que - sti mon ti, e so-vra Ton - de:~~

~~2X -*&- * i h Ton-de: Ne al - tro ch'E cho~~

~~^^ & f de: Ne al-tro ch'E - cho Ne al - tro P^P£ • * Ne al-tro ch'E-cho~~

~~2£ [' r p , ^ p p ^ % % al mio mal mi rispon-de Ne~~

~~m P £EEE* ch'E-cho al mio mal mi ri - spon - de Ne al P V \ i m$ m £ al mio maL mi ri - spon-de Ne al-tro ch'E-cho 163~~

~~30, /CN J p P r (i al - tro ch'E - cho al mio mal mi ri spon de.~~

~~P=£ ^^ tro ch'E - cho al mio mal mi ri-spon-de. E^E P F" p ^m al mio maL mi n - spon de. 164~~

~~16. Dico, che da quel punto, ch'infiammarsi from II primo libro de madrigali a tre voci (1582) Angelo Di Costanzo Philippe de Monte~~

~~J = 60 Canto 1 tt -e- 1(3) v -o- Ohi me. che da~~

~~Alto * •e'~~

~~Ohi me. Basso ^ r P E r Ohi - me, che da quel pun~~

T J r P r F,J j quel pun - to, ch'in - nam mar - si Vi-di d'i - ra il tuo va M P r ^^# => v t v * che da quel pun - to. ch'in-fiammar-si Vi-di di-ra il tuo va- 4^ P=P If to, ch'in-fiam - mar - si Vi - di d'i-ra il tuo va-gOt_e

~~>_ P ' ,P PI MT Kf T (I ^^ go<_e di-vin vol - to Senti dentro il mio cor Sen - ti dentro il tt =£ ±=t m J^2 go,_e di - vin vol to Sen-ti dentro il mio cor Sen- ^5~~

~~di - vin vol to Senti dentro il mio cor Sen - ti dentro il 165~~

h h h h ?=F #• 0 J r P mio cor to-sto sgombrar-si, Quan - t'ha vea spe - mejn #• m # ^1 £=i=t m ti den-trojl mio cor to-sto sgombrar-si, Quan-t'ha vea spe - mejn j j j —*— j P P P - r mio cor to-sto sgombrar-si, Quan - t'ha-vea spe lk m ^ ^ tan ti me-siac-col - to; E da l'al - ma con-fu

~~tan ti me-si ac-col to; da l'al-ma con- 5=1 m Pi£ me in tan - ti me-siac-col - to; da l'al ma con-~~

•>. i> r, P v \> n sa di - le-guar si O - gni pia-ce re: f4r^-r ?z= ^P fu - sa di - le-guar si O gni pia ce re: on- fe H P r fe^ S= fu - sa di - le-guar - si O - gni pia - ce re: on-de a me stes-so 166 y. P F P "P . r on de a me stes-so vol to Dis - ^E

~~de a me stes-so vol to Dis~~

~~E p p T r ' vol to~~

~~^. r P r p p P ppE p^ si, Ahi per-du ti mal gra - di ti_af-fan-ni. _o_ ^ si, Ahi per-du - ti mal gra di P P P P P M Dis - si. Ahi per-du-ti mal gra - di-ti_af-~~

~~% 5=S * » ^ mv i ErmJ ^ Ahi per-du-ti mal gra - di - ti af - fan ni, Que • tt * * #=F *=* #~~

~~ti af-fan - ni, Ahi per-du-ti mal gra-di-ti_af fan ni, Que- h h I i Jl r P P P P P fan ni, Ahi perdu - ti mal gra-di-ti_af-fan ni. Que- 167~~

25, * • ^ _* * 1 J 1 Jl J * J J (T p ' tfi P^g P p §1 st'e_l'-ul - ti-mo di Que st'e l'-ul - ti-mo di dei miei. dol-cian - ni. JI p=z *=* P P P Tf p (!£ ^P,M' i ^ f st'e l'-ul - ti-mo di Que st'e l'-ul - ti-mo di dei mieL dol-ci_an - ni. S7\ & } ^^ £ +* P \ PEFp m st'ej'-ul - ti-mo di Que - st'ej'-ul - ti-mo di dei mieL dol-ci an-ni. 168

~~17. Dolce mia vita, da cui vivo & moro from II primo libro de madrigali a tre voci (1582) Francesco Mario Molza Philippe de Monte~~

~~J- 60 Canto -e &£ \7^=l £ Dol - ce mia vi ta, Alto =e= ^PF^ r r- r> Dol - ce mia~~

~~Basso Tfe~~

~~Dol~~

~~P=5=P da cui vi - vo e mo ro, Per - J, fei UpE p r P vi ta, da cui vi vo_e mo - ro, * ^=% W^ m ce mia vi ta, da cui vi - vo e mo ro.~~

~~X. m m M P t :t=t ch'al-tro far vo - len do. < Per-ch'al-tro far vo~~

*EE£ -? J

~~Per-ch'al - tro far vo - len - do.~~

~~±=t len do,> non sa pre - i, Che J> J> Pr ftP ijlJIJI1^p P P , P J£ r r ch'al-tro far vo - len do,> non sa-pre - 1, Che~~

*=* M) +' —* • *- } P f 9 ch'al-tro far vo-len do,> non sa-pre - i, Che co - me_a-

M0 m P * M M , p p r r co - me a-va-ro in - ten to al suo the-so - ro Che Jl P p P P p r ^ co-me a - va-ro in - ten - to al suo the-so - ro Che co-me a - J' h i J' EEEJ=5 va-ro in - ten-to al suo the - so ro Che co - me a-

^r> .. ff • (r=m * *- V P P P E £ ^ co - me a-va-ro in-ten-to al suo the so ro In te jl Ji Jl P P r P P P' pfp r PI? va-ro in - ten - to al suo. the - so ro In ss m va-ro in - ten to al suo the - so ro 170

1 £. s=* •i—l j=i V V i r=pf g^rr * 0 0 tut - ti son spe-sjj pen sier mie * * f f M ^ ^ £=2 n f ; f te tut ti son spe - sij pen-sier mie » J! J' J' • wm In te tut - ti son spe - sij pen sier mie

~~l>. p i' \> r p J i, Al - tri che te mio ben nes - su no a - do ro. nes-~~

~~^* V V ? Al tri che te mio ben~~

~~16, m #—& su no a - do~~

~~te mio ben> nes - su no a - do ro.~~

~~$ P P P ^P* *— S te mio ben nes - su - no a do 171~~

~~•P P P l^=E= £^£ ro. Ne co-no - sco al-tro ciel. Ne co-no-sco al-tro • * 7 P' P P I=fc=!t=* Ne co-no-scq_al-tro ciel, Ne co-no-scq_al-tro - ciel,. EEEFQEEEi t 0 0 P ro. Ne co-no-scq_al-tro ciel,~~

~~20, 7 it ir P M P ? P , F r r P '' ciel, non al - tri De - i. Ch'A-~~

~~•-# • VES. t=t non al - tri De - i, ^^ p P P P ^ non al - tri Dei~~

~~2Z. 9P s mor mi strin - se con_ si for-te no do. i v ?=? p- pJlp Jhl J'PP*.*y Ch'A-mor mi strin se con- si for ' ' P *p p^ E=^ h h Ch'A - mor mi strin - se~~

~~1 ij F=F ^P=^£ ^^ Ch'A-mor mi strin - se con_ si for - te no - PP te no do, Ch'A-mor mi strin - jjjji m strin - se> con_ si for te no do.~~

~~26, ^2 P^FP e^g? do, Ch'A - mor mi strin se con_ si for-te no m S> se con_ si for-te no - do, 1 { J> ))J' Ji J'j JiJiJji J r J y ji con- si for - te no do, Che scio-glier~~

~~p K £ £ do, Che scio-glier non si puo. Che scio-glier non si 1 7 J n- } Jj ? Che scio-glier non si puo Che scio - glier •l! Ji J1 ^^ ^^ non si puo_ Che scio glier non si puo_ 173~~

~~30, /T\ ppM F p J' ^FF puo_ per al cun mo - do. Jl P ii- pppppJ' J,p r PP non si puo_ per al - cun mo - do. ^s m ^^ —#— per al cun mo do. 174~~

~~18. La bocca, onde l'asprissime from II primo libro de madrigali a tre voci (1582) Ercole Bentivoglio Philippe de Monte~~

~~TO ,. j°60 . Canto is«' r ) v t La boc - ca,on - de l'a~~

~~Alto )> ji ji ji ^=? W T<& e P La boc - ca<_pn - de l'a - spris - si -~~

~~Basso :ez: =E==~~

~~# ^ 1» ^^2~~

~~spn si me pa - ro le So-lean u 7 ^ p r , r ' ^ me pa ro le So * §• g=3E I 2=* #: bo-ca<_pn-de l'a-spris si - me pa - ro - le So -~~

~~X ¥=i~~

~~scir, ch'ir mi facean do-len-te; ch'ir mi fa J J| p E r p 'r ^^ r P^P p r > p p- lean u - scir,. _ .ch'ir mi facean do - len~~

~~# P—£ P-m- M m_ #=^~~

~~j! PM j r 0—w cean do-len-te; Vie piu di quan-te mai fur sot I) B ^ ^5 \ i' J'- J> Ji te; vie piu di quan - te mai fur sot-tqjl~~

~~P V p ^ ^EEE len te; Vie piu di quan-te mai~~

~~^ ±=* R^¥ to il so le Hor nu - tre l'al-ma mia soa~~

~~^ ^^~~

~~so le Hor nu - tre l'al-ma £ £ mai> fur sot - to il so le Hor~~

~~£ fe £EE SS P^ p p M p M ve - men te D'o-dor di fre sche 1 )> J' J > * J' mia soa ve-men te D'o-dor di fre-sche ro J P P ft fe^i [S p P F f| nu-tre l'al-ma mia soa ve-men te D'o-dor di fre 176~~

~~^_ _* «- ^P ^ :2=2=;fc ro-se, e di vio - le, Cui ce-de o-~~

* se, e di vio - le, Cui J* *. P' P M P^ *=*=* sche ro-se, e di vio le, Cui ce-de_p-gn'al - tro

~~ft ft * 3= ^Z gn'al tro Cui ce-d^_p-gn'al - tro che P P r ^ E^E^E ce - de_o - gn'al tro Cui ce-d^p-gn'al - tro~~

~~:3^2 F ? r » 2=2=2 Cui ce - d'o - gn'al - tro che~~

~~'k. r if v [i l'A - ra bia sen te. E d'Am - bro - sia et di Net - ta - Jl } P P r ^ m che l'A - ra - bia E d'Am - bro m sen - te, l'A - ra - bia sen - te. 177~~

~~2k w re la pa see, E d'am-bro - sia et di Net - ta- JN^E ^m ^p w ^ sia_et di Net - ta-re la pa see, E d'Am - bro~~

~~> h !• ^ ^ Et di Net - ta-re la pa see, E d'Am - bro~~

~~23, £ P^£ ^ £ ^ re la pa see, Che tra le per-le,_ej bei ru - bi - ni 1 l> ^? i > ft f- •» £J' f sia_et di Net - ta re la pa see. Che tra le per-le<_ej~~

~~ff=N=ff ^ m~~

~~sia_et di Net -ta-re la pa see,~~

~~25,~~

~~^^! £=g=e~~

~~na see Che tra le per - let_ej bei ru - bi - ni na see~~

~~J j> h ^ E l! h h J' bei ru-bi - ni na see Che tra le per-le<_ej bei ru-bi - ni P' F p v V p (I F P' P p P Che tra le per - lel_ej bei ru - bi - ni na 178~~

~~% /C\ V p V ^ Che tra le per - le<_ej bei ru \ bi - ni na see. J —*— p, r P r na see e 1 bei ru bi ni na - see. ^m « f P P see e 1 bei ru bi ni na - see. 179~~

~~19. Poi c'hor e dolce ogni passato scempio from II primo libro de madrigali a tre voci (1582) Ercole Bentivoglio Philippe de Monte~~

~~J. 60 Canto ^ Poi c'hor e dol ce_p - gni~~

~~Alto =R=a=~~

~~Poi c'hor e~~

~~Basso * ^PE~~

~~Z. P^ PPPH>^PpPPp J'J'J'p J' J pas - sa to seem i r P r > J' J»JJi>J m dol ce_P - gni pas-sa to seem~~

~~^ m ff p >' M~~

~~Poi c'hor e dol - ce_p - gni pas - sa - to seem~~

~~EEES~~

~~pio, dol - ceil ri-mem-brar ^^4 m 4' 4' ' E V p pio, E dol-cejl ri-mem-brar _ ^5 £EE?E^ pio, E dol-cejl ri-mem - brar_ gl'an 180~~

~~pv vp p v.wm £ wm gl'an-ti - chi stra - ti, Poi che piu di so-spir l'a - ria non * ^s S ^ gl'an-ti - chi stra - ti, Poi che piu di so-spir Poi che~~

~~ti - chi stra ti. Poi che piii di so~~

~~>_ E ^ PP ^ em pio Poi che piu di so spir l'a-ria non em Jl J' J' ]> J' J* (i M I * piu di so - spir l'a - ria non em pio l'a - ria non em £ £EI spir l'a-ria non em pio~~

~~^_ J ^ mm P v P , i? p ^^ pio Be-ni-gni fa - ti, e poi che se-te sa - ti~~

~~jl TJI E £ ^ I* r I'P P^ ^^ pio Be - ni-gni fa ti. Be ni-gni fa - ti^ poi che~~

~~Be-ni gni fa - ti, Be 181~~

~~^ P P' P m m f P '' p p. P r p r r MPT £ Be - ni-gni fati,_e poi che se-te sa-ti De le la - grime mie, del mar -~~

* ft' ft J tiJ J # ^^ #* se-te sa ti De le la - grime mie, del mar-tir —p^- B E ff' p p r r I" 'T r P f' r s nigni fa - ti,_e poi che se-te sa - ti De le la - grime mie, del mar-

~~B tir em pio, Tempo_e c'humi-le-men - te vi rin- )> J't h hjiji J' i ^^ em pio. Tempore c'hu mi-le-mente vL nn- SS E^^? ^ rMMp - tir em pio, Tempo_e c'hu-mi-le-mente vi nn-~~

~~21/ T £ £ p P HP P F '' P I gra - ti: E che rin-gra - ti_A. mor,~~

~~22, M « J> P M mor,> rin-gra-ti_A - mor, che'l cor mi svel - se, E diel-lo_a h J> J> j> -»— # che rin-gra-ti_A-mor,> che'l cor mi svel se,~~

~~£ PF=^ P P P che rin-gra-ti_A-mor,> ch'el cor mi svel se.~~

~~25, J' , P P P J' lei. che tra le bel - le sciel - se & J * ) iJ J >»J» j J* > p r pip diel-lo_a lei. che tra le bel le sciel * p (i P r fc* E diel-lo a lei. E diel-lo a lei. che~~

~~2k J f p p ,r p p P diel-lo a lei. che tra le bel - le !E3~~

~~se E diel-lo a lei.~~

~~2>_ /TN ?^P P P P P P i' r sciel se~~

~~lei,> che tra le bel le sciel se. P^£ ^ P^ diel - lo_a lei,> che tra le bel - le sciel - se. 184~~

~~20. Spesso a consiglio i miei pensier convoco from II primo libro de madrigali a tre voci (1582) Angelo Di Costanza Philippe de Monte~~

~~j. 60 Canto -e %m P=P Spes - so_a con - si - glioj miei pen E Alto =e2= m ^^ fe Spes so a con -~~

~~Basso * S~~

~~A^ 0. *=5 i V V ¥~~

~~sier con vo co Per di - man- ^ } } H g^ ? £ si - glioj miei pen-sier con vo CO s £ £ S £ Spes - so_a con - si - glioj miei pen - sier con-vo - co~~

~~^t JEEZ dar-li,ho-mai, di noi, che a? di 7 P P' P^ ^ Per di - man-dar-li,ho-mai.~~

* i £ r p F P P noi, di noi che fi a? E s'ha - vra qual-che

~~3F P=5=5 mai,> di noi, che fi a? s'ha - vra qual-che £~~

~~noi, che a?~~

~~>_ #• i» 2= £=2=2~~

~~ne il no * 7 p J! J J J> ^ ^ ne Jl T ^ P' P P P^ 0* P E s'ha-vra qual-che fi ne il no stro fo x2_ B tt stro fo CO, O se for-tu - na ha - vrem sem -~~

~~E=S —*— no stro fo CO, se for-tu - na ha - m p=P CO, O se for - tu - na ha - vrem sem 186~~

~~11 m • m 0 =r=¥= 1 ~~i } , fa=m== * —J— pre piu ri - a? E co - si~~

L k I 1 —v—J»-=&= "J =S*=—v - — 5=t 4 •— r —*•— —J— vrem sem - pre piu ri a? E co - si stan do 0 r m 0 —P* 0— —s- * -f— - i -s -• =£=H &— d f 7 ll|p—-— 7 —4— f =¥= pre piu ri a? E co - si stan-do veg - giojn

~~t=t ^ £EE* stan-do veg-giojn spa-tio po CO Ve - nir - ne mil-le i£=3 i d 0 — C P , v P fi veg - giojn spa-tio po co Ve nir - ne mil - le~~

~~pip^E ^^ nir - ne mil - le> Ve - nir - ne mil-le_a la me-mo-ria mi - It > J» jjijj >^^ fe~~

~~le> Ve nir - ne mil - le a la me - mo - na mi~~

~~B ^ ' > K Ei ?=P ^ Ve - nir - ne mil-le a la me - mo-ria mi - 187~~

1>_ * *

~~a: Ma_al fi - ne_p-gn'un di lor me du-roi e for-~~

~~3*fe ? Ma_al fi - ne_p-gn'un di lor me du-ro, e for~~

~~nsr~~

~~Ma_al fi - ne_p-gn'un di lor m'e~~

~~21, r P r "P * < te, Ma_al fi - ne_pgn'un di lor me 3E E * te • r T te, Ma_al fi - ne_pgn'un di lor m'e du ?z= dt * * 3E£~~

~~du - ro, e for te, Ma_al fi-ne_pgn'un di lor~~

~~2>„ #—i* I I~~

~~du-ro, e for te. Che S P ro, e for te, Che non san - no trat - tar~~

~~otsz 7 r z) V~~

~~m'e du - ro, e for te, Che non san- 188~~

~~2i /T\ £ p • •> PP£' r non san no trattar al - tro, che mor - te. SB al - tro, che mor te. P=P no trattar al - tro, che mor te. 189~~

~~21. Alii dove (lasso me) prieghi & parole from II primo libro de madrigali a tre voci (1582) Unknown Philippe de Monte~~

~~J =60 Canto 3E^= *=f Ahi do ve las -»• A Alto -e E=?~~

~~Basso M ^ TF Ahi do ve~~

~~^^ SO me Ahi do ve~~

~~•_ m ^2 Ahi do ve las - so me Ahi do - ve las - so r p r las - so me Ahi do ve las so me~~

~~P^i f P P i* * do - ve> las-so me prieghj^e pa 4 ro - le spend'io, se 1 -# j r p pp p P»p^~~

~~me prieghi_e pa ro - le spend'io, se E P^S tt £ prie-ghi_e pa - ro le pne ghi_e pa - ro - le spend'io, 190~~

~~i. V P |i" 9 ^ non fra quer-cie<_pn - ta-ni<_e fag gi se non fra quer - si ^ £~~

~~non fra quer-cie^n ta-ni^ fag gi se non fra~~

~~P P' P =S se non fra quer-cie^jmta-ni^ fag gi fra~~

~~>_ * # $ J' J' J' J> J' cie^jm-ta-ni,^ fag - gi se non tra sel - ve om bro~~

~~^^ quer - cie^jm-ta - ni<_e fag gi Se non tra sel-ve om- ^=1 STT—* -* # quer-cie<_pn-ta-ni,_e fag - gi~~

~~1>_ h ]> J> J J> JE £ se os - cu re, e so le; se non tra sel - ve_pm-bro w=m J1 J1 P P ff f bro se o - scu - re, e so le; se non tra sel-ve_pm~~

~~ss 000~~

~~se non tra sel-ve om-bro - se o-scu - re,e so - le; 191~~

~~J>.~~

~~se os - cu re, e so le; tf--K ^E £ P r P bro - se o - scu - re, e so le; Do - ve s'al- J- p ir p J' >^£fp o - scu re<_e so - le; Do - ve s'al-cun pur v'e,~~

£ ^^ ^^ Do - ve s'al-cun pur v'e, son Dei sel - vag gi? » J> Jl fe ^^ PEP' cun pur v'e,. son De i sel-vag - gi? M' PEP fe E son De i sel - vag gi son Dei sel-vag - gi? y. SEE* -*—*- Voi a vre_al 4 men; ch'i gi - gli<_e le vio

~~^^ S =#E Voi a - vre_al-men; ch'i gi gli<_e le vio \ J1 t-r J ^ tt Voi a - vre_al - men; ch'i gi-gli<_e le vio 192~~

1 & h ii i J> =feg! # PP le De-stan-do; tem-pe - ra te ai so-lar-rag - gi: Deh J =£ 7=> V 1 £ le De-stan-do; tern pe ra-te_ai so-lar - rag-gi: Deh fa .MM ^ le De-stan-do; tem-pe-ra - te_ai so-lar-rag - gi: Deh fa - te_u -

~~22, ^ J' Ji h J! i EE£ ^^ fa-te ud-ir Deh fa-te ud-ir ch'io re-sta ro con-ten - to A la mia Iffif J!' Ji i~~

~~te ud-ir Deh fa-te ud - ir ch'io re staro con-ten - to J1 J! J) h J J IJP J dir Deh fa-teu-dir ch'io re-sta-ro con-ten - to~~

~~25, _£N » « m- d «. PP Don na Jl gra-ve mio la - men to. ~m ^l ^r la mia Don - najl gra - ve mio la men to.~~

~~S 0 m 311~~

~~la mia Don - najl gra ve mio la - men to. 193~~

~~22. Qual piu scontento amante alberga in terra from II primo libro de madrigali a tre voci (1582) Vincenzo Quirino Philippe de Monte~~

~~J =60 Canto -e-p i~~

~~Alto ^e^ =e= Qual~~

~~Basso » :ez= =e=~~

Qual piu scon k. JI PP P r j. J> i^ J i J J i ^ man te al ber - gajn ter-ra Di me, ch'ad |i *p P ftp E^F¥ J P P piu scon-ten-to_a-man te_al ber-gajn ter ra Di me, ch'ad i p P P "inF"£ ^^ ten - to a - man te al ber-gajn ter-ra Di me, ch'ad

~~K P^ p r p hor ad hor la mor te in - vo co. Qual con piu • ' •—J—i F f ft' th~~

~~hor ad hor la mor tejn - vo co. Qual con piu r r J I «=fe ^ hor ad hor la mor - te in vo co. Qual 194~~